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Maureen Mullarkey is a painter who writes on art and culture. Her essays have appeared in various publications, among them: The Nation, Crisis, Commonweal, Hudson Review, Arts, The New Criterion, First Things, The Weekly Standard, and The Magazine Antiques. She was a columnist for The New York Sun.
I am neither a theologian nor a philosopher. I am simply a painter whose faith takes color, tone, and bearing from the Catholicism into which I was born.
But even a cat can look at a king. From my placewell beneath the box seats of beauty-minded theologians and theological esthetesI wonder if Hans Urs von Balthasar's legacy is as wholly salutary as it has become fashionable to believe. This is a risky confession, my brothers and my sisters. I know that. Still, it would be cowardly not to admit inkings that there might be a fly in the liniment. A lovely iridescent rainbow of a thing, but a fly nonetheless.
We thrill to Augustine's luminous words: "Late have I loved thee, O Beauty, ever ancient, ever new." But the Beauty addressed in the Confessions is met only in prayer. All else is sensible beauty, material gifts to the eye, the ear, the touch. Whether sensible beauty is revelatory, leading necessarily to God, is the cornerstone question buttressing contemporary romance with theological aesthetics. Acolytes of Hans Urs von Balthasar answer confidently in the affirmative.
My own lack of any requisite presumption of finality in the matter keeps me off the train. I can always catch it later at another station. But for now, my ticket stays in my pocket. Let me work around, perhaps obliquely, to some reasons as we go.
"What will I do, O my love, if I cannot praise thee?" Augustine's cry of the heart is profoundly personal, an enduring proclamation of the soul's ache to adore. There is nothing here of the modern theologian who is, in the endas Jean LecLercq, O.S.B. reminded in The Love of Learning and the Desire for God "nothing more than a professor."
Dom LecLercq reminds that, according to tradition until Abelard's time, "theology is praise of God, and the theologian is one who speaks to God." He quote Evagrius Ponticus, a fourth century monk: "If you are a theologian you will pray in truth, and if you pray in truth, you are a theologian."
Balthasar was much influenced by Henri de Lubac, one of the most compelling theologians of his generation. Of any generation. The cardinal complimented his disciple in the guild by saying Balthasar had "restored beauty to its position as a transcendental."
In mathematical circles, the number pi is also considered a transcendental. But few of us can speak the language of mathematics. The mysterious ebb and flow of the primes, like the behavior of imaginary numbers or the power of the Riemann zeta function, escapes not only our notice but our comprehension. Beautyinvariably conceived in terms of the artsis our default category precisely because it is the easiest to grasp, speaking as it does to bodily sense perception. It has served in this insufficient capacity with increasing assurance since aesthetics hardened into a discipline under eighteenth century Prussian rigor. It was then that sensibility rose on hind legs to mimic sanctity and displace it as a cultural ambition.
That shopworn word creativity sheds meaning whenever it is appliedmisappliedexclusively to the fine arts. Creative intuition informs every facet of human endeavor. It has done, since the discovery of fire. When can we stop talking about it?
"An equation means nothing to me unless it expresses a thought of God."
Srinivasa Ramanujan (1887-1920)
Ramanujan was a young, unschooled Indian clerk in the Madras Port Authority and a devout Hindu. Isolated from any mathematical tradition but possessed of a stunning aptitude for mathematics, he threw himself, unaided, into prime numbers. His genius cleared pathways through mathematical mazes in eventual, fruitful partnership with the great G.H. Hardy who brought Ramanujan to Cambridge.
Marcus du Sautoy's comments on Ramanujan, "the mathematical mystic," in The Music of the Primes are a useful corrective to aesthetic parochialism:
Mathematical creativity is difficult to understand at the best of times, but the way Ramanujan worked was always something of a mystery. He used to claim that his ideas were given him in his dreams by the goddess Namagiri . . . the Ramanujan's family goddess . . . . For Ramanujan himself, she was the explanation for the flashes of insight that sparked his continuous stream of mathematical discoveries.
Before we can talk about beauty in any substantive way, we have to relinquish the fetish we have made of fine art. One fine starting place is Robert Kanigel's 1991 biography of Ramanujan, The Man Who Knew Infinity .
Theoretical physicist Paul Dirac (d. 1984) famously gauged the validity of equations that were submitted to him by their "elegance."
Sometime in the 1990s, an epidemiologist writing in one of the science journals ( Nature ? Scientific American ? I was not taking notes.) called the AIDS virus an "exquisite" particle. That description lodged in memory precisely because,viewed as a morsel of creation, it was beautiful. Its beauty lay in the perfection of its design. It was consummately crafted to accomplish its goal: to kill.
That has stayed with me as a nagging reminder that terror, too, is revelatory. The conflation of theological necessity with beauty untempered, and unchastened, by fear strikes me as a subtle variant of aestheticism radiated by Christological language.
[More later.]
Art is the clearest and most immediate reflection of the spiritual life of a people. It exercises the greatest conscious and unconscious influence on the masses of the people . . . . In its thousandfold manifestations and influences it benefits the nation as whole.
Adolph Hitler
Hitler was an aesthete. He would have found much to approve in papal encomia to artists as "custodians of beauty" (Benedict) or "ingenious creators of beauty" (John Paul II).
An ardent patron of the arts, Hitler drew around him men with an aesthetic bent. (Speer was an architect; Goering, an art collector. Alfred Rosenberg had studied architecture; Goebbels had written plays and a novel.) He insisted that artists were as crucial to society as mathematicians and men of science. He kept Germany's museums, orchestras, theaters and opera companies going until the collapse of the Reich. His generosity to the arts funded music festivals, traveling art exhibitions, grants, tax reductions for artists, even housing and studio space. Drawn to opera as much as to classical Greek art, Hitler considered it a goal of the state to make opera available to every citizen without regard to income. His annual pilgrimage to the Bayreuth Festival is legendary.
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Hitler's personal conversation turned frequently to cultural matters; he was fond of declaring an impulse to paint scenic views as he came upon them. Eminent historian of Roman antiquities, Ranuccio Bianchi Bandinelli (d.1975) served as a tour guide to both Hitler and Mussolini in 1938. He recorded Hitler's expressed desire to rent a villa outside Rome and devote himself to visiting museums anonymously, unrecognized by anyone. Bandelli wrote:
When he spoke this way he left the impression that he might get up one morning and say,"Enough! I have been fooling myself; I am no longer the Führer." In the case of Mussolini such a thought was inconceivable . . . . But when Hitler spoke this way, he left the impression of being sincere.
Frederic Spotts' Hitler and the Power of Aesthetics supports Bandelli's impression:
Over the years Hitler had the same effect on others, who heard him insist again and again that it would be the happiest day of his life when he could take off his military uniform and devote himself solely to the the arts.
The Führer's distaste for modernist art was widely shared by the bulk of critics of his day no less than the majority of the public. At the outset, modernist art was universally despised by audiences from St. Petersburg to London and New York. Hitler's aesthetic tastes were hardly unusual. His genius lay in embracing current concepts that linked biological debasement to cultural decline: Degenerate art was the product of genetically unhealthy artists who should be considered social enemies to be crushed. Hitler viewed modernist artists as "criminals of world culture," "destroyers of our art." Their works were crimes, creations of diseased imaginations. Modernist culture was a perverse distortion of nature and truth.
The full breadth and specificity of Hilter's grasp of architecture is stunning. Spotts is especially valuable in revealing the breathtaking extent of Hitler's architectural ambition, having plannedtogether with Albert Speerthe rebuilding of every major German city. His love of architecture affected even military strategy. The beauty of Italian cities and art was granted a factor in military plans; concern for damage was paramount: "Each palazzo in Florence or Rome is worth more than all of Windsor Castle. It would be a crime if the British destroy anything in Florence or Rome. It would not be a shame . . . in the case of Berlin."
In 1943, he reversed standing strategy by giving orders that Florence should not be defended against the Allied advance. It was "too beautiful" to destroy. Paris, too, warranted protection: "To save the old city of culture, we limited our air attacks to the airfields on the periphery." Spotts quotes this reflection, recorded in December 1941:
Mankind has a natural drive to discover beauty. How rich the world will be for him who uses his senses. Furthermore, nature has instilled in everyone the desire to share with others everything beautiful that one encounters. The beautiful should reign over humans; the beautiful itself wants to retain its power.
In Spott's exhaustive scrutiny of Hitler's aestheticism lies a whispered caution against the exaltation of that elusive phenomenon called beauty gaining ever more currency among contemporary theologians and self-consciously Catholic artists. Aesthetic drive and aesthetic achievement are not the same. And the drive can be put to any human purpose whatever.
"Woe to me if I do not evangelize"
1 Cor 9:16
You've got to know when to hold 'em
Know when to fold 'em
Know when to walk away
know when to run
You never count your money
When you're sittin' at the table
There'll be time enough for countin'
When the dealin's done.
Kenny Rogers, "The Gambler "(1978)
Two thousand years apart, the verses complement each other. St.Paul was a canny evangelist. He knew when to fold (on circumcision and table laws) and when to hold his ground. He staked his mission and his life on the distinction.
What calls this to mind is a reader's response to the previous post:
Just goes to show you can make up any sort of explanation to justify anything as art. Of course, by Mullarkey's logic, pro-life Catholics should stop demonstrating in front of abortion clinics.
The respondent's first sentence is quite right: Language can be tilted and stretched to vindicate any art work whatever. That is why there are press releases. My post, however, did not justify Piss Christ. Rather , it proposed that Christians venture to blunt—declaw, render impotent—offensive provocations. That is not duck soup. It requires a honed talent, however grudgingly achieved, for gamesmanship. (I can hear the groans already: "Casuistry!" "Sophistry 101!") It is a combat sport worth playing for the opportunities it offers to teach, correct, even—if we get good at it—endear.
Abortion is of an entirely different order. It is not a provocation, not something of which we simply disapprove. Abortion on demand, partial-birth abortion, abortion as last-ditch contraception—these are patent evils to be exposed for what they are. For that very reason, it is wise to keep the powder dry until needed against behaviors and beliefs that are inherently, unambiguously inhumane. Things that merely offend, having been crafted to rile, are nonessential. Not worth the shot. We stymie our own objectives by squandering our voice—and, with it, our credibility—by shaking a finger at art because it gets under the skin. Ask Aesop what happens if you cry "Wolf!" too often.
It feels good, being on the qui vive to catch the art world sticking its tongue out. It is much harder to resist the bait, to hang fire and concentrate on truly demonic adversaries—chief among them, the advancing concept of life-unworthy-of-life. Evangelization is not a matter of pelting anathemas at every affront. It requires, among other substantive things, some humor. And an ear for tone.
Not everyone scrolls through comment sections. So let me repeat here part of another respondent's observation:
The response of some conservative Catholics is to scold—as if the offender is someone who knows better, who's been well-catechized and has grown up in a Christian culture.
Nope. We are all missionaries now. Many, possibly a majority of our "Christian nation," have no more than a passing acquaintance with Christianity and many more no real catechesis—their catechesis has been at the hands of the world . . . .
There are definitely times to speak and affirm what we know to be the truth, but perhaps with less emphasis on aggrieved feelings and with more recognition that the people trying to offend probably know next to nothing about God. Their intent may not be, in the end, really profane. Many of this crowd seem to be aiming at Christ's followers, not Him, about Whom, unfortunately, they're not even that curious.
There is realism and kindliness here, and more than a little poignance. To see how her words apply, skip over to Serrano's statement published in The Guardian , September 28, 2012:
At the time I made Piss Christ , I wasn't trying to get anything across. In hindsight, I'd say Piss Christ is a reflection of my work, not only as an artist, but as a Christian . . . .
The thing about the crucifix itself is that we treat it almost like a fashion accessory. When you see it, you're not horrified by it at all, but what it represents is the crucifixion of a man. And for Christ to have been crucified and laid on the cross for three days where he not only bled to death, he shat himself and he peed himself to death.
So if Piss Christ upsets you, maybe it's a good thing to think about what happened on the cross.
There is no guessing whether hindsight, expedience or age prompted the sixty-three year old Serrano to reach for the high road, inelegance aside. But three days on the cross? No, Andres, three hours . This reveals one reason why some astute priest should have been game enough to ask you in for coffee or cognac back when it mattered.
No matter how galling certain art works, there is an urgent reason for not calling in the sensitivity cops: Claims of shock and grievance are a smoke screen for the ambitions of left-liberal activists and Islamic aggressors. We collude in muzzling ourselves by granting credence to the insidious notion that there exists such a thing as a right not to be offended. If ever an assumption were designed to smother truth-telling in the cradle, it is this one. It is simply not possible to speak candidly—about Islamic violence, gay marriage, abortion, or a host of other issues—without antagonizing one militant advocacy group or another.
When wounded feelings—including our own—are summoned to silence others, the gag pulls a little tighter.
If we believe that the arts are mission territory—and they are—they have to be approached with as much charity and cunning as the dugout of aboriginal tribesmen. There is little to be gained by viewing contemporary art as evidence of the depravity of man. It is bad missionary procedure to openly despise the culture we would transform. Granted, there is much to dismay, much to admonish. But the Church will not evangelize a slipping West while we cultivate our moral vanity by making an idol—or an ideology—of our own disapprovals.
What brings this up? Simple: Andres Serrano's Piss Christ (1987) still draws fire nearly thirty years after its debut. As recently as last September, a group of Catholics demonstrated against it outside the Edward Tyler Nahem Gallery in Manhattan's high rent district. We can count on more panty raids, more brinksmanship. Serrano's public relations success has spawned a small industry of similar assaults. The perpetual resurrection of Piss Christ has become a game for masochists: Catholics keep presenting themselves to be whipped by dominant free-speechers .
Borrowed from the Left's own sensitivity squads, aggressive tactics—like those of the Catholic League—misfire in the act of obtaining their objectives. Taking offense is the anticipated and desired response to transgressive art. It bolsters the significance of the offending work and, with it, its retail value. Nothing serves auction prices better than publicity from public outrage. It is a godsend to collectors, gallerists, and artists. Worse, howls of injury ratify popular images of the Church as captious, accusatory and censorious. In the end, bellicose responses feed the anti-Catholicism they are meant to combat.
Three decades are enough for us to realize that a culture war is not a street fight. The difference is pivotal if Catholics are serious about having a humane effect—something more significant than scoring apologies or closing events. The arts, too, wait to be redeemed.
Viewed strictly as an image, without regard to its provocative title, Serrano's infamous photo is actually pretty. The crucifix floats in a pale golden, effervescent haze. Ginger ale? Champagne? It could easily read as a celebration of the means of redemption. Only the title tells us otherwise.
Imagine the confusion among our culturati if the League had thrown a curve and welcomed Piss Christ as a true picture—certainly not to its taste, but nonetheless valid—of the way the world treats its Saviour. In truth, the world pisses on the Cross every day. Catholics, sinners all, are not exempt.
Imagine a press release along these lines:
We, members of the Catholic League, acknowledge the power of vulgarity in exposing the raw indecency of sin. While some might have reservations about the prudence of Mr. Serrano's composition, we unite in applauding the sound theology behind it.
The Spirit works in mysterious ways, even to transforming the questionable taste and bad manners of artists. Not every artist is gifted with powers of exalted expression. But even lesser gifts bear witness to the effects of original sin. They too serve who only stand and stun. Mr. Serrano has given us a graphic image of a point made daily, if less colorfully, in pulpits from Seattle to Amsterdam. Especially Amsterdam.
The League remembers that the Church has its own iconographic tradition that many find unseemly or shocking. We think of statues of St. Agatha carrying her breasts on a plate, like cherry-topped meringues. Then there's St. Lucy, her eyes served up as canapés. Picture St. Roc, lifting his skirt like a chorus girl to point coyly at horrid sores on his inner thighs. Saint Lawrence is turned on the grill like a pork chop. The crucifix itself is startling, an image of violent cruelty.
Andres Serrano has brought up to date an ancient pictorial pairing of the sacred and the grotesque. He has helped us see the crucifix with fresh eyes. Bravo!
Pssst, Andres! You're a Catholic, right? Here, take the Mass schedule at St. Agnes. If ever you feel like praying with us—or for us—please come by. Don't be shy about stopping at the rectory for coffee and crullers after Mass. We'd love to talk about your new work. God bless. See ya.
Blood is either absent or decorously minimized in those images of Jesus' Passion with which we are best familiar. The death of Jesus is only part of the Christ story; the momentous, history-shattering disclosure comes later. Accordingly, traditional Passion imagery inclines toward a reflective distance from the physical realities of a Roman scourging and crucifixion.
In the earliest crucifixes, the corpus is dressed in an ecclesiastical tunic and its outstretched arms do not bend with the weight of the body. Straight and firm as they are, the outstretched arms suggests either a welcoming embrace or triumphal acclaim—the exuberant gesture of a victory lap. The fresco below is an eighth century addition to the walls S. Maria Antiqua, built in the fifth century and the oldest church within the Roman Forum:
The legacy of Western art is reticent about the actual deed of nailing Jesus to the cross. Few such scenes exist in fresco, on panel, or on canvas. They tend to appear almost exclusively on the conventional pilgrimage series we know today as the Stations of the Cross. These were introducd and popularized—as sculpture—closer to the fifteenth and sixteenth centuries. This fourteenth century panel from Meister Bertram's Passion altarpiece for the Church of St. John, Hamburg, is one of the few exceptions. Again, there is little blood despite the violent brutality of the tableau. A calculated reserve dictates the scene.
Our customary crucifix presents itself to us as more an emblem of redemption—sign and symbol of our ransom—than an instrument of torture. Bowing to prototypes from medieval and Renaissance painting, it presents a mental image that permits us to look upon the corpus without cringing. Art's role extends beyond narrative. It exists to penetrate the challenge to contemplation encountered in witnessing a grisly event.
Rubens' famous crucifixion—to take a single example—presents a muscular Jesus unmarked by the disfiguring whip that left prisoners in a state of half death. Blood runs discreetly from wounds fastidiously marked but deemphasized. Neither in his crucifixion motif nor his deposition does Rubens display the corpus in terms appropriate for a man dehydrated, enfeebled, torn and blood-soaked from the cruelty of the previous day. It is, instead, the figure of an athlete in his prime displaced from a classical gymnasium.
Fra Angelico's version, universally loved, aestheticizes the flogging with an ethereal symmetry. A transcendent calm infuses the scene. Jesus maintains a graceful contraposto , more like a dancer than a man whose execution is beginning.
It would be a great pleasure to feed representative images onto this post for another ten yards or so. That is my favorite thing to do. Prose is a mere handmaiden to paintings. For me. But perhaps not for you. So let me cut to the chase and admit that all of this has been meant as a segue to Franz Heinrich Louis Corinth (1858-1925), known in art history texts as Lovis Corinth. Student of Bouguereau at the Academie Julian in Paris and, later, director of Berlin's Sezession , Corinth was the archetypical German Expressionist. In short, a modernist.
He was also a painter compelled by the Passion as a creative motif. Crucifixion scenes occupied his imagination over several years. In 1910, he donated Golgotha for the altar of his hometown church in Tapiau, East Prussia. All that we have is the record of the donation. The painting itself disappeared after the Second World War. Tapiau was left intact, unviolated, during the Second World War. Consequently, it is believed that the painting was looted by the Red Army when it invaded East Prussia at the end of the war. No one quite knows.
I would love to see this vanished work. What is left to us is moving enough: Red Christ painted in 1922, just three years before Corinth died. It is not an easy work to look at. Most people see only the subject of a painting, not the paint or the handling—the art—itself. Red Christ is a beautiful painting of a horrendous subject: the depiction of Jesus pierced by Longinus and encrimsoned with the blood of his ordeal.
The painting is a howl of anguish, perhaps the most gruesome of any Western image of the motif. It is a darker and more agonized evocation of what the Son of Man suffered, for your sake and mine, than anything else in the longue durée of sacred Christian art. It surpasses even Beckmann—and Nolde—who had turned previously to Christ's Passion to find a paradigm for human suffering. The only valid comparison, historically, is with Matthias Grünewald who drew close to the substance of raw agony.
We are unaccustomed to treatments of the Passion which extend beyond the compositional familiarity of what we revere as the Church's high patrimony. Our nerves have slackened, gone drowsy, from seeing the Passion through the lens of art tamed by centuries. And by an increasingly self-conscious fondness for what is fast becoming a reigning catchword: beauty.
Note : A careful reader wrote to correct my spelling of Corinth's birthplace: Tapiau. All fixed above. (It is now Gvardeysk, Russian Federation.)
Earlier this month Sandro Magister's Chiesa broadcast an interesting particular in the Masses celebrated by Pope Francis:
At the moment of communion, Pope Jorge Mario Bergoglio does not administer it himself, but allows others to give the consecrated host to the faithful. He sits down and waits for the distribution of the sacrament to be completed.
At solemn Masses, Francis distributes the eucharist only to his assistants on the altar. And at the juvenile detention center on Holy Thursday, he gave the sacrament to young detainees who approached to receive it. These, however, are exceptions to his habit of abstention. What explains it?
Magister locates the origin of Francis' practice in a passage from On Heaven and Earth , a series of conversations between then-archbishop Bergoglio and Abraham Skorka, biophysicist and rabbi of Buenos Aires. First published in Argentina in 2010, it contains this from Bergoglio:
David had been an adulterer and had ordered a murder, and nonetheless we venerate him as a saint because he had the courage to say: 'I have sinned.' He humbled himself before God. One can commit enormous mistakes, but one can also acknowledge them, change one's life and make reparation for what one has done. It is true that among parishioners there are persons who have killed not only intellectually or physically but indirectly, with improper management of capital, paying unjust wages. There are members of charitable organizations who do not pay their employees what they deserve, or make them work off the books. [ . . . ] With some of them we know their whole résumé, we know that they pass themselves off as Catholics but practice indecent behaviors of which they do not repent.
For this reason, on some occasions I do not give communion, I stay back and let the assistants do it, because I do not want these persons to approach me for a photo. One may also deny communion to a known sinner who has not repented, but it is very difficult to prove these things.
Receiving communion means receiving the body of the Lord, with the awareness of forming a community. But if a man, rather than uniting the people of God, has devastated the lives of many persons, he cannot receive communion, it would be a total contradiction. Such cases of spiritual hypocrisy present themselves in many who take refuge in the Church and do not live according to the justice that God preaches. And they do not demonstrate repentance. This is what we commonly call leading a double life.
For the first time since the conclave my heart did not lift at news of Francis. It hurts to admit it, but this time I was nonplussed. Even disappointed. Our pope has a teaching authority in matters of morals as well as of faith. Because we are subject to that authority, we want it—need it—to be as unambiguous in gesture as in directive and the proclamation of imperatives. I cannot shake discomfort with Francis' conventionalizing an act that, by its nature, warrants deliberate, focused discernment.
There exist means of keeping photos at bay. Ask any museum. They are expert at blocking photography when they choose on grounds of etiquette, trespass, or both. Nevertheless, the issue at stake here is not about optics. By routinely sitting it out, Francis elevates optics over substance. Refusing to discriminate when discrimination is in order cannot be applauded on grounds of prudence or charity. It is neither.
Nancy Pelosi and vice-president Biden attended the Mass for the inauguration of Francis' pontificate. Both Catholics, both high-profile boosters for abortion, they stood for communion. (In 2008, then-archbishop of Denver Charles Chaput, called Biden's support for abortion a grave public fault, adding "I presume that his integrity will lead him to refrain from presenting himself for communion.") The two received from Francis' assistants while the pope remained seated behind the altar. Had he distributed communion himself but turned the chalice over to his assistants before reaching two public proponents of what the Church considers a non-negotiable, intrinsic evil, a point would have been made. Instead, a rare historic moment for apostolic witness was lost, sacrificed to Francis' customary abstention and the protocols of state.
By sending Pelosi and Biden as representatives, our president took a sly, sophisticated swipe at the Church's condemnation of abortion. In effect, he taunted the Church, confident in the power of diplomacy—the ferocity of manners—to smother witness. Francis' custom left him not complicit—that is too harsh a word—with the insult but certainly toothless in the face of it. Hoist on the decorums of state and his own inclinations, the pope kept his hands clean. But the price of that is on the scoreboard: Abortion Regime 1, Francis 0.
Americans have a phrase for this: passing the buck . Precisely because the pope's abstention is a general habit—rather than a targeted gesture—it loses sinew. Any moral vigor his restraint might have is dissipated by indiscriminate application. Efficacy requires a more surgical, less theatrical, employment. Without that, abstention shrivels to theatre. Mere style.
Observant readers will have noted another worrisome thing in Francis' 2010 statement. The species of sin he specifies (improper management of capital, paying unjust wages) are the stock bogeymen of Marxist grievance. Charitable organizations who do not pay their employees what they deserve . Who are these employers who "have killed indirectly"? We have been around this block before on behalf of that abstraction, the exploited worker. What, precisely, determines what any employee deserves without reference to a specific employee in a specific context? Generalized swats lend themselves easily to class resentment and all its familiar mischief. They contribute to demagogic mystifications, illuminating nothing.
The statist bureaucrats of Jorge Borgoglio's native Argentina nationalized private pensions—the savings of responsible citizens—while he was archbishop. It was an act of theft more consequential than the mundane imperfections of unnamed charitable organizations. Colossal public debt and deficits are more formidable enemies of the common good than Marxist-lite hobgoblins in the workplace. Surely Francis knows this. Let us pray his reign is marked by the boldness to say so.
We who live in the Western world at the present time continue to suffer under the reign of a great tyranny — the tyranny of artistic modernism.
New English Review , August 2012
It gets tiring, this lingering need to swipe at modernism. To the extent a date applies, the waning of modernism hovers between the late 1930s and the end of the Second World War. Yet seven decades later, one Quixote or another still gallops forward to tilt at the carcass. Beating a horse in extremis is unseemly. And doltish. It keeps us from recognizing the singular achievements of this fluid and variegated offensive against Victorian-era academies.
In the early decades of the twentieth century, modernism's heyday, biblical imagery still held purchase on Western culture. One stunning example of modernist reimagining of a traditional subject is Max Beckmann's Deposition:
Beckmann reintroduced the sepulchral, nightmare quality that centuries of familiarity have drained from—to take the closest example—Gerard David's Deposition :
David evokes the graveyard that was Golgotha—"place of the skull"—by scattering bones in the foreground. With that gesture he observed the customary iconography which separated skeletal remains from the corpus of Christ. Beckmann, steeped in death as a volunteer medical attendant on the Belgium front in the First World War, reversed David's diagonal composition. He turned his eye, and ours, to the skull beneath the taut-drawn skin of the dead Christ. The corpus is distorted by rigor. Violent death reveals itself in tortured angularities: feet contorted upward to display wounds from the underside; arms stiffened into unsupported extension, locked in unnatural outreach. Emaciated shoulders and clavicle tell their own tale. Skeletonization has begun.
Julius Meier-Graefe, a modernist art historian—one of the few included by the Nazis in their attack on "Degenerate Art"—commented on the severity of Beckmann's initial post-war work, so reminiscent of Gothic painting. Writing in 1919, he interpreted Beckmann's Deposition as a collective indictment on their place and time:
These paintings are anything but decorative. Their disposition is much more violent. An almost mystical embitterment impels such forms. The voluptuousness of pain . . . A fleshless Grünewald—fleshless, not soulless. The details spell out the want of ardor of our machine age . . . Color, which could soften the factual details, is despised . . . The apparition stands with inexorable clarity. But it is nonetheless animated. These terrifying figures [indicate] a prodigious self-conceit . . . embraced by an entire nation, which sinned extravagantly and atones extravagantly, which by means of monstrous instruments of torture has its rotten flesh burned away so that its spirit might come to its senses.
The imitatio Dei is not a matter of copying. It is a matter, first, of comprehending; and, then, of seeking forms to render that comprehension. Modernism did not abandon form. Rather, it sought a means of creating fresh forms for interpreting the world—the world of our own time—not merely duplicating what greets our senses. Or repeating routinely what we love in the art of an earlier age.
The previous post ended with reference to what "the centuries have wrought." A reader emailed me to askhopefullyif I was referring to modernism. No, not at all. In mind was the kind of emasculate anti-art rampant on plaques, statuary, prayer cards in funeral parlors, and too often in our own churches. Side altars, especially. Pictorially equivalent to sob songs, the stuff mimics Renaissance and Baroque painting but is sorely disconnected from the achievement of its prototypes.
Mass produced sentimentality has been the hallmark of Catholic art since the 1840s flooded the market with a cascade of devotional stuffs from French companies located around the church of Saint-Sulpice on the Left Bank. A taste for it lingers in much of the disdain directed at modernism in the arts. Particularly in relation to religious subjects, even sophisticated Catholics are prone to uncritical favor toward imitations of the premodern. Whatever comes closest to Renaissance realism or the Baroque figuration of the late sixteenth and seventeenth centuries is considered more spiritual, more authentic, than anything that reveals twentieth century authorship.
Compare the gravity of Bramantino's depiction of the risen Christ with the emotional tenor of the modern resurrection scene that follows it. Bramantino evokes the suffering of a man newly risen, in the flesh, from his descent into hell:
Simon Dewey, a popular contemporary painter of "Christ-centered art," gives us a male model coming out of a bathhouse on Fire Island. We've seen that face before, but where? In GQ ? An old Marlboro ad?
Thomas Merton phrased things nicely: "If there were no other proof of the infinite patience of God with men, a very good one could be found in His tolerance of the pictures that are painted of him."
And of His mother, too. The pansied piety of Marian kitsch denatures the Theotokos . In the coronation scene, below, Mary is a fluff of cotton candy; the blond putti flutter over her like so much pastel confetti. Not least among the image's offenses is the exaggerated refinement of the hand holding the ceremonial rod as if it were a teacup. A traditional symbol of authority, the mace dwindles here into something close to a gilded swizzle stick:
In the accustomed bloodless cliché, grace streams from Mary's hands like gas from a stovetop jet. This manikin is not so much virginal as bleached, pasty, mincing. Here she steps on a skinny green snake that would barely threaten a frog. Not much as a symbol of a demonic force seeking the ruin of souls:
Miriam of Nazareth lived under Roman occupation. She likely witnessed other crucifixions before she endured the sight of her own son on the gibbet. She named her infant Yeshua , Aramaic for the name we call Joshua . Her boy was the namesake of a Jewish hero, a battlefield commander who brought down the walls of Jericho and conquered the Canaanites. In the minds of Jews of Miriam's time, the image of Joshua was then what it remained for centuries after in biblical illustration:
That is not the choice of a girl without mettle. Mary, meek and mild? Only if we attend to the definition of meek offered by Fr. George Rutler in his May 12th sermon:
The spiritual "meek" are not milquetoasts, or spineless wimps. The Greek praus for "meek" means controlled strength, a suppleness like that of an athlete. Without praus , a surfer would stand stiff and soon fall off the surfboard, and a boxer would be knocked out with the first punch without agile footwork.
Art's expressive power is not necessarily benign. Bad art has its own pernicious effect, working its way on religious sensibilities like corrosive salts on a fresco. Images resonate apart from their subject matter. They can mislead. An understanding of this led German writer Hermann Brocha convert to Catholicism and major figure among the early Moderniststo declare kitsch not only a perversion of taste but also "the element of evil in the value system of art."
Granted, that might be going some. Nevertheless, it is worth asking ourselves to what extent simpering or banal religious art drains us of the force and fortitude faith requires in a faithless world. Or, more pointedly, a world with Islam rising. I sometimes wonder: if Miriam of Nazareth were to rechristen any one of us, what name would she pick?
Bernard Berenson called Piero della Francesca "the mighty Tuscan." Among contemporary painters, he remains the best loved of Renaissance painters, influential to a range of modern artists whose debt to him might not be readily apparent. Nevertheless, renowned as he is among artists, he is not widely known to American audiences.
When a respondent to my previous post sent a link to Piero's Madonna del Parto , it jolted me into contrition for having neglected to say a word about the gem of a Piero exhibition that opened at the Frick in February. This rare and marvelous opportunity ends this coming Saturday. Mea culpa, mea maxima culpa . I have hogged it to myself, returning several times to bask in it. And, yes, pay homage to the enigmatic and majestic Piero.
Piero was better known in his own day as a mathematician, an authority on solid geometry and the author of a treatise on perspective. Little of his art survives, much of it having fallen victim to renovation fever over the centuries. Most of it was executed in fresco; fresco cycles do not travel. To boot, the Victorian era, smitten with Raphael, never gave Piero a nod. Hence, a current audience's relative lack of acquaintance with an artist who, today, ranks with Leonardo as both artist and man of science. To see his work in its full splendor requires winding through small Tuscan villages—the Way of Piero—an itinerary that begins in Arezzo and Perugia, moves on to Monterchi, through Rimini to Urbino, and Sansepolchro, Piero's home town.
Virgin and Child Enthroned with Four Angels , owned by the Clark Institute, Massachusetts, is one of only three works by Piero in this country. An oil on panel, it is one of the uncommon transportable ones; yet this is only the second time in sixty years it has been visible in New York City. It is the heart of the Frick exhibition and a glorious initiation into Piero's particular genius.
This Virgin, like all his Marys, has the impassive, thickset solidity of an Etruscan farm girl. Four angel sentinels stand sturdy and substantial. They bear wings, but more as emblems of station than locomotion; nothing ephemeral marks this watchful quartet. These seraphs are as firm-footed as Wim Wender's angelic pair in Wings of Desire . A husky, self-contained toddler, Christ reaches for a pink carnation, foreshadow of the crucifixion, in Mary's grasp. He puts out his hand without affect, composed, as inscrutable as his mother.
Roses, too closely identified with Venus and profane imagery, frequently gave way to the elusive charms of the carnation—more sharply defined than the rose—in fifteenth century painting. Piero blends them easily together. His Virgin's throne, set under the open sky [beyond the frame of the detail here], is decorated with stylized rosettes. Living flowers repeat in the garland worn by the farther angel, symbol of paradisial rapture. "Let us crown ourselves with rosebuds," cry celebrants in the Book of Wisdom. When, for whatever reason, a Renaissance painter chose against the rose, he painted a carnation. A rosebud or a pink carnation—let us not fret the allegorical difference.
Plants, fruits and flowers came into full fashion as visual metaphors in the art of the Renaissance. They are the fragrant, unspoiled things—good gifts—loved by antiquity and, so, embraced by antiquity's self-chosen heirs. In the hieratic serenity of Piero's composition we find the interplay of symbolic motifs that have become part of the heraldry of the Church.
The freshness of Piero's achievement has held for more than six hundred years. His work speaks today with a grace and power made ever more precious by what the centuries between us have wrought.
Piero della Francesca. Central panel of the Polyptych of Misericordia (c. 1460)
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Week 3: College football rolls a seven
No. 1 versus No. 2 didn't quite live up to the hype. The pregame did, though. Along with the game between the same two teams in Columbus last year (something about this matchup apparently brings out the best in fans), the scene in Austin, Texas, on Saturday was the best I've experienced in my six years of road shows for "College GameDay" on ESPN Radio.
This excludes games on SEC campuses, which truly are a world unto themselves. If you live west of the Mississippi and north of the "Grits Line" (that portion of the nation in which grits are part of the morning buffet), please do yourself a favor and attend a game in the SEC. Immediately. But I digress.
Although last week was anticlimactic, you've got to think this week will be different, with an amazing seven games between top 25 teams. There is safety in numbers. Speaking of which, I'll get you at least one good digit for every one of those marquee matchups. Let's go between the numbers:
108: Miami has been ranked in the AP poll for 108 consecutive weeks, the longest streak in the nation. With the 17th-ranked Canes heading to Louisville this week, you have to wonder whether this might be the week the streak comes to an end due to numbers like these:
188: Leon Camel, Florida A&M's 5-foot-6 walk-on, backup QB put up 188 total yards against the Canes last week. Not a number that will set the world on fire until you consider it's 12 more yards than FSU's entire team got against Miami in the opener. Speaking of I-AA QBs
0: Nicholls State completed 0 passes in its 56-7 loss to Nebraska. Nicholls is the first team not to complete a pass in a game involving at least one I-A team since Rice turned in a goose egg against BYU in 1996.
A few things to consider. First off, the Colonels are an option team (they threw only 68 passes all of last year and managed to make the I-AA playoffs). Also, they lost their starting QB in the first series. But, still, they only threw the ball three times the entire game -- just once in the second half. I mean, you're down 49 points; clearly Plan A isn't working. Wouldn't you toss it up a few times, just out of curiosity?
6: Nobody takes advantage of the turnover better than Notre Dame's Tom Zbikowski, whose 25-yard fumble return TD last week against Penn State was touchdown return No. 6 of his Irish career (two on fumbles, two on interceptions and two on punts). Despite the fact that Zbikowski has never touched the ball on offense, only three current Notre Dame players have found the end zone more times than Tommy Z: Jeff Samardzija, Rhema McKnight and Darius Walker.
6: That's also the number of consecutive road openers that Michigan has lost heading into Saturday's showdown in South Bend. That six-game streak is the longest in school history. In fact, the Wolverines have lost more than two consecutive road openers only three times. They lost three in a row from 1936-38 and four in a row from 1960-63 and again from 1980-83.
2: If the Irish are able to extend Michigan's struggles on the road, you'd really have to like their chances of heading into the USC game Thanksgiving weekend undefeated. That's because they'd have just 2 games before then against teams that had winning records last year -- UCLA and Navy, who, oh by the way, they've beaten 42 straight times. Then again, no game is a sure thing
$40,000: Division II Chadron State got $40,000 for being I-AA Montana State's sacrificial lamb on Saturday. Problem is, it was the Bobcats who were sacrificed, losing 35-24.
$275,000: On a positive note for the Bobcats, they took home $275,000 the week before and also got a victory against Colorado. So, they're even in the won-loss column, but $235,000 up on the balance sheet.
42: As for the Buffs, they can't feel good knowing they lost to a team (Montana State) that lost to a team (Chadron State), that gave up 42 points last year to something called Fort Lewis, whose previous claim to fame was as the first college head coaching gig for Gary Barnett.
Speaking of Gary, the whole I-AA thing hasn't worked well for any of his former employers, as Northwestern lost to New Hampshire this week. The victims of I-AA upsets can take a little solace in the next two numbers
Sadly for New Hampshire, the Scripps Howard computer is no longer part of the BCS Formula, perhaps due to the fact that it would spit out New Hampshire at No. 6. By the way, the next highest I-AA team is Montana State at 54. Maybe that loss to Chadron State wasn't as bad as it seemed.
4: In a five year span between 1999 and 2003, 4 Associated Press NFL MVP's hailed from I-AA schools (Steve McNair, Rich Gannon, and Kurt Warner, who won it twice). Still, no matter how many numbers we throw at you, the I-AA loss can't exactly be construed as a good thing. Neither can these numbers
0: Illinois crossed midfield 0 times against Rutgers. The Illini's "deepest penetration" was their own 46.
11: Florida State's longest run from scrimmage this year is 11 yards, by QB Drew Weatherford.
1904: Mississippi State has been shut out in consecutive games to start the season for the first time since 1904.
1921: Speaking of ancient history, Ohio State comes into its game with Cincinnati having won 21 straight games against in-state opponents, a streak that dates back to a 1921 loss to noted powerhouse Oberlin. The 7-6 nail biter was, by definition, a yeoman's effort by the Yeomen (yes, that's actually their nickname).
8: Although they're 0-2, the Rice Owls are among the most improved teams in the country early on, particularly on defense. The Owls have 8 sacks this year. They had 12 all of last season. Rice has given up 57 total points to two teams (Houston and UCLA) that combined to score 98 on them last year.
78: Still, the Owls face a formidable task this week against a Texas team that figures to be a tad perturbed after the loss to Ohio State. Odds aren't exactly with Rice. Texas hasn't lost back to back games since losing three in a row to end the 1999 season. That's a span of 78 straight games, which is the longest streak without consecutive losses for any college team in the nation. Or any pro team, for that matter.
TCU against Texas Tech is an intriguing nonconference matchup, to be sure, but the SEC is where it's at this week. Two SEC conference games on Saturday could go a long way toward determining who plays for all the conference marbles in Atlanta in December.
398: The matchup in the East features two teams whose offenses are clicking after struggling last season. For instance, Florida rolled up 398 yards of total offense against Central Florida in the first half last week, exceeding the Gators total in six of their 12 games last season.
412: As for Tennessee, its biggest single game output was 412 yards last season. The Vols got 514 in the opener against Cal and 412 against Air Force, meaning they've either equaled or exceeded their best offensive output from last season in both of their games this year.
9: No. 3 Auburn and No. 6 LSU come in with a combined ranking of 9, which is the best in the history of this series. It's just the second time ever that both have come in ranked in the top 10 and the first time since 1972.
1: Speaking of low numbers, somehow Oklahoma has managed to win seven national titles with just 1 player ever from the state of Oregon. Milwaukie, Ore. native Ivan Preston played wingback for the Sooners in 1944. That's all I've got on Ol' Ivan. The Internet is good, but not that good.
1: As for the Sooners' opponent this week, Oregon has lost just 1 nonconference home game in 24 outings under Mike Bellotti. The only coach to beat them? Gerry DiNardo, whose Indiana Hoosiers topped the Ducks 30-24 in the 2004 season opener. The postgame celebration must have been epic. Meatballs all around.
We'll talk to you on Saturday.
Dave Revsine is the host of "College GameDay" on ESPN Radio. Listen every Saturday from noon to 7 p.m. ET as Gerry DiNardo, Todd McShay and Revsine break down the action.
Dave RevsineTelevision anchor, Radio host
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Schlabach »
- Why Johnson Is Right
- Expect new CFB Playoff Committee member Bobby Johnson to fit right in.
Low »
- Less Money, More Problems?
- Should we have the same expectations for programs with very different budgets?
- Betting: Best 2015 CFB Playoff bets
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- Haney: TCU among 2015 favorites
- National links: Reshuffling the top four

subset: commoncrawl


text: Thinking about Equations: A Practical Guide for Developing Mathematical Intuition in the Physical Sciences and Engineering by Matt A. Bernstein buy used Used & Rare price $129.14 new from$79.95 shop with confidence SPECIAL SHIPPING CONSIDERATIONS FOR USED & RARE ITEMS. Please see the special considerations for shipping Used & Rare items, including extended delivery times, possible import duties & taxes. Delivered in 3-5 weeks Format: Trade paperback Publisher: John Wiley & Sons Condition: The following ISBNs are associated with this title: ISBN - 10:0470186208 ISBN - 13:9780470186206 Seller Comments: Trade paperback (US). Glued binding. 258 p. Contains: Unspecified, Illustrations, black & white, Figures. From the Publisher An accessible guide to developing intuition and skills for solving mathematical problems in the physical sciences and engineeringEquations play a central role in problem solving across various fields of study. Understanding what an equation means is an essential step toward forming an effective strategy to solve it, and it also lays the foundation for a more successful and fulfilling work experience. Thinking About Equations provides an accessible guide to developing an intuitive understanding of mathematical methods and, at the same time, presents a number of practical mathematical tools for successfully solving problems that arise in engineering and the physical sciences.Equations form the basis for nearly all numerical solutions, and the authors illustrate how a firm understanding of problem solving can lead to improved strategies for computational approaches. Eight succinct chapters provide thorough topical coverage, including:Approximation and estimationIsolating important variablesGeneralization and special casesDimensional analysis and scalingPictorial methods and graphical solutionsSymmetry to simplify equationsEach chapter contains a general discussion that is integrated with worked-out problems from various fields of study, including physics, engineering, applied mathematics, and physical chemistry. These examples illustrate the mathematical concepts and techniques that are frequently encountered when solving problems. To accelerate learning, the worked example problems are grouped by the equation-related concepts that they illustrate as opposed to subfields within science and mathematics, as in conventional treatments. In addition, each problem is accompanied by a comprehensive solution, explanation, and commentary, and numerous exercises at the end of each chapter provide an opportunity to test comprehension.Requiring only a working knowledge of basic calculus and introductory physics, Thinking About Equations is an excellent supplement for courses in engineering and the physical sciences at the upper-undergraduate and graduate levels. It is also a valuable reference for researchers, practitioners, and educators in all branches of engineering, physics, chemistry, biophysics, and other related fields who encounter mathematical problems in their day-to-day work.


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Comfortable and clean apartment, in urban but quiet residential area, with shopping facilities nearby, well connected to central London and very close to East London attractions. The owners live nearby, which makes check-in process easier.
Space where guests can cook their own meals
Towels, bed sheets, soap, and toilet paper
Space where guests can cook their own meals
Towels, bed sheets, soap, and toilet paper
Central heating or a heater in the listing
In the building, free or for a fee
In the building, free or for a fee
Continuous access in the listing
Breakfast is provided.
The listing can accommodate a gathering of 25 or more attendees
Easy access to the building and listing for guests in wheelchairs
Private or Shared
Free, in the building or nearby
Posted emergency information and resources
The Space
The flat is situated at the heart of the London's East End, in a quiet residential area very close to Roman Road market. Victoria Park is at 5 minutes walking distance.
Mile End underground station is at 10 minutes walking distance, and is served by Central, District, Hammersmith & City lines. Central London is also very easily accessible by bus, with the bus stop a couple of minutes away from the flat. Central areas such as Brick Lane, Spitalfields, Liverpool St, Shoreditch are about 15 minutes away by bus.
The flat is also particularly easily to reach from Stansted airport: coach or train to Liverpool St station, Bus n.8 straight to Old Ford bus station (2 minutes from the flat).
1 bedroom flat, with eat-in kitchen, 1 bathroom, 1 double bedroom with king size bed, 1 large living room with 2 sofa beds (1 single and 1 double).
The flat is available for groups from 1 to 5 people. 2 days min. - 90 days max.
Laura and Guido manage the flat, and live just around the corner a couple of minutes away. This helps with the process of checking in and out, and makes them available for any need and info.
Maps, guides and info about local amenities and London in general are available in the flat.
Second floor (no lift) - 512 SQ FT - laminated floor - fully equipped kitchen - 1 bathroom with bath/shower - TV-Lcd - Hi-Fi Stereo - Washing Machine - Iron and ironing board - Towels - Hair dryer - Bed Linen - Duvets - Wireless connection
Kitchen appliances
toaster - kettle - cafeterie - Italian Moka machine - Microwave - Fridge/Freezer - Cooker.
CHECK-IN - Flexible agreed time on the day of arrival. It is important that you inform us, well in advance, of your estimated arrival time for us to arrange to meet you at the apartment location with the keys.
CHECKOUT – Anytime on day of departure, unless a new guess is checking in on the same day. In that case check out time is 11am. We will inform you of this circumstance on your day of arrival. You are required to leave the apartment in the same condition in which it was presented to you at check-in. All keys are to be returned to the owner as agreed.
COTS & HIGHCHAIR - are available on request
GENERAL INFORMATIONS ABOUT THE FLAT - A "Welcome Pack" folder is provided in the property with important information about the property and local services. If missing, tenants must advise the owner immediately.
At the beginning of your stay, you are required to read the document "General instructions about the flat", and familiarise with the important information provided.
DUTY OF CARE - you are obliged to keep the apartment and all furnishing, fixtures, fittings and effects, in the same state of repair and condition as they were in at the commencement of your stay and to ensure that the home is left clean and tidy. No item found within any area of the accommodation shall be removed from the premises for any purpose.
In default of such obligation, you are obliged to reimburse the owner against any costs we incur in remedying such default.
The SECURITY DEPOSIT is refunded in full within seven working days of check out if no damage to property or breakages or excessive cleaning needs. You will be responsible for any damage to the apartment, or the furniture, fixtures, fittings and effects. Anything broken or damaged should be reported to us, and paid for before departure. The owner reserves the right to raise invoices for any damage caused during your stay at a later date.
LIABILITY – Owners cannot accept any liability or responsibility for:
- any loss or damage neither to personal property, nor for personal accident, death or injury using the apartment;
- noise, nuisance or disturbance resulting from building works, noisy neighbours etc.;
- disruption of services from utility suppliers.
NOISE – You must keep noise to a minimum, especially between 10pm and 8am.
PETS & ANIMALS - we regret that pets or animals are allowed.
SMOKING - strictly prohibited anywhere in the apartment and in the rest of the building.
HEALTH AND SAFETY AND SECURITY – you must keep the property secured and lock the front door whenever the property is left unoccupied. You must use all appliances safely and report to the owner any faulty equipment or health and safety hazard immediately.
Merci Guido et Laura pour votre accueil chaleureux, vos conseils , la rapidité de vos réponses.
L'appartement est grand, bien équipé.Même s'il est un peu loin du centre de Londres, le bus n°8 est à 2 minutes à pied de la résidence et à 10 minutes de la station de métro Mile End.
Je n'ai eu aucun souci avec mes 3 filles! Le quartier est calme et proche des (website hidden) recommande vivement!
Nous avons passé un séjour très agréable et avons pu réaliser toutes les visites que nous avions prévues, meme plus! A bientôt j'espère!
The flat has a good location, and the neighbourhood is nice and pretty quiet. Everything in the flat was tidy and all the necessary equipment was available. Wifi was working very well. Guido met us to give the keys and was very helpful and easy to reach. We visited in February so it was a bit cold and humid in the flat at first, but it got better with the heating. A very relaxing holiday in London!
Guido has been very helpful. He answered our emails quickly. His apartment is really nice and cosy. It has everything we need during our stay! It is like our home away from home!
Both Guido and Laura are amazing, who always give us very detailed instructions and excellent hospitality. Their flat is exactly the same as the pictures shown, quite, clean and tidy. The location is great, easy convince to tube and supermarket. STRONGLY recommend here to anyone who visits London.
Lovely and comfortable little flat. Had everything we needed. Guido and Laura were helpful and responsive, making check-in smooth and our stay enjoyable.
I stayed at Guido's and Laura's apartment with 2 friends and we all really enjoyed our stay. There was a lot of information material on the neighborhood and the city in general, which made it easy to find our way around and find things to do.
Even though the apartment might seem a bit far away from central London, you can reach the city quickly by subway. There is also a 24-hour bus that runs just a minute from the apartment. Distance was never a problem for us.
When we had questions we could simply text the hosts and we would always get fast responses. They were really accessible and made sure we had everything we needed. They also live very close to the apartment, which makes it easy to check in.
The apartment is very clean and everything we needed (sheets, towels, kitchen equipment, etc.) was provided.
We would all definitely stay there again if we come back to London. Thank you!
Laura and Guido manage the flat, and live just around the corner a couple of minutes away. This helps with the process of checking in and out, and makes them available for any need and info.


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5 Gallon Bucket Tomatoes & 3 Gallon Peppers Watering Question.
Is one Gallon per day on 90+ Degree days enough for 5 gal bucket tomatoes? And half gallon per 3 gallon Pepper Plant?
Potting Mix seems moist on top inch. Dont know if I should water again or wait until tomorrow.
Today the mix seemed dry on top around early afternoon.
I am having the same issue. First time container gardening and some cherry tomatoes have yellow leaves and the better boys are having blossom end rot on them. I water every evening after work until water flows from the bottom (at least 2 gallons of water per plant) of the containers. Should I start with a watering in the morning as well?
Sorry not trying to hijack the thread but thought that this would be a good source since you had brought this up.
No room, I agree with dickie and Ed... Try not to overwater too though.
Wingspings, you probably need to fertilize with swell balanced fert that has micronutes as well. The BER is most likely due to the inconsistent moisture levels... Too wet then too dry, etc.. Makes it difficult for the plant to distribute the calcium properly, leading to BER.. Try mulching, it should help
Thanks for the info on the BER.
First year container gardening so this is a whole new experience for me.
I made my mix myself, Peat Moss (1/2 bag), garden lime (3 handfuls), perlite (1 bag), composted cow manure (1/2 bag) and 10-10-10 (12oz cup) and 2 cups coffee grounds mixed up well in wheelbarrow.
Buckets/Containers 5 gallon with 1 1/2" to 2" rocks in the bottom and holes in the bottom of the buckets for excess to drain.
Been in 80's (no cloud cover)here for several days with no rain. Today it was 87.
I have 4/5 gal buckets with celebrity toms using drip irrigation. Give them all 11 oz of water 4 x per day for total of 44 oz.
Picking toms and they are as good as a celebrity tom is going to get.
Too many variables. You need to learn to read the medium and the plant. As it can vary day to day.
For medium, use the skewer method of lift the plant. Learn to also recognize the early signs of wilting, so you can catch it in time if you misread the soil.
One note. Tomatoes in 5 gal containers can use up the water pretty quickly.
If you use 5 gallon pots which BTW are too small and they have proper drainage which means about 10+ holes in the bottom and you are using good draining potting mix then it is basically impossible to over water them in this heat we are having.
If anything you probably need to water them 2-3X a day.
I have 15 gallon pots and water 2X a day in this heat.
Agree, even bush varieties with medium size tomatoes can require watering more then once a day in 5 gallons, as I am doing now. Dwarf Bush tomatoes I have such as Tiny Tims, still only require once per day. I don't use a fixed quantity. I water until 10% or so runs out the bottom.
I agree. Just today I had to repot some pepper plants into true 5 gal white buckets. I had them in two gal and that is just not enough. Next year I will do less plants in larger containers, but I'm still very happy with the results and predicted harvest.
For tomatoes a 15 gal pot is great. I do have a nice little cherry bush in a 2 gal but of course would have a better plant if it was in say a 7 gal.
I have grown tomatoes cherokee purple, double rich, yellow perfection, in 5 gallon buckets with great results, mulch heavy and water every 2 days in really hot weather. I use 8 4 1 bat guano and a 0 12 0 seabird guano at flowering, I also add some wood ash. I use a 50 gallon barrel for making guano teas to water them with too!


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Anesthesiologist (pain control)
29 years of experience
Video profile
29 years of experience
Video profile
13601 Preston Rd
Suite 1000W
Dallas, TX 75240 Phone number & directions
13601 Preston Rd
Suite 1000W
Dallas, TX 75240 Phone number & directions
License & Identifications
A medical license is required for a doctor to practice medicine in a particular state. Requirements vary by state but most require, at a minimum, post-graduate training in the doctor's specific specialty. An NPI number is a national identifier unique to an individual health care provider and is managed by the Center for Medicare & Medicaid Services (CMS).
Learn more about Dr. Susan Smith:
View the full profile to get information on:
- Qualifications
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Patient Reviews
Have you visited Dr. Smith? Share your experience.
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Specialties & Research
Dr. Susan Smith, MD is board certified in Anesthesiology.
Education & Awards
Dr. Smith graduated from The University of Texas at Houston.
Dr. Smith has 12 hospital affiliations:
- Baylor University Medical Center
- Medical City Dallas Hospital
- English
Home > Find an Anesthesiologist > TX > Dallas Anesthesiologists > Dr. Susan Smith, MD
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- Additional Information
- Dr. Susan Sharon Smith MD is a female Anesthesiologist, has 29 years of experience and practices in Anesthesiology.
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- Dr. Susan Smith has 3 office locations.
Dr. Susan Smith practices Anesthesiology near Dallas, TX.
See Dallas Anesthesiologists.


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What's New
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SportsDayTALK w/ 1310TheTicket
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VF Corp, Alliance Updates Bangladesh Worker Safety Progress
VF Corp. has published its first update on a worker safety program to improve labor conditions in Bangladesh. The company has faced a lot of criticism regarding its labor practices in Bangladesh, largely because it hasn't signed onto the Accord on Fire and Building Safety in Bangladesh, a contract created following a tragic fire in Bangladesh factory. Instead, VF responded by founding the Alliance for Bangladesh Worker Safety, which isn't legally binding.


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Perla: LegalTech Startups Can't Fix BigLaw's Cyber-Security Problems
African Law Firms & Foreign Counterparts Navigate 'Tense' Relationship
A Moment of Simple Justice - The ABA's Priorities
Polsinelli Podcast - Telephone Consumer Protection Act and Consequences for Corporations
Competitor or Collaborator? What UpCounsel's Growth Means for BigLaw
How PLI is Using Gamification in Continuing Legal Education
How to Write Titles That Get You Noticed and Read
MacEwen on BigLaw's 'Hollow Middle', Shaky Vereins & Dentons in China
Global Growth: A Prime Opportunity for the Middle Market
Special Report: The Hot-ish Swag at LegalTech New York 2015
Is the Patent Litigation Boom Coming to an End?
Dentons Dacheng Deal Done: Will BigLaw Follow Suit?
BigLaw Recruiter: We Didn't Kill Dewey & LeBoeuf
A Moment of Simple Justice - Bar Exam Beatdown
MacEwen: Law Firm M&A Demands 'Cultural Due Diligence'
SullCrom Sees Litigation Boom Despite Waning Credit Crisis
Press: Inflation Adjusted Numbers Show BigLaw Continuing to Struggle
Corcoran: Infighting on Compensation Costs BigLaw Time and Money
Zimmermann: "Two Class" Partnership Culture Emerging in BigLaw
Why Secret Settlements of Injury Lawsuits Are Bad (for Everyone but the Defendant)
June 3, 2014 (Mimesis Law) -- Aric Press, editor-in-chief at ALM, talks with Lee Pacchia about a recent survey released by The American Lawyer that shows large law firms struggling to recruit black lawyers and promote them to...more
May 27, 2014 (Mimesis Law) -- Gary Friedman, partner in Weil, Gotshal & Manges LLP's National Employment Litigation group, talks with Lee Pacchia about the recent firing of New York Times Executive Editor Jill Abramson. The...more
May 23, 2014 (Mimesis Law) -- Just when they thought they were out, this program brings them back in. Caren Ulrich Stacy talks with Lee Pacchia about founding OnRamp Fellowship, a program that matches women attorneys who left...more
Feb. 25, 2014 -- New York Law School Professor Robert Blecker discusses his new book entitled "The Death of Punishment: Searching for Justice among the Worst of the Worst." Harvard Law School's Laurence Tribe called the book...more
Mar. 21 (Bloomberg Law) -- Bloomberg Law's Lee Pacchia runs through the legal news for the week. A new study shows an average of 69% of law students retain their scholarships after their first year. Also, we have a look at...more
No Daubert Hearing Equals $10 Million Error in 9th Circuit
The U.S. Supreme Court isn't the only judicial panel to wrestle with difficult Daubert questions lately.
While the Supreme Court ponders the potential fate of...more
In Cornacchiulo v. Alternate Investment Solutions, Inc., 2012 N.J. Super. Unpub. LEXIS 1415 (App. Div. June 19, 2012), the New Jersey Appellate Division dismissed an employee's NJLAD discrimination suit because, having first...more
The ABA is quietly gathering support to choke off lawyer marketing on the Internet. Lawyer Larry Bodine asks you and your colleagues to join him in stopping this effort to burden lawyer marketing on the internet with unneeded...more
When I discuss my privacy concerns with people, frequently the response I get is "If you're not doing anything wrong, why do you care?"
I'll tell ya why I care. Just because something's private doesn't mean it's bad or...more
The 2009 breakdown of North Eastern United States law firm trends in hiring and salary. There are shocking numbers that still point to disparity that may have even changed for the worse. This article has statistics about...more
Tampa shareholder Sylvia H. Walbolt (Appellate Practice and Trial Support) and Tallahassee associate Andrew D. Manko (Appellate Practice and Trial Support) published an article, "From Chattel To Justice," as part of the...more
When my daughter was born, I had the feeling that she might be in the first generation that saw quality for women. As she grew older, and her intelligence manifested itself, I thought that I was only half right. The half that...more
The legal job market is not encouraging nowadays. But there is one thing aspiring lawyers and new lawyers can do to improve their chances of getting and keeping a job: pro bono. ...more
This case study documents how Pro Bono Net, a national nonprofit dedicated to increasing access to justice, uses live chat technology from LivePerson, Inc. to help pro bono attorneys and legal aid advocates assist underserved...more
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This hotel is a gem. The room was fantastic, easy walk to San Marco and the staff was lovely. I would highly recommend it. If you are physically impaired, access is difficult as it it on the third floor (only 5 glorious rooms). This place should be 4 stars!!! - Anonymous
The suite was large and very comfortable. Excellent view over St Mark's Square. The location was very handy to St Mark's Basilica and Doge's Palace as well as to the shops and restaurants. No lifts, but it was only one flight of stairs. Make sure you have a mobile phone with you so you can contact someone to guide you and meet you in front of the unit. - Anonymous
I have high expectations, and am often disappointed by the reality of what you get compared to what info you get when booking somewhere online. But this small hotel did not disappoint - in fact it was better than I expected in most everyway.
It was in a great location, 2 mins from San Marco Piazza and grand canal. It also had decent size double rooms (esp for old European city like Venice, known for it's cosy rooms) with top notch fixtures and fittings, sound proof walls and a fully equipped en - Anonymous
Bedroom was beautiful
Bathroom was excellent and everything refreshed twice daily
Everywhere was very clean
Hotel was very luxurious
Excellent location
Very helpful & friendly staff - Anonymous
The location of the hotel was exceptional - just a couple of minutes walk from St Mark's Square. The patron (Roberto) was extremely helpful, and very friendly. - Keith
This hotel is in a fantastic location in the heart of Venice, above the Tod's store.
For those who love to shop or window shop its a great location near all the designer stores, and very close to St Mark's Square and the Accademia.
For those who prefer to see more of the city its still a fantastic location for restaurants, a walk along the waterfront (down to Giardini where the Biennale is held), Rialto Bridge or take a ferry to Murano, Burano or Lido.
We received a warm welcome and were ve - Anonymous
Great location, lovely room, friendly staff, peace and quiet, air condition, nice breakfast.
It really helps staying 5 minutes away San Marco and walking distance from almost all attractions.
We loved the place and have already recommended it to friends and family.
I shall definitely want to stay there on my next trip to Venice. - Anonymous
Great location for exploring the city. Close to many of the well known
sights and boat stops for the airport and vaporettos are only a short
walk away Room was clean and bed was extremely comfortable . Good
directions to the hotel available from hotel website. - Anonymous
Breakfast and only 2 or 3 m walking to San Marco - Anonymous
The staff was very friendly and helpful. It was raining and they had umbrellas for us to use. They also allowed free use of the internet for each of us for 15 minutes, that was just enough to catch up with future arrangements and home. - Anonymous
staff were top class. tea in central area. big quiet room. - Joan
Owner very kind and friendly. Location excellent with rare inside Garden and romantic view on the canal. - Anonymous


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In This Section
AES Store
- Learn From The Experts:
Daniel von Recklinghausen "On the AES"
- Oral History Project Gallery
- Other AES Publications
Journal Forum
Audibility of a CD-Standard A/DA/A Loop Inserted into High-Resolution Audio Playback - September 2007
11 comments
Reflecting on Reflections - June 2014
4 comments
Quiet Thoughts on a Deafening Problem - May 2014
1 comment
AES E-Library
LSI Reality in Consumer Electronics
Utilization of custom digital large-scale integrated circuits (LSI) in electronic organs promised new levels of performance plus dramatic improvement in quality and reliability. The results and experience of twenty months production and usage of over one half million LSIs are discussed.
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Weather - Page 15
Quiet & Mainly Settled Weather Expected
Pleasant Autumn Weather Expected
Warm, Windy & Mainly Dry Today
A low pressure system will move across Montana and northern Wyoming today, which will drag a cool front through the state of Wyoming this afternoon and evening. The only location that has a chance for rain and snow showers today will be in far northwestern parts of the state, while the rest of Wyoming will stay mainly dry
Special Weather Statement – High Winds
Developing Sunshine; A Cool Fall Day
Mostly Cloudy And Cooler Than Normal Today
Cooler With Rain Showers Throughout Eastern Wyoming
Leftover tropical moisture from Hurricane Simon will move into eastern Wyoming today. The best chance for rain showers will be across far southeastern parts of the state this afternoon and evening. Heavy rain and reduced visibility could also be possible at times along portions of I-25 (Colorado state line to Chugwater) and I-80 (Nebraska state line to Laramie)
Unseasonably Mild And Mainly Dry Today
Not As Windy Today; Mostly Sunny & Dry!
It will not be as windy today across the Cowboy state, though expect gusts between 15 to 25 mph at times through this afternoon, especially over central and southeast regions. Not a bad day for early fall! Expect partly to mostly sunny skies and statewide temperatures staying mostly in the 60's to low 70's


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Pretty Darn Cute Design is my absolutely necessary creative outlet. Without it I would explode. I have had a passion for design my entire life. I first indulged my passion by creating websites in Notepad then later discovered the magic of WordPress. Since then my continuing education has enabled me to build PDCD into a rapidly expanding graphic and web design consulting business. I feel incredibly blessed to have a portable career that's allowed me to work with amazing people from all over the world. I love what I do and enjoy bringing my clients web and graphic design ideas to fruition.
I have been developing websites for nearly a decade. WordPress is my passion, teaching is my hobby. I love God, my family, bows, CSS, glitter, iced coffee, the Genesis framework and Shiner. Due to the crazy high demand for custom design projects, I now exclusively focus my efforts towards developing fabulous premade WordPress themes.
Susan – The Sweetest Support Ever
Born in England, raised in Australia, and now an American. Susan is a highly sought after support genius. Lindsey snatched her up a while back to look after the PDCD support desk, and people keep trying to steal her away. She is that good. Susan also owns her own web design studio, graphically designing. Susan customizes our themes here at PDCD and is an amazing asset and friend. Also, her accent is pretty awesome.


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Victoria Square Apartments
No availability found through our partners. Please contact the business directly or check some of our recommended alternatives.
- Swimming pool
- Beach
- Free High-Speed Internet
- Room service
- Wheelchair accessibility
- Fitness/Health center
Photos of Victoria Square Apartments
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TripAdvisor Reviews Victoria Square Apartments Broadbeach
Travel Blogs from Broadbeach
Currumbin Wildlife Sanctuary
To all my animal lovers reading my blog, this entry is for
you! This past Saturday, I ventured 30
minutes south to the Currumbin Wildlife Sanctuary. I saw all of the native animals that
Australia has, such as the kangaroo, koala, dingo, wombat, and the Tasmanian devil. It is world renowned for its feeding of huge flocks of free-flying
wild Rainbow Lorikeets,
Fly to New Zealand
I make sure we are up in time as it's our final day so we need to say goodbye to Ed and Tilly. We then have the morning to pack, do any final washing and preparation, eg sawing together all Asia clothes again. Jane has a french class down at the Gallery across the road from there house so after her class we go and meet her for ...
Day 8 - Kamikaze, Tornado & a Blackhole
... the bottom of the slide number 1, strategically positioned next to a lifeguard, and climbed the stairs to the Kamikaze ride, precariously dragging with us a two person yellow inflatable tube thing. **Kamikaze - Lose all control in the Extreme H20 Zone on the crazy Kamikaze, and experience a thrilling sensation of zero gravity. You'll plunge down a near vertical 11 metre drop at a steep 70 degree angle, and reach speeds of up to 50 km/h. This giant U-shaped slide ...
Sleeping on the Scenic Rim
... about it the more it sounded like a really good con! We told ourselves not to worry though and either way it was too late to turn around as we were now at the half way point.
The circuit arrived at a lookout as we arrived at the edge of the mountain and the views down to the valleys below were indeed really good. We carried on round to another lookout before the track returned to the forest for the final 7km. We were definitely getting bored of rainforests as ...
New One To Add To The Collection
That crumb on my face that I always make fun of....someone thought it was a droplet of water. What the hell! We were talking about birthmarks and I mentioned this mark on my face and this girl Hill and I are drinking with said "yeah I thought it was a drop of water on your face." When I thought it couldn't get worse too ...


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VIEWS: 13 PAGES: 2 CATEGORY: Grants POSTED ON: 6/19/2012
Read and learn more about structured settlements .
What is a structured settlement?? It is an agreement done with the help of insurance company, between the defendant and an individual who was harmed during an unfortunate event. The defendant promises a legal settlement to be paid out as an annuity rather than in a lump sum. In simple words, it is nothing but a settlement between an injured individual and the defendant about a periodic payment of money instead of paying it in lump sum, which certainly has some tax advantages for the recipient and the payer. Not only this, the recipient also has some added advantage by getting money periodically, because he/she is in an injured state, where a condition to work does not prevails. So, this kind of periodic settlements will bring the individual a regular income with which he/she can manage his/her basic needs. A Structured Settlements can also be sold out for a huge amount of cash. This makes the bestower to get a periodic income where in, the recipient gets a certain huge amount. There are also some factors to be considered while cashing out structured settlements; the annuitant will not receive the whole money instead, the bestower will grant him a certain sum with an amount of discount because the recipient wants the money instantly. There are some cases where periodic settlements will no longer be required in cases like workers compensation, where the medical bills are all paid and there is nothing left out to be paid, selling of the remaining portion of the structured settlements that will earn a fair sum of cash, which can be used for other needs. It is always better to consult an attorney before Selling Structured Settlements as some annuities might not have the options to be sold out earlier for a particular period of time. The person also has to take care of paying the tax after selling structured settlements. When a structured settlement is sold there are possibilities for the funding company to offer a value lesser than that of the market price as the cash has to be given immediately. Settlements can also be sold partly or wholly, it depends upon the interest of the seller. It is always better to consult an attorney or licensed broker to Sell Structured Settlements as they have much knowledge and experience in this field. For further information on structured settlement you can avail the help of US.Settlement Funding, we assure that we will do all possible help to make you attain the best value out of it.
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Daniel FitzSimons Plus
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A dedicated athlete, coach and educator, Dan opened bodyfitz in July, 2001 to share with others his passion for fitness, health and recreation. Throughout high school and college, Dan participated in track and field, throwing shot put, discus and javelin. He played football for the University of Connecticut Huskies and pursued a coaching career in high school track and football while teaching physical education. Dan earned a bachelor's of science degree in physical education from Southern Connecticut State University and a master's degree in educational leadership from Central Connecticut State University. He has been certified by the National Strength and Conditioning Association (NSCA) and the American Council on Exercise (ACE). His passion is to be a part of helping people improve their well being through personal training, coaching, and by example. Now in his fith decade Dan finds himself in a new "age group" in sport. Dan loves the sport of cycling and triathlon, and has competed for years in both.
"Three a day footbal practices" at UConn seem easy compared to a triathlon, and especially easy compared to the "Six Gap Century" in the Georgia mountains. None of this would be possible nor enjoyable without the total body conditioning that he puts himself through, as well as his clients at bodyfitz. Train Smarter.Live Better.