#ferrires

[postcard-from-the-past]

Le Château de Ferrières of the Rothschild family, Brie region of France

French vintage postcard

[timethehobo]

Wanted to scribble my Warden and Inquisitor in DA4 timeline. I miss my dummy mage boys.

[sorcharavenlock]

26. Loki's giant confession.

Loki loves having Fenrir around.

But it doesn't change the fact that Loki still hasn't found a way to return to life again. Loki's depression doesn't improve and he sleeps most of the day.

I worry about him.

"Why don't we go and take Fenrir out for a walk? I ask gently.

Maybe a walk will do Loki some good?

Fenrir is delighted to go out for walkies!

We walk to the lake near the house. It is beautiful, but Loki doesn't seem to notice.

"We aren't any closer to bringing you back alive, are we?" I ask sympathetically.

Loki mutely shakes his head.

"I know it isn't easy. We run into dead and after dead end. But there is one thing we haven't tried yet..."

"If you are going to mention Thor..." Loki sighs wearily.

"No, I was going to suggest doing what the hermit said: contacting your ancestral witch."

"That idea is just as terrible, if not worse."

"But why?" I ask. "Kitty is right; even if your biological parents were terrible that doesn't mean everyone in your line is."

"Because..." Loki hesitates. "Because what you see before you is not what I truly am."

"A ghost?" I ask in confusion.

"Asgardian," Loki corrects. " I am a shapechanger. This is not my true visage. That is why I summoned Ferrir instead; I didn't want you and the others to see who, or more to the point what I truly am."

"I still don't understand," I admit. "Surely it can't be that bad?"

"Oh, but it is! Perhaps it is better if you know. I can see the way you have begun to look at me. I can see the affection that is growing in your heart. You are foolish and easily misled by your feelings.

Perhaps seeing the monster, knowing who and what I truly am might cure you from your delusional sentiment."

Loki begins floating back to the house, expecting me to follow him.

"Best not do this in the basement. there is an altar outside, that might suit our needs better.

My people are hideous gigantic creatures, cruel and barbaric. The kind of monsters parents tell their children about to get them to behave.

If they turn on us, run downstairs and perform an exorcism as quick as you can."

(Loki is scared to let Marianna find out what he truly is, but he is even more scared to stay a ghost forever. His anxiety is making him tense, changing his colour to yellow.)

[starrystories2]

Riema and Relaner propaganda for Christian oc Tournament (with a Tad appearance)

Riema lay across the bed listless. Her head dangled upside down just over the side facing the window, watching the sun rise, or fall to her perspective, closer to its peak. Something large moved into her line of vision blocking the light of the sun. “Well?” the Relaner shape asked, arms crossed. Riema frowned.  “Well what?” she replied Relaner moved her hands to her hips.  “Are you going to lay in bed all day and mope or actually do something with your second chance at life?”  Riema stared lazily up at her. “That’s a low blow,” “Maybe you need a low blow to get you out of this funk.” she snapped, grabbing Riema by the wrist and pulling her out of the bed. Her butt hit the floor with a thunk. “Ow,” Rimea deadpanned. Relaner ignored her and dragged her out into the main area of the farmhouse. The curtains on the front windows were drawn back, letting sunlight stream in and revealing the dust floating in the air. Tad sat at the large table. Loose papers were strewn out around him. Charcoal pieces used down to the nub were scattered on top of them. There were black smudges where undoubtedly he had dragged his hands over his face. Ferrir sat across from him with a book. She glanced up at the two of them and tried to hide a smirk before returning to her story. Cluinn was stirring a large pot on the stove. Various vegetables and ingredients were arranged next to her. A lonely half-peeled potato and kitchen knife lay on a stool by her feet, a bucket beside it.  “Good morning, Riema,” Cluinn greeted sweetly. Riema grunted as her hip bumped into the leg of Tad’s chair. Relaner’s not being very careful. “Don’t indulge her,” Relaner barked, “It’s nearly mid meal!” “Is it really a mid meal if you didn’t have a first meal?” Riema asked looking up at Cluinn for confirmation. Relaner made an appalled noise while Cluinn hummed in thought. “I don’t think it really matters what one calls it as long as they eat,” she decided, sparing a pointed look at Riema before adding a small bowl of crushed garlic into the stew.  Riema sagged in defeat under her gaze. “Did Yuro and Conas say how long they’d be gone for?” Cluinn asked, picking up a large ladle and doing her best to stir with the instrument. “I’d like some more mushrooms for this.” Relaner let Riema’s arm fall to the floor with a thump so she could cross her arms and snort. “Conas said and I quote ‘I bet you anything you like we’ll be back before Riema gets out of bed,’” she reported, “and I for one cannot wait to cash that in.” “So you didn’t come get me up out of some resemblance of care or affection?” asked Riema from the floor. Relaner turned and nudged Riema in the side as she made her way over to Tad, like she had wanted to kick her, but didn’t actually mean in. “She got you up because I asked her to,” Cluinn corrected, now sending a full on glare towards her. “And if you think she or any of us don’t care or love you then you are sorely mistaken. Those potatoes need peeling.”

Vote for Riema and Relaner (and Tad) in the Christian OC Tornament polls!

[cruger2984]

THE DESCRIPTION OF SAINT LOUISE DE MARILLAC The Patron Saint of Social Workers Feast Day: March 15

Louise de Marillac (aka Louise Le Gras) was born out of wedlock on August 12, 1592 near Le Meux, now in the department of Oise, in Picardy.

She never knew her mother. Louis de Marillac, Lord of Ferrires claimed her as his natural daughter yet not his legal heir. Louis was a member of the prominent de Marillac family and was a widower at the time of Louise's birth. Her uncle, Michel de Marillac, was a major figure in the court of Queen Marie de' Medici and, though Louise was not a member of the Queen's court, she lived and worked among the French aristocracy. When her father married his new wife, Antoinette Le Camus, she refused to accept Louise as part of their family. Thus, Louise grew up amid the affluent society of Paris, but without a stable home life. Nevertheless, she was cared for and received an excellent education at the royal monastery of Poissy near Paris, where her aunt was a Dominican nun.

Louise remained at Poissy until her father's death, when she was twelve years old. She then stayed with a devout spinster, from whom she learned household management skills as well as the secrets of herbal medicine. Around the age of fifteen, Louise felt drawn to the cloistered life. She later made application to the Capuchin nuns in Paris but was refused admission. It is not clear if her refusal was for her continual poor health or other reasons, but her spiritual director assured her that God had 'other plans' for her.

During civil unrest, her two uncles who held high rank within the government were imprisoned. One was publicly executed, and the other died in prison. Around 1621, Antoine contracted a chronic illness and eventually became bedridden. Louise nursed and cared for him and their child. In 1623, when illness was wasting Antoine, depression was overcoming Louise. In addition, she suffered for years with internal doubt and guilt for having not pursued the religious calling she had felt as a young woman. She was fortunate to have a wise and sympathetic counsellor, Francis de Sales, then in Paris, and then his friend, the bishop of Belley.

In 1623, at 32, she wrote:

"On the feast of Pentecost during Holy Mass or while I was praying in the church, my mind was completely freed of all doubt. I was advised that I should remain with my husband and that the time would come when I would be in the position to make vows of poverty, chastity and obedience and that I would be in a small community where others would do the same…I felt that it was God who was teaching me these things and that, believing there is a God, I should not doubt the rest."

She vowed not to remarry if her husband died before her. She also believed that she had received the insight that she would be guided to a new spiritual director whose face she was shown. When she happened to meet Vincent de Paul, she recognized him as the priest from her vision.

Antoine died in 1625. Widowed and lacking financial means, she had to move. Vincent lived near her new dwelling. At first, he was reluctant to be her confessor, as he was busy with his Confraternities of Charity. Members were aristocratic ladies of charity, who were helping him nurse the poor and look after neglected children, a real need of the day, but the ladies were busy with many of their own concerns and duties. His work needed many more helpers, especially ones who were peasants themselves and so would be closer to the poor. He also needed someone who could teach and organize them.

She found great success in these endeavors. Then, in 1632, Louise made a spiritual retreat. Her intuition led her to understand that it was time to intensify her ministry with poor and needy persons. Louise, now forty-two years old, communicated this objective to Monsieur Vincent.

In 17th-century France, the charitable care of the poor was completely unorganized. The Ladies of Charity, founded by Vincent years earlier, provided some care and monetary resources, but it was far from enough. They had the funds to aid poor people, but they did not have the time or temperament to live a life of service among the poor.

Vincent and Louise realized that direct service of the poor was not easy for the nobility or the bourgeoisie because of social class. The women took meals, distributed clothing and gave care and comfort. They visited the slums dressed in beautiful dresses next to people considered to be peasants. The tension, between the ideal of service and social constraints, was real. Besides, the families of the ladies often opposed the works. It soon became clear that many of the ladies were unfit to cope with the actual conditions.

The need of organization in work for the poor suggested to de Paul the forming of a confraternity among the women of his parish in Châtillon-les-Dombes. It was so successful that it spread from the rural districts to Paris, where noble ladies often found it hard to give personal care to the needs of the poor. The majority sent their servants to minister to those in need, but often, the work was considered unimportant. Vincent de Paul remedied it by referring young women who inquired about serving persons in need to go to Paris and devote themselves to the ministry under the direction of the Ladies of Charity. These young girls formed the nucleus of the Daughters of Charity of St. Vincent de Paul.

Louise found the help she needed in young, humble country women, who had the energy and the proper attitude to deal with people weighed down by destitution and suffering. She began working with a group of them and saw a need for common life and formation. Consequently, she invited four country girls to live in her home in the Rue des Fosses‐Saint‐Victor and began training them to care for those in need.

In working with her sisters, Louise emphasized a balanced life, as Vincent de Paul had taught her. It was the integration of contemplation and activity that made Louise's work so successful.

She wrote near the end of her life: 'Certainly it is the great secret of the spiritual life to abandon to God all that we love by abandoning ourselves to all that He wills.'

Nearing her death, she wrote to her nuns: "Take good care of the service of the poor. Above all, live together in great union and cordiality, loving one another in imitation of the union and life of our Lord. Pray earnestly to the Blessed Virgin, that she might be your only Mother."

After increasingly ill health, Louise de Marillac died on March 15, 1660 in Paris - six months before the death of her dear friend and mentor, Vincent de Paul. She was 68.

The Daughters of Charity had more than 40 houses in France. The nuns have always been held in high repute and have made foundations in all parts of the world.

Louise de Marillac was beatified by Pope Benedict XV on May 9, 1920. And, on March 11, 1934, she was canonized by Pope Pius XI. Her feast day is May 9 (March 15 until 2016). Her remains are enshrined in the chapel of the motherhouse of the Daughters of Charity at Rue du Bac, Paris.

She is mistakenly referred to as an incorrupt saint; the body enshrined in the chapel is actually a wax effigy, containing her bones. She was declared Patroness of Christian Social Workers by Pope John XXIII, in 1960. Louise de Marillac is honored with a Lesser Feast on the liturgical calendar of the Episcopal Church in the United States of America.

[allansouzathc]

De pouco a pouco o desespero, a dor eo cansaço vão tomando conta do espaço que separamos pra nós, eu percebo de longe o peso no olhar o esforço feito para que tudo não pioarasse, para que as coisas não se torne um fardo, mesmo que se tornando espero que não perca sua habilidade de sorrir é oque vejo que te mantém de pé, é oque faz com que você não sinta dor, e oque não te deixa ser consumido pela dificuldade nem pela situação, que as vezes num ambiente abissal, dificultuso, custoso e que ainda que faz questão lhe cobrar, de lhe apontar as falhas os erros e que faz a questão de te ferrir, sobreviver em um ambiente assim é praticamente impossível, mas sei que não vou morrer, mas sei que ficaram sequelas..

[thenameiscrow]

This is Super Saiyan Hercule (from Amazon), but I see Guy Ferrir as a Super Super Saiyan. And if you disagree with me, that's fine.

[caauworld]

Eu sou dura como uma rocha e mais resistente que um Nokia caindo da escada, mas minha mãe é a única pessoa na Terra que consegue me ferrir tão fácilmente e me faz me sentir de papel, como se qualquer mínimo detalhe pudesse me quebrar.

[hibiscusangel15]

Stray Observations from Reject False Icons

I was under the initial impression that the virtual band would play a much bigger part than they actually did. Most of their stuff was either old Phase 4 art, Phase 5 sketches/art, and bits of their MVs/that Brit Awards video where Murdoc gives the thank you speech.

There WERE new sketches and even songs (most likely old Humanz demos) that I hadn’t seen/heard before though, and those were pretty neat.

Jamie Hewlett initially wanted Daffy Duck to be the replacement bassist instead of Ace from PPG, which may be why he was doodling a bunch of Looney Tunes at one point on his Instagram.

Ace makes an appearance (as in they talk about him and images of him flash across the screen, but he doesn’t talk or anything).

There was also a bit where Jamie Hewlett is explaining the plot of Phase 5 to Phil Cornwell (Murdoc’s VA). Unfortunately, there’s no funny footage of him recording the Murdoc lines in the booth or anything.

I think I saw Alex Hirsch (creator/VA of Disney XD’s Gravity Falls) in one of the group huddles they did before a Humanz concert at one point. Since he and Jamie took that one demon baby photo a while ago, it makes sense. HOWEVER, I’m not sure if it was him.

Damon, Jamie, Denholm, Remi, the back-up singers, Seye, Jeff, and all the collaborators really do treat each other like a family, and it was super sweet and cute to watch them all laugh and mess around and hug each other. Damon especially acts like some weird uncle to Denholm as he films (he pushes the camera away and calls him “young man” sternly).

Tributes to both Bobby Womack and Ibrahim Ferrir. :’)

Damon does the cigarette-mouth-catch trick super fast and my audience went “OOOOH!” when he did.

At one point, they wake Seye up from sleeping and make him think the concert’s about to start in 20 minutes. He freaks the fuck out only to stumble into a room of everyone laughing at him. The scene had total Murdoc Energy idk.

Damon Albarn had a notebook of rough drafts of The Now Now songs. A few of the lyrics were remarkably different from the final songs, though I can’t remember any rn.

I did spot him writing a song titled “London”. Couldn’t make out the lyrics, though. This might have just turned into one of his The Good, the Bad, and the Queen songs (“Merrieland”, for example).

Damon and Jamie nearly got into a fight just because Jamie thought that “One Percent” didn’t fit in with the rest of the songs on The Now Now. Like Damon literally took off his jacket like he was gonna throw hands.

“Throw-Up Fare: $250.00 per throw-up” sign in a cab

I was in the documentary for like 3 seconds during the Demon Dayz Festival 2018 footage what the actual FUCk

That’s all I can remember for now. feel free to add on.

[cogumelosnojardim]

Só sinto vontade de chorar.

E não há nada pior do que não poder chorar. Ter que fingir. Disfarçar a dor. Fui tomar banho para poder chorar em paz. Para lavar alma. Para lavar o peso que sinto. Por amar demais, a ponto de não saber onde termina a minha liberdade. E onde começa a do outro . Descubri hoje, que eu sufoco. Que eu sugo energias. Que não é bom estar comigo. O engraçado, é que cuido tanto para não sufocar, que o efeito é justamente o contrário.

Do que vale o diálogo. As minhas perguntas de "quer conversar?". Acho que é aí que está o erro. Quando a gente precisa perguntar ao outro se ele quer conversar. Porque deveria ser natural. Deveria ser leve, e não pesado como esta agora. Como me sinto agora. Com uma imensa vontade de chorar. Se puder dar um conselho, no alto da dor que sinto. Tente não se importar de mais com outro. Se conseguir isso, por favor, me ensine. Eu preciso urgentemente aprender.

Porém, quando penso por outro ponto de vista, que não o meu, percebo o quão mal o outro está a ponto de precisar me ferrir. A vida deve ser mesmo uma merda. É tão merda, que a pessoa, mesmo sem quer, consegue ferrir o outro.

[postcard-from-the-past]

Railway tunnel railroad by Ferrières-sur-Sichon, Bourbonnais region of central France

French vintage postcard

[porinteiraemruinas-blog]

29.12.19

Antigamente eu esperava ansiosa para as festas de final de ano, hoje eu não vejo mais sentido nelas, talvez nunca teve, sempre foi uma reunião de pessoas bêbadas brigando, e pior, muitas vezes até sóbrias mesmo. Não é esse o sentido pra mim, eu queria ter uma família mais unida, mais bonita, mais decente, mas alguém realmente tem isso ou é apenas coisas de filmes que inventaram pra nos iludir? Acho que talvez se eu fosse só eu faria mais sentido a essas festas, talvez eu me vestisse de mamãe noel e dançasse sozinha com meus cinco gatos e dois cachorros, tomaria um vinho e comeria a ceia pedida da padaria, assistiria a um filme dramático de natal e choraria por isso, não pelo fato de não ter uma família decente. Chamaria uns amigos e cantariamos karaokê, trocariamos presentes, jogariamos algum jogo de tabuleiro, tomariamos vinho, e celebrariamos a vida. No ano novo viajariamos pra algum lugar calmo na praia longe do mundo, e celebrariamos do mesmo modo. Essa é com certeza a definição de ficção perfeita, de um começo de ano com paz, calma no coração e gratidão verdadeira. Mas, voltando a realidade, se o que temos é isso, posso continuar dormindo até o ano que vem? E não, por favor, não me acorda quando acabar. Tanta hipocrisia, tantos sorrisos falsos e mais um ano pedindo o que possivelmente não vai acontecer, então, qual o sentido? Há tentativas que sabemos que vai dar errado desde a primeira vez, mas continuamos a insistir, e é exatamente por isso que continuamos a nos ferrir.

[sillytrollsandfun]

Polyrails Ancestor Dump

Idalin: Indala Fanize, also known as The Murderess, alive 3,000 sweeps ago. Would kill and torture those who entered her forest who she didn't like. If she liked them, she'd take them hive and torture them, eventually killing them because they didn't love her. Sadistic Yandere tendencies. Fell in love with The Author and was killed by him.

Jerick: Ferrir Domand, also known as The Author, alive around 3,000 sweeps ago. Wrote many famous novels, was inspired by the signless' words about a love that surpasses the quadrants. Was traveling through The Murderess' forest when she caught him. He pretended to be in love with her and then killed her to escape. He took her journal with him. Was killed by the empire for being supportive of the signless' teachings. Jerick has his notebook and several of his novels, and Indala's journal. Jerick knows that Indala is Idalins ancestor but refuses to tell her since he knows that she would be heartbroken to learn that she comes from someone who is so against everything Idalin stands for.

Rozell: Rajaah Corand, also known as The Artistic, alive around 3,000 sweeps ago. Painted many paintings in her life, she made her own paint from trolls who insulted her work. She even painted a grand painting of Her Imperial Condescension. Was hemoist and a member of the church. She was moirails with The Author, often funding his novels until he died. When he died she went into a high blood rage and started slaughtering all those responsible for his death. She was eventually caught and culled for acts against the empire. Rozell knows of her ancestor and even owns many of her paintings. She looks up to her

[starrystories2]

Charater bio 6: Cluinn

Well... here we are. Is it nearly 1 am on a Sunday night: yes Do I have classes tomorrow: also yes Am I writing my next charater bio right now: yep

So, Cluinn is this sweet motherly charater who could totally whip everyone’s butts. She’s kind, but she’s disciplined. She’ll be the first to comfort someone, unless they just need to get over themselves, and then she’ll sit down with them and sternly point it out to them. Because she’s a spy (as I explain below) she’s rather insecure about her identity. She natually is inclined to help others. all in all she’s just an amazing woman.

and now: context

So, the country of Jaden invaded Lenndabar a while back (I went into more detail on the lore post if you’re interested), however, I failed to mention that not everyone back in Jaden was pleased with that decision, so some people immigrated.... including Cluinn’s parents.

Cluinn’s parents immigrated to Karner before Cluinn was born. So, ethnicly she’s Jade, but with like Karn citizenship. 

In order to get into the country and prove their loyalty (or something like that), Cluinn’s parents become spies for the kingdom of Karner. A few years into their training, they have Cluinn. They can’t really take her on the field, so she basically grows up being nannied and seeing her parents occationally. But her parents DO REALLY LOVE HER. They sent her letters whenever they could and she’s really proud of both of her parents. Her love for them prompts her, against her parent’s wishes, to become a spy for Karner. However, after some arguing, Cluinn’s parents allow her to train. 

Cluinn (now in her late teens/early 20s) was sent to Lenndabar to gather information from the Jaden occupation. At the beginning of the story, she’s been in Lenndabar for a few years and she’s not happy with the Karn’s lack of incitive with getting the land back, but it’s not really her place to say anything about it. Besides, she has to figure out who has been killing off the important Karn officers first.

Thanks for reading. I’m sorry my posts are so long, so if you’ve made it this far, thanks a million! For the next two bios, I FINALLY am going back to those charaters I mentioned WAY back in charater bios 1&2, that I said I’d get to. Namely: Tad and Ferrir. After those 2 I have one more bio planned and then I think I’m going to lay off the bios for a while. I’ll keep trying to post content, I just think that I might try a different approach.

Thanks guys!

[girlmonstax]

E essa vai pra todos que se sentem assim:

Okay, hoje me deu vontade de escrever sobre algo então vim escrever como me sinto pelo menos uma semana no mês.

Acho que muitas pessoas se sentem ou já se sentiram assim, as vezes eu só me sinto como alguém que ninguém pudesse gostar sabe? Talvez eu não seja tão interessante e a minha forma muito retraida também não ajude muito, acho que eu absorvo muito a forma que as pessoas falam comigo e quando mudam essa forma eu penso que fiz algo errado ou que a pessoa se cansou de mim, algo super aceitavél levando em consideração o meu histórico.

Acho que levo ações e palavras muito a sério, tipo se você não me chama pelo meu nome e no outro dia você me chama eu automaticamente vou pensar que fiz algo errado e vou ficar pensando sobre, se você me manda mensagem todo dia e no outro dia não me manda eu vou pensar que não que falar comigo…isso é muito cansativo,sempre pensar nesse tipo de coisa.

Pensar se a blusa que eu estou vestindo está bom, se você vai gostar, pensar sobre as coisas que vou falar sem ter falado porque quero que você goste.

Criar expectativas é uma merda porque eu sempre vou as criar mesmo antes de algo acontecer e sempre vou ficar frustrada com isso, e isso costuma acontecer bastante principalmente quando converso com um garoto, odeio isso.

As vezes me sinto inferior e menos interessante do que os outros, tenho inveja daquelas pessoas que conseguem conversar com qualquer um, que todos gostam, que ri, dança e de diverte com qualquer pessoa porque eu não consigo, nem mesmo com as pessoas que eu conheço e isso as vezes parece que faz elas se afastarem, por isso eu não tenho nenhuma amiga que fique por muito tempo e nem um namorado aparentemente já que sempre encontraram algo melhor minutos após e um nem esperou um minuto se passar, sou tão descartavél assim?

O problema sou eu ou as pessoas? Há quem diga que se acontece uma vez é culpa das pessoas, mas quando acontece nas minhas duas tentativas é o que? acaso?

Sim já tentei mudar esse meu jeito mas eu sempre me sentia falsa com isso e não sei o que fazer pois não tenho nada de especial a não ser minhas subtas crises de tristeza noturna na qual eu consigo chorar até vendo dançinhas do TikTok.

Não é como se eu tivesse uma auto-estima baixa, eu me acho bonitinha até, mas é mais o fato de não achar que alguém olhe pra mim e diga que quer ficar e que nunca conheçeu alguém como eu.

Logo eu que choro por tudo e por nada, que gosto de coisas que ninguém gosta, que gosto de ler livros que não são nem um pouco realistas e não sei tirar fotos e tenho uma voz levemente irritante? Seria melhor ir ver o pelé, eu diria.

Não me sinto em casa na minha propria casa e nem é por conta dos meus pais, é só porque eu acho que eu não deveria estar aqui.

Acho que guardo muito de tudo dentro de mim como um estoque, mas últimamente tem muita magoa, tristeza e vontade de chorar, esta tudo acumulado e insiste em aparecer toda noite.

Guardo meus pensamentos apenas para mim qundo vai ferrir alguém, não consigo dizer que não gosto de algo que a pessoa esta evidentemente adorando falar sobre e isso as vezes me deixa com cara de idiota porque as pessoas não tem a mesma consideração por mim.

Sobre os garotos, eles sempre encontram pessoas melhores e mais interessantes, fato confirmado desde o meu 1º ano do ensino médio.

Não sei ao certo o que fazer com tudo isso, talvez me enforcar em um pé de couve seja a solução, por enquanto sigo ouvindo THIS CITY e pensando em desistir de tudo, não que eu tenha algo não é mesmo?

[ex-convento-tacubaya]

EX CONVENTO Y ACTUAL PARROQUIA DE LA PURIFICACIÓN DE NUESTRA SEÑORA DE LA CANDELARIA  PUEBLO DE TACUBAYA

UBICACIÓN: Entre avenida revolución y calle mártires de la conquista frente a la alameda principal de Tacubaya. 

Este convento se encuentra a no menos de 18 minutos de la Escuela Nacional Preparatoria N°4 Vidal Casta��eda Y Najera a 13 kilómetros de la misma, pasando por un punto clave para el movimiento de la ciudad como lo es tacubaya.

Historia

Sus orígenes se remontan al siglo XVI cuando los dominicos llegaron a Tacubaya, y en 1556 comenzaron la construcción de la iglesia las obras estuvieron a cargo de fray Lorenzo De La Asunción quien anteriormente había erigido la iglesia y convento dominico de Azcapotzalco, la iglesia de Tacubaya se erigió sobre las ruinas de un templo prehispánico dedicado a una deidad femenina conocida como Xiuatecpan que quiere decir el palacio de la señora por lo que Fray Andrés consiente del significado dedico esta iglesia a nuestra señora de la purificación, mientras se concluía la iglesia a un lado se instalo una capilla abierta que mas tarde se convertiría en el portal de peregrinos del futuro convento dominico, este fue construido con ayuda de 4 barrios indígenas de Tacubaya y de estos hay registros en 4 placas de piedra al interior del claustro, concluyendo la construcción en el año de 1590. La iglesia cuenta con un gran atrio con 4 capillas posas su extensión era tal que abarcaba hasta la actual alameda de Tacubaya fue el convento mas importante de dicho pueblo y marcaba el nuevo centro de la traza colonial además del centro de la vida religiosa del pueblo de Tacubaya, también se liga a ciertas leyendas como la del puente de la morena y la calle de las animas.

Fueron los frailes de la seráfica Orden quienes fundaron la primera iglesia dedicada a su santo patrono, San Francisco, quien despertó una gran devoción entre los lugareños. Una leyenda cuenta que un pequeño niño murió, a pesar de los ruegos que su padre había hecho al santo. Sin embargo, la fe del hombre no decayó y llevó el cuerpo inerte de su hijo al templo para seguir rezándole. De pronto, y ante la admiración de los presentes, el niño volvió a la vida: San Francisco había hecho el milagro.

Pero los franciscanos no continuaron al frente de aquella iglesia porque la cedieron a los dominicos. Fue entonces cuando, alrededor de 1556, la Orden de Predicadores construyó otro templo, el cual recibió el nombre de Cihuatécpan, es decir, “palacio de la señora”, ya que en el mismo sitio había existido un adoratorio prehispánico dedicado a la diosa Cihuacóatl, según el investigador Antonio Fernández del Castillo.

VIRGEN DE LA CANDELARIA

Estilo artístico y Características.

El estilo artístico al que pertenece principalmente es barroco, sin embargo aún rescata algunas características de la arquitectura del México antiguo.

De la construcción original del siglo XVI sólo quedan los tres arcos de la fachada apoyados sobre pares de columnas, que formaron la capilla abierta donde se inició el culto católico. A finales de ese siglo, o tal vez a principios del XVII, la iglesia adquirió su sencilla portada de dos cuerpos, con columnas de capiteles jónicos en el primero, enmarcando el vano de la puerta con un sencillo arco moldurado de medio punto. En el segundo cuerpo, a cada lado de una pequeña ventana circular hay pilastras con capiteles estilizados, además de un nicho que es una bella portadita; en el remate se observa otra hornacina que contiene la escultura de la Virgen de la Candelaria.

Su principal capilla esta consagrada a la virgen del Rosario, esta rodeada por un amplio jardín donde se encuentra el atrio. Es un templo con una sola base en forma de bóveda y cuenta con tres capillas, una dedicada a la virgen de Guadalupe, otra al Divino Rostro y otra al Santísimo.

FACHADA

Características de las manifestaciones

Arquitectura del México Antiguo:

Los basamentos del templo, muy resistentes y amplios.

formas de pirámide y escalones para llegar a la cima.

Decoraciones de piedras talladas.

Cada construcción tenia una deidad, principalmente relacionada a las actividades cotidianas de la población.

La técnica de edificación dependía de los recursos a las materias primas y la zona geográfica donde se encontraban

Utilización de la piedra caliza y la cal, para reforzar la construcción.

Origen de las bóvedas que actualmente conocemos en los templos.

Arquitectura Barroca:

Noción estética muy relacionada a la religión Cristiana.

Representación del cielo y el infierno en su estilo.

Origen Europeo, traído a México por medio de los conquistadores.

En México, se fusionó ligeramente con las construcciones indígenas, ya que dichas construcciones fueron edificadas sobre los templos Prehispánicos.

La arquitectura barroca en México no fue una simple continuación del europeo, esto porque, debido a la influencia indígena, este estilo adquirió motivos y formas que no se podrían haber desarrollado en otros lugares.

Rasgos Artísticos Conservados:

En esta foto podemos contemplar los arcos de estilo neoclásico que están dentro de la estructura del convento. 

En este altar se contempla la ornamentación con hoja de oro tanto en la imagen dela virgen del rosario como en su nicho, el uso de hoja de oro y columnas salomónicas es un rasgo muy representativo del estilo barroco. 

Esta imagen pertenece al barroco con un toque mas mestizo usando incluso algunas figuras prehispánica puesto que esta dedicado a la virgen de Guadalupe, pero predomina mas el lado barroco 

La fachada del templo esta hecha sobre la arquitectura neoclásica resaltando sus columnas rectas 

Por último una estructura que esta combinada entre barroco y neoclásico con las columnas rectas pero adornos ostentosos

Valoración del recinto

El exconvento y actual parroquia de la purificación de nuestra señora de la candelaria es un recinto majestuoso a pesar de ser de los primeros en construirse en la ciudad de México bajo el cargo de los evangelistas de Nueva España. Al entrar al atrio sobre avenida revolución podríamos decir que es un lugar descuidado y que de cierta manera da un mal aspecto, pero al irnos acercando mas y mas por el sendero entre arboles enormes vamos contemplando poco a poco la majestuosidad del lugar.

Al cruzar la puerta principal de madera enorme el aspecto cambia definitivamente puesto que por dentro y fuera es enorme, por dentro no hay descuido alguno y a lo mucho ay muy poca humedad, ya dentro del arco principal a la mano derecha hay una pequeña fuente que da la entrada a los feligreses.

Situándonos en la nave mayor podemos contemplar un alta muy grande donde esta un cristo crucificado al centro sobre la frase “REINA DEL SANTO ROSARIO RUEGA POR NOSOTROS” a sus costados SAN FRANCISCO Y SANTO DOMINGO patrones de las dos ordenes que rigieron el convento, al lado izquierdo de san francisco ya se la santa patrona LA VIRGEN DE LA CANDELARIA patrona de Tacubaya, esta imagen esta frente a SAN JOSE ambas imágenes cubiertas con hoja de oro y resaltando el estilo barroco.

ALTAR MAYOR

En la cúpula mayor están los murales de SANTA ROSA DE LIMA, SAN RAIMUNDO, SAN VICENTE FERRIR, SANTA CATALINA DE SIENA, SAN ANTONIO DE PADUAY SAN NICOLAS DE TOLENTINA mismos que están en bulto por el pasillo mayor.

CÚPULA

Del lado izquierdo de la nave mayor están tres altares: dos barrocos y uno neoclásico, en el primero que es neoclásico está el SAGRADO CORAZÓN, LA VIRGEN DE LOS DOLORES Y EL SEPULCRO junto a la placa de la ultima virreina de la Nueva España en señal de apoyo a la orden dominica, el segundo altar esta edificado para la VIRGEN DEL ROSARIO el cual es barroco y está muy bien conservada la hoja de oro y el ultimo altar en honor de LA VIRGEN DE GUADALUPE CON SANTA ROSA Y SAN RAIMUNDO el cual cuenta con un poquito de humedad al igual que órgano y el sotocoro que están en mantenimiento.

VIRGEN DE LOS DOLORES

Del lado izquierdo esta la puerta al convento que esta hermoso, conserva su estilo barroco y cuenta con sus puertas de madera original. Dentro del mismo convento en forma de claustro esta un pequeño jardín con flores muy bonitas, el placar en piedra de los pueblos fundadores, la cruz de la misión y cuatro murales que están ya incompletos.

Cabe destacar que el convento cuenta actualmente con oficina parroquial y consultorio médico.

Saliendo por la lateral izquierda encontramos la verdadera puerta al convento con suscripción como orden dominica.

Entrar al templo y convento es una experiencia muy padre ya que conserva por todos lados azulejos como los alusivos a Andalucía España todos en talavera, estas características hacen que de un momento a otro te traslades a la época de la conquista ya que es un escenario mágico y lleno de paz pero sobre todo esta muy bien conservado y escondido de la ciudad en si.

Conclusión:

El hecho de investigar sobre los diversos patrimonios cerca de la preparatoria nos hace ver que hay una historia detrás de las calles que día a día pasamos con prisa y sin preguntarnos el que pudo haber pasado en estos lugares, el investigar  esto nos hace saber la verdadera y oculta importancia de estos lugares históricos. En el caso del ex convento y actual parroquia de la candelaria han ocurrido grandes cosas que solo la gente nativa de Tacubaya conoce. Otro punto que es clave de esta investigación es que nos empapamos de historias y cultura que tal vez eran desconocidas para nosotros, ampliamos nuestros conocimientos en el arte y arquitectura ademas de ver la conquista y colonia de Nueva España desde un punto de vista que hasta hoy se conserva intacto.

PEQUEÑO ÁLBUM DE LA IGLESIA:

ALTAR MAYOR

CRISTO CRUCIFICADO

SAN FRANCISCO DE ASIS

SANTO DOMINGO

SAN JOSE

NAVE MAYOR

ORGANO Y SOTOCORO

SAN VICENTE FERRER

SANTA CATALINA DE SIENA

SAN ANTONINO DE PADUA

PUERTA PRINCIPAL

FUENTE 

 ALTAR SECUNDARIO

SAGRADO CORAZÓN DE JESÚS

VIRGEN DE LOS DOLORES

SEPULCRO

VIRGEN DEL PILAR

ALTAR DE LA VIRGEN DEL ROSARIO

 VIRGEN DEL ROSARIO

ALTAR DE LA VIRGEN DE GUADALUPE

VIRGEN DE GUADALUPE

SANTA ROSA DE LIMA

SAN RAIMUNDO

CONVENTO

ENTRADA POR CALLE MÁRTIRES DE LA CONQUISTA

PUEBLOS FUNDADORES

ATRIO

PLACAS

PLACA VIRREINAL 

REFERENCIAS:

et al.(2016). Arquitectura barroca en mexico. saint-gobain.recuperado el 18 de septiembre de 2019 de https://www.lamudi.com.mx/journal/la-arquitectura-barroca-en-mexico/

gobierno de la ciudad de mexico(2019)IGLECIA DE LA CANDELARIA. CDMXciudad de mexico.recuperado el 20 de septiembre de 2019 de http://cdmxtravel.com/es/lugares/iglesia-de-la-candelaria-tacubaya.html

Martines, M.(2018).¿cual es la iglecia de la candelaria en tacubaya?.relatos historicos.recuperado el 13 de septiembre de 2019 de:https://relatosehistorias.mx/nuestras-historias/cual-es-la-iglesia-de-la-candelaria-en-tacubaya

FOTOS: CONVENTO TACUBAYA. J.Navarrete. (galeria personal,31 de agosto de 2019)