Sermon by Associate Pastor Chris Tiews, 10/25/2009

Today is Reformation Sunday, on which we observe October 31, 1517—a day that changed the history of the Western world.

On this day, a former monk and professor of biblical studies at the University of Wittenberg in Saxony, Germany—challenged the superpower of Rome to cleanse the Church from the abuses and unbiblical teachings that for centuries had been creeping into the Lord’s Vineyard, that is, into the Church.

This professor was Martin Luther. Luther challenged the Roman hierarchy by posting the Ninety-five Theses to a church door in Wittenberg.
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… vil jeg ikke paastaa at man kan kalde mig. Lytter til Goldbergvariationerne og paataenker visit paa MNAC (Museu Nacional d’Art de Catalunya) senere. Det er gratis om soendagen. Der kan man blandt andet se denne fine sag;

Current images from the field lie with images from the history of painting.

André likes to quote playwright Henrik Ibsen: “To crave for happiness in this world is simply to be possessed by a spirit of revolt.” André believes the root of the problem is that happiness dissolves differences between people, and French intellectuals, or the people who claim they are intellectuals, are afraid of being swallowed up in the mass of office clerks. “If a society places great emphasis on happiness being something anyone can achieve,” he says, “then those people who are always searching for a way to be different can do nothing but criticize and reject this striving toward universal happiness.”

- Why has there been such a strong focus on being happy and living a good and conscious life in recent years?

- The interest in happiness emerged at the same time as the interest in health. Now that Westerners don’t have to worry as much about pure survival, they’re much more interested in the quality of life. But there’s also a long-term trend here. Happiness also is part of democratization. Since the 18th century, everyone has a right to happiness. The American Constitution speaks of the pursuit of happiness.

Nowadays, happiness is a topic addressed by the consumer society. Happiness is everywhere, which of course leads to a deeper interest. This is undoubtedly because the need for meaning is more keenly felt since the role of religion has declined.

- What are the indispensable ingredients for happiness?

- Food and shelter are absolute conditions, of course. I distinguish between poverty and misery such as I have seen in Africa. You can still experience moments of happiness in conditions of poverty, but not in misery: it’s a near-constant wasting away. Human beings are social animals, so our ties to other people are important. And we are children of nature. Many happy moments are experienced in the outdoors. It’s no accident that in Christian heaven, we see our loved ones, friends and family again, and that this takes place in a natural setting of bubbling mountain streams and grassy meadows, the Garden of Eden.

- Has there been progress in happiness? Are we happier than we were 100 years ago?

- The social sciences have been working with indicators of happiness for more than 30 years. All the studies find that people are reporting increasing levels of happiness. On average, Americans are happier than Europeans, and Northern Europeans are happier than Southern Europeans. The West is aging, and the majority of older people say they’re happier than they did in the past. They also understand happiness better, because they understand what is and isn’t important.

There are plenty of objective reasons, too: In the Western world, illness, violence and war determine our chances of happiness less than they did in the past.

And then of course we have drugs to fight depression. Prozac doesn’t make you happy, but it does make you less unhappy. It decreases negative feelings so there’s more room for experiencing happiness. I see that my patients suffer less when they’re given good medication. Now, as an individual you have to work hard for -moments of -happiness. I don’t rule out the possibility that in 20 years there will be other serotonin-based drugs that will take over that function.

What I’m saying isn’t politically correct—society will have to debate the matter, like with fluoride in drinking water—but I don’t think it’s impossible that there will be some kind of happiness pill. I see so many people being eaten up, destroyed, by suffering. Alcohol, drug and domestic-violence statistics are much too high in our society. There are so many problems, so much unhappiness. If pills can change that, I won’t reject it out of hand.

- How can optimism play a role here?

- Optimism is an ingredient for happiness. It’s not the same thing as happiness. There are pessimists who are happy and unhappy people who are optimists. Optimism is the human capacity to anticipate, and it’s stored somewhere in the brain. Spontaneously, I’m a pessimist. If you ask me what the future holds for Africa, I’ll start talking about famine, violence and misery. But if I concentrate, I think, What were things like in Europe 100 years ago? War, unemployment, illness, poverty. Things have changed here now, so why not there?

Optimism gives you the power to try for happiness, and then when you get a little, you understand that trying to be optimistic was worth the trouble. In the end, it’s about making an investment in yourself. The Italian writer Primo Levi survived a concentration camp in spite of his despair, because he believed in life, saw something positive in it, and he held onto that.

- What is the purpose of happiness?

- It has no purpose—only that you’re happy. It gives you a more interesting life. We don’t live for happiness, but life is possible, beautiful and rich because it exists. When we’re happy, we don’t think about tomorrow; we enjoy it here and now. And we’re only able to do that because we know that there could be more suffering tomorrow. Happiness is only possible against the background of death; only we human beings know that we’re going to die, and that in itself is a good reason to strive for happiness.

You could also say, “What is the purpose of life?” Everyone gets to decide that for themselves. But, again, meaning and happiness are not the same thing. A big hero of the Nazi resistance has given a lot of meaning to his life, but that doesn’t mean he’s a happy person. To paraphrase Diderot: Happiness is a state of well being you wish would last forever.”

Be Happy!

—
Source: Ode Magazine, Peter Van Dijk, March 2008 issue

http://www.odemagazine.com/doc/51/professor-of-happiness/all

—

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• “I Took It To Mean”: An Ethics of Textual Intimacy (motleyvision.org)

Paula Modersohn–Becker Museum Bremen. Actual artist: Lucas Cranach – “Lucas Cranach” – Exhibition dates are 17.05.09 – 23.08.09. Get more information about Lucas Cranach – Museum or Gallery informations: Bremen, Paula Modersohn–Becker Museum by Wikipedia.org / Portal:Arts. Buy arts from Lucas Cranach or find objects, articles or web-projects? Art online: Lucas Cranach by adaweb.com | Biography – Textportrait from Lucas Cranach by Lucas Cranach. Articles and texts:

Textimages: Naomi Campbell (Ralph Ueltzhoeffer 2008)

Ralph Ueltzhoeffer: Textportraits.

EXHIBITION – artist: Lucas Cranach, location: Paula Modersohn–Becker Museum Bremen, date: 17.05.09 – 23.08.09 / current exhibitions at: Paula Modersohn–Becker Museum Bremen 2008. Artistinformation and biography-text from: Lucas Cranach Paula Modersohn–Becker Museum Bremen CATEGORY: art, modern art, projects: TEXTPORTRAITS Lucas Cranach by Ralph Ueltzhoeffer and Laura May. More information about Lucas Cranach Exhibition Paula Modersohn–Becker Museum Bremen, Germany.

New entries: actual 0

Naomi Campbell / Portrait (TEXTPORTRAIT).

textportraits by Ralph Ueltzhoeffer.

AKTUELLE AUSSTELLUNG: Paula Modersohn–Becker Museum Bremen; Künstler: Lucas Cranach; Betitelung: Lucas Cranach – Zeitraum der Ausstellung: 17.05.09 – 23.08.09. Kunstausstellungen (Deutschland) aktuell: Paula Modersohn–Becker Museum Bremen (2008). Weitere Informationen über: Lucas Cranach: Biografie/Biography — | Galerieninformationen/Gallery: Lucas Cranach — Weitere geplante Ausstellungen: Paula Modersohn–Becker Museum Bremen von Lucas Cranach — Lucas Cranach Kunstportal: Wikipedia (http://de.wikipedia.org). Mehr aktuelle Informationen über Lucas Cranach Paula Modersohn–Becker Museum Bremen.

Beitragsforum Kunst & Kultur allgemein:

Textportrait: Naomi Campbell.

Textportraits – Ralph Ueltzhoeffer.

Part 1 of 2.  Taught by Ann Brown, at UCCF South Team Days March 09.

We are people of the Word, saved by an historical Saviour and called to verbally communicate the gospel; yet we live in an image-driven culture.  And there is a long-standing suspicion of the image in our protestant church.  What are the roots of this nervousness?  How should we engage ourselves with this culture?

1. What are the roots of this nervousness?

Post-Reformation, many churches were stripped bare of any imagery, and made completely bare.  As Protestants, we are heirs to this tradition, so we do well to examine it.  During the Reformation, waves of iconoclasm (burning of images) swept across Europe.  One of the first outbreaks was in Wittenberg, shortly after Luther nailed his theses to the door in 1517.  He, however, didn’t incite the violence; in fact, he tried to stop it.  But many people emptied the churches of the visuals of the old order, perceived as the idolatry of Roman Catholicism.

Images weren’t always despised in Christendom.  Augustine of Hippo and Pope Gregory in the 7th Century gave a role to images.

Images are useful for “the illiterate, who read in them what they cannot read in books”

- Gregory 600AD.

Compare this with our culture – people can read, but don’t like it!  They prefer the visual.

Images continue to cause enormous debate in Roman Catholicism.  In 790-792 AD The Caroline Books were introduced (referred to by Calvin and the Reformers).  They argued that images should be used, but only in very definite ways; for purpose of instruction, to promote piety, in memory of past events; but wrong to burn incence or lights before them in worship or adoration.

Martin Luther in 1522 argued that iconoclasm was wrong, referring to Exodus 20:4-5 and Leviticus 26:1:

“We are free to have them or not; If only the heart does not cleave to them, or put its trust in them.”

Religious art flourished in Luther’s Germany, especially woodcuts; during the Reformation, images changed and were reformed.  An example is Lucas Cranach the Elder’s Wittenberg Altarpiece:

This has ordinary people in it.  It includes Luther!  Instead of the iconography of the medieval altarpiece, these were contemporaries that could be recognised.
This is an example of a new type of religious art surfacing around this time – very radical and contemporary.

Zwingly disagreed with Luther.  He thought they were a distraction; the emphasis should be on the word invisible and heard, over the image visible and seen.  Calvin agreed:

“All who seek visible forms of God depart from him…”

In faithful preaching of the Word of God “Christ is depicted before our eyes as crucified.  From this one fact they could have learned more than from a thousand crosses of wood and stone”

However, none of the Reformers were opposed to The Arts in general:

“the invention of the arts is a gift of God, by no means to be despised.”

- Calvin

Outside the church, the Reformation helped form a remarkable and distinctive visual culture – for example, it was a key age of Dutch painting.

Rembrandt, The Mennonite Minister Cornelis Claesz.  Anslo in Conversation with his Wife, Aaltje 1641.

This painting highlights the pre-eminence of the Word over the image:

“The pages stir, rise, flutter with light and life.”

- Simon Scharne (BBC)

Rembrandt always gets at the psychological depth of the person.  See the wife – in a moment of suspence, caught between hope, apprehension, understanding.  A feminist reading argues: left to right shows supremacy of husband over wife, and word over husband; husband is bullying wife.   Ann Brown suggests in contrast to consider the candle snuffed out (usually symbol of someone died), the wife clutching handkerchief, the husband opening up Word of God and comforting her.

Jacob van Ruisdael, Windmill at Wijk dij Duurstede 1670.

The picture is aesthetically pleasing to us; but the 17th Century person, versed in the bible and in emblem books (which contained thoughts, bible verses, images), would recognise that as the wind makes the windmill move, in the same way the Spirit gives life.  So here, there is no wind, the women may not be able to grind their corn; but there is light shining through and thus hope.  So learning to read Dutch painting reveals a subtext; they invite us to move beyond just looking at a painting of the natural world to a reflection on deeper values.

Britt Wikstrom, Cathedral of Suffering, 1994.

Based on Amnesty International’s Declaration of Human Rights; an indictment of suffering.  The layout immediately reminds us of Calvary.  Man in middle, a woman mourning, a child crouching protecting his head; yet God has broken into this world of suffering – an immediate opportunity to explain the gospel.

“Paintings are philosophy on canvas”

- Ann Brown

2. How should we engage ourselves with this culture?

(i) Recognise the shift

There is a danger that as people of the Word we are separated – by an enormous gulf – from a culture dominated by the visual.  There has arguably been a real shift to the visual in our culture in the last 50 years, accelerated in the last 10-20.  The average age of a radio discussion programme is now 55-60.  Note also the change in newspapers today compared to 50 years ago – there’s been a huge shift in layout, and dependance on images rather than words.
Two questions for you: what’s your favourite book, and what’s your favourite television programme?  Instinctively we find it much easier to answer the latter.  That’s a crude test, but perhaps suggests we are more visually wired.

Jacques Ellul in ‘The Humiliation of the Word’ pushes this further:

In an image-saturated culture, “the word is humiliated by the image.  It is devalued and treated with contempt.”

“Since our culture traffics in images, should all our communication and ministry be shaped according to its dictates and preferences?”

Handout & Discussion: Review by Groothius on Arthur Hunt.  A decrying of a move away from the Scriptures towards a more visual culture (in church).

(ii) Recognise our reaction

Attitudes to the surrounding culture: which one are we?
- Suspicious Separation
- Assimilation and over identification
- Engagement/cultural apologetic/cultural transformation

HENRY IV the Pious (1473-1541), Duke of Saxony
Portrait: Lucas Cranach the Elder

KATHARINA von BORA (1499-1552), German nun, wife of Martin Luther
Portrait: Lucas Cranach

MARTIN LUTHER (1483-1546), German monk and church reformer
Portrait: Lucas Cranach

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Art expert Gunnar Krogh-Hansen estimated “Suffer the Little Children to Come Unto Me” could be worth 15-20 million kroner ($2.1-$2.8 million). It was probably painted around 1540. The theft was discovered when firefighters responded to …[More..]

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I think that Camille Paglia would like this painting—with its sheeny, armored Apollonian males and naughty nudie graces.

These two males have paused, dangerously, in the pagan wilderness, and like Mars, are about to be relieved of their clothes by these clearly plotting and cunning Venuses.

In the upper right of the painting, a civilizational refuge is far off in the blue haze, and insignificant.

The men will not be saved by it.

Cupid (in the upper left hand corner) will win the day—and the horse, tethered to his phallus-like branch, gives us a sideway look that tells us that he knows the score. 

Wildness is about to be released to breathe new life into these two older male geezers.

Viva Viagra.

Welcome to the home of Paul T. McCain’s blog at WordPress. It is a placeholder for his actual blog site, which you will find here.

     Los cuadros literarios que recrean a Lutero abundan en la figura de un hombre que hacia 1535 vivía un tanto retirado del mundo, grueso, espeso, de sotabarba cebada, bebedor de cerveza y sonriente ante la llevada de un tonel de vino. Habían quedado atrás las luchas contra las autoridades, las polémicas, los cáusticos panfletos y la enfebrecida correspondencia mantenida con sus amigos y partidarios. Había decidido y aprendido a vivir en el retiro de un antiguo y desocupado convento, ayudado de pequeños trabajos: era experto en la reparación de relojes, trabajaba como jardinero, meditaba, escribía en medio de un vaivén de hijos. Con su mujer, Catharina von Bora, monja exclaustrada, bromeaba y celebraba cosas sin transcendencia, la pellizcaba, le dirigía pesadas y escatológicas expresiones de marido torpe. A veces el lenguaje de Lutero, incluso en los escritos, era soez. Decía que del papado no salían más que “asnales pedorretas”, y que su mayor representante era como el cuclillo que “quiere chupar los huevos de las iglesias y caga luego vanidosos cardenales”.

       Él, que en un tiempo había abominado del matrimonio, se sumergió en el ambiente doméstico, entre gentes y alumnos que se acercaban a la casa para compartir mesa con el teólog que impartía lecciones y catequizaba en Wittenberg. En su clásico estudio, Lucien Febvre lo dibujó como un profeta aburguesado, como un hombre de altibajos que vivía digna y mediocremente en medio de la barahunda del hogar y de pañales puestos a secar. Además de los propios, la pareja mantenía once hijos de las hermanas de Lutero, fallecidas tempranamente. Para mayor carga, los azotes de la peste convertían las habitaciones conventuales de su domicilio en un verdadero hospital. Un visitante anotó en su cuaderno: “la casa del Doctor se ha tornado en una extraña y heterogénea morada de chicos, estudiantes, muchachas, viudas, mujeres mayores y niños; es tremendo el desasosiego que allí reina, y por ello hay tanta gente que tiene lástima de Lutero”. Se ha hecho hincapié en que Lutero nunca pudo asumir el naufragio disciplinar -y también moral- de la Reforma, tal como él la había concebido, por eso se marchó de Wittenberg. En 1545, un año antes de morir, escribió una carta a su mujer, la querida Khete, “predicadora, cervecera, jardinera y un montón de cosas más”, confesándole: “prefiero anda errante de un lugar a otro y comer el pan de los mendigos, antes que mortificar los últimos días de mi vejez con los desórdenes de Wittenberg y el fracaso de mi costoso y amargo trabajo”.

       Pero esta imagen de hombre conforme y eclipsado es engañosa. En su interior nunca transigió, como tampoco cedieron su ironía y el rencor contra los teólogos adversarios, los opulentos, los judíos, el papado y los sacerdotes, a quienes llamaba “santos del vientre” y “lacayos de la tripa”. Los caricaturizaba en burlescos grabados y dibujos que remataba su buen amigo Lucas Cranach, a quien a menudo ayudaban sus hijos, también artistas. Sabía que le escuchaba un pueblo cerril y huraño o, como él decía, salvaje, brutal y furioso. Desde la cátedra veía con disgusto la rudeza de unos personajes que parecían salidos de las tablas de Brueghel. Cada vez se le hacía más fatigosa la traducción del Antiguo Testamento. No estaba aburguesado, sino dolido por la falta de refrendo tras los conflictos del campesinado. Quemaba a Lutero el distanciamiento de los teólogos que en un tiempo hicieron causa con él. En su interior reconocía que había desilusionado a algunos humanistas -no gustó su polémica con Erasmo- y que había decepcionado a una parte de la nobleza. También desconcertó a muchos de sus seguidores que se casara en 1525. Su íntimo Philipp Melanchthon, tan prestigioso teólogo y helenista, que contribuyó a dar cuerpo intelectual al luteranismo, no entendía cómo el que fuera su maestro había cedido a la imagen de un hombre ahogado en la vida doméstica.

       Quien tantas pullas había lanzado contra el matrimonio y deplorado las relaciones sexuales, se había convertido en un atropellado padre de familia, satisfecho de sus chanzas con la monja que colgó los hábitos. Seguramente escandalizó a Melanchthon lo escrito por Lutero años más tarde, en 1532, en las Charlas de Sobremesa, donde ensalza las virtudes de la convivencia conyugal: “el matrimonio no es sólo algo natural, sino un don divino que proporciona la más dulce, grata y honesta de las vidas, incluso más que el celibato y la soltería”. Y aún: en los momentos de desvelo, por la noche, en la cama, “qué grato es ver un par de trenzas”. De hecho, la institución matrimonial logró prestigio con la Reforma, en parte debido a la aversión que Lutero sentía por el antinatural estado célibe de monjes y monjas.

       La mujer, decía, era quien llenaba el hogar de humanidad; si tenía caderas anchas era señal de que estaba destinada a traer hijos al mundo. Desmentía las creencias populares que la denostaban, como la que afirmaba que las mujeres en período de menstruación empañaban los espejos y agostaban las plantas. Había que desmentir estos bulos populares, porque, junto a los médicos, ellas eran quienes mejor cuidaban a los enfermos, y muchas distinguían tantas decoloraciones de orina y de heces como un maestro en medicina. El famoso cuadro de G. A. Spangenberg pintado en el siglo XIX, en el cual Lutero tañe el laúd y sus hijos cantan, flanqueado por la delicada figura de Catharina y observado desde atrás por un soriente Melanchthon, revela un ambiente que nunca tuvo lugar.

- Ramón Andrés-

Johann Sebastian Bach: Los Días, Las Ideas y Los Libros (2005)

Nascimento de Vénus — Botticelli (1485)

Sei que não devia falar nisto, “que será dar demasiada importância a quem não a merece”, mas não resisto. Leiam este artigo da Fernanda Câncio no DN e digam-me se faz algum sentido. Senão vejamos (vamos ao fisking):

1. Critica a FC o facto do Metro de Londres ter retirado uma reprodução de uma pintura de Lucas Cranach de um dos murais de uma estação. Eu concordo, neste particular, com a FC, nomeadamente porque a reprodução do nu faz parte da pintura europeia renascentista, e não podemos esquecer que a cultura da Renascença — nomeadamente, a do renascimento italiano — foi apadrinhada por altos dignitários da Igreja Católica. A partir de finais da Idade Média, a tradição cristã conviveu razoavelmente com a estética do nu, e o cristianismo tem o condão de ser a religião que mais coaduna a ética com a estética — ao contrário do judaísmo, que sacrificou a estética em nome da moral, ou do islamismo, que sacrificou ambas as coisas.

2. Em seguida, a FC confunde a educação sexual do nu implícito no sexo explícito que defende para as crianças de 6 ou 7 anos (que não tem nada a ver com a estética expressa numa pintura renascentista de um nu) com a estética do nu renascentista, quando a educação sexual para essa faixa etária deve ser mais simbolista do que explícita, por razões óbvias.

3. Depois, a FC coloca no mesmo nível de juízo este caso de censura social de manifestação pública de sado-masoquismo com a censura da exposição do quadro de Lucas Cranach, como se fossem ambos os casos passíveis de serem ajuizados à luz dos mesmos critérios.

Ou a FC não se sabe expressar, ou foi isto que entendi. E o DN paga.

Menschen im Mittelalter, die ihren Lebensunterhalt auf “unehrliche” Weise verdienten, also in gesellschaftlich verachteten Berufen, wurden zur Randgruppe. In diesen Bereich fielen Tätigkeiten, die als unangenehm oder unmoralisch galten. Dazu zählten Huren, Totengräber und Scharfrichter. Doch auch Schneider und Müller waren nicht immer gut angesehen, da ihnen vorgeworfen wurde, mit ihren Materialien betrügerisch umzugehen.

Der Beruf des Scharfrichters ist seit dem 13. Jahrhundert nachgewiesen, aber natürlich muss es auch davor schon “Fachleute” für Todesurteile gegeben haben.
Ein Henker tötete im öffentlichen Auftrag, zu seinen Aufgaben zählte auch das Foltern zum erzwingen von Geständnissen. Oft überließ er das anlegen von Daumenschrauben oder das abschneiden von Zungen und Ohren seinen Helfern. So konnte er Nebentätigkeiten wie dem “Entsorgen” von Selbstmördern oder dem Beaufsichtigen von Huren nachgehen.

Mordgelüste, Sadismus, liebe zur Brutalität, nein, das waren nicht die Eigenschaften, die einen Mann dazu veranlassten diesen Beruf zu ergreifen. Oft entschlossen sie sich aus purer Not dieser Arbeit nachzugehen oder sie bekamen sie einfach vererbt. Die Arbeit dann anzunehmen war natürlich besser als betteln zu gehen.
Geheiratet werden durfte dann aber auch nur innerhalb der eigenen oder einer ähnlich ausgegrenzten Berufsgruppe. Auch aus Armut gelang es vielen nicht, sich aus diesem Muster zu befreien.

Ängstlich soll der Name des Henkers verschwiegen worden sein, es wurde von “Meister Hans” gesprochen, obwohl doch fast jeder wusste, wer sich unter dem roten Mantel und der Maske verbarg. Der Kontakt zu ihm wurde, nicht nur in strafrechtlicher Sicht, gemieden. Der Scharfrichter lebte mit seiner Familie am Rande der Stadt.

Eine gewisse Begabung, oder Übung, war für diesen Beruf sehr wichtig, denn ein Scharfrichter, der sein Amt ungeschickt verrichtete musste fürchten Opfer der Lynchjustiz zu werden. Nicht jeder schaffte es den Kopf mit einem Hieb exakt zwischen zwei Halswirbeln vom Rumpf zu trennen. Andere Tötungsmethoden waren Schwerstarbeit, wie der Tod durch Zersägen.

Scharfrichter war ein nicht schlecht bezahlter Beruf. Zu den Vergütungen für die Hinrichtungen kam noch Lohn in Form von Brennholz, Wein und Getreide. Zwar wurde seine Gesellschaft tagsüber gemieden, doch im Dunklen wurden seine Dienste dann ganz gerne in Anspruch genommen.
Er war, dank seines Berufes, ein guter Kenner des menschlichen Körpers. Der Scharfrichter wusste, wie man Schultern wieder einrenkt oder Knochenbrüche schient. Zudem sollen das Blut der Enthaupteten oder Gehirnschalen der Gehängten “Glücksbringer” gewesen sein, denen Wunderkräfte zugeschrieben wurden.

Zersägter von Lucas Cranach, 1539

Dans le réfectoire d’une pension religieuse, en tête du présentoir du self-service, une corbeille de pommes avec un petit écriteau:

“Une pomme par personne. Attention Dieu vous surveille”

A l’autre bout présentoir, une corbeille avec des gâteaux brisés et un petit mot, écrit à la main:

“Vous pouvez prendre autant de gâteaux que vous voulez, Dieu est occupé à surveiller les pommes”

Je sais que théologiquement, ça ne vaut pas un clou, mais tout de même, je trouve cette histoire sublime. [Merci à JPA pour l'histoire. Montage avec l'accord de Lucas Cranach (1472-1553)]

Sur le thème d’Adam et Eve…