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Paimpont forest, also known as Brocéliande, is in the French commune of Paimpont, near the city of Rennes in Brittany. As Brocéliande it had a reputation in the Medieval imagination as a place of magic and mystery. It is the setting of a number of adventures in Arthurian legend, notably Chrétien de Troyes's Yvain, the Knight of the Lion, and locals claim the tree in which the Lady of the Lake supposedly imprisoned Merlin can still be seen today. Other legendary places said to lie within the forest include the Val sans Retour, the tomb of Merlin, the Fountain of Youth, and Hotié de Vivianne (castle of the Lady of the Lake). The medieval chronicler Wace visited the forest but left disappointed:
"...I went there in search of marvels; I saw the forest and the land and looked for marvels, but found none. I came back as a fool and went as a fool. I went as a fool and came back as a fool. I sought foolishness and considered myself a fool."
For those living close to Paimpont, the Arthurian legend is very strong. Many names in the legend can be translated into Breton or French, for example the name Lancelot translates as "wanderer" or "vagabond" in Breton. There is also a strong influence from the Druids, and all around Brittany are standing stones or alignments, the most famous of which are nearby at Carnac; a group of the alignments at Kerlescan are nicknamed "the soldiers of Arthur."
Paimpont is a forest of broadleaf trees, oaks and beeches mainly, with areas of conifers either inside after clear-felling or on the periphery as transition with the moor, for example towards the west in the sector of Tréhorenteuc and the Val-sans-Retour (= Valley of no Return) which was devastated by several fires in particular in 1976, a year of great drought. It occupies mainly the territory of the commune of Paimpont, but extends to bordering communes, mainly Guer and Beignon in the south, Saint-Péran in the northeast, and Concoret in north. The forest of Paimpont is the largest remnant of an ancient forest occupying Argoat, the interior region of Brittany. It was more often called the forest of Brécélien, but its ancient character and other qualities underlined by many authors decided on its name of "forest of Brocéliande," tallying of the adventures of the legend of the Round Table. This flattering designation was reinforced by the birth of the Pays de Brocéliande at the end of the 20th century, an institution intended to facilitate the development of the communes of the west of the département.
The relative altitude of the forested massif contributes to give it a climate close to the oceanic climate of the coasts of Finistere. This mode, where west and south-west winds carry of clouds and regular rain supports the vegetation, dominates. The surplus of water feeds the many brooks occupying the bottoms of small valleys before flowing into the river Aff, then the Vilaine, to the area around Redon in the south of the department. The highest point is at 256 m in the western part called Haute forêt. Altitude decreases regularly while offering viewpoints towards the department of Morbihan; viewpoints which one finds the equivalents in the north on the commune of Mauron, port of the Côtes-d'Armor. It is not far from there that the Paimpont Biological Station of the University of Rennes 1, built in 1966 and 1967, dominates the lake of Chatenay. The varied forest and its surroundings constitute a framework favorable to many training courses in which the Rennes 1 biology students as well as foreign researchers take part. These buildings can accommodate approximately 70 people, and researchers work all the year on subjects generally very far away from the local biotope such as behavior of primates, represented by Cercopithecus, whose cries are familiar for the area but surprising to the walker little accustomed to this exotic fauna. The first researchers lengthily studied the ecology of the Armorican moors, the grounds, and the hydrology.
The forest belongs mainly to owners who maintain it and exploit it for timber and hunting; only in the north-eastern part, a small part (10%) is "domanial" and is managed by the National Forestry Commission. This situation prevents freedom of movement in the forest even with the access to the borough and its pond. The owners, however, signed a convention authorizing, from April 1 to the end of September, the use of some hiking trails in the forest. Among the responsibilities of the forest guards are watching for behaviors that threaten the forest, its flora, and its fauna. For example, behaviors that pose the risk of fire, and those that endanger the game, like dogs running loose. The gathering of mushrooms is not absolutely prohibited, but it is only tolerated near the approved trails. Because of its importance before the French Revolution, the forest was the responsibility of a royal jurisdiction called the National Forestry Commission, as the traditional jurisdictions of the seigneurs did not occupying itself with forest management. The wood was excessively exploited for the power supply of the charcoal blast furnaces for the nearby industry, at least in the 17th and 18th centuries; the assignment of the trees of first choice to the navy was a marginal role.
An extract of the files of the correctional court of Montfort:
"Having left the forging mills of Paimpont on Monday morning, he passed by the workshop of the carpenter who was far away from the forging mills but in the middle of the forest, he drank there with Julien Auffray his cousin and foreman of the carpenters." (Foreman of the carpenters and sawyers on contract to the naval yards elsewhere). Auffray interrogation, 1826.
The Matter of Britain is a name given collectively to the legends that concern the Celtic and legendary history of Great Britain, especially those focused on King Arthur and the knights of the Round Table. The 12th century French poet Jean Bodel created the name in the following lines of his epic Chanson de Saisnes:
Ne sont que III matières à nul homme atandant,
De France et de Bretaigne, et de Rome la grant.
The name distinguishes and relates the Matter of Britain from the mythological themes taken from classical antiquity, the "matter of Rome", and the tales of the paladins of Charlemagne and their wars with the Moors and Saracens, which constituted the "matter of France". While Arthur is the chief subject of the Matter of Britain, other lesser-known legendary history of Great Britain, including the stories of Brutus of Britain, Old King Cole, King Lear, and Gogmagog, is also included in the Matter of Britain: see Legendary Kings of the Britons.
Legendary history of Britain
It could be said that the legendary history of Britain was created in part to form a body of patriotic myth for the island. Several agendas thus can be seen in this body of literature.
The Historia Britonum, the earliest known source of the story of Brutus of Britain, may have been devised to create a distinguished genealogy for a number of Welsh princes in the 9th century. Traditionally attributed to Nennius, its actual compiler is unknown; it exists in several recensions. This tale went on to achieve greater currency because its inventor linked Brutus to the diaspora of heroes that followed the Trojan War, and thus provided raw material which later mythographers such as Geoffrey of Monmouth, Michael Drayton, and John Milton could draw upon, linking the settlement of Britain to the heroic age of Greek literature, for their several and diverse literary purposes. As such, this material could be used for patriotic mythmaking just as Virgil linked the mythical founding of Rome to the Trojan War in The Æneid. Geoffrey of Monmouth also introduced the fanciful claim that the Trinovantes, reported by Tacitus as dwelling in the area of London, had a name he interpreted as Troi-novant, "New Troy".
More speculative claims link Celtic mythology with several of the rulers and incidents compiled by Geoffrey of Monmouth in his Historia Regum Britanniæ. It has been suggested, for instance, that Leir of Britain, who later became Shakespeare's King Lear, was originally the Welsh sea-god Llŷr (see also the Irish sea-god Lir). Various Celtic deities have been identified with characters from Arthurian literature as well: Morgan le Fay was often thought to have originally been the Welsh goddess Modron (cf. the Irish goddess Mórrígan). Many of these identifications come from the speculative comparative religion of the late 19th century, and have been questioned in more recent years.
William Shakespeare seems to have been deeply interested in the legendary history of Britain, and to have been familiar with some of its more obscure byways. Shakespeare's plays contain several tales relating to these legendary kings, such as King Lear and Cymbeline. It has been suggested that Shakespeare's Welsh schoolmaster Thomas Jenkins introduced him to this material, and perhaps directed him to read Geoffrey of Monmouth[citation needed]. These tales also figure in Raphael Holinshed's The Chronicles of England, Scotland, and Ireland, which also appears in Shakespeare's sources for Macbeth. A Welsh schoolmaster appears as the character Sir Hugh Evans in The Merry Wives of Windsor.
Other early authors also drew from the early Arthurian and pseudo-historical sources of the Matter of Britain. The Scots, for instance, formulated a mythical history in the Picts and the Dál Riata royal lines. While they do eventually become factual lines, unlike those of Geoffrey, their origins are vague and often incorporate both aspects of mythical British history and mythical Irish history. The story of Gabhran especially incorporates elements of both those histories.
The Arthurian cycle
"Parsifal before the Castle of the Grail" - inspired by Richard Wagner's Opera Parsifal - painted in Weimar Germany 1928 by Hans Werner Schmidt (1859-1950)
The Arthurian literary cycle is the best known part of the Matter of Britain. It has succeeded largely because it tells two interlocking stories that have intrigued many later authors. One concerns Camelot, usually envisioned as a doomed utopia of chivalric virtue, undone by the fatal flaws of Arthur and Sir Lancelot. The other concerns the quests of the various knights to achieve the Holy Grail; some succeed (Galahad, Percival), and others fail (Lancelot).
The medieval tale of Arthur and his knights is full of Christian themes; those themes involve the destruction of human plans for virtue by the moral failures of their characters, and the quest for an important Christian relic. Finally, the relationships between the characters invited treatment in the tradition of courtly love, such as Lancelot and Guinevere, or Tristan and Iseult. In more recent years, the trend has been to attempt to link the tales of King Arthur and his knights with Celtic mythology, usually in highly romanticized, early twentieth century reconstructed versions.
Additionally, it is possible to read the Arthurian literature in general, and that concerned with the Grail tradition in particular, as an allegory of human development and spiritual growth (a theme explored by mythologist Joseph Campbell amongst others).
Sources wikipedia
If ever there was a band that deserved a better place to play for this night, it is Periphery. The stage was almost non-existent and the lighting was horrible. There were times when you could not even see the band since the lighting was so uneven. My pictures reflect this. However, Periphery did not disappoint. They are technical wizards on their respective instruments. And they have fun on stage!
Si jamás fuera una banda que mereciera un mejor sitio para tocar, sería Periphery. Casi no existía algo que se llamaría un escenario y la iluminación era horrible. Había ocasiones en las que ni siquiera se podía ver la banda debido a las luces tan inconsistentes e irregulares. Mis fotos reflejan esto. No obstante, Periphery no me desilusionó. Todos los integrantes son magos técnicos en sus instrumentos respectivos. ¡Y se divierten en el escenario!
Burma, officially the Republic of the Union of Myanmar is a country in Southeast Asia. The country is bordered by the People's Republic of China on the northeast, Laos on the east, Thailand on the southeast, Bangladesh on the west, India on the northwest, and the Bay of Bengal to the southwest, with the Andaman Sea defining its southern periphery. One-third of Burma's total perimeter of 1,930 kilometres (1,200 mi) forms an uninterrupted coastline. Burma is the second largest country by geographical area in Southeast Asia.
The country's culture, heavily influenced by those of its neighbours, is based on Theravada Buddhism intertwined with local elements. Burma's diverse population has played a major role in defining its politics, history, and demographics in modern times, and the country continues to struggle to overcome its ethnic tensions. The military has dominated government since General Ne Win led a coup in 1962 that toppled the civilian government of U Nu. Burma remains under the tight control of the military-led State Peace and Development Council.
From left to right: Mark Holcomb, Jake Bowen, Misha Mansoor, Spencer Sotelo, and Matt Halpern
A quick photo of Periphery right outside of Oceanic Recording studio in bethesda right after European Dream Theater tour and just before Protest the Hero tour.
I got to listen to some of the songs they've recorded and let me tell you, i cannot wait for the world to listen to their new album, it's EPIC!
Strobist:
One light AB800 into octabox right camera feathered.
August 26th, 2016 - Periphery performs live at Saint Andrews Hall in Detroit, Michigan. Credit: Mirak Habbiyyieh. www.schwegweb.com
Picture Nimou#134
Datos: Camara Kodak DX6490 con Raynox DCR250 a F8, 1/350. Flash difusor home made. Campo de Tarragona Spain. Especimen captado en una rama de Hinojo, a punto de crisalida.
Clase Insecta > Orden Lepidoptera
Family: Oecophorid Moths (Oecophoridae)
Subfamily: Depressariine Moths (Depressariinae)
Generally found occupying waste ground and dry pastures, this is a fairly common species throughout the British Isles.
As the English and scientific names suggest, the larvae feed on wild parsnip (Pastinaca sativa), but also on hogweed (Heracleum). At first the flowers and seeds are consumed, and later the larva enters the stem where it pupates.
The adults begin to hatch in September, and overwinter, appearing until the following May.
Larva: (description Ian F. Smith)
Foodplant: June to August on flowers and young seeds of Pastinaca sativa, Heracleum sphondylium, Apium nodiflorum (in Channel Islands) and Heracleum mantegazzianum (in Netherlands, Denmark and elsewhere in Europe, Nielsen, in litt.). Often gregarious in a silk web distorting the flower panicle. Occasionally in unopened flower buds.
Length: 19 mm to 24 mm described. Parasitized larvae may be larger. (variations of other instars in brackets).
Head: Black.
Prothoracic shield: Black, divided by a narrow yellowish medial line.
Thoracic legs: Black.
Body: Dorsally pale grey. Ventrally dull yellow. (9 mm; dull amber all over.)
Spiracles: Black peritreme.
Pinacula: Large, black. (9 mm relatively smaller.)
Setae: Black. (9mm brownish translucent.)
Anal plate: Distinct. Light brown with blackish periphery. (9mm coloured as body.) (MBGBI states black, but this colour not observed in large series of larvae raised from several sources).
Prolegs: Coloured as venter. Black collar on base and on planta (absent on 9 mm
larva).
Pupa: July to early September in the main stem of the food plant. Constricted
seedhead remains and a hole, about 3 mm diameter, indicate stems
occupied by pupae and, sometimes, fossilised failed larvae which retain
vestiges of the grey and yellow colouration.
Comment: Pastinaca, Heracleum mantegazzianum and probably other foodplants contain chemicals which can cause painful blistering in the presence of sunlight. Care should be taken to avoid contact with the sap from cut stems. Larvae are often adjusted to the toxins in a particular population of a foodplant, and may not prosper if transferred to the same species of plant from another source.
This is a common artifact seen in transbronchial lung biopsies. Compression of lung tissue by the biopsy forceps produces atelectasis and air bubbles of varying size that can be confused with lipid aspiration. While the size and shape of many of these air bubbles resembles lipid many do not have the appearance of lipid.. If there are many macrophages in the lung tissue they may be found at the periphery of the air bubbles and give that false impression that they are reacting to the aspiration of lipid. Biopsy specimens with this appearance have been misdiagnosed as exogenous lipid pneumonia.
President Trump's Special Representative for International Negotiations Jason Greenblatt toured the Gaza periphery area, visited Ziv Hospital in Safed, and the Old City of Jerusalem, August 29-30, 2017.
Dark metamorphic rocks replace lighter granite on the periphery of the Sierra Nevada. Sawtooth Pass is on the skyline left of picture. Foxteil Pines (Pinus balfouriana) are found in Minera King area.
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"My candle is dead, I have no more fire", he has no more light, he seeks the light, he has no more fire (second reference to the 4 elements!) and it is indeed an initiatory idea to want to warm oneself with a candle. "Open your door to me", there, doubt is no longer possible, he asks for entry, for the door to be opened to him, "knock and it will be opened to you" says the ritual, especially if it is in the name of the love of God which in Scottish alchemy.. But the second stanza is even more edifying.
"In the moonlight", again, (he insists heavily), and Pierrot answers, as the inner guardian answers when the petitioner knocks at the door. And what does he say to him? I have no pen and someone who has no pen, he does not know how to write and if he does not know how to write one can imagine that he does not know how to read either and someone who knows neither read nor write...
"I", what is the hidden meaning of this sentence, I am in my bed? What do we do in our bed? ... I ask you... To be born and to die essentially, which are for the initiate two aspects of the same reality, to die to the profane life, to be born to the initiatory life. From this we can deduce that if the first character is in the reflection room and the master of ceremonies forgot to put a feather in it and that, obeying a moment of panic, this candidate tried to escape through the window and that by opening the draft extinguished his candle, Pierrot, himself, is already initiated or in the process of being initiated.
But, let's continue, "go to the neighbor's, I think she's there", what is the symbolism of the neighbor? I ask you... but, it's clear, the neighbor is the third term that allows us to go beyond the duality of the binary of Pierrot and his companion. In addition, she is the one who has all the feathers.
"Go to the kitchen", the kitchen, the place of transformations where by fire we transmute matter, this immediately makes us think of alchemy, which is confirmed by the last sentence of this second stanza: "we strike the lighter". The lighter, what is it if not what can give light to everyone. I will spare you the last two verses, because they seem to have been added later, everything is said in these first two verses.
Brot&sist, s doubt still possible? We have several references to the moon, the northern column, we have the 4 elements, fire, air in the draft that extinguished the candle, earth in the idea of the bed, therefore death, therefore to the coffin therefore to the cemetery and to water, the liquid element that is not explicitly revealed but suggested since it is not said that there is no ink to write. In addition, these are entire sections of our ritual that we find in this song.
Pierrot (/ˈpɪəroʊ/ PEER-oh, US also /ˈpiːəroʊ, ˌpiːəˈroʊ/ PEE-ə-roh, PEE-ə-ROH; French: [pjɛʁo] ⓘ), a stock character of pantomime and commedia dell'arte, has his origins in the late 17th-century Italian troupe of players performing in Paris and known as the Comédie-Italienne. The name is a diminutive of Pierre (Peter), using the suffix -ot and derives from the Italian Pedrolino. His character in contemporary popular culture—in poetry, fiction, and the visual arts, as well as works for the stage, screen, and concert hall—is that of the sad clown, often pining for love of Columbine (who usually breaks his heart and leaves him for Harlequin). Performing unmasked, with a whitened face, he wears a loose white blouse with large buttons and wide white pantaloons. Sometimes he appears with a frilled collaret and a hat, usually with a close-fitting crown and wide round brim and, more rarely, with a conical shape like a dunce's cap.
Pierrot's character developed from that of a buffoon to become an avatar of the disenfranchised.[1] Many cultural movements found him amenable to their respective causes: Decadents turned him into a disillusioned foe of idealism; Symbolists saw him as a lonely fellow-sufferer; Modernists made him into a silent, alienated observer of the mysteries of the human condition.[2] Much of that mythic quality ("I'm Pierrot," said David Bowie: "I'm Everyman")[3] still adheres to the "sad clown" in the postmodern era.
Origins: 17th century
Antoine Watteau: Italian Actors, c. 1719. National Gallery of Art, Washington, D.C.
Pierrot is sometimes said to be a French variant of the sixteenth-century Italian Pedrolino,[4] but the two types have little but their names ("Little Pete") and social stations in common.[5] Both are comic servants, but Pedrolino, as a so-called "first" Zanni, often acts with cunning and daring.[6] an engine of the plot in the scenarios where he appears.[7] Pierrot, on the other hand, as a "second"' Zanni, stands "on the periphery of the action".[8] He dispenses advice and courts his master's young daughter, Columbine, bashfully.[9]
His origins among the Italian players in France go back to Molière's peasant Pierrot in Don Juan, or The Stone Guest (1665).[10] In 1673, the Comédie-Italienne made its own contribution to the Don Juan legend with an Addendum to "The Stone Guest",[11] which included Molière's Pierrot.[12] Thereafter the character—sometimes a peasant,[13] but more often now an Italianate "second" Zanni—appeared fairly regularly in the Italians' offerings, his role always taken by one Giuseppe Giaratone (or Geratoni, fl. 1639-1697).
Among the French dramatists writing roles for Pierrot were Jean de Palaprat, Claude-Ignace Brugière de Barante, Antoine Houdar de la Motte, and Jean-François Regnard.[14] They present him as an anomaly among busy social personalities around him.[15] Columbine laughs at his advances;[16] his masters who are in pursuit of pretty young wives brush off his warnings to act their age.[17] His isolation bears the pathos of Watteau's portraits.
18th century
France
Antoine Watteau: Gilles (or Pierrot) and Four Other Characters of the Commedia dell'Arte, c. 1718. Musée du Louvre, Paris.
Nicolas Lancret: Actors of the Comédie-Italienne, between 1716 and 1736. Musée du Louvre, Paris.
Jean-Honoré Fragonard: A Boy as Pierrot, between 1776 and 1780. The Wallace Collection, London.
An Italian company was called back to Paris in 1716, and Pierrot was reincarnated by the actors Pierre-François Biancolelli (son of the Harlequin of the banished troupe of players) and, after Biancolelli abandoned the role, the celebrated Fabio Sticotti (1676–1741) and his son Antoine Jean (1715–1772).[18] But the character seems to have been regarded as unimportant by this company, since he appears infrequently in its new plays.[19]
The character appeared often in the 18th century on Parisian stages. Sometimes he spoke gibberish, sometimes the audience itself sang his lines, inscribed on placards held aloft.[20] He could appear as a valet, a cook, or an adventurer; his character is not strictly defined.[21]
In the 1720s, Pierrot came into his own. In plays such as Trophonius's Cave (1722) and The Golden Ass (1725),[22] one meets an engaging Pierrot. The accomplished comic actor Jean-Baptiste Hamoche portrayed him with success.[23] After 1733, he rarely appears in new plays.[24]
Pierrot also appeared in the visual arts and in folksongs ("Au clair de la lune").[25] The art of Claude Gillot (Master André's Tomb [c. 1717]), of Gillot's students Watteau (Italian Actors [c. 1719]) and Nicolas Lancret (Italian Actors near a Fountain [c. 1719]), of Jean-Baptiste Oudry (Italian Actors in a Park [c. 1725]), of Philippe Mercier (Pierrot and Harlequin [n.d.]), and of Jean-Honoré Fragonard (A Boy as Pierrot [1776–1780]), features him prominently.
England
As early as 1673, just months after Pierrot had made his debut in the Addendum to "The Stone Guest", Scaramouche Tiberio Fiorilli and a troupe assembled from the Comédie-Italienne entertained Londoners with selections from their Parisian repertoire.[26] And in 1717, Pierrot's name first appears in an English entertainment: a pantomime by John Rich entitled The Jealous Doctor; or, The Intriguing Dame. Thereafter, until the end of the century, Pierrot appeared fairly regularly in English pantomimes (which were originally mute harlequinades; in the 19th century, the harlequinade was a "play within a play" during the pantomime), finding his most notable interpreter in Carlo Delpini (1740–1828). Delpini, according to the popular-theater historian, M. Willson Disher, "kept strictly to the idea of a creature so stupid as to think that if he raised his leg level with his shoulder he could use it as a gun."[27] Pierrot was later displaced by the English clown.[28]
Denmark
In 1800, a troupe of Italian players led by Pasquale Casorti performed in Dyrehavsbakken. Casorti's son, Giuseppe (1749–1826), began appearing as Pierrot in pantomimes, which now had a formulaic plot structure.[29] Pierrot is still a fixture at Bakken, at nearby Tivoli Gardens and Tivoli Friheden in Aarhus.[30][31]
Francisco de Goya: Itinerant Actors (1793). Museo del Prado, Madrid.
Germany
Ludwig Tieck's The Topsy-Turvy World (1798) is an early—and highly successful—example of the introduction of the commedia dell'arte characters into parodic metatheater (Pierrot is a member of the audience watching the play).
Spain
The penetration of Pierrot and his companions of the commedia into Spain is documented in a painting by Goya, Itinerant Actors (1793). It foreshadows the work of such Spanish successors as Picasso and Fernand Pelez, both of whom also showed strong sympathy with the lives of traveling saltimbancos.
19th century
Pantomime of Deburau at the Théâtre des Funambules
Auguste Bouquet: Jean-Gaspard Deburau, c. 1830
The Théâtre des Funambules was a little theater licensed in its early years to present only mimed and acrobatic acts.[32] It was the home, beginning in 1816, of Jean-Gaspard Deburau (1796–1846),[33] the most famous Pierrot ever. He was immortalized by Jean-Louis Barrault in Marcel Carné's film Children of Paradise (1945).
Deburau, from the year 1825, was the only actor at the Funambules to play Pierrot,[34] and he did so in several types of pantomime: rustic, melodramatic, "realistic", and fantastic.[35] His style, according to Louis Péricaud, formed "an enormous contrast with the exuberance, the superabundance of gestures, of leaps, that ... his predecessors had employed".[36] He altered the costume: he dispensed with the frilled collaret, substituted a skullcap for a hat, and greatly increased the wide cut of both blouse and trousers. Deburau's Pierrot avoided the crude Pierrots—timid, sexless, lazy, and greedy—found in earlier pantomime.[37]
The Funambules Pierrot appealed to audiences in the faery-tale style which incorporate the commedia types. The plot often hinged on Cassander's pursuit of Harlequin and Columbine, having to deal with a clever and ambiguous Pierrot. Deburau early—about 1828—caught the attention of the Romantics.[38] In 1842, Théophile Gautier published a fake review of a "Shakespeare" pantomime he claimed to have seen at the Funambules.[39] It placed Pierrot in the company of over-reachers in high literature such as Don Juan or Macbeth.
Pantomime after Baptiste: Charles Deburau, Paul Legrand, and their successors
Nadar: Charles Deburau as Pierrot, 1854
Deburau's son, Jean-Charles (or, as he preferred, "Charles" [1829–1873]), assumed Pierrot's blouse the year after his father died.[40] Another important Pierrot of mid-century was Charles-Dominique-Martin Legrand, known as Paul Legrand (1816–1898; see photo at top of page). He began appearing at the Funambules as Pierrot in 1845.[41]
Georges Wague in one of the cantomimes (pantomimes performed to off-stage songs) of Xavier Privas. Poster by Charles Léandre, 1899.
Legrand left the Funambules in 1853 for the Folies-Nouvelles, which attracted the fashionable set, unlike the Funambules' working-class audiences. Legrand often appeared in realistic costume, his chalky face his only concession to tradition, leading some advocates of pantomime, such as Gautier, to lament that he was betraying the character of the type.[42] Legrand's Pierrot influenced future mimes.
Pantomime and late 19th-century art
France
Popular and literary pantomime
Atelier Nadar: Sarah Bernhardt in Jean Richepin's Pierrot the Murderer, 1883. Bibliothèque Nationale, Paris.
Anon.: Poster for Hanlon-Lees' Superba, 1890–1911. Theatre Collection of the New York Public Library at Lincoln Center.
Jules Chéret: Title-page of Hennique and Huysmans' Pierrot the Skeptic, 1881
Paul Cézanne: Mardi gras (Pierrot and Harlequin), 1888, Pushkin Museum, Moscow
In the 1880s and 1890s, the pantomime reached a type of apogee, and Pierrot became ubiquitous.[43] Moreover, he acquired a female counterpart, Pierrette, who rivaled Columbine for his affections. A Cercle Funambulesque was founded in 1888, and Pierrot (sometimes played by female mimes, such as Félicia Mallet) dominated its productions until its demise in 1898.[44] Sarah Bernhardt even donned Pierrot's blouse for Jean Richepin's Pierrot the Murderer (1883).
But French mimes and actors were not the only figures responsible for Pierrot's ubiquity: the English Hanlon brothers (sometimes called the Hanlon-Lees), gymnasts and acrobats who had been schooled in the 1860s in pantomimes from Baptiste's repertoire, traveled (and dazzled) the world well into the 20th century with their pantomimic sketches and extravaganzas featuring riotously nightmarish Pierrots. The Naturalists—Émile Zola especially, who wrote glowingly of them—were captivated by their art.[45] Edmond de Goncourt modeled his acrobat-mimes in his The Zemganno Brothers (1879) upon them; J.-K. Huysmans (whose Against Nature [1884] would become Dorian Gray's bible) and his friend Léon Hennique wrote their pantomime Pierrot the Skeptic (1881) after seeing them perform at the Folies Bergère (and, in turn, Jules Laforgue wrote his pantomime Pierrot the Cut-Up [Pierrot fumiste, 1882][46] after reading the scenario by Huysmans and Hennique).[47] It was in part through the enthusiasm that they excited, coupled with the Impressionists' taste for popular entertainment, such as the circus and the music-hall, as well as the new bohemianism that then reigned in artistic quarters such as Montmartre (and which was celebrated by such denizens as Adolphe Willette, whose cartoons and canvases are crowded with Pierrots)—it was through all this that Pierrot achieved almost unprecedented currency and visibility towards the end of the century.
Visual arts, fiction, poetry, music, and film
He invaded the visual arts[48]—not only in the work of Willette, but also in the illustrations and posters of Jules Chéret;[49] in the engravings of Odilon Redon (The Swamp Flower: A Sad Human Head [1885]); and in the canvases of Georges Seurat (Pierrot with a White Pipe [Aman-Jean] [1883]; The Painter Aman-Jean as Pierrot [1883]), Léon Comerre (Pierrot [1884], Pierrot Playing the Mandolin [1884]), Henri Rousseau (A Carnival Night [1886]), Paul Cézanne (Mardi gras [Pierrot and Harlequin] [1888]), Fernand Pelez (Grimaces and Miseries a.k.a. The Saltimbanques [1888]), Pablo Picasso (Pierrot and Columbine [1900]), Guillaume Seignac (Pierrot's Embrace [1900]), Théophile Steinlen (Pierrot and the Cat [1889]), and Édouard Vuillard (The Black Pierrot [c. 1890]). The mime "Tombre" of Jean Richepin's novel Nice People (Braves Gens [1886]) turned him into a pathetic and alcoholic "phantom"; Paul Verlaine imagined him as a gormandizing naïf in "Pantomime" (1869), then, like Tombre, as a lightning-lit specter in "Pierrot" (1868, pub. 1882).[50] Laforgue put three of the "complaints" of his first published volume of poems (1885) into "Lord" Pierrot's mouth—and dedicated his next book, The Imitation of Our Lady the Moon (1886), completely to Pierrot and his world (Pierrots were legion among the minor, now-forgotten poets: for samples, see Willette's journal The Pierrot, which appeared between 1888 and 1889, then again in 1891). In the realm of song, Claude Debussy set both Verlaine's "Pantomime" and Banville's "Pierrot" (1842) to music in 1881 (not published until 1926)—the only precedents among works by major composers being the "Pierrot" section of Telemann's Burlesque Overture (1717–22), Mozart's 1783 "Masquerade" (in which Mozart himself took the role of Harlequin and his brother-in-law, Joseph Lange, that of Pierrot),[51] and the "Pierrot" section of Robert Schumann's Carnival (1835).[52] Even the embryonic art of the motion picture turned to Pierrot before the century was out: he appeared, not only in early celluloid shorts (Georges Méliès's The Nightmare [1896], The Magician [1898]; Alice Guy's Arrival of Pierrette and Pierrot [1900], Pierrette's Amorous Adventures [1900]; Ambroise-François Parnaland's Pierrot's Big Head/Pierrot's Tongue [1900], Pierrot-Drinker [1900]), but also in Emile Reynaud's Praxinoscope production of Poor Pierrot (1892), the first animated movie and the first hand-colored one.
Belgium
In Belgium, Félicien Rops depicted a grinning Pierrot who witnesses an unromantic backstage scene (Blowing Cupid's Nose [1881]). James Ensor painted Pierrots obsessively, in various poses from prostrate to bowing his head in despondency, sometimes even with a smiling skeleton. The Belgian poet and dramatist Albert Giraud also identified with the Zanni: the fifty rondels of his Pierrot lunaire (Moonstruck Pierrot, 1884) inspired generations of composers (see Pierrot lunaire below), and his verse-play Pierrot-Narcissus (1887) offered a definitive portrait of the poet-dreamer. The choreographer Joseph Hansen staged the ballet Macabre Pierrot in 1884 in collaboration with the poet Théo Hannon.
England
Aubrey Beardsley: "The Death of Pierrot", The Savoy, August 1896
Pierrot figured prominently in the drawings of Aubrey Beardsley, and various writers referenced him in their poetry.[53][54][55] Ethel Wright painted Bonjour, Pierrot! (a greeting to a dour clown sitting disconsolate with his dog) in 1893. The Pierrot of popular taste also spawned a uniquely English entertainment. In 1891, the singer and banjoist Clifford Essex, resolved to create a troupe of English Pierrot entertainers,[56] and called them the seaside Pierrots who, as late as the 1950s, performed on the piers of Brighton, Margate, and Blackpool.[57] They inspired the Will Morris Pierrots, named after their Birmingham founder. They originated in the Smethwick area in the late 1890s and played to large audiences in the Midlands. Walter Westley Russell committed these performers to canvas in The Pierrots (c. 1900).
Pierrot's mask claimed the attention of the great theater innovator Edward Gordon Craig.[58] Craig's involvement with the figure grew with time. In 1897, Craig, dressed as Pierrot, gave a quasi-impromptu stage-reading of Hans Christian Andersen's story "What the Moon Saw" as part of a benefit performance for theater artists in need.[59]
Austria and Germany
Although he lamented that "the Pierrot figure was inherently alien to the German-speaking world", the playwright Franz Blei introduced him enthusiastically into his playlet The Kissy-Face: A Columbiade (1895), and his fellow-Austrians Richard Specht and Richard Beer-Hofmann made an effort to naturalize Pierrot—in their plays Pierrot-Hunchback (1896) and Pierrot-Hypnotist (1892, first pub. 1984), respectively—by linking his fortunes with those of Goethe's Faust.[60] Still others among their countrymen simply sidestepped the issue of naturalization: Hermann Bahr took his inspiration for his Pantomime of the Good Man (1893) directly from his encounter with the exclusively French Cercle Funambulesque; Rudolf Holzer set the action of his Puppet Loyalty (1899), unapologetically, in a fabulous Paris; and Karl Michael von Levetzow settled his Two Pierrots (1900) in the birthplace of Pierrot's comedy, Italy.[61]
Paul Hoecker: Pierrots with Pipes, c. 1900. Location unknown.
In Germany, Frank Wedekind introduced the femme-fatale of his first "Lulu" play, Earth Spirit (1895), in a Pierrot costume. In a similar spirit, the painter Paul Hoecker put cheeky young men into Pierrot costumes to ape their complacent burgher elders in Pierrots with Pipes (c. 1900) and swilling champagne in Waiting Woman (c. 1895).
Italy
Canio's Pagliaccio in the famous opera (1892) by Leoncavallo is close enough to a Pierrot to deserve a mention here. Much less well-known is the work of two other composers—Mario Pasquale Costa and Vittorio Monti. Costa's pantomime L'Histoire d'un Pierrot (Story of a Pierrot), which debuted in Paris in 1893, was so admired in its day that it eventually reached audiences on several continents, was paired with Cavalleria Rusticana by New York's Metropolitan Opera Company in 1909, and was premiered as a film by Baldassarre Negroni in 1914.[62] Its libretto, like that of Monti's "mimodrama" Noël de Pierrot a.k.a. A Clown's Christmas (1900), was written by Fernand Beissier, one of the founders of the Cercle Funambulesque.[63] (Monti would go on to acquire his own fame by celebrating another spiritual outsider much akin to Pierrot—the Gypsy. His Csárdás [c. 1904], like Pagliacci, has found a secure place in the standard musical repertoire).
The portrait and genre painter Vittorio Matteo Corcos produced Portrait of Boy in Pierrot Costume in 1897.
Spain
In 1895, the playwright and future Nobel laureate Jacinto Benavente wrote rapturously in his journal of a performance of the Hanlon-Lees,[64] and three years later he published his only pantomime: The Whiteness of Pierrot. A true fin de siècle mask, Pierrot paints his face black to commit robbery and murder; then, after restoring his pallor, he hides himself, terrified of his own undoing, in a snowbank—forever. Thus does he forfeit his union with Columbine (the intended beneficiary of his crimes) for a frosty marriage with the moon.[65]
North America
Pierrot and his fellow masks were late in coming to the United States, which, unlike England, Russia, and the countries of continental Europe, had had no early exposure to commedia dell'arte.[66] The Hanlon-Lees made their first U.S. appearance in 1858, and their subsequent tours, well into the 20th century, of scores of cities throughout the country accustomed their audiences to their fantastic, acrobatic Pierrots.[67] But the Pierrot that would leave the deepest imprint upon the American imagination was that of the French and English Decadents, a creature who quickly found his home in the so-called little magazines of the 1890s (as well as in the poster-art that they spawned). One of the earliest and most influential of these in America, The Chap-Book (1894–98), which featured a story about Pierrot by the aesthete Percival Pollard in its second number,[68] was soon host to Beardsley-inspired Pierrots drawn by E.B. Bird and Frank Hazenplug[69] (the Canadian poet Bliss Carman should also be mentioned for his contribution to Pierrot's dissemination in mass-market publications such as Harper's).[70] Like most things associated with the Decadence, such exotica discombobulated the mainstream American public, which regarded the little magazines in general as "freak periodicals" and declared, through one of its mouthpieces, Munsey's Magazine, that "each new representative of the species is, if possible, more preposterous than the last".[71] And yet the Pierrot of that species was gaining a foothold elsewhere. The composers Amy Beach and Arthur Foote devoted a section to Pierrot (as well as to Pierrette, his Decadent counterpart) in two ludic pieces for piano—Beach's Children's Carnival (1894) and Foote's Five Bagatelles (1893).
The fin de siècle world in which this Pierrot resided was clearly at odds with the reigning American Realist and Naturalist aesthetic (although such figures as Ambrose Bierce and John LaFarge were mounting serious challenges to it). It is in fact jarring to find the champion of American prose Realism, William Dean Howells, introducing Pastels in Prose (1890), a volume of French prose-poems containing a Paul Margueritte pantomime, The Death of Pierrot,[72] with words of warm praise (and even congratulations to each poet for failing "to saddle his reader with a moral").[73] So uncustomary was the French Aesthetic viewpoint that, when Pierrot made an appearance in Pierrot the Painter (1893),[74] a pantomime by Alfred Thompson, set to music by the American composer Laura Sedgwick Collins, The New York Times covered it as an event, although it was only a student production. It was found to be "pleasing" because, in part, it was "odd".[75] Not until the first decade of the next century, when the great (and popular) fantasist Maxfield Parrish worked his magic on the figure, would Pierrot be comfortably naturalized in America.
Of course, writers from the United States living abroad—especially in Paris or London—were aberrantly susceptible to the charms of the Decadence. Such a figure was Stuart Merrill, who consorted with the French Symbolists and who compiled and translated the pieces in Pastels in Prose. Another was William Theodore Peters, an acquaintance of Ernest Dowson and other members of the Rhymers' Club and a driving force behind the conception and theatrical realization of Dowson's Pierrot of the Minute (1897; see England above). Of the three books that Peters published before his death (of starvation)[76] at the age of forty-two, his Posies out of Rings: And Other Conceits (1896) is most notable here: in it, four poems and an "Epilogue" for the aforementioned Dowson play are devoted to Pierrot (from the mouth of Pierrot loquitur: "Although this pantomime of life is passing fine,/Who would be happy must not marry Columbine").[77]
Another pocket of North-American sympathy with the Decadence—one manifestation of what the Latin world called modernismo—could be found in the progressive literary scene of Mexico, its parent country, Spain, having been long conversant with the commedia dell'arte. In 1897, Bernardo Couto Castillo, another Decadent who, at the age of twenty-two, died even more tragically young than Peters, embarked on a series of Pierrot-themed short—"Pierrot Enamored of Glory" (1897), "Pierrot and His Cats" (1898), "The Nuptials of Pierrot" (1899), "Pierrot's Gesture" (1899), "The Caprices of Pierrot" (1900)—culminating, after the turn of the century (and in the year of Couto's death), with "Pierrot-Gravedigger" (1901).[78] For the Spanish-speaking world, according to scholar Emilio Peral Vega, Couto "expresses that first manifestation of Pierrot as an alter ego in a game of symbolic otherness ...".[79]
Central and South America
Inspired by the French Symbolists, especially Verlaine, Rubén Darío, the Nicaraguan poet widely acknowledged as the founder of Spanish-American literary modernism (modernismo), placed Pierrot ("sad poet and dreamer") in opposition to Columbine ("fatal woman", the arch-materialistic "lover of rich silk garments, golden jewelry, pearls and diamonds")[80] in his 1898 prose-poem The Eternal Adventure of Pierrot and Columbine.
Russia
In the last year of the century, Pierrot appeared in a Russian ballet, Harlequin's Millions a.k.a. Harlequinade (1900), its libretto and choreography by Marius Petipa, its music by Riccardo Drigo, its dancers the members of St. Petersburg's Imperial Ballet. It would set the stage for the later and greater triumphs of Pierrot in the productions of the Ballets Russes.
19th-century legacy
The Pierrot bequeathed to the 20th century had acquired a rich and wide range of personae. He was the naïve butt of practical jokes and amorous scheming (Gautier); the prankish but innocent waif (Banville, Verlaine, Willette); the narcissistic dreamer clutching at the moon, which could symbolize many things, from spiritual perfection to death (Giraud, Laforgue, Willette, Dowson); the frail, neurasthenic, often doom-ridden soul (Richepin, Beardsley); the clumsy, although ardent, lover, who wins Columbine's heart,[81] or murders her in frustration (Margueritte); the cynical and misogynistic dandy, sometimes dressed in black (Huysmans/Hennique, Laforgue); the Christ-like victim of the martyrdom that is Art (Giraud, Willette, Ensor); the androgynous and unholy creature of corruption (Richepin, Wedekind); the madcap master of chaos (the Hanlon-Lees); the purveyor of hearty and wholesome fun (the English pier Pierrots)—and various combinations of these. Like the earlier masks of commedia dell'arte, Pierrot now knew no national boundaries. Thanks to the international gregariousness of modernism, he would soon be found everywhere.[82]
Pierrot and modernism
Main article: Cultural references to Pierrot
Pierrot played a seminal role in the emergence of modernism in the arts. He was a key figure in every art-form except architecture.
With respect to poetry, T. S. Eliot's "breakthrough work",[83] "The Love Song of J. Alfred Prufrock" (1915), owed its existence to the poems of Jules Laforgue, whose "ton 'pierrot'"[84] informed all of Eliot's early poetry.[85] (Laforgue, he said, "was the first to teach me how to speak, to teach me the poetic possibilities of my own idiom of speech.")[86] Prufrock is a Pierrot transplanted to America.[87] Another prominent Modernist, Wallace Stevens, was undisguised in his identification with Pierrot in his earliest poems and letters—an identification that he later complicated and refined through such avatars as Bowl (in Bowl, Cat and Broomstick [1917]), Carlos (in Carlos Among the Candles [1917]), and, most importantly, Crispin (in "The Comedian as the Letter C" [1923]).[88]
As for fiction, William Faulkner began his career as a chronicler of Pierrot's amorous disappointments and existential anguish in such little-known works as his play The Marionettes (1920) and the verses of his Vision in Spring (1921), works that were an early and revealing declaration of the novelist's "fragmented state"[89] (some critics have argued that Pierrot stands behind the semi-autobiographical Nick Adams of Faulkner's fellow-Nobel laureate Ernest Hemingway,[90] and another contends that James Joyce's Stephen Dedalus, again an avatar of his own creator, also shares the same parentage).[91]
In music, historians of modernism generally place Arnold Schoenberg's 1912 song-cycle Pierrot lunaire at the very pinnacle of high-modernist achievement.[92] And in ballet, Igor Stravinsky's Petrushka (1911), in which the traditionally Pulcinella-like clown wears the heart of Pierrot,[93] is often argued to have attained the same stature.[94]
Students of modernist painting and sculpture are familiar with Pierrot (in many different attitudes, from the ineffably sad to the ebulliently impudent) through the masterworks of his acolytes, including Pablo Picasso, Juan Gris, Georges Rouault, Salvador Dalí, Max Beckmann, August Macke, Paul Klee, Jacques Lipchitz—the list is very long (see Visual arts below).
As for the drama, Pierrot was a regular fixture in the plays of the Little Theatre Movement (Edna St. Vincent Millay's Aria da Capo [1920], Robert Emmons Rogers' Behind a Watteau Picture [1918], Blanche Jennings Thompson's The Dream Maker [1922]),[95] which nourished the careers of such important Modernists as Eugene O'Neill, Susan Glaspell, and others.
In film, a beloved early comic hero was the Little Tramp of Charlie Chaplin, who conceived the character, in Chaplin's words, as "a sort of Pierrot".[96]
As the diverse incarnations of the 19th-century Pierrot would predict, the hallmarks of the modernist Pierrot are his ambiguity and complexity.
One of his earliest appearances was in Alexander Blok's The Puppet Show (1906), called by one theater-historian "the greatest example of the harlequinade in Russia".[97] Vsevolod Meyerhold, who both directed the first production and took on the role, dramatically emphasized the multifacetedness of the character: according to one spectator, Meyerhold's Pierrot was "nothing like those familiar, falsely sugary, whining Pierrots. Everything about him is sharply angular; in a hushed voice he whispers strange words of sadness; somehow he contrives to be caustic, heart-rending, gentle: all these things yet at the same time impudent."[98]
Pierrot lunaire
Main article: Pierrot lunaire (book)
The fifty poems that were published by Albert Giraud (born Emile Albert Kayenbergh) as Pierrot lunaire: Rondels bergamasques in 1884 were set to music several times. The best known version is by Arnold Schoenberg, i.e., his Opus 21: Dreimal sieben Gedichte aus Albert Girauds Pierrot lunaire (Thrice-Seven Poems from Albert Giraud's Pierrot lunaire—Schoenberg was numerologically superstitious). This led, among other things, to ensemble groups' appropriating Pierrot's name, such as the English Pierrot Players (1967–70).[99] The Pierrot behind those cycles has invaded worlds well beyond those of composers, singers, and ensemble-performers. Theatrical groups such as the Opera Quotannis have brought Pierrot's Passion to the dramatic stage; dancers such as Glen Tetley have choreographed it; poets such as Wayne Koestenbaum have derived original inspiration from it.[100] It has been translated into still more distant media by painters, such as Paul Klee; fiction-writers, such as Helen Stevenson; filmmakers, such as Bruce LaBruce; and graphic-novelists, such as Antoine Dodé.[101] A passionately sinister Pierrot Lunaire has even shadowed DC Comics' Batman.[102] Pierrot is aptly honored in the title of a song by the British rock-group The Soft Machine: "Thank You Pierrot Lunaire" (1969).[103]
Carnivals
Pierrot appears among the revelers at various international carnivals. His name suggests kinship with the Pierrot Grenade of Trinidad and Tobago Carnival, being a satire on the richer and more respectable Pierrot. Pierrot Grenade was a finely dressed masquerader and deeply supreme scholar/jester proud of his ability to spell any word in his own fashion and quoting Shakespearean characters as Julius Caesar, Mark Anthony, and Othello at length.
Pierrot, also retrospectively known as Gilles, is an oil on canvas painting of c. 1718-1719 by the French Rococo artist Jean-Antoine Watteau (1684–1721). Completed in the later phase of Watteau's career, Pierrot measures 184.5 by 149.5 cm, which makes up somewhat unusual case in the artist's body of work. The painting depicts a number of actors portraying commedia dell'arte character types, with one as the titular character set in the foreground.
By the early 19th century, Pierrot belonged to Dominique Vivant, Baron Denon, the first director of the Louvre Museum; it later passed to the Parisian physician Louis La Caze, who bequeathed his sprawling art collection to the Louvre in 1869.[1]
en.wikipedia.org/wiki/Pierrot_(Watteau)
Presented are several series of images from a large group of photographs and derived art taken in Atlanta, Georgia. All were taken in the Downtown area, all within several blocks of Centennial Olympic Park. The subject of most of these photographs is cityscapes and architecture, especially the sculptural and geometrical aspects of this civic art.
This set shows the art and architecture of the Atlanta Marriott Marquis hotel (Downtown, on Peachtree Center Ave NE, between Baker St NE and John Portman Blvd NE). Part of the Sun Trust Plaza (which includes the iconic SunTrust Plaza tower), it was designed by notable architect John C. Portman. Completed in 1985, it is a 52-story building (554 ft, 169 m). Portman is celebrated for his dramatic use of interior atria, and the Marriott Marquis is no exception. Its expansive central atrium rises 470 ft / 143 m from ground floor to ceiling skylight. In the center are elegant elevator columns. Guest rooms ring the periphery of the atrium, accessed by walkways and promenades that are protected against falls by decorative metal railings. The entire arrangement leads to an intricately interesting interplay of verticals and horizontals, repetitive forms and geometric textures, and straight and angular versus fluid and curvilinear elements. The drab white concrete becomes a palette on which ambient light plays, whether atmospheric light from outside or electrical lighting at night. Carpeting and flooring have also been created as an integral part of the design, and their patterns and colors provide the visual contrasts and embellishment that the concrete lacks.
These subsets, "amm architecture" 05, 06, 07, & 08 show various interior views, the emphasis being on the repetitive patterns and other geometric figures created by 52 floors of flowing concrete and metal fixtures, of stacked walkways and protective railings. The interior of this building is so inherently graphical, geometrical, and abstract , that almost any photographic view lends itself to subsequent artistic variation or interpretation. These four subsets of the "amm architecture" series emphasize the art more than the raw images. Sets 05 (vertical views) and 06 (horizontal views) look along the imposing central elevator stack. The walkways on each floor fan out, each level similar but not congruent, to create fascinating repetitive patterns. Seen from above or below, the scenes look like ribs coming off of a spine, the "vertebrae" defined by the doors along the elevator rails. Subsets 07 and 08 focus more on the "ribs" created by the walkways and balconies overlooking the center atrium.
Subset 08: This subset presents begins with black and white views of the center atrium. Image 01 looks down from the upper floors. It is a view from within one of the glass elevators. The bright curve is a reflection off of the curved elevator glass. Images 02, 03, & 04 combine various such views to create a dark mesh or latticework. These images invoke any number of abstractions, from a dark noir Deco era skyscraper cityscape, to an industrial complex of steel and girders, to a futuristic city of tall gravity-defying geometries – or – anything else that the viewer may bring to the interpretation. Images 05, 06, 07 combine these dark lattice views with other Atlanta architecture photos. The blend images were selected for their repetitive patterns, angles, and orientations, so that they would have a natural parallelism to the main images, thereby seamlessly integrating their colors and textures into the main images.
Companion files:
amm architecture 08-01 _ atlanta, georgia _ (© 2017 megart)
amm architecture 08-02 _ atlanta, georgia _ (© 2017 megart)
amm architecture 08-03 _ atlanta, georgia _ (© 2017 megart)
amm architecture 08-04 _ atlanta, georgia _ (© 2017 megart)
amm architecture 08-05 _ atlanta, georgia _ (© 2017 megart)
amm architecture 08-06 _ atlanta, georgia _ (© 2017 megart)
amm architecture 08-07 _ atlanta, georgia _ (© 2017 megart)
Identified
EVIDENCE
Provenance evidence: Inscription
Location in book: Title Page
Comments:
This copy inscribed by the author to Gil Ott and Julia Blumenreich in February 1989
IDENTIFICATION
Owner: Ott, Gil
Owner: Blumenreich, Julia
Other: Fitterman, Robert, 1959-
COPY
Repository: Penn Libraries
Call number: PS3606.I87 L4 1988 Ott copy
Collection: Ott Collection
Copy title: Leases
Author(s): Fitterman, Robert, 1959-
Published: New York City, 1988
Printer/Publisher: Periphery
FIND IN POP
Misha Mansoor
Centro Dinámico Pegaso. October 28, 2017.
This photo was taken with a cell phone camera at KnotFest Mexico 2017. Centro Dinámico Pegaso, Toluca, Edo. Mex.
This huge church is located in Paris 17ème arrondissement close to the peripheric boulevard.
Its construction started in 1935 and ended in 1946.
Architect: Jacques Barge who chose a neo-byzantine style with three copolas and 72 m high bell tower, the highest one in Paris.
Construction is in reinforced concrete and the lower parts are coated with pink sandstones (from Alsace).
At the origin the church was to serve the population living in the social habitations built after WWI at the border of Paris on the site of the old fortifications.
Source: wikipedia
August 26th, 2016 - Periphery performs live at Saint Andrews Hall in Detroit, Michigan. Credit: Mirak Habbiyyieh. www.schwegweb.com
I had a meeting scheduled on the periphery of Winchester but unfortunately the other participant was let down by the bus service, the bus totally failing to materialise. After a half hour wait in the cold, he went home. I was already at the venue when I picked up his email message on my iPad so decided to go down into Winchester for a walkabout with my camera.
I drove into town, confronted the parking problem and made my way into the centre.
Approaching the main street, I heard a beautiful male voice and, turning the corner, found a man singing expressively and a small crowd of people listening intently, one or two taking photos on iPhones. I crossed over and indicated as I usually do that I'd like to take a photo. I took one or two and then Miguel, as I found he was called, stopped singing so I explained my strangers' project and asked if I could include him in it.
He wanted to know where the photo would be published so I described 365 Project and my dedication to it and also said that the photo would be posted on Flickr (where I have a newly opened account). Miguel was then happy to say yes and I took a few more photos, some in colour, others in b&w.
I thought Miguel might be Spanish or Italian but he replied 'Latin American'. Later in the conversation I learned that his native country is Peru but he has lived in England for some 20 years.
Miguel handed me his card with his email and his website details. This was welcome as I had nothing to write with and nothing to write on. In addition to a camera, a notebook and a pen should now be standard on my person, I think, as I often unexpectedly happen on opportunities for a portrait.
We agreed I should use the website for a little more information to accompany the portrait as I, for one, was conscious of folk waiting for the singing to begin again.
I discovered that Miguel is Miguel Moncloa, a tenor, and one half of a classical duo, Sul Fiato, formed in 2012, the other half being Naomi Scott de Moncloa, an Australian soprano.
Sul Fiato is Italian, meaning ‘on the breath’. On the website this is described as 'The ultimate technical goal for any classical singer, it also refers to the link between the breath and the soul or human spirit.'
Once again from the website: 'on the importance of music to him', Miguel says, “Music is the only way that I connect fully with my fellow human beings.
I have photos to email to Miguel. I was very appreciative of his time and interested to learn about his professional life.
This is my #12 submission to the Human Family Group. To view more street portraits and stories visit:
www.flickr.com/groups/thehumanfamily/
This photo is also in The Portrait Group and STRANGERS!
Cross section of a wood splinter with Splendore-Hoeppli phenomenon and fungi (arrows) at the periphery.
Images contributed by Dr. Jerad M. Gardner - @JMGardnerMD
The periphery of the Agra fort is about 3 km long, and most of the view is similar from the outside, with a 20 foot (~7 meters) tall compound wall all around, and buildings visible beyond the walls in typical Moghul architecture. They certainly spared no expense - it is amazing how much detail is built into the external walls.
Leica S2 + 70mm Summarit-S f/2.5
S2002081
Form with gold-tinted body and cerata. White stipple on periphery of foot.
Oosterschelde, Netherlands, June, 2006. © R. Groeneveld.
Full SPECIES DESCRIPTION BELOW
Sets of OTHER SPECIES at: www.flickr.com/photos/56388191@N08/collections/
Aeolidiella glauca (Alder & Hancock, 1845)
Synonyms: Eolis glauca Alder & Hancock, 1845.
Current taxonomy: World Register of Marine Species www.marinespecies.org/aphia.php?p=taxdetails&id=138711
GLOSSARY BELOW
Description
The body grows up to 40 mm long. It is translucent whitish, often with a fawn, orange fig. 01 flic.kr/p/2nYKVwj or, occasionally, golden fig. 02 flic.kr/p/2nYJjp9 suffusion of varying intensity and extent. The notum has opaque flecks of white fig. 04 flic.kr/p/2nYKVsB or a whitish shade of the general body tint fig. 01 flic.kr/p/2nYKVwj .
The cerata are arranged in about fifteen transverse rows on each side of the body. They sometimes conceal most of the notum fig. 05 flic.kr/p/2nYKVs1 , but much of it is often exposed fig. 01 flic.kr/p/2nYKVwj . The cerata are translucent white or pinkish revealing a pinkish fig. 03 flic.kr/p/2nYMiVQ , orange-brown fig. 01 flic.kr/p/2nYKVwj or grey-brown fig. 04 flic.kr/p/2nYKVsB internal digestive gland, with large white cnidosacs at the tip. Some of, but rarely all of, each ceras in the anterior row may be occupied for about half its length by a very large whitish cnidosac fig. 06 flic.kr/p/2nYKVn6 & fig. 05 flic.kr/p/2nYKVs1 to form a white ruff resembling the usually more fully developed one on A. alderi. There is usually extensive opaque whitish mottling on the surface of the cerata fig. 04 flic.kr/p/2nYKVsB & fig. 07 flic.kr/p/2nYFZeA .
The smooth, sometimes wrinkled fig. 07 flic.kr/p/2nYFZeA , translucent rhinophores are usually tinted orange of varying intensity fig. 06 flic.kr/p/2nYKVn6 with an opaque cream-white apical stipple.
The head is translucent white fig. 05 flic.kr/p/2nYKVs1 or tinted orange fig. 01 flic.kr/p/2nYKVwj . Internal eyes visible are visible at the posterior base of the rhinophores, unless hidden by the tilt of a rhinophore fig. 05 flic.kr/p/2nYKVs1 . The internal, opaque white internal jaw and buccal mass are often visible fig. 05 flic.kr/p/2nYKVs1 , and they may be tinted by the overlying translucent integument fig. 08 flic.kr/p/2nYKViU . The distance between oral tentacles at their base is about equal to thickness of a single tentacle base fig. 08 flic.kr/p/2nYKViU . Oral tentacles translucent white, nearly always without tinting of another colour, and with opaque white flecks fig. 03 flic.kr/p/2nYMiVQ .
The broad foot is three times as wide as the body, narrowing to a slender posterior point fig. 08 flic.kr/p/2nYKViU & fig. 09 flic.kr/p/2nYMiGD . The convex anterior continues into short propodial tentacles which often bend forwards at the tip resulting in a sigmoid foot anterior fig. 09 flic.kr/p/2nYMiGD . The sole is usually transparent colourless, clearly revealing the body and its overhanging cerata. Round white ovotestes may be visible through the sole. The dorsal surface of the foot usually has white peripheral pigment flecks fig. 21 flic.kr/p/2nYLSNc , but they are often hidden by overhanging cerata apart from its protruding posterior fig. 01 flic.kr/p/2nYKVwj or through the sole from below fig. 09 flic.kr/p/2nYMiGD .
Key identification features
Identification should be made with more than one feature as there is some interspecific overlap. For example, a white ruff of anterior cerata can be found on some of all three Aeolidiella species, though it is usually most distinct on A. alderi.
Aeolidiella glauca
1) Maximum length 40 mm (Thompson & Brown, 1984). Body broad fig. 09 flic.kr/p/2nYMiGD in comparison with A. sanguinea and A. alderi . Often, overall pinkish appearance from cerata, especially when viewed through translucent foot.
2) From above, internal eyes usually visible through translucent body fig. 03 flic.kr/p/2nYMiVQ .
3) Anterior cerata may be white and resemble the more fully developed white ruff on A. alderi fig. 06 flic.kr/p/2nYKVn6 & fig. 05 flic.kr/p/2nYKVs1 .
4) Anterior half of body copiously speckled with pale opaque pigment fig. 01 flic.kr/p/2nYKVwj .
5) Distance between oral tentacles about same as thickness of single tentacle base fig. 01 flic.kr/p/2nYKVwj .
6) Anterior edge of foot has short propodial tentacles which may curve forwards at the tip fig. 09 flic.kr/p/2nYMiGD .
7) White pigment stipple on dorsal periphery of foot fig. 21 flic.kr/p/2nYLSNc & fig. 09 flic.kr/p/2nYMiGD , oral tentacles, cerata and, distally, on rhinophores fig. 03 flic.kr/p/2nYMiVQ .
8) Body translucent white, anterior often translucent orange fig. 01 flic.kr/p/2nYKVwj .
9) Spawn, a plain non-sinuous spiral line fig. 10 flic.kr/p/2nYMiF1 ; white contents divided into sections by clear breaks; ova small so width of spawn line 5 or 6 times diameter of one ovum fig. 11 flic.kr/p/2nYMiDT .
Similar species
Aeolidiella alderi (Cocks, 1852) fig. 12 flic.kr/p/2nYJsRu .
1) Maximum length 37 mm (Thompson & Brown, 1984). When extended, fairly robust but more slender than Aeolidia papillosa, A. filomenae and Aeolidiella glauca. Usually straighter than the more slender, sinuous A. sanguinea.
2) From above, internal eyes usually visible through translucent body unless hidden by tilt of rhinophore.
3) Front row of cerata makes a white ruff with white zone in each ceras usually 50% or more of length.
4) No opaque flecks on dorsum.
5) Distance between oral tentacles about same as thickness of single tentacle base .
6) Anterior edge of foot a smooth crescent terminating in short triangular propodial tentacles which do not usually curve forward at the tip .
7) White or yellow pigment distally on rhinophores, oral tentacles and cerata, but no white pigment stipple on dorsal periphery of foot.
8) Body translucent white. Some tinted yellowish or reddish fig. 13 flic.kr/p/2nYMiCW .
9) Spawn is a deeply sinuous line arranged loosely in a disc fig. 14 flic.kr/p/2nYJsPA .
Aeolidiella sanguinea (Norman, 1877) fig. 15 flic.kr/p/2nYFZ4q & fig. 16 flic.kr/p/2nYLSWo .
1) Maximum length 46 mm (Thompson & Brown, 1984). Slender sinuous body is more slender than A. alderi.
2) From above, internal eyes usually visible through translucent body.
3) All cerata have a large white cnidosac slightly tinted by the orange to red surface of the cerata. The front row of cerata can make a white ruff, and the white zone, tinted orange or red, in each ceras can be more than 50% of ceras length. But the ruff is not usually as fully developed as on A. alderi.
4) No opaque flecks on notum.
5) Distance between oral tentacles about same as thickness of single tentacle base.
6) Anterior edge of foot often sigmoid with short propodial tentacles curved forward at tip.
7) No surface pigment on dorsal periphery of foot, oral tentacles or cerata, but rhinophores have distinctly demarcated white tips.
8) Body, rhinophores and cerata are translucent red, orange or yellow,
9) Spawn; a plain spiral line.
Aeolidia papillosa (Linnaeus, 1761) fig. 17 flic.kr/p/2nYKV7S .
1) Maximum length120 mm (Thompson & Brown, 1984). Body broader than Aeolidiella glauca.
2) Internal eyes not, or barely, visible through opaque pigment.
3) Dull whitish cnidosac visible if not obscured by white apical pigment.
4) Much opaque pigment on dorsum.
5) Distance between oral tentacles about three times thickness of tentacle base.
6) Anterior edge of foot a smooth crescent terminating in short triangular propodial tentacles.
7) Much pigment on rhinophores and cerata. Often dark and whitish pigment stipple on dorsal periphery of foot.
8) Most of body, rhinophores and cerata not translucent.
9) Spawn; large convoluted ribbon, standing upright in water, deposited in spiral fig. 18 flic.kr/p/2nYJsHy .
Aeolidia filomenae Kienberger, Carmona, Pola, Padula, Gosliner & Cervera, 2016 fig. 19 flic.kr/p/2nYKV6p .
1) Maximum length at least 70 mm. Body broader than Aeolidiella glauca.
2) Internal eyes sometimes faintly visible in light specimens.
3) Apices of cerata are white, often revealing large white cnidosacs.
4) Dorsum white or pale colour with opaque white or brown flecks which may concentrate locally into dense brown markings.
5) Distance between oral tentacles about three times thickness of tentacle base.
6) Anterior edge of foot a smooth crescent terminating in short triangular propodial tentacles.
7) Rhinophores and cerata are translucent with varying amounts of opaque white and brown freckling. Usually no pigment stipple on dorsal surface of foot.
8) Some parts of body and cerata may be translucent.
9) Spawn; large convoluted ribbon, standing upright in water, deposited in spiral fig. 20 flic.kr/p/2nYFYXo .
Habits and ecology
A. glauca is found sublittorally and, occasionally, at low water spring tide at sheltered sites, usually where there is some mud or silt present; its broad foot supports it on soft sediment fig. 21 flic.kr/p/2nYLSNc . Thompson & Brown, (1984) list its prey as Sagartiogeton spp., Cylista troglodytes (Price in Johnston, 1847), C. elegans (Dalyell, 1848) fig. 22 flic.kr/p/2nYKUXi , Cereus pedunculatus (Pennant, 1777) and Diadumene cincta Stephenson, 1925.
Like other nudibranchs, A. glauca is a simultaneous hermaphrodite. Spawn is deposited in a non-sinuous spiral line fig. 10 flic.kr/p/2nYMiF1 . The white ova within are divided into sections by several unoccupied short lengths of the transparent colourless line fig. 11 flic.kr/p/2nYMiDT . The spawn line is five or six times as wide as the diameters of the small ova fig. 12 flic.kr/p/2nYJsRu . Veliger larvae hatch from the spawn and drift as plankton before settling on the sea floor and transforming into adults.
Distribution and status
Available online images show that A. glauca occurs from Norway and Faeroe to the Netherlands and the south coast of Britain. Uncertainty about identifications of Aeolidiella records lacking the support of clear images make defining of its southern limit difficult. Thompson and Brown (1984) cited Tardy (1969) as recording it from Arcachon Bay near Bordeaux and said it probably does not occur in the Mediterranean. Some Iberian guides and websites show images of probable A. alderi as A. glauca or, in the absence of local finds, use images of A. glauca from north-west Europe. Careful search online with Google, GBIF, iNaturalist, Flickr and Facebook failed to find any incontestable image of A. glauca in southern Europe. In Britain, some old records aggregate A. alderi with A. glauca but an unmistakable image of A. glauca fig. 23 flic.kr/p/2nYFYKu from the Lizard, Cornwall, the southernmost tip of Britain, puts beyond doubt that it extends to the south coast of Britain. It is widespread in Britain and Ireland, UK map NBN species.nbnatlas.org/species/NBNSYS0000173623
GBIF map www.gbif.org/species/2291946
Acknowledgements
For use of images I thank Jim Anderson, Roy Dahl, Guy Freeman, Rokus Groeneveld, Arne Kuilman, Sylvain Le Bris, Mathias Meunier and Lou Valence, Malcolm Storey, Stefan Verheyen and Neil Ward. I thank Simon Taylor for specimens, and Marco Faasse for information about sea anemones.
References and links
Alder, J. & Hancock, A. 1845-1855. A monograph of the British nudibranchiate mollusca. London, Ray Society. Family 3, Plate 11. www.biodiversitylibrary.org/item/131598#page/326/mode/1up
Anderson, J. Aeolidiella glauca (Alder & Hancock, 1845), Scottish nudibranchs and sea slugs (accessed 12 November 2022) www.nudibranch.org/Scottish%20Nudibranchs/aeolidiella-gla...
Groeneveld, R. & Reijs, S. (accessed 12 November 2022). Zeenaaktslakken, Nudibranchia. www.diverosa.com/FF_NL/ff_zeenaaktslakken.htm
Tardy, J. 1969. Étude systématique et biologique sur trois espèces d’Aeolidielles des côtes européennes (Gastéropodes Nudibranches). Bull. Inst. Oceanogr. Monaco 68: 1 – 40.
Thompson, T.E. & Brown, G.H. 1984. Biology of opisthobranch molluscs 2. London, Ray Society.
Glossary
acontia = thread-like tissue containing numerous stinging nematocysts which are released by some sea anemones
buccal mass = anterior of digestive system including an odontophore that supports anterior of radula, and a complex of muscles to operate them and other mouthparts.
cerata = (sing. ceras, adj. ceratal) lobes on notum of some nudibranchs.
Cnidaria = hydroids, jellyfish, sea anemones etc. which possess cnidocytes.
cnidocytes = explosive stinging cells of Cnidaria. en.wikipedia.org/wiki/Cnidocyte
cnidosac = storage capsule at tips of cerata of Aeolidiidae for ingested cnidocytes.
digestive gland = large organ in gastropods which acts like the liver and pancreas in mammals to absorb food.
distal = away from centre of body or from point of attachment.
hermaphrodite, simultaneous = individual acts as both male and female at the same time with similar partner.
notum = (of sea slugs) the dorsal surface of the body; the back.
ovotestis = (pl. ovotestes) hermaphrodite organ serving as both ovary and testis.
propodial tentacles = tentacular, lateral extensions on anterior of the foot.
rhinophore = chemo-receptor tentacle; many sea slugs have a pair on top of the head.
veliger = shelled larva which moves by action of cilia on a velum (bilobed flap). Stage may be passed in plankton or within liquid-filled egg-capsule.
Periphery
@ The Wiltern
Los Angeles, CA
November 24, 2017
All Photos © Kaley Nelson Photography - www.KaleyNelson.com