![The Problem [right} and the New Choice [left].](https://i2.wp.com/freethoughtblogs.com/affinity/files/2018/06/ThornProblem.jpg?ssl=1)
The Problem [right} and the New Choice [left].
I tried to make it work on the piece, but it just didn’t come together, so I got to start all over again. If, like me, you tend to get abnormally attached to a certain colour, get as many as you can, it will save you much aggravation in the long run.
Starting Over. Bad Flash Photography.
Click for full size. I like the way Death addresses them as Mr. King and Mrs. Queen.
Todt zum König:
Herr König Ewr G’walt hat ein End,
Ich führ euch hie bey meiner Hend,
An diesen dürren Brüder-Tantz,
Da gibt man euch deß Todes-Krantz.
Death to The king:
Mr. King, your power has an end,
I lead you here by my hand
to this dance with dry brothers.
There they’ll give you the death-garland.
Der König:
Ich hab gewaltiglich gelebt,
Und in hohen Ehren geschwebt:
Nun bin ich in deß Todtes Banden,
Verstricket sehr in seinen Handen.
The king:
I have lived powerfully
and hovered in high honour.
Now I’m in Death’s bond,
caught in his hands.
Todt zur Königin:
Fraw Königin Euwr Frewd ist auß,
Springen mit mir ins Todten-Hauß,
Euch hilfft kein Schöne, Gold noch Gelt,
Ich spring mit euch in jene Welt.
Death to The Queen:
Mrs. Queen, your joy has ended,
dance with me into the death-house.
Neither beauty, gold nor money will help you.
I’m dancing with you into the next world.
Die Königin:
O Weh vnd Ach, O weh vnd jmmer,
Wo ist jetzund mein Frawenzimmer,
Mit denen ich hatt Frewden viel:
O Todt thu g’mach, mit mir nicht eyl.
The queen:
Oh woe and alas, oh woe for ever.
Where is now my band of maids
with whom I had many pleasures?
Oh Death, take it easy, don’t hurry with me.
This is the oil which birthed Antimacassars. My great-grandmothers and grandmother had antimacassars on everything. Click for full size!
Macassar Oil, An oily Puff for Soft Heads. Thomas Rowlandson, Etching coloured, 1814. Subject: Macassar Oil, Rowland’s Oil,Alexander Rowland,baldness,hair Tonic, Hair Oil,Proprietary Medicines.
Some of the buildings had inscriptions either in the woodwork or in the plaster. Some of the older ones represent possibly medieval equivalent of twitter – quips and deepities.
©Charly, all rights reserved. Click for full size.
If you missed the beginning, it’s here. Click for full size. ETA: I’ve found translations, but I’m not sure as to their reliability.
Emperor.
Todt zum Keyser:
HErr Keyser mit dem grawen Bart,
Euwr Reuw habt ihr zu lang gespart,
Drumb sperrt euch nicht, Ihr müßt darvon,
Und tantz’n nach meiner Pfeiffen thon.
Death to The Emperor:
Mr. Emperor with the gray beard,
You have long saved your repentance.
Therefore, do not struggle, you must from here
and dance after my fife’s tone.
Der Keyser.
Ich kundte das Reich gar wol mehren
Mit Streitten, Fechten, Unrecht wehren:
Nun hat der Todt uberwunden mich,
Daß ich bin keinem Keyser gleich.
The Emperor.
I was able to increase the kingdom considerably,
with war and fight prevented injustice.
Now Death has won over me,
so that I’m not [any longer] like an emperor.
Empress.
Todt zur Keyserin:
ICh tantz euch vor Fraw Keyserin,
Springen hernach, der tantz ist mein:
Euwr Hofleut sind von Euch gewichen,
Der Todt hat euch hie auch erschlichen.
Death to The Empress:
I dance beforeyou, Mrs. Empress,
Dance after, the dance is mine.
Your courtiers have left you,
Death has here sneaked up on you too.
Die Keyserin:
VIel Wollüst hat mein stoltzer Leib,
Ich lebt alß eines Keysers Weib:
Nun muß ich an diesen Tantz kommen,
Mir ist all Muth und Frewd genommen.
The empress:
My proud body had much pleasure.
I lived as an emperor’s wife.
Now I must come to this dance.
All spirits and joy have been taken from me.
From rq, a most beautiful art work: So out of that comment conversation earlier this morning/today, I made some art that looks completely unrelated but came out of the emotions. Also it is called “Life is Not a Ringing Bell” and I have decided to dedicate it to Rick. Such a beautiful piece, filled with quiet emotion and love. Life is not ringing a bell, but it is having a partner who loves you enough to nag you into doing what you should, and having a friend who can express that so well. Thank you is so very inadequate. Click for full size.
© rq, all rights reserved.
Click for full size.
The Winding Up of the Medical Report of the Walcheren Expedition. Thomas Rowlandson, Etching coloured, 1810. Subject: Lucas Pepys (1742-1830), Robert Jackson (1750-1827), Thomas Keate (1745-1821), Dr. James’ Fever Powder, Chelsea Hospital, Walcheren Campaign, Military Medicine, Medical Boards, Drugs.
The Walcheren Campaign involved little fighting, but heavy losses from the sickness popularly dubbed “Walcheren Fever”. Although more than 4,000 British troops died during the expedition, only 106 died in combat; the survivors withdrew on 9 December. […] Along with the 4,000 men that had died during the campaign, almost 12,000 were still ill by February 1810 and many others remained permanently weakened. Those sent to the Peninsular War to join Wellington’s army caused a permanent doubling of the sick lists there.
As for ‘Look Ass Peeps’ (Lucas Pepys):
In 1794 Pepys was made physician-general to the army, and was president of an army medical board, on which it was his duty to nominate all the army physicians. When so many soldiers fell ill of fever at Walcheren, he was ordered to go there and report. As a consequence the board was abolished; but Pepys was granted a pension.
I got right distracted today while working on the Healing Arts posts, distracted right into the amazing world of The Dance Of Death. There’s a large body of work by different artists devoted to this particular aspect of death, and they widely range in style, to say the very least. All of the art work is very beautiful, and is often poignant, witty, and sly. The main message being that death is no respecter of persons.
So this will be a sort of companion series to the Healing Arts. I’m going to start with Basel’s Dance of Death by Hieronymus Hess (1799-1850). These are based on copies of a mural which was done around around 1435-1441. The wall with the original mural was lost long ago, in 1804. Some fragments survive and are housed in a museum. We open with The Ossuary and Death’s first conquest, The Pope. Death looks positively gleeful walking off with the pope. I’m quite enchanted with Hess’s portrayal of Death as a mostly fleshed character who must maintain modesty when it comes to the private bits. Death also changes gender in Hess’s portrayals, and there are obvious character shifts in Death, dependent on just who is being claimed. In The Pope, it almost looks as if Death were wearing a skull mask.
The Ossuary. Click for full size.
Death and the Pope. Click for full size.
Click for full size.
A Cure for Lying and a Bad Memory. Thomas Rowlandson, Etching coloured, 1807. Subject: Pharmacy, Medicine.
Matt Easton in his capacity as an antique swords collector tells the fascinating story behind one of his swords – who its original owner was and why he (probably) requested this non-standard issue blade later in life. To me personally is this one of his best videos.
Click for full size.
Poisoning the Sick at Jaffa. George Cruikshank, Aquatint coloured, 1814. Subject: Napoleon, Jaffa, Poison, Hospitals, Military Hospitals.
Rokurokubi (ろくろくび), a long-necked woman is pictured next to an Inugami (犬神) dog spirit.
These wonderful images featured here are from a Japanese painted scroll known as the Bakemono zukushi. The artist and date is unknown, though its thought to hail from the Edo-period, sometime from the 18th or 19th century. Across it’s length are depicted a ghoulish array of “yokai” from Japanese folklore. […]
The class of yokai characterised by an ability to shapeshift, and that featured in this scroll, is the bakemono (or obake), a word literally meaning “changing thing” or “thing that changes”. The founding father of minzokugaku (Japanese folklore studies), Yanagita Kuno (1875–1962), drew a distinction between yurei (ghosts) and bakemono: the former haunt people and are associated with the depth of night, whereas the latter haunt places and are seen by the dim light of dusk or dawn.
Amongst the bakemono monsters depicted in the scroll is the rokurokubi (ろくろくび), a long-necked woman whose name literally means “pulley neck”. Whether shown with a completely detachable head (more common in Chinese versions), or with head upon the end of a long threadlike neck as shown here, the head of the rokurokubi has the ability to fly about independently of the body. In his 1904 collection Kwaidan, Lafcadio Hearn provides the first extended discussion of this yokai in English, telling of a samurai-turned-travelling-priest who finds himself staying the night in a household of rokurokubi intent on eating their guest.
Daichiuchi (大地打) is a mallet-wielding monster with a bird-like face.
Fascinating monsters all, and you can see and read much more at The Public Domain Review.
The nasal and paranasal cavities. The source of joy for so many people around the world, and yet another proof of the intelligent design ad hoc nature of evolution.
©Charly, all rights reserved. Click for full size.
I always have had hayfever throughout the year. Once when my GP asked my at what time of year I have the most problems my reply was “Well, it usually is the worst from January til December.”. That was a rare occasion, because he does not laugh often.
But despite constantly runny nose alternately either due to cold or due to allergy, I never had serious problems with sinuses. Until last two years. Maybe the subtle changes in bone structures due to aging came over some tipping point.
What I remember from school about this predicament is that our upright posture is responsible for most of it. The sinuses evolved in quadrupeds and they use gravity for draining the phlegm. Evolution has tried to keep up with our evolving of upright posture and flat face, but did not manage it well enough. Thus our species is blessed with the ability to flip from just annoyingly runy nose to headsplitting ache overnight.
As I said at the beginning. Oh the joy.