తూర్పుగోదావరి జిల్లా ద్రాక్షారామం శ్రీమాణిక్యాంబ సమేత భీమేశ్వరస్వామి వారి కల్యాణోత్సవాలు వైభవంగా సాగుతున్నాయి.
భీమేశ్వరస్వామి తెప్పోత్సవం
ఇవీచదవండి.
గంగాధరుని గంగా విహారం..
ద్రాక్షారామం శ్రీమాణిక్యాంబ సమేత భీమేశ్వరస్వామి కల్యాణోత్సవాల్లో భాగంగా సప్తగోదావరి పుష్కరిణిలో తెప్పోత్సవం కన్నుల పండువగా జరిగింది. .
ద్రాక్షారామం
తూర్పుగోదావరి జిల్లా ద్రాక్షారామం శ్రీమాణిక్యాంబ సమేత భీమేశ్వరస్వామి వారి కల్యాణోత్సవాలు వైభవంగా సాగుతున్నాయి.
భీమేశ్వరస్వామి తెప్పోత్సవం
పల్లకిలో స్వామి అమ్మవార్లను పుష్కరిణి వరకు ఊరేగింపుగా తీసుకువచ్చారు. సప్తగోదావరి పుష్కరిణిలో హంసవాహనంపై దేవదేవులువిహరించారు. భక్తులు పెద్ద సంఖ్యలో తరలివచ్చి స్వామి తెప్పోత్సవాన్ని తిలకించారు. అధికారులు బాణాసంచా కాల్చారు.
ఇవీచదవండి.
ITALY MICHELANGELO
SOURCE: ASSOCIATED PRESS / MUSEI DEL BARGELLO; LOTTOMATICA
RESTRICTIONS: AP Clients Only
LENGTH: 6.18
SHOTLIST:
ASSOCIATED PRESS - AP Clients Only
Florence, Italy - 18 February 2019
1. Tilt-down from the dome of the New Sacristy revealing tombs of Lorenzo de' Medici,d Giuliano de' Medici (left) and Lorenzo de' Medici Duke of Urbino (right)
2. Various of Lorenzo de' Medici Duke of Urbino
3. Close of a statue of the tomb of Lorenzo de' Medici Duke of Urbino ("Dusk")
4. Various wide of the press conference in the New Sacristy
5. Close of museum director Paola D'Agostino addressing conference
6 . SOUNDBITE: (English) Paola D'Agostino, director of Musei del Bargello
"The new Sacristy is in a way the climax of Michelangelo's career in Florence. He started working on it in 1519 after dropping the project for the facade of the Basilica di San Lorenzo and then he carried on, working on it, until 1534, when he left Florence forever, never wishing to come back. It is a masterpiece of architecture and sculpture and he was conceived by the artist to celebrate the Medici dynasty."
7. Wide of statues on the tomb of Giuliano de' Medici Duke of Nemours
8. Close of sculpture depicting Giuliano de' Medici Duke of Nemours
9. SOUNDBITE: (English) Paola D'Agostino, director of Musei del Bargello
"What happened is that when the New Sacristy was finally completed, and this only happened at the end of the 16th century, the big dome that now covers the "Cappella dei Principi", the "Princes Chapel", which is the second mausoleum of the Medici, altered the lighting condition that Michelangelo had initially designed. It would have been impossible, even nowadays, to restore the perfect condition of the early 16th century, so after a very long and meditated partnership between the Musei del Bargello and Lottomatica what we came up with was a new lighting system with lights that have been especially built for this place and it's a very careful study to put into effect what would have been a good sunlit day if you had entered the chapel in the early 16th century."
VNR: COPYRIGHT MUSEI DEL BARGELLO AND LOTTOMATICA ++MUST CREDIT++
Florence, Italy - December 2018 - January 2019
++MUTE++
10. Various of Mario Nanni installing lights in the sacristy
ASSOCIATED PRESS - AP Clients Only
Florence, Italy - 18 February 2019
11. SOUNDBITE: (Italian) Mario Nanni, lighting specialist
"This work recreates and has been developed thinking about the light of Michelangelo, because Michelangelo, in designing these sculptures, these artworks, worked and thought about the architecture. About how the light enters through windows and cornices, and through analysis and studies, we see how the light entered generating two rays. One is the primary light, which hits the artwork directly, the other is the "secondary ray" ("lume secondario"), as Leonardo called it, which is the one that works with the architecture. Therefore it is the light that directly hits the architecture, the floor, various architectural details, and is then reflected onto statue and sculpture."
12. Ceiling of the New Sacristy
13. Close of a window on the ceiling
14. Various of lights
15. Wide of tomb of Giuliano and Lorenzo de' Medici with three statues including Michelangelo's "Virgin and Child" (centre)
16. Close of the statue of "San Cosma" by Giovanni Angelo Montorsoli
19. Close of Madonna's face by Michelangelo
20. Low wide angle of statues of "San Cosma" by Giovanni Angelo Montorsoli (left) and "Virgin and Child" by Michelangelo
VNR: COPYRIGHT MUSEI DEL BARGELLO AND LOTTOMATICA ++MUST CREDIT++
Florence, Italy - December 2018 - January 2019
++MUTE++
21. Various of Antonio Forcellino restoring "Virgin and Child" also known as the "Medici Madonna"
ASSOCIATED PRESS - AP Clients Only
Florence, Italy - 18 February 2019
22. SOUNDBITE: (Italian) Antonio Forcellino, restorer
"During this restoration we discovered an extraordinary thing, which is that some parts of the sculptures that we think are in shadow, such as the face of Lorenzo, something that scholars have been asking themselves about for 500 years. Why had he been placed so much in shadow? In actual fact there are some hours during the day when the sun's rays hit the lower part of the marble, reflecting such a strong light that we are able to appreciate every detail in the face of Lorenzo. The new lighting system has taken this into account."
23. Wide pan right from the tomb of Giuliano de' Medici Duke of Nemours to the tomb of Lorenzo de' Medici Duke of Urbino
24. Close of the face of the statue depicting Lorenzo de' Medici Duke of Urbino
25. Mid of tomb of Lorenzo de' Medici Duke of Urbino
26. Close of a statue on the tomb of Lorenzo de' Medici Duke of Urbino called "Dawn"
27. Wide of the tomb of Giuliano de' Medici Duke of Nemours
28. Close of a statue on the tomb of Giuliano de' Medici Duke of Nemours called "Night"
29. Close of a sculpted owl under the legs of the statue called "Night" in the tomb of Giuliano de' Medici Duke of Nemours
30. Close of a statue depicting Giuliano de' Medici Duke of Nemours
31. Mid of statue called "Day" on the tomb of Giuliano de' Medici Duke of Nemours
32. Exterior of Basilica di San Lorenzo
33. Wide external of the dome of "Cappella dei Principi" (Princes Chapel)
34. Tilt-down of the exterior of "Cappelle Medicee" (Medici Chapels)
35. Close of poster reading (Italian) "Cappelle Medicee" (Medici Chapels)
LEADIN:
For the first time in hundreds of years visitors to the Medici tombs in Florence can appreciate Michelangelo's detailed sculptures just as the artist intended.
Some of the sculptures erected in the sixteenth century were constantly in shadow, but now a new system sheds light on the intricate details of the carved faces of the Medici family.
STORYLINE:
The history of Florence is closely entwined with the Medici.
The dynastic family ruled first the city, then later Tuscany, almost continuously for three centuries between 1434 and 1737.
For the Medici it was vital to have Michelangelo design the sacristy commemorating the life of Lorenzo de Medici (1449 - 1492) - known as The Magnificent he was a renowned patron of Renaissance artists.
The director of the Musei del Bargello is Paola D'Agostino.
She says the New Sacristy, or "Sagrestia Nuova" was built by Michelangelo when he'd reached the pinnacle of his success.
"The new Sacristy is in a way the climax of Michelangelo's career in Florence. He started working on it in 1519 after dropping the project for the facade of the Basilica di San Lorenzo and then he carried on, working on it, until 1534, when he left Florence forever, never wishing to come back. It is a masterpiece of architecture and sculpture and he was conceived by the artist to celebrate the Medici dynasty," says D'Agostino.
The New Sacristy is considered to be exceptional evidence of Michelangelo's artistic abilities.
Not just because of the statues he carved there, but also the use he made of natural light.
Now, thanks to a new lighting system, visitors will have the chance to admire the New Sacristy with lighting conditions similar to those designed by Michelangelo in the early 16th century.
According to D'Agostino the Chapel of the Princes, the huge dome designed by Buontalenti changed the lighting conditions.
"What happened is that when the New Sacristy was finally completed, and this only happened at the end of the 16th century, the big dome that now covers the "Cappella dei Principi", the "Princes Chapel", which is the second mausoleum of the Medici, altered the lighting condition that Michelangelo had initially designed. It would have been impossible, even nowadays, to restore the perfect condition of the early 16th century, so after a very long and meditated partnership between the Musei del Bargello and Lottomatica what we came up with was a new lighting system with lights that have been especially built for this place and it's a very careful study that became to put into effect what would have been a good sunlight day if you had entered the chapel in the early 16th century," D'Agostino explains.
The lighting system is designed by Mario Nanni with the help of restoration specialist Antonio Forcellino.
In total there are 25 lights.
"This work recreates and has been developed thinking about the light of Michelangelo, because Michelangelo, in designing these sculptures, these artworks, worked and thought about the architecture, about how the light enters through windows and cornices, and through analysis and studies, we see how the light entered generating two rays, one is the primary light, which hits the artwork directly, the other is the "secondary ray" ("lume secondario"), as Leonardo (da Vinci) called it, which is the one that works with the architecture, therefore it is the light that directly hits the architecture, the floor, various architectural details, and is then reflected onto statue and sculpture," Nanni explains.
Antonio Forcellino has been responsible for cleaning the three sculptures on the top of the sarcophagus where Lorenzo de' Medici and his brother Giuliano de' Medici are buried.
He says: "During this restoration we discovered an extraordinary thing, which is that some parts of the sculptures that we think are in shadow, such as the face of Lorenzo, something that scholars have been asking themselves about for 500 years. Why had he been placed so much in shadow? In actual fact there are some hours during the day when the sun's rays hit the lower part of the marble, reflecting such a strong light that we are able to appreciate every detail in the face of Lorenzo. The new lighting system has taken this into account."
The tombs of Giuliano de' Medici Duke de Nemours and Lorenzo de' Medici Duke of Urbino are characterised by two monumental groups of sculptures designed by Michelangelo.
Giuliano Duke of Urbino is shown in the character of a commander and the two figures on his sarcophagus are called "Day" and "Night" .
Lorenzo is depicted as a reflective man and the two figures on the sarcophagus represent "Dusk" and "Dawn".
Lorenzo de' Medici and his brother Giuliano de'Medici are buried in a sarcophagus in the New Sacristry.
On the top are three statues, the one of the Madonna with baby Jesus Christ also known as the "Medici Madonna" was carved by Michelangelo in 1521 but unfinished.
The two other sculptures either side of the Virgin were carved by Michelangelo's pupils.
"San Cosma" was carved by Giovanni Angelo Montorsoli and "San Damiano" by Raffaello da Montelupo.
This new lighting system has been supported by Musei del Bargello and Lottomatica, an Italian gaming company.
"Cappelle Medicee" belongs to Musei del Bargello, Florence.
Michelangelo Buonarroti was born on the 6th March 1475, in Caprese, Tuscany and he died in Rome on the 18th February 1564.
====
Clients are reminded:
(i) to check the terms of their licence agreements for use of content outside news programming and that further advice and assistance can be obtained from the AP Archive on: Tel +44 (0) 20 7482 7482 Email: info@aparchive.com.
(ii) they should check with the applicable collecting society in their Territory regarding the clearance of any sound recording or performance included within the AP Television News service
(iii) they have editorial responsibility for the use of all and any content included within the AP Television News service and for libel, privacy, compliance and third party rights applicable to their Territory.
SOURCE: ASSOCIATED PRESS / MUSEI DEL BARGELLO; LOTTOMATICA
RESTRICTIONS: AP Clients Only
LENGTH: 6.18
SHOTLIST:
ASSOCIATED PRESS - AP Clients Only
Florence, Italy - 18 February 2019
1. Tilt-down from the dome of the New Sacristy revealing tombs of Lorenzo de' Medici,d Giuliano de' Medici (left) and Lorenzo de' Medici Duke of Urbino (right)
2. Various of Lorenzo de' Medici Duke of Urbino
3. Close of a statue of the tomb of Lorenzo de' Medici Duke of Urbino ("Dusk")
4. Various wide of the press conference in the New Sacristy
5. Close of museum director Paola D'Agostino addressing conference
6 . SOUNDBITE: (English) Paola D'Agostino, director of Musei del Bargello
"The new Sacristy is in a way the climax of Michelangelo's career in Florence. He started working on it in 1519 after dropping the project for the facade of the Basilica di San Lorenzo and then he carried on, working on it, until 1534, when he left Florence forever, never wishing to come back. It is a masterpiece of architecture and sculpture and he was conceived by the artist to celebrate the Medici dynasty."
7. Wide of statues on the tomb of Giuliano de' Medici Duke of Nemours
8. Close of sculpture depicting Giuliano de' Medici Duke of Nemours
9. SOUNDBITE: (English) Paola D'Agostino, director of Musei del Bargello
"What happened is that when the New Sacristy was finally completed, and this only happened at the end of the 16th century, the big dome that now covers the "Cappella dei Principi", the "Princes Chapel", which is the second mausoleum of the Medici, altered the lighting condition that Michelangelo had initially designed. It would have been impossible, even nowadays, to restore the perfect condition of the early 16th century, so after a very long and meditated partnership between the Musei del Bargello and Lottomatica what we came up with was a new lighting system with lights that have been especially built for this place and it's a very careful study to put into effect what would have been a good sunlit day if you had entered the chapel in the early 16th century."
VNR: COPYRIGHT MUSEI DEL BARGELLO AND LOTTOMATICA ++MUST CREDIT++
Florence, Italy - December 2018 - January 2019
++MUTE++
10. Various of Mario Nanni installing lights in the sacristy
ASSOCIATED PRESS - AP Clients Only
Florence, Italy - 18 February 2019
11. SOUNDBITE: (Italian) Mario Nanni, lighting specialist
"This work recreates and has been developed thinking about the light of Michelangelo, because Michelangelo, in designing these sculptures, these artworks, worked and thought about the architecture. About how the light enters through windows and cornices, and through analysis and studies, we see how the light entered generating two rays. One is the primary light, which hits the artwork directly, the other is the "secondary ray" ("lume secondario"), as Leonardo called it, which is the one that works with the architecture. Therefore it is the light that directly hits the architecture, the floor, various architectural details, and is then reflected onto statue and sculpture."
12. Ceiling of the New Sacristy
13. Close of a window on the ceiling
14. Various of lights
15. Wide of tomb of Giuliano and Lorenzo de' Medici with three statues including Michelangelo's "Virgin and Child" (centre)
16. Close of the statue of "San Cosma" by Giovanni Angelo Montorsoli
19. Close of Madonna's face by Michelangelo
20. Low wide angle of statues of "San Cosma" by Giovanni Angelo Montorsoli (left) and "Virgin and Child" by Michelangelo
VNR: COPYRIGHT MUSEI DEL BARGELLO AND LOTTOMATICA ++MUST CREDIT++
Florence, Italy - December 2018 - January 2019
++MUTE++
21. Various of Antonio Forcellino restoring "Virgin and Child" also known as the "Medici Madonna"
ASSOCIATED PRESS - AP Clients Only
Florence, Italy - 18 February 2019
22. SOUNDBITE: (Italian) Antonio Forcellino, restorer
"During this restoration we discovered an extraordinary thing, which is that some parts of the sculptures that we think are in shadow, such as the face of Lorenzo, something that scholars have been asking themselves about for 500 years. Why had he been placed so much in shadow? In actual fact there are some hours during the day when the sun's rays hit the lower part of the marble, reflecting such a strong light that we are able to appreciate every detail in the face of Lorenzo. The new lighting system has taken this into account."
23. Wide pan right from the tomb of Giuliano de' Medici Duke of Nemours to the tomb of Lorenzo de' Medici Duke of Urbino
24. Close of the face of the statue depicting Lorenzo de' Medici Duke of Urbino
25. Mid of tomb of Lorenzo de' Medici Duke of Urbino
26. Close of a statue on the tomb of Lorenzo de' Medici Duke of Urbino called "Dawn"
27. Wide of the tomb of Giuliano de' Medici Duke of Nemours
28. Close of a statue on the tomb of Giuliano de' Medici Duke of Nemours called "Night"
29. Close of a sculpted owl under the legs of the statue called "Night" in the tomb of Giuliano de' Medici Duke of Nemours
30. Close of a statue depicting Giuliano de' Medici Duke of Nemours
31. Mid of statue called "Day" on the tomb of Giuliano de' Medici Duke of Nemours
32. Exterior of Basilica di San Lorenzo
33. Wide external of the dome of "Cappella dei Principi" (Princes Chapel)
34. Tilt-down of the exterior of "Cappelle Medicee" (Medici Chapels)
35. Close of poster reading (Italian) "Cappelle Medicee" (Medici Chapels)
LEADIN:
For the first time in hundreds of years visitors to the Medici tombs in Florence can appreciate Michelangelo's detailed sculptures just as the artist intended.
Some of the sculptures erected in the sixteenth century were constantly in shadow, but now a new system sheds light on the intricate details of the carved faces of the Medici family.
STORYLINE:
The history of Florence is closely entwined with the Medici.
The dynastic family ruled first the city, then later Tuscany, almost continuously for three centuries between 1434 and 1737.
For the Medici it was vital to have Michelangelo design the sacristy commemorating the life of Lorenzo de Medici (1449 - 1492) - known as The Magnificent he was a renowned patron of Renaissance artists.
The director of the Musei del Bargello is Paola D'Agostino.
She says the New Sacristy, or "Sagrestia Nuova" was built by Michelangelo when he'd reached the pinnacle of his success.
"The new Sacristy is in a way the climax of Michelangelo's career in Florence. He started working on it in 1519 after dropping the project for the facade of the Basilica di San Lorenzo and then he carried on, working on it, until 1534, when he left Florence forever, never wishing to come back. It is a masterpiece of architecture and sculpture and he was conceived by the artist to celebrate the Medici dynasty," says D'Agostino.
The New Sacristy is considered to be exceptional evidence of Michelangelo's artistic abilities.
Not just because of the statues he carved there, but also the use he made of natural light.
Now, thanks to a new lighting system, visitors will have the chance to admire the New Sacristy with lighting conditions similar to those designed by Michelangelo in the early 16th century.
According to D'Agostino the Chapel of the Princes, the huge dome designed by Buontalenti changed the lighting conditions.
"What happened is that when the New Sacristy was finally completed, and this only happened at the end of the 16th century, the big dome that now covers the "Cappella dei Principi", the "Princes Chapel", which is the second mausoleum of the Medici, altered the lighting condition that Michelangelo had initially designed. It would have been impossible, even nowadays, to restore the perfect condition of the early 16th century, so after a very long and meditated partnership between the Musei del Bargello and Lottomatica what we came up with was a new lighting system with lights that have been especially built for this place and it's a very careful study that became to put into effect what would have been a good sunlight day if you had entered the chapel in the early 16th century," D'Agostino explains.
The lighting system is designed by Mario Nanni with the help of restoration specialist Antonio Forcellino.
In total there are 25 lights.
"This work recreates and has been developed thinking about the light of Michelangelo, because Michelangelo, in designing these sculptures, these artworks, worked and thought about the architecture, about how the light enters through windows and cornices, and through analysis and studies, we see how the light entered generating two rays, one is the primary light, which hits the artwork directly, the other is the "secondary ray" ("lume secondario"), as Leonardo (da Vinci) called it, which is the one that works with the architecture, therefore it is the light that directly hits the architecture, the floor, various architectural details, and is then reflected onto statue and sculpture," Nanni explains.
Antonio Forcellino has been responsible for cleaning the three sculptures on the top of the sarcophagus where Lorenzo de' Medici and his brother Giuliano de' Medici are buried.
He says: "During this restoration we discovered an extraordinary thing, which is that some parts of the sculptures that we think are in shadow, such as the face of Lorenzo, something that scholars have been asking themselves about for 500 years. Why had he been placed so much in shadow? In actual fact there are some hours during the day when the sun's rays hit the lower part of the marble, reflecting such a strong light that we are able to appreciate every detail in the face of Lorenzo. The new lighting system has taken this into account."
The tombs of Giuliano de' Medici Duke de Nemours and Lorenzo de' Medici Duke of Urbino are characterised by two monumental groups of sculptures designed by Michelangelo.
Giuliano Duke of Urbino is shown in the character of a commander and the two figures on his sarcophagus are called "Day" and "Night" .
Lorenzo is depicted as a reflective man and the two figures on the sarcophagus represent "Dusk" and "Dawn".
Lorenzo de' Medici and his brother Giuliano de'Medici are buried in a sarcophagus in the New Sacristry.
On the top are three statues, the one of the Madonna with baby Jesus Christ also known as the "Medici Madonna" was carved by Michelangelo in 1521 but unfinished.
The two other sculptures either side of the Virgin were carved by Michelangelo's pupils.
"San Cosma" was carved by Giovanni Angelo Montorsoli and "San Damiano" by Raffaello da Montelupo.
This new lighting system has been supported by Musei del Bargello and Lottomatica, an Italian gaming company.
"Cappelle Medicee" belongs to Musei del Bargello, Florence.
Michelangelo Buonarroti was born on the 6th March 1475, in Caprese, Tuscany and he died in Rome on the 18th February 1564.
====
Clients are reminded:
(i) to check the terms of their licence agreements for use of content outside news programming and that further advice and assistance can be obtained from the AP Archive on: Tel +44 (0) 20 7482 7482 Email: info@aparchive.com.
(ii) they should check with the applicable collecting society in their Territory regarding the clearance of any sound recording or performance included within the AP Television News service
(iii) they have editorial responsibility for the use of all and any content included within the AP Television News service and for libel, privacy, compliance and third party rights applicable to their Territory.
