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The Garden of Earthly Delights is one of the best known works of the Dutch painter Jheronimus Bosch (el Bosco). It is an oil-painted triptych on a 220 x 389 cm panel, composed of a central panel of 220 x 195 cm and two lateral panels of 220 x 97 each (painted on both sides) that can be closed on it. It is considered the pictorial work with more characters in its content and hosts many enigmas worthy of knowing and thoroughly review.
The first written reference to "The Garden of Delights" dates from 1517, when the Italian canon Antonio D'Beatis wrote in his diary "There were some panels in which strange things have been painted, they represent people coming out of a shell, others that they ride birds, men and women, black and white, doing all kinds of activities and poses ", after accompanying the Cardinal of Aragon on a visit to Brussels, Belgium.
The Dutch painting, made between 1490 and 1510, is a vision of sin and morality and the devil is in the details. In the part of the triptych that represents Hell there is written a song written musically on the back of one of his characters. The student Amelia Hamrick transcribed the melody. This particular individual seems to have been crushed by a giant harp encrusted on a lute, before an audience of nuns, monsters and a character that looks like a toad. The score is not the only musical brushwork of
The Garden of Earthly Delights is one of the best known works of the Dutch painter Jheronimus Bosch (el Bosco). It is an oil-painted triptych on a 220 x 389 cm panel, composed of a central panel of 220 x 195 cm and two lateral panels of 220 x 97 each (painted on both sides) that can be closed on it. It is considered the pictorial work with more characters in its content and hosts many enigmas worthy of knowing and thoroughly review.
The first written reference to "The Garden of Delights" dates from 1517, when the Italian canon Antonio D'Beatis wrote in his diary "There were some panels in which strange things have been painted, they represent people coming out of a shell, others that they ride birds, men and women, black and white, doing all kinds of activities and poses ", after accompanying the Cardinal of Aragon on a visit to Brussels, Belgium.
The Dutch painting, made between 1490 and 1510, is a vision of sin and morality and the devil is in the details. In the part of the triptych that represents Hell there is written a song written musically on the back of one of his characters. The student Amelia Hamrick transcribed the melody. This particular individual seems to have been crushed by a giant harp encrusted on a lute, before an audience of nuns, monsters and a character that looks like a toad. The score is not the only musical brushwork of El Bosco in this work. In The Garden of Earthly Delights, the triptych divided into the panels Paradise, Lust and Hell that is exhibited at the Prado Museum, various musical instruments are used as torture tools for sinners. in fact the panel of the condemned, is also known as "The musical hell". There are about ten instruments represented in the picture that produce an unbearable sound. Inside the drum there is a sinner that a monster hits with a bass drum while the flute is stuck in the ass of another condemned.
The song "The Butt of Hell", 500 years old, is a fascinating piece: played in lute, harp an organ, or interpreted as Gregorian chant, the music rises beyond a small portion of the third panel of the picture.
That's where the genius of the painter resides, which is able to encompass in a pleasant landscape at first sight, a parallel reality in which we can observe small details that reveal unexpected things.
in this work. In The Garden of Earthly Delights, the triptych divided into the panels Paradise, Lust and Hell that is exhibited at the Prado Museum, various musical instruments are used as torture tools for sinners. in fact the panel of the condemned, is also known as "The musical hell". There are about ten instruments represented in the picture that produce an unbearable sound. Inside the drum there is a sinner that a monster hits with a bass drum while the flute is stuck in the ass of another condemned.
The song "The Butt of Hell", 500 years old, is a fascinating piece: played in lute, harp an organ, or interpreted as Gregorian chant, the music rises beyond a small portion of the third panel of the picture.
That's where the genius of the painter resides, which is able to encompass in a pleasant landscape at first sight, a parallel reality in which we can observe small details that reveal unexpected things.
Sometimes a city does not represent a flag or a shield but it can be represented by a monument or building that transcends the place it is located. When we see the white shells pointing to the southern sky from a building by the sea we think: "The Sydney Opera House", although few know all the controversy that generated.
Behind what is now the Sydney Opera House there is much of the above, and today we are going to talk about the curiosities of this building that Unesco declared "World Heritage" in 2007 and which is the most photographed in Sydney.
In March of 1791 there was already a first function in the place where today the Opera is based, made by an aborigine named Bennelong for the governor of Australia and his companions. Bennelong, who was even taken to England, became the translator of the governor and mediator with the Indians. In his honor, that strip of land was named "Bennelong point". 30 years later, in 1821, a fort in the shape of a castle, Fort MacQuarie, was built in Bennelong Point.
In 1901 the bridge was demolished and a set of naves, in the shape of a castle, was built for the tram machinery, called Fort MacQuarie Tram Depot. Eugene Gossens, director of the Symphony Orchestra of Sydney, pressed from the late 40's to get the construction of a building to accommodate the opera and music companies. It is not until 1955 that it is announced that a new building for the opera and one for the symphony will be built in Bennelong Point and it is decided to hold an international contest to choose the design of the work. In December of 1956 the deadline for the delivery of works for the contest ends, having received 233 designs from some thirty countries (including Kenya and Iran).
It is said that the winning design, after 10 days of deliberations, by 4 judges, was rescued from among those who had been discarded by one of the members of the court. It was number 218 and it was signed by a Danish architect, Jorn Utzon, who had never been to Sydney. With the contest won 5000 pounds of the time for a project to build in 4 years and that was budgeted in the equivalent of 7 million Australian dollars. In 1957, the NSW government launched a lottery to finance the works.
In 1959, ten thousand workers got down to work and the construction of the project began before the problems of construction of some parts of the building were solved.
In 1960, with the building with little more than a foundation, the first concert took place when Paul Robertson sang to the workers on the scaffolding.
In 1966, Jorn Utzon, leaves the project and Australia. Three Australian architects are appointed to continue it. The gossips say that only one of them devoted himself body and soul to the project, while the other two dedicated themselves to raising fame.
Already in 1973 Queen Elizabeth II officially opens the Sydney Opera House and thus closes the curtain for the works on scaffolding and opens the curtain for the works on stage.
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