Still with Louis-Léopold Boilly. I know La Luxure is supposed to be creepy, but Boilly outdid himself there. :shudder: But I do love Le Lunettes. All images, click for full size.
Still with Louis-Léopold Boilly. I know La Luxure is supposed to be creepy, but Boilly outdid himself there. :shudder: But I do love Le Lunettes. All images, click for full size.
Still with Louis-Léopold Boilly. Click for full size!
I’ll be indulging in a highlight of Louis-Léopold Boilly the next day or three. Boilly was an incredibly talented artist, with an extraordinary gift for portraiture. Looking at his paintings, you get a strong sense that you should not be staring in the window, looking at these people, because there is a profound intimacy in his paintings. The Geography Lesson (Portrait of Monsieur Gaudry and His Daughter) is a good example of this intimacy. I also think his portrait of Robespierre is the absolute best. Boilly was a prolific painter, producing a great many small portraits as well as full scale paintings. When it comes to Les Grimaces, I like Les Grimaces 3 best. I think. All images, click for full size!
A new series! The Harvey Cushing/John Hay Whitney Medical Library has an absolutely astonishing collection of old prints and drawings, all to do with medical matters. There are exquisite anatomical drawings, drawings of hospitals, and the like, but I won’t be posting those. There are wonderfully satirical prints, interesting characters, and depictions of certain maladies, etc., of which, many tickle my fancy. We’ll start with Mary Tofts, who drew a great deal of attention, from on high to low in her day, for giving birth to rabbits. (All images, click for full size.)
Moving on to…head stones! :D
I’m not at all sure what this is all about, it doesn’t look quite like trepanning, but who knows? One very interesting thing about this is that it leads to a painting by Hieronymus Bosch, called Cutting The Stone, aka The Extraction of the Stone of Madness. It’s quite clear that Bosch is not being complimentary to the medical profession. The Band Wire did a song about the painting, called The Madman’s Honey.Finally, we have a scary look at Elephantiasis, [Warning: A very graphic photo at that link.] a most dread disease back in the day. Note that the woman depicted has 6 toes on each foot.
Adjective.
1 a: rigid in or as if in death. b: rigidly conforming (as to a pattern or doctrine): Absolute <stark discipline>
2: archaic: strong, robust.
3: utter, sheer <stark nonsense>
4 a: barren, desolate. b 1: having few or no ornaments, bare <a stark white room> 2: harsh, blunt <the stark realities of death>
5: sharply delineated <a stark contrast>
-starkly, adverb.
-starkness, noun.
[Origin: Middle English, stiff, strong, from Old English stearc; akin to Old High German starc strong, Lithuanian starinti to stiffen.]
(Before 12th Century)
²Stark
Adverb.
1: in a stark manner.
2: to an absolute or complete degree: Wholly <stark naked> <stark mad>
(13th Century)
“But someone had left the lights on active mode, and their reflections made the night simultaneously bright and spooky. Flashing off trees, creating gargoyles that lurked in the stark shadows of the underbrush, making people move in stylized slow motion all around me.” – In Dark Woods, Jeannette de Beauvoir.
“Going to the Dogs” Workshop #2 brought together scholars from England, Scotland, and Poland to discuss the various and complex intersections of disability- and animal-studies research. Discussions centred on talks delivered by Rachael Gillibrand (Institute for Medieval Studies, University of Leeds), Dr Ryan Sweet (School of English, University of Leeds), Dr Andy Flack (Department of History, University of Bristol), Dr Neil Pemberton (Centre for the History of Science, Technology and Medicine, University of Manchester), and Dr Justyna Włodarczyk (Department of American Literature, University of Warsaw). The talks covered topics including the animal assistants of disabled people in the late-medieval West; nineteenth-century representations of animals with prostheses; connections between historical understandings of animals that live in darkness and vision-impaired people; the role of the caress in 1930s America human-guide-dog partnerships; and current controversies surrounding emotional-support animals in the US.
-Via Medievalists.
Silly.
Adjective.
1 archaic: Helpless, Weak.
2a: Rustic, Plain b obsolete: Lowly in station; humble.
3a: Weak in intellect: Foolish b: exhibiting or indicative of a lack of common sense or sound judgment.
4: Being stunned or dazed.
[Origin: Middle English sely, silly happy, innocent, pitiable, feeble, from Old English sælig, from sǣl happiness; akin to Old High German sālig happy.]
(14th Century).
“Don’t be sil—” began Jim; then he remembered just in time that the word “silly” had a very different meaning in the middle ages. It meant “innocent” or “blessed” — which was not what he meant at the moment.” – The Dragon at War, Gordon R. Dickson.
Thrall.
Noun.
1a: a servant slave: bondman, serf. b: a person in moral or mental servitude.
2a: a state of servitude or submission. b: a state of complete absorption.
–thrall, adjective.
–thralldom, noun.
[Origin: Middle English thral, from Old English thræl, from Old Norse thræll.]
(Before 12th century).
“Unhand, dog!” he snapped, in his best baronial manner. “Do you think I fear thralldom by any witch-device?” – The Dragon at War, Gordon R. Dickson.
Sally.
Noun.
1: an action of rushing or bursting forth; especially: a sortie of troops from a defensive position to attack the enemy.
2a: a brief outbreak: outburst. b: a witty or imaginative saying: quip.
3: a venture or excursion usually off the beaten track: jaunt.
[Origin: Middle French saillie, from Old French, from saillir to rush forward, from Latin salire to leap; akin to Greek hallesthai to leap.]
(1560)
“Ah, well, just a thought,” said Brian. “I’d been thinking – a quick sally to slash a few throats, then back through the gates and close them behind us.” – The Dragon at War, Gordon R. Dickson.
The Dance of Death by the German artist Hans Holbein (1497–1543) is a great, grim triumph of Renaissance woodblock printing. In a series of action-packed scenes Death intrudes on the everyday lives of thirty-four people from various levels of society — from pope to physician to ploughman. Death gives each a special treatment: skewering a knight through the midriff with a lance; dragging a duchess by the feet out of her opulent bed; snapping a sailor’s mast in two. Death, the great leveller, lets no one escape. In fact it tends to treat the rich and powerful with extra force. As such the series is a forerunner to the satirical paintings and political cartoons of the eighteenth century and beyond. For example, Death sneaks up behind the judge, who is ignoring a poor man to help a rich one, and snaps his staff, the symbol of his power, in two. A chain around Death’s neck suggests he is taking revenge on corrupt judges on behalf of those they have wrongfully imprisoned. In contrast, Death seems to come to the aid of the poor ploughman, by driving his horses for him and releasing him from a life of toil; the glowing church in the background implies this old man is on his way to heaven.
Holbein drew the woodcuts between 1523 and 1525, while in his twenties and based in the Swiss town of Basel.
These woodcuts are beautiful and highly detailed. In Holbein’s hands, Death makes its feelings known; Death is quite gentle in the cases of the old woman and old man, poor folk, and those of the peasant class. On the other side, Death is more than a little rude, as in the violin playing as Death drags the Duchess out of her bed. Death is not kind when it comes to the abbot, the abbess, or the monk.
One notable thing makes these beautiful woodcuts all the more astonishing, the size of them:
Holbein’s achievement is the greater because of the miniature scale he was drawing in. Reproductions obscure just how tiny the wooden blocks were — no bigger than four postage stamps arranged in a rectangle. The blocks were cut by Hans Lützelburger, a frequent and highly skilled collaborator of Holbein’s. Lützelburger had cut forty-one blocks and had ten remaining when Death surprised him too. The blocks were then sold to creditors, and eventually printed and published for the first time in Lyons in 1538 as Les simulachres and historiees faces de la mort.
You can read and see much more at The Public Domain.
Several years ago, David Wiley, a professor of health education at Texas State University, was discussing human papillomavirus in one of his classes. The virus, known as HPV, is the most common sexually-transmitted disease. Often it is harmless and infected individuals aren’t even aware they have it. But it can also cause cancer, including of the cervix.
Wiley was discussing all of this with his students — the different types of HPV, the connection between HPV and cervical cancer, and its prevalence; “you know, just an intro, lower-level course,” he recently recalled — when a male student raised his hand with an earnest question: What was his risk of contracting cervical cancer?
“And I don’t know what’s sadder,” Wiley told The Intercept, “that he asked that question or that really nobody in the classroom even laughed because they didn’t know either.”
[…]
The federal government began funding so-called Abstinence-Only Until Marriage programs in 1981 as a way to encourage “chastity” and “self-discipline.” Since then, the feds have poured more than $2 billion into this strategy — commonly known as “ab-only” — without any proven positive effects, like delaying sexual activity or avoiding unintended pregnancy. In recent years, that funding had been in decline, in part because research — and practical experiences like Wiley’s — shows that the programs do not work. But in an ironic twist, they’re now making a comeback. Trump, an alleged serial adulterer who has bragged about sexually assaulting women and has been accused of such behavior close to two dozen times, has asked that abstinence funding be increased. And in the budget deal he signed last month, he got his wish, enough to bring total spending on abstinence up to $100 million for 2018.
[…]
Under Obama, funding for ab-only programs decreased as new emphasis was placed on using science to develop evidence-based sexuality and reproductive education strategies. But the Trump administration is trying to reverse course. Along with the return to Bush-era funding levels to push the ab-only message, Trump has appointed anti-abortion, anti-birth control, and pro-ab-only advocates to positions within the Department of Health and Human Services and has yanked funding for a successful evidence-based teen pregnancy prevention strategy.
[…]
Among the biggest proponents of ab-only programs — and their rebranding — is Valerie Huber, a Trump appointee to HHS. Huber started her career promoting ab-only programs in her son’s school before moving on to manage the ab-only program at the Ohio Department of Health. She became the president of the National Abstinence Education Association in 2007. (The advocacy organization has also rebranded itself. It’s now known as Ascend.) Huber acknowledges that the term “sexual-risk avoidance” was taken from public health, but insists it was appropriately chosen. “I bristle at the terminology ‘abstinence only,’ because our programs are so holistic,” she told Focus on the Family’s magazine “Citizen,” and address “a whole battery of different topics that surround a young person’s decision whether to have sex or not.”
This is, of course, exceedingly bad news. If you’re a parent who prefers their child to be prepared and safe, best to tackle comprehensive sex-ed at home, or an outside of school class. This will affect some states much more than others, so it’s important to find out just what the sex-ed in your child’s school is like. Ab-only also cuts out all queer students, and teaches girls that being assaulted or raped is their fault, emphasising dress and behaviour.
The Intercept has an in-depth article about this mess, recommended reading. As the Tiny Tyrant has a vested interest in giving the lunatic evangelicals whatever they want, and they want a whole lot, you might want to have a click over to Religious Dispatches to read about Project Blitz. That’s enough to scare anyone silly.
Noun.
1: an ornamental tuft (as of feathers) especially on a helmet.
2: dash or flamboyance in style and action: verve.
[Origin: Middle French pennache, from Old Italian pennacchio, from Late Latin pinnaculum small wing, related to pinnacle.]
(1553)
“Potential enemy?” Ponce de Leon made a face. “It lacks panache. I prefer to be called ‘rogue’ or ‘outlaw’.” – Unbound, Jim C. Hines.
Noun.
1: obsolete a: a small hook or hooked instrument b: Brooch.
2a: a highly individual and usually eccentric opinion or preference b: a peculiar trick or device.
3: quarter note syn, see caprice.
[Origin: Middle English crochet, from Anglo-French crochet, croket.]
{14th Century).
“It had occurred to Jakob that he’d left his beloved tobacco back at the house. A few puffs would perhaps have helped his mood a bit, but then he remembered, Johann Lechner, despised tobacco. If Schongau had not been a Catholic town through and through, the secretary could have been viewed as a crotchety, pleasure-hating Protestant.” – The Play of Death, Oliver Pötzsch.
I really like videos made by Ian LaSpina who goes under the handle Knight Errant on Youtube. They are short, to the point and are packed with well researched information (at least as far as I can tell). In this video he explains how Middle Ages were not stagnant from technological point of view and progress was being made.