LUCERO
Mancha blanca en la testuz.
MOHÍNO
Pelos negros en el hocico.
MELENO
Mechón en la frente.
LLORÓN
Mancha negra debajo del ojo.
FACADO
Cara cruzada por raya blanca.
CARETO
Mancha de pelos blancos.
__________________
BIEN ARMADO
Astas simétricas y regulares.
VELETO
Poco marcada la vuelta.
CARNIGACHO
Bajos.
BIZCO
Un cuerno más bajo que otro.
CORNIPASO
Puntas separadas hacia fuera.
CORNIVUELTO
Puntas vueltas hacia atrás.
ZURDO
Un asta más corta.
PLAYERO
Mal armado y cuernos separados.
MOGÓN
Pitones romos.
September 14, 2012
PARTICULARIDADES DE LAS CAPAS DE LOS TOROS
APAREJADO
Listas blancas en el dorso propias de berrendos.
BRAGADO
Pelo blanco sobre la zona llamada bragada.
MEANO
Mancha blanca sobre el bálamo.
CALZÓN
Mancha blanca por nalgas y muslos.
ALBARDADO
Pelos del lomo claros en forma de albarda.
LISTÓN
Raya clara a lo largo de la espina dorsal.
GARGANTILLO
Mancha alrededor del cuello.
CHORREADO
Tiras oscuras dispuestas en vertical.
ALDINEGRO
Vientre y extremidades negras sobre capa castaña.
CALCETERO
Extremidades de color blanco.
CALZADO
Berrendo con extremidades del color que le caracteriza.
BOTINERO
Región distal de las extremidades oscura.
CARINEGRO
Sobre capa clara la cara es negra.
CAPIROTE
Tez más oscura que el resto de la capa.
RABICANO
Pelos de la cola más claros que el resto de la capa.
BURRACO
Manchas blancas sucias en el vientre.
LOMBARDO
Lomo con capa más oscura en los castaños.
COLETERO
Mancha blanca sobre el pecho.
ALMARADO
Manchas redondeadas en un berrendo.
NEVADO
Manchitas menudas blancas.
MOSQUEADO
Manchitas negras sobre capa más clara.
Listas blancas en el dorso propias de berrendos.
BRAGADO
Pelo blanco sobre la zona llamada bragada.
MEANO
Mancha blanca sobre el bálamo.
CALZÓN
Mancha blanca por nalgas y muslos.
ALBARDADO
Pelos del lomo claros en forma de albarda.
LISTÓN
Raya clara a lo largo de la espina dorsal.
GARGANTILLO
Mancha alrededor del cuello.
CHORREADO
Tiras oscuras dispuestas en vertical.
ALDINEGRO
Vientre y extremidades negras sobre capa castaña.
CALCETERO
Extremidades de color blanco.
CALZADO
Berrendo con extremidades del color que le caracteriza.
BOTINERO
Región distal de las extremidades oscura.
CARINEGRO
Sobre capa clara la cara es negra.
CAPIROTE
Tez más oscura que el resto de la capa.
RABICANO
Pelos de la cola más claros que el resto de la capa.
BURRACO
Manchas blancas sucias en el vientre.
LOMBARDO
Lomo con capa más oscura en los castaños.
COLETERO
Mancha blanca sobre el pecho.
ALMARADO
Manchas redondeadas en un berrendo.
NEVADO
Manchitas menudas blancas.
MOSQUEADO
Manchitas negras sobre capa más clara.
BERENICE II Y III (247-74 BC)
BERENICE II
Daughter of Maga, king of Cyrene (in modern Libya), whose marriage to Ptolemy III Euergetes reunited her country with Egypt.
Maga´s queen, who favoured an alliance with the Seleucid dynasty of Syria, attempted to thwart the marriage by summoning Demetrius the Fair, a Macedonian prince, as a husband for Berenice. The Princess arranged Demetrius murder and married Ptolemy about 245.
When Ptolemy set forth to avenge the murder of his sister (the widow of Antiochus II) in Syria, Berenice dedicated a lock of her hair for his safe returno. According to the court astronomer, it was transferred to heaven, where it formed a new constellation that was consequently named Coma Berenices or Hair of Berenice.
Berenice and Ptolemy hasd four children: the future Ptolemy IV Philopator, Arsinoe III, Magas, and Berenice, who died as a child. The Queen survived her husband, but her son Ptolemy IV linked her to a plot with her father, Magas, and had her poisoned.
BERENICE III
Queen of Egypt, daugther of Ptolemy IX, the most strongwilled member of the royal family, ruled during a period of violent civil strife.
Daughter of either Cleopatra Selene or Cleopatra IV, Berenice first married her uncle, Ptolemy X, sometime before 101. After the death in 101 of the dowager queen, Cleopatra III, the widow of Ptolemy VIII, Berenice became full queen.
In 87 Ptolemy X was expelled from Egypt by an insurrection of the people of Alexandria, who believed that he had assasinated the dowager queen. He recruited a mercenary army in Syria and after returning to Egypt, plundered the tomb of Alexander the Great in Alexandria in order to pay his troops. Outraged, the Alexandrian populace again expelled him, and he fled with Berenice to Lycia in Asia Minor.
After her husband was killed, Berenice returned to Egypt. She married Ptolemy XI, who had been desthroned in 110 and 107 but was restored as king. When Ptolemy died in 80, Berenice became the sole ruler of Egypt.
Young Ptolemy Alexander, son of Ptolemy X, had meanwhile been befriended by Lucius Cornelius Sulla, the Roman dictator, with whose aid he was sent to Egypt to be married to Queen Berenice. Neither the Queen nor the people of Alexandria were consulted about the matter. When Ptolemy learned that Berenice was loath to surrender her authority, he arranged for her murder, for which the enraged Alexandrians killed him; he was the last legitimate Ptolemaic ruler of Egypt.
Daughter of Maga, king of Cyrene (in modern Libya), whose marriage to Ptolemy III Euergetes reunited her country with Egypt.
Maga´s queen, who favoured an alliance with the Seleucid dynasty of Syria, attempted to thwart the marriage by summoning Demetrius the Fair, a Macedonian prince, as a husband for Berenice. The Princess arranged Demetrius murder and married Ptolemy about 245.
When Ptolemy set forth to avenge the murder of his sister (the widow of Antiochus II) in Syria, Berenice dedicated a lock of her hair for his safe returno. According to the court astronomer, it was transferred to heaven, where it formed a new constellation that was consequently named Coma Berenices or Hair of Berenice.
Berenice and Ptolemy hasd four children: the future Ptolemy IV Philopator, Arsinoe III, Magas, and Berenice, who died as a child. The Queen survived her husband, but her son Ptolemy IV linked her to a plot with her father, Magas, and had her poisoned.
BERENICE III
Queen of Egypt, daugther of Ptolemy IX, the most strongwilled member of the royal family, ruled during a period of violent civil strife.
Daughter of either Cleopatra Selene or Cleopatra IV, Berenice first married her uncle, Ptolemy X, sometime before 101. After the death in 101 of the dowager queen, Cleopatra III, the widow of Ptolemy VIII, Berenice became full queen.
In 87 Ptolemy X was expelled from Egypt by an insurrection of the people of Alexandria, who believed that he had assasinated the dowager queen. He recruited a mercenary army in Syria and after returning to Egypt, plundered the tomb of Alexander the Great in Alexandria in order to pay his troops. Outraged, the Alexandrian populace again expelled him, and he fled with Berenice to Lycia in Asia Minor.
After her husband was killed, Berenice returned to Egypt. She married Ptolemy XI, who had been desthroned in 110 and 107 but was restored as king. When Ptolemy died in 80, Berenice became the sole ruler of Egypt.
Young Ptolemy Alexander, son of Ptolemy X, had meanwhile been befriended by Lucius Cornelius Sulla, the Roman dictator, with whose aid he was sent to Egypt to be married to Queen Berenice. Neither the Queen nor the people of Alexandria were consulted about the matter. When Ptolemy learned that Berenice was loath to surrender her authority, he arranged for her murder, for which the enraged Alexandrians killed him; he was the last legitimate Ptolemaic ruler of Egypt.
September 12, 2012
BARTOLOMÉ BERMEJO (1474)
El cordobés BARTOLOMÉ DE CÁRDENAS que murió en Barcelona.
Painter, a cultivator of the Flemish style, especially that of Roger van der Weyden, who was considered the finest painter in Spain before El Greco.
His style became the model for many painters of his era. Little is known of Bermejo´s early activity. Between 1474 and 1477 he worked in Aragon, where he left disciples, and between 1486 and 1495 in Catalonia, where he collaborated with Jaime Huguet, the principal master of that school.
His earliest dated work, the panel of Santo Domingo de Silos Madrid (Prado) painted in 1474, has typical Gothic elements.
Under the influence of the Flemish masters these elements gradually disappeared as he became more skilled in the use of foreshortening, in detalled depiction of accessories, and in the resolution of difficult problems in perspective.
The work that demonstrates most clearly his mastery of Renaissance techniques is the Pietá of 1490 in the cathedral of Barcelona, which lacks gold in the background (present in early works); instead, a landscape under a stormy sky is painted very much in the manner of van der Weyden, rich in detail, colour, and life.
The figure of the donor (Canon Luis Desplá) in this picture is considered one of the finest portraits painted in Europe in this period.
Painter, a cultivator of the Flemish style, especially that of Roger van der Weyden, who was considered the finest painter in Spain before El Greco.
His style became the model for many painters of his era. Little is known of Bermejo´s early activity. Between 1474 and 1477 he worked in Aragon, where he left disciples, and between 1486 and 1495 in Catalonia, where he collaborated with Jaime Huguet, the principal master of that school.
His earliest dated work, the panel of Santo Domingo de Silos Madrid (Prado) painted in 1474, has typical Gothic elements.
Under the influence of the Flemish masters these elements gradually disappeared as he became more skilled in the use of foreshortening, in detalled depiction of accessories, and in the resolution of difficult problems in perspective.
The work that demonstrates most clearly his mastery of Renaissance techniques is the Pietá of 1490 in the cathedral of Barcelona, which lacks gold in the background (present in early works); instead, a landscape under a stormy sky is painted very much in the manner of van der Weyden, rich in detail, colour, and life.
The figure of the donor (Canon Luis Desplá) in this picture is considered one of the finest portraits painted in Europe in this period.
MARCHESE D´IVREA BERENGAR II (947)
Also styled king of Italy from 950 to 952, played an important part in the career of the German king and Holy Roman emperor Otto I the Great.
For several months in 951 he held captive Adelaide, daughter and widow of kings of Italy; she escaped from him and married Otto, who assumed the title of king of the Lombards and made Berengar his vassal.
Later (from 960) Berengar and his son Adalbert attacked Pope John XII, on whose appeal Otto marched into Rome and was crowned emperor (962).
John´s subsequent negotiations with Berengar caused Otto to depose the Pope and to imprison Berengar in Germany (963).
For several months in 951 he held captive Adelaide, daughter and widow of kings of Italy; she escaped from him and married Otto, who assumed the title of king of the Lombards and made Berengar his vassal.
Later (from 960) Berengar and his son Adalbert attacked Pope John XII, on whose appeal Otto marched into Rome and was crowned emperor (962).
John´s subsequent negotiations with Berengar caused Otto to depose the Pope and to imprison Berengar in Germany (963).
GIROLAMO BENIVIENI (1474)
Poet of interest because of his connection with the great men of Renaissance Florence and of literary importance because his versification of the philosopher Marsilio Ficino´s translation of Plato´s Symposium influenced otrer writers during the Renaissance.
As a member of the Florentine Medici circle, Benivieni had contact with some of the greatest minds of his time: the Reinassance Humanist Ficino, pIco della Mirandola, and Angelo Poliziano.
Ficino translated the Symposium in c. 1474 with his own commentary, which Benivieni summarized in the canzone De lo amore celeste, and this in turn became the subject of an extensive commentary by Pico della Mirandola.
Thus, through all these sources, Platonism, wich describes the ascent from appreciation of human beauty to contemplation of ideal or divine beauty, reached many other writers. Among them were the Italians Pietro Bembo and Baldassare Castiglione and the English poet Edmund Spenser.
Benivieni fell under the spell of the fiery Renaissance religious reformer Girolano Savonarola. After his conversion, Benivieni rewrote some of his sensual poetry, translated a treatise of Savonarola´s into Italian (Della semplicità della vita cristiana), and wrote some religious poetry.
He also produced many occasional poems and a study of Dante´s Inferno.
Benivieni was buried in the church of S. Marco, Florence, next to his closest friend, Pico della Mirandola.
His Opere or Works were published in 1519.
As a member of the Florentine Medici circle, Benivieni had contact with some of the greatest minds of his time: the Reinassance Humanist Ficino, pIco della Mirandola, and Angelo Poliziano.
Ficino translated the Symposium in c. 1474 with his own commentary, which Benivieni summarized in the canzone De lo amore celeste, and this in turn became the subject of an extensive commentary by Pico della Mirandola.
Thus, through all these sources, Platonism, wich describes the ascent from appreciation of human beauty to contemplation of ideal or divine beauty, reached many other writers. Among them were the Italians Pietro Bembo and Baldassare Castiglione and the English poet Edmund Spenser.
Benivieni fell under the spell of the fiery Renaissance religious reformer Girolano Savonarola. After his conversion, Benivieni rewrote some of his sensual poetry, translated a treatise of Savonarola´s into Italian (Della semplicità della vita cristiana), and wrote some religious poetry.
He also produced many occasional poems and a study of Dante´s Inferno.
Benivieni was buried in the church of S. Marco, Florence, next to his closest friend, Pico della Mirandola.
His Opere or Works were published in 1519.
EL TORO DE LIDIA SEGÚN SUS CAPAS
CAPA NEGRA
Azabache
Si el tono es brillante
Peceño
Negro oscuro sin brillo
Mulato
Negro de tono pardo
CAPA BLANCA
Plateado
Blanco brillante o plateado
Palomo
Pelaje blanco sobre piel blanca
CAPA COLORADA O CASTAÑA
Castaño
Marrón parecido a las castaña
Retinto
Colorado fuerte con color que tira a negro
Colorado
Rojo con brillo
Jijón
Rojo encendido
Bronceado
Color bronce oscuro
CAPAS INTERMEDIAS Y MIXTAS
Jabonero
Color café con leche
Albahío
Blanco amarillento
Berrendo
Manchas sobre fondo blanco
Perlino
Blanco grisáceo
Cenizo
Gris ceniza
Ratonero
Gris oscuro
Azabache
Si el tono es brillante
Peceño
Negro oscuro sin brillo
Mulato
Negro de tono pardo
CAPA BLANCA
Plateado
Blanco brillante o plateado
Palomo
Pelaje blanco sobre piel blanca
CAPA COLORADA O CASTAÑA
Castaño
Marrón parecido a las castaña
Retinto
Colorado fuerte con color que tira a negro
Colorado
Rojo con brillo
Jijón
Rojo encendido
Bronceado
Color bronce oscuro
CAPAS INTERMEDIAS Y MIXTAS
Jabonero
Color café con leche
Albahío
Blanco amarillento
Berrendo
Manchas sobre fondo blanco
Perlino
Blanco grisáceo
Cenizo
Gris ceniza
Ratonero
Gris oscuro
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