Exquisite Beauty Research Articles

Just Behave, Pablo Picasso! (review)

Reviewed by: Just Behave, Pablo Picasso! Deborah Stevenson Winter, Jonah . Just Behave, Pablo Picasso!; illus. by Kevin Hawkes. Levine/Scholastic, 2012. [48p]. ISBN 978-0-545-13291-6 $18.99 Reviewed from galleys R Gr. 3-5. Arguably the most towering figure of twentieth-century art, Pablo Picasso started out as a prodigious young painter in love with change and novelty, and Winter's picture book chronicles the way the artist's fearless originality shocked the art world. As the text explains, "In the time it takes other people to admire the exquisite beauty of his art, young Pablo has moved on to some other style," leaving in [End Page 486] his wake frustrated buyers, agents, and critics who just want him to make more of the same successful paintings rather than developing new style after new style. This isn't so much a biography of Picasso as a look at an iconoclast at work, and a spirited one at that; Winter's present-tense prose, emphasizing quick, heartfelt dialogue, has an urgency that conveys the intensity of the young and artistic, and the portrait of the artist as a young rule-breaker will immediately put audiences on his side. Appropriately enough, the art packs the main punch here: Hawkes' usual heartiness becomes deliberate audacity (especially on the title page, where young Picasso's face fills the spread, staring out intently at the viewer), counterbalanced with some more painterly styles in the sweeping acrylic brushstrokes. Illustrations respond smartly to the text's imagery, providing visual metaphors for the drama of Picasso's life and celebrating artistic freedom with the soaring shifts in perspective. Yet the art leaves the abstraction to Picasso himself, tracing his creativity accessibly and including takes on specific, identifiable Picasso paintings (their titles and locations are noted on the book's last page). Kids—and adults—who ask "What's the big deal about Picasso?" will find the answer here in a nutshell, and this would make a terrific partner to other modernist art picture books such as Winter's Gertrude Is Gertrude Is Gertrude Is Gertrude (BCCB 1/09). A final note gives a little more detail on Picasso's life. Copyright © 2012 The Board of Trustees of the University of Illinois

Pterocarpus santalinus Linn. f. (Rath handun): A review of its botany, uses, phytochemistry and pharmacology

Pterocarpus santalinus Linn.f., commonly known as Red sanders, belongs to the family Fabaceae. It is endemic to India and considered globally endangered, with illegal harvest being a key threat. The plant is renowned for its characteristic timber of exquisite color, beauty, and superlative technical qualities. The red wood yields a natural dye santalin, which is used in coloring pharmaceutical preparations and foodstuffs. In the traditional system of medicine, the decoction prepared from the heartwood is attributed various medicinal properties. It has been used in inducing vomiting and treating eye diseases, mental aberrations, and ulcers. The heartwood of Red sanders is known to have antipyretic, anti-inflammatory, anthelmintic, tonic, hemorrhage, dysentery, aphrodisiac, and diaphoretic activities. It has also been used as a cooling agent. Ethanol extract of stem bark was reported to possess anti-hyperglycaemic activity. The wood in combination with other drugs is also prescribed for snake bites and scorpion stings. Phytochemical investigations of aqueous and ethanol extracts of stem bark revealed the presence of alkaloids, phenols, saponins, glycosides, flavonoides, triterpenoides, sterols, and tannins. The heart wood contains isoflavone glucosides and two anti-tumour lignans, viz., savinin and calocedrin. However, the species has remained unexplored for many pharmacological activities claimed. The present paper reviewed botany, uses, phytochemistry, and pharmacology of P. santalinus.

Circles of Love: Platonism in Clément Marot's Temple de Cupido

TEMPLE fe Cupido, composed by Clement Marot in 1513-14, narrates quest for love that is not susceptible to change--Ferme Amour. Some scholars consider this poem too artificial, imitative or immature (Pierre Jourda and C. A. Mayer). (1) Other critics examine only one meaning of love: the agape of the Christians (Edwin Duval, Cynthia Skenazi, Gerard Defaux). In my reading, I would like to show that the poem brings out all the possible meanings of the world love, the classical and the Christian. Lustful erotic love morphs into individualistic artistic creativity, artistic creativity changes into the selfless love of God. The critics failed to acknowledge and to explain how the various meanings of love, belonging to different philosophical systems, coexist peacefully in one allegorical domicile--the temple of Cupid. Is it not surprising that the narrator (the Pilgrim) sets out to find, and finds, perfect love after falling in love with woman? And is it not surprising that the Pilgrim leaves on quest for nobler love to flee Cupid (or Eros in Greek), but finds this superior love in Cupid's own home? Finally, how to explain that Cupid's worshippers are poets? I would like to read Marot's poem as map of Plato's conception of love, accompanied by Christian legend (or commentary). Diotima, the character of Plato's Symposium identifies love as the springboard to individual progress: for outstanding individuals, love for the beautiful person can grow into artistic creativity and into longing for the divine and absolute beauty. While in Plato the meanings of love can be represented hierarchically, as ladder, in Marot these meanings become the three concentric spheres, which compose the Temple de Cupido. Erotic love is the outer sphere of the temple. As the hero penetrates deeper into the temple, he observes that Cupid also awakens in his worshipers the love of art. In the choir (cueur), the central point of the temple located between the nave and the altar, the hero discovers yet nobler love Christian agape. The voyage ends in yet deeper sanctuary: Cupid's temple reveals itself to be the poet's own cueur, or heart. The poem is narrated in the first person and is composed of 539 lines. The imaginary voyage of the hero, who calls himself the Pilgrim, can be divided in five stages. 1) Pilgrim, escaping Cupid, sets out to find Ferme Amour, or true love vv. 1-98 2) Pilgrim enters Cupid's temple and describes its rituals as the love of art vv. 99-408 3) Pilgrim describes the rituals of Cupid's temple as anxiety and madness vv. 409-484 4) Pilgrim finds true love together with the royal couple in the temple's choir vv. 485-535 5) Pilgrim discovers that true love is found in his own heart vv. 536-539 The poem opens to show Nature awakening from sleep and Cupid surveying his obedient subjects. Taking notice of the hero, Cupid wounds him with his arrow. To spite Cupid and the beautiful lady who did not reciprocate his feelings, the hero flees. He sets out to find the divine lady, une haulte Deesse (60) which he calls Ferme Amour: chaste colombelle,/Fille de la paix (77-78). He searches high and low, but Ferme Amour is nowhere to be found. The people he asks on his way respond that true love was last seen here on earth thousand years or more ago (Mille ans, ou plus, y a v. 82). Surprisingly, the hero (who calls himself the Pilgrim) conceives plan to find true love in the abode of the same perfidious god of erotic love, Cupid, whom he had chosen to flee. ... Et si deliberay Pour rencontrer celle Dame pudique, De m'en aller au Temple Cupidique En m'esbatant: car j'euz en esperance Que la dedans faisoit sa demeurance. (90-95) What gives the Pilgrim the hope that he will find true love in the citadel of Cupid, or erotic love? Time and again, the Pilgrim notes that he is drawn to the temple because of its exquisite beauty. …

Thai Puppet Performance with Projector and Light in Theatre

The presented herein to guide the more ambitious beginner to understand the principles involved. The concept of cultural revitalization is an effort to solve problems of the development, creation and application arts and culture identity. The Hoon Lakorn Lek (Thai Puppet Show) performance is likely to serve as a solution to the conservation, development and dissemination of Thailand's cultural heritage with exquisite beauty and superior value. The Art and Science of Moving Light in Theatre, Live Performance, Broadcast, and Entertainment cover the history, the science, and the art of automated lighting.

From Carolyn Jackson

from Carolyn Jackson Carolyn Jackson A clerk in a Moab, Utah, bookstore suggested that I read something by Terry Tempest Williams after I exhausted its supply of Edward Abbey titles, and I’m glad she did. Born in 1955, Williams is a worthy successor to Abbey, who lived in the desert Southwest and died in 1989. A naturalist by education and vocation, Williams has the gift of seeing universality in the specific, whether she’s at the Great Salt Lake or in a Rwandan village. She is also a spiritual seeker—raised a fifth-generation Mormon, but a dissenter from some Latter Day Saints teachings. Where Abbey’s quest led to civil disobedience, Williams’s might lead to a hair-raising vision or a profound insight. Refuge: An Unnatural History of Family and Place Terry Tempest Williams Pantheon, 1991, Out of Print. 320 pages, Available in Vintage Paperback, $13.95. [End Page 171] This is Williams’s masterpiece. She wrote it in a time of impending change: a rise in water level was destroying the wildlife sanctuary in the Great Salt Lake, where she studied migratory birds; her mother, Diane, developed ovarian cancer; and a developer had big plans for the neighborhood in Salt Lake City where she and her artist husband, Brooke, lived contentedly. I think the book’s strength comes from Williams’s discipline in moving between her deep mourning for what is being lost and her ability to focus on the exquisite beauty that is immediately before her—whether it’s a rare snow bunting, or a deep navy bathrobe with tiny stars that her mother buys. Her analogies come effortlessly. “After supper, we would spread out our sleeping bags in a circle, heads pointing to the center like a covey of quail, and watch the Great Basin sky fill with stars,” she recalls of family camping trips. “Our attachment to the land was our attachment to each other.” Williams’s ancestors came to Utah pushing carts 150 years ago. She draws strength from this, but at the same time, there is a palpable tension between her independent spirit (she gives the finger to a bunch of yahoos who destroy a burrowing owl nest) and the patriarchal norms of the church. She is proudly feminist, having grown up with the example of strong women like her mother, who fought off breast cancer when her four children were young, and her grandmother Mimi, who took her on her first Audubon field trip when she was nine. Sadly, by the time the book ends, Williams is 34 years old and already the matriarch of her family. In a chapter called “The Clan of One-Breasted Women,” we learn the meaning of the title’s reference to an unnatural history. Leap Terry Tempest Williams Pantheon, 2000, Out of Print. 352 Pages, Available in Vintage Paperback, $16.95. When we catch up with Williams almost a decade later, she and Brooke have moved to the Red Rock country of southeastern Utah. But this book is set in Madrid, where she has communed intermittently for seven years with Hieronymus Bosch’s painting El jardin de las delicias in the Prado museum. This triptych from the fifteenth century is referred to in English as The Garden of Earthly Delights, but as a girl, Williams was familiar only with the outer panels—Adam and Eve with Jesus in Paradise, and Hell on the other side. They were tacked to the wall over the bed where she slept in her grandparents’ [End Page 172] home. Only as an adult did she discover the magnificent center panel. (A reproduction of the painting comes with the book.) Williams moves fluidly from the Prado to Utah, in and out of her own psyche, and inside the painting as a contained world. She obviously knows her way around an art studio, but her naturalist’s eye finds 35 species of birds in The Garden. There’s something else here: Williams is a religious mystic. In Refuge, she wrote, “I was raised to believe in a spirit world, that life exists before the earth and will continue to exist afterward, that each human being, bird and bulrush, along with all...

On Ownership and Value: Response

I would like to try to put one of Radano's points in a different, perhaps older, context. He writes of the increasing references to African-American music in the 1840s and talks about the discourse of folk authenticity that was used to describe it. In my view at least, the 1840s and 1850s were a key time in the development of slave culture. Examining the written record for these years, one finds fewer references among whites to barbarism or the strangeness of African-American sounds. There seems an almost palpable sense that, finally, after a century and a half of living check by jowl a growing number of whites are beginning to appreciate black culture. Not only did you have whites as spectators on plantations at corn shuckings (and they are really a post-1830 development, as Roger Abrahams has shown), funerals and the like, but whites in cities such as Richmond in the 1850s actively sought out opportunities to come in contact with black culture. They observed slaves singing as they worked in the tobacco factories and, most importantly, they filled the amen benches in churches and watched and listened to blacks pray and, particularly, sing. These people were the forebears of the whites who would listen to blues and jazz in the twentieth century and this too is the line out of which John and Alan Lomax came. There is another group of whites that do not get talked about much that I find fascinating. I am particularly drawn to moments when white observers, mostly writers of some sort, despite an intense and very unpleasant racism that was a commonplace of the time, are forced, no matter how reluctantly, to concede that there was something to black life. More often than hot these occasions centered on some aspect of African-American expressive culture, most commonly music and/or dance and most commonly what moved them was a highly syncretic performance of some sort or other. On an evening in late June 1840 in New York City, the residents of Park Place were waked up, such as were asleep, by a strain of most exquisite harmony, in which the bugle predominated. last rose of summer was the air, and most beautifully was it played. If was followed by Away with melancholy, with the variations, executed by the bugle solo, such as seldom have been heard in that quiet neighborhood. The moon was just rising over the turrets and trees to the east, and many of the windows in the street were thrown open, with fair eyes peeping forth upon the night scene. From Broadway a considerable crowd was attracted to the spot where the Serenaders stood. This spot was opposite some trees opposite No. 10 Park Place. After several other strains, executed with the same exquisite beauty, the Serenaders slowly withdrew towards the College grounds below, and soon disappeared in the shades of night. (New York Herald 1840) The Serenaders were in fact Francis Johnson and seven or eight members of his band, all black. …

Prometheus and Pandora--together again.

Prometheus and Pandora--together again.

Chasing the moon's shadow.

Chasing the moon's shadow.

Arts and Spine

From 1487 until 1508, Leonardo da Vinci was intensely interested in neural and spinal anatomy. Leonardo believed that pictorial representation was a necessary adjunct to narrative in order to achieve scientific understanding. He inherited some misconceptions from prior centuries, but his sketches became increasingly accurate, thanks to work distasteful for one with his sensibilities, done clandestinely in dark, stench-filled, subterranean dissection chambers. Out of such horror came drawings of exquisite beauty and scientific value. He, along with the anatomist Marcantonio della Torre, planned publication of a 120-volume text of anatomy. Although much of the work was not completed or has been lost, some 5000 pages of Leonardo's notebooks survive.

Sol LeWitt: a retrospective

Sol LeWitt, one of the most important American artists of this century, has spent the past four decades creating artworks that explore the potential of ideas for the making of visual forms. LeWitt transforms these ideas into objects of exquisite beauty and elegance, deliberately introducing elements of chance, intuition, or irrationality into the systems that govern the creation of his works. LeWitt's delicate balancing act between thought and form, between order and disorder, between authorship and anonymity, has exerted an enormous influence on artists of subsequent generations. This book, the first retrospective of LeWitt's work in more than twenty years, fosters a deeper understanding of the artist's career and its significance to American art and thought. Including essays by Gary Garrels, Martin Friedman, Brenda Richardson, and other distinguished curators and art historians, the book charts the evolution of LeWitt's art from his groundbreaking work in Conceptualism during the early 1960s through his turn toward a more lyrical and sensual form of abstraction around 1980. With more than 350 images, the book provides a stunning visual survey of LeWitt's oeuvre from 1960 to the present, including sumptuous wall drawings, three-dimensional structures, and works on paper. This handsome book is the catalogue for an exhibition that will open at the San Francisco Museum of Modern Art from 19 February through 30 May 2000, and will then travel to the Museum of Contemporary Art in Chicago from July to October and to the Whitney Museum of Art in New York from November to February 2001.

A Timbered Choir: The Sabbath Poems 1979-1997

For more than two decades, Wendell Berry has spent his Sunday mornings in a kind of walking meditation, observing the world and writing poems. A small collection of Berrys Sabbath poems were published in 1987, but A Timbered Choir gathers all of these singular pieces to date.. Berrys Sabbath poems embrace much that is elemental to human life--beauty, death, peace, and hope.In his preface to the collection, Berry writes about the growing audience for public poetry readings. While he sees poetry in the public eye as a good thing, Berry asks us to recognize the private life of the poem. These Sabbath poems were written in silence, in solitude, and mainly out of doors, and tell us about moments when heart and mind are open and aware.Many years of writing have won Wendell Berry the affection of a broad public. He is beloved for his quiet, steady explorations of nature, his emphasis on finding good work to do in the world, and his faith in the solace of family, memory, and community. His poetry is assured and unceasingly spiritual; its power lies in the strength of the truths revealed. For more than two decades, Wendell Berry has spent his Sunday mornings in a kind of walking meditation, observing the world and writing poems. A small collection of Berrys Sabbath poems was published in 1987, but A Timbered Choir gathers all of these singular poems written to date.In his preface, Berry tells us that his Sabbath poems were written in silence, in solitude, mainly out of doors, and his hope is that readers will read them as they were written: slowly, and with more patience than effort. This wish proves unusually rewarding, for Berrys voice is quiet, meditative, and wholehearted. He reminds us that there is a quietness which allows us to pay closer attention to the world and our place in it. Berrys evocation of the natural world shows us time and again the exquisite beauty of the commonplace. He writes of walking away from his home, turning, and seeing the landscape transformed by spring: In its time and great patience/ beauty had come upon us/ greater than I had imagined. He writes, also, of dark revelations; the day, for example, when his granddaughters visit the Holocaust Museum: Now, you know the worst/ we humans have to know/ about ourselves, and I am sorry. Berrys Sabbath poems embrace much that is elemental to human life--beauty, death, peace, and hope.Many years of writing have won Wendell Berry the affection of a broad public. He is beloved for his quiet, steady explorations of nature, his emphasis on finding good work to do in the world, and his faith in the solace of family, memory, and community. His poetry is always poised and unceasingly spiritual; its power lies in the strength of the truths revealed.

Traditional jewelry of India

The triumphant result of more than 35 years of research, this sumptuous book is a comprehensive presentation of one of the greatest of the world's jewelry traditions. The stunning display of individual ornaments is supplemented by full documentation of hundreds of pieces. More than 5,000 years of the development of personal ornament are traced, as major themes, variations on basic forms, the use of gemstones, and cross-cultural influences are analysed and comprehensively illustrated. Alongside form and technique, the influences of myth and religion, social structure, economics and politics illuminate the context in which jewelry of exquisite beauty and great originality has been created.

The Three-Inch Golden Lotus

This beguiling story is woven around the life of Fragrant Lotus, who has her feet bound in the supreme Golden Lotus style when she is six years old. Her beautiful feet allow her to marry into a wealthy family, and with steady determination she jockeys her way to head of the household, strategizing through the intricate politics of foot-binding competitions and the turbulent times of the anti-foot-binding movement at the turn of the century. Events in Fragrant Lotus' life twist and unfold in a series of witty and often wicked ironies, obliterating easy distinctions between kindness and cruelty, the transcendent and the mundane, history and fable, forgery and authentic work. The novel's waggish narrator exists in the tension between judgment and description, wryly deflating his reader's certainties along the way. Feng's engaging storytelling technique effectively undercuts the broad simplifications with which we inevitably approach his novel. The act of foot binding is horrific, but it is also an act of love; the bound foot is a symbol of entrapment and oppression, but it is also an emblem of exquisite beauty and refinement. Written in 1985, The Three-Inch Golden Lotus is a deeply affecting, thoroughly enjoyable literary revelation.

European Companies and the Bengal Textile Industry in the Eighteenth Century: The Pitfalls of Applying Quantitative Techniques

Bengal textiles enjoyed a unique place and an indisputable supremacy in the world market for centuries before the invasion of the machinmade fabrics in the early nineteenth century following the industrial revolution of the West and Political control of the Indian sub-continent by the English East India Company. It need not be emphasized that the products of the Bengal handloom industry reigned supreme all over the accessible Asian and North African markets in the middle ages, and later became one of the major staples of the export trade of the European Companies. Most travellers from Europe starting with Tomé Pires, Varthema and Barbosa in the sixteenth century to Bernier, Tavernier and others in the seventeenth singled out especially textiles of Bengal for comments on their extraordinary quality and exquisite beauty. But it was not only in the field of high qulity cloth that Bengal had a predominant position; it was also the main Production centre of ordinary and medium quality textiles. Long before the advent of the Europeans, the Asian merchants from different parts of the continent and Indian merchants from various regions of the country derived a lucrative trade in Bengal textiles.

Sacred performances: Islam, sexuality, and sacrifice

With penetrating insight Combs-Schilling illuminates the remarkable survival of one of the world's oldest monarchies, still ruling after 1200 years. The author unravels the paradox of this ancient yet progressive institution that has weathered invasion, economic collapse, and colonial assult. The pillars of stability for which political analysts typicaly search - military strength, bureaucratic control, and commerical prosperity - have often been absent in Morocco, sometimes for centuries. How then has the monarchy stood firm? In this remarkable book, Combs-Schilling argues that the answer is to be found in the distinctive forms of ritual practice developed during times of great crises. Unique among Islamic governments, the Moroccan monarchy became cnetral to the popular celebrations of the most sacred rituals of Islam, cloaking itself in their sanctity. Combs-schilling breaks new ground in thinking about ritual. The author explores the consequences of the replication and reinforcement of Morocco's national ceremonies in viallages and homes and the metaphorical equivalence thereby built. The author outlines how ritual metaphors simultaneously fuse the monarchy with the hallowed prophets of Islam and the mundane structures of family life. In elucidating the forcefulness of ritual embodiment the book challenges anthropological theory. It demonstrates that rituals created realities by inscribing them deeply within the individual's body and mind. Rituals use eros and physical substance to build imaginative abstractions. Performances of exquisite beauty and grace make the monarchy intrinsic to definitions of male and female, to experience of birth, intercourse, death, and to the ultimate longing to break death's bonds. Combs-Schilling creates a model for national political analysis that takes meaning as well as strategic power into account. The author applies the anthropological analysis of rituals to new arenas - the nation-state and the world political economy - without ever losing sight of the individual and the flow of daily life. The book clarifies a distinctive form of nationalism that expands the boundaries articulated by Anderson in Imagined Territories. Rituals rather than territory or administration came to define the Moroccan monarchy and the Moroccan nation under Western assault, and enabled them to survive. For the novice, the book provides an unusual and compelling entry into Islamic culture and history. Yet it is provocative for the expert in its reinterpretation of the strategic dimensions of Muhammad's marriages and the political potency of the rituals of Islam where power, sacrifice, and sexual identity converge. By revealing the link between national ceremony and individual identity, the author calls into question the popular view that sharply divides East and West and suggests commonalities in the structures of political-sexual power that are built into societies that operate within the cultural contexts of the world's three monotheistic faiths: Islam, Judaism, and Christianity.

The Rose – its Beauty and its Science

Abstract The rose, which first appeared on Earth millions of years ago, was proclaimed by the early Greek poets to be the Queen of the Flowers. Even today it is regarded as the world's favourite flower. The reasons why the rose captivated man, influencing literature, art and many other of his activities, are discussed. Reference is made to its remarkable sweet fragrance, the extraordinary diversity of forms now available, providing varieties suitable for many conditions and requirements, the remarkable palette of flower colours, and the exquisite beauty of the bloom. Scientific work, from the early botanical and taxonomic studies to the sophisticated modern investigations, are referred to, special emphasis being laid on selected topics like flower colour. The valuable attribute of rose fragrance is discussed. The prospect of development of cultivars resistant to frost injury, diseases and pests, and those suitable for tropical areas, is reviewed. It is hoped that the spectacular recent advances in genetic...

Changes in Women's Status in Women's Magazine Fiction: Differences by Social Class

Women's magazines reflect and reinforce ideal characteristics of different social groups. Comparing the images of women in women's magazine fiction between 1970 and 1975 and between middle-class and working-class magazines, the former reflected economic and political movements in the relative status of women of that class. Middle-class women's fiction portrayed women as less likely to be valued for dependence and ineffectuality in 1975 as compared to 1970, and more likely to be valued for independence; plot devices were less likely to rely on traditional stereotypical female modes of behavior. In contrast, female passivity became more valued in working-class fiction. While in 1970, working-class women's fiction portrayed and valued the more active female characteristics, by 1975, that fiction had become significantly more traditional than middle-class fiction. This increase in valuing female passivity corresponds to the reversal of the long term secular trend from the 1950s onward of increased female labor force participation. Between 1970 and 1975 the labor force participation of women with less than high school education declined and job segregation by gender increased. Furthermore, the class selectivity in mobilization of symbols by the women's movement is evident. Women's images-especially those we choose' ourselves-can both reflect and determine the economic and political parts we play in society. Women have been traditionaly important in societal reproduction, including reproduction of children, of the labor force and of the values that unite a society in the face of pressures for structural changes. These functions have traditionally been unremunerated, regarded as priceless, gifts to loved ones which cannot be bought, because these actions are somehow uniquely female and done for love, not money. Ideally, in advanced capitalist states, reproduction of the labor force, children and culture is done by an individual of exquisite beauty, impeccable tastes and unlimited income. The last characteristic is necessary to fulfill a fourth important function of women under capitalism: consumption (Flora and Flora, 1978). Because consumption requires money, and wages paid to most wage earners do not meet the standards for maintenance of the labor force (much less for increasing levels of consumption), new sources of income (e.g., wage work for women) are necessary both as second family incomes and as heads of households. Much past research on media portrayal of women has stressed that a distorted image of women is presented because the productive role of women is neglected (Tuchman et al., 1978; Cardona, 1978). That research, either implicitly or explicitly denunciatory in nature, claims the media is somehow untrue to what women really do in society. However, there is another way to view the portrayal of women in the media that takes account of both their positions within the household and the position of that household within the larger economy and polity. Using that perspective, instead of providing a distorted image of what women do and the way women should be by showing women passively in the home (although actively consuming), the images of women reinforce * I would like to thank Susan Olson Metzler, of Memphis, Tennessee, who worked with me in coding the 1975 data.

The Earliest Polyphonic Imprint in South America

The first inventory of music books at Cuzco Cathedral reveals the arrival of Morales's sixteen printed Masses (Rome: Dorico Brothers, 1544) as early as 1553.1 By rare coincidence, the earliest polyphonic imprint nowadays to be found in any of the South American national libraries happens to be the same sixteen Masses of Crist6bal de Morales (ca. 15001553), the chief glory of Spanish music before Victoria. Under callnumber 503R. the Biblioteca Nacional in Buenos Aires prides itself in owning his Missarvm Liber Primvs in the 1544 Roman edition bound together with his Missarvm Liber Secundvs published by Moderne at Lyons six years later. No library in the United States, Great Britain, or Spain owns the 1544 imprint, and only the Sibley Library in Rochester possesses the Moderne 1550. The Buenos Aires copies of both books bound in one are unique, because they alone of all known surviving copies show illuminated capitals. The exquisite beauty of these painted initials at folios lv.-2, 16v.-17 in the 1544 and at 36v.-37, and 113v.-114 in the 1550 accords with the luxury of the original binding, on the front of which is stamped Opvs Missarvm Christophori Moralys and on the back F R.2 Only one leaf from the Moderne 1550 Masses has been cut out (fol. 108), and the 1544 is perfect. The fact that both the Mille regretz and L'homme arme a 4 can be intimately associated with Charles V,3 and that the Aspice Domine takes a motet by his chapelmaster Gombert for its parody source, coincides with the extreme beauty of the illuminations painted in by hand throughout these three Masses. Only one other Mass, the Ave Maria in the 1550 collection, equals these three imperial Masses, so far as the painter's brush is concerned.

Josiah Wedgwood’s portrait medallions of Fellows of the Royal Society

Thanks to the invention of photography, the film and now the perfection of television, the ordinary citizen, reading his illustrated newspaper, viewing a cinema film or television programme can see and recognize the features of many of the Fellows of the Royal Society. The television and radio programmes produced by the British Broadcasting Corporation, to celebrate the tercentenary of the Royal Society enabled us to see and hear them and to view the results of their scientific researches. Earlier generations were not so fortunate. Prior to the latter decades of the eighteenth century only a few of our ancestors could see the features of the Fellows in paintings or sculptured busts. Even these were few and far between, and could be seen only in private family collections, in art galleries, or in public museums. Josiah W edgwood’s Invention of Jasper—an Artistic Triumph In 1774 Wedgwood produced a ceramic material which he called jasper which enabled him to reproduce quite cheaply perfect portrait medallions. Wedgwood’s jasper, a close-grained stoneware body of exquisite beauty and delicacy, was the result of years of patient and prolonged experiments at his Etruria Works. It was capable of being stained throughout its substance with metallic oxides and the colour most in demand was soon known as ‘Wedgwood Blue’. Other colours used by Wedgwood in his manufacture of the medallions were green, lavender, sage, lilac and yellow. The actual portraits were usually of pure white jasper, which was almost translucent against a black or coloured background.

A Source of Vergil, Georg. II. 136–176

This passage, which is in a way a digression from the main subject of the second book, arboriculture, and stands out from the rest of the poem, is one of the best known of the entire work, chiefly, it would seem, on account of its exquisite beauty, but partly also, no doubt, for the distinctly modern note it strikes; for it can justly be regarded as an early example of a national anthem. As a matter of fact, it has been recognized as such from the dawn of the Renaissance, and Petrarch's famousSalue cara Deo tellus: sanctissima salue: was directly inspired by Vergil'sSalue, magna parens frugum, Saturnia tellus, Magna uirum.