![The Aurelian macaroni.
[London] : Pub. accord. to act by MDarly, 39 Strand, July 5th 1773.
Harris, Moses, 1731?-1785? - Caricatures and cartoons.
(HT Lewis Walpole Library)](http://25.media.tumblr.com/tumblr_m9vkae2o6g1qzelz9o1_500.jpg)
The Aurelian macaroni.
[London] : Pub. accord. to act by MDarly, 39 Strand, July 5th 1773.
Harris, Moses, 1731?-1785? - Caricatures and cartoons.
(HT Lewis Walpole Library)
Food as punishment
Also, ‘breast o’chicken tuna?’ At least “Chicken of the Sea’ is a metaphor
~ Breast O’ Chicken Tuna advertisement, 1968
(click to enlarge)
Am I the only one who can see how wrong this idea is?
If you would like to see more advertisements like this - I would recommend The Good Old Days blog where Erica attempts to reproduce the cooking of yesteryear’s advertisements.
"I think Brasilia is emblematic. The last fifty years in architecture have witnessed the death of the future. Like the Baroque or the high Renaissance, the Modern movement lived and died, and it left behind its masterpieces which survive. But the doctrines don’t inspire us so much anymore."
—
Robert Hughes, The Shock of the New, episode 4, from 56m 18s.
What impresses me here (and throughout the whole of that episode) is how Hughes can combine an appreciation for the masterpieces of modernist architecture (such as the Villa Savoye or the Seagram Building, by which people “are always going to be moved and delighted”) with an intense distaste for modernism as an ideology: the attempt to use architecture to reengineer the human spirit. I think that reconciles two conflicting tendencies in my own attitudes; more generally, it demonstrates the distinction between conservatism and reaction.
(via johnthelutheran)We’ve the cholera in camp, and it’s worse than 40 fights
And we’re dying in the wilderness, the same as Israelites
It’s before us and behind us and we cannot get away
And the doctor’s just reported that we’ve ten more today
Oh strike your camp and go, the bugle’s calling
The rains are falling
The dead are bushed and stoned to keep them safe below
The band are doing all they can to cheer us
The chaplain’s gone and prayed to God to hear us, to hear us
Oh Lord, for it’s the killing of us all
Since August, when it started, it’s been sticking to our tail,
And they’ve had us out by marches and they’ve had us back by rail
But it runs as fast as troop trains, and we cannot get away,
And the sick-list to the Colonel makes ten more today.
And there ain’t no fun in women nor there ain’t no bite to drink.
It’s much too wet for shootin’; we can only march and think.
And at evening, down the nullahs, we can hear the jackals say,
“Get up, you rotten beggars, you’ve ten more today!”
Oh strike your camp and go…
And ‘twould make a monkey cough to see our way of doing things
Lieutenants taking companies and captains taking wings,
And Lances acting Sergeants, eight file to obey
Oh yes, there’s lots of quick promotion on ten deaths a day!
And our Colonel’s white an’ twitterly and he gets no sleep nor food,
He just mucks about in hospital where nothing does no good.
And ‘e sends us ‘eaps o’ comforts, all bought from ‘is pay —
But there aren’t much comfort ‘andy on ten deaths a day.
So strike your camp and go…
And our Chaplain, he’s got a banjo, and a skinny mule he rides,
And the stuff ‘e says and sings, oh Lord, it makes us split our sides!
With his black coat-tails a-bobbin’ to Ta-ra-ra Boom-der-ay!
Oh he’s the proper sort o’ padre for ten deaths a day.
We’ve the cholera in camp, we’ve got it ‘ot and sweet.
But it ain’t no Christmas dinner, but it’s served and we must eat.
We’ve gone beyond the funkin’, ‘cause we’ve found it doesn’t pay,
An’ we’re rockin’ round the Districk on ten deaths a day!
So strike your camp and go, the bugle’s calling
The rains are falling
The dead are bushed and stoned to keep them safe below
And them that do not like it, they can lump it
And them that cannot stand it, they can jump it
For we’ve got to die somewhere, some way, somehow…
So we might as well begin to do it now!
So, Number One, let down the tent-pole slow
Knock out the pegs and hold the corners, oh
Furl up the flies, fold up the ropes, and stow!
Oh strike, oh strike your camp and go!
(Source: apiphile)
The Music of a Bygone Age (1890). John Melhuish Strudwick. Oil on canvas. Dulcimer, Lute, Organ.
George Bernard Shaw wrote an article about Strudwick for the Art Journal in 1891:
“… transcendent expressiveness is the moving quality in all Strudwick’s works and persons who are sensitive to it will take almost as a matter of course the charm of the architecture, the bits of landscape, the elaborately beautiful foliage, the ornamental accessories of all sorts, which would distinguish them even in a gallery of early Italian paintings….”
Portrait Of Giacomo Cervetto (1680-1783). Johann Zoffany (German, 1733-1810).
Zoffany, in late 18th-century England, made his reputation with paintings depicting episodes from contemporary theater and with portraits and conversation pieces. His portraits were popular with George III, who became his patron.
Zoffany was a founder-member of the Royal Academy (1768). He possessed brilliant technical skills and introduced greater liveliness and personal anecdotes into English conversation pieces.
The Sketcher: A Portrait of Mlle Rosina, a Jewess (1858). Daniel Huntington (American, 1816-1906). Oil on canvas. Brooklyn Museum.
Huntington painted some landscapes in the tradition of the Hudson River School. He also painted portraits and began the illustration of The Pilgrim’s Progress. Later he devoted his time chiefly to portrait-painting, although he painted many genre, religious and historical subjects. He was president of the National Academy of Design from 1862 to 1870.
Lola Montez, portrait by Joseph Karl Stieler, painted in 1847 for Ludwig I of Bavaria.
Some illustrations that my boss found at a flea market.
