It will run through the beginning of the Capetian dynasty to nowadays and will focus on everything related to France and its history.
Feel free to submit!
Ok. So next Saturday and Sunday evening is going to be aired the two parts telefilm “Alias Caracalla” on France 3. Alias Caralla is based on Daniel Cordier’s autobiography of the same name, Cordier being a Résistant and especially Moulin’s secretary.
Why watch it?
- For the Résistance. Because it’s full of politics and rivalry, compromise, and influence games, inside the Résistance itself, between the Résistance and the Free France, and between the Free France and the Allies. Because it is far more than its leaders. Because it’s morally grey. And because it is awesome - I mean, managing to do something in this mess? High five guys.
- For Moulin. Do you need a reason? (ok, I’m curious about the actor)
- For Cordier, obviously! Because he grows on you. Because you see him evolve and grow up. Because you discover a lot of things through his eyes. Because his relationship with Moulin is the most precious thing ever.
- For political reasons. Considering we’re at a time the far-right considers itself the gardian of the French civilisation by fighting against equality, watching the story of a resistant who happens to be gay and who learns to leave his far-right opinions away is like raising my middle fingers to them.
Why not watch it
- Let’s be honest, it’s a French telefilm.
- Because you’re going to cry at the end.
Nice symbol.
Chères / Chers collègues,
Je me permets de vous écrire ce billet pour vous confier mon sentiment concernant la situation des Langues et Cultures de l’Antiquité et vous proposer quelques pistes de réflexion et d’action.
Je dois bien avouer que, comme certains d’entre vous, avec lesquels j’ai pu…
Le cri de ralliement de mon groupe de latiniste, c’était “le latin, c’est la vie! Le latin n’est pas mort!”. Et ça n’a jamais été autant vrai.
Alors pour le latin, parce que oui, j’ai kiffé le latin au collège-lycée, parce que le latin reste un de mes meilleurs souvenirs de cette période, parce que Cicéron c’est point carré, je rebloggue.
Loterie des enfants trouvés, 1674 - the theme of a swaddled Jesus to remember the life of the population was common in religious and artistic circles who offered charity in Paris in the middle of the 17th century. It is opposed to the sensual depiction of Jesus as a child in the more official classical art, inspired by the Renaissance.
Bibliothèque royale de Bruxelles, Belgique
In 1633 Vincent de Paul founded in Paris the Companie des Filles de la Charité, whose nuns dedicated themselves to the poors and lost children. In 1640 they received the royal charge to take care of any child found in the streets of Paris. Each year, 500 children were abandoned
Nécessaire de voyage de la maréchale BessièresMartin Guillaume Biennais (1764-1843), tabletier ébéniste orfèvre
Marie-Joseph-Gabriel Genu (17XX-18XX), orfèvre
Paris, 1798-1809
Argent, vermeil, cristal, ivoire, nacre, corne, porcelaine dure
Coffret en acajou, cuivre doré et maroquin vert gaufré et doré
Legs baron Marie Jacques Ferdinand Bessières, 1911
Inv. 15687
© Les Arts Décoratifs
Ce nécessaire de 62 pièces comprend un service à thé et à café, des couverts pour deux personnes, un nécessaire de toilette, un nécessaire à couture et un nécessaire à écrire.
This kit is composed of 62 pieces; among them : a tea and coffee set, cutlery for two persons, a washbag, a sewing kit and a writing set
The Card Players by Paul Cezanne ca. 1892
As a later work, The Card Players is more indicative of Cezanne’s earlier impressionism. It does have the thick lines and bright colors of the impressionist school, but also the fragmented quality that Cezanne used to separate the shapes and forms within his paintings. This painting was created in Cezanne’s mature period, in Provence, where he stabilized his family residence and completed many of his later paintings. It was at this time that Cezanne employed the use of his wife, son, local peasants, children, and art dealers as his models and subjects. You can almost image Cezanne sitting across from these two players in a local tavern, as he was inspired by them, returning to his estate to paint them.
Des policiers, membres des CRS, manient la matraque rue Saint-Jacques à Paris lors des heurts entre les manifestants appelés par l’Unef et les forces de l’ordre qui bouclaient le Quartier Latin le 6 mai 1968.
On the 6th of May 1968, CRS (Republican Security Companies, riot control forces) using the baton on street Saint Jean in Paris during fights between the Student Union UNEF and the police in the Quartier Latin. @credits
Le roi de FranceRecueil : “Grand Armorial équestre de la Toison d’or”. Vers 1431-1435. Auteur : Jean Lefèvre de Saint-Rémy
Le Grand Armorial équestre de la Toison d’or, est le plus célèbre de tous les armoriaux et un des plus beaux manuscrits de la fin du Moyen Âge. Il s’agit d’un codex sur papier d’assez petit format (29 x 21 cm environ), incomplet et comportant dans son état actuel 167 feuillets. On dénombre en effet dans le recueil : d’une part, 79 portraits équestres en pleine page de différents personnages (souverains, princes et feudataires de plusieurs pays d’Europe membres de l’ordre de la chevalerie de la Toison d’Or) représentés en grande tenue héraldique et en position de combat pour la joute ; de l’autre, un armorial européen de 942 écus. Le dessin sobre et vigoureux est rehaussé d’un trait épais d’encre noire qui accentue le caractère stylisé des figures. La mise en couleur est faite à la gouache ayant gardé une étonnante fraicheur.
The Great Equestrian Armorial of the Golden Fleece is the most famous of all the rolls of arms and one of the most beautiful manuscripts of the Late Middle Ages. This armorial (roll of arms) is a codex on paper in quite a small format (approximately 29 x 21 cm), incomplete and in its current state contains 167 sheets. The collection contains: on the one hand, 79 full-page equestrian portraits of various sovereigns, princes and vassals of several European countries that were members of the chivalric Order of the Golden Fleece, represented in full heraldic dress and in combat position for jousting; and, on the other hand, a European roll of arms consisting of 942 shields. The sober, vigorous drawing is highlighted with thick black ink strokes, which emphasize the stylised character of the figures. It was coloured using gouache paint, which to this day has remained amazingly fresh.
Henri IV and Marie de Médicis
Medal
Paris, France (made)
1605 (made)
Dupré, Guillaume, born 1569 - died 1642 (medallist)
Cast bronze mounted in a silver rim
This medal celebrates the birth of an heir to the throne of France and the establishment of the Bourbon dynasty. On one side it shows Henri IV, who after a long period of civil war had established his legitimacy as King of France, and his new wife, Marie de Medici. On the other they are shown as Mars and Minerva with their little son, the future Louis XIII, between them. An eagle holds a crown over his head and he is trying on Mars’ helmet.
This large medallion derives from a smaller version made two years earlier which so pleased Henri IV that he gave Dupré the right to cast and sell as many variants as he liked and forbade others to copy his work.
