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Art Neuendorffer
Aug 24, 2004, 12:23:58 PM8/24/04
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Richard Hannay : I know what it is to feel
lonely and helpless
and to have the whole world
against me, and those
are things that
no men or women ought to feel.
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Picasso missing from Paris museum
http://www.interpol.com/public/Data/WorkOfArt/Items/Data/1029/1029791.asp
<<The Pompidou Centre was restoring the painting before it went on loan
A Pablo Picasso painting valued at $3m has apparently been stolen from a
workshop belonging to the Pompidou Centre in Paris, French police say.
Nature morte a la charlotte, a small Cubist work completed in 1924,
Picasso missing from Paris museum
http://www.interpol.com/public/Data/WorkOfArt/Items/Data/1029/1029791.asp
<<The Pompidou Centre was restoring the painting before it went on loan
A Pablo Picasso painting valued at $3m has apparently been stolen from a
workshop belonging to the Pompidou Centre in Paris, French police say.
Nature morte a la charlotte, a small Cubist work completed in 1924,
was last seen in a restoration studio at the workshop on 12 January.
It was found to be missing on Friday. "They have searched high and
low,
and now the Pompidou Centre thinks it must have been stolen," a police
officer told the AFP news agency. "That is certainly the theory we are
working under," he added. The still life in shades of brown and blue was
being restored before going on loan to a museum in northern France.>>
------------------------------------------------------
http://www.dw-world.de/english/0,3367,1430_A_1305671_1_A,00.html
<<Officials have revealed that two masterpieces by Norwegian artist
Edvard Munch which were snatched from an Oslo museum [on August 22,
2004] were not insured against theft. "The pictures were insured in case
of fire or damage from water, but not for theft or burglary," said John
Oeyaas of Oslo Forsikring, which is responsible for insuring the
and now the Pompidou Centre thinks it must have been stolen," a police
officer told the AFP news agency. "That is certainly the theory we are
working under," he added. The still life in shades of brown and blue was
being restored before going on loan to a museum in northern France.>>
------------------------------------------------------
http://www.dw-world.de/english/0,3367,1430_A_1305671_1_A,00.html
<<Officials have revealed that two masterpieces by Norwegian artist
Edvard Munch which were snatched from an Oslo museum [on August 22,
2004] were not insured against theft. "The pictures were insured in case
of fire or damage from water, but not for theft or burglary," said John
Oeyaas of Oslo Forsikring, which is responsible for insuring the
assets of the city of Oslo. "They are irreplaceable works and
it makes no sense to insure them against theft," he
said.>>
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THEFT OF Da Vinci painting Madonna with the Yardwinder FROM DRUMLANRIG
CASTLE, [on August 27, 2003].
------------------------------------------------------
THEFT OF Da Vinci painting Madonna with the Yardwinder FROM DRUMLANRIG
CASTLE, [on August 27, 2003].
http://www.dumfriesandgalloway.police.uk/news/2003/1379.htm
------------------------------------------------------
http://www.buccleuch.com/pages/content.asp?PageID=108
------------------------------------------------------
http://www.buccleuch.com/pages/content.asp?PageID=108
<<This wonderful work of art was stolen from Drumlanrig Castle on
27th
August 2003 after being in the possession of the Buccleuch family for
more than 200 years and admired by the many thousands of visitors who
visit the Castle every year. Painted between 1500 and 1510 for Florimand
Robertet, Secretary of State for Louis XII of France. An eye witness
account of Leonardo painting this subject, symbolising the Passion of
Christ with the infant Jesus clinging to the cross-shaped YARNwinder,
still survives. For a long time this painting was thought to have been
lost somewhere in France and, after occasional doubts about its
authenticity, the great authority, Kenneth Clark (later Lord Clark), in
his later years, came to regard the figures and the foreground rocks as
being Leonardo's own work, thereby reinforcing the opinion of other
experts, notably Cecil Gould, Director of the National Gallery.>>
------------------------------------------------------
Extracts from the Sunday Times, regarding the recently-stolen Leonardo:
http://www.cronaca.com/archives/001378.html
August 2003 after being in the possession of the Buccleuch family for
more than 200 years and admired by the many thousands of visitors who
visit the Castle every year. Painted between 1500 and 1510 for Florimand
Robertet, Secretary of State for Louis XII of France. An eye witness
account of Leonardo painting this subject, symbolising the Passion of
Christ with the infant Jesus clinging to the cross-shaped YARNwinder,
still survives. For a long time this painting was thought to have been
lost somewhere in France and, after occasional doubts about its
authenticity, the great authority, Kenneth Clark (later Lord Clark), in
his later years, came to regard the figures and the foreground rocks as
being Leonardo's own work, thereby reinforcing the opinion of other
experts, notably Cecil Gould, Director of the National Gallery.>>
------------------------------------------------------
Extracts from the Sunday Times, regarding the recently-stolen Leonardo:
http://www.cronaca.com/archives/001378.html
<<Professor Martin Kemp of Oxford University, yesterday revealed that
he
has changed his mind about the painting and has elevated it from the
status of a disputed "studio product" to "prime original". . . Kemp's
change of mind has come with x-ray analyses made since 1992 and research
which, he said in Oxford yesterday, "is beginning to rewrite what
Leonardo's career looked like". He now "co-dates" the Madonna with the
YARNwinder with the Mona Lisa at about 1501-03 and dismisses the
received line that it is one of two copies of a lost original. . .The
duke's painting had, according to Kemp in 1981, been defined in a letter
of 1507 by Fra Pietro of Novellara as one of two panels "by assistants
with occasional touches by the master himself". The "original" painting,
Kemp concluded, had simply gone missing. What has changed this verdict
is the intervention of science - of x-ray and infrared spectography in
particular - in the 11 years since Kemp exhibited the duke's Madonna,
the New York Madonna and three 16th- century copies in Edinburgh.
has changed his mind about the painting and has elevated it from the
status of a disputed "studio product" to "prime original". . . Kemp's
change of mind has come with x-ray analyses made since 1992 and research
which, he said in Oxford yesterday, "is beginning to rewrite what
Leonardo's career looked like". He now "co-dates" the Madonna with the
YARNwinder with the Mona Lisa at about 1501-03 and dismisses the
received line that it is one of two copies of a lost original. . .The
duke's painting had, according to Kemp in 1981, been defined in a letter
of 1507 by Fra Pietro of Novellara as one of two panels "by assistants
with occasional touches by the master himself". The "original" painting,
Kemp concluded, had simply gone missing. What has changed this verdict
is the intervention of science - of x-ray and infrared spectography in
particular - in the 11 years since Kemp exhibited the duke's Madonna,
the New York Madonna and three 16th- century copies in Edinburgh.
"We have finally got beyond Stone Age equipment," Kemp
explained
yesterday. "What came to light in both the Buccleuch and the New York
pictures was an extensive, crowded underdrawing, at some variance
yesterday. "What came to light in both the Buccleuch and the New York
pictures was an extensive, crowded underdrawing, at some variance
with what is seen on the surface. There is a rustic group of figures
- a Joseph leaning over the Madonna's right shoulder,
the Christ child and a woman who may be another Mary. . .
"My judgment now is that much more of the surface of both the
Buccleuch
and the New York pictures is by Leonardo than I thought. The majority
and the New York pictures is by Leonardo than I thought. The majority
of the virgin and child in the Buccleuch picture is autograph
(by
Leonardo). So are the foreground rocks. The rest of the picture is not."
Leonardo). So are the foreground rocks. The rest of the picture is not."
Kemp was particularly admiring of the Madonna's head and the torso
of
the Christ child - "very nicely painted" - and of Christ's eyes, "done
with extraordinary intelligence and rhythm and with that liquid
intensity", which betrayed Leonardo's own hand. . . So which Madonna was
started first? "I would say the Buccleuch," declared Kemp. "It has to it
the feel (of Leonardo in Milan) in the 1490s with its strongly blended
and rather svelte surfaces. It was started around 1501, not evidently
finished before 1507; it would co-date much of the work on the
the Christ child - "very nicely painted" - and of Christ's eyes, "done
with extraordinary intelligence and rhythm and with that liquid
intensity", which betrayed Leonardo's own hand. . . So which Madonna was
started first? "I would say the Buccleuch," declared Kemp. "It has to it
the feel (of Leonardo in Milan) in the 1490s with its strongly blended
and rather svelte surfaces. It was started around 1501, not evidently
finished before 1507; it would co-date much of the work on the
Mona Lisa of around 1503. But Leonardo is fantastically difficult
to date. Many of his pictures took him 10 years to finish."
------------------------------------------------------
<<Though Hitchcock made the original version of John (Lord Tweedsmuir)
Buchan's famous book The Thirty Nine steps in 1935, a later version,
released in 1978 and starring Robert Powell, was filmed on location at
Castlemilk House, Durisdeer & Drumlanrig Castle. Drumlanrig Castle
------------------------------------------------------
<<Though Hitchcock made the original version of John (Lord Tweedsmuir)
Buchan's famous book The Thirty Nine steps in 1935, a later version,
released in 1978 and starring Robert Powell, was filmed on location at
Castlemilk House, Durisdeer & Drumlanrig Castle. Drumlanrig Castle
was built & designed for the 17th Duke of Queensberry. Drumlanrig
has been the property of the Dukes of Buccleuch since
1810.>>
John Buchan's spy thriller The Thirty Nine Steps was published in
1915.
Buchan was one of Hitchcock's favorite writers and many consider The
Thirty-nine Steps Hitchcock's best British film. However, Graham Greene
considered the story 'inexcusably spoilt' by the director. The film
begins with the assassination of a secret agent. The hero, Richard
Hannay (Robert Donat), bumps into a beautiful woman who calls herself
'Miss Smith'. She asks Hannay if he has ever heard of 'the 39 Steps',
and claims she must go to Scotland the next day to stop some vital
secrets falling into enemy hands. Miss Smith is murdered and Hannay
becomes the prime suspect for her murder. - Hannay is hunted by the
police and captured. He manages to escape, and continues his run with a
blonde, Pamela (Madeleine Carroll). In the end the secret of the 39
Steps is revealed - it is an organization of spies collecting
information on behalf of a foreign government. Hannay spends a good
portion of the film handcuffed to Pamela, which has been interpreted as
Hitchcock's bondage fantasy or a criticism of the institution of
marriage. The Thirty-nine Steps was remade with Keith More as
Buchan was one of Hitchcock's favorite writers and many consider The
Thirty-nine Steps Hitchcock's best British film. However, Graham Greene
considered the story 'inexcusably spoilt' by the director. The film
begins with the assassination of a secret agent. The hero, Richard
Hannay (Robert Donat), bumps into a beautiful woman who calls herself
'Miss Smith'. She asks Hannay if he has ever heard of 'the 39 Steps',
and claims she must go to Scotland the next day to stop some vital
secrets falling into enemy hands. Miss Smith is murdered and Hannay
becomes the prime suspect for her murder. - Hannay is hunted by the
police and captured. He manages to escape, and continues his run with a
blonde, Pamela (Madeleine Carroll). In the end the secret of the 39
Steps is revealed - it is an organization of spies collecting
information on behalf of a foreign government. Hannay spends a good
portion of the film handcuffed to Pamela, which has been interpreted as
Hitchcock's bondage fantasy or a criticism of the institution of
marriage. The Thirty-nine Steps was remade with Keith More as
Hannay in 1956 and in 1978 by Don Sharp, starring Robert
Powell.
Robert Donat ....
Richard Hannay/Mr. Hammond/Capt.
Fraser/Henry Hopkinson
Madeleine Carroll .... Pamela/Mrs. Henry Hopkinson
Madeleine Carroll .... Pamela/Mrs. Henry Hopkinson
Richard Hannay : There are 20 million women in this island and I get
to
be chained to you.
be chained to you.
Annabella Smith : Have you ever heard of the 39 Steps?
Richard Hannay : No. What's that, a pub?
Richard Hannay : No. What's that, a pub?
[trying to quiet the brawling audience]
Music hall announcer : Gentlemen, please! You're not at home!
Music hall announcer : Gentlemen, please! You're not at home!
[A flock of sheep block the road as the car screeches to a halt]
Richard Hannay : Hello, what are we stopping for? Oh it's a whole flock
of detectives.
Richard Hannay : Hello, what are we stopping for? Oh it's a whole flock
of detectives.
[Screaming out to Mr. Memory at the Music Hall]
Richard Hannay : What are The 39 Steps?
Richard Hannay : What are The 39 Steps?
Mr. Memory : Am I Right Sir?
Mr. Memory : The 39 Steps is an organization of spies
collecting information on behalf of the foreign office of...
[interrupted by gunshot, collapses]
-----------------------------------------------------
Spenser dedication in Fairie Queene (1590):
------------------------------------------------------
To the right Honourable the Earle of Oxenford,
Lord high Chamberlayne of England. &c.
-----------------------------------------------------
Spenser dedication in Fairie Queene (1590):
------------------------------------------------------
To the right Honourable the Earle of Oxenford,
Lord high Chamberlayne of England. &c.
Defended from foule *ENUIES* poisnous bit.
(W)hich so to doe may thee right well
befit,
(S)ith th'antique glory of thine auncestry
(S)ith th'antique glory of thine auncestry
*Vnder a shady VELE is therein writ*
,
And eke thine owne long *liuing MEMORY*
,
Succeeding them in TRUE nobility: -- E.S.
----------------------------------------------------
John Buchan (1875-1940). The Thirty-nine Steps. 1915.
http://www.bartleby.com/149/
<<I RETURNED from the City about three o'clock on that May afternoon
pretty well disgusted with life. 'Richard Hannay,' I kept telling
myself, 'you have got into the wrong ditch, my friend, and you had
better climb out.' My father had brought me out from Scotland at the age
of six, and I had never been home since; so England was a sort of
Arabian Nights to me, and I counted on stopping there for the rest
Succeeding them in TRUE nobility: -- E.S.
----------------------------------------------------
John Buchan (1875-1940). The Thirty-nine Steps. 1915.
http://www.bartleby.com/149/
<<I RETURNED from the City about three o'clock on that May afternoon
pretty well disgusted with life. 'Richard Hannay,' I kept telling
myself, 'you have got into the wrong ditch, my friend, and you had
better climb out.' My father had brought me out from Scotland at the age
of six, and I had never been home since; so England was a sort of
Arabian Nights to me, and I counted on stopping there for the rest
of my days.
I realised that I was bottled as sure as a pickled herring, and
that
there was only one way out. I had to die. If my pursuers knew
there was only one way out. I had to die. If my pursuers knew
I was dead they would go to sleep again.
For miles I ran alongside a park wall, and in a break of the trees I
saw
a great castle. I swung through little old thatched villages, and over
peaceful lowland streams, and past gardens blazing with hawthorn and
yellow laburnum.
a great castle. I swung through little old thatched villages, and over
peaceful lowland streams, and past gardens blazing with hawthorn and
yellow laburnum.
'But it's madness,' broke in General Winstanley. 'Do you mean to
tell
me that that man came here and sat beside me for the best part of half
an hour and that I didn't detect the imposture? Alloa must be out of his
mind.'
'Don't you see the cleverness of it?' I said. 'You were too interested
in other things to have any eyes. You took Lord Alloa for granted. If it
had been anybody else you might have looked more closely, but it was
natural for him to be here, and that put you all to sleep.'
Then the Frenchman spoke, very slowly and in good English.
'The young man is right. His psychology is good.
me that that man came here and sat beside me for the best part of half
an hour and that I didn't detect the imposture? Alloa must be out of his
mind.'
'Don't you see the cleverness of it?' I said. 'You were too interested
in other things to have any eyes. You took Lord Alloa for granted. If it
had been anybody else you might have looked more closely, but it was
natural for him to be here, and that put you all to sleep.'
Then the Frenchman spoke, very slowly and in good English.
'The young man is right. His psychology is good.
Our enemies have not been foolish!'
He bent his wise brows on the assembly.
'I will tell you something,' he said. 'It happened many years ago in
Senegal. I was quartered in a remote station, and to pass the time used
to go fishing for big barbel in the river. A little Arab mare used to
carry my luncheon basket-one of the salted dun breed you got at
Timbuctoo in the old days. Well, one morning I had good sport, and the
mare was unaccountably restless. I could hear her whinnying and
squealing and stamping her feet, and I kept soothing her with my voice
while my mind was intent on fish. I could see her all the time, as I
thought, out of a corner of my eye, tethered to a tree twenty yards
away.... After a couple of hours I began to think of food. I collected
my fish in a tarpaulin bag, and moved down the stream towards the mare,
trolling my line. When I got up to her I flung the tarpaulin on her back.'
He paused and looked round.
'It was the smell that gave me warning. I turned my head and found
myself looking at a lion three feet off.... An old man-eater, that was
the terror of the village.... What was left of the mare, a mass of blood
and bones and hide, was behind him.' 10
'What happened?' I asked. I was enough of a hunter
He bent his wise brows on the assembly.
'I will tell you something,' he said. 'It happened many years ago in
Senegal. I was quartered in a remote station, and to pass the time used
to go fishing for big barbel in the river. A little Arab mare used to
carry my luncheon basket-one of the salted dun breed you got at
Timbuctoo in the old days. Well, one morning I had good sport, and the
mare was unaccountably restless. I could hear her whinnying and
squealing and stamping her feet, and I kept soothing her with my voice
while my mind was intent on fish. I could see her all the time, as I
thought, out of a corner of my eye, tethered to a tree twenty yards
away.... After a couple of hours I began to think of food. I collected
my fish in a tarpaulin bag, and moved down the stream towards the mare,
trolling my line. When I got up to her I flung the tarpaulin on her back.'
He paused and looked round.
'It was the smell that gave me warning. I turned my head and found
myself looking at a lion three feet off.... An old man-eater, that was
the terror of the village.... What was left of the mare, a mass of blood
and bones and hide, was behind him.' 10
'What happened?' I asked. I was enough of a hunter
to know a TRUE YARN when I heard it.
'I stuffed my fishing-rod into his jaws, and I had a pistol. Also my
servants came presently with rifles. But he left his mark on me.'
'I stuffed my fishing-rod into his jaws, and I had a pistol. Also my
servants came presently with rifles. But he left his mark on me.'
He held up a hand which lacked three fingers.
'Consider,' he said. 'The mare had been dead more than an hour, and
the brute had been patiently watching me ever since. I never saw the
kill, for I was accustomed to the mare's fretting, and I never marked
her absence, for my consciousness of her was only of something tawny,
and the lion filled that part. If I could blunder thus, gentlemen,
'Consider,' he said. 'The mare had been dead more than an hour, and
the brute had been patiently watching me ever since. I never saw the
kill, for I was accustomed to the mare's fretting, and I never marked
her absence, for my consciousness of her was only of something tawny,
and the lion filled that part. If I could blunder thus, gentlemen,
in a land where men's senses are keen, why should
we busy preoccupied urban folk not err also?'
Then suddenly I had an inspiration.
'Where is Scudder's book?' I cried to Sir Walter.
'Where is Scudder's book?' I cried to Sir Walter.
'Quick, man, I remember something in it.'
He unlocked the door of a bureau and gave it to me.
I found the place. 'Thirty-nine steps,' I read, and again,
'Thirty-nine steps-I counted them-High tide, 10.17 p.m.'
The Admiralty man was looking at me as if he thought I had gone mad.
'Don't you see it's a clue,' I shouted. 'Scudder knew where these
fellows laired-he knew where they were going to leave the country,
though he kept the name to himself. Tomorrow was the day,
He unlocked the door of a bureau and gave it to me.
I found the place. 'Thirty-nine steps,' I read, and again,
'Thirty-nine steps-I counted them-High tide, 10.17 p.m.'
The Admiralty man was looking at me as if he thought I had gone mad.
'Don't you see it's a clue,' I shouted. 'Scudder knew where these
fellows laired-he knew where they were going to leave the country,
though he kept the name to himself. Tomorrow was the day,
and it was some place where high tide was at 10.17.'
I took my head in my hands and thought. There must be some way
of
reading this riddle. What did Scudder mean by steps? I thought of dock
steps, but if he had meant that I didn't think he would have mentioned
the number. It must be some place where there were several staircases,
and one marked out from the others by having thirty-nine steps.
reading this riddle. What did Scudder mean by steps? I thought of dock
steps, but if he had meant that I didn't think he would have mentioned
the number. It must be some place where there were several staircases,
and one marked out from the others by having thirty-nine steps.
'Here's the most I can make of it,' I said. 'We have got to find
a
place where there are several staircases down to the beach, one of
place where there are several staircases down to the beach, one of
which has thirty-nine steps. I think it's a piece of open coast with
biggish
cliffs, somewhere between the Wash and the Channel.
cliffs, somewhere between the Wash and the Channel.
Also it's a place where full tide is at 10.17 tomorrow night.'
He thought for a bit. 'What kind of steps do you mean, sir? There
are
plenty of places with roads cut down through the cliffs, and most roads
have a step or two in them. Or do you mean regular staircases-all steps,
so to speak?'
plenty of places with roads cut down through the cliffs, and most roads
have a step or two in them. Or do you mean regular staircases-all steps,
so to speak?'
'If one of those staircases has thirty-nine steps
we have solved the mystery, gentlemen,' I
said.>>
------------------------------------------------------
Stolen Madonna is too hot to handle for amateur thieves
http://news.scotsman.com/arts.cfm?id=944942004
by DAN MCDOUGALL
------------------------------------------------------
Stolen Madonna is too hot to handle for amateur thieves
http://news.scotsman.com/arts.cfm?id=944942004
by DAN MCDOUGALL
<<WHEN Leonardo da Vinci's famed Madonna with the YARNwinder was
snatched from Drumlanrig Castle on a sunny afternoon last August, it was
assumed professional thieves had stolen the oil painting to order, for a
wealthy collector. Yet a year on, The Scotsman can reveal that police
believe the 16th century masterpiece was actually taken by opportunist
thieves who may still have it stored in a garage - because they have no
idea what to do with it. Detectives from Dumfries and Galloway Police
insisted that, contrary to reports, the inquiry had not been closed and
they expected to recover the painting and return it to the Duke of
Buccleuch's collection. A £1 million reward is still on offer, to be
paid by the painting's insurers.
snatched from Drumlanrig Castle on a sunny afternoon last August, it was
assumed professional thieves had stolen the oil painting to order, for a
wealthy collector. Yet a year on, The Scotsman can reveal that police
believe the 16th century masterpiece was actually taken by opportunist
thieves who may still have it stored in a garage - because they have no
idea what to do with it. Detectives from Dumfries and Galloway Police
insisted that, contrary to reports, the inquiry had not been closed and
they expected to recover the painting and return it to the Duke of
Buccleuch's collection. A £1 million reward is still on offer, to be
paid by the painting's insurers.
One senior officer said: "The nature of this crime and the way it
was
carried out smacks of luck and opportunism. Even the use of the stolen
getaway vehicle seems naive. If, as we suspect, the thieves are
amateurs, we strongly believe they still have the painting in their
hands, most likely stored in one of their homes or even a lock-up.
Stealing a renowned work of art worth millions of pounds is one thing,
but having the contacts and knowing how to sell it or export it on the
black market is another thing altogether. "The feeling we are getting
from this is that the perpetrators of this crime are probably at a dead
end - they don't know what to do with the painting." The work, valued at
anything up to £70 million, was part of a Drumlanrig collection which
also includes a Rembrandt and a Holbein - but only the da Vinci was
taken.
carried out smacks of luck and opportunism. Even the use of the stolen
getaway vehicle seems naive. If, as we suspect, the thieves are
amateurs, we strongly believe they still have the painting in their
hands, most likely stored in one of their homes or even a lock-up.
Stealing a renowned work of art worth millions of pounds is one thing,
but having the contacts and knowing how to sell it or export it on the
black market is another thing altogether. "The feeling we are getting
from this is that the perpetrators of this crime are probably at a dead
end - they don't know what to do with the painting." The work, valued at
anything up to £70 million, was part of a Drumlanrig collection which
also includes a Rembrandt and a Holbein - but only the da Vinci was
taken.
Police sources say the evidence supporting the amateurs theory
remains
overwhelming. CCTV footage from the castle showed the thieves, both
wearing baseball caps, joining a tour of Drumlanrig until they came to
the staircase hall where the painting was on display. At around 11am,
out of shot of the castle's CCTV cameras, they overpowered a female
guide, disabled the alarm system, took the painting from a wall and
escaped through a kitchen window. Then they walked from the castle
towards their getaway vehicle - one of them with the masterpiece tucked
under his arm. Police believe the men escaped, in the car with two
accomplices, along single track roads in the castle grounds before
abandoning the vehicle in a wood. They then transferred to a 2nd car,
a dark green Rover, found 20 miles away.
overwhelming. CCTV footage from the castle showed the thieves, both
wearing baseball caps, joining a tour of Drumlanrig until they came to
the staircase hall where the painting was on display. At around 11am,
out of shot of the castle's CCTV cameras, they overpowered a female
guide, disabled the alarm system, took the painting from a wall and
escaped through a kitchen window. Then they walked from the castle
towards their getaway vehicle - one of them with the masterpiece tucked
under his arm. Police believe the men escaped, in the car with two
accomplices, along single track roads in the castle grounds before
abandoning the vehicle in a wood. They then transferred to a 2nd car,
a dark green Rover, found 20 miles away.
For the Duke of Buccleuch, whose health has been poor for the past
two
years, the theft ended his family's 250-year relationship with the
renaissance work, deemed so precious by his father that he used to put
it in the boot of his car and take it with him when he moved between his
three homes. The duke's son, the Earl of Dalkeith, said the whole family
had been shocked and dismayed by the loss of the painting. He added:
years, the theft ended his family's 250-year relationship with the
renaissance work, deemed so precious by his father that he used to put
it in the boot of his car and take it with him when he moved between his
three homes. The duke's son, the Earl of Dalkeith, said the whole family
had been shocked and dismayed by the loss of the painting. He added:
"It is a work of great serenity and beauty. I have no idea of its
open
market value but the monetary value is not the point. It has given great
pleasure to a family and been available to the public in their tens of
thousands. Its loss is impossible to quantify." Despite personal appeals
by the duke himself, the extensive police hunt, which included a BBC
Crimewatch appeal, has failed to turn up any significant breakthrough.
market value but the monetary value is not the point. It has given great
pleasure to a family and been available to the public in their tens of
thousands. Its loss is impossible to quantify." Despite personal appeals
by the duke himself, the extensive police hunt, which included a BBC
Crimewatch appeal, has failed to turn up any significant breakthrough.
Theories that the painting was stolen by a travelling family linked
to
thefts from stately homes in England, or by Ulster terrorist groups,
have been discounted. Experts are deeply sceptical of suggestions
thefts from stately homes in England, or by Ulster terrorist groups,
have been discounted. Experts are deeply sceptical of suggestions
the masterpiece was stolen to order.
Ossian Ward, of Art Review magazine, supports the opportunist theory
and
believes the work would simply be impossible to sell. He said: "There is
a serious myth bandied about 'theft to order', but I am not sure how
realistic it is. There is no way of selling a da Vinci work like this on
the open market. There is no market for works that are famous when they
are famously stolen. Everyone in the market will know about it and I
can't imagine what kind of collector would want to hang this work up in
his front room. The thieves would be unlikely to have the necessary
contacts to move the work on."
believes the work would simply be impossible to sell. He said: "There is
a serious myth bandied about 'theft to order', but I am not sure how
realistic it is. There is no way of selling a da Vinci work like this on
the open market. There is no market for works that are famous when they
are famously stolen. Everyone in the market will know about it and I
can't imagine what kind of collector would want to hang this work up in
his front room. The thieves would be unlikely to have the necessary
contacts to move the work on."
Michael Bury, senior lecturer in the School of Arts at
Edinburgh
University said: "Some works turn up many years after they are stolen,
but sadly a large number are destroyed because they might be too
revealing as evidence, once the thieves have realised that what they
have is just too hot to sell on. Panic can easily set in, I imagine, and
lead to unpredictable results."
University said: "Some works turn up many years after they are stolen,
but sadly a large number are destroyed because they might be too
revealing as evidence, once the thieves have realised that what they
have is just too hot to sell on. Panic can easily set in, I imagine, and
lead to unpredictable results."
Recent figures unveiled as part of a survey for the Council of
Art
Thefts show that 97 per cent of all stolen art work remains with
criminals - yet art crime remains the third most profitable illegitimate
enterprise in the world after arms and drugs sales. Every year more than
10,000 works are reported stolen around the world. The FBI estimates
Thefts show that 97 per cent of all stolen art work remains with
criminals - yet art crime remains the third most profitable illegitimate
enterprise in the world after arms and drugs sales. Every year more than
10,000 works are reported stolen around the world. The FBI estimates
the market in such stolen items is worth around £5 billion. The art
loss
register in London currently has a database of around 126,000 missing
works, including paintings by Rembrandt, Renoir and Cezanne, yet the
Earl of Dalkeith believes the work will be returned to his family. He
said: "Deep down I believe that it may be a matter of time, but one day
she will be back at Drumlanrig.">>
------------------------------------------------------
http://www.thestar.co.za/index.php?fSectionId=132&fArticleId=2197837
register in London currently has a database of around 126,000 missing
works, including paintings by Rembrandt, Renoir and Cezanne, yet the
Earl of Dalkeith believes the work will be returned to his family. He
said: "Deep down I believe that it may be a matter of time, but one day
she will be back at Drumlanrig.">>
------------------------------------------------------
http://www.thestar.co.za/index.php?fSectionId=132&fArticleId=2197837
_Paintings a major crime_ target August 24, 2004
Oslo - Thieves are increasingly targeting famous paintings. The Art
Loss
Register estimates that $5,5-billion (about R36-billion) in stolen art
has disappeared into criminal hands worldwide over the past century.
Register estimates that $5,5-billion (about R36-billion) in stolen art
has disappeared into criminal hands worldwide over the past century.
In fact, Interpol rates art theft as the fourth-largest
criminal
activity after drugs, money laundering and arms smuggling.
Recent and highly publicised thefts involving unrecovered works are:
July 31 - In Rome, 10 paintings worth $5-million were stolen from
a
hospital's unguarded restoration room.
hospital's unguarded restoration room.
May 19 - In Paris, the Pompidou Centre reported that Picasso's
Nature morte a la charlotte,
worth $3-million, had disappeared
from a restoration studio.
December 16 2003 - Special 21 (Palo Duro Canyon) by Georgia O'Keeffe
was
stolen from the New Mexico Museum of Fine Arts in Santa Fé. Valued in
excess of $500 000.
stolen from the New Mexico Museum of Fine Arts in Santa Fé. Valued in
excess of $500 000.
August 27 2003 - In Scotland, thieves posing as tourists overpowered
the lone guide in Drumlanrig Castle and stole Leonardo da
Vinci's
Madonna with the YARNwinder, valued at about $60-million.
July 20 2002 - In Paraguay, thieves tunnelled into
the National Fine Arts Museum and stole a dozen paintings.
July 17 2001 - In Germany, an Andy Warhol portrait of Lenin
disappeared
from a Cologne warehouse. It had just been sold to a Munich gallery for
about $700 000.
from a Cologne warehouse. It had just been sold to a Munich gallery for
about $700 000.
December 22 2000 - In Stockholm, three men snatched two Renoirs and
a Rembrandt from Sweden's National Museum, escaping by
speedboat.
------------------------------------------------
MISSING MASTERPIECES
MISSING MASTERPIECES
#THE Crucifixion, by Salvador Dali. Worth about £150,000, it was a
gift
to the inmates of Riker's Island prison in New York in 1965, after he
missed a visit to the jail. It was stolen from there in 2003 and is
still missing.
to the inmates of Riker's Island prison in New York in 1965, after he
missed a visit to the jail. It was stolen from there in 2003 and is
still missing.
#THE Madonna with The YARNwinder, by Leonardo da Vinci. Worth
between
£25million and £50million, the classic work was stolen in a daring raid
by two crooks at the Duke of Buccleuch's Drumlanrig Castle in August
2003.
£25million and £50million, the classic work was stolen in a daring raid
by two crooks at the Duke of Buccleuch's Drumlanrig Castle in August
2003.
#THE Concert, by Vermeer. This was one of many masterpieces stolen in
a
$300million raid on a Boston museum in 1990 by robbers dressed as cops.
$300million raid on a Boston museum in 1990 by robbers dressed as cops.
#HEAD Of A Woman, by Pablo Picasso. Valued at £4m, the portrait of
a
Balkan lady with whom Picasso was in love, was stolen from a Saudi yacht
moored off the coast of Antibes on the French Riviera five years ago.
Balkan lady with whom Picasso was in love, was stolen from a Saudi yacht
moored off the coast of Antibes on the French Riviera five years ago.
#Nature morte a la charlotte,
by Pablo Picasso. Stolen from the Pompidou
Centre in Paris in May this year, this 1924 work is worth almost £2m.
------------------------------------------------
FAMOUS ART THEFTS
--Maureen O'Donnell
Centre in Paris in May this year, this 1924 work is worth almost £2m.
------------------------------------------------
FAMOUS ART THEFTS
--Maureen O'Donnell
1911: The world's most famous portrait, Leonardo da Vinci's
"Mona
Lisa,'' was stolen from the Louvre by Vincenzo Peruggia, "a slightly mad
Italian painter,'' who wanted to return it to Italy, according to the
French museum's Web site. He's believed to have walked out with it
hidden under his coat. It was later found in Italy.
Lisa,'' was stolen from the Louvre by Vincenzo Peruggia, "a slightly mad
Italian painter,'' who wanted to return it to Italy, according to the
French museum's Web site. He's believed to have walked out with it
hidden under his coat. It was later found in Italy.
1990: As Boston noisily celebrated St. Patrick's Day, the biggest
fine
art theft in U.S. history -- possibly the world -- occurred at the
Isabella Stewart Gardner Museum. Two men dressed as police officers
duct-taped and handcuffed museum guards and stole 12 masterpieces
art theft in U.S. history -- possibly the world -- occurred at the
Isabella Stewart Gardner Museum. Two men dressed as police officers
duct-taped and handcuffed museum guards and stole 12 masterpieces
with an estimated value as high as $500 million. The stolen art
included
Rembrandt's "The Storm on the Sea of Galilee'' and "The Concert''
Rembrandt's "The Storm on the Sea of Galilee'' and "The Concert''
by Vermeer, the Dutch painter dramatized in the movie
"Girl With a Pearl Earring."
1999: "Dora Maar," Picasso's portrait of one of his great loves,
was stolen from a Saudi yacht in the French port of Antibes.
2003: Thieves on a tour of Drumlanrig Castle stole da Vinci's
"Madonna of the YARNwinder,'' dismaying the Duke of
Buccleuch
and all of Scotland. They wore hats and covered
their faces as they passed security cameras.
------------------------------------------------
RAIDERS OF THE LOST ART Aug 24 2004
By Brian Mciver
<<IT'S the seemingly glamorous life of crime, the glossy art thefts made
famous in films such as The Thomas Crown Affair and Entrapment. But the
reality of high stakes art robbery - including this week's £50m theft of
The Scream - is nowhere near as glitzy or as exciting as the gentleman
thief we see in the movies. Instead, art theft experts say the £3bn
booming black market is full of vicious thugs, callous sneak thieves and
Mafia-style organised gangs who threaten and assault guards and staff
and destroy priceless works in the raids. Rather than filling the walls
of reclusive millionaires, or stolen to order for obsessive rich
collectors, most major stolen paintings are used as underworld currency
for drug or gun deals, or simply held for ransom by money-hungry crooks.
That is the likely fate of Edvard Munch's The Scream, stolen from
------------------------------------------------
RAIDERS OF THE LOST ART Aug 24 2004
By Brian Mciver
<<IT'S the seemingly glamorous life of crime, the glossy art thefts made
famous in films such as The Thomas Crown Affair and Entrapment. But the
reality of high stakes art robbery - including this week's £50m theft of
The Scream - is nowhere near as glitzy or as exciting as the gentleman
thief we see in the movies. Instead, art theft experts say the £3bn
booming black market is full of vicious thugs, callous sneak thieves and
Mafia-style organised gangs who threaten and assault guards and staff
and destroy priceless works in the raids. Rather than filling the walls
of reclusive millionaires, or stolen to order for obsessive rich
collectors, most major stolen paintings are used as underworld currency
for drug or gun deals, or simply held for ransom by money-hungry crooks.
That is the likely fate of Edvard Munch's The Scream, stolen from
Oslo's Munch Museum at the weekend, by a ruthless gang of thieves,
who may have actually damaged the iconic painting.
But the Norwegian robbery, where armed thieves simply ran into
the
museum, held up guards and visitors with guns and ripped the painting
and another Munch classic off the wall, are just the most recent
examples of an internationally booming trade. Experts say there is never
a Mr Big character behind the scenes, rarely a man on the inside, and
most tend to break in quite simply at night by disabling an alarm when
no-one is around, instead of the cinematic elaborate heists & strategies.
museum, held up guards and visitors with guns and ripped the painting
and another Munch classic off the wall, are just the most recent
examples of an internationally booming trade. Experts say there is never
a Mr Big character behind the scenes, rarely a man on the inside, and
most tend to break in quite simply at night by disabling an alarm when
no-one is around, instead of the cinematic elaborate heists & strategies.
Some of the most shocking art raids of all time include the theft of
the
Mona Lisa from The Louvre in Paris in 1911 - the work was recovered two
years later and the theft is cited as the main reason for its position
as the most famous painting inthe world. The biggest of all time was the
Isabella Stewart Gardner Museum robbery in Boston, 1990, where thieves
dressed as local cops walked in, handcuffed the guards and made off with
£300m worth of Rembrandts, Degas' and Vermeer paintings, including The
Concert. None of the works has ever been recovered and there is
currently a $5m dollar reward for information on the heist.
Mona Lisa from The Louvre in Paris in 1911 - the work was recovered two
years later and the theft is cited as the main reason for its position
as the most famous painting inthe world. The biggest of all time was the
Isabella Stewart Gardner Museum robbery in Boston, 1990, where thieves
dressed as local cops walked in, handcuffed the guards and made off with
£300m worth of Rembrandts, Degas' and Vermeer paintings, including The
Concert. None of the works has ever been recovered and there is
currently a $5m dollar reward for information on the heist.
One of the most audacious was the Asuncion robbery in Paraguay,
two
years ago. There, robbers rented a shop next door to the National Fine
Arts Museum and tunnelled 80 feet under ground to break in and steal
£500,000 worth of rare pieces.
years ago. There, robbers rented a shop next door to the National Fine
Arts Museum and tunnelled 80 feet under ground to break in and steal
£500,000 worth of rare pieces.
While most raids are money related, a £600,000 Chagall theft from
the
Jewish Museum in New York was from a political group demanding
Jewish Museum in New York was from a political group demanding
peace in Israel - but it was later discovered by a keen-eyed
postman
after the thieves put it in the mail to one other.
Stephane Breitwesser stole £1bn worth of art from a series of
European
museums, including the Louvre, to compile an art collection of his own.
After he was arrested, his mum dumped them in the canal and down her
waste disposal unit to hide the evidence.
museums, including the Louvre, to compile an art collection of his own.
After he was arrested, his mum dumped them in the canal and down her
waste disposal unit to hide the evidence.
The most recent example of art crime in Scotland was the shocking
raid
on the Duke of Buccleuch's Drumlanrig castle last year, when two crooks
stole Leonardo da Vinci's Madonna With The YARNwinder, in broad daylight
- a work said to be worth as much as £50m. Investigating officer DCI
Peter McAdam of Dumfries and Galloway Police said:
on the Duke of Buccleuch's Drumlanrig castle last year, when two crooks
stole Leonardo da Vinci's Madonna With The YARNwinder, in broad daylight
- a work said to be worth as much as £50m. Investigating officer DCI
Peter McAdam of Dumfries and Galloway Police said:
'The investigation is still
open.'
------------------------------------------------
------------------------------------------------
Mr. Memory : Am I Right Sir?
Art Neuendorffer
lyra
Aug 24, 2004, 3:00:08 PM8/24/04
to
Art Neuendorffer wrote
(excerpt)
John Buchan (1875-1940). The Thirty-nine Steps. 1915.
http://www.bartleby.com/149/
"I realised that I was bottled as sure as a pickled herring, and that
there was only one way out. I had to die. If my pursuers knew
I was dead they would go to sleep again."
reminds me of Kit Marlowe's dilemma!
"For miles I ran alongside a park wall, and in a break of the trees I
saw
a great castle."
to Whitney and Powys castles? I wonder if we'll ever know.
Art Neuendorffer
Aug 24, 2004, 6:44:25 PM8/24/04
to
> John Buchan (1875-1940). The Thirty-nine Steps.
1915.
> http://www.bartleby.com/149/
>
> "I realised that I was bottled as sure as a pickled herring, and
> that there was only one way out. I had to die. If my pursuers
> knew I was dead they would go to sleep again."
> http://www.bartleby.com/149/
>
> "I realised that I was bottled as sure as a pickled herring, and
> that there was only one way out. I had to die. If my pursuers
> knew I was dead they would go to sleep again."
"lyra" <mountai...@RockAthens.com>
wrote
> reminds me of Kit Marlowe's dilemma!
------------------------------------------------------
Shakespeare, Marlowe AND Greene all died after
a surfeit of eating & drinking with known compatriots:
Shakespeare, Marlowe AND Greene all died after
a surfeit of eating & drinking with known compatriots:
Harvey wrote in his _Foure Letters_ that he had
heard
that "a famous author" [i.e., Greene] was sick
"of a surfeit of pickle herring and Rhenish wine..."
that "a famous author" [i.e., Greene] was sick
"of a surfeit of pickle herring and Rhenish wine..."
Nashe replied: "I and one of my fellows, Will MonOX (Hast thou
never heard of him and his great dagger?) were in company with
him a month before he died, at that fatal banquet of Rhenish
wine and pickled herring (if thou wilt needs have it so)."
------------------------------------------------------
never heard of him and his great dagger?) were in company with
him a month before he died, at that fatal banquet of Rhenish
wine and pickled herring (if thou wilt needs have it so)."
------------------------------------------------------
John Buchan:
> "For miles I ran alongside a park wall, and
> in a break of the trees I saw a great castle."
"lyra" <mountai...@RockAthens.com>
wrote
> to Whitney and Powys castles? I wonder if we'll ever know.
Duke of Queensberry/Buccleuch's Drumlanrig castle
--------------------------------------------------------------------
http://landow.stg.brown.edu/victorian/decadence/wilde/wildebio.html
<<[Oscar Wilde] became increasingly aboveboard about his interest in
http://landow.stg.brown.edu/victorian/decadence/wilde/wildebio.html
<<[Oscar Wilde] became increasingly aboveboard about his interest in
homosexuality & Platonism. He met the charming but temperamental
Lord
Alfred Douglas ("Bosie"), then an undergraduate at Oxford, and began a
very close relationship with him. This continued for years, causing
Wilde to neglect family and Douglas to forget his studies, until Bosie's
father, Lord Queensberry -- inventor of the boxing regulations and
apparently a bit of a lunatic -- began to stalk harass our hero in
search of evidence with which he could persecute him. In 1895 Wilde sued
him for libel after receiving an accusatory note, and Queensberry began
to turn London inside out in a search for evidence to support his claim.
A number of Wilde's passionate letters to Bosie were already
circulating, and were used with several of Wilde's own works-and a
list of male child prostitutes that he kept company with-to defeat the
poet. Why Wilde began a libel suit that he was bound to loose seems
inexplicable. One suggestion is that the idea of a glorious fight
against English justice was a remnant of his Irish upbringing with a
revolutionary mother (Jullian, p.316). Following this disaster, Wilde
was defeated on sodomy charges with the same evidence. After the trial,
he was given several opportunities to flee the country, but did not.
Probably this was due to the high esteem in which he held SPERANZA
who told him that if he remained, she should stand behind him, but
that if he left she would disown him. He remained in prison until 1898,
and the humiliation led him to produce De Profundis, which was an
Apologia in the form of a bitter letter to Bosie. He also drew from his
experience to produce "The Ballad of Reading Gaol" and several articles
against the poor conditions in British prisons, one of which contributed
to the passing of a law to prevent the imprisonment of children.>>
---------------------------------------------------------------
Alfred Douglas ("Bosie"), then an undergraduate at Oxford, and began a
very close relationship with him. This continued for years, causing
Wilde to neglect family and Douglas to forget his studies, until Bosie's
father, Lord Queensberry -- inventor of the boxing regulations and
apparently a bit of a lunatic -- began to stalk harass our hero in
search of evidence with which he could persecute him. In 1895 Wilde sued
him for libel after receiving an accusatory note, and Queensberry began
to turn London inside out in a search for evidence to support his claim.
A number of Wilde's passionate letters to Bosie were already
circulating, and were used with several of Wilde's own works-and a
list of male child prostitutes that he kept company with-to defeat the
poet. Why Wilde began a libel suit that he was bound to loose seems
inexplicable. One suggestion is that the idea of a glorious fight
against English justice was a remnant of his Irish upbringing with a
revolutionary mother (Jullian, p.316). Following this disaster, Wilde
was defeated on sodomy charges with the same evidence. After the trial,
he was given several opportunities to flee the country, but did not.
Probably this was due to the high esteem in which he held SPERANZA
who told him that if he remained, she should stand behind him, but
that if he left she would disown him. He remained in prison until 1898,
and the humiliation led him to produce De Profundis, which was an
Apologia in the form of a bitter letter to Bosie. He also drew from his
experience to produce "The Ballad of Reading Gaol" and several articles
against the poor conditions in British prisons, one of which contributed
to the passing of a law to prevent the imprisonment of children.>>
---------------------------------------------------------------
John Buchan:
> "I swung through little old thatched villages, and over
> peaceful lowland streams, and past gardens blazing
> with HAWTHORN and yellow laburnum."
----------------------------------------------------------
HEN. VII.: Hawthorn bush
crowned(glass).
----------------------------------------------------------
In legend and folklore, the HAZEL, along with the apple
----------------------------------------------------------
In legend and folklore, the HAZEL, along with the apple
and HAWTHORN, is a tree
often found at the border
between the worlds where magical things may happen.
Parables of the Waste Land
3] The hostile Coranieid can be overcome by certain insects ....... the
fighting can be stopped by digging a pit in the very centre of Britain,
namely at Oxford, filling it with mead and covering it over with silk.
3] The hostile Coranieid can be overcome by certain insects ....... the
fighting can be stopped by digging a pit in the very centre of Britain,
namely at Oxford, filling it with mead and covering it over with silk.
The fighting dragons would fall into the pit, drink the mead and turn
into harmless pigs, when they could be safely gathered up in the
silk
and buried deep in the earth.
~~~~~~
4] Then comes Culhwch and Olwen /written down/ at least 100 years earlier in
C10th, which I will not retell fuller except that "hwch" means hog, while
Cul or Cu is a sun-title. And Olwen was guarded by /Ysbaddaden/ (a giant)
'Hawthorn', the original sleeping beauty of folk-lore behind her
thorn-hedge.Not only, but also A Black Witch daughter of the White Witch
from the Head of the Valley of Grief in the uplands of Hell. She gives as
much trouble as Twyrch Tryth, Chief Boar himself.
----------------------------------------------------------
Chaucer THE KNYGHTES TALE.
To make him there the garland that one weaves
Of woodbine leaves and of green hawthorn leaves.
And loud he sang within the sunlit sheen:
O May, with all thy flowers and all thy green,
To maken hym a gerland of the greves,
Were it of wodebynde or hawethorn-leves.
And loude he song ayeyn the sonne shene,
"May, with alle thy floures and thy grene,
--------------------------------------------------------------
A Midsummer Night's Dream Act 1, Scene 1
~~~~~~
4] Then comes Culhwch and Olwen /written down/ at least 100 years earlier in
C10th, which I will not retell fuller except that "hwch" means hog, while
Cul or Cu is a sun-title. And Olwen was guarded by /Ysbaddaden/ (a giant)
'Hawthorn', the original sleeping beauty of folk-lore behind her
thorn-hedge.Not only, but also A Black Witch daughter of the White Witch
from the Head of the Valley of Grief in the uplands of Hell. She gives as
much trouble as Twyrch Tryth, Chief Boar himself.
----------------------------------------------------------
Chaucer THE KNYGHTES TALE.
To make him there the garland that one weaves
Of woodbine leaves and of green hawthorn leaves.
And loud he sang within the sunlit sheen:
O May, with all thy flowers and all thy green,
To maken hym a gerland of the greves,
Were it of wodebynde or hawethorn-leves.
And loude he song ayeyn the sonne shene,
"May, with alle thy floures and thy grene,
--------------------------------------------------------------
A Midsummer Night's Dream Act 1, Scene 1
HELENA Call you me fair? that fair again
unsay.
Demetrius loves your fair: O happy fair!
Your eyes are lode-stars; and your tongue's sweet air
More tuneable than lark to shepherd's ear,
When wheat is green, when HAWTHORN buds appear.
Demetrius loves your fair: O happy fair!
Your eyes are lode-stars; and your tongue's sweet air
More tuneable than lark to shepherd's ear,
When wheat is green, when HAWTHORN buds appear.
Act 3, Scene 1
QUINCE Pat, pat; and here's a marvellous convenient
place
for our rehearsal. This green plot shall be our
stage, this HAWTHORN-brake our tiring-house; and we
will do it in action as we will do it before the duke.
--------------------------------------------------------------
The Merry Wives of Windsor Act 3, Scene 3
for our rehearsal. This green plot shall be our
stage, this HAWTHORN-brake our tiring-house; and we
will do it in action as we will do it before the duke.
--------------------------------------------------------------
The Merry Wives of Windsor Act 3, Scene 3
FALSTAFF What made me love thee?
let that persuade thee
there's something extraordinary in thee. Come, I
cannot cog and say thou art this and that, like a
many of these lisping HAWTHORN-buds, that come like
women in men's apparel, and smell like Bucklersbury
in simple time; I cannot: but I love thee; none
but thee; and thou deservest it.
--------------------------------------------------------------
King Lear Act 3, Scene 4
there's something extraordinary in thee. Come, I
cannot cog and say thou art this and that, like a
many of these lisping HAWTHORN-buds, that come like
women in men's apparel, and smell like Bucklersbury
in simple time; I cannot: but I love thee; none
but thee; and thou deservest it.
--------------------------------------------------------------
King Lear Act 3, Scene 4
EDGAR Away! the foul fiend follows
me!
Through the sharp HAWTHORN blows the cold wind.
Hum! go to thy cold bed, and warm thee.
Through the sharp HAWTHORN blows the cold wind.
Hum! go to thy cold bed, and warm thee.
EDGAR A serving-man, proud in heart and mind; that curled
my hair; wore gloves in my cap; served the lust of
my mistress' heart, and did the act of darkness with
her; swore as many oaths as I spake words, and
broke them in the sweet face of heaven: one that
slept in the contriving of lust, and waked to do it:
wine loved I deeply, dice dearly: and in woman
out-paramoured the Turk: false of heart, light of
ear, bloody of hand; hog in sloth, fox in stealth,
wolf in greediness, dog in madness, lion in prey.
Let not the creaking of shoes nor the rustling of
silks betray thy poor heart to woman: keep thy foot
out of brothels, thy hand out of plackets, thy pen
from lenders' books, and defy the foul fiend.
Still through the HAWTHORN blows the cold wind:
Says suum, mun, ha, no, nonny.
Dolphin my boy, my boy, sessa! let him trot by.
--------------------------------------------------------------
King Henry VI, Part iii Act 2, Scene 5
KING HENRY VI O God! methinks it were a happy
life,
To be no better than a homely swain;
To sit upon a hill, as I do now,
To carve out dials quaintly, point by point,
Thereby to see the minutes how they run,
How many make the hour full complete;
How many hours bring about the day;
How many days will finish up the year;
How many years a mortal man may live.
When this is known, then to divide the times:
So many hours must I tend my flock;
So many hours must I take my rest;
So many hours must I contemplate;
So many hours must I sport myself;
So many days my ewes have been with young;
So many weeks ere the poor fools will ean:
So many years ere I shall shear the fleece:
So minutes, hours, days, months, and years,
Pass'd over to the end they were created,
Would bring white hairs unto a quiet grave.
Ah, what a life were this! how sweet! how lovely!
Gives not the HAWTHORN-bush a sweeter shade
To shepherds looking on their silly sheep,
Than doth a rich embroider'd canopy
To kings that fear their subjects' treachery?
--------------------------------------------------
Art Neuendorffer
To be no better than a homely swain;
To sit upon a hill, as I do now,
To carve out dials quaintly, point by point,
Thereby to see the minutes how they run,
How many make the hour full complete;
How many hours bring about the day;
How many days will finish up the year;
How many years a mortal man may live.
When this is known, then to divide the times:
So many hours must I tend my flock;
So many hours must I take my rest;
So many hours must I contemplate;
So many hours must I sport myself;
So many days my ewes have been with young;
So many weeks ere the poor fools will ean:
So many years ere I shall shear the fleece:
So minutes, hours, days, months, and years,
Pass'd over to the end they were created,
Would bring white hairs unto a quiet grave.
Ah, what a life were this! how sweet! how lovely!
Gives not the HAWTHORN-bush a sweeter shade
To shepherds looking on their silly sheep,
Than doth a rich embroider'd canopy
To kings that fear their subjects' treachery?
--------------------------------------------------
Art Neuendorffer
Greg Reynolds
Aug 25, 2004, 12:19:47 AM8/25/04
to
Art Neuendorffer wrote:
Something's missing alright.
Something's missing alright.
Something's missing alright.
Art Neuendorffer
Aug 25, 2004, 7:29:06 AM8/25/04
to
--------------------------------------------------------
> Art Neuendorffer wrote:
>
> > [Screaming out to Mr. MEMORY at the Music Hall]
> Art Neuendorffer wrote:
>
> > [Screaming out to Mr. MEMORY at the Music Hall]
> > Richard Hannay : What are The 39 Steps?
> >
> > Mr.
MEMORY : Am I Right Sir?
> >
> > Mr. MEMORY : The 39 Steps is an organization of spies
> >
> > Mr. MEMORY : The 39 Steps is an organization of spies
> > collecting information on behalf of the foreign office of...
> > [interrupted by gunshot, collapses]
-------------------------------------------------------
To the MEMORY of my beloved,
The Author
MR. W I L L I A M S H A K E S P E A R E :
A N D
what he hath left us.
To the MEMORY of my beloved,
The Author
MR. W I L L I A M S H A K E S P E A R E :
A N D
what he hath left us.
----------------------------------------------------------
(To the m)[-eMOry OF my beLOVED]
(To them) [my OM, by FO(DEVere)OL-]
(To the m)[-eMOry OF my beLOVED]
(To them) [my OM, by FO(DEVere)OL-]
----------------------------------------------------------
Who would not scorn, and SHAKE
them from the fist,
And let them fly, fair FOOLs, which way they list?
And let them fly, fair FOOLs, which way they list?
Yet for disport we fawn and flatter both,
To pass the time when nothing else can please;
And train them to our lure with subtle oath
Till, weary of their wiles, ourselves we ease;
And then we say, when we their fancy try,
To play with FOOLs, oh, what a FOOL was I!
To pass the time when nothing else can please;
And train them to our lure with subtle oath
Till, weary of their wiles, ourselves we ease;
And then we say, when we their fancy try,
To play with FOOLs, oh, what a FOOL was I!
--Edward
De Vere, Earl of Oxford
--------------------------------------------------------
> Art Neuendorffer wrote:
>
> > -----------------------------------------------------
> > Spenser dedication in Fairie Queene (1590):
> > ------------------------------------------------------
> > To the right Honourable the Earle of Oxenford,
> > Lord high Chamberlayne of England. &c.
> >
> > Defended from foule *ENUIES* poisnous bit.
> >
> > (W)hich so to doe may thee right well befit,
> > (S)ith th'antique glory of thine auncestry
> >
> > *Vnder a shady VELE is therein writ* ,
> >
> > And eke thine owne long *liuing MEMORY* ,
> > Succeeding them in TRUE nobility: -- E.S.
------------------------------------------------------------
VERO-NI(ca)'S VEIL
VERO-NIL VE(r)I(u)S
-----------------------------------------------------------
VOILE SURVENIR: VEIL TO OCCUR . . .
"NIL VERO-VERIUS"
VOILER UNIVERS: TO VEIL UNIVERSE.
----------------------------------------------------------------------
ENVOI LIVREURS: SENDING DELIVERYMEN . . .
"NIL VERO-VERIUS"
LIVRE SOUVENIR: TO DELIVER MEMORY.
--------------------------------------------------------------------
VERO-NI(ca)'S VEIL
VERO-NIL VE(r)I(u)S
-----------------------------------------------------------
VOILE SURVENIR: VEIL TO OCCUR . . .
"NIL VERO-VERIUS"
VOILER UNIVERS: TO VEIL UNIVERSE.
----------------------------------------------------------------------
ENVOI LIVREURS: SENDING DELIVERYMEN . . .
"NIL VERO-VERIUS"
LIVRE SOUVENIR: TO DELIVER MEMORY.
--------------------------------------------------------------------
> > Mr. MEMORY : Am I
Right Sir?
"Greg Reynolds" <eve...@core.com> wrote
> Something's missing alright.
------------------------------------------------
"Greg Reynolds" <eve...@core.com> wrote
> Something's missing alright.
------------------------------------------------
I suffer from Schizophrenia
It COMES on me in spells
Sometimes I'm King of Armenia
At others I'm Orson Welles.
I tell them I'm Napoleon
and all that sort of bunk
They nEVER guess that all the time
I'm laughing up me trunk!
I'm an IntrOVERtED Elephocentric Hypochondriac,
And I'll stick in the Elephants' nursing home
Till I get me MEMORY back!
Tra-tiddle-tumty-tumty tra-tiddletum!
Practising me trumpet half the night,
Tra-tiddle-tumty-tumty tra-tiddletum!
And I'll stick in the Elephants' nursing home
Till I get me MEMORY, get me MEMORY, get me MEMORY back!
-----------------------------------------------
One of the original three Greek MUSEs,
MNEME is the MUSE of MEMORY
------------------------------------------------------
TOT HEONL IEBE
GET TEROF THES
EIN SVING S ONN
ETS [M] R WHA L LHA
__ PPI [N] E SS E A NDT
- HAT [E] T ER N I TIE
PRO [M] I SE D B YOV
_ REV [E] R LI V I NGP
OET WISH E [T] HTH
EWE - LLWI [S.] [H] ING
ADV ENTV [R.] [E] RIN
- SET __ TING [F.] [O] RTH
--------------------------------------------------------------
1742 Pope: "Who study Shakespeare at the Inns of Court,
Impale a glow-WORM, or VERtù profess,
SHINE in the dignity of F. R. S.,
Some, DEEP FREE-Masons, join the silent race,
Worthy to fill PYTHAGORAS's place"
It COMES on me in spells
Sometimes I'm King of Armenia
At others I'm Orson Welles.
I tell them I'm Napoleon
and all that sort of bunk
They nEVER guess that all the time
I'm laughing up me trunk!
I'm an IntrOVERtED Elephocentric Hypochondriac,
And I'll stick in the Elephants' nursing home
Till I get me MEMORY back!
Tra-tiddle-tumty-tumty tra-tiddletum!
Practising me trumpet half the night,
Tra-tiddle-tumty-tumty tra-tiddletum!
And I'll stick in the Elephants' nursing home
Till I get me MEMORY, get me MEMORY, get me MEMORY back!
-----------------------------------------------
One of the original three Greek MUSEs,
MNEME is the MUSE of MEMORY
------------------------------------------------------
TOT HEONL IEBE
GET TEROF THES
EIN SVING S ONN
ETS [M] R WHA L LHA
__ PPI [N] E SS E A NDT
- HAT [E] T ER N I TIE
PRO [M] I SE D B YOV
_ REV [E] R LI V I NGP
OET WISH E [T] HTH
EWE - LLWI [S.] [H] ING
ADV ENTV [R.] [E] RIN
- SET __ TING [F.] [O] RTH
--------------------------------------------------------------
1742 Pope: "Who study Shakespeare at the Inns of Court,
Impale a glow-WORM, or VERtù profess,
SHINE in the dignity of F. R. S.,
Some, DEEP FREE-Masons, join the silent race,
Worthy to fill PYTHAGORAS's place"
--------------------------------------------------------
> From fairest creatures we desire
increase
> That thereby beauty's rose might nEVER die,
> But, as the riper should by time decease,
> His tender HEIR might bear his MEMORY.
> That thereby beauty's rose might nEVER die,
> But, as the riper should by time decease,
> His tender HEIR might bear his MEMORY.
------------------------------------------------------
The peece of tender Ayre, thy vertuous
Daughter,
Which we call MOLLIS AER, and MOLLIS AER
Which we call MOLLIS AER, and MOLLIS AER
We terme it MULIER; which MULIER I
diuine
Is this most constant Wife, who euen now
Answering the Letter of the Oracle,
Vnknowne to you vnsought, were clipt about
With this most tender Aire.
Is this most constant Wife, who euen now
Answering the Letter of the Oracle,
Vnknowne to you vnsought, were clipt about
With this most tender Aire.
-------------------------------------------------------------------
"Leaving *NO HEIR*begotten of his body" -- Henry VI Part 1
-------------------------------------------------------------------
Milton(1630): <<Dear son of MEMORY, great *HEIR of FAME*
What need'st thou such weak witness of thy name?>>
"Leaving *NO HEIR*begotten of his body" -- Henry VI Part 1
-------------------------------------------------------------------
Milton(1630): <<Dear son of MEMORY, great *HEIR of FAME*
What need'st thou such weak witness of thy name?>>
T O T H/E/ O /N/ LIEB/E/G E TTER ____*oF* THES /E/ IN
\S\U I N/G/ S- /O/ NNET/ /MrW \H\ ALLH _*A* PPI /N/ ESS
\E\A N/D/ T /H/ ATET/E/RNITI _ \E\ PRO_ *M* IS /E/ DBYO
\U\R/E/ V /E/ RLIV/I/NGPOETW_ \I\ _SH_ *E* T /H/ THEWE
\L L/ W /I/ SHIN/G/ADVENTURE \R\ IN ____ /S/ ETTING
\F/ O /R/ TH
\S\U I N/G/ S- /O/ NNET/ /MrW \H\ ALLH _*A* PPI /N/ ESS
\E\A N/D/ T /H/ ATET/E/RNITI _ \E\ PRO_ *M* IS /E/ DBYO
\U\R/E/ V /E/ RLIV/I/NGPOETW_ \I\ _SH_ *E* T /H/ THEWE
\L L/ W /I/ SHIN/G/ADVENTURE \R\ IN ____ /S/ ETTING
\F/ O /R/ TH
Robert Dudley born: Surrey 24th June, 1532 at *SHENE*
Oxford dies: [St.John's Day] 24th June, 1604
-----------------------------------------------------
CYRANO: Look you, it was my life
To be the prompter EVERy one forgets!
. . .
There was the allegory of my whole life:
I, in the shadow, at the ladder's foot,
While others lightly mount to Love and Fame!
Just! VERy just! Here on the threshold drear
Of death, I pay my tribute with the rest,
To MOLIERE's genius,--Christian's fair face!
Oxford dies: [St.John's Day] 24th June, 1604
-----------------------------------------------------
CYRANO: Look you, it was my life
To be the prompter EVERy one forgets!
. . .
There was the allegory of my whole life:
I, in the shadow, at the ladder's foot,
While others lightly mount to Love and Fame!
Just! VERy just! Here on the threshold drear
Of death, I pay my tribute with the rest,
To MOLIERE's genius,--Christian's fair face!
-------------------------------------------------
_Molière : A Theatrical Life_ by Virginia Scott
"There are no letters or documents in Molière's hand."
-------------------------------------------------
CYRANO: Ragueneau ne pleure pas si fort!. . .
(Il lui tend la main):
Qu'est-ce que tu deviens, maintenant, mon confrère?
RAGUENEAU (à travers ses larmes):
Je suis moucheur de. . .de. . .chandelles, chez Molière.
CYRANO: Molière!
RAGUENEAU: Mais je veux le quitter, dès demain:
Oui, je suis indigné!. . .Hier, on jouer Scapin,
Et j'ai vu qu'il vous a pris une scène!
LE BRET: Entière!
RAGUENEAU: Oui, Monsieur, le fameux: 'Que Diable allait-il faire?. . .'
LE BRET (furieux): Molière te l'a pris!
CYRANO: Chut! chut! Il a bien fait!. . .
(A Ragueneau): La scène, n'est-ce pas, produit beaucoup d'effet?
RAGUENEAU (sanglotant): Ah! Monsieur, on riait! on riait!
CYRANO: Oui, ma vie
Ce fut d'être celui qui souffle--et qu'on oublie!
(A Roxane): Vous souvient-il du soir où Christian vous parla
Sous le balcon? Eh bien! toute ma vie est là:
Pendant que je restais en bas, dans l'ombre noire,
D'autres montaient cueillir le baiser de la gloire!
C'est justice, et j'approuve au seuil de mon tombeau:
Molière a du génie et Christian était beau!
---------------------------------------------------------------
http://www.guice.org/bklvf-05.html
<<Encased in heavy armor, his face invisible behind the closed visor of
his helmet which is crowned with a winged *HEART* encircled by a wreath
of pansies (amoureuses pensees or loving thoughts) , his shield bearing
a devise of three fotget-me-nots, Cueur carries gifts ( dons ) on
the sharp point of his *CYPRESS*-wood lance, with which to conquer
the enemies of LOVE. He rides the steed Candor ( Franc Vouloir )
spurred on by LOVE's remembrance (d'amoureux SOUVENIR ).
The horse's saddlecloth is embroidered with winged *HEARTs*.>>
----------------------------------------------------------------
Art Neuendorffer
_Molière : A Theatrical Life_ by Virginia Scott
"There are no letters or documents in Molière's hand."
-------------------------------------------------
CYRANO: Ragueneau ne pleure pas si fort!. . .
(Il lui tend la main):
Qu'est-ce que tu deviens, maintenant, mon confrère?
RAGUENEAU (à travers ses larmes):
Je suis moucheur de. . .de. . .chandelles, chez Molière.
CYRANO: Molière!
RAGUENEAU: Mais je veux le quitter, dès demain:
Oui, je suis indigné!. . .Hier, on jouer Scapin,
Et j'ai vu qu'il vous a pris une scène!
LE BRET: Entière!
RAGUENEAU: Oui, Monsieur, le fameux: 'Que Diable allait-il faire?. . .'
LE BRET (furieux): Molière te l'a pris!
CYRANO: Chut! chut! Il a bien fait!. . .
(A Ragueneau): La scène, n'est-ce pas, produit beaucoup d'effet?
RAGUENEAU (sanglotant): Ah! Monsieur, on riait! on riait!
CYRANO: Oui, ma vie
Ce fut d'être celui qui souffle--et qu'on oublie!
(A Roxane): Vous souvient-il du soir où Christian vous parla
Sous le balcon? Eh bien! toute ma vie est là:
Pendant que je restais en bas, dans l'ombre noire,
D'autres montaient cueillir le baiser de la gloire!
C'est justice, et j'approuve au seuil de mon tombeau:
Molière a du génie et Christian était beau!
---------------------------------------------------------------
http://www.guice.org/bklvf-05.html
<<Encased in heavy armor, his face invisible behind the closed visor of
his helmet which is crowned with a winged *HEART* encircled by a wreath
of pansies (amoureuses pensees or loving thoughts) , his shield bearing
a devise of three fotget-me-nots, Cueur carries gifts ( dons ) on
the sharp point of his *CYPRESS*-wood lance, with which to conquer
the enemies of LOVE. He rides the steed Candor ( Franc Vouloir )
spurred on by LOVE's remembrance (d'amoureux SOUVENIR ).
The horse's saddlecloth is embroidered with winged *HEARTs*.>>
----------------------------------------------------------------
Art Neuendorffer
Chess One
Aug 25, 2004, 12:12:54 PM8/25/04
to
The peece of tender Ayre, thy vertuous Daughter,
Which we call MOLLIS AER, and MOLLIS AER
We terme it MULIER; which MULIER I diuine
_________
MULIERE: A wife; a woman. [A.N.]
MULIERLIE BORNE: legitimately, Holinshed, Chron. Ireland, p. 133.
There are half a dozen other references with stem MUL~ some of which refer
to children [legitimate 'good' children]
but also two Somerset words, MULERE, a weasel, and MULLIN, Metheglin.
Additionally the word MULL occurs:
And these they fonde the cofre ful,
Sperd wyth the devyls mul.
/MS Harl. 1701, f. 41.
The word MULITER is [Shak]; muleteer, which I think he has adapted after
MULHARDE; a keeper of mules, which occurs in the Nominale MS. MULETT,
Archćologica, xxviii. 98.
___________
Is this most constant Wife, who euen now
Answering the Letter of the Oracle,
Vnknowne to you vnsought, were clipt about
With this most tender Aire.
-------------------------------------------------------------------
"Leaving *NO HEIR*begotten of his body" -- Henry VI Part 1
**> Yes: so a MULLING is a term of endearment applied to a little boy. [no
cit.]
Phil Innes
Dave Kathman
Aug 25, 2004, 2:40:15 PM8/25/04
to
I'm glad to see that your subject lines are starting to correspond to
the content of your posts, Art.
the content of your posts, Art.
Dave Kathman
dj...@ix.netcom.com
"Art Neuendorffer" <aneuendor...@comcast.net> wrote in message news:<Df6dnSyGOO3...@comcast.com>...
> PPI [N] E SS E A NDT
> - HAT [E] T ER N I TIE
> PRO [M] I SE D B YOV
> REV [E] R LI V I NGP
> OET WISH E [T] HTH
> EWE - LLWI [S.] [H] ING
> ADV ENTV [R.] [E] RIN
> - SET TING [F.] [O] RTH
> --------------------------------------------------------------
> 1742 Pope: "Who study Shakespeare at the Inns of Court,
> Impale a glow-WORM, or VERt profess,
> SHINE in the dignity of F. R. S.,
> Some, DEEP FREE-Masons, join the silent race,
> Worthy to fill PYTHAGORAS's place"
>
> --------------------------------------------------------
> > From fairest creatures we desire increase
> > That thereby beauty's rose might nEVER die,
> > But, as the riper should by time decease,
> > His tender HEIR might bear his MEMORY.
> ------------------------------------------------------
> The peece of tender Ayre, thy vertuous Daughter,
> Which we call MOLLIS AER, and MOLLIS AER
> We terme it MULIER; which MULIER I diuine
> Is this most constant Wife, who euen now
> Answering the Letter of the Oracle,
> Vnknowne to you vnsought, were clipt about
> With this most tender Aire.
> -------------------------------------------------------------------
> "Leaving *NO HEIR*begotten of his body" -- Henry VI Part 1
> -------------------------------------------------------------------
> Milton(1630): <<Dear son of MEMORY, great *HEIR of FAME*
> What need'st thou such weak witness of thy name?>>
>
> T O T H/E/ O /N/ LIEB/E/G E TTER *oF* THES /E/ IN
> \S\U I N/G/ S- /O/ NNET/ /MrW \H\ ALLH *A* PPI /N/ ESS
> \E\A N/D/ T /H/ ATET/E/RNITI \E\ PRO *M* IS /E/ DBYO
> \U\R/E/ V /E/ RLIV/I/NGPOETW \I\ SH *E* T /H/ THEWE
> \L L/ W /I/ SHIN/G/ADVENTURE \R\ IN /S/ ETTING
> \F/ O /R/ TH
>
> Robert Dudley born: Surrey 24th June, 1532 at *SHENE*
> Oxford dies: [St.John's Day] 24th June, 1604
> -----------------------------------------------------
> CYRANO: Look you, it was my life
> To be the prompter EVERy one forgets!
> . . .
> There was the allegory of my whole life:
> I, in the shadow, at the ladder's foot,
> While others lightly mount to Love and Fame!
> Just! VERy just! Here on the threshold drear
> Of death, I pay my tribute with the rest,
> To MOLIERE's genius,--Christian's fair face!
> -------------------------------------------------
> Moli re : A Theatrical Life by Virginia Scott
>
> "There are no letters or documents in Moli re's hand."
> -------------------------------------------------
> CYRANO: Ragueneau ne pleure pas si fort!. . .
> (Il lui tend la main):
> Qu'est-ce que tu deviens, maintenant, mon confr re?
>
> RAGUENEAU ( travers ses larmes):
> Je suis moucheur de. . .de. . .chandelles, chez Moli re.
>
> CYRANO: Moli re!
>
> RAGUENEAU: Mais je veux le quitter, d s demain:
> Oui, je suis indign !. . .Hier, on jouer Scapin,
> Et j'ai vu qu'il vous a pris une sc ne!
>
> LE BRET: Enti re!
>
> RAGUENEAU: Oui, Monsieur, le fameux: 'Que Diable allait-il faire?. . .'
>
> LE BRET (furieux): Moli re te l'a pris!
>
> CYRANO: Chut! chut! Il a bien fait!. . .
> (A Ragueneau): La sc ne, n'est-ce pas, produit beaucoup d'effet?
>
> RAGUENEAU (sanglotant): Ah! Monsieur, on riait! on riait!
>
> CYRANO: Oui, ma vie
> Ce fut d' tre celui qui souffle--et qu'on oublie!
> (A Roxane): Vous souvient-il du soir o Christian vous parla
> Sous le balcon? Eh bien! toute ma vie est l :
> Pendant que je restais en bas, dans l'ombre noire,
> D'autres montaient cueillir le baiser de la gloire!
> C'est justice, et j'approuve au seuil de mon tombeau:
> Moli re a du g nie et Christian tait beau!
> ---------------------------------------------------------------
> http://www.guice.org/bklvf-05.html
>
> <<Encased in heavy armor, his face invisible behind the closed visor of
> his helmet which is crowned with a winged *HEART* encircled by a wreath
> of pansies (amoureuses pensees or loving thoughts) , his shield bearing
> a devise of three fotget-me-nots, Cueur carries gifts ( dons ) on
> the sharp point of his *CYPRESS*-wood lance, with which to conquer
> the enemies of LOVE. He rides the steed Candor ( Franc Vouloir )
> spurred on by LOVE's remembrance (d'amoureux SOUVENIR ).
> The horse's saddlecloth is embroidered with winged *HEARTs*.>>
> ----------------------------------------------------------------
> Art Neuendorffer
> --
Elizabeth Weir
Aug 25, 2004, 6:19:52 PM8/25/04
to
"Art Neuendorffer" <aneuendor...@comcast.net> wrote
> ------------------------------------------------------------
> VERO-NI(ca)'S VEIL
> VERO-NIL VE(r)I(u)S
> -----------------------------------------------------------
> VERO-NI(ca)'S VEIL
> VERO-NIL VE(r)I(u)S
> -----------------------------------------------------------
Speaking as a descendant of the third Earl of Oxford,
stop fucking with our family motto.
> VOILE SURVENIR: VEIL TO OCCUR . . .
> "NIL VERO-VERIUS"
> VOILER UNIVERS: TO VEIL UNIVERSE.
> ----------------------------------------------------------------------
> ENVOI LIVREURS: SENDING DELIVERYMEN . . .
> "NIL VERO-VERIUS"
> LIVRE SOUVENIR: TO DELIVER MEMORY.
> --------------------------------------------------------------------
Best regards,
Elizabeth VVeir
biancas842001
Aug 25, 2004, 6:29:08 PM8/25/04
to
dj...@ix.netcom.com (Dave Kathman) wrote in message news:<12f70862.04082...@posting.google.com>...
> I'm glad to see that your subject lines are starting to correspond to
> the content of your posts, Art.
Oh, that academic sense of humor!
----
Bianca S.
>
> Dave Kathman
> dj...@ix.netcom.com
>
> "Art Neuendorffer" <aneuendor...@comcast.net> wrote in message news:<Df6dnSyGOO3...@comcast.com>...
> > --------------------------------------------------------
> > > Art Neuendorffer wrote:
[snip]
Art Neuendorffer
Aug 25, 2004, 8:28:35 PM8/25/04
to
> "Art Neuendorffer" <aneuendor...@comcast.net>
wrote
------------------------------------------------------------
VERO-NI(ca)'S VEIL
VERO-NIL VE(r)I(u)S
-----------------------------------------------------------
------------------------------------------------------------
VERO-NI(ca)'S VEIL
VERO-NIL VE(r)I(u)S
-----------------------------------------------------------
VOILE
SURVENIR:
VEIL TO OCCUR . . .
"NIL VERO-VERIUS"
VOILER UNIVERS: TO VEIL UNIVERSE.
----------------------------------------------------------------------
ENVOI LIVREURS: SENDING DELIVERYMEN . . .
"NIL VERO-VERIUS"
LIVRE SOUVENIR: TO DELIVER MEMORY.
--------------------------------------------------------------------
"NIL VERO-VERIUS"
VOILER UNIVERS: TO VEIL UNIVERSE.
----------------------------------------------------------------------
ENVOI LIVREURS: SENDING DELIVERYMEN . . .
"NIL VERO-VERIUS"
LIVRE SOUVENIR: TO DELIVER MEMORY.
--------------------------------------------------------------------
"Elizabeth
Weir" <elizabe...@mail.com> wrote
> Speaking as a descendant of the third Earl of Oxford,
> stop fucking with our family motto.
Be Moderate, Elizabeth, be Moderate
------------------------------------------------------
Troilus and Cressida (Quarto) Act 4, Scene 4
Enter Pandarus and Cresseida.
Pandarus: Be Moderate, be
Moderate
Cresseida. Why tell you me of Moderation?
The greife is fine, full, perfect that I taste,
And violenteth in a sence as strong
As that which causeth it, how can I Moderate it?
The greife is fine, full, perfect that I taste,
And violenteth in a sence as strong
As that which causeth it, how can I Moderate it?
----------------------------------------------------------------
http://www.sirbacon.org/harneroxford.htm
<<In Satire 4, MAR-STON defends various authors whom
Joseph Hall had attacked, and without actually naming LABEO:
http://www.sirbacon.org/harneroxford.htm
<<In Satire 4, MAR-STON defends various authors whom
Joseph Hall had attacked, and without actually naming LABEO:
What, NOT
MEDIOCA
FIRMA from thy spite!
["MEDIOCriA
FIRMA" is the motto on Bacon's coat of
arms].>>
-----------------------------------------------------------
"MEDIOCriA FIRMA"
"MEDIOCA
FIRMA" ri [Bacon laughed]
Mediocrity is safe
Moderation is stable
Moderate things are surest.
'the middle ground is best'.
the way of harmony, peace & brotherhood
----------------------------------------------------
Moderation is stable
Moderate things are surest.
'the middle ground is best'.
the way of harmony, peace & brotherhood
----------------------------------------------------
"MArTiN
(d)rOeSHOUT"
"SOUTHAM(p)TON rire"
---------------------------------------------------
"SOUTHAM(p)TON rire"
---------------------------------------------------
Art Neuendorffer
Art Neuendorffer
Aug 25, 2004, 10:08:03 PM8/25/04
to
"Dave Kathman" <dj...@ix.netcom.com> wrote
> I'm glad to see that your subject lines are starting
> to correspond to the content of your posts, Art.
---------------------------------------------------------
Measure for Measure Act 2, Scene 2
ISABELLA: So you must be the first that gives this sentence,
And he, that SUFFER's. O, it is excellent
To have a GIANT's strength; but it is tyrannous
To use it like a GIANT.
Act 3, Scene 1
ISABELLA: The sense of death is most in apprehension;
And the poor beetle, that we tread upon,
In corporal SUFFERANCE finds a pang as great
As when a GIANT dies.
---------------------------------------------------------
The Greek verb "ODUSSOMAI" associated with
Odysseus' name can mean "to SUFFER or receive pain."
------------------------------------------------------------
What reminiscences of a human subject SUFFERing from
progressive melancholia did these objects evoke in Bloom?
An old man, widower, unKEMPt of hair, in bed, with head covered,
sighing: an infirm dog, Athos: aconite, resorted to by increasing
doses of grains and scruples as a palliative of recrudescent
neuralgia: the face in death of a septuagenarian, suicide by poison.
-------------------------------------------------------------
_GORGIAS_ by Plato (370 BC)
translated by Benjamin Jowett
Measure for Measure Act 2, Scene 2
ISABELLA: So you must be the first that gives this sentence,
And he, that SUFFER's. O, it is excellent
To have a GIANT's strength; but it is tyrannous
To use it like a GIANT.
Act 3, Scene 1
ISABELLA: The sense of death is most in apprehension;
And the poor beetle, that we tread upon,
In corporal SUFFERANCE finds a pang as great
As when a GIANT dies.
---------------------------------------------------------
The Greek verb "ODUSSOMAI" associated with
Odysseus' name can mean "to SUFFER or receive pain."
------------------------------------------------------------
What reminiscences of a human subject SUFFERing from
progressive melancholia did these objects evoke in Bloom?
An old man, widower, unKEMPt of hair, in bed, with head covered,
sighing: an infirm dog, Athos: aconite, resorted to by increasing
doses of grains and scruples as a palliative of recrudescent
neuralgia: the face in death of a septuagenarian, suicide by poison.
-------------------------------------------------------------
_GORGIAS_ by Plato (370 BC)
translated by Benjamin Jowett
Soc. You see, Polus, when you compare the two kinds of refutations,
how
unlike they are. All men, with the exception of myself, are of your way
of thinking; but your single assent and witness are enough for me-I have
no need of any other, I take your suffrage, and am regardless of the
rest. Enough of this, and now let us proceed to the next question; which
is, Whether the greatest of evils to a guilty man is to suffer
punishment, as you supposed, or whether to escape punishment is not a
greater evil, as I supposed. Consider:-You would say that to suffer
punishment is another name for being justly corrected when you do wrong?
----------------------------------------------------------------
Gabriel Harvey and the Genesis of "William Shakespeare"
by Andrew Hannas
http://www.sourcetext.com/sourcebook/essays/harvey.html
<<Harvey's epithet for Cecil, "Polus",
sounded half a dozen times in his 1578 toast to Cecil, literally
of course referring to the central pole or axis on which the earth
turns, but for an ear tuned to the Greek of Plato also the name
of the blustering, sycophantic protege of the sophist Gorgias,
whom Socrates mocks in the Gorgias much the way
unlike they are. All men, with the exception of myself, are of your way
of thinking; but your single assent and witness are enough for me-I have
no need of any other, I take your suffrage, and am regardless of the
rest. Enough of this, and now let us proceed to the next question; which
is, Whether the greatest of evils to a guilty man is to suffer
punishment, as you supposed, or whether to escape punishment is not a
greater evil, as I supposed. Consider:-You would say that to suffer
punishment is another name for being justly corrected when you do wrong?
----------------------------------------------------------------
Gabriel Harvey and the Genesis of "William Shakespeare"
by Andrew Hannas
http://www.sourcetext.com/sourcebook/essays/harvey.html
<<Harvey's epithet for Cecil, "Polus",
sounded half a dozen times in his 1578 toast to Cecil, literally
of course referring to the central pole or axis on which the earth
turns, but for an ear tuned to the Greek of Plato also the name
of the blustering, sycophantic protege of the sophist Gorgias,
whom Socrates mocks in the Gorgias much the way
Hamlet does Polonius (literally "colt" in Greek, polos,
punned on polios, "gray", also befitting Cecil).>>
-----------------------------------------------------------------
punned on polios, "gray", also befitting Cecil).>>
-----------------------------------------------------------------
probability of *TALOS*
(Greek: "SUFFERER") ~
1/1,235
[T]o life againe, to heare thy BUSKIN [ANKLE] tread,
[A]nd SHAKE a stage : Or, when thy SOCKES were on,
[L]eave thee alone, for the comparison
[O]f all, that INSOLENT GREECE, or haughtie Rome
[S]ent forth, or since did from their ashes come.
---------------------------------------------------------
<<In GREEK mythology, TALOS was a man of [BRASS],
the work of Hephaestos (Vulcan), who went round
the island of CRETE thrice a day. Whenever he saw
a stranger draw near the island he either threw boulders
at them or he made himself red-hot, and embraced the stranger.
When Jason & the Argonauts escaped to CRETE with the Golden
Fleece Medea was able to remove the plug on TALOS' ANKLE
such that the ICHOR, his life force, FLOWED out of him.>>
------------------------------------------------------
http://www.sirbacon.org/harneroxford.htm
http://www.sirbacon.org/harneroxford.htm
<<In the Fourth Book, Satire I:
LABEO is
whip't and laughs me in the face.
Why? For I smite and hide the galled place,
Gird but the Cynicks Helmet on his head,
Cares he for TALUS or his flayle of lead?
Long as the craftie Cuttle lieth sure
In the black cloud of his thick vomiture;
Who list complaine of wronged faith or fame
When he may shift it on to another name?
Why? For I smite and hide the galled place,
Gird but the Cynicks Helmet on his head,
Cares he for TALUS or his flayle of lead?
Long as the craftie Cuttle lieth sure
In the black cloud of his thick vomiture;
Who list complaine of wronged faith or fame
When he may shift it on to another name?
From this it is evident Hall is speaking of the "Honourable Order of
the Knights of the Helmet". This order was described in those famous
Christmas revels at Gray's Inn during the holiday season of 1594/1595
which are recorded in a publication titled "Gesta Grayorum".
Bacon was in charge of producing these revels.>>
the Knights of the Helmet". This order was described in those famous
Christmas revels at Gray's Inn during the holiday season of 1594/1595
which are recorded in a publication titled "Gesta Grayorum".
Bacon was in charge of producing these revels.>>
---------------------------------------------------------
TALUS: Latin for ANKLE
------------------------------------------------------------
<<In _Fairie Queene_ Edmund Spenser makes Sir Artegal's
iron man TALUS run continually round the island of CRETE
to chastise offenders with an iron flail. He represents
executive power- "SWift as a swallow & as lion strong.">>
--------------------------------------------------
"Terry Ross" <tr...@bcpl.net> wrote
TALUS: Latin for ANKLE
------------------------------------------------------------
<<In _Fairie Queene_ Edmund Spenser makes Sir Artegal's
iron man TALUS run continually round the island of CRETE
to chastise offenders with an iron flail. He represents
executive power- "SWift as a swallow & as lion strong.">>
--------------------------------------------------
"Terry Ross" <tr...@bcpl.net> wrote
> Spenser is a better bet for dragons and other fantastic
creatures,
> including TALUS, a forerunner of the Terminator:
>
> But when she parted hence, she left her groome
> An yron man, which did on her attend
> Alwayes, to execute her stedfast doome,
> And willed him with Artegall to wend,
> And doe what euer thing he did intend.
> His name was TALUS, made of yron mould,
> Immoueable, resistlesse, without end.
> Who in his hand an yron flale did hould,
> With which he thresht out falshood, and did truth vnfould.
> including TALUS, a forerunner of the Terminator:
>
> But when she parted hence, she left her groome
> An yron man, which did on her attend
> Alwayes, to execute her stedfast doome,
> And willed him with Artegall to wend,
> And doe what euer thing he did intend.
> His name was TALUS, made of yron mould,
> Immoueable, resistlesse, without end.
> Who in his hand an yron flale did hould,
> With which he thresht out falshood, and did truth vnfould.
---------------------------------------------------------
Art Neuendorffer
Neil Brennen
Aug 26, 2004, 3:05:09 AM8/26/04
to
"biancas842001" <bianca...@yahoo.com> wrote in message
news:456bd92f.04082...@posting.google.com...
> dj...@ix.netcom.com (Dave Kathman) wrote in message
news:<12f70862.04082...@posting.google.com>...
>
> > I'm glad to see that your subject lines are starting to correspond to
> > the content of your posts, Art.
>
> Oh, that academic sense of humor!
>
> ----
> Bianca S.
I thought it was pretty funny!
--
Innes is never going to admit that he did not
quote Orwell, even though anyone can google his post and ascertain
that he did not. Since no rational man could imagine that such a
deception would succeed, I conclude - reluctantly, for I don't like
saying such things - that he is not in his right mind. Responding to
him is like arguing with one of those lunatics who declaim
incoherently on street corners.
-Tom Veal
Neil Brennen
Aug 26, 2004, 6:46:56 AM8/26/04
to
"Elizabeth Weir" <elizabe...@mail.com> wrote in message
news:efbc3534.04082...@posting.google.com...
> Speaking as a descendant of the third Earl of Oxford,
> stop fucking with our family motto.
According to the "research" of Senator Streitz, that motto would be, "If you
can't keep it in, keep it in the family."
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