Mayyim hem Chayim (Waters, they are life) read the Hebrew poster in my dorm room at Brandeis decades ago. Fast forward to a little more than a month ago, when those words echoed in my head as I sat in my temple office trying to write the Yom Kippur sermon I would deliver to my small congregation, Beit Ahavah - the Reform Synagogue of Greater Northampton I cried as I watched a news video of a grandmother in Puerto Rico in the wake of Hurricane Maria She had little drinking water and only saltine crackers for her grandchildren in the office of Florence Congregational Church (where my synagogue is housed) my minister-friend Pastor Irv Gammon also was watching the news he knew about water filters and how they could help ensure clean drinking water for the people of Puerto Rico He called up to me and within moments a plan was hatched. There was an urgent need and we would help meet it with a “mission-tzedakah” to send LifeStraw Water Filters to Puerto Rico Pastor Irv had arranged a discount on the filters from the LifeStraw company and we were on our way I appealed to our congregation for funds to help cover the costs I invited Pastor Irv to the bimah during my sermon which was entitled “Water is Life.” Members of the congregation were overwhelmed to see us so energized and galvanized at the prospect of making a difference together During the second week in October, just before leaving town for his daughter’s wedding, and while I was in the midst of planning my son's upcoming bar mitzvah Pastor Irv ordered 200 filters to be delivered to the church the following Tuesday With funds from our own communities and others pouring in temple and church volunteers gathered to pack the water filters filling them with blessings for safe transport their transport is perhaps the most miraculous part of this story in part because the complex details had come together only days before On Sunday, October 15, I heard from leaders at Temple Beth Shalom in San Juan expressing their appreciation for our healing efforts and stressing how badly the water filters were needed I was singlehandedly juggling leads and coordinating logistics to get the water filters to the island had pursued a connection with a JetBlue pilot Ophneal had arranged his schedule so that he could fly the large shipment of water filters to Puerto Rico early on Wednesday morning graciously agreed to drive most of Tuesday night to get them from western Massachusetts to the airport in New York City in time for the flight there were myriad restrictions on the size and shape of the packaging the airline would allow and I scurried around town until midnight trying to find the right size duffel bags I'm in awe of the people from both our communities who came together on Tuesday night – filled with incredible energy stopped in on their way back from the wedding at just the right moment to see his vision of sending water filters to Puerto Rico come to fruition Thanks to the incredible perseverance and patience of our volunteers 18 (truly life-saving) duffel bags filled with water filters had been packed into bags of 15 cubic feet each weighing no more than 50 pounds (to conform to the airline’s weight restrictions) and loaded into Paul Warner’s car for the all-night drive to the airport shared some of the words and prayers in our hearts: gratitude I stayed up all night awaiting news via texts from the pilot and was thrilled when he let me know that the plane – with all our filters on board – was pushing back from the gate Ophneal had successfully rendezvoused with Zevio Schnitzer Temple Beth Shalom’s administrator in the baggage claim area of the San Juan airport so that the pilot could personally hand over the large duffel bags containing 270 pounds of water filters for those in need.  I received this email from Zevio two days later when he was able to get online for a moment: and on Shabbat will be demonstrating how it works and how to clean it We will also distribute some to families and community-run soup kitchens and to families who live near our temple The rest will be given to volunteer brigades that are working nonstop to deliver supplies to the center of the island where the devastation was greatest we received pictures from Zevio demonstrating how to use the filters to the congregants many of whom had traveled more than two hours in difficult conditions to get to the temple To date we have raised nearly $29,000 – an astounding amount for our small community – and that figure continues to grow. Together with the Florence Congregational Church aiming to send 1,000 family-size water filters to Puerto Rico We’re working on the second shipment of 200 filters now we’re learning to fundraise and to package and ship filters – to get them as quickly as possible into the hands of those who need them Rabbi Riqi Kosovske is the spiritual leader of Beit Ahavah, The Reform Synagogue of Greater Northampton in Florence News-en The "Week of Prayer for Christian Unity” takes place from 18 to 25 January Seek Justice "(Is 1: 17) was chosen by a local group from the United States of America (USA) convened by the Minnesota Council of Churches which also elaborated the material made available online The words of the prophet Isaiah proposed for the reflection of all Christians are a warning to "a society that is experiencing a process of disintegration that affects every aspect of civil coexistence: a situation of ethical disintegration that starts from the political and religious sphere and affects every sphere of society" Our brothers and sisters in Minnesota write the challenges of division that Isaiah faced in his preaching righteousness and unity originate from God's deep love for each of us and reflect who God is and how God expects us to behave with one another" Orthodox) have long been learning to reread those passages in which their respective paths separated rediscovering new perspectives to renew together the ways through which to proclaim the Gospel and to experience the mystery of fraternity beyond confessional boundaries On the counterfaçade are painted the stories of the birth of Jesus(Birth on the altar wall the great Crucifixion and On the long walls are episodes from the history of St On the left wall ample space is given to the votive scene in which Rinaldino Lupi and his consort Matilde followed by other members of the family in military garb George and in the presence of numerous saints In the center of the oratory stood the complex architectural-sculptural structure of the founder’s funeral ark the frescoes underwent major restoration between 1995 and 1997 and now visitors can admire them with a new perception with visual clutter that created disturbance for an adequate perception of the frescoes has been replaced by a system that integrates perfectly with the architecture ensuring an effect of perfect homogeneity of light Laser Blade recessed fixtures illuminate the barrel ceilings of the Oratory while Palco and Robin projectors enhance its shorter walls and the altar a special product illuminates the side walls in a grazing manner installed on a track that runs along the perimeter wooden structure have a color temperature of 3000K and a color rendering index of 97 to ensure high visual comfort and enhance the color richness of the frescoes The entire lighting system is also manageable via the Quick BLE control system and a Bluetooth push-button panel “The realization of this project allows the Oratory of St George to be the first of the sites participating in the UNESCO candidacy to adopt a lighting system inspired by that of the Scrovegni Chapel helping to revive the idea of a shared lighting system for the sites involved and uniqueness as indicators of excellence,” said Emanuele Tessari Chief President of the Venerable Ark of St “I therefore want to thank the Fondazione Cassa di Risparmio di Padova e Rovigo and iGuzzini illuminazione for their contribution The extraordinary result of this work has also convinced us to carry out directly and through the search for new sponsors the ”perceptive restoration“ also of the other two fresco cycles in the Basilica that are participating in the UNESCO Candidacy: the Chapel of St and the frescoes by Giusto de’ Menabuoi in the Chapel of Blessed Luca Belludi Among the objectives of the Venerable Ark of St Anthony is the promotion of cultural initiatives aimed at increasing opportunities for exchange between the Basilica and the city and between the Basilica and the rest of the world Any concrete act that shows the city’s interest in the candidate sites becomes an important indicator of the involvement of the whole community.” Image: Altichiero da Zevio’s frescoes in the Oratory of San Giorgio in Padua The World Heritage Centre is at the forefront of the international community’s efforts to protect and preserve World Heritage partnerships for conservation Ensuring that World Heritage sites sustain their outstanding universal value is an increasingly challenging mission in today’s complex world where sites are vulnerable to the effects of uncontrolled urban development Our Partners Donate Take advantage of the search to browse through the World Heritage Centre information Ce bien est composé de huit ensembles d’édifices religieux et séculiers situés au sein de la ville historique fortifiée de Padoue qui abritent une sélection de cycles de fresques peints entre 1302 et 1397 par plusieurs artistes pour différents commanditaires et dans des édifices aux fonctions diverses les fresques présentent une unité de style et de contenu Elles comprennent le cycle de fresques de Giotto dans la chapelle des Scrovegni considéré comme ayant marqué le début d’une évolution révolutionnaire dans l’histoire de la peinture murale ainsi que d’autres cycles de fresques de différents artistes l’art de la fresque s’est développé sur la base d’un nouvel élan créatif et d’une nouvelle compréhension de la représentation spatiale يتألَّف الموقع من ثمانية مجمَّعات دينية وعلمانية تقع ضمن أسوار مدينة بادوفا التاريخية، وهي تضمُّ سلسلة من اللوحات الجدارية التي رسمها عدة فنانين بين عامي 1302 و1397 بناءً على طلب عدة رعاة للفن وهي موجودة داخل أبنية ذات وظائف مختلفة وعلى الرغم من ذلك، حافظت هذه اللوحات الجدارية على وحدة الأسلوب والمحتوى، ومن بينها سلسلة اللوحات الجدارية لجوتو في " كنيسة سكروفيني"، التي تعتبر بداية حدوث تطور ثوري في تاريخ اللوحات الجدارية، وسلاسل من اللوحات الجدارية التي تعود لفنانين آخرين، مثل غوارينتو دي آربو، وجوستو دي دينابوي وآلتيكييرو دا زيفيو، وجاكوبو أفانزي وجاكوبو دا فيرونا وتبيِّن هذه المجموعة من سلاسل اللوحات الجدارية تطوُّر الفن الجداري خلال قرن من الزمن، كما تنمُّ عن تولُّد زخم إبداعي وطريقة فهم جديدة لتصوير المكان 该遗产地由8个分布在帕多瓦老城区内的宗教和世俗建筑群构成，这里有多位艺术家在1302-1397年之间为不同类型的赞助人在不同功能的建筑内创作的大量壁画。然而，帕多瓦壁画群在风格和内容上保持了统一性，其中包括乔托（Giotto）在斯克洛维尼礼拜堂绘制的壁画（被认为是壁画史上革命性发展的开端），以及其他艺术家的作品，如阿珀的瓜里恩托、梅纳博伊的朱斯托、泽维奥的阿尔泰基耶罗、维罗纳的阿万齐和雅各布。这些壁画共同展现了14世纪壁画艺术是如何随着新的创作动力和对空间表现的理解而发展的。 Объект состоит из восьми религиозных и светских комплексов зданий написанных в период между 1302 и 1397 годами различными художниками для разных покровителей и внутри зданий различного назначения фрески сохраняют единство стиля и содержания К ним относятся цикл фресок Джотто в Капелле Скровеньи считающихся началом революционного развития в истории настенной живописи а также другие циклы фресок разных художников В совокупности эти циклы фресок иллюстрируют как в течение века искусство фресок развивалось в свете нового творческого импульса и понимания пространственного представления The fresco cycles housed in eight complexes of buildings within the old city centre of Padua illustrate how introduced important stylistic developments in the history of art The eight building complexes are grouped into four component parts: Scrovegni and Eremitani (part 1); Palazzo della Ragione Baptistery and associated Piazzas (part 2); Complex of Buildings associated with the Basilica of St Anthony (part 3); and San Michele (part 4) The artists who played a leading role in the creation of the fresco cycles were Giotto they would – within buildings both public and private religious and secular – produce fresco cycles that gave birth to a new image of the city Whilst painted by different artists for different types of patron within buildings of varying function the Padua fresco cycles maintain a unity of style and content Within the artistic narrative that unfolds in this sequence of frescoes the different cycles reveal both diversity and mutual coherence The property illustrates an entirely new way of depicting allegorical narratives in spatial perspectives influenced by advances in the science of optics and a new capacity in capturing human figures including individual features displaying feelings and emotions Innovation in the depiction of pictorial space involved explorations of the possibilities of perspective and trompe-l’oeil effects The innovation in the depiction of states of feeling is based on a heightened interest in the realistic portrayal of human emotions and the integration of the new role of commissioning patron as the patrons begin to appear in the scenes depicted and ultimately even take the place of figures participating in the biblical narrative the works illustrate the adaptation of sacred art to serve the secular celebration of the prestige and power of the ruling powers and associated noble families Criterion (ii): The Padua fresco cycles illustrate the important interchange of ideas which existed between leading figures in the worlds of science literature and the visual arts in the pre-humanist climate of Padua in the early 14th century New exchanges of ideas also occurred between clients commissioning works and the artists from other Italian cities that had been called to Padua to collaborate on the various fresco cycles inspired by scientific and astrological allegories or ideas on sacred history gleaned from contemporary intellectuals and scholars The artists showed great skill in giving these ideas visual form and their technical abilities allowed the Padua fresco cycles not only to become a model for others but also to prove remarkably resistant to the passage of time The group of artists striving for innovation who gathered within Padua at the same time fostered an exchange of ideas and know-how which led to a new style in fresco illustration This new fresco style not only influenced Padua throughout the 14th century but formed the inspirational basis for centuries of fresco work in the Italian Renaissance and beyond With this veritable rebirth of a pictorial technique Padua supplied a new way of both seeing and depicting the world heralding the advent of Renaissance perspective The innovations mark a new era in the history of art producing an irreversible change in direction The four component parts comprise eight complexes of buildings in the centre of Padua – some publicly some religious – which present an overall shared approach in terms of techniques and bear witness to new programmes of narrative and figurative choices in fresco painting They illustrate the complete range of the various aspects of innovation in Italian frescoes in the 14th century The institutional bodies (Padua City Council the Ministry for Cultural Heritage and Activities the University of Padua) that own the different sites have promoted research maintenance and restoration work necessary to maintain the various fresco cycles in a good state of conservation Such work means that each of the single parts can still be read and understood both individually and in relation to each other The attributes of the property illustrate authenticity in material setting and to a certain extent spirit and feeling in relation to the religious concepts they evoke The authenticity is further expressed in the inseparable bond between the frescoes and the interior architectural spaces they are part of as well as the architectural construction of the historic buildings All components retain authentic evidence of the fresco cycles the material support on which the frescoes are painted the pigments and binding agents used in fresco work Although fragments of these frescoes have in the past suffered localized detachments these fragments were all replaced in their original positions during past conservation treatments The Padua fresco cycles are still fully legible and the iconography used within them can be identified as authentic works of known 14th century artists All frescoes are still in their original locations which means the very place in and for which they were painted The overall context within which they exist – that is the area containing the buildings which house the different cycles – is still that which was the heart of the city enclosed within the old city walls and now coincides with the centre of the historic city All of the buildings and complexes of buildings which house the frescoes in the property are under the strictest protective measures laid down by Italian law (listed buildings) the main expression of which is the law decree 22/01/2004 n known as the Codice dei Beni Culturali e del Paesaggio (Code for the Cultural Heritage and Landscape) There are further protective measures in the instruments for territorial administration that exist at both regional all guaranteeing the protection and conservation of the buildings and their surroundings The buffer zone is bound by the perimeter of Padua’s old city centre an area that comes under special protective measures laid down in Padua City Council’s “Works Ordinance” An overall management system has been introduced establishing close coordination between the different bodies that own the complexes of buildings which house the fresco cycles from independent management by four different bodies a model of co-governance has been established in which the City Council presides over a Committee whose members represent those bodies as well as representatives of the Regional Government of the Veneto the University of Padua (present as scientific consultants) and the Orto Botanico The overall coordination of the partners is facilitated by the Council’s Cultural Affairs Department which acts as a secretariat to the management group A Memorandum of Understanding for the joint implementation of a management plan has been signed The management plan is under elaboration based on a first draft document submitted Urbis Picta is now a UNESCO World Heritage SiteSOURCE: (https://www.padovaurbspicta.org/i-luoghi-della-candidatura/) This was announced by the president of the Veneto Region LUCA ZAIA in a post on ISTAGRAM with these words: “ the history of Padua and the whole of Veneto: the fourteenth-century frescoes by Giotto Altichiero da Zevio and Giusto de ‘Menabuoi Veneto now has 9 sites in the UNESCO World Heritage List a number that places it in second position among the Italian regions also a sign of institutional attention that supports the best of the territory we also supported this candidacy with a specific provision of April 2018; now that the result is achieved we will continue to be in the game by supporting in all venues and promoting the recognition achieved The places of the candidacy of “Padova Urbs picta the Scrovegni Chapel and the fourteenth century pictorial cycles “and historical – artistic frameworkThe serial site ‘Padova Urbs picta’ consists of the fourteenth-century frescoed pictorial cycles preserved in eight buildings and monumental complexes in the historic center of Padua in an area that in the fourteenth century corresponded to the entire inhabited area within the walls The four components are: Scrovegni and Eremitani (card 1) Cittadella antoniana (card 3) and San Michele (card 4) It is a complex of monuments known all over the world preserved in an area where the tradition of fresco mural painting has roots as far back as the 10th century and which saw its maximum development in the 14th century: from the presence of Giotto in the surrounding city in 1302 an extraordinary season of culture and art began which continued throughout the century characterized by pictorial interventions of rare value Jacopo Avanzi and Jacopo da Verona are the protagonists of this undertaking the Municipality and the Lordship of the Carraresi they will paint inside religious and civil buildings together giving life to the new image of the city Even today the frescoed cycles can be visited in the original buildings and monumental complexes The cycles constitute a unitary system due to their common Giotto ancestry – even if the work of different hands commissioned by different clients and within buildings of different nature – and each personal interpretation of the master’s language adds exceptional value to the whole Padua distinguished itself as a free municipality by participating in the Veronese League and the Lombard League against the emperor Frederick Barbarossa the city was enriched and the University was founded in 1222 Passed through the Ghibelline ranks during the domination of Ezzelino III da Romano Padua returned to the control of the Guelphs and became the object of continuous attacks by the Veronese Ghibellines which led to the affirmation of the Lordship of the Carraresi Thus began a period of new splendor for Padua in which the economy and the arts flourished but the wars against Verona also continued The ambition of the Carraresi spelled their end and that of the Veronese Scaligers Padua was defeated by the Republic of Venice in 1405 after which the centuries-old Venetian domination of the city began The pictorial cycles included in the serial site ‘Padova Urbs picta’ are chronologically placed in the historical period just summarized from the beginning to the end of the 14th century the moment of Giotto’s arrival in Padua the year of construction of the last cycle frescoed by Jacopo da Verona in the Oratory of San Michele the different components fully represent the stages of the evolution of the 14th century Paduan painting of Giotto origin from the first receptions of artists who had been able to work directly with the Tuscan master in Rimini to the already “courteous” interpretations of Guariento who worked in the middle of the century up to artists such as Giusto de ‘Menabuoi Altichiero da Zevio and Jacopo Avanzi active in the seventies and eighties to conclude with Jacopo da Verona who works at the end of the century Giotto’s arrival in Padua marks the beginning of a process of artistic and cultural rebirth that continues and finds its maximum development during the rule of the Lordship of the Carraresi but also literature and the sciences flourished a game of significant relationships between the illustrious families who gravitated around the court the pictorial cycles represent a real “politics of the image” which starting from Enrico Scrovegni finds its maximum expression in the frescoes commissioned by the Carrarese Signoria and by the families linked to the court: it is a desire for representation of power which passes through the representation of the city and portraits of the personalities of power and who govern it at that time This is that fundamental period in the history of art of transition between late thirteenth-century painting and the Renaissance The city’s cultural dynamic is nourished by the exchange relationships between clients writers and scholars who are born not only in the context of the Carrarese court but also of the University and cultural circles that were part of the conventual life where figures emerge such as between Giovanni degli Eremitani Altegrade dei Cattanei and Pietro d’Abano These are the characters who dictate the philosophical-religious indications that underlie the iconographic choices of some of the frescoed cycles contributing to the choice of themes to be represented also supported by sacred or hagiographic texts since the beginning of the fourteenth century In this time of economic prosperity and demographic growth part of the commercial and financial bourgeoisie rises to the rank of nobility becoming a model for various Italian centers and calls artists to work in the decoration of their noble residences and chapels as had been done also from the free Municipality of Padua Among the personalities of major cultural importance present in the city is Francesco Petrarca called to the court of the Carraresi by Iacopo II and who will stay in Padua on several occasions A man of letters and scholars like Petrarca will be a distinguished point of reference for the city not only in the literary field dictating or inspiring with his work and his presence the iconographic programs of various pictorial cycles also through other intellectual figures of the court This is a remarkable testimony of that interesting interchange between literary and artistic culture which had already taken place in Padua between Dante and Giotto But the exchange relationships between clients writers and scholars are not born only in the literary field: the study of physics taught in the Studium Padua seems to have influenced Giotto’s research on perspective thanks to the research of Pietro d’Abano present in Padua as well as academic studies on the stars and celestial motions seem to have suggested the first so real and unconventional representation of Halley’s comet in the Nativity of Jesus in the Scrovegni Chapel and the other paintings on the cosmos and planets always painted by Florentine master in the Palazzo della Ragione The history of painting in Padua in the fourteenth century begins with the arrival of Giotto called around 1302 probably by the Franciscan friars of the Basilica del Santo in the wake of a web of close relationships that at the time linked Padua and Florence Giotto frescoes the first Paduan pictorial cycles inside the Basilica and the convent of the Saint around 1302 probably in the Chapel of the Madonna Mora a place of great symbolic value because it was the seat of the first burial of the Saint another fundamental place for conventual life Inside the Basilica of the Saint he will then decorate the Chapel of the Blessings placed under the patronage of that Scrovegni family who between 1303 and 1305 will have him paint the wonderful cycle in the chapel of the same name.Giotto’s third intervention in Padua takes place in Palazzo della Ragione and consisted of an extraordinary astrological cycle destroyed following the fire of 1420 What makes this cycle still extremely significant today is the fact that it was repainted following the master’s idea in the years immediately following the fire Already immediately after Giotto’s departure painting in the city began to develop in a new way following his lesson: the anonymous Master of the Scrovegni Choir who painted the Stories of the Virgin between 1317 and 1320 in the choir of the Scrovegni Chapel is strongly influenced by Giotto’s lesson the Rimini pupils of Giott arrived in the city called by the friars of the order of the Eremitani Pietro and Giuliano; Having lost the polyptych made for the church in that year the fragments of a large wall decoration made for the convent remain at the Musei Civici degli Eremitani The Crucifixion and the other scenes show the application of the schemes learned by the masters in Rimini and their updating on Giotto’s novelties After these experiences the most important figure emerges he was the first painter to fill the role of artist of the Carrarese court His is the decoration of the tombs of the lords Jacopo and Ubertino da Carrara already in the church of Sant’Agostino di Padova In the more than thirty years of his rigorous stylistic path he increasingly accentuated the linear Gothic taste he managed to show an increasingly mature ability to organize large scenes of courteous taste within prospectively constructed spaces The frescoes and painted tables for the Chapel of the Carrarese Palace are famous His language was also appreciated outside Padua and Doge Marco Corner commissioned him to paint the fresco on the subject of Paradise for the Doge’s Palace in Venice the grandiose decoration of the main apse of the Chiesa dei Santi Filippo e Giacomo alle Eremitani shows the great skill achieved in the articulation of extensive spatially complex scenes The painter destined to replace him at the Signoria Active in Padua from the beginning of the seventies until his death in the nineties Giusto continued on the path of the gothic evolution of painting in Padua showing an increasingly evolved perspective capacity treating religious episodes as court ceremonies in which are recognizable portraits of characters of the time Already in the frescoes of the Cortellieri Chapel in the church of Santi Filippo e Giacomo agli Eremitani he shows a great doctrinal wisdom however his masterpiece is the decoration of the Baptistery of the Cathedral destined to become the mausoleum of the lord Francesco I da Carrara and his wife Fina Buzzaccarini he creates a cycle with which he demonstrates a refined narrative ability in creating increasingly complex scenes and often unpublished iconographic content In the frescoes of the Blessed Luca Belludi Chapel in the Basilica del Santo the spatial amplification is affected by the comparison with the works of other masters the Bolognese Jacopo Avanzi and the Veronese Altichiero da Zevio who on the walls of the nearby chapel of San Giacomo under the commission of the Marquis Lupi di Soragna had introduced a new naturalness in narrating religious episodes and an elegant courteous taste These frescoes are distinguished by an ever greater ability to arrange and articulate large spaces and masses of characters for an increasingly accentuated perspective ability that can only be found in the Tuscan achievements of the early Renaissance years Altichiero’s other enterprise dates back to the frescoes of the Oratory of San Giorgio the artist paints against the background of the scenes of the cross-sections of an ideal Gothic city in which the episodes increasingly populated with portraits of characters take place of the court guest and dignitary of the Carraresi.One of his pupils and collaborators left us in 1397 the last pictorial monument of some importance in the decoration of the Chapel of Santa Maria in the Oratory of San Michele The last exponents of the Carrarese Court are represented in the Stories of the Virgin In 1405 the city fell under the dominion of Venice and with the disappearance of the Signoria the main center of artistic patronage was also missing; the environment was vital up to the last if the documents recall the presence of the Tuscan Cennino Cennini author of the first remaining manual on artistic techniques Also worth mentioning are the cycles that have disappeared erased by time and by men: just think of those existing in the churches of Sant’Agostino and San Benedetto or the decoration of the Reggia Carrarese What still remains today is still sufficient to give us the idea of ​​one of the most extraordinary and original figurative civilizations that developed in Italy Marcadoc – The hills of Venice deals with tourist cultural and food and wine information of the Marca Trevigiana and the Veneto.