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HOME INSURANCE MYTHS (SEO)
COMMON HOME INSURANCE MYTHS
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Many clients tend to assume that a home insurance covers loss caused by such natural catastrophes as earthquakes, lightening and floods. This is not inherent once you take an insurance cover. You may however opt for an insurance policy that covers this. If you live in a flood-prone area it will be wise to obtain flood insurance.
Another common myth is that an insurance claim made will automatically lead to a raise in your premium. This is not always the case. Filing a claim once in a long while will not affect your premiums. You may consider avoiding claims all the same for minor damages or loss. Weigh the options between the repair costs you will incur and the deductible. If the costs are way less than the deductible, you may opt to avoid filing a claim.
Not all insurances are the same. They vary from one to another with regard to their policies and rates. It is prudent, therefore, to consider what various insurance companies have to offer. This way you can settle for an insurance cover affordable to you as well as one with the policies you consider appropriate.
If your property is stolen, the compensation you get from the insurer must be used to replace the same property. This is a myth. You are at liberty to spend the money compensated as you wish.
If you fall victim of burglary and lose your valuable jewelry, compensation is not guaranteed. Unless that was clearly stated in the insurance policy, you will not be compensated. In cases where an insurer provides such covers, there is a limit as far as the amount is concerned.
In the event of loss or damage, an insurer will not provide cover for property you claim was in your ownership. You have to provide prove for ownership. You should consider letting the insurer know of your valuables as you sign up for the cover. Either way, keep a record of documents that will serve as prove of ownership.
Insurances do not cater for maintenance or negligence costs. It is the sole responsibility of the home owner to maintain his home and property. The leaking roof tops, poor drainage, faded walls among others are not the insurer’s concern. Home insurances majorly cover theft, damage by fire or natural catastrophes.
It is a common myth that insurance covers for the damages to you or your family. When damage occurs in your property, the insurance will give you cover. However, in cases of damage to someone else outside your family the insurance provides cover. This saves you the likelihood of being sued by the victim.
Art questions2
Art questions
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Art questions
Question 1
These two statues compare to a great deal in that both of them are ancient. Statue of Nenkheftka is also known as the painted limestone and it was curved 2400 B.C. This was during the old kingdom of Egypt and therefor it is considered one of the oldest forms of art. It is made of limestone and it has the art properties of ancient Egypt. It is 134 centimeters tall. It is from the town of Deshasha and it was found in serdab of the tomb of Nenjeftka who was a leader in the fifth dynasty of Egypt. The other art represents vividly the humanism art in that during this period which was 14th -16th century people wanted to pursue only what pleased to them and they began focusing their ideals mainly on the human body and not on the spiritual and non-quantifiable parts of themselves. The nudity expresses the sexual energy and fertility during this period and it was expressed so after a long period of being ruled by the church and the church dictating almost everything and now people were free to express everything they felt. These two types of art represent different forms of cultures and they both show who the people are in whom they represent.
Reference
Breasted, J. H. (1897). Exploration and Discovery. The Biblical World (1893-1920), 10(6), 483.
Question 2
The two arts compared are both from Greeks. The first black art is a representation of adolescent David who is the ancestor of Christ. The art work is referred to as Museo Nazionale de Bargello. It is a bronze statue cast by Donatello. Even though the statue portrays David there is no where in the bible whereby David is seen to have stripped his clothes and therefore this comes to a representation of the Greek culture at that time. It represents the archaic Greek culture rather than the medieval period. The other statue which seems like made out of marble and white in color represents the Greek Classical period. It is also naked and it shows the ideal Greek culture however this time during the medieval period.
Reference
Testa, J. (2021). The Museo Nazionale del Bargello. In An Art Lover’s Guide to Florence (pp. 223-234). Cornell University Press.
Question 3
Herein the dying paul and eros sleeping are represented. Dying paul is a statue made out of marble and it is currently in roman museums. It is seen to be part of a bigger sculpture which has been lost for a long time. It has also been see as The Dying Gladiator, however in the 19th century it was renamed as a Galatian or dying paul. It was created during the Hellenistic period of 323-31 BC. The sleeping eros is seen as a very special kind of art which represents a real talent during the Hellenistic period when the Greek art spread out of Greek because of the great conquest of alexander. It is made of bronze and it is perceived as to have been displayed in private places in Greece. Currently it is at the metropolitan art museum.
Reference
Chinnery, G. R. (1810). ON THE STATUE OF THE DYING GLADIATOR. The Ladies’ museum, 9, 350-351.
Question 4
Colosseum
This is an oval Amphitheatre which is considered the oldest and the largest Amphitheatre in the whole world from its time up to the present time. It was completed in 80 A.D. construction was done on it under three emperors and these were Vespasian, Titus and Domitian. These three emperors under whom the colosseum was built and they were patrons are known as Flavian dynasty and therefore the Amphitheatre was referred to as the Flavian Amphitheatre. It was built on tuff, travertine limestone, and brick-faced concrete. It could hold between 50,000 to 80,000 people at a time. It was used for gladiator contests, executions, animal hunting and dramas based on roman mythology. It has a special significance to the catholic church since at some point it was used as a shrine.
Reference
Welch, K. E. (2007). The Roman amphitheatre: from its origins to the Colosseum. Cambridge University Press.
Art of Andalusia
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Art of Andalusia
Andalusia is a large and beautiful region in Spain. The region has produced numerous, great artists, and it is considered one of the regions in Spain that is extremely rich in culture, filled with museums, palaces, monuments, where one can see and witness great art. Andalusian people are thought to have an innate beauty sense with a particular love for decorative art, probably inherited from one or more of the many cultures that lived in the region. The Moors were some of the first influences of art the region had, which helped artists produce and come up with such pieces of art like Mezquita and Alhambra in Coroba and Granada respectively (Steves 78- 143).
After the reconquest of the Christians and the American discovery, trade with the American traders was conducted through Seville, which was the only authorized port for the trade. As a result, all the riches from America passed through the port of Seville, and much of it did not live the region and was spread to other parts of Andalusia. There were churches, cathedrals, convents, monasteries, hospitals and city halls to built, so there was an increased need for all kinds of architects, artists and sculptors. Many of these people were from Andalusia, or lived in the region. The Baroque and renaissance ages reached their fruited their full in the region (Steves 78- 143).
This paper will explore some arts derived from Andalusia and how different cultures and religions like Christianity, Jewish, as well as, Muslim influenced this region’s art.
Three thousand years of invasion and settlement by many distinct people and cultures left their traces and influence in Andalusia. Not only the Greeks, the Phoenicians and the Tartessians, but also the Arabs and the Romans have influenced and contributed greatly to the architectural styles of the region. The architectural inheritance of this period, however, is not similar. Other than numerous other entities, the remains of the former Italica city of Rome, which was situated near the Santiponce village, is present today (Lowney 98- 144).
From the period of the supremacy by the Arabs, there are some spectacular, splendid building that one can find in Granada, Cordoba, and Seville. Above all, of the labyrinths in the streets of the ancient town centers are clear signs of the influence Arabs had on the city. Other than the putting up of religious structures and buildings, like mosques, the Muslim constructors created splendid defense systems and water routes. After this period came to an end, the Mudejar style arose, and it was, as a result, of influence by the Moorish constructors, a mixture of styles that made use of renaissance and gothic styles and elements with a mixture of the traditional Almohad style. After this period, the famous Seville cathedral was put up, the third largest cathedral in the world and the biggest gothic church. These are clear indications of influence the three religions had on art and architecture in Andalusia (Lowney 98- 144).
The renaissance indicates its influence on this region’s art in the commonly called Plateresque style with its almost playful and ornamental pieces of art. This style was followed by the Baroque style which involved styles that were more monumental and decorative in appearance. After this era, there arose a wide range of the commonly called historic style, which mixes and cites a number of older styles of architecture. Some examples of this kind of art were in Seville. Instructors of the Arab origin also influence Andalusian crafts and arts. Carpenter works, ceramics, silversmith production, leatherwork, weaving, as well as, cloth weaving are some of the works of art and crafts that derive much of their influence from Arab instructors, art and culture. Guitar production, furniture, and metalwork, particularly forging of irons also have a long tradition and origin from the Arab instructors (Irwin 56- 98).
In some of the exhibitions, marble capitals in Cordoba represent the influence of artisans from Byzantine invited to train Muslims in the court, while the schematized interweaving of the window screens made of marbles is a sign of influence from the later, geometrically, more complex designs of the Muslims. An example of the quality of the artistic production of Umayyad is the deep overall Ivory carvings like the Pamplona Casket, with its foliated dedication of the Kufics to Abd al- Malik, and its images if princes hunting and feasting sketched from the textile patterns (Bargebuhr 198- 258). Another excellent example of the Andalusian art is the sculpture of lions carrying a fountain. The figures of the lions carrying a fountain are an oddity in Arabian art, as the Koran does not allow the metaphorical representation of animals and humans. The region also boosts of numerous paintings from all the cities of Andalusia. Such paintings are from romanticist artists like Manuel Barron, Gonzalo Bilbao and Jose Garcia among others. An example of an Andalusian painting is one by Manuel Barron is a romanticized landscape painting (Lowney 98- 144).
The Andalusian art came about mainly because of the influence it received from many cultures that passed through or lived in the region. As a result, of these diverse cultures, the region became rich with art, architecture and culture.
Work cited
Bargebuhr, Frederick P. “The Alhambra Palace of the Eleventh Century.” Journal of the Warburg and Courtauld Institutes 19.3/4 (1956:192-258. Print.
Irwin, Robert. The Alhambra. New York: MIT Press, 2005. Print.
Lowney, Chris. A Vanished World: Medieval Spain’s Golden Age of Enlightenment. New York: Simon and Schuster, Inc., 2005. Print.
Steves, Rick. Spain and Portugal. New York: Avalon Travel Publishing, 2004. Print.