The Etruscan Bronze Chandelier of Cortona

Cortona Chandelier (Museum View), mid 4th century BC, Bronze, Diameter  of  60 cm, Museo dell’Accademia Etrusca e della Città di Cortona, Italy
https://www.toscanaovunquebella.it/en/cortona

Traveller, thou art approaching Cortona! Dost thou reverence age – that fulness of years which, as Pliny says, “in men is venerable, in cities sacred? This is that which demands thy reverence. Here is that, which when the Druidical marvels of thine own land were newly raise, was of hoary antiquity – that, compared to which Rome is but of yesterday – to which most other cities of ancient renown are fresh and green. Thou mayst have wandered far and wide through Italy – nothing hast thou seen more venerable than Cortona. Ere the days of Hector and Achilles, ere Troy itself arose – Cortona was. On that bare and lofty height, whose towered crest holds communion with the cloud, dwelt the heaven-born Dardanus, ere he left Italy to found the Trojan race; and on that mount reigned his father Corythus, and there he was laid in the tomb. Such is the ancient legend, wherefore gainsay it? Away with doubts – pay thy full tribute of homage – acceptam parce movere fidem! Hast thou respect to fallen greatness? – Yon solemn city was once the proudest and the mightiest in the land, the metropolis of Etruria, and now – but enter its gates and look around… writes in 1845 the British scholar and diplomat George Dennis and I think I couldn’t find a better introduction for my new BLOG POST The Etruscan Bronze Chandelier of Cortona. George Dennis, The Cities, and Cemeteries of Etruria, Volume II, pages 432-435 https://digi.ub.uni-heidelberg.de/diglit/dennis1848bd2/0030/scroll

The city of Cortona, the metropolis of Etruria, a proud and mighty citadel… has a lot of secret beauties for the Traveler to come upon! Amongst them, its Museo dell’Accademia Etrusca e della Città di Cortona or as it is popularly known THE MAEC OF CORTONA. Established in 2005, the MAEC is a museum, according to its official site, that brings together the ancient eighteenth-century collections of the Etruscan Academy such as the Etruscan Chandelier, the Egyptian section, the historical library, and the works of Gino Severini with the most recent archaeological finds that illustrate the history of Cortona. Among these, the “Tabula Cortonensis” and the grave goods of the Sodo circles stand out. The MAEC is also the point of synthesis to understand the realities of the city’s Archaeological Park. https://cortonamaec.org/it/

Cortona Chandelier, mid 4th century BC, Bronze, Diameter  of  60 cm, Museo dell’Accademia Etrusca e della Città di Cortona, Italy
https://cortonamaec.org/it/le-opere/

In the splendid new round room of the MAEC, the Cortona visitor can properly admire the Museum’s crown jewel, the Etruscan Bronze Chandelier, hanging from the ceiling, as it was meant to be seen, along with a gypsum cast exhibited in a niche at eye-level for all to marvel at its “frightening” decoration! The famous Chandelier was accidentally found in 1840 by peasants working in a field called Il Bisciaio, just 2,8 km west of Cortona.

The shape of the Chandelier reminds me of a large, circular, shallow bowl. Looking up at the center of the Chandelier’s underside section, the head of Gorgo encircled by snakes, dominates the overall composition. Moving outwards, an innermost ring illustrates four groups of animals fighting, followed by yet another ring of waves running from right to left. The external ring shows a complex scene of eight crouching,  ithyphallic  Sileni alternating with eight dressed, and bejeweled Sirens. In an alternating scheme four Sileni blow the double aulos, and the other four a syrinx, with seven canes of the same length. Under the hooves of the  Sileni, the artist presented eight swimming dolphins. The Bronze Cortona Chandelier is an elaborate antique oil lamp with sixteen oval nozzles. Between the nozzles, sixteen three-dimensional heads of the river-god Acheloos look outward,  in a  horizontal direction, forming the outermost ring of this amazing creation. What a remarkable composition with such complex imagery! https://www.researchgate.net/publication/298407240_The_Etruscan_Bronze_Lamp_of_Cortona_its_Cosmic_Program_and_its_Attached_Inscription

Cortona Chandelier (details), mid 4th century BC, Bronze, Diameter  of  60 cm, Museo dell’Accademia Etrusca e della Città di Cortona, Italy
https://cortonamaec.org/it/le-opere/

The iconographic program of the Etruscan Bronze Lamp of Cortona most probably has a cosmic meaning referring to the Underworld, Ocean, and Heaven (Sky)… according to Bouke Van der Meer. His article The Etruscan Bronze Lamp of Cortona, its Cosmic Program and its Attached Inscription, (June 2014 Latomus 73(2):289-302), is most interesting to read… https://www.researchgate.net/publication/298407240_The_Etruscan_Bronze_Lamp_of_Cortona_its_Cosmic_Program_and_its_Attached_Inscription

For a Student Activity, please… Check HERE!

Cortona Chandelier (detail), mid 4th century BC, Bronze, Diameter  of  60 cm, Museo dell’Accademia Etrusca e della Città di Cortona, Italy
https://europeupclose.com/article/cortona/

Simon Bening’s February

Simon Bening (d. 1561) and his workshop
Book of Hours, known as the Golf Book, February (f. 19v),c. 1540, 30 Parchment leaves on paper mounts, bound into a codex, 110 x 80 mm (text space: 85 x 60 mm), British Library, London, UK
https://blogs.bl.uk/digitisedmanuscripts/calendars/page/11/

Simon Bening’s February scene is a feast for the eyes! Under an impressive green canopy, and in front of a blazing fire the lord and the lady of the Manor House are ready for an evening of festivities and fine dining. Seated on a high-backed chair, a symbol of her social rank, and attended by her handmaiden, the lady of the manor is portrayed spirited, and enthusiastic, chatting with her husband who seems interested, like-minded, and responding. He is lavishly clothed in a tunic with a sable collar holding a bowl of liquid. Like most of the men in the room except the servants, musicians and the dancer, the lord wears a small, soft cap with a slightly raised crown and very narrow rim. The shirt collar, of German origin, is quite high and trimmed by a narrow, gathered edge. Bening presents them in a richly-appointed room, behind an opulent dining table laden with two candlesticks each with a lit candle, a platter of meat, loaves of bread, a metal container possibly for drinks, and a glass goblet which reveals the high social standing of the figures. The large proportions of the room and compositional depth are enhanced by the presence of two doors, on either side of the fireplace. A group of crammed, curiously-looking men is depicted through the left door, and a serious servant carrying a bowl of food emerges through the right door. We are witnesses of a true Renaissance feast in the making! https://www.moleiro.com/en/books-of-hours/the-golf-book-book-of-hours/miniatura/157 and https://blogs.bl.uk/digitisedmanuscripts/calendars/page/11/

Simon Bening (d. 1561) and his workshop
Book of Hours, known as the Golf Book, February (f. 19v),c. 1540, 30 Parchment leaves on paper mounts, bound into a codex, 110 x 80 mm (text space: 85 x 60 mm), British Library, London, UK
http://www.bl.uk/manuscripts/Viewer.aspx?ref=add_ms_24098_fs001r

For Simon Bening, presenting a scene of feasting is not enough! I sense anticipation rising high… I imagine the hosts, the servants, and the guests eager for the entertainment to begin! A troop of musicians… accompanied by a rather mischievous-looking jester, are ready! To the left of the composition, two servants holding torches, just like Renaissance spotlights, illuminate the scene. On the opposite side, a group of musicians playing a melody on a flute to the sound of a drum set the tone for merriment! Beside them is a jester or fool in the typical horned cap with bells and mock scepter. He looks utterly mischievous… Is he about to make some impudent, risqué comment? Is the young, a fashionably dressed couple in the center, the target of his bold wit? https://www.moleiro.com/en/books-of-hours/the-golf-book-book-of-hours/miniatura/157 and https://blogs.bl.uk/digitisedmanuscripts/calendars/page/11/

Simon Bening takes time and effort to present us with a powerful couple of impeccable tastes… stylish, and trendy! They are about to start dancing, and he is the protagonist of the scene… wearing a doublet with gusseted sleeves and full-length hose with a ribbon tied around each leg. He differs from the others, present in the composition, by his loose, decorative, slit sleeves hanging from the forearm… the golden dagger tied to his waist… his narrow, closed footwear, of the duck’s beak type that appeared around 1530. What an amazing presentation! We can only speculate which winter feast is celebrated on Bening’s February page. Perhaps a feast related to Carnival, as suggested by the image of another small jester painted in cameo fashion in a niche on the left of the border around the painting. Perhaps not… https://www.moleiro.com/en/books-of-hours/the-golf-book-book-of-hours/miniatura/157

For a PowerPoint on the  Golf Book, please… Check HERE!

For a Student Activity on Simon Bening’s February page, please… Check HERE!

Simon Bening (d. 1561) and his workshop
Book of Hours, known as the Golf Book, February (f. 20r),c. 1540, 30 Parchment leaves on paper mounts, bound into a codex, 110 x 80 mm (text space: 85 x 60 mm), British Library, London, UK
https://blogs.bl.uk/digitisedmanuscripts/calendars/page/11/

La Belle Nani by Paolo Veronese

Paolo Veronese, 1528–1588 
Portrait of a Venetian Woman – La Belle Nani, circa 1560, oil on canvas, 119×103 cm, Louvre Museum, Paris, France
https://collections.louvre.fr/en/ark:/53355/cl010065927

Men were created before women… But that doesn’t prove their superiority – rather, it proves ours, for they were born out of the lifeless earth in order that we could be born out of living flesh. And what’s so important about this priority in creation, anyway? When we are building, we lay foundations on the ground first, things of no intrinsic merit or beauty, before subsequently raising up sumptuous buildings and ornate palaces. Lowly seeds are nourished in the earth, and then later the ravishing blooms appear; lovely roses blossom forth and scented narcissi… writes Moderata Fonte in her book The Worth of Women: Wherein Is Clearly Revealed Their Nobility and Their Superiority to Men, and I think that La Belle Nani by Paolo Veronese is one such Venetian… ravishing bloom, a lovely roses blossom, a scented narcissi! https://www.goodreads.com/author/quotes/893320.Moderata_Fonte and https://books.google.gr/books?id=AtTGAAAAQBAJ&pg=PA138&lpg=PA138&dq=Men+were+created+before+women.+…+But+that+doesn%27t+prove+their+superiority+%E2%80%93+rather,+it+proves+ours,+for+they+were+born+out+of+the+lifeless+earth+in+order+that+we+could+be+born+out+of+living+flesh.+And+what%27s+so+important+about+this+priority+in+creation,+anyway?+When+we+are+building,+we+lay+foundations+on+the+ground+first,+things+of+no+intrinsic+merit+or+beauty,+before+subsequently+raising+up+sumptuous+buildings+and+ornate+palaces.+Lowly+seeds+are+nourished+in+the+earth,+and+then+later+the+ravishing+blooms+appear;+lovely+roses+blossom+forth+and+scented+narcissi.&source=bl&ots=LzBLZk1PqE&sig=ACfU3U14hiEGCMR-a1Zp9IywMToXnxIAsw&hl=el&sa=X&ved=2ahUKEwi37YHOwKb1AhXLgv0HHYiYA1AQ6AF6BAgCEAM#v=onepage&q&f=false

What an incredible portrait La belle Nani is! Created by Paolo Veronese (1528-1588), one of the most famous painters of the Cinquecento, it fascinates and fires the imagination. Who is she? Is she a respectable Venetian matron, one of Venice’s famous courtesans, or is she the image of the Venetian ideal beauty? Well, we do not really know… except that back in the 19th century, it was thought that the portrait was commissioned by the Nani, a patrician family of Venice, and thus, the nickname La Belle Nani was adopted. http://editions.louvre.fr/en/titles/monographs/painting/veroneseune-dame-venitienne-dite-la-belle-nani.html

Paolo Veronese, 1528–1588 
Portrait of a Venetian Woman – La Belle Nani (detail), circa 1560, oil on canvas, 119×103 cm, Louvre Museum, Paris, France
https://www.iefimerida.gr/politismos/ethniki-pinakothiki-loybro-maska-napoleonta-parisi

The portrait of the “Beautiful Nani” follows, according to the Louvre experts, a very fashionable compositional formula developed by no other than the greatest portrait painter of the Venetian Renaissance, Titian. The model is depicted facing the viewer, in front of a dark neutral background, and is placed next to an element of furniture, in Veronese’s painting, a table covered with a precious carpet of Anatolian manufacture, known as “a la Moretto” style. Portrayed against a sober background the beautiful woman bursts of light and colour reflecting the extraordinary skills of the Venetian Renaissance artist. https://collections.louvre.fr/en/ark:/53355/cl010065927

The Louvre Portrait exalts the beauty of a young woman as much as the richness of her dress. It is believed that this is the Portrait of an aristocratic Venetian mother… beautiful and utterly fashionable! Her delicate complexion, for example, is white and pink, indicating that the lady is protecting herself from the sun. Her sparkling hair is blond, a color that was obtained, according to the beauty recipes of the time, by exposing hair to the midday sun, on the roofs of Venetian palaces. Her ceremonial dress, made of luxurious blue velvet and branched brocade on a white background, is fashionably loose, with a fairly wide opening on the chest, a light white gauze coat draped over her shoulders, and sumptuous pieces of jewelry all over her. https://collections.louvre.fr/en/ark:/53355/cl010065927

La belle Nani is beautiful, fashionable, and virtuous… She chastely turns her gaze away from that of the spectator. Her left hand, whose ring finger is adorned with a wedding ring, elegantly re-dyes the transparent veil of her coat, while her right hand rests on her heart, as a sign of conjugal fidelity. The portrait must thus signify the exemplary nature of this woman: her high social rank, her physical beauty, and her moral virtue. https://collections.louvre.fr/en/ark:/53355/cl010065927

Katerina Sakellaropoulou the President of the Hellenic Republic at the National Gallery of Greece Exhibition In Search of Immortality – The Art of Portrait in the Louvre Collections (December 1, 2021-28 March 2022).
https://www.newsit.gr/politikh/katerina-sakellaropoulou-egkainiase-ekthesi-tis-ethnikis-pinakothikis-foros-timis-sto-mouseiou-tou-louvrou/3418282/

In Search of Immortality – The Art of Portrait in the Louvre Collections (December 1, 2021-28 March 2022) is a wonderful Exhibition at the National Gallery in Athens, Greece. La Belle Nani is just one of one hundred portraits from the Louvre Museum Exhibited in Athens. An impressive selection of valuable works of art dating from the period of Pharaonic Egypt to Gericault and Delacroix, the Athens Exhibition explores the genre of Portraiture with stunning examples like… The Death of Mara by Jacques-Louis or Bonaparte at the Pont d’Arcole by Antoine-Jean Gros. This is an Exhibition worth visiting! https://digitalculture.gov.gr/2021/11/ethniki-pinakothiki-anazitontas-tin-athanasia-i-techni-tou-portretou-stis-silloges-tou-louvrou/

For a PowerPoint on Portraits of Renaissance Women by Paolo Veronese, please… Check HERE!

Love of Virtue by François Lemoyne

François Lemoyne, 1688-1737
Study of a head for Love of Virtue in The Apotheosis of Hercules, circa 1733,
Pastel, trois crayons and stump blending on formerly blue paper, © château de Versailles, France https://en.chateauversailles.fr/news/exhibitions/drawings-versailles-20-years-acquisitions#the-exhibition

The Doors of the Versailles Exhibition… Drawings for Versailles, 20 years of Acquisitions… closed for the interested visitors, but the preparatory drawing of a head for the Love of Virtue by François Lemoyne has become a favourite! The exhibition displayed acquisitions that have joined the Palace of Versailles Graphic Arts Department over the last 20 years. On display, in Madame de Maintenon’s apartments, visitors were able to admire pastels, gouaches, watercolours, and other works that are often kept in storage because of their great fragility. Portraits and scenes from life at court, such as Louis XIV portrayed as a Roman emperor or Charles Perrault drawn by Charles Le Brun, plans, architectural drawings, and preparatory sketches for the major painted decors of the Palace of Versailles were on display and greatly admired! The visitors traveled through four centuries of graphic creation, discovering a Versailles as envisioned by great artists like Charles Le Brun, Charles de la Fosse, François Lemoyne, Richard Mique, Jacques Gondoin, and Lucien Lévy-Dhurmer… a place of great wonders! https://en.chateauversailles.fr/news/exhibitions/drawings-versailles-20-years-acquisitions#the-exhibition

Around 1733, while François Lemoyne was painstakingly working for the Apotheosis of Hercules ceiling decoration of the Versailles Hercules Room, a small preparatory drawing of a head for the Love of Virtue was quickly drawn… and if I may humbly say, the finesse of French Baroque Art turning to Rococo comes to fruition.

The Hercules Room-View of the Ceiling and the Paolo Veronese Painting of the Feast in the House of Simon, Palace of Versailles
https://commons.wikimedia.org/wiki/Category:Feast_in_the_House_of_Simon_by_Paolo_Veronese_(Versailles)#/media/File:Le_salon_d’Hercule_(24302264315).jpg

Part of the King’s (Louts IV 1638-1715) State Apartment, the Hercules Room was lavishly decorated in the Italian-style with exceptional marble wall paneling, splendid chimney bronzes, a monumental painting by the Venetian Paolo Veronese depicting the Feast in the House of Simon and the largest painted ceiling, representing the Apotheosis of Hercules by François Lemoyne. The decoration of the Hercules Room initiated in 1712, was interrupted by the death of Louis XIV in 1715; it resumed in 1729 and was completed in 1736. The Hercules Room is undoubtedly one of the finest in the palace. https://en.chateauversailles.fr/discover/estate/palace/king-state-apartment#the-hercules-room and https://en.chateauversailles-spectacles.fr/tag/hercules-room_t50/1

The Room’s pièce de resistance is Lemoyne’s Apotheosis of Hercules. This vast, impressive, allegorical work, depicting no fewer than 142 persons, can be considered on a par with masterpieces by Italian fresco painters. It was created, however, using the marouflage technique, that is the scenes were painted on canvas and then stuck onto the ceiling. When the painting was finally cleaned and restored in 2000 the composition’s drama and bright colours were justly revealed and the room was once more lit up enhancing the other great exhibited masterpiece, the Renaissance monumental painting of the Feast in the House of Simon by Paul Veronese. http://www.versailles3d.com/en/over-the-centuries/xxie/2000.html

François Lemoyne was a hard-working and ambitious artist of the early 18th century, aspiring to be seen as the new Charles Le Brun. He was admired by his contemporaries for covering vast spaces with bold mythological scenes, graceful figures, and elegant, pastel colours. In 1728, he was awarded a royal commission to paint the ceiling of the Hercules Room at Versailles, at à ciel ouvert style. The Apotheosis of Hercules painting (finished in 1736) received unanimous praise, Voltaire complimented the artist’s talent, and Lemoyne was appointed 1st painter of King Louis XV. It was a short triumph. Six months later, Lemoyne committed suicide exhausted by work, court intrigue at Versailles, the death of his wife, and psychological instability. https://www.getty.edu/art/collection/artists/3473/francois-le-moyne-french-1688-1737/  

For a PowerPoint on François Lemoyne, please… Check HERE!

Villa Arianna’s Dionysus and Ariadne Fresco

Lying in the shadow of Mount Vesuvius… Stabiae is home to a group of enormous, sea-edge, Villae Marittimae, which are set on a cliff above the modern town of Castellammare di Stabia. We know of at least six of these villas, built directly next to one another—a sort of Roman high-rent resort district next to the small town of Stabiae. They were beautifully preserved by the eruption of 79 A.D., with standing walls, some of the highest quality frescoes surviving from antiquity, and some of the most innovative garden architecture in the Roman world. On the 13th of October I presented you with information on Villa Arianna, today, on the 11th of December… let’s discuss Villa Arianna’s Dionysus and Ariadne Fresco. https://www.baslibrary.org/archaeology-odyssey/8/1/5

Ariadne on Naxos, 4th Pompeian Style Fresco, Villa Arianna grand Triclinium, Room No. 3, 1st century AD, Stabiae, Italy
https://commons.wikimedia.org/wiki/Category:Triclinio_3_di_Villa_Arianna#/media/File:Mito_ri_Arianna.jpg
Villa Arianna Areal View
https://www.stabiaholidayhouse.it/en/visit-to-the-ancient-stabiae/
 Villa Arianna Plan, Stabiae (after Kockel 1985 with corrections by Allroggen-Bedel A. and De Vos M.) https://www.pompeiiinpictures.com/pompeiiinpictures/VF/Villa_102%20Stabiae%20Villa%20Arianna%20plan.htm

Villa Arianna was lavishly decorated with frescoes and portable furnishings, an undisputed testimony of the expensive lifestyle the owners enjoyed, and evidence of their refined taste and style. One such high-quality fresco, drawing inspiration from the myth of Dionysus and Ariadne, gave the Villa its modern name.

Ιmagine the scene… Theseus and Ariadne flee Crete in a hurry. With the help of Ariadne, Theseus had just killed the horrible Minotaur in the depths of Knossos’s palace maze. Their first stop to rest on their way to Athens is the island of Naxos… where the story unfolds dramatically and excitingly. God Dionysus, in love with Ariadne, appears to Theseus in his sleep and convinces him to abandon Ariadne at Naxos and continue his trip alone. Ariadne, unaware of divine intervention disembarks at Naxos enchanted by the beauty of the island, happily explores it, and tired falls asleep on the beautiful islet of Palatia. When she wakes up… god Dionysus, the son of Zeus and Dione, looks at her adoringly and a new love affair is in the making. A glorious wedding follows and an eternal gift is still with us to admire… the constellation known as Corona Borealis is said to be Dionysus’s wedding gift to Ariadne, a special ornament to adorn her beautiful head.

Please take the time to look at the Villa’s Plan, locate Room 3, and imagine a December Symposium night two thousand years ago…

Villa Arianna’s Dionysus and Ariadne Fresco is a small part of Villa’s grand Triclinium decoration. Room 3 is decorated in the 4th Pompeian Style, elaborate and complex as it can be, combining large-scale Narrative Painting, small Panoramic Vistas, and Still Lifes, within an architectural fantasy of pedestals, aediculae, columns, entablatures, and… theatrical masks! The Villa’s grand Triclinium decoration doesn’t resemble any believable space but instead consists of a variety of architectural elements arranged in an unrealistic manner with an unrealistic perspective, set against a flat background. The three large mythological scenes framed in blue on a yellow and red ground above a lower red and black decorative frieze are the room’s main artistic attraction. A panel presenting the myth of Dionysus and Ariadne decorates the South Wall, a rare scene of Lycurgus and Ambrosia is presented on the West Wall, and on the East Wall, the unknown master painter of the grand Triclinium presented the myth of Zeus and Ganymede. https://depts.washington.edu/hrome/Authors/ninamil7/TheFourStylesofRomanWallPaintings/pub_zbarticle_view_printable.html

Room number 3 was Villa Arianna’s grand Triclinium… the main dining room of a luxurious Roman residence, so-called because of the three banqueting couches (klinai) arranged around the walls. All you have to do is… imagine a warm summer night, overlooking the Bay of Naples, in the company of good friends, bathed in the flickering light, and content with scrumptious food… If you were the owner of Villa Arianna, life was good!

For a Student Activity, please… Check HERE!

Ariadne on Naxos, 4th Pompeian Style Fresco, Villa Arianna grand Triclinium – South Wall, (Room No. 3 on the Villa Plan), 1st century AD, Stabiae, Italy
https://en.wikipedia.org/wiki/Stabiae#/media/File:Villa_Arianna_(Stabia)_WLM_099.JPG
Ariadne on Naxos (detail – Mask  and Landscape scene), 4th Pompeian Style Fresco, Villa Arianna grand Triclinium – South Wall, ( (Room No. 3 on the Villa Plan), 1st century AD, Stabiae, Italy
https://commons.wikimedia.org/wiki/Category:Triclinio_3_di_Villa_Arianna#/media/File:Affresco_particolare_7.jpg

Suzanne Valadon

Suzanne Valadon (Marie-Clémentine Valadon), 1865-1938
Self Portrait with Family (Suzanne Valadon is in the center, flanked by André Utter and her mother, with her son at the foreground), 1912, oil on canvas, 97 x 73 cm, Le Centre Pompidou, Paris, France
https://www.centrepompidou.fr/fr/ressources/oeuvre/cyjjkkA#&gid=viewer-lightbox&pid=0

The French artist Suzanne Valadon is the protagonist of a unique Exhibition at the Barnes, in the heart of Philadelphia, that introduces to the general public a late 19th – early 20th-century Woman of extraordinary qualities. The Exhibition will be open to the public until the 9th of January, 2021, and so far, the Artist and the Exhibition have been described as… A thrilling tour of [her] portraits, nudes, still lifes, and drawings by The New York Times, or… A brilliant artist making breathtaking paintings that have the flat, colorful solidity of Gauguin, but a piercing intelligence and emotional insight by The Washington Post, or… She is a maverick artist, who often drew from her own life to create a body of work that envisions the 20th-century woman by WHYY, and Breathing new life into rebellious early 20th-century art by the Broad Street Review. https://www.barnesfoundation.org/whats-on/exhibitions/suzanne-valadon?gclid=CjwKCAjwzaSLBhBJEiwAJSRokgRhEY928WI-tXfLFrUON5esRwP3uD8RRKR9pNAu2rdgIPlxP88W8hoCkC4QAvD_BwE

Maurice Utrillo and his mother Suzanne Valadon, c. 1890 by an unknown photographer
https://commons.wikimedia.org/wiki/File:M_Utrillo_et_sa_m%C3%A8re_S_Valadon_vers_1890.jpg

Born Marie-Clémentine, Suzanne Valadon, was born into poverty, as the daughter of an unmarried domestic worker. She grew up in Montmartre, the bohemian quarter of Paris, supporting herself from the age of ten with odd jobs: waitress, nanny, and circus performer. A fall from a trapeze led her in a new direction…that of modeling for some of the most important artists of her time. She was more than a model… she became the muse and the friend of artists like Pierre Puvis de Chavannes and Pierre-Auguste Renoir, Edgar Degas, Amedeo Modigliani, Henri de Toulouse-Lautrec, and Miguel Utrillo, who agreed to give Maurice, Valadon’s son, born out of wedlock, his last name and legally recognize him as his son. Suzanne was artistic. She loved to draw while in the company of her artists/friends, practice her skills by observing them paint, and with the encouragement and tutelage of her mentor Edgar Degas, learn how to master the art of drawing and etching techniques. Valadon soon transitioned from an artist’s model into a successful artist with …a complicated personal life. She was a free spirit and a bohemian in every sense of the word… Suzanne Valadon, her second husband André Utter, and her son Maurice Utrillo were known as the trinité maudite (cursed trinity) because the family environment was characterized by violent outbursts, reconciliations, and alcoholism. https://nmwa.org/art/artists/suzanne-valadon/ and https://www.messynessychic.com/2021/10/15/renoirs-art-model-was-the-greatest-painter-you-never-heard-of/?fbclid=IwAR33WEcmDTxJ4n84O07M7RIJ1rv5WaCZb8Xtc8auSwKRndJhQPfTpaliFZI and https://www.arts-spectacles.com/Valadon-Utrillo-et-Utter-la-trinite-maudite-entre-Paris-et-Saint-Bernard-1909-1939-du-16-octobre-au-12-fevrier-2012_a6460.html

Suzanne Valadon (Marie-Clémentine Valadon), 1865-1938
Self-Portrait, 1898, Oil on Canvas, 40×26.7 cm, Museum of Fine Arts, Houston, USA
https://commons.wikimedia.org/wiki/File:Suzanne_Valadon_-_Self-Portrait_-_Google_Art_Project.jpg

The artist is famous for her unapologetic female and male nudes… bold, controversial, and provocative! My favourite Valadon painting is her 1912 Self Portrait with Family…odd, disturbing, and unconventional. https://www.centrepompidou.fr/fr/ressources/oeuvre/cyjjkkA#&gid=viewer-lightbox&pid=0

Suzanne Valadon (Marie-Clémentine Valadon), 1865-1938
Self Portrait with Family (Suzanne Valadon is in the center, flanked by André Utter and her mother, with her son at the foreground), 1912, oil on canvas, 97 x 73 cm, Le Centre Pompidou, Paris, France
https://upload.wikimedia.org/wikipedia/commons/d/d1/Portrait_de_famille%2C_1912_-_Suzanne_Valadon.jpg

The Centre Pompidou painting shows Suzanne Valadon in the center, flanked by André Utter, her second husband, her mother Magdeleine Valadon, and her son in the foreground, Maurice Utrillo. Suzanne Valadon is the only one directly facing the viewer, but she does so tentatively, with her hand on her chest… Utter and Madame Valadon are gazing to their right, each foreseeing a different future: the young man looks confident and rather content, while the woman – all wrinkled and slightly hunchbacked, with the corners of her mouth turned downwards – appears resigned. Maurice Utrillo’s depiction earns the most sympathy, for he seems to be the most miserable and out of place, gazing melancholically with his head leaning on his hand, as if he simply cannot muster the energy to stand or sit upright… What an unusual family portrait! https://artschaft.com/2018/05/23/suzanne-valadon-family-portrait-1912/

For a Student Activity inspired by the Exhibition at the Barnes, in Philadelphia, please… Check HERE!

Suzanne Valadon (Marie-Clémentine Valadon), 1865-1938
Portrait of the painter Maurice Utrillo, 1921, Collection of the City of Sannois, Val d’Oise, France, on temporary loan to the Musée de Montmartre, Paris
https://commons.wikimedia.org/wiki/File:Maurice_Utrillo,_par_Suzanne_Valadon.jpg

Simon Bening’s January

Simon Bening (d. 1561) and his workshop
Book of Hours, known as the Golf Book, January (f. 18v),c. 1540, 30 Parchment leaves on paper mounts, bound into a codex, 110 x 80 mm (text space: 85 x 60 mm), British Library, London, UK
https://blogs.bl.uk/digitisedmanuscripts/2013/01/a-calendar-page-for-january-2013.html

It’s the 1st of January 2022… It is time to start a new Calendar Presentation… and Wish you ALL a Happy New Year, Health, Love, and Prosperity!!! Let’s start the Year with Simon Bening’s January, our new BLOG POST.

My search for the perfect Calendar for the new year is a long process, and starts during summer! I want each “Calendar under Focus” to embrace and present every month in a comprehensive way… to make me wonder how effectual it can be. I search for information on the artist who created it and the patron who commissioned it. I want to explore and present you with Calendars of different mediums… For example, the 2000 Calendar presentation was on the Maestro Venceslao Fresco Calendar in Torre Aquila, Castello del Buonconsiglio in Trento, Italy. In 2021 I focused on a Venetian Set of Doors presenting the Twelve Months created by an anonymous Venetian artist in the National Gallery in London. This year it is time to turn to an Illuminated Manuscript, a medium I love, and present you a 16th century famous Book of Hours with an interesting name… the Golf Book! https://www.teachercurator.com/art/the-month-of-january/ and https://www.teachercurator.com/art/the-labours-of-the-months-february/ and http://searcharchives.bl.uk/primo_library/libweb/action/dlDisplay.do?docId=IAMS032-002031376&fn=permalink&vid=IAMS_VU2

Some of the greatest paintings and drawings of the late Middle Ages and the Renaissance, according to Wendy A. Stein, are not displayed on church and museum walls; instead, they shine forth from the pages… of very special illuminated manuscripts known as Books of Hours. Thousands of Books of Hours made between 1250 and 1700 survive today in libraries and museums, a testament to their popularity in their heyday, especially in northern Europe. They were functional prayer books made for the nonordained, and the paintings in them were intended to foster reflection and devotion. Each Book of Hours was unique, serving the spiritual needs of its patron. Book of Hours were devotional books containing prayers to be recited at set times of the day. By the 15th century, the norm was to contain the Hours of the Virgin, a Calendar, a set of Gospel lessons, Hours focusing on the Cross, a group of Psalms, and prayers to saints called Suffrages. It is interesting how most Books of Hours begin with a Calendar, to help the owner keep track of saints’ days and other feasts. Each month gets a page with listed days, holy days are often written in red (the origin of the term “red letter day”), and significant feast days are written in gold letters. https://www.metmuseum.org/toah/hd/hour/hd_hour.htm

Simon Bening (d. 1561) and his workshop
Book of Hours, known as the Golf Book, January (f. 18v – f. 19f ),c. 1540, 30 Parchment leaves on paper mounts, bound into a codex, 110 x 80 mm (text space: 85 x 60 mm), British Library, London, UK
https://blogs.bl.uk/digitisedmanuscripts/2013/01/a-calendar-page-for-january-2013.html

The 16th century Book of Hours, known as the Golf Book, is a very unique and special manuscript in the Collection of the British Library. Unfortunately, the Golf Book is not, in its present state, a complete manuscript as most of the text is now missing. Thirty parchment leaves, however, remain, twenty-one pages of which, are full-page miniatures, in colours and gold, surrounded by a historiated border (12 pages are part of the Calendar section). The remaining forty pages feature historiated borders as well, that incorporate medallions, architectonic decoration, and cameos in grisaille and semi-grisaille. The text pages present large and small initials and line-fillers, in colours and gold. Simon Bening (d. 1561), with the assistance of his workshop, was the artist from Bruges responsible for this amazing manuscript. Bening’s accomplishments will feature in the Month of February Presentation. http://searcharchives.bl.uk/primo_library/libweb/action/dlDisplay.do?docId=IAMS032-002031376&fn=permalink&vid=IAMS_VU2

Simon Bening (d. 1561) and his workshop
Book of Hours, known as the Golf Book, January (details of f. 18v),c. 1540, 30 Parchment leaves on paper mounts, bound into a codex, 110 x 80 mm (text space: 85 x 60 mm), British Library, London, UK
https://blogs.bl.uk/digitisedmanuscripts/2013/01/a-calendar-page-for-january-2013.html

The miniatures for the Month of January (ff. 18v-19r) cover two pages facing each other. Folio18v is a full-page miniature of a winter landscape with peasants busy with their chores or simply relaxing, and enjoying the pleasures of a cold, snowy day. The protagonists of the composition are the couple in the foreground chopping and collecting wood. Next comes the couple inside the house behind them – one wall of which is conveniently missing to show the indoor scene. The room, showing signs of certain wealth, is warm and cozy with a linen-covered table, set with food and drink – the fruits of their hard work. The Lady of the house is breastfeeding her baby in front of a raging fire, the Lord of the house is relaxing… talking to her, I want to imagine, planning their family future! A busy landscape completes the composition… a windmill on a promontory with a peasant carrying his load towards it,  a church with a person coming out of it, and other people talking or simply strolling about wrapped up in capes or warm clothes to protect themselves from the cold. Several bare trees with snow-lined branches, birds resting on the roof-top, a smoking chimney, and a clear, blue sky, complete the full-page composition. The historiated borders of both folios presenting to the Month of January (ff 18v and 19r) include depictions, in cameo fashion, of children or youths pulling sleds. What an amazing scene Simon Bening’s January is! https://www.moleiro.com/en/books-of-hours/the-golf-book-book-of-hours/miniatura/156

For a PowerPoint on the  Golf Book, please… Check HERE!

For a Student Activity on Simon Bening’s January page, please… Check HERE!

Apolausis the personification of Enjoyment

Floor Mosaic with Bust of Apolausis/Enjoyment (Baths of Apolausis, Pool Room West of the Frigidarium), late 4th century-early 5th century, Mosaic on Mortar, 98×266 cm, Dumbarton Oaks, Washington, DC, USA
http://museum.doaks.org/objects-1/info?query=Portfolios%20%3D%20%222606%22&sort=0&page=2

I have always said and felt that true enjoyment can not be described… said Jean Jacques Rousseau… but at the vestibule of the Dumbarton Oaks Museum, Enjoyment has a face… the Floor Mosaic with Apolausis the personification of Enjoyment welcomes visitors since its doors opened to the public in 1941and I can not think of a better way to welcome you to the New Year!  May 2022 be a Year of pure Enjoyment! https://www.stresslesscountry.com/enjoyment-quotes/

Floor Mosaic with Bust of Apolausis/Enjoyment (Baths of Apolausis, Pool Room West of the Frigidarium), late 4th century-early 5th century, Mosaic on Mortar, 98×266 cm, Dumbarton Oaks, Washington, DC, USA
http://museum.doaks.org/objects-1/info?query=Portfolios%20%3D%20%222606%22&sort=0&page=2

Antioch on the Orontes, the modern-day city of Antakya in Turkey, was founded near the end of the fourth century BC by Seleucus I Nicator, one of Alexander the Great’s generals and successors to his Empire. It flourished and prospered, rivaling even the city of Alexandria in Egypt, as the capital of the Seleucid Empire until 63 BC, when the Romans took control in Syria. Called the cradle of Christianity, Antioch, a great military, and economic metropolis with a population of about 250,000 people became the hub of both Hellenistic Judaism and early Christianity. The city’s decline started during the Byzantine–Sassanid War of 602–628 and continued during the Umayyad period as Antioch found itself on the frontline of the conflicts between two hostile empires, the Byzantine,  and the rising realm of the Arabs. In 1268 the Baibars (Mamluks of Egypt),  besieged Antioch, capturing the city on May 18, marking, thus, the end of its history. https://vrc.princeton.edu/archives/collections/show/7 and https://en.wikipedia.org/wiki/Antioch

Between 1932 and 1939, archaeological excavations of Antioch, its wealthy suburb Daphne, and the port city of Seleucia Pieria, were undertaken under the direction of the “Committee for the Excavation of Antioch and Its Vicinity”, which was made up of representatives from Princeton University, the National Museums of France, the Baltimore Museum of Art, the Worcester Art Museum, and later (1936),  Mr. and Mrs. Bliss, founders of the Dumbarton Oaks Research Library and Collection. Archaeologists unearthed magnificent public and private buildings, and …over three hundred mosaic pavements. The Syrian Government agreed that in return for their contributions, the institutions and the donors to the excavation project would receive archaeological finds like the Apolausis Floor Mosaic. https://vrc.princeton.edu/archives/collections/show/7 and https://www.getty.edu/publications/romanmosaics/catalogue/excavations-antioch/ and http://museum.doaks.org/objects-1/info?query=Portfolios%20%3D%20%222606%22&sort=0&page=2

Excavation Photo showing the Mosaic of Apolausis, Bath of Apolausis – Pool Room West of the Frigidarium, Antioch, Syria, 1938 Antioch Expedition Archives, Department of Art and Archaeology, Princeton University No. 4082
Plan of the Bath of Apolausis, based on an original excavation drawing (Stillwell, 1941, plan 5)
https://www.getty.edu/publications/romanmosaics/catalogue/excavations-antioch/#&gid=1&pid=4
https://www.getty.edu/publications/romanmosaics/catalogue/excavations-antioch/#&gid=1&pid=2

The Bath of Apolausis, a small public building that originally served an agricultural complex or group of country villas on the eastern side of the plain of Antioch, at the foot of Mount Silpios was richly decorated with floor mosaics and wall frescoes. Today, the mosaics discovered in this small Bath-House are shared between the Getty Museum (Mosaic Floor with Animals), the Hatay Museum (Sotiria/Salvation Floor Mosaic), and the Dumbarton Oaks (Apolausis/Enjoyment Floor Mosaic). https://www.getty.edu/art/collection/objects/103452/unknown-maker-panel-from-a-mosaic-floor-from-antioch-central-panel-part-of-70ah96-roman-syrian-about-ad-400/ and https://www.youtube.com/watch?v=spir8xGciQo and http://museum.doaks.org/objects-1/info?query=Portfolios%20%3D%20%222606%22&sort=0&page=2

Floor Mosaic with Bust of Apolausis/Enjoyment (Baths of Apolausis, Pool Room West of the Frigidarium), late 4th century-early 5th century, Mosaic on Mortar, 98×266 cm, Dumbarton Oaks, Washington, DC, USA
http://museum.doaks.org/objects-1/info?query=Portfolios%20%3D%20%222606%22&sort=0&page=2

The personification of Apolausis/Enjoyment, after which the bath was named, decorated the bottom of a large pool with an apsidal end accessed through a doorway on the west side of the octagonal Hall/Frigidarium. As Dr. Will Wootton noted during a 2016 lecture… water would have run over the surface of the Apolausis floor Mosaic… showing that the water was so clear and pure that you could see the mosaic perfectly beneath it. http://museum.doaks.org/objects-1/info?query=Portfolios%20%3D%20%222606%22&sort=0&page=2 and https://www.doaks.org/newsletter/how-mosaics-were-made-and-made-known

To Celebrate the New Year with your Kindergarten – Early Elementary School students… do a HAND-FAN Activity. Create simple, paper HAND-FANS and decorate them with Synonyms to ENJOYMENT! Add a beautiful coloured ribbon and… Voila!!!

For the Student Activity Worksheet, please Check HERE!

To see the Princeton Antioch Catalogued Photographs on the 1938 Apolausis Bath Excavations and finds, go to… http://vrc.princeton.edu/researchphotographs/s/antioch/item?fulltext_search=Apolausis+Bath&property%5B0%5D%5Bjoiner%5D=and&property%5B0%5D%5Bproperty%5D=&property%5B0%5D%5Btype%5D=eq&property%5B0%5D%5Btext%5D=&resource_class_id%5B%5D=&item_set_id%5B%5D=5&resource_template_id%5B%5D=2&resource_template_id%5B%5D=4&resource_template_id%5B%5D=5&resource_template_id%5B%5D=6&resource_template_id%5B%5D=7&resource_template_id%5B%5D=8&resource_template_id%5B%5D=9&resource_template_id%5B%5D=10&resource_template_id%5B%5D=18&resource_template_id%5B%5D=19&resource_template_id%5B%5D=20&resource_template_id%5B%5D=21&resource_template_id%5B%5D=22&submit=Search#?cv=&c=&m=&s=

Santa Maria foris portas at Castelseprio

Nativity, Church of Santa Maria foris portas in Castelseprio, Italy
https://upload.wikimedia.org/wikipedia/commons/5/5c/Maestro_di_castelseprio%2C_storie_dell%27infanzia_di_cristo%2C_datazione_incerta_tra_l%27830_e_il_950_dc_ca.%2C_15_nativit%C3%A0_1.jpg

I have been fascinated by the Castelseprio frescoes since I was a student, and I was introduced to their unique beauty and… ‘mysteries!’ When I finally visited Castelseprio in 1988, inside this amazing Church, enveloped in their splendor… I was transfixed, spellbound, awe-struck, entranced…  forever. Years passed by, and I yearn to visit Castelseprio once more… stand in the middle of the Church, and experience… moments of the sublime.

Church of Santa Maria foris portas in Castelseprio, Italy
https://commons.wikimedia.org/wiki/File:Santa_Maria_foris_portas2.JPG

When the extraordinary Mariological programme of paintings on the walls of the church of Santa Maria foris portas at Castelseprio was first uncovered, and then quickly made known to the art historical community in an exemplary publication, historians of early medieval art were transfixed. Here was the missing link, the key which would provide the key which would provide the means to unlocking and understanding the role that the classical Byzantine tradition of art, played in the evolution of elite artistic developments in the various theatres of state formations in post-Roman western Europe, from papal Rome to Carolingian Aachen and Northumbrian Lindisfarne, in the early medieval centuries. The artists responsible appeared to be masters of an almost undiluted tradition of Greco-Roman painting, testifying to the enduring existence of a strain of what has been designated by Ernst Kitzinger as ‘perennial Hellenism’, continuing unbroken in one or more centers in the eastern Mediterranean and potentially available to the artist in western Europe, minded to recover some of the elements of ancient classical practice in an age in which overt classical form and subject-matter were valued at a high premium in the rival courts of Europe… write John Mitchell and Beatrice Leal… and I can not think of a better introduction to my Christmas POST on Santa Maria foris portas at Castelseprio Nativity Scene. https://www.academia.edu/13897079/_Co-authored_with_John_Mitchell_Wall_pantings_in_S._Maria_foris_portas_Castelseprio_and_the_tower_at_Torba._Reflections_and_reappraisal._In_Castelseprio_e_Torba_sintesi_delle_ricerche_e_aggiornamenti_ed._Paola_Marina_de_Marchi_2013

Nativity (detail), Church of Santa Maria foris portas in Castelseprio, Italy
https://upload.wikimedia.org/wikipedia/commons/1/11/Maestro_di_castelseprio%2C_storie_dell%27infanzia_di_cristo%2C_datazione_incerta_tra_l%27830_e_il_950_dc_ca.%2C_15_nativit%C3%A0_3.jpg

The Church of at Castelseprio is so special and unique, many great scholars of Byzantine Art wrote about it… one way or another, more or less. I am fascinated by the surviving frescoes within the Church, the “ambiance” they create, their “Hellenistic” origin, stylistic characteristics (brushwork, colour, light), and drama in their compositions. I find it irresistible how the unknown “Greek” painter of the time, used diagonal perspective, a three-quarter view of both persons and objects, and a constant search for depth of space, to enhance his brilliant style. In compositions like the Nativity scene, I admire the portrayal of illusionistic forms within a deep, open landscape, and how the master artist used illusionism to enhance and at the same time, transfigure reality. I like… everything!

Merry Christmas

Preparing for this POST (this is the most important part for every BLOG POST of mine)… wondering how “Hellenistic,” in rendering and mood, the Castelseprio frescos are… I reread The Hellenistic Heritage in Byzantine Art, by Ernst Kitzinger, Dumbarton Oaks Papers, Vol. 17 (1963), pp. 95-115 (37 pages) https://www.jstor.org/stable/1291192?seq=13#metadata_info_tab_contents , and Castelseprio and the Byzantine “Renaissance,” by Charles R. Morey, The Art Bulletin Vol. 34, No. 3 (Sep. 1952), pp. 173-201 (37 pages), https://www.jstor.org/stable/3047419?seq=1#metadata_info_tab_contents  

For a PowerPoint on Castelseprio’s Nativity Scene, please… Check HERE!

David with the Head of Goliath by Andrea del Castagno

Andrea del Castagno, c. 1419-1457
David with the Head of Goliath, c. 1450/1455, tempera on leather on wood, H. 115.5 cm, width at top: 76.5 cm, width at bottom: 40.6 cm, NGA, Washington DC, USA
https://el.m.wikipedia.org/wiki/%CE%91%CF%81%CF%87%CE%B5%CE%AF%CE%BF:Andrea_del_castagno,_scudo_di_david_con_la_testa_di_golia,_1450-55_circa,_02.JPG

The Philistine Goliath said to David, “Am I a dog, that you come at me with sticks?” and David replied… “You come against me with sword and spear and javelin, but I come against you in the name of the Lord Almighty, the God of the armies of Israel, whom you have defied. This day the Lord will deliver you into my hands, and I’ll strike you down and cut off your head…” As the Philistine moved closer to attack him, David ran quickly toward the battle line to meet him. Reaching into his bag and taking out a stone, he slung it and struck the Philistine on the forehead. The stone sank into his forehead, and he fell facedown on the ground. So David triumphed over the Philistine with a sling and a stone; without a sword in his hand he struck down the Philistine and killed him. David ran and stood over him. He took hold of the Philistine’s sword and drew it from the sheath. After he killed him, he cut off his head with the sword. David with the Head of Goliath by Andrea del Castagno presents the famous Biblical story described in the Book of Samuel (1 Samuel 17) in an exemplary Florentine style that fascinates me!   https://www.biblegateway.com/passage/?search=1%20Samuel%2017&version=NIV

David with the Head of Goliath, exhibited at the National Gallery of Art in Washington DC, is one more example of the Florentine fascination with David, the Biblical King, and Hero. David, early in the 15th century, became the embodiment of the city’s Republican identity and a favourite theme for artistic commissions. The people of Florence, a small political power at the time (15th century), identified themselves with young and untried at war David, his intelligence, his motivation, and ultimate success. Goliath was compared to the big Renaissance political entities like Milan… crushed by the will of God and Florentine “diplomacy.” The story is endlessly told by great masters like Donatello, Verrocchio, Michelangelo… and Andrea del Castagno in an amazing and unique painting!

Andrea del Castagno, c. 1419-1457
David with the Head of Goliath (detail), c. 1450/1455, tempera on leather on wood, H. 115.5 cm, width at top: 76.5 cm, width at bottom: 40.6 cm, NGA, Washington DC, USA
https://www.nga.gov/audio-video/audio/david-and-goliath-castagno-english.html

This is actually an amazing, unique, and rare painted Heraldic Shield, a type of shield, that would be carried in civic processions and then housed in the owner’s bedroom chamber. According to the NGA experts, young… David has been victorious in battle against the giant Goliath, whose decapitated head lies at his feet. David is shown with his hand raised in a gesture that speaks of determination and self-possession and may have been taken from an antique model. Furthermore, Andrea’s Shield of David, combining references of personal and civic valor, and painted by a highly esteemed artist of the period, would have underscored the owner’s readiness to do battle on both a metaphorical and an actual level, testifying to his civic and personal virtues. An amazing, unique, and rare work of Art, to say the least. http://www.italianrenaissanceresources.com/units/unit-5/essays/the-beautiful-chamber/

For information on the relationship between Andrea del Castagno and Domenico Veneziano… the fictional story of how Domenico Veneziano was murdered by his good friend Andrea del Castagno… a story masterfully said by Gorgio Vasari, but totally untrue… please go to my Teacher Curator Post: https://www.teachercurator.com/art/teaching-with-domenico-veneziano/

For a National Gallery Podcast on Andrea del Castagno’s David with the Head of Goliath, check… https://www.nga.gov/audio-video/audio/david-and-goliath-castagno-english.html

For a PowerPoint on Andrea del Castagno, please… Click HERE!

…a student interpretation of David’s story!