Podcasts about Faenza

Un'alba senza Ritorno.Faenza, 6 febbraio 2021. L'aria è fredda e pungente, il cielo ancora scuro. In una villetta tranquilla di via Corbara, qualcosa si agita nell'ombra. Un rumore sordo, un grido soffocato, poi il silenzio. Qualcuno entra. Qualcuno esce. E una donna non si sveglia mai.La casa non ha segni di effrazione. Nulla sembra fuori posto, tranne quel corpo riverso a terra, in una pozza di sangue. Una madre, ex moglie, donna forte e determinata, è stata massacrata con una violenza indicibile. Ma chi era entrato in quella casa? E perché?Le indagini iniziano tra i cocci di una famiglia spezzata, tra accuse, denunce e un passato carico di tensioni. L'ex marito della vittima, sembra distante anni luce da quel delitto: si trovava in viaggio con la figlia Arianna, diretto a Milano per ritirare una nuova auto. Un alibi perfetto. Ma più gli investigatori scavano, più le ombre si allungano. Una serie di telefonate concitate catturano in tempo reale il panico dentro quella casa. Una ragazza terrorizzata chiusa in camera, urla disperate, e un uomo vestito di nero visto aggirarsi nei dintorni poco prima dell'omicidio. Chi è? E come ha fatto a entrare? Un caso dove niente è quello che sembra...-------------------------------------------Seguimi anche sul canale Youtube:https://bit.ly/3TXVGEdVisita il sito del podcast:https://scarymonstertruecrime.com/Instagram:@scarymonstertruecrimeX/Twitter:@scarycrimeFacebook:https://www.facebook.com/scarymonstertruecrimeIscriviti al Gruppo Facebook True Crime Italia:https://www.facebook.com/groups/true-crime-italia---------------------------------------------------------Contatti:Antonello Salea.sale@cbsnet.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/scary-monster-true-crime-podcast--4789759/support.

Nella prima parte della puntata Ilaria Bergaglio ci racconta la sua vittoria alla 50° edizione della 100km del Passatore. L'ultramaratona che collega Firenze a Faenza. Poi nella seconda parte “accorciamo le distanze” e parliamo di maratona in compagnia Giovanna Epis, azzurra della specialità. Tra allenamento e prospettive mondiali. Infine, il coach Fabio Vedana risponde alle domande dei nostri ascoltatori in tema di corsa, triathlon e allenamento.

2025 could well be the last time Formula 1 races at Imola, at least for the foreseeable future. Btw, have you memorised the LOOONG name of the iconic Grand Prix? Imola hosts one of the two races in Italy - the other being Monza. But who will the dear tifosi cheer for - an Italian prodigy in Andrea Kimi Antonelli or the legendary Lewis Hamilton racing for the Italian marquee Ferrari? Imola, Monaco and Barcelona - as we get ready for another triple header, look out for the upgrades teams will bring to this race as we start the "European leg" of the 2025 Formula 1 calendar. Apart from Ferrari & Antonelli, who else has an Italian connection? F1's Drivers' Championship leader Oscar Piastri has claimed he has Italian roots and Racing Bulls' factory in Faenza is about 18 kms away from Imola. Did you know? Haas has an office in America, the UK and a design office in Italy! Imola could well offer a turning point in the 2025 Formula 1 season, and Ferrari would be hoping for a less embarrassing outing at home in front of the tifosi. And of course, Franco Colapinto is in at Alpine in place of Jack Doohan. Let's see how he goes! (Season 2025, Episode 26) Follow Us: X: https://x.com/insidelinef1pod Instagram:https://www.instagram.com/insidelinef1pod/ Spotify: https://open.spotify.com/show/3P2RsaP89xP1xvG7twj8pd Apple Podcasts: https://podcasts.apple.com/us/podcast/inside-line-f1-podcast/id632531804 Follow our hosts: ► Soumil Arora: https://www.instagram.com/iamsoumilarora/ ► Sundaram Ramaswami: https://www.instagram.com/f1statsguru/ ► Kunal Shah: https://www.twitter.com/kunalashah #F1 #F12025 #ImolaGP #MaxVerstappen #OscarPiastri #FrancoColapinto #Alpine Learn more about your ad choices. Visit megaphone.fm/adchoices

courtesy of Ruiz-Healy Art, New York / San Antonio Nicolás Leiva is renowned for his exuberant sculptures and paintings that capture various expressive personal visions. Vessels, boats, abstract forms, flying carriages are transformed into ceramics in an explosion of lush primary colors embossed with metals like silver and gold. Animals and vegetables commingle in a garden of flowers amidst otherworldly places of shelter, are replicated as box-like reliquaries, and plate-like medallions in miniature close-up show territories transitioned from his works on paper. His imaginative world unfolds in infinite realms like a Möbius strip. Highly gestural, organic, or geometric, Leiva presents a host of archetypes in his emblems of flight, safety, and delight. Born in 1958 in Tucumán, Argentina, Leiva graduated from the Fine Arts School of the Universidad Nacional de Tucumán. He continued his studies in Buenos Aires and moved to Miami in 1990. In 1996, he extended his practice to sculpture and ceramics. He lives part-time in Faenza, Italy, where he works with a variety of materials at the workshops of Ceramica Gatti. His work is the subject of the 2005 monograph Nicolas Leiva: The Fire of Self and Multiplication with scholarly text by Ricardo Pau-Llosa and Mariza Vescovo published by Bandecchi & Vivaldi in Italy. He has had many important solo and group exhibitions in the US and internationally, notably his 2023 solo exhibition, Historia de un día, Museo de Bellas Artes Laureano Brizuela, Catamarca, Argentina. Leiva was recently selected for the 2023 Miami Individual Artist (MIA) Grant, Miami-Dade County Department of Cultural Affairs in Miami, FL. His works are in the permanent collections of the Museo de Arte Latinoamericano de Buenos Aires (MALBA); The Snite Museum of Art at the University of Notre Dame, Indiana; the Berardo Collection in Lisbon, Portugal; the Gollinelli Collection in Bologna, Italy; and the Museum of Art of Fort Lauderdale in Florida. The Civic Museum of Marble, Carrara, Italy; Museo Maria Zambrano, Malaga, Spain; José Luis Cuevas Museum, Mexico City, México; Museum of Latin American Art, Long Beach, CA; and Fundación Federico García Lorca, Madrid, Spain. Nicolás Leiva, Sopera, 2015 Signed and dated on the underside Majolica ceramic with gold and platinum lustrous Ceramica Gatti, Italy 17 x 18 x 17 in. courtesy of Ruiz-Healy Art, New York / San Antonio. Nicolás Leiva, Sopera, 2015 Signed and dated on the underside Majolica ceramic with gold and platinum lustrous Ceramica Gatti, Italy 17 x 18 x 17 in. courtesy of Ruiz-Healy Art, New York / San Antonio. Nicolás Leiva, Sea Flora, 2024 Signed and dated on the underside Majolica ceramic with gold 35 x 15 x 15 in. courtesy of Ruiz-Healy Art, New York / San Antonio. Nicolás Leiva, Arbol de los Sueños (Tree of Dreams), 2017 Signed and dated on the underside Majolica ceramic with gold and lustrous Ceramica Gatti, Italy 30 in diameter. courtesy of Ruiz-Healy Art, New York / San Antonio.

The Tibble family are in Faenza, Italy commemorating their ancestor Te Rauwhiro Tibble, who received a Military Cross for bravery with his platoon of men from Rongowhakaata and Te Aitanga a Mahaki. He took a single shot to his body to stop a tiger tank and get his men to safety across the river. Thirteen members of his family over five generations are there for Anzac Day, including Paora Tibble, who speaks with Mihi.

Un viaggio nel tempo attraverso quasi cento anni di industria italiana. La storia del Gruppo Tampieri di Faenza inizia nel 1928 con la lavorazione dei semi d'uva. Oggi l'azienda romagnola è leader nella produzione di oli alimentari, produce energia da fonti rinnovabili, opera nella depurazione delle acque e nel settore biomedicale. Un percorso di crescita in varie direzioni con due costante: il legame con il territorio e l’attenzione alla sostenibilità.Faenza, nel secolo scorso come oggi, è un importante centro importante di produzione vitivinicola. E la storia di quest’azienda nasce da uno scarto di lavorazione, i semi dell’uva, e dall’intuizione di Alfredo Tampieri di farli diventare un prodotto nuovo. Lo racconta Andrea Tampieri, terza generazione della famiglia e oggi presidente del gruppo.

C'est le grand retour des Pistonnés pour une première émission dans cette année 2025 ! Et pour lancer cette 7ème saison excitante, Manu, Hamza et Brice se sont rendus chez le nouveau pilote Visa Cash App Racing Bulls, Isack Hadjar, 3ème français engagé en Formule 1 aux côtés de Pierre Gasly et Esteban Ocon. Vice-champion F2, le pilote de la filière Red Bull, Isack Hadjar revient sur son année 2024, ses premiers essais avec la RB 20, son nouveau coéquipier Yuki Tsunoda et son apprentissage au sein de la formation de Faenza. Une nouvelle vie s'ouvre à lui et il était important de faire le point avec Les Pistonnés avant sa 1ère saison en Formule 1. Grands remerciements à la famille Hadjar pour l'accueil et à la Visa Cash App RB Formula One Team ! #hadjar #visacashapprb #f1 Pour découvrir Trade Republic : https://trade.re/first_sportCollaboration commerciale avec Trade Republic Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

In questo episodio di Casabiamo con… Leo e Sacco incontrano a Noam Film Festival di Faenza il direttore di FilmTv, Giulio Sangiorgio. Critico, programmatore, docente, insieme a lui discuteranno di come la critica cinematografica su carta stampata si confronta con le nuove esigenze del digitale e di come cambiano necessità, stili, narrazioni e idee di pubblico nel complesso panorama del cinema contemporaneo. Ma anche della pericolosissima Sindrome di Kubrick che affligge alcuni critici agli esordi e dell'eterno mito della morte del cinema, che si smentisce e ravviva a ogni stagione. Ma anche del perché il cinema debba essere ignorante (lunga vita al cinema demenziale) e a volte farsi museo di se stesso. Infine, dei nuovi strumenti per cinefili e critici come Letterboxd e le sue multiple potenzialità… anche se a volte bisogna mantenere top secret il proprio profilo. 00:00:00 - Inizio puntata 00:01:41 - Presentazione 00:02:04 - Fare critica oggi… sulla carta stampata 00:07:29 - La scomparsa delle edicole 00:08:12 - Critica su carta vs. Critica digitale 00:12:25 - Il pubblico è sempre più cinofilo? 00:16:38 - Il mito della morte del cinema 00:22:38 - Il problema del rischio d'impresa 00:26:30 - Giulio Sangiorgio, che pubblico ti senti? 00:29:00 - La sindrome di Kubrick 00:30:44 - Il cinema deve essere ignorante 00:32:11 - I guilty pleasures di Giulio Sangiorgio 00:34:09 - “Fare mille passi indietro…” 00:35:13 - Il cinema è la scultura dello spettatore 00:37:35 - Il cinema demenziale 00:40:26 - The Substance e la musealizzazione del cinema 00:43:26 - La cosa più assurda che ti è successa in sala 00:46:18 - Mai fidarsi dei festival 00:48:16 - Cinema emergente italiano 00:53:17 - Il Sol Dell'Avvenire di Nanni Moretti 00:55:27 - Gli ultimi quattro film che hai loggato su Letterboxd 00:59:00 - Fino alla Fine di Gabriele Muccino 01:01:33 - Longlegs di Oz Perkins 01:05:07 - L'Uomo Sull'Altalena di Frank Perry

Ospitiamo Martina Liverani: una bravissima giornalista e scrittrice, una gastronoma che ha dedicato le sue più recenti ricerche alla ceramica, per scrivere “Guarda dove mangi - Ceramica in tavola”, pubblicato per Polaris Editore. Liverani è nata a Faenza, una delle grandi città della ceramica, ma in Italia ce ne sono molte di più. Quante? Lo racconteremo con lei, in una puntata in cui più che parlare di quello che sta nei piatti, ci concentriamo proprio su di loro e sulle loro storie.

Questo episodio è stato registrato durante la seconda edizione di Noam Film Festival, il festival del cinema indipendente nordamericano di Faenza. In questo episodio Leo e Sacco si concentrano sulla rappresentanza canadese al festival intervistando Chris Nash, regista dell'acclamato horror sperimentale In A Violent Nature. 00:00:00 - Inizio Puntata 00:00: 53 - Il cinema canadese a Noam Film Festival 00:01:22 - Red Rooms di Pascal Plante 00:05:42 - Comme le feu - Who by Fire di Philippe Lesage 00:11:18 - Chris Nash 00:11:56 - L'ambiente del cinema indipendente canadese 00:15:44 - In A Violent Nature: slasher contemplativo? 00:19:56 - Calarsi nel punto di vista del mostro 00:24:20 - Noia o slow-cinema? 00:29:55 - Gli autori di riferimento di Chris Nash

Nel loro ultimo appuntamento dalla seconda edizione di Noam Film Festival, il festival del cinema nordamericano di Faenza, Leo e Sacco incontrano Miguel Salgado, regista messicano in concorso con Vergüenza (Shame). 00:00:00 - Inizio puntata 00:01:00 - Rent Free di Fernando Andrés 00:04:49 - The Line di Ethan Berger 00:08:11 - Good One di India Donaldson 00:12:17 - Miguel Salgado 00:13:19 - Vergüenza: una storia messicana 00:19:57 - Cronaca e biografia

Questo episodio è stato registrato durante la seconda edizione di Noam Film Festival, il festival del cinema indipendente nordamericano di Faenza, dove Leo e Sacco hanno parlato di alcuni titoli del concorso e hanno dialogato con Tim Sutton, regista di Brooklyn a cui è dedicata una retrospettiva e un premio alla carriera. 00:00:00 - Inizio Puntata 00:00:33 - Presentazione di Noam Film Festival 00:01:31 - Sugarland Express di Steven Spielberg 00:04:08 - Il corpo degli attori e La Bete di Bertrand Bonello 00:05:33 - A Desert di Joshua Erkman 00:09:23 - Tim Sutton, premio alla carriera e retrospettiva 00:12:04 - Raccontare la periferia americana 00:16:43 - La violenza e l'America 00:23:14 - Il dialogo con i registi emergenti 00:29:36 - Taurus, Tim Sutton ci racconta del suo ultimo film

Allerta rossa per il maltempo in Emilia-Romagna, dove già nelle ultime ore ci sono stati problemi in Appennino e nel capoluogo. Scuole chiuse a Ravenna e in altri comuni della Romagna, treni sospesi tra Faenza e Marradi e ordine di evacuazione delle case vicino a corsi d'acqua nel Bolognese.

Paesi del G7 riuniti ad Ortigia (Siracusa) per parlare delle politiche agricole. La resilienza e la sostenibilità i temi in primo piano.Ne parliamo con Francesco Lollobrigida, ministro dell'agricoltura, della sovranità alimentare e delle foreste.Faenza è stata colpita tre volte dall'alluvione in un anno e mezzo. Con una lettera al presidente Mattarella, il sindaco della città, stanco delle lungaggini amministrative che ritardano gli interventi, ha annunciato una disubbidienza istituzionale.Ne parliamo con Massimo Isola, sindaco di Faenza.

Patrizia Molteni de l'association Italia in Rete présente « Gli sbandieratori di Faenza », lanceurs de drapeaux d'Emilie-Romagne, qui défileront autour du Canal St Martin à Paris, le nouvel album de Lazza et les plus belles chansons italiennes d'hier et aujourd'hui au programme d'Italoscopie cette semaine…

Siamo davanti alla terza alluvione in Emilia-Romagna in meno di 17 mesi, ma questa alluvione parla anche molto di come funziona la propaganda del governo.

Maltempo in Emilia Romagna: Musumeci a Radio 24 cerca di spegnere le polemiche sui fondi. Gli aggiornamenti dalle zone colpite con Luca Benecchi, inviato de Il Sole 24 Ore a Faenza, e il commento di Massimo Isola, sindaco della città. Ci raggiunge nei nostri studi al Salone Nautico di Genova per fare il punto sui dati del turismo nautico Simone Morelli, presidente dell’assemblea di settore charter di Confindustria nautica e proprietario di NSS Charter. Stretta di Instagram a beneficio dei minori. Ne parliamo con Vincenzo Cosenza, divulgatore, esperto di nuove tecnologie e social media che leggiamo su Vincos.it.

Il maltempo non dà tregua all'Emilia Romagna, colpita dalle piogge abbondanti cadute nelle scorse ore. Difficoltà a Faenza dove le acque dei fiumi Marzeno e Lamone sono tracimate a monte e hanno invaso le strade della cittadina.

Già dieci le squadre della protezione civile regionale, compresa una di salvataggio fluviale vicentina, hanno raggiunto Faenza in soccorso alle popolazioni colpite da ieri da piogge torrenziali.

La serata di ieri a Faenza. Come faremo senza questo fantastico Wimbledon pieno di italiani? E' morta Wendy. Stanno arrivando gli Stray Kids e Taylor Swift!

Ad #AriaPulita Stefano Gaiardi, Comitato Orto Bertoni, Faenza.

In questo episodio Leo e Sacco vi parlano di: - 02:22 / Torniamo a parlare di La Zona D'Interesse - 09:55 / Noam Off, lo spin-off di Noam Film Festival a Faenza - 10:51 / Fargo Stagione 5 di Noah Hawley - 33:24 / True Detective: Night Country di Issa López

Gli sbandieratori di Faenza tornano in Australia, e sono ospiti da oggi fino a domenica 18 febbraio al National Multicultural Festival di Canberra.

Nell'incidente tra i due treni a Faenza il Frecciarossa ha tamponato in retromarcia il regionale: questa la ricostruzione della dinamica dello scontro ferroviario fornita da Trenitalia. Il FrecciaRossa, infatti, sarebbe scivolato all'indietro a bassa velocità per inerzia, finendo per scontrarsi con un treno regionale che si era regolarmente fermato. Nell'urto sono rimasti lievemente feriti 17 passeggeri e ci sono stati disagi alla circolazione. Ma perché il Frecciarossa ha indietreggiato? Come si sono scontrati i due treni? E perché i due convogli erano così vicini? Purtroppo ancora non è possibile rispondere a queste domande, visto che la procura sta ancora indagando sull'accaduto. Learn more about your ad choices. Visit megaphone.fm/adchoices

Ormai da qualche anno in Polonia e Ungheria la democrazia è in crisi. Anzi, possiamo dire tranquillamente che il partito Diritto e Giustizia in Polonia e il primo ministro Viktor Orbán in Ungheria hanno di fatto trasformato i rispettivi paesi in governi semi autoritari, dove le libertà sono limitate, i media sono censurati e i diritti civili sono sempre più in pericolo. E questa espansione dell'autoritarismo non si sta limitando a Polonia e Ungheria, ma sta arrivando anche al resto dell'Europa, dove la democrazia è sempre più debole e insidiata. A Globo ne abbiamo parlato con Tonia Mastrobuoni, corrispondente della Repubblica da Berlino, in una puntata speciale live registrata al Talk del Post a Faenza.I consigli di Tonia Mastrobuoni– Andare a vedere il film “Io capitano”– Rileggere Hannah Arendt e George Mosse– “Come muoiono le democrazie”, di Steven Levitsky e Daniel Ziblatt– “Il tramonto della democrazia”, di Anne ApplebaumGlobo è un podcast del Post condotto da Eugenio Cau. Learn more about your ad choices. Visit megaphone.fm/adchoices

A quinta-feira (14) começou com o anúncio da renovação de Guanyu Zhou com a Alfa Romeo para a temporada 2024 da Fórmula 1. Era um movimento esperado, mas isso significa mais uma porta fechada para Felipe Drugovich, que chegou a ser cotado para a vaga do chinês. O brasileiro também perdeu o lugar que era sondado para ele na Andretti, na Fórmula E, e ainda recusou convite para testar com a equipe de Ed Carpenter na Indy. E agora? Como escapar de mais um ano na reserva da Aston Martin? O anúncio de Zhou, aliás, deixou o grid de 2024 com apenas mais três vagas a serem preenchidas. É possível imaginar Drugovich na Williams ou na AlphaTauri? Na equipe de Faenza, inclusive, a briga entre Yuki Tsunoda, Daniel Ricciardo e Liam Lawson está boa, mas alguém vai sobrar — e pode ser japonês, segundo a imprensa americana. Tudo isso no WGP, o programa comandado pelo time feminino do GRANDE PRÊMIO. Luana Marino, Evelyn Guimarães, Juliana Tesser e Ana Paula Cerveira comandam a atração. A produção é de Carol Vergílio. Ouça!

In questi giorni anche i preziosi manoscritti medievali conservati in Emilia-Romagna fanno parlare, a causa dei drammatici danni causati dalla tragedia dell'alluvione. Quilisma mette al centro di due appuntamenti il manoscritto 117 conservato nella Biblioteca comunale di Faenza, una raccolta di variazioni strumentali su modelli polifonici francesi e italiani della fine del Trecento e primi del Quattrocento. In essa molta è la musica liturgica; tre diverse messe, un Kyrie isolato, due Benedicamus Domino e una serie di variazioni corrispondenti a vari momenti dell'Ufficio del Vespro: un mottetto sacro, l'inno Ave maris stella, tre intonazioni del Magnificat e una parodia forse corrispondente alla sua dossologia finale. Giovanni Conti ripropone per l'occassione un incontro con Pedro Memelsdorf e l'Ensemble Mala Punica da lui diretto. La musica che ascolteremo è quella desunta dal codice faentino fortunatamente scampato all'alluvione. Il risultato è molto suggestivo e senz'altro innovatore: i cantori della Schola – portatori dei sacri testi – vengono così contornati dal virtuosismo delle diminuzioni, quasi si trattasse delle splendide iniziali di un codice miniato di cui Faenza 117 ci mostra (solo) le straordinarie filigrane.

You're never prepared for the moment that muddy water starts filling up your apartment, are you? Nobody imagined the water would have come into the historic center of Faenza, Italy. Nobody imagined that in other places in our town, the water would rise to 5 meters (15 feet). Still, it happened--and this is our tale. Listen in as I tell my own tale of the fateful night on 16 May, with help from others who also lived through it.

Der Bundesrat hat entschieden, 25 Leopard-2-Kampfpanzer ausser Dienst zu stellen. Die Sicherheitspolitische Kommission des Nationalrates (SiK-N) schlug zuletzt vor, diese stillgelegten Panzer auszumustern und damit den Rückverkauf an den deutschen Hersteller Rheinmetall zu ermöglichen. Die SVP stellt sich gegen das Geschäft. Weitere Themen: (01:04) Bundesrat für Ausmusterung von 25 Leopard-Panzern (09:48) Bundesrat will Google für Artikelvorschauen zur Kasse bitten (15:32) Razzia in Deutschland bei «Letzte Generation»: Keine Verhaftungen (18:53) Klimawandel: Bis Ende Jahrhundert leben Milliarden in Hitze (25:42) Quantencomputer: Super-Rechner mit magischen Fähigkeiten (30:58) Italien: Unwetter verwüsten Faenza in Emilia-Romagna (36:29) Flucht aus Belarus verursacht Migrationskrise in Lettland

L'Emilie-Romagne, dans le nord-est de l'Italie est frappée par de spectaculaires inondations. Des dizaines de villes ont été envahies par les eaux, de nombreuses routes sont coupées et 14 personnes ont perdu la vie. La ville de Faenza est l'une des plus touchées par les inondations. Là-bas l'on de choc est encore forte.

La città della provincia di Ravenna colpita nella notte dall'alluvione del Lamone si è svegliata nel silenzio. E sotto la pioggia incessante che prosegue oramai da oltre 24 ore flagellando la Romagna e il Bolognese, e provocando almeno due vittime e un numero di dispersi ancora da quantificare.

La città è sommersa dal fango, manca l'energia elettrica in molte zone. Il sindaco: "E' difficile quantificare danni e dispersi".

Strade bloccate e circolazione difficile in tutta la zona.

Da ragazzina, Linda Maggiori “si ammala” di ansia da consumismo. Una volta scoperte le profonde disuguaglianze tra Nord e Sud del mondo, soffre di fronte alle possibilità che le offre la sua vita borghese. Andare a fare shopping è un'angoscia: «La possibilità di poter comprare dei vestiti che l'avrebbero fatta sentire più bella le dà il tormento». Quando si trasferisce a Bologna per studiare, Linda trova finalmente uno stile di vita che le assomiglia e la fa stare bene. La definizione più compiuta della sua identità avviene con il matrimonio, il trasferimento a Faenza e la nascita, uno dopo l'altro, di quattro figli. «Il fatto di avere uno stipendio molto più basso rispetto a quello di mio padre quando io ero bambina, mi ha liberato le energie e mi ha fatto concentrare su quello che sono io e non su come mi devo vestire o apparire agli altri per essere migliore». Ma com'è la vita dentro cui Linda finalmente si sente se stessa? Niente auto dal 2011, solo bicicletta, treni e mezzi pubblici, anche per le vacanze estive. Una casa che si alimenta con i pannelli solari e a bassissimo consumo di acqua grazie a un impianto di recupero di acque grigie. E poi acquisti alimentari direttamente dai produttori e cellulare dal fair trade. Le scelte di vita ecologiche hanno un costo iniziale talvolta molto alto. Il beneficio per l'ambiente è immediato. Quello per il portafogli, invece, arriva con il tempo. Linda inizia a vederlo adesso. Anche se il beneficio più grande di questo modo di vivere sta «nella grande libertà, nel senso di leggerezza, nel sentirsi indipendenti da tutti gli stimoli che ti dicono: compra questo perché così sarai felice... Navigare veramente libera è una cosa che a livello di umore ti fa star molto meglio». --- Send in a voice message: https://podcasters.spotify.com/pod/show/rame-platform/message

O GP da Austrália trouxe um marco importante para a Red Bull: foi a primeira vez na história que a equipe austríaca conseguiu vencer as três primeiras corridas da temporada — 100% de aproveitamento, algo que já levanta questões se haveria, de fato, alguém no grid capaz de bater os taurinos. A Mercedes, por exemplo, parece ter ressurgido das cinzas, só que a quebra de George Russell foi um duro golpe no ponto mais forte da equipe alemã: a confiabilidade. Mas o pódio de Hamilton mostrou alguns lampejos de força, principalmente porque o inglês conseguiu controlar Fernando Alonso com um carro superior nas mãos. Agora, a notícia que mais chamou a atenção veio da AlphaTauri, e isso porque, muito satisfeito com o ponto de Yuki Tsunoda, Franz Tost rasgou elogios e ainda sinalizou para uma renovação do japonês no ano que vem. Mais, até: o chefão da base de Faenza vê Yuki "pronto para a Red Bull" em 2025. Mas… e Sergio Pérez? Será que já era para o mexicano na equipe dos energéticos? Tudo isso, mais as novidades na MotoGP, está no WGP desta quinta-feira; Luana Marino apresenta, com Evelyn Guimarães, Juliana Tesser e Ana Paula Cerveira nos comentários. A produção é de Rodrigo Berton e Pedro Prado.

Dr. Matthew Bunson discusses the life, times and teachings of St. Peter Damian Born: 1007, Ravenna, Italy Died: February 23, 1072, Faenza, Italy The post St. Peter Damian – The Doctors of the Church: The Charism of Wisdom with Dr. Matthew Bunson Podcast appeared first on Discerning Hearts Catholic Podcasts.

February 21: Saint Peter Damian, Bishop and Doctor 1007–1072 Optional Memorial; Liturgical Color: White (Violet on Lenten Weekday) Patron Saint of Faenza and Font-Avellana, Italy A wise monk becomes a Cardinal and thunders for reform Every Catholic knows that the Pope is elected by, and from, the Cardinals of the Church gathered in the Sistine Chapel. Every Catholic knows that the Pope then goes to a large balcony perched high in the facade of St. Peter's Basilica to greet the faithful and receive their acceptance. This is simply the way things are done in the Church. But it's not the way things were always done. A Catholic in the early Middle Ages would have described a papal election as something like a bar room brawl, a knife fight, or a political horse race replete with bribes, connivings, and promises made just to be broken. Everyone—far-off emperors, the nobility of Rome, military generals, influential laity—tried to steer the rudder of the Church in one direction or another. Papal elections were deeply divisive and caused lasting damage to the Body of Christ. Then along came Saint Peter Damian to save the day. Saint Peter headed a group of reform-minded Cardinals and others who decided in 1059 that only Cardinal Bishops could elect the Pope. No nobles. No crowds. No emperors. Saint Peter wrote that the Cardinal Bishops do the electing, the other clergy give their assent, and the people give their applause. This is exactly the program the Church has followed for almost a thousand years. Today's saint sought to reform himself first, and then to pull every weed that choked life from the healthy plants in the garden of the Church. After a difficult upbringing of poverty and neglect, Peter was saved from destitution by an older brother named Damian. Out of gratitude, he added his older brother's name to his own. He was given an excellent education, in which his natural gifts became apparent, and then entered a strict monastery to live as a monk. Peter's extreme mortifications, learning, wisdom, uninterrupted life of prayer, and desire to right the ship of the Church put him into contact with many other Church leaders who desired the same. Peter eventually was called to Rome and became a counselor to a succession of popes. Against his will, he was ordained a Bishop, made a Cardinal, and headed a diocese. He fought against simony (the purchasing of church offices), against clerical marriage, and for the reform of papal elections. He also thundered, in the strongest language, against the scourge of homosexuality in the priesthood. After being personally involved in various ecclesiastical battles for reform, he requested leave to return to his monastery. His request was repeatedly denied until finally the Holy Father let him return to a life of prayer and penance, where his primary distraction was carving wooden spoons. After fulfilling a few more sensitive missions to France and Italy, Peter Damian died of fever in 1072. Pope Benedict XVI has described him as "one of the most significant figures of the eleventh century...a lover of solitude and at the same time a fearless man of the Church, committed personally to the task of reform." He died about one hundred years before Saint Francis of Assisi was born, yet some have referred to him as the Saint Francis of his age. More than two hundred years after our saint's death, Dante wrote his Divine Comedy. The author is guided through paradise and sees a golden ladder, lit by a sunbeam, stretching into the clouds above. Dante begins to climb and meets a soul radiating the pure love of God. Dante is in awe that the heavenly choirs have fallen silent to listen to this soul speak: "The mind is light here, on earth it is smoke. Consider, then, how it can do down there what it cannot do up here with heaven's help." God is unknowable even in heaven itself, so how much more unfathomable must He be on earth. Dante drinks in this wisdom and, transfixed, asks this soul its name. The soul then describes its prior earthly life: “In that cloister I became so steadfast in the service of our God that with food seasoned just with olive-juice lightheartedly I bore both heat and cold, content with thoughtful prayers of contemplation. I was, in that place, Peter Damian.” Dante is among refined company in the loftiest ranks of heaven with today's saint. Saint Peter Damian, you never asked of others what you did not demand of yourself. You even endured the detraction and calumny of your peers. Help us to reform others by our example, learning, perseverance, mortifications, and prayers.

Frohes neues Podcast-Jahr 2023! Starting Grid ist wieder da - ab sofort immer am Montag! Wir starten rein mit einem Blick zurück in die illustre Geschichte des Teams, das wir heute als Scuderia AlphaTauri kennen. In der Formel 1 wurde Minardi in den 90ern und frühen 2000ern zum Kultteam. Später übernahm Red Bull den Rennstall aus Faenza und gestaltete mit Toro Rosso einen echten Entwicklungsmotor. Kevin Scheuren und Stefan Ehlen, Buchautor der "Grand Prix Geschichten" und stellvertretender Chefredakteur von Motorsport-Total.com, Formel1.de und Motorsport.com Deutschland, werfen den Motor an und schauen in den Rückspiegel! Minardi: immer am finanziellen Limit, aber mit viel Liebe Von 1985 bis ... *** Diese Folge enthält Werbung *** Cyberghost VPN Genießen Sie alle Vorteile von CyberGhost VPN mit dem massiven Rabatt für alle unsere Zuhörer! Gehen Sie zu cyberghostvpn.com/StartingGrid für einen 83 %-Rabatt auf den 2-Jahresplan! Das bringt es auf nur 2,03 Euro pro Monat, und Sie erhalten auch 4 zusätzliche Monate kostenlos! Abonnieren Sie noch heute!Du möchtest deinen Podcast auch kostenlos hosten und damit Geld verdienen? Dann schaue auf www.kostenlos-hosten.de und informiere dich. Dort erhältst du alle Informationen zu unseren kostenlosen Podcast-Hosting-Angeboten. kostenlos-hosten.de ist ein Produkt der Podcastbude.Gern unterstützen wir dich bei deiner Podcast-Produktion.

What you'll learn in this episode:   How Beatriz discovered and catalogued the 2,600 rings in the Alice and Louis Koch Ring Collection at the Swiss National Museum How Covid lockdown changed how people wear jewelry Beatriz's tricks for making a jewelry exhibit more engaging What it's like to work with jewels uncovered from shipwrecks How global trade has influenced how jewelry is designed and made   About Beatriz Chadour-Sampson   Beatriz Chadour-Sampson studied art history, classical archaeology and Italian philology at the University of East Anglia, and at the University of Münster, Germany. Her doctoral thesis was on the Italian Renaissance goldsmith Antonio Gentili da Faenza. In 1985 she published the jewelry collection of the Museum für Angewandte Kunst, Cologne. Since 1988 she has worked freelance as a jewelry historian, curator of exhibitions and academic writer in Britain. Her numerous publications on jewelry, ranging from antiquity to the present day, include the The Gold Treasure from the Nuestra Señora de la Concepción (1991), and 2000 Finger Rings from the Alice and Louis Koch Collection, Switzerland (1994). She was the consultant curator in the re-designing of the William and Judith Bollinger Jewelry Gallery at the Victoria & Albert Museum (opened in 2008), London and was guest curator of the ‘Pearl' exhibition (2013-14). She is an Associate Member of the Goldsmiths' Company, London. Today Beatriz Chadour-Sampson works as a freelance international and jewelry historian and scholarly author. Her extensive publications range from Antiquity to the present day.    Additional Resources: Instagram Museum Jewellery Curators - Goldsmiths' Fair Photos available on TheJeweleryJourney.com Transcript:   Working in jewelry sometimes means being a detective. As a freelance jewelry historian and curator of the Alice and Louis Koch Ring Collection at the Swiss National Museum, Beatriz Chadour-Sampson draws on her wealth of knowledge to find jewelry clues—even when a piece has no hallmark or known designer. She joined the Jewelry Journey Podcast to talk about how she creates jewelry exhibits that engage viewers; how she found her way into the niche of shipwreck jewelry; and what it was like to catalogue 2,600 rings. Read the episode transcript here.  Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. If you haven't heard part one, please head to TheJewelryJourney.com. My guest is Beatriz Chadour-Sampson. She's been the curator of the Alice and Louis Koch Ring Collection at the Swiss National Museum for almost 35 years. Welcome back.   Beatriz: You asked about the catalogue. We didn't know if the exhibition was going ahead at one point, but I was asked by V&A Publishing to do a book on pearls, which I did. So, yes, we did a book which was for sale during the exhibition. That was in 2013. We redesigned the jewelry gallery, and 2008 was the end of that. The pearls exhibition was in 2013, the beginning of 2014.   Sharon: Why was it redesigned, the gallery?   Beatriz: The jewelry gallery. With all galleries, there comes a point where they need to be refreshed and renewed, and the previous design needed it. You even had gates you had to get through, and if you weren't quite as slim as myself, you would have problems getting through the gates. When it was redesigned, it was a completely different aesthetic. As I said, the boards have to tell the story, so when the visitor walks in, they have to understand the story and go from one to the other. Some people say the gallery is very full, but it is a study collection. We asked the education department artists to do certain things.    I was very keen on going “from cradle to grave.” The gallery is chronological, so you want a display before you start to know why you wear jewelry. A child wears jewelry or a mother wears jewelry to protect them at childbirth, or they wear it for status or religion or whatever it is. Jewelry is multitasking, multifunctional. Today we think of jewelry as decorative, but that is not the case. Jewelry was made for an occasion and a reason. With status, you always have the big diamonds and the big stones. That has always existed, in recently centuries definitely. But there are so many more reasons for jewelry, for mourning and birth and good luck. That sort of exists today, probably with charms. So, jewelry is multifunctional.    Then we have a screen with pictures from different centuries showing portraits because, at a jewelry gallery, you can't see the pieces on someone. They need the body, but they don't have the body. So, it's good to have a screen showing how the jewelry was worn through the centuries, which is very important. Also in the display, each board—let's say you had earrings, a necklace and a bracelet. The concept was that what you wear on the top of the head goes on top. What you wear around your neck comes next and then the base, so you have a feeling of an abstract body in a way. It's not always obvious, but I try to think of it logically.    Of course, with the contemporary, we couldn't do that. It is all chronological until you get to about the 1950s, and that's it. You have to find a completely different concept. So, we decided to do it by materials. Good chronology at the beginning, but then it comes into materials. Natural materials, new metals, techniques. You couldn't do decades. That couldn't work. So, we did it by materials, which is an interesting aspect because you have all the different materials they use in comparison to all the gold and silver you see throughout the gallery. Suddenly, you're seeing a whole wall of completely different materials.   Sharon: What is your role as co-curator? You're curator and co-curator of so many places. What's your role as a co-curator? What do you do? What do they call in you for?   Beatriz: It's an advisory role. The Victoria and Albert Museum is a bit more than just an advisory role. You're working with the team, with the architect. It's a team procedure, but as I say, everybody has their own role to play. It intermingles, of course.    Sharon: At other times, you've talked about a different museum in Switzerland where you came, and it looked just—was it at eye level? Was it low? Was it too high?   Beatriz: Oh, that one, no. You remembered that detail. The eye level, that was the Victoria and Albert Museum. That is in the center of the gallery because we did a display for a tourist who goes to the museum and only has 10 minutes to look at jewelry history. So, in the center you've got these curved glass cases. The jewelry is on special mounts. You remember that. I asked my colleagues of different heights, from four foot something to six foot something. In the storage room, we had glass doors where there was a lot of storage space with artifacts in it, and I used Post-it Notes to put the different heights of people to see what a good eye level is. So, if you're looking at a broach or a tiara or something, you want it on the level where you more or less visualize it on your body so you can see it well. So, yes, that's the Post-it Notes. I used not only double-sided tape and pieces of paper, but also Post-it Notes, trying to find the right height for the pieces.    Eye level is hugely important, but the other museum you're thinking of may be something I'm current advising on. This is really an advisory role. It is a museum that will open next year, the Dubedeen, a German museum. Of course, there are gemologists there that are very specialized, but their museum experience is missing. So, I'm giving a little bit of advice on the background of things. Don't put a plinth that you can fall over. Don't make drawers that a child can get their fingers caught in. You learn these things from places like the Victoria and Albert Museum. There's health and safety. There's also the height of displays, the attention span of visitors. Text shouldn't be too long. It's more of an advisory role than an active role.   Sharon: I'm thinking about attention span. You must have seen that really go down. It seems nobody has more than two seconds for attention anymore.   Beatriz: There is an element of that. I think the Koch Collection of rings in the Jewelry Gallery is one of the most visited in the England museums. When you get to sparkle and glitter, there's more attention span, but not so much on the text.   Sharon: Yeah, that's probably true. You've also done a lot of work on shipwrecks. That's very interesting.   Beatriz: That goes back to 1989. By sheer coincidence, I came to work on shipwrecks. I was in New York when I was working on the Concepción Collection. I met Priscilla Muller of the Hispanic Society of America in New York, and I helped her with some Spanish and Portuguese jewelry. When she was asked, she just didn't have the time to work on the shipwrecks. She thought with my Spanish and Portuguese knowledge, I would be suited for that, so I was asked by Pacific Sea Resources in 1989 to work on an incredible shipwreck called the Nuestra Señora de la Concepción from 1638 that sank. It was the usual thing, mutiny and the wrong person taking care of the ship. That's a private story, not a jewelry story, but the interesting thing is that the jewelry was basically made for Spaniards in the Philippines. The jewelry was made in the Philippines, the majority of it for Spaniards. It was a Spanish colony at the time.   When I was first went through it, I thought, “It looks quite European. It looks O.K.” I signed the contract, and little did I know how much research was involved for the material, which I hardly knew. It was because of the influence. The Spaniards definitely had European design books they brought with them. By then, you had printed books with designs in them, and they must have had them there. Chinese craftsmen were working for them in the Philippines, and of course the Chinese had great skills with outside countries. Some of it looks very European, and some of it is Indian influences, Siamese influences, and influences from Java, Sumatra. The chains, heavy gold chains, were certainly Chinese filigree. In fact, I told the Ashmolean Museum it belonged to Sir Elias Ashmole, whose portrait and chains still exist in the Ashmolean Museum, and I told them that one of the gold chains he had was Chinese. It was given by the Kuffners from Brandenburg, and I happened to find out that the Kuffners from Brandenburg travelled to China. So, that all fit. That was a little like detective work. That was published in 1990.   I've recently been working again on shipwrecks, just a few pieces of absolutely fascinating jewelry found off the shore of the Bahamas, which has now been in the Maritime Museum on the Bahamas for only a few months. I also worked on the Atocha in Key West. I organized an exhibition in Hanover for them, where we did a display of the Atocha and Santa Margarita events. But what's so fascinating about shipwrecks is that we see so many portraits of beautiful jewelry from the Renaissance, the 16th, 17th centuries, where they really documented beautifully painted jewelry in paintings. Thanks to that we can study them in detail. All this jewelry doesn't exist anymore, especially gold chains, because gold chains were the easiest thing to melt and reuse for more modern jewelry. As I have said, I have a smile when somebody talks to me about recycled gold being something new. Well, it's nothing new. Recycling gold goes back centuries.    Sharon: I'm surprised because in the pictures, you always think it's a straightforward gold chain with no Chinese engraving or anything. You think of it as a gold chain.   Beatriz: Some of it is simple, what they called a P-chain. You saw loads of it, especially on Dutch paintings. But in the Atocha there was a spiral. You can see they're very tidy on the portraits, but it looks as if they had a spiral at the back holding the chain so they flowed down properly. Some of those chains we had were definitely Chinese filigree because those chains are filigree. In the 1655 shipwreck from the Bahamas, there's a chain like that, and that's mainly why they asked me to look at it. That certainly reminded me of some of the Concepción work, which was Chinese craftsmanship.    The trade was amazing. You had trade happening in the Philippines. Even the Dutch were trading with the Spaniards. The Dutch were trading silks and spices from China and so on. These big galleons went from the Philippines to Acapulco and Vera Cruz and then to Havana. They went on a route around South America, loading and offloading things from Europe. It's interesting because in Seville, there's the Archivo General de Indias, and there they have all the books on the shipping material. Like with the Atocha, they found out which ship it was because the gold bars have a text mark on them, and that coincided with the documents they have in Seville. It's fascinating. It's a fascinating field.   Sharon: It seems like it.   Beatriz: It's a mystery and it's global, of course. Made in Asia; there's nothing new. It's hundreds of years. There would not be any porcelain in 18th century Europe the other way around.   Sharon: Do you get to see the ship right away? When it comes up, do you see it when they pull it from the ocean?   Beatriz: No. When I was asked to work on the Concepción, I had to travel to Singapore where it was being cleaned and conserved. In one instance I had to say, “Stop cleaning because I think there's enamel underneath, black and white enamel. Stop.” You have to be careful because you have to get rid of the marine dirt. No, I got to see it after it was cleaned or while it was being cleaned.    Sharon: Wow! And then what? It goes to the museum? What happens afterwards?   Beatriz: It nearly got split up and sold at auction. I'm glad it didn't because it's a historical find, but unfortunately you have to go the Mariana Islands to see it. You can't see it always. The material is put together, and it was published in a black and white archaeological report. It was published in 1990, so at least it's documented. National Geographic did a beautiful spread with color, so you know what it's like.   Sharon: What have you learned from parsing these shipwrecks, from researching the shipwrecks?   Beatriz: The extent of influence in Europe of some motifs and how far they went. It was made in the Philippines and sold in Europe because everything that was made and transported on this galleon, the Atocha, at some point went to Seville and then it was traded on. We definitely know that the emeralds the emperors were after came from Colombia and then went through Havana to Seville. It's a fascinating trade, but the trade is something we never think about. In Roman times, the Roman emperor wanted pearls, so they traveled to southern India to get pearls. History does amaze one.    Sharon: It does. You're working on many projects now. What can you tell us about some of them?   Beatriz: I can tell you what's half-finished and what's coming. I've had a year of three books. I co-edited a book with Sandra Hindman, founder of Les Enluminures. I need to add Les Enluminures because for many years, I've been their jewelry consultant. They're based in Chicago, New York and Paris and are specialized mainly in Medieval and Renaissance jewelry, but this has nothing to do with the book we did. It just happened to be that we worked together again. Sandra and myself did something called a liber amicorum in honor of Diana Scarisbrick, a leading jewelry historian. It was for her 94th birthday, and we kept it a secret until her birthday. It had 20 authors in three languages all writing in her honor. That has come out. It's now available. It was published by Paul Holberton. It's on varied topics, from archaeology to today, really. 20 authors contributed towards that.    Today I received my copy of a book I worked on for the Schmuckmuseum, so it's now published. The launch is on Sunday, but I won't be traveling to Germany for that, unfortunately. It has to be a Zoom celebration for me. It's to do with the humanist Johann Reuchlin. He was from Pforzheim. He lived in the late 15th to the 16th century, and it's about script and jewelry from varying periods. It's a lot of contemporary jewelry as well. The cover doesn't really tell you that because it was the 500th anniversary of, I think, his death date. So, he was honored in this book, which has just come out, with essays from many people. Lots and lots of jewelry. That was published by Arnoldsche, and it's called—I have to think of it—German sounds so much easier in this case. It means script and pictures worn on the finger. I worked on rings with script on them.   Sharon: With writing you mean?   Beatriz: Yeah, writing, that's it. There are a lot of other topics in the book as well, but jewelry is certainly the dominant. Yes, they are rings. Mary Queen of Scotts is somebody who wrote her inscription inside the ring and was loyal to the queen. Had that been seen, her head would have gone to the chop. It's rings with prayers on them or rings with some sort of amuletic inscriptions. It's all inscriptions on rings in my case, and it's about Josiah Wedgwood who gave this ring to John Flaxman. You've got a whole history behind it. It's rings with script on them, highly visible on the bezel, either visible on the bezel or inside the hoop.   Sharon: In English or German?   Beatriz: It's basically German, I'm afraid to say, but with lots of good pictures with excellent captions, which are international. I am bilingual in German and English, but I haven't written German for a long time.    I've actually written a third book that's coming out, but that won't come out until January. That was a huge task. It's on jewelry from Bossard from Lucerne. It started in the early 19th century, but the two I worked on were a father and son from 1869 until 1934. That was the period of historicism. It was also a time of fakes of Renaissance jewelry being made, because there were so many collectors who wanted Renaissance but couldn't afford the real Renaissance jewelry. So, it was very tempting for fakers to make fake jewelry. When I started, I didn't know what I was in for, but I have come to the conclusion that it's pure historicism, what Bossard made. I had very little jewelry to go on, just a few pieces in private hands, but I did find by sheer coincidence a drawing, and I found the bishop who it belonged to. You have a hundred drawings by the Bossard Company over this whole period, and it's very interesting material to see their designs they were making. In some instances, it's real Renaissance. I don't know if they were Renaissance or if it was actually made later. Then it gets critical. It's a very complex period, but a very interesting archive in the Swiss National Museum in Zurich.   Sharon: For next year, do you have other projects going on?   Beatriz: Yes, the coming projects. I mentioned the gem museum, which is opening next year. I'm in the midst of advising. I'm going to be working very shortly—I've already started a bit—on the jeweler Eileen Coyne from London. She's been working on jewelry since the 1970s and continues to make jewelry very, very different to anything I've worked on before. What I find so fascinating is that her imagination and inspiration come from the material. It comes with the material and the tools. She also uses interesting gemstones and beads that come from ethnic backgrounds. She uses the most amazing materials. Also jades, carnelians, all kinds of things. So, we're going to do a book. She had a shop in the 80s and into the 90s. Her jewelry was displayed in Harvey Nichols in London, and she had a shop where all the celebrities and royals went shopping. It was quite an interesting clientele. We'll see if we get photographs or if they allow us to show some of the things they bought. It's very much about discretion in such cases. So, that's interesting, a completely different type of jewelry.    I'm really excited about it, but at the same time, I've also been involved, and am more involved now, in an artificial intelligence project. That is a ring that has been designed by Sylvia Reidenbach and John Emeny in England. Sylvia Reidenbach is German, but she teaches in Glasgow and London and all over Europe as well. She has created, with John Emeny, a ring with artificial intelligence based on one or two rings from the archaeological museum in Munich, a few rings from the  Germanisches Nationalmuseum in Nuremburg, and 150 rings from the Koch Collection. There's one design. The machine makes the design, mixes it all and combines it into one design. The ring is now being made. The stone is labradorite. It's been on display since Wednesday last week in the Germanisches Nationalmuseum but will be coming to Zurich afterwards. So, I'll be learning a lot about AI and design. That is completely different from anything. I like the natural materials and history, and then the contrast is the AI.   Sharon: The AI is the dimensions of all these hundreds of rings?   Beatriz: Yes, the images are put into the machine, the AI. Don't ask me the technology of it because I haven't got a clue about AI technology. I'm at the beginning of it all. I'm learning, but I have seen how it develops. The images are fed into the machine, like the 150 rings from the Koch Collection and the others, and the machine designs one ring out of that.   Sharon: Wow! So, it's already made and in the museum.   Beatriz: Only just now. It's hot off the press, but there's more to come on that. There will be more to come on that, yes.   Sharon: You've written several other books. You wrote “A Life in Jewels.”   Beatriz: That is the book we did for Diana Scarisbrick, honoring her. I've written books since 1981, so it's added up quite a bit. Sometime I can give you a list.    Sharon: How about the influence of women on 20th century jewelry? Has it changed jewelry? Has it made it more feminine?    Beatriz: It's an extremely complex story, the role of women in design. You have to see it from the role of the woman in history. Just recently by coincidence, I've seen some material on women painters from the 16th and 17th centuries. In Bologna, for example, there were quite a few, and it's only now coming to the fore. You also have to see high jewelers' workshops in the field of jewelry. You don't have a Renaissance piece of jewelry and know, “So-and-so made it.” That didn't exist. It's only in the 19th century that we start that. The hallmarking system in England goes back to the 13th century, but jewelry was considered smallware, so they didn't consider putting a hallmark on it.    That changed later on, the but the name of the designer is something that we very often don't know. The high jewelers of the 19th century, when you knew the name of who made it in Paris or New York, you never know the name of the designer. That is something that came in in the 20th century. You have some classical examples. With Cartier, it was Jeanne Toussaint. She designed some of the iconic pieces for Cartier and the Duchess of Windsor. She worked for I don't know how many decades designing jewelry. She was a very important female designer. Then you've got Coco Chanel. She designed jewelry, mostly costume jewelry, but she also designed diamond jewelry. Not that she wanted to, but it was for the nation and probably the economy that she did it. Elsa Schiaparelli, with her fantastic surrealist jewelry, made that incredible neckpiece with beetles in plastic. If you had to date that as a jewelry store and you didn't know the background, you'd easily say 1970s or 80s. It's so amazing. In that period, you also had Suzanne Belperron with her really unique designs in jewelry.    Of course, the role of the woman changed after the First World War. You had millions of widows, and they had to work. The whole society was changing. After the Second World War, it became even more evident that women were working. I was very cheeky. I did a lecture. It was in the British Museum, and I was talking about the changing role of men and women buying jewelry. You can imagine the shock of some of them. I said, “Women go out and buy their own jewelry.” Before it was classical: the husband bought the jewelry for the wife. They were the earners, so they bought it. There were a few examples in the early 1900s, like the Duchess of Manchester, whose tiaras are in the Victoria and Albert Museum. She was one of these Dollar Princesses and quite a character. She liked smoking cigars and all. She went off with the family diamonds to Cartier and said, “Make me a tiara, and use up the garments.” You have Lady Mountbatten, who, after the birth of her daughter, Pamela, decided to go to Cartier and buy herself a nice bracelet that she could also wear in her hair in the 1920s.    There are a few examples. On the whole, it was always the husband buying the jewelry, but past that, you have women earning money and buying their own jewelry. The 60s sets off in that direction, and then it becomes jewelry that's more affordable. Jewelry has never been so diverse as in the last decades. It's never been so diverse in all its history. If you look at the Royal College of Art, I think you'll find that, in general, there are a lot more women in training to become jewelers. You find so many names of women designers, now one doesn't even talk about it. Whether it's a man or a woman, it's just become a norm.    Sharon: That's interesting. If you stop to think about it, I don't even know if there are that many male designers. I'm thinking about when I go to studios. You see more women than you do men.   Beatriz: It's more and more, yes. There are more and more women, absolutely.   Sharon: What would you advise? What piece of advice would you give emerging jewelers or people who want to follow in your steps?   Beatriz: Remember that if you're a jewelry historian, you're an academic. Remember that. You have to really enjoy what you're doing. In my case, I was very lucky. I've worked for so many different projects and so many different jewelers internationally. I've specialized in that, but it's very difficult. Maybe, depending on the economic situation, people can volunteer in a museum to learn the trade. I think what you really have to know is do you want to work in a gallery, or do you want to work in an auction? Do you want to work in a museum? They don't always mingle, so you have to learn where you want to go. It depends on what your interests are. If you have anybody, send them to me privately. I'm happy to talk it through.   Sharon: Thank you for being with us.   Beatriz: My pleasure.   Sharon: Well will have photos posted on the website. Please head to TheJewelryJourney.com to check them out.   Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.

What you'll learn in this episode:   How Beatriz discovered and catalogued the 2,600 rings in the Alice and Louis Koch Ring Collection at the Swiss National Museum How Covid lockdown changed how people wear jewelry Beatriz's tricks for making a jewelry exhibit more engaging What it's like to work with jewels uncovered from shipwrecks How global trade has influenced how jewelry is designed and made   About Beatriz Chadour-Sampson   Beatriz Chadour-Sampson studied art history, classical archaeology and Italian philology at the University of East Anglia, and at the University of Münster, Germany. Her doctoral thesis was on the Italian Renaissance goldsmith Antonio Gentili da Faenza. In 1985 she published the jewelry collection of the Museum für Angewandte Kunst, Cologne. Since 1988 she has worked freelance as a jewelry historian, curator of exhibitions and academic writer in Britain. Her numerous publications on jewelry, ranging from antiquity to the present day, include the The Gold Treasure from the Nuestra Señora de la Concepción (1991), and 2000 Finger Rings from the Alice and Louis Koch Collection, Switzerland (1994). She was the consultant curator in the re-designing of the William and Judith Bollinger Jewelry Gallery at the Victoria & Albert Museum (opened in 2008), London and was guest curator of the ‘Pearl' exhibition (2013-14). She is an Associate Member of the Goldsmiths' Company, London. Today Beatriz Chadour-Sampson works as a freelance international and jewelry historian and scholarly author. Her extensive publications range from Antiquity to the present day.    Additional Resources: Instagram Museum Jewellery Curators - Goldsmiths' Fair Inside the Jewel Vault with Dr Beatriz Chadour-Sampson Photos available on TheJeweleryJourney.com Transcript:   Working in jewelry sometimes means being a detective. As a freelance jewelry historian and curator of the Alice and Louis Koch Ring Collection at the Swiss National Museum, Beatriz Chadour-Sampson draws on her wealth of knowledge to find jewelry clues—even when a piece has no hallmark or known designer. She joined the Jewelry Journey Podcast to talk about how she creates jewelry exhibits that engage viewers; how she found her way into the niche of shipwreck jewelry; and what it was like to catalogue 2,600 rings. Read the episode transcript here.    Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the first part of a two-part episode. Please make sure you subscribe so you can hear part two as soon as it's released later this week. My guest today is Beatriz Chadour-Sampson. She's been the curator of the Alice and Louis Koch Ring Collection at the Swiss National Museum for almost 35 years. She's also a jewelry historian, art historian, educator, author and a whole bunch of other things I'm sure I'm missing out on, but she'll fill us in today. Beatriz, welcome to the program.   Beatriz: Thank you very much for your invitation.   Sharon: Can you tell us about your jewelry journey? It's been quite a journey.   Beatriz: Yes, the journey starts many years ago when I was a small child, in fact. I'm not a young chick at the moment, but I started off in my childhood with jewelry. I have to tell you a little bit of the family history. I was born in Cuba. My father was Russian and my mother was British. There's a whole story of European history, including being five times refugees from Europe within Europe. That's the aside, but my father learned how to cut and polish diamonds during the war in Cuba. After the war, he opened an import/export business for gemstones. It's not unknown. You'll probably find on the internet a picture of me, age three, sorting stones in his office in Cuba. We left Cuba during the Cuban Revolution. I was a Cuban subject as well as my father, but we left and never returned.    He opened a business called Chadour Charms, Inc. in New York. I always spent my holidays in New York. My mother was working in a company where I couldn't tag along. I spent most of my free time as a child on 47th Street, which was called the gold and diamond alley at the time. My father designed charms. He had the gold cast and then set the stones himself. On 47th Street we had many friends we visited. One had a refinery for gold and silver; the other one sold supplies for goldsmiths, which was quite exciting. I encountered pearls, corals, diamonds and all sorts of jewelry experiences.    That was from three years to early childhood. It was about three years altogether in New York. Then my father was offered a job in Frankfurt am Main in Germany. He spoke fluent German. It was an American company building a pearl business in Frankfurt. That's when I got even deeper into jewelry. Of course, there was also the trade. You can call it child labor today. In those days maybe it was seen slightly differently, but I did my homework with the secretaries. After that, I was stringing pearls, writing invoices and doing all kinds of things with pearls. When I was slightly older, I was allowed to make pearl pairs. Don't think that a pearl is white. It's nowhere near white. There are so many different colors and lusters that come in the pearl. So, I was setting pearls, hundreds of pearls, sorting them by a quarter of a millimeter, and then pairing them for earrings and matching the pearls in their luster so they could be worn as earrings.   From there we went on to jewelry, so stones and charms. Something interesting with the charms—I have a little anecdote. I was researching a book, “The Power of Love,” which came out in 2019, and I was looking in an auction catalogue for a famous love ring that Sir Laurence Olivier gave to the actress Vivian Leigh. Late at night, as I do very often, I was searching on the internet for the auction catalogue, and suddenly I see a charm bracelet. I couldn't believe my eyes. One of the charms she had on the bracelet was designed by my father. I can prove that because I have the same charm on my charm bracelet. It was a ship in the sunset, as you see in the background. So, that was going down memory lane.    When I reached the age of 18, I said, “I don't want to have anything to do with jewelry ever again.” I had enough. I grew up in the jewelry trade. It was all trade. Lo and behold, I then decided to study art history in Germany and England, but I did my thesis in Germany at the University of Münster. My subject at the end of this was Antonio Gentili, a Renaissance goldsmith. He came from Faenza. He worked for the Medici and the Farnese families, two very high families. He also did works for the Vatican. I remember in my early years after my dissertation, I used to see the Easter Mass on television in Germany. I was looking to see if the cross and candlesticks I worked on were on the show on the altar, which most years they were.    I then got into goldsmiths' work. It's through my jewelry background and my thesis on Renaissance goldsmiths' work that I was awarded a scholarship to write the catalogue of 900 pieces of jewelry for what is now called the Museum for Applied Arts, the Museum für Angewandte Kunst. The collection covers 5,000 years of jewelry history. I was really plunged into the deep history of jewelry. There weren't so many books at the time. They were more archaeology books. This explosion of jewelry books is something that came after I had finished the catalogue. There was a lot of research that was quite complex, but I enjoyed it. It was wonderful to gain that experience and knowledge of a wide part of jewelry history. That was in 1981. I finished the catalogue. It was published. That was also my first experience doing an exhibition because when the catalogue was launched, we had an exhibition with the jewelry. More recently I've been with the Cologne Museum since 1981. It was the first time. They're now doing a new display of the jewelry. They're still planning it. I think it's due to come out next year, so there will be a new display of the jewelry I catalogued.    Then I was offered a job in Hanau, Germany. Many will not realize that Hanau has a history in jewelry that goes back to the 17th century. Up to the First World War, it was a center for producing hand-manufactured jewelry. Today, they have an academy where you can learn how to make jewelry. That goes back to 1772. So, it's a city of great tradition of jewelry. I was Managing Director of the Gesellschaft für Goldschmiedekunst. I was organizing exhibitions and competitions and catalogues, and it was all contemporary jewelry.  When I was working in Cologne, that was my first encounter with contemporary jewelry. I met people who I became great friends with. I also took part in the many events of the Forum für Schmuck und Design, which still exists. So, those were my early experiences with contemporary jewelry, but when I got to Hanau, I was plunged right into it. I had all kinds of jobs to do, as I said, exhibitions, catalogues and competitions.    I stayed there for about three and a half years. In 1988, I was asked if I would catalogue the Alice and Louis Koch Collection. Louis Koch was a very famous jeweler in Frankfurt au Main, Germany, and he and his wife collected rings, among many other collections. It was a family of collections. By 1904, they had about 1,700 rings. There are over 2,600 rings now. I was asked to catalogue the 1,700 rings, which took me quite a long time, but I was doing all kinds of other projects in between. The collector allowed me to do that, which was great fun. In 1994, the historical collection was catalogued fully. It's like an encyclopedia of rings from ancient Egypt on. It covers 4,000 years of jewelry history.   In about 1993, just before we finished the catalogue—and there are a few contemporary rings in the 1994 publication. I believe this collection from Louis Koch in 1904 went to a second and a third generation after he died in 1930. The fourth generation, we discussed it, and we came to the conclusion that they should make it their own and continue where their great-grandfather had finished. Now, their great-grandfather was, as I said, a very famous family jeweler in Frankfurt. The shop was called the Cartier of Germany, so you can imagine royalty wearing it and the national business. He was a quite a jeweler. They also expanded to Baden-Baden. He was a very fashionable jeweler, and he was a contemporary of René Lalique. He didn't buy rings from any other contemporaries, but he bought a ring by René Lalique, so he must have realized there was something very contemporary about Lalique. He was the modernizer of French jewelry at the time, using glass and gold that was unthinkable.    So, we went on this venture from 1993 until the publication in 2019. We amassed a collection of 610 rings from the 20th and 21st century, which are all catalogued. Then the collection went into the Swiss National Museum. There was a small exhibition, but since 2019, there's a permanent display of 1,700 rings. May I add that the 610 contemporary rings are all on display, so we reduced repetitions within the historical part of the collection. Interestingly, this room's showcase is also round like a ring. With 1,700 rings, it's not an easy task because you have to go in a circle. We had big, brown panels of paper and played around with the rings. It starts with themes and then goes on chronologically to the contemporary. You couldn't make a mistake because once you got to ring 200, you couldn't go back to number 50. You can imagine going up to 1,700. I can say there are two rings that are not in the right place, but that's not too bad with 1,700 rings.   Sharon: Did you have to photograph them?   Beatriz: I'm very lucky to finish up on the Koch Collection. I'm now consultant curator to the Swiss National Museum in Zurich. I was responsible for the display there together with my colleagues in the museum. That was quite an experience. It's wonderful after 35 years to still be able to do this. I think they were a bit concerned about my babies and that I would want to run away from it, but that isn't the case. I really enjoy working with them. It's a pleasure. It's so rewarding, after 35 years, to see the collection on display, which was always in private hands from the 1900s onward.   I've just written six blogs for the Swiss National Museum. One is on the Napoleonic Wars, and the stories are all told by the rings. The next one coming out in November is on Josiah Wedgwood and his sculptor, John Flaxman. Rings tell lots of stories.   Sharon: Are the blogs in English?    Beatriz: Everything in the Swiss National Museum is English, German, French and Italian. So, you take your pick which one you want.   Sharon: Did you have to photograph everything? When you say you catalogued them, I think of a catalogue being a photograph and description.   Beatriz: Oh, no. The photographs of the historical collection were all done by a photographer. It's very difficult because we had to choose one background for all. That was complex. It's pre-1994, so it's sort of an old, pale, gray blue. One color fits all because it was the encyclopedic nature of the books.    With the 2019 book, I was working with the photographer in Zurich. I spent many weeks and months in Zurich sitting next to the photographer and choosing which angle because contemporary rings don't just have a hoop and a bezel. It's a piece of sculpture, so you have to know exactly which angle to take the photograph to show as much as you can of the ring. I was actually working together with the photographer. You learn a lot with such jobs.    Sharon: Wow! Today there are all kinds of degrees you can get with exhibitions. Was it something you learned hands on or learned by doing?   Beatriz: I was working at the practice in my second home of the Victoria and Albert Museum, because I was consultant curator to the William and Judith Bollinger Jewelry Gallery. I worked there for four and a half years on the displays. When you see the displays in the gallery, the concept was from me. I had little black and white photographs of the old gallery, nothing in color. It didn't matter that I knew the pieces by heart and each piece of jewelry was about the size of a small fingernail, and I got a damp hand from cutting out 4,000 images of 4,000 pieces of jewelry, very high-tech, of course. I had my pieces of paper, and I started thinking that every board has to tell a story. For me with an exhibition, the exhibit has to tell the story, and the text below on the captions really helps you understand it. Visually, I think it's very important that the pieces also talk. So, yes, I started before the architect was allocated and we worked together with 4,000 pieces. My colleague, Richard H. Cumber, worked on the watches, but otherwise all the jewelry is designed on black and white photographs on white sheets of paper with double-sided tape.   Sharon: Do you have thoughts about why you got so immersed in jewelry? You said you didn't want anything to do with jewelry, but here you are immersed in it. What were your thoughts?   Beatriz: You mean deep diving in it?   Sharon: Yes.   Beatriz: I grew up in the jewelry trade and experienced the Cuban Revolution and hardships, being refugees in New York and so on and then moving again to another country. It was complex. As a child, it wasn't quite easy. It didn't do me any harm. I've survived, but it was a really hard trade. What I was doing later, and still do now, is historical jewelry. It's a very different thing. I think I've gotten my love of jewelry back, yes, but I'm very keen on the wide picture of jewelry covering thousands of years.    In fact, I've been doing courses for the Victoria and Albert Museum since 2008. When I do the “Bedazzled” one, which is a history of jewelry, I start with 150,000 B.C. I jump off it pretty quickly, but for me, it's so important for people to go back to that time to understand what jewelry was about. To me, it was certainly more amuletic rather than status. It was status as well probably. We can't follow that, but certainly I think amuletic to protect from the dangers. They lived in a very natural world, so the dangers were much worse than we could imagine. I think it's fascinating to see what was in other periods of jewelry history. It makes it much more exciting to understand what's happening now.   Sharon: When you came to contemporary jewelry—it seems that you're pretty immersed in that also—what stood out to you? What made a piece different or jump out at you? There seems to be so much copycatting in many ways.   Beatriz: Definitely, a lot of copycatting. I've worked on a collection of 450 pieces of, and I can tell you that's one of the most copied ones. On Instagram, I have to be careful that I don't get nasty remarks because I do point out, “Yes, we've seen that before. He was ahead of his time, but his style is still modern today.” When we were putting the Koch Collection together with the 610 rings, 20 from the 21st century, the individual l idea was very important for me. It has to be innovative; the idea has to be new; it has to be interesting. For the materials, it should be an experiment with new materials; different materials; materials you wouldn't use for jewelry. We talk about sustainable jewelry. Pre-1994 we have two rings in the collection made of washing-up bottles. We were way ahead of the times. Of course, Peter Chang used recycled materials, and we commissioned a ring from him. We did commission people that never made rings before just to put them to the test. It was very interesting.   Sharon: I didn't know that Peter Chang was recycled.   Beatriz: The materials are all recycled materials, yes. That is the amazing part, the recycled materials. These two crazy rings we bought from a German jeweler, it's just washing-up bottles. If you're creative and imaginative, you make something interesting.    We have many important names who made rings. We have some wonderful rings from Wendy Ramshaw and so on. We have a lot of big names, but that was not the point. We have a lot of ones that just graduated or were young or completely unknown. It's more the idea and what they made. Of course, I was approached many times regarding rings and I had to decline, saying, “Sorry, we already have something like that.” I couldn't say it was not exciting. The idea was already there, so it makes it difficult. Unless it was interpreted differently, yes, that's fine.    So, I think we got a lot of crazy pieces. The collector always teased me. He said, “Can you wear the ring?” I said, “Of course, could you wear the ring? What do you think?” I always choose rings for wearing. Of course, I have to admit there are a few that are not wearable. I'll admit to that, but I think with a collection like the Koch Collection, you're allowed to do that. There are few you really can't wear, or you can wear them with great difficulty.   Sharon: Yes, I think about that. I always think about how it would be to type with a ring like that, or how it would be to work at a keyboard, something like that.   Beatriz: I always say you don't wear the big, high jewelry pieces when you go shopping or washing up.   Sharon: That's true.   Beatriz: I won't say any company names, but the high jewelers of New York, Paris, wherever, they make those pieces. Those are rings. If they look great, they're wearable, but you wouldn't wear them every day while you're washing up or shopping or doing other tasks around the house.   Sharon: That's true. That's probably why people don't buy them as much anymore. They don't have places to go, Covid aside.   Beatriz: I think with Covid, the interesting thing is that we have rings that are sculptures. If you're doing a collection and somebody makes a ring sculpture, I think it's valid to be in the Koch Collection. We do have a few ring sculptures, including Marjorie Schick. But it's interesting that you mentioned Covid and when the pandemic was on. I don't want to go into the pandemic, but we have a much-increased Zoom culture. It did exist before the pandemic, people trying to reduce travelling and climate change and so on. It did come before the pandemic, but it is definitely an increased media. You can't really wear a ring and say, “Well, here's my ring.” You have to wear something that's in the Zoom zone. That's earrings and brooches. Fortunately, I'm somebody who likes earrings and brooches. I always have on earrings and brooches.   Sharon: What you have on is very Zoom culture. It shows up well.   Beatriz: The color shows up, yes. The earrings, they're made of silver and made by Eve Balashova, who works in Glasgow. Zoom is not a problem with this jewelry because, as I said, I love the earrings and certainly the brooch that goes with it. In fact, when I bought the earrings I asked, “Can you make a brooch I can wear with it?”    Sharon: Wow! When you go out, do you see rings that make you say, “That should be in the collection”? Can you add new ones?   Beatriz: Since the display in 2019, there are only a few additions. It sort of finished with the publication and the display, but there have been the odd new rings. I write a lot about that. We have had a few, and I'm hoping that next year they will be on display. Maybe half a dozen rings; not many. We might have another exciting one, but we have to wait. Until the collector has actually gotten his hands on it, I don't want to jinx things.    Sharon: But you identify them and then they say yea or nay.   Beatriz: Yes. They have bought things on their own as well, but we've done this together, yes. I've identified and advised. For me, it was wonderful. First of all, they don't know the collector. It's always the Koch Collection, but the family's name is different, so it was always very modest, without great names. I was the one who negotiated everything, and it always gave me great pleasure when I could stand up and say, “We've chosen a ring for the collection.” You find this great joy on the other end, especially for those young or unknown ones. You could imagine what it meant for them. It's always great joy.    I love working with contemporary artist jewelers. I worked for 13 years as a visiting tutor under David Watkins. I always said I learned more from them than they learned from me, but I helped them with their Ph.Ds. I really enjoyed working with them, and it continued with being able to buy or acquire what they made for the collection.   Sharon: You do a lot of teaching. You're teaching other classes in January at the V&A.   Beatriz: Yeah.   Sharon: It started online.   Beatriz: Yes. In 2021, I did an online course, “Bedazzled.” Next year, in January and February, it's called “Jewels of Love, Romance and Eternity,” which is a topic I've worked on because I published the book “Proud Love.” We have a few other speakers who can bring another slant into it. Again, I start with antiquity, because you can't talk about love jewels without actually talking about Roman jewelry. Many people don't realize that the engagement ring or the proposal ring or marriage ring started with the ancient Romans.   Sharon: I didn't know that.   Beatriz: Diamonds in engagement rings started in the 15th century. It might be a little bit earlier, but that's more or less the dateline. So, there are lots of interesting things to talk about.    As I said, I've been doing courses since 2008 at regular intervals. Also at the Victoria and Albert Museum, I was co-curator of the pearls exhibition. I did a lot of courses on pearls as well, and that is a fascinating topic. It was wonderful to work on that exhibition. It was together with the Qatar Museum's authority, but I was asked by the Victoria and Albert Museum to create an exhibition for the British public, which was very different to what they had in mind, of course.   Sharon: There are so many new kinds of pearls, or at least kinds that weren't popular before. Tahitians and yellow pearls, that sort of thing.   Beatriz: Yes, all these extra pearls are the cultured pearls. It's a history of the natural pearl. Qatar was a center where they were diving for pearls, so we did all the diving history, how merchants worked in that area in Bali and Qatar. The cultured pearl is, of course, Mikimoto. There are theories that the Chinese started the cultured pearls, but the one who really got the cultured pearls going was Mikimoto. He certainly did the science with it. He worked together with scientists and had the vision. Natural pearls were very, very expensive, and his philosophy was that every woman should wear a pearl necklace or be able to afford a pearl necklace. I think his task is fulfilled.   It's interesting because the natural pearl doesn't have quite the luster of the cultured pearl. By the 20s, you have the cultured pearls coming in, and then by the 50s—when I did the exhibition, we had so many stories being told. Of course, some ladies from the Middle East are probably kicking themselves because they sold the family natural pearls because they didn't have the luster, and they bought the nice cultured pearls that are more flashy. Of course, now the value of natural pearls is unthinkable.   Sharon: Was there a catalogue?    Beatriz: With cultured pearls, you have the golden pearls and the Tahitian pearls and so on, but the color of the pearls depends on the shell they grow in, unless you have some that have been tampered with and are colored. But there are Tahitian pearls, golden pearls and all these different shades. Melo pearls have an orangey color. The color of the pearl is dependent on the shell it grows in. The rarest pearl is the pink pearl that comes from the Caribbean. That's the conch pearl; that's hugely expensive. You asked about the catalogue.   Sharon: We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out.

durée : 00:14:06 - Le Disque classique du jour du jeudi 15 décembre 2022 - Les animaux sont discrets, mais tout de même présents dans la musique française des XVIIe et XVIIIe siècles, Faenza s'amuse à en suivre la trace dans un safari musical pour les débusquer là où ils se cachent le mieux : dans les airs sérieux, les airs à boire, et les débuts de la cantate française.

durée : 01:29:08 - En pistes ! du jeudi 15 décembre 2022 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Ce jeudi, nous ouvrons l'émission avec un hommage à Jean de La Fontaine par l'ensemble Faenza. Dans cet enregistrement se retrouvent des oeuvres de Couperin, Marais ou encore Campion. On vous en parle mais surtout, on écoute !

Maria Diletta Rondoni is an Italian artist based in Umbria, Italy. After graduating at the Academy of Fine Arts in Perugia in 2012-majoring in painting–her artistic research explored possibilities from different materials, such as ceramic, metal working, and glass. Maria Diletta focused her interest in clay taking ceramics classes in Deruta where she learned ancient techniques such as Etruscan bucchero and terra sigillata. In 2017 Maria Diletta studied porcelain techniques at the Ceramic Art School “Romano Ranieri” in Deruta and at the FACC-Faenza Art Ceramic Center, Faenza, Italy. Over the last few years Maria Diletta traveled to Europe, Sri Lanka, and Australia. These travels inspired her aesthetic vision. Maria Diletta's artworks belong to private collections in Italy and abroad. http://ThePottersCast.com/887

With only a week having passed since the Belgian Grand Prix at Spa, F1 engines roared again last weekend for the Dutch Grand Prix at Zandvoort.Max Verstappen took his tenth win of 2022 and the 30th of his career to the delight of a partisan crowd, but had to work harder for his win than he had at Spa, with Mercedes proving to be tough opposition on an alternate tyre strategy.Joining Michael Butterworth to discuss the Dutch Grand Prix weekend is Dieter Rencken, Editorial Director of RacingNews365.Off-track, one of the worst-kept secrets of recent times was confirmed last week, as F1's Contracts Recognition Board ruled that Oscar Piastri would indeed be able to race for McLaren in 2023.A tug of war for Piastri's services had developed between the Woking squad and his current employers Alpine, who had designs on promoting him to a race seat next year to replace the outgoing Fernando Alonso.However, with Alonso off to Aston Martin and Piastri set to join McLaren, Alpine suddenly find themselves with only one contracted driver - Esteban Ocon - instead of three. How did they end up in this situation, and what's next for the French squad?Rumours suggest that Alpine are keen on replacing Alonso with Pierre Gasly, but that move may be contingent on AlphaTauri finding a replacement. The Faenza team are linked with Colton Herta, but the American may not be granted a Super Licence to race in F1. Are the FIA's Super Licence points unfairly biased against drivers coming from IndyCar?And with uncertainty surrounding the F1 futures of Daniel Ricciardo and Mick Schumacher, what's next for that duo?All this and more on this edition of the RacingNews365.com F1 podcast!

Nicholas Lees has a string of degrees from University of Kent (BA), University of the West of England (BA), University of Wales Institute, Cardiff (MA), and the Royal College of Art (MPhil). Nicholas has work exhibited in the UK and overseas and in public collections, including York City Art Gallery, Westerwald Keramikmuseum in Germany, and Museo Internazionale delle Ceramiche in Italy. His awards include the Cersaie Prize, Faenza and Nicholas was a Senior Lecturer at Bath Spa University between 2000 and 2010 and is now a Visiting Lecturer at RCA and UCA Farnham. http://ThePottersCast.com/846

Guido da Montefeltro is trapped in a tongue of fire in the eighth of the malebolge (evil pouches) that make up the eighth circle of hell, the landscape of fraud. But rather than bemoan his fate, he wants to know the fate of his beloved Romagna, where he was a mercenary for years. Join me, Mark Scarbrough, as we look over this elliptical and opaque passage, which is the pilgrim's response to Guido's question of whether his home is at war or peace these days. Here are the segments of this episode of WALKING WITH DANTE: [02:57] My English translation of the passage: Inferno, Canto XXVII, lines 31 - 57. If you''d like to read along or drop a comment, please do so on my website, markscarbrough.com. [05:16] The pilgrim's eager desire is still intact toward the figures in the eighth evil pouch of fraud. [06:32] Two nice details in the opening tercet (or three-line stanza). [09:08] The big word for this passage: "tyrants." [11:03] Rationales for the opaque and elliptical complications in Dante the pilgrim's response. [14:34] The fate of seven cities in Romagna. The peace in 1) Ravenna and 2) Cervia, thanks to the Polenta family. [17:06] The bloodbath at 3) Forlí (and the victory for Guido da Montefeltro) in the late 1200s. [18:48] The defeat of the Ghibellines in 4) Rimini in the late 1200s. [21:58] The fates of 5) Faenza and 6) Imola in 1300. [24:23] The uneasy freedom in 7) Cesena in 1300. [25:46] Something intriguing: Dante is careful to give this history lesson as of 1300, the date of the action (but not the writing) of the poem. [28:08] After all this bloody political history, Dante appeals to Guido's personal vanity. [30:11] Reading the passage once again, all the way back to the start of Canto XXVII.

Marketing per aziende di informatica, cosa funziona oggi?"Cosa funziona nel marketing" è una domanda che mi fanno spesso: meglio Instagram o Facebook, i Podcast o i Video su YouTube, il Funnel o le Chiamate a Freddo?Purtroppo deludo sempre il mio interlocutore perché non c'è nulla che funzioni a prescindere dal contesto in cui viene sperimentato. E anche quando qualche investimento funziona, di solito lo fa per un certo periodo di tempo, raramente nel marketing c'è una soluzione definitiva. Quindi non mi è possibile rispondere a una domanda posta esattamente in questi termini . Quello che però posso fare, è raccontare cosa ha funzionato e cosa non ha funzionato nella mia attività presso uno specifico cliente.In questo caso un'azienda di informatica. Andiamo allora a Faenza presso la sede di Serverlab e di Centranet, due aziende dello stesso gruppo che opera nel mondo dell'IT.Notehttps://www.merita.biz/286====✅ Sostieni lo Show: offrimi un caffè!☕ https://www.merita.biz/sostieni​/

Saint Peter Damian, Bishop and Doctor of the Church1007–1072February 21—Optional MemorialLiturgical Color: White (Purple if Lenten Weekday)Patron Saint of Faenza and Font-Avellano, ItalyA wise and holy monk becomes a Cardinal and thunders for reform in the ChurchEvery Catholic knows that the Pope is elected by, and from, the Cardinals of the Church gathered in the Sistine Chapel. Every Catholic knows that the Pope then goes to a large balcony perched high in the facade of St. Peter's Basilica to greet the faithful and receive their acceptance. This is simply the way things are done in the Church. But it's not the way things were always done. A Catholic in the early Middle Ages would have described a papal election as something like a bar room fight, a back-alley brawl, or a political horse race replete with bribes, connivings, and promises made just to be broken. Everyone—far-off emperors, the nobility of Rome, military generals, influential laity, priests—put their hands on the wheel to turn the rudder of the Church in one direction or another. Papal elections were sources of deep division, causing lasting damage to the Body of Christ. Then along came Saint Peter Damian to save the day.Saint Peter headed a group of reform-minded Cardinals and others who decided in 1059 that only Cardinal Bishops could elect the Pope. No nobles. No crowds. No emperors. Saint Peter wrote that the Cardinal Bishops do the electing, the other clergy give their assent, and the people give their applause. This is exactly the program the Church has followed for almost a thousand years.Today's saint sought to reform himself first, and then to pull every weed that choked life from the healthy plants in the garden of the Church. After a difficult upbringing of poverty and neglect, Peter was saved from destitution by an older brother named Damian. Out of gratitude, he added his older brother's name to his own. He was given an excellent education, in which his natural gifts became apparent, and then entered a strict monastery to live as a monk. Peter's extreme mortifications, learning, wisdom, uninterrupted life of prayer, and desire to right the ship of the Church put him into contact with many other Church leaders who desired the same. Peter eventually was called to Rome and became a counselor to a succession of popes. Against his will, he was ordained a Bishop, made a Cardinal, and headed a diocese. He fought against simony (the purchasing of church offices), against clerical marriage, and for the reform of papal elections. He also thundered, in the strongest and clearest of language, against the scourge of homosexuality in the priesthood.After being personally involved in various ecclesiastical battles for reform, he requested leave to return to his monastery. His request was repeatedly denied until finally the Holy Father let him return to a life of prayer and penance, where his primary distraction was carving wooden spoons. After fulfilling a few more sensitive missions to France and Italy, Peter Damian died of fever in 1072. Pope Benedict XVI has described him as “one of the most significant figures of the eleventh century…a lover of solitude and at the same time a fearless man of the Church, committed personally to the task of reform.” He died about one hundred years before Saint Francis of Assisi was born, yet some have referred to him as the Saint Francis of his age.More than two hundred years after our saint's death, Dante wrote his Divine Comedy. The author is guided through paradise and sees a golden ladder, lit by a sunbeam, stretching into the clouds above. Dante begins to climb and meets a soul radiating the pure love of God. Dante is in awe that the heavenly choirs have fallen silent to listen to this soul speak: “The mind is light here, on earth it is smoke. Consider, then, how it can do down there what it cannot do up here with heaven's help.” God is unknowable even in heaven itself, so how much more unfathomable must He be on earth. Dante drinks in this wisdom and, transfixed, asks this soul its name. The soul then describes its prior earthly life: “In that cloister I became so steadfast in the service of our God that with food seasoned just with olive-juice lightheartedly I bore both heat and cold, content with thoughtful prayers of contemplation. I was, in that place, Peter Damian.” Dante is among refined company in the loftiest heights of heaven.Saint Peter Damian, your reform of the Church began in your own monastery cell. You never asked of others what you did not demand first of yourself. You even endured the detraction and calumny of your peers. Help us to reform others by our example, learning, perseverance, mortifications, and prayers.

Daniele conduce l'azienda agricola biologica Podere Cimbalona a Faenza. La sua è stata originariamente un'azienda frutticola convenzionale gestita dal nonno. Dopo averla presa in gestione, Daniele ha avviato un processo di conversione che lo ha portato a cambiare metodi di coltivazione e a diversificare molto la produzione, aggiungendo fra le altre cose un orto no-till e un piccolo allevamento di ovaiole. Daniele è una persona molto preparata, con dei valori molto solidi e con moltissime cose interessanti da condividere. In questo episodio abbiamo parlato di frutticoltura, di adattamento ai cambiamenti climatici, di vendita diretta, di gestione del lavoro e di molto altro ancora.  Instagram - https://www.instagram.com/podere_cimbalona/ Se hai trovato del valore in questa intervista e hai piacere di supportare Micorrize, lo puoi fare in diversi modi: ⁠⁠Fai una donazione su PayPal⁠⁠ ⁠⁠Supporta il podcast su Patreon⁠⁠ Segui le pagine social del podcast, lascia un commento e condividi i post, fallo conoscere ad amici e colleghi, lascia 5 stelle su Spotify o una recensione su Apple Podcast. Coltiviamo insieme un'agricoltura migliore! Scrivimi a ⁠davide@micorrizepodcast.it⁠ o su ⁠Instagram⁠. Visita il ⁠sito⁠ e iscriviti alla newsletter. Alla prossima!