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It would be hard to find anything better. It is expensive but represents value for money. I had to eat my dessert with the same style of implement and i did try to catch the waiters eye to ask for a fork The toilets are dramatically lit - why? Not at all impressed by L'Atelier de Joel Robuchon: We arrived for a late meal on a Friday night after the theatre; however, even after having worked a full shift, there is no excuse for waiting staff who smell overpoweringly of sweat.

Further, although the staff are extremely nice and friendly if a little invasive , they are not of the level of refinement one would expect. Not recommended for a romantic meal a deux Lovely meal at Atelier de Joel Robuchon in London. Atmospheric venue with a mix of French and Japanese food. Went to L'Atelier for a mid week lunch. On the whole service and food very good though portions very small.

Not to be mean, but more of a Michelin one star than two star experience. Will however go back. When we were arrived we were treated like royalty, being taken by lift to the cocktail bar on the third floor and later escorted to our table. There are two eating areas; the formal one on the first floor and the less formal on the ground floor. The decor is amazing, we were seated so we could watch the food being cooked and prepared. The food is mitchelin quality and having eaten last month in two of Alan Ducas's restaurants in Paris, it is just as good.

We will return here! Went to L'Atelier de Joel Robuchon for lunch and the food was exquisite. The ambiance was great and the service was superb.

I did the pre-theatre special last night at L'Atelier de Joel Robuchon with my wife last night and it was perfect. The menu is limited, but the flavors and textures of the food were exquisite, the price is very reasonable, and the portions are just right for an early dinner before the opera.

My wife isn't wild for the design of the restaurant, but it neither bothered nor amused me Food and wine was excellent staff helpful and plesant highly recommend although bit pricy but its does have the two stars so to be expected I suppose. We had dinner at L'Atelier de Joel Robuchon in London last night and as previously the food was excellent and the staff terrific.

The food was excellent and the service friendlier than we had been led to believe. But wine, in particular, very expensive. Having read previous reviews i was expecting portion sizes to be tiny. Was pleasantly surprised when our excellent server explained what was the best way to choose from the menu. Service excellent throughout dinner. We shared our food so that we could experience a little of everything. The pigs trotters were fantastic thanks to those who have recommended this otherwise I would have missed out.

Try the Roof terrace for pre dinner cocktails. Its a fun place to eat, and I'd definitley go again. Se ritieni che questa recensione debba essere rimossa da OpenTable, contattaci e qualcuno del nostro staff se ne occuperà. We teamed up with popular restaurants to save you a spot when the house is filled. Redeem OpenTable Dining Points for in-demand tables, set aside for you. You can earn points when you book and dine using the OpenTable app or OpenTable. Standard qualifying reservations are worth points, and specially marked reservations are worth up to 1, points—10x the regular amount of points!

Points are redeemable for Premium Access reservations at select restaurants, Dining Reward Gifts or Amazon gift cards. Prenotazioni Informazioni Foto Menu Recensioni. Nearby points of interest The St Martin's Theatre.

The St Martin's Theatre. Shaftesbury Avenue Codice di abbigliamento: Smart Casual Fascia di prezzo: Vedi gli orari, i trasporti e altri dettagli. Segnala un problema con la foto Foto non relativa al ristorante Contenuto inappropriato Non mi piace questa foto Annullare.

La Queue-de-boeuf , 3 marzo Le Chevreuil Joel Robuchon London , 3 marzo Langoustine- kadaif , 3 marzo Le Maquereau , 3 marzo Le Black Cod , 7 giugno Le Burger , 7 giugno L'agneau De Lait , 7 giugno Le Foie Gras , 7 giugno La Saint-Jacques , 7 giugno Le Tourteau , 7 giugno La Langoustine , 7 giugno Mashed Potatoes , 7 giugno L'Amuse-bouche , 7 giugno Yuzu Tart , 10 ottobre Petits Fours , 10 ottobre Confit Lamb Shoulder , 10 ottobre Sauteed Squid , 10 ottobre Le Saint Pierre , 29 giugno Black Cod , 29 giugno Cauliflower with Curry Foam , 10 ottobre Passion Fruit Deserts , 29 ottobre Le Souffle , 29 giugno Sea Bass Carpaccio , 10 ottobre Brocoli Soup , 29 ottobre Langoustine Ravioli , 29 giugno Espresso , 10 ottobre Coriander Gazpacho , 10 ottobre Pork Belly , 29 ottobre Le Poulpe , 3 dicembre L'Onglet , 3 maggio Amuse Bouche , 29 giugno La Banane , 3 dicembre Financiers , 19 febbraio Lobster with fregola pasta , 20 agosto Le Chocolat Tendance , 3 maggio Le Zephyr , 3 maggio L'artichaut , 3 maggio Spit-Roast Chicken , 3 dicembre Caramelized Pork Belly , 19 febbraio Creamy Manjari chocolate, bitter chocolate sorbet and Oreo cookie crumb , 21 agosto Coulis and mousse of mango, Joconde biscuit and exotic sorbet , 21 agosto Sea bream carpaccio flavoured with lemon and Espelette chilli , 20 agosto Scallops , 24 dicembre Framboise - Vacherin , 1 dicembre Cauliflower Veloute , 17 aprile Le Boeuf , 24 marzo Cheese Selection Of The Day , 19 febbraio Eggs Cocotte , 25 marzo Veal , 21 dicembre Langoustines , 6 aprile Lobster Spaghetti , 21 dicembre Le Gibier , 21 dicembre Le Cafe , 24 marzo L'oeuf , 24 marzo Afternoon Tea , 8 marzo Spit Roast Lamb , 18 febbraio Tiramisu , 25 marzo Pan Roasted Salmon , 2 maggio Mango Mango , 8 settembre Roasted Cod , 8 settembre Sea Bream Carpaccio , 8 settembre Calamari Tagliatelle , 18 luglio Les Coquillages , 22 marzo Panna Cotta , 4 febbraio Salad Of Baby Squid , 15 giugno Cherry Gazpacho , 15 giugno Chocolate Mousse , 22 giugno Chestnut Soup , 16 ottobre Duck Leg Confit , 27 marzo Mashed Potato , 3 febbraio La Dorade , 24 marzo Poached egg in rice batter , 2 marzo Dessert , 27 settembre Plaice with Green Beans , 27 settembre To maximise your dining experience, this menu is for the enjoyment of the entire table 1st Course.

Le Lait Et Le Miel. L'atelier Signature Cocktails Sans Alcohol. Wines by the Glass. Lopéz Heredia, Rioja, Spain. White Wines - France. La Vallée De La Loire. La Vallée Du Rhône. White Wines - Italy. Südtirol - Alto Adige. White Wines - Spain. White Wines - Portugal. White Wines - Austria. White Wines - USA. Rosé Wines - France. Red Wines - France.

La Vallée Du Rhône Septentrionales. La Vallée Du Rhône Méridionale. Red Wines - Italy. Red Wines - Spain. Red Wines - Austria. Red Wines - New Zeland. Red Wines - USA. Red Wines - Argentina. Sweet Wines - France. Sweet Wines - Italy. Should your work be considered from an anthropological point of view? I am delighted that the outer appearance has a Baroque style.

Indeed, I strive to make objects that have a certain timelessness it is not important whether they were made now or ten years ago and universality I am not meticulous regarding specific cultural elements. At the same time, my work follows in the tradition of great sculptors and, in certain respects, witchcraft with skin, hair, fetishes, horns and teeth: I chose dogs and horse. These are meat, but above all they are also animals closely related to man. There is something disturbing about working with a dead animal as the starting point; predation and sacrificing animals comes to mind.

But I do not reduce animals to a metaphor. A dead dog is more moving than the mass unemployment of young Africans. What I do with these animals is only possible because my partners are very cooperative, armed with a good knowledge of the land and a long-standing friendship. But I practice sculpture, not art brut.

Elle a été réalisée au Burkina Faso. Pourquoi les modes de production importent tant dans ton travail? Jean-Marie Perdrix Je travaille au Burkina avec des artisans bronziers qui sont mes partenaires depuis 20 ans. Ces animaux sont des totems de mes partenaires, mais je ne le savais pas. On trouve le cheval en boucherie à Ouagadougou ; quant au chien, il y existe tout un circuit informel où les chiens morts circulent. Il a parfaitement compris que je menais une expérience avec les possibilités que je pouvais trouver dans ce pays.

Est-ce toi qui a inventé ce procédé? Je distinguerai deux choses. Ils recherchent la même image que leur modèle, mais en bronze. Le cheval que tu exposes à la Fondazione Giuliani est-il une pièce unique? Chaque pièce est unique. Ce genre de pièce est long à faire car le charbon a brûlé très lentement. On a utilisé autant de charbon qui a brûlé dans la tête que de charbon qui a servi à faire le bronze. Accordes-tu une valeur précieuse au bronze? La densité intérieure est visible.

Ton travail est-il à comprendre du point de vue anthropologique? Jean-Marie Perdrix, Cheval, bronze à la chair perdue 3 , , cast of copper alloy, carbon and ash, 25 x 77 x 33 cm 3. Jean-Marie Perdrix, Chien à la Chair Perdue 2 , , cast of copper alloy, coal and ashes,14 x 39 x Since the beginning, his scientific activities have focused on the American and abstract art.

He has published books and essays on 20 th and 21 st century art. Académie de France à Rome — Villa Médicis. The panel discussion Prepared Piano: Model for a New Institutionalism presents artists, curators, as well as the managers of places where various projects have been produced over the past few years in Europe.

These projects have in common that they make novel use of cultural exchange instruments, while giving their activities both a local and international scope. The desire to reconfigure the institution based on the model of a community centre, laboratory, open school, and other places that are not mainly governed by market laws, is linked with the creative momentum that led to Prepared Piano. The proposed discussion aims to demonstrate that PIANO, as well as Salon Light , dedicated to independent publishing, and Vdrome , a distribution network for artist films, are today all tangible initiatives.

He is also an independent curator and the vice-president of the d. This is a series of specific offerings that critically rework the principles of artwork accumulation. Conceived by the director Éric de Chassey and organised by the French Academy in Rome — Villa Medici every year since , the Theatre of Exhibitions has been devised as a moment of encounter between the fellows in residence and the public, as well as one of dialogue and confrontation among the artists and scholars in residence.

The different spaces of Villa Medici become ephemeral stages for installations, performances, projections, readings. The concept of openness, a predisposition to dialogue and confrontation among different disciplines is the characteristic that unites the projects, which are presented.

Since the beginning, his scientific activities have focused on the US and abstract art. This interdisciplinary laboratory brings together the reflections and experiments of artists and scientists and also philosophers, anthropologists, art historians and theoreticians, thus providing as much coverage by neuroscience, physics and astrophysics as by hypnosis, telepathy and shamanism.

Her work has been the subject of numerous solo exhibitions. Since , she has also participated in important group exhibitions, as well as various international biennials and in Venice where she represented Belgium with Michel François. Her work has been presented recently within the exhibition Passion Fruit at the Centre Pompidou, Paris and within Dynamo, A century of light in art, — at the Galeries Nationales du Grand Palais.

Vdrome is an online platform that offers regular, high quality screenings of films and videos directed by visual artists and filmmakers, whose production lies in-between contemporary art and cinema. Each screening is presented during a limited period, as in a movie theatre.

Enrico Boccioletti is an artist and musician active under multiple names — Death in Plains, 4SICSX, spcnvdr and Enrico B — in the fields of postconceptual, new vernacular, performance and sound, interested into incompleteness and circularity, duplication and accumulation, waste, layering, forgery, faux-real. He also works for Mousse Magazine and Vdrome. It focuses on artists of different generations whose works have been conceived as physical and mental instruments that bring together thought and action in every possible media, linking visual arts to theatre and literature.

The project aims to shape a collection that is articulated over time, combining archival research with commissions for new works taking into account the role of the museum as a place of memory and preservation as well as a continuing research and production laboratory. All the works presented have a relation with the city and its history: Alessandro Rabottini is an art critic and curator based in London.

He is Curator at Large at the Madre Museum in Naples where he recently curated a mid-career retrospective of Padraig Timoney and the survey show of Ettore Spalletti and served as guest curator for several international institutions. After exporting the concept at Vermelho gallery in Sao Paulo and the great success of Salon Light 9 at Palais de Tokyo in , Salon Light keeps uniting a moving scene of artists, authors, independent publishers or composers.

Performances and meetings with professionals and artists are also a key part of the event. Sylvie Boulanger is founder and curator of Salon Light since its creation in She directs Cneai since She is a member of several research labs, she also contributes to academic reviews like Multitudes and lectures in art schools and universities. The round table discussion will be followed by a Concert for Prepared Piano by Laurent Durupt , composer and fellow at the Villa Medici. She aims to create a dialogue between contemporary art and other art forms with a particular emphasis on theatre and dance , as well as social science economics, philosophy, anthropology , focusing on the significance of processes and experimentation in the performative dimension of art.

Nel ha curato con Chiara Parisi la Nuit Blanche di Parigi invitando oltre 40 artisti a produrre istallazioni e opere su larga scala sparse per il territorio della città. Vincent Honoré Can you tell us about the missions of La Ferme du Buisson, and explain what makes this place unique in France? Julie Pellegrin Located on an exceptional site in the outer suburbs of Paris, La Ferme du Buisson is a multidisciplinary cultural centre of national and international standing.

It comprises a contemporary art centre, a national theatre containing 7 concert and performance spaces, and a cinema. This configuration, which is unique in France, makes the place a perfect example of the de-compartmentalisation of disciplines.

So the programme revolves around three axes: In our ways of working, in the subjects explored or in our activities directed at the public, we try never to disconnect the art scene from the social, political and cultural spheres. It was saved from destruction thanks to a mobilisation by residents and local politicians who understood the importance of preserving industrial heritage and creating a high-calibre cultural centre for the new city of Marne-la-Vallée, which was then under construction.

Beyond its art production and distribution mission, how do you define the political and civic role played by La Ferme du Buisson? Although our role within the city can sometimes seem trifling, the current context is making it absolutely indispensable. In support of this, La Ferme du Buisson is doing great mediation and awareness-raising work directed at visitors from the every walk of life. Why did you want to participate and what programme are you proposing?

In this period when people are turning inward, international collaborations that make it possible to exchange points of view, practices and sometimes funding, are vitally important.

In this sense, the cooperative projects developed by d. Since Jarry had very close links with the futurists, and Italy is home to many pataphysics societies, and Ubu regularly serves as a metaphor for illustrious Italian politicians, we asked Alberto Salvadori and Leonardo Bigazzi to join in our research. This project takes the form of an archipelago in which each island-chapter unfolds in a different place and in a different form. Alfred Jarry Archipelago Space: Vincent Honoré Pouvez-vous nous présenter les missions de la Ferme du Buisson, et ce qui en fait un lieu unique en France?

Dans nos manières de travailler, les sujets abordés ou nos actions en direction des publics, nous tentons de ne jamais dissocier la scène artistique des sphères sociale, politique et culturelle.

Comment définir — au-delà de sa mission de production et de diffusion artistique — le rôle politique et citoyen joué par la Ferme du Buisson? Si notre rôle au sein de la cité peut parfois nous paraître dérisoire, le contexte actuel le rend absolument indispensable. Pour accompagner cela, la Ferme du Buisson développe une formidable action de médiation et de sensibilisation en direction des publics les plus divers. Pourquoi avez-vous souhaité participer et quel programme proposez-vous?

En ce sens, les projets de coopération développés par d. Trois expositions collectives se sont ainsi tenues au Quartier, à La Ferme du Buisson et au Museo Marino Marini, et un ensemble de performances dans le cadre du festival Playground à Louvain.

Mattin is a Basque artist whose work responds to the social and economic conditions of experimental music production, through live performance, recordings, and writings. He investigates the parameters of improvisation, notably the notion of freedom and constant innovation dictated by its conventions and which distinguish it as a genre.

For Mattin, improvisation does not merely entail an interaction between musicians and their instruments, but also all the other elements that make a concert.

He reveals the stereotypical relations between the active player and the passive audience, which he aims to disrupt by provoking experiences of alienation. The Audience is Not the Mother of Self-Invention , presented here as a video recording, is a performance that took place in at Index an independent art space in Stockholm during a week-long performance series titled The Audience is the Mother of Self-Invention.

The performance began with a video camera equipped with a light projector aimed at Mattin, who stood in the middle of a circle spontaneously formed by members of the audience.

During one hour the camera slowly revolved degrees, moving away from the performer and steadily filming the audience. During the traveling shot, Mattin uttered a series of almost inaudible phrases. The performance ended when the camera came full circle to once again frame him.

Una videocamera, munita di proiettore, è puntata su Mattin, che si trova al centro del cerchio formatosi spontaneamente tra gli spettatori. Durante questa carrellata, Mattin pronuncia delle frasi quasi incomprensibili. La performance si chiude con la videocamera che torna a inquadrare Mattin. La performance prend fin avec le retour du champ de la caméra sur Mattin. Ron Tran works in various media, including performance, sculpture, photography, video, and installation.

His artistic practice involves interpersonal actions and gestures, at once benevolent and ironic, that challenge the way we view everyday relations, notably those that involve strangers. In Walking Strangers Home , for example, Tran approaches passersby late at night, offering to accompany them to their homes.

Establishing a relationship between art and the public sphere, the artist thus explores cultural rituals and anxieties as well as relations of power in society. Documentation plays an important role in conveying his work as a performer. For Apartment , Tran removed the front door of his apartment and exhibited it for five weeks at Western Front, an artist-run art space in Vancouver, while he continued to live in the apartment.

Through this objectaction, which combines aesthetics and the intimate realm, his private life was exposed and made vulnerable. The apartment functioned as an extension of the object exhibited in the art space. At the end of the exhibition, the door, once returned to its original location and use, lost its artistic status. The work offered itself neither as a metaphorical representation, nor a ready-made, but rather as a living and tangible intervention inscribed in the present and inseparable from real life.

For the exhibition Soleil politique , the artist explores the means to reenact this experience. Ron Tran lavora con diversi media: La sua pratica comprende azioni e gesti interpersonali, allo stesso tempo ridondanti e ironici, che introducono un senso di malessere nel nostro sguardo sui rapporti quotidiani, in particolare quelli con le persone sconosciute. In Walking Strangers Home , per esempio, Tran avvicina dei passanti a tarda ora, e si offre di accompagnarli fino a casa.

Alla fine della mostra, e una volta rimontata la porta sui cardini, essa ritrova la propria funzione di utilità e perde ogni valore artistico. Ron Tran travaille avec divers média: Sa pratique convoque des actions et gestes interpersonnels, à la fois généreux et ironiques, qui introduisent un malaise dans notre regard sur les rapports quotidiens, en particulier ceux impliquant des personnes inconnues.

Together with Hans Hollein and Raimund Abraham, Walter Pichler was one of the leading exponents of radical architecture in the s. His projects combat the formal coldness and monotonous surfaces of modern architecture, using unusual materials to create buildings that tell a story.

Pichler often associates his interest in places of worship with the creation of his sculptures and the places that host them, forging a consummate union between landscape, sculpture, and architecture. In he was invited by the Turin City Council to present a public art project for the underground railway link.

The structure is composed of a series of prefabricated elements in cement and is entitled Passage , given that its only function is to connect two different areas. Inside Passage , light plays a key role, and the work is indeed subtitled Lichtkäfig Light Cage. Indeed for the Gutmann private collection Pichler designed a room to present this project and a version of it for the space outside. Tragbarer Schrein Portable Shrine is another example of how Pichler enjoys using different materials, and it also reveals the mystic element that accompanies his sculptures and installations.

The main section is a reliquary containing a mirror from St. This objet trouvé can be seen through a small hole: Infatti lo stesso Pichler ha progettato una stanza dedicata alla presentazione di questo progetto e una sua realizzazione per lo spazio esterno per la collezione privata Gutmann.

Lo scrigno centrale è concepito come un reliquiario. Al suo interno è contenuto uno specchio proveniente dalla basilica di San Marco, a Venezia. After studying science, Marie Voignier entered the École des Beaux-Arts de Lyon, where she produced her first video works. The various subjects of her videos are inspired by reality and play on different cinematographic levels that highlight the reversibility of genres and the multiple viewpoints possible of a given situation.

Tourisme International bears witness to a spectacle on a national scale: Moving constantly from one place to another, this tourist trip stops at monuments, museums, and institutions presented by North Korean tourist guides. North Korean cinema is shot in 16mm silent film and is entirely overdubbed. Practically no sound, other than speech and music, accompanies the images.

The recreated soundtrack of Tourisme International , on the contrary, includes all the sounds excluded from North Korean cinema, which give matter and depth to space. This rearrangement of sound, however, excludes all voices. All commentary by the tourist guides or by Marie Voignier herself remains silent; all speech is eliminated and the voices shift off-screen, to the titles that punctuate the film and give the spectator a minimum of information in order to identify the places and context shown.

Tourisme International Turismo internazionale è stato girato come la registrazione di uno spettacolo su scala nazionale, dove la nazione implicata è la Corea del Nord. Il cinema nordcoreano, girato in 16 mm, è muto; i film stranieri sono interamente doppiati, ma, oltre alle voci degli attori e alla musica, nessun altro suono accompagna le immagini.

La colonna sonora ricreata per Tourisme International , invece, è fatta di tutti questi suoni, che conferiscono una materia e uno spessore allo spazio. I commenti delle guide e di Marie Voignier sono muti. Tutti i discorsi tacciono e le voci si spostano fuori dalle immagini, dentro i sottotitoli che punteggiano il film, dando allo spettatore elementi indispensabili per situare i luoghi e un contesto dove orientarsi.

Leurs sujets variés sont puisés dans la réalité et jouent sur différents registres filmiques, soulignant ainsi la réversibilité des genres et des points de vue sur une situation. Le cinéma nord-coréen est tourné en 16 mm muet et les films sont entièrement doublés. De cette recomposition sonore ont cependant été exclues les voix. Les commentaires des guides et de Marie Voignier sont restés muets.

Nina Canell, Treetops, Hillsides and Ditches , Mastic gum, logs; variable dimensions. View of the exhibition The Promise of Moving Things curator: Interested in giving art a more dynamic role in everyday life and society, Brehmer analyzes in his works the growing presence of the media and media language in Western consumerist society.

His oeuvre spans painting, graphics, books, films, musical arrangements, and installations. The two crossed flags form a portrait of German society, its social changes and political tendencies.

The colors are proportioned to convey various statistics on the distribution of wealth in the country. The left-hand flag interprets data from , dividing German families into three income brackets represented by the national colors: The right-hand flag uses the same colors to represent the increase in per capita earnings between and according to occupation: The fact that the two flags are crossed over represents the inextricable link between social class and distribution of wealth.

Le sue ricerche trovano forma in lavori pittorici e grafici, in pubblicazioni, film, arrangiamenti musicali e installazioni. I colori e la superficie delle bandiere veicolano una serie di informazioni statistiche sulla distribuzione del reddito in Germania. Nella bandiera di sinistra, che fa riferimento al , le famiglie tedesche sono suddivise in base al loro reddito in tre fasce, identificate dai tre colori nazionali: La bandiera di destra, utilizzando gli stessi tre colori, indica la crescita del reddito pro capite tra ileilinbasealtipodi attività svolta: Antoine Nessi, Unknown Organs , Stainless steel, aluminium, brass, galvanized steel; variable dimensions.

Art from the Indian Subcontinent and Greenwashing. Art Perils and Proposals. La démocratie est illusion Space: Art from Indian Subcontinent e Greenwashing. Arte Pericoli e Promesse. Art from Indian Subcontinent et Greenwashing. One example of the latter is El obelisco acostado , presented in the exhibition in the form of documentation. El obelisco acostado was the first in a series of works Minujín conceived as a subversive take on the major monuments of Western tradition.

Utilizza spesso materiali effimeri come cartone, tessuto e cibo per creare opere monumentali, ma al contempo fragili. El obelisco acostado è la prima di una serie di opere, nelle quali Marta Minujín si propone di demistificare i grandi monumenti della tradizione occidentale. Marta Minujín, El obelisco acostado , Courtesy of the artist. Daniele Balit is a curator, theoretician and art historian living in Paris. He holds a PhD in Contemporary Art History from the University of Paris 1 Pantheon-Sorbonne, in which he has investigated the impact of sound-based practices on exhibition contexts.

She is a founding member of the non-profit curatorial platform 1: Nel marzo ha dato avvio a Birdcage, galleria sonora itinerante e site specific. È tra i fondatori della piattaforma curatoriale non-profit 1: Il est membre fondateur de la plateforme curatoriale 1: We quickly identified the archive as our research thread, starting from what seemed to us quite a strong paradox inherent to the practice of archiving ephemera as the CNEAI is doing: A bit like collecting butterflies!

In a way, all archives are ephemeral. The stories they preserve are there to be rewritten each time, to be brought to a new life on the occasion of each new display. Gradually, our research took the form of a historical perspective on some individuals, institutions and groups, who share similar preoccupations and who are trying to articulate them — or should we say, with Seth Price, to disperse them — through a variety of media.

How did you work all together? This was the occasion to approach and study the archive both individually and as a group. Each of us initially focused on our own personal curatorial interests and research, but at this stage we shared a common discussion on artists and their practices, which led to the identification of authorship as a crucial topic for the project.

Gradually, we defined the group of artists we wanted to include in the first show in Rome, which was a selection of predominantly French artists. In reality, it was quite immediate not only for their works, but also because it was an opportunity to show historical artists such as Pascal Doury and Michel Journiac, who are not well known in Italy. We also included Italian artist Maurizio Nannucci and Jonathan Monk, whose practice is based on collaboration and appropriation. What are the continuity and the main differences between Rome and Chatou exhibitions?

It was important, therefore, that each exhibition had a distinct title, but that were still directly connected in order to create continuity from one show to the next. This is of course true for any archive, the issues of access and display being at the center of its operations.

But in the case of the FMRA archive, the whole idea of collecting editions and ephemera is really centered on exploring the possibilities of circulation and transmission of this specific type of art object. We were confronted with this very interesting dialectic between the fetishism of the collector impulsive collecting, accumulation and preservation of ephemera… and the endeavor of distributing it, which often implicates the questioning of the aura of the art object itself.

With the exhibitions we wanted to emphasize such types of dualities. This was done by involving some figures for which archiving, collecting, re-framing, displaying, editing or distributing is at the core of their practice, and who contribute with their hybrid activities to the critical thinking and redefinition of the field. In other words, we wanted to share with these artists and their productions the processes of activating the archive.

That was for us the most coherent way to present the FMRA collection, and also a response to some of the lines of research that emerged through the material itself.

Red Swan Hotel Space: The network operates as a point of intersection for the development of diverse and innovative projects including exhibitions, events, publications, symposia and talks, audio and live art beyond traditional institutional structures.

Intended as a tool for research and collaboration, it is actively engaged in a trans-national network between art professionals, operating in partnership with other archives located in Europe.

At the intersection between cultural mediation and distribution, 1: Il network opera come punto di intersezione nello sviluppo di modalità di produzione quali mostre, eventi, pubblicazioni, simposi, conferenze e performance che si pongono aldilà delle tradizionali strutture istituzionali.

Nel corso degli anni 1: Ce réseau représente un point de rencontre pour le développement de projets divers et innovants incluant expositions, événements, publications, conférences et rencontres, productions sonores et concerts, au-delà des structures institutionnelles habituelles. Au fil des années, 1: Born , Dendermonde, Belgium Lives and works in Ghent, Belgium His work has been internationally exhibited in both institutional and commercial venues.

Peter Buggenhout, Gorgo 33 , , mixed media: Her work has been presented within the exhibition Passion Fruit at the Centre Pompidou, Paris and on the occasion of the exhibition Dynamo.

A century of light in art, at the Galeries Nationales du Grand Palais. Ann Veronica Janssens is the author of a public commission for the chapel of St Vincent de Grignan, opened May 25, For the work Soleil politique Political Sun , from which the exhibition borrows its title, Broodthaers took a black-and-white illustration from an encyclopedia depicting the comparative scale of the planets in the solar system.

The work also reveals the ideological role of the museum, oscillating between enlightenment and obscurantism. Allo stesso tempo, oscillando tra illuminismo e oscurantismo, vi si trova esposto il ruolo ideologico del museo. Vient ensuite le point final: Marcel Broodthaers, Soleil Politique , , print and collage on paper and ink, 25,5 x 35,5 cm. Copyright Estate Marcel Broodthaers. After visiting the exhibition on the ground floor, the encounter with the remaining openings on both sides of the building highlights the visitor experience: This intervention does two things: The form and duration of the installation may be limited by other museum activities requiring the opening of some of the blinds.

Née à Ambilly, France, en Vit et travaille à Paris, France. The realisation of this arrangement, in its form and duration, can be limited by other museum activities requiring that the shutters be opened. The work and the exhibition have a specific relation to the Bolzano context.

Bernhard Rüdiger I spend a lot of time in that region, and I was aware of various aspects of the context of history shared between Austria and Italy. The land in these Tyrolean valleys was feudal, whereas the peasants in the mountains were independent. Looking at the valley from the mountaintops, you see something completely different from what you see from the opposite direction.

The view from the 4th floor of Museion offered a symbolic top-down point of view. The museum is built on the boundary that is the river. This already emphasised that kind of point of passage, but from the opposite point of view. This reversal of perspective leads us to the one carried out at Museion. The exhibition highlights the fact that the museum builds this same passage from Italy to Austria and vice versa.

The invitation was probably linked to the fact that my work is often built on a context, in this case the museum and its layout. Since the exhibition had a strong link to the city, I felt that my proposal would be weak if it only addressed institutional aspects. By extending the invitation to Bernhard and his work linked to the notion of space, the point was to enrich the project through the historical and topographical perspectives it could provide.

How did these questions of passage and perspective-reversal affect your proposal? The exhibition offered a reversal of the function of the museum spaces; the viewer had to enter the exhibition directly on the ground floor, which is normally a passage, and then view the city from the 4th floor, which had been turned into a belvedere, in order to finally go back downstairs and follow the suggested route through the city.

Our proposal found its place in that belvedere. We were unsure if when viewers reached a practically empty room on the top floor, facing large windows, they would intuitively be able to experience looking at the city. The gesture of opening the museum onto that broad landscape could seem romantic: Whereas visiting the exhibition on the ground floor was preparation for looking at the city from the belvedere?

It was a matter of constructing a determined perspective instead of a passive contemplation, as well as introducing the question of the body and the notion of unstable balance: The final proposal was to close some of the shutters on either side of the building and therefore either side of the city to create a specific field of vision that involved a movement dynamic and spatialized the bodies in the space.

We did a trial during the exhibition in progress and as soon as the shutters were closed, people stopped looking at the works to approach the windows. What role did the model play? This metaphor in the state of language becomes a physical act as soon as you experiment with it.

The exhibition brought forward the notion of architectural filter. There is a certain equivalence of preoccupations and ways of filtering the gaze. The two works operate in opposite ways, but actually express something very similar. Another work in the exhibition, that of Marcus Geiger, consisted in extracting one of the apartments from a housing project, an empty space that ultimately offers a transversal perspective, enabling reflection upon architecture and town planning.

It sports these two eyes that look outside, a two-faced gaze in the shape of a Janus head, something that is very characteristics of the local culture.

Speaking of local culture, can we discuss the title? Thinking again of the belvedere, is the title therefore a clue about how to use the work? The third word is in the Tyrolean dialect and expresses the idea of looking past appearances to understand reality. At the same time, people only understand a third of the title, since each of these languages is only spoken by some of the population.

It reconsiders questions about the activation of perspective, which are important for Bernhard, through my own methods, including the production of a condition of incisiveness when regarding what is already present on-site, without adding objects. The desire not to add objects seems to me to be very apt — since the museum itself is already an object, and not a transparent, neutral tool.

Émile Ouroumov Pourriez-vous me décrire votre intervention pour Soleil politique au Museion de Bolzano? La réalisation de ce dispositif, dans sa forme et dans sa durée, peut être limitée par les autres activités du musée qui imposeraient que des volets soient ouverts. Vous connaissiez cette région, la ville et les édifices mis en exergue par le projet de Pierre Bal-Blanc?

Les terres dans ces vallées du Tyrol étaient féodales, alors que dans les hauteurs les paysans étaient indépendants. Il est aussi question de la situation du Museion au milieu de la ville, entre la ville historique autrichienne et la ville nouvelle italianisée? Cette dernière soulignait déjà un tel point de passage mais avec le point de vue inverse. Cette inversion du regard nous conduit vers celle opérée au Museion. Notre proposition prenait place dans ce belvédère.

Il nous a semblé que cette impression est le contraire de la prise de conscience politique de ce qui se passe au pied du spectateur dans la ville. Quel est le rôle de la maquette? Les billes au centre sont une expérience de cette stabilité violente qui traduit les spécificités historiques et sociales de la région. Je pense par exemple à Gianni Pettena et à son intervention liée aux arcades fascistes de la Piazza della Vittoria. Il y a une certaine équivalence des préoccupations et de la manière de filtrer le regard.

Il y a ici un acte similaire qui fait traverser la structure par le regard. En parlant de la culture locale, peut-on évoquer le titre? Il est rédigé dans trois langues pratiquées dans la région. Elle est le résultat de nos deux pratiques, un territoire construit à partir de notre expérience commune.

I started Art school in Villa Arson, Nice where I graduated in with the congratulations of the jury. Most of my projects start out from the acoustic features of the space I will explore, especially where the exhibition space reveals its own sound signature.

I try to redefine some modes of perception through all the factors related to listening. I create atmospheres in tension, neurotic places, autarchic places, single machines, areas of memory or danger. The electric cable and its flow of electricity follows the viewer throughout his progress. Picking in the various fields of physics, chemistry and technology, a diversion takes place by twisting or transformation.

There is an experience of these invisible forces which redefine the position of the body and its unconscious.

Vive e lavora tra Nizza e Digione. Più particolarmente, si interessa al punto in cui un luogo espositivo rivela il proprio marchio sonoro. Née en à Nice. Vit et travaille entre Nice et Dijon. In what sense was this collective dynamic important?

The three of us already knew each other. We got along well and lived in more or less the same area. Each of us having been separately involved in several collaborations, we were aware that this presented an advantage in terms of energy, labour power and letting go. Beyond the spirit of intellectual competition, one senses that this collective logic is also efficient when it comes to production.

At the work-creation stage, a distinctive organisational logic can already be discerned… D. This is something that creeps into our practices and into those of quite a few artists of our generation. Primarily out of pure pragmatism: By inventing our tools, by making do with whatever we have at our disposal.

What is the meaning of the title Jambe de botte? For the creation of this piece, you tested several types of material, ultimately choosing plastic from melted garden chairs. Why did this material stand out? This brings us back to production circuits and pragmatism. How a combination of gestures can produce an image. We very empirically tested hundreds of combinations. Then we took a deckchair, burned it with a flamethrower, and the result was perfect.

We work on the French Riviera, where the dumps are full of this kind of furniture. We were conscious of reflecting the dystopian faults of this strange place that, when you remove the glamour of the sun and palm trees, smells of cheap suntan lotion, melted poodles and social violence.

How were the forms of the different sculptures created? We aligned casts found in an abandoned train parts foundry, in such a way that we were able to create cylinders that could be spun like record players. We poured the plastic and suddenly we had Scud missiles. Since sound is a vibration, in principle it can be inscribed on the media it comes into contact with.

The forms of the various sculptures evoke something of a warlike world. Added to these forms is a sound that gives the space a stressful atmosphere. How is this sound produced? Then everything developed very spontaneously. The day before the exhibition opened, we had to make up our minds to bring the sculptures into the exhibition venue. Although object and device diversion and DIY are found in your respective works, I get the impression that the question of sculpture is fairly new.

We considered simple questions that are not at all historical. A plinth is practical. It keeps the work at a distance and prevents a Scud from falling on someone. Plastic is more solid than margarine, etc. Ici, vous faites une proposition de production partagée. En quoi cette dynamique collective a-t-elle été importante? Tous les trois, nous nous connaissions déjà, nous nous entendions bien et nous vivions plus ou moins au même endroit.

Pour la réalisation de cette pièce, vous avez testé plusieurs types de matériaux, pour au final vous arrêter sur du plastique provenant de chaises de jardin fondues.

On en revient aux circuits de productions et au pragmatisme. Nous avons testé de manière très empirique des centaines de combinaisons. Nous avions conscience de renvoyer les travers dystopiques de cet étrange endroit qui, dégagé du côté glamour du soleil et des palmiers, sent la crème solaire bon marché, le caniche fondu et la violence sociale.

Comment les formes des différentes sculptures ont-elles été créées? Comment se son est-il produit? Since , he has been launching a series of curatorial projects that link contemporary art, recovery of industrial or civil disused sites, and mountains.

The idea of producing innovative images is central, working on the natural environment in a critical and projective manner, and rejecting the stereotypical readings.

Cultural entrepreneurship and creative industries as factors of local development. Branding of the territories and creative regeneration. Rethinking nature and the industrial landscape through contemporary art. How do you think a residency can benefit an artist? Artists are a sensitive selectors.

They seize stimuli, and re-broadcast them. The more the external contest is stimulating, the stronger and profound the resonances created in them may be. The residency project gives the artist a chance to come in contact with new contexts.

The dolomitic contexts, made of rock, verticality, environment and nature, thin air, great exhumed architectures, which we reactivate, are exceptionally incentivized in that sense. How do you foresee the future of an institution like yours in a context in which globalised museums and institutions become such powerful players, absorbing all energies, audiences and funding? It is an experimental project, which questions once again the manner of approach to the territory, the sites, the spaces, the thoughts, the meaning of the artistic endeavour and the curatorial practices, and the relationship between all these things.

Thus, the more the system will become organized, the more space there will be for subversive, or simply critical, projects.

Is it an advantage to have a nomadic structure, that has to find new space all the time for its projects? It is not a question of advantages. Changing constantly is hard. It is pervasive, universal, mobile, liquid. Every time we face a new site, we do it because it makes sense, it is necessary, to bring a system of re-activation in that site, which is always a great dead location, that we believe must be exhumed, transformed, regenerated.

However, we settle in some sites for at least years Casso, Borca. But the project is extremely clear, and stable. It opens closed contexts. It assaults inertias, and ideational laziness. It proves that every good idea, when pursued rigorously, can be successful. PIANO intends to create a network of art spaces working together, exchanging and interacting. Why did you decide to join the project and how are you participating in it?

Every good network interests us. That is where it started, where we continuously welcome artists and people Residency , and from where it steps out all the time, through partnerships, relationships, exchanges, in Italy and abroad. The only regret was the complete lack of participation of the public Italian institutions.

A few Italian artists have worked, instead, in the French art centres that are partners of the project. In the next weeks and months, the results of their research will be presented. We hope that the French artists will decide to take part in it. Vincent Honoré Puoi presentare Dolomiti Contemporanee, la sua storia, la sua mission e il suo programma? Gli artisti fanno le loro scelte con sensibilità, colgono gli stimoli e li riproducono.

Più è stimolante il contesto esterno, più forti e profonde possono essere le risonanze create in loro. Il contesto delle Dolomiti, fatto di roccia, verticalità, ambiente e natura, aria fine, grandi architetture riesumate e riattivate, è incredibilmente stimolante in questo senso. Non è possibile che i contesti culturali siano completamente cannibalizzati dalle istituzioni, dai musei, dai player più potenti.

Più il sistema diventerà organizzato, più spazio ci sarà per i progetti sovversivi o semplicemente critici. Avere una struttura nomade, che ha bisogno di trovare ogni volta una nuova sede per accogliere i suoi progetti, rappresenta un vantaggio? Non si tratta di una questione di vantaggi. Cambiare continuamente è difficile. È pervasiva, universale, mobile, liquida.

Ogni volta che affrontiamo un sito nuovo, lo facciamo perché ha senso, è necessario portare in questo specifico luogo abbandonato, che noi crediamo debba essere riesumato, trasformato, rigenerato, un sistema di riattivazione. Ci stabiliamo in determinati luoghi per periodi di anni Casso, Borca , per cui non siamo esattamente nomadi.

Il format non è definito, ma cambia in relazione ai luoghi, sempre diversi. PIANO mira a creare una rete di spazi artistici che lavorino insieme, attraverso processi di scambio e interazione. Perché avete deciso di aderire al progetto e come si realizza la vostra partecipazione? In quattro anni DC è stato creato nel , abbiamo lavorato con oltre partner pubblici, privati, produttivi, culturali e artistici. Tutte le buone reti ci interessano.

Il progetto non è affatto limitato alle Dolomiti. Abbiamo deciso con piacere di prendervi parte. Abbiamo quindi preso parte al progetto Piano — Alto! Nelle settimane e nei mesi che verranno, saranno presentati i risultati delle loro ricerche. Inoltre abbiamo inserito nel progetto PIANO uno dei nostri progetti, Two Calls for Vajont , un importante e complesso concorso artistico internazionale www. She taught by the past at the University and at the School of Fine Arts.

Claire Le Restif conceives curating as a consideration of the context in which she works, not to answer a request but to offer to the public the current artistic peculiarity. Known for its will to cultivate the ground and to give their chance to young artists, le Crédac associates an excellent politics in term of artistic choice with a search for closeness with the public. The Registry of Promise Space: Vincent Honoré How was the Crédac created and what is its fundamental purpose?

Claire Le Restif The art centre was created in , instigated by artists and political will. It is one of the first art centres in Île-de-France. Situated in Ivry-sur-Seine, the Crédac is a place whose visitors comprise locals from Ivry and French residents passing through the region or from Paris to visit the exhibitions or attend meetings.

The question of public transit is central, as is the relationship between Paris and its outskirts. The Crédac is one of many art centres that form a dynamic network in France and without which a large proportion of contemporary culture and art would undoubtedly be inaccessible.

How does its DNA differentiate it in this network? The art centre is a public place. Also the project that I am developing strives to eliminate as far as possible the notion of personal taste or aesthetic line to the benefit of exhibiting a wider range of creativity and its aesthetic and critical issues.

I express more of a relationship with art by inviting artistic projects that develop different issues embodied by forms that interpret the wealth of current artistic expression. We do not publish exhibition booklets but a free publication called Le Mecca. It provides information about activity issues at the Crédac, the planning and mediation alike.

It also opens an additional avenue for reinterpretation and memory. There is a fundamental phrase in the presentation of the centre: For artists it is also a place for intellectual, critical and technical mentoring. An art centre is not just a place measured in square metres, a showcase… For the artists it is a place to carry out research, to experiment and for intellectual, critical and technical support. It is a place for artistic yet all too often illegitimate, freedom.

When I talk about mentoring, it is regarding the artists for whom we are benchmarks when required, but it is also the mentoring that has been instigated between art centres. That is, in the structure behind a vision, a dynamic and a horizon for a place, a project and a team.

This problem interests me all the more as the gap between spheres of intellectual strength or experiment and sanctuaries of global culture is widening without personal preference for one or the other.

In your opinion, what is the role of an art centre director in ? To ensure that the venues at best develop and consolidate, and in the worse case scenario they are sustained!

We have to be in permanent contact with the artists and liaise with civil society, another mission that is important in my eyes! But the context in which we work is very important. It should be taken into consideration in a peaceful but also resistant way laughter. To support what we believe should be stated and exhibited, sometimes against the advice of fashion, the art market and public taste! To explain our relationship with art, to feel part of the cultural heritage of an exhibition history as a source for reflection even about the history of recent art, whilst putting to the test our ability to continue to invent new forms of exhibits and more broadly new ways of working together.

Charles Esche described his ideal museum as being inherently uncertain: How did you structure the curatorial approach to the venue, the institution? The programme that I drew up for the Crédac when I arrived was very bound to the context and the topography of the underground location, situated until within the foundations of the Jeanne Hachette Centre, built by the architect Jean Renaudie between and To kick off, I set up an exhibition in two parts called La partie continue The Games Goes On , a small show to present the goals of my programme.

The project was initially inspired by this unusual venue, the sloping white cube and compromised geometry. This title bore the notion of continuous and discontinuous play.

Having formulated the concepts of citing, misappropriation, mixing and borrowing, it was more the loss of the notion of authority, of ownership and the calling into question of inheritance that interested me. We left this venue for a factory built in La Manufacture has thus resumed its original production studio activity: Why did you want to participate and what programme are you offering? We have the impression, most notably with Sandra Patron and Lorenzo Benedetti, that the role of art centres is not studied, analysed and promoted enough.

I feel it is crucial to defend the role played by art centres in implementing networks for artistic presentation on a European level. How would a museum collection become established today if the network of European art centres ever disappeared?

What issues would occur for an artistic community without a local venue for peripheral circulation? Lastly, how does the economic crisis endanger the art ecosystem? I had an in-depth discussion concerning these questions with Chris Sharp who had his project The Registry of Promise in mind.

My idea was to set up an association of four dynamic venues that he is also in regular contact with: Vincent Honoré Comment a été créé le Crédac et quelle est sa mission fondamentale?

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Le Commandant a ordonné d'etre sévères contre tout insulte aux autorités et institutions ecclésiastiques. Labour is not video one porn trans soumise only resource subject to scarcity. That is the best!! Thiers quand vous le verrez. Asking questions are truly nice thing if you are not understanding anything completely, except this article gives pleasant understanding. Performances and meetings with professionals and artists are also a key part of the event. Respekt, da hat er sich ne neue Lampe aber redlich verdient. sexe vieux jeune escort deux sevres Because these wigs are made making use of man head of hair, they search natural and at periods it really is extremely difficult for the next man or woman to differentiate between a human and natural your hair wig. I may want to participate, I'll think about it. White Wines - Austria. He has also produced several solo exhibitions including: The project was initially inspired by this unusual venue, the sloping white cube and compromised geometry. Sette buste relative alla Questione Romana, busta 2, fase.

Altri archivi, sopratutto privati, hanno fornito un importante contributo per la compilazione del volume: Alcuni documenti sono frutto di ricerche effettuate nell'Archivio dell'Ufficio Storico dell'Esercito. Varie notizie complementari, infine, sono state tratte dal fondo Verbali delle deliberazioni del Consiglio dei ministri, vol.

II, conservato nell'Archivio Centrale dello Stato. Di questo materiale solo una piccola parte, relativa quasi esclusivamente alla Questione Romana, era già edita in R. Verde 17 Documenti relativi alla Questione Romana presentati alla Camera il 29 dicembre Un documento, il dispaccio del Visconti Venosta al Minghetti del 21 settembre, già edito nel Libro Verde 17, era stato ristampato nel Libro Rosso austriaco Answiirtige Angelegen.

Cadorna del 22 settembre, già edito nel volume dello stesso Cadorna, era stato ristampato in Le Carte di Giovanni Lanza, VI, Torino, ; un altro documento, ancora, il dispaccio del Visconti Venosta al Caracciolo di Bella del 24 novembre, era edito nel Libro Azzurro Correspondence respecting the Treaty of March 3'0, , in Staatsarchiv e in Archives Diplomatiques; parimenti già editi erano gli allegati ai documenti nn. Le lettere inviate dal Blanc al Visconti Venosta durante la missione romana del settembre-ottobre costituiscono una questione a parte.

Esse furono in maggioranza stampate -non pubblicate -con qualche variante nel Libro Verde riservato. Una precedente stampa, con qualche variante rispetto alla definitiva del Libro Verde riservato, era stata fatta nel Il generale Cadorna, nella III ed.

Un'altra lettera del Blanc il documento n. Solo un piccolo numero delle lettere del Blanc si conserva in originale, nell'Archivio Visconti Venosta di Santena.

Dalle altre si conservano copie litografate, in base alle quali fu fatta la stampa, nell'archivio del Ministero Affari Esteri. Un altro esemplare dei documenti, che si è seguito per la 'PUbblicazione nel presente volume, si conserva, trascritto in un copialettere, nell'Archivio Blanc.

Chabod aveva collazionato personalmente i documenti sugli originali, osserv,. Parimenti le amplissime note, cui egli attribuiva una importanza del tutto particolare data la necessità di porre a continuo raffronto la nostra documentazione con le ricchissime fonti strraniere, sono state redatte personalmente da lui.

Lo ha coadiuvato nelle ricerche, nella correzione e nella compilazione degli indici il dott. Nous manquons absolument de nouvelles sur ce qui se passe à Rome. Vous pourriez faire partir ce soir méme Guicc'ioli qui nous porterait les renseignements que nous désirons. Le Ministre de Prusse m'a donné lecture d'une circulaire de M. La conc1usion est celle-ci -Ce que nous demandons doit avoir pour résultat de rendre plus diffi.

Ne possédant pas une copie de cette remarquable dépéche,. Je me borne donc à appeler votre attention sur quelques points qui, d'après la commurucation orale qui m'a été faite, m'ont semblé les plus importants. Après avoir rappelé les pourparlers que nous avons entamés à Vienne sur cette question dans les derniers temps, et l'accueil favorable que nos vues ont rencontré auprès du CéUbinet Impérial, S. Aujourd'hui le Gouvernement Austro-hongrois sans chercher à entraver la liberté de nos décisions dans une question qui l'intéresse cependant au plus haut degré, s'adresse aux sentiments du Gouvernement Italien et appelle notre sérieuse attention sur la nécessité de ne point augmenter les alarmes et de contenir les passions hostiles au Saint Siège.

Ma réponse au Baron de Kiibeck a été conforme aux arguments que je vous ai exposés dans mes dépèches du 29 Aout et du 7 septembre 2. Ainsi que le rappelle S. Cette stipulation, faite en d'autres temps et pour une situation tout-à-fait différente, devenait inapplica: Nous sommes profondément reconnaissants au Gouvernement de S.

Tel est de nos jours le caractère des grandes guerres que leurs effets ne se bornent pas à altérer gravement! En Italie, les effets de la crise actuelle devaient se faire sentir surtout relativement à la question romaine. Nous n'avons pas cessé depuis dix ans d'en exposer les dangers: Cette question exposait chaque jour l'Italie à un appel à des interventions étrangères, ou à un débordement des forces révolutionnaires.

Il y a dans la vie des peuples des instants où le Gouvernement ne peut sauvegarder efficacement les principes d'ordre et d'autorité qu'en prenant dans ses mains les questions qui touchent au sentiment national, en s'efforçant de chevcher leur solution afi! Le Gouvernement 4 se trouvait dans un de ces moments; il a la conscieniCe. A la nouvelle qu'une insurrection venait d'éclater à Viterbo, nos troupes ont franchi la frontière.

Un personnage politique éminent avait été chargé d'apporter au Saint Père une lettre du Roi. Cette lettre a été publiée: Inaccessible à nos protestations de respect et à nos offres de conciliation, le Gouvernement Pontificai a voulu contraindre le Gouvernement du Roi à se servir de la force..

Nous le regrettons profondément. Nous avons la conviction d'avoir fait tout ce qu'il 2 était humainement possible pour prévenir cette nécessité. L'insuccès de la mission de paix que le Comte Arnim a bien voulu remplir spontanément démontre que le Gouvernement Pontificai n'a pas reculé devant de telles extrémités.

Il a peut-ètre voulu donner plus de retentissement à ses protestations: Loin de nous étonJ?. Bien plus, nous la partageons. La conciliation, que l'intervention étrangère, sous sa 3 double forme d'un protectorat et de l'intrusion d'armes mercenaires, avait rendue jusqu'ici impossible est encore le vceu le plus ardent du Gouvernement du Roi. Aucune dynastie, aucun peuple n'ont des traditions plus sincèrement religieuses, plus profondément catholiques que la dynastie et la nation italienne.

Ce n'est pas le Roi Vietar Emmanuel qui portera la main sur les prérogatives du Saint Père, sur les conditions qui lui sont nécessaires pour le libre exercice de son autorité spirituelle. Ce n'est pas l'Italie, qui a toujours gardé précieusement l'unité religieuse, dont l'homogénéité des traditions et du culte n'a jamais été compromise par ses nombreuses vicissitudes politiques, qui cherchera à faire au Saint Siège, qu'elle regarde camme une de ses gloires les plus splendides, une situation moins indépendante, moins grande, moins digne de l'auguste mission que le Pape remplit dans le monde.

L'antagonisme existant entre le. La population est restée aussi attachée qu'aupararvant aux cérémonies et aux habitudes 6 pieuses. Les membres du clergé qui ont su se soustraire aux querelles des l partis et se renfermer dans la sphère de leurs fonctions, ont conservé une grande et légitime infiuence sur les masses populaires.

Il n'y a pour nous aucun doute que la lutte ayant cessé, le pouvoir temporel n'étant plus un obstacle au développement national, l'instinct religieux si enraciné et si puissant en Italie,.

Trasmesso il 26 ai ministri a Tours, Londra, Berlino, Pietroburgo, Madrid, Lisbona, Bruxelles, Monaco, perchè ispirassero il loro linguaggio alle istruzioni date al Minghetti. In generale entusiasmo grandissimo pel Re e per l'Esercito. Tentativi sovversivi 'emigrati e feccia popolo e furore popolo contro i papalmi sono sta,te le due caratteristiche del momento oc.

Le altre truppe saranno intanto accampate fuori Città salvo alcune della Divisione Bixio spedite a Civitavecchia accompagnamento papalini.

Accantonerei e distribuirei le altre negli ex-Stati pontifici, ma prima desidero aspettare per ogni evenienza ordini di V. Trauttmansdorff Ambassadeur d'Autrkhe à Rome part demain matin pour son poste. Il a pour instruction dans le cas où le Pape voulait traiter avec le Gouvernement italien d'offrir ses bons offices. Beust m'a dit que le Ministre.

On attend ici M. Thiers avec la conviction de l'inutilité complète de ses efforts. Je le verrai et je lui expliquerai notre situation. J'ai sondé Beust sur les possibilités de faire quelque chose dans le sens indiqué par M. Au fond la Russie s'est effacée et en outre elle a paralysé toute Nous devrions donc agir isolément et sans espoir de concours d'aucune autre Puissance.

Tel est l'état actuel des choses. Kanzler a écrit à notre Commandant au nom du Pape demandant troupes pour le Sainrt-Père menacé. Le Commandant a ordonné d'etre sévères contre tout insulte aux autorités et institutions ecclésiastiques. Ordres sont donnés pour que le Palais Farnese et tout ce qui appartient aux Bourbons soit respecté. Commandant Masi et Sermonette ne m'ont latssé jusqu'ici un instant pour vous éorire.

Vous aurez par le Ministère de la Guerre copie de la capitulation. Asrsurance donnée formeUement dans ce sens faLt impression excellente. Serait à désirer hàter envoi nos gendarmes et bons agents de police. Junte présidée par Général Masi qui inspire confiance.

Corps diplomatique venu offi. Chargé d'Affaires Français m'a dit que notre attente sous le feu pontificai et not. Pendant l'attaque nombreux officiers indigènes empechèrent leurs troupes tirer.

Il y a eu confiit entre les Pontificaux et la population sur divers points de ,Ja ville. Il y a eu des morts.

Aecueil des Romains à nos troupes est enthousiaste, beaucoup de peine soustraire les Zouaves à la fureur du peuple. Armée pontificale a passé devant nous, on lui a rendu honneurs militaires. Institutions ecclésiastique [sic] sont contre désordres.

Pape reste au Vatican. Nombreux cléricaux parlent déjà favorablement de esprit de nos autorités militaires disant avant peu de jours nous verrons directement venir à tnous [sic]. On saisira première occasion de donner au Pape témoignage éc1atant respect.

Il Conte di Bray mi ha dato atto di queste comunicazioni e mi espresse la sua soddisfazione. Ho ricevuto stamane il telegramma col quale l'E. L'ho pure immediatamente comunicato l al Signor Crémieux, Membro del Governo della difesa nazionale, Guardasigilli, e Presidente della delegazione governativa stabilita in Tours. La notizia che ho avuto l'onore di trasmettere all'E. Ultimo e più chiaro segno di questa benevolenza della Corte di Russia per la causa Germanica e Prussiana si fu il conferimento delle insegne militari di.

Fu noto specialmente al Corpo diplomatico qui residente un telegramma dell'Imperatore al Re Guglielmo in data del 27 agosto-8 settembre col quale gli faceva le più vive instanze perchè usasse temperatamente della vittoria, e che il Principe di Reuss, Ministro di Prussia, fu inv.

Laonde non è da credere che per essersi disgiunta dall'opera comune delle altre Potenze, ed aver voluto anzi farsi parte da sè stessa negli uffici della mediazione l'influenza della Russia non sia per esercitarsi con minor profitto per la Francia e per l'equilibrio europeo. A commento del mio telegramma d'oggi 2 , è bene che tu sappia che prima di tutto il Beust mi disse che credeva che l'Arnim sarebbe desavoué dal suo governo pel passo fatto al campo di Cadorna.

Quindi ne dedusse la necessità di astenersi da atti che non siano sicuramente accettati dalle due parti: E sin qui sta bene, la cosa mi parve in regola. Ma il Beust mi chiese anche con mo'lta curiosità se fosse possibile H trasferimento immediato della capitale.

Risposi che un certo tempo avrebbe dovuto passare necessariamente sia per riconoscere la volontà dei romani, sia perchè il Parlamento votasse il trasferimento e fornisse i fondi necessarii.

Questa curiosità mi mise in sospetto che si collegasse colle istruzioni del Trautmansdorff. Forse non è ma è bene che tu sappia tutto. E ne concludo che bisogna in ogni modo 'camminare ,con tutta la rapidità che sia compatibile colla serietà e dignità degli atti.

Eccoti il Lazzerini con quello che occorre. Non dubito che riescirai a comporre ogni cosa in pochi giorni 3. Uuafi ove si tratti di far cosa grata alla Corte di Vienna che ci fu e che abbiamo bisogno ci sia favorevole nella questione Romana, puoi usare qualche larghezza. Lo dico a te che son sicuro avrai un occhio alla brace e l'altro alla padella, cioè alla bolletta. A VV, mazzo 6, fase. Michele Lazzerini era procuratore generalealla Corte dei Conti. Io so che tu partecipi a tutti i nostri palpiti, e so che sei stato il più efficace consigliera per decidere Emilio a superare le sue titubanze, le quali a dir lo vero non furono e non sono poche.

Io ti ringrazio quindi vivissimamente dell'aiuto capitale che desti a coloro i quali come me vedono in Roma il fata trahunt. San certo che tu sarai pure d'avviso che ora bisogna andare fino in fondo e portare anche in Roma la capitale dando naturalmente al Papa tutte le guarentigie che Cavour Ricasoli tu e tutti gli uomini più eminenti d'Italia hanno escogitate.

Anche Firenze fu ammirabile. Tu devi anche essere lieto. Senza la vostra politica ci sarebbe forse ancora la bandiera francese. Riguardo alla continuazione della occupazione della città Leonina per parte delle nostre truppe di cui suo telegramma n. Il Cadorna ha confuso questo col successivo tel.

Il suo contegno verso il Pontefice deve essere sommamente benevolo e conciliativo, usargli tutti i riguaxdi dovuti ad un Sovrano, rassicurarlo sulla ferma volontà del Governo ttaliano d'impedire ogni offesa o sfregio aHa religione e ai suoi ministri, man. Esplori pure, se una visita di ossequio non gli riuscirebbe sgradita, onde a voce possa esprimerle questi intendimenti a nome del Sovrano e del suo Governo.

L'iJmpressione generale è che il Vaticano non è radicalmente ostile tuttavia non è impossibile che sia ancora lanciata scomunica. Comandante generale prega V. Ci vuole certamente molta prudenza per non esporre la sua dignità. Cependant pourriez scrivergli assicurandolo delle dispositions du Gouvernemnt qui sont probablment favorables à tout acte de courtoisie et de respect fait avec précaution convenable. Silvestrelli Pantaleoni ed i membri della nuova giunta mi pregano di far pervenire al Ministero dell'Interno quanto segue testual[mente]: Oggi réunion populaire ha nominato junte proposée par parti démocratique che si era établi au Capitole dopo entrée troupes ma Masi 2 ] che sembra avere degli engagements avec le parti ha retardé jusqu'ici formation junte concertée par nous con Sermonette.

Ma questa soir Commandant Général reprend heureusement la direzione personale degli affari e nomme la junte Sermonette. Vi è molto entusiasmo nel popolo e molto buon volere nella aristocrazia mais la révolution et la réaction plus les criminels di ogni spece essendosi dato rendez-vous ici il faut que l'autorité si affirme senza transaction inopportune et sans hésitation. Finora nulla di nuovo al Vaticano. Sarebbe assai conveniente affrettar plebiscito e farlo contemporaneamente in tutte provincie.

Generai Masi non ha ricevuto stampati plebiscito. Si sta componendo la Giunta di Governo lavorio difficile e delicato. Nella Città Leonina l'ordine è assicurato.

AJttendo se devo o no ritirare truppa secondo ordine del Ministro Esteri. Garantite con guardie case diplomatiche i cui stemmi pontifici il popolo voleva abbattere. Si fanno ,consegne Genio ed ArtigHeria. Je n'ai pas voulu porter un visage, malgré moi, toujours triste et anxieux au milieu des joies si vives et si légitimes qui saluent la délivrance de Rome et la consécration définitive de l'unité italienne.

Mais je ne veux pas différer d'un instant à adresser à V otre Majesté, au nom de mon Gouv,ernement et en mon nom personnel, mes félicitations sincères pour cet heureux événement et l'expression de mon admiration pour la modération et l'énergie qui ont présidé à sa réalisation.

Le jour où la République Française a remplacé, par la droiture et la loyauté, une politique tortueuse qui ne savait jamais donner sans retenir, la Convention du 15 septembre a virtuellement cessé d'exister, et nous avons à remercier Votre Majesté d'avoir bien voulu comprendre et apprécier la pensée qui a seule empeché la dénonciation officielle d'un traité qui, de part et d'autre, était mis au néant.

C'était bien peu pour le Roi d'Italie, disposant de toutes les forces d'une grande nation, de briser les vieilles murailles de Rome et d'avoir raison de la résistance de la faible armée pontificale. Votre Majesté, en cette circonstance, a fait un appel à la conciliation dans des termes si nobles et si dignes, qu'il doit etre et qu'il sera, je l'espère, entendu..

Pour moi, malgré les circonstances douloureuses qui m'ont amené ici, j'éprouve du bonheur à me trouver sur une, terre où, comme dans ma chère France, on sent si bien battre le creur du pays, et où les résolutions politiques ellesmemes sont toujours empreintes de générosité et de grandeur.

Je me suis empressé de communiquer au Secrétaire d'Etat le télégramme de V. Sulle vivacissime discussioni a cui diede luogo, in Francia, questa lettera, cfr.

L'Italie, Paris, , p. Dat al , I, Torino-Roma, , pp. Il n'avait aucune instruction du Comte de Bismarck pour régler son langage à cet égard. Les journaux officieux observent également une grande réserve en se bornant à enrégistrer les faits. On cherche évidemment à tenir la balance égale entre les protestants et les catholiques pour n'indisposer ni les uns ni les autres, et je n'ai pas besoin d'ajouter qu'ici dans ce moment l'attention est bien plus tournée vers Paris que vers Rome.

Il Signor Conte Granville, al quale m'era affrettato di spedire ieri mattina in modo particolare una copia del telegramma di V. Egli non mi fece nel corso della conversazione alcuna dichiarazione esplicita delle opinioni del Governo Inglese su questo soggetto, ma, durante la conversazione medesima, il suo contegno, l'espressione di sensi benevoli, ed i soggetti stessi del nostro discorso non mi lasciarono dubbio che la notizia ch'io gli aveva data gli era riuscita gradita.

Soggiunsi che parevami che, se il Governo del Re aveva con una grande longanimità fatta la pPima parte, avesse poi convenientemente ed opportunamente fatta la seconda. Essendo poscia caduto il discorso sulla condizione indipendente e libera che il Governo Italiano era deliberato di: Dissi a Sua Signoria che l'applicazione di questa libertà, e la separazione gradualmente fatta in Italia delle èompetenze civili e politiche dalle competenze religiose, era stato uno dei più potenti mezzi morali, posti in opera dal Governo e dal Parlamento, per lo scioglimento della quistione Romana.

Risposi al Signor Conte ch'io non conosceva le intenzioni del Governo a questo riguardo e che, niuna istruzione avendo. Quanto a me, gli dissi, che non mi dissimulava le difficoltà che possono venire da considerazioni della vita politica e sociale della città di Roma da molti secoli addietro, dal contatto quasi immediato del centro del Governo col Capo della Cattolicità e colla Santa Sede vivendo tutte le persone contro le quali 'si sarebbe compiuta la cessa2lione del potere temporale del Pontefice e le difficoltà non meno gravi di carattere igienico, le quali per avventura avrebbero richiesto una dilazione al trasporto della sede del Gov-erno, onde av-er tempo per cessare o diminuire coteste difficoltà.

Per ultimo Iii S: Mi rimane solo a soggiungerle essersi semp: È mio dovere di riferire all'E. Devo anzitutto informare l'E. Le mie osservazioni che si fecero cixlcolare nella C'Lttà persuasero i più assennati i quali si risolsero a manifestare la loro esultanza mediante l'indirizzo che ho avuto l'onore di comunicare all'E. Le pattuglie di polizia rinforzate che percorrevano il corso cercarono dapprima di scioglir! Si dice che alcuni cittadini sieno stati feriti e si assicura che nessuna regolare intimazione sia stata fatta al popolo prima di disperderlo.

Non devo nascondere all'E. Io stesso che aveva disposto onde le finestre della mia casa prospicienti il corso fossero guernite di candele, affinchè fra le altre case illuminate la sola casa del Consolato italiano non avesse a brillare per la sua oscurità, feci spegnere i lumi tosto che mi fu riferito che anche l'illuminazione incontrava la disapprovazione dell'Autorità. Questi sono i fatti avvenuti nella sera di ieri. Qualunque diverso racconto non sarebbe conforme alla verità.

I sottoscritti cittadini italiani pregano V. Ieri mattina, imbandierato a festa, entrava in questo porto il Vapore Alfredo Cappellini della Compagnia Peirano Davovaro apportatore, pel pubblico, della notizia dell'ingresso delle Regie Truppe nell'eterna città, ma di nessuna ufficiale partecipazione pel Console Generale di Sua Maestà.

Vennero tosto molti degli Italiani a rallegrarsi col Regio Console dell'avvenimento, meravigliandosi di non vedere inalberata sul Consolato la Regia Bandiera. II Regio Console dovette rispondere loro, che con sua dispiacenza non poteva nè confermare nè negare il compimento del desiderato avvenimento, e che, siccome simile notizia era già corsa erroneamente per la città pochi giorni fa, egli stimava prudente di sospendere a fare sventolare la Regia Bandiera nazionale, finchè gli constasse, per non dubbio autorevole mezzo, quel fatto fortunato, per non esporla, in caso di troppa precipitazione, alle risate del partito francese.

La risposta affermativa essendomi stata prontamente fatta, potei, ancora jeri stesso, verso le tre pomeridiane spiegare la Regia Bandiera, che continuo in oggi a fare sventolare. Le elezioni dell'Ufficialità di questa guardia nazionale portano l'impronta dei sentimenti del più pronunziato italianismo. Degli altri uffiziali, non pochi sono ex uffiziali del Regio Esercito, rimasti Italiani, e gli altri sono Nizzardi, divenuti francesi per circostanza, ma rimasti Italiani di cuore e di temperamento.

I Francesi sono furibondi per questo risultamento, che loro lascia prevedere un'altro simile nelle prossime elezioni dei Consiglieri Municipali, dai quali si vuole escluso ogni elemento francese 2. Ora, resta a vedere se il Prefetto non annullerà le nomine di cittadini, non francesi 3 , ad uffiziali nella Guardia Nazionale. Mi si dice, che in tal caso, i militi nomineranno per la seconda volta gli stessi individui. In allora cederà il Signor Prefetto, scioglierà la Guardia Nazionale, od espellerà gli Italiani stati nominati ufficiali?

Nè mancano coloro che temono un conflitto fra il partito Francese ed il partito Italiano, in occasione delle elezioni municipali, ed è a mia cognizione, c: Non ho saputo trovare nell'Arsenale dei trattati, la cui raccolta è al Consolato, un articolo bene esplicito, in cui sia annesso [sic] il pieno dritto di stabilimento e di residenza dei sudditi dei due paesi, alla sola condizione di ubbidienza alle leggi locali, per valermi di tal articolo per arma in difesa di quei nostri.

Per agire o non agire presso le Autol'ità con sicurezza d'approvazione del Regio Governo, sento il bisogno delle illuminate direzioni dell'E.

Sono a Roma da solo cinque ore, e sono contento d'esserci venuto. Sono uso a tutte le confusioni, nè mi spaventano; ma l'anarchia qui non è solo nel popolo ed anzi non è nel popolo, ma nel governo.

II Generale Cadorna è come un pulcino nella stoppa, e frattanto il partito del disordine s'impadronisce lentamente del potere, mentre è debolissimo e quasi nullo in paese. Esso agisce come nel Non creda che io mi allarmi. Ove sono 39mila eccellenti militari non vi ha nulla a temere; ma ricordi che ornai il solo timore che ne resti in Italia è quello del trionfo d'un partito radicale che è agli antipodi di qualsiasi ordine e libertà.

Il Mattia Montecchi credo averglielo detto a Firenze è ii più abile cospiratore che sia in Italia e il più pericoloso; e qui comincia a mettersi a capo di tutto.

Ella mi espresse l'idea d'inviare qui il Lamarmora. Lo fa,ccia, lo faccia; ed il paese le dovrà molto. Scusi, se mi attribuisco di scrivere e dar consigli ma non ho mai esitato in nulla, quando ho creduto di servire alla salute d'Italia. La conclusion de la circulaire prussienne l peut donner lieu à une double interprétation. Le Comte Brassier interpellé par moi n'était pas en mesure d'en. Je crains qu'en parlant des forteresses il ne s'agisse aussi du démembrement des provinces.

Eccoti fresco fresco un telegramma di Blanc. Temo i suoi intrighi. Notte tranquilla, fatto proclamo di cui mando copia, onde cessino dimostrazioni troppo prolungate che, sebbene siano in omaggio ai fatti compiuti degenerano in agitazione. Giunta nominata dal Generale Cadorna è instituita e funziona. Cardinale Antoneni ha autorizzato in nome del Papa tutti gli impiegati pontifici a ripigliare le loro funzioni si presentano quasi tutti.

Il Papa ha riunito questa mattina i. Tutti i moderati e la grandissima maggioranza. Consiglio dei Ministri, II, p. Le grida a Mazzini e a Garibaldi che nehla riunione di ieri presieduta da Montecchi sono stati proferiti prima di quello al re non hanno avuto alcun eco. Montecchi prepara protesta contro la nomina della giunta dal Generale Cadorna e passeggia con Rattazzi e Sonzogno mostrando telegramma del presidente del Consiglio 'contenente ringraziamenti generici.

Popolazione restituisce volonterosamente effetti armi e cavalli dell'esercito pontificio dispersi il Con telegramma in data di jeri mi feci debLto informare S. Roma, 22 settembre Ieri circa le 7 della sera ebbi l'onore di informare personalmente V.

Nutro la maggior fiducia nella saggezza e rispettabilità di V. Il fatto della violazione della casa della Legazione dalla forza brutale degli ammutinati non potrà lasciare di meritare da V. Fedelissima, ma al Ministro officioso degli affari d'Italia. Spero pertanto che V. Domandando con urgenza una sua risposta a questo mio reclamo per portarla a cognizione del mio Governo insieme al mio ulh.

Roma, 23 [sic] settembre La sincera dispiacenza da me esternata nel colloquio che jeri sera ebbi l'onore di avere con V. Sentirei venir meno all'alta missione affidatami e alle perentorie istruzioni datemi dal Governo del Re d'Italia se non mi affrettassi a ripetere formalmente le esplicite dichiarazioni che jeri sera mi tenni in dovere di farle su tale argomento, e che l'E.

La sera del 21 andante una mano di popolani faceva violenza al portiere del Palazzo Cardelli all'oggetto di abbassare e fare a pezzi l'arma Pontificia inalzata al lato di quella della Reale Casa di Braganza. La stessa violenza era perpetrata al Consolato portoghese. Il Governo di S. Denuncio quindi tali crimini a codesto Eccellentissimo Tribunale, e faccio formale invito alla S.

Le Staats-Anzeiger de ce matin publie deux circulaires du Comte de Bismarck, en date du 13 et du 16 de ce mois 1 , Jesquelles viennent entièrement. Son langage est si absolu, qu'il équivaut à un ultimatum. C'est la défaite en elle-meme, c'est notre victoire contre son agression coupable, que la nation française ne nous pardonnera jamais, lors meme que nous ne retirerions aucun avantage matériel de nos succès.

Nous devons donc, afin de nous défendre contre la prochaine attaque des Français, rechercher de meilleures garanties que celles de leur bienveillance. Nous sommes forcés de réclamer des garanties matérielles, pour la sureté de l'Allemagne en meme temps que pour la paix Européenne, qui n'a pas à craindre d'etre mise en danger par l'Allemagne. La prétention que nous pourrions maintenant conclure un armistice sans aucune sfrrité pour nos conditions de paix, ne serait demise que si on nous supposait de manquer de jugement militaire et politique, ou d'etre indifférent aux intérets de l'Allemagne.

L'espoir, nourri par les Gouvernants actuels à Paris, d'une intervention diplomatique ou matérielle des Puissances neutres en faveur de la France, constitue un empechement essentiel pour les Français à se représenter sérieusement la nécessité de la paix avec l'Allemagne. C'est une cruauté de la part des neutres envers la Nation française, s'ils admettent que le Gouvernement de Paris entretienne chez le peuple l'espoir irréalisable d'intervention et prolonge par là une résistance Nous n'avons aucun penchant à nous immiscer dans les affaires intérieures de la France.

Peu nous importe quel Gouvernement la France se donnera. Nos conditions de paix sont tout-à-fait indépendantes de la question comment et par qui la Nation française sera gouvernée. Ces conditions nous sont dictées par la nature des choses et par la loi de légitime défense.

La voix unanime des Gouvernements allemands et du peuple allemand demande que l'Allemagne so i t protégée, par de meilleures frontières que jusqu'ici, contre les menaces et les violences qui, depuis des siècles, ont été exercées contre nous par tous les Gouvernements français. Aussi longtemps que la France restera en possession de Strassbourg et de Metz, son offensive est stratégiquement plus forte que notre défensive relativement au Sud de l'Allemagne et à la rive gauche du Rhin.

En notre possession ces places fortes auront au contraire un caractère défensif. En plus de 20 guerres, nous n'avons jamais été les agresseurs vis-à-vis de la France, et nous n'avons pas à lui demander autre chose que notre sécurité si souvent mise en danger Tels sont les passages principaux de ces deux circulaires, à l'adresse de la France aussi bien que des Puissances neutres, pour les mettre en garde notamment contre la mission de M. Ces points sont réservés aux négociations. Dans tous les cas l'idée, si tant est qu'elle ait existé, du démantèlement de Metz est écartée.

C'est sous le coup de ces publications qu'a lieu l'entrevue au Chateau de Ferrières 1. Si Strassbourg est à la veille de se rendre, il n'en est pas de mème de Metz et de Paris. Or, d'après tout ce que j'entends ici, il faudra que cette capitale ouvre ses portes, avant que le Quartier Général du Roi de Prusse consente à un armistice. Jules Favre aura-t-il les pouvoirs nécessaires pour accepter l'ultimatum des circulaires précitées et pour discuter les points laissés encore en suspens?

Le Gouvernement provisoire aura-t-il l'autorité nécessaire pour disposer la Constituante à passer sous les fourches caudines? En cas de refus le siège de Paris continuera, et, d'après l'avis du Général de Moltke, cette opération ne saurait, avec les moyens dont on dispose, présenter des difficultés insurmontables.

La ville devra se rendre avant que le reste de la France ait eu le temps d'organiser de nouvelles armées. Il faudra donc toujours se soumettre à la loi du vainqueur, seulement celui-ci augmenterait alors ses exigences en proportion de ses sacrifices. Dans 'ces oirconstances, suvtout en suite de l'attitude de J: Des efforts isolés de notre part n'aboutiraient à aucun résultat, sauf à celui de nous compromettre en pure perte vis-à""Vis de l'Allemagne.

Nous nous attirerions meme, de la part de nos collègues neutres, le reproche de pécher par excès, et de nous mettre en avant par un désir immodéré de jouer le premier role.

A moins de vouloir aider la France par la force des armes, ce qui aujourd'hui moins que jamais ne saurait entrer dans nos convenances, le mieux est de nous mettre au meme niveau de l'Angleterre. La Russie, sous la direction de l'Empereur et du Prince Gortchakow, se borne à prècher ici la modération, mais n'ira pas au delà. Quant à l'Autriche, ou du moins aux Provinces héréditaires, elle sympathise avec l'Allemagne.

Toute velléité d'intervention est paralysée par ce fait seui. Au début de la guerre, le Cabinet de Vienne avait proposé une alliance offensive et défensive à la Turquie, qui a décliné et s'est au contraire liée, comme nous, vis-à-vis de l'Angleterre, à ne pas sortir de sa neutralité, sans un échange préalable de vues. C'est qu'alors on vivait encore dans les illusions à Vienne. On croyait peut-ètre que l'Allema. C'était en méme temps un avertissement à la Russie de ne point chercher à profiter de la guerre pour opérer une diversion en Orient.

C'en est fait de ces réves, si vraiment ils ont existé. Le Comte de Bismarck n'y voit plus aucun inconvénient et l'Autriche y trouvera son avantage soit vis-à-vis de la Russie, soit vis-à-vis de ses provinces allemandes. L'Europe elle-méme en aura le bénéfice, en ,ce que si la France cherchait des alliés pour une rescousse, la porte de Vienne lui serait fermée.

C'est encore là un point que nous ne devons pa: Ce serait méme une bonne politique de notre part si nous conseillions à l'Autriche de se rapprocher davantage de la Prusse pour mieux sauvegarder ses provinces allemandes, pour prévenir ainsi une contiguité du territoire de l'Allemagne jusqu'à l'Adriatique sous l'hégémonie Prussienne. Per quella del 13 cfr. Lo stesso giorno in cui V. Mi risulta che il Clero non ci risparmia, e devo confessare che in alcune Società che io frequento, il partito delle Dame ci è piuttosto contrario.

Forse alla riunione del: La colonia Italiana di Costantinopoli ha accolto col più vivo e sincero giubilo, l'annunzio della entrata delle Reali milizie in Roma; la giornata di jeri è stata per essa una vera festa; i moltissimi legni Italiani di commercio che sono qui all'ancora, parte per operazioni di commercio, parte per scontare la quarantena, sono stati tutto il giorno imbandierati coi colori Italiani.

La notizia ha prodotto anche grandissima impressione sulle altre comunità cattoliche e dissidenti e sullo stesso Governo Ottomano, il quale d'altronde dopo gli ultimi avvenimenti succedutisi in Francia, mostrasi più di pria, deferente verso la Legazione e il Governo del Re. Nel caso che la Francia, ;per le gravi peripezie che dovrà traversare non volesse o non potesse essere in grado di continuare la sua protezione agli instituti cattolici in Oriente, io ho ragion di credere, e di questo assicuravami puranco l'Ambasciatore d'Inghilterra Sir Henry Elliot, che il Governo della Sublime Porta accetterebbe invece volentieri a favor loro, la protezione del Governo del Re.

Io li ho rassicurati comunicando loro le guarentigie che il Governo del Re è deciso di accordare al Santo Padre per assicurargli la più completa libertà ed indipendenza nello esercizio delle sue attribuzioni spirituali. Privi come sono di ogni aiuto e protezione da parte della Francia, vedrebbero essi con piacere che l'Italia ne assuma le veci. Aveva sentito parlare vagamente del progetto d'una dimostrazione italo nizzarda al Regio Consolato in seguito dell'ingresso delle Regie Truppe in Roma.

Io pensava, che la cosa si sarebbe ridotta, come le altre volte, ad evviva l'Italia sotto le mie finestre a tarda notte. Ieri sera adunque, all'ora mia consueta, colla moglie ed una Signora sua amica me ne andai alla passeggiata degli inglesi, e nel ritorno ci fermammo tutti a prendere gelati ad un caffè sulla piazza Massena a distanza di tre isolati dalla mia abitazione.

Un quarto d'ora dopo verso le 10 sera vengo avvertito che la riunione nizzarda tenutasi nella sera stessa per preparare le elezioni dei Consiglieri municipali stava con molti italiani avanti la mia abitazione, ove una deputazione era già salita a richiedere di me per fare al Console di Sua Maestà discorsi di congratulazione pel tanto desiderato acquisto di Roma.

Pensai che la mia presenza poteva evitare la possibilità d'inconvenienti, quindi lasciate le Signore al catre mi avviai a passo accelerato verso casa, nella quale sta pure la Cancelleria consolare. Vi fu qualche evviva Nizza italiana, cui io non feci eco. Io feci un Evviva ai Nizzardi, cui si rispose cogli evviva all'Italia, ed al Console. Non diedi il tempo agli oratori di replicare, dicendo che dovevo andare a riprendere mia moglie al caffè, ove l'aveva lasciata, pregai tutti di ritornarsene.

Tre minuti dopo la via era affatto sgombra, nessun schiamazzo, nè ombra di perturbazione. Com'era naturale, in questo paese, ove le simpatie per l'Italia sono evidenti, e non esiste alcun fanatismo religioso, la notizia della entrata a Roma delle nostre truppe ha recato molta e generale soddisfazione, ed io ho ricevuto molte congratulazioni. Peraltro alcuni han creduto dover deplorare che il Governo del Re sia stato spinto a questo grande atto unicamente dal timore della rivoluzione, e dalle pressioni della Sinistra e dei meetings, mentre altri han preteso di ravvisarvi una graziosità della Prussia, che avrebbe per la seconda volta prestato mano all'Italia pel compimento dei suoi destini; interpretando in questo senso il passaggio per Firenze del Barone Arnim e la sua intromissione tra le Autorità Papali ed il Generale Cadorna.

Quanto poi all'altra supposizione,. La Francia non era più legalmente rappresentata e poi era parte troppo direttamente interessata nella questione come segnataria della Convenzione di Settembre.

L'Inghilterra rappresentata da Agente officioso. L'Austria e la Russia in aperto litigio colla Santa Sede per gravi controversie religiose. Ignoro se questo sia il vero. Ho poi creduto ad ogni buon fine informare V. Il discorso pronunziato da S. Au commencement de la guerre, l'Italie s'est trouve dans une position assez difficile. Les pressions ne lui manquaient pas de la part de plusieurs puissances. C'est comme ça que fut intiée [sic] l'accord des neutres.

En verité nous avions espéré que plus tard il en pourrait sortir une mediation entre les belligerants. L'Autriche paraissait alors anxieuse de faire quelque chose; et c'est en vue de cela que M. Visconti-Venosta me pria de venir à Vienne et que j'acceptais cette mission. Malheureusement tout cela n'a pas eu suite; et nous en sommes reduit [sic] a envisager toutes les chances de paix dans l'entrevue de Jules Favre et de M.

La grande catastrophe de l'empire s'explique pour quiconque avait medité les conditions de la France depuis quelques années: Vous rappelez vous à Rome le premier Janvier de cette meme année notre conversation? Vous etiez convaincu que le pouvoir temporel du Pape courait rapidement à sa fin: Les evenements vous ont donné raison et nous voila dans la capitale. Le Gouvernement italien avait offert par le moyen de Ponza S.

Martino à peu près conditions suivantes. La garantie pour la liberté des communications du Pape avec les Etats les clergés et les peuples étrangers ainsi que l'immunité diplomatique des nonces, et des ambassadeurs. La conservation integrale [par. En outre en declarant que: Les Evéques Sa Majesté [par. Enfin en conservant leurs grades leurs appointements et leur ancienneté aux employes civils et militaires de l'Etat pontificai. Das Staatsarchiv, XX, n. Martino dans tout le voyage trouva des fonctionnaires affables et empressés, des gendarmes obsequieux et jusque dans les antichambres du Vatican des prelats amicalement souriants.

AntoneHi en deplorant les tendances à resister par la force et en se montrant conciliant ne trouva pas d'objections sur le fond de nos propositions. C'est le Pape lui mème qui refusa toute transaction allegant pour raison qu'il etait lié envers ses predecesseurs et ses successeurs. A' l'heure qu'il est ils sont embarqués pour leurs pays respectifs. Maintenant que se passera-t-il[? Les trorupes italiennes n'entreront pas dans la ville Leonine. Quant aux états romains je pense qu'on fera un plebiscite, comme on a fait pour toutes les autres provinces annexées, et qu'après on convoque lP.

Il y aura l des grandes difficultés pratiques dans l'installation du gouvernement à Rome: Le programme de Cavour a eté acceptée [sic] par le pays et il faudra le realiser autant que possible dans toute son étendue. Quant à l'influence de la republique francaise je ne crois pas qu'elle sera grande en Italie, et les journaux allemands qui preconisent une revolution en Italie se trompent complement.

Le pays est tout à fait tranquille. Mazzini est emprisonné depuis deux mois. Garibaldi crie qu'on l'empèche de sortir de Caprera, et cela ne produit le [moinde bruit? Maintenant je ne peux pas finir sans vous donner de nos nouvelles. Laurette se porte bien elle reste ici avec moi, mais quand [le] Parlement se reunira nous retournerons en Italie.

Le Comte Donhoff est etabli à Vienne comme conseiller de la legation de Prusse 3 , Marie se trouve dans un etat interessant. Veuillez, je vous en prie, nous rappeler au souvenir de Lady Acton, et presenter aussi mes hommage. Vous pouvez attendre un jour à Rome, quoique je desire vivement de m'entretenir de vive.

Je considère ccmme un fait très heureux la Commission des trois Cardinaux. Peut-ètre le -Pape croit qu'il peut vous recevoir parce que vous n'avez pas de caractère officiel.

Favre l'Alsace la Lorraine et comme coridition de l'armistice les forteresses et le Mont Valérien. Senard nous demande toujours une note aux Puissances neutres exposant les avantages d'une politique généreuse de la part de la Prusse. En l'état des choses il serait plus utile de chercher ensemble une combinaison intermédiaire entre les exigences des Prussiens et les refus de la France. Vous pourriez en parler à M. Thiers quand vous le verrez.

Ordre parfait régnant à Rome donne beaucoup à penser au Vatican. Pape Randi et Antonelli qui domine toujours situation, désirent res1ter. Merode Borromeo et Pacca veulent que le Pape parte. Violence de ceux-ci est telle qu'on croit possible départ du Pape malgré Antonelli.

Celui-ci ayant exprimé désir de me voir j'irai dcmain 2. Quant au Pape je aois bon attendre. Se dovesse farmi aver una risposta, pc. Sul Righetti, romano, sotto prefetto di Castellammare di Stabia, e allora pro-vvisoriamente a Roma, cfr.

Le carte di Giovanni Lanza, cit. Beaucoup de pretres t. Papa finora non uscito dal Vaticano Cardinali escono in forma privata. Favre a échoué dans ses pourparlers avec M. Thiers après quelques heures de repos a continué son voyage pour Pétersbourg. Il avait annoncé qu'il s'arréterait à Vienne seulement à son retour, cependant il a vu Beust mais ça n'a été qu'une longue récrimination par rapport à Napoléon.

Il a dit que l'Italie était ivre de Rome. Il me parait que tout son espoir soit dans une alliance avec la Russie. Mais je doute beaucoup du succès de sa démarche. Jules Favre et le Comte de Bismarck n'ont abouti à aucun résultat satisfaisant.

Dans les trois entrevues ils n'ont réussi à se mettre d'accord ni sur les préliminaires de paix, ni sur un armistice. Ainsi la guerre continuera jusqu'à ce que la France soit mieux convaincue de l'inutilité de la résistance, et qu'il ne lui reste qu'à se résigner aux conditions tracées dans les deux circulaires auxquelles se rapporte ma dépeche d'hier N. En attendant Toul a capitulé. La prise de cette forteresse assure les communications par chemin de fer et facilitera le transport de l'artillerie de siège vers Paris.

Le Comte de Bismarck a chargé M. Si è per tale modo che il Governo di Tours ebbe maggiore contezza dei risultati del colloquio che ebbe luogo il 20 del corrente tra il Cancelliere della Confederazione del Nord ed il Ministro degli Affari Esteri di Francia. Il Monte Valeriano, come l'E. In seguito a questa pretensione del Ministro Prussiano, che fu stimata inaccettabile dal Governo provvisorio, il Governo qui delegato proponevasi, a quanto mi disse il Conte di Chaudordy a pupbhcare oggi un pwclama per far conoscere quelle condizioni alla Francia e per dichiarare che la guerra sarà continuata ad oltranza.

Fa appena d'uopo di menzionare che la pretesa vittoria ottenuta sopra i Prussiani presso a Sèvres l non solo non travasi confermata, ma è anzi. Il Signor Baragnon non lascia passar giorno senza pubblicare proclami, nei quali non manca mai il ricordo che egli tiene nella sua persona tutt'i poteri, e che conseguentemente tutte le libertà dei cittadini derivano da lui.

Nessuna osservazione è tollerata nè verba1lmente nè sui pubblici fogli; guai a chi non. Je ne suis nullement inquiet pour Nice méme de ce passage; car ici l'élément indigène conspirant avec l'élément monarchique voisin est plus dangereux que l'élément ardemment républicain, quel qu' il soit.

D'ailleurs le passage rapide nettoierait le département sans justifier intervention d'aucune sorte. Je m'en tiens donc à ce qui a été réglé à ce sujet, c'est-à-dire à er. Facendo seguito al mio riverito rapporto dn data del 22 corrente 1 , ho l'onore di comunicare all'E. L'unito numero del Giornale Il Cittadino stato oggi pubblicato farà conoscere all'E. In risposta al telegramma che V. La Triester Zeitung di ieri sera, in un articolo pieno purtroppo di molte altre menzogne che a me non spetta di smentire, ha riferito che il Consolato italiano per il primo ha inalberata la bandiera italiana ed illuminate le finestre.

Io ho richiesto la Direzione della Triester Zeitung con apposita mia lettera di smentire nel suo numero d'oggi il fatto da essa asserito che io abbia spiegata la Bandiera per festeggiare l'entrata in Roma del Regio Esercito, e spero che essa farà giustizia alla mia domanda 2. Ho pure avuto oggi un colloquio col Consigliere Aulico Cavaliere Fidler Reggente la Luogotenenza, il quale riconoscendo come affatto ineccepibile e regolare il contegno da me tenuto in questa circostanza mi ha dichiarato che avrebbe egli pure scritto al proprio Governo per rettificare le inesatte asserzioni della Triester Zeitung.

Le trasmetto qui unito il giornale n Cittadino d'oggi che pure ha molto energicamente smentite le falsità pubblicate da quel giornale prima ancora che io ne avessi cognizione. Per giustamente apprezzare la condotta tenuta dagli organi della polizia tanto in questa che in altre precedenti luttuose circostanze, è mestieri aver presente che il personale di essa racchiude il rifiuto dei poliziotti che già servirono nelle provincie italiane e che non osarono aderire al Governo nazionale attesi i tristi loro precedenti.

Trieste, 24 settembre Facendo seguito a quanto ho avuto l'onore di scriverLe colla mia lettera di ieri mi reco a premura di informare l'E. Fece inoltre la preghiera al Ministro dell'Interno di comunicare il suo telegramma a S. Il Cavaliere Fidler mi ha nella stessa occasione autorizzato a scrivere all'E. Io spero, Eccellentissimo Signor Commendatore, che i miei rapporti e le dichiarazioni che Le verranno fatte dal Gran Cancelliere persuaderanno l'E.

Io conobbi fin dal principio tutte le difficoltà della mia spinosa posizione in Trieste e per vincerle ho creduto che il miglior mezzo fosse una condotta onesta e leale tanto verso le Autorità locali quanto verso gli italiani qui residenti ed a questa norma ho sempre uniformate le mie opere.

Approfitto della partenza del Principe Odelscalchi di Roma per mandarle un lungo rapporto sull'affare di Roma 1. Io non dubito punto che questo.

Governo, tostochè sia fatto il plebiscito, e sia votata l'unione di Roma al Regno, farà la ricognizione ufficiale del fatto compiuto, e che sarà dei primi a fare una tale ricognizione. Qui l'opinione pubblica, ed il giornalismo sono tutti con una grande unanimità a nostro favore senza distinzione fra i Ministeriali, e l'opposizione.

Il sunto storico di cui Ella mi ha autorizzato a servirmi per pubblicazioni, fu tradotto, e pubblicato nel Times, e vi fu premesso un articolo pel quale ho dato io stesso il tema, e gli argomenti.

Esso riguarda il ;Lato del diritto delle genti positivo in questa questione; e mi parve utile di far pubblicare qualche cosa da questo punto di vista, perchè è su questo soggetto che principalmente si trincierano i nostri avversarii per aver ragione anche presso coloro che non sono con loro per le idee religiose false, ed esagerate, o che non sono Cattolici.

Debbo soggiungere che qui parecchie persone Cattoliche le quali prima avevano delle idee Clericali, ora, ed al punto in cui trovansi le cose esprimevano il desiderio che il Papa se l'intenda coll'Italia. Mi permetta poi che. Il sistema di temporeggiare nella questione di Roma per aspettare l'opportunità, ha ricevuto la sua piena giustificazione, e parmi che gli uomini estremi della sinistra non debbano esserne molto contenti, nè essere soddisfatti del giudizio che di loro deve fare il Paese.

Ed il plebiscito a che è più utile dopo il fatto? Sono uso a parlare ognor franco, e non si voglia quindi offendere di mia sincerità. L'altro è, che quanto io le ri: Dans votre conversation avec Antonelli cherchez occasion pour lui faire sentir que le Gouvernement n'a pas encore fait démarche auprès du Saint-Père par des egards faciles à comprendre, mais que cela serait conforme à nos desirs et que quelque membre du Cabinet pourrait meme se rendre à Rome si une entrevue avec le Saint-Père ou avec le Cardinal AntoneHi pouvait etre utile à rendre moins penible la situation.

La deliberazione discussa jeri l'altro nel Consiglio de' Ministri, e presa definitivamente jeri mi consiglia a dare la mia dimissione 1. Verbali delle deliberazioni del Consiglio dei Ministri, Il, p. La giunta lascia al Governo del Re il merito di fare per la chiesa se lo crede riserve neil'accettare il plebiscito e. Thiers a dit M. Beust que l'initiative d'une action diplomatique en faveur de la France devait partir de la Russie, et qu'il avait grande confiance de l'obtenir.

Il a demandé si dans ce cas l'Autriche aurait suivi la Russie. La mission de lVI. Thiers est arrivée à temps pour convalider son opinion 1. Usa modi piuttosto concilianti, crede opportuno continuare occupazione Città Leonina, desidera pure che io avvisi ai mezzi di custodire armi e munizioni di Castel S. Les villes les plus proches de Rome proclamaient l'une après l'autre, avant d'avoir vu paraltre nos troupes, 'leur union à la monarchie et leur résolution de maintenir l'ordre contre toute tentative républicaine 5 ou réactionnaire.

Un acte de vigueur était indispensable; il fut accompli avec rapidité dans la matinée du 20, ma,is non pas contre une simple constatation de ia force: Le reste de la journée du 20 se parssa à négocier la capitulat.

Le discours du Général Cadqrna à l'inauguration de la junte et l'ordre du jour aux troupes sur les'. La tenue excellente de nos troupes en a le premier mérite. Le Pape a donné ordre qu'on les ilaissat entrer partout meme aru Vatican, où vont les curieux. Le chapitre des difficultés commence par la cité Léonine. Les habitants de ce bourg, sachant que leur sort restait en sus: Vous savez, Monsieur le Minstre, cornment à la suite de la demande faite par le Saint Père par l'intermédiaire du Général Kanzler, des troupes furent provisoirement mises par le Général Cadorna à la disposition de Sa Sainteté dans la cité Léonine Le Général constata qu'en concluant la capitulation qui laisse subsister les corps armés indépendants du Ministère des armes palatins, suisses, etc.

On m'a introduit immédiatement et avant les autres visiteurs auprès du Cardinal, qui d'un ton tout amicai et exempt de tout ac: Qu'en attendant le Saint Père et lui ne pouvaient que reconnaitre et louer l'esprit et la conduite de nos troupes, qui semblaient vouloir montrer par leur respect qu'elles partagent les sentiments si dévoués, malgré les calomnies contraires, de la population romaine envers le Saint Siège.

Surtout le Cardinal croyait urgent que nous fissions occuper le chateau Sa. J'exposai à Son Eminence que nos autorités,: Le Cardinal me dit alors, très explicitement, que nous ne devions pas voir dans la prière qu'il nous faisait d'occuper le Chateau Saint Ange et la Cité Léonine une intention de nous embarrasser et de faire paraitre la situation pire qu'elle n'est vous devez bien voir, dit-il, que Sa Sainteté et moi ne poussons pas les difficultés à l'extrème et ne prenons pas l'attitude de qui ne veut rien voir ni rien entendre; c'est en dehors de toute question politique que nous traitons ce sujet dans un Intérèt prati: Je parlai encore à Son Eminence de diver.

Je lui dis que l'armée et: Son Eminence me répondit que cela viendrait peu à peu quand le calme de ces deux jours aurait duré davantage. Son EmL nence me dit qu'il recevrai. Le Général Cadorna, à q:.

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Maximum Those evaluate the Zune to the Touch, still immediately after watching how thin and incredibly small and light-weight it is, I try out it to be a really unique hybrid that combines qualities of possibly the Contact and the Nano. It is really unbelievably colorful and attractive OLED display is marginally smaller sized than the touch screen, nonetheless the participant by itself feels quite a bit more compact and lighter.

Apple now contains Rhapsody as an app, which is a superior begin, still it is by now hampered by way of the lack of ability to keep regionally upon your iPod, and includes a dismal 64kbps little bit cost. Exploring in Yahoo I eventually stumbled upon this web site. Reading this information So i am happy to show that I have an incredibly just right uncanny feeling I discovered just what I needed.

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It is really a large selection of all types of apps vs a in its place sad decision of a handful for Zune. The iPod is a substantially better determination inside that situation.

The Zune concentrates on remaining a Portable Media Player. Not a web browser. Not a video game machine. If people sound excess powerful, perhaps it is your best preference. Optimum human beings examine the Zune to the Touch, however just after seeing how skinny and astonishingly small and mild it is, I consider it to be a in its place exceptional hybrid that combines attributes of both the Touch and the Nano.

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I am going to tools this study in the direction of Two models of individuals: There are other gamers value considering out there, which includes the Sony Walkman X, but I anticipate this offers yourself plenty of information in direction of make an mindful selection of the Zune vs gamers other than the iPod line as perfectly.

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There are numerous head of hair hairpiece types available to suit your needs through websites. Before installing the lace wig, you will need to condition and wash your own hair. Ensure that the head of hair is totally dry and moist. Soon after washing your hair and undertaking the advised locks remedies, you might have 2 alternatives.

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The feel in the bandage gives a bumpy visual appeal which copies the head physical appearance under the lace entrance wig.

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