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The Thanksgiving display in the conservatory at the Bellagio in Las Vegas.
Nikon D800
Nikon 24-70 mm f/2.8 at 27 mm
1/160 sec at f/ 3.5
ISO 800
November 21, 2014
Justice and History
•By Thomas Crawford (1813/1814-1857)
•Marble, Modeled 1855-1856, Carved ca. 1858-1860
•Overall Measurement
oHeight: 46 inches (116.8 cm)
oWidth: 134 inches (340.4 cm)
oDepth: 26 inches (66 cm)
•Unsigned
•Credit Line: U.S. Senate Collection
•Cat. no. 25.00002.000
When the Capitol building was transformed by the grand architectural extension and new dome designed by Thomas U. Walter in the 1850s, only Constantino Brumidi was awarded more important commissions for its decoration than Thomas Crawford. Crawford was contracted to provide an enormous amount of sculpture for the building: bronze doors for the eastern entrances to the House and Senate wings, the marble pediment sculpture for the Senate wing and a statuary group for the main Senate entrance, and, ultimately, the pinnacle of the entire Capitol, the bronze Statue of Freedom atop the dome. (For his many contributions to the Capitol, Crawford is memorialized with a bust, displayed in the Senate wing.)
Crawford had been apprenticed to a wood carver at the age of 14. By about 1832, he was employed by the prominent New York stone-cutting firm operated by John Frazee and Robert Launitz. There he was assigned the customary work on gravestones and mantelpieces and assisted in the execution of portrait busts. Crawford also enhanced his artistic development by sketching casts from the collection of the National Academy of Design. In 1835 he moved to Rome and became the first American sculptor to settle there permanently. Once in Rome, he gravitated quickly to the studio of Bertel Thorvaldsen, perhaps the most famous sculptor of his day. Thorvaldsen’s neoclassicism was the most important influence on Crawford. In 1839 Crawford gained widespread acclaim for his statue Orpheus, which led to numerous commissions for allegorical and mythological figures.
While construction of the Capitol extension was still under way, Montgomery Meigs, superintendent of the Capitol extension, was busily attending to the decorative commissions as well. In August 1853 he wrote to Crawford in Florence, principally about the pediment and doorway on the east front of the new Senate. “I do not see why,” he claimed, “a Republic so much richer than the Athenian should not rival the Parthenon in the front of its first public edifice.” Crawford responded at the end of October, describing his ideas for the pediment and for the two allegorical figures over the doorway—Justice and Liberty—and concluding, “My price for the whole of them is $20,000.” The offer was approved by Jefferson Davis, secretary of war, and accepted by Meigs in a letter of November 30, 1853. In the initial design, Liberty wore a pileus, the cap worn by freed slaves in ancient Rome, and Justice held a bundle of rods and an ax, Roman symbols of authority. Jefferson Davis was satisfied with the overall design, but he objected to the symbolic Roman elements, which he felt were inappropriate iconography for America. Both Meigs and Davis asked Crawford to change some of the details but to maintain the basic composition. Crawford agreed. “I have changed the Liberty into a figure of History (and thus avid [sic] the ‘cap’),” he responded to Meigs. In July 1860, Crawford was paid the agreed-upon price of $3,000 for “modelling in plaster and cutting in marble Statues of ‘Justice and History’ including marble.”
Of all the sculptural projects awarded to Crawford for the new extension, Justice and History seems to have been almost an afterthought. First conceived (by Meigs) as a relief sculpture, it became not only the subject of disagreement over the symbolic attributes but also part of an ongoing gentlemanly controversy over whether it and the other sculptures should be carved (or, if bronze, cast) in Europe or America. In addition, it was continuously postponed in favor of larger, clearly more significant projects. The planned placement of the figures was not very advantageous. Perched on a cap supported by massive brackets above the bronze door of the Senate wing, east portico, with their heads overlapping the windowsill behind them, they lacked a proper stage. Their back-to-back reclining position suggested a placement within a small tympanum, but no such framing element was provided.
Allegorical figures were certainly not new in American sculpture, and neoclassicism was the favored “high” style among academically trained European and American sculptors. For many viewers, the classical style embodied a rigorous intellectual and moral integrity that suited the ideals of the new republic. But there was in the young country only a small, classically educated audience for the allegorical content. If simple enough, it was acceptable, but sometimes allegory failed, as with the notoriously negative public reaction to Horatio Greenough’s colossal half-nude statue of George Washington, which prompted Meigs to caution Crawford in a 1853 letter:
Permit me to say that the sculpture sent here by our artists is not altogether adapted to the taste of our people. We are not able to appreciate too refined and intricate allegorical representations, and while the naked Washington of Greenough is the theme of admiration to the few scholars, it is unsparingly denounced by the less refined multitude. Cannot sculpture be so designed as to please both? In this would be the triumph of the artist whose works should appeal not to a class but to mankind.
Clearly this is not a condescending attitude, for Meigs was determined that the Capitol and its decoration should be admired by the “less refined multitude.” He gave Constantino Brumidi the painter more leeway in the matter of allegory than he was willing to allow Crawford the sculptor, perhaps because sculpture principally adorned the exterior of the building and thus was seen by more people. It was the large, multi-figure pediment that most preoccupied both Meigs and Crawford in this discussion, and Crawford proved quite amenable to satisfying Meigs’s concerns: “I fully agree with you regarding the necessity of producing a work intelligible to our entire population. The darkness of allegory must give place to common sense.” What applied to the pediment applied as well to Justice and History. The simplified allegories of book, globe, scales, and scroll, certainly, were clear to the multitude and easily appreciated.
The completion of Justice and History was long delayed. A year after the contract was concluded, Crawford had done no more than send sketches to Washington, and on December 13, 1854, he asked Meigs’s permission to postpone modeling them until the dimensions of the doorway had been firmly decided. On June 10, 1855, he wrote that he would “immediately proceed with the group.” By November, the figures were apparently in process, though not complete, and on May 21, 1856, he reported to Meigs that the models were entirely finished. Now he was awaiting approval or rejection of his request to have them carved in marble in Italy, where he could supervise the production. In a subsequent letter to Meigs, Crawford complained of a problem with his left eye. This illness, a tumor, rapidly worsened, and over the next months, although he was able to do some finishing work on his colossal model of Freedom for the Capitol dome, it was apparent that Crawford’s ability to sculpt was seriously affected.
A letter of April 1, 1857, from the ailing artist to Meigs, asked for an advance in order to buy the marble to carve the figures. Meigs, who “had supposed from [Crawford’s] former letters that they were underway,” nonetheless agreed to make the funds available. By then the cancer had spread to Crawford’s brain and, despite medical treatment in Paris and London, he died on October 10, 1857. Neither Justice nor History had been carved. Crawford had always urged Meigs to allow the carving of his marbles and the casting of his bronzes to be done in Rome. Meigs, on the other hand, had wanted them to be executed in the United States, to give native carvers and casters much-needed experience. Meigs prevailed for all of Crawford’s works but Justice and History.
Crawford’s widow, Louisa Crawford, who took over her husband’s business affairs after his death, asked Meigs to allow Justice and History to be carved from Carrara marble in Italy, in part because “there are no duplicates cast, and … if lost they are irretrievably gone.” Meigs relented, and the marbles were made in Italy between 1858 and 1860. The two pieces were shipped to the United States in 1860 and were kept in the former Hall of the House of Representatives until the exterior of the U.S. Capitol’s Senate extension was ready to receive it. It was installed three years later above the Senate entrance on the east front of the Capitol.
Meigs’s acquiescence on the carving location proved unfortunate, for of Crawford’s marble sculptures at the Capitol, only Justice and History deteriorated severely, eroded by the elements. By the mid-20th century, the head of History and the face of Justice were nearly gone, and the figures were severely flaked and cracked. In 1974 they were removed and heavily restored with plaster to its appearance as documented in early photographs and then used as a model for the carving of a new marble replica; Francesco Tonelli of the Vermont Marble Company carved copies of the originals. Tonelli’s marble reproductions were installed in the original location above the Senate doorway later in 1774, and the repaired Justice and History was placed on display inside the Capitol in the ground floor extension to the Old Senate Wing outside the Old Supreme Court Vestibule.
More on Justice and History
In September 1850 Congress appropriated $100,000 for expansion of the United States Capitol. Philadelphia architect Thomas U. Walter was selected to design and construct the addition. In 1853 the project was transferred to the Army Corps of Engineers under the direction of Secretary of War Jefferson Davis. While Walter remained as architect, Montgomery C. Meigs, a 36-year-old captain in the Corps of Engineers, was named superintendent of the Capitol extension and placed in charge of the construction. Meigs believed that the extension should be decorated in a highly elaborate style to rival the great buildings of Europe, and he and Davis worked together to make the Capitol a showcase of the arts.
As part of that effort, Meigs asked artists Hiram Powers and Thomas Crawford to submit designs for sculpture for the new pediments planned for the Senate and House extensions and for the areas above the adjoining doorways. Crawford submitted a series of designs for the projects. For the Senate doorway, he proposed a grouping of two reclining female figures: Justice and Liberty. He received the commission, and in his final drawing he changed Liberty to History.
In Crawford’s Justice and History, Justice, the figure to the right, is half reclining and heavily draped like a Roman matron at a banquet. She supports a large tome with the words “Justice, Law, Order” and rests her right elbow on the visible portion of a globe draped with the stars and stripes. Her right hand holds the scales of justice, which lie loosely on the edge of the base, their chains slack. The History figure has long flowing hair crowned with a laurel wreath. She holds an open scroll, with the top draped over a plinth, on which the words “History July 1776” are inscribed. The overall length of the sculpture is 11 feet 2 inches.
The Sculptor
Thomas Crawford (1814-1857), also created the Statue of Freedom atop the dome, the designs of the House and Senate bronze doors, and the “Progress of Civilization” pediment sculpture over the east entrance to the Senate wing.
A display at Cyfartha Castle, Merthyr Tydfil in Wales of Johnny Owen's Lonsdale belt, Young Boxer of the Year trophy, a Matchstick Man emblem tie, and the gloves and boots worn in his final fight against champion Lupe Pintor.
In September 1980, Johnny ‘Matchstick Man’ Owen from Merthyr Tydfil, Wales, challenged Lupe Pintor for the WBC World Bantemweight title in Mexico. At that time Owen was the holder of the Welsh, British, Commonwealth and European titles. In the 12th round Owen was knocked out, he never regained consciousness and died in a Los Angeles hospital on November 4th 1980. This statue was unveiled by Johnny's father Dick Owen and his old adversary Lupe Pintor on November 2nd 2002 in a ceremony attended by hundreds of Merthyr townspeople, sportsmen and fans. The statue was also visited by Mike Tyson on the anniversary of his death in 2009. Known as the Matchstick Man, Owen's nickname was the result of his skinny frame which belied his power and aggression in the ring. His amateur career took in 124 fights, with 106 victories. He represented his country 17 times during this time, winning 15 of the bouts. Owen's professional career spanned twenty-eight contests with twenty-five victories, one draw and two defeats. 1956-1980.
Pride and Prejudice: An Annotated Edition . . . Austen, Jane; Spacks, Patricia Ann Meyer
Pride and Prejudice . . . DVD
The Romance Collection . . . DVD
The Jane Austen . . . DVD
Pride and Prejudice . . . Austen, Jane
Pride and Prejudice: An Authoritative Text, Backgrounds, and Sources Criticism . . . Austen, Jane; Gray, Donald J.
Pride & Prejudice, Sense & Sensibility ... Austen, Jane
All Things Austen: An Encyclopedia of Austen's World . . . Olsen Kirstin
Jane Austen: A Life . . . Nokes, David
England's Jane: The Story of Jane Austen . . . Locke, Juliane
Jane Austen: Her Life . . . Honan, Park
Jane Austen: A Life . . . Tomalin, Claire
Jane Austen . . . Shields, Carol
What Jane Austen Ate and Charles Dickens Knew: From Fox Hunting to Whist: The Facts of Daily Life in Nineteenth-Century England . . . Pool, Daniel
The Writer's Guide to Everyday Life in Regency and Victorian England . . . Hughes, Kristine
Jane Austen . . . Bloom, Harold
Pride and Prejudice ... Jane Austen (ed. Bloom, Harold)
Flirting with Pride & Prejudice: Fresh Perspectives on the Original Chick-Lit Masterpiece . . . Crusie, Jennifer
Jane Austen's Novels: Social Change and Literary Form . . . Brown, Julia Prewitt
Jane Austen Education: How Six Novels Taught Me about Life, Friendship and the Things That Really Matter . . . Deresiewicz, William
Becoming Jane . . DVD
Pride, Prejudice and Jasmin Field . . . Nathan, Melissa
Mr. Darcy Broke My Heart . . . Pattillo, Beth
Pride and Prejudice and Zombies: The Classic Regency Romance--Now with Ultraviolent Zombie Mayhem . . . Grahame-Smith, Seth; Austen, Jane
Bridget Jones's Diary: A Novel . . . Fielding, Helen
Prom and Prejudice . . . Eulberg, Elizabeth; Austen, Jane
All Roads Lead to Austen: A Year-Long Journey with Jane . . . Smith, Amy Elizabeth
Understanding Pride and Prejudice: A Student Casebook to Issues, Sources and Historical Documents . . . Teachman, Debra
These photos were taken during the last half hour of the bronze medal match between Brazil and the Netherlands. The Netherlands won 3-0.
In Denmark it was heavy rain and on the lawn in front of the big screen there were only 8-10 football fans compared to the normal 2,000-3,000 fans for the big matches ...
The rain, the darkness and the light from the big screens gave opportunities for some challenging photography. I'll show them to you here in color though it's not my normale style ... It's just too hard for me ... :)
The orange background gives this a weird post-nuclear look. Squuzing multiple large vehicles wasn't easy, this display ended up looking kind of cluttered. But it was a chance for me to have a go at a little terrain, which I've since revisited on a larger scale.
Displayed artwork at Bookman's
If you know the painter or the name of the painting please let me know...
Thank you for your comments... I am delighted that you liked this... Very gratifying. Thanks!!
IMG_0241
KIMONO
Translated literally from Japanese, kimono means thing to wear. Historically, in Japan, it was a term used to refer to any type of clothing. Now, it has come to refer to a very specific type of traditional Japanese garments. Here, you will see some examples of kimono. The kimono displayed here are taken from the personal collections of Christina Stoppa, Erica Pai, Justine Sobocan and Maral Agnerian.
ANIMALS
Historically, Japan’s native religion is Shinto; the way of the gods. The basis of Shinto is that everything in nature is inhabited by a spirit or kami. As a result, everything in nature is to be treated with respect. This affinity for nature is very influential in the world of kimono. While floral and plant motifs are some of the most common, animals are often depicted on kimono as well. Displayed here are some common (and not so common) animal motifs alongside some information about the cultural significance of those animals.
May Day at Audley End
Roll up, roll up and see May Day fun as it used to be!
Enjoy our Victorian side shows and brass band, and marvel at our incredible displays of Victorian falconry. Then watch as your little ones learn circus skills or take part in a play. All of which, coupled with the spectacular house and grounds at Audley End, is sure to make this a day out to remember for all the family!
Enjoy a great day out at one of England’s grandest stately homes; Audley End House.
The doors of our restored historic stables recently opened, complete with resident horses and a Victorian groom. Our stables experience includes an exhibition where you can find out about the workers who lived on the estate in the 1880s, the tack house and the Audley End fire engine. Try our dressing up clothes in the stables and meet our horses, Duke and Jack, too.
Children can let loose in our fun themed play area next to our Cart Yard Café which is always very popular with visitors.
Audley End House itself is a magnificent house, built to entertain royalty, and includes a Victorian Service Wing complete with kitchen, laundries and a dairy.
With beautiful grounds to explore, including an impressive formal garden and the working Organic Kitchen Garden, there’s so much to see and do at Audley End House.
Originally adapted from a medieval Benedictine monastery, the house and gardens at Audley End were amongst the largest and most opulent in Jacobean England. Today Audley End is set in a tranquil landscape with stunning views across the unspoilt Essex countryside. Visitors can enjoy the painstakingly restored parterre with its eye-catching bedding scheme and a walled kitchen garden run entirely on organic principles. It's possible to see elements of English gardening on a grand scale at Audley End carried out by the most influential designers of the day such as Lancelot ‘Capability’ Brown.
Necklace display. Wire basket was a freebie from a friend, wrapped box was pinch hitting for the day to give some height.
Decorative fair display for Rosenthal in Hanover. Display by Barbara Brenner. From Gebrauchsgraphik 12 1966. Blogged at Aqua-Velvet.
A Pair of Custom-Made (& designed)
brackets "hold" this art suspended /parallel
about 3 inches away from
the Wenge paneled Walls
(which they did not want to
put nails into to hang
their Art! ;)
Staff picks display, South Library, 16 March 2018.
File Reference: 2018-03-16-IMG_2156
From the collection of Christchurch City Libraries
This display of sheep was spotted outside a shop in the historic Georgian town of Holt, Norfolk.
crafty1tutu (Ann) Ann, be sure to look in the shop window!!
Taken with my Canon Telephoto Zoom 100-400mm f/4.5-5.6L IS USM EF Lens and apart from being framed in Photoshop, is SOOC..
Better viewed in light box - click on the image or press 'L' on your keyboard.
PLEASE DO NOT FAVE WITHOUT LEAVING A COMMENT. THANK YOU.
Lindt, Autism Display Chocolate Gold Bunny Easter, 2/2015, by Mike Mozart of TheToyChannel and JeepersMedia on YouTube
I liked this display of Isle of Wight tomato products at Farmer Jacks in Arreton Old Village, Isle of Wight.
Single raw image tonemapped in Luminence HDR and finished in Lightroom.
www.fluidr.com/photos/vil_sandi
Listen the display-sound*******************