Lyly's Endymion and Oxford
bobgr...@nut-n-but.net
Halfway through it, I've run into something supporting his
preposterous notion that the poem is about a love affair Elizabeth had
with Oxford that I can't immediately deal with. Stritmatter claims
that Lyly's Endymion was about the same love affair. Of course, he
presents no real evidence for this, but does appeal to an authority who
seems legitimate, Elizabeth Waters Bennett. . . .
Ah, I just checked our Oxfordian Ph.D.'s essay again (to get Bennett's
full name) and discovered he caught me. He writes in a footnote there:
"Bennett suggests, moreover, that Lyly's play traverses the entire
arc of the period 1581-1586, drawing within its allegorical orbit both
the estrangement and reconciliation of the title lovers: If the myth
was selected as the vehicle for a plea for Oxford, then both the sleep
and the kiss [of Endymion] must be symbolic of Oxford's situation . .
. ." I missed the "If." I thought Stritmatter was claiming Bennett
considered Endymion to have been about Oxford and Elizabeth. Now I'm
not sure what she said.
Anyway, my question is this: does any orthodox scholar consider
Endymion to be about Elizabeth and Oxford? Is it supposed to have any
topical concerns? I ordered a copy of the play from Amazon (although I
have one, but it's in small print, and the newest edition has an
introduction by David Bevington that should be valuable) but am not
quite ready to order whatever book has Bennett's essay on it in it.
--Bob G.
Topos
Bevington gives a thorough overview of the various ways in which
Endymion can be interpreted- politically (e.g. Qn Mary as Tellus),
religously (e.g. Catholicism), romantically. I believe he rejects an
Oxfordian romance dating from 1581 as too far from the minds of the
court at the time of performance/writing.
Of course, proposing that there is a particular way in which the text
of Endymion or V&A *should* be read is a virtually impossible task.
There is just no way of knowing what particular interpretations are
meant by the author (consciously or subconsciously) and what
interpretations are manufactured by the reader. (Tom Stoppard once said
[something like] that he was taken aback by the number of
non-intentional interpretations that could be derived from his work).
Once we recognise that a text can be read in a number of ways and that
there is no way of establishing the authors intention as to how a text
should be read Stritmatter's thesis collapses under the weight of it's
own self-created profundity.
> --Bob G.
Tom Reedy
news:1142287087....@i39g2000cwa.googlegroups.com...
> I'm presently critiquing Roger Stritmatter's essay on Venus and Adonis.
> Halfway through it, I've run into something supporting his
> preposterous notion that the poem is about a love affair Elizabeth had
> with Oxford that I can't immediately deal with. Stritmatter claims
> that Lyly's Endymion was about the same love affair. Of course, he
> presents no real evidence for this, but does appeal to an authority who
> seems legitimate, Elizabeth Waters Bennett. . . .
>
> Ah, I just checked our Oxfordian Ph.D.'s essay again (to get Bennett's
> full name) and discovered he caught me. He writes in a footnote there:
> "Bennett suggests, moreover, that Lyly's play traverses the entire
> arc of the period 1581-1586, drawing within its allegorical orbit both
> the estrangement and reconciliation of the title lovers: If the myth
> was selected as the vehicle for a plea for Oxford, then both the sleep
> and the kiss [of Endymion] must be symbolic of Oxford's situation . .
> . ." I missed the "If." I thought Stritmatter was claiming Bennett
> considered Endymion to have been about Oxford and Elizabeth. Now I'm
> not sure what she said.
Stritmatter uses "if" and "it would seem" and similar weasel words
throughout. You could almost use those terms as function words for a
stylometry program to identify his authorship.
>
> Anyway, my question is this: does any orthodox scholar consider
> Endymion to be about Elizabeth and Oxford?
I believe Oxford is represented by Sir Tophas.
HAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHA!!!!!!!!
> Is it supposed to have any
> topical concerns?
From an old post of mine circa Jan. 2004, about parallels between characters
in the plays and
their contemporary situations:
The prologue to Lyly's *Endymion* specifically asks the audience *not* to
interpret the play as a commentary on contemporary events or people, which
indicates that audiences did draw parallels between play characters and
living figures, but the play is considered to be an allegory of the
contemporary court.
From http://www.imagi-nation.com/moonstruck/clsc83.html
<begin>
In Endymion the main incidents of the long sleep and the kiss of Cynthia,
drawn from Ovid and Lucian, furnished a basis for Lyly's best blend of
classic story, love intrigue, courtly and sylvan setting, satire, and wit. A
long tradition of interpreting classic myth freely as shadowing historical
events or embodying allegory was responsible for popularizing in the
Renaissance the use of myths for presentation of contemporary events or
figures, either for flattery or for satire, in poetry generally but perhaps
chiefly in pageants and plays. Lyly availed himself of the fashion to
flatter Elizabeth boldly as Cynthia and possibly to glance at events in the
court. Many attempts have been made to read the apparent allegory of the
play. In 1843 Halpin argued that Endymion's story represents Leicester's
love for Elizabeth and his relations to others at court. Other
interpretations of the play as personal allegory have been advanced by
various scholars. P.W. Long argues, however, perhaps correctly, that the
allegory is primarily one of Platonic love, in which Endymion passes from
love of Tellus (Earth), or earthly beauty, to adoration of Cynthia as a
symbol of heavenly beauty.
<end>
This play is not the only example. (Halprin's interpretation is not, I
believe, the current consensus.)
> I ordered a copy of the play from Amazon (although I
> have one, but it's in small print,
I think I have the same edition.
bobgr...@nut-n-but.net
once. Glad to know the Bevington introduction will be worth reading.
I will say I am with Stritmatter in rejecting the idea that Lyly would
not have written about Oxford and Elizabeth after it was "current."
But what is known about this alleged romance, anyway?
--Bob
bobgr...@nut-n-but.net
that Lyly certainly used Cynthia as a vehicle for complimenting
Elizabeth--in a general way. Do you know if there are any passages in
Endymion that scholars are sure refer to Elizabeth?
I read the essay at the link you provided. Interesting that Lyly seems
to have quit playwriting further from the end of his life than
Shakespeare did--in spite of the anti-Stratfordian contention that
there was something inexplicable about Shakespeare's (apparently) not
writing plays after 1613 or so.
--Bob G.
Paul Crowley
news:1142383509.6...@e56g2000cwe.googlegroups.com...
Serious anti-Stratfordians (i.e. Oxfordians) like
to point out the Lyly was Oxford's secretary,
that not merely did "Lyly's work" cease to have
any strength or value after he left Oxford's
employment, but that he seemed to be pretty
much incapable of doing anything at all.
Paul.
Topos
Nope. Lyly's best and most influential work, Eupheues, came into being
before he entered into Oxenforde's service.
>
> Paul.
Topos
bobgr...@nut-n-but.net wrote:
> Thanks, Topos. I thought Stritmatter might have had a little more, for
> once. Glad to know the Bevington introduction will be worth reading.
> I will say I am with Stritmatter in rejecting the idea that Lyly would
> not have written about Oxford and Elizabeth after it was "current."
Bevington reasons that a topical reading should be, well, topical- ie a
recent event that is newsworthy, not an event that occured 7 years past
and for which Oxenforde was forgiven 5 years earlier.
> But what is known about this alleged romance, anyway?
I don't recall precisely, but Bevington gives a review of it- and all
the other possible interpretations too.
> --Bob
Paul Crowley
news:1142422476....@i39g2000cwa.googlegroups.com...
> > Serious anti-Stratfordians (i.e. Oxfordians) like
> > to point out the Lyly was Oxford's secretary,
> > that not merely did "Lyly's work" cease to have
> > any strength or value after he left Oxford's
> > employment, but that he seemed to be pretty
> > much incapable of doing anything at all.
>
> Nope. Lyly's best and most influential work, Eupheues, came into being
> before he entered into Oxenforde's service.
How exactly do you know that? (The usual
pattern is that we find out only about the
occupation of such offices sometime after
they have been filled.)
Euphues is dedicated to Oxford. Lyly seems
to have been (distantly) related to Burghley.
In any case, he was resident in the Savoy
where Oxford had tenements.
Paul.
Tom Veal
> Euphues is dedicated to Oxford. Lyly seems
> to have been (distantly) related to Burghley.
> In any case, he was resident in the Savoy
> where Oxford had tenements.
>
Euphues: The Anatomy of Wit (1578) is dedicated to William West, Lord
Delaware. Its sequel, Euphues His England (1580), is dedicated to
Oxenford. The exact date when Lyly became Oxenford's secretary is
unknown, but there's no evidence that it preceded the writing of the
original Euphues. The Infallible Crowley does not require evidence, of
course.
Elizabeth
> Thanks, Tom. My working theory is that Long is more or less right, but
> that Lyly certainly used Cynthia as a vehicle for complimenting
> Elizabeth--in a general way.
I like this thread Grumman.
Spenser and others were complimenting Elizabeth
specifically as Cynthia. Spenser invented the use
of 'Cynthia' to refer to the queen. Ralegh calls
Elizabeth 'Cynthia' in Belphoebe. Word play was
made on 'Cynthia' as the moon and the Queen's
motto 'semper eadam' -- 'always the same' -- as
in 'the moon changes yet is always the same.'
Cynthia was identified with the twins Artemis and Apollo
whose surname was Cynthus. Artemis is the goddess of
the moon in Roman mythology, prolly why Spenser
(who was not the genocidal undertaker of Irish cottagers
any more than 'Shakespeare' was the broker who conspired
to throw Welcombe cottagers into the road), coined the
name.
Jonson's Cynthia's Revels was a reference to Elizabeth's
revels. There's an allusion to Cynthia in Tamerlaine:
Unhappy Persia . . . / Now to be ruled and governed by a man /
At whose birthday Cynthia and Saturn joined.
> Do you know if there are any passages in
> Endymion that scholars are sure refer to Elizabeth?
All the moon passages plus the reference to the
eagle which signified the 'prince' Elizabeth.
> I read the essay at the link you provided. Interesting that Lyly seems
> to have quit playwriting further from the end of his life than
> Shakespeare did--in spite of the anti-Stratfordian contention that
> there was something inexplicable about Shakespeare's (apparently) not
> writing plays after 1613 or so.
After Euphues was printed Lyly was the most celebrated
poet in England for about a decade but Sidney and yes,
the Invisibe counsin, attacked Euphuism in various wicked
ways and Lyly's style fell out of favor. Of course it
was really Oxford who wrote Euphues and all the other
Lyly works and all the Marlowe works, the Spenser, Greene
and Nashe works, all the Marprelate tracts ON BOTH SIDES!
Talk about versatility.
As far as your remark about 'someting inexplicable about
Shakespeare (apparently) not writing plays after 1613'
the author was . . . finally . . . too busy to write.
There is a lot of circumstantial evidence that he picked
it up again after 1620. He left a one page plot summary,
for Henry VIII; he signed the checkout sheet (his signature
is still there) at Westminster to take out Wolsey's papers,
he wrote letters to Princess Elizabeth and Prince Charles
stating that he was 'working on Henry VIII' and he wrote the
great orations he would have delivered in the House of Lords
had he not been commanded to evacuate his defense by James I.
Henry VIII is the only 'senile' Shakespeare play. Except
for the orations it's a play written by a poet past his
prime.
Topos
Besides the fact that shakespeare died in 1616, there is also the fact
that Henry 8 caused the great conflagration that destroyed the Globe in
1613. Case closed.
David L. Webb
"Elizabeth" <elizabe...@mail.com> wrote:
> bobgr...@nut-n-but.net wrote:
> > Thanks, Tom. My working theory is that Long is more or less right, but
> > that Lyly certainly used Cynthia as a vehicle for complimenting
> > Elizabeth--in a general way.
> I like this thread Grumman.
No doubt -- but Bob's allusion was to complimenting Elizabeth I, not
Elizabeth Weird.
> Spenser and others were complimenting Elizabeth
> specifically as Cynthia. Spenser invented the use
> of 'Cynthia' to refer to the queen. Ralegh calls
> Elizabeth 'Cynthia' in Belphoebe. Word play was
> made on 'Cynthia' as the moon and the Queen's
> motto 'semper eadam' -- 'always the same' -- as
> in 'the moon changes yet is always the same.'
>
>
> Cynthia was identified with the twins Artemis and Apollo
> whose surname was Cynthus. Artemis is the goddess of
> the moon in Roman mythology,
No, Artemis is Greek; her Roman counterpart is Diana.
[...]
Art Neuendorffer
> Artemis is Greek;
*EMIS* : SOW (Estonian)
"Ireland is the old SOW that eats her farrow"
- Portrait of the ARTist as a Young Mans
ART
Art Neuendorffer
>
>> Artemis is Greek;
>
> *EMIS* : SOW (Estonian)
>
> "Ireland is the old SOW that eats her farrow"
>
> - Portrait of the ARTist as a Young Mans
>
> ART
*MISE* : I (Irish)
*MISE* : me (Gaelic, Scottish)
*MIES* : man (Finnish)
*MIES* : ugly (Yiddish)
*MIES* : bad, cockamamie, lousy, rotten (German)
*MIES* : boring, false, bad, obscure, vile (Spanish)
David L. Webb
Art Neuendorffer <aneuendor...@comcast.net>
(amorondaf...@comicass.nut) wrote:
> > David L. Webb wrote:
> >
> >> Artemis is Greek;
> Art Neuendorffer wrote:
>
> > *EMIS* : SOW (Estonian)
> >
> > "Ireland is the old SOW that eats her farrow"
> >
> > - Portrait of the ARTist as a Young Mans [sic]
[...]
Not only haven't you read the book, Art, but you cannot even get the
title right! Is English your native tongue, Art?
> *MISE* : I (Irish)
> *MISE* : me (Gaelic, Scottish)
>
> *MIES* : man (Finnish)
> *MIES* : ugly (Yiddish)
> *MIES* : bad, cockamamie, lousy, rotten (German)
> *MIES* : boring, false, bad, obscure, vile (Spanish)
Where did you get this gem, Art? From your usual ridiculously
unreliable online dictionary of ten languages at once -- the one that
you used when you recently proudly displayed your ludicrous linguistic
incompetence in, as I recall, Slovak? If "mies" means "boring, false,
bad, obscure, vile" in Spanish, then that fact is utterly unknown to the
unabridged dictionaries of the tongue, including the authoritative
dictionary of the Royal Academy.
In fact, the word simply means "ripe grain," or "harvest time."
(Note for crank cryptographers: "harvest time" is an exact anagram of
"Tame Ver shit.")
Indeed, here is the full entry from the dictionary of the Spanish
Royal Academy; it is quite plain that you know no Spanish, Art, so I
will summarize the senses for your benefit -- although I am not sure why
I bother, since your English is scarcely any better:
mies.
(Del lat. messis).
1. f. Cereal de cuya semilla se hace el pan.
[Grain from which bread is made.]
2. f. Tiempo de la siega y cosecha de granos.
[Harvest time.]
3. f. Muchedumbre de gentes convertidas a la fe cristiana, o prontas
a su conversion.
[A figurative use: A multitude of souls converted to Christianity.]
4. f. Cantb. Conjunto de sembrados de un valle. U. m. en pl.
[A Cantabrian use (usually in plural): a group of sown fields in a
valley.]
5. f. pl. sembrados.
[Plural: Sown fields.]
Your farcical philological incompetence has much less in common with
sown fields than with the organic fertilizer therein, Art.
But don't stop there, Art! Clearly, "Mies" alludes to the architect
Ludwig Mies van der Rohe. Indeed, "Mies van der Rohe" is an anagram of
E. De Ver, Hiram son
-- INPNC score 11/14.
Elizabeth
Topos wrote:
> Besides the fact that shakespeare died in 1616, there is also the fact
> that Henry 8 caused the great conflagration that destroyed the Globe in
> 1613. Case closed.
The case isn't closed. The author of the Shakespeare
history plays gave all of his plays the titles of the reigns
just as Bacon gave the 'missing play' Historie of the Raigne
of King Henrie VII a Shakespearean title.
This play is entitled 'All Is True.' In addition to Wooten's
letter to Sir Edmund Bacon, a ballad was printed the next
day that memorialized the fire. It's title is also 'All Is True,'
not 'Henry VIII.'
There are an estimated two thousand lost plays from that
period so we don't know who if it's a lost play but we do
know that it wasn't printed in quarto because it isn't
registered.
That fact suggests that it may have been an opening pageant
for the Globe and not a play at all.
The Shakespeare history plays were best sellers so if this
were the concluding history play in the series it would be
a best seller, especially since it was about the bloody-minded
sex maniac Henry VIII.
There's only reasonable explanation for the fact that it
wasn't registered and printed is that it <was not> a
history play in the Shakespeare series.
On the other hand, it's very possible that the author of
Henry VIII (the one who had access to all the sources)
overwrote the earlier All Is Well because he was in the
habit of stealing plots. Authors who plot are forced
to revise and this author had no time for revisions.
It's also significant that 'All Is True' is not in the revels
account book because 'Shakespeare' was then getting
patronage from the King. Most of the 'later plays' such
as The Tempest were demonstrably written for the Court
because these plays featured special effects that could
not be staged at a public theatre. There was no expense
spared (as Parliament never ceased pointing out) on the
King's private stages while only one of those special effects
would have wiped out the profit margins of a public
theatre.
Just to give you an idea of the scale of the private theatres
(the Derby's theatres were also on the Italian scale), these are by
Jones for Jonson.
<http://ise.uvic.ca/Library/SLT/images/JonesPenthiselia.JPG>
<http://www.hughpearman.com/illustrations4/inigomasquedesign1.jpg>
The letter (if authentic) that fixes the date of the playing
of All Is Well was written by Bacon's cousin Sir Henry Wooten
to Bacon's cousin Sir Edmund Bacon. Wooten doesn't
mention the author of the play which if Shakespeare,
Cosen Bacon or not, would have been noted by Wooten,
an aficionado of the theatre writing to another aficionado
of the theatre.
Wooten merely characterizes All Is Well as a play 'made
of pieces of Henry VIII.' Wooten may have been aware of
a coterie play (all the history plays began as coterie plays
first written for the Stanleys for the most part -- the reason
the Queen hated those plays) written by 'Shakespeare' which
was taken apart to make a pageant for the opening of the
Globe in 1613.
Art Neuendorffer
>>>> Artemis is Greek;
>>Art Neuendorffer wrote:
>>> *EMIS* : SOW (Estonian)
>>>
>>> "Ireland is the old SOW that eats her farrow"
>>>
>>> - Portrait of the ARTist as a Young Mans [sic]
David L. Webb wrote:
> Not only haven't you read the book, Art,
> but you cannot even get the title right!
>
> Art Neuendorffer <aneuendor...@comcast.net>
>> *MISE* : I (Irish)
>> *MISE* : me (Gaelic, Scottish)
>>
>> *MIES* : man (Finnish)
>> *MIES* : ugly (Yiddish)
>> *MIES* : bad, cockamamie, lousy, rotten (German)
>> *MIES* : boring, false, bad, obscure, vile (Spanish)
David L. Webb wrote:
----------------------------------------------------------------
Not bad (for a change)!
----------------------------------------------------------------
Born in Aachen, Germany in 1886 as Ludwig Mies,
*he worked in his father's stone-carving shop*
----------------------------------------------------------------
<<Ludwig Mies van der Rohe (born Maria Ludwig Michael Mies) (March 27,
1886 - August 19, 1969) was the leading architect of the modernist style.
Born in Aachen, Germany in 1886 as Ludwig Mies, he worked in his
father's stone-carving shop before he moved to Berlin and joined the
office of Bruno Paul. He worked at the design studio of Peter Behrens
from 1908 to 1912, where he was exposed to the current design theories
and to progressive German culture.
A physically imposing, deliberative, and reticent man, the talented
Ludwig Mies renamed himself as part of his rapid transformation from a
tradesman's son to an architect working with Berlin's cultural elite,
adding the more aristocratic surname "van der Rohe". He began his
independent professional career designing upper class homes in
traditional Germanic domestic styles. He admired the broad proportions
and cubic volumes of early nineteenth century Prussian Neo-Classical
architect Karl Friedrich Schinkel, while dismissing the eclectic and
cluttered classical of the turn of the century .
But after World War I, Mies began to turn away from traditional styles,
and joined his avant-garde peers in the search for a new style for a new
era. The traditional styles were long under attack by progressive
theorists since the mid-nineteenth century, primarily for attaching
ornament unrelated to a modern structure's underlying construction.
Their criticism gained substantial cultural credibility after the
disaster of WW I, widely seen as a failure of the imperial leadership of
Europe. The classical revival styles were reviled by many as the
architecture of the now-discredited aristocratic system. Boldly
abandoning ornament altogether, Mies made a dramatic splash with his
stunning proposal for an all-glass skyscraper in 1921, and continued
with a series of brilliant pioneering projects, culminating in the
temporary German Pavilion for the Barcelona exposition in 1929 (a
reproduction is now built on the original site) and the elegant Villa
Tugendhat in Brno, Czech Republic, completed in 1930.
Mies worked with the radical magazine G which started in July 1923. He
developed prominence as architectural director of the Werkbund,
organizing the influential Weissenhof prototype housing project. He was
influenced by the aesthetic credos of both Russian Constructivism and
the Dutch De Stijl group, and was impressed by the Prairie Style work of
Frank Lloyd Wright. He joined the faculty of the Bauhaus school,
teaching architecture. He designed modernist furniture pieces that have
become popular classics, such as the Barcelona chair and table, and the
Brno chair.
Mies adopted an ambitious lifelong mission to create not only a new
style, but also a new architecture that would represent a new epoch just
as Gothic architecture did for the middle ages. But the world-wide
economic depression and the rise of the Nazis interrupted his quest.
In the 1930s Mies served briefly as the last Director of the faltering
Bauhaus, at the request of his friend and competitor Walter Gropius.
Nazi political pressure forced Mies to close the school, a victim of its
previous association with socialism, communism, and other progressive
ideologies. He built very little in that decade (his major built
commission was Philip Johnson's New York apartment), his style rejected
by the Nazis as not "German" in character. He left his homeland
reluctantly in 1937 as he saw his opportunity for future building
commissions vanish, accepting a residential commission in Wyoming and
then an offer to head an architectural school in Chicago. When he
arrived in the United States after 30 years of practice in Germany, his
reputation as a pioneer of modern architecture was already established
by American promoters of the international style.
Mies settled in Chicago, Illinois where he was appointed as head of the
architecture school at Chicago's Armour Institute of Technology (later
renamed Illinois Institute of Technology - IIT). One of his conditions
for taking this position was that he would be commissioned to design the
new buildings of the campus. Some of his most famous buildings still
stand there, including Crown Hall, the home of IIT's School of
Architecture. In 1944, he became a naturalized citizen, completing his
severance from his native Germany.
His 30 years as an American architect reflect a more consistent and
mature approach towards achieving his goal of a new architecture for the
20th Century. He focused his efforts on the idea of enclosing large open
"universal" spaces with clearly ordered structural frameworks, featuring
manufactured steel shapes infilled with brick and glass. His early
projects at the IIT campus and for developer Herb Greenwald opened the
eyes of Americans to a style that culturally resonated as a natural
progression of the almost forgotten 19th century Chicago School style.
His architecture, with origins in the socialist International style
became an accepted mode of building for large American corporations.
His most significant projects in the US include the residential towers
of 860-880 Lake Shore Dr, the Farnsworth House, Crown Hall School of
Design and other structures at IIT, all in and around Chicago, and the
Seagram Headquarters building in New York.
Between 1946 and 1951 Mies van der Rohe designed and built the
Farnsworth House, a weekend retreat for an independent professional
woman, Dr. Edith Farnsworth outside of Chicago . This small masterpiece
showed the world that exposed structural steel and glass were materials
capable of great architecture. The glass pavilion is raised above a
floodplain next to the Fox River on exposed H-shape steel columns set in
parallel rows. Suspended between the columns are three horizontal
steel-edged slabs (terrace, main floor, and roof). The pristine white
structure defines an interior space enclosed in full height glass,
letting nature and light envelop the interior space. A wood paneled core
(housing mechanical equipment, kitchen, fireplace, and toilets) is
positioned within the open space to define the living, dining and
sleeping spaces without using actual walls or rooms. No partitions touch
the surrounding glass enclosure. Full height draperies on a perimeter
track provide shading and privacy when and where desired. The house has
been described as sublime, a temple hovering between heaven and earth, a
poem, a work of art. The Farnsworth House and its 60 acre wooded site
was purchased at auction for US$7.5 million by preservation groups in
2004 and is now operated by the Landmarks Preservation Council of
Illinois as a public museum. The influential building spawned hundreds
of modernist glass houses, most notably the Glass House by Philip
Johnson, located near New York City and now owned by the National Trust
for Historic Preservation. The iconic Farnsworth House is considered
among Mies's greatest works, an embodiment of his principles of order,
clarity and simplicity.
During 1951-1952, Mies designed the McCormick House, located in
Elmhurst, Illinois (15 miles west of the Chicago Loop), for real-estate
developer Robert Hall McCormick Jr. as a summer home. Conceptually based
on one floor of his famous Lake Shore Drive towers, it served as a
prototype for a series of row-houses to be built in Melrose Park,
Illinois, even though they were never realized. The house exists today
as a part of the Elmhurst Art Museum.[1].
In 1958 Mies van der Rohe designed what has been regarded as the
pinnacle of the modern high-rise architecture, the Seagram Building in
New York. Mies was chosen by the daughter of the client, Phyllis
Bronfman Lambert, who has become an architectural figure in her own
right. The Seagram Building has become an icon of that new institution
of the 20th Century, the corporation. Controversially, the architect
chose to set the structure back, include a massive plaza and fountain,
and create an open space in Park Avenue. Mies had to argue with the
Bronfman's bankers about exploiting all of the site. More
controversially Mies included external I-beams that were not
structurally necessary but that "expressed" the structure, touching off
a conversation about whether Mies had or had not committed the crime of
ornamentation. Philip Johnson had a role in designing the plaza and the
Four Seasons restaurant. The Seagram Building is said to also be the
first major "fast-track" construction process, when design and
construction are done concurrently.
Mies designed and built many modern high-rises in Chicago's downtown and
elsewhere. Some of his credits include the Federal Building (1959), IBM
Plaza (1966) and 860-880 Lake Shore Drive (1948-52), the first building
to use an all glass and steel curtain wall in its construction, the
hallmark of the modern skyscraper. (Ironically, Mies himself lived in a
pre-World War II building during his whole residence in Chicago.) Two
last major projects were the Toronto-Dominion Centre in 1967 in Toronto,
Ontario, the first of the bank skyscrapers to be built in that city, and
the Neue Nationalgalerie art museum in Berlin.
Mies played a significant role as an educator, believing his
architectural ideas could be taught. He worked personally and
intensively on prototype solutions, and then allowed his students, both
in school and his office, to develop derivative solutions for specific
projects under his guidance. But when none were able to match his
genius, he agonized about where he had gone wrong.
Famous for his poetic aphorisms "Less is More" and "God is in the
details", Mies sought to create clear, simple and ordered spaces through
an architecture based on exposing the inherent qualities of materials
and the expression of structural frameworks. Over the last twenty years
of his life, Mies achieved his vision of a monumental "skin and bones"
architecture that reflected his goal to symbolize the modern era.
Mies placed great importance on education of architects who could carry
on his design principles. He devoted a great deal of time and effort
leading the architecture program at IIT. His own practice was based on
intensive personal involvement in design efforts to create prototype
solutions for building types (860 Lake Shore Dr, the Farnsworth,
Seagram, Crown Hall, The New National Gallery), then allowing his studio
designers to develop derivative buildings under his supervision. Mies's
grandson Dirk Lohan and two partners led the firm after he passed away
in 1969. Lohan, who had collaborated with Mies on the New National
Gallery, continued with existing projects but soon led the firm on his
own independent path. Other disciples continued his teachings for a few
years, notably Gene Summers, David Haid, Myron Goldsmith, Jaques
Brownsom, Helmut Jahn, and other architects at the firms of C.F. Murphy
and Skidmore Owings & Merrill.
But while Mies' work had enormous influence and critical recognition,
his approach failed to sustain a creative force as a style after his
death and was eclipsed by the new wave of Post Modernism by the 1980's.
He had hoped his architecture would serve as a universal model that
could be easily imitated, but the aesthetic power of his best buildings
proved impossible to match, instead resulting mostly in drab and
uninspired structures.
Mies van der Rohe is buried in Uptown's Graceland Cemetery.>>
-----------------------------------------
Art Neuendorffer
bobgr...@nut-n-but.net
>recent event that is newsworthy, not an event that occured 7 years past
>and for which Oxenforde was forgiven 5 years earlier.
I think Stritmatter would date the play closer to the romance's alleged
date, but I would argue that a non-topical reference could have been
intended. For instance, the play could have been designed to remind
Elizabeth of the good old days.
--Bob G.
bobgr...@nut-n-but.net
Furthermore, Lyly seems to have written most, if not all, his plays
after he left the employ of Oxford. I consider them better--certainly
more important--than his romances, or whatever he Euphues works were.
No doubt, however, they are full of shit proving that Oxford wrote them
in his teens that I, with my puritanical American nose, can't smell.
--Bob G.
David L. Webb
Art Neuendorffer <aneuendor...@comcast.net>
(aneuendor...@comicass.nut) wrote:
As I said, Art, it is not too difficult to find meaningless anagrams
with high INPNC scores. That's one of the reasons that I maRVEl at your
inept anagrams that generally have such poor INPNC scores.
[Lunatic logorrhea snipped]
Art Neuendorffer
>>>>
>>>>>>Artemis is Greek;
>>>>Art Neuendorffer wrote:
>>>
>>>>> *EMIS* : SOW (Estonian)
>>>>>
>>>>> "Ireland is the old SOW that eats her farrow"
>>>>> - Portrait of the ARTist as a Young Man
>>David L. Webb wrote:
>>David L. Webb wrote:
> Art Neuendorffer <aneuendor...@comcast.net>
>>-----------------------------------------------------------
>> Not bad (for a change)!
David L. Webb wrote:
> As I said, Art, it is not too difficult to find
> meaningless anagrams with high INPNC scores.
And this was the BEST you could come up with?
----------------------------------------------------------
Born in Aachen, Germany in 1886 as Ludwig Mies,
*he worked in his father's stone-carving shop*
Rex Deus, Dave?
------------------------------------------------------
Art Neuendorffer
David L. Webb
Art Neuendorffer <aneuendor...@comcast.net>
(aneuendor...@comicass.nut) wrote:
Of course not, Art -- it was only suggested by your farcical
comparative foolology above. You and Mr. Innes should join forces -- or
rather, farces -- in your linguistic lunacy, Art.
> ----------------------------------------------------------
> Born in Aachen, Germany in 1886 as Ludwig Mies,
> *he worked in his father's stone-carving shop*
>
> Rex Deus, Dave?
Haven't you guessed yet, Art? "Ludwig" is the name of three
Merovingian kings of the Franks, and is the German counterpart of
"Lewis."
> ------------------------------------------------------
> Art Neuendorffer
Art Neuendorffer
> Art Neuendorffer <aneuendor...@comcast.net>
>>----------------------------------------------------------
>> Born in Aachen, Germany in 1886 as Ludwig Mies,
>> *he worked in his father's stone-carving shop*
>>
>> Rex Deus, Dave?
David L. Webb wrote:
> Haven't you guessed yet, Art? "Ludwig" is the name of three
> Merovingian kings of the Franks, and is the German counterpart
> of "Lewis."
Only a true *Rex Deus* would know all this!
Art Neuendorffer
David L. Webb
Art Neuendorffer <aneuendor...@comcast.net>
(aneuendor...@comicass.nut) wrote:
Come on, Art -- anyone who knows a little history will have
encountered the Merovingian dynasty (although I concede that few know
the sacred Bloodline in the detail that initiates of our Order do), and
it is common knowledge that "Ludwig" is the Germanic equivalent of the
name "Lewis"; the Masonic usage is therefore scarcely surprising.
I concede that to someone who knows nothing and who moreoVER is
incapable of remediating that lamentable state of affairs, this might
appear to be esoteric information, but I assure you that I am not
disclosing any Templar secrets here -- this information is readily
available in countless books and even online to any *competent*
searcher. I emphasize the word "competent," Art -- it is little wonder
that this information eluded you.
> Art Neuendorffer
kenkap
> recent event that is newsworthy, not an event that occured 7 years past
> and for which Oxenforde was forgiven 5 years earlier.
Then how does one explain references to Edmund Campion in Twelfth Night
in the "dark house scene" twenty years after the fact, or explicit
allusions to Hales vs Petit in Hamlet according to this "theory"?
Ken
kenkap
biography. **Every** orthodox biography. So if A=B=C then they are all
weasels too. Every one.
I like your clarification..
Ken
Tom Reedy
news:1142693182....@g10g2000cwb.googlegroups.com...
Yeah, Ken. But what do you think about my theiry that Oxford is represented
by Sir Tophas?
TR