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snow on the Chateau des Deux Amants

(Photo André)

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The 9 Muses.

Calliope:
Καλλιόπη / Kalliopi, "which has a beautiful voice."
It represents: the "say" eloquence, poetry epic .
His attributes: a crown of gold, book, pen and tablet, trumpet.

Clio:
Κλειώ / Kleiố, "which is famous." It represents
: epic story .
His attributes: a crown of laurel, swan, book or scroll, tablet and stylus, sometimes trumpet.

Erato :
Ἐρατώ / Erato, the "amiable". It represents
: elegy and love poetry, erotic and Anacreontic, opera and choral .
His attributes: a crown of myrtle and roses, tambourine, harp, viola, swan.

Euterpe:
Εὐτέρπη / Euterpe, "the very pleasing." It represents
: dance music, music .
His attributes: single or double flute and another instrument (trumpet).

Melpomene:
Μελπομένη / Melpomene, "the singer." It represents
singing, tragedy (or poetry serious and serious).
His attributes: horn, wreath vine grape, sword, tragic mask, scepter in his feet.

Polyhymnia:
Πολυμνία / Polymnia, "which says that many hymns. It represents
: wedding songs, mourning, pantomime, rhetoric.
His attributes: a crown of pearls, musical instrument (usually an organ).

Terpsichore:
Τερψιχόρα / Terpsichore, "the dancer charm." It represents
dance and poetry light dancing .
His attributes: a crown of garland, musical instrument strings (viola, harp, for example).

Thalia:
Θάλεια / Thaleia, "the booming, the wealth." It represents
: comedy, pastoral poetry .
His attributes: a crown of ivy, musical instrument (usually rape), comic mask, roll.

Urania:
Οὐρανία / Ourania, "the heaven". It represents
: astrology, astronomy .
His attributes: compass, crown of stars, globe.

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Priory

Here the history of the Priory of the Two Lovers (XII century) on Wikipedia, originally the Chateau des Deux Amants
http://fr.wikipedia.org/wiki/Prieur% C3% A9_des_Deux-Lovers

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http://www.exponaute.com/

Boat Show offers a search tool simple and intuitive thanks to which the user selects exhibitions in perfect harmony with his tastes. The proliferation of key input by arts, historical period, district, opening day and the same rate, it ensures relevant results.

>> # 138 http://clio-histoire.forumactif.net/expositions-conferences-f35/exponautecom-t108.htm

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project excellence scolaria

the school project here on the website of Chateau des Deux Amants

http://www.scolaria.fr/scolariaecole/

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History of ancient libraries.

Site on the history of ancient libraries:

http://www.libraria.fr/fr/accueil

Libraria is a site dedicated to the history of ancient libraries, early medieval collections of modern times. It is funded by the ANR in the project Biblifram ("Libraries, matrices and representations of the identities of medieval France) that combines the IRHT, the Manuscripts Department of the BNF , the CIHAM Lyon and Mediatheque Troyes area. It is managed by the team Codicology , library history and heraldry of the Research Institute of History and Texts.

Libraria The objective is to provide access to documentation on ancient libraries of Europe by scientific publications (editions of old inventories, catalogs of manuscripts ...), in particular by publishing an online inventory new directory of libraries Medieval France (BMF) by bibliographic information on collections of ancient manuscripts ( Biblioblog ), and announcements of training . The site offers quick access to information by Three Different index: ancient possessors, manuscripts, religious affiliations.

But Libraria does not allow questions about the content of fine Inventories and manuscripts will be the role of a database on collections of manuscripts and prints of medieval Europe and modern Bibal . This database is underway and will be accessible online as soon as its contents will be significant.

All contributions are welcome on Libraria (German, English, English, French, Italian, Dutch) please post your information or articles in each section of the site.

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Poses

Discover the city news Poses on http: / / www.poses.fr/ and many photos

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Mill Connelles

Near the Chateau des Deux Amants village Connell and his astonishing Anglo-Norman manor of the XIX century half-timbered, bathed by the magical light of the Seine valley, so dear to the Impressionists.

http://www.moulin-de-connelles.fr/

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Impressionist

Michèle Ratel Painter Normandy

The 17/18 and 23/24 April 2010
The gallery will participate in the workshop - Spring, Normandy is revealed! -
and organize recreational and cultural activities.

Oil on canvas

Michèle Ratel, impressionist landscape painter moved to Poses in the Eure (27) 30 km from Rouen.

His paintings convey all the atmosphere along the Seine: the flowers, the morning fog, mirror and water transparency.

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Ecological Society

March 28, 2010 in partnership with the countries of the Vexin Normand, the town of Romilly and the federation of hiking, Ecological Society has opened the way botanical garden and wood. A significant achievement
..... over 200 visitors.
The garden was not very ornate, but we did find the website at the inauguration of the loop hike "Edmond and Callisto.
All visitors were captivated by the history of the priory, and the legend was read at the library before the departure of Romilly. Many people have visited the castle.
President of the Ecological Society Annie Sintives

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Familistère Guise.

Phone: 03 23 61 35 36 (00 33 3 23 61 35 36)
Tuesday to Sunday from 10 am to 12 pm and 14 pm to 18 pm

Fax: 03 23 05 85 95 (00 33 3 23 05 85 95)

E-mail: accueil@familistere.com

Email:
Familistère Guise
Service Reservations visits
262-263, Familistère Right Wing
02 120 Guise

Website: http://www.familistere.com

The Familistère Guise or Social Palace is located in the center of the town of Guise to show that it is a model applicable in a city, the peninsula formed by the Oise. It incorporates the features of the Fourier Phalanstery. Jean-Baptiste Godin started building the Familistère in 1858. Palace Square office is marked by a statue of Jean-Baptiste André Godin, inaugurated in 1889. In a gesture of his left arm, Godin appears as a benefactor and designates the Palace and its plant.

The first residential homes are constructed in the left wing of the Palace office. It is however different today (balconies, roof Flemish) because it was demolished in 1918 and rebuilt in 1924. Will also monitor construction Central Pavilion (1865) and the right wing (1877) where dwell JB Godin. They form three parallelograms with a total of 494 dwellings. The apartments are arranged around a spacious courtyard, paved with a mosaic and covered with a canopy over three floors. Four stairs are installed at each corner of the courtyard, giving access to the apartments. Corridors (narrow passages) look like small streets linking the various apartments which are standardized to avoid hierarchies promoted in housing estates, consisting of two large rooms with two beds, a crib sound, two tables, some chairs, a cupboard and a Godin stove in cast iron. The rooms are up to 20 sqm. The light penetrates through the windows that overlook the outdoor courtyard. At each stage, points of running water, toilets and garbage chutes to make Familistériens extra comfort.

In 1858, the commissaries were also built, led by the steward. These small shops (bakery, butcher, grocery ...) allow people to eat without leaving the Familistere with products priced reduced (food is sold at cost prices). In the foreground, there was also a restaurant turned into a refreshment. Abandoned in 1969, the commissaries have now been converted into a museum. Also built the pavilion Cambrai, the last residential building the largest having 150 apartments, and flag Landrecies rising on the right bank of the Oise, a new residential building constructed in 1882.

For Godin, the education of younger children was essential. So he built the nursery and pouponnat behind the Pavilion Central hosting children from 15 days to 4 years: women could continue their work but were allowed to keep a few months. Destroyed in 1918, the nursery-pouponnat will not be rebuilt. The school was mixed and compulsory for children until the Familistère at least 14 years. Children's Day was held each year. An Italian theater, dubbed the "temple of knowledge", was also built to "educate the people of Familistère" which served mainly to representations of students, general lessons or for entertainment and performances ... The construction materials used were iron, wood and metal. Originally, the seats were mere benches and the room could well contain a thousand people. A bandstand was also built in 1860 in the middle of the park.

The laundry-laundry-pool or pool is located on the right bank of the Oise. The laundry is prohibited in the apartments, built in 1870 Godin laundry where sophisticated machines were installed. A system of hot water produced by steam engines enabled the foundry laundry which then dried. Baths and showers were also installed. Learning to swim for Godin was a contribution to hygiene and health Familistériens. A pool of 50 m² and 2.50 m deep to allow children to swim safely through a system that allowed to lower and raise the floor of the pool. Abandoned in 1968, the laundry pool will undergo a major restoration in 2004.

Godin had also planned a garden of 1.2 hectare, located on the right bank of the Oise between the plant and the Social Palace. It allowed factory workers to rest during the break and was also a small vegetable garden that becomes an educational workshop and supply of Familistère vegetables. Statues, basins and benches are arranged in the park. A greenhouse is built in the 1900s. In 1889, at the north end of the garden is a mausoleum erected over the grave of Jean-Baptiste Godin and Marie Moret. It consists of a stone obelisk blue where the effigy of Godin, symbolizing progress, surrounded by two allegories, Work and Family, one represented by a molder of the plant and its Godin attributes (ladle foundry) and the other by a mother holding a baby in her arms.

Godin The factory still producing cast iron stoves and in recent years cast iron cookware. These cast products were also used in the apartments of Familistère (in the apartments, there were ranges Godin ...). At the height of Familistère Guise, the plant had 1500 workers.

Sources:

http://www.larousse.fr

http://www.familistere.com

Do Fleece North Faces Shrink In The Wash

book of research firm Louviers tourism

This book published in 2008, traces the farms , manor houses and lofts Pays de Louviers. The Priory of the Two Lovers is widely cited.

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300 years of Louis XV!

Today Louis XV'll have 300 years!

King to 5 years of the most powerful country in Europe, "The Beloved" was born February 15, 1710.

Born in Versailles in 1710, died in 1774, Louis XV is the son of the Duke of Burgundy (grand-son of Louis XIV) and Marie Adelaide of Savoy. So the great-grand-son of Louis XIV.
Indeed, the son of Louis XIV died in 1711 of smallpox and in 1712, measles carries the father, mother and brother of the future Louis XV. Itself affected by the disease, it was saved thanks to the care of his housekeeper Mrs. Ventadour that doctors removed from the court. She maintains regular Madame de Maintenon the evolution of the young Louis. He loves his great-grandfather Louis XIV, he calls "His daddy king."
Shortly before his death, the Sun King convene and issue its final advice: it recommends less make war and be a peaceful prince conscious of the happiness of his people. The chronicles tell that Louis came out in tears by this interview.
Heir to the throne five years, under the regency of Philippe, Duke of Orleans, called the "Regent", he participated in the ritual activities of the royal office, but the young Louis emotional, melancholy and secretly resents constraints imposed by the label of his grandfather. At seven years he is separated from his governess.

will be instructed by Marshal Villeroy and future Cardinal de Fleury, former bishop of Frejus, his tutor, to whom he will always love and trust. His education is serious and complete, He is crowned in Reims in 1722 and declared major in 1723 (the death of the Regent).
September 5, 1725, he did marry Mary Leszczynska, daughter of the King of Poland, a poor and virtuous, aged twenty-one year old, so old enough to give an heir to the throne. It will give him ten children.
In 1726, he called on the government of Cardinal Fleury, who will keep this position until his death in 1743. This period was the quietest and most prosperous reign.
early as 1734, Louis took his first mistress, Madame de Mailly and her sister Madame de Chateauroux, the prelude to a succession of connections arising in the frivolous atmosphere of Versailles.
The death of Cardinal de Fleury was a turning point in the life of Louis XV, he was accustomed to rest on his old tutor, who served as premier for seventeen years!
He finds himself sole ruler, and his will is not enough affirmed. The drama of Metz in 1744, will change the reign of Louis XV, and "Beloved" will lose its popularity. Believing himself to be the article death during the siege of Metz, and to obtain absolution, he must write a public confession of his sins, which makes it appear as an immoral, unworthy of the name of "Most Christian King." This confession broadcast throughout the kingdom by the clergy, stunned the nation and began to discredit the king, who meanwhile had recovered its health!

A little later, in 1746, he met Madame de Pompadour, beautiful, cultured, intelligent but mingling actively in state affairs. Hated for his role in politics and his lavish spending, his presence to the king only accentuates unpopularity emerging. Pamphlets run in Paris and permanently tarnish the image of the king. Louis XV
lack of confidence in him and he in turn sends his ministers, as Maurepas, d'Argenson, Choiseul (referred mainly because he disliked his new mistress, Madame du Barry!) Machault Arnouville of this which causes severe successive political crises. Thus, the necessary reforms can not be on time, despite recent years of the reign which finally Louis XV starts trying to tax reforms, managed by Maupeou (which will be supported by Voltaire) such as taxing the income of the nobility and clergy, provide free justice. This is the "royal revolution! It should be noted that Louis XVI immediately cancel these reforms when he took office!
Reached by smallpox, hated by all, Louis XV at Versailles died amid general indifference in 1774. He was buried secretly in Saint-Denis. Louis XV
remains one of the most endearing of his line: end, sensitive and generous but indecisive, weak character, he failed to modernize the country, taking into account the new French expectations.



Biography taken from: http://www.histoire-en-ligne.com/

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Treatment Of Kilaris Pilaris

The process of creating a royal portrait in marble in the seventeenth century: the example of the bust of Louis XIV by Bernini.

The process of creating a royal portrait in marble in the seventeenth century: the example of the bust of Louis XIV by Bernini.

Source literary Fréart de Chantelou (Paul), Journal of Bernini's trip to France, 1665, ms. Bib. Institute, ed. P. Lalanne, 1885.

Introduction.
In January 1664, Colbert was named Superintendent of the King's Buildings. The first object of his concerns is the expansion and completion of the Louvre.
After submitting the plan of Le Vau to all architects of Paris but the result does not satisfy Colbert and it showed how the first draft was defective. He decided to use the Italian architects, including Giovanni Lorenzo Bernini, architect, sculptor and even a painter, born December 7, 1598, which was then at the height of his fame.
Fréart Paul, Sieur de Chantelou (Maitre d'hotel of the King) was sent by the king to receive him and keep company with him wherever he went. June 2 to October 20, 1665 (dates of arrival of Bernini) Chantelou spent all her days with him. He noted all the most interesting features of his life in Paris, his work, the many visits he had received and made his artistic theories and anecdotes tell he loved so much. He then wrote his notes in diary form. Its existence is revealed the public by Charles Perrault in his memoirs. From 1811, the manuscript was lost and then found by Ludovic Lalanne in 1884, that it will publish in 1885.
It consists of 587 pages which contain the last 18 letters exchanged between the Cavalier and Chantelou since the start of it.
The interest of this newspaper is that it allows to study the process of making the works of Bernini in Paris, including the bust of Louis XIV, on which we focus, and his conception of art and labor of the artist.

A marble portrait.
Before Order and Draft portrait, Bernini's portrait addresses marble. Speaking of sculpture and the difficulty of making the likeness reflected in portraits of marble, Bernini said that someone who bleached their hair, beard, eyebrows, and if we could the apple of the eyes and lips and that person is presented to those who know it well, they do not recognize without doubt. So when a person falls ill, the pallor of her face made it almost does not recognize, and often said: "Parea non più desso" (he seems more himself), and thus It is very difficult to make it look like a marble portrait is of one color.
June 11, he was told on every side that the King wanted him to do his portrait yet Colbert had not spoken to him. He had nothing much to heart that please the King and the serve, he decided to work at the earliest. He then asked for clay to make sketches of the action that could lead to the bust, until work on the resemblance.
June 20, King asked to do one portrait.
The main difficulty and the first that landed him was the choice of marble. The 21th day went looking for them. He then went to the Tuileries at the Val de Grace, where he found two blocks, despite the inferior quality thereof. They were supplied to him on June 30, although one that was chosen was friable ("cotto") and fragile.
June 22, courtiers from the draft admire his work suggested he make a statue instead of a bust. But the knight said he was a bust in there looking for the special delicacies and, what was not in the statue and the bust was made to stand in a room, the other in a gallery; the bust to be seen near the statue and by far and there is no marble here, even for a bust.
July 6, he began to sketch his marble. The Marquis de Bellefonds
(Prime Butler of the King) came (July 22) in the room was a bust. He said he wanted the hair on the forehead. Chantelou replied that the front was one of the main parts of the head and served to the face of man. It was good to see because the King had a handsome face that we should not cover and it would not always hair as he had now.
Trooper spoke and said that the sculptors did not have the advantage What with the painters because the difference in color, they see things more transparent and can cover a front of hair but not prevent it from seeing, that sculptors can not do and he must obey the need of every art.
August 12: In talking Lioness bronze portraits of the Cavalier but says it is a matter less clean than marble, because the blackened bronze and that if the browns, it makes glare and prevents unseen beautiful and delicate portrait. On the contrary, marble, 9 or 10 years after being worked, acquires a smooth and becomes flesh color.
Bernini sometimes working to over forty people, has received considerable criticism (positive or negative), including its work support. Chantelou then transcribed into his text justifications and thoughts on Bernini's sculpture in marble.

Work "by the King" capture the moment.
On 20 June, His Majesty asked him to do his portrait. He said it was a difficult thing, and that would give him the trouble, because it would "need to see it 20 times, and 2 hours each time."
June 23, Trooper went to St. Germain. He draws for the first time after a King head and face in profile.
few days later, Colbert Chantelou written at the request of Bernini to ask to see the King in Saint Germain the next day, he said that would not inconvenience the King, it was sufficient that "he saw the King to mass or elsewhere. " Bernini indeed wish to see the King in his activities to better permeate the bust lines and natural movements of the King.
June 27, 1665, he went to St. Germain. It is in the Council, he draws the King, without the latter being subject to stay in one place. So he said to the King who looked "Sto rubando" (I am trying to steal) King understood that the Italian replied in this language: "If my è per restituire (Yes, but only to return), to which Bernini said:" Pero restituir per meno del rubato "(But for return less than what was stolen).
A St Germain, Bernini designed the King playing at tennis, and during a hearing ambassador: the incredible scene of the artist restyling its own model and requiring it to remain standing. Bernini's work is known and recognized that a certain freedom to work.
Bernini said that when he wants to see the King it is not have to stay stopped, but spoke and acted without taking hardship.
July 19, Louis XIV "began in the situation that he believed could be desired to give the Knight way to work at his drawing, standing, posing. Bernini King observed a moment with attention, and desired that he be seated and then he goes about his business, drawing on her knees on the tile.
Bernini's workshop is transferred to the Royal Palace. The King goes there at least 12 times between August 11 and October 5 and allowed to refine facial features.
Trooper who had observed during two meetings with the King's face it with great accuracy, found that "there is half the mouth is another way than the other, so a different eye of another, also for cheeks that would likeness "he searched for small defects of the face of Louis XIV, not found in other contemporary portraits. He then explains that the beauty of the King was a beauty melee, which was not the delicacy of complexion like many others, that the King's head was that of Alexander, especially the forehead and face the air. The painter admiring
Lefebvre likeness of the bust, he said he even looked like from behind. Trooper said that evening, we put a candle behind someone so that its shadow faces a wall, you will recognize because the person has no head on your shoulders the same way, and all the rest. "The first thing you should look for the resemblance that makes a portrait is usually the person, before thinking about the particular". The truth of a portrait is not in what is seen but what is obvious.
Also, King admiring the bust point that Trooper that he had changed a mark near the mouth and asked why. He said it was better to redo it, after having scored a few hairs at the bottom of the mouth. King said he did not here the last time and he would shave when she would return and that AC does not see. Chantelou said that when you do a portrait, "it should not affect anything because art does not only represent nature pleases." Bernini said that when you shaved this freshness lasts only 2 or 3 hours and most of the time it appears with hair and he must try to represent the state in which one is most often.
September 4, Trooper continues to work mouth. He says that to succeed in a portrait, we must take note and try to properly represent him, that the best time we can choose for the mouth is when it comes to talk or we will speak; that it seeks to catch the moment. Bernini captures the movement in order to capture in the portrait.
Here is a paradox created by Bernini, the marble portrait should reflect the general personality (silhouette, speed, "general person") but Bernini also emphasizes the importance of details, including in its search for physical defects or transcript as perfect as possible traits of the King.
This could perhaps be closer to the theory of two bodies of King Louis XIV was a man (King physical representation of the natural physical features, its flaws), but also the incarnation of the Crown (King psychic : idealization, look, look, drape, face and hair in antiquity).

Method of work on behalf of the royal image: between idealization and natural.
"I do not want to copy but to create an original" (Bernini).
Colbert Bernini noted how the work is advanced and he is so like he can not find the need to go work Bernini in St Germain. Bernini said that he wanted to "work well and he had almost always worked imagination," he had hardly looked at the drawings. Showing the front, he said he had watched "that there, that was what was the idea of the King," otherwise he would have made a copy instead of an original.
He wanted the image printed form and in his imagination, drawing in the Council and the King acting and speaking as usual, without staying in one place and not subject himself to nothing, otherwise it could not represent so sharp. He did the drawings "per e insupparsi imbeversi dell'imagine del Re" (To soak and soak in the image of the King).
He added: "I do not want to copy but to create an original." The reconstruction of the royal figure was derived from his imagination, despite the realistic features are not lacking, the wart on the bridge of the nose to the chin hairs. But in a paradox, as stated by Bernini himself, the portrait is widely idealized. And eyes were carved larger than King and dug for example the look that should dominate the face and represent the strength and greatness of the King.
The allegorical portrait of a hero.
The 30th day of July, Colbert looks at the bust that Bernini works for the hair. Bernini said that made them so old they seem to have some levity, he would try to imitate them.
September 26, Father Butti said he found the head too far back over the eyes and then too low. Chantelou replied that it gives the size, all the beautiful antique heads were so, that the front of the King was this form, and although this was not the case, we should do so; that secrecy in the portraits is to increase the beauty and give big, reduce what is ugly or small or remove when this happens soon. Moreover
July 27, Chantelou bring him or her bust of Ptolemy Hephaestion that Bernini admired before saying that "the King has the edge like this, and it was fine fronts."
M. Roze (Cabinet Secretary) said that nobody was to Bernini came to give the king the nobility and grandeur. Trooper said that the first time he saw the King, he noticed that none of the portraits he had seen many like him. He added that many had found the bust had these beautiful head of Alexander. Mr. Alexander replied Roze had not so much grandeur.
Mr Albon meanwhile, said it would have been desirable that there was no collar to bust. He wanted "to be open collar in the manner of heroes." Chantelou said that the French hero should not be in Roman or Greek, it was good that appeared in this bust of what sort it was the weather was good it was Indeed, it was used to history of time. It is therefore also
allegorical portrait of a hero: he is part of history with its modern dress, some have seen a resemblance to that of Alexander (abundance of hair, protruding brow ridges).
The sculptor had to work sometimes with 40 people, gave rise to comments: the bare forehead (that Bernini changed by digging a "snowflake hair"), the prominent eyebrows, eyes too open, nose too tight and asymmetrical (which disturbed the King, "Is my nose out?").
Finishes.
The August 12, Lions asked what he saw the black mark in the eyes. Bernini replied that once the work finished, he would give a few strokes, whose shadow would the apple of the eye marked by black.
September 10, Trooper showed Chantelou the design of the pedestal to place the bust and the pedestal is a world globe with a note that says: "Picciola basa" (Small Base). Chantelou is the great and noble idea, giving the judge the future of great things of the King. Chantelou said that this refers to the motto of the King, whose body is a sun: "Nec pluribus impar."
It is against that was the final session devoted to posing with the King, October 5. Before the bust placed on a table covered with a carpet. He said then that it was the least bad he went out of his hands and then overcome with emotion he starts to cry without being able to speak.

Conclusion.
Moved to October 13 Louvre, the bust was to take place on a pedestal formed of a trophy and a globe made of copper gilt and blue enamel bearing the inscription: "Picciola basis" for mean that the world is a little too basic for such a great king. This amazing support was not achieved and the bust was installed at the Tuileries, before winning in 1684 the exhibition of Diana at Versailles.
The realization of King's portrait was the only project completed by Bernini and that it lasted for completion of his two months stay in France.
The working method adopted by Bernini reflected his conception of the royal image, where the physical resemblance is with the conceit (idea) that determines the meaning of the work, the supreme expression of greatness, pride, heroism and majesty. : "The King appears on the verge of giving an order."
Bernini managed to capture a fleeting expression demonstrating once again that he had no equal for making facial expression (Ecstasy of Saint Theresa).

Bibliography:
· BEAUSSAIS (Philippe), Louis XIV Artist, ed. small library Payot, 2005, Paris.
· Fréart de Chantelou (Paul), Journal of Bernini's trip to France, 1665, ms. Bib. Institute, ed. P. Lalanne, 1885.
· Marine (Louis), Le Portrait du Roi, Les Editions de Minuit, 1981, Paris.

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BOOK: Philippe Charlier, Male death.

CHARLIER (Philippe), Male death, Editions Fayard, 2009.

(Photo from: http://www.decitre.fr/gi/44/9782213635644FS.gif )

Article from: http://pathographie.blogspot.com/

Summary :
There are those who die slowly of a gentle death, or expected. And there are those who go on a brutal war, crime, natural disaster, suicide, epidemics, accidents, enforcement, etc.. Through the Examination of skeletons from archaeological excavations around the Mediterranean, it is now possible to reconstruct case after case, an array of violent deaths in the Greco-Roman antiquity. Stories, anecdotes, historical comments can specify the complete specification.
The author will also aim to study the fate of the corpse of these individuals left before the hour or suddenly, centered on fear of the return of the dead (necrophobia): shelving, dismemberment, black magic, mutilation, etc..
Through this journey into the violent deaths, it's a stroll in the shallows of what ancient society invited the reader in search of an amazing and little-known dark side.

Author: Philippe Charlier
physician, Dr. paleopathologists and Arts (Ecole Pratique des Hautes Etudes). Specializing in pathology and forensic medicine, Philippe Charlier issued "Doctor of the Dead, tales of paleopathology" (Fayard, 2006) and "The Monsters in human antiquity" (Fayard, 2008; Louis Castex price of the French Academy in 2009 and Prix Jean-Charles Sournia of the National Academy of Medicine 2009). Assistant university hospital in Garches (AP-HP, UVSQ) and associate researcher at CNRS (Halma-IPEL, Lille-III), he teaches at the Faculty of Medicine Paris-Ouest.

Fayard (Paris)
Date Published: 04/11/2009
Collection: New Historical Studies
Public price TTC: 23.00 €
Code ISBN / EAN: 9782213635644 / Ax: 3538097
Format (153 x 235)
Number of pages: 432
Nearly one hundred illustrations in the text.

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Listen to the interview on Europe 1:
http://www.europe1.fr/Radio/ecoute-podcasts/Emissions/Cafe-crimes/ Cafe-Crimes-the-dead-in-the-violent-Antiquite

Article from : http://pathographie.blogspot.com/

Post Nasal Drip And Cervical Mucus

BOOK: Jean-François Solnon, History of Versailles.

Solnon (John Francis), History Versailles, Editions Perrin, 2003.

(Photo source: http://www.laprocure.com/cache/couvertures/9782262020774.jpg )

John Francis depicts the life Solnon e Versailles, construction started under Louis XIII, expansions of Louis XIV, Louis XV of embellishments, but also his rescue to the Revolution until today where it still welcomes Parliament.

Summary:

1. 
   
   A "piccola casa.
2. 
   
   The choice of the King.
3. 
   
   The résidense privileged to Her Majesty.
4. 
   
   "The pleasure super force of nature."
5. 
   
   The Royal City.
6. 
   
   The King in his castle.
7. 
   
   Guests at Versailles.
8. 
   
   The latest developments of the gardens.
9. 
   
   The final work of Louis XIV.
10. 
    
    respected Versailles by Louis XV.
11. 
    
    The search for intimacy.
12. 
    
    Quantities and easements of the castle.
13. 
    
    Versalles of Louis XVI and Marie Antoinette.
14. 
    
    "To all the glories of France".
15. 
    
    Appendices.
16. 
    
    References and Notes.