28

The eternal love of God is somewhere deep in your heart. This should not be something you should fight for but something you should feel. A lover's lament when true love has to end through death feels like the deepening of the heart to an eternal place where you would find God. With Virgil's The Aeneid, you feel the eternal spirit was reached by Dido through her love. Other literature seems to take you to the same place, for example, the journey of Homer takes you through a place where Heaven exists in the heart via the gods. Dante does the same until you reach God. Milton seems to take you on a divine journey as well as from one domain to another. Eternal love and Heaven should be accessible through a divine passage here on earth. God can give you this passage if you find him in your heart to take you to him always.

27

A spiritual home can equal a number of philosophical equations. For example, in Homer with the battle scene philosophy, they appear to wait until dawn, ready, crouched down, in full armour, glistening like beetles. They would wait until dawn and ransack the castle. Trained warriors were needed to keep the side fighting as morale grew slim, the longer the battle lasted. Some had to give up hope and walk away through lack of willpower to fight the battle any more. All battles had to be blessed by the earth god and Jove by libations. Messages from heaven would come in the form of lightning by Jove or a twig dropped by an eagle, other than this the shades would pass on a message. The Heaven you entered, after death, was a pathway underground to the first circle of the abyss or the first circle of hell.

26

In the beginning of Christianity there were philosophy astronomy blessers who had to bless their sanctum. This scared some of the local people who lived near by. God had to be failed by the locals and the philosophy had to be found by early Christian philosophers. This equation would equal something like mapping charts of the stars. This would not happen out in landscape, although they may have taken notes, happening an office to draw a map. This could have been misconstrued by unknowledgeable citizens, as something anti Christian. Not sacred charts to be used for future generations to equate the position of the earth with the birth of Christ. Very early civilizations also had heartfelt understanding of the stars. They were extremely important messages from God for them too. They charted the stars with ready philosophy but equalled a ready pattern on their home. This can still be observed where ready spiritual homes exist.

   

25

Most archives would not equal empathy from any person who did not respect God. God has to be found on your special pathway unto him. This pathway would not be understood by any person who was not favoured by God for this purpose. Previously Christian pilgrims going through countries like the United Kingdom would have mainly been studying Satan and would have been looking for God in this place. This may not make sense to the common brain or modern life as the equivalent would not be anything other than the current person responsible for evil. They had lost their way spiritually and needed a different equation of light. God would definitely equal a library for most current Christian residents in the largest city of the United Kingdom. Such sacred texts are often looked at by the wrong person to judge empathy. Philosophy about a sacred way would only be something called Christianity.

24

An archive can equal a number of different philosophical equations. For example, prior to ascension of the Papal state, all Donatello's workshop pieces along with the work of Settignano would have been stored and stacked up as an archive in storage in the basement, more to keep Donatello's clay pieces moist. Other archives could for a naturalist equal several species of plants, this you would find in a native forest as well as several species of native bird life. Some forests, especially those in Italy would have wild boar to sent the truffles and also earlier would have had small brown bears.

23

As with all the 1800's paintings of Venice to the point that the Grand Canal looks too familiar, the early photographs also resonate a contemplative artistic point of view treasured by great artists. Photographs of the interiors of churches, frescoes, paintings and sculptures were also taken in abundance. Premise this photographic record is a continued interesting art project and a detailed renewed view of the current philosophy of this period of time. The personal view of an individual artist viewed and photographed by another artist gives a special equation for view. Artists taking photographs of their own artworks, for example, Brancusi, have also contributed an interior view and a different equation of the light in the soul or God.

22

With the introduction of photography in the late 1800's, there seemed to be a demand for photographing art pieces in Italy. Initial thinking was this was for study purposes and the drawing of the figure. There seem to be extensive archive libraries full of such photographs. Even though they are postcard size photographs, the photographers seemed to take the art form seriously and produced some very interesting photographs.

21

The Papal court would have owned the whole ascension of sculptures now the ascension of the Bargello museum collection. The majority of museum ascension in Italy would have at one stage been bought by the Papal court not the Royal court, however, they too would have there own ascension collections. The Papal popes would have not all been great people to deal with but happening they certainly left behind an enormous wealth of divine ascension unto God. And several museums of exquisite artworks are still available for view.

20

In Italy you feel there was no need to do anything other than make a name for the town by a prominent artist perpetuating an individual and useful style. This would make a new name for the town to prosper with. This was the case in Renaissance Italy and should be a beautiful model to uphold. Modern equations of the same would have a different interpretation of Christ. They would have benefitted from this and been acquired by the Papal court. So, instead of having to redeem there sin by contemplating evil, they prospered by contemplating God.

19

The English sculpture from the war years to present day is not represented to its fullest potential to the point that there are only books available in second hand bookshops and then there are only a few scholarly texts with thumbnail size photographs. With contemplation of how this could possibly be given the publishing skills of the English one can only assume that after Henry Moore and Barbara Hepworth that few sculptors remained who needed public acclaim. Therefore, sculpture was an ornament for the back of the house and although some Unites States artists for example, Nancy Holt, made incredible installations for such purposes few participated with going to the United States to do the same. Until the early nineties the only visible internationally proclaimed sculptors name was Anthony Caro and one wonders given how American in style his work is why his sculptures are not in every park in America. Most sculptors in England appear to have behaved like Jude in Thomas Hardy's last book or like the church stonemason. Not that the Renaissance sculptors behaved much differently working everyday for a new equation to God. Prior to this with the introduction of libraries with books you could acquire through purchasing much to Dante's horror. Dante found the practice to be nothing other than evil. Premise one wonders who the distributors were, obviously nobody Dante trusted.

18

Certain sacred libraries from monastic times appeared to dwell on images of the darker consciousness. As though they needed to redeem not their sin but knowledge of evil. A lot happening seemed to concentrate on the darker pathway too, especially for healthy contemplation or the help of the Lord. You could imagine dwelling on the evil side of human consciousness or a job in the police force where daily routine is criminal offenses or the darker side of the human nature needing to be brought into conscious awareness rather than taking ones own personal psychology out on neighbouring humans would effect your own psychology or evil. You cannot believe a healthy ascension would occur with too much focus on darkness. Often in somewhere like the United Kingdom, Celtic mythology is completely misinterpreted as being something like witchcraft where the mythology is sacred knowledge of the cross. A cross that represents a woman in full bloom or ready to give birth. The feet are often represented by a cross bar suggesting a hay festival dance took place. Consequently, sculpting suggesting birth and womanhood appears to be too sacred for view. Here, I would be contemplating Henry Moore and Barbara Hepworth, who appear too sacred for view for the English. Both, Moore and Hepworth, grew up in a similar place with ancient Celtic rock formations in the hillside being a major influence in there work. Little is known about British sculpture until the early nineties after this divine pair.

17

Living in a country without sacred libraries does reflect the consciousness of a community. In the previous country of my residence there were a couple of sacred libraries with an unknown ascension on display in the archive. I could only assume sacred people donated to these libraries from war torn Germany. I could not believe anywhere else on earth would deserve such sacred knowledge.

  

16

For some reason, I am reminded of Medardo Rosso here. Thinking with his oeuvre of work, like Settignano, Medardo Rosso also mainly made sculptures of small children and a goddess with child. Probably because of his Italian background coming from somewhere like Venice and being completely a fright for most other Italians where he started his practice, he then moved to France. The Italians would have philosophy and thinking he was a representation of the god Vulcan for doing his own casting would have experienced nothing other terror in his breath. Living where he did there would have been German bloodlines from former invasions. So, instead of being an enormous ogre, he would have been as gentle as a pussycat. This would scare the women around the village because looks can be deceiving. The representation of his worth would be the incredible experimentation. This would remind you of Luca della Robbia as well as Settignano.

15

Luca della Robbia has also been a long time personal favourite and the John Pope-Hennessy book a divine tribute to somewhere so divine, God bless him. The Relief Bust of a Lady at the Bargello museum was unfortunately not on display but the previous occasion for view was a divine opportunity blessed by God. An exhibition in the Louvre Museum in Paris called The Springtime in the Renaissance was divine compensation and felt blessed by the Virgin Mary with several tributes to her namesake via God. The blue of the glazed terracotta gives you the ascension that takes you closer to the divine goddess via a heavenly domain. This accompanied by the white glaze on their faces and the love and the warmth of the really deep, heartfelt expression (often portrayed by Luca della Robbia) takes you through to the love of Christ. 

14

You felt in former times gone by the divine design of the main gallery room, in the Bargello museum, was a divine gift by the former president of the museum. From several books of this ascension the pieces do not seem to have changed for centuries. The focus on the theme of David from the Holy Christian bible was a prominent theme, this would have been the focus of the display as it was originally designed. The first time of a visit to this gallery, I was blessed in seeing this divine design. I did happening enjoy seeing the Verrocchio's David on display with the other sculptures of David by design. I was disappointed they had changed the design and the della Robbia room was not open to the public.

13

The change of display of the main gallery room at the Bargello in Florence also felt as though some pieces had gone to another exhibition. The room below with several tributes to the river gods feels as though the place needs to pay tribute to these gods to have sacred sculptures on view. I walked along the river, a river in full flow and felt their earth god breath. Premise they would reach through to the inner core to help ingest sculpture so heavenly bound.