Author: coffeeandhistory

The cult of the dead and visits to cemeteries became a habit common in the West in the second half of the 19th century. This new practice was facilitated by an arguably side, they believed the cult of the dead an element of civic-mindedness, the other by Catholics, that contrasts with what until previous century, experienced during visits to the cemetery a "rapprochement", a kind of meeting with their deceased loved ones.
In the 19th century was created the form of funeral rite is closest to what we know today: the introduction of rigid patterns of rites and rituals allowed him to accept the idea of death and create a sort of living with it, thus breaking the silence between the living and the dead which existed for centuries and exorcising the fear of death.
Demonstrating the demonization of death, Tomb architecture was modified: the graveyards as we know them today, just outside the city walls, were built in the 19th century, After the issuance of the edict of Saint Cloud (1804). l cemeteries had increasingly large and monumental spaces, rich of statues and buildings. Families began to visit graveyards together, and it is not uncommon for the monumental tombs were just the nuclear family as the main subject of the sculpture.
Another fundamental aspect that was created in the 19th century is the combination of death and female, that is the so-called death-female. This was identified with the "Angel woman", the one that accompanied the "good death" or dying herself for consumption; on the other, Instead, identified with the "femme fatale", the woman who did die, often for shameful diseases as syphilis.
The participation of women to death and burial has very ancient origins, but in the 19th century (and in some areas in Italy until the second half of the 20th century) It was very common figure of professional mourning, or the woman who was paid to cry and complain during the funeral of a stranger.
The omnipresence of the female figure reveals the bond between, more strongly than ever, Eros and Thanatos, the impulse to life and death: the nineteenth century was a century of transition with regard to the processing of death, and despite the "repression" by the Church, many rituals sprung or readapted in that time have survived until today.

Maria

Arrigo Sacchi has described football as the most important thing of less important things. This sport can stimulate blood and rationally inexplicable emotions but because those are sincere, tangible nell’ the human soul. There is a team that is broader and deeper emotional catalogue unequaled in the world and in the history of the game, the Turin. It is related one of the most delicate and poignant stories that cross boundaries grenade to settle in’ soul of all, or in no-time. The protagonist is a boy named Gigi Meroni, born on 24 February 1943 and died in 24 years on 15 October 1967. Did the designer of neckties and dabbled with paint, It was also much appreciated. But its popularity was mainly due to calcium. He played as a right winger, the number 7. He grew up in the youth system of Como, It was bought by Genoa where young established himself as the future in seria A. In 1964 It was bought for exorbitant by Torino coached by Nereo Rocco. Were spent 300 millions of lire. Wasted no time in proving his worth on the field. On his way to stay on the pitch was l’ essence of the pure game, fantasy, dribbling, shooting painted. He wore long hair for l’ epoch and that contrasted with the conformity of the coaches as Locksmiths. Loved to paint on canvas and design your own quirky dresses. His sense of nonconformity and rebellion led him to show up even with a chicken on a leash. He had a way of making that conquered, everyone loved him. Fell back to a beautiful young woman of Polish origin, Christian Uderstadt, who worked as harveycarter in Genoa. Unfortunately she was already betrothed to an Assistant Director of Rome. Don't lost sight and their relationship such scandal. L’ charges of concubinage accompanied them until her marriage was annulled. He lived first in an attic, then in an apartment of Corso Umberto I in the Centre of Turin. Beautiful and important goal marked like that all’ invincible Mazzola and Facchetti's Inter which still show on television. Also entered in the national. Sundays 15 October 1967 He played his last game against Sampdoria, won the grenade to 4-2. That day the striker Nestor Combin number 9 Torino had three goals. At the end of the race next Sunday in Gigi praise told him that during the derby would do three more goals. In the evening, in the rain, Nell’ Cross Corso Re Umberto with friend Fabrizio Poletti was run over by a car driven by Attilio Romero, among other supporter of Turin. Gigi died shortly after in hospital. He was dead the sportsman who had represented the years 60 with its sporting talent, art with his life only and upstream. In the history of Turin made of dramas and mysterious links things to mention the tragic homonym tying Gigi Meroni with Luigi Meroni the Commander of’ plane of the Grande Torino died at Superga on 4 may 1949. The boy in the 1967 invested Meroni, Attilio Romero, in 2000 He became President of the Turin. The following Sunday was played in an unreal atmosphere the derby between Juventus and Torino hot favourite. That Sunday the Turin won 4-0 with three goals just Nestor Combin, and the fourth goal marked the young Alberto Carelli that that Sunday wore the Jersey number 7. A final curiosity is a strange statistic, When the Turin plays 15 October or in a very narrow range at that time win or draw, never misses. The butterfly grenade, nickname dedicated to Gigi Meroni, fly. Just flies higher and higher into a different dimension purest allowed who was transfigured by the legend.

Hector Parker