Poppea - Women and Beauty
HOW THE WOMEN OF HISTORY MADE BEAUTIFUL WITH PLANTS
BATH OF POPPEA
- 250 grams of sea salt or cooking salt
- 100 grams of baking soda
- 4 l of milk
- 500 gr of honey
- 2 handfuls of rose petals
- 1 glass of olive oil
It is poured into the not too hot bath water
The addition of these ingredients to the bath water must follow its own sequence: first the honey is dissolved in the milk and kept in a container near the tub; then the salt is poured into the water and then the sodium bicarbonate trying to dissolve them well. At that point the milk is poured with the honey inside, then the oil and finally the rose petals. You give a good stir to the water and enter the tub where you will remain in perfect relaxation for about ten minutes.
The bath will be completed by a friction throughout the body with a very soft natural sponge in order to absorb the beneficial substances immersed in the water.
Phrases about beauty: the most controversial and fascinating quality
Appreciated and at the same time criticized: beauty fascinates and makes people discuss, as emerges from this collection of phrases by the great authors on being beautiful.
A person, an image, a panorama: beauty hides and shows itself in different ways. According to many, in fact, being beautiful is not universal, but rather subjective. However, the term beauty means a quality that should be declined from several points of view. For example, we cannot leave out the so-called inner beauty: all those personal characteristics that make the human soul "beautiful", leaving out the purely aesthetic aspect.
It's not always easy to feel beautiful, but once you manage to achieve this you will live peacefully with your body and with themselves.
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Thanks to the many facets of the concept of "beauty", we have collected the most significant sentences on the subject. Give him aphorisms about inner beauty to quotes on that female or little things: here are the best phrases of the great authors on most controversial and fascinating quality!
WOMEN and BEAUTY IN THE 20TH CENTURY: it's all a question of fees ...
For some time we have been telling you about our communication channels (this blog, our social networks, our book Dress in style) the importance of becoming aware of our body, analyzing it by sections and not just in its entirety. We have identified three major types of woman's physicality ("pear", "apple", "banana") and above all we will never stop telling you that each one is special with her own body and that the secret is to enhance her strengths , after having identified them, thus diverting attention from the more critical ones.
In recent years, both fashion and society are also becoming aware of the absurdity that certain standards of beauty imposed on a skinny woman are unreal as well as dangerous for the physical (and mental) health of the youngest, but not only ... with the obsession for thinness, the “curvy” friendly philosophy is gaining momentum and the more generous curves are gradually being accepted and protagonists of covers, collections, catwalks, blogs… If you have followed us in recent months, you know!
But have you ever wondered if these canons have always been the same. In fact, over the centuries, but more rapidly throughout the twentieth century, every 10-15 years, with the evolution of society, the changes in values and historical events that have occurred from time to time, the image of a woman ideal has never been the same, but on the contrary it seems that models of female beauty that are always the same cyclically recur, alternating.
Let's try to make a rundown of the physicality of women considered "ideal", era after era during the last century and no longer widespread with the figurative arts which, born from the hands, were the result of their imagination, stylization and idealization. With photography and cinema the so-called beauty icons were real women, models and actresses, living embodiments of the imposed models.
The Belle Epoque woman has a sinuous and slender line: very narrow waist, breasts pushed forward in an unnatural way, all this thanks to a new model of the bust that flattens the belly, emphasizes the hips, widens the back and pushes the pelvis back. , making the body arch backwards and giving the woman a rigid and sinuous profile. Think of the women of Toulouse Lautrec, the dancers of Moulin Rouge.
The twentieth century, before the outbreak of the First World War, is the century of the femme fatale, of the "vamp", also thanks to the advent of cinema. Its primary characteristics are characterized by very black eyes and hair, a sinuous body, plump lips, and a magnetic gaze. She is of extraordinary beauty, aggressive, and is a great seductress, perverse, cruel and unscrupulous. It embodies carnal passion and instinct. The Austrian painter Klimt pays homage to this sensual and destructive figure of a woman in his masterpieces "Giuditta I" (1901) and "Giuditta II" (1909): fatal women with an enigmatic face, a disturbing look, very white skin and long, raven hair.
With the First World War there are many other problems to deal with, and so the woman completely abandons the care of the body and tends to take on androgynous characters.
During the "roaring" Twenties, pervaded by a new sense of freedom and hope, the ideal of female beauty changed radically: now it is the woman garçonne, so-called from the shape of the hair, which, for the first time in history, are cut short, at the baby boy.
The woman's androgynous features make her look like an eternal teenager, with nonexistent breasts and waist and narrow hips, a lean, thin, asexual body. The woman now leads a more dynamic life and begins to play sports, both for physical well-being and to improve appearance. In fact, now even in women we begin to appreciate the athletic physique.
The new icons of beauty, without curves, slim and masculine, symbolize the aspiration to equality and equality between the sexes.
Coco Chanel, with androgynous features, no breasts, no hips, snappy, nervous, invites women to expose their skin to sunlight, to remove gloves and shorten their skirts.
Legendary 1920s icon is actress Louise Brook: beautiful, the perfect prototype of the girl flapper, (but no less femme fatale!) which is characterized by independence, non-conformism, capricious volubility.
With the Thirties, the ideal of the sensual, feminine and elegant woman returns. Women feel the need to highlight their shapes and thus the canon of the busty, Mediterranean, "female" woman embodied by the great Hollywood divas is imposed.
In Italy, as in Germany, the fascist regime devotes precise and systematic attention to the woman's body, so much so that one can speak of a real politics of the body.
Mussolini's concern is to ensure Italy a new breed, robust, healthy and strong, and so the women are invited to a health-food hygiene program, as possible mothers and therefore primarily responsible for improving the breed.
The model of beauty imposed on the Italian woman must have prosperous shapes and wide hips, and be strong and robust only in this way will she be a real mother and a good wife, able to take care of the house and the family.
The campaign against the thin, pale and sterile woman officially opened in 1931 when the head of Mussolini's press office ordered the newspapers to eliminate all images showing slender, masculine female figures.
Female thinness becomes a central point in the debate on beauty, so much so that Mussolini asks doctors to intervene in defense of "fat", against the fashion of thinness.
With the outbreak of the Second World War, the 1940s were a period of crisis and great hardship, in a climate of extreme austerity, even in the aesthetic field.
We are looking for a female stereotype of a more plump woman, an evident reaction to the chronic lack of food that characterizes this period.
And so, during the war, the first ones began to appear in many US magazines pin-up, usually busty and winking girls. It is the period in which the peak of femininity and sensuality is reached.
The fifties are those of the increased, a symbol of well-being after the hardships of the war. His body is a metaphor for the dream of opulence that Europe is experiencing and which will result in the economic boom. Since the second post-war period, cinema, especially the American one, has proposed the new aesthetic standards: the platinum blonde vamps, all super-gifted, are the inspirers of the fashion, look and lifestyle of women from all walks of life.
In fact, the ideal woman is "pear-shaped" has round hips, explosive breasts, well-rounded legs: a plump woman who does not care about diets or cellulite. The bust-waist-hip measurements 90-60-90 represent the formula of beauty of the fifties, perhaps more hourglass than "pear": long legs, beautiful hips and very thin waist are the model that every girl aspires to.
With the sixties - seventies we are witnessing another change in trend and with the spread of the culture of sport, the female body from soft and buttery becomes toned and snappy. The modern woman is now young, an eternal teenager, an agile and wiry girl, again like her flapper of the 1920s.
In the sixties, therefore, the figures are thinner, the legs are uncovered, the hair is dyed Swedish blond and the eyes are enlarged with false eyelashes and heavy eyeliner.
The extremeization of female beauty towards filiform canons, which we could define as "banana", occurs with the success of the English model Twiggy, who is thin on the verge of anorexia. The breadstick woman was born with her.
And as you may have understood by now, the Eighties saw a renewed love for shapes: the canonical 90-60-90 sizes return and there is a new boom of exuberant breasts and curvy curves, once again combined with the slim waist, prosperous breasts slender legs, wasp waist, flat stomach and bewitching gaze. The undisputed symbol of this revival of rounded shapes is Cindy Crawford.
From the beginning of the nineties a new trend emerged, which will remain in vogue until the first decade of the 21st century.
Pale, with circled eyes, Kate Moss inaugurates the minimal beauty of the nineties, an undisputed aesthetic canon still in vogue and coveted today.
These are the years of extreme female thinness as an aesthetic and moral ideal because values such as ambition, organization, power, social self-affirmation are attributed to the slim and snappy body.
This canon will bring the morbid obsession with the body into the third millennium: it is the body at the center of interest and not the person does not matter so much to be as to appear, the essence is replaced by appearance, spontaneity by control.
"Being in shape", demonizing the centimeters of fat on the body is now a categorical imperative, since a slender, smooth and smooth body not only gives the idea of beauty but also of being healthy. Therefore, being beautiful, according to this imposed and now collective canon, means being thin, slender, slender. Misleading ideal that often remains such and therefore too often a reason for frustration, depression, food and mental disorders.
Fortunately, as we said at the beginning, something is changing and perhaps we will go more and more not so much towards the imposition of a new canon of beauty, but towards the exaltation and love that every woman must have for her body like this. as it is, with many or few forms, without obsessions and fears of non-acceptance, but focusing on the uniqueness of each.
Let's play a game… And what decade would you ideally have been canon of beauty? try to look at how the women of that era dressed to understand how they valued their strengths ..
Exhibition - Oplontis: Charm and Beauty
The name of Oplontis appears only in the Tabula Peutingeriana, a medieval copy of an itinerant road map of the entire Roman Empire, dating back, perhaps to the Augustan age but updated up to the late Empire, and in the later itineraries that derive from it.
Oplontis is pictured on the coast line, 3 miles from both Pompeii that gives Stabiae and 6 miles from Herculaneum.
The symbol with which it is represented is of uncertain interpretation, it could be a thermal building like the one discovered in 1831 in the Oncino area, or a villa like those found in "Mascatelle" (the villa of Poppea or the rustic villa attributed to L. Crassius Tertius)
However, the itinerant distances from Herculaneum and Pompeii are better suited to the thermal ruins of the Oncino.
The coast of the Pompeian and Herculaneum coasts must have been, before the eruption of 79 AD. and in part even later, starting from the second century AD. C., a whole succession of villas and coastal settlements, so much so that the geographer of the Augustan age, Strabo, could write: " the coast from Miseno to Sorrento looks like a single city“.
It is reasonable to believe that the ancient Oplontis was a residential center, consisting of a succession of villas with a traveling station for changing horses, spas and hotel for travelers, and places of storage and marketing of agricultural products that produced the fertile Vesuvian land.
Only a few traces of the ancient settlement are known relating to spas, villas and commercial buildings.The most impressive remains belong to Villa A, a luxurious residence overlooking the cliff overlooking the sea and to the so-called Villa B, actually a complex with warehouses on the ground floor and houses on the upper floor.
Since 1997 Oplontis has been part of the UNESCO site "Archaeological Areas of Pompeii, Herculaneum and Torre Annunziata", since as the motivation for inscription on the Heritage List says "... And they provide a complete and vivid image of society and daily life in a certain moment in the past that is unparalleled in the whole world”.
The exhibition is mainly aimed at the general public, in particular the citizens of Torre Annunziata, local schools as well as scholars and students of archeology. Its purpose is to spread and share knowledge of its cultural heritage with the local community to raise awareness of being part of an extensive cultural system in the Vesuvius area.
The exhibition “A peak on the sea. Luxury furnishings at the time of Poppea. Oplontis, charm and beauty. Exhibition of sculptures and finds from Roman villas”Exhibits everyday objects from this incredible archaeological area.
Inauguration 11 March 2016
Palazzo Criscuolo, Corso Vittorio Emanuele III, 239
Torre Annunziata (Na)
Every day 9.30 -13.30 / 15.30 - 19.30 | Admission: € 3.00 for adults, € 1.00 for children under 18
Poppea - Women and Beauty
Poppea, Nero's second wife
Poppea Sabina (ca 30 - 65) was the second wife of the Roman emperor Nero.
Poppea was the daughter of Tito Ollio, a praetor during the reign of Emperor Tiberius. His friendship with Elio Seiano ruined him before he got a public office. His mother, also called Poppea Sabina, was a distinguished woman, whom ancient sources describe as florid beauty and remarkable class. Tacitus describes her as one of the most lovable women of her time. In 47 he committed suicide, an innocent victim of the intrigues of the Empress Messalina.
Poppea's maternal grandfather was Gaius Poppeo Sabino, who was consul in 9. During the reign of Tiberius he was honored with a military triumph, for putting an end to a revolt in Thrace, in 26. From the 15th to his death, he served as Imperial Governor of Greece and other provinces. This competent administrator enjoyed the friendship of the imperial family. He died in 35.
Poppea Sabina had a stepfather named Publio Cornelio Lentulo Scipione, who served as a military commander in the 22nd, as a consul in the 24th and later as a senator. Poppea's half-brother, who had the same name as his father, was consul in 56 and later entered the senate.
Poppea Sabina's first marriage was with Rufrio Crispino, a member of the equestrian order. He was the head of the Praetorian Guard during the reign of Emperor Claudius. In 51 Agrippina, then married to Claudius and empress, removed him from his post, as he had favored Messalina, former empress and wife of Claudius, and her children. He was subsequently executed. Poppea had given him a son of the same name, who after the death of his mother would have been drowned in a fishing trip by the emperor Nero.
Poppea Sabina then married Othon, even if only to use him and achieve his true goal: the emperor Nero. After becoming his lover, Poppea divorced Othon (who later became emperor after Nero's death) and concentrated all her attention on her plan to marry Nero.
Ambitious and unscrupulous, Poppea was initially Nero's favorite lover. Even as a lover she was hated and feared by many in Rome. It is said that Agrippina, Nero's mother, saw the danger and tried to persuade her son to get rid of her. This dispute over Poppea was one of the reasons why Nero finally killed his mother. With Agrippina off stage, Poppea's influence on the emperor became such that his pressures led Nero to divorce (and then have him executed) from his first wife Claudia Ottavia, in order to marry Poppea, in 62. The new empress had him killed or exile many other unfortunates who tried to challenge its power. Nero's former tutor, Seneca, is believed to have been among his victims.
Poppea gave Nero a daughter, Claudia Augusta, who died when she was only four months old.