Ne sutor ultra crepidam
Art Neuendorffer
Brazil's Lists of the Printed Dedications to Edward de Vere
Hekatompathia Thomas WATSON 1582
Thomas WATSON's sonnet cycle, Hecatompathia, printed two years
before Pandora, was influential, is experimental (the sonnets
have 18 lines) and ornate, and is dedicated to Oxford.
----------------------------------------------------------------
Edward de Vere, Seventeenth Earl of Oxford (1550-1604)
by Professor Steven May
<<Oxford read WATSON's Hekatompathia
while it was still in manuscript.>>
--------------------------------------------------------------
The Life of Christopher Marlowe
http://swc2.hccs.cc.tx.us/HTMLS/ROWHTML/faust/marlowe.htm
<<In 1587, Marlowe received his M.A. and moved to London, where he
spent most of the rest of his life. The history of Marlowe's remaining
six years of his life traces a series of violent clashes with the law.
By 1589 he was living in Norton Folgate, near the theaters, close to
Thomas WATSON, the poet. In September, Marlowe & William Bradley fell
to fighting in HOG Lane, where upon WATSON came to Marlowe's rescue. In
the ensuring brawl WATSON fatally stabbed Bradley. Though Marlowe fled
the scene, both he and WATSON were imprisoned in Newgate, Marlowe for
two weeks and WATSON for a longer time. On December 3, 1589 Marlowe
& WATSON appeared for trial & discharged with a warning to keep the
peace. This he failed to do, for three years later he was summoned
to appear at the Middlesex sessions for assaulting two shoreditch
constables in Holleywell Street. The constables said that
they went in fear of their lives because of him. There is no
evidence that Marlowe ever answered this particular charge.>>
---------------------------------------------------------------------
"Let not the cobbler overstep his last"
"(Ne sutor ultra crepidam)."
"Let no one presume to interfere in matters of which he is ignorant."
The tale goes that a cobbler detected a fault in the shoe-latchet
of one of Apelles' paintings, and the artist rectified the fault.
The cobbler, thinking himself very wise, next ventured to
criticise the legs; but Apelles answered, "Keep to your trade"
- you understand about shoes, but not about anatomy.
----------------------------------------------------------
http://www.dlroper.shakespearians.com/venus_and_lucretia.htm
<<On 17 May 1594 (a year after Marlowe's 17 May 1593 arrest), the
Stationers Register recorded the forthcoming publication: OENONE &
PARIS by an author with the initials T.H. In almost every instance this
poem proved to be a mocking parody of Venus & Adonis. Both stories were
based upon themes of unrequited love that had originally been written
by Ovid. Shakespeare's came from the Metamorphoses, & T.H.'s from the
Heroides.
Where Shakespeare addresses his 'patron'
with the words: "THE FIRST HEIR of my invention",
T.H. paraphrases with: "THE FIRST FRUITS of my endeavours".
What Shakespeare calls his "unpolished lines",
T.H. assigns to be "rude and unpolished".
As a former director of the Shakespeare Folger Library
was wont to remark: "Throughout the text, verbal plagiarism
of Shakespeare's poem is everywhere conspicuous." Charlton
Ogburn summed up T.H.'s intention very neatly when he wrote:
Having pretended that the poem was his first, and in the same words
making fun of the pretence, 'T.H.' says he is offering the poem under
concealed authorship in imitation of the Greek painter Apelles so that
he may see how the dedicatees like it, in anticipation of his offering
to their 'humours' a more ambitious work - just as
the author of Venus and Adonis promised to
'honour' the dedicatee with 'some graver labour'.
[The Mystery of William Shakespeare: Charlton Ogburn, p.85-69].
T.H. had clearly discerned the "concealed authorship"
behind Shake-speare's name, and poked fun at it.>>
------------------------------------------------------------
The Triple Tau is one of the most important
symbols of Royal Arch Masonry
It has been said that three Taus come together to form the Triple Tau.
---_____ * * *
-----_____ *
___ *-__ * __ *
___ * * * * * * *
___ * _____ *
Others say the Triple Tau is originally
the coming together of a T & H meaning
[T]emplum [H]ierosolyma,
or the Temple of Jerusalem.
-----------------------------------------------------------------
THE SECRET SERVICE IN TUDOR TIMES By R. L. EAGLE
http://home.att.net/~mleary/baco1.htm
<<THE well established fact that Marlowe was an agent employed by Sir
Francis Walsingham from 1587 while an undergraduate at Cambridge, &
after he had taken his M.A. degree, until Walsingham's death in 1590,
may serve to kindle interest in those who directed and those who
served under them in the secret service. That Sir Thomas Walsingham,
cousin of Sir Francis Bacon, carried on in an unofficial capacity after
the latter's death, and was employing the same men including such
as Ingram Frezer, Robert PoIey, Marlowe and Nicholas Skeres
(all present at the "liquidation" of Marlowe at Deptford
at the end of May, 1593) is also well attested.
The Walsingham cousins had very close ties of affection & interests.
One has only to study Thomas WATSON's "Meliboeus," described on
the titlepage as "An Eglogue upon the Death of the Right Honorable Sir
Francis Walsingham Late principall Secretarie to Her Majestie, and of
her Honourable Privie Councell." It was printed in 1590 in Latin &
English. The Latin version is dedicated to Sir Thomas Walsingham, and
the English version to Lady Frances Sidney, daughter of Sir Francis.
In the "Eglogue" the Queen is Diana, Sir Francis is "Meliboeus",
Sir Thomas speaks as Tityrus, and WATSON as "Corydon". Both
Sir Francis & Sir Thomas were patrons of learning & literature.
In 1581, Sir Francis Walsingham was sent to Paris to negotiate a treaty
with France which was calculated to destroy any agreement between
France & Spain which would be dangerous to England. WATSON's
"Eglogue" makes it clear that Sir Thomas accompanied his cousin,
and that WATSON was also there, e.g.: Tityrus (i.e., Sir Thomas)
Thy tunes often pleas'd mine eare of yoare,
When milkwhite SWANS did flocke to heare thee sing,
Where Seine in Paris Makes a double shoare,
Paris thrice blest if shee obey her King.
Why was the poet WATSON in the company of the Walsingham cousins? Was
he, like Marlowe, assisting in the secret service? Were there still
more poets & dramatists using their intelligence as agents in return
for patronage? This appears to be highly probable for there is proof of
yet another poet & playwright, Anthony Munday, being similarly engaged.
In 1582, Munday had been hunting Catholics with success. We can learn
that from his publication, "A DiscoVERiE of Edmund Campion and his
Confederates." There is no evidence known as to Munday's employer, but
he went to Rome to spy on English Catholics, and to learn what he could
to their detriment, and then betray them (see DNB).>>
-----------------------------------------------------
<<When _Venus & Adonis_ was still all the rage, there was entered in
the Stationaers' Register (May 17, 1594) a close imitation by one
'T.H.' [Thomas Heywood?] with the same theme of unrequited love,
approximately the same plot, the same setting, the same richly ornate
style, and with the title _Oenone and Paris_ parallel to the title.
Throughout the text verbal plagiarism of Shakespeare's poem is
everywhere conspicuous.">>
- J. Q. Adams
<<"Curteous Readers. . . Here you have THE FIRST FRUITS of my endeavors
and maiden head of my pen; which, how rude and unpolished it may seem
in your eagle-sighted eyes, I can not conceive, and therefore, fearing
the worst, I have sought in some sort to prevent it. Apelles having
framed any work of worth, would set it openly to the view of all,
hiding himself closely in a corner of the workhouse. . . In the
publishing of this little poem, I have imitated the painter, giving you
this poor pamphlet to peruse, lurking in the meanwhile obscurely till
that, hearing how you please to censure of my simple work. I may in
some other 'Opere magis elaborato' apply my vein to you humours...>>
------------------------------------------------------------
Peter Farey wrote:
>The [following] inscription appears in St. Paul's Cathedral,
>on the tomb of Sir Francis Walsingham, which the poem
> itself (as an acrostic) in fact tells us.
S hall Honor, Fame and Titles of Renowne
I n Clods of Clay be thus inclosed still?
R ather will I, though wiser Wits may frown,
F or to inlarge his Fame, extend my Skill.
R ight gentle Reader, be it known to thee
A famous Knight doth here interred LIE,
N oble by Birth, renowned by Policie,
C onfounding Foes which wrought our Jeopardie.
I foreign Countries their intents he knew;
S uch was his Zeale to do his Country Good,
W hen Dangers would by Enemies ensue
A s well as they themselves he understood.
L aunch FORTH, ye Muses, into Streams of Praise,
S ing and sound FORTH praiseworthy Harmony:
I n England, Death cut off his dismal Days,
N ot wronged by Death, but by false Treachery.
G rudge not at this unperfect Epitaph,
H erein I have exprest my simple Skill,
A s THE FIRST FRUITS proceeding from a gRAFFE;
M ake them a better whosoEVER WILL.
>Sir Francis Walsingham died in April 1590, only a couple of
>months after Thomas WATSON was released from gaol, following
> his part in the killing of William Bradley. This affray was
>something that he and his friend Christopher Marlowe had been
>involved in the previous September. From the records of the
>case, it looks as though Marlowe and WATSON were sharing
>accommodation at the time, or were at least close neighbours.
> Other things they had in common were that they were both
>well-known poet-dramatists, both had links with the Burghley/
>Walsingham intelligence set-up, and both were friends of Sir
>Francis's cousin Thomas Walsingham, who was also the patron
>of both of them. When Sir Francis died, WATSON wrote
> a memorial eclogue called *Meliboeus*, dedicated to
> Thomas, and showing him as the chief mourner.
----------------------------------------------------------------------
Sir Francis Walsingham dies: April 6, 1590 Monday
Koran descends to Earth: April 6, 610 AD Monday
Clements' St.Methodius dies: April 6, 884 Monday
Petrarch meets LAURA: April 6, 1327 Monday
DURER dies: April 6, 1528 Monday
BRIDGET Vere's birth: April 6, 1584 Monday
LUCIO: Does BRIDGET PAINT still, Pompey, ha? [MfM Act 3, Sc. 2]
----------------------------------------------------------------
<<Apelles, fl. 330 B.C., Greek painter, the most celebrated in
antiquity but now known only through descriptions of his works. He was
court painter to Philip II of Macedon and to ALEXANDER the Great. His
portraits of ALEXANDER included one in the Temple of Diana at Ephesus
that showed ALEXANDER wielding the thunderbolts of ZEUS. Apelles
excelled in painting horses, and according to Pliny the portrait of
Antigonus Cyclops on horseback was his masterpiece. Most famous,
perhaps, was the painting of Aphrodite rising from the sea. A painting
made by Botticelli from Alberti's description of Apelles' Calumny is in
the Uffizi. Apelles influenced Mantegna & TITIAN.>>
-----------------------------------------------------------------------
<< Upon the sixth of April, ALEXANDER the Great was born.
Upon the same day he conquered Darius,
won a great victory at sea, & died the same day.
Neither was this day less fortunate to his father Philip;
for on the same day he took Potidea; >> - JOHN AUBREY, F.R.S.
-----------------------------------------------------------------------
LAURA dies of plague: April 6, 1348 Sunday
RAPHAEL born: April 6, 1483 Sunday
RAPHAEL dies: April 6, 1520 Good Friday
ARCHILOCHUS solar eclipse: April 6, 648 BC Friday
Kent EARTHQUAKE: April 6, 1580 Wednesday
Thomas Hobbes' birth: April 5, 1588 Good Friday
Historian John Stow dies: April 6, 1605 Sat/Wed.
"native of Crete" EL GRECO dies: April 7, 1614 Monday
Start of _The SOUND & the FURY_: April 6, 1928 Good Friday
----------------------------------------------------------------------
1594 (Prefatory poem to Willobie His Avisa):
Yet Tarquin plucked his glistering GRAPE,
And Shake-speare, PAINTS poor Lucrece rape.
http://shakespeareauthorship.com/name3.html
----------------------------------------------------------
Robert Brazil:
<<One of the most interesting dedication to Edward de Vere
is Angel DAYE's The English Secretary of 1586 which begins:
"ZEU(xi)S endeavoring to paint excellent LIE, made
GRAPES in shew so natural that presenting them to view,
men were deceived by their SHAPES and
the birds with their colors. When Apelles drew Venus..."
Daye then goes on to flatter Oxford as being in
the same category of talent as ZEU(xi)S and Apelles. >>
----------------------------------------------------------------
Alessandro Botticelli. Calumny of Apelles. c.1494-1495.
Tempera on panel. Galleria degli Uffizi, Florence, Italy
http://www.abcgallery.com/B/botticelli/botticelli48.html
http://www.roland-collection.com/rolandcollection/section/6/220.htm
<<Sandro Botticelli was a painter of religious frescoes; in the
mid-1480s he attempted a new concept in the painting of women,
personifying the Goddess of Love and the Seasons, and it is for this
that he is most famous; but at the end of his life he was influenced by
the teachings of the reforming friar Savonarola, who denounced the
corruption of society. Henceforward Botticelli abandoned the feminine
beauties of his earlier work; his imagination became darker and more
anguished, as we can see from his allegory of the Calumny of Apelles,
one of his masterpieces. Calumny, preceded by Jealousy, drags an
innocent man to the judgment throne of Midas; Suspicion & Deceit
whisper in Midas's ear, while Remorse gazes downcast at naked TRUTH.
How distant these impassioned mortals are from
Botticelli's legendary gods basking in the sun.>>
----------------------------------------------------------------
Apelles (from The Catholic Encyclopedia)
<<Founder of a Gnostic sect; died at an advanced age late in the
2nd century. What little is known of his life is gleaned chiefly
from fragments of the writings of his antagonist Rhodon, preserved
by Eusebius (Hist. Eccl., V, xii), and from Tertullian's "Prescription
against Heretics" (xxx). At Rome he separated from Marcion, whose most
famous pupil he was, and went to Alexandria, where he met the visionary
Philumene, whose utterances he regarded as inspired. Besides collecting
her oracles in a book entitled "Manifestations", he wrote an extensive
work, Eullogismoi, an attack on Mosaic theology. The moral character
of Apelles is differently estimated according as one is influenced
either by Rhodon's uncoloured picture of the aged heresiarch, or
by the stories of scandals in his early life to which Tertullian,
not without exaggeration, refers.>>
-----------------------------------------------------------------
<<March 9, 1876 Scots-born ALEXANDER Graham Bell patented the first
telephone literally hours before a similar patent was lodged by Elisha
Gray. The first actual coherent message was transmitted the next day
from one room to the next at 5 Exeter Place, Boston, Massachussetts,
USA when Bell spoke to his assistant, Thomas WATSON,
saying "Come HERE, WATSON, I WANT you."
October 9, 1876, 1st telephone conversation through above-the-ground
lines using existing telegraph wires. ALEXANDER Graham Bell &
Thomas WATSON talked between Cambridge & Boston, Massachusetts.>>
-----------------------------------------------------------------
Hekatompathia by Thomas WATSON
Dedications and Introductory Poems
http://www.elizabethanauthors.com/hek005.htm
To the Right Honorable my
very good Lord Edward de Vere, Earle
of Oxenford, Viscount Bulbecke, Lord
of Escales, and Badlesmere, and Lord High
Chamberlain of England, all happinesse.
ALEXANDER the Great, passing on a time by the workshop of Apelles,
curiously surveyed some of his doings, whose long stay in viewing them
brought all the people into so great a good liking of the painter's
workmanship, that immediately after they bought up all his pictures,
what price soever he set them at.
And the like good hap (Right Honorable) befell unto me lately
concerning these my Love Passions, which then chanced to Apelles for
his Portraits. For since the world hath understood (I know not how)
that your Honor had willingly vouchsafed the acceptance of this work,
and at convenient leisures favorably perused it, being as yet but in
written hand, many have oftentimes and earnestly called upon me to put
it to the press, that for their money they might but see what your
Lordship with some liking had already perused. And therewithal some of
them said (either to yield your Honor his due praise, for soundness of
judgment; or to please me, of whom long since they had conceived well)
that ALEXANDER would like of no lines, but such as were drawn by the
cunning hand, and with the curious pencil, of Apelles. Which I set not
down here to that end, that I would confer my Poems with Apelle's
Portraits for worthiness; albeit I fitly compare your Honor's person
with ALEXANDER's for excellence. But how bold soever I have been in
turning out this my petty poor flock upon the open Common of the wide
world, where EVERy man may behold their nakedness, I humbly make
request that if any storm fall unlooked-for (by the fault of malicious
high foreheads or the poison of evil-edged tongues) these my little
ones may shroud themselves under the broad-leafed Platane of your
Honor's patronage. And thus at this present, I humbly take my leave;
but first wishing the continual increase of your Lordship's honor, with
abundance of true Friends, reconciliation of all Foes, and what good
soever tendeth unto perfect happiness.
Your Lordship's humbly at command, Thomas VVatson
-------------------------------------------------------------------
{anagram}
HEKATOMPATHIAS
SHAKE-PTAH-TOMIA
TOMIA [NL., fr. Gr. ? to cut.]
The cutting edges of the bill of a bird (HAWK?).
HAMLET: I know a HAWK from a HANDSAW.
--------------------------------------------------------------------
<<SEKER: A god of light, protector of the spirits of the DEAD passing
through the Underworld en route to the afterlife. Seker was worshiped
in Memphis as a form of Ptah or as part of the compound deities
P(t)AH-SEKER usually depicted as having the head of a HAWK,
and shrouded as a MUMMY, similar to PTAH.>> [Maltese FALCON]
-----------------------------------------------------------------
{anagram}
"P(t)AH-SEKER"
"SHAKE(s)PER"
-------------------------------------------------------
[TH]omas [WAT]son
-------------------------------------------------------
(c. 1557-1592), English lyrical poet, was born in London, probably
in 1557. He proceeded to Oxford, and while quite a young man
enjoyed a certain reputation, even abroad, as a Latin poet. His De
remedio amoris, which was perhaps his earliest important composition,
is lost, and so is his "piece of work written in the commendation of
women-kind," which was also in Latin verse. He came back to London and
became a law-student. The earliest publication by Watson which has
survived is a Latin version of the Antigone of Sophocles, issued in
1581. It is dedicated to Philip Howard, earl of Arundel. Next year
Watson appears for the first time as an English poet in some verses
prefixed to Whetstone's Heptameron, and also in a far more important
guise, as the author of the _Hekatompathia or Passionate Centurie of
Love_: a collection or cycle of 100 pieces, in the manner of Petrarch,
celebrating the sufferings of a lover and his long farewell to love.
Although they appear and profess to be sonnets, they are really written
in triple sets of common six-line stanza, and therefore have 18 lines
each. (In this form Watson had no imitators.) Among those who were
at this time the friends of Watson we note Matthew Royden & George
Peele. In 1585 he published a Latin translation of Tasso's pastoral
play Aminta, & his version was afterwards translated into English by
Abraham Fraunce (1587). In 1590 he published, in English and Latin
verse, his Meliboeus, an elegy on the death of Sir Francis Walsingham,
and a collection of Italian Madrigals, put into English by Watson and
set to music by Byrd. Of the remainder of Watson's career nothing is
known, save that on the 26th of September 1592 he was buried in the
church of St BARTHOLOMEW, and the following year his collection of 60
sonnets: _The Tears of Fancie, or Love Disdained_ (1593), was
published.
--------------------------------------------------------
The headpiece on the Tempest copy occurs as early
as the title page of Watson's Hekatompathia (1581)
http://www.elizabethanauthors.com/hek00.htm
Composed by (24 year old!)
[TH]omas [WAT]son Gentleman;
and published at the request of
certaine Gentlemen his VERY frendes
And dedicated to:
To the Right Honorable my
VERY good Lord Edward de VERE, Earle
of Oxenford, Viscount Bulbecke, Lord
of Escales, and Badlesmere, and Lord High
Chamberlain of England, ALL HAPPINESSE.
[perHAPs: the "ALL HAPPINESSE" of the Sonnets?]
--------------------------------------------------------------
<<AQUARIUS = Greek waterbearer Ganymede.
Ganymede becomes identified with HAPI, the god of the NILE:
Zeus, in the form of an eagle (Aquila), carried the boy off from
Mount Ida & made him his favorite. As cup-bearer to the gods,
he personified the "fountain" of the NILE and caused that
river to overflow its banks annually (Pindar frag. 282).>>
--------------------------------------
<<HAPI (Golden Dawn, Ahephi) One of the Four Sons of Horus,
HAPI was represented as a mummified man
with the head of a baboon.
The name HAPI, spelled with different HIEROGLYPHs,
is also the name of the personification of the River NILE,
depicted as a corpulent man (fat signifying abundance)
http://www.windowsonwarwickshire.org.uk/spotlights/featuring_shakespe...
with a crown of LILIES (Upper NILE )
or papyrus plants (Lower NILE).>>
--------------------------------------------------------------
http://www.elizabethanauthors.com/hek005.htm
"Hard HAP it [IS], if nothing {H}ere you find
That you can deem delightful to your mind."
---------------------------------------------------------
<= 19 =>
TOTHEO [N] l __ I _ EBE (G) ____ ETTERO
FTHESE__- [I] n _ S - UIN (G) ____ SONNET
SMrWha_- [L] L H[a] P <P> I__ [N] ESSEA
NDthat____[E] T _ [E|r] - N <I> T__ [I] EPROM
ISEDB Y O u ___ [R|e] V <E> R [L] IVING
POEtW I s h _____ [E|t] _ H [T] H_- [E] WELLW
IShIN-(G)a _____ [d V e] N [T] u ______ ReRINS
EtTIN (G)fort----_______ H [T] t
--------------------------------------------------------
*HAP* TOM SNOUT
SOUTHAMPTON
*HAP* SKERES
SHAKSPERE
--------------------------------------------------------
http://www.elizabethanauthors.com/hek005.htm
"ALEXANDER the Great, passing on a time
by the workshop of Apelles, curiously surveyed
some of his doings, whose long stay in viewing them
brought all the people into so great a good liking
of the painter's workmanship, that immediately
after they bought up all his pictures,
what price soEVER he set them at.
And the like good HAP (Right Honorable)
befell unto me lately concerning these my Love Passions,
which then chanced to Apelles for his Portraits
VIRGIL in expressing the striking-down of an OX,
letteth the end of his hexameter fall withal,
Procumbit humi BOS."
------------------------------------------------------------------
Ham. Doost thou thinke ALEXANDER lookt a this fashion i'th earth?
Hora. Een so.
Ham. And smelt so *PAH*
------------------------------------------------------
Ovid, Heroides V
The BEECH-TREES still hold my name with your carving,
And I read "OENONE," written by your blade.
And as much as those trunks grow, so much my name increases.
RISE UP, and grow straight with my glory!
Poplar, live, I pray, planted by the river bank
With, in your furrowed bark, this verse:
"If PARIS can still draw breath when he has abandoned OENONE,
Then the WATERs of the Xanthus shall FLOW back toward their source."
Xanthus, make haste backward, and FLOWing WATERs return!
PARIS endures his desertion of OENONE!
But when the blast of the devouring fire
Had made twain one, OENONE and PARIS, now
One little heap of ashes, then with wine
QUENCHED they the embers, and they laid their bones
In a wide golden vase, and round them piled
The EARTH-MOUND; and they set TWO PILLARS there
That each from other EVER turn away;
For the old jealousy in the marble lives.
--------------------------------------------------------------
Art Neuendorffer
David L. Webb
"Art Neuendorffer" <aneuendor...@comcast.net>
(aneuendor...@comicass.nut) wrote:
[Lunatic logorrhea snipped]
> Apelles (from The Catholic Encyclopedia)
>
> <<Founder of a Gnostic sect; died at an advanced age late in the
> 2nd century. What little is known of his life is gleaned chiefly
> from fragments of the writings of his antagonist Rhodon, preserved
> by Eusebius (Hist. Eccl., V, xii), and from Tertullian's "Prescription
> against Heretics" (xxx). At Rome he separated from Marcion, whose most
> famous pupil he was, and went to Alexandria, where he met the visionary
> Philumene, whose utterances he regarded as inspired. Besides collecting
> her oracles in a book entitled "Manifestations", he wrote an extensive
> work, Eullogismoi, an attack on Mosaic theology. The moral character
> of Apelles is differently estimated according as one is influenced
> either by Rhodon's uncoloured picture of the aged heresiarch, or
> by the stories of scandals in his early life to which Tertullian,
> not without exaggeration, refers.>>
> ---------------------------------------------------------------------
> "Let not the cobbler overstep his last"
> "(Ne sutor ultra crepidam)."
But Art -- "Ne sutor vltra crepidam" is an anagram of
De Ver crap: nuts' turmoil.
> "Let no one presume to interfere in matters of which he is ignorant."
But Art -- if you accepted that dictum, then you could not post to
h.l.a.s. at all, and I would miss out on many a good laugh!
> The tale goes that a cobbler detected a fault in the shoe-latchet
> of one of Apelles' paintings, and the artist rectified the fault.
I thought that it was Orazio Cogno who got "rectified" by the artist.
> The cobbler, thinking himself very wise, next ventured
> to criticise the legs; but Apelles answered, "Keep to your trade"-
>
> you understand about shoes, but not about anatomy.
There is indeed one anatomical feature that I don't think that you
know from a hole in the ground, Art.
[Lunatic logorrhea snipped]
> Peter Farey wrote:
>
> >The [following] inscription appears in St. Paul's Cathedral,
> >on the tomb of Sir Francis Walsingham, which the poem
> > itself (as an acrostic) in fact tells us.
>
> S hall Honor, Fame and Titles of Renowne
> I n Clods of Clay be thus inclosed still?
> R ather will I, though wiser Wits may frown,
>
> F or to inlarge his Fame, extend my Skill.
> R ight gentle Reader, be it known to thee
> A famous Knight doth here interred lie,
> N oble by Birth, renowned by Policie,
> C onfounding Foes which wrought our Jeopardie.
> I foreign Countries their intents he knew;
> S uch was his Zeale to do his Country Good,
>
> W hen Dangers would by Enemies ensue
> A s well as they themselves he understood.
> L aunch forth, ye Muses, into Streams of Praise,
> S ing and sound forth praiseworthy Harmony:
> I n England, Death cut off his dismal Days,
> N ot wronged by Death, but by false Treachery.
> G rudge not at this unperfect Epitaph,
> H erein I have exprest my simple Skill,
> A s the first Fruits proceeding from a gRAFFE;
"The first fruits proceeding from a gaffe" is a nice phrase to
describe my robust laughter upon reading parts of Dr. Stritmatter's
thesis, most of Mr. Streitz's book, and virtually all your h.l.a.s.
posts, Art.
> M ake them a better whosoever WILL.
[Lunatic logorrhea snipped]
> Composed by (24 year old!)
> [TH]omas [WAT]son Gentleman;
> and published at the request of
> certaine Gentlemen his VERY frendes
>
> And dedicated to:
>
> To the Right Honorable my
> VERY good Lord Edward de VERE, Earle
> of Oxenford, Viscount Bulbecke, Lord
> of Escales, and Badlesmere, and Lord High
> Chamberlain of England, ALL HAPPINESSE.
>
> [perHAPs: the "ALL HAPPINESSE" of the Sonnets?]
Do you know why a tuna sandwich trumps "all happinesse," Art?
[Lunatic logorrhea snipped]
Art Neuendorffer
> > Apelles (from The Catholic Encyclopedia)
> >
> > <<Founder of a Gnostic sect; died at an advanced age late in the
> > 2nd century. What little is known of his life is gleaned chiefly
> > from fragments of the writings of his antagonist Rhodon, preserved
> > by Eusebius (Hist. Eccl., V, xii), and from Tertullian's "Prescription
> > against Heretics" (xxx). At Rome he separated from Marcion, whose most
> > famous pupil he was, and went to Alexandria, where he met the visionary
> > Philumene, whose utterances he regarded as inspired. Besides collecting
> > her oracles in a book entitled "Manifestations", he wrote an extensive
> > work, Eullogismoi, an attack on Mosaic theology. The moral character
> > of Apelles is differently estimated according as one is influenced
> > either by Rhodon's uncoloured picture of the aged heresiarch, or
> > by the stories of scandals in his early life to which Tertullian,
> > not without exaggeration, refers.>>
> > -----------------------------------------------------------------
> > "Let not the cobbler overstep his last"
> > "(Ne sutor ultra crepidam)."
David L. Webb wrote:
> But Art -- "Ne sutor vltra crepidam" is an anagram of
>
> De Ver crap: nuts' turmoil.
Very poor INPNC!
> "Art Neuendorffer" <aneuendor...@comcast.net>
> > "Let no one presume to interfere in matters of which he is ignorant."
David L. Webb wrote:
> But Art -- if you accepted that dictum, then you could not post
> to h.l.a.s. at all, and I would miss out on many a good laugh!
Larry Crone once gave me the nickname: "Nobody."
I insisted that "Nobody is perfect" but he disagreed.
> "Art Neuendorffer" <aneuendor...@comcast.net>
> > The tale goes that a cobbler detected a fault in the shoe-latchet
> > of one of Apelles' paintings, and the artist rectified the fault.
David L. Webb wrote:
> I thought that it was Orazio Cogno who got "rectified" by the artist.
That would require a Zenner diode.
> "Art Neuendorffer" <aneuendor...@comcast.net>
> > The cobbler, thinking himself very wise, next ventured
> > to criticise the legs; but Apelles answered, "Keep to your trade"-
> >
> > you understand about shoes, but not about anatomy.
David L. Webb wrote:
> There is indeed one anatomical feature that I don't think
> that you know from a hole in the ground, Art.
What about a hole in a tree?
> > Peter Farey wrote:
> >
> > >The [following] inscription appears in St. Paul's Cathedral,
> > >on the tomb of Sir Francis Walsingham, which the poem
> > > itself (as an acrostic) in fact tells us.
> >
> > S hall Honor, Fame and Titles of Renowne
> > I n Clods of Clay be thus inclosed still?
> > R ather will I, though wiser Wits may frown,
> >
> > F or to inlarge his Fame, extend my Skill.
> > R ight gentle Reader, be it known to thee
> > A famous Knight doth here interred lie,
> > N oble by Birth, renowned by Policie,
> > C onfounding Foes which wrought our Jeopardie.
> > I foreign Countries their intents he knew;
> > S uch was his Zeale to do his Country Good,
> >
> > W hen Dangers would by Enemies ensue
> > A s well as they themselves he understood.
> > L aunch forth, ye Muses, into Streams of Praise,
> > S ing and sound forth praiseworthy Harmony:
> > I n England, Death cut off his dismal Days,
> > N ot wronged by Death, but by false Treachery.
> > G rudge not at this unperfect Epitaph,
> > H erein I have exprest my simple Skill,
> > A s the first Fruits proceeding from a gRAFFE;
David L. Webb wrote:
> "The first fruits proceeding from a gaffe" is a nice phrase to
> describe my robust laughter upon reading parts of Dr. Stritmatter's
> thesis, most of Mr. Streitz's book, and virtually all your h.l.a.s.
> posts, Art.
Having trouble reading, Dave?
----------------------------------------------------------------
Romans 11:23: And they yf they byde not still in vnbelefe shalbe
GRAFFEd in agayne. For God is of power to GRAFFE them in agayne.
----------------------------------------------------------------
> "Art Neuendorffer" <aneuendor...@comcast.net>
> > M ake them a better whosoever WILL.
> > Composed by (24 year old!)
> > [TH]omas [WAT]son Gentleman;
> > and published at the request of
> > certaine Gentlemen his VERY frendes
> >
> > And dedicated to:
> >
> > To the Right Honorable my
> > VERY good Lord Edward de VERE, Earle
> > of Oxenford, Viscount Bulbecke, Lord
> > of Escales, and Badlesmere, and Lord High
> > Chamberlain of England, ALL HAPPINESSE.
> >
> > [perHAPs: the "ALL HAPPINESSE" of the Sonnets?]
David L. Webb wrote:
> Do you know why a tuna sandwich trumps "all happinesse," Art?
No, Dave. Why does a tuna sandwich trumps "all happinesse?"
Art Neuendorffer
David L. Webb
"Art Neuendorffer" <aneuendor...@comcast.net>
(aneuendor...@comicass.nut) wrote:
> > "Art Neuendorffer" <aneuendor...@comcast.net>
>
> > > Apelles (from The Catholic Encyclopedia)
> > >
> > > <<Founder of a Gnostic sect; died at an advanced age late in the
> > > 2nd century. What little is known of his life is gleaned chiefly
> > > from fragments of the writings of his antagonist Rhodon, preserved
> > > by Eusebius (Hist. Eccl., V, xii), and from Tertullian's "Prescription
> > > against Heretics" (xxx). At Rome he separated from Marcion, whose most
> > > famous pupil he was, and went to Alexandria, where he met the visionary
> > > Philumene, whose utterances he regarded as inspired. Besides collecting
> > > her oracles in a book entitled "Manifestations", he wrote an extensive
> > > work, Eullogismoi, an attack on Mosaic theology. The moral character
> > > of Apelles is differently estimated according as one is influenced
> > > either by Rhodon's uncoloured picture of the aged heresiarch, or
> > > by the stories of scandals in his early life to which Tertullian,
> > > not without exaggeration, refers.>>
> > > -----------------------------------------------------------------
> > > "Let not the cobbler overstep his last"
> > > "(Ne sutor ultra crepidam)."
> David L. Webb wrote:
>
> > But Art -- "Ne sutor vltra crepidam" is an anagram of
> >
> > De Ver crap: nuts' turmoil.
> Very poor INPNC!
It certainly could not be any worse than the zero that you recently
scored for "second best bed"! Incidentally, Art, "crepidam" is an
anagram of "Crap, idem." You might succinctly summarize both the
content of your posts and their sources in this way.
> > "Art Neuendorffer" <aneuendor...@comcast.net>
>
> > > "Let no one presume to interfere in matters of which he is ignorant."
> David L. Webb wrote:
>
> > But Art -- if you accepted that dictum, then you could not post
> > to h.l.a.s. at all, and I would miss out on many a good laugh!
> Larry Crone once gave me the nickname: "Nobody."
>
> I insisted that "Nobody is perfect" but he disagreed.
> > "Art Neuendorffer" <aneuendor...@comcast.net>
>
> > > The tale goes that a cobbler detected a fault in the shoe-latchet
> > > of one of Apelles' paintings, and the artist rectified the fault.
> David L. Webb wrote:
>
> > I thought that it was Orazio Cogno who got "rectified" by the artist.
> That would require a Zenner diode.
Excellent, Art! It's a pity that Zenner isn't around now.
> > "Art Neuendorffer" <aneuendor...@comcast.net>
>
> > > The cobbler, thinking himself very wise, next ventured
> > > to criticise the legs; but Apelles answered, "Keep to your trade"-
> > >
> > > you understand about shoes, but not about anatomy.
> David L. Webb wrote:
>
> > There is indeed one anatomical feature that I don't think
> > that you know from a hole in the ground, Art.
> What about a hole in a tree?
I wouldn't mention such things if I were you, Art; it's apt to
provoke a reappearance of Faker's boasts of his sexual conquests.
No, Art; the phrase is rather like the amusing _objets trouvés_ that
Peter Groves has been posting.
> ----------------------------------------------------------------
> Romans 11:23: And they yf they byde not still in vnbelefe shalbe
> GRAFFEd in agayne. For God is of power to GRAFFE them in agayne.
> ----------------------------------------------------------------
> > "Art Neuendorffer" <aneuendor...@comcast.net>
>
> > > M ake them a better whosoever WILL.
>
> > > Composed by (24 year old!)
> > > [TH]omas [WAT]son Gentleman;
Why not [T]homas [WAT]son, Art?
> > > and published at the request of
> > > certaine Gentlemen his VERY frendes
> > >
> > > And dedicated to:
> > >
> > > To the Right Honorable my
> > > VERY good Lord Edward de VERE, Earle
> > > of Oxenford, Viscount Bulbecke, Lord
> > > of Escales, and Badlesmere, and Lord High
> > > Chamberlain of England, ALL HAPPINESSE.
> > >
> > > [perHAPs: the "ALL HAPPINESSE" of the Sonnets?]
> David L. Webb wrote:
>
> > Do you know why a tuna sandwich trumps "all happinesse," Art?
> No, Dave. Why does a tuna sandwich trumps [sic] "all happinesse?"
Because nothing is better than "all happinesse," and a tuna sandwich
is certainly better than nothing. You've heard of transitivity, haven't
you, Art?
Art Neuendorffer
>>>> --------------------------------------------------------
>>>> "Let not the cobbler overstep his last"
>>>> "(Ne sutor ultra crepidam)."
>> David L. Webb wrote:
>>> But Art -- "Ne sutor vltra crepidam" is an anagram of
>>>
>>> De Ver crap: nuts' turmoil.
> "Art Neuendorffer" <aneuendor...@comcast.net>
>> Very poor INPNC!
David L. Webb wrote:
> It certainly could not be any worse than the zero
> that you recently scored for "second best bed"!
-------------------------------------------------------
"SECOND BEST"
____ {anagram}
"BOS DESCENT"
[S] E C
[O] N D
[B] E S T
OX-ford/BUL-beck marries only daughter of *TREASUREr* Lord Burghley:
Anne Cecil [age *15*] on OPALIA [i.e., OPHELIA]: DECEMBER 19, 1571
(during Venus/URANUS/Sun conj.)
1395 Wyclif: Luke 12:34: For where is thi TRESOURE,
there thin [HERTE] schal be.
-----------------------------------------------------
"my second best bed wth the furniture"
[last minute interlineation]
___- M Y [S]
___- [E] C [O]
___- [N] D [B]
___- [E] [S] T
___- [B] [E] D
__- W [T] [H]
___- T [H] [E]
___- F U [R]
___- N _ I _ [T]
___- U R [E]
-----------------------------------------------------------
Besides...*SETH* (Hebrew for mortal man) is a proper name:
------------------------------------------------------------
The Legend of the TRUE Cross.
<<Adam before he died pursuaded *SETH* to return to the garden & plead
for the oil of mercy. Gabriel gave *SETH* the branch of the original
tree from which Adam & Eve ate. This tree had blackened and withered
away when they had committed their "happy sin" or Felix culpa, but
had burst forth anew when Michael promised man's future salvation.
But Adam had died when *SETH* returned, so he planted
the branch on Adam's grave, where it lasted until
Solomon's time as a mighty tree. Solomon cut it down to build,
but IT ALWAYS CHANGED SHAPE and was thrown down as a BRIDGE.
When the Queen came to cross the water, she knelt in adoration
at the sacred wood & prophesied that it would be used to *NAIL*
a world saviour who would defile & end the Jewish heritage.>>
--------------------------------------------------------
[A] worke t' outweare *SETH's* pillars, BRICK & stone,
[A]nd, holy writs excepted, made to yeeld to none.'
--John Donne, 1633.
---------------------------------------------------
(th)OMAS BRINCK(nell)
BRICK MASON
B_ R_ I_ C_ (k)
M_ A_ S_ O_ (n)
CO RA MB IS
-------------------------------------------------------
"one [HERTE], one way"
----------------------------------------------------------
<<"His arms, surrounded by the mottoed Garter, are painted
as if suspended from a tree, on the left and below them -
'Cor Unum Via Una'
is written in delicate characters.
Lord Burghley's motto symbolises his aims & principles and
the singleness of his mind, which were for Queen & Country.>>
http://www.sirbacon.org/cecil.htm
-------------------------------------------------------------
>> > "Art Neuendorffer" <aneuendor...@comcast.net>
>>
>>>> The tale goes that a cobbler detected a fault in the shoe-latchet
>>>> of one of Apelles' paintings, and the artist rectified the fault.
>
>> David L. Webb wrote:
>>
>>> I thought that it was Orazio Cogno who got "rectified" by the artist.
> "Art Neuendorffer" <aneuendor...@comcast.net>
>> That would require a Zenner diode.
David L. Webb wrote:
> Excellent, Art! It's a pity that Zenner isn't around now.
I wonder how Zenner's book sold.
> > > "Art Neuendorffer" <aneuendor...@comcast.net>
> >
>>>> The cobbler, thinking himself very wise, next ventured
>>>> to criticise the legs; but Apelles answered, "Keep to your trade"-
>>>>
>>>> you understand about shoes, but not about anatomy.
>
> > David L. Webb wrote:
> >
>>> There is indeed one anatomical feature that I don't think
>>> that you know from a hole in the ground, Art.
> "Art Neuendorffer" <aneuendor...@comcast.net>
>> What about a hole in a tree?
David L. Webb wrote:
> I wouldn't mention such things if I were you, Art; it's apt to
> provoke a reappearance of Faker's boasts of his sexual conquests.
The country is full of tree muggers, Dave.
>>>> Peter Farey wrote:
>>>>
>>>>>The [following] inscription appears in St. Paul's Cathedral,
>>>>> on the tomb of Sir Francis Walsingham, which the poem
>>>>> itself (as an acrostic) in fact tells us.
>>>
>>>> S hall Honor, Fame and Titles of Renowne
>>>> I n Clods of Clay be thus inclosed still?
>>>> R ather will I, though wiser Wits may frown,
>>>>
>>>> F or to inlarge his Fame, extend my Skill.
>>>> R ight gentle Reader, be it known to thee
>>>> A famous Knight doth here interred lie,
>>>> N oble by Birth, renowned by Policie,
>>>> C onfounding Foes which wrought our Jeopardie.
>>>> I foreign Countries their intents he knew;
>>>> S uch was his Zeale to do his Country Good,
>>>>
>>>> W hen Dangers would by Enemies ensue
>>>> A s well as they themselves he understood.
>>>> L aunch forth, ye Muses, into Streams of Praise,
>>>> S ing and sound forth praiseworthy Harmony:
>>>> I n England, Death cut off his dismal Days,
>>>> N ot wronged by Death, but by false Treachery.
>>>> G rudge not at this unperfect Epitaph,
>>>> H erein I have exprest my simple Skill,
>>>> A s the first Fruits proceeding from a gRAFFE;
>>----------------------------------------------------------------
>> Romans 11:23: And they yf they byde not still in vnbelefe shalbe
>> GRAFFEd in agayne. For God is of power to GRAFFE them in agayne.
>> ----------------------------------------------------------------
>>>> M ake them a better whosoEVER WILL.
>>>> Composed by (24 year old!)
>>>> [TH]omas [WAT]son Gentleman;
David L. Webb wrote:
> Why not [T]homas [WAT]son, Art?
Get with the program, Dave!
------------------------------------------------------
The Triple Tau is one of the most important
symbols of Royal Arch Masonry
It has been said that three Taus come together to form the Triple Tau.
---_____ * * *
-----_____ *
___ *-__ * __ *
___ * * * * * * *
___ * _____ *
Others say the Triple Tau is originally
the coming together of a T & H meaning
[T]emplum [H]ierosolyma,
or the Temple of Jerusalem.
-----------------------------------------------------------------
>>>> and published at the request of
>>>> certaine Gentlemen his VERY frendes
>>>>
>>>> And dedicated to:
>>>>
>>>> To the Right Honorable my
>>>> VERY good Lord Edward de VERE, Earle
>>>> of Oxenford, Viscount Bulbecke, Lord
>>>> of Escales, and Badlesmere, and Lord High
>>>> Chamberlain of England, ALL HAPPINESSE.
>>>>
>>>> [perHAPs: the "ALL HAPPINESSE" of the Sonnets?]
>
>> David L. Webb wrote:
>>
>>> Do you know why a tuna sandwich trumps "all happinesse," Art?
> "Art Neuendorffer" <aneuendor...@comcast.net>
>> No, Dave. Why does a tuna sandwich trump "all happinesse?"
David L. Webb wrote:
> Because nothing is better than "all happinesse," and a tuna sandwich
> is certainly better than nothing. You've heard of transitivity,
> haven't you, Art?
Transitivity? That's one step above a Zenner diode, isn't it?
-------------------------------------------------
Transitivity
-------------------------------------------------
JERRY: I'll open with a tuna sandwich.
ELAINE: Tuna?
JERRY: Oh, the dolphin thing?
ELAINE: They're dying in the nets.
JERRY: Ooohhh.. You know, the whole concept of lunch is based on tuna.
ELAINE: Jerry, can't you incorporate one unselfish act in your daily
routine?
JERRY: Hey, when I'm driving, I let people in ahead of me all the time.
I'm always waving everybody in. "Go ahead, go ahead, go ahead."
..Alright.. alright. I'll have a chicken salad.
ELAINE: And I'm going to have an English muffin with margarine on the
side and a cup of coffee.
WAITRESS: Okay. (To George) What about you?
GEORGE: I'll have the tuna.
-------------------------------------------------
Art Neuendorffer