WILLOW = VINCI = ORPHEUS = USHER
Art Neuendorffer
"a play on the word VINCI, one meaning of which is WILLOW"
------------------------------------------------------------------------
http://www.lairweb.org.nz/leonardo/willow.html
<<Leonardo was responsible for the decoration of the ceiling and vault of
the Sala delle Asse (translation: 'room of the tower' or 'room of the wooden
boards') in Sforza's castle, Milan. He was presented with this room for his
own use; access being gained via a bridge & arcade he had built over the
moat.
Painted between 1495--1497, the fresco is made up of eighteen WILLOW trees,
two of which skillfully encircle two windows in the room . Where the boughs
meet towards the ceiling they intertwine, thought to be a symbol of the
marriage of Ludovico, Duke of Milan with BEATRICE d'Este. Emblazoned
throughout the branches is a fantastic golden rope made up of assorted
loops & knots. Appearing to be several ropes, if it is followed the viewer
discovers it is actually just the one cord which folds back on itself,
twisting and turning throughout the entire pattern. Gold rope was a
fashionable symbol of the day and appeared knotted on the clothing
of BEATRICE d'Este. Included in the work is the coat of arms of
the Sforza family (falcons & serpents) which is painted in
the very centre of the ceiling where the tree branches meet.
Much of the work on the 2,880 square foot canopy was carried out by
Leonardo's pupils, but he did the design and this is a play on the word
VINCI, one meaning of which is WILLOW. The search for any other hidden
significance among the designs still continues. The hall was then
used as a barracks and the paint deteriorated & flaked away.>>
----------------------------------------------------------------------
http://home.earthlink.net/~mark_alex/Star/ch05.html
<<Lord ST. JOHN had written the [3rd] Earl of Rutland,
Edward Manners, who was in Paris:
"The Earl of Oxford hath gotten him a wife -- or at least a wife hath
caught him; this is Mistress Anne Cecil; whereunto the Queen hath given
her consent, and the which hath caused great WEEPING, wailing, and
sorrowful cheere of those who had hoped to have that GOLDEN DAY.
Thus you may see that whilst some triumph with olive branches,
others follow the chariot with WILLOW GARLANDS.">>
--------------------------------------------------------------
QUEEN GERTRUDE There is a WILLOW grows aslant a BROOK,
That shows his hoar leaves in the glassy stream;
There with fantastic GARLANDS did she come
There, on the pendent boughs her coronet weeds
CLAMBRING TO HANG, AN ENVIOUS SLIVER BROKE
----------------------------------------------------------------
Q2 & Folio: "CLAMBRIN[G] TO HANG, AN ENVIOUS SLIVER BROKE"
V E R O N I L V E R I U S
A L
G E
A N
B K
O C
N N
[D] I
R
B
S
A
M
O
H
T
Genesis 4:12 a fugitive and a VAGABOND shalt thou be in the earth.
-------------------------------------------------------------------
The Sidhé was a transcendent intellect, known to the Druids as the
Web of the Wise, while "druid" (druidhe) was itself a Celtic word
for "witch" - an English form of the Saxon verb wicca, meaning
"to bend" or "to yield" (as indeed do WILLOW and wicker).>>
-- Sir Laurence Gardner
Nexus Magazine, Volume 6, Number 5 (August-September 1999).
----------------------------------------------------------------
Brigit as Triple Goddess, especially the Yellow-Green Enchantress
http://www.artesmagicae.com/TripleBrigit.htm
<<As patroness of cattle and fertility,
Brigit is clearly equated with Tara-Anna-Eithne, the Rorian
tradition's Abbess, Diviner, and healer of the springtime,
whose trees are WILLOW & furze,
whose animal is the cow or BULL,
and whose bird is the CRANE.>>
ALBRECHT DURER "Emblematic Design with a Crane",
http://artyzm.com/world/d/durer/crane.htm
-------------------------------------------------------
WILLOW = VINCI = ORPHEUS = USHER
------------------------------------------------------------
Rating: 4 Stars - Secrets of E.A.Poe, DeChirico, apples, redemption, etc
http://www.unverse.com/id-books-1582430357
<<Originally read as a lecture at the University of Toronto back in
1982, this book is a rich tapestry depicting the strange, wonderful,
recondite, unexpected weaving of literature and the time-honored
symbolism within the tradition of still-life paintings. But, in exchange
for richness and density, we do get an overly wide-roaming array as well
as a disarray of topics, not always harmonious in the way they are
presented. Many an idea are begun only to be abruptly interrupted by
another, equally interesting and equally interrupted later. Among the
topics mentioned in the book:
1) Apple and pear as the Fall and the Redemption, respectively;
2) The recurrence of busts in still-lifes;
3) DeChirico's handling of the classic motif;
4) Shelley, Keats, Joyce, Zola, Xenophon, Nietzsche and Turin, etc.
5) Poe's "The Fall of the House of USHER" and its connection to the
underworld by way of ORPHEUS, whose name means 'WILLOW' as does the old
french 'ussier', thus 'USHER';
There is much learning here, as there always is in all of Davenport's
essays. However, here, there is a general feeling that one is reading a
sketch of an essay, the writer's working notes, rather than a fully
formed condensation of ideas. Thus, many of the references seem to float
on top of, rather than anchor the ideas the author wishes to convey. In
other words, he comes off sounding pedantic, which is something I have
never seen him do in his other books. Nonetheless, the fast reading
(it's just over 100 pages) is rewarding as an introduction to the
tradition -- now being lost -- of informing literature through painting,
and vice versa.
------------------------------------------------------------------
Greg Reynolds wrote:
> Art's an USHER in a theatre complex playing the same fifteen shows
> over and over and he leaves his walkietalkie on as he sweeps up
> popcorn and junior mints from aisle to aisle and then hits send.
------------------------------------------------------------------
USHER, n. [OE. ussher, uschere, OF. ussier, uisser, oissier, hussier,
huissier, fr. L. ostiarius a doorkeeper, fr. ostium a door, entrance,
fr. os mouth.] 1. An officer or servant who has the care of the door of
a court, hall, chamber, or the like; hence, an officer whose business
it is to introduce strangers, or to walk before a person of rank.
"The USHERs and the squires." --Chaucer.
"These are the USHERs of Marcius." --Shak.
2. An under teacher, or assistant master, in a school:
http://www.bb.com/looptestlive.cfm?bookid=533&startrow=1
<<Thomas Carlyle was born at Ecclefechan in the south of Scotland,
December 4, 1795. His father, a rigorous Calvinist belonging to the
seceding "Burgher Kirk," was a STONE-MASON, a man of stern & upright
character with a gift of fiery speech. Thomas began his education at
home, went next to the village school, thence to the grammar school
at Annan, and in 1809 walked to Edinburgh, a hundred miles away, and
entered the University with a view to preparing for the ministry.
He was appointed mathematical USHER at Annan. But he hated teaching:
--------------------------------------------------------------------
1851 MOBY DICK; OR THE WHALE by Herman Melville
ETYMOLOGY
(Supplied by a Late Consumptive USHER to a Grammar School)
The pale USHER- threadbare in coat, heart, body, and brain; I see
him now. He was ever dusting his old lexicons and grammars, with
a QUEER HANDKERCHIEF, mockingly embellished with all the gay flags
of all the known nations of the world. He loved to dust his
old grammars; it somehow mildly reminded him of his mortality.
"While you take in hand to school others, and to teach them by
what name a whale-fish is to be called in our tongue leaving out,
through ignorance, the letter H, which almost alone maketh the
signification of the word, you deliver that which is NOT TRUE."
----------------------------------------------------------------------
James USSHER (1581-1656), 'NE VILE VELIS'
Archbishop of Armagh and Primate of All Ireland
http://www.daveola.com/Pages/World_Birthday_Party/Ussher.html
<<Barr (1985) has noted that the belief that Herod died in 4 BC
was widely known after Scaliger's work appeared in 1583, that Bishop
USSHER's date for the creation in 4004 BC was calculated as exactly
4,000 years before that date, and that his chronology was printed
in Bibles after 1701.>>
<<[Archbishop James] USSHER worked within a substantial tradition of
research, a large community of intellectuals striving toward a common goal
under an accepted methodology. Today we rightly reject a cardinal premise
of that methodology - belief in biblical inerrancy. But what intellectual
phenomenon can be older, or more oft repeated, that the story of a large
research program that impaled itself upon a false central assumption
accepted by all practitioners?>> - Stephen Jay Gould
---------------------------------------------------------------------
<<'Ne Vile Velis' was originally the personal motto
of Thomas Neville, who lived from 1544 to 1614.>>
http://www.orientalrugsofbath.com/orbnevil.htm
NEVILLE, thy will ne-vile, or vain brings brings forth:
Sith vile things little, vain are Nothing worth.
<<NEVILLE achieved considerable status as Master of Trinity College
Cambridge and subsequently as Dean of Canterbury Cathedral. Such was
the trust & regard in which Neville was held that he was chosen by
the Archbishop of Canterbury for the important function of bearing the
united greetings of the clergy of England to King James in Scotland on
his accession to the throne. When King James visited him at Cambridge
in 1614, he stated that he was "proud of such a subject".
With the motto Ne Vile Velis, Neville was able to embody his personal
philosophy in a phrase that incorporated his own name (which he spelt
Nevile). It's meaning is essentially: "nothing distasteful or vulgar".>>
----------------------------------------------------------------------
King Henry VI, Part ii Act 5, Scene 1
WARWICK Now, by my father's badge, old Nevil's crest,
The rampant BEAR chain'd to the RAGGED STAFF,
This day I'll wear aloft my burgonet,
As on a mountain top the CEDAR shows
That keeps his leaves in spite of any storm,
Even to affright thee with the view thereof.
------------------------------------------------------------------
<<There is a sheet of paper printed ... concerning Ecstacies, that
James USHER, late Lord Primate of Ireland, once had: but I have been
assured from my hon. friend James TYRRELL, Esq. (his Lordship's
grandson) that this was not an ecstacy; but that his Lordship upon
reading the 12, 13, 14, &c. chapters of the Revelation, and farther
reflecting upon the great increase of the sectaries in England,
supposed that they would let in popery, which consideration put him
into a great transport, at the time when his daughter (the Lady
TYRREL) came into the room; when he discoursed to her divers things
(tho' not all) contained in the said printed paper.>> - John Aubrey
-------------------------------------------------------------------
The paper, by Peter D. USHER, professor of astronomy & astrophysics
at Penn State, presents evidence that Hamlet is "an allegory
for the competition between the cosmological models of Thomas
Digges of England and Tycho Brahe of Denmark." USHER says the paper
is significant because Shakespeare favors the Diggesian model,
which is the forerunner of modern cosmology. "As early as 1601,
Shakespeare anticipated the new universal order
and humankind's position in it," USHER states.
-----------------------------------------------------------------
http://www.sirbacon.org/links/parentage.htm
<<The former owner of New Place, the house Shakespeare bought for
60 pounds in Stratford in 1597, after only five years in London,
was William Underhill, the son of William Underhill(d. 1570)
of Inner Temple and kinsman of John Underhill,
a gentleman USHER to Francis Bacon.
William Underhill's stepbrother was William Hatton,
whose widow, Elizabeth, in 1597 was courted by Bacon.>>
Aubrey on Francis Bacon:
<<[Bacon's] Dowager married her Gentleman-USHER Sir Thomas (I thinke)
Underhill, whom she made deafe & blinde with too much of Venus.>>
----------------------------------------------------------------------
<<For some time [Shakespeare] had had his eye on New place, the 'praty
howse of brike and tymber' opposite the Gild Chapel and his old school.
The owner was William Underhill, 'a covertous and crafty man'
who stood out for a stiff price, and in May Shakespeare paid him £60
for the house with its two barns, two gardens and two orchards.
("UNO MESUAGIO DUOBUS HORREIS ET DUOBUS GARDINIS")
A FEW WEEKS LATER UNDERHILL WAS POISONED by his crazy son.>>
-F.E.Halliday _Shakespeare_ p.73.
----------------------------------------------------------------------
April 9, 1626 -- Francis Bacon dies at Lord Arundel's house Highgate
66 years old. Dodd says.
"Francis Bacon's death [was] on Easter Sunday..."
11 days after Francis Bacon's death, his widow marries
Sir John Underhill, "the gentleman USHER" of their household.
----------------------------------------------------------------------
"One Richard SMYTHE was Gentlleman USHER to the Queen
and in 1564-5 was Mayor of ABINGDON."
http://www.bodley.ox.ac.uk/external/cumnor/articles/inman-robsart.htm
<<The Spanish Ambassador reported that on September 11th the Queen
told the Court that Amy had broken her neck. On September 13th BLOUNT
wrote to Robert that the jury kept very secret; "and yet I do hear a
whispering that they can find no presumption of EVIL". Robert was also
assured by one SMYTHE, who seemed to be the FOREMAN, that so far as he
could see the death was a "very misfortune"; and from other contemporary
evidence it is clear that the verdict was that Amy died by mischance. As
Susan Doran points out the contemporary chronicler says this Smythe was
the Queen's man who was " put out of the house for LEWD behaviour.">>
---------------------------------------------------------------------
The History of Harps
http://www.harps.com/history_expanded.html
<<The history of the harp goes back thousands of years. The harp is the
oldest known stringed instrument. The piano, the guitar, the violin and
all other string instruments evolved from the harp. Throughout the ages,
the harp has had an impact on almost every culture. Harps have been
regarded as sacred and have been instrumental in the healing process, in
celebration of birth, as comfort in passing, and to make people feel
better. No other instrument has been so closely associated with so many
positive things - with a profound sense of beauty, with peace and
tranquility, with love, with enchantment, with goodness and with heaven.
The word "harp" comes from Anglo-Saxon, Old German, and Old Norse words
whose root means "to pluck". Scholars disagree as to what exactly a harp
is. The names early musicians gave their instruments are not be the
names we give those instruments today and the names of instruments in
the ancient world were interchanged. Harps in my definition are
multi-stringed-instruments, with open strings (no frets), where each
string plays one note and where the strings are plucked with the
fingers. This would include medieval harps, baroque harps; Irish harps,
Celtic harps, Spanish harps; Chinese harps, African Harps; as well as
related instruments like lyres, zithers, charach, citharas, psalteries,
arpas, yahz, cheng, kotos, koras and other stringed instruments. The
evolution of the harp conformed to paths of human migration and also
coincided with the development of musical scales in each culture.
The harps' development reflected physical, cultural and economic
environments such as trade, religion, environmental changes,
and technology at the time.
PREHISTORIC TIMES
No one really knows where the harp originated and we will never know
what music sounded like at the dawn of civilization. One of the earliest
musical instrument relics discovered showed a harp-like instrument on
rock paintings dating back to 15,000 BC, which were found in France at
the caves of Les Trois Freres. Many believe that the earliest harps came
from the hunter's bow. Perhaps while hunting, prehistoric man liked the
sound of the vibrating bowstring. Then a second string was added to the
bow, then a third. In the course of time, more and more strings were
added. Eventually, a gourd or a hollow area at one end of the bow
was added which became a sound box. This came to be known as
the arched harp of which the Egyptians later perfected.
ANCIENT EGYPT
Of all the musical instruments in ancient Egypt, the harp seems to have
been the most popular. In Egypt, some of the earliest depictions of
harps are from the Pharaoh's tombs dating some 5,000 years ago. The
hieroglyphs show that there were many harps in ancient Egypt. Music
played a great part in ancient Egyptian life. They regarded musical
instruments and music itself as originating from the gods. Harps were
used in harp ensembles, in festivities, banquets, funerals and temple
worship. The Egyptians played mostly Arched Harps - where the neck and
body form a bow-like curve or "C"-shaped arched" soundbox (the soundbox
is the body and resonator of the instrument.) The harps were mostly
played in a vertical position. The Egyptian Pharaoh Ramses III
(1198-1166 BC) had many harps depicted among paintings in his tomb.
In the New Kingdom, harps measured up to 6-1/2 feet in height with 19
strings and had to be played standing up. Many illustrations show the
hands are on different strings with wide gaps between the hands. In my
latest recording "Qualities", the actual acoustics from the Pyramids at
Giza, Egypt were used on my harps to make them sound as if
they were actually played inside these pyramids of ancient times.
MESOPOTAMIA
Harps were very popular in ancient Mesopotamia as they were in Egypt.
One of the earliest illustrations of a harp in early Mesopotamia was on
a vase found during an excavation of a Babylonian temple near the Tigris
and Euphrates Rivers. These harps were arched harps with 12 to 15
strings; like the instruments that were played in Egypt at about the
same time. Mesopotamian arched harps were played with the soundbox held
uppermost, whereas in Egypt, the resonator was held below. The
Mesopotamians later developed other types of harps. The angle harp
differed from the Egyptian arched harps in that the neck and the body
form right angles. Vertical harps also known as lyre harps (or just
"lyres") also began appearing in ancient Sumeria by 2800 BC. A lyre
usually had two arms (usually wood) extend out of the instrument's body.
The arms are connected at the top with a stick or crossbar to which
strings are wound. The strings are stretched from the stick crossbar to
the instrument's body. In box lyres, the body and belly form a hollow
wooden box; in bowl lyres, the body may be a tortoise shell, gourd or
carved bowl", and the belly is usually an animal skin.
PALESTINE & BIBLICAL TIMES
Much of the imagery and concepts of harps we have come from the Bible.
The harp is the first instrument mentioned in the bible. One of the
earliest archaeological finds showing a harp was near Jerusalem. A cave
drawing from the 3rd to 4th millennium BC, was discovered in Megiddo
that depicts a man playing a frame harp known as a "nevel". Legend has
it that the sound of the nevel is so sweet that when all the other
musical instruments heard it they became ashamed. In the Bible, Jubal
was "the ancestor of all who play the harp" (Genesis 4:21). The bible
mentions that King David was "skilled in playing the harp". David played
his harp as a shepherd while sitting in the fields and composing his
psalms. Although no one knows exactly what David's harp(s) looked like,
the Bible does say that David played very well and prevented King Saul
from going mad. "And David would take the harp and play with his hand.
Saul would find relief and feel better and the evil spirit departed from
Saul" (Samuel 16: 23). This seems to be the oldest recorded case of harp
therapy. Harp lyres were used in the Temple of Jerusalem as a regular
part of the worship service. One depiction of a harp that existed close
to the time of Jesus was shown on a coin called the "Bar Kochba coin".
On this coin is shown a small harp called a kinnor, the kind that was
probably used in the Temple Service. Legend has it that the Jews refused
to play the harp when they were exiled in Babylon. Instead the Harp of
David was hung upon the WILLOW trees. The harp of the Temple was forever
silenced and disappeared. Ancient Talmudic prophesy (Mas. Arachin 13b)
says that harps will USHER in the coming of the Messiah. "The harp of
the ten strings is reserved for the day when the world that is to come
(the Olam Haba) is united in one harmonious whole." In the last book of
the New Testament, Revelation 14:2 states "And I heard a voice from
heaven, as the voice of many waters, and as the voice of a great
thunder: and I heard the voice of harpers harping with their harps. "
ANCIENT GREECE
Some of the oldest carvings of harps were discovered in Phoenicia.
Eleven marble harp statuettes dating back to 3,000 - 2,300 BC were found
on the island of Keros in the Aegean Sea. These figurines are playing
triangular-shaped harps. The development of the harp also coincided with
the development of musical scales. In the 5th to 6th centuries BC,
Pythagorus discovered numerical ratios corresponding to intervals of the
musical scale. Greeks began to write songs based on these scales and the
small lyre harp was ideally suited to play songs in these scales. The
ancient Greeks valued the ideals of beauty and ethics and music played
an important part in Greek life. The Greeks considered the art of
playing musical instruments a principal part of learning. The lyre harp
lended itself nicely to the Greek ideals and later became the most
popular instrument in Ancient Greece. The classic Greek lyre harps were
called "Kithara" which was a term used for describing all kinds of harps
and lyres. The modern word "guitar" came from the word Kithara.
According to Greek mythology, Hermes created the harp lyre from the body
of a large tortoise shell, which he covered with animal hide; antelope
horns formed the posts. So beautiful was the tone that he presented the
instrument as an offering to the God Apollo. The lyre harp became
regarded as the instrument of Apollo, the god of music and harmony.
Lyres came to be associated with the higher Apollonian virtues of
wisdom, serenity, clarity, moderation and communication. In contrast,
the music of the Dionysians was performed on raucous reed instruments
with wild abandon. Greek mythology portrays ORPHEUS, the divine harp
lyre player, who charmed the Lord of the Underworld Pluto in order to
bring back his wife from the dead. Orpeus played this lyre harp to
inspire Jason and the Argonauts on their quest for the Golden Fleece. It
was ORPHEUS' melodies that blocked out the brainwashing sirens intent on
inciting listeners to their destruction The Greeks are credited with
inventing the Aeolian harp, a harp played by the wind. It was named for
Aeolus, the Greek god of the wind. In my recordings, the sounds of
Aeolian harps produced by the wind on Orcas Island can be heard
vibrating the strings of my harp.>>
-----------------------------------------------------------------------
http://www.dreamscape.com/morgana/metis.htm
<<The Prieure du Notre Dame du Sion, or Priory of Zion,
brought itself to light in 1956 under the subtitle
"Chivalry of Catholic Rules and Institutions of the Independent and
Traditionalist Union," which in French abbreviates to CIRCUIT -
- the name of the magazine distributed internally among members.
"Nautonnier" or Grand Master of the Order being, till 1963, Jean
Cocteau. While it is believed the head has been Pierre Plantard de
St.-Clair up until recent times, he claims to have left that post in
1984, so it is not clear who runs the organization at this time. But
whoever he is, he has had illustrious predecessors: Jacques DeMolay,
Leonardo de Vinci, Isaac Newton, and Claude Debussy, among others!>>
---------------------------------------------------------
the 'Debussy Chronology'
http://www.geocities.com/stephenvincent/debussychrono.htm
1862- Achille-Claude Debussy bom at 38 rue au Pain,
Saint-Germain-en-Laye on August 22
1886 Reads Morias, Verlaine, Baudelaire, Shelley, and SHAKESPEARE.
Accepts order to write music for Vaucairc's adaptation of As You Like It.
1887 Printemps composed, February, criticized at the Academie for its
'vague impressionism', December. Returns finally to Paris, living with
his parents. Reads MAETERLINCK's La Princesse Maleine. Begins a symphony
on POE's Fall of the House of USHER. Writes music for a scene of
Viffiers de l'Isle Adam's Axel. c. i889 Liaison with Gabrielle Dupont.
1890 Piano pieces Reverie, Valse Romantique, & Nocturne published.
Writes Suite Bergamasque for piano.
1891 Following an emotional crisis, plans again to go to London,
February. Attends benefit performance for Gauguin and Verlaine at the
Theatre du Vaudeville. Sees MAETERLINCK's L'Intruse, preceded by
recitations of poems of Poc, June. Requests permission from MAETERLINCK
to set La Princesse Maleine. Marche des anciens comtes de ROSS for piano
duct published.
1893 Meets Oscar Wilde at the home of Georges Louis, February. Hears Die
Walkiire at the Opera, May. Hears MAETERLINCK's Pellias et Melisande.
Visit to MAETERLINCK at Ghent. Receives financial support from Prince
Poniatowski.
1894 Plays an arrangement for piano duet of Rimsky-Korsakov's Capriccio
Espagnol at the Societe Nationale,20 January. Accompanies Therese Roger
in De Fleurs and De Soir, Society Nationale, 17 February. Receives 1,ooo
francs for piano performance of the first act of Parsifal at a society
gathering at the home of Henri Lerolle, February. First concert of
Debussy's works conducted by Ysaye, and given at an exhibition of
Impressionist paintings and the Art Nouveau at the Libre Esthetique,
Brussels, March. Prelude a' l'Apres-midi d'utn faune, completed,
September; performed 22 December at the Societe Nationale conducted
by Gustave Doret, and attended by Mallarme and Pierre Louys.
1895 First version of Pelleas finished, spring.
1896 Works on ballet on subject of Daphnis & Chloe, the scenario by
Pierre Louys derived from Oscar Wilde. Work begun on La Saulaie
(Rossctd's WILLOW-wood). Play, Les Freres en Art, begun.
1898 Haunted by thoughts of suicide, March-April.
1902 Plans stage work on POE's tale The Devil in the Belfry June.
journey to London where at the invitation of Andre Messager he stays
at the Hotel CECIL, 12 July. Plans a version of _As You Like It_.
1903 Project to set MAETERLINCK's Joyselle.
1904 Leaves Lilly Debussy for Madame Bardac, ' June. Hears Sarah
Bernhardt and Mrs. Patrick Campbell in Pellias et Milisande, London,
July. At Jersey with Madame Barclac. Masques composed. At Dieppe with
Madame Bardac, August/Septcmbcr. L'Islejoyeuse composed, September.
Moves with Madame Bardac to 10 Avenue Alphand and later to 8o Avenue du
Bois de Boulogne, Paris, September-Octobcr. Attempted suicide of Lilly
Debussy, 13 October, announced in Le Figaro.
1905 Piano score of La Mer completed, 5 March.
Madame Bardac divorced, May 4.
Stays at Eastbourne with Madame Bardac, August. Divorced from Lilly
Debussy, 2 August. Birth of daughter, Claude-Emma ('Chouchou'), 30 Oct.
1906 Lunches with Richard Strauss, 25 March.
Publication of Serenade a la poupee.
1907 Goes to Brussels for first performance of Pelleas, 9 January. Death
of Madame Bardac's uncle, the financier OSIRIS, in whose will she is
disinherited, 4 February. Debussy suggests to Segalen a libretto
on the subject of ORPHEUS, 26 August.
1908 Married to Emma Bardac in Paris 20 January. Conducts L'Apre's-midi
d'un fautne and La Mer at Queen's Hall, London, 1 February. Returns to
La Chute de la Maisois USHER, now conceived as an opera, June. Signs
contract for productions at the Metropolitan Opera House in New York of
USHER, Le Diable dans le Beffroi, and La LI , gende de Tristan, July.
1909 Goes to London to conduct L'Apre'smidi d'un faune and Fetes at
Queen's Hall, 25 February. Debussy goes to London to superintend
rehearsals of Pellias given at Covent Garden, 2iMay. Composes Hommage a
Haydin, July. Writes the scenario of Masques et Bergamasques for
Diaghilev. Works on scenario and music of La Chute de la Maison USHER.
Hears Stravinsky's L'Oiseau defeu in Paris, 25 June. Meeting with
Stravinsky at Bellevue at the home of Laloy, June.
1916 First performance of NoEl des enfants given byjane Monjovet, 9
April.
Final version of libretto of La Chute de la Maison USHER completed
1918 Death at his home in the Avenue du Bois de Boulogne in Paris, 25
March. Burial at Pire-Lachaise cemetery on 28 March, the eve of Good
Friday when shells from the German gun 'Big Bertha' fell
on the Church of Saint-Gervais.>>
---------------------------------------------------
Art Neuendorffer
Art Neuendorffer
http://www.unverse.com/id-books-1582430357
http://www.bb.com/looptestlive.cfm?bookid=533&startrow=1
Antony and Cleopatra Act 3, Scene 6
OCTAVIUS CAESAR Why have you stol'n upon us thus!
You come not Like Caesar's sister: the wife of Antony
Should have an army for an USHER,
--------------------------------------------------
[Coriolanus (Folio) 2.1]
Mene. Now it's twentie seuen; euery gash was an
Enemies Graue. Hearke, the Trumpets.
[A showt, and flourish.]
Hark! the trumpets.
Volum. These are the VSHERS of Martius:
Before him, hee carryes Noyse;
And behinde him, hee leaues Teares:
http://www.orientalrugsofbath.com/orbnevil.htm
Aubrey on Francis Bacon:
http://www.bodley.ox.ac.uk/external/cumnor/articles/inman-robsart.htm
PREHISTORIC TIMES
ANCIENT EGYPT
MESOPOTAMIA
PALESTINE & BIBLICAL TIMES
ANCIENT GREECE
1916 1st performance of NoEl des enfants given byjane Monjovet, 9 April.