Pictorial letters: van Gogh

The portrait the human being that we can’t know now, as Vincent van Gogh(1853-1907) a painter very famous, that has found his  vocation for the painting after together works, as the merchant, preacher and other, but we can know him trough the letters, we can know his wit, that was very complex; the first of these clues is a letter to his brother, Theo, that has endowed Vincent in his country, Dutch and board, in France, when he in year 1880 by now lover of painting, he discovered the sun in years 1886; anyway in this letter he says: “Dear Theo, you are almost extraneous…”it is a sign of psychotic withdrawal ; and this opinion is held from a step of this letter: “For this I am convinced that is very better and more logic to take is to go away as I not exist”; This detachment is motive  for confirm my opinion, because also in a room is possible paint and with other persons, and the following of this letter we can understand the will, is a need of family that shows also an weakness  of character, very important, and this confession is very meaningful: “I am an instinctive  man that makes things more or less rational, and after I repent”;  it is the instinct that he has described summery after.. But Vincent expressed also the will of new because he confesses that he wanted read, almost vital  need, and for the painting: “When I was in other environment  of artistic things, you know that I have took for that environment  a passion, that became enthusiasm...”; the necessity of novelty is clear in this step: “But what is your sake? You would say; it is clear very slow and certainly, as a sketch and the sketch become a painting, gradually, we work intensely, gradually, the first idea is in depth…”; it is the need of novelty , because during the creative process, the new evolution comes always. But some from same letter  emerges also a capacity of Vincent of psychological analysis: “Now one motive for I am an inadequate for motive that  I am during years inadequate, it is simply because I have different ideas of those of lords that give the labor to the guys that think has them. It isn’t simply of cloth…”; the capacity of Vincent of analyze herself  and also other ids evident. The Dutch wit of merchant is in this step: “After is other type of idler, idler compelled, that is consumed  from deeply from a great desire of action and that makes not something, because can’t make it…as a bird in the cage that must be there, other birds can say about him that he is idler, but he would go out”. This letter is a document of personal wit that confesses also the very unknown, and certainly trough the painting we can’t know.

Alessandro Lusana    

 

 Ancient name but the new history: Louis 18^th

The reign of Louis 18^th, king of France(1755-1824) is the continuation of return to order of Napoleon, except the return to Napoleon on the France , in year 1815, a short time  called of hundred days; anyway excluded this short Napoleonic presence, Louis 18^th has continued the Napoleonic policy, of reign of Napoleon, not declared but effective ; it is a lesson of history that Louis 18^th has understood  , because a read  to the constitution  of Louis 18^th is very explicative of this concept; he has balanced the regal power to the Napoleonic, or revolutionary rights: in fact the new constitution, regard to privileges “…are deleted regard to social class”; it is  the first clue of the change of policy, because  the Revolution burst for these class privileges, hence Louis 18^th has learned that  it is motive for  the radical and revolutionary change; inasmuch the first cause must be abolished; the freedom of cults, by now the Revolution has past, hence the Napoleonic freedom must remain, although Napoleon has had the strong control on the bishops, but the catholic cult was recognized of major religion in France, that in the constitution of 1814 became the religion of French State; but the freedom of other cults were tolerated; the change of Napoleon; the change from Napoleon to Louis 18^th, regard the policy were very short; in fact the religious policy was took from the Napoleonic code, in the constitution of Louis 18^th we can find the same concept expressed from the code, above all the national goods, that the State can expropriate but alone for the public use; the same article that the Napoleonic code has used; and regard to expropriation of Revolution, that in 2th November 1789, the national assembly had declared that the goods of the Church are expropriated because the public balance was very serious; hence the same concept that both Napoleon  and Louis 18^th have expressed, the good can be expropriated  for the national motive and in conformity of Napoleon has inserted  in his code and after the fixed to Pious 7^th  pope. It is  a historical lesson that Louis 18^th  has learned very good, because he has  also kept the National assembly , but limited fro the election, from the richness; in short he has took from ancient regime and he has used the new wit of Napoleon, and naturally of Revolution, that he has limited, as Napoleon, for its extremism. Thence we can think Louis 18^th as the more monarchic of Napoleonic. Explicative are some words of Louis 18^th : “…neither the new, nor ancient of laws that is going to be merit and the their true useful. When I have reduce everything to public useful, and I haven’t spook about the justice to everybody, and it is alone is the true public good…”; it is certainly aren’t alone beautiful words, but a concept, that during the reign of his brother, this is Louis 16^th aren’t, because the unique interest were of aristocracy and clergy, hereby the time and moral were changed, the history has been a irreplaceable master. And also the following words are meaningful: “…the freedom, this words whose very much has abused everybody is enclosed, and for its exception, it isn’t less important for the king than for the citizen”. Certainly the Revolution has learned very much.

. Alessandro Lusana

 Schematize is the potential act

If we think something , truly we make a scheme, this is  the synthetic form and image that in reality is very different , because we after enrich of particulars that aid us  to make clear the scheme, that before is very poor, but that is necessary to stop the idea and image; hence  our procedure to beginning is alone a scheme, for example an architect he begins trough the elementary forms, that after he enrich with particulars that  in primary scheme aren’t; the same intellective process is to the writer, that find an idea in reality or in his read  and after he enriches  trough the particulars, but by beginning it is alone a scheme, a synthetic form that has potentially everything necessary; this scheme not hold the universal , this is the absolute idea made, but alone the particular, this is the reality that is alone the beginning of other particular, a hinted a reality that is alone  the synthetic  composition of more complex reality, that trough  progress become idea ended, but now it is in potential, in conformity of opinion of Aristotle, it is alone the τέλος, this is ended is successive, although the particular means the universal, but in potential, and can’t be  exist an universal already ready, because it would means that the scheme isn’t, but it is present always in concept, in brain and after it becomes the finished act, but alone potentially because the ended act, this the τέλος is future, but it is alone potentially, the scheme is potential  universal as above, and universal that, I repeat, isn’t metaphysical but alone real, although partial real because the scheme is alone a hint, that is graphic  or verbal but alone  hinted, hence it is  alone a summary image of all, that after becomes act. Same dynamic of allegory, that is always a potential act, but again summary, because the meaning is hide and we must find it; inasmuch the allegory alone partial because it gives to us the image but it not explains why this image, for example the allegory of Dante Alighieri(1265-1321), that entered  to a dark wood, in Divine Comedy, it is an allegory, that after Giovanni Boccaccio(1313-1375) has explained as the sin, but without Boccaccio we, may, interpreter this wood a natural production; whereby the Boccaccio is the act of potential, this is the end of meaning. Same dynamic  of symbol, from ancient Greek σϋμβάλλω. Set together; the potential valor of symbol is similar to allegory, because it is a valor  certainly real but hints to other, thence is partial, because the particular, this is real can, differently from the allegory, referrers to material earth or metaphysical , for example: a cross is symbol of a religion, this is the Christianism, hence it refers to a God that is universal, the material cross is alone half of  meaning, but the cross is alone material, although it refers to a metaphysical concept.

Alessandro Lusana

 The theological heritage

Some book on the ancient Egypt is very important because has some note that can illustrate the human origin of the human Greek gods, a step of a book on Egypt, says: “Every action, also the more daily, has had a cosmic sense as: to plough, to sow, to product the bear, make the ships, make the war, paly these actions have seen as the actions of divine activities. In ancient Egypt the religion was so known that not needs neither of a name. For the Egyptian was not the difference between holy and daily…”; it is the totalitarian religion of ancient Greek, and the human nature of gods of Greek is took from the ancient Egypt. But the ancient Greek humanized the gods because the Egyptians has had a very severe hierarchy, that after the ancient Greek has took that their was necessary to theology, Zeus Jupiter, that was the first god of ancient religion is a translation direct or indirect, but anyway humanized, of Amen-Renef, that was everywhere and nothing could exist without him; this concept is more interesting because the ancient Greek managed to humanize the divinities that in ancient Egypt was alone nominated and whose essence is unknown. For the ancient Egyptian before of creation was alone an liquid abyss; a notation of nothing importance, but we must consider that this emptiness was translated as the Saturn that eats his sons, this the time that killed the man. The chaos, that was before of creation, was determined from the compression of matter, the atoms was gather; this note can gives to us a suspect about the Heraclitus, that tells about the atoms and about to the gather for some scheme. The voice furthermore has a valor very important, the Book of died says: “I am eternal, I have created the verb, I am the verb”, the verb is the voice and in ancient religions, Greek and Roman, but the voice is a trough of cosmic energy, a tool necessary to make in reality. The divine voice transformed the matter in the universe, ordinated, different, and given to them the objects forms. A notation about the language, because the ancient Egypt called the not creation state Nun; it is important because νοϋς, this intellect, something that can be imagined but isn’t real; hence the state of precreation can be imagined but isn’t real. The phase between the unconscious to conscious awareness of man, this is in ancient Egypt from the absolutely absence of every awareness to awareness of themselves, fro the ancient Greek, in religion, became the childhood of Jupiter to awareness of his importance and the imprisonment of Saturn. In other ancient religious text of Egypt it says: “I am much names and much forms”; it is the origin of the transformation ancient Greek of Jupiter, now is a but and the rain of gold, swan and cloud, these are the cunning transformation of Zeus  for the human infidelity. These are alone some example necessary to explain that the ancient Greek religion is a heritage from ancient Egypt.

Alessandro Lusana

 

 The limited nature of gods: Schelling

I am imagining the comments: “what a drag again Schelling(1775-1854), you and he are two pain on the neck, I confirm fully this judge; but Schelling is very master for his speculative and limited description because regard to gods he says: “In Homeric gods isn’t expressed the immorality but alone the mere limitation. They work in this limitation, and they are divine for how they work in this limitation…In their limitation they work likewise  as every natural being in the owner freely, because work so his the their nature and they don’t know other law that isn’t their nature…In the their immorality, the Homeric gods are alone ingenuous; truly they aren’t neither moral nor immoral, but untied but this contradiction”; and for explication of this concept Schelling continues: “Generally the morality isn’t something of supreme, hence nothing that can attributed to gods, it is clear fro its contrast to the beatitude, contrast that has every ended”; so read it is incomprehensible, but the explication is very simple: everybody is subject to sorrow, and other harms, instead the blissful is exempt. The concept of limitation and unlimited is expressed in this step: “The gods whose nature is composed from the two natures, they don’t live a dependent life and conditioned, but a free and independent and although they are particular, they joy the blissful of absolutely…”it is simple concept; the gods although limited, this limit is expressed trough the word “particular”, they live the blissful the is until the concept of morality or immorality; but a contradiction of Schelling, because he has said that the gods are untied from these concepts of morality and immorality: “… since beautiful and the morality are the something, we can say that the gods are absolutely moral because they are beautiful”; it is  the contradiction because he has said that the gods are untied for these concepts. Interesting the genesis of ideas that Schelling has tied to the genesis of gods: the theogony is similar to birth from ideas is born by other; and interesting is also the synthetic note: “The representation  where the universal means the particular is the schematic; instead the representation where the particular means is in the universal it is allegory”; it is means that in schematic definition we can the universal, and example: when we see a three we can think that the nature has made this three, but other can interpret it as a will of God, hence from the particular to universal, this is from the three to God, and schematic fro his synthesis, is directly to the particular, because it is synthetic, hence the same example of three, without the nature, the factor of birth of three is God alone, from universal, this is God that is universal to three that is particular, inasmuch schematic; and the concept is ended trough the last fase, this is the symbolic that has merged both in alone concept; but Schelling has took also a citation from Kant(1724-1804), that has called the scheme: “ as the rule think is reality of production of an object”; this is  the synthetic  and real process of intelligence, that works but much synthetically  fro a creation of an object in the brain.

Alessandro Lusana       

 

 The dual nature of arts

A contradiction of the arts that never we consider now and we never has considered so, a contradiction, because they are both  material and ideal in same matter and time:  a panting is beauty or not but it is always material, hence human earthly, mortal, but it represent usually holy subjects , inasmuch beyond this word or metaphysical but not certainly earthly; it is the contradiction because for the ancient sculpture it is more evident, because it follows the same  contradiction but more contradictory , why? Simple because in same sculpture is represented the god that has the equal characteristic  of other gods, this is immortal , but it also human, because the gods often have human characters; whereby in same sculpture are two characters one human and other divine; same contradiction is Christian arts, for example the Creation of man of Michelangelo(Fig.1), God is creating  Adam this is the first man, but the man is  already present, why? Simple neither Michelangelo nor other  has sees the creation of man, then Michelangelo has given a physical reference to the spectator, so that understand the subject, hence God  to represent trough human form; but it is the contradiction, he has painted the men and women that are for their nature consubstantiation , because they are the human form  but the divine nature, therefore they are the dual nature, human and divine; same consubstantiation  that we see to pagan sculpture, but for ancient sculpture it is normally accepted, because the nature of gods is dual always, for the every tale. The human is expressed for two times, because the first, when the painter paints and the second time when the divine, Christian or Pagan, image is ended, and it has two natures. We can take a judge of Schelling regard to the figures od gods: “The  absolute reality of gods is consequent  to their absolute ideal nature. They a4re absolute, but in absolute ideal nature they are the same  thing”, and the dual nature is expressed from Schelling  in his Philosophy of art, and he has written again: “Every figure the gods, are real because they are possible” it can seem alone a philosophical note, but Schelling has expressed a concept very important trough the word “possible”, because they can exist or not, and this adjective “possible” explains the arts because the human figure of gods or God can be so or not; hence the possibility is present. And the philosopher continues: “The first thing the secret of their charm and of their nature for the figuration in art is in their limitation, this is in same divine figure, the qualities that limit one other, and they are absolutely separate”. It is the concept that we  have seen before, but that we can think as dual that excludes one and other this the earthly matter and the divine nature of image.

Alessandro Lusana

Fig 1

 Architectural publicity: Borromeo

A treaty of toward the end of 16th century, this is Instructionum fabricate ecclesiasticae et suppellectilis ecclesisiasticae, by Saint Carlo Borromeo(1538-1584), is a treat about the form and furniture of the churches, in Against reform wit, every tool was necessary to contrast the Protestantism and other confessions, hence the architecture was useful, and this book begun: “…the work of our cure on the method of make we ascertain:…so that also the building and ornament and decoration of churches in conformity to fit form; and this concept could be a personal idea of writer, but it has confirmed from the words of the same Borromeo: “…we have necessity, for our herd that we must defend from the lethal heresies, and we must work so that the health for perpetual through solicitude of our duty…”; it confirms my judge, also the architectural built can aid the catholic cause. Regard the cloth of priests: “…the holy cloth and vases must be very much, calices and candelabrum and relics for much uses must be of gold and silver, and cloth of gold and silver…”. But also the saints not understand the architecture hence regard the town of build the church the step is meaningful: “De town of church. The first judge must be of bishop and together of architect, because the town must be opportune…”, the mere instructions has beginning: “…as built church with three or five steps fro get up to it..”, the symbolic valor of this steps is in origin pagan culture, because getting up to the temple, through the steps, the faithful left the earth and he became near to divinity; the Christian architecture has kept the same symbolic function, and the number three is the Holy Trinity and the five is otherwise symbolic and means, because five are the senses of body, and getting up the steps of church is means that the body is leaving the earth, but it means also the five sores of Christ. The faithful must be concentrated on the his prayer, inasmuch the rumor and stores od workers, and other distraction must be very distant. The Medieval heritage is in this step: “…neither the church windows are dark and nothing prevent the light”; it is the medieval heritage because it is enough remember the valor of windows in the architecture of Medieval cathedrals. Rightly the publicity has need of a public thence: “About the largeness of town of church. The town in front of church must be very large so that the attendance must comfort, hence the town must be allows the large space”, and the major publicity is in the form of church: “…more power is the form of cross that must shown as the plane of holy basilicas of Rome and to this form it is necessary follow…”; it is certainly a treatise about the architecture, without technical dates, because Borromeo hasn’t knowledge about the architecture, but we can understand the wit of time, year 1577, when this treatise was published, it keeps the fight of Catholic Church against the Protestantism; whereby also the architecture has had its rule.

Alessandro Lusana  

 

 The philosophical pantheism: Schelling

In the chapter of Philosophy of art, where Schelling(1775-1854) he tells about general part of the philosophy of art, beyond the Platonism that very followed during the 18^th century in Germany, because also Kant(1722-1804) was a follower of Plato, but for Schelling i9n this chapter is also and very important consideration, this is the Luther(1483-1546) influence, above all about the consubstantiation, the pantheism of Luther is a reality, as Schelling followed the same concept but for the art, he says: “To build the art means determine its position in the universe. The determination of this position is the unique explication of art, the text says: “…we can follow everywhere, but alone for these positions that our object has ordered”; it is the other hide influence of Luther; because the prescription that the object has given are the rule of Protestantism ; in fact the following text says: “The absolute , this is God, whose we can say that the being, this is the reality follows immediately, this is for the mere law of identity, of ideas, or as God is immediately affirmation of herself”, and the pantheism ins present in the following lines: “If the being doesn’t  follow from the ideas of God, this is if his ideas not was itself that of absolute, this is the infinity reality, thence he would be determined by something that isn’t this ideas…”; it is Luther in version artistic, because  God is the principal factor of art, as the factor or cause of word is God and the following lines is more explicative: “ About dependent or conditioned something we can say that the being follows from concept;; for example the man has determined from  something that isn’t his ideas…”; it is influence of Luther, because God is universal and he has created the man, inasmuch he is a determination of God, as the art a determination of God that is to everything. The absoluteness of God is in the following lines: “God as infinitive affirmation of herself that includes herself as infinitively  affirmation, as infinitively affirmed, and as indifference for both, but isn’t something of these three”; these lines seem a war declaration to intellect, because seem very difficult, but they are very easy; the explication is the following: God is everything in the reality but nothing that we can call God, whereby the concept of relativism isn’t to God because he is everything but also nothing, because everything is created by God, but isn’t identifiable to something, because everything is relative to other and God is absolute, an example: a computer has determined from the worker that has built it, but the job of worker is determined from the matter the composes the computer, this tis the plastic, that is determined from oil, that is determined from the extraction; hence before that we can use the computer other workers and material are involved; it is because everything is relative; God is cause of everything but he isn’t everything, because the worker that has made the computer isn’t a computer, same for worker of oil, hence they are relative to the computer, because without computers the oil would be useful  fro other, the plastic same; God is beginning and end of everything; it is the strong influence of Protestantism, that Schelling has took from his family, he was son of a Protestant minister.

Alessandro Lusana  

        

 The motive of conquest: Napoleon

The motive of conquest of Napoleon, beyond the mere political lies, that today are truly false, other motive certainly more important then freedom is present  to the Revolution brook out for an economic crisis that has determined the Revolution, it is enough think that the paper money, printed from 1789 in France, already in 1793 it has had lost the valor and the inflation, and the inflation had overcome the valor of good took as guarantee, this is the covered bond; the France State guaranteed the pa%per money trough the ecclesiastical goods called, assigned,, but a growing inflation says that the economy has difficult and the France regard the tax of king Louis 16^th on the middle and popular classes were exorbitant, instead the aristocracy and the clergy were exempt; the principal tax of Louis 16^th  were the taille, a tax on the proprieties and income that have to be paid from member that aren’t aristocratic, the capitation, a tax that everybody have to be paid, often the clergy and the aristocratic class were exempted, the twentieh a tax of 5% on the income and on the real estate and commercial goods,  born as extraordinary tax became  stable, a duty on the sale, whose the price was different among the regions, and duties on the wine and foods, other duties on the goods; hence very much taxes on the producer class in France; in fact  some of principal tax of ancient regime have abolished , as the taille, the tithe and other duties;  but a question is important , why above all the taxes? Simple because  these were the motives of complaint, but in France; when Napoleon conquered the Italy, although the north Italy alone, the taxes grown, and much the taxes on the real estate, tax on the flour,  were grown the tax on the real estate and above all land register fro the proprieties, he has gown these taxes that the Revolution has deleted ; but why this growth of taxes? In opinion of historical men  it was necessary to finances the wars; but it is very incredible, because Napoleon in 1799 was one member  of triumvirate after that he had took Italy, hence he took above all the money of Italy, that he certainly given also the army but above all to France fro this he was the first consul and after the imperator, because the money of the France came and this gain has guaranteed by Napoleon; and this fiscal oppression has determined the break out the revolts, as in 1797 in Verona, in 1799 in Arezzo, in Lugo, small town in north Italy in year 1796, and finally in 1799, a revolt that deleted the Partenopean republic;  we can think that  these revolts have determined from lies regard the civil rights that have been betrayed, but it was absolutely erred, because the principal motive were the taxes that have to finance the France and the future election to imperator of Napoleon. But the richer country than other, this is the England, napoleon didn’t attack , why? Simple because the richness of England and its army were very impressive, hence the England could react very violently  and destroyed the France and Napoleon; it is enough to think that in France and Italy the 60% has employed for the agriculture, hence the poverty was dominant, for this the revolt.

Alessandro Lusana   

 

 For the France and for Napoleon; the battle of Nile

The battle of Nile fought the 1th  and 2th August 1798 near Abukir, Egypt, has determined the reaction of Napoleon(1769-1821) that for avoid the exclusion fro the French policy, he after the defeat after this battle, he gone back to France and he took the absolutely power, but the principal motive for this  radical change, was this battle and defeat. The England fleet was leaded from Oration nelson(1758-1805), that has short experience to naval battles, but he was “a natural born predator”; , in opinion of Lord St. Vincent, chief of the fleet of his majesty; this choose seems also absolutely right, since nelson has won; but this choose was determined  alone from the fair of the mentioned chiefs; because napoleon has won in Italy and he was taking the successes in much battles; hence a battle against Napoleon could determine the exclusion of these chiefs from the England policy, therefore an unknown chief as nelson was perfect, because the other chiefs would keep their positions; and the proof of this  mistrust is for the number of ships given to nelson, that were less than of Napoleon; inasmuch the chiefs previewed  a defeat. After the Napoleon’s defeat, every allies but will or not to be, when the new, this is the defeat of France, they tried other coalition against Napoleon; furthermore in France there were the conspiracy theorist that wanted the exclusion of Napoleon, in fact he embarked  and gone back to France. It is normal because when you have defeated, automatically you are the failed. Bu8t evidently Napoleon has understood that his period has ended; hence he managed a coup d’Etat, that has excluded the Directoire, this is the principal institution for the laws; a first triumvirate  was composed from Napoleon, Pierre Ducos(1747-1816) and Emmanuelle Sieyès(1748-1836), the members were three but the power has had alone Napoleon, and after the same was nominated consul for the life in 1802; the ideas of Sieyès were very determining for the develop of autocracy; because after some year of contrast  in the Directoire, swinging between the return to monarchy and the Jacobin extremism, but also the financial crisis: the paper money by now was very low, and the bankrupt was a reality, the inflation was very high, and the popular and the middle classes have has lost the possibility; the Revolution is going to be end, because the people would make other revolution, but against that of in 1789, fro the return to monarchy; in fact the Directoire has lied more  to the military power, and certainly it was a valid aid to Napoleon, and it explains to use the coup d’Etat, because after the defeat of Nile or Abukir, Napoleon would be excluded from every effective power; whereby the triumvirate was, fro the economic context , the minor harm. The economic and political frame has certainly aided Napoleon, but he has made very much.

Alessandro Lusana    

 

 Human empire

In this essay I want tell episodes of napoleon and his family that shows the human side of napoleon and his brothers an sisters: the first is one of last sister of Napoleon, Mary Paula, called Paolina(1780-1825), that to hers husband Charles Leclerc(1772-1802), she said, when he reproached hers lovers and behaviors very free, she answered: “Satisfy yourself because you have married the sister of Bonaparte”; it is the egocentrism typical of persons that has got up from the lower level, this is an answer of somebody that before was nothing and suddenly is somebody. The attributed lovers of Paolina could be true or not but my interest is one, this is the weakness  of Paolina that was very weak and she wanted the affect of everybody for a compensation of affect. After the defeat of Abukir the 1th  August 1798, the French armies was defeated from Oratio Nelson(1758-1805), Paolina that  then  was in Paris, she evidently previewed the end of hers brother, she bought  a villa in rue de la Ville l’Eveque and other in campaign; it is the evident sign of a weak of woman that wanted remove the evil thinks. Other evident sign is the parties in Paris that she wanted for to equal hers sister in law, Josepha, that was the true protagonist of society Paris life; it is also the clear manifestation of inferiority of Paolina in confront of hers sister law; she in Paris hasn’t been it;  and she tried emulate Josepha, but it is the will of who has  strong complex of inferiority, and the furthermore proof is that she attended a French course of language, evidently she, differently, from hers brother, Napoleon, that attended the military school in Paris, didn’t le French language, and evidently also his husband recognized the limits of Paolina because he advised to her of attend a course of good behavior; if she was sure of hers politeness  she had refused it, instead she accepted, and the words of hers teach , Madam Campan, are explicative, as exaggerated: “Hers progresses  are amazing because she didn’t neither read nor write”, she wanted hint to true lack  of politeness of Paolina. But together to Paolina also hers brother, Napoleon, was very similar, because he asked to Panoria Comnène, this is the lady Permon, of marry but she stressed the different age; Panoria was contemporary of mother of Napoleon, but evidently he wanted get up on the social level. But also other brothers of Napoleon, because they bought in Paris  the palaces: Joseph to Mortefontaine, Lucien  to Plessis-Charmant, then very exclusive areas ; therefore the complex of inferiority was very deep rooted. The reaction of Napoleon toward his brother law, Leclerc, is very disgusting, because he has excluded Leclerc from every benefit  after that napoleon has took the absolutely power; it is the true fear of Napoleon. But the envy is typical  of human gender  and to women it is more than the men; hence during  a party alone a woman, Madame de Contades, was the unique that has noted a physical defect of Paolina, regard hers ears; she has noted this defect because she was suddenly ignored when Paolina entered in the room; it is the revenge of a woman. I wanted show the human defects of napoleon and others, that although got up socially they were always human gender.

Alessandro Lusana

 The scientific travel; Cyrano de Bergerac

Savinien Cyrano de Bergerac(1619-1655), a French author certainly less known that has written also The other wo0rd of States and empire of moon, that is a fantastic romance, or very strange romance this is a history of a travel on the moon the fantasy is very life, because this romance has dated 1657. For to arrive on the moon the protagonist ties around his body the smalls bottle of dew and so he fly on the moon. The sources of this romance are may the book of de la casas, that shown the violence  on the American native, published on 1552; it is possible because  this step seems very near to the experience of the protagonist when he approaches to a hut and: “and I have  arrived very near when I seen surrounded me by group of wild men. Naturally today we know around the moon, more than Cyrano, although we haven’t touched its superficies, but they then known nothing, hence the wild men that disappear in a near forest is a translation of a earth landscape on the moon; but the return to reality of history is very immediate, because the traveler to some soldiers, that he met asked, he asks where is he, and they answered in the New French, this this Canada. The influence of Galileo Galilei(1564-1642) is evident in this step: “And the arguments that you have  for to hold, this is that the sun is immobile, since we see it move?” And the answer if for a scientific treatise: “Lord these are the motives. The first it is the common sense that leads us to believe that the sun is in the center of universe…”and this last noun is important because Galileo has denied that the sun was in center of universe; and Cyrano continues: “I say that earth need of light of sun, of warm it turn around the sun for to have energy necessary…”; it is Galileo, and the travel of Cyrano to high is alone the ironical fantasy for not the Canada, but for everybody that think something instead they haven’t nothing new about the new speculative science, Cyrano not travels in Canada, but, for metaphorical transfer, in an Europe again tied to the old theories, that emerges from this step: “You are constrict to take explication that are some intellige3nce that moves and lead your spheres”; it is Aristotle and his theory of the movement of universe: “ I say that we must find  on the earth the motive of this movement”; the past theories are overcome. The example of Galileo is in this step: “But if I am going to meet you to France, I will observe to you through my spyglass…”; Galileo was the first that  used the tool for to study the science, this is the telescope, that Cyrano calls spyglass, we must consider that the telescope the telescope of Galileo was in 1609, hence very rough , but it was already a reality to 1652. Cyrano must save also the Christian religion therefore he lands on the heaven, after eaten the apple, of Biblical memory; it is necessary he has satisfied both  the scientific side and also the religious side. The cunning of Cyrano is evident the description of heaven that has took from the reality and from the fantasy, because in the Bible isn’t a description of heaven.

Alessandro Lusana   

 Real Shakespeare

I want consider The happy wives of Windsor, a comedy of Shakespeare, between years 1599-1601, I want consider the true side of this comedy and stress that Shakespeare not has been alone tragic or comedy but also truly; and in fact in the first scene the dialogue between two personages shows the reality reaction about a contrary decision: “Not, Ugo, you aren’t going to convince me; bring this question to High court…”, this negation is very frequent and we can ascertain among much episodes.; naturally in the London as in Italy and in Europe the use of Latin language was almost mandatory, also if it was alone the very approximate, therefore: “And “rotolorum”, also the mister priest and gentleman born…”, naturally can’t lack an error of logic error: “Every successors before to him have made it, and his forefather what they can make that are going to come before”; the successor can’t be before to him and the forefather can’t come after to him. From serious questions after occurs some female note: “I thought to Anny Page, the daughter of master George Page a virginity much pleasant”, it is the reality od male sex, that from the serious questions come to light arguments. As otherwise true is the aske of other personage: “Miss Anny Page? Brunette and she has a voice of little woman.”; it is the normal explication that everybody ask when he has difficult to understand the figure odf somebody. But the beauty is important but also the money is grated, inasmuch: “You can’t desire of better on the word, and more 700 sterling of gold and silver, that has left his gran father…”; also the man, after the body, think to money. A personage, Evans says same thing in a alone cue: “I will to you may a lie? I despise the lying, as I despise whom says the false, as I despise who doesn’t say the true”; evidently it is a cue of spirit of Shakespeare, against the German people, because Evans is German. The normal good politeness, that is alone a formal act, here Shakespeare seems plays: “No, I must thank you my lord, and I make it with the my heart, if you believe it or not.”; evidently Shakespeare was got habit to these formal homage, that are usually hypocrites. Other reaction that can consider also today: “Attentive, friend, what you are going to make, and to be to me polite…”; it is the behavior that we use to unknown. The good polite is due, as the hypocrisy: “Lady Ford, the happy meeting, sincerely! Do you enable it?”; the usual interpretation that are necessary for not to seem impolite. A note of custom is important for this exam, because it is very anomalous but normal for those time ea personage want marry a girl, the Anny above mentioned and Evans asks: “Do you are going to love from the girl?”; it is today is a question very strange for us but then it was normal, because the love was after the marry; the sentiments then aren’t absolutely; therefore it is other note od reality of Shakespeare.

Alessandro Lusana

 

 Mediocritas

The first opinion that I have around the mediocre is opinion of Aristotle, that has expressed in the Ethic Nicomacheus , this is the μέσος, this the middle measure this is the balance, interior balance that Aristotle sees as the better wit; in Latin language it is the “mediocritas”, this is something that is in half, for example in a Ode of Horace(b.Ch 65-8), a Latin poet that in a his Ode(10) has he says: “Auream quisquis mediocritatem diligit”, this is: “Everybody loves the mediocrity; it is because  the possibility of solve the problems or other, trough  the right measure; the principal philosophical  note that we must read to understand the concept of mediocritas  in ancient age, is a letter of Seneca(b.Ch 50-40 a.Ch.) to Lucius , his friend, he says: “Who is wise is also moderate; who is moderate is also constant , who is constant is imperturbable ; who is imperturbable  is without sadness ; who is without sadness  is happy; inasmuch the wise is happy”, the last step is an exercise of syllogisms  from Aristotle, mechanical certainly but then enough; in the same letter Seneca, about the peripatetic  school  says: “…they respond in this way, this is of interpreter who is imperturbable, and constant and without sadness so if we call him imperturbable, who is upset rarely and moderately, not isn’t upset ever.” This is the explicit manifest of mediocritas, because Seneca understand that the wit is mobile and hence the man, also wise man has the mobility of wit, whereby the imperturbability is impossible, in fact: “…the human nature denies it, this is that  5the wit of somebody is immune by the sadness; the wise isn’t overcame from the dolor, but he is touched”; it is the directly take again the speculative address of Aristotle but also it anable the identification to the middle; because Seneca sees the speculative description of peripatetic, and describes the moderate reaction of man, that is the medioctitas, in fact in other step: “Trough  we don’t eliminate the passions but we moderate it. During the Middle age the mediocrity has the same meaning; the medieval culture is stemmed directly from the classical culture, in fact Saint Thomas from Aquino(1225-1274), the mediocrity has same valor  of Seneca, the middle way, this the equilibrium that Seneca has expressed because he has took again from peripatetic school; in fact the temperance is the first quality for Saint Thomas. During the Renaissance we can read the Rime of Michelangelo Buonarroti(1475-1564), he used these words for a comparison between the pen and the sculpture: “So as both in pen and ink is the high and the low and the mediocre style, we can think that  during the Renaissance this word has had negative meaning, but it has kept the same valor of ancient meaning, in fact Michelangelo says: “…high and the low and the mediocre” this the third way, neither high nor low, but the middle; hence the same meaning of ancient time.

Alessandro Lusana   

 Impressionist impressions: Renoir

Pierre Auguste Renoir(1841-1919), has been one of major impressionist painter of France, and from his writers some note emerges: the first think is against the classicism: “The past is again interesting. The forming of architects, of painters, of sculptors in the École des Beaux Arts is based on it totally. The architects have sent to Rome for to rebuild the Greek and Roman monuments, the painter to copy Raphael. Also the sculptors have sent to Rome for to take the inspiration from the Greek sculpture. After some years of permanence in the eternal city(Rome), these sculptors, painters and architects go back to Paris full of antiquity, again impressed from ancient masters, can they work without influence and adhere to the modern”; the answer is not certainly but a digression  is due; although a famous painter was not to Rome, same influence is present: Delacroix(1798-1843, a French painter fro his painting to the Saint Sulpice has took inspiration fro the Expulsion of Heliodorus from the temple(Figs.1-2); inasmuch Renoir was right; the influence of classic is deep, even the classic formation of body in the painting of Delacroix is evident; and the following words are true: “The painters want imitate Raphael”, certainly we must consider the words, but we should say to Renoir that Delacroix, that he has considered fro his painting in the Saint Sulpice has an interpretation  of Raphael; following he says: “The sculptor are satisfied fro the low movement  to their sculptures and every thing is limited… they live in eternal self admiration that prevent to them of follow the modern movement”; these last two words are indicative, because it is the involuntary confession of impressionist against classicism; because the modern movement is, in opinion of Renoir, the impressionism. Other contradiction speaking around the  architects, Renoir says: “(the architect) beyond building he should to be painter and sculptor, as the great architects of Renaissance”; he reproached the young artists because they are too much near to classic ancient and he take example from the Renaissance, whose architect has took from ancient and have followed the classicism. A foreword a treatise on painting of Cennino Cennini(14^th century), Renoir doesn’t give contradiction: “In fact if we not must be too much near to ancient, we must not, for love of progress detach completely from past centuries…”; in the first written, in year 1877, he has said the contrary. A truth is expressed about this book of art,  this is: “Unique sake of Cennini was make  good artisans…”, in fact it was the purpose of Cennini, to teach the art to the young, an art that then was less despised. The letters area human document and Renoir isn’t an exception; a letter  in year 1865, he invited a friend and he reports his passion, this is the painting: “I am going bring a box of colors to make some sketch of towns that like to me”; the passion of painting is natural. During the read some good idea that today would be useless,, we can read it, in a letter to Margaret  Charpentier, dated 1879-1880, Renoir says: “Dear lady. I want give to you of idea of lady Berard that it isn’t crazy. It is to dedicate the last page of the review Modern life, to actual fashion. I would make the drawings, very cured. You can attract the female public that not considers the painting”; today it would useless but for idea is very good.

Alessandro Lusana

Fig.1

Fig.2

 The internal autobiography of an author: Proust

Marcel Proust(1871-1922) author of the Recherché, seven books where he describes, without confess it, the society of Paris during his time. Of belle Epoque; he anyway tells also although summarily about himself , he remember some episode of his childhood and t6he memories and the impression are more stressed than in other writers, it means that he tells himself. Proust anyway is a very expert of his psychology, pity that hasn’t never explained because he has written to his mother that was in stair down; he hasn’t said but we can understand it, because his mother was the disaffective reference. The first romance To the side of Swann is a begin consideration, almost an autobiography, of his dynamic of wit: “The author has lost every orientation, he is doubting even of his identity…After he takes again some notions, he meet it, he compare it. He recognize the town where he is, but the memory is moving and it brings to other rooms, other towns, to other times. He is is child in Combray when his room was the fix point and sorrowful of his attentions”. This long first exam is necessary to stress the personal description of Proust; he describes his personal memories, his impressions, and he translated it to literature; hence we can know Proust to his interior side. The autobiography is by begin: “For much time I have laid early. Sometime turned off the candle, the eyes are closed…” the comment to these words is: “I don’t give cure”, certainly but I want  stress the autobiography  of Marcel that describes it; this is the egocentric personality that shows lacks of affect very deep; the egocentrism is usually, be4cause determined from  the lack of affect, the compensation of affect is unconsciously searched out  of family; it is explain the rapport to his mother. The description of every singular particular is typical of a confession absolutely useless; I have remembered the description of Francois de la Rochefocauld(1613-1680), that has said: “When we are engaged we live a ideal condition because we speak about of ourselves alone”; we can think that Proust was engaged to himself, but effectively in his romances he speaks, because it is the unique reference possible for to have affect, it is alone a compensation to the public. But Proust is a men and he has had then will  of a man: “Sometime, as Eve is born  from a rib of Adam, in the sleep, from a false position of my thigh, was born a woman”; it is a common think for the men, he continues: “She is shaped from the pleasure that I will taste, I imagined that herself to offer it”; it one elegant form to confess his will of fuck he continues: “The  my body, that felt in her body the my heat…the other being seem very distant, to confront to this woman  that I have left from some moment; and the following effect is very real…The hers memory disappeared, I have forgotten the creature of my dream”, it is some step autobiographic of Proust, that  wanted show himself to the reader, he has searched the affect in the public.

Alessandro Lusana       

 

 The semiotic of dark: Saint Thomas

Saint Thomas from Aquino(1225-1274), author of Summa teologica, is protagonist of this essay because he has mentioned and explained, although alone through the mention, the meaning of dark, when he speaks about the knowledge : “It seems to me excluded from the words of Saint Paul about not forgot of knowledge, because they have known God they haven’t worshipped  as God, neither they have tank him, but they were fall in love of their thinks, and their heart was involved in dark”; we must consider that Saint Thomas was a man of Middle age, and he could think alone in his time; but must also consider contradiction, because among the knowledge  is also Aristotle that Saint Thomas often mentioned in his Summa theological, actually he is  one primary reference for the Saint; today we can laugh on this affirmation, because we have a clean subdivision of time of Aristotle and of Saint Thomas, in fact we can  beat time both one and other; furthermore the step of Holy Bible, as the Exodus(10,22) the step says that God ordered to Moses: “Extend your hand toward to sky, end up Egypt a5re the dark so intense that it is going  to be touch; but the knowledge that the Egyptian are subordinate to the dark that is the sin of unreligious; hence the sin above mentioned in normal, I repeat for us it is laughable but during the middle age it was more than sure, because time was divided between religious, this is Christian and Pagan. Other mention of the Saint: “God takes from herself the vision of dark, not take it otherwise from the light”; God can take alone herself a concept because is the universal knowledge; after: “There is who that is eliminated from the evil; and it is the good directly against to that evil; as the light is totally eliminated from the darks”; this is the concept of sin, that overcome the goodness, thence the sin has outstripped the goodness. There is finally a good that is partially modified from the evil, but not certainly eliminated; and it is the good is the habit of a man toward determined acts”; the acts here not described are, we can imagine, the acts of the prayer and religious life. The almighty of God is in this step: “I am the God and other aren’t. I create the light and the darks…”; therefore we can think that God is the creator of sin, and he knows perfectly the good and the evil, that he has given to kinsmen, from Adam and Eve. But the step very meaningful is the following: “So the life of faithful and right men, compared to the life of sinner, is called the light: Saint Paul says: Then you were darks, but now you are light in the God”; the light is the grace of God against to darks that was the sin. And the omniscience of God is in the following step: “In the distinction  between the light and darks, these last we can think the sins of diamonds, whereby this distinction regard the Divine prescience…hence Saint Augustine says that: “Could distinguish the light from the darks alone who could preview, before than failed”. We must consider whereby that the sin is the darks, and the light the goodness and religious life.

Alessandro Lusana      

                   

 

 The semiotic of light

The light is natural phenomenal that every day we can ascertain and that allow to us of to see, to distinguish and to recognize everything in fact when it isn’t we can’t make the actions above mentioned; but the light has also  a semiotic nature beyond the appearance; the light is  in the Holy Bible has the semiotic valor because in Isaiah(9-2) the text says: “The people that is walking in the dark, seen a great light…”naturally the explication is alone semiotic  or better it is theological, the light is salvation in the Christian semiotic, it is the Christ that is salvation of mankind that before his birth was saved from its sins, and saved from the dark. Always Isaiah(42-6) says: “ I the lord have called you in the justice, I have hold you by the hand and I have protected you. And I have wanted that you become make of peace of people, and the light of nations”, and same(49-6)I have made you light of people”, and: “You not is going to have the sun for the light of day…but God is going to be light eternal”. John evangelist(1-5) says: “And the light shines among the dark”, and the same(8-12): “Christ said to them, I am the light of word”, and the semiotic in this step is dominant: “Christ said them: the light is in you again for short time. Walk until you are going to have the light, so that the dark not catch you. The light is the faith and the salvation of word, why this assimilation? Simple because the enables of to have certain, inasmuch also to be secure by dangers or evil other.  In painting the light has other valor and it depends by the style of painter and the costumer, fro example:  in Venetian school the historical art men known that the color  is the first element, this is the intense colors that that Titian Vecellio(1488-1576) has used for his painting, as his master Giorgione(1477-1510), and thank to these two painter the Venetian school is identified through the color, but also the light the intense light that both Titian, Giorgione, Giovanni Bellini (1430-1516), Giovanni Antonio Canal(1697-1768), called Canaletto; and always for the painting the intense meaning has given from Caravaggio, this is Michelangelo Merisi called Caravaggio(1571-1610) that has showed the reality but with theology in, for example: the first version of saint Matthew(Fig.1) that everybody think is destroyed during the second world war(Fig.2) instead  it is in basin  of a museum of Moscow, because it was steeled from a soldier of red army during the year 1945; anyway  the light is very theology because the angel that leads  the hand and the same  saint are illuminated from God, the light is God; the light that illumines  saint Matthew in the call(Fig.2) and the sinner besides is other theological meaning, What is? Simple  that Christ is salvation for the saint and sinner that ignores Christ because he is counting the money. The light hence has much meaning and various representation to you the choice.

Alessandro Lusana  

 

Fig.1

Fig.2

        

 Hide Caravaggio

This essay begin for a specification this is that stems from a conference that Maurizio Marini(1942-2011), the major  student in Europe of Caravaggio, this is Michelangelo Merisi(1571-1610), called Caravaggio, very famous painter in Rome and in Italy, that has influenced much painters during the first years of 17^th century; anyway among  the painting of Caravaggio one seemed lost during 1945, in Flakturm Friedrichshain in Berlin, but already it has seated to the Kaiser-Friedrich Museum; this painting not has destroyed during the second world war, but has stolen  from a soldier of red army and Martini informed us that this painting is the original first version of saint Matthew and an angel. The controversy about the refusal of this painting has involved very much historical art men, for the nude foots, but also in the second version the foots are nude; Marini has explained this refusal for the figure of angel why? Because the young angel is truly the nephew of cardinal Contrail, that was costumer of this painting, and Caravaggio portrayed the nephew of cardinal, this is Francis, then very young, dressed very short, it is has determined the refusal; the presence of nephew have determined the scandal, because this painting is in year 1602 two years after the jubilee, and the costumer was a cardinal, the scandal would be very great. The theft  there was in 1945 a soldier brought  this painting to Moscow, where today is hide, why the Russian not goes back this painting? Simple because the Germany could ask the compensation because this painting was stolen and not given, hence among the damages would cost very much, and the Russian hasn’t the sufficient money; anyway the image of this painting on internet said that this painting was destroyed, but truly it is the original. Giovanni Baglione(1573-1644) painter and enemy of Caravaggio said that the painting was refused  and removed from the altar of chapel  because vulgar and nobody has liked it; naturally the Baglione the author of the book The life of painters, sculptors and architects, published 1642, has had motives very personal  to give this judge, since Caravaggio during a witness in court said: “I don’t know nobody painter that judge Baglione a painter”; after Giovanni Bellori(1613-1696), a Italian writer, repeated same question and he said also that  the figure of saint was indecorous, because it seems a common people; this opinion was used from very much historical art men, because other weren’t , but thank to Marini we know where is the original and because was refused.

Alessandro Lusana