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Virgin of the Rocks

  • 1 Leonardo da Vinci

    [br]
    b. 15 April 1452 Vinci, near Florence, Italy,
    d. 2 May 1519 St Cloux, near Amboise, France.
    [br]
    Italian scientist, engineer, inventor and artist.
    [br]
    Leonardo was the illegitimate son of a Florentine lawyer. His first sixteen years were spent with the lawyer's family in the rural surroundings of Vinci, which aroused in him a lifelong love of nature and an insatiable curiosity in it. He received little formal education but extended his knowledge through private reading. That gave him only a smattering of Latin, a deficiency that was to be a hindrance throughout his active life. At sixteen he was apprenticed in the studio of Andrea del Verrochio in Florence, where he received a training not only in art but in a wide variety of crafts and technical arts.
    In 1482 Leonardo went to Milan, where he sought and obtained employment with Ludovico Sforza, later Duke of Milan, partly to sculpt a massive equestrian statue of Ludovico but the work never progressed beyond the full-scale model stage. He did, however, complete the painting which became known as the Virgin of the Rocks and in 1497 his greatest artistic achievement, The Last Supper, commissioned jointly by Ludovico and the friars of Santa Maria della Grazie and painted on the wall of the monastery's refectory. Leonardo was responsible for the court pageants and also devised a system of irrigation to supply water to the plains of Lombardy. In 1499 the French army entered Milan and deposed Leonardo's employer. Leonardo departed and, after a brief visit to Mantua, returned to Florence, where for a time he was employed as architect and engineer to Cesare Borgia, Duke of Romagna. Around 1504 he completed another celebrated work, the Mona Lisa.
    In 1506 Leonardo began his second sojourn in Milan, this time in the service of King Louis XII of France, who appointed him "painter and engineer". In 1513 Leonardo left for Rome in the company of his pupil Francesco Melzi, but his time there was unproductive and he found himself out of touch with the younger artists active there, Michelangelo above all. In 1516 he accepted with relief an invitation from King François I of France to reside at the small château of St Cloux in the royal domain of Amboise. With the pension granted by François, Leonardo lived out his remaining years in tranquility at St Cloux.
    Leonardo's career can hardly be regarded as a success or worthy of such a towering genius. For centuries he was known only for the handful of artistic works that he managed to complete and have survived more or less intact. His main activity remained hidden until the nineteenth and twentieth centuries, during which the contents of his notebooks were gradually revealed. It became evident that Leonardo was one of the greatest scientific investigators and inventors in the history of civilization. Throughout his working life he extended a searching curiosity over an extraordinarily wide range of subjects. The notes show careful investigation of questions of mechanical and civil engineering, such as power transmission by means of pulleys and also a form of chain belting. The notebooks record many devices, such as machines for grinding and polishing lenses, a lathe operated by treadle-crank, a rolling mill with conical rollers and a spinning machine with pinion and yard divider. Leonardo made an exhaustive study of the flight of birds, with a view to designing a flying machine, which obsessed him for many years.
    Leonardo recorded his observations and conclusions, together with many ingenious inventions, on thousands of pages of manuscript notes, sketches and drawings. There are occasional indications that he had in mind the publication of portions of the notes in a coherent form, but he never diverted his energy into putting them in order; instead, he went on making notes. As a result, Leonardo's impact on the development of science and technology was virtually nil. Even if his notebooks had been copied and circulated, there were daunting impediments to their understanding. Leonardo was left-handed and wrote in mirror-writing: that is, in reverse from right to left. He also used his own abbreviations and no punctuation.
    At his death Leonardo bequeathed his entire output of notes to his friend and companion Francesco Melzi, who kept them safe until his own death in 1570. Melzi left the collection in turn to his son Orazio, whose lack of interest in the arts and sciences resulted in a sad period of dispersal which endangered their survival, but in 1636 the bulk of them, in thirteen volumes, were assembled and donated to the Ambrosian Library in Milan. These include a large volume of notes and drawings compiled from the various portions of the notebooks and is now known as the Codex Atlanticus. There they stayed, forgotten and ignored, until 1796, when Napoleon's marauding army overran Italy and art and literary works, including the thirteen volumes of Leonardo's notebooks, were pillaged and taken to Paris. After the war in 1815, the French government agreed to return them but only the Codex Atlanticus found its way back to Milan; the rest remained in Paris. The appendix to one notebook, dealing with the flight of birds, was later regarded as of sufficient importance to stand on its own. Four small collections reached Britain at various times during the seventeenth and eighteenth centuries; of these, the volume in the Royal Collection at Windsor Castle is notable for its magnificent series of anatomical drawings. Other collections include the Codex Leicester and Codex Arundel in the British Museum in London, and the Madrid Codices in Spain.
    Towards the end of the nineteenth century, Leonardo's true stature as scientist, engineer and inventor began to emerge, particularly with the publication of transcriptions and translations of his notebooks. The volumes in Paris appeared in 1881–97 and the Codex Atlanticus was published in Milan between 1894 and 1904.
    [br]
    Principal Honours and Distinctions
    "Premier peintre, architecte et mécanicien du Roi" to King François I of France, 1516.
    Further Reading
    E.MacCurdy, 1939, The Notebooks of Leonardo da Vinci, 2 vols, London; 2nd edn, 1956, London (the most extensive selection of the notes, with an English translation).
    G.Vasari (trans. G.Bull), 1965, Lives of the Artists, London: Penguin, pp. 255–271.
    C.Gibbs-Smith, 1978, The Inventions of Leonardo da Vinci, Oxford: Phaidon. L.H.Heydenreich, Dibner and L. Reti, 1981, Leonardo the Inventor, London: Hutchinson.
    I.B.Hart, 1961, The World of Leonardo da Vinci, London: Macdonald.
    LRD / IMcN

    Biographical history of technology > Leonardo da Vinci

  • 2 תיחוח

    תִּיחוּחַ, תִּח׳m. ( תחח, transp. of חת; cmp. תותח, Job 41:21, = תחתח) crushing; עֲפַר ת׳ crushed, loose earth. Ohol. XVIII, 8 ועפר התי׳ (Mish. ed. והעפר, corr. acc., or והעָפָר התָּחוּחַ; Maim. comment. ed. Dehr. עֲפַר תּוֹחָח). Tosef. ib. XVI, 5 ואיזו היא בתולה … רושם ואין עפרה תי׳ ed. Zuck. (Var. ואין עפר תחתיו) virgin soil is that in which there is no imprint, and the earth of which is not ʿăfar tiḥuaḥ; Nidd.8b, v. רְשָׁשִׁין. Bets.8a top עפר תח׳ (Tosaf. תיח׳). Sabb.39a. Ber.40a (Ms. F. תוחח, v. supra). Y.B. Bath.II, beg.13b מפני שעושין עפר תח׳וכ׳ because they (the rocks or boulders near a wall) make the ground around them loose, and affect the earth of the wall; Bab. ib. 19b שמחלידין … ומעלין עפר תי׳ they (the roots of trees near a wall) undermine the ground, and generate loose earth; a. e.

    Jewish literature > תיחוח

  • 3 תח׳

    תִּיחוּחַ, תִּח׳m. ( תחח, transp. of חת; cmp. תותח, Job 41:21, = תחתח) crushing; עֲפַר ת׳ crushed, loose earth. Ohol. XVIII, 8 ועפר התי׳ (Mish. ed. והעפר, corr. acc., or והעָפָר התָּחוּחַ; Maim. comment. ed. Dehr. עֲפַר תּוֹחָח). Tosef. ib. XVI, 5 ואיזו היא בתולה … רושם ואין עפרה תי׳ ed. Zuck. (Var. ואין עפר תחתיו) virgin soil is that in which there is no imprint, and the earth of which is not ʿăfar tiḥuaḥ; Nidd.8b, v. רְשָׁשִׁין. Bets.8a top עפר תח׳ (Tosaf. תיח׳). Sabb.39a. Ber.40a (Ms. F. תוחח, v. supra). Y.B. Bath.II, beg.13b מפני שעושין עפר תח׳וכ׳ because they (the rocks or boulders near a wall) make the ground around them loose, and affect the earth of the wall; Bab. ib. 19b שמחלידין … ומעלין עפר תי׳ they (the roots of trees near a wall) undermine the ground, and generate loose earth; a. e.

    Jewish literature > תח׳

  • 4 תִּיחוּחַ

    תִּיחוּחַ, תִּח׳m. ( תחח, transp. of חת; cmp. תותח, Job 41:21, = תחתח) crushing; עֲפַר ת׳ crushed, loose earth. Ohol. XVIII, 8 ועפר התי׳ (Mish. ed. והעפר, corr. acc., or והעָפָר התָּחוּחַ; Maim. comment. ed. Dehr. עֲפַר תּוֹחָח). Tosef. ib. XVI, 5 ואיזו היא בתולה … רושם ואין עפרה תי׳ ed. Zuck. (Var. ואין עפר תחתיו) virgin soil is that in which there is no imprint, and the earth of which is not ʿăfar tiḥuaḥ; Nidd.8b, v. רְשָׁשִׁין. Bets.8a top עפר תח׳ (Tosaf. תיח׳). Sabb.39a. Ber.40a (Ms. F. תוחח, v. supra). Y.B. Bath.II, beg.13b מפני שעושין עפר תח׳וכ׳ because they (the rocks or boulders near a wall) make the ground around them loose, and affect the earth of the wall; Bab. ib. 19b שמחלידין … ומעלין עפר תי׳ they (the roots of trees near a wall) undermine the ground, and generate loose earth; a. e.

    Jewish literature > תִּיחוּחַ

  • 5 תִּח׳

    תִּיחוּחַ, תִּח׳m. ( תחח, transp. of חת; cmp. תותח, Job 41:21, = תחתח) crushing; עֲפַר ת׳ crushed, loose earth. Ohol. XVIII, 8 ועפר התי׳ (Mish. ed. והעפר, corr. acc., or והעָפָר התָּחוּחַ; Maim. comment. ed. Dehr. עֲפַר תּוֹחָח). Tosef. ib. XVI, 5 ואיזו היא בתולה … רושם ואין עפרה תי׳ ed. Zuck. (Var. ואין עפר תחתיו) virgin soil is that in which there is no imprint, and the earth of which is not ʿăfar tiḥuaḥ; Nidd.8b, v. רְשָׁשִׁין. Bets.8a top עפר תח׳ (Tosaf. תיח׳). Sabb.39a. Ber.40a (Ms. F. תוחח, v. supra). Y.B. Bath.II, beg.13b מפני שעושין עפר תח׳וכ׳ because they (the rocks or boulders near a wall) make the ground around them loose, and affect the earth of the wall; Bab. ib. 19b שמחלידין … ומעלין עפר תי׳ they (the roots of trees near a wall) undermine the ground, and generate loose earth; a. e.

    Jewish literature > תִּח׳

  • 6 SÆR

    I)
    (gen. sævar), m. sea (øxn gengu upp ór sænum), (varð sjárinn ókyrr mjök; róa út á sjá), = sjár, sjór.
    (-sæ, -sætt), a. seen (auðsær, einsætt).
    * * *
    m., there are three forms, sær, sjór, sjár (cp. snær, slær, etc.); in old writers sær is commonest, sjór in mod., sjár is the most rare: the v (also written f) appears in gen. sævar, sjóvar, sjávar; dat. sævi, sjóvi, sjávi; acc. sæ, sjó, sjá; the dat. sing. was then shortened into sæ, sjó, sjá, which forms prevail in prose: in mod. usage the v has also been dropped between two vowels, sjóar for sjóvar, pl. sjóir for sjóvir, dat. sjóum: a gen. sjós is only used in special phrases, and is borrowed from the Danish: [Ulf. saiws and mari-saiws = λίμνη, Luke v. 12; A. S. sæ; Engl. sea; O. H. G. seô; Germ. see; Dan. sö; Swed. sjö.]
    A. The sea, never used, like Germ. see, of a lake; himin, jörð ok sjá, Fms. i. 304; á sjá ok landi, 31; ef sjár kastar á land, Grág. ii. 388; þar sem sær mætisk ok græn torfa, N. G. L. i. 13; sær eða vötn, Grág. ii. 275; sær ok vindar, Eluc. 10; særinn féll á land, Fms. xi. 6 (and sjórinn, id.); upp ór sæ (dat.), 7; sænum, 6, 7 (four times); and sjónum, 6 (once); í sæinn, 6, 7 (thrice); sjóinn, id. (once); á sæinn út, Hkr. i. 229; út til sævar, ii. 106, Ó. H. 69; þar er vatni náir, eða sjá ( sea-water) ef eigi nær vatni, K. Þ. K. 5 new Ed.; sjár kolblár, Nj. 42; sjór kolblár, 19; á hverngi veg er sjór blendr saman fé manna, Grág. ii. 389; sá þeir skína ljós á sjóinn, Fms. i. 228; vestr með sjó, Landn. 36; sjór í miðjum hlíðum, 25, v. l.; Danavirki var gört … um þvert landit millum sjóva, Fms. xi. 28; sjór enn rauði, the Red Sea, 655 viii. 2; hann bað þrælinn færa sér í dælu-keri þat er hann kallaði sjó …, Ekki þykki mér þetta sjór, Landn. 251; bar sjóinn í seglit (the sea, waves), Fms. ix. 320; hón hjó fram öxinni á sjóinn …, varð af brestr mikill ok blóðugr allr sjórinn, Lv. 68, 69: the phrase, kasta á sæ, to cast into the sea, throw away, Ó. H. 38 (see glær); því kalla menn á sæ kastað er maðr lætr eigu sína, ok tekr ekki í mót, Ld. 128: storm mikinn ok stóran sjá, a high sea, Fms. vii. 51: sigla suðr um sjá (= sail through the Straits of Dover southward), Nj. 281.
    COMPDS:
    α. sævar-: sævar-bakki, a, m. the sea-beach, Sturl. ii. 31 C. sævar-borg, f. a castle on the sea-side, = sæborg, Fms. xi. 74. sævar-djúp, n. the depth of the sea, the deep sea, Mar. sævar-fall, n. tides, Rb. 6, 90. sævar-floti, a, m. a float, raft of timber, N. G. L. i. 423. sævar-gangr, m. the swell of the sea, the sea running high, Edda 41. sævar-hamrar, m. pl. sea-crags, Orkn. 310 (sjávar-hamrar, Fbr. 155). sævar-strönd, f. the sea-strand, 655 xii. 3. sævar-urð, f. piles of rocks on the sea-shore, Orkn. 114.
    β. sjávar-: sjávar-brekka, u, f. a shelving shore, Bs. i. 669. sjávar-djúp = sævar-djúp, Nj. 279. sjávar-gata, u, f. the way from the sea to a bouse; eigi er löng s. til Borgar, B. is not far from the coast, Band. 28 new Ed. sjávar-hamrar = sævarhamrar, Nj. 182, Fbr. 155. sjávar-háski, a, m. danger, distress at sea, Fms. x. 135. sjávar-hella, u, f. a flat rock projecting into the sea, Landn. 326 (Append.) sjávar-höll, f. a king’s hall on the sea-side, Fms. x. 20. sjávar-lopt, n. a house built aloft in the sea, Fms. vi. 162. sjávar-ríki, n. the kingdom of the sea, Bret. 6, Edda (pref.) sjávar-stjarna, u, f. the star of the sea, i. e. the Virgin Mary, ‘stella maris’, Mar. sjávar-stormr, m. a sea-storm, MS. 415. 9. sjávar-strönd, f. = sævarströnd, Edda i. 50.
    γ. sjóvar-, often spelt sjófar-, mod. sjóar-: sjóvar-afli, a, m. sea-fishery, produce from the sea, Grett. 88 A; svipull sjóar afli, a saying, Hallgr. sjóvar-bakki, a, m. = sævarbakki, Fms. vii. 145. sjóvar-bryggja, u, f. a landing bridge, Fms. vi. 5. sjóvar-djúp, n. = sævardjúp, Str. 288. sjóvar-fall (sjóar-fall) = sævarfall, Rb. 438, Jb. 338. sjóvar-floti = sævar-floti, K. Á. 178. sjóvar-gangr (sjóar-gangr) = sævargangr, Bær. 5, Fms. xi. 6, Edda (pref.) sjóvar-háski = sjávarháski, Fas. ii. 112, Bs. i. 326, Stj. 27. sjóvar-hringr, m. the circle of the ocean, girding the earth, Rb. 466. sjóvar-lögr, m. sea-water, Stj. 242. sjóvar-ólga, u, f. the swell of the sea, Fas. ii. 378. sjóvar-sandr, m. sea-sand, Stj. sjóvar-skafl, m. (see skafl), Fas. ii. 76. sjóvar-skrimsl, n. a sea-monster, Sks. 86. sjóvar-stormr, m. = sjávarstormr, Stj. 287, Al. 99. sjóvar-straumr, m. a sea-current, Fs. 142. sjóvar-strönd (sjóar-strönd), = sævar-strönd, N. G. L. i. 345, Fms. x. 233, Stj. 288. sjóvar-sýn, f. an outlook at sea; þvíat eins at allgóð sé s., in bright weather only, Landn. 25 (v. l.), Stj. 288. sjóvar-urð, f. = sævarurð. sjóvar-vatn, n. sea-water, Stj. 287.
    δ. sjóar-, passim in mod. usage.
    B. PROPER COMPDS:
    I. in pr. names, Sæ-björn, Sæ-mundr, Sæ-unn ( Sæ-uðr), Sæ-hildr; contr. in Sjólfr, qs. Sæ-úlfr, Landn.
    II. sæ-borg, f. a sea-side town, Clem. 24, Fms. xi. 75; a sea-castle, sæborgir Birkibeina, i. e. their ships, ix. 221. sæ-brattr, adj. ‘sea-brent,’ steep towards the sea, Ísl. ii. 73, Bret. 90. sæ-bygð, f. a coast-land, Fms. iv. 116. sæ-byggjar, m. pl. coast-dwellers, Fms. viii. 404. sæ-dauðr, adj. dead at sea, drowned, Sdm. sæ-farar, f. pl. sea-faring; á hann (Njörð) skal heita til sæfara ok veiða, Edda; kenna menn til víga eðr sæfara, id.: hann hét á Þor til sjófara ok harðræða, Landn. 206. sæ-fari, a, m. a sea-farer: as adjective = sæhafi, Landn. 129, v. l.: for the sæfa in Orkn. 406 (v. l.). Grett. 88 A, read sæfara (sæa). sæ-fiskr, m. a sea-fish, Karl. 476. sæ-færr, adj. sea-worthy, Fms. iv. 246, Landn. 107: of weather, fit for sea-faring, veðr hvasst ok eigi sæfært, Eg. 482; hvern dag er sjófært var, Gísl. 47. sæ-föng, n. pl. stores from the sea; úáran, biluðu mönnum sáð ok sæföng, Bs. i. 137. sæ-garpr, m. a great sea-champion, Fb. iii. 446, Bárð. 169. sæ-hafi or sæ-hafa, adj. sea-tossed, driven out of one’s course; in the phrase, verða s., hann var s. til Hvítramanna-lands, Landn. 129, Bs. i. 675, Orkn. 406, Grág. i. 93, 217, ii. 410; kemr á andviðri ok verða þeir sæhafa at dalnum, Fbr. 68 (new Ed. 36 l. c. line 15 has wrongly ‘sækja’), Grett. 17 new Ed. Sæ-hrimnir, m. the name of the mythical boar whose flesh the heroes in Walhalla feed on, Gm., Edda. sæ-karl, m. a sea-carle, raftsman, Skálda 163. sæ-konungr, m., q. v. sæ-kykvendi, m. a sea-beast, Ver. 2, Skálda 170, Rb. 104. sæ-kyrra, u, f. a sea-calm, smooth sea, Orkn. 164. sæ-lið, n. service at sea, Ld. 142. sæ-lægja, u, f. a mist on the sea; þoka ok sælægjur, Orkn. 358. sæ-lægr, adj. lying on the sea, an epithet of a sea-mist; s. mjörkvi, Fms. vi. 261, viii. 178 (spelt sjálægr). sæ-naut, n. a sea-cow (fabulous); þjórr, ok var sænauta litr á hornunum, Vápn. 21, see Ísl. Þjóðs. i. 134. 135. sæ-nár, m., Grág. ii. 131, see nár. sæ-sjúkr, adj. sea-sick, Fb. iii. 427. sæ-tré, n. pl., poët. sea-trees, i. e. ships; hér eru vit Sigurðr á sætrjám, Skv. 2. 17; hann lá úti á sætrjám vetr ok varmt sumar, Fas. ii. 242. ☞ For the compds in sjá- and sjó- see pp. 534, 535.

    Íslensk-ensk orðabók > SÆR

  • 7 πέτρα

    πέτρα, [dialect] Ion. and [dialect] Ep. [full] πέτρη, ἡ,
    A rock; freq. of cliffs, ledges, etc. by the sea,

    λισσὴ αἰπεῖά τε εἰς ἅλα πέτρη Od.3.293

    , cf. 4.501, etc.; χῶρος λεῖος πετράων free from rocks, of a beach, 5.443 ;

    π. ἠλίβατος.. ἁλὸς ἐγγὺς ἐοῦσα Il.15.618

    , etc.; χοιρὰς π. Pi.P.10.52; also, rocky peak or ridge, αἰγίλιψ π. Il.9.15, etc.;

    ἠλίβατος 16.35

    , etc.; λιττὰς π. Corinn.Supp.1.30, cf.A.Supp. 796 (lyr.); π. Λενκάς, 'ωλενίη, etc., Od.24.11, Il.11.757, etc.; π. σύνδρομοι, Συμπληγάδες, Pi.P.4.209, E.Med. 1264(lyr.); πρὸς πέτραις ὑψηλοκρήμνοις, of Caucasus, A.Pr.4, cf. 31, 56, al.; π. Δελφίς, π. δίλοφος, of Parnassus, S.OT 464(lyr.), Ant. 1126(lyr.);

    π. Κωρυκίς A.Eu.22

    ; π. Κεκροπία, of the Acropolis, E. Ion 936.
    2 π. γλαφυρή a hollow rock, i.e. a cave, Il.2.88, cf. 4.107; σπέος κοιλῇ ὑπὸ π. Hes. Th. 301; δίστομος π. cave in the rock with a double entrance, S.Ph.16, cf. 937; κατηρεφεῖς αὐτῇ τῇ π. Pl.Criti. 116b;

    π. ἀντρώδης X.An.4.3.11

    ;

    τόπος κύκλῳ πέτραις περιεχόμενος IG42(1).122.21

     (Epid.); ἕως τῆς π. down to virgin rock, PCair.Zen.172.14 (iii B.C.), OGI672 (Egypt, i A. D.), cf. Ev.Matt.16.18.
    3 mass of rock or boulder, Od.9.243, 484, Hes.Th. 675 ;

    πέτρας κυλινδομένα φλόξ Pi.P.1.23

     ;

    ἐκυλίνδουν πέτρας X.An.4.2.20

    , cf. Plb.3.53.4.
    4 stone as material, π. λαρτία, Τηΐα, SIG581.97 (Crete, iii/ii B. C.), 996.13 (Smyrna, i A. D.): distd. from πέτρος (q. v.), which is v.l. in X.l.c.; πέτρᾳ shd. be read in S.Ph. 272 ; the distn. is minimized by Gal.12.194.
    II prov., οὐκ ἀπὸ δρυὸς οὐδ' ἀπὸ πέτρης, etc. (v. δρῦς); as a symbol of firmness,

    ὁ δ' ἐστάθη ἠΰτε π. ἔμπεδον Od.17.463

    ; of hard-heartedness,

    ἐκ πέτρας εἰργασμένος A.Pr. 244

    ;

    ἁλίαν π. ἢ κῦμα λιταῖς ὢς ἱκετεύων E.Andr. 537

     (anap.); cf.

    πέτρος 1.2

    . (Written πε-τε-ρα in a text with musical accompaniment, Pae.Delph.5.)

    Greek-English dictionary (Αγγλικά Ελληνικά-λεξικό) > πέτρα

См. также в других словарях:

  • Virgin of the Rocks — Infobox Painting| title=Virgin of the Rocks (Louvre) artist=Leonardo Da Vinci year=1483 1486 type=Oil on panel (transferred to canvas) height=199 width=122 height inch=78.3 width inch=48.0 city=Paris museum=LouvreInfobox Painting| title=Virgin of …   Wikipedia

  • Madonna of the rocks — (1483 1486; Paris, Louvre)    Leonardo da Vinci painted this work for the Church of San Francesco Grande in Milan and received the commission from the Confraternity of the Immaculate Conception. Two of his pupils and an independent sculptor were… …   Dictionary of Renaissance art

  • The Holy Infants Embracing — is one of many works ascribed to Leonardo da Vinci. It is thought to represent the infant Christ embracing his cousin John the Baptist. The subject matter relates to the two paintings of the Virgin of the Rocks by Leonardo and numerous other… …   Wikipedia

  • Our Lady of the Rocks — Gospa od Škrpjela in Gulf of Kotor (on the left) Our Lady of the Rocks (Serbian Gospa od Škrpjela, Serbian Cyrillic: Госпа од Шкрпјела, pronounced [gɔ̌ːspa ɔd ʃkř̩pjɛla]) is one of the two islets off the coast of Perast in Bay of Kotor,… …   Wikipedia

  • The Battle of Anghiari (painting) — Peter Paul Rubens s copy of The Battle of Anghiari. Allegedly from left to right is Francesco Piccinino; Niccolò Piccinino; Ludovico Trevisan; Giovanni Antonio del Balzo Orsini. The Battle of Anghiari (1505) is a lost painting by Leonardo da… …   Wikipedia

  • Virgin Rocks — The Virgin Rocks is a series of rocky ridges just below the ocean surface on the Grand Banks. They rise to within 3.6 m of the surface and are a navagiation hazard to ocean going vessels in the North Atlantic.The rocks were first reported by… …   Wikipedia

  • The Narrows (Zion National Park) — The Virgin River Narrows The Narrows in Zion National Park, (near Springdale, Utah) is a section of canyon on the North Fork of the Virgin River. The hike of The Narrows is one of the premier hikes on the Colorado Plateau. The term The Narrows… …   Wikipedia

  • The Ballad of the White Horse — is a poem by G K Chesterton about the idealized exploits of the Saxon King Alfred the Great, published in 1911 AD. Written in ballad form, the work is usually considered an epic poem. The poem narrates how Alfred was able to defeat the invading… …   Wikipedia

  • The blind boys of alabama — Les Blind Boys of Alabama au Festival d été de Québec en 2008. The Blind Boys of Alabama est un groupe de musique gospel de l Alabama formé à l origine dans l Institut pour les aveugles noirs d Alabama (Alabama Institute for the Negro Blind) en… …   Wikipédia en Français

  • The Search (TV series) — The Search was a seven part television show on Channel 4, which first aired in on January 7, 2007, the final episode was broadcast on February 24, 2007. The premise of the programme was that ten contestants with unique skills must solve a variety …   Wikipedia

  • The Blind Boys of Alabama — performing at the Quebec City Summer Festival in 2008. Background information Origin Alabama …   Wikipedia

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