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| |  Coypel
Statut : Internaute
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Posté le 17 Nov 2005 à 58:00
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| Coypel
Statut : Internaute
Membre depuis 2670 jours
Posté le 17 Nov 2005 à 58:00
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| Coypel
Statut : Internaute
Membre depuis 2670 jours
Posté le 17 Nov 2005 à 58:00
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| Coypel
Statut : Internaute
Membre depuis 2670 jours
Posté le 17 Nov 2005 à 58:00
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| Coypel
Statut : Internaute
Membre depuis 2670 jours
Posté le 1 Déc 2005 à 10:00
| En réponse à carole220287 (msg du 17 Nov 2005 à 20:14 : Voir le message)Jésus guérissant les deux aveugles de Jéricho Matthieu 9.27 à 9.38 27. Comme Jésus passait après être parti de là, deux aveugles le suivirent, criant et disant : Aie pitié de nous, fils de David. 28. Et quand il fut arrivé dans la maison, les aveugles vinrent à lui, et Jésus leur dit : Croyez-vous que je puisse faire cela ? Ils lui dirent : Oui, Seigneur. 29. Alors il leur toucha les yeux, disant : Qu'il vous soit fait selon votre foi. 30. Et leurs yeux furent ouverts ; et Jésus leur parla avec menace, disant : Prenez garde que personne ne le sache. 31. Mais eux, étant sortis, répandirent sa renommée dans toute cette contrée. 32. Et comme ils sortaient, voici on lui amena un homme muet, démoniaque. 33. Et le démon ayant été chassé, le muet parla. Et la foule étant dans l'admiration, disait : Jamais rien de semblable ne parut en Israël. 34. Mais les pharisiens disaient : C'est par le prince des démons qu'il chasse les démons. 35. Et Jésus parcourait toutes les villes et les villages, enseignant dans leurs synagogues, et prêchant l'Evangile du royaume et guérissant toute maladie et toute langueur. 36. Et voyant les foules, il fut ému de compassion à leur sujet ; car elles étaient fatiguées et gisantes comme des brebis qui n'ont point de berger. 37. Alors il dit à ses disciples : La moisson est grande, mais il y a peu d'ouvriers. 38. Priez donc le maître de la moisson, qu'il envoie des ouvriers dans sa moisson.  Répondre au message |
| Coypel
Statut : Internaute
Membre depuis 2670 jours
Posté le 1 Déc 2005 à 10:00
| En réponse à carole220287 (msg du 17 Nov 2005 à 20:14 : Voir le message)Jésus guérissant les deux aveugles de Jéricho Matthieu 9.27 à 9.38 27. Comme Jésus passait après être parti de là, deux aveugles le suivirent, criant et disant : Aie pitié de nous, fils de David. 28. Et quand il fut arrivé dans la maison, les aveugles vinrent à lui, et Jésus leur dit : Croyez-vous que je puisse faire cela ? Ils lui dirent : Oui, Seigneur. 29. Alors il leur toucha les yeux, disant : Qu'il vous soit fait selon votre foi. 30. Et leurs yeux furent ouverts ; et Jésus leur parla avec menace, disant : Prenez garde que personne ne le sache. 31. Mais eux, étant sortis, répandirent sa renommée dans toute cette contrée. 32. Et comme ils sortaient, voici on lui amena un homme muet, démoniaque. 33. Et le démon ayant été chassé, le muet parla. Et la foule étant dans l'admiration, disait : Jamais rien de semblable ne parut en Israël. 34. Mais les pharisiens disaient : C'est par le prince des démons qu'il chasse les démons. 35. Et Jésus parcourait toutes les villes et les villages, enseignant dans leurs synagogues, et prêchant l'Evangile du royaume et guérissant toute maladie et toute langueur. 36. Et voyant les foules, il fut ému de compassion à leur sujet ; car elles étaient fatiguées et gisantes comme des brebis qui n'ont point de berger. 37. Alors il dit à ses disciples : La moisson est grande, mais il y a peu d'ouvriers. 38. Priez donc le maître de la moisson, qu'il envoie des ouvriers dans sa moisson. Répondre au message |
| Coypel
Statut : Internaute
Membre depuis 2670 jours
Posté le 1 Déc 2005 à 10:00
| En réponse à carole220287 (msg du 17 Nov 2005 à 20:14 : Voir le message)Jésus guérissant les deux aveugles de Jéricho Matthieu 9.27 à 9.38 27. Comme Jésus passait après être parti de là, deux aveugles le suivirent, criant et disant : Aie pitié de nous, fils de David. 28. Et quand il fut arrivé dans la maison, les aveugles vinrent à lui, et Jésus leur dit : Croyez-vous que je puisse faire cela ? Ils lui dirent : Oui, Seigneur. 29. Alors il leur toucha les yeux, disant : Qu'il vous soit fait selon votre foi. 30. Et leurs yeux furent ouverts ; et Jésus leur parla avec menace, disant : Prenez garde que personne ne le sache. 31. Mais eux, étant sortis, répandirent sa renommée dans toute cette contrée. 32. Et comme ils sortaient, voici on lui amena un homme muet, démoniaque. 33. Et le démon ayant été chassé, le muet parla. Et la foule étant dans l'admiration, disait : Jamais rien de semblable ne parut en Israël. 34. Mais les pharisiens disaient : C'est par le prince des démons qu'il chasse les démons. 35. Et Jésus parcourait toutes les villes et les villages, enseignant dans leurs synagogues, et prêchant l'Evangile du royaume et guérissant toute maladie et toute langueur. 36. Et voyant les foules, il fut ému de compassion à leur sujet ; car elles étaient fatiguées et gisantes comme des brebis qui n'ont point de berger. 37. Alors il dit à ses disciples : La moisson est grande, mais il y a peu d'ouvriers. 38. Priez donc le maître de la moisson, qu'il envoie des ouvriers dans sa moisson. Répondre au message |
| Coypel
Statut : Internaute
Membre depuis 2670 jours
Posté le 1 Déc 2005 à 10:00
| En réponse à carole220287 (msg du 17 Nov 2005 à 20:14 : Voir le message)Jésus guérissant les deux aveugles de Jéricho Matthieu 9.27 à 9.38 27. Comme Jésus passait après être parti de là, deux aveugles le suivirent, criant et disant : Aie pitié de nous, fils de David. 28. Et quand il fut arrivé dans la maison, les aveugles vinrent à lui, et Jésus leur dit : Croyez-vous que je puisse faire cela ? Ils lui dirent : Oui, Seigneur. 29. Alors il leur toucha les yeux, disant : Qu'il vous soit fait selon votre foi. 30. Et leurs yeux furent ouverts ; et Jésus leur parla avec menace, disant : Prenez garde que personne ne le sache. 31. Mais eux, étant sortis, répandirent sa renommée dans toute cette contrée. 32. Et comme ils sortaient, voici on lui amena un homme muet, démoniaque. 33. Et le démon ayant été chassé, le muet parla. Et la foule étant dans l'admiration, disait : Jamais rien de semblable ne parut en Israël. 34. Mais les pharisiens disaient : C'est par le prince des démons qu'il chasse les démons. 35. Et Jésus parcourait toutes les villes et les villages, enseignant dans leurs synagogues, et prêchant l'Evangile du royaume et guérissant toute maladie et toute langueur. 36. Et voyant les foules, il fut ému de compassion à leur sujet ; car elles étaient fatiguées et gisantes comme des brebis qui n'ont point de berger. 37. Alors il dit à ses disciples : La moisson est grande, mais il y a peu d'ouvriers. 38. Priez donc le maître de la moisson, qu'il envoie des ouvriers dans sa moisson. Répondre au message |
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| Coypel
Statut : Internaute
Membre depuis 2670 jours
Posté le 14 Déc 2005 à 10:00
| En réponse à diabless (msg du 13 Déc 2005 à 17:07 : Voir le message)From the Web Art Gallery Creation of Eve 1509-10 Fresco, 170 x 260 cm Cappella Sistina, Vatican In response to the gesture and intense gaze of the Creator, Eve appears to rise from the rocks behind Adam rather than from his body, extending her joint hands. The bodies of the couple appear to be those of adolescents, in contrast to those depicted in the scene of the Fall and Expulsion. The figure of the Lord, wrapped in a voluminous violet mantle that only allows a glimpse of the red tunic he wears in the other scenes of the Creation, draws on an iconographic tradition dating back to Giotto and Masaccio, from which it is differentiated, however, by the blond hair and beard framing the face. The Creation of Woman is a design cast in simple, powerful form that contains a certain demonic element. The God and Demiurge, as conceived in the earlier medieval tradition, fills the space between heaven and earth as if about to erupt out of it, lifting his arms with an incantatory gesture and a supernatural air. More is indicated here than mere physical creation: it is the conception of the female mirror-image drawn forth from the sleeping Adam, who is fettered to a stunted tree shaped like the Staurus, the Egyptian cross. Is he the archetypal son destined to become the Mediator and endure the Passion? The composition forms a right-angled triangle with Adam as the horizontal and God the Father the vertical element, and Eve, in an attitude of adoration, striving towards the hand of God as a diagonal hypotenuse. Theirs is a harmonious Pythagorean unity of spirits prior to their separation. This astounding fresco dominating the centre of the entire vault links Ezekiel and the Sibyl of Cumae, thus underlining the importance of the grand design of the law of polarity! Expulsion from Garden of Eden 1509-10 Fresco Cappella Sistina, Vatican On the right, an angel extends his sword to show the sinners the way to exile from the Garden of Eden. In a desolate landscape, Adam and Eve set out toward their destiny of pain and death, their bodies contracted and suddenly aged, their drawn faces vividly expressing their remorse and anguish. The Fall and Expulsion from Garden of Eden 1509-10 Fresco, 280 x 570 cm Cappella Sistina, Vatican The sixth scene in the chronological order of the narrative, The Fall and Expulsion from Garden of Eden, is depicted in the large field of the vault of the second bay, between the triangular spandrels. A bold and momentous step towards greater clarity was taken with the Fall of Adam and the Expulsion from the Garden of Eden. It has been noted that the composition's three pilasters, the fallen pair to the left, the pair expelled from Paradise to the right, and the anthropomorphized tree of knowledge with the female tempter in the centre (the Tree of Life before the Fall), join arms at the top to form the letter M in uncial script. Was this intended to be Michelangelo's signature? To the left, the profusion of the Garden of Eden is indicated by a few details, but even among these a barren stump thrusts up its branches beside the archetypal female. To the right, total desolation surrounds the human couple. The rhythm of the whole composition flows from left to right. Eve grasps the apple boldly, Adam greedily, but in misfortune he seems greater than the woman. He knows that through his fall God, who was near to him, has become inaccessible and remote. He almost disdains the garden of which he feels no longer worthy. In spite of rocks and the barren tree stump, Eden - the term signifies bliss - is too voluptuous and full of delight; the bodies are too plump and smooth, the foliage above their heads is almost too luxuriant. It is as though Michelangelo meant to say: 'This is not yet the truth; that will have to be won in the desert of our destiny.' It is, moreover, striking that the cherub with the raised sword pointing the way out, although in flight and strongly foreshortened, appears a twin of the tempter and, like her, issues from the tree (the Tree of Life; the Cabalistic Sephiroth). Good and Evil have divided and become a dual power. This idea, like nearly every fresco on the vault of the Sistine, is full of mysteries which, we now realize, have their parallels in artistic and structural mysteries. Everything connects in Michelangelo's designs. In spite of their intellectual content, in spite of his humbly self taught knowledge, he never became literary; nor did he think in logical categories or in terms of dialectic, but visually and in symbols. Répondre au message |
| Coypel
Statut : Internaute
Membre depuis 2670 jours
Posté le 14 Déc 2005 à 10:00
| En réponse à diabless (msg du 13 Déc 2005 à 17:07 : Voir le message)From the Web Art Gallery Creation of Eve 1509-10 Fresco, 170 x 260 cm Cappella Sistina, Vatican In response to the gesture and intense gaze of the Creator, Eve appears to rise from the rocks behind Adam rather than from his body, extending her joint hands. The bodies of the couple appear to be those of adolescents, in contrast to those depicted in the scene of the Fall and Expulsion. The figure of the Lord, wrapped in a voluminous violet mantle that only allows a glimpse of the red tunic he wears in the other scenes of the Creation, draws on an iconographic tradition dating back to Giotto and Masaccio, from which it is differentiated, however, by the blond hair and beard framing the face. The Creation of Woman is a design cast in simple, powerful form that contains a certain demonic element. The God and Demiurge, as conceived in the earlier medieval tradition, fills the space between heaven and earth as if about to erupt out of it, lifting his arms with an incantatory gesture and a supernatural air. More is indicated here than mere physical creation: it is the conception of the female mirror-image drawn forth from the sleeping Adam, who is fettered to a stunted tree shaped like the Staurus, the Egyptian cross. Is he the archetypal son destined to become the Mediator and endure the Passion? The composition forms a right-angled triangle with Adam as the horizontal and God the Father the vertical element, and Eve, in an attitude of adoration, striving towards the hand of God as a diagonal hypotenuse. Theirs is a harmonious Pythagorean unity of spirits prior to their separation. This astounding fresco dominating the centre of the entire vault links Ezekiel and the Sibyl of Cumae, thus underlining the importance of the grand design of the law of polarity! Expulsion from Garden of Eden 1509-10 Fresco Cappella Sistina, Vatican On the right, an angel extends his sword to show the sinners the way to exile from the Garden of Eden. In a desolate landscape, Adam and Eve set out toward their destiny of pain and death, their bodies contracted and suddenly aged, their drawn faces vividly expressing their remorse and anguish. The Fall and Expulsion from Garden of Eden 1509-10 Fresco, 280 x 570 cm Cappella Sistina, Vatican The sixth scene in the chronological order of the narrative, The Fall and Expulsion from Garden of Eden, is depicted in the large field of the vault of the second bay, between the triangular spandrels. A bold and momentous step towards greater clarity was taken with the Fall of Adam and the Expulsion from the Garden of Eden. It has been noted that the composition's three pilasters, the fallen pair to the left, the pair expelled from Paradise to the right, and the anthropomorphized tree of knowledge with the female tempter in the centre (the Tree of Life before the Fall), join arms at the top to form the letter M in uncial script. Was this intended to be Michelangelo's signature? To the left, the profusion of the Garden of Eden is indicated by a few details, but even among these a barren stump thrusts up its branches beside the archetypal female. To the right, total desolation surrounds the human couple. The rhythm of the whole composition flows from left to right. Eve grasps the apple boldly, Adam greedily, but in misfortune he seems greater than the woman. He knows that through his fall God, who was near to him, has become inaccessible and remote. He almost disdains the garden of which he feels no longer worthy. In spite of rocks and the barren tree stump, Eden - the term signifies bliss - is too voluptuous and full of delight; the bodies are too plump and smooth, the foliage above their heads is almost too luxuriant. It is as though Michelangelo meant to say: 'This is not yet the truth; that will have to be won in the desert of our destiny.' It is, moreover, striking that the cherub with the raised sword pointing the way out, although in flight and strongly foreshortened, appears a twin of the tempter and, like her, issues from the tree (the Tree of Life; the Cabalistic Sephiroth). Good and Evil have divided and become a dual power. This idea, like nearly every fresco on the vault of the Sistine, is full of mysteries which, we now realize, have their parallels in artistic and structural mysteries. Everything connects in Michelangelo's designs. In spite of their intellectual content, in spite of his humbly self taught knowledge, he never became literary; nor did he think in logical categories or in terms of dialectic, but visually and in symbols. Répondre au message |
| Coypel
Statut : Internaute
Membre depuis 2670 jours
Posté le 14 Déc 2005 à 10:00
| En réponse à diabless (msg du 13 Déc 2005 à 17:07 : Voir le message)From the Web Art Gallery Creation of Eve 1509-10 Fresco, 170 x 260 cm Cappella Sistina, Vatican In response to the gesture and intense gaze of the Creator, Eve appears to rise from the rocks behind Adam rather than from his body, extending her joint hands. The bodies of the couple appear to be those of adolescents, in contrast to those depicted in the scene of the Fall and Expulsion. The figure of the Lord, wrapped in a voluminous violet mantle that only allows a glimpse of the red tunic he wears in the other scenes of the Creation, draws on an iconographic tradition dating back to Giotto and Masaccio, from which it is differentiated, however, by the blond hair and beard framing the face. The Creation of Woman is a design cast in simple, powerful form that contains a certain demonic element. The God and Demiurge, as conceived in the earlier medieval tradition, fills the space between heaven and earth as if about to erupt out of it, lifting his arms with an incantatory gesture and a supernatural air. More is indicated here than mere physical creation: it is the conception of the female mirror-image drawn forth from the sleeping Adam, who is fettered to a stunted tree shaped like the Staurus, the Egyptian cross. Is he the archetypal son destined to become the Mediator and endure the Passion? The composition forms a right-angled triangle with Adam as the horizontal and God the Father the vertical element, and Eve, in an attitude of adoration, striving towards the hand of God as a diagonal hypotenuse. Theirs is a harmonious Pythagorean unity of spirits prior to their separation. This astounding fresco dominating the centre of the entire vault links Ezekiel and the Sibyl of Cumae, thus underlining the importance of the grand design of the law of polarity! Expulsion from Garden of Eden 1509-10 Fresco Cappella Sistina, Vatican On the right, an angel extends his sword to show the sinners the way to exile from the Garden of Eden. In a desolate landscape, Adam and Eve set out toward their destiny of pain and death, their bodies contracted and suddenly aged, their drawn faces vividly expressing their remorse and anguish. The Fall and Expulsion from Garden of Eden 1509-10 Fresco, 280 x 570 cm Cappella Sistina, Vatican The sixth scene in the chronological order of the narrative, The Fall and Expulsion from Garden of Eden, is depicted in the large field of the vault of the second bay, between the triangular spandrels. A bold and momentous step towards greater clarity was taken with the Fall of Adam and the Expulsion from the Garden of Eden. It has been noted that the composition's three pilasters, the fallen pair to the left, the pair expelled from Paradise to the right, and the anthropomorphized tree of knowledge with the female tempter in the centre (the Tree of Life before the Fall), join arms at the top to form the letter M in uncial script. Was this intended to be Michelangelo's signature? To the left, the profusion of the Garden of Eden is indicated by a few details, but even among these a barren stump thrusts up its branches beside the archetypal female. To the right, total desolation surrounds the human couple. The rhythm of the whole composition flows from left to right. Eve grasps the apple boldly, Adam greedily, but in misfortune he seems greater than the woman. He knows that through his fall God, who was near to him, has become inaccessible and remote. He almost disdains the garden of which he feels no longer worthy. In spite of rocks and the barren tree stump, Eden - the term signifies bliss - is too voluptuous and full of delight; the bodies are too plump and smooth, the foliage above their heads is almost too luxuriant. It is as though Michelangelo meant to say: 'This is not yet the truth; that will have to be won in the desert of our destiny.' It is, moreover, striking that the cherub with the raised sword pointing the way out, although in flight and strongly foreshortened, appears a twin of the tempter and, like her, issues from the tree (the Tree of Life; the Cabalistic Sephiroth). Good and Evil have divided and become a dual power. This idea, like nearly every fresco on the vault of the Sistine, is full of mysteries which, we now realize, have their parallels in artistic and structural mysteries. Everything connects in Michelangelo's designs. In spite of their intellectual content, in spite of his humbly self taught knowledge, he never became literary; nor did he think in logical categories or in terms of dialectic, but visually and in symbols. Répondre au message |
| Coypel
Statut : Internaute
Membre depuis 2670 jours
Posté le 14 Déc 2005 à 10:00
| En réponse à diabless (msg du 13 Déc 2005 à 17:07 : Voir le message)From the Web Art Gallery Creation of Eve 1509-10 Fresco, 170 x 260 cm Cappella Sistina, Vatican In response to the gesture and intense gaze of the Creator, Eve appears to rise from the rocks behind Adam rather than from his body, extending her joint hands. The bodies of the couple appear to be those of adolescents, in contrast to those depicted in the scene of the Fall and Expulsion. The figure of the Lord, wrapped in a voluminous violet mantle that only allows a glimpse of the red tunic he wears in the other scenes of the Creation, draws on an iconographic tradition dating back to Giotto and Masaccio, from which it is differentiated, however, by the blond hair and beard framing the face. The Creation of Woman is a design cast in simple, powerful form that contains a certain demonic element. The God and Demiurge, as conceived in the earlier medieval tradition, fills the space between heaven and earth as if about to erupt out of it, lifting his arms with an incantatory gesture and a supernatural air. More is indicated here than mere physical creation: it is the conception of the female mirror-image drawn forth from the sleeping Adam, who is fettered to a stunted tree shaped like the Staurus, the Egyptian cross. Is he the archetypal son destined to become the Mediator and endure the Passion? The composition forms a right-angled triangle with Adam as the horizontal and God the Father the vertical element, and Eve, in an attitude of adoration, striving towards the hand of God as a diagonal hypotenuse. Theirs is a harmonious Pythagorean unity of spirits prior to their separation. This astounding fresco dominating the centre of the entire vault links Ezekiel and the Sibyl of Cumae, thus underlining the importance of the grand design of the law of polarity! Expulsion from Garden of Eden 1509-10 Fresco Cappella Sistina, Vatican On the right, an angel extends his sword to show the sinners the way to exile from the Garden of Eden. In a desolate landscape, Adam and Eve set out toward their destiny of pain and death, their bodies contracted and suddenly aged, their drawn faces vividly expressing their remorse and anguish. The Fall and Expulsion from Garden of Eden 1509-10 Fresco, 280 x 570 cm Cappella Sistina, Vatican The sixth scene in the chronological order of the narrative, The Fall and Expulsion from Garden of Eden, is depicted in the large field of the vault of the second bay, between the triangular spandrels. A bold and momentous step towards greater clarity was taken with the Fall of Adam and the Expulsion from the Garden of Eden. It has been noted that the composition's three pilasters, the fallen pair to the left, the pair expelled from Paradise to the right, and the anthropomorphized tree of knowledge with the female tempter in the centre (the Tree of Life before the Fall), join arms at the top to form the letter M in uncial script. Was this intended to be Michelangelo's signature? To the left, the profusion of the Garden of Eden is indicated by a few details, but even among these a barren stump thrusts up its branches beside the archetypal female. To the right, total desolation surrounds the human couple. The rhythm of the whole composition flows from left to right. Eve grasps the apple boldly, Adam greedily, but in misfortune he seems greater than the woman. He knows that through his fall God, who was near to him, has become inaccessible and remote. He almost disdains the garden of which he feels no longer worthy. In spite of rocks and the barren tree stump, Eden - the term signifies bliss - is too voluptuous and full of delight; the bodies are too plump and smooth, the foliage above their heads is almost too luxuriant. It is as though Michelangelo meant to say: 'This is not yet the truth; that will have to be won in the desert of our destiny.' It is, moreover, striking that the cherub with the raised sword pointing the way out, although in flight and strongly foreshortened, appears a twin of the tempter and, like her, issues from the tree (the Tree of Life; the Cabalistic Sephiroth). Good and Evil have divided and become a dual power. This idea, like nearly every fresco on the vault of the Sistine, is full of mysteries which, we now realize, have their parallels in artistic and structural mysteries. Everything connects in Michelangelo's designs. In spite of their intellectual content, in spite of his humbly self taught knowledge, he never became literary; nor did he think in logical categories or in terms of dialectic, but visually and in symbols. Répondre au message |
|  Slash
Statut : Internaute
Membre depuis 2294 jours
Modifié le 8 Fev 2006 à 13:00
| Bonjour, j'aurais besoin d'une petite étude du tableau "La Sainte Famille avec Jean-Baptiste enfant":technique utilisée, composition, volume,plans, perspectives, ombre-mumière, couleurs, contours, ce que font les personnages, thème, décors. C'est urgent!!!!Merci Répondre au message |
| Slash
Statut : Internaute
Membre depuis 2294 jours
Modifié le 8 Fev 2006 à 13:00
| Bonjour, j'aurais besoin d'une petite étude du tableau "La Sainte Famille avec Jean-Baptiste enfant":technique utilisée, composition, volume,plans, perspectives, ombre-mumière, couleurs, contours, ce que font les personnages, thème, décors. C'est urgent!!!!Merci Répondre au message |
| Slash
Statut : Internaute
Membre depuis 2294 jours
Modifié le 8 Fev 2006 à 13:00
| Bonjour, j'aurais besoin d'une petite étude du tableau "La Sainte Famille avec Jean-Baptiste enfant":technique utilisée, composition, volume,plans, perspectives, ombre-mumière, couleurs, contours, ce que font les personnages, thème, décors. C'est urgent!!!!Merci Répondre au message |
| Zarb
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Membre depuis 2317 jours
Posté le 8 Fev 2006 à 22:00
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| Zarb
Statut : Internaute
Membre depuis 2317 jours
Posté le 8 Fev 2006 à 22:00
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| Zarb
Statut : Internaute
Membre depuis 2317 jours
Posté le 8 Fev 2006 à 22:00
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