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+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some Background:
The Ki-38 fighter was designed by the Tachikawa Aircraft Company Limited (立川飛行機株式会社, Tachikawa Hikōki Kabushiki Kaisha) near Tokyo, an aircraft manufacturer in the Empire of Japan, specializing primarily in aircraft for the Imperial Japanese Army Air Force. The Ki-38 prototype was produced in response to a December 1937 specification for a successor to the popular fixed-gear Nakajima Ki-27 Nate. The specification called for a top speed of 500 km/h (310 mph), a climb rate of 5,000 m (16,000 ft) in five minutes and a range of 800 km (500 mi). Maneuverability was to be at least as good as that of Ki-27.
When first flown in early January 1939, the Ki-38 prototype was a disappointment. Japanese test pilots complained that it was less maneuverable than the Ki-27 Nate and not much faster. Even though the competition was eventually won by the Ki-43, service trials determined the aircraft to hold sufficient promise to warrant further work, leading to the adoption of an expanded and strengthened wing and a more refined Mitsubishi Ha-102 (Army Type 100 1,050hp Air Cooled Radial) 14-cylinder air-cooled radial piston engine. During spring 1939, following the completion of further proving trials, an order for a pre-production batch of 25 aircraft was placed.
As a whole, the Ki-38 was an all-modern design consisting of all-metal skin and understructure construction with low-set monoplane wing appendages. The wings were straight in their general design with rounded tips and set well-forward of amidships. The engine was fitted to the extreme forward section of the fuselage in a traditional manner, powering a three-bladed propeller installation. Interestingly, the cockpit was also situated well-forward in the design, shortening the visual obstacle that was the engine compartment to some extent. However, views were still obstructed by the short engine housing to the front and the wings to the lower sides. The fuselage tapered at the rear to which a single vertical tail fin was affixed along with mid-mounted horizontal tailplanes. The undercarriage was retractable and of the "tail-dragger" arrangement consisting of two main single-wheeled landing gear legs and a fixed, diminutive tail wheel leg at the rear.
The series-production Ki-38-I was further modified to enhance its performance. These changes involved a major weight saving program, a slimmer and longer fuselage with bigger tail surfaces and a new, more streamlined bubble-style canopy that offered, even while bearing many struts, the pilot a very good all-round field of view.
In addition to good maneuverability, the Ki-38-I had a good top speed of more than 500 km/h (310 mph). The initial Ki-38 was armed with four 7.7 mm (0.303 in) Type 89 machine guns in the wings, but this soon turned out to be insufficient against armored Allied fighters and bombers. Quickly, the inner pair of weapons was, after just 50 aircraft, replaced with 12.7 mm (0.50 in) Ho-103 machine guns in the Ki-38-Ib (the initial version subsequently became the Ki-38-Ia), of which 75 were built. On board of the following Ki-38-Ic, the inner weapons were replaced with a pair of even heavier and more effective 20 mm (0.787 in) Ho-5 cannon, which required fairings for the ammunition under the wings and made this version easy to identify. The Ki-38-Ic became the most frequent variant, with 150 examples built.
All types also featured external hardpoints for a drop tank under the fuselage or a pair of bombs of up to 250 kg (550 lb) caliber under the wings. Late production aircraft were designated Ki-38-II. The pilot enjoyed a slightly taller canopy and a reflector gunsight in place of the earlier telescopic gunsight. The revised machines were also fitted with a 13 mm (0.51 in) armor plate for the pilot's head and back, and the aircraft's fuel tanks were coated in rubber to form a crude self-sealing tank. This was later replaced by a 3-layer rubber bladder, 8mm core construction, with 2mm oil-proof lamination. Some earlier aircraft were retrofitted with these elements, when available to the field workshops, and they dramatically improved the aircraft’s resilience to enemy fire. However, the bladder proved to be highly resistant only against light 7.7 mm (0.303 in) bullets but was not as effective against larger calibers. The Ki-38-II’s armament was the same as the Ki-38-Ic’s and 120 aircraft were built.
Ki-38 production started in November 1939 at the Tachikawa Hikoki KK and at the 1st Army Air Arsenal (Tachikawa Dai-Ichi Rikugun Kokusho) plants, also at Tachikawa. Although Tachikawa Hikoki successfully managed to enter into large-scale production of the Ki-38, the 1st Army Air Arsenal was less successful – hampered by a shortage of skilled workers, it was ordered to stop production after 49 Ki-38 were built, and Tachikawa ceased production of the Ki-38 altogether in favor of the Ki-43 in mid-1944.
Once it was identified and successfully distinguished from the IJA’s new Ki-43 “Oscar” and the IJN’s A6M “Zero” (Oscar), which both had very similar outlines, the Ki-38 received the Allied code name “Brad”. Even though it was not produced in the numbers of the Ki-43 or the A6M, the Ki-38 fought in China, Burma, the Malay Peninsula, New Guinea, the Philippines, South Pacific islands and the Japanese home islands. Like the Oscar and the Zero, the Ki-38 initially enjoyed air superiority in the skies of Malaya, Netherlands East Indies, Burma and New Guinea. This was partly due to the better performance of the Brad and partly due to the relatively small numbers of combat-ready Allied fighters, mostly the Curtiss P-36 Hawk, Curtiss P-40, Brewster Buffalo, Hawker Hurricane and Curtiss-Wright CW-21 in Asia and the Pacific during the first months of the war.
As the war progressed, however, the fighter suffered from the same weaknesses as its slower, fixed-gear Ki-27 "Nate" predecessor and the more advanced naval A6M Zero: light armor and less-than-effective self-sealing fuel tanks, which caused high casualties in combat. Its armament of four light machine guns also proved inadequate against the more heavily armored Allied aircraft. Both issues were more or less mended with improved versions, but the Ki-38 could never keep up with the enemy fighters’ development and potential. And as newer Allied aircraft were introduced, the Japanese were forced into a defensive war and most aircraft were flown by inexperienced pilots.
General characteristics:
Crew: 1
Length: 8.96 m (29 ft 4 in)
Wingspan: 10.54 m (34 ft 7 in)
Height: 3.03 m (9 ft 11 in)
Wing area: 17.32 m² (186.4 sq ft)
Empty weight: 2,158 kg (4,758 lb)
Gross weight: 2,693 kg (5,937 lb)
Max takeoff weight: 2,800 kg (6,173 lb)
Powerplant:
1× Mitsubishi Ha-102 14-cylinder air-cooled radial piston engine with 1,050hp (755 kW),
driving a 3-bladed variable-pitch propeller
Performance
Maximum speed: 509 km/h (316 mph, 275 kn)
Cruise speed: 450 km/h (280 mph, 240 kn)
Range: 600 km (370 mi, 320 nmi)
Service ceiling: 10,000 m (33,000 ft)
Time to altitude: 2,000 m (6,600 ft) in 3 minutes 24 seconds
Wing loading: 155.4 kg/m2 (31.8 lb/sq ft)
Power/mass: 0.182 hp/lb (0.299 kW/kg)
Armament:
2× 20 mm (0.787 in) Ho-5 cannon with 150 rpg
2× 7.7 mm (0.303 in) Type 89 machine guns with 500 rpg
2× underwing hardpoints for single 30 kg (66 lb) or 2 × 250 kg (550 lb) bombs
1× ventral hardpoint for a 200 l (53 US gal; 44 imp gal) drop tank
The kit and its assembly:
I always thought that the French Bloch MB 150 had some early WWII Japanese look to it, and with this idea I recently procured a relatively cheap Heller kit for this conversion project that would yield the purely fictional Tachikawa Ki-38 for the IJA – even though the Ki-38 existed as a Kawasaki project and eventually became the Ki-45, so that the 38 as kitai number was never actively used.
The Heller MB 150 is a vintage kit, and it is not a good one. You get raised panel lines, poor details (the engine is a joke) and mediocre fit. If you want a good MB 150 in 1:72, look IMHO elsewhere.
For the Ki-38 I wanted to retain most of the hull, the first basic change was the integration of a cowling from a Japanese Mitsubishi Ha-102 two-row radial (left over from an Airfix Ki-46 “Dinah”), which also received a new three-blade propeller with a different spinner on a metal axis inside. The engine also received some more interior details, even though the spinner blocks most sight.
The next, more radical move was to replace the MB 150’s spinal cockpit fairing with a bubble canopy and a lowered back – I found a very old and glue-tinted canopy from a Matchbox A6M in the spares box, and it turned out to be very suitable for the Ki-38. However, cleaning the clear piece was quite challenging, because all raised struts had to be sanded away to get rid of the old glue and paint residues, and re-polishing it back to a more or less translucent state took several turns with ever finer sandpaper, polishing paste and soft polishing mops on a mini drill. The spine was re-created with 2C-putty and the canopy was blended into it and into the fuselage with several PSR turns.
Inside, I used a different pilot figure (which would later be hard to see, though), added a fuel tank behind the seat with some supporting struts and inserted a piece of styrene sheet to separate the landing gear well from the cockpit – OOB it’s simply open.
The landing gear was basically taken OOB, I just replaced the original tail skid with a wheel and modified the wheels with hub covers, because the old kit wants you to push them onto long axis’ with knobs at their tips so that they remain turnable. Meh!
The fairings under the guns in the wings (barrels scratched from the MB 150’s OOB parts) are conformal underwing fuel tanks from a late Seafire (Special Hobby kit).
Painting and markings:
The initial plan was a simple green/grey IJA livery, but the model looked SO much like an A6M that I rather decided to give it a more elaborate paint scheme. I eventually found an interesting camouflage on a Mitsubishi Ki-51 “Sonia” attack plane, even though without indications concerning its unit, time frame or theater of operations (even though I assume that it was used in the China-Burma-India theater): an overall light grey base, onto which opaque green contrast fields/stripes had been added, and the remaining light grey upper areas were overpainted with thin sinuous lines of the same green. This was adapted onto the Ki-38 with a basis in Humbrol 167 (RAF Barley Grey) and FS 34102 (Humbrol 117) for the green cammo. I also wanted to weather the model considerably, as a measure to hide some hardware flaws, so that a partial “primer coat” with Aluminum (Revell 99) was added to several areas, to shine through later. The yellow ID markings on the wings’ leading edges were painted with Humbrol 69. The propeller blades were painted with Humbrol 180, the spinner in a slightly lighter mix of 180 and 160.
Interior surfaces were painted with a dull yellowish green, a mix of Revell 16 and 42, just the inside of the landing gear covers became grey as the outside, in a fashion very similar to early Ki-43s.
The decals came form various sources, including a Hasegawa Ki-61 sheet for the unit markings and some stencils and hinomaru in suitable sizes from a generic roundel sheet.
Some dry-brushing with light grey was done to emphasize edges and details, and some soot stains were added with graphite to the exhausts and the guns. Finally, the kit was sealed with matt acrylic varnish, some more dry-brushing with aluminum was done, esp. around the cockpit, and position lights were added with translucent paint.
An unexpected result – I was not prepared that the modified MB 150 looks THAT much like a Mitsubishi A6M or the Ki-43! There’s even an Fw 190-ish feel to it, from certain angles. O.K., the canopy actually comes from a Zero and the cowling looks very similar, too. But the overall similarity is baffling, just the tail is the most distinguishing feature! However, due to the poor basis and the almost blind canopy donor, the model is far from stellar or presentable – but some in-flight shots look pretty convincing, and even the camouflage appears to be quite effective over wooded terrain.
German postcard by Kolibri-Verlag no. 1530. Photo: Ringfilm / Deutsche London / Meroth. Nicole Heesters in Drei Männer im Schnee/Three Men in the Snow (Kurt Hoffmann, 1955).
Austrian actress Nicole Heesters (1937) is the daughter of Dutch-born film star Johannes Heesters. With a rich film and stage career, she stepped out of the shadow of her famous father. As a film actress, she became known in the 1950s with such films as Dieses Lied bleibt bei Dir/Cabaret (Willi Forst, 1954). Later she played in dozens of TV films and series.
Nicole Heesters was born in 1937 in Potsdam, Germany. Her father was Dutch born actor and singer Johannes Heesters and her mother Belgian stage actress and operetta singer Louise Ghijs. Nicole's older sister Wiesje (1931) is a pianist in Vienna, Austria. Nicole grew up in Austria and made her film debut as one of the daughters of Attila Hörbiger and Paula Wessely in the comedy Ich und meine Frau/I and My Wife (Eduard von Borsody, 1953). During the 1950s, she also starred in such films as Dieses Lied bleibt bei Dir/Cabaret (Willi Forst, 1954) and the comedy Drei Männer im Schnee/Three Men in the Snow (Kurt Hoffmann, 1955), starring Paul Dahlke and based on the eponymous novel by Erich Kästner. In 1954, she made her stage debut in the title role of Gigi at the Wiener Volkstheater. Next she was engaged by the Düsseldorfer Schauspielhaus.
During the following decades, Nicole Heester focused on stage and TV. In the theatre, she worked with such directors as Peter Stein, Boy Gobert and Andrea Breth. Since 1973, she is a member of the Freien Akademie der Künste in Hamburg. On screen, she appeared in the TV film Geliebter Mörder/Beloved Murderer (Heinz Schirk, 1972), as Catherine II in the TV Mini-series Die unfreiwilligen Reisen des Moritz August Benjowski/Benjowski (Fritz Umgelter, 1975) with Christian Quadflieg, and opposite Rainer Werner Fassbinder in the Sci-Fi thriller Kamikaze 1989 (Wolf Gremm, 1982). She wss also the dfirst female commissioner in the popular Krimi series Tatort/Crime Scene (1978-1980). More recently she played the title role of Lou Andreas-Salomé, The Audacity to be Free (Cordula Kablitz-Post, 2016). In 1958, she married stage director Pit Fischer, and the couple remained together till his death in 2010. They had two children, including actress Saskia Fischer. heesters'newest film is the family film Die Wolf-Gäng (Tim Trageser, 2020) with Christian Berkel.
Sources: Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
das Skizzenbuch ist 2017 immer dabei gewesen und hat alles festgehalten. Aus kleinen Zeichnungen werden über die Tage kleine Aquarelle.
Here's a self-portrait by Hans Manner-Jakobsen in homage to the old west mythos and the final frames of the movie Shane, where Alan Ladd rides off to the Grand Teton mountains of Wyoming, which are seen in the background. Framing the image, as he does, in the window of old abandoned prairie home also evokes for me the final frame of John Ford's film, The Searchers, as John Wayne leaves the family home to return to the wilderness.
Claire Wallace - Mind Your Manners - A Complete Dictionary of Etiquette for Canadians
Harlequin Books No #, 1953
Cover Artist: Eric Nasmith
Possibly number 271; however not indicated anywhere. This is the only unnumbered Harlequin ever published.
Wallace, Claire (1900-1968)
Claire Wallace was born into a newspaper family in Orangeville, Ont. in 1900. After graduating from Branksome Hall, she signed up for several technical courses as diverse as cooking and motor mechanics (where she was the only woman in a class of forty).
Divorced and with a son to support in the early 1930s, and having been successful with the submission of short items to various papers, she persuaded Toronto Star publisher H.C. Hindmarsh to let her write a column for the paper. Titled Over The Teacups, the column was spun off in 1935 into a weekday evening radio show for CFRB, called Teatime Topics. After a visit to England, she was able to give her readers and listeners a firsthand account of her presence in London at the time of the Coronation of King George VI. Former CBC news chief Knowlton Nash noted in his book The Swashbucklers that CFRB starred a number of female performers and commentators in the early and mid-1930s and probably did more for women than any other station in Canada.
A commentary by Claire is credited with helping to save Toronto tourist attraction Casa Loma, the medieval-style castle built by industrialist and financier Sir. Henry Pellatt. When the Toronto council wished to raze the castle, Claire commented that it was shameful to demolish such a unique structure and the CFRB broadcast was heard by the vice-president of a Kiwanis Club. The club obtained a license and operated Casa Loma from then on as a tourist attraction.
Claire was one of the first women to be featured on a regular program on a national network. She joined CBC Radio in 1936, and by 1942 she was hosting a thrice-weekly radio show, They Tell Me, which the National War Finance Department used to promote sales of war bonds and savings stamps. They Tell Me’s ratings were reported to be second only to the Happy Gang. In 1946 she received the Beaver Award from Broadcaster Magazine as Canada’s top woman commentator.
As one of Canada’s highest paid women broadcasters, Claire became a champion of the rights of women in 1944, after a furor over her salary for the wartime fundraising broadcasts prompted the NWFD to withdraw their support of her program. In her book Newsworthy – The Lives of Media Women, Susan Crean recalled how Claire would go to unique lengths for They Tell Me to get the facts on people behind the news, and “the story behind the story”. She would ‘go under cover’ as a store detective, or as a maid to learn how domestics were treated by their employers. She once spent the night at Casa Loma to gather material for a piece on ghosts, and on another occasion drew 300 replies to an ad seeking a gigolo.
Claire claimed several firsts for women, including being the first woman to fly Clipper across the Atlantic, the first woman to fly TCA across Canada, and the first woman broadcaster to learn to fly. She was a daredevil who liked taking risks to bring exciting and unusual stories to her listeners, once climbing a Mexican volcano, and at other times going down a gold mine, deep sea diving in the West Indies, and broadcasting from 5000 feet above Niagara Falls.
Claire returned to CFRB in 1952, and continued to broadcast for many years. She also wrote books – including a guide to etiquette, “Mind Your Manners” in 1953. In 1955 she started her own Claire Wallace Travel Bureau in Toronto, and within a few years was taking groups behind the Iron Curtain to Russia, and to China. In 1960 she updated “Mind Your Manners” with a section on travel tips.
Claire was a member of the Heliconian Club for artists, and of the Women’s Press Club, and responded willingly to many demands for her support for various charities.
Claire Wallace died in Toronto in 1968. Her papers and documents were donated by her estate to the University of Waterloo. On her death, Toronto Star writer Lotta Dempsey said of her: “She was the most glamorous, most loved celebrity of her day…….if you could get Claire Wallace for a charity event or a fundraising occasion, you had it made.”
Sources:
Susan Crean, Newsworthy – The Lives of Media Women
Marjory Louise Lang, Women Who Made The News – Female
Journalists in Canada 1880-1945
Knowlton Nash, The Swashbucklers
Lotta Dempsey, Toronto Star
Written by Pip Wedge - December, 2007
See also my album: portraits when passing by and... you are welcome to visit my profile You should have a look on my Faves too.
A now thoroughly excited Beth walked up the hill. Her prickling senses becoming more alert with each step. Innocently unaware that she was no longer playing a role in Dare’s game.
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We appreciate the courtesy of Chatwick University Archives for letting us use the journals in our research, and for permission to use parts for the genesis of “Dare’s Game”.
Dare’s Game
Beth, eagerly looking for Dare, walked straight into Seth’s cunning snare…..
Suffix, circa late 1900’s. It was during this time a fanciful young lady, whom we will call Beth, started a journal which she would faithfully keep over the course of almost 50 years. She led quite an adventuresome life for a lady of that time, and her journals were filled with many tales and observations of her exploits. The following story is derived from events that she penned down in the early years in her journal.
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Beth had known Dare since their childhood. Dare was a handsome free spirited youth only two years her senior, who lived for the games his life had to offer. As his cherished nickname inferred, Dare was always trying to find the thrill out of anything he could think up, relishing to go beyond the pale in anything he attempted. Dare always a little different, harboring feelings and ideas way beyond his years, almost as if he had lived a previous life and retained something from it in his being.
Beth would remember times playing dress up with Dare’s sister Diana in some old gowns of their mothers. It was always then that Dare and his friends seemed to appear and talk them into playing hide n seek, tag or cops n robbers. Dare seemed to take pleasure in cajoling the girls into playing with them in this manner. Eyeing them as they played with a far off look that suggested the game they were playing had more meaning to him than he could ever venture to say. It was hard for Beth to explain it, but she did find it pleasurable (almost erotic using a word whose term she would learn much later) to be observed by him in this way.
One warm fall day Diana and Beth headed down to an old shack located near some railroad tracks at the back of a cornfield. Diana was dressed in a long satin play gown with her mother’s jewelry, which Dare had called rhinestones. Beth, herself dressed in a long flowing dress, loved the way Diana’s jewels twinkled and sparkled as she walked. They were going to pretend the shack was a ballroom and they were one their way to a fancy dance, like Beth’s and Diana’s parents had recently attended. Diana wasn’t supposed to be wearing her mother’s jewelry outside the house, but as a result of Dare’s teasing, had done so anyway.
They had reached the shack, an old white brick building with a wooden roof half fallen in, when a man’s voice suddenly said behind them, what are you two ladies up to? Turning they were confronted by a happily sneering drifter. The grubby man looked around, alone is we, and advanced towards them. The two girls stood petrified, he reached out and probed Diana along her side, pretty dress missy, he said, sparsely toothed mouth grinning like a pumpkin. He suddenly reached up and tore the necklace away from Diana’s throat, sending her falling backwards. Beth screamed bloody murder, as the vagrant turned heel, running off towards the tracks. Suddenly Dare appeared, and Beth, meaning to yell for help, exclaimed instead “help honey” to Dare. Dares eyes took on a very different look, almost of a burning yearning. Beth told him what had happened and he took off down towards the tracks in hot pursuit. For Beth, the look he had given her and the way he had dashed off excited her beyond measure. Even for someone that young, Beth now knew what Dare meant to her. From then on, playing games with Dare took on a heightened meaning for Beth.
But, nothing really changed in their relationship until Beth’s sophomore year of high school. Beth was sixteen at the time, a whimsical being, passionate, innocent, not particularly attractive, but radiating with a love of life. A living free spirit, developing into a very sexual being by the time her and Diana decided to attend their schools prom in their sophomore year. Beth dressed in a fuchsia coloured satin dress with dangling rhinestone earrings that had been” borrowed” from Diana’s Mother, the same ones Diana had been wearing when they had run into the drifter at the shack. Diana slipped into the slinky blue spaghetti strap gown and matching cover-all that she had worn as her cousin’s bridesmaid. She was wearing sapphire costume jewels patterned after the hope diamond. Their parents had given them a hard time when they saw their made up girls in their gowns and finery , admonishing them for looking way too mature. They smiled, consoling their parents fears, and went off on their adventure.
Their eyes were dazzled by the display of lights, the cheerfully student filled room, the band. They had stopped and were letting it all sink in, when Beth felt a hand on her shoulder. She turned and came face to face with Dare, who once again had the same yearning fire in his eyes as on that fateful day at the old shack. A veil was lifted from between the two, and Beth spent the whole evening encompassed in Dare’s arms. Soon after that the two had begun seeing much more of one another. Their relationship was still going strong eight years later.
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8 Years Later
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Come on Dare, let’s go to the Riverside, it will be fun she urged. She had been trying to get her fiancé’ to take her to the exclusive five star resorts for some time. And now she had a free overnight room card she had won at work! Dare looked into Beth’s wide, hope filled eyes, knowing her passion for attending these types of affairs. Ever hopeful she would see someone rich. Dare knew how to use this to his advantage. Finally he buckled, all right, only if we play the game afterwards he bargained. She squirmed inwardly with passion, nodding her agreement. Beth found the game exciting, though she would never let on to Dare. And, you must wear the gold bridesmaid gown and jewels you wore to your friend’s wedding last week , he added, a wistful smile lighting up his thin face.. Okay she agreed, trying to sound reluctant, but truthfully feeling multiple tingles of delight.
Dare was handsome, in a scrawny, thin bearded, sort of way ( From an old photo that survives he resembled a young Johnny Depp… the eds), with a witty writers imagination and a playful disposition. He could always make Beth laugh, feeling his excitement as he drew her into his stories and games. She would never admit to it, but found the game delightfully erogenous. She smiled to herself, so Dare had liked the satin gown after all, he had not shown any interest in her wearing it since the wedding. And the jewelry, the small rhinestone pendent and earrings had been pretty, but Beth soon came up with another idea. She would knock his socks off by wearing the glittering diamonds and emeralds that had been inherited from her grandmother. The set had laid collecting dust in a safety deposit box all these years, unworn. She had never told Dare about them, waiting for the perfect occasion. She could just imagine the look in his eyes when he saw her wearing them. Okay then, game on, Beth thought, wickedly sending shivers up and down her spine.
Dare’s Game was based on role playing:
Dare would give Beth money to purchase a new outfit, something rich and shiny, like silk or satin. With the new outfit, Beth would wear the good gold jewelry she had received from Dare on her birthdays. The idea was to acting like a bored rich girl out for a good time, alone and vulnerable.
Dare would be at the hotel bar, waiting for Beth to make her entrance, then make her acquaintance , playing a debonair, suited gentleman with a mysterious past and a hidden agenda. They would make a date later, usually to dance and have drinks.
Then that evening, she would go down to the bar. Dressed in one of the long gowns Dare favored, fitting in with the usual spillover from a wedding reception that had been held in one of the Ballrooms. Sometimes she would wear the rhinestone jewelry they had purchased together at various antique stores. Then Beth would wait for Dare to make his entrance, signaling the time for Dare’s game. He would assume one of several roles, or possibly a new one that Beth had never seen. In the past Dare had played:
A spy who would dance with Beth, then disappear. Sending a note to Beth via a third person that would have her meet him clandestinely in a remote location…
A highwayman who would come across Beth on the castle grounds , usually the resorts empty gardens at night….
A rich millionaire looking for romance…
A kidnapper hired by an evil uncle, who after tying up Beth and removing her valuables would have a change of heart….
A Jewel thief who would be cunningly after her valuables…
A handsome prince rescuing Beth’s damsel in distress ….
Or Dare’s favorite, centered on their old childhood game of cops and robbers. Dare would play the thief, and steal something from Beth, usually while dancing. He would then leave preset clues around the grounds that she would have to follow to catch him.
All of the games usually led to some playful groping and then escalating into the upper echelons of erotic pleasure. Sometimes they never made out of the woods, or barely out of the ballroom. Beth shivered at these thoughts, wishing she didn’t have to wait….
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Three weeks later at the Riverside Resort.
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In the Bar:
At the bar, Dare smiled to himself, pleased. He had dropped Beth off to check in by herself. She would change into her new outfit and wear it down to the bar for lunch. She would come in acting like a complete stranger to the area. Dare would make her acquaintance, invite her to lunch, and make plans to see her that evening at the resorts dance room. There were two wedding receptions going on, and that dance room should be filled with well-dressed patrons. Beth would fit right in; clad that pretty gown she had promised to wear.
Dare had been sitting at the bar, thinking about ways to play out the game that evening, when the answer came to him, in the form of a stranger who had come with his drink and sat next to him. The stranger introduced himself as Seth, and shaking Dare’s hand sat on the stool next to him. After they had had couple of drinks, they had become quite chummy. Seth explaining he had come up for one of the weddings, and assumed Dare was doing the same. Seth did not fail to observe Dare’s secretive smile, but did not question it. Their conversation was distracted only when a newcomer appeared at the entrance. Beth walked in, a long flowing silky skirt swishing down to her leather sandals. A shiny, long sleeved satin top fitting tightly along her perky figure, with bright gold jewelry complementing the ensemble. Real gold, Seth observed silently to himself.
Beth went to a table, both men going silent as they watched her move through the room. Good-looking one, that, Seth commented, looking at Dare who was deep in thought as his eyes were fixed on the sexy newcomer. Seth teasingly offered Dare a penny for his thoughts. Dare smiled mischievously, letting lose his plans. Seth listened to the young man, smiling as a light went on in his steal grey eyes. When Dare finished he offered up a suggestion as to how Dare could make it really interesting for Beth. The two co-conspirators worked it out: Seth told Dare about a stone hut and wall that was located on the back nine of the resorts golf course. He suggested that he, Seth, would meet Beth that evening and pass a note onto her from Dare saying that he was in trouble and needed her help, with directions to the spot. Dare liked the idea, and wrote the note on a cocktail napkin, cementing the plan by handing it to Seth.
Off you go old chap, let Uncle Seth take care of his end, he said grinning, giving Dare a sporting clap on the back. With a wink, Dare left his fellow collaborator, and went over to Beth, who had since been seated by a male waiter, now standing drooling over her shoulder as she looked at the menu.
Later that same evening, inside the crowded club:
Seth had stopped by the bar for a last drink. His business venture had been concluded earlier than he had expected. With the change in his plans, he had checked out early, his kit packed, boot loaded and the car ready. He now sat at the bar Causley watching young lass of about seventeen who had literally ran into him at one of the receptions. He watched her flirting about the club, weaving in and out of the guests. With a long swishing gown flowing provocatively along her lithe figure, abundant, solid white gold chains swinging out in an alluringly eye catching manner as she scurried about. A diminutive gold ring its half caret diamond flickered playfully from the petite pinky it loosely surrounded once again welcomed his contemplation. The lass presented quite an intriguing gold feathered fledgling, just begging to be plucked. He looked around, spying her parents on the dance floor. The father/husband, despite being an excellent dancer, gave him no interest. It was his partner, the wife/ mother, decked out in a iridescent suit and long swishing satin skirt upon which he now was reexamining. He again studied under the bright dance floor lights her fine pearls dangling from her ears, throat, and wrists. But it was the Ladies’ two rings that stole the show for him; an engagement ring with a rock of at least 2 carets surrounded by numerous shimmering half caret stones and a pinky ring similar to her daughters, that proudly displayed a single white solitaire diamond of at least one caret that had garnered his consideration. He also reconsidered the facts that he had been able to garnish about the lady who wore them, and her husband. The wife/mother was a heavy drinker who would not be expected to make any kind of appearance before noon. Hubby was a golfer, who would be out for breakfast at five am before being on the links at 6 am the next morning . At 5 :15 Seth was planning to pay a visit to his suite, and relieve his two ladies of their expensive trinkets. It should be an easy straight forward caper, that had Seth bristling with anticipation at the prospect.
As he was tossing down the last of his drink he remembered about Dare and the note he still had in his pocket. Setting down the empty glass, he pulled the note out and looked at it, kids he smirked, and was preparing to crinkle toss it on the bar and leave, when his eyes caught sight of Beth. He had felt his breath taken away when he saw her. Not at all what he had expected, he would say to Beth much later in the evening. He looked over the note, stirrings of a plan began formulating. All thoughts of the dancing couple and his plans fled his mind, as He rose, throwing a fiver on the bar and went off to intercept Beth.
Seth held Beth in his arms, she was a vivacious little thing he thought, while smiling charmingly into her eyes. She seemed a little apprehensive at first, but had settled right in when he had told her this had been set up by Dare, remember me at the bar with him this afternoon he had consoled her, she had smile brightly into his eyes in answer. He relished in the feel of her warm satin gown, and allowed himself to be mesmerized by the shimmer of her diamonds.
It reminded him of the diamonds that had been worn by one of his dance partners earlier that evening at a reception. He had forgotten her name, but not her diamonds, one of which now resided in a hidden compartment of his roadsters boot, along with the diamond pin he had slipped off the satin cape he had cordially help a well-dressed lady put on. He had also shelved his plans for his 5:15 am “meeting” at the golf playing husbands hotel room, Beth’s jewels were a much more lucrative prospect.
When the dance had ended he took her to the bar and sat her down, ordering her a drink. She seemed a little perplexed, Seth kissed her gloved hand; wait for it he told her mysteriously, winking into her eyes. Beth had winked back, the fire in her heart reflecting deep in her eyes. Seth left, smiling cleverly to himself as he took in his surroundings. He looked around as he walked away, now where had the little imp gotten off too?
He had decided that the seventeen year old in the long flirting gown would play a very different role in his plans. He approached her, with Dares note and a twenty. Thought for a moment about the pair of thick platinum gold chains dangling from her throat down the open neckline of the girl’s glossy gown, then banished the though, he had bigger fish to filet. The twenty caught her attention and she eagerly listened as he explained to her what to do, pointing out Beth sitting, waiting in earnest at the bar. Wait until she finishes her drink, Seth told her as she listened eagerly. She took the twenty into her hand, the half caret diamond on her pinky ring flashing, and her gold chain bracelets jangled as she grasped it. Seth left, figuring he had about twenty minutes to stop at his car, get a few items from the boot, and put his plan in motion.
Beth had curiously received the note from the attractively shy young lady, clad a slinky gown that made her appear years older. Reading it she folded it and was just getting up when a man wearing a suit came up to her and offered to let her dance with him. It took her some time, before she was finally able to ward him off and leave the brilliantly lit clubroom for the dark, forbidding grounds outside.
Now, a thoroughly excited Beth walked up the hill. Her senses becoming more prickling alert with each step. Innocently unaware that she was no longer playing a role in Dare’s game!
************************************************************************************
Epilogue:
As Seth walked away admiring the shimmery necklace, his thoughts travelled back to the gold burdened impish youngster in the swirling gown, and her pearl and diamond laden mother. Revisiting his original plans he decided that he liked the odds, especially since they would be against him. With the father leaving early to meet his cronies for breakfast the Mother should be still sleeping off her drink induced stupor, the hyperactive girl should still be out cold, but presented no risk if she awoke, he had more rope. The ladies jewels should be lying about in the apartment, or handedly on their persons( the pairs of diamond pinky rings, as well as the multi-diamond engagement ring flashed once again across his memory with all their brilliant glory),as he caught fire with the vision. There could be a safe he reasoned, but with a tied up daughter and a knife in his hand, the mother should have no issue opening it for him, or disclosing anywhere else her jewels may have been hidden . But if there was no safe, and the rings, pearls and solid white gold chains were somewhere in the room, he knew he would be able to noiselessly break in, find and slip the jewels from wherever they were perched, and be safely on his way without even causing the slightest stir from the sleeping woman and her daughter. It was a road Seth had travelled down many times. He prickled at the thought, as he foresightedly tallied up the potential haul while making his way to the car. The Mother/wife’s diamond rings, would easily fetch him at least three grand, probably close five with her pearls and the whelp’s jewelry added in. About a quarter of what he probably would get for the jewels now in his procession, so he mused inquisitively to himself, so ,was it worth the risk of his 20,000 bird in hand? Yes he answered himself, as all too familiar and welcome tingling sensation overwhelmed Seths muscular body. Like Dare, Seth like to play risky games, especially those which promised to be somewhat profitable. It would be a tantalizingly chancy gamble of his own; to wait a safe distance away while things cooled down and then return to break into the un protected sleeping ladies chamber.. He knew just the place to hide , and it would be a perfect spot to watch events unfold around Beth and Dare, while making his plans! It also afforded a nicely secret hiding nook for the ill-gotten gains collected so far that evening in case something went wrong, which it wouldn’t..
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Courtesy of Chatwick University Archives
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All rights and copyrights observed by Chatwick University, Its contributors, associates and Agents
The purpose of these chronological photos and accompanying stories, articles is to educate, teach, instruct, and generally increase the awareness level of the general public as to the nature and intent of the underlying criminal elements that have historically plagued humankind.
No Part of this can reprinted, duplicated, or copied be without the express written permission and approval of Chatwick University.
These photos and stories are works of fiction. Any resemblance to people, living or deceased, is purely coincidental.
As with any work of fiction or fantasy the purpose is for entertainment and/or educational purposes only, and should never be attempted in real life.
We accept no responsibility for any events occurring outside this website.
********************************************************************************
All rights and copyrights observed by Chatwick University, Its contributors, associates and Agents
The purpose of these chronological photos and accompanying stories, articles is to educate, teach, instruct, and generally increase the awareness level of the general public as to the nature and intent of the underlying criminal elements that have historically plagued humankind.
No Part of this can reprinted, duplicated, or copied be without the express written permission and approval of Chatwick University.
These photos and stories are works of fiction. Any resemblance to people, living or deceased, is purely coincidental.
As with any work of fiction or fantasy the purpose is for entertainment only, and should never be attempted in real life.
We accept no responsibility for any events occurring outside this website.
***************************
fat-walda:
In this manner did the First Blackfyre Rebellion begin, in the year 196 AC. Reversing the colors of the traditional Targaryen arms to show a black dragon on a red field, the rebels declared for Princess Daena’s bastard son Daemon Blackfyre, First of His Name, proclaiming him the eldest true son of King Aegon IV, and his half brother Daeron the bastard.
happy birthday @dalekofchaos!
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ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA: 'Roma - Una bellissima passeggiata nel Foro Romano, ricostruito in 3D.': Prof. Arch. Gilbert J. Gorski & Prof. James E. Packer, 'The Roman Forum: A Reconstruction and Architectural Guide', Cambridge University Press (2015 [Forthcoming]), pp. 1-474; 60 b/w illus. 247 colour illus. Foto: Cambridge University Press (05|2015).
"...Thus, while millions of casual tourists visit the site [of the Roman Forum] each year, most carry away only vague ideas of how the shattered ruins before them actually appeared in antiquity; and relevant literature in English usually provides little more." (...) "Since our new, restored model of the Forum is three dimensional, we were able to document the site in a realistic manner." (...) "With these digital materials and our texts, we anticipate that future visitors to the Forum will find the site more comprehensible – and, we hope, far more rewarding – than has ever previously been the case."
-- Prof. Arch. Gilbert J. Gorski & Prof. James E. Packer [2012-13] in: PREFACE, xv & xviii, Prof. Arch. Gilbert J. Gorski & Prof. James E. Packer, 'The Roman Forum: A Reconstruction and Architectural Guide', Cambridge University Press (2015 [Forthcoming]), pp. 1-474; 60 b/w illus. 247 colour illus.
The Roman Forum was in many ways the heart of the Roman Empire. Today, the Forum exists in a fragmentary state, having been destroyed and plundered by barbarians, aristocrats, citizens and priests over the past two millennia. Enough remains, however, for archaeologists to reconstruct its spectacular buildings and monuments. This richly illustrated volume provides an architectural history of the central section of the Roman Forum during the Empire (31 BCE–476 CE), from the Temple of Julius Caesar to the monuments on the slope of the Capitoline hill. Bringing together state-of-the-art technology in architectural illustration and the expertise of a prominent Roman archaeologist, this book offers a unique reconstruction of the Forum, providing architectural history, a summary of each building's excavation and research, scaled digital plans, elevations, and reconstructed aerial images that not only shed light on the Forum's history but vividly bring it to life. With this book, scholars, students, architects and artists will be able to visualize for the first time since antiquity the character, design and appearance of the famous heart of ancient Rome.
- With over 300 illustrations, the majority of them in color, this is the most complete and visually striking treatment of the Forum to date.
- Authored by an expert team of illustrator and Roman archaeologist.
- The reconstructions of every monument in the Forum constitute the handsomest, most complete, most attractive series of Forum images ever done.
Table of Contents
Part I. Architecture in the Roman Forum during the Empire: A Brief History:
1. The Augustan Reconstruction
2. From the Tiberius to Phocas (14–608 CE)
Part II. The Monuments:
3. The Temple of Antoninus and Faustina
4. The Temple of Caesar (Aedes divi Iuli)
5. The Basilica Aemilia
6. The Curia
7. The Arch of Septimius Severus
8. The West Rostra
9. The Temple of Concord
10. The Temple of Vespasian
11. The Tabularium
12. Portico of the Dei Consentes
13. The Temple of Saturn
14. The Basilica Julia
15. The Arch of Tiberius
16. The Schola Xanthi
17. The Diocletianic Honorary Columns
18. The Temple of Castor and Pollux
19. The Parthian Arch of Augustus
20. The Temple of Vesta
Part III. Conclusions.
Look Inside
- Index (PDF = 159 KB)
- Marketing Excerpt (PDF = 16615 KB)
- Copyright Information Page (PDF = 136 KB)
- Front Matter (PDF = 30244 KB)
- Table of Contents (PDF = 144 KB)
Authors
Gilbert J. Gorski, University of Notre Dame, Indiana -
Gilbert J. Gorski is a licensed architect and the project designer for numerous buildings including the World Headquarters for the McDonald's Corporation in Oak Brook, IL, and the Oceanarium, a major addition to the John G. Shedd Aquarium in Chicago. In 1987 he was designated the Burnham Fellow by the Chicago Architectural Club and was awarded an associate fellowship to the American Academy in Rome. Since 1989 Gorski has headed his own firm specializing in design and illustration. His drawings and paintings have been included in numerous publications and exhibits on architecture and illustration. He was twice awarded the Hugh Ferriss Memorial Prize, the nation's highest singular honor in architectural illustration, by the American Society of Architectural Illustrators. He is also the recipient of an Institute Honor for Collaborative Achievement, awarded by the American Institute of Architects. He presently is an associate professor at the University of Notre Dame and holds the James A. and Louise F. Nolen Chair in Architecture.
James E. Packer, Northwestern University, Illinois -
James E. Packer is Emeritus Professor of Classics at Northwestern University. He is the author of the three-volume The Forum of Trajan in Rome (1997); of numerous articles in journals, including the American Journal of Archaeology, the Journal of Roman Archaeology, the Bullettino della Commissione Archeologica Comunale di Roma, the Maryland Historian, Natural History, Croniche Pompeiane, Technology and Culture, Curator, Inland Architect, Archeo, and Archaeology; and of articles in collections, including the Lexicon Topographicum Urbis Romae (1993–2000). He is the recipient of many grants, including those from the Samuel H. Kress Foundation, the Getty Grant Program, the National Endowment for the Humanities, and the Andrew W. Mellon Foundation. He has excavated at Pompeii, in the Forum of Trajan (Rome), and in the Theater of Pompey (Rome). 'The Forum of Trajan' exhibition at the opening of the new Getty Museum in Los Angeles (1997) was based on Packer's work.
FOTO | TEXT | FONTE | SOURCE:
- Prof. Arch. Gilbert J. Gorski & Prof. James E. Packer, 'The Roman Forum: A Reconstruction and Architectural Guide', Cambridge University Press (2015 [Forthcoming]), pp. 1-474; 60 b/w illus. 247 colour illus.
www.cambridge.org/je/academic/subjects/archaeology/classi...
________________________________________________
s.v.,
-- ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA: “Un marmo sopra l’altro così rialzeremo le colonne del Foro di Traiano”, LA REPUBBLICA (15|04|2015). The Forum of Trajan, comments by prof. James E. Packer | FACEBOOK (15|04|2015).
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“…Imperial Rome appears to be a golden, semi-mythical city filled with splendid monuments whose ruins still regularly attract hordes of annual visitors. Yet these tourists see only battered walls,fragmentary pavements, broken columns and piles of marble fragments mutely recalling past grandeur but giving little reliable information on the layout and visual or propagandistic effects of the originally elaborately decorated buildings. (…) Consequently, most visitors to Roman sites still rely either on simplified guide books or on ‘local’ professional guides who may or may not give their audience accurate (if limited and strictly verbal) information about the sites visited.”
Prof. James E. Packer, Digitalizing Roman Imperial architecture in the early 21st century: purposes, data, failures and prospects. JRAS 61 (2006), pg. 309 & 312 [of pages 309-320].
…His [Prof. Packer’s] interest in the monument [of the Forum of Trajan] was sparked in 1972,[1] while he was preparing to guide some Northwestern University [Illinois, USA] alumni on a tour of Rome, little had been published about the forum, he found. This did not surprise him. He had just finished his dissertation of the archaeological records of Ostia, the ancient port of Rome, and “it was extraordinary how much little had been done on Ostia,” [2] he says. “So it was not surprising that the same situation existed in Rome.” In fact, all of the Imperial Forums were “kind of forgotten” – collapsed, buried and hard to get into, he says.’ In a sense, Dr. Packer’s had been preparing for much of his life to play a role in the uncovering a key part of Roman history. “Ever since I was a child, I have been fascinated by Roman buildings,” he says. “I wanted to have something to do with them, but for a long time I wasn’t sure what.” As a boy, he made three-dimensional models of such buildings as the Forum of Pompeii, the Pantheon at Ostia, and the Round Temple of Baalbek in Lebanon. Growing up in Williamsburg, Virginia he was impressed by the town’s architecture. “My mother said, ‘if you like neo-classical architecture, wait until you see the real thing.’” Certainly the Forum of Trajan bore her out.’[2] & [4].
Notes: 1,2,3, & 4 in, see: ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA: Prof. James. E. Packer, (ed. it.), Il Foro di Traiano a Roma. Breve studio dei monumenti (Roma 2001). “[Prof. Packer] Passeggiata virtuale nel Foro Romano [e Traiano],” LA STAMPA (02|01|1998), p. 17.
wp.me/pPRv6-2Ut & www.flickr.com/photos/imperial_fora_of_rome/5189852726/
— ROME ARCHAEOLOGY & RESTAURO ARCHITETTURA: THE ROMAN FORUM – Prof. James E. Packer & Prof. Arch. Gilbert J. Gorski, “The Roman Forum: A Reconstruction and Architectural Guide,” Cambridge University Press (forthcoming [2014]), Pp. 550. Foto: Prof. James E. Packer, scholars and students visiting the Forum of Trajan in Oct. 2013.
— ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: Prof. James E. Packer, Il Foro di Traiano. Breve studio dei monumenti | Prof. Packer, una lezione affascinante in inglese sul Foro di Traiano Roma (10|2013). [ENGLISH] VIDEO YOUTUBE [1:00:13].
— ROMA ARCHEOLOGIA & RESTAURO ARCHITETTURA: Prof. James Packer,”Digitizing Imperial Rome: A computerized Approach to the Architectural History of the Roman Imperial Forum.” James Packer, Professor Emeritus Northwestern University (2010).
— ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA: PROF. ANDREA CARANDINI, “IMAGO URBIS – Lazio , Roma e Suburbio,” LA SAPIENZA UNIVERSITA` DI ROMA | Arcus S.p.a | SSBAR (2015). Review of “ATLANTE DI ROMA ANTICA, Vol. I & II (2013),” by: T. P. Wiseman & J. E. Packer (2013).
— ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA: Roma – I Fori Imperiali (1995-2008). The Forum of Trajan. Excavations & Related Studies (1998-2008). Prof. James. E. Packer, (ed. it.), Il Foro di Traiano a Roma. Breve studio dei monumenti (Roma 2001). [04|2008].
www.flickr.com/photos/imperial_fora_of_rome/2517676103/
— ROMA ARCHEOLOGIA e RESTUARO ARCHITETTURA: James E. Packer, Report from Rome: The Imperial Fora, a Retrospective [Relazione da Roma: I Fori Imperiali, una Retrospettiva]. AJA 101, April 1997, [PDF] 307-330. *
______
Note: A very special thank you to both Prof. James E. Packer and Prof. Arch. Kevin Sarring, they were kind enough to meet with me here in Washington DC in late October 2009, prof. Packer more then generously shared with me the outline of his preliminary work for the current book: ‘The Roman Forum: A Reconstruction and Architectural Guide (2015); M. G. Conde [05|2015]
______
Calligraphy
"the art of giving form to signs in an expressive, harmonious and skillful manner"
Arabic calligraphy
Arabic calligraphy is associated with geometric Islamic art (arabesque) on the walls and ceilings of mosques as well as on the page. Contemporary artists in the Islamic world draw on the heritage of calligraphy to use calligraphic inscriptions or abstractions.
Instead of recalling something related to the spoken word, calligraphy for Muslims is a visible expression of the highest art of all, the art of the spiritual world. Calligraphy has arguably become the most venerated form of Islamic art because it provides a link between the languages of the Muslims with the religion of Islam. The holy book of Islam, al-Qur'an, has played an important role in the development and evolution of the Arabic language, and by extension, calligraphy in the Arabic alphabet. Proverbs and passages from the Qur'an are still sources for Islamic calligraphy.
Calligraphy in Pakistan
Throughout Pakistan’s history, government and businesses have often hired artists to paint calligraphic murals for buildings. Usually the source material is Islamic literature, but sometimes it is secular poetry. By the 1970s, Calligraphy was so popular nearly every artist in Pakistan had worked in the art form. While Calligraphy’s popularity has declined since the 1980s, it continues to have a central role in Islamic culture and Pakistani visual arts.
Unknown Netherlandish artist in a manner of Hieronymus Bosch (1450-1516) and Pieter Bruegel the Elder (1526/30-1569),
C. 1570
Oil on panel.
91 × 150 cm.
Kadriorg Art Museum, Tallinn, Estonia.
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It's always interesting when centuries-old works of art depict objects that were in everyday use then. Some of the items on the quack's table are instantly recognizable: the pince-nez spectacles, a pair of scissors and four human teeth. The eye glasses are inventory, the scissors are part of the quack's tool kit, and the teeth serve to advertise the quack's prowess at removing bad teeth.
Other objects are harder to classify. Particularly baffling are the squiggly things on the right, front side of the table. They seem far too big to be leaches. Might they be snakes? If so, what's their use? Are we to believe the quack removed them from past patients' bodies?
Contex
We are in the Dutch provinces of the 1500’s. The Dutch Revolt (1568 – 1648) and the Reformation (1517 – 1648) brought a strain to the role of the artist. The Protestant insurgency and iconoclasm claimed violence all over the provinces. Churches were sacked, stained glasses crushed and images destroyed. As a result Dutch art witnessed a sharp shift from the sacred to the secular.
Artist like Jhernoimus Bosch, Lucas Van Leyden, Jan Sanders van Hemessen and Bruegel along with a host of other painters and printmakers started picturing pedlars, peasants, beggars, courting couples, money changers and other local figures in their art works.
This gave rise to the ‘genre’ movement that led to the development of Dutch painting in the Golden Age. The humorous portrayal of the ‘uncivilised man’ in art was a call to reflect on human virtues and vices.
The essence of this genre is experienced through today’s painting in consideration. The subject is that of ‘Christ cleansing the Temple.’ The theme of the painting itself is revolutionary. Promoted by the Council of Trent, it symbolized the purification of the Catholic Church post the Protestant Reformation. The work is executed by an unknown Netherlandish artist who imitates the nuances set by the famous painters Jhernoimus Bosch and Pieter Bruegel the Elder.
The painting beams with stories, scary characters, mysterious symbols, amusement, proverbs, word plays, moral philosophy and the psychology of 16th century Antwerp. A huge temple structure in a mystical style dominates the foreground of the painting.
An apocalyptic clock with a hand shaped dial on the left wall of the Temple strikes 12 and thus announces the arrival of the hour of judgement.
www.pottypadre.com/christ-cleansing-the-temple/
The Quack
A quack i.e. a doctor not trained in medicine is seen performing a dental operation. The art of dentistry was considered a fascinating and inherently humorous task in the medieval age, as long as it was happening to someone else. Without forceps or tooth-keys it was difficult to pull out a tooth singly. If the quack succeeded in doing so, it was a climactic moment of triumph and the tooth would be held up as a spectacle. However this theatrical display was smeared by astute crookedness.
Observe the scene carefully. As the dentist holds up his trophy and as the woman howls in pain, the audience beholds the scene in awe and amazement. This includes the traveller with his walking stick and a goose in his bag. While he looks up in admiration, an accomplice of the quack hooks up at his wallet. Thankfully the act does not go unnoticed as the onlookers grab hold of the thief. Could this be a metaphor of the scene within the Temple?
.
Männer nehmen in den Arm
Männer geben Geborgenheit,
Männer weinen heimlich,
Männer brauchen viel Zärtlichkeit und
Männer sind so verletzlich,
Männer sind auf dieser Welt einfach unersetzlich.
Männer kaufen Frauen,
Männer stehen ständig unter Strom,
Männer baggern wie blöde,
Männer lügen gern am Telefon,
Männer sind allzeit bereit,
Männer bestechen durch ihr Geld und ihre Lässigkeit.
Männer haben's schwer, nehmen's leicht,
außen hart und innen ganz weich,
werden als Kind schon auf Mann geeicht.
Wann ist ein Mann ein Mann?
Wann ist ein Mann ein Mann?
Männer haben Muskeln,
Männer sind furchtbar stark,
Männer können alles,
Männer kriegen 'nen Herzinfarkt und
Männer sind einsame Streiter,
müssen durch jede Wand, müssen immer weiter.
Männer haben's schwer, nehmen's leicht ....
Männer führen Kriege,
Männer sind schon als Baby blau,
Männer rauchen Pfeife,
Männer sind furchtbar schlau,
Männer bauen Raketen,
Männer machen alles ganz ganz genau.
Männer kriegen keine Kinder,
Männer kriegen dünnes Haar,
Männer sind auch Menschen,
Männer sind etwas sonderbar und
Männer sind so verletzlich,
Männer sind auf dieser Welt einfach unersetzlich.
Männer haben's schwer, nehmen's leicht ....
This side shows two large dogs wearing collars, standing on their hind legs fighting inside an oil merchant’s shop. Their master, who might have just stood up from the seat behind him, threatens them with a stick. The narrow and rather short stick he is holding resembles the siphon often used by oil merchants to permit their customers to taste their oil. An amphora and four lekythoi are painted between the figures. The dogs have already broken the foot of the second lekythos from the right, while another lekythos is rolling on the floor. The ‘unruliness’ of domesticated animals is comical in that it reminds us that nature cannot be bound in rules, as society is. Their master is presumably afraid they will devastate the rest of the merchant’s store. The overall impression is that the merchant is trying to get rid of the dogs. It would be reasonable to imagine him saying ‘go’ or ‘stop now’ or even insulting them, but the exact reading of his words is an open question.
Source: A.G. Mitchell, “Greek Vase-Painting and the Origin of Visual Humor”
Attic black figured pelike
Antimenes Painter Manner
510-500 BC
From Città della Pieve, Perugia
Florence, Museo Archeologico Etrusco