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lineffability · 10 months ago

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style, flair, and a head of red hair – she’s the nanny?!

oneshot. 5k. human au. the story of how crowley becomes a nanny. no, not that one. the other one. the fine type. this fic was inspired by @densewentz and this stunning piece of The Nanny/Crowley art that blew my socks clean off. i had to write it.

She is entirely perfect and utterly boring.

Aziraphale Edenson, ever the picture of perfect pleasantry, has recited three consecutive poems in his mind while she's been speaking, and he could almost swear one of them had been the entirety of Ginsburg's Howl. He can't be certain, as he's drifted. In front of him, the Mary Poppins palimpsest is finishing her impassioned speech that had begun somewhere in her childhood only to end, in a satisfying narrative conclusion, he is sure, in the childhood of Warlock, his unexpected teenage protegé, and somehow between those two childhoods she had also wedged in his, Aziraphale's, childhood too, though he isn't sure quite how that is possible. It seems she has done her research rather thoroughly.

It is not polite to interrupt people, so Aziraphale does not. He smiles, he nods at the right moments, and he offers more tea, and then he ushers her to the front door with perfect manners only to say, in one last moment of mental impasse, "Well, thank you so very much, Mrs Poppins, I will be sure to contact you by the end of the week. It has been so very lovely to meet you."

It only occurs to him half an hour later why her smile had faltered, and he smacks his hand to his forehead, producing a noise that sounds very much like oh, bugger.

A string of interviews follow this initial one, and after a fortnight, Aziraphale gives up. It’s not that the applicants are unsuited: rather the opposite, their credentials battle each other for excellence: if one has twenty years of experience in royal nanny service, the next will present a doctoral degree in Nannyology straight from Harvard. After all, Villa Eden is not only a beautiful and prestigious estate in the nicest part of London, but he offers a pay check that the best paid nanny in the world might have envied, promptly losing her her title. An honest wage for honest work, he thinks, and he certainly does not know what to do with a twelve year old boy. So if someone does, money shall not be the issue.

The thing is: hiring a nanny is… it’s like selling books. Aziraphale is selfish. Aziraphale does not want to hire a nanny. He does not want to share his space, his routines, his library, his home. He can do it for Warlock, for a few months, because it is the right thing to do. He does not love it. But he likes the kid enough. Especially because his parents… well, they don’t. Not properly, not like they should, and that is enough for Aziraphale to feel a bristling sense of injustice, and a burning desire to bestow the boy with a love that might not live up to the parental ideal, but make him feel safe and liked and cared for, at least.

So maybe he has to hire the Mary Poppins nanny, after all, to help him realize his wish, to support him in his quest, to breach the friendly but unbreachable rift between the old, reclusive neighbor and the bright, young boy that has been parked here by his parents, like a pet, while they are away for travel for half a year. Aziraphale huffs.

He stares out the window of his conservatory, but can’t make out the expanse of his glorious estate. That’s because it is cloudy and gray and rainy and grim, and also winter, which might have something to do with it. Darkness has settled over the hill and his mansion like a heavy blanket. His clock chimed five not a minute ago, and yet it is already pitch-dark. Aziraphale likes winter. It grants you more alone time that needs not be justified as much as during other seasons. The weather today suits his mood. With a grim face, he makes up his mind to hire the nanny.

In a dramatic last minute coincidence not at all necessitated by the narrative, the doorbell rings precisely in the moment Aziraphale starts to dial the number on the resumé.

Aziraphale puts the receiver back down. He walks to the main entrance.

(He does not believe in servants: for the same reason that he does not believe in nannies.)

When he opens the door, it takes him a moment to make sense of the picture of personified misery he is presented with.

“Cosmetics,” the picture of misery says.

“Excuse me?”

[continue reading]

#good omens #my writing #ineffable husbands #azcrow #good omens fanfiction #inefficable #the nanny au

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xpuigc-bloc · 5 months ago

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Press Release

Harvard Art Museums’ Fall 2023 Exhibition Explores

Entwined Histories of the Opium Trade and the Chinese

Art Market

Opium pipe, China, Qing dynasty to Republican period, inscribed with cyclical date corresponding to 1868 or 1928. Water buffalo horn, metal, and ceramic. Harvard Art Museums/Arthur M. Sackler Museum, Bequest of Grenville L. Winthrop, 1943.55.6.

Cambridge, MA

This fall, the Harvard Art Museums present an exhibition that explores the entangled histories of the western sale of opium in China in the 19th century and the growing appetite for Chinese art in the United States at the beginning of the 20th century. Opium and Chinese art—acquired through both legal and illicit means—had profound effects on the global economy, cultural landscape, and education, and in the case of opium on public health and immigration, that still reverberate today. Objects of Addiction: Opium, Empire, and the Chinese Art Trade, on display September 15, 2023 through January 14, 2024 in the Special Exhibitions Gallery on Level 3 of the Harvard Art Museums, looks critically at the history of Massachusetts opium merchants and collectors of Chinese art, as well as the current opioid crisis.

A range of accompanying public programs will encourage community discussion around related topics, including the state of the opioid crisis in New England, the lingering political and economic effects of the Opium Wars, opium’s role in anti-Chinese U.S. immigration laws, and Chinese art collecting in Massachusetts. In addition, the artist collective 2nd Act will present a series of drama therapy workshops challenging ideas about addiction, and the Cambridge Public Health Department and Somerville Health and Human Services will host trainings on the use of naloxone (Narcan) to reverse opioid overdoses. In the early planning stages, Sarah Laursen, the Alan J. Dworsky Associate Curator of Chinese Art at the Harvard Art Museums, worked with Harvard students Emily Axelsen (Class of 2023), Allison Chang (Class of 2023), and Madison Stein (Class of 2024), who were instrumental in the development of the exhibition’s narrative and associated programming. Laursen also held a series of community feedback sessions to solicit reactions to the show’s content from Harvard students, faculty, and staff, as well as local experts and community members. Notably, the exhibition is opening during National Recovery Month, a national observance held each September to educate Americans about substance use disorder and the treatment options and services that can enable them to live healthy and rewarding lives.

“This exhibition is about the past and its impact on the present—but my hope it that it will also help us to think more productively about the future,” said Laursen.

“For example, the stigma around opium use initially resulted in the Qing government imposing harsh punishments for people experiencing addiction, rather than offering the empathy, treatment, and resources that people needed. Today, with overdose death rates in Massachusetts topping 2,300 individuals per year, we can learn from the past and choose to adopt harm reduction measures that will save lives.” On the collecting of Chinese art, Laursen notes, “By reexamining the formation of early 20th-century museum collections—as well as the underrecognized consequences of these initial acquisitions—we become better equipped to shape our policies for ethical collecting in the future.”

The exhibition comprises three thematic sections and presents more than 100 objects, including paintings, prints, Buddhist sculptures and murals, ceramics, jades, and bronzes, as well as historical materials including books, sale and exhibition catalogues, and magazine clippings from the collections of the Harvard Art Museums, with loans generously provided by the Peabody Museum of Archaeology and Ethnology, Fine Arts Library, Harvard-Yenching Library, Economic Botany Library of Oakes Ames, Houghton Library, and Baker Library (all at Harvard), as well as by the Forbes House Museum, the Ipswich Museum, and Mr. and Mrs. James E. Breece III.

Beginning with an examination of the origins of the opium trade, the first section includes a large comparative timeline that lays out events in China, Europe, and the United States in order to contextualize the complex histories of the opium and Chinese art trades. Britain began illegally selling Indian opium in China in the 18th century and increased its exports to counteract the demand for Chinese tea imports in Europe and the United States. In the 19th century, prominent Massachusett merchants such as members of the Perkins, Forbes, Heard, Cushing, Sturgis, Cabot, Delano, Weld, Peabody, and other elite local families were deeply involved in the lucrative Turkish opium trade as well. Conflicts between the Qing dynasty (1644–1911) and western powers over trading rights led to two Opium Wars (1839–42 and 1856–60), whose outcomes had far-reaching political and economic consequences.

In this first gallery, examples of typical Chinese export wares including tea wares, porcelains, and paintings that were popular in Europe and North America are presented alongside opium-related objects, including an opium pipe made of water buffalo horn and an opium account book for the year 1831 that lays bare the volume of the drug imported into the port of Guangzhou by just one firm, Russell & Co., run initially by members of Forbes family. A Qing dynasty painting of the Port of Shanghai (c. 1863–64), which became a commercial center after the first Opium War, shows a bustling harbor filled with boats and ships and reveals the location of the offices of prominent opium traders such as Russell & Co. and Augustine Heard & Co. Also visible is the headquarters of auctioneer Hiram Fogg, the brother of the China trader William Hayes Fogg, for whom Harvard’s Fogg Museum is named. Along with commerce, the first gallery also presents a range of documentary materials and ephemera that demonstrate the devastating impact of opium on Chinese society. Photographs and mass media illustrations critique the use and sale of opium. A slideshow, In Their Own Words, presents quotations from a diverse range of voices of individuals who were involved in or opposed the sale of opium and collecting of Chinese art. In many cases, these quotes flesh out the perspectives of historical figures who are named in labels throughout the galleries. Audio wands available in this space play excerpts from “Opium Talk,” an essay by Zhang Changjia (Shanghai, 1878) translated by Keith McMahon in The Fall of the God of Money: Opium Smoking in Nineteenth-Century China (Rowman & Littlefield, 2002).

The translations are read by Thomas Ho, a member of the local Chinese American community, and a transcript is available in the gallery, printed with permission from McMahon.

The second section highlights the history of imperial art collecting within China and demonstrates the growing appetite for Chinese art in Europe and the United States after the Opium Wars, especially after the looting of the Old Summer Palace in Beijing by British and French Troops in 1860 and in the wake of the Boxer Rebellion (1899–1901). Through the histories of merchants, collectors, dealers, museum directors, and professors, this section examines the early 20th-century formation of Chinese art collections in Massachusetts, including at the Fogg Museum. Chinese works from the collections of the Forbes House Museum and Ipswich Museum—once homes of opium traders of the Forbes and Heard families—show the taste at this time predominantly for functional or decorative objects such as export ceramics, lacquer furnishings, and other curiosities. However, the flood of newly available palace treasures and archaeological materials prompted the collecting of ancient bronzes and jades unearthed from tombs and Buddhist sculptures chiseled from cave temple walls.

Well-connected dealers in Asian art such as C. T. Loo (or Loo Ching-tsai) and Sadajirō Yamanaka 山中定次郎 acquired items from several sources—including from Chinese elites who fled the country after the fall of the Qing dynasty, imperial family members, and American collectors who lost their fortunes in the Depression—and sold those works to eager collectors around the world, such as Harvard alumnus Grenville L. Winthrop, who obtained 25 fragments from Buddhist cave temples in Tianlongshan, China.

The exhibition includes one work from this group, a sixth-century carved fragment depicting Bodhisattva Manjusri (Wenshu Pusa); to learn more about the Tianlongshan fragments now in the museums’ collections, visit hvrd.art/reframingtianlongshan. Others such as Langdon Warner, a Harvard alumnus and curator at the Fogg Museum, joined the First Fogg Expedition to China (1923–24) and personally removed works from the Mogao Caves in Dunhuang, leaving permanent scars on the archaeological landscape of China. Two wall painting fragments, among the best preserved of the twelve that Warner brought back to Harvard, are displayed alongside a large-sale photograph showing the present condition of the mural from which they were removed (Bust of an attendant bodhisattva and Bust of a bodhisattva surrounded by a monk and devas).

Exhibition curator Sarah Laursen added: “I am often asked, where did this object come from? How did it come to Harvard? In many cases, we do not know their precise sources nor the circumstances of their removal because in the past there was no demand for documentation. For most U.S. collections of Asian art it is rarely possible to reconstruct the complete chain of ownership. But there are some questions we can start to answer: How can we work with source countries to better document, care for, and understand these objects? How can we curtail the black market? What could ethical collecting or sharing of cultural property look like in the future?”

A third section, entitled Opioids Then and Now, investigates parallels between China’s opium crisis and the opioid epidemic in Massachusetts today. Materials here clarify how addiction affects the brain (an animated video, produced for a free online Harvard edX course, plays on a monitor) and offer potentially life-saving information about harm reduction and overdose prevention. Visitors are invited to share their thoughts and personal experiences on response cards in this space and can either post them publicly on a bulletin board in the gallery or deposit them in a private box to be preserved in the Harvard Art Museums Archives. Visitors will also be able to browse recent books about opioids and harm reduction.

A 24-page printed booklet available in the galleries draws together the exhibition’s extensive content in three thematic essays: Who has benefited from the opium trade? Who has been harmed by opium?

What is the legacy of the opium trade in U.S. museums?

None of the works in the exhibition or in the Harvard Art Museums collections as a whole were collected or gifted by Arthur M. Sackler, nor were they purchased using funds provided by him.

Online Resource

Exhibition webpage: harvardartmuseums.org/objectsofaddiction

Public Programming

A range of public programs held in conjunction with the exhibition Objects of Addiction will encourage community discussion around the opioid crisis, the effects of the Opium Wars on U.S.–China relations, the role of opium in Chinese exclusion in the United States, and art collecting practices. Unless noted, all events are held in-person at the Harvard Art Museums, 32 Quincy Street, Cambridge, MA 02138.

Admission to visit our galleries is free, but some programs have a fee (noted below). For updates, full details, and to register, please click the links below or see our calendar:

harvardartmuseums.org/calendar. Questions? Call 617-495-9400.

Lecture — Objects of Addiction: Opium, Empire, and the Chinese Art Trade

Thursday, September 14, 2023, 6–7:30pm

Join curator Sarah Laursen for a lecture on opium and Chinese art—two influential commodities traded in China, the British Empire, and Massachusetts between the 18th and early 20th centuries.

Free admission, but seating is limited and available on a first-come, first-served basis. Following the lecture, guests are invited to visit the exhibition on Level 3. This lecture will be recorded and made available for online viewing; check the link above after the event for the link to view.

Workshops — Rethinking Addiction: A Drama Therapy Workshop with 2nd Act Artist Collective

Saturday, September 16, 2023, 2–4pm

Sunday, October 22, 2023, 2–4pm

Saturday, November 11, 2023, 2–4pm

Drama therapists Ana Bess Moyer Bell and Amy Lazier of the artist collective 2nd Act will lead workshops designed to challenge participants’ ideas about addiction through a drama therapy model. By examining, embodying, and de-stigmatizing addiction and creating metaphorical objects of care, love, and support, participants will develop a shared understanding of addiction and how it affects daily life. $15 materials fee. Registration is required and space is limited. Minimum age of 14; no previous experience required.

Lecture — Objects of Addiction: Perspectives on the Opioid Crisis in New England

Sunday, September 24, 2023, 2–3:30pm

Specialists in addiction medicine, harm reduction, and public health policy will take part in a roundtable discussion about the current state of the opioid crisis in New England. Speakers:

Danielle McPeak, Prevention and Recovery Specialist, Cambridge Public Health Department; Leo Beletsky, Professor of Law and Health Sciences; Faculty Director, The Action Lab at the Center for Health Policy and Law, Northeastern University; Mark Joseph Albanese, Assistant Professor of Psychiatry, Harvard Medical School; Medical Director, Physician Health Programs; former Medical Director for Addictions, Cambridge Health Alliance; Bertha Madras, Professor of Psychobiology, Harvard Medical School; Director, Laboratory of Addiction Neurobiology, and Psychobiologist,

Division of Basic Neuroscience, McLean Hospital; Jay Garg ’24, Policy Chair for HCOPES

(Harvard College Overdose Prevention and Education Students); and Dennis Bailer, Overdose Prevention Program Director, Project Weber/RENEW. Free admission, but seating is limited and available on a first-come, first-served basis. Before and after the discussion, guests are invited to visit the exhibition on Level 3.

Gallery Talks — Objects of Addiction: Opium, Empire, and the Chinese Art Trade

Tuesday, October 3, 2023, 12:30–1pm

Wednesday, October 18, 2023, 12:30–1pm

Thursday, November 16, 2023, 12:30–1pm

Friday, December 1, 2023, 12:30–1pm

Wednesday, December 13, 2023, 12:30–1pm

Join curator Sarah Laursen for thematic 30-minute talks focused on select artworks in the exhibition. Free admission, but space is limited to 18 people and registration is required.

Narcan Trainings with the Cambridge Public Health Department and Somerville Health and Human Services

Tuesday, October 17, 2023, 5:30–6:30pm

Sunday, November 19, 2023, 2–3pm

Friday, December 1, 2023 (time TBA)

With an abundance of care for our community, the Harvard Art Museums are hosting one-hour on-site Narcan trainings, facilitated by the Cambridge Public Health Department and Somerville Health and Human Services. Their staff will also distribute the medicine for attendees to take home.

Naloxone (also known as Narcan) is a nasal spray that can rapidly reverse an opioid overdose by blocking opioids from attaching to receptors in the brain. Free admission, but space is limited and registration is required.

Exhibition Tours — Objects of Addiction: Opium, Empire, and the Chinese Art Trade

Thursday, October 26, 2023, 12–1pm

Tuesday, November 21, 2023, 12–1pm

Saturday, December 9, 2023, 12–1pm

Join curator Sarah Laursen for hourlong tours of the exhibition. Free admission, but space is limited to 18 people and registration is required.

Online Lecture — Objects of Addiction: A Conversation about Opium and Anti-Chinese Immigration

Laws in the United States

Saturday, October 28, 2023, 10–11am

Award-winning author and Harvard history professor Erika Lee will be in conversation with two Harvard students about the role of opium in the restrictions on Chinese immigration in the United States in the 19th and 20th centuries. Speakers: Erika Lee, Bae Family Professor of History, Harvard University; Jolin Chan ’25, Harvard University; Student Board Member, Harvard Art

Museums; Madison Stein ’24, Harvard University. This talk will take place online via Zoom. The event is free and open to all, but registration is required.

Lecture — Objects of Addiction: The Legacy of the Opium Wars

Wednesday, November 8, 2023, 6–7:30pm

Harvard faculty in Chinese history, business, politics, and law will take part in a roundtable discussion on the 19th-century Opium Wars and the legacy of the opium trade in U.S.–China relations. Speakers: Mark C. Elliott, Vice Provost for International Affairs; Mark Schwartz Professor of Chinese and Inner Asian History, Harvard University; William C. Kirby, T. M. Chang Professor of China Studies, Harvard University; Spangler Family Professor of Business Administration, Harvard Business School; Rana Mitter, S. T. Lee Professor of U.S.–Asia Relations, Harvard Kennedy School; Meg Rithmire, F. Warren McFarlan Associate Professor of Business Administration, Harvard Business School; Mark Wu, Director of the Fairbank Center for Chinese Studies, Harvard University; Henry L. Stimson Professor of Law, Harvard Law School. Free admission, but seating is limited and available on a first-come, first-served basis.

Lecture — Objects of Addiction: Collecting Chinese Art—Past, Present, and Future

Saturday, November 18, 2023, 2–3:30pm

Curators and specialists will explore early collecting of Chinese art in Massachusetts, historical interpretations of cultural heritage, and how contemporary museum collecting practices have changed and will continue to change in the future. Moderator: Soyoung Lee, Landon and Lavinia Clay Chief Curator, Harvard Art Museums. Speakers: Nancy Berliner, Wu Tung Senior Curator of Chinese Art, Museum of Fine Arts, Boston; Amy Brauer, Curator of the Collection, Division of Asian and Mediterranean Art, Harvard Art Museums; Sarah Laursen, Alan J. Dworsky Associate Curator of Chinese Art, Harvard Art Museums; Lisong Liu, Professor of History, Massachusetts College of Art and Design. Free admission, but seating is limited and available on a first-come, first- served basis. Before and after the lecture, guests are invited to visit the exhibition on Level 3.

Credits

Support for Objects of Addiction: Opium, Empire, and the Chinese Art Trade is provided by the

Alexander S., Robert L., and Bruce A. Beal Exhibition Fund; the Robert H. Ellsworth Bequest to the

Harvard Art Museums; the Harvard Art Museums’ Leopold (Harvard M.B.A. ’64) and Jane Swergold

Asian Art Exhibitions and Publications Fund and an additional gift from Leopold and Jane Swergold; the José Soriano Fund; the Anthony and Celeste Meier Exhibitions Fund; the Gurel Student Exhibition Fund; the Asian Art Discretionary Fund; the Chinese Art Discretionary Fund; and the Rabb Family Exhibitions Fund. Related programming is supported by the M. Victor Leventritt Lecture Series Endowment Fund. The accompanying booklet was made possible by generous support from Mr. and Mrs. James E. Breece III. Additional support for this project is provided by the Dunhuang Foundation.

About the Harvard Art Museums The Harvard Art Museums house one of the largest and most renowned art collections in the United States, comprising three museums (the Fogg, Busch-Reisinger, and Arthur M. Sackler Museums) and three research centers (the Straus Center for Conservation and Technical Studies, the Harvard Art Museums Archives, and the Archaeological Exploration of Sardis). The Fogg Museum includes Western art from the Middle Ages to the present; the Busch-Reisinger Museum, unique among North American museums, is dedicated to the study of all modes and periods of art from central and northern Europe, with an emphasis on German-speaking countries; and the Arthur M. Sackler Museum is focused on art from Asia, the Middle East, and the Mediterranean. Together, the collections include over 255,000 objects in all media. The Harvard Art Museums are distinguished by the range and depth of their collections, their groundbreaking exhibitions, and the original research of their staff. Integral to

Harvard University and the wider community, the museums and research centers serve as resources for students, scholars, and the public. For more than a century they have been the nation’s premier training ground for museum professionals and are renowned for their seminal role in developing the discipline of art history in the United States. The Harvard Art Museums have a rich tradition of considering the history of objects as an integral part of the teaching and study of art history, focusing on conservation and preservation concerns as well as technical studies. harvardartmuseums.org

The Harvard Art Museums receive support from the Massachusetts Cultural Council.

Hours and Admission

Open Tuesday–Sunday, 10am–5pm; closed Mondays and major holidays. Admission is free to all visitors. For further information about visiting, including general policies, see harvardartmuseums.org/visit.

For more information, please contact

Jennifer Aubin

Public Relations Manager

Harvard Art Museums

617-496-5331

[email protected]

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uwmspeccoll · 2 years ago

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It’s Fine Press Friday!

On this first #Fine Press Friday of 2023, we present a couple of items from one of the more obscure 20th-century American private presses, the Cygnet Press of Cambridge, Massachusetts. Cygnet Press was founded in 1928 and co-managed by two Harvard academics, George Parker Winship (1871-1952) and Philip Hofer (1898-1984). Winship was the long-time curator for both the John Carter Brown Collection at Brown University and the Harry Elkins Widener Collection at Harvard University. Hofer had been curator for the Spencer Collection of the New York Public Library and assistant director of the Morgan Library before founding the Department of Printing and Graphic Arts at Harvard’s Houghton Library. Both librarians maintained a strong interest in fine press printing and printing history.

The first book off the press was a 1934 facsimile edition of Vita de Sancto Hieronymo (the first eight images), an Italian translation of the letters of St. Jerome by Matteo da Ferrara, originally printed in Ferrara by Lorenzo di Rossi da Valenza in 1497. In a 1934 letter that accompanied a different copy of this book, Hofer wrote: “The little book which accompanies this note is one which George Parker Winship and I set by hand and printed a few years ago. It amused us, and, I hope, will amuse you. Of course we would do it differently now - that is always the way!"

The last two images are from a very slim booklet entitled Tanatlus, the fourth imprint from the press, printed for friends in 1937 in an edition of 200 copies. The publication focuses on the color wood engraving of the punishment of the Greek mythological figure Tantalus. The engraving, by the master Czech American wood engraver, illustrator, and type and book designer Rudolph Ruzicka (1883-1978), was designed after a watercolor by Hans Holbein the Younger, “which the best woodcutter of Holbein’s time could not have bettered.”

The original watercolor, conjectured to have been intended as a jeweler’s design, had been acquired by someone in Winship’s and Hofer’s circle in 1936. Ruzicka made seven blocks printed in different colors and values “to make an almost perfect counterpart of the original . . . .” To explain the image, the Greek texts of Homer and Pindar and the Latin text of Horace, along with English translations, are printed as part of the booklet.

Our copies of these two publications are gifts from our friend Jerry Buff.

View more posts with work by Rudolph Ruzicka.

View more Fine Press Friday posts.

View more posts with wood engravings!

#Fine Press Friday #Fine Press Fridays #Cygnet Press #George Parker Winship #Philip Hofer #Rudolph Ruzicka #Harvard #Vita de Sancto Hieronymo #St. Jerome #Matteo da Ferrara #Tantalus #Hans Holbein the Younger #wood engravings #fine press books #private presses

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inspofromancientworld · 12 days ago

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Philæ and it's Ancient Origins

By Frederick P. Vinton (original portrait) - This image is available from the United States Library of Congress's Prints and Photographs divisionunder the digital ID cph.3b35371.This tag does not indicate the copyright status of the attached work. A normal copyright tag is still required. See Commons:Licensing., Public Domain, https://commons.wikimedia.org/w/index.php?curid=6136668

Thomas Gold Appleton was an American lawyer, writer, and patron of the fine arts who lived from 1812-1884. Henry Wadsworth Longfellow married his sister Frances to become his brother-in-law. He would joke that he just missed being 'born an April fool', beginning his life in Boston, Massachusetts. He attended Harvard College and passed the bar in 1838. He is the source of the quote, often attributed to Oliver Wendell Holmes, whom he met in 1833, 'Good Americans, when they die, go to Paris'. He spent a lot of his life traveling around the world, writing '[m]ore and more of the world needs, and learns to value, its vacation'. In 1843, his sister and Longfellow married. During a stay in Paris, he attempted life as an artist and poet, writing to his father that '[d]o you suppose…I am fool enough to call myself a painter or a poet? The short and long of it is, that I have not any of the kind of talent needful to success here.' From 1852-1856, he was on the board of trustees of the Boston Public Library. In 1861, his sister accidentally caught fire and died. He had no children of his own, but helped take care of her children. In 1864, while he was in New York, he contracted pneumonia and died. Before he died, his nieces and nephews came to visit him and, despite knowing he would die, he was cheerful with them. Holmes wrote of him, '[t]he city seems grayer and older since he left us, the cold spring wind coming from the bay, harsher and more unfriendly.'

By Diego Delso, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=122615167

Philæ is an ancient temple complex built on an island around the 7th century BCE and used until about the 6th century CE. It is now a UNESCO World Heritage site and has been moved from its original location due to the building of the Aswan Low Dam to preserve them. It was considered to be one of the burial places of Osiris, who was the god of death, rebirth, fertility, resurrection, life, and vegetation. One myth has his cut into twenty-six pieces by Set (Typhon) after Set killed him and one of the places those pieces was buried was Philæ, lending it a special sense of reverence to the ancient Egyptians, with only priests allowed on the island. It was reported that birds didn't fly over the island, nor did fish approach it because it was so sacred. By the time of the Ptolemaic Kingdom (beginning in 350 BCE), though, it was common for pilgrims to visit the site, as well as those on secular business, so much so that the priests petitioned Ptolemy VII Physcon (170-117 BCE) to ban public functionaries from mooching off them. Other islands near the Temple complex were used by the Egyptians and Nubians to trade goods between the seasonal rapids that made trade impractical. Also nearby were granite quarries and the supporting population of miners and stonemasons. With being near the Tropic of Cancer and how they were were built, the cornices and moldings would cast shadows on the vertical walls.

In the poem, Appleton visits the temple complex on a quiet night with a 'Nubian moon' with shadows casting 'gloom as they incline'. It is '[a] peopled silence', though, putting the poem set in the time when it was still a religious center, but the silence is not 'wholly voiceless, for each rustling wave,/Trembling mimosa [a group of about 400 types of herbs and shrubs], and dim palmy crest,/And the low zephyr [western wind] lingering by his grave'. The poem ends with a 'stately pylon on the Immortal Guest,/And the wave bears it as its waters pour,/Murmuring through the Cataract's roar!', making the poem an atmospheric look at the island and the temples.

#philae #osiris #thomas gold appleton #poetry

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mint-moon25 · 18 days ago

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Mary Brickell was Gay

Brickell - Creating Laws

Republican Party

$2,500 Fine

Homeless eating at Brickell

Park

Dear Korean Girls,

Paris France

Pag-ibig Magazines

Nudity - Girls - only

Pag-ibig - TV

Nude Ads - Topless Ads

For - Sulli - who Koreans

Massacred for Braless?

Me - Nude Model

For Sullivan & Goo Hara

Women Safest in Paris FR

Told 2 Shut my Mouth

Male Hispanic Security

Same one told my Breasts

Boxed Below - R Side

Female Miami Police

Called me Mentally Ill

Nothing Happened

White Male Police stayed

In his Car - Blowing him up

In the Future - Tall Woman

White Female Ugly Brown

Hair said - You can't prove

It - Koreans - Xrays

Marilyn Monroe boxed by

Male Psychiatrist

Xray proved where he was

Miami Police over 3,000

Officers - Federal Taxes

That Building becomes

Melted Cement disappears

After - becomes - Lawn

Philippines female raped

By Uncle and Male Cousin

No One - Believed Her

So I feel Better

When we Massacre them

300 Million Chinese Male

Soldiers - One Dark Night

Saber Curved Swords

I will feel better

World War 3

Helene of Troy when men

Boxed Beat Kicked

Knocked up - Burnt her

Babies and more Miami

Is Mild compared to ...

Blk Dahlia

Miami - Open - Carry

Firearm Enforcement

Bien gave his Vice Pres

Presidential - Priority

What a Gentlemen

One can't run against

Shot - by Riffle - Ears

American Gentlemen

Rare like Santa Claus

Gentlemen

Kenneth Copeland

Dr Jesse Duplantis

Dr Dennis Burke

Texas - Louisiana

Jeremy Pearsons

Colorado

Rare - Gentlemen

United States

Money Ruled

No one teaches them

About Manners - yes

Unknown - Word

Age 246

I'm marrying Chinese

Or Korean

Actor - Singer - Dancer

Model Brand Ambassador

Chinese Mothers - hate

Many - Martial Arts

Korean Moms - Terrible

No - Martial Arts

Will decide who Mom is

Over - $550 Billion USD

My Networth

Makati Kids - Banks

95% - Interest bearing

Auto - Taxed

Future - Cailey James

Sunday - 12 April 1964

Wood Dragon - Aries

10P PHT - Age 60

5'5 ft - will be - 5'9 ft

Jesus is Lord

Overthrow Government

United States

South Korea

Philippines

Better Future and World

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positioneren-23-24-ziyatiimrane · 1 month ago

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MAIL NAAR COLUMBIA UNIVERSITY ARCHITECTURAL AND FINE ARTS LIBRARY, NEW YORK -> PRECIEZE AFMETINGEN EN MATERIALITEIT (WANT HEEFT EFFECT OP ZWARTE PEN INKT)

BELANG VAN TEKST IN ARCHITECTUUR

(tekst uit mails op verschillende groottes geplaatst -> grootte, vorm, richting, orientatie... spelen grote rol in het afbeelden van architectuur, net als illustraties (note: tekst is beeld)-> ARCHIGRAM)

Dear,My name is Imrane, and I'm an architecture student at KU Leuven University, Belgium. I am currently working on a project that involves creating a perfect copy of the Archigram, no. 1 (https://www.jstor.org/stable/community.30241805), and I would be grateful for your assistance.I understand that Archigram's publications were produced with a DIY approach, using affordable materials such as newsprint or low-quality offset paper due to their limited resources at the time.However, I would appreciate confirmation on the exact type of paper used for the original broadsheet, as well as the precise dimensions.This information is essential for the accuracy of my project, and I would be very grateful if you could provide me with those details or direct me to where I might find them.Thank you very much for your time and assistance.Best regards,ImraneArchitecture StudentKU Leuven University

Hi Imrane, We were forwarded your message regarding Archigram. We will pull this issue and get back to you in the coming days. Thank you for your patience, Dylan

Hi Dylan, I hope this email finds you well. I wanted to kindly follow up on my inquiry regarding the Archigram Broadsheet No. 1. I fully understand that this may require time to gather, but as my project deadline is approaching, this information has become quite urgent. I would greatly appreciate any updates you might have. Thank you again for your time and assistance. I look forward to hearing from you soon. Kind regards, Imrane

Hi Imrane,

Apologies for the late reply!

Archigram 1, sheet 1; [link] is 33.02 cm H by 20.6 cm W

Archigram 1, sheet 2; [link] is 33.02 cm H by 39.5 cm W

I am not a paper expert, so I can't provide information about the exact type of paper. By feel, the first sheet is similar to modern printer / copy paper, the second sheet is a little thicker but not as thick as cardstock. This article from Harvard's Graduate School of Design might be helpful for your project.

Best, Dylan

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lboogie1906 · 8 months ago

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Philip Goodwin Freelon (March 25, 1952 - July 9, 2019) is an architect known for his design of the Smithsonian Institution’s National Museum of African American History & Culture. He was born in Philadelphia to Allan R. Freelon, Jr. and Elizabeth N. Freelon. He graduated from North Carolina State University’s College of Design and earned an MS in architecture at MIT.

He received the Loeb Fellowship to study independently for a year at Harvard University’s Graduate School of Design. He founded The Freelon Group, which grew to 65 staff members. The firm’s notable designs included the Biomanufacturing Research Institute and Technology Enterprise Facility at North Carolina Central University; the North Carolina A&T State University Proctor School of Education; Anacostia Library and the Tenley-Friendship Library; and the Harvey B. Gantt Center for African-American Arts and Culture to name a few.

The Freelon Group merged with Perkins+Will. He became Design Director of the North Carolina practice, leading both the Perkins+Will offices in Durham and Charlotte His team designed the four-level Smithsonian Institution’s National Museum of African American History & Culture on the Mall. He partnered with two other architects, the late J. Max Bond and Ghanaian-born David Adjaye.

President Barack Obama appointed him to the National Commission of Fine Arts. He became a recipient of the Thomas Jefferson Award for Public Architecture and the AIA North Carolina’s Gold Medal. He was awarded an honorary doctorate from North Carolina State University. He was a visiting and adjunct professor at several leading universities. He established the Philip Freelon Fellowship at the Harvard Graduate School of Design to expand opportunities for aspiring African American architects.

He and his wife, Grammy-nominated jazz singer Nnenna Freelon, have three children. His son Pierre is a noted musician and educator. He was a member of Sigma Pi Phi Fraternity. #africanhistory365 #africanexcellence #sigmapiphi

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bostonsightseeingtour · 9 months ago

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Exploring Boston: Unveiling the Best Tourist Spots

Boston, often dubbed as the "Cradle of Liberty" due to its significant role in American history, is a city that seamlessly blends its rich past with a vibrant present. With its charming neighborhoods, iconic landmarks, world-class museums, and delectable cuisine, Boston has something to offer to every traveler. Whether you're a history enthusiast, a foodie, an art lover, or simply someone seeking an unforgettable urban experience, Boston beckons with open arms. Let's embark on a journey through some of the best tourist spots that this captivating city has to offer.

1. Freedom Trail

No visit to Boston is complete without a stroll along the Freedom Trail. This 2.5-mile-long trail winds its way through the heart of the city, connecting 16 historically significant sites. From the Massachusetts State House to the Paul Revere House and the Old North Church, each stop along the trail offers a glimpse into America's revolutionary past. Guided tours are available, but exploring at your own pace allows for a more immersive experience.

2. Fenway Park

For sports enthusiasts, Fenway Park is a must-see attraction. As the oldest ballpark in Major League Baseball, Fenway Park exudes charm and history. Even if you're not catching a Red Sox game, you can still take a guided tour of the stadium and learn about its storied past, including the legendary "Green Monster" and the unique quirks that make Fenway Park a beloved icon of Boston.

3. Museum of Fine Arts

Art aficionados will find solace in the Museum of Fine Arts, one of the most comprehensive art museums in the world. Boasting an extensive collection that spans thousands of years and diverse cultures, the museum showcases everything from ancient Egyptian artifacts to contemporary masterpieces. Highlights include works by renowned artists such as Monet, Rembrandt, and Van Gogh, making it a cultural gem not to be missed.

4. Boston Common and Public Garden

Escape the hustle and bustle of the city by strolling through Boston Common and the adjacent Public Garden. As America's oldest public park, Boston Common offers serene green spaces, picturesque ponds, and historic monuments. Across Charles Street lies the Public Garden, famous for its meticulously manicured flower beds, graceful swan boats, and the iconic bronze statue of Make Way for Ducklings, inspired by the beloved children's book.

5. Harvard Square and Harvard University

Venture across the Charles River to Cambridge and explore Harvard Square, the bustling heart of Harvard University. Meander through the ivy-covered buildings of one of the world's most prestigious academic institutions, taking in sights such as Widener Library, Memorial Hall, and Harvard Yard. Don't forget to grab a cup of coffee at one of the quaint cafes or browse the eclectic shops that line the streets surrounding the square.

6. Quincy Market and Faneuil Hall

Indulge your senses at Quincy Market and Faneuil Hall, where history meets gastronomy in a lively marketplace setting. Dating back to 1742, Faneuil Hall has served as a marketplace and meeting hall for centuries and continues to be a vibrant hub of activity. Adjacent to Faneuil Hall, Quincy Market offers an array of culinary delights, from fresh seafood to international cuisine, making it the perfect spot to sample some of Boston's culinary offerings.

7. Boston Harbor Islands

For a refreshing escape from the urban landscape, hop aboard a ferry and venture out to the Boston Harbor Islands. This collection of 34 islands offers opportunities for hiking, picnicking, wildlife viewing, and even camping, all within reach of the city skyline. Spectacle Island and Georges Island are popular choices, each offering stunning views of the harbor and historical landmarks to explore.

8. New England Aquarium

Dive into the depths of the ocean at the New England Aquarium, where fascinating marine life awaits. From playful penguins to graceful sea turtles and fearsome sharks, the aquarium's exhibits showcase a diverse array of aquatic species from around the world. Don't miss the Giant Ocean Tank, a four-story Caribbean coral reef teeming with vibrant marine life, including sharks, stingrays, and tropical fish.

9. Boston Tea Party Ships and Museum

Step back in time to one of the defining moments of American history at the Boston Tea Party Ships and Museum. Through interactive exhibits, live reenactments, and multimedia presentations, visitors can relive the events leading up to the Boston Tea Party and gain insight into the revolutionary spirit that shaped the nation. Climb aboard a meticulously recreated 18th-century ship and experience firsthand what it was like to participate in this iconic act of defiance against British rule.

10. Isabella Stewart Gardner Museum

Immerse yourself in the enchanting world of art and architecture at the Isabella Stewart Gardner Museum. Housed in a Venetian-style palazzo designed to resemble a 15th-century Italian villa, the museum's collection features an eclectic mix of paintings, sculptures, furniture, and decorative arts amassed by its namesake founder. The museum's courtyard garden, filled with fragrant flowers and tranquil fountains, provides a peaceful oasis in the heart of the city.

Conclusion

From its revolutionary roots to its vibrant cultural scene and culinary delights, Boston offers a plethora of attractions that cater to every traveler's interests. Whether you're exploring historic landmarks along the Freedom Trail, admiring world-class art at the Museum of Fine Arts, or indulging in fresh seafood at Quincy Market, Boston's charm and diversity are sure to leave a lasting impression. So, pack your bags, lace up your walking shoes, and prepare to embark on an unforgettable journey through the best tourist spots that Boston, USA, has to offer.

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