Anna Chromy was born in Bohemia and read in Paris, France at the Academie de la Grande Chaumiere under Maurice Mejaz, the former director of the Academie of Beaux-Arts in Caracas. Musée d’art moderne et contemporain, Strasbourg. Les Surréalistes en Exil et les Début de l’Ecole de New York. 12 May – 27 August 2000. Catalogue with texts by Josefina Alix et al. Thus, forms of mantles had temporal connotations, rendering the figures historically distinctive by differentiating a group in a first-century apostolic scheme from later generations of monastic fathers, the archbishop, and the martyrs. The program in its entirety evokes an eschatological future—a vision of the different generations of forefathers and fathers gathered together as they would be in heaven. Temporal aspects of the painted program would have been enriched yet again by the present tense of the viewers in the room. I suggested in another article that the painted programs are, in a sense, incomplete without monastic viewers and actors in the room: for example, the father who stood on the dais in front of the portrait of Apa Jeremias in Room 20 extended the lineage portrayed in the apse painting down to the present day.Thomas, Mimetic Devotion,” 60-61. The monastic portrait program might be characterized more appropriately as a protective presence even when the room was empty, but it was more actively engaged during synaxis. The same dynamic would have been at work in Chapel LVI, as in the earlier Roman and late antique domestic reception spaces of which Bergmann wrote: A living image would have completed the decorative program.”Bergmann, Roman House,” 255; at 254: Indeed, the Roman paterfamilias was most likely a focal feature in the visual reception of the house. From the entrance, the visitor would have seen him seated on a dais in the tablinum, back-lit from the peristyle with the lararium prominent behind him, receiving calls from clients. His image would fit neatly into the scheme of seated males in the paintings of the atrium.” In the interrelationship of depicted mantles, conceptions of mantles, and actual mantles worn by the viewing audience of latter-day fathers and monks, this garment can be seen as a critically important iconographic motif, employed to identify types of saints and elicit from monastic viewers a range of responses both social and personal. In addition, the mantles established a formal rather than an intimate setting, one rendered ceremonial by locating figures in presentational stances all around the room. El Sistema is a publicly financed voluntary sector music education program in Venezuela, founded in 1975 by Venezuelan educator, musician and activist José Antonio Abreu which later adopted the motto “Music for Social Change”. El Sistema-inspired programs provide “free classical music education that promotes human opportunity and development for impoverished children,” as quoted from the International Journal of Applied Psychoanalytic Studies. By 2015, according to official figures, El Sistema consisted of over 400 music centers and 700,000 young musicians. The original program in Venezuela provides 4 hours of musical training and rehearsal per week day after school, as well as work on the weekends. Most El Sistema-inspired programs in the United States provide 7 or more hours of instruction each week, as well as an instrument.