VERONA PIAZZA DANTE

Right beside piazza delle Erbe is my favorite square named and dedicated to my beloved poet Dante Alighieri, who wrote the Divine Comedy about what the soul goes through after death, what I find fascinating about his Comedy is that Dante said that it was the simple collection of the stories told by people on the streets at his time, the XIII sec. and it’s embraced by the Catholics and the Vatican as a reliable description of the after-death of people of all kinds.

For the history of this place, you have to start from the Scala family, the rulers of the Verona town-state bearing in mind, however, that in the square there were already the Municipal Palace and the Domus Nova. At the end of the XIII century, the square (which was then called Platea Domini vicarii), did not have today’s rectangular form; neither the palace that is now called the Palace of the Courts, nor the Palace of Government. The entire building would have been sold to the nobleman Galasso Pio da Carpi in 1408, but in 1490 it turned out to be the property of the House of Charity (in typical Italian style).

Perhaps it was during these years that the building was remodeled and the façade was transformed into the simple Renaissance style of today. On the face of the building there is a curious base relief with a seated woman who holds a flag in her hand, upon which it is written Fide et Charitate in aeternum non deficiam. The woman represents Verona resting safe in the shadow of the Serenissima Republic (Venice), protecting her.

Verona’s oldest Caffè is important, which hung out the sign “Dante” in 1863, following the erection of the monument to the poet in the square. The place was frequented by professionals, men of letters, artists and politicians, especially the elderly, who formed various “small parliaments”, discussing politics, art and above all criticizing everything, like all Italians since ever.

The Palace of the Council was not entirely completed, when it was decided to place a few statues on the arch at the top of via delle Fogge. The administration decided upon St. Zenone, protector of the city, and the task was given to this “magistro Angelo lapicida”. But things got complicated. Instead of St. Zenone, a statue of Girolamo Fracastoro was placed on the arch in 1559.

The great doctor, poet and astronomer is dressed in the Roman style and holds a sphere of he world in his hand. The sphere immediately struck the shrewd popular fantasy: Fracastoro would have dropped the sphere on the head of the first honorable man that walked under the arch. But the sphere is still there… In 1756, the statue of Scipione Maffei was placed on the arch facing via Barbaro.

1865 was the sixth centennial of the birth of Dante and Italy was about to solemnly commemorate the recurrence. As an initiative of the Academy of Agriculture and the Society of Fine Arts, to which the City Council adhered, it was decided to erect a statue of Dante in Piazza dei Signori, where the Scala Palace that had hosted the “Ghibellin fuggiasco”.

On 6th October 1863 a call for tender was emanated for the design of the statue. The only conditions were that the second quality Carrara marble be suitable for a height of three meters, supported by a pedestal and that the figure, which would turn its back to via delle Fogge, have its head turned slightly towards the left, or namely towards Scala Palace of the Courts.

It was then stated that the Poet must have been turned towards free Italy. The winner of the tender was a young, entirely unknown artist, Ugo Zannoni.

The statue was uncovered on 14 May 1865, in the early morning. It was not desired that the Austrian authorities intervene in the inaugural ceremony.

Not much later the Austrians were sent back to their home country and the rest can be read on history books that talk about the conquest of independence for Italy and WWII, so I’m not going to continue on this.

http://wikimapia.org/10377455/Statue-of-Dante-Alighieri

PIAZZA ERBE A VERONA

Not at all geographically far from the Arena is the piazza delle erbe, a bustling marketplace -- the palazzi-flanked Square of the Herbs -- sits on the site of the Roman Forum where chariot races once took place. The herbs, spices, coffee beans, and bolts of silks and damasks that came through Verona after landing in Venice from faraway Cathay have given way to the fresh and aromatic produce of one of Italy's wealthiest agricultural regions -- offset by the presence of T-shirt and french-fries vendors, as the piazza has become something of a tourist trap. But the perfume of fennel and vegetables fresh from the earth still assaults your senses in the early morning, mixing with the cacophony of vendors touting plump tomatoes, dozens of different variations of salad greens, and fruits that can't possibly taste as good as they look, but do. Add to this the canary lady, the farmer's son who has brought in a half a dozen puppies to unload, and the furtive pickpocket who can spot a tourist at 50 paces -- and you have one of Italy's loveliest little outdoor markets. Take a rest on one of the steps leading up to the small 14th-century fountain in the piazza's center and a Roman statue dubbed The Virgin of Verona.

Located between the Via Mazzini and the Corso Porta Borsari, the Piazza delle Erbe stands where the ancient Roman forum was once located. Once a place where chariot races were held, it is now the site for the local market. Piazza delle Erbe is literally translated as the Square of Herbs. As the name implies, you can find all sorts of herbs in the marketplace. Perhaps the first thing that will strike you as you walk into the square is the overpowering aroma of different herbs and spices. Nowadays, herbs are not the only things of value you can buy in the market. Anything from clothes, refreshments, and souvenir items are sold in the numerous stalls scattered around the market square. My own mother still today goes there to buy the “hearts of artichokes” that are a normal artichoke without the hard leaves all around.

There has been an old lady in this square selling such hearts since I was very young, she does it with a sharp knife without gloves to protect her hands that are harder than steel and full of small healing cuts all over.

Numerous building can be found in the square, as well. All of them are beautiful and full of historical significance. Towering high above the square is the Tower Lamberti. At 83 meters high, it is given the distinction of being the tallest tower in Verona. At the top of the tower is an octagon shaped structure which holds the Rengo and Marangona bells. Both of these bells date back from 1464.
As the center of administration, the square also holds the municipal hall, known as the Palazzo Commune. It was built in the middle ages but was given a new façade in the 19th century. The Palazzo Commune now sports a neoclassical frontage.
In 1301, Alberto I della Scala built the Domus Mercatorum. Originally a Romanesque structure, it was restored and renovated in the 19th century. Now it is home to the Chamber of Commerce.
You can also see the Torre Gardello, which was built in 1370 but was not finished till 1626. Construction of this tower is attributed to Cansignorio Sella. Not far from the Torre Gardello is the Cassa Mazzanati. Art lovers will be sure to appreciate the Cavalli frescoes dating back to the 16th century. Other interesting structures are the Domus Nova, and the tabernacle, which was built in the 15th century.
Not everything in the square is Romanesque. There is the Palazzo Maffei, which is actually a Baroque structure. At the top of the building are five beautiful sculptures of the old gods — Jupiter, Venus, Apollo, Hercules, and Minerva. Today, you can find assistance within the building through the tourism office.
The highlight of this square is the Madonna Verona Fountain, which was created by Cansignorio. This 14th century Roman statue is also known as The Virgin of Verona. No visitor should pass out the chance of seeing this fountain, which is located in the middle of the square. Right on its side there’s my most favorite square named after my most beloved poet, Dante Alighieri.

http://www.virtualtourist.com/travel/Europe/Italy/Veneto/Verona-140824/Things_To_Do-Verona-Piazza_delle_Erbe-BR-1.html

THE ARENA IN VERONA

The Verona – my mother town - Arena is one of the best-preserved ancient Roman structures and well worth a visit during a trip to the Veneto. The arena is a Roman Amphitheatre that is famous not only for its incredible preservation, but also for the massive opera performances that are produced here every year. Known in Italian as Arena di Verona, this ancient amphitheatre was built in AD 30 and at the time could hold 30,000 spectators. Today, this is one of the top attractions in Verona, and in some cases, the main reason why travelers venture from other, better-known destinations in Italy. Many opera fans aspire to see their favorite production at the Verona Italy amphitheatre, known worldwide for its acoustics and romantic setting.

The essential thing about the Arena is that it is outdoor opera that is not miked. This is the bane of outdoor opera. An opera singer singing thru a body mike has to moderate his or her voice to take full advantage of the sound system. Or their mike has to be turned down so low that the folks in the back can’t hear. But the acoustics of the Arena are so superb that no miking is used at all. There are dead spots on the stage (and these vary depending on where you sit). In fact, I would put listening to opera at the Arena on a par with the Met in NY (not quite as precise but louder in the cheap seats than the Met) and better than the old Kennedy Center Opera House acoustically.

If you plan on visiting the Verona Arena to catch an opera performance, than you have some advance research to do. First of all, the opera season in Verona takes place every summer, from approximately mid-June through the beginning of September. Different productions are part of the opera festival every year, so if you have your heart set on a certain opera, just because it isn’t on this year’s line up doesn’t mean you won’t see it there in the future. For instance, the 2011 summer season was offering six core productions, with a total of 49 performances spread throughout the summer.

2013 marks the 91st Opera Festival at Arena di Verona and has become one of the most highly anticipated seasons of the year for opera fans. Even those who have never been to an opera before can’t help but be fascinated by the history of the Verona Italy amphitheatre and the stunning surroundings. To reach Verona, it is possible to arrive by car, bus, or train. Public transportation has excellent connections to Lake Garda, Venice, Milan, and beyond. If you’re planning on attending the opera performances, it is essential to reserve your tickets far in advance. Some of the most beloved operas take the stage in Verona, including La Traviata, Aida, The Barber of Seville, and La Boheme.

The acoustics of the Verona Italy amphitheatre have been savored since productions returned to the stage in the 1850s. Opera performances began in 1913, and even Puccini himself watched an opera within this ancient walls. The open-air amphitheatre offers two choices for seating: cheaper seats on the stone steps or more expensive seats on the floor with padded chairs. Each performance welcomes 15,000 people to the candlelit Verona Arena, and each season over 500,000 people enjoy the magic offered by the acoustics of this Roman amphitheatre. Plan a trip to Verona in the summer, and you could be one of them.

Along with the arena, another reason Verona is famous for lovers of the arts is its being the setting of Romeo and Juliet. During a trip to Verona it is possible to see attractions such as Juliet’s House with its famous balcony. The Verona Arena isn’t the only historically significant attraction in town. Visitors travel to also see the Verona Duomo, Juliet’s Tomb, local museums, and Romeo’s house. Verona is a city that is known for romance, so if you’re planning a romantic getaway, spending a night at the Arena di Verona and checking into one of the local luxury hotels will be a trip you won’t soon forget.

The Arena is part of Piazza Bra that is framed by antique Roman “doors”, the city Hall and several other historical buildings, plus from that Piazza (square) it’s easy to walk down “Via Mazzini” that’s the commercial road where no cars are allowed and you can only walk looking at the most prestigious labels in fashion and arts in their "boutiques" (retail stores).

I could write an entire book of my memories of things I used to do with friends and those who still today have stores in that “via”, that I’m going to force myself to stop writing now.

http://www.italyguides.it/us/italy/veneto/verona/arena/verona-arena.htm

CASTELVECCHIO, VERONA

Verona isn’t the town in northern Italy where I was born (it was Brescia), but I consider it like my mother town, because after moving around in various towns in the regions of Lombardia and Emilia Romagna I landed with my family in the Veneto region, in the town of Verona, that’s where my parents and sister are still living.
Castelvecchio ("old castle"), a fortress built by Cangrande II ("big dog") of the Della Scala family in 1354–1356. While the castle itself has very little ornamental decoration it is an important structure and also offers the opportunity to tour some beautiful art as today it is home to the Castelvecchio Museum. The museum can be accessed through the left door located on Via Cavour

The castle is powerful and compact in its size with very little decoration - one square compound built in red bricks, one of the most prominent examples of Gothic architecture of the age, with imposing M-shaped merlons running along the castle and bridge walls. It has seven towers, a superelevated keep (maschio) with four main buildings inside. The castle is surrounded by a ditch, now dry, which was once filled with waters from the nearby Adige river.

The castle stands on the probable location of a Roman fortress outside the Roman city. Lord Cangrande II della Scala had it built along with its bridge across the Adige river as a deterrent to his powerful neighbors such as Venice, the Gonzaga of Florence and the Sforza of Milan families. Construction was carried out between 1354 and 1376 (Cangrande died in 1359). The fortified bridge was intended to allow the seigniors to escape safely northwards to the Tyrol in the event of a rebellion or a coup d'état (the Scaligeri were allies of the Holy Roman Empire) and when they eventually lost their hold on Verona, its surviving members left Italy to establish a German branch of the family.
From 1404 Verona became part of the Venetian Republic and Castelvecchio became a munitions depot and subsequently was the home of the Venetian Military Academy. Later, during the Venetian domination, slits were added to defend it with cannons. The castle was damaged by French troops during the Napoleonic Wars (1796-7), in retaliation to the “Pasque Veronesi”, when the local population staged a violent anti-French revolt. Napoleon had chosen to stay in Castelvecchio on his trips to Verona, but his widespread and arbitrary requisitions of citizens' and churches' property, the massive draft of male workers into the French army prompted the resistance that eventually drove out the invaders.

Under the Austrians, Castelvecchio was turned into barracks. In 1923 the castle was restored, as well as in 1963-1965. In 1958, the museum underwent a total reorganization in effort to restore the value of both the historical and the artistic additions. The restoration favored authenticity, thus eliminating the false contexts created in the 1920s renovation. The architect was the renowned Carlo Scarpa, he sought to tell the story of Castelvecchio for what it was – pastiche mixed with history. He preformed select demolitions and peeled back roofs to reveal layers of history in dialogue. He used modern materials in expressive ways to mediate between parts, drawing attention to historical fact and alerting visitors to the fakery of the '20s renovation. By pulling doors and windows back from the recreated Gothic facade, he exposes the decoration like a theater stage set. He heightens this awareness by moving the entry from the formal center to the end. Even the museum art objects are decontextualized - placed on floating planes to signify their departure from other destroyed buildings. Scarpa made his own commentaries on fascism by removing building portions to reveal the 12th century wall of the city (a time when the inhabitants of Verona had greater freedoms).
Some of my favorite memories of this castle is its bridge over the river, I remember kissing girls for the first time while talking about the history of what we were walking on. I remember actually making up stories of sword fights among soldiers centuries earlier.

http://modernpreservation.blogspot.com/2009/08/authenticity-scarpas-castelvecchio.html

PONTE DEI SOSPIRI - BRIDGE OF SIGHTS

I’m going to tell you something about the bridge in Venice that I used to see pretty much each weekend when visiting my grandparents on my mother’s side.

The bridge became the path by which the prisoners were transported from the prison to the inquisitor's office. Its name stems from the popular belief of sadness and the sighs of condemned prisoners as they were led through it to the executioner.

In reality, the days of inquisitions and torture were over by the time the bridge was built and only small time crooks were kept in the prison cells.

The prison building is older than the Doge's palace and was at one time used during the inquisition by the Church during the Middle Ages (when people were suspected of being witches or non-believers and tortured).

Indeed, the Bridge of Sighs is a beautiful sight, stretching high above the canal. It is generally known as one of the finest examples of bridge architecture in the world according to Italian Renaissance in style, the 11m (36ft) wide bridge is made of white limestone, construction started in 1600 and it took about 2 years to finish it.

It has been unveiled after a three-year, 2.8 million Euro restoration project which had seen it controversially covered with advertising hoardings while the work took place.

I remember seeing it while walking on another bridge on the same canal while walking to the Calle del Pestrin where my grandparents lived for many years and their apartment was above a fish restaurant cooking delicious food at any time of the day.

http://www.aviewoncities.com/venice/bridgeofsighs.htm

TORRE DI PISA

The Leaning Tower of Pisa is one of the most remarkable architectural structures from medieval Europe. It is located in the town of Pisa, one of the most visited European cities. Even though the tower has been leaning since it was under construction, it has stood for hundreds of years, despite the fact that it looks as if it might fall any minute.

The tower was begun almost 900 years ago, in 1173, and after the first three of its eight stories were built, the ground started to sink, and the tower began to lean. It has continued leaning, a millimeter each year, and now leans 14 feet out of line.

Still, the lean does not stop thousands of tourists each year from climbing its 300 winding steps to the bell tower to view Pisa and the surrounding countryside. The height of the tower is 55.86 m (183.27 ft) from the ground on the low side and 56.70 m (186.02 ft) on the high side. The width of the walls at the base is 4.09 m (13.42 ft) and at the top 2.48 m (8.14 ft). Its weight is estimated at 14,500 metric tons (16,000 short tons). The tower has 296 or 294 steps; the seventh floor has two fewer steps on the north-facing staircase. Prior to restoration work performed between 1990 and 2001, the tower leaned at an angle of 5.5 degree but the tower now leans at about 3.99 degrees. This means that the top of the tower is displaced horizontally 3.9 meters (12 ft 10 in) from where it would be if the structure was perfectly vertical.

There has been controversy about the real identity of the architect of the Leaning Tower of Pisa. For many years, the design was attributed to Guglielmo and Bonanno Pisano a well-known 12th-century resident artist of Pisa, famous for his bronze casting, particularly in the Pisa Duomo. Bonanno Pisano left Pisa in 1185 for Monreale, Sicily, only to come back and die in his home town. A piece of cast with his name was discovered at the foot of the tower in 1820, but this may be related to the bronze door in the façade of the cathedral that was destroyed in 1595. However, recent studies seem to indicate Diotisalvi as the original architect due to the time of construction and affinity with other Diotisalvi works, notably the bell tower of San Nicola and the Baptistery, both in Pisa. However, he usually signed his works and there is no signature by him in the bell tower which leads to further speculation.
Galileo Galilei is said to have dropped two cannon balls of different masses from the tower to demonstrate that their speed of descent was independent of their mass. However, this is considered an apocryphal tale, its only source being Galileo's secretary.

I do find this really meaningful because – as I wrote before – gravity is to me the most real and measurable sign of the existence of God, that will soon reposition the worldwide economies in their natural places, or positions of strength. It has been leaning for so long -- nearly 840 years - it's natural to assume it will defy gravity forever. But the famous structure has been in danger of collapsing almost since its first brick was laid.
It began leaning shortly after construction began in 1173. Builders had only reached the third of the tower's planned eight stories when its foundation began to settle unevenly on soft soil composed of mud, sand and clay. As a result, the structure listed slightly to the north. Laborers tried to compensate by making the columns and arches of the third story on the sinking northern side slightly taller. They then proceeded to the fourth story, only to find themselves out of work when political unrest halted construction.
The tower sat unfinished for nearly 100 years, but it wasn't done moving. Soil under the foundation continued to subside unevenly, and by the time work resumed in 1272, the tower tilted to the south -- the direction it still leans today. Engineers tried to make another adjustment, this time in the fifth story, only to have their work interrupted once again in 1278 with just seven stories completed.
Unfortunately, the building continued to settle, sometimes at an alarming rate. The rate of incline was sharpest during the early part of the 14th century, although this didn't dissuade town officials or the tower designers from moving forward with construction. Finally, between 1360 and 1370, workers finished the project, once again trying to correct the lean by angling the eighth story, with its bell chamber, northward. By the time Galileo Galilei is said to have dropped a cannonball and a musket ball from the top of the tower in the late 16th century, it had moved about 3 degrees off vertical. Careful monitoring, however, didn't begin until 1911. These measurements revealed a startling reality: The top of the tower was moving at a rate of around 1.2 millimeters (0.05 inches) a year.
In 1935, engineers became worried that excess water under the foundation would weaken the landmark and accelerate its decline. To seal the base of the tower, workers drilled a network of angled holes into the foundation and then filled them with cement grouting mixture. They only made the problem worse. The tower began to lean even more precipitously. They also caused future preservation teams to be more cautious, although several engineers and masons studied the tower, proposed solutions and tried to stabilize the monument with various types of bracing and reinforcement.
The tower currently leans at 5.6 degrees. Another 1.4 degrees will be enough to bring 14,000 tons of intricately carved white marble crashing to the ground. At 7 degrees a model shows that walls cannot support the structure anymore. High-tension areas on the lower floors on the northern side can cause the bricks to pull apart.
However experts say the tower will lean for at least another 200 years. It may even stay upright — well, almost upright — forever. That's all thanks to a restoration project, which brought the tower back from the brink of collapse a decade ago. Restoration work undertaken from 1999 to 2001 stabilized the tower. Engineers placed weights on the structure's north end, while at the same time extracting soil from below, causing it to slowly sink back in that direction. The Leaning Tower of Pisa still leans south, but now it does so at just 3.99 degrees. Barring a large earthquake or other unforeseen catastrophe, engineers believe it will stay put for at least a few hundred years.

The tower itself with the study of gravity made by Galileo represent without any doubts to me that most of our today’s culture and way of understanding everything was born in the country where I was born about 50 years ago and made it possible to pass on to my own treasures, very much of this millenarian culture now part of our so-called Western culture.

THE PANTHEON

Today a Christian church, the Pantheon is the best preserved of all ancient Roman buildings and has been in near-continuous use since Hadrian’s reconstruction. From a distance the Pantheon is not as awe-inspiring as other ancient monuments — the dome appears low, not much higher than surrounding buildings. Inside, the Pantheon is among the most impressive in existence. Its inscription, M•AGRIPPA•L•F•COS•TERTIUM•FECIT, means: Marcus Agrippa, son of Lucius, consul for the third time, built this.

The original Pantheon of Rome was built between 27 & 25 BCE, under the consulship of Marcus Vipsanius Agrippa. It was dedicated to 12 gods of heaven and focused on Augustus’ cult and Romans believed that Romulus ascended to heaven from this spot. Agrippa’s structure, which was rectangular, was destroyed in 80 CE and what we see today is a reconstruction done in 118 CE under the leadership of emperor Hadrian, who even restored the original inscription on the facade.

Two kings of Italy are buried in the Pantheon: Vittorio Emanuele II and Umberto I, as well as Umberto's Queen, Margherita. Although Italy has been a republic since 1946, volunteer members of Italian monarchist organizations maintain a vigil over the royal tombs in the Pantheon. This has aroused protests from time to time from republicans, but the Catholic authorities allow the practice to continue, although the Italian Ministry of Cultural Heritage is in charge of the security and maintenance

The Pantheon is still used as a church. Masses are celebrated there, in particular on important Catholic days of obligation and weddings.

I think I was 12 y/o when I visited this monument and I can remember well the tombs of kings and other important people inside, laid in a circle with marble statues on top of the coffin containing the remains of the dead.

What seems remarkable to me is that the Pantheon is in a densely populated area of the city of Rome with nothing around that might suggest the imposing importance of such building, there are florists, postcard sellers, bakeries and many other store types like it was any other place in town, the Pantheon is certainly not hidden, but it’s not even easy to find, given that no signs on the nearby roads point to it by name, I used to have friends who used to meet in front of it with a soccer ball to play a short game just to have simple fun, I wonder what the kings that are dead inside might think to see a bunch of kids running after a ball while cussing at each other for hours, and what the souls of all the ancient Romans who built it and used to spend time inside could think seeing such spectacle.

1. http://www.history.com/news/is-romes-pantheon-a-giant-sundial
2. http://www.rome.info/pantheon/
3. http://www.theoi.com/Pantheon.html
4. http://www.roman-empire.net/religion/pantheon.html
5. https://en.wikipedia.org/wiki/Pantheon,_Rome

THE COLOSSEUM IN ROME

Rather than going on with other ancient wonders of the world, I want to return to my origins in Italy by talking a bit of the Colosseum in Rome, our capital since more than 2,000 years.

This monument of today was originally named the Flavian Amphitheater built of concrete and stone. It is considered one of the greatest works of Roman architecture and engineering.

Occupying a site just east of the Roman Forum, its construction started in 72 AD under the emperor Vespasian and was completed in 80 AD under Titus, with further modifications being made during Domitian's reign (81–96). The name "Amphitheatrum Flavium" derives from both Vespasian's and Titus's family name

Capable of seating 50,000 spectators, the Colosseum was used for gladiatorial contests and public spectacles such as mock sea battles, animal hunts, executions, re-enactments of famous battles, and dramas based on Classical mythology. The building ceased to be used for entertainment in the early medieval era. It was later reused for such purposes as housing, workshops, a fortress, a quarry, and a Christian shrine.

My favorite memory connected with the Colosseum is the Latin phrase that says:” Quamdiu stat Colisæus, stat et Roma; quando cadet colisæus, cadet et Roma; quando cadet Roma, cadet et mundus ("as long as the Colosseum stands, so shall Rome; when the Colosseum falls, Rome shall fall; when Rome falls, so falls the entire world").

Unlike earlier Greek theatres that were built into hillsides, the Colosseum is an entirely free-standing structure. It derives its basic exterior and interior architecture from that of two Roman theatres back to back. It is elliptical in plan and is 189 meters (615 ft) long, and 156 meters (510 ft) wide, with a base area of 6 acres (24,000 m2). The height of the outer wall is 48 meters (157 ft). The perimeter originally measured 545 meters (1,788 ft). The central arena is an oval 87 m (287 ft) long and 55 m (180 ft) wide, surrounded by a wall 5 m (15 ft) high, above which rose tiers of seating.

Its huge crowd capacity made it essential that the venue could be filled or evacuated quickly. Its architects adopted solutions very similar to those used in modern stadiums to deal with the same problem. The amphitheatre was ringed by eighty entrances at ground level, 76 of which were used by ordinary spectators. Each entrance and exit was numbered, as was each staircase. The northern main entrance was reserved for the Roman Emperor and his aides, whilst the other three axial entrances were most likely used by the elite. All four axial entrances were richly decorated with painted stucco reliefs.

The Colosseum is at the center of Rome and is listed as part of the Center of Rome World Heritage site. It is very important because it allows the moderns the ability to see how the ancients lived. It was an engineering marvel for its time and was a testament to Rome’s Power and world standing at the time it was built.

The ancient Romans pretty much built some kind of Colosseum almost everywhere they were ruling and in fact my “mother town” Verona has one too but it’s named the “Arena” and because it was built with perfect acoustics, it’s still used today for operas and concerts of many kinds.

Many centuries ago it was used to be filled with the water from the nearby river Adige to have battleships in it engaged in theatrical fights for the enjoyment of the public, the population of Verona at that time.

What I find fascinating to see is the labyrinth of rooms connected by corridors below the main floor of these buildings and when I’m there I imagine the gladiators and warriors (or Christians) rushing through them to go to face death in the name of their beliefs. They would all be heroes today, but nothing is remembered of any of them.

http://wiki.answers.com/Q/Is_the_Roman_Colosseum_important_now

THE PYRAMIDS AND ME

The last scientific discovery stated the following: French and U.S. researchers assert that the huge stones used by the Pharaohs to build the pyramids are just clay that has been heated at high temperatures.

Will the pyramids that we know as one of the Seven Wonders survive in the world? Did scientists find an answer to the puzzle of how the pyramids were built in ancient Egypt? Are some people still believe that the Jinn are the builders of these pyramids? Is it possible to believe that creatures from outer space built the pyramids of Egypt? ...

These speculations filled the world and lasted for several centuries, but the new discovery made by scientists from France and America will change the scientists‘ look forever. It will also give a simple scientific explanation to the mystery of building the pyramids, but more odd is that this mystery has been in the Qur’an fourteen centuries ago!!!

It was believed that the pharaohs have carved the stones but the question here is: How come all the stones are so identical that you cannot find a distance between one stone and another? And where are the equipments and chisels that were used in carving those stones? Until now, they have not been found? This discovery confirms that the scientists were wrong when they thought that the pyramids were built of stones. The nearest answer to logic and truth is to say that the civilization of the pharaohs was built on the clay!

Electronic microscope was used to analyze samples of the pyramids stones. The result was closer to the opinion of Prof. Davidovits and the quartz crystals appeared clearly as a result of heating the mud. He stated that we don‘t have in the nature like these stones which his confirms they were made by the Pharaohs. The analysis by Mini E scale indicated the presence of silicon dioxide too. This is another proof that the stones are not natural.

Dozens of researchers confirm that clay is the building material of the pyramids, and these buildings are the highest buildings, known from ancient history to the modern era. All these facts confirm that the Quran verse is true and consistent with science and one of the verses of the scientific miracles.

While the pyramids in Egypt have represented a real mystery to humanity for thousands of years I really hope that my brain injury and continued capacity to think, teach and manage my money won’t remain to be a mystery for that long and that the miracle of free knowledge and understanding will be given to the doctors who tested me and castrated my desire to have my own cash in my own bank account.

Certainly the human brain is way more complex than a pyramid, but with the freedom to think with your own mind and without external influences, no mystery can last as long as the one of the pyramids and I hope to be allowed to have my money within few months, or before the collapse of Europe’s economy.

http://travel.nationalgeographic.com/travel/egypt/pyramids-at-giza/

NICOLO MACCHIAVELLI

Macchiavelli contributed to a large number of important discourses in Western thought—political theory most notably, but also history and historiography, Italian literature, the principles of warfare, and diplomacy.

To me he’s yet another example that modern thinking, literature and science all come from my mother country that gives to my treasures the genetic compound that makes them stronger and wiser than others.

But Machiavelli never seems to have considered himself a philosopher—indeed, he often overtly rejected philosophical inquiry as beside the point—nor do his credentials suggest that he fits comfortably into standard models of academic philosophy. His writings are maddeningly and notoriously unsystematic, inconsistent and sometimes self-contradictory. He tends to appeal to experience and example in the place of rigorous logical analysis. Yet succeeding thinkers who more easily qualify as philosophers of the first rank did (and do) feel compelled to engage with his ideas, either to dispute them or to incorporate his insights into their own teachings. Machiavelli may have grazed at the fringes of philosophy, but the impact of his musings has been widespread and lasting. The terms “Machiavellian” or “Machiavellism” find regular purchase among philosophers concerned with a range of ethical, political, and psychological phenomena, even if Machiavelli did not invent “Machiavellism” and may not even have been a “Machiavellian” in the sense often ascribed to him. Moreover, in Machiavelli's critique of “grand” philosophical schemes, we find a challenge to the enterprise of philosophy that commands attention and demands consideration and response. Thus, Machiavelli deserves a place at the table in any comprehensive survey of philosophy.

Near the end of his life, and probably as a result of the aid of well-connected friends whom he never stopped badgering for intervention, Machiavelli began to return to the favor of the Medici family. In 1520, he was commissioned by Cardinal Giulio de' Medici to compose a History of Florence, an assignment completed in 1525 and presented to the Cardinal, who had since ascended the papal throne as Clement VII, in Rome. Other small tasks were forthcoming from the Medici government, but before he could achieve a full rehabilitation, he died on 21 June 1527.

The Prince: Analyzing Power

It has been a common view among political philosophers that there exists a special relationship between moral goodness and legitimate authority. Many authors (especially those who composed mirror-of-princes books or royal advice books during the Middle Ages and Renaissance) believed that the use of political power was only rightful if it was exercised by a ruler whose personal moral character was strictly virtuous. Thus rulers were counseled that if they wanted to succeed—that is, if they desired a long and peaceful reign and aimed to pass their office down to their offspring—they must be sure to behave in accordance with conventional standards of ethical goodness, this clearly explains why I’m so contrary to the decision of my still beloved Michele to separate me from my family (my children) dreaming that by providing to them a “family structure” with herself as mother and B. as “father figure” they will mature and grow up normally. In a sense, it was thought that rulers did well when they did good; they earned the right to be obeyed and respected inasmuch as they showed themselves to be virtuous and morally upright. How my treasures can learn morality living with the king of unethical behavior, I keep asking to Michele.

It is precisely this moralistic view of authority that Machiavelli criticizes at length in his best-known treatise, The Prince. For Machiavelli, there is no moral basis on which to judge the difference between legitimate and illegitimate uses of power. Rather, authority and power are essentially coequal: whoever has power has the right to command; but goodness does not ensure power and the good person has no more authority by virtue of being good, this condenses very well and succinctly how I feel about my life and existence now.

However the fact that my treasures have – because of me – the genes of the modern civilization history, makes me very proud because inside I know how they think and what most probably will do, in few years.

http://plato.stanford.edu/entries/machiavelli/

NEWTON'S LAW OF UNIVERSAL GRAVITATION

I now realize that I’ve already mentioned in my previous posts the law of gravity that was discovered and mathematically explained by Isaac Newton in 1650 and it’s universal because it explains the positions of all the planets in our universe and to me is the simple proof of the existence of God.

Newton discovered the Law of Gravity. But what is it? Is it as simple as, "Things tend to fall downward?" Of course people know that things fall downward, ever since there were people. Newton never mentioned being hit on the head by an apple, but he did say that he saw an apple fall. Maybe the moon was in the sky at the time, maybe not. But when Newton saw the apple fall, and thought about it, his great insight was that he saw that the same thing that caused the apple to fall (gravity) is what holds the moon in its orbit.

So this is how he put it:

Along with his laws of motion, Newton's law of gravity led directly to mathematical explanations of Galileo's falling object experiments and the Laws of Kepler concerning the motions of the planets. Newton's Law of Universal Gravitation states:

F=Gm1m2/d2

F is the force of gravity, G is a constant (the Gravitational Constant) which can be measured, m1 and m2 are the masses of the two objects (earth and apple or earth and moon, in), and “d” is the distance between them. You can see that gravity follows the famous inverse square law that many physical phenomena follow.

One consequence of all this is that everything attracts everything else with gravitational forces. The earth attracts the apple and the apple attracts the earth with the same force. The apple is the one that moves noticeably because it is so much lighter (and easier to move) than the earth. The earth and a ten pound weight are attracted to each other with a force of exactly ten pounds. In fact, that is the definition of weight, the force of gravitational attraction. Everything attracts everything, hence the "universal" in the name of Newton's law. And the law holds way out as far as telescopes can see; it is truly universal.

Einstein's General Relativity is the more recent, more accurate, law of gravity. Has Newton's law of gravity been thrown onto the trash? Is it wrong? No, it is a very valuable first approximation which is good enough for almost all purposes. And Newton's law is valuable for comparison with and understanding Einstein's version. And Einstein's version is too complicated for most purposes. In other words (mine) I believe that nature (God) gave a position of dominance to the USA and its economy that even if now out of balance the universal law of gravity is going to soon reposition in its balanced state, much like my wife and mother of my treasures will soon reposition herself where nature (and me) put her many years ago. Following Newton’s law, I’m attracted to Michele as much as she’s attracted to me and to force out of position such a delicate balance is as dangerous as the moon losing its balance of attraction with earth = disaster/end of the world.

http://www.physicsclassroom.com/class/circles/u6l3c.cfm

MORE ANCIENT ROMAN DEPTH

When I was a very little kid and lived near Como, my father worked at a plant producing Massey Ferguson tractors and I remember while visiting him to see painted on the front of a truck “Audaces fortuna iuvant” which means that the courageous are helped by luck and this is something that always came with me together with “repetita iuvant” or that repeating does good, like when you learn anything new to you, it being a game (cards?) or a sport, practice and repetition until the rules or movements become so natural that you mustn’t think of doing them with attention, they come natural to you.

I also used very much another phrase of the ancient Romans because not only it made much sense to me but also because it’s a “necessary evil” that used to go like this “ubi maior minor cessat” or, when more important events happen, less important events are disregarded.

http://en.wiktionary.org/wiki/ubi_maior_minor_cessat

In a way I’ve been applying to my life now these deep concepts as condensed in short phrases 2.000 years ago that’s about me keeping to repeat to my spouse to come back to me because her lover is minor and is going to be soon disregarded while – since I’m courageous to even think to fight my war - luck will help me win and everything will return to be in balance as nature and the law of gravity commend.

http://latinr.com/

GUTTA CAVAT LAPIDEM

Gutta cavat lapidem, non vi, sed saepe cadendo: The drop hollows out the stone by frequent dropping, not by force; constant persistence gains the end. This is how Ovid thousands of years ago defined the effectiveness of constancy and insistence when trying to obtain something, that everyone around me says it’s just a waste of my time and stupid place where to address my hopes.

Well, besides the fact that I keep hoping to overcome my TBI-produced disabilities (even if mankind still has no idea on how to repair an injured brain) I keep the same big hope to reunite with my former still beloved wife.

In this case I’ve decided to support my hopes with what Ovid wrote thousands of years ago, so I keep asking by myself and tell others to ask for me to Michele to return to live with me.

I mean, if a simple drop of water can go through s slab of marble, how could Michele keep living without me and with a piece of junk as my replacement?

Eventually she’s going to realize that in the exchange she only lost and will be willing to come back to live with me, the only man who fathered our treasures and always loves her like in the beginning.

I’m actually hopeful because I just did (again) a neuropsychological evaluation that I’m confident is going to prove that I’m still logic and mentally efficient as I used to be, my difference is just physical in the sense that I can’t control half of my body and that I lost my whole family.

http://www.youtube.com/watch?v=bbS36bI-hOg

This loss is actually what has been giving me a pain labeled by my doctors as “neurological pain” that not even the drug morphine can reduce.

Me reuniting with my family is going to be like taking a pain-killer that neither chemistry nor science can produce and I’m hoping that my “gutta” will do this. Certainly I don’t want to consider that it takes centuries of time for a drop of water to make a hole in a stone, I’ve never been patient for anything in life, if something wouldn’t happen immediately, I’d say that either I wasn’t interested anymore or it wasn’t worth my effort to have it.

In this case however I have all the rest of my life (I’m in its middle – as Alighieri wrote in his comedy) to sit here and wait, because it’s both very interesting and worth any effort for me to wait to have my family again.

MY EXPLANATION OF THE MUSIC OF J. S. BACH

I’m going to try to explain why Bach’s music compositions are so dear to me especially when plaid with a modern grand piano by G. Gould.

All the music that J. S. Bach wrote was “didactical” music he wrote for his pupils whom he had while working for the court of Saxonia in the 17th century, all of his music has titles that explain the objective of the teaching:

- Temperaments which is about the “tone” of an instrument given through plain tuning

- Counterpoint that is the construction of a full melody from beginning to end

- Fugue can be a much longer piece of music with the distinctive characteristic of the tempo being faster than the rest of the composition



In example it’s possible to recognize a counterpoint in few bars of written music because its form is about playing a “do” and after its opposite that can be both the “sol” or the “do#” or the “dob ” while a fugue can only be seen if the full composition can be looked at from its beginning to its end, because it’s just like what I explained for the counterpoint but it’s long pieces of music that become one the opposite of another, as for what temperaments means it’s more about the instrument itself than written music, a temperament is given by the technician who tunes the piano or organ or harpsichord in order to make all the notes sound “plain” to each other, as you see I wrote plain in brackets because the plain sound is a sound in tune with human capacity of distinguishing tone waves when they are heard by the human ear, someone who is deaf on one ear cannot be a tuner for any kind of instrument because one ear only cannot give the depth and brilliance of any note on any instrument, so it takes someone with good ear and years of studies and practice to become a good tuner of any instrument.

http://www.jsbach.net/

E=MC2

Victims of TBI like me are supposed to lose the logic with the ability to do math, which is why I was told that I’m unable to take care of my own money, therefore I must have someone with financial Power of Attorney looking over how I spend dimes and if I do it, I must give good reasons.

Aside from the fact that once again (for the nth time) nobody can explain to me how such disability could ever have been detected in me, now it’s my sister in Italy who “protects” me from my own financial disability.



So I’m now going to try to explain with simple math something that many say is impossible for me to do.

Einstein used what is called a "thought experiment". It’s an experiment that may be difficult or even impossible to actually perform but you can imagine it. So it goes like this.



Suppose you have a box of mass M and length L that is completely isolated from its surroundings and that is standing still. It’s known that light carries momentum equal to E/c if E is the energy associated with the light. So imagine a burst of light with energy E at one end of the box that travels to the other end. When the light leaves the one end we must have conservation of momentum so the box must be given an equal and opposite momentum M*v where v is the velocity given to the box. So we can write:

M*v = -E/c

v = -E/(M*c)

And this is the velocity of the box

After traveling for a short time t = L/c (v is much, much smaller than c), the light hits the other end of the box and gives it an impulse equal and opposite to what it gave to the box initially and the box comes to a stop. We can calculate the distance the box moved using its velocity and the time during which it was moving.


Distance = velocity * time

D = v*t = [-E/(M*c)](L/c) = -E*L/(M*c^2)

But, since this is an isolated system, you don't want to think that the box would actually move, so I postulate that the light carried with it some equivalent mass “m” such that the center of mass of the box does not move. This means that:

m*L + M*D = 0

Solve this for the ratio L/M

m*L = -M*D

L/M = -Dm

And put this into the equation for D

D = -E*L/(M*c^2) = (-E/c^2)(L/M) = (-E/c^2)(-D/m)

D = D*(E/mc^2)

Therefore E = mc^2



This is not exactly how Einstein did the experiment but it conveys its meaning. The physics are a little off but, if you get more rigorous, you will arrive at the same conclusion.

Mathematics have always been a very big passion for me, very much like piano music composition and performances, but since I’m mathematically and therefore financially disabled someone else must have complete access to the management of all my money, no matter where in the world, so I live alone (abandoned) and I spend my days watching movies on Netflix, that I’m allowed to be member of because I can give a good reason.

BEETHOVEN'S HEILIGENSTADT TESTAMENT

I’m thinking it’s worthwhile to put here what Beethoven left as his testament as it became clear to him that his life was very close to its end.

For my brothers Carl and [Johann] Beethoven

Oh you men who think or say that I am malevolent, stubborn, or misanthropic, how greatly do you wrong me? You do not know the secret cause which makes me seem that way to you. From childhood on, my heart and soul have been full of the tender feeling of goodwill, and I was ever inclined to accomplish great things. But, think that for six years now I have been hopelessly afflicted, made worse by senseless physicians, from year to year deceived with hopes of improvement, finally compelled to face the prospect of a lasting malady (whose cure will take years or, perhaps, be impossible). Though born with a fiery, active temperament, even susceptible to the diversions of society, I was soon compelled to withdraw myself, to live life alone. If at times I tried to forget all this, oh how harshly I was I flung back by the doubly sad experience of my bad hearing. Yet it was impossible for me to say to people, "Speak louder, shout, for I am deaf." Ah, how could I possibly admit an infirmity in the one sense which ought to be more perfect in me than others, a sense which I once possessed in the highest perfection, a perfection such as few in my profession enjoy or ever have enjoyed.--Oh I cannot do it; therefore forgive me when you see me draw back when I would have gladly mingled with you.

My misfortune is doubly painful to me because I am bound to be misunderstood; for me there can be no relaxation with my fellow men, no refined conversations, no mutual exchange of ideas. I must live almost alone, like one who has been banished; I can mix with society only as much as true necessity demands. If I approach near to people a hot terror seizes upon me, and I fear being exposed to the danger that my condition might be noticed. Thus it has been during the last six months which I have spent in the country. By ordering me to spare my hearing as much as possible, my intelligent doctor almost fell in with my own present frame of mind, though sometimes I ran counter to it by yielding to my desire for companionship. But what a humiliation for me when someone standing next to me heard a flute in the distance and I heard nothing, or someone standing next to me heard a flute in the distance and I heard nothing, or someone heard a shepherd singing and again I heard nothing. Such incidents drove me almost to despair; a little more of that and I would have ended me life -- it was only my art that held me back. Ah, it seemed to me impossible to leave the world until I had brought forth all that I felt was within me. So I endured this wretched existence -- truly wretched for so susceptible a body, which can be thrown by a sudden change from the best condition to the very worst. -- Patience, they say, is what I must now choose for my guide, and I have done so -- I hope my determination will remain firm to endure until it pleases the inexorable Parcae to break the thread. Perhaps I shall get better, perhaps not; I am ready. -- Forced to become a philosopher already in my twenty-eighth year, oh it is not easy, and for the artist much more difficult than for anyone else. 'Divine one, thou sees me inmost soul thou know that therein dwells the love of mankind and the desire to do good'. Oh fellow men, when at some point you read this, consider then that you have done me an injustice; someone who has had misfortune man console himself to find a similar case to his, who despite all the limitations of Nature nevertheless did everything within his powers to become accepted among worthy artists and men. 'You, my brothers Carl and [Johann], as soon as I am dead, if Dr. Schmidt is still alive, ask him in my name to describe my malady, and attach this written documentation to his account of my illness so that so far as it possible at least the world may become reconciled to me after my death".

At the same time, I declare you two to be the heirs to my small fortune (if so it can be called); divide it fairly; bear with and help each other. What injury you have done me you know was long ago forgiven. To you, brother Carl, I give special thanks for the attachment you have shown me of late. It is my wish that you may have a better and freer life than I have had. Recommend virtue to your children; it alone, not money, can make them happy. I speak from experience; this was what upheld me in time of misery. Thanks to it and to my art, I did not end my life by suicide -- Farewell and love each other -- I thank all my friends, particularly Prince Lichnowsky's and Professor Schmidt -- I would like the instruments from Prince L. to be preserved by one of you, but not to be the cause of strife between you, and as soon as they can serve you a better purpose, then sell them. How happy I shall be if can still be helpful to you in my grave -- so be it. -- With joy I hasten to meet death. -- If it comes before I have had the chance to develop all my artistic capacities, it will still be coming too soon despite my harsh fate, and I should probably wish it later -- yet even so I should be happy, for would it not free me from a state of endless suffering? -- Come when thou wilt, I shall meet thee bravely. -- Farewell and do not wholly forget me when I am dead; I deserve this from you, for during my lifetime I was thinking of you often and of ways to make you happy -- please be so.

My father has always said that death is the fairest episodes in life, it doesn’t matter how rich, powerful or famous someone is, death will come when time on earth is over, or at the right time (some say), think to Steve Jobs in example.

So the very fact that I’m still living – even if I’d prefer not to – is a clear sign that my time here is still of some value and since I’m aware of this I intend to dedicate my remaining time to my children who I consider my treasures and even if I’ll never return to be the kind of man – top manager and athlete – who I used to be, my best friend Pat told me once that if I’m still here, it’s because God has a plan for me and even if I can’t see it, it isn’t a secret (God has none), it’s in front of my eyes, I’m just not ready to see it yet. This is probably the strongest reason why I never think anymore to terminate my life of a living dead, I have too much to give to my treasures to simply bail out and leave by my own hand.

ARTURO BENEDETTI MICHELANGELI

Arturo Benedetti Michelangeli (1920-1995) had married the sister of my grandmother, or my father’s mother. He mastered the art of being elusive. During his long career the legendary Italian pianist’s times into the recording studio were few and far between. The concerts and broadcast performances he didn’t cancel, though, sometimes found their way onto pirated discs. This allowed pianophiles to gain a fuller dimension of their puzzling, ultra-perfectionist hero. Some of his recordings have been available before his death, like the complete June 13, 1987, Vatican recital. Another recent discovery is the only known recording of Michelangeli in chamber music. Amazing as it seems, this reclusive, temperamental pianist agreed to perform the Mozart E-flat Piano Quartet on a classical music cruise, with a handpicked French ensemble in tow. Michelangeli limited his public repertoire to a handful of works, Debussy Images, Beethoven Op. 111 Sonata, and Chopin’s First Scherzo (a work Michelangeli otherwise didn’t record). A large booklet contains a long, rather rambling essay by the pianist’s widow, which is valuable for insights into Michelangeli’s early years. But the sonic and artistic quality of this set is variable, governed by an utterly unsystematic programming agenda. While Michelangeli was a real artist when playing piano and his performances – both public and recorded in a studio reach perfection levels close to my hero Glenn Gould, his rarefied production of plays put him in the corner of famous piano players, in fact whenever I make his name I see empty eyes in the people I’m talking with. However, the story is that being Michelangeli some sort of relative of mine, I used to play piano and interpret pieces so well because of my family relationship with him (?).

http://www.youtube.com/watch?v=h5jdrWohMtU

BEETHOVEN'S DIABELLI VARIATIONS

The Diabelli Variations must be the most well-known set of keyboard variations after my beloved Bach's Goldbergs. In 1819, Anton Diabelli, a composer and publisher of piano music for children, wrote a simple waltz and invited the 50 most famous composers of the time to contribute a variation of it. Among those asked were Franz Schubert, Franz Liszt and Beethoven himself, who thought poorly of the waltz and simply ignored the entire enterprise. However, the mercurial composer changed his mind quickly, and submitted 23 variations to Diabelli, adding a further nine 4 years later. The contributions of the other 49 composers are today largely forgotten, but Beethoven's 32 variations are still regarded as a work of compositional genius. And the way Piotr Anderszewski plays and explains them in a DVD I have put Piotr at the same level with G. Gould, both players play and interpret the music just like they are composing it.

Beethoven took the seed of Diabelli's waltz and spun out a profound document of his own wit and craft. The work runs a full specter of emotions from the comic to the solemn, from virtuoso presdigitation to ethereal sparseness. Beethoven mercilessly made fun of material that musicians of the time would instantly recognize, such as Cramer's Piano Method and his five-finger exercises and an aria from Mozart's opera Don Giovanni.

The early variations stay close to the basic form of the theme, but Beethoven is willing to experiment and try radical things in the later variations. The original waltz is transformed into far-ranging forms, such as a German dance in Nos. 15, 25 and 28. Beethoven also reflects upon his own work, the closing variations being closely related to his last piano sonatas. Taken as a whole, the work is clear testimony of Beethoven's limitless variety and inspiration. It is an essential part of the music collection of every student of the piano and collector of piano players’ movies such as me.

ME AND BEETHOVEN'S HEARING LOSS

This is a story about the most famous classical music composer that puts me and my tragedy in a very similar position to this immortal beloved.

Around 1801, Beethoven began to lose his hearing. He suffered a severe form of tinnitus, a "roar" in his ears that made it hard for him to appreciate music and he would avoid conversation. The cause of Beethoven's deafness is unknown, but it has variously been attributed to syphilis, lead poisoning, typhus, or possibly even his habit of immersing his head in cold water to stay awake. Over time, his hearing loss became acute: there is a well-attested story that, at the premiere of his Ninth Symphony, he had to be turned round to see the tumultuous applause of the audience, hearing nothing. In 1802, he became depressed, and considered committing suicide, very much like I had done years ago. Beethoven left Vienna for a time for small Austrian town of Heiligenstadt, where he wrote the "Heiligenstadt Testament", in which he resolved to continue living through his art. He continued composing even as his hearing deteriorated. After a failed attempt in 1811 to perform his own "Emperor" Concerto, he never performed in public again.
As a result of Beethoven's hearing loss, a unique historical record has been preserved: he kept conversation books discussing music and other issues, and giving an insight into his thought. Even today, the conversation books form the basis for investigation into how he felt his music should be performed, and his relationship to art - which he took very seriously. In a way my blog here is just like the conversation books of this musician and I’m hoping that years from now I’ll still exist in the internet and be read.
There are a variety of theories as to why Beethoven suffered from hearing loss, from illness to lead poisoning. The oldest explanation, from the autopsy of the time, is that he had a distended inner ear which developed lesions over time.
Russell Martin argued, from analysis done by Walsh and McCrone on a sample of Beethoven's hair, that there were alarmingly high levels of lead in Beethoven's system. And that high concentrations of lead can lead to bizarre & erratic behavior, including rages. Another symptom of lead poisoning is deafness. In Beethoven's era, lead was used widely without true understanding of the damage it could lead to: in sweetening wine, finishes on porcelain, and even medicine. While the likelihood of lead poisoning is very high, the deafness associated with it seldom takes the form that Beethoven exhibited. It is more likely that his generally bad health as he grew older was related to plumbism rather than his hearing loss.

Here again I see in Beethoven life the big parallel of a musician who can’t hear his music anymore with my own athleticism for clarity of thinking with the hemi paresis that has made me the prisoner of a wheelchair.

Like Beethoven I’m going to die one day as a single man, but I’ll have a wealth way superior to his, in fact he never had children, while I have my children who will bring in the future a strong memory of me, their dad who never submitted to the disabilities that the TBI caused.

http://www.lvbeethoven.com/

ALBERT EINSTEIN AND HIS VIEW ON LIFE

I put here few quotes that the most intelligent and brightest man who ever existed so far, said while still alive:

• Put your hand on a hot stove for a minute, and it seems like an hour. Sit with a pretty girl for an hour, and it seems like a minute. That's relativity.

• The difference between genius and stupidity is that genius has its limits.

• Men marry women with the hope they will never change. Women marry men with the hope they will change. Invariably they are both disappointed.

• I know not with what weapons World War III will be fought, but World War IV will be fought with sticks and stones

These quotes are famous examples of the man who demonstrated that mass is energy and that light travels at a speed that’s related to mass and time, I’m hoping that some day based on his research, time-travel will become possible and I don’t need to ask to my readers to guess at what time (year and day) I’d want to be sent back to, because it would be too easy to say.

Since plenty text-books say that a TBI victim loses the ability to do math – and therefore manage money – nobody can explain why I’m still so very good at doing math (algebra and analysis of functions) and I can even save part of my income, regardless of the fact that my very normal ex-wife continues to receive support from me on a monthly basis after having managed to toss in the toilet (figuratively) about half a million $$$ of savings shortly after she was given the financial OA on me by my first neuropsychologist, who did cost me more than double (triple) that amount because he gave authorization to people in my family, here and overseas to manage my money, no matter what I say.

One more time this shows that the functionality of the human brain is still completely unknown which is why we need soon an Einstein for the human brain who can explain in a clear way how it functions and what to do when injured.


http://www.brainyquote.com/quotes/authors/a/albert_einstein.html