Judeo-Christian Culture: Creation Quotes

Judeo-Christian Culture:

Creation Quotes

All things denote there is a God; yea, even the earth, and all things that are upon the face of it, yea, and its motion, yea, and also all the planets which move in their regular form do witness that there is a Supreme Creator. ~Alma 30:44 

God that made the world and all things therein, seeing that he is lord of heaven and earth, dwelleth not in temples made with hands; For in him we live, and move, and have our being;  … for we are also his offspring. ~Saint Paul, Acts 17: 24,28

There is a God, and he hath created all things. ~2 Nephi 2:14

Creation vs. Darwinism

Darwin was aware of gaps in his theory. . . Even Darwin recognized his life’s work as a theory and left the door ajar. ~Keith Merrill

Evolution has a lot of holes filled with Silly Putty, but the one gaping wound they cannot hide is the Moral Law. ~Keith Merrill

Charles Darwin loved his wife and children. He paid his taxes and never kicked his dog. But Charles Darwin had a big idea, and ideas have consequences. ~movie: ”What Hath Darwin Wrought?”


George WashingtonRevisionist historians have tried to diminish Washington’s faith in God, but it is clearly evident in his writings. Washington learned very much from his father, who (as the legend goes) once taught young George a lesson using cabbage seeds. He arranged them in such a way that they spelled “George.” When they began to grow, he showed them to his son and explained to him that they just grew that way by happenstance. When George correctly rejected that premise, suspecting it was his Dad who arranged them, he told George to look around at how perfectly everything else was placed. The trees. The grass. The water. The hills. The sky.

Was it mere coincidence, or was it part of a grand plan?

Washington immediately knew the answer. ~Glenn Beck, Being George Washington, p.41


Why Youth Need to Understand the Biblical Creation  Click Here


YouTube Music: Classic Vivaldi

Dinner Topics for Friday

keyAnything unattempted remains impossible.

Antonio Vivaldi

From Wikipedia, the free encyclopedia

vivaldiAntonio Lucio Vivaldi (4 March 1678 – 28 July 1741), nicknamed il Prete Rosso (“The Red Priest”) because of his red hair, was an Italian Baroque composer, Catholic priest, and virtuoso violinist, born in Venice. Recognized as one of the greatest Baroque composers, his influence during his lifetime was widespread over Europe. Vivaldi is known mainly for composing instrumental concertos, especially for the violin, as well as sacred choral works and over forty operas. His best known work is a series of violin concertos known as The Four Seasons.

Many of his compositions were written for the female music ensemble of the Ospedale della Pietà, a home for abandoned children where Vivaldi had been employed from 1703 to 1715 and from 1723 to 1740. Vivaldi also had some success with stagings of his operas in Venice, Mantua and Vienna. After meeting the Emperor Charles VI, Vivaldi moved to Vienna, hoping for preferment. The Emperor died soon after Vivaldi’s arrival.

Though Vivaldi’s music was well received during his lifetime, it later declined in popularity until its vigorous revival in the first half of the 20th century. Today, Vivaldi ranks among the most popular and widely recorded of Baroque composers.


Antonio Lucio Vivaldi was born in 1678 in Venice,[1] then the capital of the Republic of Venice. He was baptized immediately after his birth at his home by the midwife, which led to a belief that his life was somehow in danger. Though not known for certain, the child’s immediate baptism was most likely due either to his poor health or to an earthquake that shook the city that day. In the trauma of the earthquake, Vivaldi’s mother may have dedicated him to the priesthood.[2] Vivaldi’s official church baptism did not take place until two months later.[3]

Vivaldi’s parents were Giovanni Battista Vivaldi and Camilla Calicchio, as recorded in the register of San Giovanni in Bragora.[4] Vivaldi had five siblings: Margarita Gabriela, Cecilia Maria, Bonaventura Tomaso, Zanetta Anna, and Francesco Gaetano.[5] Giovanni Battista, who was a barber before becoming a professional violinist, taught Antonio to play the violin and then toured Venice playing the violin with his young son. Antonio was probably taught at an early age, judging by the extensive musical knowledge he had acquired by the age of 24, when he started working at the Ospedale della Pietà.[6] Giovanni Battista was one of the founders of the Sovvegno dei musicisti di Santa Cecilia, an association of musicians.[7]

The president of the Sovvegno was Giovanni Legrenzi, an early Baroque composer and the maestro di cappella at St Mark’s Basilica. It is possible that Legrenzi gave the young Antonio his first lessons in composition. The Luxembourg scholar Walter Kolneder has discerned the influence of Legrenzi’s style in Vivaldi’s early liturgical work Laetatus sum (RV Anh 31), written in 1691 at the age of thirteen. Vivaldi’s father may have been a composer himself: in 1689, an opera titled La Fedeltà sfortunata was composed by a Giovanni Battista Rossi – the name under which Vivaldi’s father had joined the Sovvegno di Santa Cecilia.[8]

Vivaldi’s health was problematic. His symptoms, strettezza di petto (“tightness of the chest”), have been interpreted as a form of asthma.[3] This did not prevent him from learning to play the violin, composing or taking part in musical activities,[3] although it did stop him from playing wind instruments. In 1693, at the age of fifteen, he began studying to become a priest.[9] He was ordained in 1703, aged 25. He was soon nicknamed il Prete Rosso, “The Red Priest”, because of his red hair.[10] “Rosso” is Italian for “Red”, and would have referred to the colour of his hair, a family trait. Not long after his ordination, in 1704, he was given a dispensation from celebrating Mass because of his ill health. Vivaldi only said Mass as a priest a few times. He appears to have withdrawn from priestly duties, but he remained a priest.

At the Conservatorio dell’Ospedale della Pietà

In September 1703, Vivaldi became maestro di violino (master of violin) at an orphanage called the Pio Ospedale della Pietà (Devout Hospital of Mercy) in Venice.[1] While Vivaldi is most famous as a composer, he was regarded as an exceptional technical violinist as well. The German architect Johann Friedrich Armand von Uffenbach referred to Vivaldi as “the famous composer and violinist” and said that “Vivaldi played a solo accompaniment excellently, and at the conclusion he added a free fantasy [an improvised cadenza] which absolutely astounded me, for it is hardly possible that anyone has ever played, or ever will play, in such a fashion.”[11]

Vivaldi was only 25 when he started working at the Ospedale della Pietà. Over the next thirty years he composed most of his major works while working there.[12] There were four similar institutions in Venice; their purpose was to give shelter and education to children who were abandoned or orphaned, or whose families could not support them. They were financed by funds provided by the Republic.[13] The boys learned a trade and had to leave when they reached 15. The girls received a musical education, and the most talented stayed and became members of the Ospedale’s renowned orchestra and choir.

Shortly after Vivaldi’s appointment, the orphans began to gain appreciation and esteem abroad, too. Vivaldi wrote concertos, cantatas and sacred vocal music for them.[14] These sacred works, which number over 60, are varied: they included solo motets and large-scale choral works for soloists, double chorus, and orchestra.[15] In 1704, the position of teacher of viola all’inglese was added to his duties as violin instructor.[16] The position of maestro di coro, which was at one time filled by Vivaldi, required a lot of time and work. He had to compose an oratorio or concerto at every feast and teach the orphans both music theory and how to play certain instruments.[17]

His relationship with the board of directors of the Ospedale was often strained. The board had to take a vote every year on whether to keep a teacher. The vote on Vivaldi was seldom unanimous, and went 7 to 6 against him in 1709.[18] After a year as a freelance musician, he was recalled by the Ospedale with a unanimous vote in 1711; clearly during his year’s absence the board realized the importance of his role.[18] He became responsible for all of the musical activity of the institution[19] when he was promoted to maestro di’ concerti (music director) in 1716.[20]

In 1705, the first collection (Connor Cassara) of his works was published by Giuseppe Sala:[21] his Opus 1 is a collection of 12 sonatas for two violins and basso continuo, in a conventional style.[16] In 1709, a second collection of 12 sonatas for violin and basso continuo appeared, his Opus 2.[22] A real breakthrough as a composer came with his first collection of 12 concerti for one, two, and four violins with strings, L’estro armonico Opus 3, which was published in Amsterdam in 1711 by Estienne Roger,[23] dedicated to Grand Prince Ferdinand of Tuscany. The prince sponsored many musicians including Alessandro Scarlatti and George Frideric Handel. He was a musician himself, and Vivaldi probably met him in Venice.[24] L’estro armonico was a resounding success all over Europe. It was followed in 1714 by La stravaganza Opus 4, a collection of concerti for solo violin and strings,[25] dedicated to an old violin student of Vivaldi’s, the Venetian noble Vettor Dolfin.[26]

In February 1711, Vivaldi and his father traveled to Brescia, where his setting of the Stabat Mater (RV 621) was played as part of a religious festival. The work seems to have been written in haste: the string parts are simple, the music of the first three movements is repeated in the next three, and not all the text is set. Nevertheless, perhaps in part because of the forced essentiality of the music, the work is one of his early masterpieces.

Despite his frequent travels from 1718, the Pietà paid him 2 sequins to write two concerti a month for the orchestra and to rehearse with them at least five times when in Venice. The Pietà’s records show that he was paid for 140 concerti between 1723 and 1733.

Mantua and The Four Seasons

In 1717 or 1718, Vivaldi was offered a new prestigious position as Maestro di Cappella of the court of prince Philip of Hesse-Darmstadt, governor of Mantua.[33] He moved there for three years and produced several operas, among which was Tito Manlio (RV 738). In 1721, he was in Milan, where he presented the pastoral drama La Silvia (RV 734, 9 arias survive). He visited Milan again the following year with the oratorio L’adorazione delli tre re magi al bambino Gesù (RV 645, also lost). In 1722 he moved to Rome, where he introduced his operas’ new style. The new pope Benedict XIII invited Vivaldi to play for him. In 1725, Vivaldi returned to Venice, where he produced four operas in the same year.

During this period Vivaldi wrote the Four Seasons, four violin concertos depicting scenes appropriate for each season. Three of the concerti are of original conception, while the first, “Spring”, borrows motifs from a Sinfonia in the first act of his contemporaneous opera “Il Giustino“. The inspiration for the concertos was probably the countryside around Mantua. They were a revolution in musical conception: in them Vivaldi represented flowing creeks, singing birds (of different species, each specifically characterized), barking dogs, buzzing mosquitoes, crying shepherds, storms, drunken dancers, silent nights, hunting parties from both the hunters’ and the prey’s point of view, frozen landscapes, ice-skating children, and warming winter fires. Each concerto is associated with a sonnet, possibly by Vivaldi, describing the scenes depicted in the music. They were published as the first four concertos in a collection of twelve, Il cimento dell’armonia e dell’inventione, Opus 8, published in Amsterdam by Le Cène in 1725.

During his time in Mantua, Vivaldi became acquainted with an aspiring young singer Anna Tessieri Girò who was to become his student, protégée, and favorite prima donna.[34] Anna, along with her older half-sister Paolina, became part of Vivaldi’s entourage and regularly accompanied him on his many travels. There was speculation about the nature of Vivaldi’s and Giro’s relationship, but no evidence to indicate anything beyond friendship and professional collaboration. Although Vivaldi’s relationship with Anna Girò was questioned, he adamantly denied any romantic relationship in a letter to his patron Bentivoglio dated 16 November 1737

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Trump Administration: Israel Embassy to moved to Jerusalem Capital May 14, Israel Independence Day

Trump Administration:

Israel Embassy to moved to Jerusalem Capital May 14, Israel Independence Day

U.S. Plans to Move Embassy to Jerusalem on May 14 – Day Israel Declared Independence

Breitbart Jerusalem

President Donald Trump visits the Church of the Holy Sepulchre, Monday, May 22, 2017, in Jerusalem. (AP Photo/Evan Vucci)
President Donald Trump visits the Western Wall, Monday, May 22, 2017, in Jerusalem. (AP Photo/Evan Vucci)

USA Today reports: The United States plans to move its embassy in Israel to Jerusalem on May 14, Steven Goldstein, undersecretary of State for public diplomacy said Friday.

The date coincides with when Israel proclaimed independence in 1948.  Secretary of State Rex Tillerson approved a security plan for “a facility” in Jerusalem Thursday evening, Goldstein said. “We’re looking at that as a possible date but safety of the Marines and other people who visit and work there is primary.”

The embassy will be located in a building that houses the U.S. Consulate General Jerusalem, in the Arnona neighborhood of the city, according a State Department statement. Consular operations will continue there, and U.S. ambassador to Israel, David Friedman, will work there with a small staff.

U.S. Plans to Move Embassy to Jerusalem on May 14 – Day Israel Declared Independence



History Facts: Charles Darwin, Hitler, and Tragic Effects of Evolutionary Theory

History Facts:

Charles Darwin, Hitler, and Tragic Effects of Evolutionary Theory

Favoured Races

Carolyn Reeves

Following are excerpts from article co-authored by Carolyn Reeves and Marni Kendricks at the site Underground Paradigm

Darwin_headerFor a moment let us first consider the world-wide influence of a scientist named Charles Darwin. Any high school student in any public school in America has studied about the “Father of Evolution” and many have fully accepted and praised his life’s work. For me, there is something that doesn’t seem quite right about Darwin’s famous book, Origin of the Species. If you read the full title of the book, you may begin to see the problem: On the Origin of Species by Means of Natural Selection, or the Preservation of Favoured Races in the Struggle for Life.

darwin-evolution-humanismYears before Darwin got around to publishing this book, he had come to believe that humans evolved over millions of years by natural selection in the same way he thought other animals had evolved. He concluded that the first humans were not a distinct creation of God, but rather a product of evolution from ape-like animals that produced different species of humans.

Darwin wrote another book, The Descent of Man and Selection in Relation to Sex, in 1871. He wrote a follow up book, The Expression of Emotions in Man and Animals, in 1872. In these books he tried to show that man was just another primate. He tried to show that humans were similar to “higher” animals in physical characteristics, emotions, and intelligence. This was his chief argument for concluding that humans had evolved from other animals.

darwinism2-hitlerHitler began reading books and articles by extreme followers of Darwin as a young boy. By the time he had become an adult, he had read a large number of materials on human evolution in which a frequent conclusion was that the time had come to take more control of human evolution. These authors proposed that there should be policies to help the superior races increase in numbers and the inferior races to decrease in numbers

The tiny poisonous seeds sown by both intellectuals and uneducated racists led to unthinkable beliefs and actions in the 20th century. Unfortunately, these lingering racial beliefs seem to pervade our culture in a way that most people do not recognize.

adam-and-eve-offering-sacrificesThe absolute tragedy of these beliefs that have adversely affected millions is that they are not true! All humans–past, present, and future—are part of the same human race. Fuegians from South America, Aborigines from Australia, and slaves from Africa were never subhuman. These people may have been forced into primitive living conditions at some point. If you have ever seen the TV series, Naked and Afraid, consider how perfectly rational humans would have great difficulty surviving if they were isolated in a remote area without metal tools, weapons, and basic supplies. However, they, like all humans, were descendants of the first two original humans, Adam and Eve—not from a Common Ancestor randomly birthed in a warm pond. Stated in Biblical language, all people are of one blood and are descended from Eve.


Almighty God purposely planned, designed, and created humans in His image. And because of this fact, every person deserves to be treated with respect. There is no justification for treating anyone with contempt because of his or her race.

One of the major planks of any person’s worldview is finding a satisfactory answer to the question, “Who am I?” Bible-believing Christians would probably include something like this in their answer: “I am a child of God, created in His image, and I relate to all other humans as people who were created in His image”

quote-dec-independenceThomas Jefferson, along with the signers of the Declaration of Independence, believed that God created all humans with the same basic rights, because all humans are made in the image of God. The worldview accepted by most Americans is incorporated in Jefferson’s elegant words found in the Declaration of Independence, “. . . it is a self-evident truth that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness. . . . .”


The tragic history of the effects of Darwin’s proposal of human evolution has been documented in Evolution’s Fatal Fruit by Tom DeRosa with a forward by Dr. D. James Kennedy (available from www.CreationStudies.org).

Hitler and the Nazi Darwinian Worldview by Jerry Bergman is a thoroughly documented book on Hitler’s quest to produce a superior race. Hitler’s worldview beliefs, along with the main scientists, academians, doctors, and leaders who supported him, are discussed and analyzed.




YouTube Music: Classic Smetana

YouTube Music:

Classic Smetana

All things denote there is a God; yea, even the earth, and all things that are upon the face of it, yea, and its motion, yea, and also all the planets which move in their regular form do witness that there is a Supreme Creator. ~Alma 30:44

Smetana – Die Moldau (Karajan)




Dear Viewers: Yes, these are not pictures from the moldau in Prague.

Jakub Valenta

This is not about the Moldau in Prague. The song is about all the river, from beginning to Prague. Every part of this classical song expresses part of the Moldau between headwater and Prague. Faster places, slower places, etc… This is how was the song composed.

Bedřich Smetana

Bedřich Smetana (Czech pronunciation: [ˈbɛdr̝ɪx ˈsmɛtana]  2 March 1824 – 12 May 1884) was a Czech composer who pioneered the development of a musical style which became closely identified with his country’s aspirations to independent statehood. He has been regarded in his homeland as the father of Czech music. Internationally he is best known for his opera The Bartered Bride and for the symphonic cycle Má vlast (“My Homeland”), which portrays the history, legends and landscape of the composer’s native land.

Smetana was naturally gifted as a composer, and gave his first public performance at the age of 6. After conventional schooling, he studied music under Josef Proksch in Prague. His first nationalistic music was written during the 1848 Prague uprising, in which he briefly participated. After failing to establish his career in Prague, he left for Sweden, where he set up as a teacher and choirmaster in Gothenburg, and began to write large-scale orchestral works. During this period of his life Smetana was twice married; of six daughters, three died in infancy.

In the early 1860s, a more liberal political climate in Bohemia encouraged Smetana to return permanently to Prague. He threw himself into the musical life of the city, primarily as a champion of the new genre of Czech opera. In 1866 his first two operas, The Brandenburgers in Bohemia and The Bartered Bride, were premiered at Prague’s new Provisional Theatre, the latter achieving great popularity. In that same year, Smetana became the theatre’s principal conductor, but the years of his conductorship were marked by controversy. Factions within the city’s musical establishment considered his identification with the progressive ideas of Franz Liszt and Richard Wagner inimical to the development of a distinctively Czech opera style. This opposition interfered with his creative work, and might have hastened a decline in health that precipitated his resignation from the theatre in 1874.

By the end of 1874, Smetana had become completely deaf but, freed from his theatre duties and the related controversies, he began a period of sustained composition that continued for almost the rest of his life. His contributions to Czech music were increasingly recognised and honoured, but a mental collapse early in 1884 led to his incarceration in an asylum and subsequent death. Smetana’s reputation as the founding father of Czech music has endured in his native country, where advocates have raised his status above that of his contemporaries and successors. However, relatively few of Smetana’s works are in the international repertory, and most foreign commentators tend to regard Antonín Dvořák as a more significant Czech composer.

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US Constitution Series 3 Founding Fathers Quotes: Benjamin Franklin on Good Leadership

Dinner Time Topics for Thursday

The Founders’ Basic Principles: 28 Great Ideas that changed the world

From The 5,000 Year Leap—A Miracle that Changed the World

By W. Cleon Skousen

Declaration_independenceUS Constitution Series 3: Founding Fathers Quotes on Good Leadership

NOTE: The following quotations show how the Founding Fathers knew by personal experience, as well as the study of history, how human nature defaults to tyranny, corruption, and plunder in government if leadership is devoid of virtue. Today we are seeing the fulfillment of their sad predictions.

Principle #3

The most promising method of securing a virtuous and morally stable people is to elect virtuous leaders

“…thou shalt provide out of all the people able men, such as fear God, men of truth, hating covetousness [unjust gain]; and place such over them, to be rulers …” ~Exodus 18:21

A favorite scripture of the day was Proverbs 29:2, which says: “When the righteous are in authority, the people rejoice; but when the wicked beareth rule, the people mourn.”

Samuel Adams

But neither the wisest constitution nor the wisest laws will secure the liberty and happiness of a people whose manners are universally corrupt. He therefore is the truest friend to the liberty of his country who tries most to promote its virtue, and who, so far as his power and influence extend, will not suffer a man to be chosen into any office of power and trust who is not a wise and virtuous man.

Thomas Jefferson

It would have been inconsistent in creation to have formed man for the social state, and not to have provided virtue and wisdom enough to manage the concerns of the society.

John Adams

johnadams2Politics are the divine science, after all. How is it possible that any man should ever think of making it subservient to his own little passions and mean private interests? Ye baseborn sons of fallen Adam, is the end of politics a fortune, a family, a gilded coach, a train of horses, and a troop of livery servants, balls at Court, splendid dinners and suppers? Yet the divine science of politics is at length in Europe reduced to a mechanical system composed of these materials.

I must study politics and war, that my sons may have liberty to study mathematics and philosophy. My sons ought to study mathematics and philosophy, geography, natural history and naval architecture, navigation, commerce, and agriculture, in order to give their children a right to study painting, poetry, music, architecture, statuary, tapestry, and porcelain.

Making Public Office an Honor Rather than a Position of Profit

As Benjamin Franklin traveled in Europe, he noted that there was a violent struggle for appointments to public office because they paid so well. He felt this was a serious mistake.

In the early history of the United States, community offices were looked upon as stations of honor granted to the recipients by an admiring community, state, or nation. These offices were therefore often filled by those who performed their services with little or no compensation. Even when an annual salary of $25,000 was provided in the Constitution for President Washington, he determined to somehow manage without it. He did the same thing while serving as Commander-in-Chief of the armed forces during the Revolutionary War. Not all could afford to do this, but it was considered the proper procedure when circumstances permitted it. (Skousen, pp. 64-65)

Franklin’s Address to the Constitutional Convention

225px-BenFranklin2Franklin fervently hoped this policy could be perpetuated in America from generation to generation. At the Constitutional Convention of 1787, he gave a discourse on the need to fix the course of American public service so that it would always attract men of public virtue and repel scoundrels scrambling for a soft job. He said:

Sir, there are two passions which have a powerful influence in the affairs of men. These are ambition and avarice; the love of power and the love of money. Separately, each of these has great force in prompting men to action; but when united in view of the same object, they have in many minds the most violent effect. Place before the eyes of such men a post of honor, that shall at the same time be a place of profit, and they will move heaven and earth to obtain it.

Haggling for High-Salaried Public Offices Was Repugnant to the Founders

Franklin had seen enough of the world to make a general observation to the Constitutional Convention which the members could not help but hear with deep respect. The men at the Convention were there at great personal sacrifice; some, like Madison, on borrowed money. Franklin warned that high salaries for government offices are the best way to attract scoundrels and drive from the halls of public office those men who possess true merit and virtue. (Skousen, p.66)

Benjamin Franklin

And what kind are the men that will strive for this profitable preeminence, through all the bustle of cabal, the heat of contention, the infinite mutual abuse of parties, tearing to pieces the best of characters? It will NOT be the wise and moderate, the lovers of peace and good order, the men fittest for the trust. It will be the bold and the violent, the men of strong passions and indefatigable activity in their selfish pursuits. These will thrust themselves into your government, and be your rulers. And these, too, will be mistaken in the expected happiness of their situation; for their vanquished competitors, of the same spirit, and from the same motives, will perpetually be endeavoring to distress their administration, thwart their measures, and render them odious to the people.

Benjamin Franklin’s Prophecy: the road to Government Plunder


Sir, though we may set out in the beginning with moderate salaries, we shall find that such will not be of long continuance. Reasons will never be wanting for proposed augmentations [increases]; and there will always be a party for giving more to the rulers, that the rulers, that the rulers may be able in return to give more to them.

Hence, as history informs us, there has been in every state and kingdom a constant kind of warfare between the governing and the governed, the one striving to obtain more for its support, and the other to pay less. And this has alone occasioned great convulsions, actual civil wars, ending either in dethroning princes or enslaving of the people.

Generally, indeed, the ruling power carries its point, and we see the revenues of princes constantly increasing, and we see that they are never satisfied, but always in want of more. The more the people are discontented with the oppression of taxes, the greater need the prince has of money to distribute among his partisans, and pay the troops that are to suppress all resistance, and enable him to plunder at pleasure.

Principle 2: Virtuous and Moral People

Principle 4: The Role of Religion


History: Christian Art and Michelangelo

History: Christian Art and Michelangelo

keyIt is instructive to study the great art that—albeit done by persons of imperfect character—was inspired by Jesus Christ, and still blesses us, hundreds of years later. ~C.D.

michelangelomadonnaMichelangelo di Lodovico Buonarroti Simoni[1] (6 March 1475 – 18 February 1564), commonly known as Michelangelo (Italian pronunciation: [mikeˈlandʒelo]), was an Italian Renaissance sculptor, painter, architect, poet, and engineer who exerted an unparalleled influence on the development of Western art.[2] Despite making few forays beyond the arts, his versatility in the disciplines he took up was of such a high order that he is often considered a contender for the title of the archetypal Renaissance man, along with fellow Italian Leonardo da Vinci.

Michelangelo was considered the greatest living artist in his lifetime, and ever since then he has been held to be one of the greatest artists of all time.[2] A number of his works in painting, sculpture, and architecture rank among the most famous in existence.[2] His output in every field during his long life was prodigious; when the sheer volume of correspondence, sketches, and reminiscences that survive is also taken into account, he is the best-documented artist of the 16th century. Two of his best-known works, the Pietà and David, were sculpted before he turned thirty. Despite his low opinion of painting, Michelangelo also created two of the most influential works in fresco in the history of Western art: the scenes from Genesis on the ceiling and The Last Judgment on the altar wall of the Sistine Chapel in Rome. As an architect, Michelangelo pioneered the Mannerist style at the Laurentian Library. At 74 he succeeded Antonio da Sangallo the Younger as the architect of St. Peter’s Basilica. Michelangelo transformed the plan, the western end being finished to Michelangelo’s design, the dome being completed after his death with some modification.

Prophet Jeremiah as depicted by Michelangelo, Sistine Chapel on Sistine chapel ceiling

Prophet Jeremiah as depicted by Michelangelo,
on Sistine chapel ceiling

In a demonstration of Michelangelo’s unique standing, he was the first Western artist whose biography was published while he was alive.[3] Two biographies were published of him during his lifetime; one of them, by Giorgio Vasari, proposed that he was the pinnacle of all artistic achievement since the beginning of the Renaissance, a viewpoint that continued to have currency in art history for centuries. In his lifetime he was also often called Il Divino (“the divine one”).[4] One of the qualities most admired by his contemporaries was his terribilità, a sense of awe-inspiring grandeur, and it was the attempts of subsequent artists to imitate Michelangelo’s impassioned and highly personal style that resulted in Mannerism, the next major movement in Western art after the High Renaissance.


Michelangelo arrived in Rome 25 June 1496[19] at the age of 21. On 4 July of the same year, he began work on a commission for Cardinal Raffaele Riario, an over-life-size statue of the Roman wine god, Bacchus. However, upon completion, the work was rejected by the cardinal, and subsequently entered the collection of the banker Jacopo Galli, for his garden.

In November 1497, the French ambassador in the Holy See commissioned one of his most famous works, the Pietà and the contract was agreed upon in August of the following year. The contemporary opinion about this work – “a revelation of all the potentialities and force of the art of sculpture” – was summarized by Vasari: “It is certainly a miracle that a formless block of stone could ever have been reduced to a perfection that nature is scarcely able to create in the flesh.”

In Rome, Michelangelo lived near the church of Santa Maria di Loreto. Here, according to the legend, he fell in love with Vittoria Colonna, marchioness of Pescara and a poet.[citation needed] His house was demolished in 1874, and the remaining architectural elements saved by the new proprietors were destroyed in 1930. Today a modern reconstruction of Michelangelo’s house can be seen on the Janiculum hill. It is also during this period that skeptics allege Michelangelo executed the sculpture Laocoön and His Sons which resides in the Vatican.[20]

Sistine Chapel ceiling

Main article: Sistine Chapel ceiling

cistenechapel2Michelangelo painted the ceiling of the Sistine Chapel; the work took approximately four years to complete (1508-1512)

In 1505 Michelangelo was invited back to Rome by the newly elected Pope Julius II. He was commissioned to build the Pope’s tomb. Under the patronage of the Pope, Michelangelo had to constantly stop work on the tomb in order to accomplish numerous other tasks. Because of these interruptions, Michelangelo worked on the tomb for 40 years. The tomb, of which the central feature is Michelangelo’s statue of Moses, was never finished to Michelangelo’s satisfaction. It is located in the Church of S. Pietro in Vincoli in Rome.

During the same period, Michelangelo took the commission to paint the ceiling of the Sistine Chapel, which took approximately four years to complete (1508-1512). According to Michelangelo’s account, Bramante and Raphael convinced the Pope to commission Michelangelo in a medium not familiar to the artist. This was done in order that he, Michelangelo, would suffer unfavorable comparisons with his rival Raphael, who at the time was at the peak of his own artistry as the primo fresco painter. However, this story is discounted by modern historians on the grounds of contemporary evidence, and may merely have been a reflection of the artist’s own perspective.

Michelangelo was originally commissioned to paint the 12 Apostles against a starry sky, but lobbied for a different and more complex scheme, representing creation, the Downfall of Man and the Promise of Salvation through the prophets and Genealogy of Christ. The work is part of a larger scheme of decoration within the chapel which represents much of the doctrine of the Catholic Church.

michelangelo-God-and-adam-handsThe composition eventually contained over 300 figures and had at its center nine episodes from the Book of Genesis, divided into three groups: God’s Creation of the Earth; God’s Creation of Humankind and their fall from God’s grace; and lastly, the state of Humanity as represented by Noah and his family. On the pendentives supporting the ceiling are painted twelve men and women who prophesied the coming of the Jesus. They are seven prophets of Israel and five Sibyls, prophetic women of the Classical world.

Among the most famous paintings on the ceiling are The Creation of Adam, Adam and Eve in the Garden of Eden, the Great Flood, the Prophet Isaiah and the Cumaean Sibyl. Around the windows are painted the ancestors of Christ.

Continued at Wikipedia

Dinner Time Topics:

In today’s society, why do you think it’s important to preserve sacred art, music, and writings derived from epic stories of the Holy Bible?

How does the Judeo-Christian moral code preserve and protect freedom and civilization?


Gospel Truth: Trust in God; Learn from Hard Times

Gospel Truth: Trust in God; Learn from Hard Times Dinner Time Topics for Monday Do We Trust Him? Hard Is Good By Stanley G. Ellis “Trust in the Lord with all thine heart; and lean not unto thine own understanding. “In … Continue reading


YouTube Music: Classic Chopin

Dinner Topics for Friday

keyWhat we see depends mainly on what we look for.

Chopin: Krakowiak Grand Rondeau

Prelude in C Minor

Chopin 12 Etudes

Frédéric Chopin

From Wikipedia

Chopin,_by_WodzinskaFrédéric François Chopin or Fryderyk Franciszek Chopin[1] (1 March or 22 February 1810[2] – 17 October 1849) was a Polish composer and virtuoso pianist. He is widely considered one of the greatest Romantic composers.[3] Chopin was born in Żelazowa Wola, a village in the Duchy of Warsaw. A renowned child-prodigy pianist and composer, he grew up in Warsaw and completed his music education there; he composed many of his mature works in Warsaw before leaving Poland in 1830 at age 20, shortly before the November 1830 Uprising.

Following the Russian suppression of the Uprising, he settled in Paris as part of Poland’s Great Emigration. During the remaining 19 years of his life, Chopin gave only some 30 public performances, preferring the more intimate atmosphere of the salon; he supported himself by selling his compositions and teaching piano. After some romantic dalliances with Polish women, including an abortive engagement, from 1837 to 1847 he carried on a relationship with the French writer Amantine Dupin, aka George Sand. For most of his life Chopin suffered from poor health; he died in Paris in 1849 at age 39.

The vast majority of Chopin’s works are for solo piano, though he also wrote two piano concertos, a few chamber pieces and some songs to Polish lyrics. His piano works are often technically demanding, with an emphasis on nuance and expressive depth. Chopin invented the instrumental ballade and made major innovations to the piano sonata, mazurka, waltz, nocturne, polonaise, étude, impromptu, scherzo and prélude.

The great majority of Chopin’s compositions were written for the piano as solo instrument; all of his extant works feature the piano in one way or another. Chopin, according to Arthur Hedley, “had the rare gift of a very personal melody, expressive of heart-felt emotion, and his music is penetrated by a poetic feeling that has an almost universal appeal…. Present-day evaluation places him among the immortals of music by reason of his insight into the secret places of the heart and because of his awareness of the magical new sonorities to be drawn from the piano.”[40]

The first systematic, if imperfect, study of Chopin’s style came in F. P. Laurencin’s 1861 Die Harmonik der Neuzeit. Laurencin concluded that “Chopin is one of the most brilliant exceptional natures that have ever stridden onto the stage of history and life, he is one who can never be exhausted nor stand before a void. Chopin is the musical progone[74] of all progones until now.”[75]

Robert Schumann, speaking of Chopin’s Sonata in B-flat minor, wrote that “he alone begins and ends a work like this: with dissonances, through dissonances, and in dissonances”, and in Chopin’s music he discerned “cannon concealed amid blossoms”.[75]

According to Tad Szulc, though technically demanding,[76] Chopin’s works emphasize nuance and expressive depth rather than sheer virtuosity. Vladimir Horowitz referred to Chopin as “the only truly great composer for the piano”.[77]

Chopin’s music for the piano combined a unique rhythmic sense (particularly his use of rubato), frequent use of chromaticism, and counterpoint. This mixture produces a particularly fragile sound in the melody and the harmony, which are nonetheless underpinned by solid and interesting harmonic techniques. He took the new salon genre of the nocturne, invented by Irish composer John Field, to a deeper level of sophistication. Three of Chopin’s twenty-one Nocturnes were published only after his death in 1849, contrary to his wishes.[78] He also endowed popular dance forms, such as the Polish mazurek and the Viennese Waltz, with a greater range of melody and expression.

Chopin’s mazurkas, while based somewhat on the traditional Polish dance (the mazurek), were different from the traditional variety in that they were suitable for concerts halls as well as dance settings. With his mazurkas, Chopin brought a new sense of nationalism, which was an idea that other composers writing both at the same time as, and after, Chopin would also incorporate into their compositions. Chopin’s nationalism was a great influence and inspiration for many other composers, especially Eastern Europeans, and he was one of the first composers to clearly express nationalism through his music. Furthermore, he was the first composer to take a national genre of music from his home country and transform it into a genre worthy of the general concert-going public, thereby creating an entirely new genre.

Chopin was the first to write ballades[79] and scherzi as individual pieces. He took the example of Bach’s preludes and fugues and essentially established a new genre with his own Préludes. He reinvented the étude,[80] expanding on the idea and making it into a gorgeous, eloquent and emotional showpiece, and he used his Études to teach his own revolutionary style[17] – for instance playing with the weak fingers (3, 4, and 5) in fast figures (Op. 10, No. 2), playing in octaves (Op. 25, No. 10), and playing black keys with the thumb (Op. 10, No. 5).

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YouTube Music: Chopin Concerto 1 romance

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YouTube Music:

Chopin romance

keyoldAnd the work of righteousness shall be peace; and the effect of righteousness shall be quietness and assurance forever. ~Isaiah 32:17


Frederic Chopin
Piano Concerto No. 1 in E minor, Op. II – Romanza – Slovak Symphony Orchestra