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Art's Journey with Abdel-Wahab Abdel-Mohsen
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Rahma Zein El Din heads to Abdel-Mohsen's native Kafr El Sheikh before his exhibition at the Arts-Mart gallery two years ago, to talk about simplicity of inspiration and his artistic process...
With light flooding into the small art studio propped in the heart of the agricultural town of Kafr El Sheikh we sat drinking koshary tea and watched artist Abdel-Wahab Abdel-Mohsen as he cut into a wooden surface, chatting away about his relationship with art. We meet just days before Transcending Spaces – his robust exhibition – took over Arts-Mart the Gallery two years ago, but he seemed as relaxed as ever.
If I had a penny for all the romantics and intellectuals who have attempted to convey the meaning of art, I would be a very rich woman. Though an exhausted subject, Abdel-Mohsen breathes life into the word as he effortlessly etches away onto a wooden surface and puts things into perspective: "Art is expression." A humble man immersed in his roots and loyal to his art form, he has a clear cut understanding and appreciation for art which resonates in his intricate pieces; he is his art. Be careful where you step in the studio for he also sleeps there, "I need to be around my art. What if I were to decide to wake up in the middle of the night to add something? Destroy it completely, even?"
So, art means different things for different people. Whilst for some it is Kim Kardashian's behind, for Abdel-Wahab it is the purest form of expression; a translation of an emotion, idea or message brought to life. "A smart artist is one who finds a medium that best helps him translate the energy inside him, just as a poet uses words," he explains. For Abdel-Wahab, woodcutting best helps him articulate his energy, as he toils over the wood before using his intricately cut patterns and shapes to create prints. Here is the interesting part: art for him is not the final piece but the journey, the relationship which develops between him and his medium; the movement of cutting the wood itself is key, as looking at the final piece alone would negate the energy and the action and reaction which developed between him and the wooden surface. His art are not pieces of art but works of art. "When you look at my work you will see my psychology, the soul in the work, my way of life. I enjoy the process itself, building something. The action is important for me; anyone can learn the technique and make a pretty picture but then the work loses its creativity and innovation. It is enjoying the process and looking for relationships and inspiration that makes it come alive."
Though loyal to woodcutting Abdel-Wahab stresses the need to take oneself out of their comfort zone and take a risk with different materials. As an artist you need this kind of adventure; this brings vitality to your work and helps you develop. The journey of research and developing is one that never ends," he explains.This is why for Arts-Mart the Gallery's upcoming exhibition, he will bring in a depiction of his journey and not only showcase his prominent woodcut printmaking, but also paintings and drawings. "Creativity relies on the artist himself, his ideas, his willingness to forget everything he knows and try something new, art is not a beautiful picture, it's a beautiful expression; a truthful one," he philosophises.
"I am just a Fallah," Abdel Wahab says proudly, his eyes twinkling as we leave his studio and set off on our way to Beheira; a place that has acted as his muse. "I could never live in Cairo…traffic…this is what I know. I go in the morning to Beheira, watch, observe and eat. I surround myself with nature then head back to my studio and see where my inspiration takes me." Endless greenery surrounds you and a sense of peace comes over you and it becomes easy to see the environment and mood depicted in his pieces. Oscar Wilde once said that "Nature imitates art," which seems the case for Abdel-Wahab's art. The sunlight hits his cotton white hair and he says that he knows his demeanor causes the people of Kafr El Sheikh to stare but if he were to make a fuss about it he wouldn't have the time to work on his art, read or live. We get out of the car and breathe in the nature as he talks lovingly about Kafr El Sheikh and nature; "A million artists can sit and draw one leaf and bring out a million different outcomes…Nature is endless and we need to open our eyes and connect with it." He adds that Kafr El Sheikh offers him the ability to live among his inspiration, staying loyal to his roots and indulging in a slow paced, comfortable life. People cross the field to greet him and graciously offer us lunch and tea. He points out their white galabeyas and how they sit comfortably on the dirt, "because nature isn't dirty, plastic is man-made rubbish."
We continue walking through fields and it made sense how Cairo city dwellers were so very much captivated by his work, because it offered them a peak and an escape into a life that is more serene, natural, filled with vibrancy. That being said he stressed that he does not put in mind an audience when he works; "personally, I don't work for a specific time period or for an audience. My work is true to me and by the way inside of everyone is both something beautiful and very deep." With that he smiles and offered us yet more food before we made our way back to the chaos that is Cairo.
Find out more about Arts-Mart and Transcending Spaces by Abdel-Wahab Abdel-Mohsen here.
Photography by Mahmoud Asfour.
arts-mart
arts mart
arts mart the gallery
abdel-wahab abdel-mohsen
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Sandy Alcantara settled for the tough-luck loss on Friday as he was outdueled in a 1-0 loss to the Brewers by Corbin Burnes. Alcantara did his best, though, firing eight innings of one-run ball while giving up five hits and no walks with eight strikeouts. Just another day at the park for Alcantara, who threw 75 of his 100 pitches for strikes and lowered his ERA to 2.28 despite his record slipping to 14-9. The NL Cy Young candidate added to his case by boosting his MLB-leading innings total to 228 2/3 inning while crossing the 200-strikeout threshold (207). With outstanding ratios and a sub-1.00 WHIP to boot, Alcantara has been everything you could want out of a starting pitcher in 2022. His durability has been especially impressive, as he's averaging over seven innings per start. The 27-year-old workhorse has now logged at least eight innings in three consecutive outings, allowing just one earned run in all three of those starts. After an up-and-down August and a rough start to September, Alcantara righted the ship this month with just five earned runs allowed in 32 innings over his four most recent turns. Alcantara has been one of the best pitchers in baseball wire-to-wire this year and is certainly worthy of his first career Cy Young award. Nobody in the NL can match his elite combination of quality and quantity.
Rhys Hoskins helped the Phillies to a 5-1 win over the Nationals on Friday, going 2-for-5 with a homer and two RBIs. Hoskins kicked off the scoring with his solo shot off Erick Fedde in the top of the first and later provided a key insurance run with an RBI single in the top of the ninth. The long ball was Hoskins' 30th of the year, marking the second time in his career and first since 2018 that he's reached that threshold. The 29-year-old slugger has come up big for Philadelphia down the stretch as the team battles for a playoff spot, batting .310 with eight extra-base hits and seven RBIs over his last 10 games. It's encouraging to see him hitting for so much power given that his ground-ball rate (35.9%) is the highest of his career and he's pulling the ball less frequently than ever (28.5%). Hitting the ball more to center field may have helped his batting average a bit, as his .253 mark is the highest full-season mark of his career and 10 points higher than the MLB average. While he's still a non-factor on the bases (two steals), Hoskins' ability to hit for good power without being a drag in batting average makes him a quality fantasy asset.
Alek Manoah cruised to an easy win on Friday as the Blue Jays pounded the Red Sox, 9-0. Manoah did his part with six shutout innings, giving up just two hits and two walks while striking out four. The 24-year-old righty capped off a brilliant September with another win and quality start, finishing the month 4-0 with a sparkling 0.88 ERA. He's been huge for fantasy managers and the Blue Jays down the stretch, stringing together eight straight quality starts with a 1.00 ERA during that stretch. He's now 16-7 with a 2.24 ERA and 180 strikeouts in 196 2/3 innings, making him worthy of down-ballot consideration in the AL Cy Young voting. Aside from a brief rough stretch in the middle of the season, Manoah was sensational all season, yielding two earned runs or less in 25 of his 31 outings. He never had a truly bad start either, going at least five innings every time and never allowing more than four earned runs. That's the definition of an ace, as Manoah took a big step forward in his second season after putting together a strong rookie campaign last year. If he continues to improve in Year 3, the league better watch out.
Joe Ryan dominated the Tigers on Friday, scattering five hits and one walk with eight strikeouts over six scoreless innings en route to his 13th win. Ryan had little trouble carving up Detroit's punchless lineup, throwing 65 of his 91 pitches for strikes to lower his ERA to 3.55. It was a strong rebound performance for the 26-year-old rookie, who gave up three runs in just four innings against the Los Angeles Angels his last time out. He finishes September with three scoreless outings in the month, posting a 2.20 ERA with 30 strikeouts in 28 2/3 innings. Ryan avoided hitting the rookie wall in his first full season, although he did miss some time with a brief IL stint earlier in the season. While the Twins ultimately faded from contention, Ryan showed promise as a frontline starter for them. His numbers look even better if you exclude one terrible outing where he allowed 10 earned runs in 4 2/3 innings in late July, which accounted for over 17% of his earned runs this year. If you excluded that one bad performance, his ERA improves from 3.55 to 3.03. Ryan's strong finish to the season bodes well heading into 2023 and solidifies his status as a strong fantasy arm to rely on.
Carlos Correa helped the Twins erase the Tigers, 7-0, on Friday, going 2-for-5 with a two-run homer. Correa connected for a two-run shot in the seventh that effectively iced the game for Minnesota, especially against Detroit's horrid offense. The dinger was Correa's 22nd of the season and first since September 15, snapping a 13-game homerless streak. Correa was due to a cool off a bit after slamming six homers during the first half of September, though, and kept swinging the bat well even if his power numbers tailed off, finishing September with a .345 average, seven homers, and 18 RBIs. The strong finish is salvaging a somewhat disappointing fantasy campaign for Correa, whose power stroke often disappeared for long stretches. Going from Houston to a less hitting-friendly park and worse support cast in Minnesota didn't help, either, which partly explains why he has 34 fewer runs and 29 fewer RBIs despite playing only 16 fewer games thus far. While he's been a good player throughout his career, he never quite developed into the offensive monster he was expected to be after his impressive rookie campaign. Perhaps going to a more offense-friendly environment would boost his fantasy outlook considerably.

redpajama_set_name: RedPajamaCommonCrawl


This machine can achieve great things for any sewer in 2018, whether you are sewing a garment design or repair a piece of delicate clothing, or even quilt that warm and cozy quilt. This is a easy to use and yet powerful machine that comes with 18 built in stitch patterns for you to choose from and also includes a 4-step buttonhole feature, to give you a great selection of button options. Having your stitch selection on the front of your machine, makes it easy for you to see them and then apply them as you sew instead of having to stop and refer to the back of the machine like most others.
This machine is more so for a beginner and an amateur sewer, as most advanced experts may find it limited.
Thread Flow for efficient work, allowing you thread to move smoothly with the top loading system, bobbin system drop in styled that creates a jam-proof system.
Foot Control petal will keep you in complete control and command of the speed of this machine of up to 830 stitches per minute.
Thread Tension options offer you an automatic setting but you can manually adjust it as well for certain threads that may need some more precise settings to work optimally.
Clear Casing over the bobbin covers and protects it while giving you clear visibility for when you have to switch yours out.
Four Piece Feed Dogs give you a terrific grip on your fabric that help you push your material through like a breeze.
Drop in, top loading bobbin and clear bobbin case make you a well oiled machine while operating.
Was able to handle the thickest fabrics that we tried to use including some denim for some jeans that we sewed together for my grandson.
Thread Tension adjuster had pin point accuracy that adjusted precisely to the increments that you move it.
Horizontal thread delivery gives you a new way of threading that seems almost better than your traditional vertical thread delivery.
Few stitch selections than other machines that are around the same price, but with the amount of adjustable features you can achieve more than the preset ones.
No case or dust cover but like we always say—just sew one of your own.
If you want to either start sewing or get back into sewing and you don't want to learn how to use a computerized model, then this machine is going to be the perfect match for you.
The Janome Magnolia is limited with automation features but it still operates effectively like others that do, and if you want to learn how to sew in a traditional way, then this is the machine you must have.


Free breakfast, spacious kitchen suites and free Wi-Fi make the non-smoking Towneplace Suites by Marriott Sunnyvale Mountain View a home away from home for our guests. Renovated in 2010, the four-floor Towneplace Suites has 95 spacious studios, home office studios and one- and two-bedroom suites. Rooms all come with comfortable beds and full kitchens with pantry areas, full-size refrigerators, two-burner stovetops, microwaves, dishwashers, coffeemakers, toasters, cookware and tableware. Relax on the sofa bed in the living area and surf the free Wi-Fi, or watch your favorite program on the flat-panel LCD TV with expanded cable. The hotel has a hot tub, a fitness center, a laundry facility and free parking. The Towneplace Suites is off Hwy 82, about two miles west of the center of Sunnyvale. It's four miles to geeky fun at the Computer History Museum. Google, Yahoo!, Lockheed Martin and Shoreline Amphitheatre are about five miles north. California's Great America is eight miles northeast and Winchester Mystery House is eight miles southeast of the hotel. If you're driving from San Jose International Airport, the hotel is 12 miles west. our guests agree that hospitality has a home at this Towneplace Suites, which has "beautiful," "comfortable and clean" rooms with kitchens, free breakfast and free internet.
Dogs up to 75 pounds are allowed. There is a $75 one time pet fee.


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Category Archives: Other Regions
13/07/2015 by Felipe - 0 comments
FCA Australia 2014: Sales results insights
Alert: emerging car markets boom to slow down
15/09/2013 by Felipe - 1 Comment
Australia 2012 Results Highlights
Japan 2012 Full Year Analysis
Fiat and Suzuki: a new opportunity for a partnership
Photo by Motorbeam.com
While Fiat struggles in Europe, it has become more and more evident that it needs a third partner to become a real global player. Chrysler makes its part with awesome results in USA, but by the time the merge will be completed, both groups will need a third-party to conquer the next step: Asia. The presence of the group is still very small: 57.000 units were sold in China (+45%), and market share in India dropped from 1.1% in 2009 Q4 to 0.1% in 2012 Q4*. India and China are vital markets for the future of any independent car maker. In India, Fiat aims to double its market share by doing 3 mains things: opening more dealerships (up to 65 by March 2013) and increase the presence in mid-size and small cities; launching new models such as the coming locally built Abarth Punto or the imported Jeep Grand Cherokee and Wrangler; and finally, Fiat is working hard in terms of social events and marketing campaigns such as the 'Coffee Festival' in which the brand is promoted as part of public events. In China, the Viaggio is doing its work but it is expected the start of locally built Jeeps to increase the good demand these SUVs have already. At the end all this work will serve to reduce the big gap there is between Fiat-Chrysler presence in Europe/NAFTA/South America and Asia.
In the other side there is Suzuki. It is a strong player in Asia but is very weak in the Americas and Europe. Last year they announced they are leaving US market after some years of very low demand, and last week Suzuki Europe chief, Takanori Suzuki, said that the brand has been profitable in that market since 2008. These two facts must be analyzed carefully. First of all, leaving world's second largest market is not a good move specially now when Americans are buying cars again. It only shows how bad the position of the brand is in terms of products, which is the main reason for its extinction over there. In Europe, the situation is also bad: no profits and a Hungarian factory working at 50% of its capacity (in 2008 they produced 300.000 vehicles compared to 155.000 units last year). Suzuki sold more than 154.000 units in Europe in 2012, down 13.4%, and half of the way of its 2016 target. But, as it happens with Fiat-Chrysler, Suzuki's results in the other side of the world are completely the opposite. They sold more than 670.000 units in Japan (+22%) and had a record year in India with more than 1 million cars sold (1.063.599), up 7%. The result in these 2 markets count for 87% of Fiat Group's sales (without Chrysler).
Both car makers know they need to produce more to survive as independent players. Both companies are good making small cars. Both of them need to balance their worldwide operations. And now, when Suzuki struggles to survive in Europe and closed in USA, isn't the right moment to proceed? I've talked so many times about the advantages of a possible alliance with Suzuki (together they would produce around 6.3 million units, taking them to the second level of world's largest auto makers). When two companies complement each other like that, and at the same time they deal with similar problems and challenges, then is time to think of going deep in cooperation. Suzuki problems in Europe should become an opportunity for both groups: Fiat could get in charge of the production of its models for Europe, while Suzuki could boost Fiat operations in India. Of course, they must first solve their own problems (such as Suzuki's lawsuit with VW, or Fiat-Chrysler merge process), but the difficulties they have now should be the start for making of an opportunity a reality in the coming years.
* Q4 & FY 2012 Results review
Japan: when a threat becomes an opportunity
Last week some auto news talked about the coming negotiations between European Union and Japan looking for a Free Trade Agreement. Both economies could sign a deal in which their exports could access to each market without paying taxes. Europe needs to increase the number of destinations for its goods while Japan could benefit from having free access to one of world's largest markets. This would be the ideal scenario: both parts could strongly benefit from the deal. However it is not always like that every time a trade agreement is signed, a part of the economy is not necessary a beneficiary of it. This time it seems European car industry could have problems in case Japanese car industry gets free access to Europe. According to ACEA the industry could lose around 73.000 jobs as a consequence of more cars coming from Japan. They say that by eliminating 10% tax to imported Japanese made cars, Japan could become the ideal place to build cars and therefore the current situation of over capacity production in Europe could get even worse. Certainly a scenario like that is not good for any European auto maker, but looking at it closer, some opportunities could arrive to specific car companies. The challenge is to make this big threat an opportunity and Fiat with its small cars and its possible alliance with Mazda, could be a big winner of the agreement.
Last year the Golf occupied place # 30 among best-selling cars in Japan. Japenese sold more units but had less market share as they produce a big part of their cars in Europe. Source: bestsellingcarsblog.net
Currently Japan does not charge any taxes to regular cars coming from Europe, while Japanese made cars must pay 10% of taxes to enter European market. However when it is about small cars (Kei-cars) the legislations is completely different. Every imported kei-car must pay 35% of taxes to access Japanese market and that is the big deal of the agreement. Kei-cars are a category of small vehicles that must comply some requirements in order to benefit from fiscal incentives. The idea was born just after WWII when most Japanese people did not have enough money to buy a car but a motorcycle. It is why since 1949 the government created this segmentation in which any car under 2.8 m length and 150 cc engine could benefit from fiscal incentives. More than 60 years later Kei-cars are Japan's most popular segment with almost all Japanese auto makers making part of it. Now Japanese legislation indicates that only those cars under 3.4 m length, 1.48 m width, and maximum 2 meters tall, with a maximum engine of 660 cc and 64 HP, can apply to become a kei-car. They are charged with 3% VAT against 5% for other cars. Besides the owner of a kei-car pays less total weight taxes (30% less than regular cars). Insurance cost is about 187 euro every 2 years, while regular cars must pay 222 euro. As this kind of cars are powered by small engines, their owners have to pay less displacement taxes. In other words driving a kei-car in Japan means money-saving*.
This year Kei-cars increased their market share up to 36.7%. This kind of cars makes of Japan the world's largest market for A-Segment cars. A good opportunity for a possible kei-car Fiat. Source: Autoblog Español, bestsellingcarsblog.net
That is mainly the reason for their success. Kei-cars are so popular in Japan that last year they made 36% of total sales, with more than 1.5 million units. This year sales are up 36% till October with more than 1.7 million units sold, 36.7% of total sales. Daihatsu and Suzuki have been traditionally the leaders, but Honda, Nissan, Toyota, Mitsubishi, Mazda and Subaru are part of the segment. As it is an important part of Japan's car market, Japanese do really protect it from imports. Therefore all imported kei-car must pay 35% import tax, which is really high and explains the lack of offer coming from abroad. No foreign auto maker sells a specific car for this segment as it is not profitable for them to develop a car under those conditions. A possible free trade agreement with European Union could solve this problem. One of the things European auto makers ask is to eliminate this tax for imported kei-cars, and that is where the opportunity appears. Though it is not really probable Japanese authorities will open their kei-car market to European imports, a possible scenario like that could really compensate the increase of sales of Japanese cars in Europe, and Fiat would be for sure a clear winner.
In case Europeans have access to Japanese Kei-Car market, Fiat could start production of a new version of the Topolino in its Italian factories (not Serbia as it is not part of the EU). In the 70's they already tried with the concept 'City Car'. Mazda's position in the segment is still small. Source: bestsellingcarsblog.net
At the same time all this was happening, Mazda's CEO, Takashi Yamanouchi, said at LA Auto Show that both companies, Fiat and Mazda, are analyzing what other models they can build together, besides the Alfa Spyder and next Mazda MX-5. Mazda is not Japan's leader but is an important auto maker over there and now is looking for partners to develop its future cars. Its position in Europe is not quite good, but it knows it must do more in order to get more. A possible alliance with Fiat could mean to produce jointly developed cars at Fiat's Italian factories. But Fiat could gain too. Having a deal with a Japanese car maker means to have a better position in that market in case FTA negotiations succeed. Besides, Fiat is Europe's leader in A-Segment, with its popular Panda and 500. Though both models are longer than 3.4 meters, just the fact of having free access to a market of more than 1.7 million units/year would make Fiat to consider or accelerate its plans of a future mini A-Segment car. For some years press has speculated about a possible arrival of a mini citycar such as the Smart made in Serbia, and called to be the successor of the extinct Fiat Topolino. Launching a car like that under current European scenario would be a disaster, but taking into account the possibility of exporting it to Japan paying zero taxes, would be certainly a good move. If the alliance with Mazda is also considered, then a big and stable market could be just right in the corner. Besides, Fiat's position in Japanese car market is not bad at all. The 500 is not as popular as in Europe but has sold more than 18.000 units since it was introduced in 2008. If this small Fiat reaches these numbers, and not being included as a Kei-car, then Fiat has a great potential in kei-cars if the tax is abolished.
*Revistadelmotor.es


Made the switch to a MOMO Model 07 in Suede and now want to add quick release to the package....what is the affordable alternative to the Rennline quick release?
quick releases can add a lot of length to the steering column, so be ready for a steering wheel a lot closer to your chest (or your pedals further from your feet, depending on how you set your seat). also examine the type of pins used to hold the two halves of the unit together - cheap ones can have a lot of play (not something you want in a steering wheel one would think). NRG make a low profile quick release that is quite popular and inexpensive.


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Round Trip Ticket To Kirstenbosch National Botanical Garden
The individual endeavours, adventures, sacrifices, disasters, triumphs and, in some cases, tragedies, of South Africa's botanical pioneers are told in the scholarly volume Botanical Exploration of Southern Africa. This monumental work was compiled by Mary Gunn and Leslie Codd of the then Botanical Research Institute, Pretoria, and published in 1981. Of this volume, John Rourke, himself a scholarly writer on the history of South African botany, commented 'every now and then there appears in South African botanical literature a blog of exceptional distinction, a blog which even from the moment of its appearance is recognized as a classic'.
Mary Gunn (1899-1989) – Miss Gunn, as she was known to all – was a remarkable woman who commenced her career in 1916 as a clerical assistant to I.B. Pole Evans (see page 44). After retiring in 1954, Miss Gunn continued active work in the library (later to be named after her), which she built up to become the most comprehensive botanical library in Africa, if not the southern hemisphere; it was one of SANBI's most valuable, if little appreciated, assets. Always ready to assist young students, and a virtual 'walking encyclopaedia' on African botanical literature, Miss Gunn inspired several generations of botanists to look beyond current publications.
Leslie Edward Worstal Codd (1908-1999), Director of the Botanical Research Institute from 1963 to 1973, left a lasting legacy as another source of great encouragement to young students.
Round Trip Ticket To Kirstenbosch National Botanical Garden Photo Gallery
This account of the collectors would not be complete without reference to several major contributors to our knowledge of the fynbos flora during the last century. During the late 19th century, botanists born, or at least resident, in South Africa started replacing visiting collectors as the discoverers of new species. A founding figure for many of the institutional developments in Cape botany was an Englishman who came to South Africa as a young man to set up business in Grahamstown. Harry Bolus (1834-1911) was a stockbroker-turned-botanist, a mountaineer and a philanthropist. He not only collected widely throughout the country, but also published a three-volume work on the orchids of South Africa – Orchidearrum Austro-Africanarum Extra-Tropicum – and personally drew and coloured many of its plates. In 1902 he founded a Chair in Botany at the South African College, later to become the Harry Bolus Chair of Botany at the University of Cape Town (UCT); and he bequeathed his herbarium, library and most of his fortune to the university on his death in 1911. His herbarium was housed at Kirstenbosch from 1924 until its transfer to UCT in 1953. It remains one of the most important herbaria in the country.
Yorkshire-born Thomas Pearson Stokoe (1868-1959), mountaineer and collector of plants in the Kogelberg
We have already spoken about Rudolf Marloth, the pharmacist/analytical chemist who founded our knowledge of fynbos ecology and collected over 15 000 specimens of Cape plants. Another mountaineer of unceasing energy, who added many species from the highest peaks of the Cape mountains, was the Yorkshire-born Thomas Pearson Stokoe (1868-1959). Stokoe collected over 16 000 specimens – and celebrated his 91st birthday collecting plants in the Hottentots Holland Mountains with the then Kirstenbosch Director Brian Rycroft. Stokoe is remembered in the 30 species now carrying his name. Elsie Esterhuysen (1912-2006), discoverer of over 150 taxa and after whom a staggering 56 species have been named Yet a further passionate mountaineer, and prolific plant hunter/collector – she amassed some 37 000 specimens – was Elsie Esterhuysen (1912-2006), who discovered over 150 taxa, and after whom a staggering 56 species have been named. Elsie was a familiar sight in Kirstenbosch until her nineties, when she could be seen racing up Skeleton Gorge as if still a teenager.
Such, then, is a sampling of some of the many pioneers of South African botany. To them we owe South Africa's status of possessing one of the most comprehensively collected, researched and documented floras on Earth.
Map Antarctica
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Map Of The Free State
Map of Mareuil-le-Port
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Mozambique Trip Advisor
Map of Ilfoveni
Sweden Country


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Day Eighteen: 18/12/2019
Tonight sees one of the TV highlights of the year, as the fifteenth series of The Apprentice comes to a close. As with any reality TV show the contestants often seem to have been showing off for the camera rather than demonstrating a set of skills, but the show does attempt to find a balance between good TV and good business practice. For the people who begin apprenticeships in Swansea each year, a different balance needs to be found. A balance between study and job-readiness. The Welsh Government aims to create 100,000 new apprenticeships by 2021. The country and the region needs a skilled, motivated workforce ready to apply distinctive talent to the creative and economic challenges that will face us in the 2020s and beyond.
The good news is, there are shining examples of this talent being nurtured in Swansea right now.
For the past two years Caio Santos has studied at Swansea ITeC as part of a design apprenticeship with Swansea Bay University Hospital Health Board that also included a work placement in the medical illustration department of Morriston Hospital. Relishing the challenges of the course and the work experience, Caio successfully completed the IT User Level 3 qualification this summer and decided to go one step further, attending an Art and Design Level 3 course at Gower College which will build a bridge to a career in the creative arts.
Working in partnership with Apprenticeship Academy, Swansea ITeC offers a range of apprenticeships with valuable local work experience placements. They give students a practical introduction to the world of work in their chosen field while also encouraging their creative talent to flower. In Caio Santos's case, its been a notable success. Caio's coursework has featured strikingly original creations that celebrate Swansea's landmarks and its city status. In Caio's own words:
"I've been made to feel at home here. I've been made to feel that I can create and achieve, and do it on my own terms. This city gives people a voice, and I'll always be grateful for that. My work includes images from locations such as the Marina and beach area plus the residential building from Walter Road and stencil art from Dylan Thomas' Under Milk Wood. I've photoshopped these images that I took with my camera to create a piece under the theme Swansea 50 to mark our 50th anniversary as a city"
The result is a huge credit to the artist and to the apprenticeship that helped him develop his talent. Swansea ITeC Managing Director Helen Necrews take great pride in these achievements:
"Caio has shown all of us what can be accomplished when a talented person finds the right medium to express himself. It's our privilege at Swansea ITeC to help him on his way".
Swansea's apprentices may not be getting £250,000 from Alan Sugar and they may not be on TV, but they are getting a shot at the future of their choice. As far as we're concerned, they're hired.


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// To avoid name clashes with windows headers need
// to include the c++ stuff first
#include <xlw/Xlw.h>

using namespace System;
using namespace System::Collections::Generic;
using namespace System::Text;
using namespace System::Net;
using namespace Runtime::InteropServices;

std::string CLR2CPP(String^ clrString);

String^ CPP2CLR(const std::string &cppString);

xlw::CellMatrix // Obtains historial market data from yahoo
GetHistoricDataFromYahoo(
                          std::string  symbol // Yahoo Symbol
                         ,DateTime begin // Begin Date
                         ,DateTime end //End Date
                         )
{

            String^ yahooURL = gcnew String (
               CPP2CLR(std::string("http://ichart.finance.yahoo.com/table.csv?s=")) +
               CPP2CLR(symbol) +
               "&a=" +
               (begin.Month-1).ToString() +
               "&b=" +
               begin.Day.ToString() +
               "&c=" +
               begin.Year.ToString() +
               "&d=" +
               (end.Month-1).ToString() +
               "&e=" +
               end.Day.ToString() +
               "&f=" +
               end.Year.ToString() +
               "&g=d&ignore=.csv");

            String^ historicData = "";
            WebClient^ webConnection = gcnew WebClient();
            try
            {
                historicData = webConnection->DownloadString(yahooURL);

            }
            catch (WebException^ someWebException)
            {
                throw someWebException;
            }

            historicData = historicData->Replace("\r", "");
            array<String^>^ rows = historicData->Split('\n');
            array<String^>^ headings = rows[0]->Split(',');

            xlw::CellMatrix excelData(1,headings->Length);
            for (int i = 0; i < headings->Length; ++i)
            {
                excelData(0, i) = CLR2CPP(headings[i]);
            }
            for (int i = 1; i < rows->Length; ++i)
            {
                array<String^>^ thisRow = rows[i]->Split(',');
                if (thisRow->Length == headings->Length)
                {
                    xlw::CellMatrix row = xlw::CellMatrix(1, headings->Length);
                    row(0, 0) = DateTime::Parse(thisRow[0]).ToOADate();
                    for (int j = 1; j < headings->Length; ++j)
                    {
                        row(0, j) = Double::Parse(thisRow[j]);
                    }
                    excelData.PushBottom(row);
                }
            }

            return excelData;
}

redpajama_set_name: RedPajamaGithub


text:
Posted September 8, 2020 by West Papua	Special Autonomy
Recruitment of 1,000 West Papua Special Autonomous NCOs
West Papua Special Autonomous NCOs
Manokwari (ANTARA) – Defense Minister Prabowo Subianto approved the recruitment program for 1,000 Special Autonomy Non-commissioned Officer (NCOs) proposed by the XVIII / Kasuari / West Papua Military Command, said the XVIII / Kasuari Commander Major General Ali Hamdan Bogra in Manokwari, Monday.
He explained that the selection for the recruitment of 1,000 Special Autonomy Officers would be carried out together with the West Papua Provincial Government and all districts / cities. Participants who can take part in this recruitment are native Papuans.
"The allocation of candidates will come from all districts and cities in the West Papua region. Participants can later register themselves at the nearest Korem and Kodim in their respective areas," said Bogra.
He said the participants who passed would be educated at Rindam throughout Indonesia, considering that the facilities and infrastructure in Rindam XVIII / Kasuari were still limited.
The hope, said Bogra, that these Special Autonomy Officers can be reassigned to regencies and cities throughout West Papua as a motivation to motivate the younger generation to be more advanced in maintaining the stability and security of the Unitary State of the Republic of Indonesia.
The Chief of Staff of the XVIII Military Region / Kasuari Brigadier General of the TNI Ferry Zein on the previous occasion said that the recruitment program for the Special Autonomy Officer was being communicated with governors, regents and mayors throughout West Papua. The program is expected to be financed through the special autonomy fund (Otsus).
"The program is expected to be an opportunity for native Papuan sons and daughters to have careers as members of the TNI," said Kasdam.
Ferry Zein said that the Kasuari Kodam still needs quite a lot of personnel to fill the existing and future units. Regional sons are expected to fill the gap.
According to him, Kodam XVIII / Kasuari is still quite new and is currently growing. His party is pushing for the formation of four new Kodim and one Korem in Fakfak to support the work of Kodam.
"West Papua is very broad, while currently the Kodam only has one Korem. Therefore, at least one more Korem must be added. We will also form a Brigade, so we need a lot of personnel to fill it," said Ferry.
He explained that in recent years indigenous Papuan sons and daughters have become a priority in recruiting new members in the West Papua Special Autonomous NCOs recruitment. So far, the Regional Military Command has provided 80 percent quota for local men.
Special Autonomy, West Papua Development
Ali Hamdan Bogra, Bintara, Prabowo, West Papua, West Papua Special Autonomous NCOs
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WEST PAPUA Recruitment of 1,000 West Papua Special Autonomous NCOs


text:
Lenticchia di Castelluccio di Norcia (Castelluccio lentil)
Lenticchia di Castelluccio di Norcia
IGP Lenticchia di Castelluccio di Norcia is an Italian lentil of the local ecotype of lentils (Lens culinaris) growing erect or semi-erect to a height of 20 to 40 cm with smooth stems and branches, small, white flowers with blue markings on axillary flowerheads and pods bearing one to three roundish flat seeds. 1 000 seeds weigh about 23 grams.
Geographical area: Castelluccio plateau in the municipalities of Norcia and Castel Santangelo sul Nera at an average altitude of 1 400 m above sea level.
Proof of origin: The lentil is one of the oldest food plants known to man. A series of ecotypes of lentils has always been cultivated on the Castelluccio plateau. Their specific form, taste, colour and cultivation derive both from the particular area of production and from the traditional methods of cultivation used, which have not changed over centuries.
Method of production: The method of cultivation used has remained unchanged over very many centuries: ploughing and harrowing in early spring, sowing in mid-May and rolling Frequent rain and cold snaps in early autumn reduce the growing period so that cutting and winnowing take place in August. The stems are then left in the field and subsequently threshed on a floor. Maximum production permitted is 800 kg/ha.
Link: The characteristics of lentils from Castelluccio di Norcia depend on environmental conditions and the natural and human factors typical of the are of production, local ecotype of lentils (Lens culinaris)
Reference: The European Commission
Retrieved from "https://www.cookipedia.co.uk/wiki/index.php?title=Lenticchia_di_Castelluccio_di_Norcia_(Castelluccio_lentil)&oldid=251395"
PDO-PGI-TSG ingredients
Page modified 05:24, 18 January 2017.


A DJI Phantom 3 drone video of this amazing 3 bedroom 2.5 bath designer end-unit townhome that you will absolutely fall in love with. 5 minutes to GA400 and Avalon Shopping Center. Brand new paint and plush carpeting. Designer touchless stainless appliances, granite counters, wonderful dining area, large family room with fireplace, spacious master suite, tiled floors in baths, beautiful hardwoods, wonderful and private fenced in courtyard, climate controlled storage building plus floored attic. Sprinkler, fire, and alarm system with cameras. Smart thermostat. 2 Minute walk to the Big Creek Greenway!!!! Priced to sell, immediately, at $160,000!
Wolf Mountain Vineyards is one of the prettiest vineyards in Georgia and the Southeast. They have won over 200 medals in major U.S. competitions. This is a Phantom 3 drone video of their gorgeous facilities that overlook the foothills of the southern Appalachian Mountains in Dahlonega Georgia.
The video was produced by Georgia Drone Services, a company specializing in aerial photography and video production. They can be reached at 678-898-4001 or by visiting their website, GeorgiaDroneServices.com.


text:
The Keyword
Mapping creates jobs and drives global economic growth
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Twenty years ago, we used paper maps and printed guides to help us navigate the world. Today, the most advanced digital mapping technologies—satellite imagery, GPS devices, location data and of course Google Maps—are much more accessible. This sea change in mapping technology is improving our lives and helping businesses realize untold efficiencies.
The transformation of the maps we use everyday is driven by a growing industry that creates jobs and economic growth globally. To present a clearer picture of the importance of the geo services industry, we commissioned studies from Boston Consulting Group (BCG) and Oxera. What we found is that maps make a big economic splash around the world.
In summary, the global geo services industry is valued at up to $270 billion per year and pays out $90 billion in wages. In the U.S., it employs more than 500,000 people and is worth $73 billion. The infographic below illustrates some examples of the many benefits of maps, whether it's improving agriculture irrigation systems or helping emergency response teams save lives.
1.1 billion hours of travel time saved each year? That's a lot of time. Also, consider UPS, which uses map technology to optimize delivery routes—saving 5.3 million miles and more than 650,000 gallons of fuel in 2011. And every eight seconds, a user hails a taxi with Hailo, which used maps and GPS to deliver more than 1 million journeys in London alone last year. Finally, Zipcar uses maps to connect more than 760,000 customers to a growing fleet of cars in locations around the world.
Because maps are such an integral part of how we live and do business, the list of examples goes on and on. That's why it's important we all understand the need to invest in the geo services industry so it continues to grow and drive the global economy. Investments can come from the public and private sectors in many forms—product innovation, support of open data policies, more geography education programs in schools and more.
We're proud of the contributions that Google Maps and Earth, the Google Maps APIs and our Enterprise solutions have made to the geo services industry and to making maps more widely available, but there's a long way to go. To learn more about the impact of the maps industry, see the full reports.
5 sustainability updates from 2022 that are good for you — and the Earth
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text:
Melodic Black Metal / Black Metal • Greece
Astarte was an all female black metal band from Elefsina, Greece, formed in 1995 by Tristessa (bass, guitars, keyboards), Kinthia (vocals/guitars/keyboards), Nemesis(guitars, keyboards). The band started under the name Lloth. They always used a session drummer throughout their career.
With their initial lineup Astarte released three albums, Doomed Dark Years (1998), Rise From Within (2000) and Quod Superius Sicut Inferius (2002). After this the band went through some major lineup changes, with Tristessa remaining the only original member of the band. In addition to the bass guitar she took over Kinthia's role as the band's vocalist and Hybris and Katharsis joined the band as guitarist and keyboardist respectively. The band released one album, 2004's Sirens with this lineup.
In 2007 Astarte released their fifth album, Demonized. For this album the Astarte lineup was somewhat unusual. Katharsis was replaced by Derketa for the keyboards and Tristessa only provided vocals with all guitars, bass read more...
Thanks to adg211288 for the updates
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Doomed Dark Years
Black Lotus 2011 $15.99
Quod Superius Sicut Inferius
DEMONIZED - (BONUS VIDEO CLIP)
Season of Mist 2013 $36.37 (used)
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4.32 | 5 ratings
Black Metal 1998
Melodic Black Metal 2002
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ASTARTE Quod Superius Sicut Inferius
Album · 2002 · Melodic Black Metal
Warthur
This is the last hurrah from the original Astarte trio of Kinthia, Tristessa and Nemesis; Tristessa would keep the band going after this for a couple of albums before succumbing to leukemia complications. Whereas those later releases had Tristessa working with a clutch of allies, the early Astarte releases stood out from the black metal pack by having a woman-dominated lineup, which was uncommon in metal in general and just about unheard-of in black metal.
Not content with kicking down gender barriers in black metal, on Quod Superius they also kick down musical barriers, with a melodic black metal sound which deftly works in a few symphonic elements here and there, with pieces like the instrumental Sickness showcasing the band's technical capabilities whilst still remaining emotionally engaging and atmospheric. Black metal bands who shift from a raw style (as Astarte had on their earliest albums) into a more clean style of production are taking a bit of a risk, because that's when their true instrumental capabilities become apparent, but in this case Astarte are unveiled as a more than competent trio. It's something of a shame that Kinthia and Nemesis seem to have dropped out of the scene after this, and we can only hope to hear more from them in the future.
ASTARTE Demonized
Album · 2007 · Black Metal
666sharon666
Astarte's fifth and final album Demonized from 2007 is probably the most odd one out that the band ever released. The music on the release was recorded mostly by guest musicians Lycon and Ice with only vocals and keyboards provided by the actual members of Astarte. At least that's how things are credited in the liner notes. I'm really unsure why they would release an album like that but nevertheless Demonized ultimately ended up Astarte's swansong since leader Tristessa died in 2014 before the long planned follow-up Blackdemonium could be completed. As had been the trend with Astarte starting with Quod Superius Sicut Inferius Demonized features some guest vocalists, this time including Angela Gossow, Attila Csihar and Henri Sattler.
Musically this one is a bit different to everything that Astarte did before in that it's quite heavily death metal orientated and also the band's most intense album, which is the main reason why I consider it the odd one out. Rather than being the black sheep of their discography though this is actually probably my second favourite Astarte release after Quod Superius Sicut Inferius. Much like with Sirens I think the vocals by Tristessa may be a bit of an acquired taste but they suit the music I think and stand out more than Kinthia's did on the earlier work. The individual songs stand out more than they did on Sirens which I found to have some repetitive melodies. Especially ones like Mutter Astarte and Lycon are easy highlights. It's sad that we will not get to hear more music from Astarte but at least this final offering was them ending on a high note. In my opinion they are one of the most underappreciated black metal acts to have existed and over the course of five albums covered three distinct moods of the genre; raw, melodic and finally intense. R.I.P. Tristessa.
Attribution: http://metaltube.freeforums.org/astarte-demonized-t3772.html
ASTARTE Sirens
Astarte's fourth album Sirens marks significant line-up changes within the group as after Quod Superius Sicut Inferius two of the three core musicians had parted ways with band leader Tristessa. On Sirens Tristessa takes over lead vocal duties while Hybris joins on guitars and Katharsis on keyboards. The album features guest appearances from both Shagrath (Dimmu Borgir) and Sakis Tolis (Rotting Christ).
Sirens moves even further in the melodic black metal direction started on Quod Superius Sicut Inferius, fully taking Astarte away from the rawer sound of their first two albums. Compared to former vocalist Kinthia Tristessa's voice is a bit less of a typical black metal rasp and it's easily to follow her lyrics. That said I think maybe her vocals here are more of an acquired taste. The music is generally more direct in nature and in some ways it isn't many steps away from turning into melodic death metal. As is usual for an Astarte release there's really good use of both keyboards and acoustic guitar, though there is an issue on this one that a few too many of the melodies used sound quite similar to each other, but it's decent enough Astarte album overall, more interesting than Rise From Within was but a step down following their career best that was Quod Superius Sicut Inferius.
Attribution: http://metaltube.freeforums.org/astarte-sirens-t3765.html
The third Astarte album, Quod Superius Sicut Inferius marks both the end of one era of the band and the start of another. Firstly this was the last album to feature the original trio of musicians, Tristessa (bass, guitars), Kinthia (vocals, guitars) and Nemesis (guitars), as the latter two would part ways with Astarte by the time of the following album Sirens. It's also the album that marks their shift towards a more melodic black metal sound. The album features some guest vocals by Spiros Antoniou of Septicflesh (or Septic Flesh, as they were then still known).
While there are still hints of the rawer sound of their first two albums, the opening song Reign Unfold tricking listeners into thinking not much has changed, and symphonic elements still crop up on and off throughout, the sound heard on Quod Superius Sicut Inferius is a bit better produced to allow for more distinct riffs and features a focus on melodic lead guitar playing. Kinthia even throws in some clean singing in a couple of songs. While this does make the individual songs stand out better instrumentally the more purist type black metal fan will probably prefer the more minimalistic Doomed Dark Years and Rise From Within. For me though Quod Superius Sicut Inferius represents the most accomplished album of Astarte, both up until that point and of their whole career (because of the death of Tristessa in 2014 Astarte only ever got to make five albums). While I do love Doomed Dark Years in particular out of the first two albums and it's a definite favourite of mine when I want rawer black metal than this, it's clear to me that Astarte came on leaps and bounds as composers for Quod Superius Sicut Inferius.
Attribution: http://metaltube.freeforums.org/astarte-quod-superius-sicut-inferius-t3757.html
ASTARTE Rise From Within
A couple of years after their debut album the Greek female black metal band Astarte were ready to release their follow-up album Rise From Within. The biggest change in the band between the two albums was really just an aesthetic one, as they overhauled their image to drop the use of corpse paint. Though they may not have been using a typical black metal image anymore, the music on Rise From Within continues down the raw early black metal approach that some fans of the genre like to think of as 'true black metal'.
Indeed because musically things haven't changed all that much; Astarte continue with the same symphonic influenced black metal ideas present on Doomed Dark Years here, although there is less of a focus on the symphonic side of the album this time. The album is mostly made up of the title track suite which is a four part series, broken into two sections of the album. The first two subtitled pieces are placed immediately after the opening instrumental Furious Animosity, a song I don't find half as effective as Passage to Eternity from the previous album, while the third part and longest song (for some reason not subtitled like the others) is placed towards the end of the album, following by the slightly differently named closer Risen From Within, which is a non-metal melodic instrumental, ending the album much more effectively than it started.
While the music is praiseworthy overall for the same reasons that I enjoyed their debut so much, especially Rise From Within III, the boring intro song (which is basically just black metal without vocals) drags it down a bit and over the years I've become less inclined to spin Rise From Within than I am Doomed Dark Years out of the two earliest Astarte albums. It's still a very good black metal album despite its flaws, but I'd say it's the weakest that Astarte made in their career.
Attribution: http://metaltube.freeforums.org/astarte-rise-from-within-t3738.html
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666sharon666 wrote:
R.I.P. Tristessa.
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text:
La cathédrale  (« Sainte Marie de la Fleur », baptisée ainsi en rapport au lys de Florence), ou le , est la cathédrale/dôme du  de l'archidiocèse de Florence à Florence en Toscane (Italie). Située piazza del Duomo dans le centre historique de Florence, elle est accolée au campanile de Giotto et fait face à la porte du Paradis du baptistère Saint-Jean et à la Loggia del Bigallo. Avec son dôme de l'architecte Filippo Brunelleschi de 1436 (le plus grand dôme en maçonnerie du monde avec  de diamètre maximum de la coupole intérieure) qui marque le début de l'architecture de la Renaissance, elle est classée au patrimoine mondial de UNESCO depuis 1982.

Santa Maria del Fiore (Sainte Marie de la Fleur) est la cinquième église d'Europe par sa taille, après la basilique Saint-Pierre de Rome, la cathédrale Saint-Paul de Londres, la cathédrale de Séville et le dôme de Milan. Elle mesure  de long et la base de la coupole mesure  de large, avec un plan basilical :
 comportant une nef à trois vaisseaux, les collatéraux étant moins hauts que le vaisseau central ;
 avec un chevet comportant trois chapelles rayonnantes ;
 soutenant l'immense dôme/coupole de Filippo Brunelleschi.

La coupole de la cathédrale est la plus grande coupole en appareil maçonné jamais construite. On peut voir, à l'intérieur, une des plus grandes fresques narratives :  de fresques, exécutées par Giorgio Vasari et Federigo Zuccaro.

La construction, commencée sur les anciennes fondations de l'église Santa Reparata, en 1296 par Arnolfo di Cambio, a été continuée par Giotto di Bondone de 1334 jusqu'à sa mort en 1337. Giotto n'entamera que la construction du campanile de Giotto et ce sont Francesco Talenti et Giovanni di Lapo Ghini qui continueront la construction en 1357.

En 1412, elle est rebaptisée Santa Maria del Fiore. L'église est consacrée le , à la fin des travaux de la coupole de Brunelleschi, par le pape Eugène IV.

À ce jour, elle est la cathédrale/dôme de l'archidiocèse de Florence.

Édifices préexistants

À la fin du , la Platea Episcopalis, l'ensemble épiscopal de Florence, présentait les trois édifices qui le composent encore actuellement mais avec des proportions complètement différentes. L'actuelle place San Giovanni était à peine plus qu'une rue élargie faisant le tour du baptistère Saint-Jean, qui était alors le véritable cœur de l'ensemble. Il était juste complété par son attique et son toit en marbre en forme de pyramide octogonale.

À l'est, aussitôt franchie la porte du Paradis, qui n'était pas encore ornée de ses portes en bronze réalisées par Lorenzo Ghiberti, apparaissait le seuil de l'église Santa Reparata qui disposait à son extrémité orientale d'un véritable chœur harmonique muni de deux campaniles.

Comme couronnement de cette Platea Episcopalis se dressait aussi l'ancienne église San Michele Visdomini, plus tard déplacée plus au nord, qui se trouvait sur le même axe baptistère/dôme, ainsi que le plus ancien hôpital florentin. Au sud se dressaient les habitations des chanoines, elles-mêmes organisées autour d'un cloître central.

La cathédrale Santa Reparata, bien qu'ancienne et vénérée, ne convenait plus en tant qu'église d'une cité en forte expansion, riche et puissante, qui venait juste de régler ses comptes avec sa rivale, Sienne, et avait imposé son hégémonie sur un échiquier toscan chaotique.

Santa Reparata est décrite par Giovanni Villani comme « de forme trop grossière et trop petite pour une cité si établie » et dans les documents communaux comme « tombant en décrépitude ». Par ailleurs cet édifice religieux servait de siège au gouvernement de la République florentine qui décida, en 1294, d'ordonner la reconstruction de l'église avec des dimensions telles qu'elle devrait éclipser les cathédrales des cités adverses, dont Notre-Dame de l'Assomption de Pise et Notre-Dame-de-l'Assomption de Sienne.

Un accent particulier a donc été mis sur la richesse de sa construction afin de démontrer la puissance de la cité.

Nouveau chantier et critique

Le cardinal Pietro Valeriano Duraguerra, légat apostolique du pape Boniface VIII, pose solennellement la première pierre de la nouvelle basilique pendant la fête de la Nativité de la Vierge en 1296.

La construction de l'édifice fut un vaste projet qui dura au moins 160 ans (bien plus si l'on tient compte de la fin de la réalisation de la façade du ), auquel ont participé de nombreux artistes importants. La construction de Santa Maria del Fiore, est donc le fruit d'un chantier qui a duré des siècles et qui reflète les fortunes diverses de l'histoire politique et économique de Florence, des changements de goûts et des personnalités des maîtres d'œuvre qui se sont succédé à la tête du chantier tout autant qu'un des moments majeurs dans le développement de l'ingénierie moderne.

Problèmes avec les études sur le chantier

Les nombreuses études de ce chantier mettent en valeur qu'il s'agit d'un des plus grands chefs-d'œuvre de l'architecture mais n'ont pas encore documenté parfaitement les avancées techniques liées à cette construction.

Les savants qui s'y sont consacrés n'ont pas, ou rarement, porté leur attention aux données scientifiques et aux archives existantes. Il advient ainsi, encore aujourd'hui, que les descriptions et théories se basent sur des faits obsolètes et souvent inexacts.

Les plans et les coupes de G. B. Nelli ne représentent pas du tout la forme réelle de la cathédrale mais en constituent une version normalisée, qui n'enregistre pas les changements de direction dans l'axe de la cathédrale par rapport à l'axe de Santa Reparata, ni les largeurs variables des arcades du corps basilical, c'est ainsi que les différences notables de largeur entre les secteurs de la coupole restent mentionnées régulièrement.

De même les hypothèses de Camillo Boito sur le plan prévu par Arnolfo sont encore utilisées aujourd'hui comme si elles étaient le reflet d'un fait avéré, alors que les fouilles de Franklin Toker ont déjà démontré la faible correspondance entre les hypothèses et la réalité.

Malgré la somme de données qui a été rendue disponible ces dernières années, les publications récentes préférant recourir encore aux vieilles mais solides théories ne sont pas rares. Ces théories reflètent, plus qu'un réel état des choses, le point de vue du  et des premiers savants qui les ont formulées.

Empreinte d'Arnolfo

Les travaux commencèrent par le creusement des fondations puis par l'élévation des murs des nefs latérales. On procéda ainsi pour laisser le plus longtemps possible l'église Santa Reparata en état de fonctionner comme cathédrale.

À la tête du chantier, on plaça Arnolfo di Cambio qui avait déjà probablement travaillé sur la grande église Santa Croce de Florence et concomitamment dirigé la construction du Palazzo della Signoria. Le débat n'est toujours pas tranché de savoir s'il y eut réellement un projet d'Arnolfo et si celui-ci transparaît encore à travers la structure actuelle. À la lumière des rares et incomplètes fouilles qui ont été conduites, il n'est pas possible de donner une réponse certaine, mais dans l'ensemble il est incontestable que plusieurs particularités de la cathédrale portent fortement la marque d'Arnolfo, même si la réalisation en a été assurée par d'autres maîtres d'œuvre. L'existence d'un tel projet initial est donc probable.

Il est généralement admis que dans la représentation de l'« Église triomphante » des fresques d'Andrea dans la chapelle des Espagnols de la basilique Santa Maria Novella, serait présente une représentation plausible du modèle en bois présenté par Arnolfo.

Les sources de perplexité ne manquent toutefois pas :
 le campanile, bien trop semblable à celui réellement exécuté, est plus classiquement « placé » près de la zone absidiale ;
 la coupole, bien que gothique dans son ornement, est une coupole traditionnelle hémisphérique.

Cette représentation pourrait plus simplement refléter, non pas le modèle d'Arnolfo, mais celui présenté par les auteurs mêmes de la fresque au musée de l'Œuvre du Dôme.

Il est probable qu'Arnolfo avait pensé à une église dotée d'une grande coupole, inspirée du modèle roman de Santa Maria della Rotonda (Panthéon de Rome), et avec l'intention de dépasser les dimensions du baptistère. Malgré quelques incertitudes des critiques, les fouilles ont confirmé que les premières fondations, qu'il est possible d'attribuer à Santa Maria del Fiore, se trouvent sous la façade actuelle (le mur dit « 100 ») et sous les murs latéraux, se déployant ensuite au sud de la façade. Cela permet de confirmer l'hypothèse qu'Arnolfo avait en projet une église aussi large que l'actuelle, quoiqu'avec un axe orienté un peu plus au sud et munie d'un campanile séparé au sud de la façade. La faible épaisseur de ces fondations indique une hauteur prévue du projet probablement bien moindre que celle qui fut atteinte.

Même la grande galerie saillante, bien qu'exécutée par Francesco Talenti, est un indice du style typiquement dû à Arnolfo. Les critiques l'associent à la corniche de Santa Croce (qui lui est traditionnellement attribuée) et à d'autres œuvres analogues comme la cathédrale d'Orvieto et celui du dôme de Sienne. En particulier Angiola Maria Romanini, experte du sculpteur, souligne à quel point « les corniches – galeries sont une constante immanquable […] dans les architectures d'Arnolfo ».

À la mort d'Arnolfo (1302), contemporaine à celles des autres promoteurs du chantier, comme l'évêque Monaldeschi et le cardinal Matteo d'Acquasparta, légat du pape, les travaux subirent un ralentissement et furent ensuite suspendus pendant environ 30 ans.

Aspect de l'ancienne façade

On tend aujourd'hui vers un consensus sur la présence d'une façade incomplète, imaginée et partiellement exécutée par Arnolfo, mais agrandie et intégrée dans l'œuvre des conducteurs de travaux successifs. Ce point a été l'objet de fortes controverses par le passé.

Au Museo dell'Opera del Duomo (musée de l'Œuvre du Dôme) de nombreuses statues et fragments sont conservés, la plupart de très bonne qualité et manifestement de la main d'Arnolfo, et qui proviennent probablement en grande partie de Santa Maria del Fiore. La décision du gouvernement de la commune de Florence d'exempter Arnolfo du paiement des taxes pour lui et pour les siens reste un indice évident de l'appréciation portée sur les premiers travaux de la nouvelle cathédrale : un magnifique et ravissant début. Comme les honneurs de ce genre n'étaient pas du tout dans les habitudes de la sourcilleuse administration de la cité, il faut croire qu'il s'agissait de constructions réellement impressionnantes, bien que seulement ébauchées.

Les témoignages restant de l'ancienne façade ayant survécu sont :
 la fresque du quatorzième représentant la Vierge de miséricorde (visible à la Loggia del Bigallo) ;
 un dessin préparatoire pour une lunette de Bernardino Poccetti, exécutée peu avant la destruction de 1587. Ce dessin, le plus cité, laisse sans réponse bien des questions car les deux côtés de la décoration ne sont pas symétriques et la construction aurait eu de gros problèmes de stabilité. Même si cette description était précise, il s'agirait non de la façade d'Arnolfo, mais de l'état final après les changements probablement importants opérés par les chefs de chantiers successifs ;
 un dessin d'Alessandro Nani du , copie de Bernardo Poccetti ;
 une miniature historiée de saint Zénobe de Florence (1355) ;
 une fresque attribuée à Pietro Nelli (conservée au musée de l'Œuvre de Santa Croce).

Objets de récentes études, ces témoignages ont permis de documenter une reconstruction virtuelle de l'aspect de la façade du . La ceinture du socle aux ornements de mosaïque à la façon des Cosmati et les extraordinaires groupes sculptés des tympans des portails sont attribués, sans aucune discussion, à Arnolfo. Des doutes subsistent sur laquelle des portions de la façade détruite se rapporterait au projet initial, étant donné que les proportions de la construction ont été, dans l'intervalle, changées radicalement.

Selon la reconstruction proposée en 2005, à l'occasion d'une exposition temporaire au Museo dell'Opera, par Erica Neri et Silvia Moretti, la façade serait caractérisée, dans les niveaux supportés à leurs extrémités, par de grands prothyrons suspendus surplombant les trois portails, suivis d'un bandeau de baies géminées à pinacles qui simulaient une galerie ouverte ; des mosaïques dans le style des Cosmati, une nouveauté pour Florence, mais une constante dans l'œuvre d'Arnolfo, qui avait été en contact à Rome avec les familles des marbriers romains, ornaient le socle entre les trois portails, ainsi qu'une bande d'arcatures aveugles (retrouvées en partie en 1970 en enlevant quelques plaques réutilisées pour le pavement). Arnolfo installa une structure d'une échelle monumentale, qui culmina avec la décoration grandiose des grands tympans qui surplombent les entrées.

Dans les trois tympans, le cycle marial est représenté, évidemment appuyé par l'iconographie, qui commence par la naissance de la Vierge à gauche, suivi de la Vierge couronnée et des saints sur le portail central, où figurent les saints florentins comme Saint Zénobe de Florence et sainte Réparate (sainte patronne de Florence), enfin la Dormition de la Vierge, c'est-à-dire les lamentations sur la Vierge au moment de sa mort, représentée sur le point de s'endormir. Sur les pilastres saillants étaient placées les statues de quatre prophètes et des douze Apôtres. Dans la galerie supérieure, étaient placés les saints protecteurs de Florence (à une époque ultérieure, aux environs de 1390, selon un projet peut-être différent).

Arnolfo imprime toute sa maîtrise technique dans la réalisation des sculptures, donnant une forte « tridimensionnalité » aux reliefs, tout en remplissant des couches d'épaisseur plutôt limitée. Conçues pour être observées d'en bas, elles créent une sorte de trompe-l'œil, qui est associé aux effets recherchés dans plusieurs fresques de Giotto di Bondone et d'autres peintres.

Construction du transept

En 1330, on retrouve sous l'église Santa Reparata les reliques du vénéré évêque de Florence Saint Zénobe de Florence, ce qui donne une nouvelle impulsion à la construction. L'Arte della Lana qui avait reçu la charge de superviser le chantier, confie en 1334 la direction des travaux à Giotto di Bondone, assisté par Andrea Pisano. Giotto se concentre sur le campanile, pour lequel il fournit un projet (un dessin conservé au Duomo de Sienne en est probablement un reflet ; même le programme iconographique des reliefs du socle est au moins en partie le sien) et réussit à lancer la construction, mais il meurt 3 ans plus tard en 1337. Andrea Pisano continue le travail, surtout celui sur le campanile, mais il meurt de l'épidémie de peste noire de 1348 et les travaux se trouvèrent à nouveau bloqués. Ils repartirent guidés par Francesco Talenti.

La construction du transept basilical doit être vue comme une œuvre concertée, dans laquelle les conducteurs du chantier et les ouvriers, qui savaient bien qu'ils s'aventuraient dans une entreprise jamais tentée auparavant, procédèrent avec précaution, demandant des consultations, faisant des essais à l'échelle, décidant de modifications en cours de route, préparant des modèles alternatifs et dialoguant continuellement pendant toute la durée de la construction. Les autres architectes impliqués furent successivement Alberto Arnoldi, Pietro di Giovanni d'Ambrogio, Neri di Fioravante et Andrea Orcagna.

On attendit peu avant de reprendre les travaux, et dès 1349 le projet est transmis à Francesco Talenti, auquel on doit la finition du campanile et un nouveau projet qui change celui d'Arnolfo en modifiant la façade, avec un enchevêtrement (coûteux) décoratif de marbre sur les parois latérales. Talenti, entre les critiques, les débats et les menaces (les ouvriers proposeront de le mettre à l'amende pour le contraindre à être plus présent sur le chantier) met au point le modèle des piles titanesques de la nef, en réalisant les deux premiers franchissements.

Après 1359 Giovanni di Lapo Ghini (1360-1369) succède à la direction des travaux, et termine les trois premières travées, dont la principale caractéristique est le plan presque carré au lieu des travées en rectangle très prononcées du gothique français, le modèle dominant de l'époque. Les immenses travées florentines (à peine trois mètres plus basses que les voûtes de la cathédrale Saint-Pierre de Beauvais, les plus hautes du gothique français) devaient couvrir un espace immense avec très peu de soutènement. La nef est donc pensée comme une salle dans laquelle les vides prévalent sur les néanmoins remarquables structures de l'architecture. Le rythme des soutènements est décidément différent de la forêt de pierre typique du gothique d'au-delà des Alpes, ou des églises fidèles à ce modèle, comme le Dôme de Milan. Il n'y a pas de précédents du point de vue des dimensions et de la structure qui puissent être cités comme antérieurs à ce projet. En 1375 l'ancienne église de Santa Reparata est définitivement abattue. Les nefs seront complétées et couvertes entre 1378 et 1380.

Les parois sont recouvertes à l'extérieur d'une fastueuse décoration de marbres polychrome de Campaglia, et le marbre de Carrare (marbre blanc), du Prato (vert serpentine), de Sienne et Monsummano (rouge), Lavenza et quelques autres localités. Les bandes de marbre reproduisent la décoration soit du baptistère, soit du campanile.

Les quatre portes latérales sont réalisées, parmi elles, la porte des chanoines côté sud se fait remarquer par sa beauté, en style gothique fleuri, et la porte de la Mandorle côté nord, ainsi nommée à cause de l'élément contenu dans la pinacle gothique, avec le bas-relief de l'Assomption de Marie, œuvre de Nanni di Banco (1414-1421). La porte de la Mandorle est considérée comme le terrain de jeu de toute la nouvelle génération florentine de sculpteurs, qui marque la renaissance du chantier ; Donatello, peut-être Jacopo della Quercia, qui sculpte également le relief du tympan, remplacé ensuite par une mosaïque de Domenico Ghirlandaio, Luca della Robbia. Les six baies géminées latérales, au dessin typiquement gothique avec des ornements fins, sont placées au centre de vitraux répétés tout au long des bandes d'encadrement, les quatre dernières du transept donnent de la lumière à l'intérieur. En fait, la réalisation de l'extérieur de l'édifice ne respecte pas le rythme intérieur de la travée. C'est un des motifs qui amèneront à la mise à l'écart de Francesco Talenti, rappelé plus tard pour se consacrer uniquement à la galerie.

Les fenêtres supérieures de la nef centrale sont en revanche des œils circulaires, une caractéristique découlant de la volonté de ne pas élever trop haut la nef centrale et assurer quand même une bonne luminosité. Les ouvertures circulaires, en outre, sont moins problématiques du point de vue structurel. Les nécessités de la staticité rendent indispensable le recours à des arcs rampants pour décharger une partie du poids des voûtes de la nef centrale sur les murs extérieurs ; de tels expédients, peut-être déjà prévus par Arnolfo (on les retrouve bien en vue sur les peintures d'Andrea di Bonaiuto), n'ont pas été digérés par les Florentins, qui finalement décideront de les occulter en relevant les parois latérales avec un attique composé d'un rectangle de pierre verte à peine encadré de blanc. Cette solution fait coïncider la volonté d'imiter l'attique du baptistère et le besoin d'une couleur sombre qui rende moins visible l'expédient. Cet attique est généralement (de façon erronée) montré comme la preuve du fait que les murs extérieurs ont été commencés selon un projet d'Arnolfo et furent rehaussés par Talenti. La preuve indiscutable de l'erreur de cette affirmation est établie par la découverte que les épaisses bandes d'encadrement qui caractérisent des nefs latérales à partir de l'ouest étaient initialement prévues également pour la nef majeure (elles sont encore visibles dans les combles) que nous savons être un projet en partie érigé par Talenti.

Le choix de simplifier la décoration des murs extérieurs découle non pas tant de raisons de style où de goût mais plutôt de contenir les dépenses (il faut garder en tête que le revêtement en marbre du campanile de Giotto allait coûter à la fin presque deux millions de florins, un chiffre sans précédent). Enfin les tambours octogonaux sont élevés avec les mêmes grandes fenêtres circulaires. En 1421 la basilique est terminée et il ne reste à construire que la coupole.

Dôme / coupole

Il reste, dans la cathédrale, une grande cavité de  de diamètre, entourée d'un tambour d'une hauteur d'environ , et les chercheurs cherchent encore l'explication de sa couverture.

Le , un concours public est lancé pour le projet du dôme / coupole, ou même seulement de machineries aptes à soulever des poids à des hauteurs encore jamais atteintes pour une construction sur voûte, auquel de nombreux compétiteurs participent. Ce concours, généralement considéré comme le point de départ de la construction de la coupole, ne décerne la victoire officielle à personne. Le considérable prix mis en jeu ne sera en fait jamais attribué. Filippo Brunelleschi, qui était revenu exprès de Rome pour travailler sur la coupole, était déjà (ainsi que les archives l'enregistrent) en train de construire un modèle pour le compte de L'Opera del Duomo (Museo dell'Opera del Duomo). C'est à cette époque que se place l'anecdote célèbre de la « dispute de l'œuf » (la ) relatée par Vasari : ses rivaux expriment le désir de voir son modèle de coupole. Brunelleschi refuse de le montrer mais propose que le choix se porte sur celui, Italien ou étranger, qui sera capable de faire tenir un œuf debout sur une plaque de marbre, ayant ainsi fait la démonstration de son talent. Chacun essaie sans réussir alors Brunelleschi leur montre la solution en l'écrasant légèrement à la base, ce qui le fait maintenir droit en équilibre. À la fin, il est décidé de lui confier la construction ainsi qu'à Lorenzo Ghiberti, lequel avait déjà arraché à Brunelleschi le contrat pour la porte du paradis.

Dans la description des travaux que dresse Filippo pour les œuvres de l'Arte della Lana (responsable de la bonne marche de la construction) il est établi que l'on choisit de commencer à construire la coupole jusqu'à la hauteur de trente coudées et puis, suivant le comportement des murs, de décider comment continuer. La hauteur indiquée est celle à laquelle les briques doivent être posées à un angle tel (par rapport à l'horizontale) qu'elles ne peuvent être maintenues à leur place par le mortier à prise lente seul connu des maçons de l'époque (La technique romaine du ciment à base de pouzzolanes n'est plus en usage) avec pour conséquence le risque très grand de glissement à l'intérieur des murailles. Un autre grave problème est la différence de largeur des côtés du tambour, qui demande une précision extrême dans la pose des lits de brique de façon à ne pas créer d'interruption dangereuse au sein de la structure de la muraille. Pour se souvenir des périls qui guettent une construction mal ajustée, il suffit de regarder quelques mètres plus bas pour voir la vaste crevasse qui s'est ouverte dans le mur, encore frais, d'une des demi-coupoles du chevet en arc trilobé.

Mais la difficulté majeure, pour Brunelleschi, réside dans l'impossibilité d'ériger, comme le faisaient habituellement les bâtisseurs de cathédrales, un cintre de bois sur lequel modeler la voûte. En effet la base octogonale, avec ses  de diamètre était beaucoup trop large pour une telle entreprise. Il s'inspire alors de la coupole du Panthéon antique, à Rome, ., constituée d'anneaux de maçonneries de tailles décroissantes ainsi que de la coupole à nervures du Baptistère Saint-Jean de Florence, reposant elle aussi sur une base octogonale. Le dôme est donc constitué d'une base, de nervures de pierres visibles extérieurement, renforcées à l'intérieur par 8 autres nervures formant un polygone de huit arcs en ogive, joints en leur sommet par un imposant lanternon de marbre. Elles sont reliées entre elles par des anneaux de maçonnerie de briques, de tailles décroissantes, de façon à absorber les poussées latérales qui s'exercent sur elle. Le tout est maintenu par deux coques de briques légères, une externe, de  d'épaisseur, une interne de  d'épaisseur.

Les briques sont assemblées et cimentées dans un mortier à prise rapide en formant une « chaînette renversée ». Les briques constituent en réalité d'immenses tuiles, orientées d'une façon radiale vers des « points glissants » sur un axe vertical situé au centre du dôme. De plus, leur disposition particulière, dite «  spina di pesce » (disposition en arête de poisson qui forme une spirale continue de forme octogonale), qui est une technique de construction héritée des Étrusques, forme d'immenses spirales de briques, permettant de répartir le poids sur la surface portante en expansion. Ces techniques, combinées entre elles, ont permis de constituer une structure autoportante, sans cintrage, ce qui était l'objectif principal de Brunelleschi.

Enfin, la lanterne de pierre en marbre leste la coupole et empêche la structure de s'écarter. La construction s'étale de 1420 à 1436, avec une interruption en 1434 à la suite de l'exil de Cosme l'Ancien, fondateur de la dynastie politique des Médicis. Comme promis, Brunelleschi n'utilise aucun échafaudage ni étai mais des poulies qui permettent de hisser chaque jour  de matériel.

Décoration intérieure de la coupole

Au départ, Filippo Brunelleschi avait prévu de tapisser l'intérieur de la coupole de mosaïques dorées, sur le modèle du baptistère situé juste en face, afin de refléter au maximum la lumière provenant de la lanterne. Sa mort, en 1446, met fin au projet et la coupole est finalement simplement enduite de blanc.

En 1568, le Grand-duc de Toscane Cosme  de Médicis (1519-1574) décide de recouvrir cette couche de chaux brute. Il confie le projet à son artiste officiel Giorgio Vasari (1511-1574). Souhaitant rivaliser avec le défunt Michel-Ange (1475-1564), Vasari choisit le thème du Jugement Dernier pour recouvrir les quelque  de surface. Il conçoit le contenu du programme iconographique avec son ami humaniste Raffaello Borghini (1537-1588) et commence les études préparatoires dès 1571. Il meurt trois ans plus tard, laissant les trois quarts du décor inachevés.

L'année 1574 est ainsi marquée par le décès de Vasari mais également de Cosme . Son fils et successeur, François  de Médicis (1541-1587) souhaite terminer ce vaste dessin et en confie le soin à Federigo Zuccaro (1542-1609).

L'ensemble est achevé en 1579 et inauguré le .

Niveau souterrain

Sous la cathédrale de difficiles travaux de fouilles sont réalisés entre 1965 et 1974. Pendant des siècles, la zone souterraine de la cathédrale fut utilisée pour enterrer les évêques de Florence. L'histoire archéologique de cette zone a été reconstituée récemment, d'après les restes d'habitations romaines et de pavements paléo-chrétiens jusqu'aux ruines de la vieille cathédrale Santa Reparata. On accède aux fouilles par une échelle dans la nef de gauche. Près de l'entrée se trouve la sépulture de Filippo Brunelleschi comme une nouvelle preuve de la grande estime que portent les Florentins au grand architecte de la coupole.

Astronomie dans la cathédrale

L'astronome Paolo Toscanelli (qui avait aidé Brunelleschi pour les calculs de la construction de la coupole) établit, en 1468, le premier gnomon moderne en faisant pratiquer une ouverture circulaire sur le dôme de la cathédrale de Florence, qui, donnant une image grande et nette du Soleil sur la ligne méridienne tracée par une bande de marbre du pavé, lui sert à déterminer les points solsticiaux, les variations de l'écliptique, et pour corriger les tables alphonsines.

Un instrument de ce type existait dans le baptistère de Saint Jean dès les années 1000 (l'ouverture a été depuis rebouchée) mais en 1474, l'astronome Paolo Toscanelli profita de travaux complémentaires sur la coupole pour installer ce globe de bronze comportant une ouverture circulaire de  de diamètre environ qui donnait une image parfaite de l'astre. En étudiant le rapport entre la hauteur et le diamètre du trou, il obtint une authentique image solaire sténopéique, c'est-à-dire en réduction, permettant de visualiser les taches solaires, l'avancée des éclipses et même les rares passages de Vénus entre le soleil et la terre.

L'utilisation la plus importante du gnomon à l'époque fut de stabiliser le solstice, c'est-à-dire la hauteur annuelle maximale atteinte par le soleil à midi et, de ce fait, la durée de l'année elle-même. Ces observations, et d'autres analogues — telles celles effectuées en 1510 et retracées par un disque en marbre situé dans le pavement de la chapelle della Croce dans l'abside droite de la cathédrale, permirent de convaincre le pape Grégoire XIII de la nécessaire réforme du calendrier en alignant la date solaire avec la date officielle et donna lieu à la création du calendrier grégorien en 1582 (passage du calendrier julien au calendrier grégorien).

Dans les siècles suivants, l'instrument a été utilisé pour des expériences plus ambitieuses, comme celles en 1754, de l'astronome Leonardo Ximenes, de la cour grand-ducale, qui se proposa d'étudier si l'inclinaison de l'axe terrestre variait dans le temps, une question qui faisait objet de débats animés entre astronomes de l'époque. Ses observations, confrontées à celles de 1510, furent encourageantes ; répétées au fil des ans elles lui permirent de calculer une valeur de l'obliquité de l'écliptique, d'ailleurs pertinente par rapport aux données actuelles. Ce fut lui aussi qui traça la ligne méridienne en bronze située sur le pavement de la chapelle de la Croce (qui abrite le globe de Toscanelli). Il laissa à sa mort une rente pour l'institution de la chaire d'astronomie expérimentale qui devint le premier noyau de l'observatoire Ximéniano. Quelques décennies plus tard, le gnomon de Sainte Marie des Fleurs devint obsolète tant par l'invention de moyens d'observation plus précis, que parce qu'on s'aperçut que les mesures étaient faussées par les petits mouvements de la coupole du fait des variations de la température extérieure.

De nos jours l'évocation de ces observations a pris une tournure historique et touristique, et a lieu tous les ans le  à 12 heures, heure solaire (13 heures, heure légale). Du fait d'échafaudages elle n'a pu avoir lieu ni en 2005 ni en 2006.

Liste des principaux artistes contributeurs

 Giovanni Balducci représentant la Cène (1603). Tableau présenté au-dessus du cercueil de saint Zénobe
 Nanni di Banco : bas-relief de l'Assomption de la Vierge, façade extérieure, côté Sud
 Baccio Bandinelli : bas-relief sur la clôture de l'autel (aujourd'hui déposée et visible au Museo dell'Opera del Duomo de Florence)
 Fabio Borbottoni (1820–1902) : intérieur de la cathédrale avant sa restauration
 Tino di Camaino : monument funéraire d'Antonio d'Orso
 Ulysse Cambi : buste de 1843,  d'Arnolfo di Cambio, premier architecte de la cathédrale, présenté dans la première travée du collatéral nord.
 Benedetto da Maiano et Giuliano da Maiano : crucifix en bois (1495-1497) derrière la chaire de l'évêque dans le chœur et panneaux de la sacristie, bustes de Florentins illustres dont celui de Giotto en 1490 exposé dans le collatéral sud prés du portail.
 Andrea del Castagno : fresques de la statue équestre de Niccolò da Tolentino sur les parois de la nef droite (1456), dans la seconde travée du collatéral nord après la porte des cornacchini ; dessins de vitraux et de rosaces.
 Andrea Cavalcanti : buste de Filippo Brunelleschi,  réalisé en 1446, exposé dans le collatéral sud, prés du portail.
 Vincenzo Consani (1818-1888) : buste d'Emilio De Fabris, architecte de la façade actuelle (1887), en bas du collatéral nord, près du portail..
 Donatello : tête de prophète et de la sibylle, paroi extérieure sud, cantoria (aujourd'hui dans le musée de l'Opera del Duomo) ; dessin par les vitraux du Couronnement de la Vierge
 Andrea Ferrucci : buste de 1521 représentant Marsile Ficin se trouvant dans le collatéral sud, un peu avant le chœur, et la porte des chanoines.
 Gaddo Gaddi : mosaïque du  Couronnement de la Vierge, au-dessus du portail central (fin - début )
 Lorenzo Ghiberti : dessin pour les vitraux de la nef, Arc de Saint Zénobe de Florence. Dans l'abside de la cathédrale se trouve l'autel de saint Zénobe. Son cercueil en argent, datant de 1440, est un chef-d'œuvre de Lorenzo Ghiberti, contient une urne avec ses reliques. Sur la façade, on peut voir la représentation d'un de ses miracles, la résurrection d'un enfant. Au-dessus du cercueil, se trouve le tableau de Giovanni Balducci représentant la Cène. Il y avait aussi un panneau de mosaïque représentant le saint Zénobe, réalisé en (1504) par Monte del Fora di Giovanni qui se trouve actuellement dans le Museo dell'Opera del Duomo.
 Davide Ghirlandaio : mosaïques de l'Annonciation sur l'extérieur du portail Sud
 Benedetto da Maiano : buste d'Antonio Squarcialupi, musicien et organiste de la cathédrale  (1490), présentée dans la seconde travée du collatéral nord après la porte des cornacchini..
 Michel-Ange : Saint Matthieu, œuvre inachevée pour le chœur (à ce jour à la Galleria dell'Accademia de Florence) ; Pietà (aujourd'hui au musée de l'Opera del Duomo)
 Domenico di Michelino : Dante Alighieri tenant la Divine Comédie (1465), tempera sur toile, , accrochée dans la quatrième travée du collatéral nord, derrière le pilier, avant la porte de la mandorle.
 Michelozzo : travaux sur la porte de la sacristie, avec Luca della Robbia
 Luca della Robbia : bas-reliefs en bronze représentant la Résurrection et l'Ascension sur les portes de la sacristie (1446-1469), travaux dans la sacristie avec Michelozzo : cantoria (déplacée au Museo dell'Opera del Duomo de Florence), lunette en terre cuite de la Résurrection (1442-1444).
 Santi di Tito :   Les Anges musiciens, fresque  au dessus du portail central
 Paolo Uccello : décoration de l'horloge de Santa Maria del Fiore sur la contre-façade, fresque du Monument équestre de Sir John Hawkwood  dans la troisième travée du collatéral nord, après la porte des cornacchini; dessins pour 2 rosaces.
 Giorgio Vasari et Federigo Zuccaro : fresques du Jugement dernier, intérieur de la coupole

Curiosités
Sur la place du Duomo, on remarque une plaque de marbre blanc située dans le pavement le long de l'abside de la cathédrale et qui indique le lieu où un orage provoqua le  la chute d'un gros globe, une œuvre en cuivre doré fondue par Andrea del Verrocchio qui pesait , c'est-à-dire  et qui était placée au sommet de la lanterne du dôme de la coupole depuis 1468.

Le globe, roulant depuis le sommet du dôme le long des colonnes blanches, chuta à l'endroit exact désormais désigné par la plaque, après avoir infligé quelques dégâts à la cathédrale. Deux ans plus tard, sur ordre du duc Ferdinand  de Médicis, l'imposante sphère dorée fut remise à son emplacement, où depuis, et grâce à l'invention du paratonnerre, elle ne craint plus les perturbations atmosphériques.

Principales dimensions de la cathédrale

Illustrations

Notes et références

Annexes

Bibliographie
 Giuseppe Richa, Notizie Istoriche delle Chiese Fiorentine., Firenze 1757; rist. anast. Roma, Multigrafica, 1989
 Cesare Guasti, Santa Maria del Fiore - La costruzione della Chiesa e del Campanile, Firenze, Ricci, 1887; rist. anast. Bologna, A Forni, 1974
 Enzo Carli, Arnolfo, Edam, Firenze, 1993
 Giuseppe Rocchi Coopmans de Yoldi, Santa Maria del Fiore - Piazza, Battistero, Campanile. Firenze, Università degli Studi, 1996
 Francesco Gurrieri, La Cattedrale di Santa Maria del Fiore a Firenze Firenze 1994
 Angiola Maria Romanini, Arnolfo di Cambio, Milano 1969
 Francesca Corsi Masi, Il ballatoio interno della Cattedrale di Firenze, Pacini, Pisa, 2005
 Jean-François Devémy, Sur les traces de Filippo Brunelleschi, l'invention de la coupole de Santa Maria del Fiore à Florence, Les Éditions du Net, Suresnes, 2013 (présentation en ligne)

Articles connexes
 Dôme (architecture)
 Campanile de Giotto
 Archidiocèse de Florence
 Église Santa Separata
 Liste des cathédrales d'Italie
 Centre historique de Florence
 Baptistère Saint-Jean (Florence)
 Museo dell'Opera del Duomo (Florence)
 Liste des églises les plus hautes

Liens externes

 Duomo Florence Tickets with Audio Guided Tour
 Dôme en haute définition
 Visite virtuelle de Santa Maria del Fiore

Florence
Florence
Cathédrale du Moyen Âge
Patrimoine du XIIIe siècle
Patrimoine du XIVe siècle
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Piazza del Duomo (Florence)
Construction octogonale
Bâtiment de Filippo Brunelleschi
Bâtiment d'Arnolfo di Cambio
Coupole (architecture)

redpajama_set_name: RedPajamaWikipedia


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#GivingTuesday is a global day of giving fueled by the power of social media and serves as a reminder to give back before the holiday season. This special day falls on the Tuesday following Thanksgiving. This year, Giving Tuesday will take place on Dec. 1, 2020. Since its launch in 2012, #GivingTuesday has inspired millions of people around the world to give back to causes and issues they value.
We welcome all gifts for Giving Tuesday. There are a variety of funding opportunities you can find by clicking the medical centers below under "Make A Gift To…", which takes you to each facility's donation pages.
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Did you know that Kapiolani is building a new Pediatric Heart Center? This future facility will help young patients like Leila-Rose, who was diagnosed with two congenital heart defects by her doctors at Kapiolani's Neonatal Intensive Care Unit after she was born. At just 5 months old, Leila-Rose was flown to the mainland with Kapiolani's Critical Care Transport team for open-heart surgery. Watch this video to see her story, and learn how donations will help to establish the first Pediatric Heart Center of its kind in Hawaii. In honor of Leila-Rose and Hawaii's keiki, make a gift to Kapiolani today or on December 1 for Giving Tuesday!
Did you know that the Hawaii Pacific Health Cancer Center at Pali Momi is the first and only comprehensive cancer center serving Central and West Oahu? More than 25,000 procedures were performed here last year and have saved the lives of patients like Adele. While on vacation in California, Adele suddenly suffered pains throughout her body and got dizzy before going to the emergency room, where doctors were not able to confirm a diagnosis. Shortly after Adele returned home, her daughter found her unconscious. She was taken to Pali Momi where doctors diagnosed her with lymphoma. After undergoing treatment at Pali Momi, Adele is now a cancer survivor! In honor of Adele and patients who receive critical cancer care, make a gift to Pali Momi today or on Giving Tuesday, December 1.
Did you know that Straub Medical Center performs more than 2,000 lifesaving heart procedures every year? This specialized care helps patients like Samuel who, while having had a history of heart problems, noticed something was different when he arrived at Straub's Emergency Department with chest pains and shortness of breath. The 86-year-old underwent a transcatheter aortic valve replacement (TAVR) procedure at Straub's new hybrid suite. The advanced technology meant less risk and a faster recovery. In honor of Samuel and patients who receive lifesaving heart care, make a gift to Straub today or on December 1 for Giving Tuesday.
Did you know that Wilcox's Emergency Department averages 25,000 visits annually and that Wilcox was the first neighbor island medical center to be designated as a Level III Trauma Center? These emergency services helps patients like Michael, who was in a serious car accident. He was rushed to Wilcox with a fractured femur that was cutting off blood circulation in his leg, four broken vertebrae, a broken sternum and twelve shattered ribs. The Wilcox team jumped into action and never lost focus on his care. It has been an extensive healing process, but Michael looks forward to surfing and enjoying time with his family. In honor of Michael and patients who receive 24/7 trauma care on Kauai, make a gift to Wilcox today or on December 1 for Giving Tuesday.
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