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History of the Arabic alphabet
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Arabic script
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It is thought that the Arabic alphabet is a derivative of the Nabataean variation of the region, which descended from the Phoenician alphabet, which, among others, gave rise to the Hebrew alphabet and the Greek alphabet (and therefore the Cyrillic and Roman alphabets).
1 Origins
2 Pre-Islamic Arabic inscriptions
3 Early Islamic changes
4 Reorganization of the alphabet
5 Adapting the Arabic alphabet for other languages
6 Decline in use by non-Arabic states
The Arabic alphabet evolved either from the Nabataean,[1][2] or (less widely believed) directly from the Syriac.[3] This table shows changes undergone by the shapes of the letters from the Aramaic original to the Nabataean and Syriac forms. Arabic is placed in the middle for clarity and not to mark a time order of evolution. The Arabic script represented in the table below is that of post-Classical and Modern Arabic, not 6th century Arabic script, which is of a notably different form.
It seems that the Nabataean alphabet became the Arabic alphabet thus:
In the 6th and 5th centuries BCE, northern Arab tribes emigrated and founded a kingdom centred around Petra, Jordan. These people (now named Nabataeans from the name of one of the tribes, Nabatu) spoke the Nabataean language, a Northwest Semitic language.
In the 2nd or 1st centuries BCE,[4][5] the first known records of the Nabataean alphabet were written in the Aramaic language (which was the language of communication and trade), but including some Arabic language features: the Nabataeans did not write the language which they spoke. They wrote in a form of the Aramaic alphabet, which continued to evolve; it separated into two forms: one intended for inscriptions (known as "monumental Nabataean") and the other, more cursive and hurriedly written and with joined letters, for writing on papyrus.[6] This cursive form influenced the monumental form more and more and gradually changed into the Arabic alphabet.
Laïla Nehmé has demonstrated the transition of scripts from the Nabataean Aramaic to the recognisably Arabic form that appears to have occurred between the third and fifth centuries CE, replacing the indigenous Arabic alphabet.[7]
Pre-Islamic Arabic inscriptions[edit]
Petroglyphs in Wadi Rum (Jordan)
The first recorded text in the Arabic alphabet was written in 512. It is a trilingual dedication in Greek, Syriac and Arabic found at Zabad in Syria. The version of the Arabic alphabet used includes only 22 letters, of which only 15 are different, being used to note 28 phonemes:
The image footnote is incorrect. It should say: 1. Phoenician ; 2. Nabataean ; 3. Arabic ; 4. Syriac ; 5. Transliteration
Many myriads of pre-Classical Arabic inscriptions are attested, in alphabets borrowed from Epigraphic South Arabian alphabets (however, Safaitic and Hismaic are not strictly Arabic, but Ancient North Arabian dialects, and written Nabataean is an Aramaic dialect):
Safaitic (over 13,000; almost all graffiti)[8]
Hismaic in the southern parts of central Arabia
Preclassical Arabic inscriptions dating to the 1st century BC from Qaryat Al-Faw
Nabataean inscriptions in Aramaic, written in the Nabataean alphabet
Pre-Islamic Arabic inscriptions in the Arabic alphabet are very few, with only 5 known for certain. They mostly use no dots, making them sometimes difficult to interpret, as many letters are the same shape as other letters (they are written with rasm only)
Here are the inscriptions in the Arabic alphabet, and the inscriptions in the Nabataean alphabet that show the beginnings of Arabic-like features.
Text & notes
Al-Hasa Nejd, Historical Bahrain region 4th century BC 3 lines in Hasean Epigraphic South Arabian alphabets A large funerary stone is inscribed in the Hasaean dialect using a variety of South Arabian monumental script, with three inscribed lines for the man Matmat, that records both patrilineal and matriarchal descent:[9]
1. "Tombstone and grave of Matmat,"
2. "son of Zurubbat, those of 'Ah-"
3. "nas, her of the father of Sa'ad-"
4. "ab.." (Dr. A. Jamme)
Qaryat al-Fāw Wadi ad-Dawasir, Nejd 1st century BC 10 lines in Arabic Epigraphic South Arabian alphabets A tomb dedicatory and a prayer to Lāh, Kāhil and ʻAṯṯār to protect the tomb:
"ʿIgl son of Hafʿam constructed for his brother Rabibil son of Hafʿam the tomb: both for him and for his child and his wife, and his children and their children's children and womenfolk, free members of the folk Ghalwan. And he has placed it under the protection of (the gods) Kahl and Lah and ʿAthtar al-Shariq from anyone strong or weak, and anyone who would attempt to sell or pledge it, for all time without any derogation, so long as the sky produces rain or the earth herbage." (Beeston)
Ein Avdat Negev in Israel between AD 88 and 150 3 lines Aramaic, then 3 lines Arabic Nabataean with a little letter-joining A prayer of thanks to the god Obodas for saving someone's life:
"For (Obodas -the god-) works without reward or favour, and he, when death tried to claim us, did not let it claim (us), for when a wound (of ours) festered, he did not let us perish." (Bellamy)
"فيفعﻞُﻻفِ ًداوﻻاثرافكاﻦ هُنايَبْ ِغنا الموﺖُﻻأبْ ُغاﻪ فكاﻦ هُنا أدادَ ُجرﺢٌﻻيرْ ِد"
Umm el-Jimal northeast of Jordan roughly end of 3rd century - 5th century Aramaic-Nabataean, Greek, Latin Nabataean, much letter-joining More than 50 fragments discovered: [1]
1. "Zabūd son of Māsik "
2. "[.]aynū daughter of MuΉārib"
3. "Kawza' peace!"
(Said and al-Hadad)
"([Th]is is the tomb which SHYMW … built … (2) … [for P]N, hisson, through (the help of) the god of their father … (3) … king Rabel, king of the Nabataeans …" (Butts and Hardy)
"This is the memorial of Julianos, weighed down by long sleep, for whom his father Agathos built it while shedding a tear beside the boundary of the communal cemetery of the people of Christ, in order that a better people might always sing of him openly, being formerly the beloved faithful [son?] of Agathos the presbyter, aged twelve. In the year 239 [of the era of the Provincia Arabia = 344 AD]." (Trombley)
In the 5th century barracks were built. In their southeast tower, which stands to a height of six stories, the names of the archangels—"Michael, Uriel, Gabriel and Raphael"—are inscribed. (Micah Key)
Raqush (this is not a place-name) Mada'in Saleh in Saudi Arabia 267 Mixture of Arabic and Aramaic, 1 vertical line in Thamudic Nabataean, some letter-joining. Has a few diacritic dots. Last inscription in Nabataean language. Epitaph to one Raqush, including curse against grave-violaters:
"This is a grave K b. H has taken care of for his mother, Raqush bint ʿA. She died in al-Hijr in the year 162 in the month of Tammuz. May the Lord of the world curse anyone who desecrates this grave and opens it up, except his offspring! May he [also] curse anyone who buries [someone in the grave] and [then] removes [him] from it! May who buries.... be cursed!" (Healey and Smith)
an-Namāra 100 km SE of Damascus 328-329 Arabic Nabataean, more letter-joining than previous A long epitaph for the famous Arab poet and war-leader Imru'ul-Qays, describing his war deeds:
"This is the funerary monument of Imru' al-Qays, son of 'Amr, king of the Arabs, and (?) his title of honour was Master of Asad and Madhhij. And he subdued the Asadis and they were overwhelmed together with their kings, and he put to flight Madhhij thereafter, and came driving them to the gates of Najran, the city of Shammar, and he subdued Ma'add, and he dealt gently with the nobles of the tribes, and appointed them viceroys, and they became phylarchs for the Romans. And no king has equalled his achievements. Thereafter he died in the year 223 on the 7th day of Kaslul. Oh the good fortune of those who were his friends!" (Bellamy)
Jabal Ramm 50 km east of Aqaba, Jordan 3rd or likelier late 4th century 3 lines in Arabic, 1 bent line in Thamudic Arabic. Has some diacritic dots. In a temple of Allat. Boast or thanks of an energetic man who made his fortune:
"I rose and made all sorts of money, which no world-weary man has [ever] collected. I have collected gold and silver; I announce it to those who are fed up and unwilling." (Bellamy)
Sakakah in Saudi Arabia undated Arabic Arabic, some Nabataean features, & dots Includes diacritical points associated with Arabic letters ب, ت, and ن [T, B and N]. (Winnett and Reed)
Sakakah in Saudi Arabia 3rd or 4th century Arabic Arabic "Hama son of Garm"
Sakakah in Saudi Arabia 4th century Arabic Arabic "B-`-s-w son of `Abd-Imru'-al-Qais son of Mal(i)k"
Umm al-Jimāl northeast of Jordan 4th or 5th century Arabic similar to Arabic "This [inscription] was set up by colleagues of ʿUlayh son of ʿUbaydah, secretary of the cohort Augusta Secunda Philadelphiana; may he go mad who effaces it." (Bellamy)
Zabad in Syria, south of Aleppo 512 Arabic, Greek and Syriac Arabic Christian dedicatory. The Arabic says "God's help" & 6 names. "God" is written as الاله, see Allah#Typography:
"With the help of God! Sergius, son of Amat Manaf, and Tobi, son of Imru'l-qais and Sergius, son of Sa'd, and Sitr, and Shouraih." (C. Rabin)
Jabal Usays in Syria 528 Arabic Arabic Record of a military expedition by Ibrahim ibn Mughirah on behalf of the king al-Harith, presumably Al-Harith ibn Jabalah (Arethas in Greek), king of the Ghassanid vassals of the Byzantines:
"This is Ruqaym, son of Mughayr the Awsite. Al-Ḥārith the king, sent me to 'Usays, upon his military posts in the year 423 [528 CE]"
Harrān in Leija district, south of Damascus 568 Arabic, Greek Arabic Christian dedicatory, in a martyrium. It records Sharahil ibn Zalim building the martyrium a year after the destruction of Khaybar:
"[I] Sharaḥīl, son of Talimu built this martyrium in the year 463 after the destruction of Khaybar by a year."
Cursive Nabataean writing changed into Arabic writing, likeliest between the dates of the an-Namāra inscription and the Jabal Ramm inscription. Most writing would have been on perishable materials, such as papyrus. As it was cursive, it was liable to change. The epigraphic record is extremely sparse, with only five certainly pre-Islamic Arabic inscriptions surviving, though some others may be pre-Islamic.
The Nabataean alphabet was designed to write 22 phonemes, but Arabic has 28 phonemes; thus, when used to write the Arabic language, 6 of its letters must each represent two phonemes:
d also represented ð,
ħ also represented kh %,
ṭ also represented ẓ,
ayin also represented gh %,
ṣ also represented ḍ,%,
t also represented þ.
: In the cases marked %, the choice was influenced by etymology, as Common Semitic kh and gh became Hebrew ħ and ayin respectively.
As cursive Nabataean writing evolved into Arabic writing, the writing became largely joined-up. Some of the letters became the same shape as other letters, producing more ambiguities, as in the table:
See also: rasm
Here the Arabic letters are listed in the traditional Levantine order but are written in their current forms, for simplicity. The letters which are the same shape have coloured backgrounds. The second value of the letters that represent more than one phoneme is after a comma. In these tables, ğ is j as in English "June".
In the Arabic language, the g sound seems to have changed into j in fairly late pre-Islamic times, but this seems not to have happened in those tribes who invaded Egypt and settled there.
When a letter was at the end of a word, it often developed an end loop, and as a result most Arabic letters have two or more shapes.
b and n and t became the same.
y became the same as b and n and t except at the ends of words.
j and ħ became the same.
z and r became the same.
s and sh became the same.
After all this, there were only 17 letters that were different in shape. One letter-shape represented 5 phonemes (b t th n and sometimes y), one represented 3 phonemes (j ħ kh), and 5 each represented 2 phonemes. Compare the Hebrew alphabet, as in the table at Image:Hebreu hist arabe.png.
A similar ambiguity occurs in the German Fraktur font, in which the Roman alphabet uppercase letters I and J look the same but are officially different letters.
Early Islamic changes[edit]
Table comparing Nabataean and Syriac forms of /d/ and /r/
The Arabic alphabet is first attested in its classical form in the 7th century. See PERF 558 for the first surviving Islamic Arabic writing.
In the 7th century, probably in the early years of Islam while writing down the Qur'an, scribes realized that working out which of the ambiguous letters a particular letter was from context was laborious and not always possible, so a proper remedy was required. Writings in the Nabataean and Syriac alphabets already had sporadic examples of dots being used to distinguish letters which had become identical, for example as in the table on the right. By analogy with this, a system of dots was added to the Arabic alphabet to make enough different letters for Classical Arabic's 28 phonemes. Sometimes the resulting new letters were put in alphabetical order after their un-dotted originals, and sometimes at the end.
The first surviving document that definitely uses these dots is also the first surviving Arabic papyrus (PERF 558), dated April, 643. The dots did not become obligatory until much later. Important texts like the Qur'an were frequently memorized; this practice, which survives even today, probably arose partly to avoid the great ambiguity of the script, and partly due to the scarcity of books in times when printing was unheard-of in the area and every copy of every book had to be written by hand.
The alphabet then had 28 letters, and so could be used to write the numbers 1 to 10, then 20 to 100, then 200 to 900, then 1000 (see Abjad numerals). In this numerical order, the new letters were put at the end of the alphabet. This produced this order: alif (1), b (2), j (3), d (4), h (5), w (6), z (7), H (8), T (9), y (10), k (20), l (30), m (40), n (50), s (60), ayn (70), f (80), S (90), q (100), r (200), sh (300), t (400), th (500), dh (600), kh (700), D (800), Z (900), gh (1000).
The lack of vowel signs in Arabic writing created more ambiguities: for example, in Classical Arabic ktb could be kataba = "he wrote", kutiba = "it was written" or kutub="books". Later, vowel signs and hamzas were added, beginning some time in the last half of the 6th century, at about the same time as the first invention of Syriac and Hebrew vocalization. Initially, this was done using a system of red dots, said to have been commissioned by an Umayyad governor of Iraq, Hajjaj ibn Yusuf[citation needed]: a dot above = a, a dot below = i, a dot on the line = u, and doubled dots giving tanwin. However, this was cumbersome and easily confusable with the letter-distinguishing dots, so about 100 years later, the modern system was adopted. The system was finalized around 786 by al-Farahidi.
Before the historical decree by Hajjaj ibn Yusuf, all administrative texts were recorded by Persian scribes in Middle Persian language using Pahlavi script, but many of the initial orthographic alterations to the Arabic alphabet might have been proposed and implemented by the same scribes.
When new signs were added to the Arabic alphabet, they took the alphabetical order value of the letter which they were an alternative for: tā' marbūta (see also below) took the value of ordinary t, and not of h. In the same way, the many diacritics do not have any value: for example, a doubled consonant indicated by shadda does not count as a letter separate from the single one.
Some features of the Arabic alphabet arose because of differences between Qur'anic spelling (which followed the Meccan dialect pronunciation used by Muhammad and his first followers) and the standard Classical Arabic. These include:
tā' marbūta: This arose because the -at ending of feminine nouns (tā' marbūta) was often pronounced as -ah and written as h. To avoid altering Quranic spelling, the dots of t were written over the h.[citation needed]
y (alif maksura ى) used to spell ā at the ends of some words: This arose because ā arising from contraction where single y dropped out between vowels was in some dialects pronounced at the ends of words with the tongue further forward than for other ā vowels, and as a result in the Qu'ran it was written as y.[clarification needed][citation needed]
ā not written as alif in some words: The Arabic spelling of Allāh was decided before the Arabs started using alif to spell ā. In other cases (for example the first ā in hāðā = "this"), it may be that the Meccan dialect pronounced those vowels short.
hamza: Originally alif was used to spell the glottal stop. But Meccans did not pronounce the glottal stop[verification needed], replacing it with w, y or nothing, lengthening an adjacent vowel, or, between vowels, dropping the glottal stop and contracting the vowels, and the Qur'an was written following Meccan pronunciation. The Arabic grammarians invented the hamza diacritic sign and used it to mark the glottal stop. Hamza is Arabic for "hook".
Reorganization of the alphabet[edit]
Less than a century later, Arab grammarians reorganized the alphabet, for reasons of teaching, putting letters next to other letters which were nearly the same shape. This produced a new order which was not the same as the numeric order, which became less important over time because it was being competed with by the Indian numerals and sometimes by the Greek numerals.
The Arabic grammarians of North Africa changed the new letters, which explains the differences between the alphabets of the East and the Maghreb.
(Greek waw = the original name of the digamma)
The old alphabetical order, as in the other alphabets shown here, is known as the Levantine or Abjadi order. If the letters are arranged by their numeric order, the Levantine order is restored:-
(Note: here "numeric order" means the traditional values when these letters were used as numbers. See Arabic numerals, Greek numerals and Hebrew numerals for more details)
This order is much the oldest. The first written records of the Arabic alphabet show why the order was changed.
Adapting the Arabic alphabet for other languages[edit]
Most Common Non-Classical Arabic Consonant Phonemes/Graphemes
Austron.
Dravid
Indic (Indo-European)
Iranian (Indo-European)
Arabic (Semitic)
Language/Script
Hejazi
/p/ ڤ ڣ پ پ
/g/ ݢ ࢴ گ ګ گ ق ج ڨ ڭ
/t͡ʃ/ چ Ø چ چ تش ڜ
/ʒ/ Ø ژ Ø ژ Ø چ Ø ج
/v/ ۏ و ۋ و Ø ڤ Ø ڤ ڥ
/ŋ/ ڠ ࢳ ڭ ڱ ں ن Ø Ø
/ɳ/ Ø ڹ Ø ڻ Ø ڼ Ø
/ɲ/ ڽ ݧ Ø Ø Ø
When the Arabic alphabet spread to countries which used other languages, extra letters had to be invented to spell non-Arabic sounds. Usually the alteration was three dots above or below:-
Persian and Urdu and Kurdish: /p/: پ
Persian and Urdu and Kurdish: /t͡ʃ/: چ
Persian and Urdu and Kurdish: /ɡ/: گ
Persian and Urdu: /ʒ/: ژ
in Egypt: /ɡ/: ج. That is because ج represents /ɡ/ in Egyptian Arabic (and some other dialects) while in the majortiy of Arabic dialects it represents /ʒ/~/d͡ʒ/
in Egypt: /p/, /ʒ/; /v/ : ڤ; چ ,پ.
in Saudi Arabia, Egypt and many other Arabic countries : /tʃ/: is written as ت+ش and realized as [t]+[ʃ]
Urdu: retroflex sounds: as the corresponding dentals but with a small letter ط above. (This problem in adapting a Semitic alphabet to write Indian languages also arose long before this: see Brahmi)
In South-East Asia: /ŋ/ as in "sing": ڠ or څ
^ Some letters are often used in transcriptions of names and loanwords, in Egypt and other Arabic speaking countries
This book[10] shows an example of ch (Polish cz) being written as ڛ in an Arabic-Polish bilingual Quran for Muslim Tatars living in Poland
Decline in use by non-Arabic states[edit]
Since the early 20th century, as the Ottoman Empire collapsed and European influence increased, many non-Arab Islamic areas began using the Cyrillic or Latin alphabet, and local adaptations of the Arabic alphabet were abandoned. In many cases, the writing of a language in Arabic script has become restricted to classical texts and traditional purposes (as in the Turkic States of Central Asia, or Hausa and others in West Africa ), while in others, the Arabic alphabet is used alongside the Latin one (as with Jawi in Brunei).
Area used
Arabic spelling system
New spelling system
Ordered by
Some constituent republics in the Soviet Union, especially Muslim States Persian-based spelling system, later Ottoman Turkish alphabet with alterations Cyrillic 1920s (to Janalif)
1930s (to Cyrillic) USSR government
Bosnia and Herzegovina Ottoman Turkish alphabet Serbian alphabet (Latin system) 1990s Yugoslavia government
Philippines Jawi script (which is still widely used in Brunei and Patani) Latin alphabet 19th century British, Dutch and Spanish colonial administrations
Turkey Ottoman Turkish alphabet Turkish alphabet (Latin system with alterations) 1928 Republic of Turkey government after the fall of the Ottoman Empire
Levantine order
^ Gruendler, Beatrice (1993). The Development of the Arabic Scripts: From the Nabatean Era to the First Islamic Century According to Dated Texts. Scholars Press. p. 1. ISBN 9781555407100.
^ Healey, John F.; Smith, G. Rex (2012-02-13). "II - The Origin of the Arabic Alphabet". A Brief Introduction to The Arabic Alphabet. Saqi. ISBN 9780863568817.
^ Senner, Wayne M. (1991). The Origins of Writing. U of Nebraska Press. p. 100. ISBN 0803291671.
^ "Nabataean abjad". www.omniglot.com. Retrieved 2017-03-08.
^ Naveh, Joseph. "Nabatean Language, Script and Inscriptions" (PDF).
^ Taylor, Jane (2001). Petra and the Lost Kingdom of the Nabataeans. I.B.Tauris. p. 152. ISBN 9781860645082.
^ Rose, Christopher; al-Jallad, Ahmad (27 April 2016). "Episode 82: What Writing Can Tell Us About the Arabs before Islam". University of Texas, Austin. Retrieved 2 June 2017.
^ Al-Jallad, Ahmad (2015). An Outline of the Grammar of the Safaitic Inscriptions. Leiden: Brill. , 11-14
^ http://curatorseye.com/Name=Published-Hasaean-Inscribed-Tombstone-for-Matmat&Item=4965#Cat=082&SubC=072
^ p.93, "The Koran, A Very Short Introduction" by Michael Cook, publ Oxford University Press, 2000 AD, ISBN 0-19-285344-9
A brief history of the Arabic script with emphasis on diacritical points, vowel markers and alphabet arrangements
Influence on other languages
Nabataean alphabet
Perso-Arabic alphabet
Ancient North Arabian
Ancient South Arabian script
Zabūr script
Eastern numerals
Arabic Braille
i'jām
Tashkil
Harakat
Tanwin
Shaddah
Tāʾ marbūṭah
ʾAlif
Bāʾ
Tāʾ
Ṯāʾ
Ǧīm
Ḥāʾ
Ḫāʾ
Dāl
Ḏāl
Rāʾ
Zāy
Sīn
Šīn
Ṣād
Ḍād
Ṭāʾ
Ẓāʾ
ʿAyn
Ġayn
Fāʾ
Qāf
Kāf
Lām
Mīm
Nūn
Hāʾ
Wāw
Yāʾ
Notable varieties
Proto-Arabic
Old Arabic
Old South Arabian
Modern Standard
Maltese[a]
Nilo-Egyptian
North Levantine
South Levantine
Maghrebi
Pre-Hilalian dialects
Hilalian dialects
Tunisian Arabic
Sa'idi Arabic
Peninsular
Yemeni Arabic
Tihamiyya Arabic
Chadian
Ethnic / religious
Judeo-Arabic
Pidgins/Creoles
Juba Arabic
Nubi language
Maridi Arabic
Sun and moon letters
Tajwid
Imāla
ʾIʿrāb (inflection)
Triliteral root
Mater lectionis
Quranic Arabic Corpus
Diwani
Kufic
Mashq
Hijazi script
Muhaqqaq
Thuluth
Naskh (script)
Ruqʿah script
Taʿlīq script
Nastaʿlīq script
Shahmukhī script
Sini (script)
Arabic keyboard
Arabic script in Unicode
ISO/IEC 8859-6
Windows-1256
MS-DOS codepages
MacArabic encoding
aSociolinguistically not Arabic


text:
Tag Archives: whistler
Homage to Delacroix
Study for Homage to Delacroix
When Eugène Delacroix died on August 13, 1863, the modesty of his funeral was seen as an insult by all those who considered him to be one of France's greatest artists. Henri Fantin-Latour, especially, was outraged that no official tribute had been made. As it was common in the 19th century to celebrate prominent figures, he wanted to raise this monument himself with a manifesto painting that reunited the tenants of the modern movement, which he exhibited at the Salon of 1864. This sketch bears witness to the first project, in which six artists are gathered around the bust of Delacroix, crowned by one of them.
The Apotheosis of Homer
While it is clear that Fantin made deliberate reference to the coronations of the great men of theater on stage, the most striking source of inspiration for this artwork remains the 1827 painting by Jean-Auguste-Dominique Ingres, Apotheosis of Homer. The artist made use of the same pyramid composition, with the bust of Delacroix placed in the center. Fantin, who depicts himself in the lower right of the composition with his palette and painter's smock, draws the viewer's eye to the object of veneration. By making reference to the painting by Ingres, he thus renders the significance of his work more easily understood: Delacroix, like Homer, embodies the genius that will be passed on to the next generations. The identities of the other figures in the sketch are more difficult to ascertain. They can nonetheless be deduced from the first list on a preparatory drawing with the names Legros, Whistler, Manet, Bracquemond, Duranty, Cordier, Myrionnet, and Régamey.
After producing a number of sketches for this painting, Fantin eventually decided on a final version that is housed at the Musée d'Orsay and far removed from this drawing. The final composition removes Myrionnet and Régamey, replacing them with Baudelaire, Champfleury, and Balleroy. The contemporaries are now positioned around a painted portrait of Delacroix, and no longer a bust.
Seated: Louis Edmond Duranty, Fantin-Latour himself, Champfleury et Charles Baudelaire.
Standing: Louis Cordier, Alphonse Legros, James Whistler, Édouard Manet, Félix Bracquemond et Albert de Balleroy.
Art Biography Literature Mythology 1 Comment
The Origin of the World
L'Origine du monde, Gustave Courbet, 1866
At the time Courbet was working on the painting his favorite model was a young woman, Joanna Hiffernan, also known as Jo. Her lover at the time was the American painter James Whistler, a friend of Courbet.
During the 19th century, the display of the nude body underwent a revolution whose main activists were Courbet and Édouard Manet. Courbet rejected academic painting and its smooth, idealized nudes, but he also directly recriminated the hypocritical social conventions of the Second Empire, where eroticism and even pornography were acceptable in mythological or oneiric paintings.
The putative upper section of L'Origine du monde
La belle Irlandaise (Portrait of Jo), Gustave Courbet, 1866
Courbet did another painting whose model was Joanna Hiffernan. During his whole career, Courbet did four portraits of Hiffernan. She was probably the model for L'Origine du monde, which might explain Courbet's and Whistler's brutal separation a short while later. Whistler then returned to London. In spite of Hiffernan's red hair contrasting with the darker pubic hair of L'Origine du monde, the hypothesis that Hiffernan was the model for it prevails.
Photograph by Robert Mapplethorpe, circa 1984-86
L'Origine de la Guerre, Orlan, 1989
The image is also referenced as inspiring Catherine Breillat's filming of the female genitalia in her 2004 film Anatomie de l'enfer (Anatomy of Hell)
Art Cinema Muses Photography 2 Comments
Managed to Impress
"A few days ago Rodin began the portrait of one of your most remarkable authors, which promises to become something quite extraordinary…"
Letter of Rainer Maria Rilke,
April 9th, 1906.
Bust of Sir George Bernard Shaw by Auguste Rodin
The Irish playwright George Bernard Shaw managed to impress the young Rainer Maria Rilke merely by sitting before the former poet's idol and master, Auguste Rodin. "He stands excellently," Rilke gushed in his letters, "with an energy in his keeping still and with such an absolute giving of himself to the hands of the sculptor." Rainer, though a background figure at the time, and positively Lilliputian in reputation compared to the eminence of Shaw and Rodin, practically flung himself headlong into their graces. That's not to suggest that he was sycophantic; merely, naturally, that this young Bohemian wanderer was excited to find himself in orbit with two of the century's greatest minds and hands. "This personality of Shaw's," Rilke continues in his letter, "and his whole manner makes me desirous of reading a few more of his books … would sending me a few of his books be justified if I say that I am hoping to write a little thing about him?"
Rodin photographed by George Bernard Shaw
"Rodin had no interests outside his art," Shaw later said. "He was the most painstaking sculptor I have ever met. I gave something like thirty sittings, in as many consecutive days, at his studio in Meudon. Rodin took a large number of profiles, adjusting my face by a fraction of an inch for each—spinning my head round by degrees. He took an immense number of measurements and made so many pencil marks on the clay that he used up three pencils before the sittings were over … Somewhere near the thirtieth day I asked him when the bust would be finished. 'Finished?' he said in surprise; 'why, I have hardly begun!'"
"Yesterday," Rilke wrote in a letter dated April 19th, "he seated Shaw in a cunning little child's armchair (that ironic and by no means uncongenial scoffer was greatly entertained by all this) and cut off the head of the bust with a wire." Rilke added that, rather than being perturbed by the sight of his effigy being cut into pieces, "Shaw, whom the bust was already remarkably like, in a superior sort of way, watched this decapitation with indescribable joy."
"Rodin was a passionate collector of pebbles. He would go out to the beach, or into the street, and pick up any pebble presenting in his imagination a resemblance to human features. He also collected large pieces of rock, and for the same reason. At first he accommodated these treasures in glass cases in his own house, then, when the collection grew too big for that, he rented a separate building for them. It was a sign of the highest favour on the part of Rodin to present someone with one such pebble or piece of rock."
~ George Bernard Shaw.
Shaw continued: "From the clay model he made two casts, one in marble and one in bronze. The bronze one is in my possession, while the marble one is in Dublin. For some unfathomable reason my friends and admirers have covered this marble bust with their pencilled signatures."
Of Shaw, Rilke concluded that he "is a man who has a very good way of getting along with life, of putting himself into harmony with it … Proud of his works, like Wilde or Whistler, but without their pretentiousness, proud as a dog is proud of his master."
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The Painted World
In the artist's studio in Gaeta, a coastal town on the Mediterranean, works related to his Four Seasons series include details of Primavera (left) and Estate (right). The canvases, shown when still in progress in 1994, are nailed
Cy Twombly enjoying local fare at a restaurant in Rome
Another Twombly painting is propped against a wall in the house, where white tiles cover most of the floors
In the bright open Gaeta house, a second version of Inverno from Twombly's Four Seasons series hangs against a wall for inspection. Books of poetry, postcards, acrylics and oils, crayons and pencils fill a table
Twombly in the terraced garden outside the Gaeta house
A still life in one of the house's many rooms
Found frames and French and American flags are propped against the walls in a hallway. Furniture is covered casually in a room behind
A Twombly sculpture and an antique stool and frame in another room in the apartment
The artist in his vast, spare apartment on the via Monserrato in Rome, which house his collection of classical pieces
Photos by Bruce Weber
Text by Dodie Kazanjian
Vogue, 1994
The taxi doesn't quite make it up the steep hill to Cy Twombly's house in Gaeta. At the third hairpin turn we get out and walk the remaining 20 yards to a gray steel door embedded in a rough stone wall. Twombly has a little trouble opening it. Tall, lanky, dressed in rumpled white linen pants held up by blue suspenders, he looks more like a provincial winegrower than a famous artist. The door grates on its hinges, and we're inside a paradise of thick white walls, terraces, ceramic tile floors, and cool interconnecting rooms bare of furniture except for a few striking pieces—bleached Louis XV chairs, a long table piled high with books, blue-and-white fabrics, ornate empty picture frames, Twombly paintings leaning against the walls, and one or two of his little-known, gawky, white-painted sculptures. Twombly throws back the shutters in each room, flooding the house with light and opening up dazzling vistas of the seaside town and the blue Mediterranean.
On the train down from Rome this morning Twombly started telling me and my husband, an old friend of his, about the town as soon as it came into view around the shoulder of a mountain. "Hadrian had a villa here," he said. "Cicero is buried here, and so is the Roman general who founded Lyon. Catullus had friends here. It was kind of a summer art colony, like East Hampton, but not anymore—that was 2,000 years ago. Gaeta was the name of Aeneas's wet nurse. She was with him on his return from Troy, and she died here, so he named the place after her. I believe that. Nobody could make that up." Twombly is full of history, which he relays in the accents of his Virginia childhood. Even his Italian comes out that way—when he says si, si, which he does a lot, it has a southern drawl to it.
Gaeta, 60 miles north of Naples, is where Twombly has done most of his painting in the last few years. Tacked to the wall in the high-ceilinged room he uses as his studio is a large vertical canvas, more than ten feet tall. Titled Summer, it is the last of a series on the four seasons, which will be shown at the Twombly retrospective that opens at the Museum of Modern Art in New York this month and then travels to Houston, Los Angeles, and Berlin. Autumn, Winter, and Spring (in that order) were finished months ago and have already been shipped to the museum. But "I'm having a real bad time with Summer," he had told me several times when I spoke with him by telephone from New York. The painting is still unfinished, and Twombly is not happy about letting us see it. When we start asking questions about the Four Seasons, he bristles. "It's not Four Seasons," he says. "That sounds like the Four Seasons Hotel. I think of them as Quattro Stagioni. Summer isn't finished yet, as I told you, and that's all I'm going to say about that. It's absurd to talk about paintings that you haven't finished."
Cy Twombly is the great outsider of contemporary art. In 1957, at the precise moment when the main energy of the art world seemed to have taken up permanent residence in New York, Twombly moved to Rome. Two years later, he married Tatiana Franchetti, a talented portrait painter from a wealthy and aristocratic Italian family, and he has lived in Italy, more or less, ever since. While his fellow southerners Robert Rauschenberg and Jasper Johns were using popular imagery and mundane objects to blaze the trails that would lead to Pop and Minimal art, Twombly chose a different direction entirely. His would lead back through European art and literature to the ancient world of classical mythology, of gods and heroes and the great poetic traditions of the Mediterranean, which in his paintings merges indistinguishably with the modern urban street culture of graffiti, sexual imagery, and raw sensation. His work seems to exist in another time zone.
But Twombly's work has never been easy to like. The scribbles, smears, blots, and seemingly random markings of his intensely personal style have often evoked the kind of philistine response that says, "My kid could do better than that." Artists love his work, but will the public come to see it at MoMA? Twombly is definitely "an acquired taste, even within the art world," says curator Mark Rosenthal, who tried to do a Twombly retrospective a few years ago while at the Philadelphia Museum of Art—Twombly initially agreed but changed his mind in midstream. The National Endowment for the Arts refused to give a grant to the current show, and the Modern was unable to line up a major corporate sponsor.
Twombly is famously difficult and famously elusive, and this has not made his work any easier to see. Ever since the disastrous 1964 show of his Commodus paintings at the Castelli Gallery in New York—their fervid painterliness seemed out of step with the hard-edged commercial imagery of Pop Art, then in ascendance, and nothing was sold—he has shown infrequently in this country. "Cy just evaporated," according to Leo Castelli. Twombly has avoided exclusive commitments with any dealer, preferring to control the distribution of his rare new paintings through one or two close associates, and much of his major work is in European, not American, collections.
Twombly goes off to another part of the house, leaving us alone with the painting. In addition to Summer, there are three other unstretched canvases nailed to the walls of his studio, part of a second series on the same Quattro Stagioni theme. Twombly often paints a subject more than once: There are four versions of Leda and the Swan, two of the School of Athens, two of Birth of Venus.) His worktables are covered with oil crayons; pencils; tubes of pigment; postcard reproductions of boats and marine scenes; a big Manet art book open to a page that shows a boat painting; stacks of other art books (Ensor, Whistler, Turner); and a book of modern Greek poems in translation, turned to George Seferis's Three Secret Poems. Several lines of one stanza have been altered by Twombly, with some words inked out. A section of the edited and spliced poem (with a few new words added by Twombly) is written on the canvas of Summer, in Twombly's inimitable, childish scrawl:
"the shard of white . . .
trembling with white light
with white flat sea
distant in memory
between the deluge of life
our dearest, our white youth
our white, our snow white youth
that is infinity . . ."
Twombly's paintings often seem to be as much written as painted. His spindly, meandering letters and words can evoke memory and emotion with the power of Chinese calligraphy, but their effect is never literary—the words work within the visual field of a master painter. And Twombly has never painted better than in his Four Seasons series. The paint is luscious, active, full of violent movement. The image of a spectral boat with oars, which recurs throughout the series, is gray in Summer, but hot yellows and reds predominate—sun colors, on a mostly white or unpainted ground. The cut-up lines of poetry appear and disappear, run down one side of the canvas, sometimes partially smudged or painted over. It's vintage Twombly, aggressive, hesitant, tough, nervous, scatological, poetic, complex, playful, ancient, up-to-the-minute, intensely personal, and grand—a bundle of contradictory impulses that miraculously work together.
Comparisons are inevitable between Twombly's Four Seasons and Jasper Johns's four paintings on the same theme, which were done between 1985 and 1986. Twombly had been thinking about the seasons theme for a long time. He played with it in earlier works, such as the 1961 Empire of Flora and the four-panel 1977 Bacchanalia, and in recent years, as the main emphasis in his work has shifted from history and myth to nature, he became drawn to what is, after all, one of the great themes of European art. "All of Jasper's seasons look like winter," Twombly says with a sly chuckle. "Mine all look like summer."
That may have been the way they started, but it's not true any longer. Autunno is saturated with the deep reds and throbbing purples of the wine harvest; it has the word Silenus, the wine god, written across it, and, near the right edge, the words pure wild sex. This is a long way from the stately black-and-yellow Inverno, and the raspy yellows and reds of Primavera, a raw rite of spring, with jagged boat shapes up and down the middle. The day after he finally finished the last in the series, Twombly told me, "My head is completely burning up. All I'm doing is seeing yellow. I wake up in the morning, and the white walls look yellow. I had a great deal of trouble with Summer. At a certain point I was ready to throw in the brush. But I got crazy in a good way here." By this time, however, the painting my husband and I had seen no longer existed. Twombly had decided to start over on a fresh canvas. I went to see it the day it arrived in New York. You could still smell the paint. It was simpler than the previous one, and much more liquid, wet and runny, with molten streaks of red and yellow and orange. "High on light" was scrawled on the left side in red, "how the dizziness/slipped away/like a fish in the/sea."
Two days before the trip to Gaeta, in Twombly's apartment on the via Monserrato in Rome, we had seen a quartet of paintings on the four seasons by an anonymous seventeenth-century Italian mannerist, part of Twombly's wide-ranging and eccentric collection. Also two huge dark eighteenth-century landscapes by John Wootton, whom Twombly described as the English artist who introduced the work of Claude Lorrain and Nicolas Poussin to England. "I look at a lot of artists,' " he says. "I'm inspired by—I suppose I shouldn't say 'inspired,' but it's not really influenced. I am inspired. Art comes from art." Classical busts of Apollo, Venus, Marcus Aurelius, and other worthies stand on pedestals in the rather grandiose, white-walled rooms of the Rome apartment, where the furniture looks as though it never gets much use.
Twombly started buying antiquities on his first visit to Rome, with Robert Rauschenberg, in 1952. "He spent my half of our grant on Roman sculpture," according to Rauschenberg. "So I had to go off and get a job with Atlas Construction in Casablanca." Twombly quit buying classical antiquities a few years ago. "New York decorators started putting a classical torso in every room, and it became impossible," he says. But when we walk with him in Rome, he constantly stops to look at objects in shop windows—a malachite clock, a tiny piano ("It must have been Mozart's first"), a miniature sarcophagus with a lapis top ("It's not very good lapis. The best lapis comes from Afghanistan"). His eagle eye for quality deceives some people into thinking of him as a great decorator, but his various domestic interiors, striking as they are, have almost nothing to do with decoration, or with comfort, either. They all have the transient look of spaces that are used primarily for work.
When Twombly and Rauschenberg were together at Black Mountain College, they were exposed to what their fellow student Francine du Plessix Gray describes as a "grab bag" approach to world culture. "We were reading Ezra Pound's Guide to Kulchur and then Virgil because Pound tells you to read Virgil and Fenollosa on Japanese art and Dostoyevsky's Notes from the Underground and Leo Frobenius on African rock painting and Pausanias's Description of Greece. This sort of nativist American grab-bag attitude reminds me very much of the cultural map implied in Cy's paintings."
It might also be said to describe the kind of restless life that Twombly has chosen to lead. For years now, he has spent very little time in Rome. He owns a sixteenth-century villa in Bassano, near the gardens of Bomarzo, an hour north of Rome. Many of his paintings and drawings have been done during temporary stays in other places he likes—Sperlonga, Mykonos, the Seychelles, Robert Rauschenberg's house on Captiva Island in Florida, an Italian friend's villa in Bolsena. He travels all the time, sometimes with his wife, Tatiana, who nevertheless leads a highly independent life of her own, and whose hobby is collecting old rosebushes—she was on a rose hunt in Turkistan at the time of our visit to Gaeta. (Their 34-year-old son, Alessandro, who is also a painter, collects iris tubers.) "I fall in love with places," Twombly tells us. He fell in love with Paris a few years back, rented and furnished an apartment there, but never stayed in it; he found he preferred his circular corner room at the Left Bank Hôtel de la Louisiane. "Simone de Beauvoir lived there. Sartre, too, but of course he went home to mama every night, like a good French writer."
Last year he rediscovered Lexington, Virginia, where he grew up. He recently bought a house in the town and now spends several months a year there. "I'm like an old dog who's come home to die. I see people I grew up with, but I can't talk about old times with them. I can't remember any of that. It's not a nostalgic trip for me." His father, a coach and, later, athletic director at Washington and Lee University there, had acquired the nickname Cy (after the legendary pitcher Cy Young) when he pitched for the Chicago White Sox one summer. He passed it on to his only son, who showed no enthusiasm for organized athletics. Cy's parents came from old-line New England families—as a boy, he used to visit his grandparents in Bar Harbor, Boston, and Palm Beach—and a sense of that old American aristocracy is never far from the surface of his laconic, laid-back personality. "When he moved to Italy, I think he was recovering that aristocracy that he always felt by nature," says Rauschenberg. "I couldn't forget that he couldn't forget it."
Twombly has always been a loner. Unlike most successful artists these days, he has no studio assistants and wants nobody around when he's working. This sometimes leads to odd working habits. "One Twombly I really love is called Untitled, 1958," says cult-film director John Waters. "It's all on the very bottom of the painting. It looks like the artist climbed up a ladder, but it was hung so high he could only reach the very bottom. He barely managed a scribble, hardly a mark. And then he fell off the ladder and died. I love art that does that, that makes people crazy." Waters wasn't just fantasizing, as it turns out. "I just finished a big painting, sixteen meters long and four meters high, that I've been working on, off and on, for ten years," Twombly tells me. "It's hard for me to get up on a ladder because I'm all alone in the studio. I could fall off and be lying on the floor for days. So most things happen at the bottom of the painting."
Twombly answers his own phone—when and if he feels like it. Friends used to reach him by letting his number ring twice, hanging up, and dialing again, but that system is no longer operative. He hates being interviewed or photographed, rules out tape recorders or notebooks, and balks at any sort of direct questions about his life or his painting. (He agreed to teach a philosophy seminar at Washington and Lee last spring and chose his own subject: the idea of metamorphosis. But he quit after one session because the students "asked too many questions.") He's definitive in his likes and dislikes—good, unpretentious trattorias over four-star showplaces; espresso in a glass ("It tastes much smoother than in porcelain, like tea tastes better from a china than a silver pot"); shirts and underpants from Brooks Brothers; white linen pants from "Banana" (he means Banana Republic); Bass loafers because "they're the only ones who make the nonshiny kind"; a 1940s white double-breasted whipcord jacket that he found at a thrift shop. He reads for two or three hours every day in his eclectic fashion—history, poetry, travel books, Walter Pater's essays, Robert Burton's The Anatomy of Melancholy. He's never liked the process of printmaking, "because you have to work with all those other people." He doesn't want to think of himself as a professional painter (the aristocratic prejudice again), and he works only when he feels like it—sometimes months will go by when he doesn't paint. He hates to make plans or schedules, moves from place to place on impulse, doesn't always show up when he's invited somewhere. "Cy says he'll be there in half an hour," Rauschenberg quips, "but he doesn't say which month."
Twombly has always been astute about placing his work, and now it is about to become much more visible in the United States, and not just at the Modern. Fifty Days at lliam, his ten-part painting on the theme of the Trojan War, has been on permanent display since 1989, in a space of its own, at the Philadelphia Museum of Art. (Cy is aware that he misspelled Iliam—it should be Ilium. He laughs off the story that he once said, "My painting isn't getting better, but my spelling is.") The Menil Collection in Houston is building a special addition that will be, in effect, a one-man Twombly museum, although Twombly, who designed the floor plan in collaboration with architect Renzo Piano, prefers to call it a gallery; the inauguration will be next February, when MoMA's Twombly show comes to Houston. The Dia Center for the Arts in New York, which has a large collection of Twombly's work, plans to install most of it in 1996 in a newly created space on West Twenty-second Street. Twombly has been generous with these institutions because they are so obviously dedicated to his work, but there is no doubt who calls the shots and controls the way his work will be seen. Asked whom to go to for a new Twombly painting, he replies, "I have them."
Twombly is showing us his garden in Gaeta, a terraced landscape on the hill above the house. It's a series of what he calls stanze segrete, "secret rooms," each defined by a different tree—pleached lindens, lemon trees, square-and-cone-shaped laurels, orange trees—with hedges of olive and laurel. It's a green garden with no flowers. "I hate roses," he says. "Don't you? It's all right if you can hide them in a cutting garden, but I think a rose garden is the height of ick." Each "room" has stunning views of the sea and of the two ancient castles on the next hill. The red-tile roofs of his own house are directly below. "I love that," he drawls. "It looks like an Arab village." He is less pleased with the church next door. "It's a hideous nineteenth- century Victorian church," he says, "where everybody wants to get married."
We walk down the hill for lunch at his favorite local trattoria. It's full of large families enjoying Sunday dinner. "Sit over there," he tells me, "so you won't have to look at the babies." Kids run in and out and between the tables, getting into fights. "Alessandro was such a good child," Twombly says ruefully. "If you sent him out to play, he'd send back a note saying, 'I'm in the garden.' " I make the mistake of trying to get him to talk about his New England family (without asking any direct questions), and the undercurrent of irritation that has been building up in him suddenly erupts. "I swear if I had to do this over again, I would just do the paintings and never show them. And then after I'm dead, they could talk about them all they want. I'm just not interested in myself that way. I was brought up to think you don't talk about yourself. I hate all this. Why should I have to talk about the paintings. I do them, isn't that enough?"
The storm passes, and we finish lunch. Walking through town afterward, along the seawall, Twombly is friendly and conversational, pointing out the thirteenth-century campanile with its Moorish inlaid tiles and saying how much better the town would look if the houses were all painted white. Twombly has made the ancient world of the Mediterranean his own. He likes to say that he has no sense of time. "Sometimes when I'm writing the date on a letter, I have to ask what year it is." He talks about the illustrated books he wants to do after he gets through the "anguish" of the Modern show. Some years ago, he did illustrations for the Odes of Horace and for Edmund Spenser's Shepheardes Calender. "I like bucolic poetry," he says. "Theocritus, Virgil. I'm from an agrarian part of the country. Although I wouldn't do it if I was in America. When I used to spend time in Bassano, you could still see shepherds tending flocks of goats. Once I actually saw one throw himself down under a tree and play a flute. It still lives here, that Mediterranean world. And nothing that's living is old to me."
Americana Arquitecture Art Biography Decor Fashion Flag Literature Nature Photography Leave a comment
Portrait of a Mother
Anna Mathilda McNeill in Arrangement in Grey and Black No. 1 (Whistler's Mother) James Abbott Whistler, 1871
Shushan Adoyan by Arshile Gorky, 1936
Cornelia Nobel in Woman I by Willem De Kooning, 1952
Ginevra de' Pozzi by Guido Reni, 1612
Marguerite Merlet by Pierre-Auguste Renoir, 1860
Eugénie-Desirée Fournier by Édouard Manet, 1880
Ernestine Faivre by Georges Pierre Seurat, 1883
Marie-Francoise Oberson by Jean-Baptiste-Camille Corot, 1838
Lucy Read by Sir Thomas Lawrence, 1797
Laura Catherine Bjølstad by Edvard Munch, 1899
Countess Adèle Tapié de Celeyran by Henri de Toulouse-Lautrec, 1883
Katherine Kelso Johnston by Mary Cassat, 1878
Sophie Maurice by Franz Marc, 1902
Marie Soukupová by Egon Schiele, 1911
Anna Cornelia Carbentus by Vincent van Gogh, 1888
Alina Maria Chazal by Paul Gauguin, 1890
Anne Elisabeth Honorine Aubert by Paul Cézanne, 1866-67
Barbara Holper by Albrecht Dürer, 1490-93
Neeltgen Willemsdochter van Zuytbrouck by Rembrandt, 1630
Gemma Cervetto by Giorgio De Chirico, 1911
Elizabeth Griffiths Smith by Edward Hopper, 1916-20
Anne Mary Hill was the inspiration and model for Mother Tucking Children Into Bed by Norman Rockwell, 1921
María Picasso y López by Pablo Picasso, 1896
Laura in Mum by David Hockney, 1985
Lucie Brasch by Lucian Freud, 1983
María del Pilar Barrientos by Diego Rivera, circa 1904
Flora Angulo by Fernando Botero, 1990
Felipa Domenech Ferrés by Salvador Dalí, 1920
Julia by Andy Warhol, 1974
Art Illustration Muses 4 Comments
The Peacock Enthroned
Earthquake Damage. Lily Cole photographed by Tim Walker in Whadwhan Palace, Gujarat (India), 2005
La Grande Odalisque, 1814, Jean AugusteDominique Ingres
The Peacock Room, 1876-7, James McNeill Whistler
The Peacock Throne is the most notable piece of furniture of the Moorish Kiosk, a building located at Linderhoff Palace in Bavaria, Germany. It's the smallest of the three palaces built by King Ludwig II of Bavaria
Illustration of Sir Vane Peacock, JJ Grandville, 1852
The Kiss, 1896 Will Bradley
Aubrey Beardsley
Kimono by Iida Takashimaya. Circa 1904-1908
Erté
Illustration to a Russian fairy tale about Жар-птица (The Firebird), 1899, by Ivan Bilibin
Orson Lowell
The Majestic Peacock, by Elisabeth Sonrel
Vogue Cover , March 18, 1909 as illustrated by James St. John
George Wolf Plank, 1911
Frank Xavier Leyendecker, 1921
Page from Winter 1965 Lanctan catalogue, illustration by Paul Christadoulou
Flapper style headdress
Photo credit: Art Kane
Katharine Hepburn. Photo: Cecil Beaton, 1961
Gabrielle Coco Chanel. Photo by Boris Lipnistki
Michael Jackson's Dangerous. Cover by Mark Ryden
Art Design Fashion Illustration Magazine Cover Music Nature Sleeve 3 Comments

redpajama_set_name: RedPajamaCommonCrawl


Membership in the Church of Jesus Christ is a joy and a privilege. It is also a commitment to participate in Christ's mission. A faithful member bears witness to God's love and grace and promises to be involved responsibly in the ministry of Christ's Church.
Myers Park Presbyterian Church is a dynamic community of faith with more than 4,000 members. We encourage every member of our congregation to be actively involved in worship, study, service and stewardship, and to be focused on building open and genuine relationships. We strive to live out God's transforming work, together, as the body of Christ.
How do I join Myers Park Presbyterian Church?
New Member classes are held 4-5 times per year. Our next New Member Class will be held on Sunday, April 28 from 9:45 a.m. to 1:00 p.m. Click below to register.
For more information, please contact Betsy Gantt, Membership Engagement Coordinator, at bgantt@myersparkpres.org or (704) 376-3695 x261.


The above formula will cure about one slab of bacon.The Prague Powder No. 1 and the salt are mixed and then thoroughly rubbed into the bacon.After rubbing, the honey is poured on the bacon and distributed evenly. The bacon is wrapped in a good plastic-lined (freezer wrap) butcher paper and placed in a 38 degree F. cooler for about 6 days.
The bacon then is removed from the cooler and washed very well. Excess honey and cure are washed off with luke warm water. Let bacon dry at room temperature for about 30 minutes, then remove to smokehouse preheated to 135 degrees F. Hold in smokehouse until bacon is dry, with dampers wide open. Dampers then are closed to 1/4 open, applying smoke, and held until internal temperature of bacon reaches 127-128 degrees F.
Reduce temperature of smoker to 120 degrees F. and hold until desired color is obtained. Remove and place in cooler overnight before slicing. Be sure that you are using hickory to get the desired flavor of this bacon.


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Carson City: Big Box (free Promo Card)
Carson City: Big Box (free Promo Card) quantity
Xavier Georges
90-180 Minutes
Alexandre Roche
Area Control / Area Influence, Dice Rolling, Tile Placement, Variable Player Powers, Worker Placement
The year is 1858 in Carson City, Nevada. You have rounded up a team of courageous cowboys, and your plan is to buy up the best parcels of land in this new town, then build them up with the most prosperous ranches, mines, saloons, etc.
Carson City: Big Box is a collection of the Carson City base game, the Gold & Guns expansion, and the upcoming Horses & Heroes expansion. The game board has been redesigned and updated to support a sixth player and the Horses & Heroes expansion. The game is played in four rounds, and in each one of them, the players choose one of the characters, which give certain advantages. When several players claim the same action, a duel is fought, and the player with the most firepower wins the action. In the end, the most prominent citizen in Carson City — as measured by victory points that can be won both during and after the game — wins.
Carson City: Gold & Guns, the first expansion, contains updated buildings and houses, new buildings, new double-sided characters, the "Indian" character (previously a promotional item at Spiel 2010), and a separate expansion called "The Outlaws".
Carson City: Horses & Heroes, the second expansion, lets players visit the rodeo to claim additional victory points and use horses to unlock special actions. Three new characters are also added to the game.


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Alabama Media Is Already Hinting That The 'Delta Variant' Will Cancel Fall Sports
The media and scientists are already hinting that fall sports could be canceled due to the "Delta Variant" and lack of vaccination
in Coronavirus, News, Politics, Sports
Last Updated on July 31, 2021
Local Alabama media is already suggesting that the "Delta Variant" of COVID-19 could impact the fall sports season, citing a doctor from the University of Alabama at Birmingham in an article titled "Health officials say fall sports could be impacted by Delta Variant".
Despite the CDC all but admitting that the controversial COVID-19 vaccines are virtually useless at preventing the spread of COVID-19, local TV station WBRC asserts that "health officials" are desperately "urging everyone to take the COVID-19 vaccine" before "the fall season, when they anticipate the Delta Variant will spread" to new heights.
National File recently reported that health officials in the United Kingdom, where the "Delta Variant" first ran rampant, induces symptoms identical to those of "hay fever" and the common cold, including runny noses, fatigue, sneezing, and other seemingly mundane inconveniences.
Still, WBRC continues, citing Dr. Michael Saag, a "UAB Infectious disease expert", who apparently told the news station that "if you are packed into a football stadium, you can catch the virus from someone sitting behind or around you." The good doctor apparently suggested that cheering for the home team may also pose a concern: "He said when someone is cheering loudly, the infection particles can reach up to eight feet. Saag said unvaccinated people should wear a mask at the game the entire time and those who are vaccinated should wear one too when they are in a large crowd with mixed vaccination status."
Then, Saag seemed to suggest that, unless Alabamans get vaccinated in large numbers during the month of August, fall sports may be ruined by the mild "Delta Variant". "We have four weeks to get vaccinated," Saag told the news station. "Lets do it now. There is plenty of vaccine, lots of places to go, arms are ready, lets go do it. Get ready for the season. That's how you can do your pre-season preparation," he added, before declaring that children too young to be vaccinated must wear a mask while playing sports, "especially if they are playing with other unvaccinated kids."
Tags: AlabamaCOVID-19delta variant


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Those holidays are almost here. I can hardly believe it.
While the week of Thanksgiving tends to be quite busy, the crowds levels do tend to get smaller after Thanksgiving on until the week or so before Christmas. So, while there may still be quite a few people the Friday and Saturday after the holiday, after that, there could be a much smaller crowd. Keep in mind, though, that crowd levels can be unpredictable and we have no way of knowing for sure.
Have a magical holiday season!


2/10/18 -- Specimen measured is a 2013 Superlight hub, which uses cartridge bearings and has an aluminum QR axle instead of a steel nutted axle. This older version has different flange diameters than the standard front hub and is easily distinguished by the single red endcap. It is intended to be laced two-cross.


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ГЕС Jièzhúkǒu (界竹口水电站) — гідроелектростанція на сході Китаю у провінції Фуцзянь. Використовує ресурс із річки Dazhang, правої притоки Міньцзян (впадає до Тайванської протоки у місті Фучжоу).

В межах проекту річку перекрили бетонною гравітаційною греблею висотою 45 метрів та довжиною 234 метра. Вона утримує водосховище з площею поверхні 6,6 км2, об'ємом 61,2 млн м3 та  нормальним рівнем поверхні на позначці 78 метрів НРМ (під час повені рівень може зростати до 79 метрів НРМ, а об'єм – до 67,9 млн м3).

Пригреблевий машинний зал обладнали двома турбінами типу Каплан потужністю по 30 МВт, які використовують забезпечують виробництво 190 млн кВт-год електроенергії на рік.

Примітки

Jièzhúkǒu

redpajama_set_name: RedPajamaWikipedia


The energy is still a bit tense with the Sun coming into an exact square with stern and sobering Saturn early this week; however, Venus in Leo will be highly active as well, with many harmonious aspects to the planet of love, beauty and sensuality, including a conjunction to the karmic North Node! These aspects will help us to come more easily back into balance after the turbulent astrology of these past few weeks all the while pulling us even deeper into a truly authentic, heart-centered path!
*Please note: This is a general forecast describing the planetary influences for the week ahead. For a more personalized, nuanced interpretation based on your unique birth chart, follow this link to schedule a one-on-one astrology reading!
Monday (9/11): No major planetary aspects today. The Moon will be Void-of-Course until 12:28pm MST, when it will move into the playful and communicative sign of Gemini.
Tuesday (9/12): Venus in lively, vivacious Leo will come into a harmonious trine with Saturn in Sagittarius today as it makes its way closer to its exact conjunction with the karmic North Node. Venus in trine with Saturn helps to ground and re-stabilize our relationships, finances, and our overall sense of comfort and balance. Our partnerships can be strengthened at this time— business, romantic, or otherwise, providing the framework for a much smoother ride going forward.
Wednesday (9/13): The Sun in Virgo makes a challenging square to Saturn in Sagittarius today. Saturn is being helped by the beautiful and benefic Venus, which came into exact trine with the planet of rules and restrictions yesterday; however, the limiting, sobering effect of Saturn will still be very present today. If there is something blocking your path to success, or if the self-critical sign of Virgo is shining light on your limitations and flaws, now is the time to get to work to create a better situation for yourself to insure greater success in the future! Saturn is all about putting in the hard work toward our long-term goals and plans, which always takes longer than expected. Something may come up today that hinders our ability to make progress as speedily as we'd hoped. If this is the case, just know that it's likely for the best. Saturn requires that we all do things the RIGHT way, not the fast way, in order to set up a solid foundation for our future success.
Thursday (9/14): Venus in Leo comes into conjunction with the North Node today, bringing fated, karmic circumstances and connections up to the surface today. There may be a chance encounter with someone in your life that feels fated or oddly synchronous, or you and your partner could end up forging a completely new path together! Pay close attention to what comes up for you today, as the events that unfold are meant to lead us all on a more courageous, heart-centered path moving forward!
After moving forward full speed ahead into the fiery, willful and somewhat chaotic Leo energy this eclipse season, we're moving into a much more organized, grounded, and also emotionally compassionate energy this week. Over these next few days, we'll be diving headfirst into Virgo season while at the same time dealing with an abundance of mystical Neptunian energy leading into the emotionally charged Full Moon in Pisces on Wednesday. Things may feel a bit foggy and confusing or overwhelming at the start of the week, but as we move out of this energy and into the weekend we'll have an important opportunity to become more grounded, regaining our clarity and allowing us to become much more decisive moving forward when Mercury moves forward into Virgo.
We have a busy weekend coming up filled with many positive aspects assisting us in re-organizing and improving on our day-to-day lives, and helping us to put in the necessary work to expand on our most adventurous long-term goals and plans. With Venus moving into Leo on Friday, this may also be an excellent time for romance, play, or simply to spend a night out on the town enjoying the company of some good friends!


This Edwardian Titanic era gold lace silk lamé brocade mink evening gown dress dates from 1912. It is made of a gold and cream color silk lamé brocade fabric skirt, with a sheer off white net and gold metallic embroidered lace overlay done in a rococo scrolling floral pattern design. There is mink fur trim edging and a large rhinestone buckle trim accent at the waist. This opulent elegant evening gown dress is floor length, with V necklines, layered short sleeves, belted waistband, peplum skirt over dress and fitted hobble skirt, with front drape, weighted hemline and slight back train. It is fully lined in silk, with hook & eye closures down the back. The gown was custom made, measures 58 inches long in the front, 64 inches long in the back, with a 30 inch waist and 34 inch bust. It is in as-is fair condition and could use some restoration. There are a few breaks, frays in the net along the shoulders, sleeve bottoms and the side skirt (see close-ups). The inside white silk chiffon lining is frayed, splitting. This is truly a rare and wonderful piece of wearable Titanic textile art!


Treat yourself to a week of painting in the mountains in spring!
Paint the arrival of spring in the mountains! Using acrylics or oils, we'll paint outdoors "en plein air" and in the studio while exploring the creative use of key elements of succcesful painting – no matter your style! Plenty of time for discussion and feedback. Some experience is helpful and a plein air easel is recommended.
With small class sizes and a week to enjoy the process, there will be plenty of time for individual attention and group discussion, as well as for enjoying nature creatively while making new friends! Some experience is helpful and a plein air easel is recommended. For more information, here is the Folk School listing for this class.
Treat yourself to a week of painting in the mountains in fall!
Note: if this class is full, the next opportunity for this class will be October 6 – 12, 2019! Register early!
Experience the joy of painting outdoors in the beautiful mountains of North Carolina during the colorful season of autumn! We will explore the versatility of acrylics and oils while indulging our imaginations in the key components of any successful painting: subject choice, composition, values, and color. Experimenting with limited palettes, we will practice creating the feeling of space and mood in a painting.
With small class sizes and a week to enjoy the process, there is plenty of time for individual attention and group discussion, as well as for enjoying nature, relaxation and creativity while making new friends! Some drawing or painting experience is helpful, a bit of outdoor mobility is needed, and a plein air easel is recommended.
And perhaps we'll even try some night painting!
For more information, here is the Folk School listing for this class.
For more information or should you wish a workshop arranged in your area, please contact me!


Financing your Vito via a Contract Hire agreement will allow you to benefit from driving a Mercedes-Benz, without the need to take on full ownership. You will avoid having to pay a large initial outlay and fixed regular monthly payments will alllow you to budget with ease.
*BUSINESS USERS ONLY. 48 month (6+47) Contract Hire agreement and 10,000 miles per annum. Contract Hire rentals exclude maintenance. No ownership available on Contract Hire. All rentals exclude VAT at 20%. Mileage damage charges apply. Offer ends 30/06/2019. Mercedes-Benz Finance.
An Agility agreement allows you to defer your ownership decision until the end of your agreement, offering the flexibility you need when looking to finance your Vito.
**BUSINESS USERS ONLY. 48 month Agility agreement and 10,000 miles per annum. † Payable if you exercise the option to purchase the vehicle, plus fees. Mileage and damage charges apply. Offer ends 30/06/2019. Mercedes-Benz Finance.
A 0% APR† Representative finance offer benefits from a £250.00 finance deposit contribution only on a Mercedes-Benz Hire Purchase agreement for the amazing Vito. A minimum 20% deposit of list price plus VAT of total transaction price will be required over a maximum term of 36 months only. The VAT is charged at the prevailing rate and the offer is subject to terms and conditions.
†BUSINESS USERS ONLY. Hire Purchase up to 36 months only. Minimum 20% customer deposit of list price plus 20% VAT of the vehicle price. Offer ends 30/06/2019. Mercedes-Benz Finance.


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York's Kunze appointed to APPA Policy Makers Council
Columbus, Neb. – Ken Kunze, Nebraska Public Power District board member from York, has been named to serve a one-year term on the American Public Power Association's Policy Makers Council. The NPPD Board approved his appointment during Thursday's monthly meeting.
The former mayor of York began his first term of office on the NPPD Board of Directors in 2009 and was re-elected to a second term that began in 2015. Kunze has served as Chairman of the NPPD Board for the past two years. Previously he served as first vice chairman in 2014 and 2015, and was the nuclear committee chairman during 2013 and 2014. He represents Subdivision 7, which consists of York, Polk, Nance, Merrick, Hamilton, Adams and Clay counties.
A graduate of the University of Nebraska-Kearney, Kunze owned a real estate company in York for more than 36 years, retiring in 2016. He served as York's mayor from 1988 to 1996 and also served as president of the Nebraska League of Municipalities in 1995. He was also a member of the Nebraska Power Review Board, serving from 2000 to 2008.
APPA is the voice of not-for-profit, community-owned utilities that power 2,000 towns and cities nationwide. The Association represents public power before the federal government to protect the interests of the more than 49 million customers that public power utilities serve, and the 93,000 people they employ. The Association advocates and advises on electricity policy, technology, trends, training, and operations. Its members strengthen their communities by providing superior service, engaging citizens, and instilling pride in community-owned power.
The Policy Makers Council assists the APPA in promoting federal legislation that is important to public power utilities NPPD and opposing harmful legislation. It also provides advice on other issues of importance to the Association. Members of the Council meet a minimum of twice a year, and participate in meetings with elected representatives and congressional staff for the purposes of supporting the APPA's national legislative agenda.
The Council is made up of 40 members who serve on either utility boards or are elected officials in public power communities. Four members are appointed from each of the 10 geographic regions recognized by APPA. In addition, there are a number of "at-large" members of the PMC from across the country who are appointed based on vacancies in the 10 regions.
About NPPD
Learn about NPPD
Learn about our Energy Resources
See what we are talking about


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Tancredo out to prove he's no 1-trick pony
Members of River of Life Church in Bettendorf, Iowa, surround and pray for 2008 presidential hopeful Tom Tancredo, likening him to the biblical figure of David who took on the giant Goliath. "We've been praying for a David, and today he showed," one member said.
After being asked how much he pays for a haircut, a jab at Democrat John Edwards, Tancredo shows off his frequent-customer card for MasterCuts, a mall-based chain of hair salons. Tancredo recently took a four-day campaign swing through Iowa, where he hopes to finish high enough to increase his name recognition and funding.
By Karen Crummy | The Denver Post
PUBLISHED: May 14, 2007 at 3:20 p.m. | UPDATED: May 7, 2016 at 10:30 p.m.
Davenport, Iowa – Tom Tancredo is talking about taxes. Education. And the war in Iraq.
It turns out the Republican presidential candidate, often labeled a one-trick pony for his consuming hard-line stance on illegal immigration, has some other tricks tucked away in his political playbook.
During a four-day campaign swing through eastern Iowa this past weekend, the Colorado congressman seemingly talked about everything, including the federal gasoline tax, national health care and school vouchers.
A Sunday discussion about religion and its role in why he's running for president against all realistic odds led a church congregation in Bettendorf to circle him in prayer and rename him David for the biblical story of David and Goliath.
Although cracking down on illegal immigration remains the bedrock of his campaign – and the one issue he is sure to address at each stop along the way – Tancredo said the other topics help him get people to listen.
"If you want to be an advocate on an issue, you cannot not do so by being just focused on that. To be taken seriously and be influential on illegal immigration, I need to talk about other things as well," he said in down time between campaign stops Saturday. "It's an ironic political phenomenon."
Tancredo, who is serving his ninth year as a representative for the 6th Congressional District, readily admits he's a second-tier candidate with little name recognition and a dwindling campaign account. He knows, he says, that his chances to ascend the presidency are, at the very best, a million to one.
"But I believe that I have and can influence the debate on immigration," he said.
His plan is simple: campaign tirelessly in Iowa and New Hampshire and finish in the top three or four there. Then, lack of money and public recognition will take care of itself, he says.
An atypical politician
His weekend visit to Iowa started in Cedar Rapids and looped through Eldora, Du buque and Bettendorf before ending here.
Along the way he spoke at the church, a house party, at two town hall meetings, in meeting halls and at a GOP women's luncheon. In between, he had numerous radio and other media interviews.
Usually rumpled, shirt untucked, graying hair out of place, the 61-year-old Tancredo more closely resembles the guy next door mowing his lawn than a presidential candidate. He touches people on the arm when answering questions and doesn't use traditional candidate hand gestures, such as waving a thumb in the air, or refer to his audience as "my friends."
Instead, he often gesticulates wildly and refers to potential voters as "guys."
He rambles, speaking in halting sentences, and changes directions midway through a point – "by the way" or "that reminds me of something else," he says.
Yet people rarely leave before he's finished. And at a couple stops over the weekend, they begged him to stay longer. Humility and sincerity are the two most often heard descriptions of Tancredo after he speaks.
"He doesn't seem like those others – the big three," said Cedar Rapids resident Lester Happel, 70, referring to Republican front-runners Rudy Giuliani, Mitt Romney and John McCain. "That's good."
Ruth Downs, a retiree from the Dubuque area, had barely heard of Tancredo before he spoke at a town hall meeting Saturday. But his opposition to abortion, except where the life of the mother is in jeopardy, and his intention to shrink the federal government made a big impression, she said. And she liked the way he spoke.
"You can tell he's just a regular guy," she said.
Conservative crowds
Crowds at Tancredo's weekend stops generally measured between 40 and 50. Most, if not all, were conservative Republicans. A number said they backed Alan Keyes, a political commentator, during his two runs for the Republican presidential nomination. Many also supported corn and hog farmer Bill Salier, a conservative who ran for Senate in 2002. Salier is Tancredo's Iowa campaign chairman.
The groups tended to nod their heads when Tancredo said the country is "in a war with radical Islam" and "Europe is becoming Islamified."
They clapped when he said, if elected president, he will consult with his attorney general on how to go about prosecuting mayors and council members in cities that provide sanctuary to illegal immigrants.
And they shouted "yes!" when he said the Superman movies should never have taken out the line about "truth, justice and the American way."
Reducing government
At the core of Tancredo's platform is limiting the size of government.
To Tancredo, a former high school teacher and Colorado state legislator, "limited" means if it's not in the Constitution, it's not under the federal government's purview.
"Nobody ever says 'I want to grow government bigger.' I believe as Republicans we've squandered our opportunities," he said. "I believe we've done great harm to the nation by growing so large."
If you're looking for an elaborate new health care plan, he doesn't have it.
"Health care is an individual decision to a large extent. You need to stop looking at the government," he said. "I will not propose any huge programs."
Eyeing more oversight in the schools? He won't deliver. Tancredo voted against No Child Left Behind and wants vouchers, a return to traditional course study and more parental involvement in public schools.
Speaking to a room filled with bikers in black T-shirts, faded blue jeans, and leather chaps, vests and jackets, Tancredo, a motorcycle rider, said he doesn't support mandatory helmet laws and believes in eliminating the federal gasoline tax. That seemed to strike the right chord.
"We don't like federal mandates for anything, really," said the Steven Eggleston, district coordinator for Iowa's American Bikers Aimed Toward Education, which met in Eldora.
The real role of the federal government, Tancredo said, is to "protect and defend": terrorism, Iraq, and the borders.
He backed the war in Iraq but opposed the troop increase and believes now the troops should "disengage without withdraw." In other words, the Iraqi military and police force should be in charge, with backup from U.S. troops as needed.
Immigration enforcement
When it comes to the southern U.S. border, Tancredo wants whatever it takes: "obstacles, fences, walls and troops." He doesn't believe in amnesty in any form for those in the country illegally.
Cracking down on employers who hire illegal immigrants, he said, will result in "attrition through enforcement."
"People go home when that which they came for – jobs – is gone," he said.
On Sunday, at River of Life Church in Bettendorf, Tancredo spoke about the "hole in his soul" that led the former Catholic to become an Evangelical Presbyterian 20 years ago. He told the 40 people in the congregation about his struggles on the campaign trail and said he hopes he's "doing the right thing for the Lord."
He told the cq40 people in the congregation When he finished, the group enveloped Tancredo, who wiped away tears as they prayed.
"We've been praying for a David, and today he showed," said Judy Jamison, 54. "I pray that we rename him David."
Staff writer Karen Crummy can be reached at 303-954-1594 or kcrummy@denverpost.com.
Karen Crummy


The Norwegian Film Fund is to back Maipo Film's follow-up to last year's local box office phenomenon Elling.
The new film, Mother's Elling is a prequel, dealing with the title character's adventures at a Spanish holiday resort with his elderly mother. As with the first film, the script is by Axel Hellestenius, based on one of Ingvar Ambjornsen's best-selling novels.
The fund will put up half of the film's $1.9m budget. Mother's Elling will reunite the same production team and talent, with the exception of director Petter Naess, who declined to make a follow-up, and actor Sven Nordin, whose character has not yet met Elling in the prequel. Universal Pictures Norway will release the film in December 2003.
Eva Isaksen (pictured), best known for thrillers such as Death At Oslo Central, The Perfect Murder and Cellofan will direct. Isaksen has recently received widespread acclaim for several drama series broadcast on Norwegian television.
The $1.6m Elling became one of the most successful Norwegian films ever, both at home and abroad. It attracted over 700.000 admissions in Norway. An Academy Award nomination created further exposure for Elling, which subsequently became a hit in territories such as Germany, Switzerland and Sweden.
Meanwhile, three other new films have received Norwegian public funding. One Love, executive produced by Nik Powell (pictured), is a $2.6m co-production between Norway's Exposed Film, Euromax and the UK's One Love Limited to be shot in Jamaica.
One of Bob Marley's many sons, Ky-Mani Marley will star in the Romeo and Juliet-like drama about a Rastafarian who falls in love with a Christian girl. Music video-director Don Letts (Dancehall Queen) will co-direct with Rick Elgood. Norway's BV Film will release the film in October 2003.
Production outfit Dinamo Story was granted $1.2m towards the $1.9m budget for children's film Fia And The Clowns written and directed by Elsa Kvamme, about an eight year old girl who sees her family problems from a new angle when she meets a magician. Distributor SF Norge will release the film in September 2003.
Finally, the fund awarded $134,000 to the $1.9m co-production between Sweden's Filmhaus Lagno and Norway's Paradox Produksjon, Misa Mi - about a ten-year old who decides to save a family of wolves from being shot. Linus Torell will direct the film which will be released in February 2003 by Oro Film.


Assassin's Creed: Unity, famously, has had a bit of a shaky start, but at least Ubisoft seems serious about putting it right. Following some information about the next update—which is set to stop hero Arno falling through the floor, like a big clumsy physics-defying idiot—comes an exhaustive forum post detailing all of Unity's known issues. Ubisoft have suggested workarounds to many of the game's problems, with promises that they're "working on" the others. The ones in green, meanwhile, have been "fixed".
It's worth a read if you're waiting for Unity to become a bit more stable before you pick it up, or if you've stuck with the game despite its rocky...well, its bouldery launch. The biggest problem I've heard—the less-than-stellar framerate—seems to have something to do with the game constantly connecting with the internet for various things, and indeed one of Ubisoft's suggested workarounds for a poor framerate is to disconnect from the net while playing. Meanwhile, you'll be pleased to hear that Arno will no longer "get stuck in a hay cart next to the Pantheon in the Bièvre district", which was a silly thing to be doing if you ask me.
Tom's Unity review went live yesterday. He wasn't overly fond of it in its current state.


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Institute for Business & Professional Ethics
DePaul Minicases
B Academics
College of Business > About > Centers & Institutes > Institute for Business & Professional Ethics > About
Mission
Founded in 1985, the Institute for Business & Professional Ethics (IBPE) was established as a joint effort of the College of Liberal Arts & Social Sciences and College of Commerce at DePaul University. IBPE facilitates ethical deliberation in decision-makers by stirring their moral conscience, encouraging moral imagination, and stimulating research in business innovation and practices. We serve as a forum for exploring and fostering ethical practices in business and the professions particularly aimed at:
Students: Teaching students ethical practices and inspiring them to engage in socially responsible initiatives.
Faculty: Providing resources to support the teaching of ethics in the curriculum, academic programs, research and scholarship.
Business: Advancing ethical practices in business organizations in the Chicago area.
Community: Catalyzing the for-profit sector to address local and global social responsibility.
What is business ethics?
Business ethics is the study of what companies and managers morally ought to do — not necessarily what they always do. A decision-making model to guide these choices can be drawn from, and formed by, any number of political, religious, professional and social codes.
Business ethics seeks a reflective consideration of all elements of business conduct and decisions made within an organization.
Why is business ethics important?
In a climate of near-total globalization, each decision a business makes may create consequences beyond its community. New issues in trust, sustainability, rights, social justice and fairness arise every day. It is only through careful consideration of choices and practices that we, as a global society, can move forward without harming others. At every juncture, there is more to be gained and more to be lost than ever before.
What does the Institute for Business and Professional Ethics do?
IBPE is an educational center focused on furthering the message that ethics are important, with an emphasis on business and professional ethics.
IBPE also utilizes instruction, guest lectures and other student-focused activites to teach students ethical practices and hopefully inspire them to become courageous leaders.
We serve as a resource to Chicago-area business organizations and leaders by publishing materials on ethical decision-making in business and providing opportunities to meet and exchange ideas.
We also work to catalyze the for-profit sector to incorporate Vincentian values through active engagement in the community. This may take shape in the form of case studies, community presentations, publications and various other forms of communication including hands-on involvement — the opportunities are endless.
How is the Institute for Business and Professional Ethics different?
IBPE boasts world-renowned faculty experts in the field of business ethics, who offer a high-level, yet pragmatic approach to effective decision-making for business leaders.
Ethics training is integrated at the undergraduate and graduate levels in a methodical, consistent manner, emphasized in IBPE's popular Ethics Across the Curriculum Program for DePaul faculty and staff.
IBPE was founded as a university-focused organization under the leadership of Br. Leo Ryan, then Dean of the College of Commerce, and in partnership with the College of Liberal Arts and Social Sciences. Today, IBPE has an expanded outreach to the professional compliance and ethics community, businesses and business professionals in Chicago, and national and international organizations.
IBPE's work continues to be supported by the College of Liberal Arts and Social Sciences and the Driehaus College of Business. Led by several of the nation's guiding business ethics scholars, IBPE strives to bring the broad knowledge base of academic research to life, helping business leaders resolve a growing number of real-world ethical and compliance challenges.


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