65. Palmina’s Lute playing and Palmas old remembering
During this wonderful Lute playing of Palmina, Palma il Giovane dreamed and dreamed and he remembered about their time in the 16th century in Venice.
As he opened shortly his eyes a little bit to see his beautiful »secret-heart-princes« he saw that Palmina deeply played with inspiration. He could feel also that she played especially for her Palma – She played secretly some »anonymous« Artwork (This »anonymous composer« is Palma il Giovane).
He smiled – only she and he had this common »secret« – and he remembered what beautiful things they had here in the 16th century together, here in Venice.
As Palma smiled stronger – Palmina played now with closed eyes – Palmina smiled suddenly during she is playing with her closed eyes. So Palma could see with his own eyes that Palmina reacted maybe telepathic and was connected with her »heart-to-heart« connection with Palma.
Now Palmina played a wonderful romantic part of Palma’s »secret composition« and she radiated from her heart such a beautiful warm energy in Palma’s direction.
Master Lao and Princess Lin and other secret Masters of other cultures understood this waves of sympathy.
For the other people in the auditory this waves are just beautiful energy and they liked it. Palma smiled again – he understood that she answered with this love-heartfelt-waves during she played.
Suddenly Palma remembered and closed again his eyes and was again dreaming:
It was after the big long time they did hear of each other nothing. (Palma did not know that they moved to Cyprus-Island for over 1½ years and her letters did not come to him (Mr. Cambridge’s »security organisation« stole all letters from that island and sold it to the enemy. The members of the »Church of Security« will now all be judged by the Republic of Venice.)
picture 01: Where Palma and Palmina meet again (Calle de la Pieta)
He remembers: They met suddenly in the »Calle de la Pieta« and smiled wordless.
After this they met there silently every day at the early morning.
picture 02: Calle de la Pieta and bridge (right)
Palmina had to bring the fresh breads to the boat at the bridge over the »Rio de la Pieta« at the end of the »Calle de la Pieta«
picture 03: Here Palmina load the boat every day in the early morning
After that her father and her brother came and brought this full-of-bread-loaded-boat to the markets of Venice. (One was at the market at the Rialto-bridge (West-Venice).
In this 3 to 4 hours Palmina had time to rehearsal in her little room over her little garden.
But at one day Palma came with his Mandolin and played for her a secret Love-Melody under her window in the »Calle de la Pieta« in her little garden (today there is a wall – see picture 01 right side)
picture 04: Palma waited playing his Mandolin in a little Gondola
Palmina understood it means: »Palmina, come I brought a little Gondola for you. It is waiting under the bridge in the »Calle de la Pieta«
(picture: Here Palma waited often with his little Gondola on her playing the Mandolin. Exactly here Palmina loaded every early morning the boat with fresh, fine, white breads)
(picture: Little Bridge where Palmas little Gondola waited and she entered it using the steps«)
Palmina understood him without words. Fast she came smiling and followed his music. Palma played on his Mandolin as he was going back the »Calle de la Pieata« to the little bridge where the Gondola was waiting for her in »Rio de la Pieta« (picture).
As he sat in the Gondola playing for her she came smiling and fast with her Lute and a basked of fine, fresh, little white breads.
picture 05: Palma moved the Gondola direct to the near little Island
Now she entered his Gondola. Palma stood up and moved the Gondola with his own power straight a head along the »Rio de la Pieta« directly in the direction of the neighbour island »San Giorgio Maggiore« *)
picture 07: Little Island »San Giorgio Maggiore«
*) San Giorgio Maggiore – wikipedia – https://en.wikipedia.org/wiki/San_Giorgio_Maggiore
»San Giorgio Maggiore (Venetian: San Zorzi Mazor) is one of the islands of Venice, northern Italy, lying east of the Giudecca and south of the main island group.«
picture 08: Little Island »San Giorgio Maggiore«
Palma smiled and was lucky to have now 3 or 4 hours only with her – to take a little walk in the green gardens of the small beautiful »San Giorgio Maggiore«. To speak with her about art, music, painting. To draw her during she is playing on her Lute only for him.
picture 06: Rio de la Pieta is heading directly to the Island
The Gondola moved straight ahead to the little island »San Giorgio Maggiore«, which was the nearest and first excursions destination of Palma and Palmina in their live.
So they had today also a little walk together there in the nature and gardens
picture 10: Gardens of the little Island
Palma tried to paint her in the gardens.
Palmina played during this often one of his »anonymous« compositions for her and she made also some variations and added a 2nd bass-voice with beautiful accords like it will be soon usual in music-history in the next century as »Basso Continuo« *) So Palmina played a pre-form of a »Basso continuo« (Palmina was very creative in her century and always heading to future of the music without loosing knowledge of traditions)
*) »Basso Continuo« – Wikipedia – https://en.wikipedia.org/wiki/Figured_bass#Basso_continuo
Basso Continuo – »Figured bass, or thoroughbass, is a kind of musical notation in which numerals and symbols (often accidentals) indicate intervals, chords, and non-chord tones that a musician playing piano, harpsichord, organ, lute (or other instruments capable of playing chords) play in relation to the bass note that these numbers and symbols appear above or below. Figured bass is closely associated with basso continuo, a historically improvised accompaniment used in almost all genres of music in the Baroque period of Classical music (c.1600–1750), though rarely in modern music.«
picture 09: San Giorgio Maggiore (middle) and Venice (up) where Palmina lived in the 16th century)
They did this so often. It was their first creative short art and music projects.
And often they where alone.
Often they went to see how the edification of the new church *) on that island went on. Palma made often some fast drawing of this building-progress. (The church was build between 1566 (Master Titian died 10 years later in 1576) and 1610. Much later – after 1610 – Palma and Palmina will often go into this beautiful church to see the paintings and Palma will also often have visions about which paintings will be made there in the future.) The slow, but continuous edification of the church (1566-1610) was also a symbol of the strong heart-to-heart relation between Palma and Palmina through time and space – through good and difficult times.
*) (Church) San Giorgio Maggiore (church) – wikipedia – https://en.wikipedia.org/wiki/San_Giorgio_Maggiore_(church),_Venice
»San Giorgio Maggiore (church) is a 16th-century Benedictine church on the island of the same name in Venice, northern Italy, designed by Andrea Palladio, and built between 1566 and 1610. The church is a basilica in the classical renaissance style and its brilliant white marble gleams above the blue water of the lagoon opposite the Piazzetta and forms the focal point of the view from every part of the Riva degli Schiavoni.«
These 3 to 4 hours, the beautiful hours of the day, where filled with creativity, love, creating artworks and heart-to-heart tenderness.
Palma remembered all this beautiful, creative and unique moments.
* * *
As they saw this in their Peony-Vision, in their common Peony-Gondola.
Palma laid also his head on her side.
And she stroke with her hand his head. Palma smiled – Palmina loves Palma really from her deep heart.
This love is so strong that they had to hide their love in front of others.
They often did not talk to each other in the Art-Gallery or in the public, so that Mr. Cambridge and his »Security Organisation« (»Church of Security«) can not make any intrigues and telling »lies« against them. *)
*) (»Church of Security« tell its members to tell lies about other people to destroy families and friendships systematically, with the aim to get all the private money of such isolated victims and families.
As soon the »Church of Security« is forbidden in Europe there will be also more possibilities for the love of Palma and Palmina and they have not to be a secret pair.
Palmina smiled and moved her music instrument Pipa in Palmas direction, to his music instrument Viola. Palma moved his Viola also in the direction of the head of the Pipa.
So now both heads of the instruments gave each other a tender »kiss«.
Palma thought: »Our music instruments love each other…«
Palmina answered directly: »…like we do it…«
Palma smiled and was not surprised that she could guess his thoughts.
She could read in his heart and he could read in her heart. The Peony-Gondola makes this possible.
(to be continued…)