La iglesia de Saint-Laurent de París es una iglesia fundada en el siglo XV localizada en el X Distrito, en el antiguo recinto de Saint-Laurent, 119, rue du Faubourg-Saint-Martin, 68, boulevard de Strasbourg y 68, boulevard de Magenta.
La iglesia está construida sobre el eje norte-sur de París que conecta Senlis y Orleans y que fue trazado por los romanos durante la mitad del siglo ii a. C., la actual rue du Faubourg-Saint-Martin, rue Saint-Martin, rue Saint-Jacques y rue du Faubourg-Saint-Jacques.
Después de las clasificaciones y registros iniciales como monumentos históricos, el 1 de febrero de 1945 (79 años), la iglesia fue enteramente clasificada por decreto del 16 de diciembre de 2016.1
Midnight in Paris is a 2011 fantasy comedy film written and directed by Woody Allen. Set in Paris, the film follows Gil Pender (Owen Wilson), a screenwriter and aspiring novelist, who is forced to confront the shortcomings of his relationship with his materialistic fiancée (Rachel McAdams) and their divergent goals, which become increasingly exaggerated as he travels back in time to the 1920s each night at midnight.[3]
In 2010, disillusioned screenwriter Gil Pender and his fiancée, Inez, vacation in Paris with Inez's wealthy parents. Gil, struggling to finish his debut novel about a man who works in a nostalgia shop, finds himself drawn to the artistic history of Paris, especially the Lost Generation of the 1920s, and has ambitions to move there, which Inez dismisses. By chance, they meet Inez's friend, Paul, and his wife, Carol. Paul speaks with great authority but questionable accuracy on French history, annoying Gil but impressing Inez.
Intoxicated after a night of wine tasting, Gil decides to walk back to their hotel, while Inez goes with Paul and Carol by taxi. At midnight, a 1920s car pulls up beside Gil and delivers him to a party for Jean Cocteau, attended by other people of the 1920s Paris art scene. Zelda Fitzgerald, bored, encourages her husband Scott and Gil to leave with her. They head to a cafe where they run into Ernest Hemingway and Juan Belmonte. After Zelda and Scott leave, Gil and Hemingway discuss writing, and Hemingway offers to show Gil's novel to Gertrude Stein. As Gil leaves to fetch his manuscript, he returns to 2010; the cafe is now a laundromat.
The next night, Gil tries to repeat the experience with Inez, but she leaves before midnight. Returning to the 1920s, Gil accompanies Hemingway to visit Gertrude Stein, who critiques Pablo Picasso's new painting of his lover Adriana. Gil becomes drawn to Adriana, a costume designer who also had affairs with Amedeo Modigliani and Georges Braque. Having heard the first line of Gil's novel, Adriana praises it and admits she has always longed for the past.
Gil continues to time travel the following nights. Inez grows jaded with Paris and Gil's constant disappearing, while her father grows suspicious and hires a private detective to follow him. Adriana leaves Picasso and continues to bond with Gil, who is conflicted by his attraction to her. Gil explains his situation to Salvador Dalí, Man Ray, and Luis Buñuel; as surrealists, they do not question his claim of coming from the future. Gil later suggests the plot of "The Exterminating Angel" to Buñuel.
While Inez and her parents travel to Mont Saint Michel, Gil meets Gabrielle, an antique dealer and fellow admirer of the Lost Generation. He later finds Adriana's diary at a book stall, which reveals that she was in love with Gil and dreamed of being gifted earrings before making love to him. To seduce Adriana, Gil tries to steal a pair of Inez's earrings but is thwarted by her early return to the hotel room.
Gil buys new earrings and returns to the past. After he gives Adriana the earrings, a horse-drawn carriage arrives, transporting them to the Belle Époque, an era Adriana considers Paris's Golden Age, they go to the Moulin Rouge where they meet Henri de Toulouse-Lautrec, Paul Gauguin, and Edgar Degas, who all agree that Paris's best era was the Renaissance. Adriana is offered a job designing ballet costumes; thrilled, she proposes to Gil that they stay, but he, observing the unhappiness of Adriana and the other artists, realizes that chasing nostalgia is fruitless because the present is always "a little unsatisfying." Adriana decides to stay, and they part ways.
Gil rewrites the first two chapters of his novel. He retrieves his draft from Stein, who praises his rewrite. Still, he says that on reading the new chapters, Hemingway does not believe that the protagonist does not realize that his fiancée, based on Inez, is having an affair with the character based on Paul. Gil returns to 2010 and confronts Inez, who admits to sleeping with Paul but disregards it as a meaningless fling. Gil breaks up with her and decides to move to Paris. The detective following him takes a "wrong turn" and ends up being chased by the palace guards of Louis XVI just before a revolution breaks out. While walking by the Seine at midnight, Gil encounters Gabrielle. As it begins to rain, he offers to walk her home and learns that they share a love for Paris in the rain.
Governor General David Johnston (right) with actor Michael J.Fox at Rideau Hall on May 27, 2011 during an Order of Canada ceremony.
PATRICK DOYLE / THE CANADIAN PRESS
OTTAWA—Actor Michael J. Fox is now an officer of the Order of Canada.
The Edmonton-born actor and activist is among 43 people who received their medals from Gov. Gen. David Johnston at a Rideau Hall ceremony.
Others include rock legend Robbie Robertson, hockey commentator Howie Meeker, Acadian filmmaker Phil Comeau, former cabinet minister Anne McLellan and Trudeau biographer Stephen Clarkson.
Fox was honoured for his efforts on behalf of those suffering from Parkinson’s disease, as well as his television and film work.
Fox, diagnosed with Parkinson’s two decades ago, called the award a great honour.
He chuckled that he felt like an imposter when he glanced around at his fellow inductees.
“I don’t begin for a second to put myself in the league of any of these people,” he said. “When I listen to what they’ve done, that’s Canadian to me. It’s a seriousness and a sense of humour, it’s a lot of contradictions.”
He said Canada always makes him think “of vast spaces and tight communities.”
“We think of ourselves huddled against the elements and helping each other. It’s very moving to be part of it.”
1893 Queen Isabella Commemorative Quarter. (Image via me)
A few things I’ve picked up from researching early commemorative coins:
The people behind them always hope they can raise a ton of money for a pet project or monument or expo. They rarely do.
The designs usually get denigrated by the numismatic press – oftentimes with a venom critics reserve for Limp Bizkit albums or Michael Bay movies.
The mint melts down the excess/unsold coins. As a result, the ones that did sell end up becoming valuable decades later – screwing over collectors on a budget like yours truly.
Those issues were all in play for the 1893 Isabella Quarter.
The Queen Isabella commemorative quarter traces its beginnings to the World’s Fair: Columbian Exposition, held in Chicago in 1893. Congress had already authorized the minting of a commemorative half dollar featuring Christopher Columbus, but a group of women, led by Bertha Palmer, whose husband, Potter, owned the famed Palmer House hotel in Chicago, thought they could do better.
Spearheaded by renowned women’s rights activist, and future $1 coin subject, Susan B. Anthony, the Board of Lady Managers had been awarded $10,000 in federal funds to help manage the Columbian Expo. In early 1893, the Board went before the House Appropriations Committee to ask that the $10,000 could be paid to them in the form of 40,000 specially designed commemorative quarters, which they could then sell at a profit. Congress obliged and the Board set about becoming “the authors of the first really beautiful and artistic coin that has ever been issued by the government of the United States.”
Obviously, the Board wanted a female on the obverse and decided on Queen Isabella I of Castile, who had provided vital financial support for Columbus’s voyages. Putting a foreign monarch on U.S. currency was unprecedented (indeed, there had a been a revolution over it), but according to Coin Week, the main source of conflict was over design.
Caroline Peddle, a former student of famed artist and coin designer Augustus Saint-Gaudens, was hired by the Board to design the coin. However, her sketches, which included a seated Isabella on the obverse and the inscription “Commemorative coin issued for the Board of Lady Managers of the World’s Columbian Exposition by Act of Congress, 1492–1892” on the reverse, were deemed to look too token-like and rejected. Rather than be allowed to redesign the coin, the Mint took away the reverse side and gave it to one of their in-house artists, Charles Barber, to design.
After some more back-and-forth and additional restrictions imposed by the Mint, Peddle resigned. The Mint then cobbled together some portraits of Isabella and ultimately produced an image of a young Isabella wearing a crown on her head for the obverse. On the reverse, the Mint went with an image of a woman kneeling while holding a distaff and spindle- symbolizing her industry. The Board had suggested an image of the Woman’s Building at the Expo, and Palmer later stated that the Board disliked the Mint’s reverse image because “we did not consider [it] typical of the woman of the present day.” However, the Mint made the final decision and approved the coin design.
To say that the reception for the commemorative quarter was not warm is a bit like saying that the American public didn’t embrace Apple’s Newton. The American Journal of Numsimatics was particularly brutal:
[W]e do not know who designed it, but in this instance, as in the half dollar, the contrast between examples of the numismatic art of the nation, as displayed on the Columbian coins, on the one hand, and the spirited and admirable work of the architects of the buildings, for instance, on the other, is painful. If these coins really represent the highest achievements of our medalist and our mints, under the inspiration of an opportunity without restrictions, the like of which has never been presented hitherto in the history of our national coinage, we might as well despair of its future…
The American Journal of Numismatics in October 1893, quoted by PCGS.
The Journal also drew a “mournful” comparison between the reverse design of the kneeling woman holding the distaff and spindle and the well-known “Am I Not a Woman and a Sister?” anti-slavery Hard Times Token. Surely, the Board felt vindicated by that line – although there’s no evidence Palmer or anyone else affiliated with them ever wrote to the Mint to say: “See? I told you we should gone with the building on the reverse.”
1838 HT-81 “Am I Not A Woman & A Sister?” (Image via me)
Sales figures, meanwhile, were disappointing. Of the 40,000 coins minted, a little more than half (21,180) ended up selling. According to NGC, the quarter’s sales were cannibalized by the Columbian Expo half dollar, which sold for the same price and was more widely available at the fair (5 million Columbian Expo half dollars were minted – 125 times as many compared to the Isabella quarter). While it didn’t come close to selling out, Coin Week points out that the quarters, which sold for $1 each, ended up being profitable for the Board. A $20,000-plus stream of revenue may not have been much, but it was double the original federal appropriation awarded to the Board. Of the remaining 19,000-plus quarters, approximately 15,000 went back to the Mint for melting.
1893 Columbian Expo Half Dollar. (Image via me)
In recent years, the coin’s reputation has been rehabilitated and has become a highly sought-after collector’s item. Contemporary reviewers have praised its quaint design and its uniqueness among U.S. commemorative coins (until the modern commemoratives came around, it held the distinction as the only commemorative quarter in U.S. history – as well as the only one to depict a foreign monarch). Even the reverse of the coin has been somewhat vindicated. Art historian Cornelius Vermeule argued that the design wasn’t necessarily evocative of the anti-slavery token and even traced elements of it back to antiquities. “[S]ome details of drapery to a servant girl from the East Pediment of the Temple of Zeus at Olympia, work of about 460 B.C. with additions and revisions in the first or second centuries A.D.,” he wrote.
I love the design and how it distinguishes this coin from other early commemoratives. Too many coins from that era have a generic male bust on the obverse and either an eagle or state symbol on the reverse. Because of the relative scarcity of this coin, buying one wasn’t cheap (this one had been cleaned, which lowered its value, but it still ended up costing over $100). The price tag was worth it, as this has become one of my favorite coins.
So I guess the lesson here is that I should buy more modern commemoratives – even those that I think are ugly. After all, maybe they’ll skyrocket in value in 100 years…
During your holidays in Carnac, discover the town’s religious heritage: its six chapels will take you on a journey through the centuries.
CHAPEL OF St Michel
The Chapel of Saint Michel de Carnac was rebuilt around 1813 and again in 1925 on the same plans as the original chapel dating from 1664. It is located on the highest point of the town, the tumulus hill. Below is St Michel devotional fountain. Women whose husbands were at sea, used to sweep the chapel in the direction they wanted to see the wind blow. Then they would to pray at the fountain and drink the water. St Michel’s saints day is in September. There is an orientation table at the high point of the hill.
Climb to the top of the tumulus and admire the breathtaking views of the ocean and islands.
CHAPEL OF St Colomban
The Chapel of Saint Colomban, built in the flamboyant Gothic style, dates from the end of the sixteenth century. It is consecrated to the Irish monk Saint Columba, the patron saint of fools. To the east of the village, with its granite houses, is the fountain of Saint Colomban, which has two drinking pools. The wash house was a meeting place for the village women. South of the village, by the sea, are two chimneys, the remains of a forge.
The chapel is open all year round from 10 am to 6 pm. Entrance is free.
CHAPEL OF Kergroix
The Kergroix chapel dates back to the 16th century, although it was rebuilt in 1951. The Forgiveness of Our Lady of the Cross is celebrated in September. The chapel is open to the public all summer.
CHAPEL OF la Madeleine
The site of the chapel was once a leper colony. The present chapel was rebuilt in 1976. It is open and tended by local people in the summer. The most important service takes place in July. Next to the chapel, you will discover the fountain, the source of which is said to cure fever and skin diseases.
Continue your walk towards the Chapel of Hahon and the Chapel of Coet, both to the North of Carnac.
Vezelay and Saint Maximin, an incredible “war” for the relics of Mary Magdalene
Mary Magdalene did not immediately have a great aura in the history of the Church. It was not until the 7th and 8th centuries that she began to be favored in monastic circles, where the accent was placed on repentance and forgiveness by welcoming sinners there. The life of the saint – a sinner who became an ascetic – then merges with the traditions concerning the life of Mary the Egyptian. She was a prostitute of the six century who would have done penance in the desert, on the other side of the Mediterranean. In the 11th century, the monasteries, under the influence of the order of Cluny, took on social and economic importance. There is also a tremendous cult around all kinds of relics brought back from the Holy Land or purchased in Constantinople. Having relics of great saints is important at this time. It is because there are relics that pilgrimages are organized and pilgrimages pay off. In Vézelay at the beginning of the 11th century the monastery was in full decline. Wishing to promote his abbey, Abbot Geoffroy (1037-1052), friend of the pope, ambitious and close to princes “discovered” (“invented” is the term of use) and exhibited the relics of Mary Magdalene. Pilgrims flock.
Relic of Mary Magdalene, Vezelay basilica
In 1050 Mary Magdalene officially became the patron saint of Vezelay abbey.
Over the 11th and 12th centuries, the abbey, many times enlarged and rebuilt, was transformed into a magnificent sanctuary, with splendid Romanesque portals. It was an important stopover on the way to Compostela. The city took advantage of the influx of pilgrims. In the 12th century, its population amounted to 10,000 inhabitants, a considerable number for the time. Vézelay then became a center of great importance for the West. Under the protection of the powerful dukes of Burgundy, in 1146, Saint Benedict preached the second crusade there. King Louis VII, Queen Eleanor and a crowd of nobles, prelates and people gathered on the hill. In 1190, Richard Coeur-de-Lion and Philippe-Auguste met there at the start of the third crusade. In 1217, François d’Assise chose the hill of Vézelay to found the first Franciscan establishment on French soil.
Saint Bernard preaching the 2nd Crusade, in Vézelay, in 1146, Émile Signol – Public domain
How the relics of Mary Magdalene arrived in Vézelay ?
Natural curiosity, but unsatisfactory answers. We accepted the idea that it was Gérard de Roussillon who would have organized the transfer of the relics during the foundation of the abbey, relics that we would have gone to look for in Saint-Maximin where we knew that the saint had her burial. . The bishop of Autun launched a prohibition against the pilgrimage. We then asked for the arbitration of the Pope. Pascal II, who by a bull given in 1103, broke the prohibition of the bishop and invited all the French to make the pilgrimage of Vézelay. The pilgrimage then took off, these were the great hours of Vézelay. However, doubt persisted, not about the burial of Mary Magdalene in Provence, but about the transfer of her relics to Vézelay and their authenticity. We didn’t have much to show as relics in Vézelay, where we talked about them a lot without ever really presenting them in public.
“Presentable” and “indisputable” relics were needed. It was then that in 1265, relics were exhumed in Vézelay, kept in a box which would have been deposited in the crypt in 920 more than three centuries earlier. A certificate of authenticity in the box proves this!. “…under the high altar, a metal chest, long square, which contained some relics wrapped in two veils of silk, with a certain quantity woman’s hair”. There was also a letter from a King Charles certifying that “in this coffer is contained the body of the blessed Mary Magdalene”. (Act drawn up by Gui de Mello, bishop of Auxerre and Pierre, bishop of Panéade.) Saint Louis officially recognized the relics and went to Vézelay for their elevation in 1267.
Vezelay basilicaSt Maximin basilica
Nevertheless, the doubt still persisted. Twelve years later, in 1279, Charles II, Prince of Salerno, nephew of Saint Louis, who had come to Saint-Maximin on pilgrimage and had carried out a solid investigation, was convinced that the tomb of Mary Magdalene was in the crypt. where Saint Maximin had once buried her. He organized excavations which led to the discovery of several sarcophagi. In the so-called “Sidoine’s sarcophagus” was discovered the body of Mary Magdalene with an inscription on a wooden tablet on which appeared simply: “Here lies the body of Saint Mary Magdalene.”
And finally, for the Abbey of Vézelay, the miracle will not take place.
Indeed, Pope Boniface VIII definitively put an end to this “battle” between the 2 cities when he recognized the authenticity of the relics discovered by Charles II at Saint Maximin. Vézelay will have to submit to the spiritual authority of the Pope. At the end of the 13th century, it is the beginning of the decline of the pilgrimage of Vézelay.The reliquary in the crypt of Vezelay contains a piece of her rib bone, given by the Dominican monks of St Maximin.
Tema anterior
Parish, Church
1838 HT-81 “Am I Not A Woman & A Sister?” (Image via me)
1893 Columbian Expo Half Dollar. (Image via me)
Relic of Mary Magdalene, Vezelay basilica
Saint Bernard preaching the 2nd Crusade, in Vézelay, in 1146, Émile Signol – Public domain
Vezelay basilica
St Maximin basilica
