Ambois/Amboise
lyra
of Amboise...
(quote)
I love Amboise, the grounds, and the town it sits within. There is much
to see within walking distance, including Clos Luce, the home of
Leonardo Da Vinci before he moved into Amboise.
Da Vinci's tomb is on the castle grounds. From the top of the
horseman's tower of Amboise you can see much of the town of Amboise, it
is beautiful.
.......................................................................................................................................
Walking down to Amboise Castle from da Vinci's home, Clos Luce, is a
dream. The castle is a strange structure, quite bitsy and
unpredictable. The royal apartments inside are gorgeous, and contain
several tapestries and pieces of original furniture. It is a very
quiet, calm place, and I can imagine that the anecdotes of haunting are
quite true.
The castle's chapel, da Vinci's resting place, is intimate and lovely;
the frieze of animals over its doorway is splendid. A vast view over
the river is offered from the battlements behind, and another of the
township from the walls at the front. There is a delicious patisserie
and confectionary shop across the road.
.......................................................................................................................................
http://www.castles.org/castles/Europe/Western_Europe/France/france12.htm
.................................................................
(from another thread)
Art Neuendorffer wrote:
(quote)
> In George Chapman's play, The REVEnge of Bussy D'Ambois, an
> unsuccessful imitation of Hamlet published in 1613, the main
> character, Clermont D'Ambois, describes with glowing praise a
> "famous Earle" as he was seen traveling from Italy to Germany:
>
.................................................................
> _The REVEnge of Bussy D'Ambois_ (lines 80-95, III, iv.)
>
> Clermont: ...you make me remember
> An accident of high and NOBLE note,
> And fits the subject of my late discourse,
> Of holding on our free and proper way.
> I OVER-took, coming from ITALIE,
> In Germanie, a great and FAMOUS Earle
> Of England; the most goodly fashion'd man
> I EVER saw: from head to foote in forme
> RARE, and most absolute; hee had a face
> Like one of the most ancient honour'd Romanes,
> From whence his NOBLEst Famillie was deriv'd
> He was beside of spirit passing great,
> Valiant, and learn'd, and liberall as the Sunne,
> Spoke and writ SWEETly, or of learned subjects,
> Or of the discipline of PUBLIKE WEALES;
> And t'was the EARLE OF OXFORD.
.....................................................
> _The REVEnge of Bussy D'Ambois_ openly paraphrased
> lines from Shake-speare's play. E.g.:
<snip>
IMAGES OF MEDIEVAL ART AND ARCHITECTURE
FRANCE:AMBOISE
http://www.pitt.edu/~medart/menufrance/ambmain.html
.....................................................................................................
Amboise was first part of the possessions of the counts of Anjou. and
then belong to the famous house of Amboise From 1431 on the castle
belonged to the Crown. The chateau d'Amboise was no longer a fortress
but a royal residence and Amboise became the residence of the queen and
her children. Catherine de Medici loved Amboise and lived there. The
queen, who died there in 1483, was always surrounded by a large court
as befitted her rank. She has almost 150 persons at her service.
This castle is owned by the Saint-Brise family. It is a very
interesting castle where Leonardo Di Vinci lived at a point in his life
http://www.castles.org/castles/Europe/Western_Europe/France/france12.htm
.....................................................
> http://www.sirbacon.org/gallery/west.htm
>
> The Solemn Temples,
> The Great Globe itself
> Yea ALL which it Inherit,
> *Shall DiSSOLue* ;
> And like the baseless *FnBRICK* of a Vision
..................................................
.
The Solemn Temples (anagram)
Sh! Tempel One, melts?
(Shall DiSSOLue*)
..................................................
................................................
Art Neuendorffer
I'm adding one or two nice "visitors' views" of Amboise...
(quote)
<<I love Amboise, the grounds, and the town it sits within. There
is much to see within walking distance, including Clos Luce, the
home of Leonardo Da Vinci before he moved into Amboise.
Da Vinci's tomb is on the castle grounds. From the top
of the horseman's tower of Amboise you can see much
of the town of Amboise, it is beautiful.>>
............................................................................
.......................................
<<Walking down to Amboise Castle from da Vinci's home, Clos
Luce, is a dream. The castle is a strange structure, quite bitsy and
unpredictable. The royal apartments inside are gorgeous, and
contain several tapestries and pieces of original furniture.
It is a very quiet, calm place, and I can imagine that
the anecdotes of haunting are quite true.
The castle's chapel, da Vinci's resting place, is intimate and lovely;
the frieze of animals over its doorway is splendid. A vast view over
the river is offered from the battlements behind, and another of the
township from the walls at the front. There is a delicious patisserie
and confectionary shop across the road.>>
............................................................................
................................................
http://www.castles.org/castles/Europe/Western_Europe/France/france12.htm
------------------------------------------------------------------------
http://www.lairweb.org.nz/leonardo/willow.html
<<Leonardo was responsible for the decoration of the ceiling and vault
of the Sala delle Asse (translation: 'room of the tower' or 'room of the
wooden boards') in Sforza's castle, Milan. He was presented with this
room for his own use; access being gained via a bridge & arcade
he had built over the moat.
Painted between 1495--1497, the fresco is made up of 18 WILLOW trees,
two of which skillfully encircle two windows in the room . Where the boughs
meet towards the ceiling they intertwine, thought to be a symbol of the
marriage of Ludovico, Duke of Milan with BEATRICE d'Este. Emblazoned
throughout the branches is a fantastic golden rope made up of assorted
loops & KNOTS. Appearing to be several ropes, if it is followed the
viewer discovers it is actually just the one cord which folds back on
itself,
twisting and turning throughout the entire pattern. Gold rope was a
fashionable symbol of the day and appeared knotted on the clothing
of BEATRICE d'Este. Included in the work is the coat of arms
of the Sforza family (falcons & serpents) which is painted in
the very centre of the ceiling where the tree branches meet.
Much of the work on the 2,880 square foot canopy was carried out by
Leonardo's pupils, but he did the design and this is a play on the word
VINCI, one meaning of which is WILLOW. The search for any other
hidden significance among the designs still continues. The hall was then
used as a barracks and the paint deteriorated & flaked away.>>
----------------------------------------------------------------------
<<Lord ST. JOHN had written the [3rd] Earl of Rutland,
Edward Manners, who was in Paris:
"The Earl of Oxford hath gotten him a wife -- or at least a wife hath
caught him; this is Mistress Anne Cecil; whereunto the Queen hath given
her consent, and the which hath caused great WEEPING, wailing, and
sorrowful cheere of those who had hoped to have that GOLDEN DAY.
Thus you may see that whilst some triumph with olive branches,
others follow the chariot with WILLOW GARLANDS.">>
http://home.earthlink.net/~mark_alex/Star/ch05.html
--------------------------------------------------------------
QUEEN GERTRUDE There is a WILLOW grows aslant a BROOK,
That shows his hoar leaves in the glassy stream;
There with fantastic GARLANDS did she come
There, on the pendent boughs her coronet weeds
CLAMBRING TO HANG, AN ENVIOUS SLIVER BROKE
---------------------------------------------------------------
Q2 & Folio: "CLAMBRIN[G] TO HANG, AN ENVIOUS SLIVER BROKE"
V E R O N I L V E R I U S
A________ L
G________ E
A________ N
B________ K
O________ C
N________ N
[D]________ I
__________ R
__________ B
__________ S
__________ A
_________- M
__________ O
__________ H
__________ T
Genesis 4:12 a fugitive and a VAGABOND shalt thou be in the earth.
-------------------------------------------------------------------
Sidhé (pronounced "shee").
-------------------------------------------------------------------
<< The Sidhé was a transcendent intellect, known to the Druids as the
Web of the Wise, while "druid" (druidhe) was itself a Celtic word
for "witch" - an English form of the Saxon verb wicca, meaning
"to bend" or "to yield" (as indeed do WILLOW and wicker).>>
-- Sir Laurence Gardner
Nexus Magazine, Volume 6, Number 5 (August-September 1999).
----------------------------------------------------------------
Brigit as Triple Goddess, especially the Yellow-Green Enchantress
http://www.artesmagicae.com/TripleBrigit.htm
<<As patroness of cattle & fertility, BRIGIT
is clearly equated with Tara-Anna-Eithne, the Rorian
tradition's Abbess, Diviner, and healer of the SPRINGTIME,
whose trees are WILLOW & furze,
whose animal is the cow or BULL,
and whose bird is the CRANE.>>
ALBRECHT DURER "Emblematic Design with a Crane",
http://artyzm.com/world/d/durer/crane.htm
-------------------------------------------------------
WILLOW = VINCI = ORPHEUS = USHER
------------------------------------------------------------
_Secrets of E.A.Poe, apples, redemption, etc_
http://www.unverse.com/id-books-1582430357
<<Originally read as a lecture at the University of Toronto back in
1982, this book is a rich tapestry depicting the strange, wonderful,
recondite, unexpected weaving of literature and the time-honored
symbolism within the tradition of still-life paintings.
Among the topics mentioned in the book:
1) Apple & pear as the Fall and the Redemption, respectively;
2) The recurrence of busts in still-lifes;
5) Poe's "The Fall of the House of USHER" and its connection
to the underworld by way of ORPHEUS, whose name means
'WILLOW' as does the old french 'ussier', thus 'USHER';
------------------------------------------------------------------
Greg Reynolds wrote:
> Art's an USHER in a theatre complex playing the same fifteen shows
> over and over and he leaves his walkietalkie on as he sweeps up
> popcorn and junior mints from aisle to aisle and then hits send.
--------------------------------------------------------------------
http://web.uvic.ca/shakespeare/Library/SLT/life/shactor.html
--------------------------------------------------------------
Ben Jonson puts him at the top of the list of the "principall
Comoedians" in _Every Man in his Humour_ , 1st acted in 1598:
Will Shakespeare. Ric. Bvrbadge.
Avg. Philips. Ioh. Hemings.
Hen. Condel. Tho. Pope.
Will.Sly. Chr. Beeston.
Will.Kempe. Ioh. Dvke.
----------------------------------------------------------------
19 periods...................
----------------------------------------------------------------
<= 19 =>
WillS hake spea ______ [r] eAvgP
hilip sHen Cond ______ [e] lWill
SlyWi llKe mpeR ____ [i] cBvrb
adgeI ohHe ming ____ [s] ThoPo
peChr *BEES* tonI _ [o] hDvke
----------------------------------------------------------------------
THESPRIO: You shall know; two lictors two *OSIER* bundles of twigs.
---------------------------------------------------------------------
THESEINSUINGSONNETSM [r] WHALL
HAPPINESSEANDTHATET __ [E] RNITI
EPROMISEDBYOUREVERL _ [I] VINGP
OETWISHETHTHEWELLWI _ [S] HINGA
DVENTURERINSETTINGF __ [O] RTHTT
---------------------------------------------------------------------
USHER, n. [OE. ussher, uschere, OF. ussier, uisser, O(is)SIER,
hussier, huissier, fr. L. ostiarius a DOORKEEPER, fr. ostium
a door, entrance, fr. os mouth.] 1. An officer or servant who
has the care of the door of a court, hall, chamber, or the like;
hence, an officer whose business it is to introduce strangers,
or to walk before a person of rank.
"The USHERs and the squires." --Chaucer.
"These are the USHERs of Marcius." --Shak.
2. An under teacher, or assistant master, in a school:
http://www.bb.com/looptestlive.cfm?bookid=533&startrow=1
<<Thomas Carlyle was born at Ecclefechan in the south of Scotland,
December 4, 1795. His father, a rigorous CALVINIST belonging to the
seceding "Burgher Kirk," was a STONE-MASON, a man of stern & upright
character with a gift of fiery speech. Thomas began his education at
home, went next to the village school, thence to the grammar school
at Annan, and in 1809 walked to Edinburgh, a hundred miles away,
and entered the University with a view to preparing for the ministry.
He was appointed mathematical USHER at Annan. But he hated teaching:
--------------------------------------------------------------------
1851 MOBY DICK; OR THE WHALE by Herman Melville
ETYMOLOGY
(Supplied by a Late Consumptive USHER to a Grammar School)
The pale USHER- threadbare in coat, heart, body, and brain; I see
him now. He was ever dusting his old lexicons and grammars, with
a QUEER HANDKERCHIEF, mockingly embellished with all the
gay flags of all the known nations of the world. He loved to dust his
old grammars; it somehow mildly reminded him of his mortality.
"While you take in hand to school others, and to teach them by
what name a whale-fish is to be called in our tongue leaving out,
through ignorance, the letter H, which almost alone maketh the
signification of the word, you deliver that which is NOT TRUE."
----------------------------------------------------------------------
James USSHER (1581-1656), 'NE VILE VELIS'
Archbishop of Armagh and Primate of All Ireland
http://www.daveola.com/Pages/World_Birthday_Party/Ussher.html
<<Barr (1985) has noted that the belief that Herod died in 4 BC
was widely known after Scaliger's work appeared in 1583, that
Bishop USSHER's date for the creation in 4004 BC was calculated
as exactly 4,000 years before that date, and that his chronology
was printed in Bibles after 1701.>>
<<[Archbishop James] USSHER worked within a substantial tradition of
research, a large community of intellectuals striving toward a common goal
under an accepted methodology. Today we rightly reject a cardinal premise
of that methodology - belief in biblical inerrancy. But what intellectual
phenomenon can be older, or more oft repeated, that the story of a large
research program that impaled itself upon a false central assumption
accepted by all practitioners?>> - Stephen Jay Gould
---------------------------------------------------------------------
<<'Ne Vile Velis' was originally the personal motto
of Thomas Neville, who lived from 1544 to 1614.>>
http://www.orientalrugsofbath.com/orbnevil.htm
NEVILLE, thy will ne-vile, or vain brings brings forth:
Sith vile things little, vain are Nothing worth.
<<NEVILLE achieved considerable status as Master of Trinity College
Cambridge and subsequently as Dean of Canterbury Cathedral. Such was
the trust & regard in which Neville was held that he was chosen by
the Archbishop of Canterbury for the important function of bearing the
united greetings of the clergy of England to King James in Scotland on
his accession to the throne. When King James visited him at Cambridge
in 1614, he stated that he was "proud of such a subject".
With the motto Ne Vile Velis, Neville was able to embody his personal
philosophy in a phrase that incorporated his own name (which he spelt
Nevile). It's meaning is essentially: "nothing distasteful or vulgar".>>
----------------------------------------------------------------------
King Henry VI, Part ii Act 5, Scene 1
WARWICK Now, by my father's badge, old Nevil's crest,
The rampant BEAR chain'd to the RAGGED STAFF,
This day I'll wear aloft my burgonet,
As on a mountain top the CEDAR shows
That keeps his leaves in spite of any storm,
Even to affright thee with the view thereof.
------------------------------------------------------------------
<<There is a sheet of paper printed ... concerning Ecstacies, that
James USHER, late Lord Primate of Ireland, once had: but I have been
assured from my hon. friend James TYRRELL, Esq. (his Lordship's
grandson) that this was not an ecstacy; but that his Lordship upon
reading the 12, 13, 14, &c. chapters of the Revelation, and farther
reflecting upon the great increase of the sectaries in England,
supposed that they would let in popery, which consideration put him
into a great transport, at the time when his daughter (the Lady
TYRREL) came into the room; when he discoursed to her divers things
(tho' not all) contained in the said printed paper.>> - John Aubrey
-------------------------------------------------------------------
The paper, by Peter D. USHER, professor of astronomy & astrophysics
at Penn State, presents evidence that Hamlet is "an allegory
for the competition between the cosmological models of Thomas
Digges of England and Tycho Brahe of Denmark." USHER says the paper
is significant because Shakespeare favors the Diggesian model,
which is the forerunner of modern cosmology. "As early as 1601,
Shakespeare anticipated the new universal order
and humankind's position in it," USHER states.
-----------------------------------------------------------------
http://www.sirbacon.org/links/parentage.htm
<<The former owner of New Place, the house Shakespeare bought for
60 pounds in Stratford in 1597, after only five years in London,
was William Underhill, the son of William Underhill(d. 1570)
of Inner Temple and kinsman of John Underhill,
a gentleman USHER to Francis Bacon.
William Underhill's stepbrother was William Hatton,
whose widow, Elizabeth, in 1597 was courted by Bacon.>>
Aubrey on Francis Bacon:
<<[Bacon's] Dowager married her Gentleman-USHER Sir Thomas (I thinke)
Underhill, whom she made deafe & blinde with too much of Venus.>>
----------------------------------------------------------------------
<<For some time [Shakespeare] had had his eye on New place, the 'praty
howse of brike and tymber' opposite the Gild Chapel and his old school.
The owner was William Underhill, 'a covertous and crafty man'
who stood out for a stiff price, and in May Shakespeare paid him £60
for the house with its two barns, two gardens and two orchards.
("UNO MESUAGIO DUOBUS HORREIS ET DUOBUS GARDINIS")
A FEW WEEKS LATER UNDERHILL WAS POISONED by his crazy son.>>
-F.E.Halliday _Shakespeare_ p.73.
----------------------------------------------------------------------
April 9, 1626 -- Francis Bacon dies at Lord Arundel's house Highgate
66 years old. Dodd says.
"Francis Bacon's death [was] on Easter Sunday..."
11 days after Francis Bacon's death, his widow marries
Sir John Underhill, "the gentleman USHER" of their household.
----------------------------------------------------------------------
"One Richard SMYTHE was Gentlleman USHER to the Queen
and in 1564-5 was Mayor of ABINGDON."
http://www.bodley.ox.ac.uk/external/cumnor/articles/inman-robsart.htm
<<The Spanish Ambassador reported that on September 11th the Queen
told the Court that Amy had broken her neck. On September 13th BLOUNT
wrote to Robert that the jury kept very secret; "and yet I do hear a
whispering that they can find no presumption of EVIL". Robert was also
assured by one SMYTHE, who seemed to be the FOREMAN, that so far as he
could see the death was a "very misfortune"; and from other contemporary
evidence it is clear that the verdict was that Amy died by mischance. As
Susan Doran points out the contemporary chronicler says this Smythe was
the Queen's man who was " put out of the house for LEWD behaviour.">>
---------------------------------------------------------------------
The History of Harps
http://www.harps.com/history_expanded.html
<<The history of the harp goes back thousands of years. The harp is the
oldest known stringed instrument. The piano, the guitar, the violin and
all other string instruments evolved from the harp. Throughout the ages,
the harp has had an impact on almost every culture. Harps have been
regarded as sacred and have been instrumental in the healing process, in
celebration of birth, as comfort in passing, and to make people feel
better. No other instrument has been so closely associated with so many
positive things - with a profound sense of beauty, with peace and
tranquility, with love, with enchantment, with goodness and with heaven.
The word "harp" comes from Anglo-Saxon, Old German, and Old Norse words
whose root means "to pluck". Scholars disagree as to what exactly a harp
is. The names early musicians gave their instruments are not be the
names we give those instruments today and the names of instruments in
the ancient world were interchanged. Harps in my definition are
multi-stringed-instruments, with open strings (no frets), where each
string plays one note and where the strings are plucked with the
fingers. This would include medieval harps, baroque harps; Irish harps,
Celtic harps, Spanish harps; Chinese harps, African Harps; as well as
related instruments like lyres, zithers, charach, citharas, psalteries,
arpas, yahz, cheng, kotos, koras and other stringed instruments. The
evolution of the harp conformed to paths of human migration and also
coincided with the development of musical scales in each culture.
The harps' development reflected physical, cultural and economic
environments such as trade, religion, environmental changes,
and technology at the time.
PREHISTORIC TIMES
No one really knows where the harp originated and we will never know
what music sounded like at the dawn of civilization. One of the earliest
musical instrument relics discovered showed a harp-like instrument on
rock paintings dating back to 15,000 BC, which were found in France at
the caves of Les Trois Freres. Many believe that the earliest harps came
from the hunter's bow. Perhaps while hunting, prehistoric man liked the
sound of the vibrating bowstring. Then a second string was added to the
bow, then a third. In the course of time, more and more strings were
added. Eventually, a gourd or a hollow area at one end of the bow
was added which became a sound box. This came to be known as
the arched harp of which the Egyptians later perfected.
ANCIENT EGYPT
Of all the musical instruments in ancient Egypt, the harp seems to have
been the most popular. In Egypt, some of the earliest depictions of
harps are from the Pharaoh's tombs dating some 5,000 years ago. The
hieroglyphs show that there were many harps in ancient Egypt. Music
played a great part in ancient Egyptian life. They regarded musical
instruments and music itself as originating from the gods. Harps were
used in harp ensembles, in festivities, banquets, funerals and temple
worship. The Egyptians played mostly Arched Harps - where the neck and
body form a bow-like curve or "C"-shaped arched" soundbox (the soundbox
is the body and resonator of the instrument.) The harps were mostly
played in a vertical position. The Egyptian Pharaoh Ramses III
(1198-1166 BC) had many harps depicted among paintings in his tomb.
In the New Kingdom, harps measured up to 6-1/2 feet in height with 19
strings and had to be played standing up. Many illustrations show the
hands are on different strings with wide gaps between the hands. In my
latest recording "Qualities", the actual acoustics from the Pyramids at
Giza, Egypt were used on my harps to make them sound as if
they were actually played inside these pyramids of ancient times.
MESOPOTAMIA
Harps were very popular in ancient Mesopotamia as they were in Egypt.
One of the earliest illustrations of a harp in early Mesopotamia was on
a vase found during an excavation of a Babylonian temple near the Tigris
and Euphrates Rivers. These harps were arched harps with 12 to 15
strings; like the instruments that were played in Egypt at about the
same time. Mesopotamian arched harps were played with the soundbox held
uppermost, whereas in Egypt, the resonator was held below. The
Mesopotamians later developed other types of harps. The angle harp
differed from the Egyptian arched harps in that the neck and the body
form right angles. Vertical harps also known as lyre harps (or just
"lyres") also began appearing in ancient Sumeria by 2800 BC. A lyre
usually had two arms (usually wood) extend out of the instrument's body.
The arms are connected at the top with a stick or crossbar to which
strings are wound. The strings are stretched from the stick crossbar to
the instrument's body. In box lyres, the body and belly form a hollow
wooden box; in bowl lyres, the body may be a tortoise shell, gourd or
carved bowl", and the belly is usually an animal skin.
PALESTINE & BIBLICAL TIMES
Much of the imagery and concepts of harps we have come from the Bible.
The harp is the first instrument mentioned in the bible. One of the
earliest archaeological finds showing a harp was near Jerusalem. A cave
drawing from the 3rd to 4th millennium BC, was discovered in Megiddo
that depicts a man playing a frame harp known as a "nevel". Legend has
it that the sound of the nevel is so sweet that when all the other
musical instruments heard it they became ashamed. In the Bible, Jubal
was "the ancestor of all who play the harp" (Genesis 4:21). The bible
mentions that King David was "skilled in playing the harp". David played
his harp as a shepherd while sitting in the fields and composing his
psalms. Although no one knows exactly what David's harp(s) looked like,
the Bible does say that David played very well and prevented King Saul
from going mad. "And David would take the harp and play with his hand.
Saul would find relief and feel better and the evil spirit departed from
Saul" (Samuel 16: 23). This seems to be the oldest recorded case of harp
therapy. Harp lyres were used in the Temple of Jerusalem as a regular
part of the worship service. One depiction of a harp that existed close
to the time of Jesus was shown on a coin called the "Bar Kochba coin".
On this coin is shown a small harp called a kinnor, the kind that was
probably used in the Temple Service. Legend has it that the Jews refused
to play the harp when they were exiled in Babylon. Instead the Harp of
David was hung upon the WILLOW trees. The harp of the Temple was forever
silenced and disappeared. Ancient Talmudic prophesy (Mas. Arachin 13b)
says that harps will USHER in the coming of the Messiah. "The harp of
the ten strings is reserved for the day when the world that is to come
(the Olam Haba) is united in one harmonious whole." In the last book of
the New Testament, Revelation 14:2 states "And I heard a voice from
heaven, as the voice of many waters, and as the voice of a great
thunder: and I heard the voice of harpers harping with their harps. "
ANCIENT GREECE
Some of the oldest carvings of harps were discovered in Phoenicia.
Eleven marble harp statuettes dating back to 3,000 - 2,300 BC were found
on the island of Keros in the Aegean Sea. These figurines are playing
triangular-shaped harps. The development of the harp also coincided with
the development of musical scales. In the 5th to 6th centuries BC,
Pythagorus discovered numerical ratios corresponding to intervals of the
musical scale. Greeks began to write songs based on these scales and the
small lyre harp was ideally suited to play songs in these scales. The
ancient Greeks valued the ideals of beauty and ethics and music played
an important part in Greek life. The Greeks considered the art of
playing musical instruments a principal part of learning. The lyre harp
lended itself nicely to the Greek ideals and later became the most
popular instrument in Ancient Greece. The classic Greek lyre harps were
called "Kithara" which was a term used for describing all kinds of harps
and lyres. The modern word "guitar" came from the word Kithara.
According to Greek mythology, Hermes created the harp lyre from the body
of a large tortoise shell, which he covered with animal hide; antelope
horns formed the posts. So beautiful was the tone that he presented the
instrument as an offering to the God Apollo. The lyre harp became
regarded as the instrument of Apollo, the god of music and harmony.
Lyres came to be associated with the higher Apollonian virtues of
wisdom, serenity, clarity, moderation and communication. In contrast,
the music of the Dionysians was performed on raucous reed instruments
with wild abandon. Greek mythology portrays ORPHEUS, the divine harp
lyre player, who charmed the Lord of the Underworld Pluto in order to
bring back his wife from the dead. Orpeus played this lyre harp to
inspire Jason and the Argonauts on their quest for the Golden Fleece.
It was ORPHEUS' melodies that blocked out the brainwashing sirens
intent on inciting listeners to their destruction The Greeks are credited
with inventing the Aeolian harp, a harp played by the wind. It was
named for Aeolus, the Greek god of the wind. In my recordings,
the sounds of Aeolian harps produced by the wind on Orcas
Island can be heard vibrating the strings of my harp.>>
-----------------------------------------------------------------------
http://www.dreamscape.com/morgana/metis.htm
<<The Prieure du Notre Dame du Sion, or Priory of Zion,
brought itself to light in 1956 under the subtitle
"Chivalry of Catholic Rules and Institutions of the Independent and
Traditionalist Union," which in French abbreviates to CIRCUIT -
- the name of the magazine distributed internally among members.
"Nautonnier" or Grand Master of the Order being, till 1963, Jean
Cocteau. While it is believed the head has been Pierre Plantard de
St.-Clair up until recent times, he claims to have left that post in
1984, so it is not clear who runs the organization at this time. But
whoever he is, he has had illustrious predecessors: Jacques DeMolay,
Leonardo de Vinci, Isaac Newton, and Claude Debussy, among others!>>
---------------------------------------------------------
the 'Debussy Chronology'
http://www.geocities.com/stephenvincent/debussychrono.htm
1862- Achille-Claude Debussy bom at 38 rue au Pain,
Saint-Germain-en-Laye on August 22
1886 Reads Morias, Verlaine, Baudelaire, Shelley, and SHAKESPEARE.
Accepts order to write music for Vaucairc's adaptation of As You Like It.
1887 Printemps composed, February, criticized at the Academie for its
'vague impressionism', December. Returns finally to Paris, living with
his parents. Reads MAETERLINCK's La Princesse Maleine.
Begins a symphony on POE's Fall of the House of USHER.
Writes music for a scene of Viffiers de l'Isle Adam's AXEL.
c. i889 Liaison with Gabrielle Dupont.
1890 Piano pieces Reverie, Valse Romantique, & Nocturne published.
Writes Suite Bergamasque for piano.
1891 Following an emotional crisis, plans again to go to London,
February. Attends benefit performance for Gauguin and Verlaine at the
Theatre du Vaudeville. Sees MAETERLINCK's L'Intruse, preceded by
recitations of poems of Poc, June. Requests permission from MAETERLINCK
to set La Princesse Maleine. Marche des anciens comtes de ROSS for piano
duct published.
1893 Meets Oscar Wilde at the home of Georges Louis, February. Hears Die
Walkiire at the Opera, May. Hears MAETERLINCK's Pellias et Melisande.
Visit to MAETERLINCK at Ghent. Receives financial support from Prince
Poniatowski.
1894 Plays an arrangement for piano duet of Rimsky-Korsakov's Capriccio
Espagnol at the Societe Nationale,20 January. Accompanies Therese Roger
in De Fleurs and De Soir, Society Nationale, 17 February. Receives 1,ooo
francs for piano performance of the first act of Parsifal at a society
gathering at the home of Henri Lerolle, February. First concert of
Debussy's works conducted by Ysaye, and given at an exhibition of
Impressionist paintings and the Art Nouveau at the Libre Esthetique,
Brussels, March. Prelude a' l'Apres-midi d'utn faune, completed,
September; performed 22 December at the Societe Nationale conducted
by Gustave Doret, and attended by Mallarme and Pierre Louys.
1895 First version of Pelleas finished, spring.
1896 Works on ballet on subject of Daphnis & Chloe, the scenario by
Pierre Louys derived from Oscar Wilde. Work begun on La Saulaie
(Rossctd's WILLOW-wood). Play, Les Freres en Art, begun.
1898 Haunted by thoughts of suicide, March-April.
1902 Plans stage work on POE's tale The Devil in the Belfry June.
journey to London where at the invitation of Andre Messager he stays
at the Hotel CECIL, 12 July. Plans a version of _As You Like It_.
1903 Project to set MAETERLINCK's Joyselle.
1904 Leaves Lilly Debussy for Madame Bardac, ' June. Hears Sarah
Bernhardt and Mrs. Patrick Campbell in Pellias et Milisande, London,
July. At Jersey with Madame Barclac. Masques composed. At Dieppe with
Madame Bardac, August/Septcmbcr. L'Islejoyeuse composed, September.
Moves with Madame Bardac to 10 Avenue Alphand and later to 8o Avenue
du Bois de Boulogne, Paris, September-Octobcr. Attempted suicide
of Lilly Debussy, 13 October, announced in Le Figaro.
1905 Piano score of La Mer completed, 5 March.
Madame Bardac divorced, May 4.
Stays at Eastbourne with Madame Bardac, August. Divorced from Lilly
Debussy, 2 August. Birth of daughter, Claude-Emma ('Chouchou'), 30 Oct.
1906 Lunches with Richard Strauss, 25 March.
Publication of Serenade a la poupee.
1907 Goes to Brussels for first performance of Pelleas, 9 January.
Death of Madame Bardac's uncle, the financier OSIRIS, in whose
will she is disinherited, 4 February. Debussy suggests to Segalen
a libretto on the subject of ORPHEUS, 26 August.
1908 Married to Emma Bardac in Paris 20 January. Conducts L'Apre's-midi
d'un fautne and La Mer at Queen's Hall, London, 1 February. Returns to
La Chute de la Maisois USHER, now conceived as an opera, June. Signs
contract for productions at the Metropolitan Opera House in New York of
USHER, Le Diable dans le Beffroi, and La LI , gende de Tristan, July.
1909 Goes to London to conduct L'Apre'smidi d'un faune and Fetes at
Queen's Hall, 25 February. Debussy goes to London to superintend
rehearsals of Pellias given at Covent Garden, 2iMay. Composes Hommage
a Haydin, July. Writes the scenario of Masques et Bergamasques for
Diaghilev. Works on scenario and music of La Chute de la Maison USHER.
Hears Stravinsky's L'Oiseau defeu in Paris, 25 June. Meeting with
Stravinsky at Bellevue at the home of Laloy, June.
1916 First performance of NoEl des enfants
given byjane Monjovet, 9 April.
Final version of libretto of La Chute de la Maison USHER completed
1918 Death at his home in the Avenue du Bois de Boulogne in Paris,
25 March. Burial at Pire-Lachaise cemetery on 28 March,
the eve of Good Friday when shells from the German gun
'Big Bertha' fell on the Church of Saint-Gervais.>>
---------------------------------------------------
Art Neuendorffer
Art Neuendorffer
http://www.marie-stuart.co.uk/France/Amboise.htm
<<Exterior Interior Gargoyles
The Royal Château of Amboise, today the property of the Saint Louis
Foundation presided over by His Grace the Count of Paris, relates two
thousand years of history. During the dark centuries from ancient times
to Middle Ages, wooden and stone fortifications flanked the rock spur
of Amboise between the Loire on the northern slope and the Amasse river
to the South. Victim of successive attacks by the Dukes of Anjou and
the Counts of Blois, it was besieged by Philippe-Auguste in 1234.
The château was entrusted to a vassal of the king: the House of
Chaumont-Amboise. In 1431, Louis d'Amboise was condemned to death for
having plotted against La Trémouille, the favourite of Charles VII.
The traitor was pardoned and his château restored to the Crown. Valois
and Bourbons honoured Amboise with their presence until the Revolution.
Louise-Marie-Adelaide de Bourbon-Penthièvre passed on the prestigious
residence to her son Louis-Philippe in 1821, the château henceforth
remaining the legacy of the House of France.
The refuge of Charles VII at Bourges marked the beginning of the
installation of the kings in the Loire Valley. The court was set up
at Loches and Chinon while fortified Amboise (15th century watch-tower)
housed the "Francs-Archers". Between façade and watch-tower stands the
residence of the Queen and the Dauphin Louis XI, who was born in Amboise
in 1470. Access is via the approach ramp and drawbridge. The chapel, set
astride the surrounding wall, also served as oratory. On 1st August
1469, the king instituted the Order of Saint-Michel in the collegiate
church of Saint-Florentin (destroyed in the 19th century), located in
the park of the château. In 1492 the king Charles VIII levied a tax to
finance the construction of two ranges of buildings and a walkway...
In 1496, on his return from the Italian campaign, work was well in
hand on a number of projects, including the round,
"Tour des Cavaliers" or horsemen's tower, and the king's apartments.
The Italian style took hold: the château was opened out to
the East onto a garden designed by Pacello da Mercogliano.
King Louis XII resided in his fief of Blois, while his young cousin and
heir, François d'Angoulême was brought up and educated in Amboise. He
resided with his mother Louise de Savoie in the new wing built at right
angles. Heir apparent to the throne, the carefree childhood years of
François I were followed by victory at Marignan and a bevy of Court
favourites (François de Châteaubriand). The fascination for the
Renaissance, with its classical influence and humanist ideals, brought
with it a radically different style in decoration and architecture:
the East façade of the perpendicular wing was enhanced by pilasters,
string-courses, cornices and scallop mouldings between the dormers,
influenced by the designs of Italian architects. Invited to Amboise in
1516 by François I, where he was lodged in Le Clos Lucé and granted a
pension, Leonardo da Vinci perpetuated the mystique and organised the
royal festivities. He died on 2 May 1519 after having expressed the
desire to be buried in the collegiate church of the Château d'Amboise.
Henry II in line with fashionable Italian design, doubled the building
on the eastern side, with its antechamber - bedchamber - privy and
wardrobe. The château was at that time five times bigger than it is
today. Catherine de Médicis made her joyous entry into numerous royal
cities, hoping for a reconciliation between Catholics and Protestants.
During the religious turmoil, Amboise kept a strategic silence.
The wrought iron balcony of the château bears witness to the Amboise
Conspiracy of 1560, an ill-fated HUGUENOT plot against François II.
Visitors are shown where the corpses of 1200 conspirators
were hung from iron hooks on the façade of the château.
The Tour des Minimes, the château's original entrance,
is famous for its huge spiral ramp up which horsemen
could ride to deliver provision.>>
-----------------------------------------------
http://home.eckerd.edu/~oberhot/feud-anjou.htm
<<This fragment of a history of the counts of Anjou (Fragmentum historiae
Andegavensis) was translated by Geoffrey G. Koziol (University of
California - Berkeley) and is reproduced here with his permission (2/27/04)
"From Chroniques des comtes d'Anjou et des seigneurs d'Amboise, ed.
Louis Halphen and René Poupardin (Paris, 1913), pp. 232-38. "
Professor Koziol's introduction: "In spite of its brevity, this is one
of the most important texts of the early middle ages, partly because it
deals with the history of one of the most powerful principalities in
early Capetian France, but especially because it is one of the few texts
(only one other is known to me) written (or more accurately, dictated)
by a lay lord and not by a member of the clergy. The history was
written by Count Fulk le Réchin in 1096 (Fulk IV), for reasons unknown.
If we read it carefully, it should give a rare glimpse into the way
an eleventh-century count actually thought
(and spoke, though not necessarily in Latin:
the scribe could have translated from the French)."
"Fragmentum historiae Andegavensis"
"I, Fulk, count of Anjou, who am the son of Geoffrey of Château-Landon
and Ermengard, daughter of Fulk, count of the Angevins, and nephew of
Geoffrey Martel, who was the son of the same man, my grandfather, Fulk,
and brother of my mother, after holding the county of Anjou for
twenty-eight years as well as the counties of Tours, Nantes, and Le
Mans, desired to commit to letters how my ancestors gained their honor
and held it up to my time, and then how with the aid of divine mercy I
myself held the same honor. (1)"
"And so, those ancestors of mine, as my uncle Geoffrey Martel told me
himself, were the bravest of counts. Their names are as follows: first
Ingelgerius; second Fulk the Red, his son; then Fulk, called the Good;
afterwards his son, Geoffrey Greymantle. These four held the honor of
Anjou, wresting it from the hands of the pagans and defending it from
Christian counts. And Ingelgerius held this honor first from the king of
France, not from the line of that impious Philip, but from the children
of Charles the Bald, who was the son of Louis, son of Charles the Great
(2)."
"We cannot give worthy commemoration to the virtues and deeds of these
four counts, since they lived so far in time from us and since even the
places where their bodies lie are unknown to us. We can only record
thosewho are closer to us, that is, my grandfather Fulk, and his father
Geoffrey Greymantle, and my uncle Geoffrey Martel."
"So, this Geoffrey Greymantle, father of my grandfather Fulk, whose
outstanding deeds we could not possibly list, seized Laudun from the
hand of the count of Poitou and defeated him on the field of battle on
the Roches, and pursued him all the way to Mirebeau. And he drove the
Bretons to flight when they came to Anjou with a marauding army. Their
dukes were sons of Conan. And later he was with Hugh in the siege of
Marçon, where the illness from which he died seized him. And his body
was brought to Tours and buried in the church of St. Martin."
"He was succeeded by his son Fulk, my uncle, whose courage was great and
admirable. He acquired the county of Maine and added it to the county of
Anjou; and he built several castles on his land, which had remained
deserted and reverted to woods on account of the savagery of the pagans.
So in the county of Tours he built Langeais, Chaumont, Montrésor, Saint-
Maur; in Poitou [he built] Mirebeau, Moncontour, Faye, Montreuil,
Passavant, Maulévrier. In Anjou he built Baugé, Château-Gontier, Durtal,
and many others which it would be tedious to list. He also began the
castle of Saumur in that time when Count Odo [of Blois] came to Anjou
with his army and built his castle on the Onglée between the same city
and the river Loire. Fulk also fought two great battles in the open
field: one on the plain of Conquereuil against Conan, count of Brittany,
near the city ofNantes, which Conan tried to take from him. Conan
himself died in this battle along with a thousand of his knights
[equites]. He fought the other battle against the said Odo, a most
powerful count, on the river Cher, at Pontlevoy. Here was great
slaughter of Gauls and Angevins. Count Herbert called Wake- Dog (3)
fought with him in this battle of Le Mans, where by the grace of God he
came away the victor. He built two abbeys: one in honor of St. Nicholas
near the city of Angers, another at the castle of Loches, which is
called Beaulieu, in honor of the Lord of the Holy Sepulchre. He went to
Jerusalem twice. On his second trip he left human cares (4) around the
feast of St. John, in the year from the incarnation of the Lord one
thousand forty. His body was brought to the said abbey of Beaulieu and
was buried there in the chapter."
"And so his son, my uncle, that is Geoffrey Martel, succeeded him. His
courage and skill in worldly matters were greatly praised throughout the
entire kingdom of France. Already during his father's life he was a
knight [miles], and he tested his new knighthood against neighbors in
two battles: one at Moncontour against the Poitevins, where he captured
the count of Poitou, and another against the men of Maine, where he also
captured the count, who was called Herbert Bacon. He also made war
against his father, in which many bad things were done, for which he
later did penance. But after his father left this life, upon returning
from Jerusalem, as was already said, he took possession of the land of
his father and the city of Angers, and he began a war against Theobald,
count of Blois, that is, the son of Count Odo; and at the will of King
Henry he received from the same king the city of Tours as gift. For this
reason the war between him and Count Theobald worsened, and they engaged
in battle between the city of Tours and the castle of Amboise, and
Theobald was captured and with him up to a thousand of his knights
[equitibus]. And so he received the city of Tours and the castles in his
area: Chinon and Isle and Châteaurenault and Saint-Aignan. But the other
part of the county of Tours belonged to him by paternal possession (5).
After this he had a war with William, count of the Normans, who later
gained the kingdom of the English, and was a great king [rex
magnificus]; and also with the Gauls, and with the men of Bourges, and
with William, count of the Poitevins, and with Haimeric, viscount of
Thouars,and with Hoël, count of Nantes, and with the counts of the
Bretons who held the city of Redon, and with Hugh, count of Le Mans, who
withdrew his fealty. Because of all these wars and because of the daring
with which he fought them, he deserved his name of Martel (6), since he
smashed his enemies. At the end of his life he girded me, his nephew, as
a knight [ornavit in militem] in the city of Angers on the feast of
Pentecost, in the year of the Lord's incarnation one thousand and sixty,
and he committed to me the county of Saintes with its city, on account
of a war that he was waging with Peter of Didonné. I was seventeen years
old when he made me a knight. Also, in the same year King Henry died, on
the anniversary of St. John, and my uncle, G., died in a good end on the
third day after the feast of St. Martin. In fact, on the night before
his death, he put aside all cares of worldly knighthood [militie
secularium] and was made a monk in the monastery of St. Nicholas, which
his father and he had built with much devotion and endowed with their
property."
"He resigned his honor, which he had defended from outsiders and held
securely with great peace and wealth; and so it passed into [a time of]
considerable troubles, since a fight arose over it between me and my
brother. We carried on this struggle for eight years, often making war
and making truces in between. Finally, on the order of Pope Alexander
[II], I released by brother from the chains in which I had held him; but
he again attacked me, putting up a siege around a castle of mine called
Brissac, where I rode against him with those barons [proceres] whom the
mercy of God had given me, and I fought him on the field of battle,
where by the grace of God I defeated him. He himself was captured and
handed over to me, and a thousand of his people [civibus] with him. Then
I received the county of Anjou and Tours and the castle of Loches and
Loudun, which were the capitals of the honor of the counts of the
Angevins."
"I held that honor for twenty-eight years, up to the time when I decided
to make this writing. In these twenty-eight years and in the other eight
that preceded them, if you want to hear what I did, continue on with
what I will write and you will know what happened [que facta sunt]. But
before I go on with them, I want to recall some signs and prodigies that
happened just this last year, not only those affecting our people, but
those throughout the kingdom of Gaul, as matters afterwards revealed.
For in that time stars fell from the sky onto the earth as if they were
hail. Many of those who saw it were struck with wonder, and many with
terror. This sign was followed by a great death among men throughout the
entire kingdom of France, because the harsh weather left no food, so
that even in our city of Angers a hundred of our barons [primatibus]
died and more than two thousand of the lesser people [minoris plebis]."
"At the end of this year, towards Quadragesima (7), the Roman pope,
Urban [II], came to Angers and instructed our people that they should go
to Jerusalem to fight the gentile people who had taken over that city
and all the land of the Christians up to Constantinople. Then in
Septuagesima (8), the church of St. Nicholas was dedicated by the same
pope and the body of my uncle G. was translated (9) from the chapter
into the church itself. The pope also established and ordered by edict
that on the date that he had performed the dedication, a public holiday
be celebrated every year at Saint-Nicholas, and that a seventh of the
penances of the people gathering for that feast should be remitted.
Leaving there, he went to Le Mans and then to Tours; and there, after
issuing decrees in an august council, in the middle of Quadragesima he
was crowned and then led in solemn procession from the church of St.
Maurice to the church of St. Martin. There he gave me a gold coin that
he held in his hand, which I, in thanks and in memory and love of him,
established should always be carried by me and my successors. After his
departure, on the following day, Palm Sunday, the church of St. Martin
was burned. The pope himself went on to Saintes and celebrated Easter
there. . . . (10)"
Notes:
1) Actually, only the first part of Fulk's history, that dealing with
his ancestors, survives. The second part in which he spoke of
his own reign has never been found.
2) Charles the Great, i.e., Charlemagne. In the tenth century, two kings
ancestral to the later Capetian line ruled France in place of the
Carolingians (Robert I and Raoul of Burgundy). Fulk's point is that the
counts of Anjou received the county from the Carolingians, not these
ancestors of the Capetians. The editors believe that Fulk's hostility to
the reigning King Philip I and his ancestors reflected the fact that
Philip had seduced Fulk's wife and was living with her. Other
historians, however, believe that Fulk bore no hard feelings to Philip,
since he had his own mistresses, but this makes Fulk's statement here
puzzling.
3) Count of Maine, whose chief city was Le Mans.
4) I.e., he died.
5) I.e., he inherited it from his father's line.
6) Meaning "the Hammer."
7) I.e., towards the beginning of Lent. There were several different
ways of dividing the years, one of the most common being at Easter.
8) Feb. 10, 1096.
9) I.e., moved. The term is a formal one, used when transferring
bishops, the relics of saints, and here, oddly, the body of a
count, from a place of lesser honor to a place of greater.
10) The manuscript breaks off at this point.>>
-------------------------------------------------------------
Art Neuendorffer
lyra
Art Neuendorffer wrote:
(quote)
upon returning
from Jerusalem, as was already said, he took possession of the land of
his father and the city of Angers, and he began a war against Theobald,
count of Blois, that is, the son of Count Odo; and at the will of King
Henry he received from the same king the city of Tours as gift.
.........................................................................
Bonjour ! Vendredi 8 juillet 21:15:16 Saint Thibault ,
offrez-lui des fleurs
lyra
(quote)
and another against the men of Maine, where he also
captured the count, who was called Herbert Bacon.
.................................................................................
Herbert Bacon?
is this a French name I wonder.