Añasco mapa: Mapa MICHELIN Añasco — plano Añasco

ANASCO Puerto Rico PR Map Poster Hometown City Print Modern

FREE SHIPPING to the US for all orders of US$35 and above.
DHL 1-3 days delivery at US$9 only.

Ultra high quality print of an incredibly detailed city map — includes every single street down to a park path level.
Frame is not included — you will get the just the print.
If your frame frame opening is less than 95% of print size please let me know exact dimensions of opening and I will move the text on your print so it stays visible.
All pics in the listing show full print.

I have over 5000 locations worldwide mapped and ready to print. Ask me for your custom map.


Shortly — the best you can get.
Graphics are printed with top of the line Canon and Epson large format printers in ultra high, 1200dpi resolution.
I use exclusively original inks and top quality 180g coated, acid-free, ultrasmooth matt paper.
Properly stored prints (no direct sunlight, protected from dust etc.) will last at least 100 years.


Packages within the EU are usually shipped in maximum 2 business days. Orders from outside the EU need additional 1-2 days for customs procedure (it does not apply if DHL express shipping is chosen).
If you need the print for a specific date which is less than 3 weeks away but do not intend to upgrade shipping to express — please contact me prior to placing your order to determine if it is possible at all to get it in time.
Basic shipping service is Global Express (Registered Priority for those very few countries that do not support GE).
Upgraded express is shipped with DHL that guarantees 1-5 days delivery worldwide — 1-3 days for US & Canada, 1-2 days for Europe, 4-5 days for Australia & Asia.
Please note that we cannot ship US orders to P.O.Box or APO/DPO addresses.


Prints are rolled, wrapped with protective foil and shipped in a rigid, 2mm cardboard tube with additional bubble foil inserted on both ends to protect print edges.
Depending on print size, 2-6 prints can be packed in a single tube. If an order needs to be packed in multiple tubes, they are taped together and shipped as one package.


Estimated delivery times are: 7 days for EU, 12-20 days for US or Canada, 20+ days for Australia.
Delivery for Global Express service is always executed by national postal service provider (USPS for the US, La Poste for France, Deutsche Post for Germany etc.)
Please note that customs procedures in your country may sometimes cause a delay and that in certain periods of the year (commonly about a month before Christmas) the post may process mail much slower than usually which would add to the estimated delivery time and there is no way to prevent this unfortunately.


Most of my prints are customizable. There is no additional charge for edits like changing the colors — though majority really looks best in black & white — or minor alterations in text. For changed colors please send RGB or CMYK values — red & green is too general.
I also accept custom work — use contact links to send me a convo.
Rush orders are possible, but not at all times. Please send a convo to check if I can arrange rush processing an order if you need it.

You can find many answers to the most common questions in my FAQ.

You’re more than welcome to check out my social media pages and spread the word.

Twitter — http://twitter.com/KritikalGraphic
Instagram — https://www.instagram.com/kritikalgraphics/


All items are my own creations and as such are protected intellectual property.
Adult language that may be found in some of the works is used as a form of artistic expression and is not meant to offend anyone intentionally.
Would you wish to publish some of those works on- or offline, please do contact me prior to doing so.

Gente 1868-1872: Enslaved persons held by Felipe Yturrino y Arzua

Events on the way to freedom

In my recent blog post Yturrino: Looking at a collateral line, I had questions about what kind of business Felipe Iturrino Arzua (1811 -1894) of Anasco was in.  While I was able to follow some notary documents that described a  string of land purchases in different municipalities, it really wasn’t clear what he had invested in. 

These land purchases now make more sense after finding him listed in the 1872 Registro de Esclavos.  Yvonne Santana Rios’ transcription of Anasco and Cabo Rojo portions of the 1872 volume led me back to searching the FamilySearch database ‘Slave Registers, Puerto Rico, 1863  – 1879 ‘. I still have no name for the hacienda that these individuals worked, and know more or less where it was located, in barrio Cerro Gordo, Anasco. Yturrino and his family lived in barrio Corcobada to the east of Cerro Gordo, and later in a house in barrio Pueblo.

Anasco, Puerto Rico. Barrio Cerro Gordo is where formerly enslaved by Yturrino lived; he & his family lived in Barrio Corcobada.

In barrio Cerro Gordo, Anasco, Yturrino enslaved over 20 people, whose cedulas are receipts for the transfer of ownership from the individual slave holders to the colonial government, and they received 120 pesetas per document. The status change to libertos (freedmen or freedwomen) meant rights were established over time.

According to the terms of the Moret Law, these men, women and children entered a contract to work for their former enslavers or for a different plantation owner. They received no pay, but their freedom at the end of three years. For the youngest, this process of manumission lasted until 1886.

Labor: de Esclava/o a Liberta/o

There were a range of tasks, however few were dependent on women becoming domestics in elite households, or took in laundry, or were dress makers. The majority of enslaved women worked as Labradoras, field laborers alongside men. This ran contrary to the ideal of an enslaved person that circulated in prints and paintings, often depicted as male. Men worked as cooks, carpenters and mostly as field laborers in the sugar centrales that grew after the Spanish American war, and women’s labor shifted to the domestic.

While the categories for labor in the documents for the Registro de Esclavos are few, these do not give a precise idea of the range of tasks that a person had, nor how expert they had become. Cerro Gordo was elevated land, better suited for coffee cultivation, and this is likely the crop that Yturrino’s enslaved workers were raising. Given the patterns of inheritance, there is a high probability that the Hacienda de Iturrino in the 1893 Military Map for Anasco to San Sebastian is the same location as in 1870, situated near the streams in the hills that ran between Anasco and Moca.

Location: Hacienda de Iturrino, Barrio Cerro Gordo, Anasco. Mapa Militar, Itinerario de Añasco a San Sebastián, 1893. ADNPR

Say Their Names: Enslaved families, children, locations

Below is a list of 20 persons listed on cedulas from 1868 on which D. Felipe Yturrino y Arzua appears as dueno (owner). The oldest was Agustin an 80 year old man born in Africa; the youngest was 2 year old Josefa, born in Cerro Gordo, one of the children of Evangelista and Vicenta. Nearly half of those enslaved were children.

The few families I could trace to the Registro Civil opted to take a different surname; not one kept Iturrino as a surname. Some moved to Mayaguez in the years that followed. With the collapse of coffee prices after the 1870s, sugar plantations soon dominated the landscape.

Should these names be familiar to you, please feel free to reach out.

Folio Name Age Parents Origin image no. Link
7465 Josefa 2 Evangelista & Vicenta P.R. 2773 https://www.familysearch.org/ark:/61903/3:1:3Q9M-CSK3-C3QX-V?i=2772&cc=3755445
7462 Ceverino 6 Evangelista & Vicenta P.R. 2770 https://www.familysearch.org/ark:/61903/3:1:3Q9M-CSK3-C34X-W?i=2769&cc=3755445
7464 Paula 6 Evaristo & Eduviges P.R. 2772 https://www.familysearch.org/ark:/61903/3:1:3Q9M-CSK3-C34J-M?i=2771&cc=3755445
7454 Amelia 7 Ma. Luisa 2a P.R. 2762 https://www.familysearch.org/ark:/61903/3:1:3Q9M-CSK3-C347-G?i=2761&cc=3755445
7463 Salustiano 7 P.R. 2771 https://www.familysearch.org/ark:/61903/3:1:3Q9M-CSK3-C37C-K?i=2770&cc=3755445
7466 Francisco 7 Vicenta P.R. 2774 https://www.familysearch.org/ark:/61903/3:1:3Q9M-CSK3-C3Q5-B?i=2773&cc=3755445
7452 Maria 8 Ma. Luisa P.R. 2769 https://www.familysearch.org/ark:/61903/3:1:3Q9M-CSK3-C3QC-T?cc=3755445&personaUrl=%2Fark%3A%2F61903%2F1%3A1%3A6ZGF-WYNJ
7461 Antonio 9 Eduviges P.R. 2769 https://www.familysearch.org/ark:/61903/3:1:3Q9M-CSK3-C34Y-C?i=2768&cc=3755445
7451 Maria Francisca 19 Antonio & Ma. Luisa 1a P.R. 2760 https://www.familysearch.org/ark:/61903/3:1:3Q9M-CSK3-C3QK-L?i=2758&cc=3755445
7457 Jose Domingo 19 Ma. Ynes P.R. 2759 https://www.familysearch.org/ark:/61903/3:1:3Q9M-CSK3-C3QQ-8?i=2764&cc=3755445
7448 Maria Luisa 2a 24 Antonio & Ma. Luisa 1a. P.R. 2756 https://www.familysearch.org/ark:/61903/3:1:3Q9M-CSK3-C34P-C?i=2756&cc=3755445
7449 Maria de los Angeles 26 Simon & Narcisa P.R. 2757 https://www.familysearch.org/ark:/61903/3:1:3Q9M-CSK3-C346-5?i=2760&cc=3755445
7453 Vicenta 28 Santo Domingo 2761 https://www.familysearch.org/ark:/61903/3:1:3Q9M-CSK3-C37C-W?=2762&cc=3755445
7455 Eduviges 32 Jose Maria & Catalina P. R. 2754 https://www.familysearch.org/ark:/61903/3:1:3Q9M-CSK3-C3WW-Y?i=2753&cc=3755445
7447 Ceferina 32 Genara P.R. 2763
7450 Saturnino 38 Africa 2758 https://www.familysearch.org/ark:/61903/3:1:3Q9M-CSK3-C37K-W?i=2757&cc=3755445
7447 Maria Luisa 1a 42 Jovita P.R. 2755 https://www.familysearch.org/ark:/61903/3:1:3Q9M-CSK3-C34Y-7?i=2754&cc=3755445
7456 Mariano 43 Ma. Reyes P.R. 2764 https://www.familysearch.org/ark:/61903/3:1:3Q9M-CSK3-C3WH-T?i=2763&cc=3755445
7458 Evaristo 45 Mateo & Juana P.R. 2766 https://www. familysearch.org/ark:/61903/3:1:3Q9M-CSK3-C34M-P?i=2765&cc=3755445
7459 Evangelista 50 Mateo & Juana P.R. 2767 https://www.familysearch.org/ark:/61903/3:1:3Q9M-CSK3-C34T-3?i=2766&cc=3755445
7460 Agustin 80 Africa 2768 https://www.familysearch.org/ark:/61903/3:1:3Q9M-CSK3-C373-3?i=2767&cc=3755445
Folio Nombre Edad Hijo de Origen No. Imagen Link

Persons Enslaved by Felipe Yturrino, Barrio Cerro Gordo, Anasco, 14 October 1868. Caja 2, Registro de Esclavos, AGPR, Gob. Españoles, FS Film 008138868

Western European painting | Vyatka Art Museum of V. M. and A. M. Vasnetsov



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The collection of the foreign department, in contrast to the artistic monuments of Russian culture, had its own difficulties in terms of formation. “From the very beginning, we have to limit the number of those museums,” N. Mashkovtsev wrote, “in which works of Western European art will be introduced.

We assume that the number of museums with Western European departments for the first time, at least, should not be more than eight. They were planned to open in cities that had «the potential for artistic development.» Among those N. Mashkovtsev includes Vyatka. It should be noted that at the same time as Russian painting, he sent the works of Western European masters to his homeland, often giving comments on their work. According to Nikolai Georgievich, «the finest thing of little Hubert Robert is excellent.» The work seems to him «very valuable.» He is negotiating the purchase of a large portrait of Moretto da Brescia and considers it «one of the most wonderful things that this master has in Russia.» In Moscow, N. Mashkovtsev acquires a painting by Alessandro Magnasco for the museum.

In a museum report from the early 1920s, it was reported that the art gallery had a small collection of paintings by old foreign masters, but very significant in terms of its intrinsic value. Certain schools were sometimes represented by single samples, but strict and typical, and, one might say, very rare for a provincial museum.

Today, the chronological framework of the collection covers the period from the Renaissance to the beginning of the 20th century, including works by Italian, Dutch, Flemish artists, painters from France, Austria, Belgium, Germany, Switzerland, Poland.

The Western European Department possesses truly valuable paintings by the greatest representatives of the Italian school of painting of the 16th-17th centuries. In this series, Moretto da Brescia is one of the outstanding masters of the Renaissance portrait, as well as Alessandro Magnasco, whose work is revealed in a plot composition typical of him, showing the originality of the monastic life of the Dominicans.

Of undoubted interest are the works of Dutch and Flemish painters of the 17th century. Among them are landscapes, scenes from everyday life, portraits, luxurious still lifes by such famous masters as Franz Post, Hendrik Mommers, Johannes van der Stock, Jan Veit, Gaspar Peter Verbruggen the Younger.

The collection of paintings of the French school includes paintings by artists of the 17th — early 20th centuries with a pronounced style and theme of that time. The uniqueness of the author’s individuality marked the architectural landscape with the motif of the ancient ruins of Hubert Robert, captivates the viewer with the virtuosity of pictorial skill, the portrait with elements of splendor of the famous artist of the turn of the 17th — 18th centuries Nicolas de Largillière. Names that are extremely rare in provincial museums represent the direction of French impressionism in the person of Charles Cotte, George d’Espagnat, Jean-Francois Raffaelli.

The museum owns a unique collection of works by the German school of painting of the 18th – early 20th centuries. In this series, one should name the landscape painter and genre painter from Mannheim Philipp Hieronymus Brinkmann, the famous master of the animal painter and landscape genre Wilhelm Friedrich Hirt, the Düsseldorf landscape painter Oswald Achenbach, the talented portrait painter Franz Defregger.

Picturesque paintings by authors have taken their place in the museum’s collection. Among them are Swiss artist Felix Vallotton, Belgian Philipp Jacob van Bree, Czech painter Johannes Jacob Hartmann, Austrian artists Jacob van Schuppen and Franz de Paula Ferg.

Vyatka Art Museum on the portal — «The State Catalog of the Museum Fund of the Russian Federation»

Return to Ithaca Astronomers «moored» Odysseus home: Culture: Lenta.ru

National Academy of Sciences of the United States») published on Monday an article by two serious scientists — an astronomer and a mathematician — about the exact date when the «experienced» and «god-like» Odysseus reached his native Ithaca, the journey to which took him twenty years.

Researchers Constantino Baicusis and Marcelo Magnasco are aware that they have made a completely speculative discovery: «The likelihood that poetic references to [astronomical] phenomena [solar eclipse and planetary positions] will coincide with the only solar eclipse of the century is minimal. » This honest statement devalues ​​the contribution of Baikuzis and Magnasco to Homeric studies, but leaves a tiny probability that the real circumstances of the events of the 12th century BC miraculously survived in Homer’s Odyssey. However, first things first.

The sun and the luminaries

So, what exactly did Baikuzis and Manyasco do? They took on faith the conclusion of the ancient historian Plutarch, who believed that the XX song of the Odyssey contained a mention of a solar eclipse. Here are these lines, they are spoken by the soothsayer Theoklimen (lines 355-356, translated by V.A. Zhukovsky): «In the sun of heaven, I see, a terrible shadow rises / A terrible shadow, and under it the whole earth is covered with darkness» . In addition, astronomers calculated quite a long time ago that the only solar eclipse visible in the Ionian Sea in the 12th century BC was observed on April 16, 1178 (it is assumed that the events that have come down to us in the form of the Greek epic about the Trojan War occurred just in late 13th — early 12th centuries).

Baykuzis and Magnasco clarified Plutarch’s hypothesis: they pointed out that the position of Venus corresponds to what it should have been on April 10, that Homer correctly mentioned the position of the constellations Pleiades and Bootes, and that, if we explain the metaphor of Hermes (Ermia by Zhukovsky ) astronomically, the blind poet knew exactly where Mercury was located a month before Odysseus landed on Ithaca.

Homer is silent

Researchers of ancient Greek literature have been breaking spears regarding the authorship of Homer’s poems for several centuries. There are two points of view: a) Homer really existed and wrote both poems himself, b) The Iliad and the Odyssey are epic works created by unknown folk storytellers and passed from mouth to mouth for centuries until they were written down somewhere something in the classical era. The vast majority of modern Homeric scholars are inclined to believe that the poems never had a single author. A fundamentally important proof of this hypothesis was offered even before the Second World War by Milman Perry and Albert Lord, who studied the Serbian epic. These scholars have shown how storytellers use fixed formulas in text and how these formulas have been used to pass on great works of poetry from generation to generation. There are other arguments against the single authorship of the poems: for example, in the Odyssey there are very late inserts dating back to the 6th century BC, and the 8th-7th centuries are considered to be the time of the poems. Recall that the action of the poems takes place at the end of the Mycenaean era, which was separated from the archaic Greeks by five hundred years.

Boar’s tusk helmet. Photo Lenta.ru


Perry and Lord thoroughly undermined the faith of those who were convinced of a single author of both poems. One of the arguments for the latter is the descriptions of some objects that are difficult to attribute to the generations of singers — they are too accurate and detailed, they were «probably» put together by one person who really saw them with his own eyes. One such item is the boar-tusk helmet mentioned in the Iliad. Archaeologists have found such helmets, they date from the Mycenaean era (now exhibited in the National Archaeological Museum in Athens). Another interesting observation is related to geography: the location of Troy and the description of the plain on which the battles of the Greeks and Trojans took place are described by Homer accurately enough for the attentive, albeit fanatically inclined, Heinrich Schliemann to lay almost his first trench across the ancient Ilion. So if Baikuzis and Magnasco could at least somehow support their hypothesis about the date of Odysseus’s landing on Ithaca, then the supporters of the single author of the poems, the historical Homer, would receive one more, weak, but fascinating evidence in their favor. After all, it can be assumed that, as in the case of the helmet, the description of the solar eclipse was made by one person who actually saw it.

Where Ithaca

There is another scientific conundrum that has mostly to do with Odysseus’ kingdom, not the time of his landing. The fact is that on Ithaca, a small and mountainous island, archaeologists have not been able to find anything even remotely resembling a palace befitting a king. After all, the palaces of the Mycenaean era have been well studied over the past hundred years, and especially lucky scientists continue to find them: in 2006, the expedition of Professor Yannos Lolos of the University of Ioannina reported the discovery of the palace of Ajax Telamonides, one of the participants in the campaign against Troy.

Geological map of Kefalonia and Ithaca from the site odysseus-unbound.org


There have been various assumptions about the fate of the Odyssey heritage in Ithaca: everything died during one of the earthquakes characteristic of this part of the Ionian Sea; archaeologists are unlucky, but sooner or later they will find something; finally, the wise Laertides reigned not in the present Ithaca, but in another place. The main supporters of the latter idea are the English Homeric enthusiast Robert Beatlestone and two serious scientists from Cambridge and Edinburgh universities — James Diggle (classicist) and John Underhill (geologist).

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