#Biella Noble

[venicepearl]

The Sanctuary of Oropa (Santuario di Oropa) is a group of Roman Catholic buildings and structures in Oropa, frazione of the municipality of Biella, Italy. It is located at a height of 1,159 metres in a small valley of the Alpi Biellesi.

Bishop Giacomo Goria and Reverend Francesco Sforza Pallavicino episcopally crowned the image of “Madonna Della Oropa” of Piedmont in 30 August 1620. Pope Francis granted an official decree of Pontifical coronation to the image in 5 August 2021, signed and executed by the Dean of the College of Cardinals, Giovanni Battista Re at the Vatican.

According to legend, a black wooden statue of the Virgin Mary carved by Saint Luke was found in Jerusalem by Saint Eusebius of Vercelli, carried to Oropa in the 4th century AD and placed into a small niche in a big boulder. In the Middle Ages, a church was built around the niche housing the statue, and was replaced in the early 17th century with what is known today as the Ancient Basilica. During the following two centuries, several other buildings were added to the complex, including the royal apartments of the House of Savoy, a big library and the Royal Gate, a masterpiece designed by the architect Filippo Juvarra in the 18th century.

The last addition to the sanctuary was the Upper Basilica, a monumental church built between 1885 and 1960 due to the large number of pilgrims visiting Oropa. It can hold 3000 people and its dome is 80 metres high.

In 1617, the complex of the Sacro Monte di Oropa was built not far from the sanctuary. It is a devotional path now composed of twelve chapels (plus another seven nearby) containing groups of statues representing scenes from the story of the Virgin Mary's life.

A new graveyard was built near the Sacro Monte in the 19th century, for noble families of the Biellese territory to build their family tombs. Some graves have freemason symbols, such as Quintino Sella's.

[anastpaul]

22 Julyis also the Memorial of Blessed Augustine Fangi O.P. (1430-1493) – Dominican Friar and Priest, Confessor, Mystic, known as “The Miracle Worker”, Augustine of Biella.   He was commonly regarded, even in his time, as a miracle worker and, in serving as the Prior of several of his Order’s monasteries, was concerned with restoring and maintaining a faithful observance of the Rule of Saint Dominic.   He was born in 1430 at Biella, Piedmont, Italy and died on 22 July 1493 at Venice, Italy of natural causes.   In the 1530s, workmen found his coffin floating in the water that had seeped into the burial chamber – when opened, Augustine’s body and clothing were found to beIncorrupt and remains so.

Blessed Augustine’s father was a member of the Fangi family, who were wealthy and noble and, because of this, he had planned a secular career for his son.   But when the Dominicans came to Biella, his plans were changed, for Augustine was completely charmed by their way of life and begged to be admitted.   He entered, while quite young, the new convent that the Dominicans had built at Biella.

Augustine had a reputation for penance, even at a time when people were not as squeamish as they are today.   Not only did he inflict harsh penances upon himself, he also bore with patience whatever pain and annoyance life granted him gratuitously.

One remarkable characteristic noted of Augustine, was his equanimity and ability to concentrate intensely on spiritual matters.   One incident recorded, involves a surgical procedure, which he was required to undergo without anesthetic, as such an aid was not available in the fifteenth century.   He did so without crying out at all.   Afterwards, he simply stated that his mind was so intensely focused on something else that he hardly noticed what was being done.  In prayer he was often seen levitating in ecstasy.

In 1464, Augustine was made Prior at Soncino.   Several of his best known miracles were performed there.   At one time, a deformed child, who had died without baptism, was restored to life, by Augustine’s prayer, long enough to be baptised.   At another time, when he was passing down the street, he met a little boy who was crying bitterly, because he had broken a jug of wine.   Augustine gathered up the shards and put them back together again.   Then, with a prayer, he refilled the jug and handed it back to the startled child.   Still another time, through his intercession, a woman was delivered from possession of five devils.

When his coffin, was opened in the 1530s and his body was found to be Incorrupt, interest was again revived in Blessed Augustine.   Nevertheless, it was more than three centuries before his cultus was confirmed in 1872 by Pope Pius IX he was finally beatified in 1878 by Pope Leo XIII.   His Shrine is at the Chapel of St Dominic in Venice (below).

(via Saint of the Day - 22 July - Blessed Augustine Fangi O.P. (1430-1493))

[forsoothsayer]

Piedmont by Giosuè Carducci

On the jagged summits, sparkling in sunshine. Leap the swift chamois; the avalanche thunders Down from the glaciers whirling and rolling  Through the woods pouring; 

Out from the expanse of the silence cerulean. Spreading his dark wings and wheeling in circles, Slowly descending in stately gyrations  Flies forth the eagle. 

Hail to thee, Piedmont! Thy rivers descending From far in melodious sadness resounding, Like to thy epic songs telling the valorous Deeds of thy people,  

Down to the valleys, full, rapid and blithesome, Dashing they come like thy hundred battalions; There to the awakened villas and cities  Tell they of glory.

Aosta old, by Caesar's walls encircled, Thou who in Alpine pass above the fashions Of the barbarian ages proudly raisest  The arch of Augustus.

Ivrea the beautiful, who her red turrets In the blue Dora's broad bosom dreamily Mirrors, and all around is the dark shadow  Of King Arduin.  

Biella, 'twixt the mountain and the growing Verdure of the plain, down the fertile valley Gaily looks, boasting arms, ploughs and laborious  Smoking of chimneys.  

Potent and patient Cuneo, and smiling  On the gentle slope standing, sweet Mondovi,   And the land joyful in castles and vineyards Of Aleramo; 

And from Superga, amid the rejoicing Choir of the high Alps, Torino the regal Crowned with victory, and the republican  Asti reposing,  

Fierce with the slaughter of Goths and the anger Of the red Frederick, from the reverberant River, O Piedmont, she gave thee the new song  Of Alfieri.  

He came, that great one, as cometh the great bird From whom was taken his name, o'er the lowly Townlet he hovers, tawny-haired, restless.  "Italia, Italia”  

He cried to the ears unaccustomed, to the Slothful hearts, to the souls supine, "Italia, Italia!" echoed from the tombs of Arqua  And of Ravenna.  

And under that flight the bones in the graveyard All the length of the fatal peninsula  Creaked, and were seeking each other to clothe them In wrath and in iron. 

"Italia, Italia!" and lo, a people  Of the dead arose singing, war they demanded, And a king in his pallor and in his courage Devoted to death

Drew the sword. O year so hopeful in portents, O spring-tide of the fatherland! O ye days, O ye last days of the blossoming May time!  O sound triumphant  

Telling of victory first to Italians, How as a child through the heart didst thou thrill me, Wherefore in times more propitious, the Vates, Grey-haired, of Italy, 

Thee I sing to-day, O king of my green years, Thee, king so much blamed and so much lamented, Who passedst away, thy sword in hand bearing ;  Clothed with a hair-shirt 

Thy Christian breast, Italian Hamlet. Under The fire and the sword of Piedmont, and under The force of Cuneo, the rush of Aosta,  The enemy scattered.  

Languidly now the last boom of the cannon Died away behind the flight of the Austrian,  The king on his charger rode down the slope westward, Facing the sunset 

In the midst of his staff gathering round him, Glad with dusty smoke and victory, he drew forth A missive, unfolding it said “Surrendered  Is Peschiera!”  

O what a cry as with one voice vibrating Arose from those breasts, of ancestors mindful, Waving the standards of Savoy: "Long live the  King of Italy!”

Red in the glory of sunset was glowing Widely extended the plain of Lombardia, Beyond, the lake of Virgil, like a veil fluttered  By a bride coyly 

Opening its folds for the kiss of love promised. Pale, erect and unmoved in the saddle  Sat the king, his fixed eyes beholding the shadow Of the Trocadero.

And him the misty Novara awaited And Oporto, final goal of sad error,  O by the chestnut woods silent and lonely House by the Douro,

With the resounding Atlantic to front it, Fresh with camelias beside it the river, Which beneath calm so indifferent sheltered  Sorrow so poignant.  

The king lay a-dying, when in the twilight Between the two lives a marvellous vision Passed before him, and he beheld the fair-haired  Sailor of Nizza  

Who rode at full tilt from the Janiculum Gallic outrage to encounter, around him Shone like carbuncle gleaming in sunshine the  Blood of Italia.  

Over the king's failing eyes came a mistiness, The shadow of a smile on his lips hovered.  A flight of spirits come from above the King's death encircle. 

Before all, O noble Piedmont, he who at Sphakteria sleeps, and first at Alessandria Gave to the breeze the tricolour, Santorre  Di Santarosa,  

And they to God all together escorted  The soul of Charles Albert: "O Lord, we bring Thee The king who wasted us, the king who smote us. Now he, Lord, also 

Hath died, as we, O God, died for Italia. Give to us our country. Give to the living, Give to the dead, by the smoke of blood rising From fields of battle,  

By those sorrows which level the palaces With the cottages, O God, by the glory Which was in past years, God, by the martyrdom  Which is in the present,  

To that heroic dust with life still throbbing, To this angelic light at length exultant, Give, O God, the fatherland! Give Italy  To the Italians!” 

[beege-blog]

Let’s have a look at the Most Exquisite Italian Craftsmanship

via

Italian Craftsmanship always was internationally celebrated. Italians have been known for bithing some of the most talented craftsmen and creative designers the world has eve seen. Their artistic and artisanal excellence is known all over the world. Italy has been a leader in innovative, beautiful, and high-quality design for decades. It’s no wonder that Isaloni (Salone del Mobile.Milano), one of the best and most notorious art and furniture design showcases in the world, is based in Milan since 1961.

Brianza, for example, is considered the craftsmanship-design district, halfway between Milan and Lake Como. It is a mesmerizing place, in which over the past two centuries noble and affluent families built many villas. These constructions required the skillful hands of master artisans and experts which furnished the breathtaking houses. This is the motive why such a fine and precious know-how survived there, as a crucial part of the region’s legacy. Some traditional craftsmanship knowledge can’t even be found anywhere else in Italy.

Since the 1950s, design entrepreneurs come to this area to collaborate with famous Italian and foreign artists, bringing to life of iconic furniture and lighting.

All the best Italian-made craftsmanship products merge together traditional craftsmanship and technology in an extremely detailed and almost perfect way. Artisan expertise has an irreplaceable value which allows delicate finishing details and final touches in all manufactured pieces. Human hands are capable of sensitivity and emotion while maintaining almost industrial precision.

Each hand-crafted art piece is truly unique since it is not being mass-produced. Every small little detail embraces the authenticity of it’s material and maker, a perfection in each flaw are featured.

The popular saying “Love French. Drive German. Dress Italian” already assures us of the high quality of Italian design and craftsmanship. Just to name a few, Berluti, Brioni, Brunello Cucinelli, Dolce & Gabbana, Ermenegildo Zegna, Etro, Fendi, Gucci, Armani, Kiton, Loro Piana, Paul Evans, Prada, Salvatore Ferragamo, and, of course, Versace, are all celebrated luxury brands with Italian origins. In luxury furniture and acessories we can also find Moooi and Swarovski, among many others.

Thanks to the nonstop evolution of technology, there are a million ways to use chemicals, for example, to tan leather. However, the best leather in the world is made by Italian tanners who use millennia-old traditions of au natural liming and dying. The result is a material that’s sturdier than any other on the market, as we can see in genuinely Italian-crafted shoes, which all have also a beautiful hand-painted finish. Also, most fabric mills use water that’s saturated with salt and minerals, which leads to a fabric that’s covered in a thin, color-quashing layer. But Italian fabric mills are usually located in the North, an outstanding region in the south of Swiss Alp glaciers. Craftsmanship Italian mills use pure water to produce fabric, that’s why you won’t find a single thread covered in undesirable substances.

Some companies have been around longer than entire nations. In fact, Vitale Barberis Canonico, a family-run fabric mill in Biella, the main textile supplier for the tailor maestros at Zegn, is working for fifteen generations, since the 1600s.

Handcrafting any piece is a slow and detailed process, which requires a burning passion for craftsmanship. Artisans are almost wizards, dedicating their lives to the magic of building extraordinary art with their own hands. A hand-crafted project can take weeks, months, years to be finished.

In 2009, the Italian parliament passed a law prohibiting the use of the phrase “Made in Italy” on any product label unless the product is actually made in Italy, from start to finish. This was a strategy to protect the country’s precious reputation as a creator of the finest craftsmanship products.

From the columns of ancient Rome to Michelangelo’s David, style is carved into the stone of Italian life. There’s even a term for it: “La belle figura”, which literally means “the beautiful figure”, yet represents a life style admired and followed, a trend, at all times and in all ways.

Italian-crafted goods can handle really well the passage of time. Vintage cloths and furniture are always, always en vogue, especially if they are handcrafted, high-quality, designer-made items.

From Leonardo da Vinci to Poltrona Frau armchairs, from Armani and Prada to Tiramisu cake. Italians have several beautiful specific products of the highest level made by small producers, artists and artisans everywhere in the country. Pursuing a family tradition, innovating, creating, finding new styles and raising quality is in the Italian blood, characteristics which will lead the country to a bright future.

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Fascinating Murano Traditional Glassworks

One of the most relevant examples of Italian excellent craftsmanship is the Venetian Glass, created for over 1500 years and with production focused in the island of Murano since the 13th century. Nowadays, Murano is known for its artistic glassworks, but it also has a long history of innovations in glassblowing and is Europe’s major glassmaking center. During the 15th century, Murano glassmakers created cristallo, and almost transparent glass, considered the finest glass in the world. They also developed a white glass called lattimo which resembled porcelain. Later, Murano also became Europe’s finest mirror’s production center.

Venice was controlled by the Eastern Roman Empire, but eventually became an independent city-state which flourished as a craftsmanship trading center and seaport. The city’s alliances with the Middle East created opportunities for the glassmakers to learn with more advanced countries as Syria and Egypt. Venetian glassmaking factories existed since the 8th century, but they started to be controlled by Murano in the beginning of 1291.

Glass factories often caught fire, so removing them from the city and locating them in an island avoided major fire disasters for the populations. It is known that Venetian glassmakers protect secret recipes and methods for making glass, which are still treasured in Murano.

The island popularity peaked in the 15th and 16th centuries. Venice’s dominance in trade along the Mediterranean Sea created a wealthy merchant class that was a strong connoisseur of the arts. The demand for glassworks increased. The spread of glassmaking talent among Europe eventually lessened the importance of Venice and its Murano glassmakers, especially since Napoleon Bonaparte’s defeat in 1797. However, Murano glassmaking began to recover in the 1920s and today the island is home to numerous glass factories and a few individual artists’ studios. Murano’s Museo del Vetro (Glass Museum) in the Palazzo Giustinian showcases the history of glassmaking as well as glass masterpieces from Egyptian times to the present day.

Remarkable Italian Master Artisans

Piero Fornasetti

Among many incredible Italian master artisans, we can refer Piero Fornasetti, a painter, sculptor, interior decorator and engraver who lived most of his life in Milan. He attended the Brera Art Academy from 1930-32 and created more than 11.000 art pieces, many featuring the face of a woman, Lina Cavalieri, as a motif. Fornasetti found her face in a 19th-century magazine. Other usual characteristics of his work include the heavy use of black and white, the sun and time. His style evokes Greek and Roman architecture, by which he was heavily influenced. Nowadays, it is frequent to see Fornasetti’s style in fashion and accessories such as scarves, ties, lamps, furniture, china plates and tables.

Talented contemporary Italian master artisans include, for example, Simone Cenedese (glass sculptor), Massimo Lunardon(lampworker), Cesare Toffolo (lampworker), Simone Crestani (glassworker), Lucio Bubacco (lampworker) and Giovanni Corvaja(goldsmith).

Simone Cenedese

Living Room in classic style. Classic interior design Simone Cenedese, one of the best Italian master artisans dedicated to glass sculpture, started working in a glass furnace created by his grandfather when he was still a boy. Through his work, Simone got involved in the family tradition of glasswork and gathered the key elements required for developing this art and creating designs. Artistic ability, creativity and the mastering of refined and exclusive techniques as well as the use of a wide chromatic range of pure and brilliant glass have developed into new ideas, creations, and projects.

Massimo Lunardon

Massimo Lunardon began his artistic career as a glassworker and lampworking artist in 1988. He gained experience in glasswork and glassmaking workshops and from numerous collaborations with studios, artists, designers, and architects. Interacting with different materials and people fueled his desire to experiment and push the traits of glass to their limit and beyond. Massimo’s ability to find the infinite possibilities of glass resulted in companies and private collectors from diverse sectors calling him to create original works.

Cesare Toffolo

Cesare Toffolo is one of the best Italian master artisans focused on glass sculpture and lampworking. Born in Murano in 1961, he grew up amongst a family immersed in glassmaking traditions. His grandfather, Giacomo, was a master glassworker who worked for Venini. Giacomo taught Cesare’s father, Florino, numerous techniques of glassworking, and Florino also joined the Venini glassworks at the age of 17. Florino then started to experiment and work with lampworking, gaining the respect of traditional glassworkers on Murano. It was then Florino’s turn to pass his knowledge to his son, Cesare.

Simone Crestani

The Italian master artisan Simone Crestani specialized in glassworking is known as one of the best craftsmen in Europe. He started working with glass at the prodigious age of 15. After a ten-year apprenticeship in “Lunardon’s factory”, he opened his own studio: “Atelier Crestani”.

Lucio Bubacco

Lucio Bubacco is an Italian master artisan specialized in craftsmanship, glass sculpture, and lampworking art. He was born on the famous island of Murano in 1957. As a boy growing up on this island renowned for its glasswork, Lucio would play with glass, making small animals, beads and other typical lampworked objects. At the prodigious age of 15, he became a qualified glassworker and started to sell his lampwork creations.

Giovanni Corvaja

Giovanni Corvaja is a craftsman and researcher with a deep passion for metal and an immense love for goldsmiths. He is one of the talented finalists in this year’s edition of Loewe Craftsmanship Prize. This incredible master artisan was born on 30 September 1971 and is an Italian jewelry artist renowned for his craftsmanship masterpieces of the finest quality. He began to work as a metalsmithing at the age of 13 at Pietro Selvatico High School of Art in Padua under the tuition of Francesco Pavan and Paolo Maurizio. In 1988, he was awarded the Diploma di Maestro d’Arte, and in 1990 the Maturità d’Arte Applicata.

You can also check out this one: Don’t miss our Design Guide for NY’s AD Design Show 2019

Inspiring Italian Designers

Gaetano Pesce

During his career, four decades filled with projects in architecture, urban planning, interior, exhibition, and industrial design, Gaetano Pesce, the architect, and designer, conceived public and private masterpieces in the United States, Europe, Latin America, and Asia. In all his work, he expresses his guiding principle: modernism is less a style than a method for interpreting the present and hinting at the future in which individuality is preserved and celebrated.

Born in La Spezia, Italy, in 1939, Pesce studied Architecture at the University of Venice between 1958 and 1963. He taught architecture at the Institut d’Architecture et d’Etudes Urbaines in Strasbourg, France, for 28 years, at the Carnegie Mellon in Pittsburgh, at the Domus Academy in Milan, at the Polytechnic of Hong Kong, at the Architectural School of Sao Paulo and at the Cooper Union in New York City, where he made his home since 1980, after living in Venice, London, Helsinki, and Paris.

Pesce’s work is featured in over 30 permanent collections in the most important museums in the world, such as MoMa of New York and San Francisco, Metropolitan Museum in New York, Vitra Museum in Germany, Victoria and Albert Museum in London, Pompidou Center and Musee des Arts Décoratifs of Louvre in Paris, he also exhibits his art in galleries worldwide.

His award-winning designs include the prestigious Chrysler Award for Innovation and Design in 1993, the Architektur and Wohnen Designer of the Year in 2006 and the Lawrence J. Israel Prize from the Fashion Institute of Technology in New York in 2009. Pesce’s experience is global, his innovations are always groundbreaking. Boundaries between art, design, and industry seem irrelevant to him, as art is most certainly not something created and put on a pedestal: art is a product, it is our creative response to the needs of the time we live in.

Patricia Urquiola

Patricia Urquiola (1961) was born in Oviedo (Spain) and currently lives in Milan. She studied architecture at the Polytechnic of Madrid where she graduated in 1989. From 1990 until 1992 she was an assistant professor in the courses given by Achille Castiglioni and Eugenio Bettinelli, both at the Polytechnic of Milan and E.N.S.C.I. in Paris. Between 1990 and 1996 she worked for the development office of new products of “De Padova” and signed with Vico Magistretti the products: “Flower”, “Loom sofa”, “Chaise” and “Chaise Longue”.

Between 1992 and 1996 Urquiola opened a studio with two friends, Renzio and Ramerino, working with architecture, interiors, restaurants, among others. In the next 4 years she was the manager of the Lissoni Associati Group and in 2001 she opened her own studio in Milan, focused on product design and architecture. Patricia won many design awards, such as Antares-Flos, Artelano, Boffi, Cappellini, Cassina, Kartell. In addition to attending events, conferences, and lectures she designed for B & B, Bosa, De Vecchi, Fasem, Kartell, Liv’it, MDF Italy, Molteni & C., Moroso, and Tronconi.

Her products were selected for the 2001 Design Exhibition in Italy and for the Annual International Design Catalog of 1999 and 2001. In 2001 she was a jury of the 19th CDIM Design Competition and lectured at the Domus Academy. She currently conducts her professional career at her own craftsmanship studio in Milan in the fields of design, exhibitions, art direction and architecture.

Renowned Italian Art Galleries

Since the end of the Nineties, Nilufar knows how to find its own unique place, so it became a reference point to everyone devoted to historical design, craftsmanship and to people who love to follow the trends and understand the evolution of contemporary design.

Above all, Nilufar inhabits that fine line between artistic knowledge, poetry and visionary ideas, all of the characteristic of contemporary art. Nina Yashar is the gallery’s founder and works with her sister Nilu plus a team of five people. Nilufar was present in several editions of Pavillon des Arts et du Design in Paris and is always in the spotlight at Design Miami/Basel. This art gallery also has its own little manifesto, composed of three words: Discovering, Crossing, Creating.

Gallery Rossana Orlandi opened in 2002 in a former tie Factory in the Magenta neighbor. The gallery has been supporting along the years new designers and is becoming one of the most revered promoters of avant-garde design and lifestyle. Its activity started with a focus on the rising dutch design with designers such as Piet Hein Eek, Maarten Baas and Nacho Carbonell. However, the research has moved widely around the world creating a catalog which reflects the most innovative craftsmanship from Europe to Asia and America.

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Posted by Sebastian Kurz28 on 2019-03-17 16:28:17

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The post Let’s have a look at the Most Exquisite Italian Craftsmanship appeared first on Good Info.

[sylsabastian]

The Efficiency of Joy Part 2

Audio Reading: https://goo.gl/vw6B4W

Continued from Part 1: https://goo.gl/dZWHzD

Ursula took hold of this information on the Young Man, thinking it through. "Could it be related to how much he cared?"

"Yes! That's exactly it Ursula, you have helped resolve a mystery for me. Part of our New Nobility culture is learning to care-without-caring. It's relatively easy to acquire, when everyone shares that mindset. But, that's only a small part of it. We don't live in a culture of dependency. I don't mean material needs, although that can be a factor. Mainly however, on Nobelia, there isn't dependency on anyone for interactions which are meaningful and sustaining. When we care too much in isolation, we can be vulnerable"

"Yes yes," Ursula connected to Biella's explanation. "That's why I have no interest in going back to my old world. The interactions..."

"But you'd have the Comm, and with VR..."

"Yes, I tend to forget about that, I am still thinking of how it was pre-Agg. The comm alone would make a huge difference." Ursula laughed. "I'd certainly be dependent on it."

"And what would happen if your Comm was faulty? If you couldn't communicate effectively?"

"That would be a problem, and would certainly affect my equanimity, especially if it was an unsolvable problem, That would be severe. Difficult indeed. But, there was a basic comm in the Young Man's time?"

"Yes. I was using the Comm to illustrate communication difficulties. Sharing in the way we do here, sharing with this level of intensity and detail, sharings of such sustained length and depth, those were rare then, as I imagine they were and likely still are on your old world. Nobelia, the New Nobility, is comprised of those for whom such relationships are their thing, who love this kind of interaction, who want to do nothing else, and who have learned how to do so. We take many skills and techniques for granted. The entire TakeAway Philosophy for instance. Our thorough understanding that communication is a haphazard affair is another. But..."

"Yes...?" Ursula prompted, eager for the More.

"But we take something massively for granted on Nobelia when it comes to communication and interaction. It's inherent in the very premise of Nobelia, it's innate by now..."

"What what? Don't make me beg," Ursula laughed happily. Biella's promptings usually had good effect and stimulated her mind intensely, but what Biella now meant, Ursula had no idea. It could be so many things.

"Good Intent!" Biella supplied. "It's simply not a question that any New Noble has good intent underlying everything they do. This is even understood and accepted throughout most of the Agglomeration. Even taken for granted. Good Intent is synonymous with the New Nobility. It seems simple, but this association has a profound effect on shaping Frame-of-Perception. Yes?" Biella created opportunity for Ursula to put some of it together, knowing how much she enjoyed doing so.

"That Frame-of-Perception... Yes, huge. I'm thinking about when it isn't there. Was one of my biggest challenges back before. Especially in politics. But when the assumption is that one's motivation is askew in some way, it kind of balances out. Everything depended on results, and proof of concept, explanations, and "sell" and so on. Made for much extra effort, but it was the system, was accepted, so not particularly stressful." Ursula paused, thoughtful, exploring the variations, as she had learned to do.

"I'm thinking how it would be if that Understanding of Good Intent was missing here. I mean for me in particular. I now realise it is this singular fact which energises me so. MY intent is not questioned, ever. It's simply assumed and taken for granted I am coming from positivity. That's fantastically liberating and energising. Makes all the difference! No matter how poorly I express myself and communicate, always there is that perception and conviction from everyone here that my Intent is good, no matter what I do. I can do no wrong!" Ursula almost shouted that last realisation. "That's HUGE!"

Continued in Part 3:

Excerpted from: The Biella Series.

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[sylsabastian]

We catch up with Biella and Comelius going over Ursula's momentous decision and the discussion leading up to it. TakeAways come up and are discussed in extra detail in the reading discussion. 

Nobelia.org Self-Discovery Project https://is.gd/bwwNia

#BiellaNoble #TheBiellaSeries #NewNobles #NewNobility #Comelius #UrsulaAspirant #LifeChange #SelfChange #ProfoundChange #PerspectiveShifting #TakeAways

[sylsabastian]

Comelius Shares his Perspective on the potential manipulation by the New Nobility. Nobelia.org Self-Discovery Project http://bit.ly/33YCpWp #TheBiellaSeries #BiellaNoble #Comelius #TheDelegates #Manipulation #StrategicEthics #TheNewNobility #TheNewNobles #Extrapolation

[sylsabastian]

Biella Shares the Story of how The Agglomeration got its name. Nobelia.org Self-Discovery Project http://bit.ly/2X4yLY7 #Appropriateness #TheBiellaSeries #TheNewNobility #TheNewNobles #BiellaNoble #TheAgglomeration #CapitalDDiplomacy #Manipulation #Ethics #Integrity #Impeccability #Awareness #Cueing #Ursula #Extrapolation

[sylsabastian]

Biella and Shar have an Adventure revealing a profound Understanding.

Nobelia.org Self-Discovery Project

http://bit.ly/2NeEWFI

#Appropriateness #Context #TheInfernalMachine #SchoolOfNobility #TheBiellaSeries #TheNewNobility #BiellaNoble #Anomalies #Attunement #DoubtResolution #DecisionMaking

[sylsabastian]

Biella and Shar have a mysterious but profound adventure. Nobelia.org Self Discovery Project #Appropriateness #Context #JustOneWord #SchoolOfNobility #TheBiellaSeries #TheNewNobility #BiellaNoble