Peregrinos do Mayflower (Mayflower Pilgrims)

Um grupo de famílias (ca 100 pessoas), comandado por William Brewster partiram do porto holandês de Delft a 22 de Julho de 1620 no navio Mayflower. Chegaram ao porto inglês de Dartmouth onde se juntaram à embarcação Speedwell. Seguiram para Plymouth donde zarparam sós a 16 de Setembro do mesmo ano. Após uma viagem marítima de 66 dias chegaram à costa do Massachusetts.

A group of families (ca 100 people), led by William Brewster left the Dutch port of Delft to July 22, 1620 on the ship Mayflower. Arrived at the English port of Dartmouth where they joined the ship Speedwell. Went to Plymouth where it set sail alone on September 16 of that year. After a sea journey of 66 days reached the coast of Massachusetts.

Robert Walter Weir (1803-1829)-'embarkation of the Pilgrims at Delft Haven(Holland) July 22nd 1620'-oil on canvas-1843 Washington (DC)-Capitol Rotunda

Leslie Arthur Wilcox (1904-1982)-'Mayflower and Speedwell in Dartmouth Harbor' Plymouth (Ma)-Pilgrim Hall Museum

Anónimo-'signing of the Mayflower compact in the the cabin'-Bas relief Provincetowm (Ma)-Pilgrim Monument

Gilbert Tucker Margeson (1852-1940)-'the Mayflower at sea' Plymouth (Ma)-Pilgrim Hall Museum

Jennie Augusta Browncombe (1850-1936)-'the first Thanksgivig' Plymouth (Ma)-Pilgrim Hall Museum

Jogo de morra (the morra players) (le jeu de morra)

Consiste em adivinhar a soma do número de dedos mostrados pelos jogadores em simultâneo enquanto gritam para intimidar os adversários. Pode ser jogado entre vários contendores, individualmente ou por equipas. O jogador que acerta no conjunto de dedos grita (mio ! alla morra !) e fica com a 'mão' para o próximo jogo. Parece simples mas é difícil e fatigante. Exige concentração por causa do ritmo elevado e cadenciado. Mencionado por Marco Túlio Cícero (séc. aC) «dignus est quicum in tenebras micas ou é pessoa digna aquela com que se pode jogar morra na escuridão». No séc. XV era proibido na República de Veneza fora das tabernas.

It consists of guessing the total number of fingers shown by the players while simultaneously yelling to intimidate opponents. It can be played between several contenders, individually or in teams. The player who hits the set of fingers scream (mio! Alla die!) And gets the 'hand' for the next game. It sounds simple but is difficult and stressful. Requires concentration because of fast paced and cadenced. Mentioned by Marcus Tullius Cicero (century BC) "In Tenebris dignus est quicum mica or worthy person is the one with which you can play die in darkness'. In the 15th century was forbidden in the Republic of Venice out of the taverns.

Johann Liss (1597-1630)-'the morra players'-1622

Pieter van Laer (1599-1642)-'landscape with morra players' 'landschaft mit morra Spielern'-oil on oak wood Budapest-Szépmúveszeti Múzeum

Karel Dujardin (ca 1622-1678)-'jouers de morra'-oil on canvas Paris-Musée du Louvre

Bartolomeo Pinelli (1781-1835)-il gioco di morra-1809 in 'Costumi diversi inventati ed incise', Roma (1822)

Frederick Dielman (1847-1935)-'the mora players'-etching-1876 Philadelphia-Pennsylvania Academy of the Fine Arts

Achamento do Brasil (Discovery of Brazil)

O navegador português Pedro Álvares Cabral (1467-ca 1526) foi o primeiro europeu a desembarcar no Brasil. Verificou-se em Porto Seguro (Estado da Baía) a 22 de Abril de 1500. Compreendia a armada da segunda expedição à India um conjunto de dez navios de grande porte e três pequenos e cerca de 1500 homens. Da notíca deu conhecimento ao rei o cronista Pero Vaz de Caminha. Rezou a primeira missa o frade Henrique de Coimbra no Domingo de Páscoa, a 26 de Abril.

The Portuguese navigator Pedro Alvares Cabral (1467-ca 1526) was the first European to land in Brazil. There was at Porto Seguro (Bahia State) to April 22, 1500. Comprised the fleet's second expedition to India a set of ten large ships and three small, about 1500 men. News has made the king's chronicler Pero Vaz de Caminha. He prayed the first mass Friar Henrique de Coimbra on Easter Sunday, 26 April.

Nau de Pedro Alvares Cabral in the Armed Paper (Lisbon-Library of the Academy of Sciences)

Letter of Pero Vaz Caminha to King Manuel in the National Library in Lisbon-Portugal

Oscar Pereira da Silva (1865-1939-'landing in Port-Seguro' oil on canvas Museu Paulista- Sao Paulo

Adriano de Sousa Lopes (1879-1944)-'landing on the lands of Vera Cruz'-Lisbon-panel Assembly of the Republic

Victor Meirelles de Lima (1832-1903)-'first-missa'-oil on canvas Rio de Janeiro, National Museum of Fine Arts

Batalha de Lepanto (battle of Lepanto-7 October 1571)

No séc. XVI as esquadras do Império Otomano pretenderam tranformar o Mediterrâneo no se Mare Nostrum. Para combater a expansão muçulmana formou-se a Liga Santa (Holy League) (Heiligen Liga) no campo Cristão. Filipe II de Espanha nomeou seu irmão D. Juan de Austria, capitão general das Forças Reais. Os restantes comandantes eram: Sebastiano Venier (Veneza) e Marcantonio Colonna (Estados Papais). Miguel Cervantes Saavedra perdeu o braço esquerdo, donde a designação 'el manco de Lepanto'; depois esteve cativo em Argel. Apesar da derrota no Golfo de Patras (Mar Jónico), nos arredores de Naupaktos, os Otomanos conquistaram parte do Norte de África.

In the 16th century police stations of the Ottoman Empire wanted to transform the Mediterranean into the Mare Nostrum. To combat the Muslim expansion was formed the Holy League (Heiligen League) in the Christian. Philip II of Spain appointed his brother D. Juan de Austria, captain general of the Royalist forces. The other commanders were: Sebastiano Venier (Venice) and Marcantonio Colonna (Papal States). Miguel Cervantes Saavedra lost his left arm, hence the name 'el manco de Lepanto' and then was captive in Algiers. Despite the defeat in the Gulf of Patras (Ionian Sea), on the outskirts of Naupaktos, the Ottomans conquered part of North Africa.

Anónimo-'the victors of Lepanto'-öl auf Leinwand Wien-Kunsthistorisches Museum Gemäldegalerie

Paolo Caliari or Paolo Veronese (1528-1588)-'The battle of Lepanto'-oil on canvas

Yogesh Brahmbhlatt-'The battle of Lepanto'-oil on canvas Greenwich-National Maritime Museum (BH CO 261)

Fernando Bertelli (1505- )-'The battle of Lepanto'-oil on canvas-1572 Venezia-Museo Storico Navale

Tiziano Vecelli (1490-1576)-'Allegory of the battle of Lepanto'-oil on canvas-ca 1575 Madrid-Museo del Prado

Perseu herói libertador (Perseus)

As lendas consideram Perseu como o herói mítico fundador de Micenas. Era filho de Zeus e de Danae. O rei Polidectes receoso que lhe usurpasse o reino propôs que ambos combatessem Medusa porque esta petrificava quem a olhava. Perseu decapitou-a com auxílio de: Palas Atena que lhe ofereceu um escudo bem polido que funcionava de espelho; de Hades fornecedor dum capacete que o tornava invisível; Hermes que lhe emprestou as suas sandálias aladas. Diversas representações mostram-no com a cabeça de Medusa (Gorgoneion Medusa's head) quando a oferecia à deusa Atena.

No regresso a casa encontrou Atlas no Jardim das Hespérides e este transformou-se em montanha porque desejou olhar a cabeça da Gorgona. Visitou Andrómeda, filha de Cassiopeia, que Poseidão oferecera ao monstro Citus pelos erros de sua mãe. Derrotou o monstro e libertou a jovem.
The legends consider as the mythical hero Perseus founder of Mycenae. Was son of Zeus and Danae. King Polydectes afraid it will usurp the kingdom has proposed that both fought Medusa because this petrified who looked at her. Perseus decapitated her with aid: Athene who offered him a shield that worked well polished mirror; provider of Hades a helmet that made him invisible; Hermes lent him his winged sandals. Several representations show him with the head of Medusa (Gorgoneion Medusa's head) when offered to the goddess Athena.
On returning home he found Atlas in the Garden of the Hesperides and this turned into a mountain because they wanted to look at the head of Gorgona. Visited Andromeda, the daughter of Cassiopeia, which offered the monster Poseida citus the mistakes of her mother. Defeated the monster and freed the girl.

Anónimo-'Perseus and Andromeda'-wall painting-Wandmalerei-Pompeii (casa dei Dioscuri, VI, 9, 6) Napoli-Museo Archeologico Nazionale

Piero di Cosimo (1462-1521)-'Perseus frees Andromeda'-oil on wood-ca 1513 Firenze-Galleria degli Uffizi

Joachim Wtewael (1566-1638)-' Perseus and Andromeda'-oil on canvas-1611 Paris-Musée du Louvre

Luca Giordano (1634-1705)-'Perseus turning Phineus and his followers to stone'-oil on canvas-ca 1680 London-National Gallery

Antonio Canova (1757-1822)-'Perseus holding Medusa's head'-marble-ca 1800 Città del Vaticano-Museo Pio-Clementino (Octagon Hall-Canova Cabinet)

Patinagem no gelo (ice skaters)

Nos climas frios cai neve durante o período de inverno. Esta gela devido às baixas temperaturas. A sua solidez permite a deslocação de trenós puxados por animais de tracção habituados ao habitat: renas e cães. Facilita a deslocação individual com skis ou com patins apropriados. Há quem utilize estes últimos como divertimento ou para fins desportivos. Vários pintores belgas e holandeses mostram o seu emprego como meio de locomoção e prazer.

Snow falls in cold climates during the winter. This freezes due to low temperatures. Its strength allows travel on sleds pulled by draft animals accustomed to the habitat: reindeer and dogs. Facilitates individual travel with skis or skates appropriate. Some people use the latter as fun or for sport. Several Belgian and Dutch painters show their use as means of movement and pleasure.

James Ensor (1860-1949)-'the skaters'-etching Salt Lake City (Utah)-Museum of Fine Arts

Daniel van Heil (1604-1662)-''the pleasure of winter-china oil-1623 Brussels-Robert Finck Gallery

Hendrick Avercamp (1585-1634)-''winter landscape with ice skaters-oil on wood-1610 Amsterdam-Rijksmuseum

Albert Eduard Moerman (1808-1856)-'a winter landscape with figures on a frozen river'-oil on canvas-1838 London-Christie's

Thomas Heeremans (ca 1640-1697)-'winter landschaft mit Eisvergnügen'-öl auf Leinwand Wien-Kunsthistoriches Museum Gemäldegalerie

São João Baptista (2-30) (Saint John the Baptist)

Na Idade Média cristianizaram a festa pagã do solstício do Verão como 'festa de São João Baptista'. Divulgou-se em toda a Europa. Homenageavam o Santo com as fogueiras já tradicionais na época romana. Na zona Nordeste do Brasil organizam danças de quadrilhas. Santo Padroeiro da Ordem de Malta. São João tem sido venerado pelas Igrejas: Ortodoxa, Católica e Anglicana. A Maçonaria praticante do Rito Escocês Antigo e Aceite, de origem católica, promove a 'festa de São João de Verão'.

In medieval Christianized the pagan festival of the summer solstice as "the feast of St. John the Baptist '. It was announced across Europe. Honored with the Holy traditional the fires already in Roman times. In the north east of Brazil organized dances gangs. Patron Saint of the Order of Malta. St. John has been venerated by the churches: Orthodox, Catholic and Anglican. Masonry practitioner of Ancient and Accepted Scottish Rite of Catholic origin, promotes the 'Feast of Saint John of summer ".

Andrea di Francesco di Cione or Andrea del Verrocchio (1435-1488) and Leonardo di ser Piero da Vinci (1452-1519)-'Saint John baptizes Jesus Christ'-oil on wood-(1472-1475) Firenze-Galleria degli Uffizi

Hieronymus Bosch (ca 1450-1516)-'Saint John the Baptist in the wilderness'-oil on panel Madrid-Museo Lázaro Galdiano

Andrea Solari or del Gobbo (1460-1524)-'Salome with the head of Saint John the Baptist'-oil on canvas

Michelangelo Merisi da Caravaggio (1571-1610)-'Saint John the Baptist with ram'-oil on canvas-1602 Roma-Musei Capitolini

Bartholomeus Breenbergh (ca 1598-1657)-'the preaching of Saint John the Baptist'-oil on wood-1634 New York-Metropolitan Museum of Art

Beijo (the kiss)

Há vários tipos de beijo: por amor, por prazer, por convenção social. No caso do amor este pode ser fraternal, maternal; por prazer pode ser consensual ou pago; socialmente distinguia-se o que era dado na mão fosse ou não por galanteria.


There are several types of kiss: for love, for pleasure, for social convention. In the case of this can be brotherly love, motherly, for pleasure can be consensual or paid, socially distinguished himself what was at hand was given or not for gallantry.

Adolphe William Bouguereau (1825-1905)-'first kiss (Cupid and Psyche as children)'-oil on canvas-1890 Private collection

Frederick Daniel Hardy (1826-1911)-'a kiss goodnight'-oil on canvas-1858 oil on canvas-1890 Private collection

Henri Toulouse Lautrec (1864-1901)-'in bed the kiss'-thinned oil on cardboard-1892 Private collection

Jean Honoré Fragonard (1732-1806)-'the stollen kiss'-oil on canvas-(1787-1789) St. Petersburg- Hermitage

Charles-Joseph Frederick Soulacroix (1825-1897)-'the cavalier kiss'-oil on canvas Private collection

Passar a roupa a ferro (ironing woman) (la repasseuse)

No séc. IV já usavam maneira de retirar as rugas a roupa de vestir depois de lavada. Inicialmente procedia-se a frio esticando-a em instrumentos de madeira e pedra. Depois, até ao séc. XV, envergavam roupas engomadas. Somente no séc. XVII se inicia o emprego de objectos pesados de ferro aquecidos ao lume. A alteração seguinte consistiu na utilização de objectos ocos de ferro fundido aquecidos com água ou carvão incandescente. Os pintores do séc. XIX interessaram-se por este tipo de trabalho feminino, por vezes ligado à alfaiataria.


In the 4th century already using way to remove wrinkles clothes to wear after washing. Initially we proceeded to the cold stretching it into instruments of wood and stone. Then, until the 6th century, wore clothes dryer. Only in the 17th century begins the use of heavy objects of iron heated on the stove. The next change was the use of hollow objects of cast iron water heated with coal or incandescent. Painters of the 19th century are interested in this type of female labor, sometimes linked to tailoring.

Edgar-Hilaire-Germain Degas (1834-1917)-'the ironers'-oil on canvas-1869 München-Neue Pinakothek

François Bonvin (1817-1887)-'woman ironing'-oil on canvas-1858 Philadelphia-Museum of Art

Louis-Leopold Boilly (1761-1845)-young ironer-ca 1800 Boston-Museum of Art

Louis Joseph Anthonissen (1849-1913)-'atelier de repasseuses à Touville' 'the ironers Trouville'-huile sur toile Paris-Musée des Beaux-Arts

Rik Wouters (1882-1916)-'ironing woman'-oil on canvas-1912 Antwerp-Koninklijk Museum voor Schone Kunsten

Viena vista por Adolfo Hitler (Vienna by Hitler paintings)

No início do séc. XX Adolfo Hitler (1889-1945), sem recursos materiais, saíu de Linz para Viena com a finalidade de entrar na 'Akademie der Bildenden Künste', situada na Schillerplatz. Falhou duas tentativas e desistiu. Vivia com seu amigo August Kubizek que, sobre a vida miserável de ambos, escreveu 'A. H. mein Jugendfreund' nos anos 50. Hitler fazia pinturas vendida por um amigo que suponho ser Kubitzek porque este não refere outros. Por 1912 Kubitzek, ao regressar de Linz, não encontrou Hitler que então vivia num asilo antes de partir para Munique. Reconheceu-o por fotografia quando este em 1933, como dirigente do 'Nazionalsocialististische Deutche Arbeiter Partei', se tornou Chanceler da Alemanha. As suas pinturas foram vendidas nos últimos anos.

At the beginning of the century. XX Adolf Hitler (1889-1945), without material resources, came out from Linz to Vienna in order to enter the 'Akademie der Künste Bildenden', located in Schillerplatz. Two failed attempts and gave up. He lived with his friend August Kubizek that, on the miserable life of both, wrote 'A. H. Jugendfreund mein 'in the 50s. Hitler paintings was sold by a friend that I suppose is Kubitzek because it does not mention others. Kubitzek By 1912, when he returned to Linz, found Hitler who then lived in an asylum before leaving for Munich. She recognized him by this photograph in 1933 when, as leader of 'Nazionalsocialististische Deutsche Arbeiter Partei', became Chancellor of Germany. His paintings have been sold in recent years.

Stephandom from Kärntnerstrasse-watercolor

Wien Oper in Kärntnerstrasse-watercolor

Josephplatz-watercolor-1908

Peterkirche-watercolor

Gloriette at the garden of Schloss Schönbrunn