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Angel of the Day

psPast Life Reading

      Your angels can help you remember your past lives. By understanding the journey that your soul has made, you can help yourself heal from emotional, spiritual, and physical wounds.

Past Life Reading contains:

        Your past; Your path;
        Previous incarnation; Your lessons.

Reading length: approx 11 pages.

Price: $14.90

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Archangel

Archangels Reading

      A complete reading about your life covering a period of a year, between two birthdays. Find out what is out there for you: opportunities, dangers and how to avoid them, how to improve yourself and your relations.

Archangels Reading contains:

      Prevision for a year (between two birthdays)
      Important events of the year
      Message from your Guardian Angel

Reading length: approx 20 pages.

Price: $19.90

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Angel Card

      A divine message form the Angel of the moment. Please wait 5 minutes before asking the next question. Every Angel rules approximately 5 minutes of the day (after 6 hours they repeat). Don’t abuse the Angel Oracle.

How to do it

  1. Clear your mind.
  2. Think about your question.
  3. Click on the picture.

The answer will be revealed for you.

Your Angels

Your Angels

Contains: the Incarnation Angel (with description), the Heart Angel and the Intellect Angel.

Price: $9.95

Love Reading

Love Reading

Contains: your current situation regarding your love life, marriage, hidden things, attitude and future.

Price: $9.95

Career Reading

Job Career Reading

Contains: your current situation, business partnership, your career, attitude and future.

Price: $9.95

GIOTTO

Traditionally, Giotto di Bondone (ca. 1267-1337) is known as the hero of a naturalistic revolution that supposedly broke all bonds with the Middle Ages and laid the foundations of modern painting. He is recognized as the first genius of art in the Italian Renaissance. His work can be considered a synthesis of the discordant traditions of the Middle Ages in the East and the West, from which traditions of Italian art sprang.

Giotto di Bondone was born of a family of peasant stock around 1267 in a village in the Mugello area called Colle di Vespignano, a few miles north of Florence. Between 1285 and 1290 he is thought to have been apprenticed to Cimabue at Florence and to have traveled for the first time to Rome.

In 1291 he started working in the Upper Church of San Francesco in Assisi (Old and New Testament Cycles) on the uppermost tier of the walls, in the first two bays near the entrance, and in 1297-99 he painted the Franciscan Cycle in San Francesco. In 1300 he went to Rome, where he painted Boniface the VIII Proclaims the jubilee in the basilica of St. John Lateran. During 1304-6 he painted the frescoes in the Arena Chapel of the Scrovegni family in Padua. In the following years he went to Florence several times, and in 1327 he enrolled in the guild of Physicians and Apothecaries, to which artists had only recently been admitted.

Various documents testify that between 1329 and 1333 Giotto was in Naples, where he worked at the court of Robert of Anjou and was admitted to the circle of the king’s intimate friends. In 1334 the Florentine republic appointed him master of the works of the of the cathedral and architect of the city walls and fortifications. He died in Florence in 1337.

During the first three centuries of Christianity the representation of angels was not permissible, and it is interesting that until the tenth century angels in art were curiously draped. Giotto was the first to approach the ideal representation of angels. His Birth of the Madonna (1304-6) in the Scrovegni (also known as the Arena) Chapel in Padua shows two naked erotes carrying a cockle-shaped medallion with a bust of Christ. This is an entirely new use of the classical sarcophagus motif. Angels are also represented in Giotto’s picture of the Crucifixion, in which he introduced an element of absurdity by depicting extremely human little angels tearing open their little breasts in despair. In the Crucifixion, found in the Scrovegni Chapel at Padua, the angel’s full-throated lament in the sky tends to expand beyond all reasonable proportions if compared to the compact little group in the lower area around the crucified.

For a long time there were no pictures of the Resurrection, its treatment being confined to carvings in ivory, on shrines, and on other small objects. The Resurrection was first painted by Giotto, as one of a series of small pictures upon a press for the sacred vessels in the Church of Santa Croce in Florence (1297-1305). In this picture, however, there are no angels. As with his fresco of the Resurrection, in The Ascension, painted on the walls of the Scrovegni Chapel in Padua, Giotto attempted to represent the scene in accordance with scriptural description. In the center of the lower part of the picture are two angels who with raised hands direct the attention of the kneeling Virgin and groups of apostles, also kneeling, to Christ, already soaring far above them, accompanied by numerous worshiping angels on both sides at some distance from him. This fresco is much injured but is highly valued for the sublimity of its composition.

The Stigmata of St. Francis (1300) shows St. Francis, who, as he prays on the slope of Mount Vernia, sees the Savior in the form of a crucified seraph and is impressed miraculously on his hands, feet, and right side with the stigmata of the Cross, as suffered by Jesus. The power of this vision is so overwhelming that blood flows from the palms and feet of the visionary, who for that moment is truly Christ himself. In the Annunciation to St. Anne, in the Scrovegni Chapel, the angel tells Anne that she will give birth to a child. A beautiful angel is represented in the Sacrifice of Joachim, and in Joachim’s Dream an angel appears to him in a dream and bids him go to Jerusalem, where by the Golden Gate he will find his wife.

Several angels surrounding God are depicted in the upper part of the Annunciation (Scrovegni Chapel), and the archangel Gabriel is represented in the lower compartments, visiting the Virgin and announcing to her that soon she will bear a divine child. Mourning the Dead Christ, in which the two Marys, the apostles, and several angels grieve over Christ’s body, is the most famous fresco of the whole cycle.

Multitudes of angels are portrayed in the Triumphal Arch, and in the Last Judgment, a fresco which takes up the whole inner wall of the Scrovegni Chapel’s front. In the upper part heaven is portrayed, with angels and apostles; below are the elect led by the Virgin; on the lower right is hell. At the center, lower area to the left of the Cross is the offering of the chapel to the Virgin.

Both the mosaics titled Angel (1310) are part of the original Navi- cella mosaic by Giotto in the portico of St. Peter’s Cathedral in Rome. They represent St. Peter sailing in a storm and the Savior preventing him and his ship from sinking. The two angels reproduced on these mosaics, with their rich, graduated colors, were probably on the two sides of an inscription under the Navicella. Angels are also depicted in St. John on Patmos (the Peruzzi Chapel in the Church of Sta Croce, Florence, 1310), which shows John, who, relegated to the isle of Patmos, sees in a dream Jesus holding a scythe, the angel calling on time to reap, the travailing woman pursued by a dragon, the mystic child in its cradle, the angels, and the four beasts.


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