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Premier League: Power Ranking the Most English Teams in the LeagueAugust 16, 2011
Premier League: Power Ranking the Most English Teams in the League
With the first round of fixtures in the Barclay's Premier League already behind us, it appears that we have a thrilling season in store for us in England this year.
How will the new, young faces at Manchester United be used and can they help Sir Alex Ferguson reclaim the title? Will Andres Villas-Boas put off an early slump to bring glory back to Chelsea?
Can Sergio Aguero and Manchester City be serious challengers for the title, and will Arsenal fade with the departure of Cesc Fabregas?
These are all questions that we will be longing to have answered, but only time will tell in the unpredictable and exciting race for the Premier League.
In the meantime though, I have decided to look at the league in a completely different way. Instead of analyzing each team's chances and power ranking the best performers, I have decided to see which team is the "most English."
It is the English Premier League indeed, and while success is what matters most, fans always have a certain love of the homegrown boys, so I have decided to count the number of Englishmen on each team!
Here you go, here are the 20 teams ranked from least to most English based on their lineups on opening weekend!
20. Arsenal
Starting XI: Szczesny, Sagna, Vermaelen, Koscielny, Gibbs, Song, Rosicky, Ramsey, Arshavin, Gervinho, Van Persie
Englishmen: One (Gibbs)
The Arsene Wenger-led Gunners aren't exactly the darlings of English football, but Arsenal have managed to keep a consistent spot atop the Premier League and continue their threat throughout Europe.
They may not have the biggest trophy cabinet, but they are still among England's best teams. They were without star Englishmen Jack Wilshere and Theo Walcott in their opening week's scoreless draw against Newcastle.
T-17. Wigan Athletic
Starting XI: Al Habsi, Boyce, Caldwell, Lopez, Figueroa, Gomez, McCarthy, Watson, Diame, Moses, Di Santo
Englishmen: Two (Watson, Moses)
In contrast to Arsenal, Wigan Athletic are a team who regularly find themselves in the lower parts of the table. Having just avoided relegation in the past two seasons, Wigan opened their new campaign with a 1-1 draw against newly promoted Norwich City.
Apart from Ben Watson, Wigan's only Englishman is Victor Moses, who has expressed his interest in representing Nigeria at the national level.
T-17. Blackburn Rovers
Starting XI: Robinson, Salgado, Hanley, Nzonzi, Olsson, Emerton, Dunn, Pedersen, Hoilett, Formica, Roberts
Englishmen: Two (Robinson, Dunn)
Last season's 15th-placed team Blackburn got their new Premier League campaign off to a familiarly dismal start. After going up 1-0 through Mauro Formica, the club suffered an embarrassing turnaround defeat at the hands of Wolverhampton Wanderers.
They might not seem like crazy spenders, but Blackburn have recently come under new ownership and have been linked with a number of big names.
T-17. West Bromwich Albion
Starting XI: Foster, Reid, Tamas, Olsson, Shorey, Brunt, Scharner, Mulumbu, Morrison, Tchoyi, Long
Englishmen: Two (Foster, Shorey)
They're not a team typically associated with success, but that is exactly what they could be destined for in the Premier League this season.
The team have performed very well under the management of Roy Hodgson, who led them to a magnificent turnaround in the second half of last season. Now they could be gunning for much bigger heights, as shown in their hard fought and slightly unfortunate 2-1 loss to Manchester United.
T-15. Chelsea
Starting XI: Cech, Bosingwa, Alex, Terry, Cole, Ramires, Mikel, Lampard, Kalou, Torres, Malouda
Englishmen: Three (Terry, Cole, Lampard)
Widely regarded as one of the best teams in the league, let alone Europe, Chelsea struggled to a disappointing 0-0 draw against Stoke City in their opening match.
Led by record signing Fernando Torres, and a vast array of Roman Abramovich's other playthings, the club struggled to find any kind of breakthrough, picking up right where they left off last season.
With Andres Villas-Boas at the helm now, and a few late-summer signings looking possible, it will be very interesting to see how the Blues fare this time around.
T-15. Fulham
Starting XI: Schwarzer, Hughes, Hangeland, Senderos, John Arne Riise, Duff, Etuhu, Murphy, Dempsey, Andrew Johnson, Zamora
Englishmen: Three (Murphy, Johnson, Zamora)
One of the many clubs who have looked to threaten the new Premier League hierarchy known as the "Big Six," Fulham are expecting another strong season under new manager Martin Jol.
They got off to a decent start with a stalemate against Aston Villa, and are also keen to repeat their Europa League exploits from two seasons back, now that they have returned to Europe's secondary cup competition.
T-12. Stoke City
Starting XI: Begovic, Huth, Shawcross, Woodgate, Wilson, Pennant, Delap, Whelan, Etherington, Jones, Walters
Englishmen: Four (Shawcross, Woodgate, Pennant, Etherington)
They may not be the most loved team, but Stoke City have managed to always maintain a steady place towards the middle of the Premier League.
Known for their astute defending and long throw-ins, the Potters managed to hold Chelsea to a 0-0 scoreline in their first match of the season.
Stoke City are also in the Europa League qualification stages following their exploits in last season's FA Cup, where they will face FC Thun in the next round.
T-12. Tottenham Hotspur
Starting XI: Gomes, Walker, Dawson, Gallas, Assou-Ekotto, Lennon, Modric, Sandro, Bale, van der Vaart, Crouch
Englishmen: Four (Walker, Dawson, Lennon, Crouch)
Tottenham are a rising team in English football and after their strong showing in the Champions League last year, the Spurs look ready to establish themselves among Europe's best.
Following top five finishes in the past two seasons, they will be eager to finish higher and return to the Champions League. Their opening fixture against Everton was postponed, but expect Tottenham to get off to a flying start this season!
* Tottenham have been given a predicted lineup because their opening fixture with Everton has been postponed
T-12. Everton
Starting XI: Howard, Hibbert, Distin, Jagielka, Baines, Neville, Cahill, Arteta, Fellaini, Bilyatedinov, Saha
Englishmen: Four (Hibbert, Jagielka, Baines, Neville)
Most similar to Fulham, perhaps, Everton are a team who are just on the fringes of England's elite. Their seventh-placed finish last season is something they will be look to build on with the highly regarded David Moyes still at helm.
With some very talented players among their ranks, such as Louis Saha, Mikel Arteta, Tim Cahill, Leighton Baines, and many more, European qualification will be an achievable goal for the team this season.
* Everton have been given a predicted lineup because their opening fixture with Tottenham has been postponed
T-6. Norwich City
Starting XI: Ruddy, Russell Martin, Whitbread, De Laet, Tierney, Fox, Surman, Hoolahan, Crofts, Holt, Morison
Englishmen: Five (Ruddy, Tierney, Fox, Surman, Holt)
Already heavily tipped for relegation back to the Championship, Norwich will look to prove all their doubters wrong in the coming season.
Starting the campaign with a 1-1 draw against Wigan, the Canaries will have to pull out all the stops if they want to retain their top-flight status.
T-6. Manchester City
Starting XI: Hart, Richards, Kompany, Lescott, Clichy, Toure Yaya, De Jong, Barry, Silva, Dzeko, Johnson
Englishmen: Five (Hart, Richards, Lescott, Barry, Johnson)
Although Manchester City have constantly been criticized for their buying of foreign players and hefty transfer fees, the Citizens do still have five Englishmen in their starting lineup, and five very good ones at that.
That's not to say that their transfer activity isn't ridiculous, but Sergio Aguero is already starting to look like a bargain after coming on and scoring twice in his debut in a 4-0 demolition of Swansea City. It may be a long shot, but City are my outside pick for the title this season!
T-6. Sunderland
Starting XI: Mignolet, Bardsley, Brown, Ferdinand, Richardson, Larsson, Cattermole, Colback, Elmohamady, Sessegnon, Gyan
Englishmen: Five (Brown, Ferdinand, Richardson, Cattermole, Colback)
Sunderland have been another one of those teams who manages a decent league position each year, but with the recent signings of Wes Brown, John O'Shea, Seb Larsson, Connor Wickham and many more, the Black Cats will be looking for a considerably higher standing in the tables this season.
They opened their campaign with an impressive 1-1 draw against Liverpool and will hope to carry such a fine start into the rest of the season.
T-6. Liverpool
Starting XI: Reina, Flanagan, Carragher, Agger, Jose Enrique, Lucas, Adam, Henderson, Suarez, Downing, Carroll
Englishmen: Five (Flanagan, Carragher, Henderson, Downing, Carroll)
A team who have fallen considerably in stature in the past few seasons, Liverpool will now have to settle for the title of England's second best.
However, the arrival of Kenny Dalglish has begun a new era at Anfield, and with a handful of new players at his disposal, King Kenny is looking to rebuild an empire.
Now Liverpool are looking to reclaim their rightful position as a Champions League team and eventually champions once again.
T-6. Wolverhampton Wanderers
Starting XI: Hennessey, Stearman, Johnson, Berra, Ward, Jarvis, O'Hara, Henry, Hunt, Doyle, Fletcher
Englishmen: Five (Stearman, Johnson, Jarvis, O'Hara, Henry)
Another one of the clubs who have just dwindled towards the bottom of the table for a couple of seasons, Wolverhampton Wanderers recently produced England international winger Matt Jarvis, who drew plenty of attention with his fine displays last season.
The Wolves will want a decent mid-table finish this season, and started well enough with a turnaround victory against Blackburn Rovers.
T-6. Newcastle United
Starting XI: Krul, Simpson, S. Taylor, Coloccini, R. Taylor, Barton, Cabaye, Tiote, Gutierrez, Ameobi, Ba
Englishmen: Five (Simpson, S. Taylor, R. Taylor, Barton, Ameobi)
Traditionally one of the top clubs in England, Newcastle have just recently come back to the Premier League and will be looking to make an immediate impression.
After impressing early in the last season, star striker Andy Carroll was sold, but the Magpies still finished a decent 12th in the league.
Now, with Kevin Nolan gone and Joey Barton perhaps on the way out, a number of new signings will look to lead Newcastle back to the top of English football.
T-2. Aston Villa
Starting XI: Given, Young, Collins, Dunne, Warnock, Delph, Petrov, N'Zogbia, Heskey, Bent, Agbonlahor
Englishmen: Six (Young, Warnock, Delph, Heskey, Bent, Agbonlahor)
The losses of Ashley Young and Stewart Downing will likely hit Aston Villa hard, but with Darren Bent, Charles Nzogbia, Gabriel Agbonlahor, and an extremely talented crop of youngsters leading the line, Villains everywhere could be in for a truly great season.
It will all depend on how well new manager Alex McLeish does, though, and a scoreless draw against Fulham is a so-so first result.
T-2. Queens Park Rangers
Starting XI: Kenny, Dyer, Hall, Gabbidon, Hill, Smith, Derry, Faurlin, Taarabt, Campbell, Bothroyd
Englishmen: Six (Dyer, Hall, Hill, Smith, Campbell, Bothroyd)
Another one of the newly promoted sides this season, QPR have brought in DJ Campbell and Joy Borthroyd to lead what looks like a very promising attack.
However, things haven't exactly started according to plan, with the team suffering a crushing 4-0 loss to Bolton on opening day.
If the reigning Championship winners have any hope of surviving in the Premier League, they will have to pull their act together fast!
T-2. Swansea City
Starting XI: Vorm, Rangel, Caulker, Williams, Tate, Britton, Dobbie, Agustien, Dyer, Graham, Sinclair
Englishmen: Six (Caulker, Tate, Britton, Dyer, Graham, Sinclair)
Much like QPR, Swansea City look a promising team coming in from the Championship, drawing comparisons to the likes of Barcelona even.
However, they too were subject to a disappointing 4-0 rout by Manchester City in their opening fixture and every point counts, so they will really need to perform better from here on out.
T-2. Manchester United
Starting XI: De Gea, Smalling, Ferdinand, Vidic, Fabio Da Silva, Young, Cleverley, Anderson, Nani, Rooney, Welbeck
Englishmen: Six (Smalling, Ferdinand, Young, Cleverley, Rooney, Welbeck)
Manchester United are the face of English football, and rightfully so; they are one of the most English teams in the league! The reigning champions are led by talisman Wayne Rooney, as well as a promising new crop of English talent that includes Tom Cleverley, Danny Welbeck, and Chris Smalling.
Defending their title will be prove very difficult this season, but if anyone is capable of doing it, it sure is Sir Alex Ferguson's men!
1. Bolton Wanderers
Starting XI: Jaaskelainen, Steinsson, Cahill, Knight, Robinson, Eagles, Muamba, Reo-Coker, Petrov, Kevin Davies, Klasnic
Englishmen: Seven (Cahill, Knight, Robinson, Eagles, Muamba, Reo-Coker, Kevin Davies)
Finally, the honor of the most English team on opening weekend goes to Bolton Wanderers! The team who have finished 14th in the past two seasons are one who have always performed below the great level of talent that they possess.
Now however, after their 4-0 rout of Swansea City on the opening day, it appears as though Bolton might be in for a much better season that the last few and the European spots from which they so ungracefully fell last season are a reasonable goal.


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This week, April 1-8 is the 2011 Ultimate Blog Party, and I'm joining in the fun! It's happening right now, so get over to www.5minutesformom.com and learn all about it. Thousands of bloggers will be participating and following one another - it's a great way to build up your readership on your blog, on Twitter and on Facebook, and there are TONS of giveaways.
You're supposed to write your own blog party post, introducing yourself and telling a bit about what you and your blog are about, then sign in for the blog hops - there are several categories - and start making new friends. So let's get on with this! (And thanks to Brent from Linkytools for telling me about it!)
My name is Kristin, and I've determined that there are a lot of cool people out there who have cool kids. The thing is, they don't all necessarily know all the basic and/or cool stuff they're supposed to do, or have the opportunities to do, now that they have these awesome kids.
I have to admit right now... I don't have children of my own. I always wanted to, and prepared all my life, keeping notebooks of all the cool stuff I was going to do with them, lists of baby names, the whole drill. I waited too long, then got breast cancer. Chemo induced early menopause and that was all she wrote.
I have to admit right now... I don't have children of my own. I always wanted to, and prepared all my life, keeping notebooks of all the cool stuff I was going to do with them, lists of baby names, the whole drill. I waited too long, then got breast cancer. Chemo induced early menopause and that was all she wrote.
The good news is that my little brother had a baby not long after that which he and his beautiful wife graciously shared with me almost completely. I researched during their pregnancy and after, I was there for the birth, and I was there almost as a doula for the first two years of his life.
I babysat several times a week. They left me with him for weekends when he was a infant. My nephew and I had two years of serious bonding time. I took him on his first train rides, his first pony rides, to his first pow wows. He was my boy. He'd even slip and call me mom sometimes, and she didn't mind.
|Photo by Aunt Kristin
When he was two, they moved from L.A. to Austin, to buy a house and raise him in a good neighborhood. I helped them move, drove with my brother to Texas, helped them move in, and have been visiting them regularly - and they visit here - ever since.
My nephew is six now and called me last week to tell me he just took off his training wheels on his bike, and is riding by himself. My brother sent me the video. Then he called back because he forgot to tell me ALL about Cirque du Soleil. ; )
We're still very close - all of us, and I still do lots of research and am always looking out for things for them (and me) to do with my nephew, since they both work and just don't have the time I do to devote to it. They're too busy raising him!
I hope that all of my research, reading and reviewing will be of some help to parents, grandparents, aunts, uncles, etc., who don't have the time to think about all this stuff, either, or just aren't as obsessive about it as I am.
I have a lot going on in my life, but one of my great joys is figuring out cool things to do with my nephew, the best books, puzzles, games, movies, how to keep family traditions that my brother doesn't remember alive for my nephew, and incorporate his mama's heritage, as well.
And now, last week, my boyfriend and I were named Godparents to our best friend's baby girl, Alexandria. How awesome is that!?
So please check back in, follow me and I'll follow you back, and let's trade tips for cool stuff. I'll be doing recommendations, reviews and giveaways.


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This post is part of my 12 Braids of Christmas series – be sure to check out all the festive styles in this series!
Christmas hairstyles are so fun to do! They aren't just for advanced braiders, there are some that even the most beginner braiders can do. Today's Santa hat hairstyle tutorial is one of the easiest that I've done a tutorial for – a great way to wrap up my 12 Braids of Christmas series!
This hairstyle works on short or long hair and does not require any fancy braiding skills. If you can do a 3 strand braid, a ponytail, and lace up a shoe – then you can do this hairstyle!
Let's get started on how to do this super EASY Santa Hat hairstyle!
Supplies you'll need: hairbrush, a few hair elastics, white pom-pom, rattail comb, bobby pin, red ribbon, white ribbon or white bow.
Time: 5-7 minutes
Skill Level: Easy
Step 2. Part the remainder of the hair down the middle of the back of her head. Secure each side into a low pigtail as close to behind the ears as you can.
Step 3. Take half the hair from the ponytail and braid a regular 3 strand braid – braid down until the braid reaches the pigtail on that side and then secure the 3 strand braid to the pigtail with another hair elastic. Repeat this on the other side with the other half of the hair from the top ponytail.
Step 4. Take your piece of red ribbon. Gently pull the top most stitch of your braid on each side up so that you can slide the ends of the ribbon down through. Pull the ribbon so that you have an even amount on each side.
Step 5. Continue lacing the ribbon through the each stitch of the braid, alternating sides, as if you were lacing up a shoe. After you have laced it through the entire length of your braid, tie the ends of the ribbon together in the middle. You can either tie a knot and trim the ends (if necessary) or tie it into a bow.
Step 6. Take your piece of white ribbon and lace it through the bottom stitch of the braid on each side. Then take and wrap it down then up over each pigtail, then join the two ends in the middle and tie in a bow. Trim ends of ribbon if needed
Step 7. Top the style with the white pom-pom. I took my rattail comb and poked a hole in the center of the pom pom, then I threaded one end of my bobby pin down through it so that the pom-pom sits at the end of the bobby pin. Then take the bobby pin and tuck it up into the top of the style.
This style is so easy and fun to do! I hope you'll give it a try!
If you try it out and want to share, I'd love to see how it turns out for you! You can share it on my Facebook page, tag me in your photo on Instagram @hair_by_lori or use the hashtag #HBLSantaHatHair – if you use the hashtag, it might end up featured here on my page. Scroll down to the bottom of this page to see!
Thanks so much for reading! I hope you'll come back soon!
Other posts you may like:


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The Khwezi Bib/Bandana
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Press Statement
Oromos are fed to wild beasts in their own homeland
March 11, 2007 — The ongoing atrocities perpetuated by the Ethiopian minority regime against the Oromo people took a new turn recently when 19 Oromos (age ranging from 14yrs teen to 70yrs old elderly man) were murdered and their corpses were intentionally disposed in beast-infested jungle for hyena consumption. The corpses of 19 Oromos were fully eaten up by hyenas and their relatives were left with no remains for burial.
In any civilized human culture dead bodies are dignified and human remains deserve dignified burial. In stark contrast with such universal humane standards, our people are being hunted in their own homes, massacred in mass and their remains are fed to wild beasts by a regime devoid of any human dignity. This inhumane act of cruelty is in accordance with the recent declaration by Prime Minister Melles Zenawi in which he criminalized any association with the Oromo Liberation Front, legalizing mass murder as a result of political views. The first phase of the mass killing mission has been executed in Eastern Oromia zone under the banner of "eliminating opposition supports". We have earlier reported the murders taken place around the hills known as Suufii and Daalacha, in Mi'essoo district, in which more than 20 innocent people were killed.
The names of people fed to wild animals, those tortured beyond recovery and those languishing in concentration camps are compiled as follows:
a) Those fed to hyena
1; Ayihsaa Aliyyii; 14; Female, Mi'eesso
2; Ahmad Mahammad Kurree; 70; Male, Mi'eesso
3; Adam Abdukariim; 32; M, Mi'eesso
4; Adam Ammee Yaasuuf; 35; M, Mi'eesso
5; Ahamad Abrahim (boruu); 30; M, Mi'eesso
6; Mahamad Eeliyaas Guutoo; 28; M; Mi'eesso
7; Yaasuf Ibroo; 34; M; Asabooti; Mi'eesso;
8; Ahmad Abduraman; 37; M; Asabooti; Mi'eesso
9; Abdallaa Mahamad Beruu; 25; M; Faayoo; Mi'eesso; Grade 10
10; Mahamad Aliyyii Turee; 30; M; 'Ciro; Ciro;
11; Adinaan Mahammad; 22; 'M; Galamso; Habroo; Grade 12
12; Ahmad Mahamad; '36; M; Gubbaa Qorichaa; Gubbaa qoricha;
13; 'Ahmad Korreaa; -; M; ; Doobbaa;
14; Ahmad Aliyyii; 14; M; Doobbaa; Doobbaa; Grade 8
15; Ahmad shankoor; 18; M; ; Tuullo; Grade 10
16; Ahmad Eeliyaas; -; M; ; Mi'eesso;
17; Ibrahim Badhaasoo; -; M; ; Habroo;
18; Mohammad Saanii; '-; M; ; Doobbaa;
19; Ahamad Abraahim; -; M; ; Mi'eesso; Grade 9
b) Those tortured beyond recovery
1) Ahmad Abdullee
2) Mahamad Habroo
3) Abdujaliil Abdallaa
4) Mahamad Sofiyaan
5) Abdallaa Dawid
6) Ibsaa Aadam
7) Mahdii Aliyyii
8) Gadaa Mahamad
9) Kalid Aliyyii
10) Kimiyaa Aadam
11) Faatumaa Mahamad
12) Muntahaa
13) Faatumaa Zaaraa
c) Those languishing in concentration camps in Mi'eesso
1; Usmaan Tuqoo;
2; Bokkuu Burtaa; Student at Haramaya University
3; Abdallaa Mahamadee;
4; Husseen Ahmad;
5; Kaarruu Bishee;
6; Badhaasoo Mahamad;
7; Abdallaa Abraahim;
8; Aadam Abdullaa;
9; Yaassin Ibraoo;
We would to renew our call on to the international community to break the silence about the massacre of the Oromo people and exert their outmost effort to stop this human tragedy.
Oromo Liberation Front -Infodesk
March 11, 2007


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- Giovanni Mazzaroli
- Bookmarkable URL
- Works of Art
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- Cannon
- Giovanni Mazzaroli
- Venice and Florence, Italy
- 1688 and 1853 - 1854
- European Armoury III
- Bookmarkable URLGiovanni Mazzaroli (1668-1744)
Italy, Venice, 1688.
Carriage by Angiolo Barbetti (1805-1873) and Giuseppe Ciani (fl. 1850s), to a design by Louis-Auguste de Sainson (1801-1877)
Italy, Florence, 1853-54.
Carriage made of walnut wood, partly gilded, and polished iron
Length: 141.5 cm.
Height of Hercules group on cascabel: 16.3 cm.
Maximum diameter at base of cascabel: 15.2 cm.
Width between trunnions: 17.6 cm.
Maximum diameter at muzzle: 10.5 cm.
Bore: 3.8 cm.
Weight of cannon barrel: 83.003 kg.
On banderole held by two putti, incised inscription: 'IO MAZZAROLI F.1688' ('Giovanni Mazzaroli made this, 1688')
On carriage:
In cartouche F. QUESTO CARRO/A. BARBETTI IN. FI./L'[ANNO]. 1853 ('This carriage was made by A. Barbetti in Florence in the year 1853')
On ironwork at front of carriage, below barrel: G. CIANI FERRO/QUESTO CARRO/L.[ANNO] 1854 ('G. Ciani [made] the ironwork for this carriage in the year 1854')
Cannon, decorated in high relief, with Hercules, Jupiter and the Titans, and other figures. The cascabel has Hercules, naked except for piece of drapery and club in raised left hand, struggling with two naked male figures on ground, one of whom holds dagger in right hand. Followed by spiral band of broad ribbon, and then by acanthus leaf, within which is placed the touch-hole in form of scallop shell. From here to the trunnions a scene of Jupiter and the Titans, with at top Jupiter, seated on his eagle, fire-bolts in each hand and another held by the eagle in its claws, surrounded by four winds in form of cherub heads. Jupiter is on point of hurling downwards the fire-bolt held in his right hand on to the Titans below. Nine naked male figures of Titans struggle and cower beneath an avalanche of rocks. This scene is only on upper side of barrel, and is in exceptionally high relief, rising to nearly 5 cm. above the surface of the barrel. The barrel left smooth and undecorated beneath, except for the spiral of acanthus leaf decoration, which runs continuously. The relationship between the length and the bore is exceptionally high, at c. 1:37.
At trunnions, double band of acanthus leaf decoration runs round whole barrel, and from this springs spiral band of acanthus foliage, within which are interspersed gambolling figures of putti, and which runs four times round barrel, interspersing with undecorated smooth bands of metal, until it reaches the muzzle where, between two bands of laurel wreath, the decoration is a frieze with the rape of the Sabines. The signature and date are on the banderole held by two putti, on first run of the acanthus foliage scroll.
Cast cannon, with a great deal of undercutting in the cast, especially on the acanthus foliage band; also Jupiter's left leg and fire-bolts, eagle's neck. Traces of clay investment, especially in acanthus leaves on underside of barrel. A bronze alloy, with averages of c. 90% copper from the samples surveyed, c.6% tin and c. 3% zinc.
Some wear to higher surfaces, especially along top of barrel. Damage to first 'O' and to 'F' of signature.
Mounted on a wood and iron carriage commissioned by Anatole Demidoff and made in Florence in 1853/54 by Angiolo Barbetti (1805-73) and G. Ciani, of carved walnut wood, with polished iron additions. The woodcarving selectively gilded, with the ground textured with punching. Along sides, scrolling foliage and volutes, at centre pair of bearded tritons support the arms of Demidoff, Prince of San Donato: per fesse argent, in chief a couped barrulet dancetty sable; in base sable a hammer proper; over all a bar or. At front, bearded grotesque mask between two satyr herms. At rear, another grotesque mask. Carriage bound with polished steel straps secured by large hemispherical-headed rivets. A sliding wedge provided for elevation. Wheels are steel with twelve spokes, the steel encased with wooden panels over the spokes and around rims, with foliate rosettes and other decoration.
Anatole Demidoff, Prince of San Donato (1813-1870), by 1853
San Donato sale, Paris, 6 April 1870, no.633
Bought by the 4th Marquess of Hertford through Mannheim, for 12,100 francs
1890, Hertford House, European Armoury, 'A bronze cannon with figures in relief representing the War of the Giants and mythological subjects, on carved wood carriage, partly gilt and mounted with steel dated 1854', valued at £250, 1898.
London 1994, no.67
Hertford House 1890, fols. 301-02
Hertford House 1898 [….]
Hertford House 1898b, p. 93
Mann 1962, pp. 592-93, A1245
Norman 1986, p. 255, A1245
Demidoff 1870, p. 129, no.633
Laking 1902-03, VI, pp. 259 and 263, no. 1197
Mann 1941, pp. 774-75
Theuerkauff 1967, p. 293, note 7
Norman/Edge 1982, p. 32
Scalini 1988, p. 69
London 1994, p. 102, no.67
Capwell 2011, pp. 224-25
Malgouyres 2013, p. 185
With riotous decoration in high relief running the whole length of its barrel, A1245 is one of the most elaborately decorated cannon to survive and indeed one of the finest examples of bronze sculpture in the Wallace Collection, as Jennifer Montagu recognised, when she described it as 'the most exciting piece of bronze in the Wallace'. It may be regarded as the masterpiece of the Venetian founder Giovanni Mazzaroli, who made the cannon as a young man, aged 20, and who seems, as discussed further below, to have used this work to make a claim for his status as an artist aware of the great figures in modern Italian sculpture, and thus as something more than a simple artisan founder. A1245 was unquestionably conceived as a work of art rather than as a weapon, and is unlikely to have been used for anything other than ceremonial purposes at most. One possible function may have been as a small cannon to be used for saluting. Nevertheless it is quite capable of being fired. With its 38 mm. bore, the cannon belongs to a class of Venetian front-loading culverins known as the moschetto da zuogo, which typically had a calibre of 42-45 mm., and a length of 140-60 cm.
The manufacture of artillery was one of the most important state-sponsored activities within the Republic of Venice, from the fifteenth century, through to the fall of the Republic at the hands of the French, in 1797. For a state with an economy in great part dependent on maritime trade, and with an extensive range of Italian and Mediterranean trading interests and imperial possessions to protect, a reliable supply of high-quality artillery was a fundamental strategic necessity. The excellence of Venetian artillery was an important contributory factor in the success of the Republic in maintaining its trade routes in the Levant throughout a period of some three hundred years, despite frequent wars and territorial losses to the expansionist Ottoman empire. Artillery production for the state was from 1524 concentrated within the Arsenal of Venice, and was closely controlled by the Venetian state, which employed the artillery founders who worked for it in the Arsenal. Three dynasties of founders dominated the Venetian artillery industry from the late 15th century until the fall of the republic in 1797: the Alberghetti, who were active from at least 1491 through to 1797; the di Conti, active from c. 1460 to c. 1685; and their relatives the Mazzaroli, active from perhaps the 1630s until 1797. The most significant members of the Mazzaroli dynasty were Francesco Mazzaroli (c. 1626- 1704) and Giovanni Mazzaroli (1668-1744), both of whom signed a number of pieces of ordnance.
Whilst the history of Venetian artillery up to the early 17th century has been the subject of much scholarly interest in the recent years, the later period, from the middle of the 17th century to the fall of the Republic in 1797, has been much less closely studied. The relationship of Francesco and Giovanni Mazzaroli has for example hitherto been unclear, but archival research undertaken for this catalogue has revealed much new information about both men and their work for the state foundries in the Venetian Arsenal (see Appendix A). It was unquestionably Francesco who brought the family to prominence, apparently the first member of the family to gain the prestigious office of public fonditor or state founder. During Francesco's lifetime, the Mazzaroli family succeeded the di Conti as one of two families of state founders , along with the Alberghetti, in the service of the Republic. This succession was assured through dynastic marriages, notably that of Giovanni Mazzaroli with the widow of the last of the di Conti. Francesco and Giovanni were without question the most inventive and skilled members of the family, and their careers were evidently closely intertwined during the father's lifetime. Giovanni Mazzaroli's own son became a state founder, and the family continued to work at the Arsenal until the fall of the Republic in 1797.
Francesco Mazzaroli was born c.1626 and died in 1704 (doc. 27). He is first recorded in the early 1660s, working as an assistant to the state founders Nicolò and Gerolamo di Conti (doc. 54). The link between the two families was consolidated by the marriage in 1655 of Nicolò to Francesco Mazzaroli's sister, Laura. After the deaths of Nicolò in December 1661 and Gerolamo in October 1662 (doc. 50), Francesco, noted as molto abile in his work, was entrusted in 1663 with the task of instructing in the profession of founder his nephew, the five-year old Marcantonio di Conti, son of the late Nicolò (doc. 54). At this stage and for some time to come, Francesco Mazzaroli was treated significantly less well than the other founders, notably the dominant Alberghetti family, who no doubt jealously guarded their privileges. Whilst he was instructing Marcantonio di Conti, Francesco received no salary, although his pupil was from the age of five being paid the apprentice's stipend of five ducats a month (doc. 57). In 1664 Francesco had to petition the Senate, to be paid the ten ducats per month stipend enjoyed by the other founders (doc. 55). In his submission, Francesco mentioned that he had worked for the Conti from the 'most tender years of my youth' (più teneri anni di mia gioventù), so perhaps from as early as the 1630s. He was granted the stipend, it seems rather grudgingly and for only for so long as his instruction of the young Marcantonio lasted (doc. 54). Sometime before 1671 Francesco Mazzaroli was accepted as a public fonditor, but in 1674 he was still being paid at a lower rate than the other state founders, and also did not enjoy the privilege of a house, a normal perk for the state founders (docs. 60-62). In the middle decades of the century, the Senate and the Provveditore sopra le Artiglierie, the officials appointed by the Council of Ten to oversee the gun foundries in the Arsenal, were deeply concerned by the lack of new blood among the state founders, principally caused by the decline of the di Conti dynasty. In 1656, one of the principal arguments put forward in the petition to appoint Nicolò and Gerolamo di Conti as state founders had been the need to ensure that the Alberghetti were not the only family working on ordnance for the State (doc. 53). In requesting the Senate accept Mazzaroli's petition submitted in 1674, the Provveditore sopra le Artiglierie noted that there were currently only three active founders, including Francesco Mazzaroli (doc. 62). There were two further reasons for urging acceptance of the petition. Francesco had demonstrated his initiative by developing what was billed as a significant technical improvement to Venetian ordnance, through the development of a steel holed bolt (lumiere d'azzale) which could be inserted into the vent of a cannon. The aim of the invention was to reduce the erosion of the vent caused by deflagration (combustion) after firing (sfogonarsi), which significantly reduced the life of a cannon (docs. 58-62). Francesco's personal circumstances had also been affected by the death of his eldest son Crocinto, killed by a fall in the Arsenal building, whilst under instruction from his father (docs. 60-62). Apart from the personal loss, Crocinto's death, which occurred on 15 November 1673 (doc. 13), had resulted in his father losing a significant sum of invested capital. Although the record of the death and other documents state that Crocinto was eleven, the record of his baptism (doc. 4) indicates that he was in fact only seven at the time of his death.
Crocinto's untimely death meant however that Francesco Mazzaroli began to instruct another son, Giovanni Mazzaroli, who was to go on to make A1245. In June 1677, Giovanni was granted the customary apprentices' stipend of six ducats per month (docs. 63-67). He had been born on 7 February 1668, his patrician godfather at his baptism Alvise Sagredo (doc. 5). He therefore probably began his apprenticeship well before he reached the age of ten, as was normal. On 27 January 1683, at the age of fourteen, Giovanni was formally appointed a public fonditor by the Senate (docs. 70-72). Francesco Mazzaroli continued to undertake valuable work for the Venetian State, carrying out in 1682, it seems at his own expense, a massive survey of the state of ordnance in the fortresses and towns in the Terra Firma, the Venetian territories on the Italian mainland (docs. 68-69). In February 1686 Francesco and Giovanni Mazzaroli were finally allocated one of the four houses reserved for founders, following the death of Sigismondo Alberghetti (docs. 73-77). Francesco and his wife Alessandra, who died in 1710 at the age of c. 66 (doc. 32), had numerous further children, the records of baptisms and deaths bearing witness to the high infant mortality of the age (e.g. docs. 11-12, 14, 16, 17). Among Giovanni Mazzaroli's siblings, his younger sister Corona, born in August 1672 (doc. 10), went on to make an advantageous second marriage in 1717, to the considerably older patrician Lorenzo Pisani (doc. 34); she was probably the last of Francesco and Alessandra Mazzaroli's children to die, at the age of 85 in 1758 (doc. 44). Although no further records of his activity have thus far come to light, another of Francesco's sons Antonio (1677-1742, docs. 14 and 40) was also appointed a public fonditor, signing a document in this capacity together with Giovanni in 1720 (doc. 85, see also 81-84).
Giovanni Mazzaroli himself married quite late, in 1698, at the age of thirty. His wife was Zanetta, the widow of Marcantonio di Conti (doc. 21), who had in the 1660s been instructed by Francesco Mazzaroli, after the deaths of his father and uncle (docs. 47-54). The di Conti are recorded as extinct in 1715 (doc. 79), and Marcantonio may well have been the last of his line. He signed, with an otherwise unrecorded Nicolò di Conti, a 40-pounder culverin in 1685, but is the only member of the di Conti family recorded as a public fonditor in February 1686 (doc. 74). Francesco Mazzaroli's sister Laura had already married into the di Conti in 1655, but Giovanni's dynastic marriage to Zanetta in 1698 must have been the critical step in cementing the formal replacement of the ancient di Conti dynasty by the Mazzaroli, as founders serving the Venetian state in the Arsenal foundries. Giovanni and Zanetta had a large family and, like Francesco and Alessandra, suffered many tragic losses (e.g. docs. 22-24, 28-30). Two of Giovanni's sons, Bortolo and Giuseppe, followed their father's profession and were accepted as apprentices in 1715 (docs. 78-80). However Bortolo died just two years later, aged 13, after falling from a Venetian rooftop balcony (altana ; doc. 35). Giuseppe presumably did become a public fonditor , although he was not mentioned as such when he died at the age of 66, in 1776 (doc. 46). Zanetta died at the age of 70 in 1739 (doc. 39), The last professional reference to Giovanni Mazzaroli was in a currently untraced document in 1732, and he died on 22 December 1744, at the age of 75 (doc. 41).
The new archival evidence thus provides us with a much clearer picture of the rise of the Mazzaroli family, and their position within the gun founding industry in the Venetian Arsenal. Francesco Mazzaroli, evidently a man with energy and intelligence, made the crucial transition from humble beginnings, to the privileged position of state founder. A close working relationship between the Mazzaroli and the ancient but moribund di Conti family was cemented by dynastic marriages, crucially that between Francesco's son Giovanni Mazzaroli, and Zanetta di Conti. These factors helped to ensure that Giovanni Mazzaroli's own path to the status of public fonditor was easier than his father's had been, and Giovanni enjoyed a long and successful career. To better understand his achievements as a founder, however, the evidence of surviving work is crucial. At present, Francesco and Giovanni are the only members of the Mazzaroli dynasty by whom signed works are known; a list is provided in Appendix B to this entry.
A high level of facility is indicated by A1245 and other works by Giovanni Mazzaroli, notably the most important documented works by him to survive, the ordnance cast on the occasion of the visit of King Frederik IV of Denmark to Venice, early in 1709. Venetian artillery was very highly regarded, only ordnance produced in Germany being considered technically superior, so far as production in Continental Europe was concerned. The gift of Venetian ordnance to the Danish head of state would have been very special and, rather like the gifts of glass made to Frederik during his visit, a demonstration of the Republic's claim, a few years after its successive defeats of Turkish forces in the Morea, to be still counted as a leading European power.
For the occasion of Frederik IV's visit, the Senate of Venice commissioned one cannon each from Giovanni Mazzaroli and from Giovanni Battista Alberghetti, and a mortar from Mazzaroli. Second examples of all three weapons were cast so they could be retained for the collection of the Venetian state, and were illustrated as Plates XIV and XVII of Domenico Gasperoni's compilation of engravings of ordnance in the collection, which was maintained in the Arsenal until after 1797. All three of the pieces of ordnance actually presented to the Danish King survive in the Tøjhusmuseet in Copenhagen, while the Venetian cast of Alberghetti's cannon also survives, on the Esplanade of the Invalides in Paris. After their occupation of Venice, the French had all the ordnance in the Arsenal transported to Paris, where it was eventually sold to merchants and melted down. The Alberghetti cannon was for some reason retained, and is thus the only piece to survive today.
Gasperoni's Artiglieria Veneta is one of the most precious sources for understanding of the work of the Mazzaroli, because of the number of pieces of their artillery which are illustrated in the compendium , which was essentially an album of the Republic's collection of the finest examples of artillery. The numerous examples of the Mazzaroli's work in the Artiglieria Veneta almost certainly, at one level, simply reflects the fact that the documenting of its achievements in the manufacture of ordnance seems to have been more clearly systematically undertaken during the last century of the Venetian Republic's existence. But it does also indicate the esteem in which the work of the Mazzaroli must have been held at this time; Gasperoni does not for example include a single piece by Orazio Alberghetti, who is discussed below. The pieces by Francesco and Giovanni Mazzaroli illustrated by Gasperoni include: a small falconetto signed by Francesco and dated 1676, approximately the same length as A1245, with spiralling vine ornament running along the barrel; a large culverin 'da 20', again signed by Francesco and dated 1684; a 500-pounder mortar signed 'IL. MAZZAROLI.F.' and dated 1679; what must have been a superb 20-pounder culverin, signed by Giovanni and dated 1701, with the arms of the then Proveditori alle Artiglierie; the Venetian Republic's example of the large culverin cast for the King of Denmark in 1708 and signed by Giovanni, and the Republic's example of the mortar he cast on the same occasion. The 1676 falconetto in particular demonstrates the Mazzaroli's liking for spiralling ornament running along the barrel, a key feature of A1245.
This feature can also be found, in the form of a trailing vine leaf which winds around the cannon barrel, in the best surviving comparative piece to A1245, a small cannon in the Hermitage, Saint Petersburg, signed by Francesco Mazzaroli (fig.[..]). This gun is very similar to no.[…] in its concept, with riotous mythological figurative decoration together with decorative ornament. Like A1245, the cascabel is formed from a figural group, depicting Hercules and the Nemean Lion, whilst there is a figure of Jupiter with his eagle, near the trunnions. It suggests, as does A1245, an ambition on the part of the Mazzaroli to create cannon which might be regarded as competing, in their wealth of figurative detail, with the great paintings to be seen in the city of Venice. Indeed, Wendelin Boeheim suggested that one of the putti on the Hermitage cannon was copied from Paolo Veronese's painting of the Rape of Europa in the Palazzo Ducale in Venice. Certain decorative elements of the decoration of the Hermitage cannon, such as the acanthus leaf above the figure of Jupiter, are very similar to comparable parts of A1245. However, the figurative overall is much stiffer and clumsier than the notably waxy and impressionistic detail of A1245. A1245 may also be compared with the so-called Furies Cannon in the Royal Armouries, made in 1773 for the Order of the Knights of Saint John on Malta, but apparently a re-cast of a cannon dated 1684 by Orazio Antonio Alberghetti. The Furies Cannon is almost as elaborately decorated as the two Mazzaroli cannon; whilst it is not completely clear which parts of the decoration were added in 1773, the spiral pattern of laurel branches covering the reinforce is likely to form part of the 17th-century original pattern, and may be compared with the acanthus decoration on A1245. Orazio Antonio Alberghetti (1656-c. 1690), a generation older than Giovanni Mazzaroli, might well have been regarded by the ambitious younger founder as something of both a role model and a rival. Whilst working with his father in Turin for the Dukes of Savoy, Orazio made at the age of only fourteen a fine miniature cannon, as a trial piece or prova. He later returned to Venice, and undertook with Francesco Mazzaroli the provisioning with artillery of the warships the Drago Volante and Fama Volante, between 1672-73 (doc. 61). The first casting of the Furies Cannon in 1684, just a few years before A1245, would have been undertaken in the Arsenal foundries in Venice.
Other surviving works by the Mazzaroli, including the cannon in Copenhagen, have decoration which, whilst often inventive and imaginative by the standards of much ordnance, is altogether less fluid and impressionistic than that on A1245. The relatively simple decoration to be found on most of their surviving guns and mortars may of course be largely explained by the fact that it is military ordnance intended for a practical offensive function. Only the two wall guns in Vienna, the only known works jointly signed by father and son, have decoration which is in any way comparable in parts, in its freedom and fluidity. However, they are made with a completely different technique, with thin bronze decoration applied to the iron barrels.
A1245 is therefore exceptional in its quality as a work of art, the modelling astonishingly waxy and vibrant, and containing numerous virtuoso passages, such as the undercutting of Jupiter's left leg. The modelling, with what appears to be virtually no afterworking to the cast, could not be more different from that of the cannon and mortar in Copenhagen, which are very carefully finished, with much afterworking up of the surfaces.
Giovanni Mazzaroli appears in A1245 to have sought to raise the essentially artisanal (if highly skilled) profession of the artillery founder to a higher level, one which could aspire at the least to the status of sculptor. The cannon is accordingly highly sculptural in its conception and shows a considerable, if not without its clumsy moments, gift for figurative narrative. The most purely figurative element, the cascabel with a group depicting a man struggling to overcome two male figures, would seem to refer to Michelangelo's abortive project in the 1520s, to create a colossal sculptural group of Samson fighting two Philistines, to be placed before the Palazzo Vecchio in Florence. With the fall of the Republican government in 1530, the plans fell through, but a number of small bronze groups are thought to reflect Michelangelo's original concept. These bronze groups were in turn the source for a series of North European sculptures in ivory or wood, including an ivory group in the Rijksmuseum attributed to the Dresden ivory sculptor Paul Heermann (1673-1732), a boxwood group attributed to Peter Hencke, formerly in the Yves Saint Laurent and Pierre Bergé collection, and a boxwood group attributed to the circle of Leonhard Kern, sold at auction in Berlin in 2013. Similar pieces, but with only a single Philistine, include an ivory group by David Heschler in Schwerin and another attributed to Leonhard Kern, formerly in the Abbott Guggenheim collection. The cascabel group differs quite significantly from the bronze groups after Michelangelo's model, and is in some respects closer to a derivation such as the Kern circle boxwood, with its ungainly position of the Philistine. The struggling figures may also be compared with those on a lost Venetian doorknocker, illustrated in the mid-18th century by Giovanni Grevembroch, recorded as at Palazzo Rezzonico at S. Barnaba.
The frieze with the rape of the Sabine women, near the muzzle, likewise contains a conscious reference to another Florentine work of art, Giambologna's bronze relief of this subject, set below his celebrated marble figure group in the Loggia dei Lanzi in Florence (fig.[..]; see also no.[S113]). It is less easy to identify a source for the key central scene with Jupiter overcoming the Titans. There was a degree of interest in this subject in the second half of the seventeenth century; it was the central theme in Algardis' famous firedogs (nos.[S161-62]). A relief of The Fall of the Giants was made by the Florentine sculptor Carlo Marcellini (1643-1713) in 1674, whilst a wax relief by Giovan Battista Foggini survives as a record of the lost fresco of this subject, designed by him and painted by Anton Domenico Gabbiano c.1692-94 for the Grand Prince Ferdinando de'Medici's appartments in Palazzo Pitti in Florence.
The presence of at least two quotations from Florentine Renaissance sculpture suggests that Giovanni Mazzaroli visited the city of Florence, which is indeed probable. The Mazzaroli clearly had some business links with Florence, as the locks of the wall guns in Vienna are signed by a Florentine maker, Antonio Maestre. The model cannon with the Medici arms in the Bargello, signed by Giovanni Mazzaroli, appears to be some form of demonstration piece, and it would seem very probable that its maker would have accompanied it if he was bidding for work in Florence. The conscious display of knowledge of Michelangelo and Giambologna seems to indicate a bid by the young Giovanni Mazzaroli to advertise his status as an artist craftsman, above the normal run of artillery founders. In the Artiglieria Veneta one plate illustrates a number of small cannon, none as elaborate as A1245. The manuscript caption (probably by Domenico Gasperoni) to this plate in the Wallace Collection's copy suggests that some cannon were valued in the Arsenal museum simply for their inventiveness of design and execution: 'Pieces of a minute calibre displayed in the gallery, partly spoils conquered from enemies, and partly for their construction, no less capricious than diligent.'
A1245 bears no incised figure recording the weight, which was obligatory for artillery produced to the order of the Venetian state. It must have been made by Giovanni Mazzaroli as a private commission, outside his employment as a public fonditor. It was technically illegal for employees of the state to work privately, although in fact this clearly seems to have happened quite regularly from the 16th century onwards. It seems that the founders had to undertake private work in order to bolster their not especially generous and sometime uncertain salaries from the state. As well as the foundries within the Arsenal, reserved for the casting of ordnance for the state, two additional foundries were built by the state on the Campo della Tana, adjacent to the founders' housing block. One was for the use of the Alberghetti family, the other for the di Conti; it may be assumed that the second foundry became available for use by the Mazzaroli, as they became dynastically allied with the di Conti. From around 1540 onwards, when the facilities within the Arsenal were upgraded, the foundries in the Campo della Tana began to be used for a variety of work, casting guns for allies of the state or for the Republic's merchant fleet, statues and works of art for the state, and also private commissions. It would seem most probable that A1245 was cast in one of the Campo della Tana foundries. It is possibly significant that Giovanni Mazzaroli's signature on the cannon is so small and discreet as to be all but hidden, unlike for example the enormous signature on the breech of the cannon made for the king of Denmark. It is conceivable to hypothesize that whilst Giovanni wished to sign this important work as his, he did not wish the fact to be too blatantly apparent.
There are no obvious clues as to who might have commissioned A1245 and on what occasion. It is possible that it was made for someone in Florence, although more probable that the commission came from a Venetian. The greatest cause for celebration in Venice in 1688 was the election as the new Doge of Francesco Morosini (1619-1694), the Venetian Captain-General whose victories in the Morea, during the sixth war between the Republic of Venice and the Ottoman Empire (1684-99), made him a hero not only in his native city, but throughout Europe. Morosini was elected Doge on 3 April 1688, following the death of Marcantonio Giustinian. As Morosini was on campaign in the Morea (Peloponnese), his election was first celebrated in May 1688 in the port of Piraeus, with great festivities, including 'copiose scariche di Moschetto, Cannone..' and a great firework display. It was only in January 1690 that Morosini arrived in Venice to a triumphant welcome, following which the celebrations for his return and his inauguration as Doge took place, lasting three days. As in the earlier celebrations in Zante, there must at times have been an almost constant vollying of cannon salutes. The bronze standard column outside the Arsenal in Venice was made by Giovanni Francesco Alberghetti in 1693, to celebrate Morosini's victories in the Morea. Unlike A1245, it has an inscription to this effect, bears Morosini's arms and carries the more conventional iconography of a triumphant Neptune. The main scene on A1245, with Jupiter crushing the Titans, was of course a conventional allegory for victory over a numerous and brutish enemy. It is perhaps just possible to a slightly Turkish aspect in the broadly modelled faces of the Titans, although the chained captives in one of the wall guns in Vienna are very much more clearly intended to represent Turks. The notion therefore that A1245 might have been commissioned to celebrate in some way Morosini's victories is attractive but, in the present state of knowledge, can only be considered a tentative hypothesis.
It is not known where and when Prince Anatole Demidoff acquired A1245, but it may have been shortly before he commissioned, in the early 1850s, the very beautiful carriage on which the cannon is now mounted, the work of the Sienese woodcarver Angiolo Barbetti (1805-1873) and the metalworker Giuseppe Ciani. Barbetti was born in Siena and trained in the workshop of his father, as well as at the Istituto di Belle Arti, before travelling to other Italian cities, including Rome. By the mid-1820s, he had his own workshop in Siena while by the 1830s his reputation, and the quality of the commissions he received, were both rising. Already in the 1830s Barbetti had English clients, among them Thomas Morgan and a Mr Newton, who lived in Siena. In 1842, along with his family and his best workmen, he moved to Florence where he opened a new workshop, near the Ponte delle Grazie, and where Prince Anatole Demidoff became one of his major clients. The workshop was almost continually engaged in commissions for Demidoff, from the early 1840s through to the 1860s. Between 1842 and 1844, for example, Barbetti made a pair of two organ cases, in the form of the façade of the Cathedral of Siena, for the Villa Demidoff in Polverosa, near Florence. Working mainly in a neo-Renaissance style, Barbetti became the leading intaglio wood carver in Florence, with around 100 employees in his workshop. Among his best-known works is the cabinet which he made in 1845 and which he exhibited at the Great Exhibition in 1851, where he was awarded a medal. The cabinet was immediately bought for the nascent South Kensington Museum, today's Victoria & Albert Museum. In 1850, Barbetti exhibited a number of specimens of his carvings in walnut, as well as other woods. He seems to have employed specialists to undertake the gilding on his furniture, so presumably also did so in the case of the carriage for A1245.
The maker of the iron work for the carriage, Giuseppe Ciani, was based in Empoli, outside Florence. In 1850 he exhibited in Florence a lever latch in iron, which was praised in the official report for the exhibition as 'perfect in its execution, and worthy of much praise for the mechanism.' In 1854, another Ciani, Gaspero Ciani from Fusignano near Ravenna, was much praised for a lock for a safe of his own invention. It may be that Giuseppe Ciani moved to Florence at some point, as among the exhibitors at the International Exhibition in London in 1862 was a G. Ciani of Florence, who exhibited a 'Lock, with countless combinations; other locks.' A Guglielmo Ciani, a sculptor in Florence who exhibited two sculptures in plaster at the 1850 exhibition, was perhaps some relative of Giuseppe.
The San Donato sale catalogue provided a little information about the carriage, explaining that it was designed by M. de Sainson, whose drawings were based on the carriage of a small model cannon which had once belonged to Cosimo III de'Medici (1642-1723), and was given by him to the family of Franceschi of Pistoia. The whereabouts of this cannon is not known today but, given that a model cannon by Giovanni Mazzaroli survives in the Bargello, it is not impossible that the one with the Franceschi family was also made by him. The French painter Louis-Auguste de Sainson (1800-c, 1877; fig.[..]), best-known today as the illustrator on board French naval expeditions to Australia, 1826-29,and to the Indian Ocean, South China Sea and Australasia, 1830-32, was a close friend of and secretary to Anatole Demidoff, who appointed him librarian for his libraries at Quarto and San Donato in 1848. He was one of the artists and scientists who accompanied Demidoff on his ambitious expedition to the Crimea and the Caucasus in 1837. Sainson later became curator of Demidoff's Museo di San Martino, today the Museo di Napoleone della Villa di San Martino, and he provided the texts for a sumptious series of lithographs of views in Elba and Tuscany sponsored by Anatole Demidoff, after drawings by André Durand which Demidoff had commissioned in 1852.
A1245 was evidently regarded by visitors as one of the many highlights of the collections at the Villa San Donato. It was described by Tullio Dandolo in his 1863 guide to the Villa and its collections as occupying the centre of the Sala delle armi, and as being so finely modelled that Benvenuto Cellini himself could not have done better. Dandolo suggested that the cannon had been found in the Venetian lagoon, dating it entirely erroneously to 1528 and associating it with Doge Andrea Gritti (1455-1538). Although the signature and date were accurately described in the 1870 sale catalogue, evidently this was the romantic story which was regularly fed to visitors to the Villa. The French poet Louise Colet, in her description of the contents, wrote of how the cannon had been fished out of the Venetian lagoon, where it had been for several centuries.
Giovanni Mazzaroli could no doubt never have imagined that he and his cannon would have become the subject of a poem written in the late 20th century, by the modern American poet Peter Meinke. Meinke wrote the poem whilst teaching at the Eckerd College Student Center in London in 1992; during a visit to the Wallace Collection, he was struck, as perhaps are many visitors to the museum, by the contrast between the beauty of A1245 and other works of art in the Wallace Collection's Armoury galleries, and their potential to cause death and destruction.
Mazzaroli's Cannon
Gods cluster like orgiastic barnacles
along the barrel of this exquisite machine
heating up as shots explode toward flesh
or fortress death aesthetically pleasing
ah, the elegant weapons!
the curved dagger inlaid crossbow the stern
pike manifer and chanfron etched with bands
of delicate tansies The knuckled anarchy
of art pounds the pursed lips
of common decency As rows of soldiers
fold in blood vomit excrement
Mazzaroli polishes the brilliant bodies
which he loves not because they're gods
but because they're naked: those muscles
those buttocks the sinews of the neck
the abstract line of back and breast enticing
beyond any responsibility so when
the inevitable bad ending ends he
and all artists shall be ready
with their stunning ivory-crusted
gold-leaf and silvered caskets
- View: Lightbox 3x4


text: ''The City & the City'' is a 2009 NewWeird crime novel by Creator/ChinaMieville.Inspector Tyador Borlú of the Extreme Crime Squad of the decaying {{Ruritania}}n [[LandOfOneCity city-state of Besźel]] is tasked to investigate the [[DisposableSexWorker murder of an apparent prostitute]]. However, things are (obviously) more complicated than they initially appear, and his investigation turns international when he is forced to cross over to the [[LandOfOneCity sister-city of Ul Qoma]] to continue his work. What makes this more than your average MurderMystery is the fact that Ul Qoma happens to be geographically - ''grosstopically'', to use the local phrase - in the same location as Besźel.No, not just "next to", but literally ''the same place'' as Besźel.In this unique double-city, streets and buildings are regarded as being either part of Besźel or part of Ul Qoma, sometimes with the location changing for individual rooms within buildings or tiny patches of ground. There are neighborhoods of Ul Qoma that are exclusively Ul Qoman, and neighborhoods of Besźel that are exclusively Besź, but when people go to locations that are 'cross-hatched' (part Besź, part Ul Qoman), they must "unsee" what is in the other city-state unless they formally cross borders. To travel between the cities includes the full process of national travel, requiring visas, passports and customs agents. If they ever allow themselves to recognize that there is a person or building in front of them that--legally speaking--is in another city, they draw the attention of Breach, the dreaded power that enforces the separation.As Borlú goes deeper into his initial murder investigation, he likewise gets drawn into whispered rumors of a third city, Orciny, that exists between the two cities everybody else can see.In April 2018, a four-part miniseries adaptation premiered [[https://www.bbc.co.uk/programmes/p061bd5l on BBC Two]], with Creator/DavidMorrissey as Borlú.----!!This novel provides examples of:* AgentProvocateur: The Unificationists are heavily infiltrated by the police so that they can be kept in line and controlled. [[FlockOfWolves There are so many cops that everybody]], ''[[FlockOfWolves including the unifs]]'', [[FlockOfWolves say that there are more cops than honest members]].* AlienGeometries: To the perspective of people in one city, people and places of the ''other'' city are not there. In order to travel between buildings that are grosstopically side-by-side you need to travel to the legal border between the cities (Which might be miles away), legally emigrate, and then come back. Trash and rain are the only objects which travel freely between the cities. For everything else it does not matter where you are, all that matters is which city you are in.* AncientConspiracy: Orciny is hinted to be this throughout the novel. [[spoiler:It's a lie put forward by a self-aggrandising academic, sick of being put down for his OldShame.]]* BadCopIncompetentCop: In the introductory chapters, Borlú and Corwi discuss how the Besźel police have "come a long way". The murder of an apparent prostitute is getting more attention than it would have even a few years ago, and Inspector Naustin is not complaining about being assigned to question the local streetwalkers despite the fact that he must resent the duty. However, Borlú still expects a lot of the support to disappear once it becomes ''official'' that the victim was a prostitute, and not even the good cops can keep the bad ones from [[PoliceBrutality roughing up suspects and witnesses.]]* BilingualBonus: Because of Besźel and Ul Qoma's influence from [[CultureChopSuey many different people]], many words of Besź and Illitan are the same as (Or similar to) words in real-world languages. "Besźel" itself could be a corruption of the Hungarian word "beszél", meaning "(he/she) talks".* BittersweetEnding: [[spoiler:Borlú solved the crime of Mahalia's murder and shut down the artefact smuggling operation, but Yolanda died during the investigation, both cities have suffered extensive damage and deaths due to the unification riots, and Borlú has been forcibly recruited into Breach.]]* BlackAndGreyMorality: Borlú works in a police department that is lax with civil rights in a generally corrupt government, and when he teams up with Dhatt in Ul Qoma he sees that their police are even more brutal in their treatment of citizens and abuses of power (Dhatt in particular is implied to be extorting money and services from businesses with the "police discounts" he receives, and he beats up a potential informant/witness in order to get a ''different'' informant/witness to talk). However, despite their methods they both want to catch Mahalia's killer, and when it comes down to it they would rather risk their careers--and their lives--than abandon innocent people to death.* ClusterFBomb: Dhatt, oh Dhatt. "Even though of course those fuckers, those fuckers more than any other fuckers -- and we have our share of fuckers." Also see his paragraph-long ClusterFBomb during [[spoiler: his interrogation]]. * CultureChopSuey: Both Besźel and Ul Qoma are a blend of cultures and languages from Eastern Europe and Western Asia. The city's name "Besźel" is a nod to the Hungarian expression for "he/she talks" (''beszél''), with the demonym/language name "Besź" meaning "speech" or (by extension) "people who speak [the language]". "Ul Qoma" seems to be an altered transliteration of the Arabic ''Al Iqama'', which is the second call to prayer in Islam. Besź is written with an alphabet that is visually similar to Cyrillic (But is emphatically not actually that alphabet), while Illitan is written using the Latin alphabet after a cultural revolution early in the twentieth century and is described as a mix between Arabic and Sanskrit. Despite these influences from many sources, both countries have sharply xenophobic tendencies, and restrict the immigration of Africans, Arabs and Asians.* DamnedByFaintPraise: Borlú deliberately places these barbs at the climax. [[spoiler: Borlú tells Bowden that Yolanda and her boyfriend had truly believed in the myth of Orciny that he had invented, and which Mahalia had seen through. Since Bowden had earlier in the novel dismissed Yolanda as not the brightest student, and her boyfriend was an outright stupid pretty-boy security guard at the dig, Borlú knows this point is like a knife in Bowden's already badly damaged ego.]]* DecadeDissonance: For a long time, Besźel was the more technologically advanced city because Ul Qoma was under economic embargo by the United States, and the roads were filled with Qoman donkey traps alongside Besź motor cars. Now the situation is reversed, and Besźel is stuck with late-80s infrastructure - dial-up internet and rickety cars - while Ul Qoma is awash with skyscrapers and broadband due to a technological and archeological boom. It's implied this is necessary for the separation to keep working - without being able to tell at a glance what city a building or vehicle belongs to, a citizen is perpetually at risk of Breaching.* DisposableSexWorker: The killer slaps a thick coating of makeup on Mahalia's face before her body is dumped in the hopes that she will be mistaken for a prostitute when discovered. Conversation indicates that the Besźel police do not historically have a solid track record in investigating crimes against prostitutes, and even after noting that they have "come a long way" Borlú still expects a lot of his support to disappear once it is ''official'' that the body is a sex worker.* DontYouDarePityMe: Borlú theorizes that what finally drove [[spoiler:Bowden to murder Mahalia]] was that she did not come to him to accuse him or harangue him, but instead to ''warn'' him. When he realized that she thought ''he'' had been tricked, that she never even considered that he was behind everything, drove him over the edge after so many decades of being scoffed at by the public.* EvilIsPetty: Towards the middle of the book, Borlú begins to suspect that Orciny really does exist, and that there really is some sort of AncientConspiracy surrounding the cities that is working towards some ultimate end. Eventually, he discovers that [[spoiler:the entire affair was just a theft and smuggling ring working for a few thousand dollars, bankrolled by the idle curiosity of a foreign CEO and "masterminded" by a corrupt city councilman and discredited academic. There is no AncientConspiracy, it was just personal greed and arrogance]].* FelonyMisdemeanor: Breaching is a much worse crime than anything else that could be committed in either Besź or Ul Qoma. The police invoke the omnipotent Breach to deal with the murder case not because of how heinous the murder was, but because she was murdered in Ul Qoma but ''dumped'' in Besźel. When her ''American'' parents fly in to Besźel, they are outraged that the police are not investigating the case more thoroughly. They just don't understand that calling in Breach to deal with a case is akin to summoning {{God}} to enact divine retribution upon a wrongdoer - [[spoiler:[[TheManBehindTheCurtain or, at least, that's how the two cities see it]]]].* FirstNameBasis: When Borlú introduces himself to the teenage witnesses in the first chapter, [[DiscussedTrope he internally considers how he should refer to himself]]. If they were younger he would have introduced himself as "I'm Tyador", but he thinks that they are too old now for euphemisms and first names so he sticks to professionalism and introduces himself as "Inspector Borlú".* FlockOfWolves: Nearly every mention of the Unificationists from the very beginning of the book has people commenting that most of their members [[AgentProvocateur are actually cops undercover]]. ''Even the unifs make the same comments themselves''. This is used to emphasize that the unifs are not actually a threat in either city.* GoodCopBadCop: Ramira Yaszek sits in on Inspector Naustin questioning some witnesses because Borlú knows that he is liable to get violent if left alone, [[PoliceBrutality but not even her presence can stop him from roughing them up when one starts talking back.]] Afterwards she manages to morph it into her playing "good cop" after they had seen Naustin as "bad cop".* HiddenAgendaVillain: Yolanda explains that Orciny is not "stealing" artefacts, they are ''taking them back'' because they had buried them for their own reasons and are going to use them for their own purpose, which nobody in the Cities have figured out. [[spoiler:[[SubvertedTrope It turns out this was just the cover story used to fool Mahalia into working for 'Orciny'.]] The real thieves are actually just selling them to foreign corporations that are researching them to see if they really are somehow technologically or supernaturally advanced.]]* IChooseToStay: [[spoiler:Borlú, realizing that he will not be able to unsee the cities after his stint with Breach, decides to join them and see both cities freely. [[DownplayedTrope Breach had not given him much of a choice, though]].]]* IJustWantToBeSpecial: [[spoiler: Borlú theorizes that Bowden was not so much interested in the money of the artefact-theft scheme as he just desperately wanted to be respected for his work after so many years of ridicule. When Mahalia, brilliant [=PhD=] student, comes to him talking about how true his work is, he plays along to keep that sensation going]].* InsultToRocks: [[PlayingWithATrope Variation]]. Borlú tells Corwi about one time he was sent abroad to a law enforcement conference about policing "split cities" (Berlin, Jerusalem, etc.), with the conference clearly viewing Besźel and Ul Qoma as another example of the type. Both he and Corwi are insulted (He at the time, her now when he is telling the story) at the implication that Besźel and Ul Qoma belong in the same grouping as these other cities, since they believe they are two independent cities in close proximity, not the same city divided in two.* JaywalkingWillRuinYourLife: Breach (The act of acknowledging the existence of the other city as well as crossing over into it illegally, but is also the name of the secret police) is treated as a crime worse than murder in Besźel and Ul Qoma. Adult citizens who cross over into the other city through unofficial venues are taken away by Breach and are never seen again. It is stated that children are treated more leniently than adults, and tourists are merely exiled from both cities.* KarmaHoudini: [[spoiler:[[MegaCorp Sear and Core's]] CEO manages to avoid any criminal charges or personal repercussions for bankrolling the theft and smuggling scheme that spurred he entire plot. There is talk of a lower-level manager being punished, and maybe a subsidiary company being sold, but nothing sticks to the prime movers.]]* TheManBehindTheCurtain: [[spoiler:Breach. After being played up as a mighty, possibly-supernatural force of municipal vengeance for most of the book, they turn out to be little more than a small, moderately high-tech, and very human group who draw their 'powers' from the citizens' psychological blind spots and their recruits from the breachers they abduct. They only exist because Besźel and Ul Qoma allow them to, and the foreign MegaCorp running the artefact smuggling ring holds them in contempt because to the rest of the world they are functionally just a local law enforcement agency.]]* MaybeMagicMaybeMundane: The artefacts, which are ahistorical, deeply weird, and hinted to have functions and abilities of a decidedly alien sort... but never actually ''do'' anything explicitly supernatural on-screen. In accordance with the book's themes, no explanation is ever given, and the matter is not dwelt upon.* MindScrew: So it's a crime thriller set in two cities that happen to occupy ''the exact same geographic location'' and are culturally mandated to be unaware of it? Go on... [[spoiler:It only gets worse when you realize that the story contains ''no significant supernatural elements''.]]* MisplacedWildlife: Wolves live in the streets of both Besźel and Ul Qoma, but the scruffier and scrawnier variety is tacitly native to Besźel, while the larger and better-groomed wolves are supposedly native to Ul Qoma. When the (Besź) narrator shoos away a clean-looking wolf from his garbage, his neighbors act as shocked as if he had breached.* MistakenForProfound: When Borlú finds Mahalia's copy of ''Between the City and the City'', he tries hard to decipher what all the notes she has scribbled in the margins ''mean''. Particularly as they become more frantic and the handwriting is almost visibly angry/frightened. [[spoiler: It is only at the end that he realizes that Mahalia has not been discovering the hidden history of Orciny or the way it controls the cities, but instead that she has discovered that there ''isn't'' an AncientConspiracy. Her notes are just academic references to the other scholars that have already researched and published refutations of the book]].* NewWeird* TheNotLoveInterest: Borlú is casually seeing two different women in Besźel, but his closest bond is actually with Constable Corwi, a beat cop that he has worked with in the past and who he dragoons into a role as his assistant for the initial investigation. The two of them spend hours together working the case and debating its merits, and when Borlú is sent to Ul Qoma it is Corwi that he most desperately wants to be able to speak to again. [[spoiler:When he is conscripted into Breach at the end of the novel he writes farewell letters to his girlfriends, but visits Corwi--and Dhatt--for a final goodbye]].* ObstructiveBureaucrat: Borlú finds convincing evidence towards the beginning of the investigation that Mahalia's murder was a breach, and presents the argument that the case should be given to Breach to resolve. Everybody expects it to go through, but then the Oversight Committee--as part of its "routine follow-up"--finds evidence to prove that no breach was actually committed. Since the Oversight Committee has never before seemed to do any follow-up at all, let alone something as in-depth as this, Borlú, Corwi and even Borlú's boss recognize that somebody on the Committee must have wanted to deliberately torpedo the attempt to get Breach involved, either because they did not like Borlú personally or because they were somehow involved in the crime itself. They all suspect it to be Major Yorj Seydr, a leader of the National Bloc and a right-wing group bully. [[spoiler:It is actually Mikhel Buric, a member of the Social Democrats, who had helped cover up the murder and did not want Breach involved]].* OldShame:** In-universe, Bowden's book, ''Between the City and the City'', ruffled a lot of feathers in its time and is banned in both Besźel and Ul Qoma. Even though he has publicly disavowed the book and admitted the theories are all crap, he still can't get any decent work, and he still gets accosted by obsessed fans.** Ul Qoma apparently sided with the Axis in WWII, which is a blemish on their current efforts to present a modern, cosmopolitan face to the world.* TheOnlyBeliever: Mahalia Geary is the only person to really believe in the existence of Orciny. Most people never believe in it at all except for the conspiracy theorists and nuts, and Doctor Bowden--who used to believe in it and cannot escape that association--has since realized Orciny itself is a myth and his research into it was mainly a product of young, over-imaginative mind. [[spoiler:In the end, [[SubvertedTrope not even Mahalia was a believer]], realizing that she was being deliberately fooled by Bowden. She had, however, convinced Yolanda Rodriguez that it existed and never got around to explaining the truth before her death. To Bowden, having the ''only'' believer be the less-intelligent friend of the girl who had figured him out was almost worse than having nobody believe him at all]].* PoliceBrutality:** Conversation indicates that the Besźel police is getting better (They ''could'' be held accountable for their actions if their victims were to make an effort), but there is still a lot of 'old school' police-work that goes on. Borlú knows that Inspector Naustin is liable to get rough with witnesses if left to his own devices, so he arranges to have Ramira Yaszek sit in on the interrogation with him. Naustin ''still'' hits one of the witnesses, but Yaszek was able to intercede and morph it into her playing [[GoodCopBadCop Good Cop.]]** The Ul Qoman ''Militsya'' is apparently much rougher than even the Besźel forces. Dhatt is honestly confused and surprised at Borlú reaction to him knocking around a witness/potential suspect, and there seems to be no thought at all of any repercussions.* {{Precursors}}: There are rumors, legends and myths about the people who lived in this territory before the rise of Besźel and Ul Qoma. The SchizoTech found in the archaeological digs has lead some to believe that they possessed advanced technology or magic, and there are now-discredited theories that there have been multiple different civilizations in the same territory. [[spoiler:Ultimately we learn nothing more about these people than what the characters knew at the beginning, as none of them have learned anything new, either. It is never established if they did or did not have any special technology]].* {{Pride}}: Borlú ultimately realizes that what drove [[spoiler:Bowden]] to take part in the conspiracy was not the money he would get, but instead his anger at the way his professional career has been a laughingstock for decades. By joining up, he could make his ridiculous mistakes ''true'' and vindicate himself, even if only in his own eyes.* ProperlyParanoid: Yolanda Rodriguez believes that her life is in danger from unknown forces controlling the cities. [[spoiler: She is right that her life is in danger, [[RightForTheWrongReasons but it is not Orcini after her, but instead the local criminals and government officials cleaning up.]]]]* RightForTheWrongReasons: Yolanda Rodriguez believes that her life is in danger from unknown forces controlling the cities. [[spoiler: [[ProperlyParanoid She is right that her life is in danger]], but it is not Orcini after her, but instead the local criminals and government officials cleaning up.]]* {{Ruritania}}: Besźel is a poverty-stricken, technologically backward city-state somewhere in southeast Europe. Ul Qoma is in the same region, of course, but its booming economy gives it a much better infrastructure and connections with the First World.* SaveBothWorlds: Borlú does not care for Ul Qoma any more than any other Besź, and Dhatt feels the same way in reverse, but they both work to save ''both'' cities.* SchizoTech: The artefacts found beneath the two cities, causing the archaeological teams investigating them no end of headaches. Complicated gears and clockwork of sophisticated metalwork are buried along with crude stone tools and primitive clay pots. A now-discredited theory that somebody came up with to explain how it all fits together is that there was a yet-unidentified civilization that lived in the region before the two cities emerged, this civilization originally dug up the artefacts, and then for some unfathomable reason ''buried it all again''. Modern archeologists no longer believe this, but they use it as an example of the way the situation does not make sense.* SecretPolice: Breach... Sort of. It's a faceless omnipotent magical/alien/divine law-enforcement thing that stops unauthorized crossing over between Besźel and Ul Qoma. [[spoiler:It is ultimately revealed to [[TheManBehindTheCurtain just be a normal secret police organization]] who draw their 'powers' from the citizens' psychological blind spots.]]* SelectiveObliviousness: Citizens of Ul Qoma and Besźel are obligated to employ a kind of SelectiveObliviousness at all times to avoid noticing the other city. Failure to do so results in Breach, a crime punishable by [[spoiler:recruitment]]. Despite this, it's implied that [[spoiler: the two cities' mutual selective obliviousness developed independently, and were responsible for the creation of Breach as a power in the city]] rather than the other way round.* SherlockScan: [[DownplayedTrope Downplayed]] in the first chapter, after Naustin and Borlú have first looked over the body. The obvious conclusion is that she was a prostitute murdered while working, but after Naustin walks off Borlú asks Corwi for ''her'' take, since she is clearly unconvinced. She points out that the victim's makeup, though thick, is in earth and brown colors, not the bright colors used to emphasize sexuality or attract attention. Her hair is also un-dyed when most of the working girls are blonde and the rest are black or bloodred. To cap it off, her hair--though dirty--is in good condition, even better than Corwi's, and for the streetwalkers in Besźel the priority is food for their kids first, then drugs for themselves, then ''food'' for themselves, with luxuries like conditioner way down the list. None of it is definitive, but Borlú takes it as an indication that there's something more going on than just a crime of passion from a john.* StagedPopulistUprising: Towards the end of the novel, a citywide--''both'' cities--uprising is started by the Unificationists, the people who believe that Besźel and Ul Qoma should be one city. Since nearly every mention of the unifs from the very start of the book has had people talking about how [[FlockOfWolves most of their members are actually cops]], it takes Borlú very little time to realize the entire event is a cover for [[spoiler:Buric]] to make his escape.* StupidCrooks: If [[spoiler:Bowden had had an up-to-date map or a henchman who could think on his feet]], Mahalia's murder would have gone undiscovered for days (Perhaps weeks) and likely never been solved. Instead, her body was dumped haphazardly, quickly discovered, and the entire event unraveled from there.* TheSummation: There's a long one at the end.* TitleDrop: Bowden's book ''Between the City and the City'', but also the closing line. * UnreliableNarrator: Borlú, thanks to his culturally-imbued prejudices and blind spots. There are things that he does not see, or rather does not ''allow'' himself to see, that the audience therefore also misses.* WhereTheHellIsSpringfield: The precise location of the cities is not specified any more than "southeast Europe". References are made to Hungary, Turkey and other countries, but none are specifically said to be direct neighbors. The closest we can get is to say that it is somewhere in the Balkans/Black Sea region.----


text:
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Can a sample SoP for electrical engineering applications help you?
If you want to land your chosen electrical engineering place then you need to ensure that every part of your application is capable of making you stand out. The committee is going to review many different applications and your SoP is key to making your application memorable. A well written SoP for your application can make you an obvious choice but crafting a statement of the right quality is very tough. This is why looking at a sample SoP for electrical engineering applications can help you to understand what you need to achieve.
How to use an electrical engineering statement of purpose sample
An electrical engineering statement of purpose sample is not something that you can just go ahead and copy or even make a few alterations to and submit it as your own. Your statement needs to be unique and about you. A sample however can help you to understand the style of writing that is required and also the areas that you will need to cover within your own personal statement. An example SoP will provide you with many ideas as to what to write but you do still have to come up with your own unique way of writing your own.
What to cover within your own SoP for electrical engineering
No matter which sample SoP for electrical engineering you look at you will see that they all seek to provide answers to the same questions that the committee are seeking answers to. The committee will want to know:
- Why are you looking to study electrical engineering? When did you become interested and how?
- What steps have you already taken to pursue your interest in electrical engineering?
- Where do you see this program allowing you to take your career?
- What specific reasons do you have for applying to this specific program than any other? Does it offer specific courses or specialties that are not found elsewhere?
- Have you got the specific skills and abilities that they value and are looking for in their applicants?
We can write your SoP
Even if you have looked at the very best sample SoP for electrical engineering applications you may still be struggling with understanding what to write. This is why our specialized SoP writing service is here to help you. We offer affordable and reliable writing and editing services for your SoP and also all of the following so that you can order from us confidently:
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MSRP for 1983 Ford Mustang GT man
What was the MSRP for these cars back in the day? I'm trying to get an insurance quote. T-top, two tone paint, man 5 speed
5 Answers
around 3,500.00
i bought a new gt in 83 with sunroof and it was 12,000+ tax title out the door
yea but that was then,not now.
correct and that is what he asked.what was the price back in the day
Thanks John for you response. I was looking for an insurance quote and that was one of their required questions. I bought the car from the original owner with 95,000 miles on it for $1000. Thanks again for your time.
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