Ugolino
I confess that he knew nothing about this personage, Ugolino, before starting being employed on the sculpture at the Museum of Orsay (article Object in next Magazine Atticus 9). But the inspiration is what it has and the muses are capricious and however much I was getting into debt in returning to the museum, Ugolino's history me was not going away of the head. And this way I tell it to you. Y así os la cuento.
The sculptural group Ugolino is based on one of the most terrible histories that Dante Alighieri (1265 - 1321) will narrate in its work Divine Comedy in the singing XXXIII.
Ugolino della Gherardesca was a historical personage who lived between the year 1220 to 1289. Count of Donoratico and naval commander of the Italian city of Pisa. Its family was the main house gibelina of the big marine potency. Nevertheless it was praised more by the güelfos. The güelfos were advocating the power of the Catholic church, while the gibelinos were followers of that the Church was submitting to the power of the Emperor. Both groups had constant crashes in the area of the toscana in Italy (Florence, Pisa, Lucca, Siena). Su familia era la principal casa gibelina de la gran potencia marítima. Sin embargo el se decantó más por los güelfos. Los güelfos abogaban por el poder de la iglesia Católica, mientras que los gibelinos eran partidarios de que la Iglesia se sometiera al poder del Emperador. Ambos grupos tuvieron constantes encontronazos en la zona de la toscana en Italia (Florencia, Pisa, Lucca, Siena).
Ugolino married its sister with a güelfo, Giovanni Visconti, what is going to draw the suspicions of an alliance between both edicts. For this motive Ugolino is going to be exiled by the government of Pisa.
A series of events and alliances with hostile cities of Pisa returns him its honors turning into one of the most influential men of Pisa. It was named podestá and capitano of the popolo. Nevertheless they began the conflicts with its nephew Nino Visconti (Giovanni's son) what it allows to the bishop Ruggieri degli Ubaldini to be erected like new leader of the gibelinos forcing both (uncle and nephew) to leave the city. Treachery accused for not surrendering to the bishop, Ugolino was captured in July, 1288 together with its children Gaddo and Uguccione and its grandchildren Nino and Andelmuccio. One shut up them in the tower Measure and there they spent nueves months until they died of famine.
Sin embargo empezaron los conflictos con su sobrino Nino Visconti (hijo de Giovanni) lo que permite al obispo Ruggieri degli Ubaldini a erigirse como nuevo líder de los gibelinos obligando a ambos (tío y sobrino) a marcharse de la ciudad. Acusado de traición por no someterse al obispo, Ugolino fue capturado en julio de 1288 junto con sus hijos Gaddo y Uguccione y sus nietos Nino y Andelmuccio. Se les encerró en la torre Mida y allí pasaron nueves meses hasta que murieron de hambre.
Count Ugolino owes its reputation to Dante who reports how it was led to the Hell by Virgilio and there I can interview with Ugolino who narrates the terrible punishment to which it was submitted. As tells the legend, Ugolino would have succumbed after having eaten up its children and its grandchildren shut up along with him.
This way Dante narrated this mournful episode:
When a beam of the sun was already entering
for the four that he was contemplating;
for the pain, the hands I was bitting;
and they like that spoke to me, since moved
for the famine they believed that it was doing it:
“Less dear father will hurt us,
if you eat us; in meat you dressed us
and you can undress what you have dressed”.
For not grieving them I was calming down, sadly;
one day and other mute we were.
“Oh!: why, did not you open cruel ground to yourself?””
This way until the fourth day we pass,
and I feet Gado was thrown shouting:
“Oh, father, help us because we die!”.
There he died; since you are looking at me,
I saw the three dying, one for one,
between the fifth one and it is sixth, and being delirious
and I block up already, when I was touching someone
of the four, although dead person, it was calling him;
later, more that the pain could the fasting.
Ugolino, in Dante's words should have expressed that the famine could more than the pain. Ambiguous phrase that gives to understand that the count died of famine rather than of sorrow, but the popular interpretation says that Ugolino ended up by eating the bodies of its children and grandchildren. This way it went down in history like “Count Caníbal”. In some representations it is possible to see him bitting its fingers of his own hands. Así pasó a la historia como “el Conde Caníbal”. En algunas representaciones se le puede ver mordiéndose sus dedos de sus propias manos.
Jean Baptiste Carpeaux (1827-1875), sculptor and French painter, was employed at its Ugolino in 1958 when it was in Rome in Town Médicis. It is more than well-known the influence of the group helenístico Laooconte and that of Miguel Ángel (one of its most admired teachers). In turn this group served like model so that Auguste Rodin realized its famous Thinker. The similarities are more that you show in Ugolino's time exposure. Also the proper Rodin was inspired by Ugolino's legend to realize its sculptural group twenty years later (a work in plaster finds in its museum house of Paris) with a quite different plastic result. A su vez este grupo sirvió como modelo para que Auguste Rodin realizara su famoso Pensador. Las similitudes son más que manifiestas en la pose de Ugolino. También el propio Rodin se inspiró en la leyenda de Ugolino para realizar su grupo escultórico veinte años más tarde (una obra en yeso se encuentra en su museo casa de París) con un resultado plástico bien distinto.
Carpeaux realizes a dramatic composition, in pyramidal form, in which the meat of the children supports the proper body of the personage. The sculptor receives perfectly Ugolino's anxiety that not only bites the fingernails but he bites his own meat before the desperation. Its eyes are sunk, the ruts of the forehead believe tension and dramatism together with the far-away look there in the soil. It is a face demudado and with a contracted expression that there show the solitude, the desperation, the anger and the powerlessness of the tragic hero. Sus ojos están hundidos, los surcos de la frente crean tensión y dramatismo junto con la mirada perdida allá en el suelo. Es un rostro demudado y con una expresión crispada que muestran la soledad, la desesperación, la rabia y la impotencia del héroe trágico.
Ugolino has all the muscles in tension. Its foot rests on another foot while its two children grasp the body of its father showing, also, its desperation. One of them begs its progenitor who fulfills its desires and who is he the first one. Other seems to hide the head between the torso and the arms of its father who seems to receive him in its bosom. Between them, others two young people, Ugolino's grandchildren, begin showing the famine symptoms: one is on the point of getting weak and scarcely he supports himself and other is already reclining, without scarcely felt, to the feet of its grandfather. While its parents show an athletic, tense body, these young bodies are weak, soft, what makes think that they are already moribund. Uno de ellos implora a su progenitor que cumpla sus deseos y que sea él el primero. El otro parece esconder la cabeza entre el torso y los brazos de su padre quién parece acogerle en su seno. Entre ellos, los otros dos jóvenes, nietos de Ugolino, empiezan a mostrar los síntomas de inanición: uno está a punto de desfallecer y apenas se sostiene y el otro ya se encuentra yacente, sin apenas sentido, a los pies de su abuelo. Mientras que sus padres muestran un cuerpo atlético, tenso, estos cuerpos jóvenes son fláccidos, blandos, lo que hace pensar que ya están moribundos.
Luisjo
Many people are the lovers of the photo who choose a holiday destination to enjoy its passion.
It was the 
You photograph: 
The trips of low cost are a fashion and also there are a reality.
Also we ate in a German typical brewery in our trip in search of the main Romanesque churches.
The whole day to cover the city is great, it does not give for so much, although one already has an age in which the body prefers to rest and enjoy without hurries of walks along the city.
SACRED REAL FACT (1600-1700), SPANISH RELIGIOUS ART IN THE 
According to the trade union disposition that was prohibiting the sculptors to paint its own works, the skill of the 
Protected, between others, by the Spanish Agency of Cooperation
