L'hôtel du professeur Bérenguier Maynier
L'hôtel du professeur Bérenguier Maynier (avocat), ou du Vieux Raisin (ancien nom de la rue), date des XVe et XVIe siècle.
Entre 1463, l'année du grand incendie, et 1562, celle où commencent les guerres dites "de religion", Toulouse connaît sans doute le siècle le plus brillant de son histoire.
L'hôtel du vieux raisin, est un des plus accessibles, et un des plus richement décorés. Ces décorations, d'une fantaisie et d'une finesse d'exécution remarquable viennent couvrir à la fois les montants et les linteaux, qui sont traités comme de petits entablements. Dans la cour, le bâtiment principal du XVe siècle est flanqué à droite d'une tourelle d'escalier (XVe), percée de cinq fenêtres d'angles de taille décroissante.
The hotel of professor Bérenguier Maynier (lawyer), or du Vieux raisin (of the Old Grape - former name of the street), date of the XVes and XVIth century.
Between 1463, the year of the big fire, and 1562, the one where begins the wars says "of religion", Toulouse probably knows the most brilliant century of its history.
The hotel du Vieux raisin, is one of the most accessible, and one of decorated the most richly. These decorations, of a fantasy and a remarkable execution sharpness come to cover the amounts and the lintels, that are treated like small entablements at a time. In the court, the main building of the XVth century is flanked on the right of a staircase turret (XVth), pierced of five windows of decreasing size angles. Les fenêtres de la cour intérieure, sont presque toutes garnies de sculptures d'atlantes, de cariatides, de faunes ou de ternes, réalisées sous l'influence de Nicolas Bachelier. Elles datent du milieu du XVIe siècle.
La tourelle octogonale (XVe) abrite un escalier à vis.
La porte en anse de panier est surmontée de deux anges supportant un blason martelé.
Les fenêtres à meneaux aux pilastres ornés de candélabres sont coiffées de médaillons.
En façade sur la rue, un portique sur trois arcades relie les deux ailes coté cour.
Sur la droite du portail d'entrée, dans la cour, posé au sol, on notera un blason en pierre.
The windows of the interior court, are nearly all garnished of sculptures of atlantes, of caryatids, of faunas or of drab, achieved under the influence of Nicolas Bachelier. They date the middle of the XVIth century.
The octagonal turret (XVth) shelters a staircase to screw.
The door in shackle of basket is surmounted of two angels supporting a hammered blazon.
The windows to mullions to the pilasters decorated of candelabra are covered of medallions.
In facade on the street, a porch on three arcades joins the two wings quoted court.
On the right of the entry portal, in the court, calm to soil, one will note a blazon in stone.
Rio Loco : le festival
Chaque année la Garonne invite un fleuve du monde.
Du 17 au 20 juin 2005, la Garonne invite le fleuve Velho Chico,
c'est-à-dire le BRESIL. Les plus grands artistes brésiliens
sont attendus pour fêter les 10 ans du Festival.
Every year the Garonne invites a stream of the world.
Of the 17 to June 20, 2005, the Garonne invites the stream Velho Chico,
that means BRAZIL. The biggest Brazilian artists
are waited to celebrate the 10 years of the Festival.
Please, go wherever you want,...
Please, go wherever you want, but.......don´t use
a paintbrush. Someone did it for you, and perhaps
would be hard for you found some free wall.
So, better go dancing, drinking or making love...
A St. Sernin Visit: Outside the S. Transept (2)
The Count’s Portal was let in the end of the South Transept arm and a funeral niche created to its left. It received its name because it opened on a graveyard for primarily the nobility. The double door has pairs of slender columns on each jamb and they all bear figurated capitals which were completed before 1082. Carving capitals was in progress both here and at Moissac where the craft started after 1050 for its cloister. The capitals were created at the bench and then installed as evidenced by the fact that they are worked on all four sides (some of which are hidden from view). There is no tympanum work as yet. The subject of the capitals is the story of the Rich Man (Dives) and the pauper (Lazarus) who dies and goes to Heaven while Dives suffers eternally with his Sins in Hell as illustrated by several figures. This popular iconography was repeated more elaborately 30 years later on the entry porch at Moissac (See our Tips there). In the niche are 3 ancient Paleo-Christian sarcophagi from the graveyard; two were reworked in the 11C for the counts. Next on the wall are two bas-relief pieces of tomb covers of the same period. Along the cornice above the doors are carved heads (modillions) a decoration carried out on other doors and chapel roofs.
Musée d'Art Moderne et Contemporain
I will admit that I am not always a fan of contemporary art. I realize that my opinion may not be shared with many people, but it just seems that, as it we become more liberal and freedom of expression more widespread (both through legislative changes and the evolution of technology), artwork is pushed into greyer and greyer areas for criticism and activism. Sometimes the result is quite thought-provoking, and sometimes the message and intentions of the artists become muddled and confusing. That said, I still found the Museum of Modern and Contemporary Art (also known as Les Abattoirs, as it is housed in an old slaughter-house) a bit lacking in a way because its exhibits didn’t seem to follow any specific plan or theme. That is, the exhibition that was running when I was there seemed to just be young artists who used various types of media, but their messages and themes ran through the full gamut of issues that you’ll find in any anti-globalization protest, without a specific focus on the artists themselves. The facilities of the museum were also pretty standard (I mean that the set of the actual building was in no way thought-provoking or innovative), although there were some interesting paintings displayed outdoors that seemed to showcase Toulouse’s own modern art scene.