Advertisement Inferno, Canto X: I am an ass! As one critic wrote in upon publication of the illustrated Inferno:
First, put a 1 pound package of Mueller's spaghetti in a large pot of rapidly boiling water. Allow to cook for 45 minutes to an hour, or until most of the water has evaporated. Add half a bottle of Heinz tomato ketchup, and a half pound of Velveeta cheese. Continue cooking until all the contents have amalgamated.
Allow to cool and de-mold from the pot. Divide into 1 inch slices and fry in chicken-fat. When I was in my early teens, I went to a neighborhood Italian restaurant in the Bronx, and ordered spaghetti. Essays on the divine comedy waiter brought me a bowl of strange-looking stringy things covered with tomato sauce.
What has happened to our field since our first conference 20 years ago cannot be considered without examining the more troubling question of how the world has changed—since I have less than 15 minutes, I will not attempt to objectively summarize that question, but say that speaking subjectively, the world seems more fragile and imperiled than it did in the mid eighties.
Perhaps the world always seems at risk.
The political exploitation of the fear of terrorism is as alarming as terrorism itself. Our dog in this fight may be human survival. My personal response to this condition has lead me to become more active in civic life.
It seemed to reflect what all of us were experiencing after the tragedy. Of course, the design problem, in the case of personal interventions, is how to become visible Objectify the audience, understand their desires—appeal to their interests, eliminate the extraneous and presto "effective communication.
I've always loved the painting and have been looking at it for over a half-century beginning with a penny print I bought in kindergarten. It was in terrible shape, covered with mold and dirt and darkened by centuries of wear and bad restoration — Nevertheless the genius that Leonardo had invested in the work showed through and could not be denied.
I had occasion to visit Milan frequently because I was doing a lot of work for Olivetti, at that time one of the most progressive of all European industrial concerns. In the eighties they initiated a complete restoration of the painting. Sadly, Olivetti is no longer an extraordinary example of how a corporation could be a good citizen as well as a profitable business, in fact it no longer exists.
On one of my visits to Italy, they arranged for me to visit the painting in the process of being restored. An attractive middle aged matron in a brown business suit was concentrating her attention on the face of Christ, high above the floor on a scaffold that had been constructed next to the painting.
I say painting instead of fresco because, as many of you know, the Last Supper was an experiment in using untested pigments and binders that Leonardo was interested in. This is one of the reasons the work has fared so badly since it was first created.
Pinin Brambilla Barcillon, who had the incredible responsibility of restoring the work single handedly, motioned me up the scaffold alongside her, inches away from the head of Christ, the centerpiece of the painting towards which all forms converged — I cannot describe my emotions as I realized the privilege of seeing Leonardo's work from a vantage point that few will ever have.
The head was a pointillist composition of tiny dots and fragments of color that dissolved into an abstraction as you got closer. Brambilla sat behind an optical instrument that illuminated one square inch of the painting's surface at a time a day's work as she looked through a magnifying lens — Her primary tools were a scalpel, a cotton swab, soap and water.
Layer by layer she was cleaning away the dirt, waxes, varnish and over-painting of centuries.The Divine Comedy (Italian: Divina Commedia [diˈviːna komˈmɛːdja]) is a long narrative poem by Dante Alighieri, begun c.
and completed in , a year before his death in It is widely considered to be the preeminent work in Italian literature and one of the greatest works of world literature. The poem's imaginative vision of the afterlife is representative of the medieval world.
The Influence of Dante's Inferno - Dante Alighieri’s Divine Comedy is an epic poem that begins with the Inferno. The Inferno is an extremely influential part of European literature. What’s the Best Dating Site for You?
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Sandro Botticelli: The Drawings for Dante's Divine Comedy [Peter Keller] on rutadeltambor.com *FREE* shipping on qualifying offers. In the s, the great Italian Renaissance artist Sandro Botticelli was commissioned by Lorenzo di Pierfrancesco de' Medici to make a series of drawings to illustrate Dante's Divine Comedy.
Botticelli gave stunning visual form to the poet's epic journey through Hell. Comedy: Comedy, type of drama or other art form the chief object of which, according to modern notions, is to amuse.
It is contrasted on the one hand with tragedy and on the other with farce, burlesque, and other forms of humorous amusement.
The classic conception of comedy.