Anne de Montmorency and August I

Where is the hunt?

You know me, I relish a good connection. I went looking for a geographical connection between Elector August I in Dresden and the current home of his wire drawing bench in Ecouen. It was unlikely, I admit, but I was rewarded for perseverance so I thought I'd quickly share.

Although the bench is no longer in its original location, and separated from the Dresden art and books with which it would have initially sat, its current geographic location is wholly appropriate. The country chateau which houses the museum in Ecouen was once the home of French aristocrat Anne de Montmorency, (1493-1567) Constable of France under Francis I. He spent his entire life in the service of the French kings and for Catholicism, and was well-known for his martial abilities, usually against Francis’s great rival, the Holy Roman Emperor, Charles V.

More on the bench: Hunting for a direction

What the heck is it?

What I am about to describe has never been done so completely in English, as far as I know. The images were afforded a mere quarter of a paragraph in Gunther Heine's 1990 article about the bench. I can't say with the same surety say that it hasn't been done in French or German, but if it has, I haven't yet found it. Given my focus on geography of art, the landscape images were demanding that I take a closer look so I took a flying visit to the Museum of the Renaissance in Ecouen, to look at the those images specifically. This is what I constructed in transit so it's rough and ready.

I need to orientate you so you can piece together a map of the bench in your head. Imagine you are standing at one short end of it, looking all the way down towards the good light and the window. That illuminated end is the end with the image of the man in his workshop and the elaborate coat of arms of the Elector of Saxony. But you're not there yet, you see the monogrammed AM in the landscape. Crouch down and move to the right. Underneath the long jousting tableau, which you've already admired, there is the first square picture. There are four of these, two either side of the end pieces.

Is Negative Attention Better Than No Attention?

Ostracism, (n), exclusion from a society or group

One of the legal journals I was scanning yesterday brought to my attention a report looking into whether negative attention was better than no attention. Jane O'Reilly and her colleagues believed that employees have a strong ‘need to belong’ within their organisations. So they set out to test whether employees perceive ostracism, compared with harassment, to be more socially acceptable, less psychologically harmful, and less likely to be prohibited in their organisation.

Leonardo: Drawing the heart strings

When you're spending time on a dissertation as fabulous as mine, it takes a very special lecture to distract you. One such lecture turned up and I needed to go! I attended the second John Hunter lecture last year and this year's joint venture organised by the Huntarian Society and the Royal Society of Medicine looked fascinating.

Mr Francis Wells presented 'The heart of Leonardo seen through contemporary eyes' and as the notes said, his 'interest in the Arts is a long-standing in both music and art, particularly in the areas of the Renaissance and the act of drawing. The accuracy and beauty of the drawings of Leonardo da Vinci are of particular interest and fascination'. He has collaborated with Martin Kemp, and last year he worked with Windsor Great Library on an exhibition of the heart drawings for the Queen's Gallery. He has since published 'The Heart of Leonardo', which is presumably from where he drew most of the lecture notes. As he also works as a consultant in the fields of heart valve reconstruction and heart and lung transplantation, the scope of his knowledge and expertise is awe-inspiring.

Introduction 2: This time it's kunstgeographie

Not distracted by the view. Oh no.

When looking at art, the viewer should be encouraged to consider geographic issues, to enquire how far environmental factors impact on the society, economy, psychology which produced the piece of art or architecture. In my view, the place of art is as important as the history of that same art; after all, both have informed it equally. For example, in the heart of royal Dresden, along the Augustusstrasse, attached to the back of the Royal Mews, a 102 metre long ceramic mural dominates the street. Known as the Procession of Princes or Fürstenzug, Saxony’s rulers from the first, Konrad the Great (1127-1156) to the last, Friedrich August III (1904-1918) are shown. Originally painted between 1870 and 1876 by artist Wilhelm Walther to celebrate the 800 year anniversary of the Wettin dynasty, they were originally presented in lime wash and stucco but were made permanent in Meissen porcelain in 1906-07.[1]

Where is my Parnassus on Wheels?

Books…I’m not going to tell you precisely how much I’ve spent on books this past three months. Mostly because I don’t know and doing the maths scares me silly. Suffice to say I’m doing my dissertation and to save time, I bought some of the more obscure titles to save me time and having to go to the closed at weekend libraries.

I don’t have an excuse for the latest addition to the Clare Brown Institute but it confirmed a few wacky ideas I’ve been having recently. Picture this.

It’s that mid-afternoon lull, where you have that head fug, poised within a post-tea, pre-coffee vacuum. I’m sat at my desk, struggling with a conference paper. The phone rings and it’s one of my favourite lawyers. As ever he is very enthusiastic. He started by thanking me for my help and then got distracted by things he’d read at the weekend. The first was a story about a young talented writer who died recently. The second was a book that he had picked up randomly.

'Fabric' Review: No sun without shadow

Malina Busch 'Fluorescent Blush'

This review was going to be a celebration of summer colours; of shutting ones eyes against the June solstice, leaving echoes of bright pink, rich blues, willow green flashing across the vision, leaving red spots in their wake. I wanted to waken a joyous holiday spirit found in new summer clothing; softly draped fabrics dyed in fluttering colours. Instead I've found myself unwillingly drawn to secluded gazebos hiding clandestine encounters, and surreptitiously lifting tablecloths to see who is touching who inappropriately.

Which sounds like every summer party I've ever been to, so what better exhibition to open in June than Fabric? This show was inspired by the current trend for artists, both established and emerging, working with all kinds of cloth. From embroidery, tapestry, found material, string, canvas…as well as combining it with other media. After the experience they had at the Exeter Contemporary Open, the curators followed up some old and new leads which led to this exhibition. 

Introduction: From Politics to 'boozing and praying princes'

The Wettin rulers’ journey from margraves to kings was not an easy one. The most serious period of instability occurred in the years prior to August, and it was only through the political astuteness of his immediate successors that the House continued and he was able to establish a peaceful rule. The importance of religion in their struggle for power and land cannot be understated, and much of the instability experienced in the 1520's was exacerbated by the Protestant reformation. 

For instance, the devious side-changing Protestant Mauritz fought for Catholic Charles V against the collection of Protestant rulers within the Schmalkaldic League which was defeated in 1547. For this service, Charles V awarded him the title ‘Elector’ and the fortunes of the House of Wettin were further improved. Under Mauritz’s brother, August, peace within the Holy Roman Empire was fostered and he was instrumental in negotiating the 1555 compromise treaty which emerged out of the Imperial Diet of Augsburg. Modern commentators such as Jochen Votsch recognise that August was a skilled politician, achieving considerable territorial gains in a peaceful manner.[1] He was able to create a state which was ‘a model of successful internal development…known for financial stability, support of mining, science and technology, and reforms in the domains of justice and administration’.[2]

Introduction to August's Wiredrawing Bench

In the heart of royal Dresden, along the Augustusstrasse, attached to the back of the Royal Mews, a 102 metre long ceramic mural dominates the street. Known as the Procession of Princes or Fürstenzug, Saxony’s rulers from the first, Konrad the Great (1127-1156) to the last, Friedrich August III (1904-1918) are shown. Originally painted between 1870 and 1876 by artist Wilhelm Walther to celebrate the 800 year anniversary of the Wettin dynasty, they were originally presented in limewash and stucco but were made permanent in Meissen porcelain in 1906-07.[1]

Passion: When Capability isn't Enough

Arousing great desire

Passion can be defined in a number of ways. It is derived from late Latin 'pati' meaning to 'suffer' and was chiefly a term in Christian theology. Its modern meanings range from 'strong and barely controllable emotion', 'a state or outburst of strong emotion', 'intense sexual love', to 'an intense desire or enthusiasm for something' or 'a thing arousing great enthusiasm'.

With these in mind, Lucy Kellaway made some interesting observations in her FT column from Monday 9th June. She stated that the fashion for being 'passionate' about your work was actually undesirable and inappropriate. She explained that 'passion' was mere language inflation and, occasionally, an excuse for work place histrionics. Instead of passion, she suggests that employers should instead call for enthusiasm, conscientiousness and motivation. This state should be left for religious festivals and sexual activity, and most definitely out of the photocopy room.

The Decoration on August's Wire Drawing Bench

The wire drawing bench in Écouen is the only remaining object of its type. Although many plain wooden goldsmith's benches can be found in museum collections, this one from 1565 is unique. Just as modern scientific instruments are functional and lack a certain mystery, these plain workaday benches are nothing like the Elector of Saxony's wire drawing bench. They have been employed as indispensable goldsmith tools since the middle ages. An engraving by Etienne Delaune demonstrates how the bench was used; the long wooden beam was equipped with a crank, pliers and pulling iron, and used for drawing and profiling metal wires.

Art markets and social bankruptcy: We didn't start the fire...

It's often about timing; sometimes dates, events, circumstances, planetary alignments* combine to make an extraordinary moment in time. From the local elections, the evacuation of people from Birkbeck School of Arts, or a period of artistic bankruptcy; all these came together for the final talk at Birkbeck Arts Week 2014. Professor Dr Harald Falckenberg came to speak to a number of us about international contemporary art trends, specifically viewed from Germany.**

Whether the lecture we got was what he precisely intended is another matter. Ten minutes in and the persistent fire alarm roused even the most stubborn academic, and we decided that the place should be evacuated. It was a beautiful evening for an outdoor lecture. Thus a previously formal academic group stood around the gardens of Gordon Square and heard one of the most scurrilous confidential insights into the murky amoral world of the art market.

Enter the Dragon and the Birds

© The Trustees of the British Museum

Perhaps I’m getting sensitive to the geography of art, or I’ve always fancied exotic places at lunch, but today I went to China. Room 91 at the British Museum affords visitors the opportunity to go on a voyage along the Yangzi River. There is nothing standard sized about the real or depicted landscapes. The scrolled horizontal ones are like a slow journey along the canal; the vertical banners offer a glimpse of a lush garden through an open window.

I want to focus on one image. It shows figures on a mountainous pathway, their voluminous clothing buffeted by the unexpected animation of a dragon to the top right. The artist is witness to the miracle from behind a rocky, wild outcrop which he puts in the foreground. The heavily shaded and emphasised tumbling rocks and foliage emphasise the reality of the locale, where the lightly sketched figures seem ephemeral in comparison. The dragon just is; scaly, snaky and hanging in the sky, surrounded by shading to make it stand out.

From Stigmata to Golf: Praying through the ages

This was an interesting start to Birkbeck Arts Week. Given the MA Catholic reformation module, I thought it would be a on topic diversion. As the blurb said, 'in our secular world, prayer has become unfamiliar, and past cultures where prayer was more central are harder to understand. Dr Isabel Davis (Birkbeck), Revd Dr Jessica Martin and Dr Nicola Bown (Birkbeck) discuss representations of prayer in literature and art in the Middle Ages, the seventeenth century and the Victorian period. Technique of prayer; what it is and what it is like'.

Dr Isabel Davis and her band of pilgrims set out from the late Middle Ages. For the church going population kneeling was a natural, obvious, submissive posture. And yet, where did this invented and culturally specific idea come from?

Kunstgeographie: A brief guide for the perplexed

What is Kunstgeographie?

Literally translated, kunstgegraphie means the geography of art. Whereas the history of art looks at art in its historical and time-related context, the geography of art looks specifically at place. DaCosta Kaufmann sets it out clearly, 'if art has a history, it also at least implicitly had, and has, a geography; for if the history of art conceives of art as being made in a particular time, it also put it in a place'. (Towards a Geography of Art, p1)

Therefore when looking at art, you should think about geographic issues, in addition to everything else. Ask yourself what are the antecedents to a change in style? What are the particular environmental factors, societal, economic, personal, psychological, climate, materials that have encouraged this change? And why should the place of art not be as important as the history of that same art; after all, both have informed it equally, in my view.

Sie sind hier, oder ... : A Dissertation Update

'Germania florescens' 1586

It's about time I did a dissertation update, even if to just place myself on the map; probably right in the middle of 'there be dragons'.  As part of the dissertation process we have to tell our fellow students where we are and what we've been up to so this partly arises out of that presentation.

As an aside I've been blown away by the sheer spread of topics that our little group have chosen, and given that this process is being replicated all over the country by History of Art students, the prospect of intellectual endeavour is dizzying. For instance, we have the relationship of Joshua Reynolds and Admiral Keppel, Holography, 'objects as ruins in the work of the British moderns', Imogen Cunningham and modernism in flowers, the Berwick Church murals and, finally, an exploration of temporality in a Niagra Falls inspired installation. And that is just a handful of the ideas flying around.

The BMA Library: Mission Anything is Possible

Last July I went on a visit to the RCS Library and so when an opportunity came up to visit another high profile medical library, I was quite excited. CLSIG organised a trip to meet Jacky Berry at the British Medical Association for an overview of the services they offer to their 152,000 members.

The library is unmissible. As you go through the swish main reception area and security gates, arrows and a sign LIBRARY points you upward. As you head up the flight of stairs, you are met with a model of bright modernity, with low wooden shelving, open work spaces and plenty of natural light. A successful team of 13 offer a suite of services to their members, and they see themselves as 'a working doctors library' providing access to a diverse book collection - from clinical to business management. They provide journal alerts, full text doc delivery, electronic services, training to all, and they have a high profile within the BMA.  Last year they had 19328 visitors!

Book Review: Social Media in the Legal Sector

Although I write about a variety of subjects, some of my recent posts are responding to pockets of social media illiteracy and are mostly aimed at those in the legal world.

Long before getting to grips with content, a new or prospective user needs to acquaint themselves with the technology and the appropriate platform. They need to be confident in their social media abilities, and comfortable that they are not going to destroy a hard won professional legal reputation by a misplaced tweet or a badly written blog post. Social media for business is a commitment of time and money so you need to know whether it is for you.

But if you’re not internet savvy, how do you take that first step? If I need to find out about a new product or unfamiliar social media network, I would search for a quality blog about it, read relevant trade press reviews, or ask my twitter or librarian network. This requires you to be able to identify trustworthy online sources. If you are unsure, then an expensive book published by a reputable legal publisher might be the answer for many lawyers.

Twenty Years as a Law Librarian - Admin

Remember these?

This is the fourth in this series of Twenty Years in Law Librarianship. Given it has been generated by general high level themes of my Chartership Report, such as technology, communications, and professional bodies, I decided it was time for something more prosaic

The reality is that librarianship entails a lot of admin, and although it's boring and unglamorous it is vital to the smooth running of the library service. Whether you are just starting out or reaching the vigorous middle age of your career, admin is everywhere, so it seems appropriate to salute its ubiquity.

The Rise and Rise of the IWF

Internet Watch Foundation

The Internet Watch Foundation has been working to remove child abuse images from the internet since 1996. People worried about certain images can report them via the IWF hotline, so they can be investigated, removed and if appropriate, reported to the authorities for further criminal investigation. Over the past 6 months there have been a number of changes which have raised the profile of the IWF and I’ve been watching with interest.

Death, Romance and the Landscape

Time Passing

This piece is a rather odd collection of thoughts. As a jigsaw of unintended connections, it works as a semi coherent whole; from chance encounters with Tower Hamlets cemetery, various books on forests and a romantic landscape exhibition at the weekend. Wild wooded nature is the theme of all these and I've been thinking about how woodlands have been perceived by people at different times. There is a large physical difference between a dilapidated Victorian cemetery, South German primeval native forest, and sketches of pastoral fantasies. However they in turn have provided us, and continue to provide us, with pleasure, escape and a way of passing the time.

Adding a LinkedIn Button to Outlook Signature

If you are a regular user of LinkedIn, you may want to encourage your clients and contacts to visit your profile. An easy way of doing this is to add a button to your email* so recipients can click straight through to it. In a meeting I was asked to outline how to do this, so thought I'd post it here too.

Only set up this feature if your profile is complete, up to date and regularly updated.

First find the web address for your LinkedIn public profile. This should be a link underneath your photo on your profile page. If in doubt click on it and it should take you to your page as seen by your contacts. It should look something like uk.linkedin.com/in/yournameinfullhere/.

Go to Outlook and open a new email. Click on the Signature button and then Signatures…

Your existing signature will come up. Take this opportunity to update, amend or make any necessary changes to the original text.

Copy and paste the image below into the signature box under your contact details.





Click once on the image to activate it and then click on the hypertext icon – the globe with chain link to the far right. Return to your public profile on LinkedIn and copy your [uk.linkedin.com/in/yournameinfullhere/] link, then paste it into the address box. Click ok. 

Click ok again and the signature box should disappear.

To test whether the link is active, create a new email and send to yourself. When you click on the image box, you should go straight to your LinkedIn public profile. 

Easy.

*I use Microsoft Outlook 2010.

Effective Networking: From the recycling pile

Useful Connections

It's that time of year. The sunshine is finally strong enough to reach into the farthest recesses of the dusty bankers boxes on my office bookshelves. Looking at them blinking in the sun I realised I hadn't touched them in years. Despite a few office moves they have followed me around, so this morning I called their bluff and sorted them out ferociously. For the most part they contained old budget figures, meeting minutes, course notes, and various suppliers catalogues which I can now view online so my recycle bin is now bulging.

I thought I'd recycle some of the course notes in a different way, with one set from 2004 striking me as still very relevant and interesting. This piece uses 'Top 10 tips for effective networking' which was presented by Lesley Robinson (Oct 2004). Amazingly I still vaguely remember the seminar, partly because of the anticipative terror I experienced by the thought of having to actually talk with a large number strangers. As I recall we listened to her talk, then put her ideas into practice and it worked really well.

Twenty Years as a Law Librarian - Professional Bodies

This is the third in this series of twenty years in law librarianship. I already have covered technology and communications, both of which are fairly uncontroversial. This one is about librarianship's changing professional bodies, which made up part of my report's section on ‘professional awareness’, and could be problematic.



Our Professional Future 1998

Twenty years ago the Chartered Institute of Library and Information Professionals was the Library Association. My Professional Development Report provides an excellent snapshot of where I was in 1999 and was submitted to prove my professional worthiness to become an Associate Member of the LA. At the time of writing it, the profession was undergoing momentous change, and they were consulting on the proposed merger with the Institute of Information Scientists (IIS). I wrote,

Strange Beauty and Augustus, Elector of Saxony

Altdorfer 'Landscape' 1518-20

It seems you can travel miles in search of a certain historical figure, and not realise that useful insights could be hiding in plain view. After a trip to Dresden to see Elector Augustus of Saxony's family home, I decided to visit to London's National Gallery 'Strange Beauty' exhibition. This is not a review because I am too late and its failings have been done to death. However for my purposes the exhibition was a success because it helped me frame some interesting art historical questions, as well as send me off in an unexpected direction.

Naturally I got distracted; in the introductory room I was able to spend quality time with the Arnolfini Portrait, where you could get up close and personal without the usual crowds (yes, I'm happy to pay to be alone with it); as well as some stunning engravings and woodcuts by Cranach and Holbein. The latter's Dance of Death (1526) showed how a tiny skeleton can imbue a scene with an emotional sense of loss - the unwilling toddler being led away was heart stopping. Another dual highlight was Dürer's Melancholia I and an engraving of a self portrait. That arresting gaze missed nothing; whilst the reflection of the windows captured the illumination of his own soul. 

The various Cranachs were, as usual, inscrutable and teasing. Finally I was getting there. Cranach the Elder spent a lot of time at the Elector of Saxony's court and was highly esteemed as an artist and diplomat. Cranach chose to depict the naked people of the mythical silver age fighting one another, against a backdrop of wild mountains and greenery. Instead of focusing on the positives of this age, where Jupiter introduces the seasons and agriculture, he shows the senselessness of men beating each other. The graceful, perfectly coiffed women with their toddlers look on. The fleshy tones and juxtaposition of violence and babies is disturbingly captivating. 

When the kunstkammer of the Electors of Saxony in Dresden was founded by Augustus, Elector of Saxony in 1560, paintings were subordinate to technology and other crafts. However, despite his practical focus, August cherished Cranach the Younger's Adam and Eve which he kept with his treasures. These slim paintings may lack either the sculptural monumentality of Michelangelo or the anguish of Massacio's Adam and Eve, but they have a power and allure of their own. The elegance and simplicity of the gestures catch them on the cusp of the fall; the calm before the storm, the moment of silence before the death and horror. You catch your breath at the inevitability of their temptation and they act as a reminder that we now need to rely on our industry to survive.

From Cranach to the second to last room where I finally captured my Elector; 'Nature and beauty' was the theme. I copied the text which explains the rationale of the pictures in this room. 

Critics have sometimes described German Renaissance art as ugly because of excessive emotion or natural detail but the images themselves present more subtle relationships between beauty, nature and artistry. Durer wrote of his constant search for accurate proportion but he also observed that the human body exists in varied shapes and sizes. Rather than searching for universal ideas of perfection German artists created beautiful images by exploring the diversity of the human form whether variations in body type the effect of ageing or the expressive power of gesture. 

They often lavished equal attention on topography and foliage since mountainous forest landscapes signalled Germanic identity and history. Albrecht invented the new genre of independent landscape omitting all human subjects. But in many figurative images too, landscape setting plays a vital part. Nature in these works is never an objective truth to be recorded. Instead the natural world becomes a subject for creative investigation.

It was Dürer's 'Illustrations of perspective from 'Four Books on Measurement' (1538) I saw Augustus. Augustus was constantly measuring everything, from surveying the land to mapping the heavens. He was looking to the art of science to work out the relationship between things. One article states, 'a 1580 handwritten catalogue lists 2,345 works in his collection from all fields - the classics, theology, history, medicine, surgery, law, mathematics, architecture, astronomy, tournaments and festivals, warfare, mining, numismatics, mineralogy, biology and agriculture'. So not so much creative investigation but early modern natural philosophical experimentation on what the earth can produce for the benefit of the Elector and his state.

Landscape was all. I don't know whether Augustus saw the romantic beauty of his wild forests and mountains, or if he saw the mineral ore, timber, and wealth that they provided. However it is the mountainous forest landscapes signall[ing] Germanic identity and history which has provided me with raw material for consideration. The wiredrawing bench is covered with images of a mysterious forested landscape and set against some of the images in this exhibition, it can only be described as 'germanic'. Altdorfer and his dramatic landscapes are going to provide some very interesting ideas.

The exhibition ends with questions and says, 'today art galleries avoid identifying aesthetic qualities with national character'. I agree, 'national character' is a very woolly and unhelpful phrase. However when a patron like Augustus commissions a work of art or technology, it is necessarily going to be identified with him and his personal interests. Where his interests are so forcefully tied to the identification and exploitation of his state's natural resources, do they produce a 'national character'? If a place is famed for its silver mines and industrial processes, and one of the tools of that process - the wiredrawing bench - is highly decorative, it is logical to assume that the images are inspired by the local landscape. Thus the work of art takes on a national character and demands an explanation in that context.

And this is what I'm setting out to investigate. 

ICLR Online Review

The ICLR was established in 1865 to “prepare and publish, in a convenient form, at a moderate price, and under gratuitous professional control, of Reports of Judicial Decisions of the Superior and Appellate Courts”. With a long standing information pedigree, excellent archive, and a selective editorial approach, I felt optimistic about their online database. I've put down a few thoughts.


The Main Site

Before logging in to ICLR Online, I looked at their main site which has a wealth of free information. As well as the latest case summaries/published cases search, it has an up-to-date blog, details of ICLR events, and other entertaining snippets. I must admit to not using the case digests in my current awareness, but I have now rectified this by adding their RSS feed onto my reader. This is going to be an extra part of my daily bulletin and I can link to the summaries.

Islam in an Age of Confessionalisation

Suleiman the Magnificent

I hadn't been to one of the Birkbeck EMPHASIS seminars in ages. Every time I go to one, I leave with my head bursting with knowledge, usually in several types of dead language. So one a year is probably my max. This one on Islam and Christianity in the Early Modern World, presented by Jan Loop caught my eye, as this topic has been on my study to-do list for a while. Hoping for a break from my wiredrawing bench, I inevitably came away with a few ideas of new areas to pursue regarding the Lutheran polemic which forms part of its decoration. It was bound to be relevant because that is how connections work...

CLIG Seminar: Employment law and socia media

These notes come out of a CLIG seminar I attended on 18 March 2014 - the excellent and extremely thorough speaker was Alexandra Mizzi. Apologies for any omissions or mistakes, which are entirely mine and certainly not her fault.

Social media is being tackled piecemeal in the courts and some of these interesting cases are discussed below. It is a tricky area due to increasingly blurred lines between personal and private lives. Creating a successful social media brand is personality driven, so a personal/professional clash is inevitable.

The seminar covered the following areas: the perils of online selection, screening and recruitment; employee misconduct online looking at both company reputation and employer liability; and finally the tricky issue of social media contacts ownership. 

Twenty Years as a Law Librarian - Communications

Early librarian communication

This is the second in my series of 'Twenty Years as a Law Librarian' blogposts. Although the first was about technology, whilst writing it I found myself constantly thinking about communications. I decided to split the two so I could expand on other areas so that, for example, in the technology piece I could explore the development of  search engines, electronic services, and library catalogues. In this I want to explore different aspects of communications, not just in the obviously technologically reliant areas, but the many other ways we communicate day-to-day.

'Constellatio Felix': August the Strong's Festival of the Planets

One of the unexpected highlights of the Royal Palace was the collection of prints drawings and photographs. On the top floor, like the print collection of the British Museum, it has an air of secluded quiet, and requires a visitor to seek out its treasures. The Dresden museum has 500,000 works on paper by over 11,000 artists from eight centuries. Therefore the Kupferstichkabinett (print collection) puts on changing exhibitions, so visitors can have a tiny taste of the material they keep. The exhibition on currently is the 'Constellatio Felix: August the Strong's Festival of the Planets • Thomas Ruff's stellar constellations'.

Constellatio Felix 'fortunate stellar constellation' was the theme of one of the most lavishly ostentatious celebrations of the baroque. Augustus II staged a month long set of events to mark the September 1719 marriage of his son to Frederick Augustus to Archduchess Maria Josepha of Austria. The festivals dedicated to the planets were particularly spectacular, and thankfully for us, Augustus required that the event was fully documented. Images of feasts, dances, parades, meticulously recorded the every detail of day- and night-time extravaganzas. Interspersed throughout the baroque fancies, the curators have placed Ruff's timeless planet pieces; offering balance, colour and serenity to the endless historic, dynastic and political posturing.

Rulers and Rulers: Worlds of the Electors of Saxony

Something tasteful today

Today's objective was to find August, my Elector. It started out promising enough with the Royal Cabinet of Mathematical and Physical Instruments in the Zwinger Complex. Then the plan was to head over to the Royal Palace to see where he lived. I wanted to see some of Leonhard Danner instruments in the armoury.

My good Elector who could plan an itinerary to the nearest hour would have been disappointed in our finding abilities. Still, as I said, we were struck by the extraordinary mathematical, measuring, surveying, geographical and astronomy instruments. It wasn't just the technological sophistication of these things, it was the decoration of what would ordinarily be quite utilitarian. Swirls and cut-out patterns adorned set squares and protractors.

Dresden Thoughts

I'm currently looking up at the sky. Reclining in the welcome silence of the hotel's quiet room with a cup of fruit tea. It's a fabulous place to collect one's thoughts and anticipate the weekend to come. The art historical odyssey of tomorrow and Sunday was merely words on a page today; though at least we know where we're going.

This visit has a purpose. Last year in Paris I came across a very special object in the Musee de la Renaissance. The Elector of Saxony's wire drawing bench is a perfect MA dissertation topic and I started work on it straight away for my summer report. You can take a lot from books and journal articles, but to truly get under the skin of a patron and his works, you have to see his place. His home. His culture. So here I am, banging on the door of the Royal Palace.

Twenty Years as a Law Librarian - Technology

Not a computer pic

It’s not just the internet that has been around for ages. Turns out I have too. I have been mining my LA/CILIP Professional Development Report (1999) for insight into what has changed (or not) in the information profession. In this first piece I focus on technology, but I will be reviewing communication methods, taking a look at changing training requirements, and comparing the state of the profession - then and now.

It was 1998. I’d just come off the standalone Lexis terminal after finding a case for a lawyer. He’d been grateful for my speedy search technique not because he needed it quickly, but because spending longer than 10 seconds on there meant a hefty fee. I was pleased that I’d found an unreported case and it had made me think about doing my job without a networked computer.

I asked the experienced library manager I worked with, 'what was librarianship like when you first qualified?’ Her response was ‘cards, cards and more catalogue cards'. She had been in the profession since the late 1970s and the changes she’d seen fascinated me. I am now in the same position as she was. I have been in (law) librarianship full time since 1995, and chartered in 1999. It is now 2014 and the past twenty years have seen incredible developments.

The basics have not changed. We are still employed to find the right information, at the right time, and at the right price. Our libraries and the way our users access information have changed beyond technological recognition. We may have different job titles and work in areas which may not previously have come under ‘library and information’ but the areas I am looking at remain constant, even if the details change. Technology is all encompassing in our role so I have picked out a few naïve gems from my report.

Great War in Portraits at the National Portrait Gallery

Jules Gervais Courtellemont, 1916 

Cultural review shows entertain and repel me in equal measure. Sometimes the cynical, world weariness of these self satisfied know-it-all critics make me laugh. Few, however, provoke a such a negative reaction that I run along, at the nearest opportunity, to the thing being reviewed. The conversation between Rachel Cooke and the host on BBC4's Front Row (Peter Gabriel; Paco Peña; Helen Oyeyemi; Great War in art; Mark Thomas) was uninformed and utterly disgraceful. After a polite twitter exchange with Ms Cooke, I went down to one of the convenient late night openings.

Speaking Space at the Collyer Bristow Gallery

Ruth Claxon 'Nest (Banana Bird)' (2009)

Finally, the moment for which we have all been waiting: Spring is here, everything is coming to life! The sun is casting its light on our seemingly endless murky London buildings. We can finally look up and rediscover and re-engage with what surrounds us - the dazzling commercial glass frontage, the delicate scroll work, the bright golden brickwork. But. Imagine what might happen if those architectural details had also re-emerged from the winter gloom, coming alive, taking sustenance from the sunshine. And spoke...

The latest exhibition downstairs takes this enchanting, if alarming idea, and the seven featured artists respond. The show's notes state that this 'is an exhibition that allows us to imagine buildings as sentient beings. It is human nature to constantly refer back to ourselves: children and adults can quickly begin to anthropomorphise buildings and their surroundings'. It was prompted by conversations with Matthew Houlding and a collection of spatial oddities were brought together.

The Language Of Sculpture: Bernini Canova Rodin

Finally we reach specific sculptors and a review of three in chronological order. Given that we end with Rilke writing a poem in response to Rodin, it seems appropriate to begin with a few poetic observations.

In my experience, occasionally you discover a piece of art which speaks directly to you, and only poetry gives you the freedom to put words into the 'mouth' of the sculpture. This connection between the two art forms for me goes to the heart of understanding both.

Bernini

Bernini was all about bringing art forms together and breaking boundaries in what is known as bel composto. His church creations are a theatrical installations with a combination of the sculptural, pictorial and architectural. St Teresa is the perfect example. She is in mid transverberation and is sculptural, however the viewer has to step back to see the bel composto, the pictorial effect, essentially a scene from a tableau. Mirrors, lights, and candles all contribute to a theatrical event with viewer as spectator.

Vikings at the British Museum

This afternoon I was lucky enough to be a part of the advance rape and pillage expedition to the new Sainsbury wing of the British Museum. The Viking show which opens 6th March is the first major exhibition on these fascinating people at the British Museum for over 30 years. The press release says that 'it features many new archaeological discoveries and objects never seen before in the UK alongside important Viking Age artifacts from the British Museum’s own collection and elsewhere in Britain and Ireland'. They continue, 'new interpretations place warfare and warrior identity at the centre of what it meant to be a Viking; cultural contact was often violent, and the transportation of looted goods and slaves reflects the role of Vikings as both raiders and traders'.

Ghost Ship

A ghost ship of rivet dots

Pattern of metal unjointed

A warrior's ferocious footprint

Orderly curves follow the lines

Orderly place as flesh turns

To chaos rot and soil red

Metal rusted into orange

Metal blooded but still here

To carve a shape in time

The host ship carried its crew

Pattern of body disappears

A warrior's honorable departing

On the non existent burial boat of a warrior 

Viking Exhibition, British Museum, 2 March 2014

Some More Social Media Sites

This blogpost came out of a work related article commission to examine recent developments and potential risks of various social media. I published my initial thoughts earlier in the month. They asked me to so the same sort of thing with the more popular sites so I briefly investigated Facebook, LinkedIn and Twitter.

Incidentally I found the DMR blog extremely useful in tracking the various stats.

Facebook

There can’t be many people who haven’t heard of Facebook. If you aren’t one of the 1.26 billion users worldwide, they are rarely out of the press. Even our language has assimilated Facebook-inspired changes in meaning; ‘to friend’ - to connect with another Facebook user, or ‘to poke’ - to get the electronic attention of a friend. 

Eyes of Gods: The Interiority of Sculpture

Reconstruction of Zeus

These notes continue on from the lecture on idols. The boundaries between gods and idols are rather blurred; both have a persuasive presence and share the same kind of sacred space. They are not just representations, but for the people who worship them, they are real. This reality demonstrated in the art of the sculptor through application of colour, surface articulation, movement etc. This is the art of hidden depths (real or implied). All idol elements, dressing them etc, are at one level designed to create an inner life/have inner power for the statue. They are containers of something non-physical. 

This inner power is conveyed through their 'voice' as well as through the eyes. The Egyptian Colossi of Memnon started to make a noise after being damaged by an earthquake. They became famous because they realised the possibility of an interior voice. The skill of a sculptor is to make a figure look like it is on verge of speaking, making them articulate in both physical and spiritual form.

Martin Creed at the Hayward: What's the point of a penis?

I don't know how long you have to do something for it to qualify as an old tradition in these electronic times. This is my third nod to Valentine's Day, therefore I am conscious of something almost historically long term about this blog. The first post was Mending Broken Hearts, the second was Hearts of Florence but this, unlike those two, is a review of a resolutely mainstream show. However to reference the first blog post, I introduced it with a rantette about the commercialism of Valentine's Day, when actually all you'd rather do is spend more time with a lover; 'to simply hold hands in a park, giggle in a gallery, or something far more intimate'.

Having listened to some of the terribly middle class reviews of Martin Creed at the Hayward I happily booked two Saturday tickets for the most gigglesome show in town. The weekend hadn't started well romantically speaking. Despite several cocktails and a fabulously cheesy evening of Love Classics at the Barbican [note to self, like bad sex, Bolero should only last 3 mins], I actually felt really rough with an ill timed migraine attack. Still, by 3pm on the Saturday with a restorative river journey behind us, I was ready for any artistic nonsense that Creed could throw at me.

Some Social Media Sites

Despite the media’s pronouncements regarding the imminent death of social media, I’m faintly optimistic that these sites will continue to exist. Just because the stock market announces Twitter or Facebook shares are down, people will keep using the service until another, more shiny one comes along.

As some of you may not be familiar with some of the existing social media sites, I’ve selected the popular ones and given a brief description of them, as well as personal observations as to risks and potential for misuse. I haven't included YouTube, blogging sites such as WordPress or Blogger, or others such as Reddit, MySpace - there are quite a few. I am not an expert, legal, psychological or otherwise, so please excuse any omissions.

I’ve assumed a reasonable knowledge of Facebook and Twitter because of the high profile harassment cases in which they have been involved, therefore they are not included. Although LinkedIn is well known, I include it because of recent blocking technology developments.

Sculpture: 'Spending their lives in wickedness...'

Boucher, 'Pygmalion and Galatea'

Last night I could have hugged the lecturer; anyone discussing my all time favourite book of stories is entitled to be worshipped and idolised, as far as I am concerned. An avid reader of Ovid and his Metamorphoses, I was overjoyed when Dr Dent said that the lecture was going to use Pygmalion as structure upon which to hang some sculptural issues regarding idolatry. Everyone knows the story of Pygmalion:

Seminar: Museums I have known - reflections on being a guest curator

These notes were quite difficult to write up because in the end I wasn't sure what I wanted to say. I'm seriously regretting not going to the exhibitions mentioned, and given that one of them closed early Jan 2014, there is no excuse. However I wonder if I had seen it, these notes would have become a review of the exhibition rather than an intellectual discussion about the challenges the guest curators faced in their respective shows. This was also a trial of a new lecture format; each gave a brief overview of the exhibition, and then had a ‘conversation’ where they discussed the challenges, differences, goals, ideals etc of the different venues. I bring them all together because it made better sense.

Dr Tag Gronberg immediately struck a chord with the small audience which was dotted around the large theatre in lonely isolation. She stated that writing can be solitary. Therefore when an opportunity to share research and collaborate on a project with fellow scholars arises, it's a good thing to do. Combine this with working with different types of institution and it results in new challenges and opportunities. This lecture came out of the curating experiences of two academics, Gemma Blackshaw and Leslie Topp. They joint guest curated an exhibition both at the Wellcome Collection and Wien museum called 'Madness & Modernity'. Gemma Blackshaw curated the recent 'Facing the Modern' at the National Gallery - the one I really regret not seeing.

Glamorous Librarians: Or Improving Your Law Firm Website

New pic due soon, thank goodness

Lawyers and various support services staff here have embraced new challenges recently; we have been models and copywriters. An artist photographer came in to take our photos last week, whilst Business Development sent us a template so we could write about ourselves, our role and how we can help you, the client. Obviously we are completing these difficult tasks for our firm’s exciting new website.

We are striving to present ourselves as qualified, approachable and trustworthy people who, if engaged, would work tirelessly on your behalf in a legal and business capacity. This is precisely what every other law firm is trying to do with their website, so how do you differentiate between all these legal sites?

What is Sculpture Made Of?

Cava del Braschi, Monte Ceceri

This lecture opened in entertaining style with an immediate reference to the previous one. Dr Dent had practically skirted over material/technique of sculpture but here Dr Jim Harris went straight into this interdisciplinary aspect with the statement (I paraphrase):

Sculpture is what it is we do when we take a memory of people. It goes to the heart and into the very notion of humanity.

We quickly dispatched painting and slammed the door firmly in its face. Painting can be anything but sculpture is better. Materials are as varied as the sculpture they make. Painting tells us a lot but the material of sculpture tells us more. At this point we could have concluded the lecture. But as he says, we would have been rather disappointed. I think what we needed was to be in a quarried amphitheatre, sat amongst the elements of sculpture.

Study: Why it Benefits You and Your Employer

It seems I’ve spent the last few years in one of three states; eagerly anticipating study, screaming because I was in the middle of study, or suffering post-study ennui. As I’m currently in between final course work and at the pre-research/planning stage for my 15000 word dissertation, this is a really good time to evaluate the impact that part time study has on my professional life.

It also doubles as an annoyingly motivational piece for January, given the tradition for resolutions and fresh starts. What more perfect resolution could there be than taking a course of study?

One of my library friends on Twitter asked how I was finding my course - what the workload with the day job/support/etc was like - because he was thinking of doing something similar. I was honest. If I’m being frank, my friends and family get neglected, annual leave is spent in the library, stress levels rise around coursework/assessment time and lecture evenings are reserved, no matter what. Sometimes day to day work is affected because of tiredness and, in my case, total distraction with a subject I love. All this sounds very negative and yet, I advised my friend to go for it as soon as possible. Why would anyone go to such lengths for study? 

What is Sculpture?

Mama mia!

In the absence of any MA lectures this term most people are probably catching up with their friends, revisiting some nice art shows, having facials or watching Celebrity Big Brother or something. Which is why I am taking a sculpture course at the Courtauld. I was having a Christmas dinner with some similarly study addicted friends and during a conversation about how annoyed* with Birkbeck I was, she mentioned this venerable institution at Somerset House. It turns out they do some really excellent non stressy modules there, so I signed up for this term and these are my rough notes.

'Art is painting' many galleries would have us believe. Exhibitions have traditionally focused on the two dimensional, leaving sculpture, architecture, print makers, decorative arts under represented. Now, in my view, this opening gambit is being challenged, with many major institutions widening their scope to embrace other media. A glance at this years planned exhibitions show fashion, jewellery, design, architecture, which makes it interesting to be focusing on sculpture this term. A stroll around any part of London shows that we are surrounded by it - on the fronts of buildings, in our squares and churches, office lobbies and on our streets.

The Montalto Madonna and the intellectual and spiritual life of Cardinal Peretti di Montalto

My thought soars not so high ; though duly bent
In reverence, and awe, and long attent,
To study Nature and the works and ways,
So wondrous, that surround us : but no mind,
Whom earthly fetters bind,
Though led to truth, and swift to utter praise,
Can pierce the crystal that enshrines above
The Flower of endless Love ; …1

Torquato Tasso (1544-1595) 'The Nativity' Rome, December 1588

The poetic extract above precisely demonstrates the ease with which the sixteenth-century patron moved between the intellectual and religious; for them, there was little distinction. With this in mind this essay sets out to explore how a private devotional image can provide an insight into the mind and life of the commissioning patron. Although we cannot be certain how individual spiritual or even intellectual experience manifested itself in relation to small devotional images, Burt Treffer offers a useful line of thought. His method applies a mix of pictorial analysis and iconography, investigation into the purpose of the painting and who it was for, as well as a close reading of the associated literature.2 

A recently rediscovered devotional image by Annibale Carracci The Holy Family with the Infant Saint John the Baptist, or the Montalto Madonna (National Gallery, London) (c1600) is perfectly placed to demonstrate and reflect the pursuits of its first owner, the Roman Cardinal Deacon Alessandro Damasceni Peretti di Montalto (1571–1623). Taken in its wider context, this small painting on copper enables the art historian to explore reformation church politics, familial ambition as well as flourishing city wide intellectual pursuits. 

Tasso and the Search for En-light-enment

It has long been appreciated that an interdisciplinary approach has to be taken when looking at the arts. A book from 1922 said the 'pictorial qualities of the arts corresponded psychologically and aesthetically to the musical qualities of literature'. But it was the author's next words that struck me as particularly relevant, 'the formal objects of the art historian and the literary scholar, as far as the Baroque is concerned, are ... similar because the mode of conceiving reality is the same, and this same type of concept is anchored in the spirit and will of the men of that epoch' (my emphasis).1

It's an old fashioned way of stating that art, literature, music – and not forgetting the natural sciences – are all products of a particular time and place. Therefore although I'm ostensibly focusing on a piece of art, I feel that it is crucial to see across as many disciplines possible, whether art, literature or music because all of these offer valuable insights into prevailing thoughts. This explains why the final part of my essay moves from baroque musical monody to a different kind of poetic voice.