Naples Oblige

Napoli v Inter a vista from the Distinti

Time to resample the unique and wonderful atmosphere of San Paolo stadium. Please note to all British football fans who would like to go to this stadium. Because of the fans behaviour this season it is very very difficult to get admission to this stadium. Tickets are only sold to residents and they must produce documents to prove they are local people. It is possible to obtain tickets from touts outside the stadium but please note you will still be obliged to produce a passport at the entrance.

This is a manic stadium with partisan fans but they are OK with the English, God forbid if you come from Rome, Turin or Milan!!!!! The terraces are owned by the fans and it is such a different product from the sanitised product we know in England. A truly great experience for any English fan who remembers the 70's and 80's when we were all pissed. There is so much colour with the flags, flares, banners and constant noise. Napoli fans you are the greatest!!!!!!!!!!

The Italian Solution - Italy

August 2009

Thanks to strict new laws turning unauthorised migration into a criminal offence and a controversial deal with Libya, Italy is cracking down on immigration. Tough but necessary or just plain racist?
Look at them - ugly mugs! a citizen patrol group is targeting immigrants. Groups like these are now legal and meant to help the police fight drug dealers. Some residents are sceptical: We should integrate those people, not hunt them down. But others welcome the new laws. No more Mr Nice guy, were fed up! Negative press has turned immigration into a devil in the publics eye but it seems Italians no longer need to fear: the government has closed the gateway to Europe. Libya is preventing migrants from leaving and Italy's pushing back boats intercepted near Lampedusa. The need for political asylum is not considered. Most drastically, doctors are now obliged to report migrants without documents to the authorities. I think it's a stupid law, says this MSF doctor, almost all of us will take no notice.

The challenge of educating migrant children in Italy

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Yassine was just 12 years old when he arrived in Italy in 2016 having left his native Guinea.
Without his parents, alone, he travelled to Libya. He then crossed the Mediterranean to Italy where he was taken in by an Italian family in Sicily.
Yassine - Guinean refugee In my country there are many negative things because there's a war. I only went to school from time to time. In wartime, parents don't take their kids to school because they're scared.
Yassine was able to go to school full time when he arrived in Italy.He quickly achieved good academic results ... and was even given the role of delegate representing the school's 580 students.
Yassine - Guinean refugeeI realise that I'm very lucky compared to other children who are the same age as me
Like Yassine, several refugees under 18 are enrolled in Italian schools, as the state is obliged to guarantee access to free education to unaccompanied children that arrive in the country. Samir is Egyptian. His first challenge is to learn the new language.
Sabrina Fizzoio - TeacherIt's a bit difficult for him. He has to follow a different programme to the other students because he is learning Italian. So it's difficult to talk to him about Italian literature
To help these students catch up, volunteers come every week to this residential care home in Rome to give them extra teaching. Their aim … to help them pass the exam certifying a minimum level of Italian.
Volunteer, Protettorato di San Giuseppe FoundationIn Italy school is obligatory. Children must study till they reach a minimum level, so that they can read, understand and express themselves. So that in the future they can work and build a life for themselves in Italy
There are currently an estimated 10,000 unaccompanied foreign minors enrolled in schools in Italy

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Chelsea vs Napoli 4 - 1 - Champions League 2012

Chelsea vs Napoli 2012 champions league - Round of 16 - 1st Leg
Score : Chelsea vs Napoli 4 - 1
Chelsea vs PSG 2 - 0:
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IL MASSIMO DELLA PIZZA VIA CONSALVO NAPOLI

IL MASSIMO DELLA PIZZA VIA CONSALVO NAPOLI

Things I'm loving...In Italian !!!

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History of Italy Documentary

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According to archaeological diggings, presence of modern human date back to 200,000 years ago to the Palaeolithic time. The Greek colonies settled in the southern portion of the peninsula and the Sicily in the 8th and 7th centuries BCE. By 6th and 5th century BC they were in their Neolithic time. The commencement of Bronze Age of the #Italian Empire is considered as 1500 BC.

El Haseiat ITALIAN NAVY SAVES ROMMEL

Supply difficulties destroyed the mobility of the Afrika Korps ... On 14 December, it had only enough fuel for fifty kilometres, and feared it would run out completely. (Intelligence and Anglo-American Air Support in World War Two: The Western Desert and Tunisia, 1940-43, B. Gladman, p. 128, Springer, 2008)

To insure that Rommel got supplies, the Italian Navy escorted a mid-December convoy of four merchant ships with 4 battleships, 5 cruisers, and 21 destroyers. (The Second World War: Europe and the Mediterranean, Thomas E. Griess, p. 167, Avery Publishing Group, 1989)

Hinsley remarked that 'it was the arrival of these supplies in north Africa which permitted Rommel to mount his successful counter-offensive of 21 January 1942. More immediately, however, the 44 new tanks, warnings of those arrival had been discounted by General Ritchie's Intelligence Staff, enabled Rommel to inflict two defeats on 22nd Armoured Brigade on 28 and 30 December, in which 60 British tanks were destroyed for the loss of only 14 German tanks. These clashes effectively brought 'Crusader' to an end. (Malta and British Strategic Policy, 1925-43, Douglas Austin, p. 20, Routledge, 2004)

Operation Crusader was successful : general Rommel was obliged to withdraw his troops from the siege of Tobruk and to Gazala to avoid the total destruction of his army. After Gazala, the Axis withdrawal continued to Benghasi, then Agedabia, followed by British troops with superiority in number. On the 27th of December, while the Guards Brigade attacked the defense line in the east of Agedabia, the 22nd Armored Brigade outflanked Axis forces by the desert and attacked from El Haseiat. The British tanks crews were convinced to destroy an already routed enemy but it was a very big surprise for them when they were confronted to 60 panzers who counter attacked and defeated them. The remnants of the British armored brigade could escape only because of the lack of fuel for the panzers. On the battlefield, 37 British tanks were burning for only 7 German panzers destroyed. The year 1941 ended on this last battle. Some days later, Rommel attacked again to the east. ( Battle of El Haseiat - December 27, 1941 - December 30, 1941)

Sant Angelo Hotel Naples

Very good property located in the lively and well connected Garibaldi area . DC 03/09Tall building decorated in brown and yellow colours.The lobby of a medium size is very bright and welcoming , furnished with traditional and modern furnitures .The hotel got a strategic position. Indeed it is located in the central Garibaldi square 50 m far from the railway tation, the underground, the circumvesuviana and the bus station. Not far from the hotel can find the Centro Direzionale. The historical centre is into the walking distance; the airport at 3 km; the connection whit the main motorway at only 500 m.In the heart of Neaples, in a quiet and historic building, late 1800s, this is one of the most exclusive and central hotel of the city. Here will find comfort and privacy surrounded by history and art. The hotel has been thinking of the needs of who believe that comfort, image and efficiently are the basic features for a ideally stay or a congress. The receptivity, the location and it's structures make it specially suitable for organizing company meetings, conventions, seminars and banquets.The Sant’Angelo hotel, just opened, is suitable for all sort of guest, tourist people or business. Due to its comfortable and fine style, with its up-to-date technology, is an ideal place for a long stay or for a short one. Our young staff, composed by very qualified people, and our excellent relation quality-price, makes us an obliged reference point for every tourist at Naples. The Sant’Angelo hotel got a strategic position. Indeed it is located in the central Garibaldi square 50 meters far from the railway station, the underground, the “circumvesuviana” and the bus station. Not far from the hotel you can find the “Centro Direzionale”. The historical centre is into the walking distance; the airport at 3 kilometers; the connection whit the main motorway at only 500 meters. The staff eagerly awaits your arrival! They are well-prepared and ready to handle the needs of even the m

Ottoman Wars: Battles of Otranto 1480 and Chaldiran 1514 DOCUMENTARY

In this animated historical documentary video, we will cover the battles of Breadfield (Câmpul Pâinii 1479), Krbava (1493), Chaldiran (1514) and the siege of Otranto (1480), as the Ottoman Wars both in Europe and Asia are ramping up, this time against Hungary, Croatia, Naples and the Safavids of Ismail I.

Previously in our animated historical documentary series on the Ottoman Wars, we have covered the battles of Kosovo ( Nicopolis ( Ankara ( Varna ( Second Kosovo, Constantinople ( Belgrade, Targoviste and Otlukbeli ( Vaslui, Valea Alba ( and Skanderbeg's rebellion ( But the Ottomans continued their expansion in the next decades.

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This video was narrated by Officially Devin (

Machinimas made on the Total War: Attila engine using the great Medieval Kingdoms mod by Malay Archer (

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Sources:
Roger Savory - Iran Under the Safavids
Franz Babinger - Mehmed the Conqueror and His Time
John van Antwerp Fine - The Late Medieval Balkans
Н. Н. Розова - Повесть о Скандербеге
Uzunçarşılı İsmail Hakkı - Osmanlı Tarihi
Finkel, Caroline - Osman's Dream: The Story of the Ottoman Empire
İnalcık, Halil - Osmanlı İmparatorluğu Klasik Çağ (1300-1600)
Necdet Sakaoğlu - Bu Mülkün Sultanları - 36 Osmanlı Padişahı

Production Music courtesy of Epidemic Sound:

Jon Bjork - Action Hero2
Civilization V OST - Suleyman War Theme
Jon Bjork - Action Hero5
Jon Bjork - Lost it
Rannar Sillar - Easy Target
Johannes Bornlof - Solemn
Jo Wandrini - Protector of the Sky

#Documentary #Ottomans #KingsAndGenerals

PUNKREAS - Polenta E Kebab [OFFICIAL VIDEO]

Polenta è il secondo singolo estratto dal nuovo album Noblesse Oblige della storica band del punk rock italiano.
Il brano, dal titolo Polenta & kebab affronta con ironia il fenomeno leghista, raccontandone la triste parabola. Come featuring i Punkreas hanno invitato Luca Zulu dei 99 Posse, protagonista anche del video musicale.

Il video è ambientato a Parabiago, città d'origine dei Punkreas, ad oggi ancora con amministrazione leghista. La regia è affidata a Stefano Poletti.

A HERMITS MONASTERY in ITALY (55 secs into video)

Arriving on a lake ferry at the Santa Catarina del Sasso Monastery/Hermitage located in northern Italy. Truly unique, the site is a fusion of three chapels, originally built separately in three different eras incorporating a terraced garden and balcony with spectacular lake and mountain views. You reach it via boat/ferry from the lake or alternatively you can descend the 240 steps from the car park above. Picturesquely located on a sheer cliff above the water, the Hermitage was founded in the 12th century by the merchant Alberto Besozzi of Arolo (Leggiuno), who on being shipwrecked took refuge in a cave and vowed devotion to St Catherine. In 1195 he built a tiny, isolated church in recognition of his deliverance. The present buildings date from the late 13th – early 14th centuries. In the 13th century the Hermitage was home to a community of Augustinian monks, followed in 1379 by the Ambrosian Hermits and in 1649 by the Carmelites. Today the monastery is run by a community of Oblate Benedictines. The Hermitage comprises three buildings 13th/14th century buildings: the southern convent, the small convent, and the church. There is also a small gift shop, a cafe (was closed on the day we were there). Filmed in June 2018. We were asked not to film inside on the chapels that day so we obliged.

VINERIA IT - BLACK PIZZA?! (ITALIAN RESTAURANT EXPERIENCE)

WHO LOVES CHEESE?! The people at Vinera.IT invited my family and I over for a yummy pre-Christmas dinner. Mom and Dad aren't super big fans of Italian restaurants - but I decided to bring them along anyway. They were quite scared because I told them it was a sponsored dinner and they were afraid they're obliged to say that everything was good. I ensured them it was okay and they can be honest. See how they liked the food! :) By the way, they have a special Christmas Set for everyone to celebrate their MERRY Christmas! Ho Ho Ho!

ADDRESS OF VINERIA IT:
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Francesco Albanese Sings 'A Surrentina, (Lady of Sorrento) de Curtis 1948

Francesco Albanese (1912-2005) was from Torre del Greco, and had a very good career, primarily in Italy, although he did sing in Portugal and Latin America. He recorded, in addition to standards from the lyric tenor repertoire, a number of Neapolitan songs, in which he excelled. Dedicated to the many natural beauties of Sorrento, including its beautiful women (and one in particular whom de Curtis does not name:) 'A Surrentina is one of his more robust songs, very dramatic and emotional, with a higher tessitura than many of his Neapolitan songs. Albanese is certainly one of the greatest of all singers of Neapolitan songs, which have a remarkable history all their own. As I always say, every operatic tenor and baritone on earth, it seems, feels obliged to sing these songs, but very few sing them successfully. They have a style all their own, and in their earliest iteration, they were art songs. A great familiarity with Naples, its music, its history, its language and its literature is required to do them well, and for me at least, the two names that immediately come to mind are Fernando de Lucia—the all-time favorite tenor of many Neapolitans— and Francesco Albanese.

Capture of the Sabines - Roman Women

This video is intended to be an overview of Roman Women and girls, starting with the Rape of the Sabine Women. This is the first uploaded video in the Roman Women series.
It is suggested that captions are turned on.

You can support me on Patreon here:



Primary Sources:

Horace, Epodes 8 and 12
Martial, Epigrams 1.90, 7.67, 7.70
Dionysius of Halicarnassus, Roman Antiquities 2.38, 2.39, 2.49
Livy, The History of Rome 1.13
Pliny the Younger, Letters 5.16.1-7


Secondary Sources:

D'Ambra, Eve. Roman Women. Cambridge, UK: Cambridge University Press, 2007.
Shelton, Jo-Ann. As the Romans Did: A Sourcebook in Roman Social History. New York: Oxford University Press, 1998.


Images:

Dionysius of Halicarnassus: Le antichita romane di Dionigi D’alicarnasso, trans. Marco Mastrofini, 1823

Golden Roman bracelets: Flickr - roman jewellery - bracelets by mararie. Louvre Museum, Paris, France

The Rape of the Sabines - The Invasion: Crocker Art Museum, Sacramento, USA

Tarpeia is Crushed Under the Sabine Shields: pl.20 from the series The Story of Romulus and Remus, Giambattista Fontana, Achenbach Foundation for Graphic Arts, Italy

Tarpeian Rock: William Smith, 1881. A Smaller History of Rome, From the Earliest Times to the Establishment of the Empire (

Apollo with Blackbird pouring libations: Wikipedia by Fingalo, Pistoxenos Painter, Archaeological Museum of Delphi, Delphi, Greece

The Intervention of the Sabine Women: Jacques-Louis David, 1799. Louvre Museum, Paris, France

Battle of the Romans and Sabines: Annibale Carracci, 16th century. The Duke of Devonshire and the Chatsworth Settlement Trustees, Devon, UK

The reconciliation between the Romans and Sabines: Justus van Egmont, 17th century. Rubenshuis, Antwerp, Netherlands

The Rape of the Sabine Women, Giambologna, 1581-83. Loggia dei Lanzi, Florence, Italy

Painted panel of a boy: Antiques Collection Altes Museum, Berlin, Germany (

Funerary altar of Julia Victorina: Department of Greek, Etruscan, and Roman Antiquities, Louvre Museum, Paris, France

The Death of Meleager: Department of Greek, Etruscan, and Roman Antiquities, Louvre Museum, Paris, France

Mummy portrait of a girl: Liebieghaus, Frankfurt am Main, Germany

Mummy portrait of a woman: Department of Ancient Egypt & Sudan, British Museum, London, UK

Head of Ulysses (?): Portus Project - Marble head, University of Southampton, Southampton, UK

Babylonian Marriage Market: Royal Holloway, University of London, UK

Farnese Hercules: Museo Archeologico Nazionale, Naples, Italy

Large Herculaneum Woman: Sculpture Collection, Staatliche Kunstsammlungen Dresden, Dresden, Germany

Sappho and Erinna in a Garden at Mytilene: The Tate Collection

Sarcophagus: Department of Greek & Roman Antiquities, British Museum, London, UK
-image caption courtesy of the British Museum

Statue of Vibia Sabina: Flickr - Vibia by iessi. Hadrian’s Villa, Museum Center of Lazio, Italy

Speculum Romanae Magnificentiae: Bust of Livy: Nicolas Beatrizet, 1582. Metropolitan Museum of Art, New York City, USA

Pompeii fresco: Villa of the Mysteries, Pompeii, Italy

A Roman Feast: Roberto Bompiani, late 19th century. J. Paul Getty Museum, Los Angeles, USA

Laudatio Turiae: CIL 6.1527, 31670 (ILS 8393), Baths of Diocletian, National Museum of Rome, Rome, Italy

Pompeiian Paintress: Roman fresco from the Casa del Chirurgo (Surgeon’s House) (VI 1, 7-10-23) in Pompeii, Museo Archeologico, Naples, Italy

Venus of Arles: Louvre Museum, Paris, France

Statue of a mourning Roman woman: Petworth House, Petworth, UK


Music:

Lord of the Land - Kevin MacLeod
(
Solomon, Act III: Arrival of the Queen of Sheba - George Frideric Handel
(
1812 Overture - Pyotr Ilyich Tchaikovsky
(
The Blue Danube - Johann Strauss II
(
Lost Within - A Himitsu
(

Places to see in ( Venice - Italy ) Teatro La Fenice

Places to see in ( Venice - Italy ) Teatro La Fenice

Teatro La Fenice is an opera house in Venice, Italy. It is one of the most famous and renowned landmarks in the history of Italian theatre, and in the history of opera as a whole. Especially in the 19th century, La Fenice became the site of many famous operatic premieres at which the works of several of the four major bel canto era composers—Rossini, Bellini, Donizetti, and Verdi were performed.

Its name reflects its role in permitting an opera company to rise from the ashes despite losing the use of three theatres to fire, the first in 1774 after the city's leading house was destroyed and rebuilt but not opened until 1792; the second fire came in 1836, but rebuilding was completed within a year. However, the third fire was the result of arson. It destroyed the house in 1996 leaving only the exterior walls, but it was rebuilt and re-opened in November 2004.

In 1774, the Teatro San Benedetto, which had been Venice's leading opera house for more than forty years, burned to the ground. By 1789, with interest from a number of wealthy opera lovers who wanted a spectacular new house, a carefully defined competition was organised to find a suitable architect. It was won by Gianantonio Selva who proposed a neoclassical style building with 170 identical boxes in tiers in a traditional horseshoe shaped auditorium, which had been the favoured style since it was introduced as early as 1642 in Venice. The house would face on one side a campo, or small plaza, and on the other a canal, with an entrance which gave direct access backstage and into the theatre.

However, the process was not without controversy especially in regard to the aesthetics of the building. Some thirty responses were received and, as Romanelli accounts, Selva's was designated as the design to be constructed, the actual award for best design went to his chief rival, Pietro Bianchi. However, Selva's design and finished opera house appears to have been of high quality and the one best suited to the limitations of the physical space it was obliged to inhabit.

Construction began in June 1790, and by May 1792 the theatre was completed. It was named La Fenice, in reference to the company's survival, first of the fire, then of the loss of its former quarters. La Fenice was inaugurated on 16 May 1792, with an opera by Giovanni Paisiello entitled I giuochi d'Agrigento set to a libretto by Alessandro Pepoli.

( Venice - Italy ) is well know as a tourist destination because of the variety of places you can enjoy while you are visiting Venice . Through a series of videos we will try to show you recommended places to visit in Venice - Italy

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The Sydney J. Freedberg Lecture on Italian Art 2018: Against Titian

Stephen J. Campbell, Henry and Elizabeth Wiesenfeld Professor of Art History, Johns Hopkins University. In this lecture, presented on November 4, 2018, Stephen J. Campbell addresses the conflicted reception of the Venetian painter Titian outside his home city during a crucial phase in the formation of his reputation—his achievement of celebrity as a Hapsburg court painter and his inclusion in an emerging canon of Venetian and central Italian artists. While Titian’s production for Hapsburg patrons in Spain and other non-Italian destinations shows him performing as the quintessential artist of the Italian modern manner, by the mid-sixteenth century his work for sites in Italy pursued a different course: artistic and critical reaction suggests that it was found to be inscrutable or alienating. Campbell’s lecture proposes that this reception resulted from a tacit disavowal on Titian's part of contemporary critical accounts—by Lodovico Dolce, Pietro Aretino, and Giorgio Vasari—that increasingly sought to define his work.

Genoa: Le Strade Nuove and the system of the Palazzi dei Rolli | Italy | World Cultural Heritage

#Genoa #UNESCO #PalazziRolli
Genoa: Le Strade Nuove and the system of the Palazzi dei Rolli is a UNESCO World Heritage Site which includes a number of streets and palaces in the center of Genoa, in Northwestern Italy.

- The Strade Nuove (Italian for New Streets) are a group of streets built by the Genoese aristocracy during the expansion of the city at a time when the Republic of Genoa was at the height of its financial and seafaring power. These are Via Giuseppe Garibaldi (1558-1583, formerly Strada Maggiore or Strada Nuova) and Via Balbi (1602-1620, formerly Strada Balbi), later followed by Via Cairoli (1778-1786, formerly Strada Nuovissima).

- The Palazzi dei Rolli (Italian for Palaces of the Lists) are a group of palaces - most of which also date from the late 16th and early 17th centuries - which were associated to a particular system of ‘public lodging’ in private residences, whereby notable guests on State visit to the Republic were hosted in one of these palaces on behalf of the State.

The Rolli di Genova - or, more precisely, the Rolli degli alloggiamenti pubblici di Genova (Italian for Lists of the public lodgings of Genoa) were the official lists at the time of the Republic of Genoa of the private palaces and mansions, belonging to the most distinguished Genoese families, which - if chosen through a public lottery - were obliged to host on behalf of the Government the most notable visitors during their State visit to the Republic.

The site represents the first example in Europe of an urban development project parcelled out by a public authority within a unitary framework and associated to a particular system of ‘public lodging’ in private residences, as decreed by the Senate in 1576. The site includes an ensemble of Renaissance and Baroque palaces along the so-called ‘new streets’ (Strade Nuove).

On July 13, 2006, forty-two of the 163 palaces originally included in one the five public list called Rolli (Italian for lists) were selected as a World Heritage Site by the UNESCO.

Some of the Palazzi dei Rolli are used today as public buildings, museums, offices and private residences. Among the palaces open to the public, Palazzo Rosso, Palazzo Bianco and Palazzo Doria Tursi jointly constitute the Strada Nuova Museums located in via Garibaldi.

Footage: RAI
Music: J.S. Bach: Sonata for Violin Solo No. 1 in G Minor, BWV 1001 - 4. Presto

Sound recording copyright owner: [Merlin] Indigo Musikproduktion + Vertrieb GmbH
On behalf of: Normal Records

OTRANTO, puglia, italia

Otranto occupies the site of the ancient Hydrus also known as Hydrunton, Otranto was a town of Greek origin, which, in the wars of Pyrrhus and of Hannibal sided against Rome.

In Roman times it was a city. As it is the nearest port to the eastern coast of the Adriatic Sea, it was perhaps more important than Brundisium (present Brindisi), under the Roman emperors as a point of embarkation for the East, as the distance to Apollonia was less than from Brundisium.

In the 8th century, it was for some time in the possession of duke Arechis II of Benevento. It remained in the hands of the Byzantine emperors until it was among the last cities of Apulia to surrender to the Norman Robert Guiscard in 1068, and then became part of the Principality of Taranto. In the Middle Ages the Jews had a school there.

In 1480, Mehmet the Conqueror sent an Ottoman Turkish fleet to invade Rome under the command of Gedik Ahmet Paşa. The army reached the shore on 28 July 1480 and the city was captured in two weeks on 11 August 1480. 800 Catholics were beheaded after refusing to convert to Islam. [These victims were canonized by Pope Francis on May 12, 2013.

The Pope, in panic, called for a crusade to be built up by Ferdinand I of Naples, which notably included troops of Hungarian king Matthias Corvinus. Turks controlled the city for 13 months. Mehmet II died en route to capture the rest of Italy.[2] His successor Bayezid II ordered Gedik Ahmet Paşa to be hanged and the Turks retreated at the end on 11 September 1481.

In 1537, the famous Turkish corsair and Ottoman admiral Barbarossa captured Otranto and the Fortress of Castro, but the Turks were eventually repulsed from the city and the rest of Puglia.

In 1804, the city was obliged to harbour a French garrison that was established there to watch the movements of the English fleet. Under the French name of Otrante it was created a duché grand-fief de l'Empire in the Napoleonic kingdom of Naples for Joseph Fouché, Napoleon's minister of Police (1809), the grandfather of Margareta Fouché. The family used the title of duc d'Otrante after Joseph Fouché's death.
Beschrijving

La exposición: Las Furias. De Tiziano a Ribera

La exposición comentada por su comisario, Miguel Falomir, Jefe del Departamento de Pintura Italiana y Francesa (hasta 1700) del Museo Nacional del Prado.

Las Furias aparecen como conjunto en la historia del arte en 1548, cuando María de Hungría encargó a Tiziano para su palacio de Binche, a las afueras de Bruselas, cuatro lienzos con los personajes de Ticio, Tántalo, Sísifo e Ixión identificados como los príncipes alemanes que se habían alzado contra su hermano, el emperador Carlos V, y a quienes había derrotado un año antes en Mülhberg.

En España se conoció como Furias a cuatro moradores del Hades greco-latino, al que habían sido condenados por haber desafiado a los dioses: Ticio, cuyo hígado devoraba un buitre por intentar violar a una amante de Zeus; Tántalo, castigado a procurarse en vano alimento por servir a su hijo de festín a los dioses; Sísifo, condenado a portar una enorme piedra por haber delatado las infidelidades de Zeus; e Ixión, castigado a dar vueltas sin fin en una rueda por querer seducir a Hera. El título Furias es en realidad fruto de una confusión. En puridad, las Furias eran unos personajes femeninos, personificación del castigo y la venganza, encargados de velar porque los condenados en el Hades cumplieran sus castigos, pero en España, desde el siglo XVI, se conoció con este nombre a los lienzos que Tiziano dedicó a Ticio, Ixión, Tántalo y Sísifo, utilizándose desde entonces el termino Furias para designar esta temática.

Durante los 120 años posteriores al encargo de María de Hungría a Tiziano, el tema de las Furias disfrutó de notable fortuna y asumió otros significados además del político inicial. Desde finales siglo XVI se consideró un asunto idóneo para ilustrar la dificultad máxima en el arte al tratarse de enormes figuras desnudas en complicados escorzos y representar el dolor extremo, de ahí que fueran elegidas por grandes artistas como Rubens y Goltzius o Van Haarlem para demostrar su talento, o Ribera y Rombouts para visualizar la estética del horror que recorría entonces Europa. Sin embargo, tras su apogeo napolitano con Ribera y veneciano con Langetti, hacia 1680 la temática de las Furias comenzaba a dar signos de agotamiento hasta ser reemplazada en 1700 por otros asuntos que permitían a los pintores planteamientos similares.

(Subtítulos en inglés y español)


THE FURIAS. FROM TITIAN TO RIBERA

The curator Miguel Falomir, Head of the Department of Italian and French Painting (up to 1700), from the Museo del Prado, comments on the exhibition.

The “Furias” first appeared as a group in art in 1548 when Mary of Hungary commissioned Titian to paint four canvases for her palace at Binche (on the outskirts of Brussels) depicting Tityus, Tantalus, Sisyphus and Ixion, figures whom she associated with the German princes who had rebelled against her brother, the Emperor Charles V, and whom he had defeated the year before at Mühlberg.

In Spain, the name the “Furias” was applied to four figures who dwelled in the Graeco-Roman Hades as a punishment for defying the gods: Tityus, whose liver was constantly pecked at by a vulture for attempting to rape one of Zeus’s lovers; Tantalus, condemned to vainly try to obtain food and drink for serving up his son at a banquet of the gods; Sisyphus, who had to endlessly roll an enormous rock for revealing Zeus’s infidelities; and Ixion, obliged to turn forever on a wheel for attempting to seduce Hera. Strictly speaking, the Furies were female figures who personified punishment and vengeance and were responsible for ensuring that those in Hades underwent their punishments. In Spain, however, and from the 16th century onwards the name was used for Titian’s canvases of Tityus, Ixion, Tantalus and Sisyphus, and the term thus became used for the subject in general.

The “Furias” became a popular iconography in the 120 years after their first appearance, taking on further meanings in addition to their original, political one. From the late 16th century onwards the subject was considered highly appropriate for illustrating supreme mastery in art, given that they are monumental, nude figures in complex foreshortenings and also represent extreme suffering, which appealed to the Baroque sensibility. They were thus used by leading artists such as Rubens, Goltzius and Van Haarlem to demonstrate their skills, and by Ribera and Rombouts to give visual form to the aesthetic of horror in vogue in Europe at the time. However, after a peak of interest in Naples with Ribera and in Venice with Langetti, from around 1680 artists began to make less use of this subject, which was replaced around 1700 by others that allowed similar concepts to be expressed.


(Spanish and english subtitles)