On a Monday, if I’m blue

Remembering a painting that hangs at Cafe Via, if not the name of the artist. (He went to Claremont, I think, and I met him with Doug Crocco.) Link to Hitchcock and Me blog – a one year quest to view Hitchcock’s complete filmography.


Paul Gaugin, photographed in 1895 by studio mate Alphonse Mucha. This and the following Richard Oelze image are from Seeing Absence blog, Phd Philosophy candidate Anya Ferennnikova’s web project. Linked.


Richard Oelze, Die Erwartung, 1935-1936


Luigi di Sarro, from a 2010 Camera Club of New York exhibition, additional information in next image. Link to CCNY in both.


Luigi di Sarro, died 1979 at age 37, more work after link.


Leonhard von Eck (1480-1550) was a Bavarian nobleman who served as chancellor of Bavaria for thirty years. The woodcut below is one of two pendant portraits commissioned by his widow, Felicitas von Freyberg (1492-after 1553). Woodcut by Hans Sebald Lautensack (1520-66), 1553. Link to GHDI (German History in Documents and Images)


Felicitas von Freyberg (1492-after 1553) was the wife of Leonhard von Eck (1480-1550), a Bavarian nobleman who served as chancellor of Bavaria for thirty years. The woodcut below is one of two pendant portraits she commissioned after her husband’s death in 1550. Woodcut by Hans Sebald Lautensack (1520-66), 1553. Link to “Gender Roles and Family Relationships in Upheaval” 1970s Germany at GHDI


In der ganzen Geschichte des Menschen ist kein Kapitel unterrichtender für Herz und Geist als die Annalen seiner Verirrungen. Bei jedem großen Verbrechen war eine verhältnismäßig große Kraft in Bewegung. Wenn sich das geheime Spiel der Begehrungskraft bei dem matteren Licht gewöhnlicher Affekte versteckt, so wird es im Zustand gewaltsamer Leidenschaft desto hervorspringender, kolossalischer, lauter; der feinere Menschenforscher, welcher weiß, wie viel man auf die Mechanik der gewöhnlichen Willensfreiheit eigentlich rechnen darf und wie weit es erlaubt ist, analogisch zu schließen, wird manche Erfahrung aus diesem Gebiete in seine Seelenlehre herübertragen und für das sittliche Leben verarbeiten.

A scene from Schiller’s “The Robbers” presented by director Frank Castorf, the 2013 Director of Bayreuth’s Ring Cycle. The Wagnerian blog is linked.

English translation of Schiller’s Der Verbrecher aus verlorener Ehre (The Criminal of Lost Honor), a treatise on and of psychological history. Project Gutenberg

In the whole history of man there is no chapter more instructive for the heart and mind than the annals of his errors. On the occasion of every great crime a proportionally great force was in motion. If by the pale light of ordinary emotions the play of the desiring faculty is concealed, in the situation of strong passion it becomes the more striking, the more colossal, the more audible, and the acute investigator of humanity, who knows how much may be properly set down to the account of the mechanism of the ordinary freedom of the will, and how far it is allowable to reason by analogy, will be able from this source to gather much fresh experience for his psychology, and to render it applicable to moral life.

The human heart is something so uniform and at the same time so compound! One and the same faculty or desire may play in a thousand forms and directions, may produce a thousand contradictory phenomena, may appear differently mingled in a thousand characters, and a thousand dissimilar characters and actions might be spun out of one kind of inclination, though the particular man, about whom the question was raised, might have no suspicion of such affinity. If, as for the other kingdoms of nature, a Linnæus for the human race were to arise, who could classify according to inclinations and impulses, how great would be the empire, when many a person whose vices are now stifled in a narrow social sphere, and in the close confines of the law, was found in the same order with the monster Borgia.

Considered from this point of view, the usual mode of treating history is open to much objection, and herein, I think, lies the difficulty, owing to which the study of history has always been so unfruitful for civil life. Between the vehement emotions of the man in action, and the quiet mind of the reader, to whom the action is presented, there is such a repelling contrast, such a wide interval, that it is difficult, nay, impossible for the latter, even to suspect a connexion. A gap remains between the subject of the history and the reader which cuts off all possibility of comparison or application, and which, instead of awakening that wholesome alarm, that warns too secure health, merely calls forth the shake of the head denoting suspicion. We regard the unhappy person, who was still a man as much as ourselves, both when he committed the act and when he atoned for it, as a creature of another species, whose blood flows differently from our own, and whose will does not obey the same regulations as our own. His fate teaches us but little, as sympathy is only founded on an obscure consciousness of similar peril, and we are far removed even from the bare suspicion of such similarity. The relation being lost, instruction is lost with it, and history, instead of being a school of cultivation, must rest content with the humble merit of having satisfied our curiosity. If it is to become any thing more and attain its great purpose, it must choose one of these two plans: either the reader must become as warm as the hero, or the hero must become as cold as the reader.

I am aware that many of the best historians, both of ancient and modern times, have adhered to the first method, and have gained the heart of their reader, by a style which carries him along with the subject. But this is an usurpation on the part of the author, and an infringement on the republican freedom of the reading public, which is itself entitled to sit in judgment: it is at the same time a violation of the law of boundaries, since this method belongs exclusively and properly to the orator and the poet. The last method is alone open to the historian.

The hero then must be as cold as the reader or—what comes to the same thing—we must become acquainted with him before he begins to act; we must see him not only perform, but will his action. His thoughts concern us infinitely more than his deeds, and the sources of his thoughts still more than the consequences of his deeds. The soil of Vesuvius has been explored to discover the origin of its eruption; and why is less attention paid to a moral than to a physical phenomenon? Why do we not equally regard the nature and situation of the things which surround a certain man, until the tinder collected within him takes fire? The dreamer, who loves the wonderful is charmed by the singularity and wonder of such a phenomenon; but the friend of truth seeks a mother for these lost children. He seeks her in the unalterable structure of the human soul, and in the variable conditions by which it is influenced from without, and by searching both these he is sure to find her. He is now no more astonished to see the poisonous hemlock thriving in that bed, in every other part of which wholesome herbs are growing, to find wisdom and folly, virtue and vice, together in the same cradle.

Not to mention any of the advantages which psychology derives from such a method of treating history, this method has alone the preference, because it uproots the cruel scorn and proud security with which erect and untempted virtue commonly looks down upon the fallen, because it diffuses the mild spirit of toleration, without which no fugitive can return, no reconciliation between the law and its offender is possible, no infected member of society can escape utter mortification.

Had the criminal of whom I am now about to speak a right to appeal to that spirit of toleration? Was he really lost for the body of the state, without a possibility of redemption? I will not anticipate the reader’s verdict. Our leniency will no more avail him, since he perished by the hand of the executioner, but the dissection of his crime will perhaps instruct humanity, and possibly instruct justice also.

Louise Brooks naked. We need this once in a while.

Monitor and Merrimac, Watercolor Painting by Richard Moore

Book of Kells, from the syllabus for early Medieval History class of Prof. Michael Gaddis, Syracuse University


also from Prof. Gaddis – castellan revolution


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