text:
Paintings in focus
Paintings decoded
Discover hidden symbolism in 'The Ambassadors'
About the video:
Decode Holbein's symbols, and see the painting in the context of the religious tensions of the 1530s.
From the National Gallery DVD, 'Renaissance Faces: Van Eyck to Titian'
Find out more about the 2008/2009 exhibition Renaissance Faces: Van Eyck to Titian
Find out more about Hans Holbein the Younger, The Ambassadors, 1533
Louise Govier (in the studio): Another crucifix is hidden in the corner of one of the most famous Renaissance portraits, [Hans] Holbein's painting of Jean de Dinteville and Georges de Selve, known as 'The Ambassadors'. Again, it is a subtle sign that these two successful young men know not to feel too proud of their expensive clothes, and of the range of objects which show the viewer just how learned they both are. We are assured that they are always aware of death which floats in front of them in the form of a distorted skull; when viewed from the side it becomes instantly recognisable.
The sheer vanity involved in commissioning such a magnificent portrait is balanced by this firm reminder that all of these beautiful things will crumble to dust; the only everlasting life is with God. This painting was made in 1533, a time of particular religious tension. Dinteville was a French ambassador sent to the English King Henry the VIII's court, just as Henry was preparing to break from the Catholic Church. Several of the objects seem to suggest anxiety about the situation, for example, the lute has a broken string, a sign that harmony has temporarily been disrupted. Dinteville commissioned this portrait when his friend came to visit him, noting that de Selve's presence had greatly cheered him during a rather miserable time in his life.
More from Paintings in focus (22 videos)
About the video:
Decode Holbein's symbols, and see the painting in the context of the religious tensions of the 1530s.
From the National Gallery DVD, 'Renaissance Faces: Van Eyck to Titian'
Find out more about the 2008/2009 exhibition Renaissance Faces: Van Eyck to Titian
Find out more about Hans Holbein the Younger, The Ambassadors, 1533
Louise Govier (in the studio): Another crucifix is hidden in the corner of one of the most famous Renaissance portraits, [Hans] Holbein's painting of Jean de Dinteville and Georges de Selve, known as 'The Ambassadors'. Again, it is a subtle sign that these two successful young men know not to feel too proud of their expensive clothes, and of the range of objects which show the viewer just how learned they both are. We are assured that they are always aware of death which floats in front of them in the form of a distorted skull; when viewed from the side it becomes instantly recognisable.
The sheer vanity involved in commissioning such a magnificent portrait is balanced by this firm reminder that all of these beautiful things will crumble to dust; the only everlasting life is with God. This painting was made in 1533, a time of particular religious tension. Dinteville was a French ambassador sent to the English King Henry the VIII's court, just as Henry was preparing to break from the Catholic Church. Several of the objects seem to suggest anxiety about the situation, for example, the lute has a broken string, a sign that harmony has temporarily been disrupted. Dinteville commissioned this portrait when his friend came to visit him, noting that de Selve's presence had greatly cheered him during a rather miserable time in his life.
About the video:
Skulls are not uncommon in paintings. Why did Holbein choose to display one in this peculiar way?
From the National Gallery DVD, 'Making and Meaning: Holbein's Ambassadors'
Find out more about Hans Holbein the Younger, The Ambassadors, 1533
Alexander Sturgis: Beneath the shelf of objects hovers the strangely distorted image of the skull and here there can be no dispute about meaning. It is there as a reminder of death, its presence undermines the painting's overall ambiance of opulence and worldly accomplishment. Skulls are not uncommon in portraits, and their meaning is always the same – all things must pass and death will come to us all. In 'The Ambassadors', the skull was also surely intended to be seen in opposition to the other hidden object, the crucifix, which points to the possibility of eternal life after the withering of the flesh.
If the portrait as a whole presented particular problems, those presented by the skull were of an entirely different order. The painting of objects in distorted perspective, known as anamorphosis, was not [Hans] Holbein's invention, and other 16th century examples survive. What does seem unique to 'The Ambassadors' is the presence of a single, distorted object in a painting otherwise conventional in its perspective; the skull is only visible when the rest of the painting is not, and vice versa.
About the video:
Now you see it, now you don't. How did Holbein create the distorted anarmorphic skull in his painting 'The Ambassadors'?
From the National Gallery DVD, 'Making and Meaning: Holbein's Ambassadors'
Find out more about Hans Holbein the Younger, The Ambassadors, 1533
Alexander Sturgis: Two particular questions raise themselves in relation to the skull: how did [Hans] Holbein [the Younger] do it, and how were people meant to look at it?
The earliest handbooks relating to the creation of anamorphoses date from well after Holbein's painting, but the methods they describe were probably known to him. In the simplest of these, a square grid is drawn over an image, a second grid of rectangles is then constructed, and the drawing is copied using the two grids as guides. A more sophisticated and correct method of producing an anamorphosis is to use a grid, not of rectangles, but of trapezoids to take into account the angle of viewing, and this would produce a skull like that in the painting. If we reverse the process with the aid of computer technology, we arrive at an image of a skull which must be close to Holbein's starting point.
[Classical music playing in background]
Alexander Sturgis: It has been suggested that Holbein might have arrived at his finished skull without the use of a grid, but by a more direct method; an identical anamorphosis could be achieved by directing a light through a drawing made on translucent paper to cast a distorted shadow on a wall or picture surface. Whatever method Holbein used to arrive at his anamorphosis, its distortion is such that it is best viewed from the right of the painting at a height of about a metre from the bottom of the picture. In the case of the skull, it has been suggested that it was not meant to be looked at from the side at all, but from the front with the use of a glass cylinder, such as a drinking glass or bottle, which acts as a lens, squeezing the image in one direction.
The results achieved by this method are reasonably good, but although the glass tube compresses the skull, it cannot correct the increased elongation of the skull to the left, which can only be resolved satisfactorily by viewing from the right-hand side. We also do not know if this method of viewing an anamorphosis was known about in Holbein's day. If the skull was intended to be viewed from the side, the painting might have been hung on a wall with a doorway to its right; the skull could have then surreptitiously revealed itself to someone leaving the room in which it was hung.
About the video:
Feel the drama as love-struck Bacchus approaches the abandoned Ariadne. Revel in Titian's contrasting colours and find out about his frustrated patron, Alfonso d'Este. With James Heard, National Gallery Education.
From The National Gallery Visitor's Guide DVD
Find out more about Titian, Bacchus and Ariadne, 1520-3
Explore the life and work of Titian through film, in-depth research and more
James Heard: He was born in Cadore, in the mountains above Venice, and his name is Titian. In many ways, he is the first great modern painter, because he was using oil paint on canvas. To painting, he brought new vibrancy. Vibrancy of colour, in particular, which we can see in this painting of 'Bacchus and Ariadne', painted between 1520 and 1523.
James Heard (in the studio): The subject is taken from the Latin poetry of Ovid and Catullus. They both give slightly differing versions of Prince Theseus, slaying the Minotaur, and then, abandoning his lover, the Cretan princess, Ariadne. Titian chooses the moment when Theseus sails away, leaving Ariadne to very different fate, with the handsome young Bacchus, just returning from a tour of India. Bacchus, with his crown of ivy, and train of inebriated companions, makes an extraordinary impact, leaping from his chariot, to declare his love for Ariadne.
[Classical music playing in background]
His companions are neither polite, nor civilised, having just torn apart the limbs of a young calf, in their drunken frenzy.
[Classical music playing]
Bacchus though, makes the romantic gesture, of taking Ariadne's crown, and throwing it into the sky, where it becomes a constellation of stars.
Titian painted this for a special gallery, in the castle at Ferrara. The owner, Duke Alfonso d'Este, became impatient at the length of time Titian took to complete his masterpiece. What makes it so impressive, is the relationships between the individual characters, the repeated rhythms and, above all, the colour. Titian has used highly saturated hues, in the shadows, to create a powerful combination of colours, such as the juxtaposition of Bacchus' red lake cloak, against the lapis lazuli of the sky.
About the video:
Never sweetness without pain? Learn about Venus' message about the inevitable pain of love – with James Heard, National Gallery Education.
From the National Gallery Visitor's Guide DVD
Find out more about Lucas Cranach the Elder, Cupid complaining to Venus, about 1525
James Heard: This picture would probably have been bought by a courtier, rather than a religious man.
It shows the goddess Venus and her son Cupid – the boy has take a honeycomb from a tree trunk and complains when the bees sting him. Venus has little sympathy, explaining, 'There is never sweetness without pain'.
She looks knowingly out to the viewer, her nudity emphasised by her elaborate necklace and hat. Her body, elongated to suit the tastes of Cranach's German patrons, displayed for our enjoyment.
In the context of these two mythological characters, the message of this painting is about the pleasures and inevitable pains of love.
The landscape is also designed to suit local tastes. In the background there's a rainish castle on an outcrop of rock, whilst behind the apple tree, a reference no doubt to sinful eve, is a dark German pine forest.
About the video:
Discover how paintings tell stories. Look at the different events potrayed side-by-side in Titian's 'Bacchus and Ariadne' – with Richard Stemp, National Gallery Education.
From the National Gallery DVD, 'Themes and Variations: Time'
Find out more about Titian, Bacchus and Ariadne, 1520-3
Explore the life and work of Titian through film, in-depth research and more
Alexander Sturgis: But painters, like film makers and authors, have often been called upon to tell stories. Here's a story, and here's another film of a painting.
Richard Stemp: Ariadne, Princess of Crete, helped rescue Theseus from the Minotaur. He promised to take her back to his home and marry her. On the way they stopped at the Island of Naxos to rest overnight. When she woke, she found Theseus had sailed way, leaving her alone. She wanders disconsolately on the shore, when suddenly, with a clash of cymbals, everything is set right: Bacchus, the god of wine, appears with his rowdy and drunken retinue and with one great leap, declares his love. Ariadne turns, hesitates and with her look, accepts his love. In the long run she is granted immortality in the form of a constellation, a crown of stars in the sky.
Alexander Sturgis: Presented in this way, the painting can mirror the progression of the tale it illustrates. But you've been looking at a sequence of images, not a single one. Ariadne abandoned, the Island of Naxos, Theseus's boat, the clash of cymbals, Bacchus, his retinue, Ariadne again, the look of love, and the crown of stars in the sky.
About the video:
Finished or unfinished? National Gallery Restorer Jill Dunkerton studies the X-rays of Titian's 'The Death of Actaeon' to reveal the artist's indecision in painting this masterpiece, while the artist John Lessore explores the theme of his favourite painting in the collection. With actress Lizzy McInnerny performing a dramatic narration of an extract from Ovid's poem 'Metamorphosis'.
From the National Gallery DVD, 'Titian'
Find out more about Titian, The Death of Actaeon, about 1559-75
Explore the life and work of Titian through film, in-depth research and more
John Lessore: In the whole history of art, Titian is my favourite painter and in the National Gallery, this Titian of Diana and Actaeon is my favourite painting. It used to be the Bacchus and Ariadne, but this one has supplanted it. Actaeon quite unwittingly stumbled across Diana bathing in the nude and saw her.
Lizzy McInnerny: Diana dashed some water into the face of the intruder, saying, now go and tell, if you can, that you have seen Diana naked. The hero fled. He could not but admire his own speed, but when he saw his horns in the water, he groaned and tears flowed down the face which had taken the place of his own. When he hesitated, the dogs saw him. He fled and they followed. He longed to cry out, but the words didn't come. Presently, one fastened on his back. Another seized his shoulder. They were all around him, rending and tearing. It was not until they had torn his life out that the anger of Diana was satisfied.
John Lessore: In this painting, you see he has just started, he's still a man except for his head, but that's enough for the dogs. They're already beginning to tear him to bits. He is no longer their master. He is now their victim.
Jill Dunkerton: The X-ray of 'The Death of Actaeon' shows the most extraordinary number of changes. Sometimes you can make out one of the hounds that we still see in the final painting, for example, that head there, but if you look, there are many more hounds in the X-ray than there are in the painting itself.
There's a lot of discussion and disagreement about whether a painting like 'The Death of Actaeon' is actually finished. I personally think that at this late stage of his career, Titian himself didn't necessarily know when pictures were finished. It isn't lacking any of the final glazes, any of the systematic build-up of colour that you get with earlier pictures and, indeed, with Titian's earlier pictures, because that was no longer part of his painting process. He is now ranging over the whole surface of the picture. One moment, he is using a glaze; the next moment, he is using an opaque colour. In a sense, it's unfinished because Titian probably never lived to decide the point at which it was going to be finished, but it's not unfinished to me in a technical sense. It's not an incomplete picture and to me it works completely as an image.
John Lessore: Nobody had ever painted in such an abstract, plastic way in which the emotion he is conveying is not conveyed by narrative so much as by shape and movement and colour. What he was doing was incredibly deliberate and refined. It's just that the handling is so powerful that one gets the impression that the paint is slapped on any old how, which it's not. It's certainly not. This is a very late Titian. He must have started it when he was about 70, but gone on with it when he was in his middle 80s. The 10 or 15 years between starting it and finishing it... "finishing" in inverted commas because theoretically it is not finished, but I'm not quite sure that that's really what Titian felt about it. I think that if he'd wanted to do any more, he would have.
About the video:
'Bathers' by Cézanne is one of three compositions on this subject. Among the painter's final works, the 'Bathers' series influenced the next generation of artists, including Picasso and Matisse.
From the National Gallery DVD, Impressionist Painting: 1850-1900
Find out more about Paul Cézanne, Bathers (Les Grandes Baigneuses, about 1894-1905
Louise Govier: Like so many artists working at this time Cezanne too explored the theme of 'Bathers [(Les Grande Baigneuses)]' on numerous occasions. The National Gallery's huge canvas was one of three large scale compositions of 'Bathers' that occupied Cezanne's final years. He seems to have begun this one around 1900 and was still working on it when he died in 1906.
Kathleen Adler: For Cezanne modernity means something completely different from what it means for Monet or for Seurat because it doesn't mean a contemporary place at all. His 'Bathers' are neither specifically of a moment in terms of their appearance, nor are they specifically in a place. You cannot actually identify that place, you know it is in Provence, you know it is in Aix but where it is a mystery.
For Cezanne then modernity means extrapolating from the specific to something that is more wide ranging; exactly the opposite of what it meant for somebody like Monet.
Louise Govier: This is a painting of 'Bathers' that resists the viewer's attempts to give it a narrative. If these figures are not individuals, if there is no story, if this isn't a convincing illusion of a three dimensional space then we can only consider what we are looking at in purely formal terms, thinking about shapes, colours, textures, light and dark. It is not entirely abstract but it's moving in that direction.
Cezanne's 'Bathers' certainly anticipated and inspired important future developments. It was exhibited in 1907, the year after his death and both Matisse and Picasso saw it. Picasso was interested in the way that Cezanne reduced his subjects to geometric forms. He may also have noticed that some of Cezanne's 'Bathers' are shown from slightly different viewpoints. He's used multiple lines around the edge of this figure's body and has shown more of her back and bottom than you could have seen from one viewing position.
About the video:
Look at the impact of the expressive drapery in Tintoretto's painting of 'Saint George and the Dragon' with art and costume historian Anne Hollander.
From the National Gallery DVD, 'Fabric of Vision: Dress and Drapery in Painting'
Find out more about Jacopo Tintoretto, Saint George and the Dragon, about 1555
Anne Hollander: The princess is not even watching and she is wearing her princess costume, such as she might wear in a pageant, with a little scarf such as a Venetian princess might wear, all around her neck and behind her, however, she is wearing what seems to be her cloak.
But this object is not a cloak; it is a piece of expressive drapery rather like an expressive phrase of music wrapped around her in various ways to raise the emotional temperature of the picture. It whips out to sea instead of being whipped by the sea breeze, it wraps her around her hips, it slides over one of her arms and it whips out behind her in a way that no real cloak could do. And it is there simply to raise the temperature, to indicate the kind of turbulence of her feeling and her combination of hope and fear about the dragon.
About the podcast clip:
Unlock the creation myths packed into this painting by Tintoretto – find out how Jupiter's ambitions for his son Hercules inadvertently forced the goddess Juno to create the Milky Way. With Karly Allen, National Gallery Education.
From the National Gallery Podcast: Episode Twenty Eight (February 2009)
Find out more about Jacopo Tintoretto, The Origin of the Milky Way, about 1575
Voiceover: The National Gallery Podcast.
Miranda Hinkley(in the studio): Hello. I'm Miranda Hinkley and this is the National Gallery Podcast.
In some ways, paintings are snapshots of other times. They tell us how people lived, dressed, and relaxed, and bring us face to face with ghosts: farmhands at work in a picture by Constable; a Parisian waitress captured by Manet. Beyond this material detail, paintings are also a visual record of the stories used by past generations to make sense of the world. Many of our best-loved pictures are based on such myths, including a work by a Venetian artist that explains how one of the most distinctive features in our night sky came into being. Karly Allen of the education team told me more about Tintoretto's 'Origin of the Milky Way'.
Karly Allen: In the painting, set against a brilliant blue background, Jupiter, god of the skies, is sweeping in from above, his red robe billowing in the wind and his eagle at his side, clutching thunderbolts. Jupiter is supporting his infant son, Hercules, born out of an illicit liaison with a mere mortal woman from Earth. So, Jupiter is really very keen that he is able to give the gift of immortality to his new child and he knows that the only way to do that is if the baby Hercules can drink the milk of a goddess. Rather conveniently, as we see here, the closest goddess to Jupiter is his wife, Juno. Tintoretto shows us Juno as this voluptuous nude, reclining on a bed of silks and pearls, high up in the clouds. We're told in the story that Juno was sleeping and Jupiter hoped to creep up on her and allow the baby Hercules to suckle her unnoticed. Of course, not surprisingly, what we see here in the painting is Juno, startled by this unexpected child at her breast, and she jolts awake, and as she draws back the milk sprays up into the night sky and forms the stars of the Milky Way.
Miranda Hinkley: If you look closely at the canvas, you can see the faint white lines of the milk going up into the sky, but there is some more milk from the other breast sort of going downwards, and it almost looks like it's going down towards the figures at the bottom.
Karly Allen: That's right. Well, what's interesting about this painting is that it doesn't just tell one creation myth. It makes reference to others. So in fact, the real subject of the picture is not just the origin of the Milky Way. The title is only really known from the 19th century, but if we were able to see the picture when it was new, it was much larger. At the bottom of the painting, there was another reclining figure down on Earth. The milk from Juno's other breast is coming straight down, crashing down to Earth, and where it lands, a new flower springs up. That's the explanation for the first milk-white lily.
Miranda Hinkley: Aha and if you actually look at the bottom right-hand part of the picture, you can sort of still see perhaps a little bit of that original background. There are some sort of plants at the bottom.
Karly Allen: You can just make out a few green leaves which look a little bit incongruous, given that we believe ourselves to be up in the sky, but if we could see the rest of the picture, we'd understand that this is just a last remnant of those plants that Tintoretto originally painted in. Much of that detail has now been overpainted by clouds.
Miranda Hinkley: So, this painting is actually sort of packed with origin myths.
Karly Allen: It's incredibly dramatic and inventive, which makes it such a great subject for Tintoretto, his mastery of movement and colour and drama. But it's also a reminder of how the Milky Way itself has served as a powerful source of inspiration for creation myths worldwide. It's really interesting to look at some of these other legends from other cultures. Many of them use very poetic language and pick up on this idea of the Milky Way as being a pathway, a route across the sky. In many East Asian countries including China and Japan, the Milky Way is described as a river, as the silver river of heaven. In one related story, we're told that it divided two lovers, that they were only able to meet up once a year when a flock of birds would come together to create a bridge over the celestial waters across the sky. I think my favourite account comes from Menelaus, the ancient Roman author who compiled various explanations for the appearance of the Milky Way. He writes that the Milky Way is in fact a seam running across the sky. It's the point at which the two halves of heaven are stitched together, and what we're looking at is a bright light just visible through that seam.
Miranda Hinkley: Of course, this is a fantastic kind of record of ancient mythology.
Karly Allen: Well, in just one painting we've got a reference not only to the Western European tradition, but I think it does remind us of this great heritage, this shared enthusiasm across cultures for myth-making and great storytelling. Tintoretto is such a good storyteller. So the painting really celebrates, through colour and movement and beautiful human form that sort of innate curiosity and is really a lasting record of a lost belief system.
Miranda Hinkley: If you are in London this month, why not pop in? If you can't make it here in person, don't forget you can still enjoy the paintings online at www.nationalgallery.org.uk.
About the video:
Join curator Antonio Mazzotta as he introduces Titian's influential early-career landscape painting 'Noli me Tangere'.
More about the exhibition Titian's First Masterpiece: The Flight into Egypt, 4 April – 19 August 2012.
Explore the life and work of Titian through film, in-depth research and more
Antonio Mazzotta: At this stage we're talking about Titian being 22–23 years old. This is the Magdalen meeting Christ after the Resurrection. What is unique is the very ambitious attempt to fuse human figures and landscape, and to create a landscape that looks natural and real. For example, the line of the back of the Magdalen is almost continued in this wonderfully shaped tree, and the line of the body of Christ is continued on the hill. So we have a sort of large X – the arms of this X are natural elements, and the legs of this X are human elements.
But also he's able to infuse his taste for the life that exists in things. All the early descriptions until the late 18th century emphasise the fact that one could almost step into Titian's landscapes. They felt real like never before. We can feel that the sun is rising, even though we cannot see it, through the first ray of sunlight that is catching the building on the top of the hill. It's a dynamic nature that goes far beyond what we see, for example, the breeze that one can feel in the foreground, the grass that is almost moving, and also the white drapery of the Magdalen.
The extraordinary thing about Titian is that even if he had died at the age of 24 he would have been a highly influential artist for the following generations. The fact is that he went on painting for about 65 more years after this work. So it was an incredibly long career – and every stage of his career was influential for a different artist.
About the video:
Beuckelaer's world of plenty: an array of food that would be the envy of today's celebrity chefs. Decode this feast for the eyes, and take a trip to a modern market.
From the National Gallery DVD, 'The Stuff of Life'
Find out more about Joachim Beuckelaer, The Four Elements, 1569-70
Female Narrator: This head cook and her assistant discuss the merits of their shopping spree. They buy goods from this abundant fruit and vegetable market. The store is crammed full of fruit from every season of the year, highly unlikely in an age without fridges and freezers. This painting is one of a series of four by the Flemish artist Joachim Beuckelaer. It shows a world of plenty. In the other paintings we see the same servants visiting a fish market and a poultry market before coming home to cook the goods in a well equipped kitchen.
Today's celebrity chefs would be delighted with the choice and quality of the produce. The servants choose from different varieties of fruit and vegetables on display. Behind them the shopkeeper draws water from a well, perhaps to wash the produce to make it look appealing to her customers. See how the costumes of these two women are similar. Both wear aprons and have rolled their sleeves up, indicating they work. And yet the lady with the detachable yellow sleeves and lace cap wears a grander costume, suggesting she's the head cook from one of the grand Antwerp houses.
In this kitchen scene we see the same women preparing the good bought at market. The sheer variety of produce and materials is a feast for the eyes. Contemporary market vendors still use visual tricks to make produce appealing. Placing complementary colours side by side, just as Beuckelaer did. Beuckelaer's contrived market scenes actually contain discreet meanings. The ancient elements of earth, water, air and fire are ingeniously represented by the objects within the paintings, and in the moralising climate of 16th century Antwerp a religious story is hidden within the jostling world of each painting.
Here the story of the prodigal son may warn viewers against the pleasures of the flesh. Beuckelaer's paintings are among the first to lavish this level of attention on the stuff of everyday life.
Bosch's image represents the suffering Christ - how does the painting relate to us? Read about the painting, learn the key facts and zoom in to discover more on the National Gallery website: http://www.nationalgallery.org.uk/paintings/hieronymus-bosch-christ-mocked-the-crowning-with-thorns
About the video:
Decode these unusual paintings by Beuckelaer, looking beyond the abundant food to the religious messages behind these works – with James Heard, National Gallery Education.
From The National Gallery Visitor's Guide DVD
Find out more about Joachim Beuckelaer, The Four Elements, 1569-70
James Heard: The Antwerp painter Joachim Beuckelaer added another complication to his Mannerist works. We have seen that pictures usually fall into distinct categories, altarpieces, mythological subjects or portraits for example. This painting, one of a series of four made in 1570 combine still life, a genre scene and in the background the New Testament story of Martha and Mary. Martha complains to Christ that she has to work in the kitchen, whilst Mary is listening to him. The lesson she learns about accepting whatever work one is called to do is contrasted with the bustle of the contemporary kitchen in the foreground.
These unusual and complex paintings operate on several levels. The settings used for the four paintings, the kitchen, the fish market, a vegetable stall and a poultry market symbolise the four elements of fire, water, earth and air, all of the physical material which makes up our world. We are shown an abundance of food and warmth, perhaps also warned not to indulge in the good things of life to the extent that we forget the teachings of Christ.
About the video:
Bosch's image represents the suffering Christ – how does the painting relate to us?
From the National Gallery DVD, 'Seeing Salvation'
Find out more about Hieronymus Bosch, Christ Mocked (The Crowning with Thorns), about 1490-1500
Male Narrator: The representations of the suffering Christ were designed not only to illustrate the various episodes of the Passion but by showing the depth and extent of Christ's pain and humiliation to evoke in the viewer feelings of compassion towards him.
In Bosch's '[The] Crowning with Thorns', Christ's gaze is aimed directly at us. His tormentors are the 15th century contemporaries of the painter. But we too are implicated in the drama of innocence brutalised.
About the video:
Enjoy Beuckelaer's bustling market stall, which is overflowing with fruit and vegetables to represent the element 'earth' – with Al Johnson.
From the National Gallery Audio Tours: The Grand Tour
Find out more about Joachim Beuckelaer, The Four Elements: Earth, 1569
Voiceover: Al Johnson, lecturer from the National Gallery.
Al Johnson: This painting is the 'Earth' painting from a series of four paintings: 'The Four Elements: Earth, Wind, Water and Fire'. And this is 'Earth' because there is a whole array of fruits and vegetables; it is a market outside of a farm. Beuckelaer has such a skill with making the individual elements of the painting, they are glistening, you could pluck something from the image, the grapes in particular look luscious. So we do get a sense of wanting to enter into the painting and take something to eat from it.
One of the clever ways he's done this, actually, it's called a tilted perspective. Instead of laying all these things flat on a table, as they would be, what he has done is to sort of tip them forward. It wouldn't work in real life, of course because they would all fall out the painting, but, in a way that's what he wants. He wants us to look at this and to feel that all these beautiful objects are going to tumble into our lap. I feel like I want to pluck a mulberry from the bowl in the centre or to pull the outside leaves off that red lettuce, crunch through one of the carrots. So this 'Earth' painting is a very difficult one to look at when you are hungry.
About the video:
The patron saint of artists: find out how this painting of Saint Luke reveals the artistic practices of the 16th century – with Colin Wiggins, National Gallery Education.
From the National Gallery DVD, 'Themes and Variations: Saints'
Find out more about Follower of Quinten Massys, Saint Luke painting the Virgin and Child, about 1520?
Colin Wiggins: The Virgin and Child appear again here, on an easel, in another 16th century painting from the studio of the Flemish painter, Quentin Massys.
Saint Luke, according to legend, painted the portrait of the Virgin Mary, which explains why he was the patron saint of so many of the painters' guilds. This painting was probably part of an altarpiece, and would have originally been attached to a painting of the Virgin herself, which is now, unfortunately, lost. The Saint is shown sitting at an easel, holding a palette, maulstick and brushes, very much like modern ones, looking very intensely towards where the Virgin would have been sitting.
It provides us with a fascinating glimpse into a 16th century artist's workshop, as the painter of this picture has imagined Saint Luke as working in an environment exactly similar to his own except, of course for the ox, which is Saint Luke's personal emblem.
About the video:
Find out how this full-length portrait was used to introduce King Henry VIII to a potential bride.
From the National Gallery DVD, 'Renaissance Faces: Van Eyck to Titian'
Find out more about the 2008/2009 exhibition Renaissance Faces: Van Eyck to Titian
More about Hans Holbein the Younger, Christina of Denmark, Duchess of Milan, 1538
Unidentified Female Speaker: Painted likenesses played a vital part in the negotiation of high level marriages. Henry VIII sent Holbein to Brussels in March 1538 to make this full length portrait of 'Christina of Denmark', a young widow he was considering as his fourth wife. The king would have expected that she be shown full face, so that no imperfections could be hidden. He was pleased with the portrait and kept it, even though, perhaps mercifully for Christina, the negotiations eventually came to nothing.
About the podcast clip:
Personification or portrait? Jacqui Ansell, National Gallery Education, examines Reynolds's impressive Lady Cockburn
From the National Gallery Podcast: Episode Thirty One (May 2009)
Find out more about Sir Joshua Reynolds, Lady Cockburn and her Three Eldest Sons, 1773
Miranda Hinkley: So, here we are in Room 34 and this is Reynolds's portrait of 'Lady Cockburn and her Three Eldest Sons'.
Jacqui Ansell: Yes, she's a rather hardworking lady because she married aged 20 and became the second wife of a chap who already had three daughters. So here she is, stepmother, new mother to three little boys – she subsequently goes on to produce even more children – so she's got her heir and a spare and one left over as well. And she's looking far from harassed by the three children that swarm around her…
Miranda Hinkley: She's looking very sort of calm indeed, and in fact looking away from the viewer, out towards the corner of the canvas.
Jacqui Ansell: Yes, in fact she almost looks as though she's looking very contemplative and there is rather a stark contrast in her gaze compared to the gaze of the painting that inspired this. Reynolds was an artist who was very, very interested in the Old Masters – it's not just Picasso who goes around challenging the past – and what he did was he went on an extended Grand Tour and he filled his sketch books with information and well as Italian Old Masters, he also saw Flemish Old Masters like Van Dyck. And we've got a painting in our collection which is 'Charity' – a personification of charity by Van Dyck, where the woman is absolutely surrounded by these three little chubby children. She looks up to heaven and to me she looks as if she's saying 'God 'elp me', but she really is saying 'God help me', and she's a personification of the Christian virtue of charity. So of course as soon as you know that and as soon as you look at this painting you see not just a portrait of Lady Cockburn and three little children, you see her almost as a personification of charity.
Miranda Hinkley: I mean, he's basing his composition on a Van Dyck and the interesting thing there is of course that Van Dyck was an artist, originally a history painter, who became a portraitist when he arrived in Britain, who also had very great aspirations, and he wanted to be seen as an equal and did manage to gain quite significant status for an artist of his day. So perhaps Reynolds is choosing to hark back to Van Dyck for that reason. But of course at the same time this is a portrait of a society lady, isn't it?
Jacqui Ansell: Reynolds strongly believed that you had to give a female sitter something of the modern for the sake of likeness and the general air of the antique for the sake of dignity. Now when this was on display at the Royal Academy – and it was actually greeted by a round of applause when it appeared – the erudite public would recognise this not just as Lady Cockburn, but they'd also see in it charity, this Christian virtue, but they'd also see in it something we don't see today, and that is her as Cornelia. Cornelia was the Roman matron who was the mother of the Gracchi, these three fine soldiers, and when a companion of hers was showing off her jewellery, Cornelia allegedly brought forth her three sons and said 'these are my jewels – my children are my jewels'. And this for me is one of the jewels of the collection if you like…
Miranda Hinkley: Well, they certainly look like lovely children in this painting at least. Jacqui, thank you very much.
Jacqui Ansell: Thank you.
Miranda Hinkley (in the studio): Jacqui Ansell on Joshua Reynolds.
About the podcast clip:
A walk around the Gallery reveals an abundance of scenes from the life of Christ – curator Dawson Carr looks at one of the most exceptional
From the National Gallery Podcast: Episode Seventeen (March 2008)
More about El Greco, Christ driving the Traders from the Temple, about 1600
Find out more about The Life of Christ audio tour
Miranda Hinkley : Take a walk around the Gallery and it soon becomes clear that the history of art is inextricably bound up with the history of religion – and with one story in particular. Masterpiece after masterpiece in the collection is devoted to the life of Christ and this Easter time we've brought some of those works together in an audio trail specifically devoted to the subject. Leah Kharibian talked to curator Dawson Carr to find out more.
Leah Kharibian: The Life of Christ trail includes some of the National Gallery's greatest masterpieces and listening to it made me wonder why is it that this particular sacred story inspired such a huge array of wonderful art?
Dawson Carr: Well, of course, Christianity is the greatest single force in European history. The belief in Christ generated the most awesome art that has been produced and exists in the National Gallery for this reason.
Leah Kharibian: The story itself is an extraordinary story that takes us from this humble birth through all the events of his life and his teachings, each of which are stories within stories, often he's talking in parables, and then the events of his death, and the Resurrection. I mean, the story itself seems to provide artists with such an array of subject matter…
Dawson Carr: There's not a greater story in existence, not even the tales of mythology are greater than this story, and of course the artists as well were believers, and this was very much an expression of their faith.
Leah Kharibian: And would you say that it was a spur to creativity, even experimentation among artists, and I'm thinking here about one of the works that appears on the trail, El Greco's 'Christ driving the Traders from the Temple', which by any account is an extraordinary picture. I mean to me it looks so modern…
Dawson Carr: Well, and of course, this story is truly exceptional in the life of Christ. This is a very non-typical moment. This was the man of non-violence and here we see him being violent on arriving at the temple and seeing it being desecrated by commerce. And he takes his belt and he makes it into a flail and he drives them out of the temple. And in this work, El Greco has thought about this subject over the course of his career. He returned to the subject again and again and again. And by the time he gets to this late phase in his career, he really understands it, and he understands its meaning, its bigger meaning than just the event. It was often interpreted as the cleansing of the soul of sin and so here you see the composition divided in half spinning around the figure of Christ. On the left-hand side, the traders are all in a jumble and on the right-hand side, much more calm are the righteous, who simply sit and comment on the event.
Leah Kharibian: And this is painted around 1600, so that's the beginning of the 17th century, I mean what sort of function would this picture originally have served – what would it have been made for? Do we know?
Dawson Carr: We don't know in this case, but because he returned to this composition again and again, we doubt that it was created for any sort of liturgical purpose. This was really the creation of a gallery picture, a picture meant to be viewed much as pictures are viewed in the National Gallery today, hung in a picture gallery, hung in a house, as a work of art. But a work of art that compels those who look at it to think about the subject, think about the deeper meaning, and how the artist has brought that to be.
Leah Kharibian: And do you see people in the National Gallery, I mean visitors today, still looking at the works in that sort of way?
Dawson Carr: Absolutely, you do definitely see people wrapped in front of pictures like this, trying to figure it out. This isn't something that's easy, something that is gained with an initial impression. The language of art speaks to those who are willing to stand and look and really analyse what an artist has done and why.
Leah Kharibian: But from a devotional point of view, there are some pictures in the National Gallery that are still operating as devotional pictures – there's one in particular that you've seen people in front of?
Dawson Carr: Yes, there is one painting in my part of the collection that I've seen people standing in front of and saying prayers before any number of times. And that's Sassoferrato's 'Madonna' and she's isolated against a dark background. She is prayerful herself and she leads people to prayer still.
Leah Kharibian: Still, so are they kneeling?
Dawson Carr: No, not kneeling, but just standing in front of the work with their heads bowed clearly saying a little prayer.
Leah Kharibian: And a picture like that, would you ever take it down or move it?
Dawson Carr: I've only done it once in my time at the Gallery and I started getting telephone calls immediately asking where it is. In the Italian 17th century we have a number of very great works and I tend to keep them rotated, but I don't take that one down now.
Leah Kharibian: So Sasserferrato's 'Virgin' is staying in place…
Dawson Carr: Absolutely.
Leah Kharibian: Thank you so much Dawson.
Miranda Hinkley (in the studio): Dawson Carr talking to Leah Kharibian. If you're visiting the National Gallery this month, and would like to take 'The Life of Christ' trail, it's available from audio guide desks, and features former Gallery director, Neil McGregor.
About the podcast clip:
Moroni's 'Portrait of a Lady' still turns heads over four centuries later. What is it that makes this lady in red so special? Find out more with costumier Eileen Sheikh and Al Johnson, National Gallery Education.
From the National Gallery Podcast: Episode Eighteen (April 2008)
Find out more about Giovanni Battista Moroni, Portrait of a Lady ('La Dama in Rosso'), about 1556-60
Miranda Hinkley (in the studio): A woman poses for her portrait. She has jewels in her hair and an exquisite satin dress, the striking colour of which will ensure she's still turning heads over four centuries later. We asked costumier Eileen Sheikh and artist Al Johnson to tell us just what's so special about Moroni's Lady in Red.
Eileen Sheikh: My name's Eileen Sheikh and I'm a costumier.
Al Johnson: My name's Al Johnson and I'm a sculptor and a lecturer at the National Gallery.
Eileen Sheikh: The Moroni portrait of a woman, or 'A Lady in Red' as she's known, is quite extraordinary because it's an extremely high fashion that she's wearing. And you can really see that from the actual colour that she's wearing which is a deep rose-pink with an underlay skirt of yellow-gold and a red colour shot through that gold and it's probably a woven textile. So it's highly likely to be real gold thread within the underskirt and also the bodice which is just revealed at her neckline.
The colour of the fabric is a pink-rose with a gold coming through it – it's the most extraordinary orangy, pinky silk. The colour is probably cochineal because this was a new dye at the time made out of the bodies of cochineal insects and was imported from the New World, so from South America. And that was only discovered in the 1540s, so you would have been a very high-standing person to actually wear these kinds of pinks and reds.
Al Johnson: The material is extremely sumptuous. It's intended to be warm as well as beautiful. The sleeves have got tiny tufts of white silk pulled through – this was an effort to show, I think, that this lady had at least three layers of cloth, all different kinds of cloth to show her extreme wealth.
Eileen Sheikh: In the Renaissance period you would have been able to obtain a vast range of fabrics dyed in various shades of red. Different reds produced by the kermes insect – you get anything from a very vivid dark red, a scarlet or a cardinal red, right the way through to something that's called maiden's blush, which would have been a very pale pink. In between, different names that appear in literature of the period describing reds: catherine's pear, carnation, incarnate, sanguine, stammel, flame (an obvious one), gingerleen, murray and peach. But other colours are also described in the same way, so a very vivid one is goose-turd green, which I think we can all imagine what that might look like.
Al Johnson: Red is such a heavily symbolic colour. I think that's partly why it interests me. References of course to blood and it's a visceral colour, it's the colour of the internal form of the body. It has references to war and destruction – it's a masculine colour and in Christian iconography it's the colour of the crucifixion, the colour of the martyrs. So there are all these kind of very male, very dominant references to red. But what interests me, I suppose, is its paradoxical nature – that it's also the colour of sexuality – the colour of lipstick and lingerie – so it's also a female colour.
Eileen Sheikh: Dying fabric using the kermes insect or the cochineal insect can be done in various different ways, and actually to produce the different hues that you require – so either the very deep blueish, purply pinks, or the really deep reds, or the very pale pinks – you might well have started by crushing the insects themselves and crushing the bodies to actually produce a dye in a little bag that you would then put into a dye bath.
And dyeing thick satin needed great care and attention to make sure that none of the fabric was exposed to light while it's in the dye bath. The fabric has to be completely submerged all the time to get an even tone. The dye must be perfectly suffused all the way through the liquid to make sure that there are no patches of darkness or almost a sort of tie-die effect that can happen if you've got a large amount of fabric in one dye bath. And so these dyers were incredibly experienced, incredibly scientific in the way that they produced their fabrics, and those would have all been in Venice where still the best silks come out of that area.
Al Johnson: I work with paradox in the sculpture I make because I make work that's very often about ideas that are quite big or quite difficult to encompass. And red I've used extensively because it has this paradoxical nature and so I feel it reflects the kind of paradox that I'm trying to uncover or explore in a piece of work. I've been working on a series of sculptures about women and the military. The paradox seems to me that we don't regard women as being aggressive or militaristic, so I wanted to try and explore that so I used red because it has these masculine qualities, but at the same time, these feminine sexual qualities.
The series of works started by making a series of weapons. I made wooden dummies based on First and Second World War guns and contemporary military issue and then they were covered initially in red satin, and I felt that the sumptuousness and the sexiness, the sensuality of the satin, undermined the objects, so that you had something that appeared to be a weapon and yet it was undermined by the material from which it was made.
Miranda Hinkley (in the studio): Eileen Sheikh and Al Johnson talking about a much-loved treasure of the Gallery's permanent collection, Moroni's 'Portrait of a Lady', or 'Lady in Red'.
About the podcast clip:
Explore the visual trickery of a Dutch peepshow, with National Gallery Education's Louise Govier and Philip Steadman, Professor of Urban and Built Form Studies at University College London and an expert on perspective.
From the National Gallery Podcast: Episode Thirty Three (July 2009)
Find out more about Samuel van Hoogstraten, A Peepshow with Views of the Interior of a Dutch House, about 1655-60
Miranda Hinkley: Well, here we are in the Dutch room, just across the way from Holbein's 'Ambassadors', and we're at Hoogstraten's Peepshow, which is a box mounted on a stand which has painted scenes round the outside, but there's a little hole in one of the sides, and if you look through it in fact shows the interior of a house. Louise have a look through there and tell me a bit about what you can see.
Louise Govier: Oh, I love this. It's absolutely fantastic. What always happens when I look into this is that I end up banging my head, because I'm so busy trying to crane round and see all of the different rooms and spaces. Basically you look in and you're drawn into this interior world. I can see a dog, I can see a chair, and the thing is it's done in such a clever way that some of these things really do look three-dimensional and you can see doorways in that open out into other worlds, and little glimpses of people – it's absolutely fantastic.
Miranda Hinkley: Philip, I mean, if we come round the back of the box – the way it's exhibited now, there's in fact a glass plate so that we can see exactly how Hoogstraten's achieved this effect, and I mean this whole thing works on perspective, doesn't it?
Philip Steadman: It does, yes. Part of it is quite conventional perspective. What Hoogstraten has done is that… it's like Doctor Who's tardis, it's much bigger on the inside than it is on the outside. You've got these images of a great many rooms that you can see – there are long perspectives through doorways to other rooms beyond. And those are painted in, as I say, conventional perspective, but there are some details which overlap the surfaces of the box, and in particular there's a little dog, who springs up when you look through one of the peepholes, but when you come round here, as we're looking now, you can see that he's painted half on the wall in ordinary perspective, and then half of him, his legs, are painted on the floor, and they are stretched out, and that part of the dog is an anamorphic perspective.
It's painted on this very steeply angled surface as you're looking at it from the peephole. It's all correct, and when your eye is confined to the peephole it all comes out right. And there's also some very strange red rectangles on the floor, one with a little white rectangle. Now that looks like a carpet or something. But when you look from one of the peepholes, it pops up as a table – it's the top of a table, and the rectangle is a letter addressed to van Hoogstraten, so perhaps this was his house.
Miranda Hinkley: How do artists go about creating this technique? Do they have to get right down with their sort of eye close to the surface that they're drawing on, or do they have to stand at a funny angle to the canvas? I mean, how do they do it?
Philip Steadman: Well, I think that's an open question. I mean there could be a lot of debate about how it's done. There are discussions in the literature about different methods. Sometimes done with strings, so you would put a frontal view of the object and then draw, stretch strings from the eye-point, through the picture to an oblique plane, and then you would mark out the respective points on that oblique plane. That's one way of doing it. The way I think van Hoogstraten might have worked here, which would have been equivalent geometrically, is he might have had a bright light, had little models of the chair, and projected shadows. And the shadows would be the same as the anamorphic views, so he might have had a little chair about here, projected a bright light from the peephole and it would have cast the shadows as they are on the three sides of the box, on which the chair is painted.
Louise Govier: It is meant to be a real artistic tour de force, and van Hoogstraten has written himself into the interior of this perspective box in all sorts of ways. So he's included his own coat of arms and his wife's family coat of arms, and this is really a lot about him showing off his superb skill, but also what he thinks that can bring for artists, because it connects with what's on the outside of the box, which is beautifully decorated too, and there are all sorts of little allegorical scenes about what motivates the artist. A desire for money, certainly, is one of the things, but also for fame and glory, and you know, this really is the most extraordinary surviving example of a perspective box, far more complicated than anything else, specially with the two peepholes, that's very unusual to have two different views…
Philip Steadman: There are half a dozen boxes, but this is the only one with two peepholes…
Louise Govier: And ultimately, it seems to have been something to get the viewer curious about different effects, but also just to show off van Hoogstraten's supreme mastery of this art.
Miranda Hinkley [in the studio]: Louise Govier and Philip Steadman
You've been listening to an extract from the National Gallery podcast. You can subscribe to the monthly show by visiting www.nationalgallery.org.uk /podcasts.


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text:
Track Listing: 1- Warbringer
2- The Garden
3- Pissin' Blood
4 - Death Priest
Wolfshead hail from the "the entertainment wasteland" of North-East Hampshire in the UK, and play what they've coined as 'Garage-Doom', citing influences as disparate as High On Fire, Goatsnake, Red Fang and even cult Swedish garage rockers The Hellacopters. The band are also the second two piece we've featured in the past couple of days, the first of course being Nashville, TN garage rock supremos Bang Ok Bang.Glad to see that even despite the Ting Tings, the days of the two piece aren't numbered just yet . . .
Wolfshead itself , even with the duo kindly offering to fill in the blanks with a very detailed and at times quite amusing band bio on their Facebook page, is a hard enough beast to pin down stylistically.On opener 'Warbringer' , the band come storming out of the traps, with lyrics invoking that very metal of concepts,the timeless 'riding into battle, possibly on some sort of iron horse etc' school of lyrical content.It's an infectious slice of doom-tinged, balls out heavy metal , and a wise choice of track to lead with. 'The Garden' however brings us crashing back down to earth(and possibly below), a subterranean doom dirge, with some very Tom G Warrior-esque death grunts underpinned by a riff that Cathedral circa 'Endtyme' would be proud of indeed.
The style shifts drastically again for 'Pissin' Blood' , a raucous doom n' roll number that puts one in mind of Uprising- era Entombed, before the two go all The Obsessed on us with final track 'Death Priest' , the pained vocals and restrained riffing recalling Wino and co in full flight , which, if you've any fucking taste at all, is always a good thing.
In truth, there is very little to dislike about Wolfshead.Some may take umbrage at the band's clear magpie tendencies with their various influences, poaching as they do a riff here, a drum roll there from some of heavy music's finest over the last thirty years.The EP also takes a couple of spins to get into, or at least that was my personal experience, however it's one worth persevering with for a few listens, a real grower , as all the best records are really.But all in all these are four solid heavy rock numbers that have one salivating at the thought of what these two mad professors might concoct on a full-length.The band also score extra points for their excellently designed digital booklet(with real life liner notes kids!) , which , although basically a pretty looking PDF file, is a lovely touch, and betrays the band's clear love of all things old-school.
Verdict: Glue-sniffing, stripped down riff heaven.
For fans of: The Obsessed, Red Fang, Cathedral, Wizards Of Firetop Mountain, Entombed, Motorhead
Listen here: http://bandcamp.listentowolfshead.com/


text:
After 15 matches with impressive performances, buffalo No. 25 from Van Son ward became the champion. Buffalo No. 01 from Minh Duc ward came in second and buffalo No. 11 from Van Huong ward, third.
Both the winners and losers are then killed to worship the God and their meat is equally divided to everybody.
The traditional festival, which is held annually on the ninth day of the eighth lunar month, demonstrates the martial spirit of people. It helps promote the locality's images and tourism potential.
Legends say that a long time ago, there was a severe drought. All creatures looked toward the sea, praying for the Creator's favour. In the most miserable moment, suddenly, they saw two buffalos fighting fiercely on the wave crests and the rains started to pour down, reviving all creatures. People, therefore, organise the fighting performance annually to show their great gratitude to the Buffalo.
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text:
One of the bottlenosed fraternity it was went by the name of James Wought alias Saphiro alias Spark and Spiro, put an ad in the papers saying he'd give a passage to Canada for twenty bob. What? Do you see any green in the white of my eye? Course it was a bloody barney. What? Swindled them all, skivvies and badhachs from the county Meath, ay, and his own kidney too. J. J. was telling us there was an ancient Hebrew Zaretsky or something weeping in the witnessbox with his hat on him, swearing by the holy Moses he was stuck for two quid.
— Who tried the case? says Joe.
— Recorder, says Ned.
— Poor old sir Frederick, says Alf, you can cod him up to the two eyes.
— Heart as big as a lion, says Ned. Tell him a tale of woe about arrears of rent and a sick wife and a squad of kids and, faith, he'll dissolve in tears on the bench.
— Ay, says Alf. Reuben J was bloody lucky he didn't clap him in the dock the other day for suing poor little Gumley that's minding stones, for the corporation there near Butt bridge.
And he starts taking off the old recorder letting on to cry:
— A most scandalous thing! This poor hardworking man! How many children? Ten, did you say?
— Yes, your worship. And my wife has the typhoid.
— And the wife with typhoid fever! Scandalous! Leave the court immediately, sir. No, sir, I'll make no order for payment. How dare you, sir, come up before me and ask me to make an order! A poor hardworking industrious man! I dismiss the case.
And whereas on the sixteenth day of the month of the oxeyed goddess and in the third week after the feastday of the Holy and Undivided Trinity, the daughter of the skies, the virgin moon being then in her first quarter, it came to pass that those learned judges repaired them to the halls of law. There master Courtenay, sitting in his own chamber, gave his rede and master Justice Andrews, sitting without a jury in the probate court, weighed well and pondered the claim of the first chargeant upon the property in the matter of the will propounded and final testamentary disposition in re the real and personal estate of the late lamented Jacob Halliday, vintner, deceased, versus Livingstone, an infant, of unsound mind, and another. And to the solemn court of Green street there came sir Frederick the Falconer. And he sat him there about the hour of five o'clock to administer the law of the brehons at the commission for all that and those parts to be holden in and for the county of the city of Dublin. And there sat with him the high sinhedrim of the twelve tribes of Iar, for every tribe one man, of the tribe of Patrick and of the tribe of Hugh and of the tribe of Owen and of the tribe of Conn and of the tribe of Oscar and of the tribe of Fergus and of the tribe of Finn and of the tribe of Dermot and of the tribe of Cormac and of the tribe of Kevin and of the tribe of Caolte and of the tribe of Ossian, there being in all twelve good men and true. And he conjured them by Him who died on rood that they should well and truly try and true deliverance make in the issue joined between their sovereign lord the king and the prisoner at the bar and true verdict give according to the evidence so help them God and kiss the book. And they rose in their seats, those twelve of Iar, and they swore by the name of Him Who is from everlasting that they would do His rightwiseness. And straightway the minions of the law led forth from their donjon keep one whom the sleuthhounds of justice had apprehended in consequence of information received. And they shackled him hand and foot and would take of him ne bail ne mainprise but preferred a charge against him for he was a malefactor.
— Those are nice things, says the citizen, coming over here to Ireland filling the country with bugs.
So Bloom lets on he heard nothing and he starts talking with Joe, telling him he needn't trouble about that little matter till the first but if he would just say a word to Mr Crawford. And so Joe swore high and holy by this and by that he'd do the devil and all.
— Because, you see, says Bloom, for an advertisement you must have repetition. That's the whole secret.
— Rely on me, says Joe.
— Swindling the peasants, says the citizen, and the poor of Ireland. We want no more strangers in our house.
— O, I'm sure that will be all right, Hynes, says Bloom. It's just that Keyes, you see.
— Consider that done, says Joe.
— Very kind of you, says Bloom.
— The strangers, says the citizen. Our own fault. We let them come in. We brought them in. The adulteress and her paramour brought the Saxon robbers here.
— Decree nisi, says J. J.
And Bloom letting on to be awfully deeply interested in nothing, a spider's web in the corner behind the barrel, and the citizen scowling after him and the old dog at his feet looking up to know who to bite and when.
— A dishonoured wife, says the citizen, that's what's the cause of all our misfortunes.
— And here she is, says Alf, that was giggling over the Police Gazette with Terry on the counter, in all her warpaint.
— Give us a squint at her, says I.
And what was it only one of the smutty yankee pictures Terry borrows off of Corny Kelleher. Secrets for enlarging your private parts. Misconduct of society belle. Norman W. Tupper, wealthy Chicago contractor, finds pretty but faithless wife in lap of officer Taylor. Belle in her bloomers misconducting herself, and her fancyman feeling for her tickles and Norman W. Tupper bouncing in with his peashooter just in time to be late after she doing the trick of the loop with officer Taylor.
— O jakers, Jenny, says Joe, how short your shirt is!
— There's hair, Joe, says I. Get a queer old tailend of corned beef off of that one, what?
So anyhow in came John Wyse Nolan and Lenehan with him with a face on him as long as a late breakfast.
— Well, says the citizen, what's the latest from the scene of action? What did those tinkers in the city hall at their caucus meeting decide about the Irish language?
O'Nolan, clad in shining armour, low bending made obeisance to the puissant and high and mighty chief of all Erin and did him to wit of that which had befallen, how that the grave elders of the most obedient city, second of the realm, had met them in the tholsel, and there, after due prayers to the gods who dwell in ether supernal, had taken solemn counsel whereby they might, if so be it might be, bring once more into honour among mortal men the winged speech of the seadivided Gael.
— It's on the march, says the citizen. To hell with the bloody brutal Sassenachs and their patois.
So J. J. puts in a word, doing the toff about one story was good till you heard another and blinking facts and the Nelson policy, putting your blind eye to the telescope and drawing up a bill of attainder to impeach a nation, and Bloom trying to back him up moderation and botheration and their colonies and their civilisation.
— Their syphilisation, you mean, says the citizen. To hell with them! The curse of a goodfornothing God light sideways on the bloody thicklugged sons of whores' gets! No music and no art and no literature worthy of the name. Any civilisation they have they stole from us. Tonguetied sons of bastards' ghosts.
— The European family, says J. J . . . .
— They're not European, says the citizen. I was in Europe with Kevin Egan of Paris. You wouldn't see a trace of them or their language anywhere in Europe except in a cabinet d'aisance.
And says John Wyse:
— Full many a flower is born to blush unseen.
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Take the quiz and find out
Welcome to the Quilting Board!
Your Score: You got 12 right out of 15 questions, for a score of 80 percent.
Not bad at all, just brush up a little
I missed one!! Probably the easiest one too! I put crosswise grain as having the least stretch!! I will just call it a blonde moment!!!
I missed one too - pretty good for me since I usually flunk these "tests."
I got 3 wrong.
I got 12 right. Think positive ladies. Our guys probably couldn't answer any of these! :wink:
I had 2 wrong, didn't see the word crocking...I guess home ec and 4-H paid offf.
Shocka! I guessed at half of them.Your Score: You got 14 right out of 15 questions, for a score of 93 percent.
You did great
I missed question number 2. I thought those prints were a little busy for early 1800s. Figured they were a little more conservative in those days ...
There were really only about four of them that I actually knew. The rest, I guessed.


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The University of New Mexico Department of Theatre and Dance and the UNM Bookstore host authors Elaine Avila and Daniel Banks for a book launch event Tuesday, April 17 at 2 p.m. The event is part of the 2012 Words Afire! Festival of New Plays.
Avila, who has taught in universities around the world, is currently the Robert Hartung Endowed Chair and head of the MFA Dramatic Writing Program at UNM. Avila will read from her recently released collection of plays "Jane Austen, Action Figure and Other Plays."
Banks is a theatre director, choreographer, educator and dialogue facilitator who has worked on numerous productions in the U.S. and abroad. He is currently a faculty member at the Applied Theatre program at City University of New York. Banks will read from his recent release "Say Word! Voices from Hip Hop Theater."
In addition, UNM faculty members Elsa Menendez, Brian Herrera, Joe Alberti and Donna Jewell will participate in the readings. The event is free and open to the public.
For more information, contact Lani Tyler by calling (505) 277-7473 or by emailing firstname.lastname@example.com.
UNM Bookstore Hosts Book Signing for Elaine Avila and Daniel Banks
April 10, 2012


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September brings the hope of fall with its colorful array of changing leaves and cooler weather. And it also brings the following …
It is the month of Shameless Promotion and Subliminal Communications
This month we will spend the following weeks learning about or just becoming more aware of …
Childhood Injury Prevention 1-7
Invisible Chronic Illness 8-14
Substitute Teacher Appreciation 14-20
Build a Better Image 21-27 So how am I doing?
Banned Books-Celebration the Freedom to Read 27 – 10-4
We will celebrate the following days…
Labor Day 1
Wonderful Weirdoes 9
Remembrance Day 11
Trail of Tears Commemoration 16
Talk Like a Pirate 19
Elephant Appreciation 22
Love Note Day 26
VFW Day 29
Of course there were lots of other days but these were the ones that were drawn outta the hat. Feel free to celebrate and enjoy all the days that this month has to offer just for you. If you were too scared to click on this link you now have a second chance---Subliminal Communications and if you don't like that one you can try this one. Go ahead whacha waintin fer?
September 1, 2008
September Rules with back to School
Labels: Calendar Surprises, I dare you
3 comments:
- Abandoned in Pasadena said...
Paige...You're so funny and "NO" I wasn't scared to click on any of your links and "YES" I do love you.
You forgot two days of Special celebrations in September and one falls on Sept. 1st (My wedding anniversary), and the other day is on Sept 24th (my birthday). hehehe
- September 2, 2008 at 4:23 PM
- Jean-Luc Picard said...
So much to do! I'll be brushing up on my pirate-speak.
- September 6, 2008 at 9:16 AM
- Robin said...
Paige, I just wanted to thank you for leaving such a lovely comment on my blog. Your kindness is very much appreciated!
xxoo Robin.
- September 6, 2008 at 10:34 PM
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Files-Finder Edition is been developed by Team Appsicum, Where efforts takes place to simply your life through the iOs Apps. Earlier of this App, there was no such app that was offering this sort of functioning and that too in an ipad app. When Files-Finder Edition was launched, it was probably the first app which was having some unique feature like built –in browser and sorting based on multiple parameters. Here In this post, I will be discussing those features which made files-finder edition an ultimate File manager ipad app for users.
- Familiar Finder and Explorer like Interface
Most of the ipad users find document management on their ipad one of the most difficult task at their own. It's because first there are not much of apps there that allows them to manage edit files at their own. While some apps in the app-store are so typical to handle that users are not able to find themselves familiar with those. Files-Finder Edition removes such constraints as it's been developed specially for such users who have switched on their iPad from their windows or Mac. To users who are switching from Windows, its interface will look much like "Explorer" and for those who are coming from MacWorld it will look like old good "Finder" of Mac.
- Vast Variety of Supported iPad File Formats
It's also a matter of advantage with files-finder edition that with it you get a vast variety of file formats supported by the app. To name some there are Doc, Docx, RTF, TXT, PNG, JPEG, MP4, MOV, PDF, Web Pages, WAV, 3GP, Zip, and many more others.
- Advanced Features for Managing Files and Folders
There are many advanced features in files-finder edition that makes it a complete file manager for iPad. For example sync facility is given to users and through it they can sync their ipad files with any of cloud storage networks like GoogleDrive, Dropbox and Sugar-sync etc. There is a built–in file-previewer for most of the file formats. Users can edit excel and other documents using GoogleDrive right in app. Users can create custom shortcuts for frequently used files, can create filters, save as shortcuts, search sort and filter files based on multiple parameters like file name, file size, file type, date, categories, etc. and built in zip creation and extraction features enabled. Most importantly users can categorize items like in Microsoft outlook.
- Built in Browser with Download Manager
It's not necessary that every file manager should give the power of internet to users where they can browse internet and can download their favorite music, videos and other files using a download manager, but files-finder edition has it all. It has a built-in browser where users can enjoy the seamless net browsing. This browser has a built-in download manager also which support background downloads also. To give users an edge, search feature of browser is integrated with sites like Wikipedia, Google and twitter so you can directly search on them.
- Additional Features like Voice Note creation and Air Print Support
Though Files-finder Edition is fully equipped with many file editing and file management features yet it has some splendid features which come just like bonus. For example users can create voice notes easily with files-finder edition; they can transfer their files through password protected Wifi mode. Air print support is included too through which you can take print out of your files through a printer attached through WiFi. Gesture based copy/paste/move, sharing of files via email, face book, twitter and many more, and desktop like status bar, they all comes with files-finder edition and this is what makes an app complete.
Visit this Wonderful productivity app for ipad in iTunes App store Here @ https://itunes.apple.com/us/app/files-finder-edition/id733259837?mt=8


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Dr. Humayun Chaudhry, CEO of the Federation of State Medical Boards
This week, hosts Mark Masselli and Margaret Flinter speak with Dr. Humayun Chaudhry, President and CEO of the Federation of State Medical Boards. Dr. Chaudhry discusses their new recommendations for an interstate compact to expedite medical licensing across state lines to address the physician shortage, the growing demands from the Affordable Care Act and the potential for telemedicine to fill gaps in rural health care.
Dr. Humayun Chaudhry, FSMB [ 30:00 ] Play Now | Play in Popup | Download (705)


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The Design/Inlay Kit is compatible with most routers up to 7-1/4″ base diameter. Use the two included router bits to create small cutouts or artistic lacework. Give deck posts and cabinet doors a distinctive look, and even build one-of-a-kind furniture pieces. Using the four provided templates, anyone can produce the patterns, cutouts and intricate lacework pieces described in step-by-step detail in the supplied Design Guide. Choose from geometric, petal, heart, star, circle and bowtie (butterfly) shapes, or use the provided pencil guide for designing your own creations.
Features Include:
- Easy-to-follow patterns in templates allow you to create geometric, petal, heart, star, circle and bowtie shapes
- Use the included pencil and pencil guide to precisely draw your design before you cut
- User manual contains 25 design ideas, plus instructions on the best way to create your own designs
- Pencil guide and included pencil duplicate the cutting path of the router bit allowing you to practice your designs before cutting the project material


text: Tony Perez, 44, says he still isn't ready to retire from the Cincinnati Reds, despite repeated questions about his plans and a crowded team roster that may force the Reds to make tough decisions involving Perez, a 24-year veteran. Perez: ''What's going to happen is going to happen. You know me, I can't worry about whatever they do. I just want to play -- that's all.'' Perez, who played with Reds player-manager Pete Rose on Cincinnati's powerhouse ''Big Red Machine'' teams of the mid-1970s, has been limited the past two seasons to action as a pinch hitter and a platoon first baseman -- behind Rose. Rose will help make the decision. He and Perez are longtime friends.


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People sometimes describe questions as 'philosophical' as a way of saying that they don't matter, but I often find that philosophical questions matter quite a lot (and not just questions of ethics or morality)—it's just that the contexts where they matter are often not obvious. I've been reminded of this a few times recently by Adam Ragusea's excellent podcast The Pub, about issues in North American public media. In February and March, Ragusea made a big to-do about the value of journalistic objectivity, and distinguishing that value from journalistic impartiality. Now, distinguishing objectivity from impartiality is a very philosophical task—it's abstract, and doing it well requires being handy with niggling matters of logic and conceptual analysis. But whether one takes objectivity (or impartiality, or neither) as a guide to journalistic practice should matter to everyone who is affected by the news media.
When he got around to trying to define objectivity, Ragusea said that "An argument based on facts is objective. An argument based on ideology—or, heaven forbid, 'belief'—is non-objective" (ep. 7). I think I see what Ragusea is getting at, but I wouldn't want to put it quite that way, myself. In part for the kinds of reasons pointed out by Justin McBrayer in his much-read NYT column on facts vs. beliefs in the common core curriculum. For example, coming to "believe" a fact-based claim does not make it subjective. But I think Ragusea is using a notion of fact here that makes sense for journalism—a state of affairs that can be confirmed using journalistic methods like consulting sources, records, or experts. But for many purposes, the universe of facts is larger. So I'd like to say a little about how what is objective or subjective can vary with context, and why it matters. (There is, of course, a lot of philosophy about objectivity already that I won't engage with here. If you're interested there are some free resources here, here, and here.)
What is objectivity? Roughly put, I think the core notion of objectivity is this. You've got a bunch of things (let's call them "discursive critters") like sentences, claims, objects, properties, whatever. And they have what philosophers call "semantic values" or "outputs." For example, sentences, claims, judgments, &c. can be either true or false; those are their semantic outputs. Objects can be real or not. Properties can apply or not. Standards of evaluation sort things into 'good' or 'bad,' or 'better' or 'worse' than other things.
When these critters are subjective, you can only figure out what the outputs are when they're "for" or "to" someone. So subjective claims are true or false only for some person (a subject), not absolutely. Whether something is real or not 'to' someone is also subjective. The most straightforwardly subjective matters are preferences or how things seem. Thus, one might say Star Trek is better than Star Wars to me to mean I prefer Star Trek to Star Wars, while withholding any general commitment about which is better, independently of one's preferences. Or, Joe might say The Eiffel Tower looks taller than the Tokyo Tower to me. What makes this true is just how things look to Joe, not which structure is actually taller.
These discursive critters are objective, on the other hand, when their outputs are determined without being "for" or "to" someone. A claim that is either true or false period, no matter what anyone thinks, is objective. It is also objective whether something is real or not, so long as we're not talking about whether it seems real to this person or that person. If I say The Tokyo Tower is objectively taller than the Eiffel Tower, I mean it in such a way that its being true or false does not depend on what anyone thinks. If I say Star Trek is objectively better than Star Wars, I must be assuming some standard of evaluation such that the quality of science fiction franchises can be compared to each other, but that standard is not one that changes from person to person.
Some standards of evaluation will change from person to person—a standard like whatever makes me cry more will rank Star Trek higher for Helen if it makes her cry more, but will rank lower for Ryan if it does not make him cry as much as Star Wars does. This "most crying" standard is subjective, because it varies between people. Different things make different people cry more. But many evaluative standards are objective. For example, objective standards might include having a higher number of self-described fans, or grossing more in box office and advertising sales. Or they might involve cinematic or narrative qualities that are harder to quantify or agree on. Just because a standard is difficult to measure or quantify doesn't mean that it is subjective.
Why does it matter? It's fair and good to ask, when these distinctions have been made, what use the concepts of objectivity and subjectivity have. Basically: assuming we can identify which claims are objective in this sense, what good does it do us? I think that talk about what is objective and what is subjective serves mainly to sort out what kinds of disagreement are appropriate. For matters that are objective, we can disagree about what the semantic outputs are for everybody. So we can argue about whether claims are true or false, or whether objects are real, or whether properties apply to something. Generally speaking it's better to believe true claims, believe in real things, and apply properties to things they apply to. For matters that are subjective, however, we can only disagree about what the outputs are 'for' or 'to' people. We can disagree about whether the Eiffel Tower seems taller than the Tokyo Tower to Joe, or to the average person, but not whether it seems taller to no subject.
One thing that concerns me about most objective/subjective talk is that statements that a question is "subjective" (or often: "just subjective") often seems to indicate that a speaker thinks a question of truth or reality can't really be sorted out. So if Helen and Ryan are arguing about whether Star Trek or Star Wars is better, and someone tells them "You know, though, it's all just subjective, really," that's a way of saying that there's no point in continuing to disagree. And I don't think that's usually right. (Put another way: the language of objectivity and subjectivity is a bit of metadiscursive technology, and technology can be misused!)
Three kinds of disagreement. It helps to sort out different kinds of disagreements. For the moment, there are three kinds of disagreement that interest me. First, there are mere differences of taste. Perhaps Helen likes Star Trek more than Star Wars, and Ryan has the opposite preference. Helen and Ryan might report their respective preferences to each other and leave it at that. Second, there are disagreements where one person tries to get another to see things her way. So Helen might try to convince Ryan that he, like her, should prefer Star Trek, and give various reasons for him to see one as better than the other. You might call these see-it-my-way arguments. Third, there are disagreements about (what you might call) facts, where substantive differences of opinion mean that at most one party can be right. Claiming that a matter is objective often means that it belongs in the third category of disagreement. And often, when someone claims that a matter is subjective they intend to place it in the first category. If I want to get Helen and Ryan to stop arguing, I might say "Well, you know, it's all subjective." But Helen and Ryan can still disagree in the second fashion—where Helen tries to get Ryan to see things her way—even they disagree about a subjective matter. And many times, apparently subjective questions admit of the third kind of disagreement as well.
Three kinds of disagreement:
1) differences of taste
2) see-it-my-way disagreement
3) disagreement about the facts
If Helen and Ryan are at a polite dinner party where none of the other guests care much for science fiction, their disagreement might be disruptive. If their elaborate appeals to finer aspects of storytelling are tedious for the other guests, perhaps they should treat their disagreement in the first way and leave the matter alone. If Helen and Ryan are trying to help a friend get into science fiction, though, and they want to agree on a recommendation, it might be appropriate for them to treat the disagreement in the second fashion and try to get the way they see things to match up. Finally, if Helen and Ryan are on an award committee, it might be best for them to treat their disagreement in the third way, and try to convince the other of the more objective merits of each sci-fi franchise.
Different universes of facts. Now, questions about which media franchises are better are not usually super-important, and it may not seem important to figure out when such questions are subjective or objective. But there are other contexts where it matters a good deal more. And I think it's important in those contexts to be aware that there are different universes of objective facts. For example, there are journalistic facts—those that can be fact-checked and reported. I suspect that journalistic facts are for the most part just facts that can be corroborated by witnesses, by documentation, or by experts (at least for American journalism. In many European countries, ideological reporting is not frowned upon the same way). I think Adam Ragusea had such a standard in mind when he said that questions about ideology are outside of the realm of facts.
Perhaps in politics, where ideologies are expected to clash, only non-ideological facts are considered political facts. However, there is still a difference between the journalistic and the political case. It is plausibly a breach of journalistic objectivity to advocate for seeing things in a particular ideological light, whereas politicians can argue in this way with each other and to the public. So whereas straightforward journalism should treat ideological disagreement as differences of taste (the first kind of disagreement above), politicians can make see-it-my-way arguments (the second kind of disagreement above).
And in other contexts there are still more facts. Political theorists and philosophers argue about which political ideologies are better, and they don't take themselves to be arguing about something 'merely' subjective. Furthermore, they're not even trying to get others to see things their way, like politicians in speeches. They use various arguments to try to figure out which views are right. And analytic philosophers tend to think that all kinds of things are objective: political views, moral claims, aesthetic judgments, and many more. Probably because analytic philosophers are accustomed to seeking the truth about these matters, and settling their disagreements with arguments. So in different contexts—journalism, politics in practice, and political theory—ideological facts can be treated like differences of taste, see-it-my-way disagreements, or disagreements about facts. They run the full spectrum from fully subjective disagreements where something is only true to someone and no one way is clearly better than another, to see-it-my-way disagreements where something is only true to someone but some ways of looking at matters are better, to objective disagreements where there is a truth independent of any person's perspective.
The moral I want to draw here is that the way people use terms like objective changes with context, according to what people agree on and what kinds of things people can see themselves coming to agreement on. And I think people's instincts about what's subjective or objective tends to shift according to the way they engage with different subject matters. Now, these are just conjectures on my part and they should be tested empirically (can I get a collaborator on that?). But what I suspect is this: someone who just consumes movies and television for entertainment is likely to think that whether a film is good or not is subjective. People who make or criticize films for a living, though, are probably more likely to think that there are some objective facts about films that make them better or worse. Most people probably think whether something is funny is subjective, but a lot of comedians and some comedy critics think there are facts about what's funny and what isn't (although they probably concede that whether someone enjoys a joke is subjective). A lot of folks in the West think that matters of politics or morality—or philosophy—are subjective, whereas people who sort out political or moral (or philosophical) questions for a living are probably more likely to think that they're objective. Myself, I'm tempted to call anything 'objective' so long as it can be treated objectively in some context, any context. That goes for claims about justice, about values, about aesthetics, and even humor (though it's important to relate those claims back to objective standards of evaluation). But perhaps that's just because I'm a philosopher.
I worry that people often think something is objective or subjective absolutely, so that if political ideologies are treated as subjective at a dinner party, they're subjective period. I think when we give into this thought, we give up on the possibility of learning a lot of things. Some of those things, like what makes humor work, or whether Star Trek really is better than Star Wars, are interesting. But others, like what justice is and what it is for something to be right or wrong, are also important and we shouldn't be quick to give up on the idea of objective truth, just because agreement can be hard to reach. As a parting observation: I know a number of folks who are interested in social justice, and are wary of talk about "objectivity." They tend to think that calls for objectivity are ruses to recenter discussions around the perspective of privilege. I do agree that this often happens, but I think that's a rhetorical problem, not a philosophical problem. I think that giving up on objectivity because of that is throwing out the baby with the dishwater. (Similar things might be said about tone-policing. I think it's nice to be civil and polite, other things being equal, but even J.S. Mill, ultra-privileged boy extraordinary, knew that calls for civility in discussions of justice served more often to cut off productive discussion than to facilitate it. See the last paragraph of On Liberty, Chapter II.) Real objectivity is important, especially regarding social justice. The existence of structural oppression is, I would argue, real and important and objective. It matters in part because whether it's real is not a matter of perspective or opinion, even though it is controversial. It's like climate change or poverty; it's real for everybody whether you believe in it or not. A little bit of sloppy philosophy goes a long way toward obscuring the truth.
Thanks to Joe McCaffrey for indulging me as I nattered on about this for weeks, and for helping me shape up my thoughts. Joe does not endorse the content of this post in any way. (But that's just his opinion.)


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.happy friday friends.
i could not be more pleased to announce that the weekend is swiftly approaching.
basically, i have filled every waking moment for the next 48 hours with fun or necessary activities that will keep me fully occupied &/or entertained. i'm going to be the best picture taker / memory maker so that this little online journal can thrive.
{martha stewart}
plans include but are not limited to:
visiting benny
dinner with girlfriends {giggles included}
pool for a moment - have to revive the freckles, my paleness is attacking once again
farmer's market - on the hunt for some fresh blooms for the house
hobby lobby - i have many up-coming projects. i will undoubtedly reveal them here
cleaning / organizing
photography adventure with my dear friend jenna
birthday party
trip to louisville to help the 'rents & see my fam
dine with court & matt
campaigners with our awesome students
this should be a yet another full & wonderful weekend
{boxwoodcottage's flickr}
.i hope the same for all of you. if you'd like to join in on any of the fun please give me a holler.
{sip slowly}
ps. it's perfect outside. are you in lexington? go outside. right this second. drop whatever you're doing {unless it is carrying a child} and run outside. it is gorgeous & breezy. you don't want to miss this.


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Please note: This item has been sold
A 19th century, ribboned Campan marble bolection chimneypiece. The marble is from the ancient quarry located in Espiadet, Campan, France. This quarry is now closed and was favoured by the Romans.
Height 42 in (106.6cm) width 48 3/4 in (123.8cm)
Internal height 34 1/2 in (87.5cm) width 32 1/2 in (82.5cm)


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