The Temple Above The Clouds Ital UPDATED
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In Self Portrait Along the Boarder Line Between Mexico and the United States, the sun and moon hold sway only over Mexico, which was, this painting tells us, where Frida wanted to be. While Diego Rivera was busy eulogizing modern industry on the walls of the Detroit Institute of Arts, Frida was yearning for the ancient agrarian culture of Mexico. In her painting she is dressed up in an uncharacteristically sweet pink frock and lace gloves. But she herself is far from demure. As in her first self-portrait, her nipples show beneath her bodice. Her face is poised for mischief, and, again in defiance of propriety, she holds a cigarette. She also holds a small Mexican flag, which tells us where her loyalties lie. Frida stands on a boundary stone that marks the border between Mexico and the United States. The stone is inscribed "Carmen Rivera painted her portrait in 1932." Perhaps she used her Christian name and her husband's last name as part of her pretense of being proper-she loved to shock Grosse Pointe dowagers by seeming to be shy and then coming out with off-color expressions delivered in slightly incorrect English to make it seem as if she didn't know what they meant. (In Spanish, too, Frida swore like a mariachi.) Or she could have used the name Carmen Rivera instead of her habitual Frida Kahlo because that is what the press called her in articles describing her as Rivera's petite wife who sometimes dabbled in paint. Rivera knew better - once in his awkward English, he introduced her to Detroit journalists by saying "His name is Carmen," and another time he called her "la pintora mas pintor," using both the feminine and masculine terms for painter in recognition of her strength and perhaps also of her androgynous nature. It is probable that he called her Carmen because he did not want to use the German name Frida during the rise of Nazism. For the same reason, about 1935 Frida herself would drop the e with which she had always spelled her name (Frieda). In Self-Portrait on the Border Line a fire-spitting sun and a quarter moon are enclosed in cumulus clouds that, when they touch, create a bolt of lightning. By contrast, the single cloud over the United States is nothing but industrial smoke spewed from four chimney stacks labeled FORD. And instead of encompassing the sun and moon, the American cloud besmirches the American flag, whose artificial stars have none of the dazzle of Mexico's real sun and real moon. Whereas the Mexican side of the border has a partially ruined pre-Columbian temple, the United States has bleak skyscrapers. Whereas Mexico has a pile of rubble, a skull, and pre-Columbian fertility idols, the United States has a new factory with four chimneys that look like automatons. And whereas Mexico has exotic plants with white roots, the United States has three round machines with black electric cords. The machine nearest Frida has two cords. One connects with a Mexican lily's white roots, the other is plugged into the United States side of the border marker, which serves as Frida's pedestal. She, of course, is as motionless as a statue, which is what she pretends to be. With the high-voltage irony of her withering glance, Frida looks, once again, like a "ribbon around a bomb."
The present-day Basilica of San Clemente al Laterano in Rome is a twelfth-century space that stands directly above a fourth-century, titular church, which itself stands above an ancient Roman Mithraic temple. Of the artworks that fill the contemporary building, the twelfth-century apse mosaic is unique among extant medieval, Roman apse mosaics. Centered around an image of Christ on the Cross, framed by Mary and St. John, a paradisiacal environment fills the apse. Verdant acanthus leaves order the space populated by animals, farmers, monks, and rulers, who are arranged without any attention to status or hierarchy, and at the base of the cross two deer drink from the rivers of Paradise.
The decorative frieze of the temple carried scenes involving Amazons, who were, in Greek mythology, supposed to have sought shelter at Ephesus from Hercules. The architrave blocks above the columns are estimated to have weighed 24 tons each, and the feat of engineering that put them in place led to the Ephesians believing it was the work of Artemis herself. According to Vitruvius in his On Architecture (2.9.13), the cult statue of Artemis which stood within the temple (and for which the whole project was actually started) was made of cedar wood.
Ephesus continued to be an important city into Roman times and was made capital of the Roman province of Asia after 129 BCE. This prosperity brought unwelcome attention, though, and the temple of Artemis was destroyed yet again, or at least plundered, by the Goths during their invasion of the Aegean c. 267 CE. Although subsequently rebuilt or restored, a Christian mob, inspired by the decree of Roman emperor Theodosius I (r. 379-395 CE) against pagan practices in 393 CE, definitively destroyed the temple in 401 CE. In the following centuries, the area gradually became covered by silt from the regular floods of the nearby river Kaystros, even if Ephesus itself continued as an important Byzantine city until it was captured by the Turks in 1304 CE.
Such was the legendary splendour of the Temple of Artemis that it was the very first ancient site that 19th-century CE western archaeologists deliberately went digging for. It was found in 1869 CE by John Turtle Wood. Excavations began under the auspices of the British Museum in London, and they discovered several important artefacts such as fine marble figures of Artemis Ephesia dating to the 1st and 2nd century CE. The remains of the great temple were also found, and during another series of excavations from 1904 CE, more details were revealed. The oldest artefacts, typically votive offerings made of precious metals, date to the 7th century BCE. Several capital and column pieces have been discovered from the 6th-century CE version of the temple, while one of the best finds was a magnificently carved column drum from the Hellenistic version. The drum, which has several figures carved in relief including Hades, Persephone, and Hermes, is now in the British Museum. Today all that remains of the temple are its foundations, and a single column has been erected from composite remains which, rather than giving an impression of lost grandeur, gives a melancholic air to the site which was once one of the most wondrous in the ancient Mediterranean. 2b1af7f3a8
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