Edinburgh Military Tattoo

The Edinburgh Military Tattoo is a great international gathering. Every year, more than 100 million people around the world watch the Tattoo on TV … more than 11 million people from over 100 countries have experienced the Tattoo live at Edinburgh Castle … and more than 40,000 performers from over 40 countries have taken part.
The Tattoo, timeless but ever changing, is one of the great entertainments on the world stage today.
Now, located in the shadow of Edinburgh Castle, at the top of the Royal Mile in a 150-year old Victorian Reservoir, is the Scottish Capital’s latest free to access visitor attraction – Spirit of the Tattoo – the story of this enduring entertainment experience.
Opening of the 1998 Military Tattoo
A great show by the New Zealand military Band ( 2006 Tattoo )
With a great sense of humour.. and the famous Haka !

The Top Secret Drum Corp of Switzerland ( 2006 Tattoo)

The US "Old Guard"

Letter'a Mamma

Des chanteurs corses en visite au Dôme des Invalides ( rendaient-ils visite à l'Empereur ? ) exécutent un paghjella

Mamma risponde n'un possu a le vostre dulente chjame

Troppu miserie aghju adossu e mi si rode la fame

So prigiuneru languente in l'aria prussia a punente

Venisse una rundinella ch'eo la mandi messagera

O venga puru una stella a purta la mio preghera

Le mio pene e lu mi amore versu voi mamma d'amore

V'abracciu per lu penseru vi mandu sti versi soli

Dicendu so prigiuneru chi tuttu que vi cunsoli

Mamma la vostra tristezza a me da tant'amarezza


Pieta by Bellini

Giovanni Bellini (1426-1516) was a painter from Venice and can be considered as the founder of the Venetian school of painting. Under his influence Venice became a center of Renaissance art that rivaled Florence and Rome. He brought to painting a new degree of realism, a new wealth of subject-matter, and a new sensuousness in form and color. This made him become one of the early masters in the techniques of oil painting. Albrecht Durer himself recognized that "he is the best painter of them all."

His pictures combine a severe and rigid style with a depth of religious feeling and gentle humanity, as the following pictures show. It is a pieta painted in 1460

One of the artist's most complete and programmatical figurative works. On the parapet on which Christ is held by the Madonna and St. John is the inscription:

HAEC FERE QUUM GEMITUS TURGENTIA LUMINA PROMANT: BELLINI POTERAT FLERE IOANNIS OPUS (When these swelling eyes evoke groans, this work of Giovanni Bellini could shed tears).

This is a fragment of a hymn from the first book of Propertius's "Elegies", whose presence at the base of the painting affirms the artist's religious education.
The Pietà is rightly considered one of the most moving paintings in the history of art. Deep feeling is expressed throughout, from the landscape that recalls Flemish antecedents to the lucid architectonic composition of the group and the abstract geometry of their movements, deriving from Piero della Francesca. A passionate feeling that is not so much religious as human and psychological pervades the actors in the drama. The rendering of grief has here its most universal expression and, at the same time, its most private and conscious dimension. The mother's pathetic gesture is reflected in St John's turning away. The construction of the work shows careful thought. The figures, borrowed from popular imagery, are grouped in the foreground against an infinite horizon. The pentagonal arm of Christ ending in a closed fist is that of a fallen but un vanquished athlete. The barely glimpsed landscape, with its road wandering up a height and its torrent coursing below, pulsates with earthly life.
The figures stand out against a leaden dreamlike sky. The painting retains a strong Paduan element that is evident in the contours, adjusting gestures and figures to the strong expressive requirements of the drama. The silent exchange of emotions in the faces is reflected in the masterly play of the hands. The landscape behind them, empty and metallic in the cold, shining greys of the painful dawn of rebirth, accentuates the sense of the scene's anguish. Both the Donatello of the altar of St Anthony of Padua and, once again, Mantegna and the Flemish masters are the influences which spurred Bellini along the path of a sad and bitter pathos.

(From Web gallery of art)