Picture Illustration Quotes

I wondered if that was true: if they were all really children wrapped up in adult bodies, like children's books hidden in the middle of dull, long adult books, the kind with no pictures or conversations.

I don’t know what else to do, so I’m asking You to give me a solution.

Even though Mr. Roo had been very hard on him, Mouse felt compassion and kindness...

Those who find ugly meanings in beautiful things are corrupt without being charming. This is a fault. Those who find beautiful meanings in beautiful things are the cultivated. For these there are hope.

At the end of his life, the great picture book author and illustrator Maurice Sendak said on the NPR show Fresh Air, 'I cry a lot because I miss people. I cry a lot because they die, and I can't stop them. They leave me, and I love them more.' He said, 'I'm finding out as I'm aging that I'm in love with the world.' It has taken me all my life up to now to fall in love with the world, but I've started to feel it the last couple of years. To fall in love with the world isn't to ignore or overlook suffering, both human and otherwise. For me anyway, to fall in love with the world is to look up at the night sky and feel your mind swim before the beauty and the distance of the stars. It is to hold your children while they cry, to watch as the sycamore trees leaf out in June. When my breastbone starts to hurt, and my throat tightens, and tears well in my eyes, I want to look away from the feeling. I want to deflect with irony, or anything else that will keep me from feeling directly. We all know how loving ends. But I want to fall in love with the world anyway, to let it crack me open. I want to feel what there is to feel while I am here.

I could not stay here. I would not stay here. Seriously, who would want to stay here? “Please don’t put me in this box. In this box, I cannot shine!” So, I secretly crawled out of the box. To this box, I said, “Goodbye.

The verbal patterns and the patterns of behavior we present to children in these lighthearted confections are likely to influence them for the rest of their lives. These aesthetic impressions, just like the moral teachings of early childhood, remain indelible.

Lacing and knotting is not just for shoes. Looping and tying are skills you can use.

You can tie them, Yes you can. Just take those laces in both hands. Loop and swoop and tie them off. You can show them who’s the boss.

56.Associate yourself with Men of good Quality if you Esteem your own Reputation; for it is better to be alone than in bad Company.

An illustration is an enlargement, and interpretation of the text, so that the reader will comprehend the words better. As an artist, you are always serving the words. You must never illustrate exactly what is written. You must find a space in the text so that the pictures can do the work. Then you must let the words take over where words do it best. It’s a funny kind of juggling act.

All of these boxes—different shapes, different sizes—you can stack them up high or topple them to the ground, but please don’t put me in a box where I don’t belong.

I don’t need to know knots for the things I do. Why should I learn to tie my shoes?

Don’t give up. Let’s try again,” cheered on the bunny’s very best friend.

Exercises in manual dexterity build self-esteem in children. Knowing how to tie shoe-strings, scarves and more into a bow is a useful and rewarding skill.

Children need to see themselves in books. They need to see their gender. They need to see their color, hair texture, their disability, themselves. Picture books are like many children’s first introduction to the world. Seeing yourself is almost like a message. It’s saying, you matter, you are visible, and you’re valuable

Young men want to be faithful, and are not; old men want to be faithless, and cannot: that is all one can say.

I have known everything," said Lord Henry, with a tired look in his eyes, "but I am always ready for a new emotion.

At Cornell University, professor of European literature Vladimir Nabokov changed the way I read and the way I write. Words could paint pictures, I learned from him. Choosing the right word, and the right word order, he illustrated, could make an enormous difference in conveying an image or an idea.

I always try to treat the book itself as the artwork. I don't want you to stop while you're reading one of my books and say, 'Oh! What a gorgeous illustration!' I want you to stop at the end of the book and say, 'This is a good book.

90. Being Set at meat Scratch not, neither Spit, Cough, or blow your Nose except there's a Necessity for it.

It had never occurred to me, though when you read the bible it is perfectly plain if you pay attention only to the words. It is the pictures in the bible that fool you. The pictures that illustrate the words. All of the people are white and so you just think all the people from the bible were white too. But really white white people lived somewhere else during those times. That’s why the bible says that Jesus Christ had hair like lamb’s wool. Lamb’s wool is not straight, Celie. It isn’t even curly.

He is some brainless beautiful creature who should be always here in winter when we have no flowers to look at, and always here in summer when we want something to chill our intelligence.

I never drew a picture of anything that was before me but always from fancy, a sure sign of the absence of artistic eyesight; and I illustrated my lack of real feeling for art by a very early speech: 'Mama,' said I, 'I have drawed a man. Shall I draw his soul now?

24 carat gold is a pure naturally occurring yellow metal. There are 4 basic shades of gold alloys: yellow gold, white gold, rose gold and green gold. A huge range of other colored golds are also possible including red (gold and copper), grey (gold, iron and copper), purple (gold and aluminum), blue (gold and iron) and black (gold and cobalt), depending on the amounts of different metals alloyed together.

Parents are just uncelebrated rock stars - we stay up late, take drugs and treat our bodies like crap. Yay!

Some indoor play gyms are ok. As long as they hose them down or light them on fire once every few years.

It doesn't matter how far you go; I will love you. Always.

and the worst of having a romance of any kind is that it leaves one so unromantic.

the one charm of marriage is that it makes a life of deception absolutely necessary for both parties.

It is not until you draw something, whether it is an object, a building or an activity, that you really begin to understand it.

What would your shoes say about the things you do everyday?

It was an irresistible development of modern illustration (so largely photographic) that borders should be abandoned and the "picture" end only with the paper. This method may be suitable for for photographs; but it is altogether inappropriate for the pictures that illustrate or are inspired by fairy-stories. An enchanted forest requires a margin, even an elaborate border. To print it coterminous with the page, like a "shot" of the Rockies in Picture Post, as if it were indeed a "snap" of fairyland or a "sketch by our artist on the spot", is a folly and an abuse.

This 'web of discourses' as Robyn called it...is as much a biological product as any of the other constructions to be found in the animal world. (Clothes too, are part of the extended phenotype of Homo Sapiens almost every niche inhabited by that species.An illustrated encyclopedia of zoology should no more picture Homo Sapiens naked than it should picture Ursus arctus-the black bear- wearing a clown suit and riding a bicycle.

Painting a picture is as difficult as finding a large or a small diamond. Now, however, whereas everybody recognizes the value of a louis d’or or a pure pearl, those who cherish pictures and believe in them are unfortunately rare. But they exist nonetheless.

I know, now, that when one loses one's good looks, whatever they may be, one loses everything.

But then the only things that one can use in fiction are the things that one has ceased to use in fact.

murder is always a mistake. One should never do anything that one cannot talk about after dinner.

Like the painting of a sorrow, A face without a heart.

I want a breath of our passion to stir their dust into consciousness, to wake their ashes into pain.

Out of its secret hiding-place had crept his soul, and desire had come to meet it on the way.

It is better not to be different from one's fellows. The ugly and the stupid have the best of it in this world.

There is nothing that art cannot express,

that the sin we had done once, and with loathing, we would do many times, and with joy.

Every parent loathes the bedtime routine. Actually, there are probably some parents who love the bedtime routine, but I've never met any and they are probably weird.

Kittens! How did I not know about kittens?! They’re boomeranging on the rocks— like a hurricane and a hug, all in one.

We have to emphasize to the gay community that opposition to same-sex marriages is not about hate, but about debate. Opposition to what some of us see as a devastating move that will further weaken the family and harm children--such opposition is not hateful. Morality is not bigotry. In their book The Homosexual Agenda, authors Alan Sears and Craig Osten give this illustration, which I've summarized: Imagine that you are standing at the bottom of a cliff and you are watching as someone on the ledge above you is walking backwards, and in a few steps he will surely fall over the precipice. You shout, warning him to stop, and before you know it, a crowd gathers around you, snapping your picture and accusing you of "hate speech." You are being warned to keep your prejudices to yourself. After all, who are you to tell someone where they can and can't walk? Who are you to say that someone can't walk backwards? You are dumbfounded, but there you are, the object of everyone's wrath.

There's a picture in When the Lights Go Down: A Short Illustrated History of Film of Alec Matto smoking in a chair in a room with a slice of light blaring over his head toward a screen we can't see. 'Alec Matto reviewing dailies for Where Has Julia Gone? (1947) in his private screening room.' Joan had to tell me what dailies are, it's when the director takes sometime in the evening, while smoking, to see all the footage that was filmed that day, maybe just one scene, a man opening a door over and over, a woman pointing out the window, pointing out the window, pointing out the window. That's dailies, and it took seven or eight matches on the roof over the garage for me to go over our breathless dailies that night, the nervous wait with the tickets in my hand, Lottie Carson heading north on those trains, kissing you, kissing you, the strange conversation in A-Post Novelties that had me all nerve-wracky after I talked to Al about it, even though he said he had no opinion. The matches were little he loves me, he loves me not, but then I saw right on the box that I had twenty-four, which would end the game at not, so I just let the small handful sparkle and puff for a bit, each one a thrill, a tiny delicious jolt for each part I remembered, until I burned my finger and went back in still thinking of all we did together.

What we look at determines what we see, and what we see, really see, becomes part of an inner museum of pictures and references, a mental collection that for most of us is not so much curated as acquired in a haphazard way. There is an opportunity with children to show them art and illustration that will furnish their minds with beauty and mystery, symmetry and wonder. The simplest mechanism for this is the selection of picture books that we share with them.

What is aura? A peculiar web of space and time: the unique manifestation of a distance, however near it may be. To follow, while reclining on a summer’s noon, the outline of a mountain range on the horizon or a branch, which casts its shadow on the observer until the moment or  the hour partakes of their presence—this is to breathe in the aura of these mountains, of this branch. Today, people have as passionate an inclination to bring things close to themselves or even more to the masses, as to overcome uniqueness in every situation by reproducing it. Every day the need grows more urgent to possess an object in the closest proximity, through a picture or, better, a reproduction. And the reproduction, as the illustrated newspaper and weekly readily prove, distinguishes itself unmistakably from the picture. Uniqueness and permanence are as closely intertwined in the latter as transitoriness and reproducibility in the former.

It was useless. The brain had its own food on which it battened, and the imagination, made grotesque by terror, twisted and distorted as a living thing by pain, danced like some foul puppet on a stand and grinned through moving masks.

I first read The Lord of the Rings and The Hobbit when I was eighteen. It felt as though the author had taken every element I'd ever want in a story and woven them into one huge, seamless narrative; but more important, for me, Tolkien had created a place, a vast, beautiful, awesome landscape, which remained a resource long after the protagonists had finished their battles and gone their separate ways. In illustrating The Lord of the Rings I allowed the landscapes to predominate. In some of the scenes the characters are so small they are barely discernible. This suited my own inclinations and my wish to avoid, as much as possible, interfering with the pictures being built up in the reader's mind, which tends to be more closely focussed on characters and their inter-relationships. I felt my task lay in shadowing the heroes on their epic quest, often at a distance, closing in on them at times of heightened emotion but avoiding trying to re-create the dramatic highpoints of the text. With The Hobbit, however, it didn't seem appropriate to keep such a distance, particularly from the hero himself. I don't think I've ever seen a drawing of a Hobbit which quite convinced me, and I don't know whether I've gotten any closer myself with my depictions of Bilbo. I'm fairly happy with the picture of him standing outside Bag End, before Gandalf arrives and turns his world upside-down, but I've come to the conclusion that one of the reasons Hobbits are so quiet and elusive is to avoid the prying eyes of illustrators.

...I have read but little of Madame Glyn. I did not know that things like "It" were going on. I have misspent my days. When I think of all those hours I flung away in reading William James and Santayana, when I might have been reading of life, throbbing, beating, perfumed life, I practically break down. Where, I ask you, have I been, that no true word of Madame Glyn's literary feats has come to me? But even those far, far better informed than I must work a bit over the opening sentence of Madame Glyn's foreword to her novel" "This is not," the says, drawing her emeralds warmly about her, "the story of the moving picture entitled It, but a full character study of the story It, which the people in the picture read and discuss." I could go mad, in a nice way, straining to figure that out. ...Well it turns out that Ava and John meet, and he begins promptly to "vibrate with passion." ... ...It goes on for nearly three hundred pages, with both of them vibrating away like steam launches." -Review of the book, It, by Elinor Glyn. Review title: Madame Glyn Lectures on "It," with Illustrations; November 26, 1927.

Take two pictures representing the same subject; one may be dismissed as illustration if it is dominated by the subject and has no other justification but the subject, the other may be called painting if the subject is completely absorbed in the style, which is its own justification, whatever the subject, and has an intrinsic value.

Changing a diaper in an airplane bathroom is like changing a diaper inside an empty refrigerator that a drunk person is pushing around on a dolly.

Homes

I like to work in watercolor, with as little under-drawing as I can get away with. I like the unpredictability of a medium which is affected as much by humidity, gravity, the way that heavier particles in the wash settle into the undulations of the paper surface, as by whatever I wish to do with it. In other mediums you have more control, you are responsible for every mark on the page — but with watercolor you are in a dialogue with the paint, it responds to you and you respond to it in turn. Printmaking is also like this, it has an unpredictable element. This encourages an intuitive response, a spontaneity which allows magic to happen on the page. When I begin an illustration, I usually work up from small sketches — which indicate in a simple way something of the atmosphere or dynamics of an illustration; then I do drawings on a larger scale supported by studies from models — usually friends — if figures play a large part in the picture. When I've reached a stage where the drawing looks good enough I'll transfer it to watercolor paper, but I like to leave as much unresolved as possible before starting to put on washes. This allows for an interaction with the medium itself, a dialogue between me and the paint. Otherwise it is too much like painting by number, or a one-sided conversation.

Literature works from mind to mind and is more progenitive. It is at once more universal and more poignantly particular. If it speaks of bread or wine or stone or tree, it appeals to the whole of these things, to their ideas; yet each hearer will give to them a peculiar personal embodiment in his imagination. Should the story say 'he ate bread', the dramatic producer or painter can only show 'a piece of bread' according to his taste or fancy, but the hearer of the story will think of bread in general and picture it in some form of his own. If a story says 'he climbed a hill and saw a river in the valley below', the illustrator may catch, or nearly catch, his own vision of such a scene; but every hearer of the words will have his own picture, and it will be made out of all the hills and rivers and dales he has ever seen, but especially out of The Hill, The River, The Valley which were for him the first embodiment of the word.

To distort the letters of the alphabet in “the style of” Chinese calligraphy (sometimes referred to as chop suey lettering), because the subject happens to deal with the Orient is to create the typographic equivalent of a corny illustration. To mimic a woodcut style of type to “go with” a woodcut; to use bold type to “harmonize with” heavy machinery, etc., is cliché-thinking. The designer is unaware of the exciting possibilities inherent in the contrast of picture and type matter. Thus, instead of combining a woodcut with a “woodcut style” of type (Neuland), a happier choice would be a more classical design (Caslon, Bodoni, or Helvetica) to achieve the element of surprise and to accentuate by contrast the form and character of both text and picture.

Since he belonged, even at the age of six, to that great clan which cannot keep this feeling separate from that, but must let future prospects, with their joys and sorrows, cloud what is actually at hand, since to such people even in earliest childhood any turn in the wheel of sensation has the power to crystallise and transfix the moment upon which its gloom or radiance rests, James Ramsay, sitting on the floor cutting out pictures from the illustrated catalogue of the Army and Navy stores, endowed the picture of a refrigerator, as his mother spoke, with heavenly bliss.

For instance, in one play the palace of Lord Hosokawa, in which was preserved the celebrated painting of Dharuma by Sesson, suddenly takes fire through the negligence of the samurai in charge. Resolved at all hazards to rescue the precious painting, he rushes into the burning building and seizes the kakemono, only to find all means of exit cut off by the flames. Thinking only of the picture, he slashes open his body with his sword, wraps his torn sleeve about the Sesson and plunges it into the gaping wound. The fire is at last extinguished. Among the smoking embers is found a half- consumed corpse, within which reposes the treasure uninjured by the fire. Horrible as such tales are, they illustrate the great value that we set upon a masterpiece, as well as the devotion of a trusted samurai.

Sometimes, when he was alone, he sat in the Doge’s chair, as it was always called, leaning forward on the edge of the seat, his right hand clasping one of the intricately carved arms, striking a pose he remembered from the Illustrated History of England he had been given at prep school. The picture portrayed Henry V’s superb anger when he was sent a present of tennis balls by the insolent King of France.

People spoke to foreigners with an averted gaze, and everybody seemed to know somebody who had just vanished. The rumors of what had happened to them were fantastic and bizarre though, as it turned out, they were only an understatement of the real thing. Before going to see General Videla […], I went to […] check in with Los Madres: the black-draped mothers who paraded, every week, with pictures of their missing loved ones in the Plaza Mayo. (‘Todo mi familia!’ as one elderly lady kept telling me imploringly, as she flourished their photographs. ‘Todo mi familia!’) From these and from other relatives and friends I got a line of questioning to put to the general. I would be told by him, they forewarned me, that people ‘disappeared’ all the time, either because of traffic accidents and family quarrels or, in the dire civil-war circumstances of Argentina, because of the wish to drop out of a gang and the need to avoid one’s former associates. But this was a cover story. Most of those who disappeared were openly taken away in the unmarked Ford Falcon cars of the Buenos Aires military police. I should inquire of the general what precisely had happened to Claudia Inez Grumberg, a paraplegic who was unable to move on her own but who had last been seen in the hands of his ever-vigilant armed forces [….] I possess a picture of the encounter that still makes me want to spew: there stands the killer and torturer and rape-profiteer, as if to illustrate some seminar on the banality of evil. Bony-thin and mediocre in appearance, with a scrubby moustache, he looks for all the world like a cretin impersonating a toothbrush. I am gripping his hand in a much too unctuous manner and smiling as if genuinely delighted at the introduction. Aching to expunge this humiliation, I waited while he went almost pedantically through the predicted script, waving away the rumored but doubtless regrettable dematerializations that were said to be afflicting his fellow Argentines. And then I asked him about Senorita Grumberg. He replied that if what I had said was true, then I should remember that ‘terrorism is not just killing with a bomb, but activating ideas. Maybe that’s why she’s detained.’ I expressed astonishment at this reply and, evidently thinking that I hadn’t understood him the first time, Videla enlarged on the theme. ‘We consider it a great crime to work against the Western and Christian style of life: it is not just the bomber but the ideologist who is the danger.’ Behind him, I could see one or two of his brighter staff officers looking at me with stark hostility as they realized that the general—El Presidente—had made a mistake by speaking so candidly. […] In response to a follow-up question, Videla crassly denied—‘rotondamente’: ‘roundly’ denied—holding Jacobo Timerman ‘as either a journalist or a Jew.’ While we were having this surreal exchange, here is what Timerman was being told by his taunting tormentors: Argentina has three main enemies: Karl Marx, because he tried to destroy the Christian concept of society; Sigmund Freud, because he tried to destroy the Christian concept of the family; and Albert Einstein, because he tried to destroy the Christian concept of time and space. […] We later discovered what happened to the majority of those who had been held and tortured in the secret prisons of the regime. According to a Navy captain named Adolfo Scilingo, who published a book of confessions, these broken victims were often destroyed as ‘evidence’ by being flown out way over the wastes of the South Atlantic and flung from airplanes into the freezing water below. Imagine the fun element when there’s the surprise bonus of a Jewish female prisoner in a wheelchair to be disposed of… we slide open the door and get ready to roll her and then it’s one, two, three… go!

As you can see from the following “top-down, bottom-up” illustration, learning takes place in two ways. There is a bottom-up chunking process where practice and repetition can help you both build and strengthen each chunk, so you can easily gain access to it when needed. And there is a top-down “big picture” process that allows you to see where what you are learning fits in. Both processes are vital in gaining mastery over the material.

I always gave her a book. An old hardback from the same section in the used bookstore where you'd find Hardy Boys and Nancy Drew, and musty scrawled-in Hobbits, the painted paper covers often ripped or gone... My favorite was a sort of illustrated guidebook of pond creatures on which a very young child had written in pencil on each page under the picture of an otter I love otter Under a muskrat: I love muskrat Beaver: I love beaver

I saw exactly one picture of Marx and one of Lenin in my whole stay, but it's been a long time since ideology had anything to do with it. Not without cunning, Fat Man and Little Boy gradually mutated the whole state belief system into a debased form of Confucianism, in which traditional ancestor worship and respect for order become blended with extreme nationalism and xenophobia. Near the southernmost city of Kaesong, captured by the North in 1951, I was taken to see the beautifully preserved tombs of King and Queen Kongmin. Their significance in F.M.-L.B. cosmology is that they reigned over a then unified Korea in the 14th century, and that they were Confucian and dynastic and left many lavish memorials to themselves. The tombs are built on one hillside, and legend has it that the king sent one of his courtiers to pick the site. Second-guessing his underling, he then climbed the opposite hill. He gave instructions that if the chosen site did not please him he would wave his white handkerchief. On this signal, the courtier was to be slain. The king actually found that the site was ideal. But it was a warm day and he forgetfully mopped his brow with the white handkerchief. On coming downhill he was confronted with the courtier's fresh cadaver and exclaimed, 'Oh dear.' And ever since, my escorts told me, the opposite peak has been known as 'Oh Dear Hill.' I thought this was a perfect illustration of the caprice and cruelty of absolute leadership, and began to phrase a little pun about Kim Jong Il being the 'Oh Dear Leader,' but it died on my lips.

The difference between the Platonic theory and the morphic-resonance hypothesis can be illustrated by analogy with a television set. The pictures on the screen depend on the material components of the set and the energy that powers it, and also on the invisible transmissions it receives through the electromagnetic field. A sceptic who rejected the idea of invisible influences might try to explain everything about the pictures and sounds in terms of the components of the set – the wires, transistors, and so on – and the electrical interactions between them. Through careful research he would find that damaging or removing some of these components affected the pictures or sounds the set produced, and did so in a repeatable, predictable way. This discovery would reinforce his materialist belief. He would be unable to explain exactly how the set produced the pictures and sounds, but he would hope that a more detailed analysis of the components and more complex mathematical models of their interactions would eventually provide the answer. Some mutations in the components – for example, by a defect in some of the transistors – affect the pictures by changing their colours or distorting their shapes; while mutations of components in the tuning circuit cause the set to jump from one channel to another, leading to a completely different set of sounds and pictures. But this does not prove that the evening news report is produced by interactions among the TV set’s components. Likewise, genetic mutations may affect an animal’s form and behaviour, but this does not prove that form and behaviour are programmed in the genes. They are inherited by morphic resonance, an invisible influence on the organism coming from outside it, just as TV sets are resonantly tuned to transmissions that originate elsewhere.

Today the Director opened his remarks by telling us what we must always do when the author, the director, and the others who are working on a production, leave out things we need to know. We must have, first of all, an unbroken series of supposed circumstances in the midst of which our exercise is played. Secondly we must have a solid line of inner visions bound up with those circumstances, so that they will be illustrated for us. During every moment we are on the stage, during every moment of the development of the action of the play, we must be aware either of the external circumstances which surround us (the whole material setting of the production), or of an inner chain of circumstances which we ourselves have imagined in order to illustrate our parts. Out of these moments will be formed an unbroken series of images, something like a moving picture. As long as we are acting creatively, this film will unroll and be thrown on the screen of our inner vision, making vivid the circumstances among which we are moving. Moreover, these inner images create a corresponding mood, and arouse emotions, while holding us within the limits of the play.

At the end of his life, the great picture book author and illustrator Maurice Sendak said on the NPR show Fresh Air, “I cry a lot because I miss people. I cry a lot because they die, and I can’t stop them. They leave me, and I love them more.” He said, “I’m finding out as I’m aging that I’m in love with the world.” It has taken me all my life up to now to fall in love with the world, but I’ve started to feel it the last couple of years. To fall in love with the world isn’t to ignore or overlook suffering, both human and otherwise. For me anyway, to fall in love with the world is to look up at the night sky and feel your mind swim before the beauty and the distance of the stars. It is to hold your children while they cry, to watch as the sycamore trees leaf out in June. When my breastbone starts to hurt, and my throat tightens, and tears well in my eyes, I want to look away from feeling. I want to deflect with irony, or anything else that will keep me from feeling directly. We all know how loving ends. But I want to fall in love with the world anyway, to let it crack me open. I want to feel what there is to feel while I am here. Sendak ended that interview with the last words he ever said in public: “Live your life. Live your life. Live your life.” Here is my attempt to do so.

The point is that you have here a direct, unmistakable assault on sanity and decency; and even - since some of Dali’s pictures would tend to poison the imagination like a pornographic postcard - on life itself. What Dali has done and what he has imagined is debatable, but in his outlook, his character, the bedrock decency of a human being does not exist. He is as anti-social as a flea. Clearly, such people are undesirable, and a society in which they can flourish has something wrong with it. Now, if you showed this book, with its illustrations, to Lord Elton, to Mr. Alfred Noyes, to The Times leader writers who exult over the “eclipse of the highbrow” - in fact, to any “sensible” art-hating English person - it is easy to imagine what kind of response you would get. They would flatly refuse to see any merit in Dali whatever. Such people are not only unable to admit that what is morally degraded can be æsthetically right, but their real demand of every artist is that he shall pat them on the back and tell them that thought is unnecessary. And they can be especially dangerous at a time like the present, when the Ministry of Information and the British Council put power into their hands. For their impulse is not only to crush every new talent as it appears, but to castrate the past as well. Witness the renewed highbrow-baiting that is now going on in this country and America, with its outcry not only against Joyce, Proust and Lawrence, but even against T. S. Eliot. But if you talk to the kind of person who can see Dali’s merits, the response that you get is not as a rule very much better. If you say that Dali, though a brilliant draughtsman, is a dirty little scoundrel, you are looked upon as a savage. If you say that you don’t like rotting corpses, and that people who do like rotting corpses are mentally diseased, it is assumed that you lack the æsthetic sense. Since “Mannequin rotting in a taxicab” is a good composition. And between these two fallacies there is no middle position, but we seldom hear much about it. On the one side Kulturbolschewismus: on the other (though the phrase itself is out of fashion) “Art for Art’s sake.” Obscenity is a very difficult question to discuss honestly. People are too frightened either of seeming to be shocked or of seeming not to be shocked, to be able to define the relationship between art and morals. It will be seen that what the defenders of Dali are claiming is a kind of benefit of clergy. The artist is to be exempt from the moral laws that are binding on ordinary people. Just pronounce the magic word “Art,” and everything is O.K.

One thing in the school was captivating, lovely. Pictures of birds. Rose didn’t know if the teacher had climbed up and nailed them above the blackboard, too high for easy desecration, if they were her first and last hopeful effort, or if they dated from some earlier, easier time in the school’s history. Where had they come from, how had they arrived there, when nothing else did, in the way of decoration, illustration? A red-headed woodpecker; an oriole; a blue jay; a Canada goose. The colors clear and long-lasting. Backgrounds of pure snow, of blossoming branches, of heady summer sky. In an ordinary classroom they would not have seemed so extraordinary. Here they were bright and eloquent, so much at variance with everything else that what they seemed to represent was not the birds themselves, not those skies and snows, but some other world of hardy innocence, bounteous information, privileged lightheartedness. No stealing from lunch pails there; no slashing coats; no pulling down pants and probing with painful sticks; no fucking; no Franny.

Sienna gave him a solemn shrug. “Robert, speaking from a purely scientific standpoint—all logic, no heart—I can tell you without a doubt that without some kind of drastic change, the end of our species is coming. And it’s coming fast. It won’t be fire, brimstone, apocalypse, or nuclear war … it will be total collapse due to the number of people on the planet. The mathematics is indisputable.” Langdon stiffened. “I’ve studied a fair amount of biology,” she said, “and it’s quite normal for a species to go extinct simply as a result of overpopulating its environment. Picture a colony of surface algae living in a tiny pond in the forest, enjoying the pond’s perfect balance of nutrients. Unchecked, they reproduce so wildly that they quickly cover the pond’s entire surface, blotting out the sun and thereby preventing the growth of the nutrients in the pond. Having sapped everything possible from their environment, the algae quickly die and disappear without a trace.” She gave a heavy sigh. “A similar fate could easily await mankind. Far sooner and faster than any of us imagine.

But if racism is pictured as parents asserting their rights as taxpayers & questioning whether the Brown decision applies to "their schools"; if it is shown in calls for more "law & order" & "fiscal responsibility"; if it is demonstrated in the lack of public will to address differentials in resources & services in schools, streets, policing & housing; if it is revealed in the kinds of issues the news media chooses not to cover; if it is illustrated in who stays silent when inequality is brought to light--then it raises questions about where we are today.

There is an old-fashioned distinction between the novel of character and the novel of incident, which must have cost many a smile to the intending romancer who was keen about his work. It appears to me as little to the point as the equally celebrated distinction between the novel and the romance- to answer as little to any reality. There are bad novels and good novels, as there are bad pictures and good pictures; but that is the only distinction in which I see any meaning, and I can as little imagine speaking of a novel of character as I can imagine speaking of a picture of character. When one says picture, one says of character, when one says novel, one says of incident, and the terms may be transposed. What is character but the determination of incident? What is incident but the illustration of character? What is a picture or a novel that is not of character? What else do we seek in it and find in it?

Philosophy deals in the abstract and the universal, but not in the particular. History deals only in the particular, not with general principles. Poetry deals with both, illustrating universal principles with particular examples or embodiments of those principles: Now doth the peerless poet perform both: for whatsoever the philosopher saith should be done, he giveth a perfect picture of it in someone by whom he presupposeth it was done; so as he coupleth the general notion with the particular example. Another advantage poetry has over philosophy is greater clarity: the philosopher teacheth, but he teacheth obscurely, so as the learned only can understand him; that is to say, he teacheth them that are already taught. But the poet is the food for the tenderest stomachs, the poet is indeed the right popular philosopher. Essentially, poetry shows history more brilliantly than history, and explains philosophy more cogently than philosophy.

Horse Frightened by a Lion depicts a majestic stallion in a very different situation. Stubbs painted this magnetic masterpiece to illustrate the nature of the sublime, which was one of his era's most popular philosophical concepts,and its relation to a timelessly riveting feeling: fear. The magnificent horse galloping through a vast wilderness encounters the bottom-up stimulus of a crouching predator and responds with a dramatic display of what psychologists mildly call "negative emotion." The equine superstar's arched neck, dilated eyes, and flared nostrils are in fact the very picture of overwhelming dread. The painting's subject matter reflects he philosopher Edmund Burke's widely circulated Philosophical Enquiry into the Origins of Our Ideas of the Sublime and Beautiful, which asserts that because "terror" is unparalleled in commanding "astonishment," or total, single-pointed,--indeed, rapt--attention, it is "the ruling principle of the sublime.

As he lifted the leather-bound cover, the musty smell of paper rose up. He turned the first mottled leaf and looked down at an elaborately drawn image. A brimming goblet was decorated with curling vines and bunches of grapes. But instead of wine or water, the cup was filled with words. John stared at the alien symbols. He could not read. Around the goblet a strange garden grew. Honeycombs dripped and flowers like crocuses sprouted among thick-trunked trees. Vines draped themselves about their branches which bristled with leaves and bent under heavy bunches of fruit. In the far background John spied a roof with a tall chimney. His mother settled beside him. 'Palm trees...' she said. 'These are dates. Honey came from the hives and saffron came from these flowers. Grapes swelled on the vine...

commencement address at Harvard University in 1978, Solzhenitsyn shocked his audience by suggesting that “the Western system in its present state of spiritual exhaustion” was not attractive to those living in Russia. “It is time, in the West,” Solzhenitsyn said, “to defend not so much human rights as human obligations.” The triumph of rights over obligations had resulted in a destructive and irresponsible freedom, leading to “the abyss of human decadence.” He criticized the “misuse of liberty for moral violence against young people, such as motion pictures full of pornography, crime, and horror,” which illustrated the surrender of the West to the corrosion of evil. “The problem at the root of the West’s malaise,” Solzhenitsyn explained, was rooted in the “rationalistic humanism” of the so-called Enlightenment:

I suppose that really I had a training or education not so very different from a lot of other artists and illustrators — it’s just that I didn’t have it in the normal order. When I was at school I liked drawing, and I liked anything to do with humor, and I liked writing too. When I was about fourteen, I was lucky enough to be introduced to a man who both painted pictures and drew cartoons for newspapers and magazines, including Punch, the most famous English humorous magazine at the time. He was called Alfred Jackson and every few months I would take him a collection of my drawings to look at. Now I look back and realize these were in fact lessons or tutorials, and what was especially good about them was that he talked not only about the cartoonists’ drawings in Punch at the time, but also about Michelangelo and Modigliani as well.

This argument illustrates the way in which archetypes appear in practical experience: They are, at the same time, both images and emotions. One can speak of an archetype only when these two aspects are simultaneous. When there is merely the image, then there is simply a word-picture of little consequence. But by being charged with emotion, the image gains numinosity (or psychic energy); it becomes dynamic, and consequences of some kind must flow from it.

The pictures up on that wall in Cupertino illustrated that not just one person but hundreds of thousands could have their lives extinguished, die at the whim of others, and the next day their deaths would be meaningless. But even more telling was that those who had brought about these deaths (the most terror-filled, even if inevitable, tragedy of the human experience) could also degrade the victims and force them to expire in maximum pain and humiliation.

Many a tale of inguldgent parenthood illustrates the antique idea that when the roles of life are assumed by the improperly initiated, chaos supervenes. When the child outgrows the popular idyle of the mother breast and turns to face the world of specialized adult action, it passes, spiritually, into the sphere of the father-who becomes for his son, the sign of the future task, and for his daughter, the future husband. Whether he knows it or not, and no matter what his position in society, the father is the initiating priest through whom the young being passes on into the larger world. And just as, formerly, the mother represented the good and evil, so does now the father, but with this complication - that there is a new element of rivalry in the picture: the son against the father for the mastery of the universe, and the daughter against the mother to be the mastered world. The traditional idea of initiation combines an introduction of the candidate into the techniques, duties, and prerogatives of his vocation with a radical readjustment of his emotional relationship to the parental images. The mystagogue is to entrust the symbols of office only to a son who has been effectually purged of all inappropriate infantile cathexes-for whom the just, impersonal exercise of the powers will not be rendered impossible by unconscious motives of self-aggrandizement, personal preference, or resentment. Ideally, the invested one has been divested of his mere humanity and is representative of an impersonal cosmic force. He is the twice-born: he has become himself the father. And he is competent consequently now to enact himself the role of the initiator, the guide, the sun door, through whom one may pass from infantile illusions of good and evil to an experience of the majesty of cosmic law, purged of hope and fear, and at peace in understanding the revelation of being.

Why a child needs a picture book? Experts explain why the illustration is so important in the narrative and give tips on how to choose a picture book for your children. By turning an idea into something reality, illustrated book further fuels the child’s fantasy. Recent research on teaching concluded that the best performing students are not the ones who read the classics. The important thing is to allow children access to a variety of reading styles and the pleasure of choosing what they want to read.

Normally, we are supposed to say farewell to the page even as we look, to see past the cut of the type, hear beyond the shape of the sound, feel more than the heft of the book, to hear the bird sing whose name has been invoked, and think of love being made through the length of the night if the bird's name is nightingale; but when the book itself has the beauty of the bird, and the words do their own singing; when the token is treated as if it, not some divine intention, was holy and had power; when the bird itself is figured in the margins as though that whiteness were a moon-bleached bough and the nearby type the leaves it trembles; and when indigo turbans or vermilion feathers are, with jasmines, pictured so perfectly that touch falls in love with the finger, eyes light, and nostrils flare; when illustrations refuse to illustrate but instead suggest the inside of the reader's head, where a consciousness is being constructed; then the nature of the simple sign is being vigorously denied, and the scene or line or brief rendition is being treated like a thing itself, returning the attention to its qualities and composition. -- From "The Book As a Container of Consciousness

Beneath the notebook she found the book of fairy tales. The cover was green cardboard, the writing gold: 'Magical Tales for Girls and Boys', by Eliza Makepeace. Cassandra repeated the author's name, enjoying the mysterious rustle against her lips. She opened it up and inside the front cover was a picture of a fairy sitting in a bird's woven nest: long flowing hair, a wreath of stars around her head, and large, translucent wings. When she looked more closely, Cassandra realized that the fairy's face was the same as that in the sketch. A line of spidery writing curled around the base of the nest, proclaiming her "Your storyteller, Miss Makepeace.

I wonder what a farmer-woman can want with a harpsichord, dulcimer, pianner, or whatever 'tis they d'call it?" said the maltster. "Liddy saith she've a new one." "Got a pianner?" "Ay. Seems her old uncle's things were not good enough for her. She've bought all but everything new. There's heavy chairs for the stout, weak and wiry ones for the slender; great watches, getting on to the size of clocks, to stand upon the chimbley-piece." "Pictures, for the most part wonderful frames." "And long horse-hair settles for the drunk, with horse-hair pillows at each end," said Mr. Clark. "Likewise looking-glasses for the pretty, and lying books for the wicked." A firm loud tread was

So the Sumerians worshipped Enki, and the Babylonians, who came after the Sumerians, worshipped Marduk, his son." "Yes, sir. And whenever Marduk got stuck, he would ask his father Enki for help. There is a representation of Marduk here on this stele -- the Code of Hammurabi. According to Hammurabi, the Code was given to him personally by Marduk." Hiro wanders over to the Code of Hammurabi and has a gander. The cuneiform means nothing to him, but the illustration on top is easy enough to understand. Especially the part in the middle: "Why, exactly, is Marduk handing Hammurabi a one and a zero in this picture?" Hiro asks. "They were emblems of royal power," the Librarian says. "Their origin is obscure.

Ravelly pointed to the illustration as he told his friend that he used to read the same story nightly to his son, Wahlister. “Imorih’s Journey—quite the moralistic quest.” Unan nodded in agreement. “I read it to Ian and Eena when they were children.” Then he held up the opened page with the picture of Imorih and the tiny, shouldered bug. He asked curiously, “Why do you say this is your favorite part, Master Ravelly?” The question caught Eena’s interest. Her ears tuned in to their conversation, but her eyes continued to scan the lively crowd below. The old Grott went on to explain. “That is the part where Imorih realizes the whispered voice she has been listening to, the advice she has been heeding, doesn’t belong to her conscience as she first supposed. It shocks her to learn that for the more part of her journey she has been following the promptings of a negligible, albeit well-intentioned, creature. That’s when two things happen in her life. First, she comprehends how cunning and manipulative the power of suggestion can be. Secondly, she learns to recognize the difference between her own voice—her own desires—and someone else’s.” Unan hummed a sound of accordance. “That’s right. Things change quite drastically after that discovery, don’t they?” “Yes, yes, they most certainly do. For the best, I recall.” “Because she becomes master of her own destiny after that.” “As we all should be.” Unan nodded, examining the illustration once again. “Yes, as we all should be.

Regression effects are ubiquitous, and so are misguided causal stories to explain them. A well-known example is the “Sports Illustrated jinx,” the claim that an athlete whose picture appears on the cover of the magazine is doomed to perform poorly the following season. Overconfidence and the pressure of meeting high expectations are often offered as explanations. But there is a simpler account of the jinx: an athlete who gets to be on the cover of Sports Illustrated must have performed exceptionally well in the preceding season, probably with the assistance of a nudge from luck—and luck is fickle. I happened to watch the men’s ski jump event in the Winter Olympics while Amos and I were writing an article about intuitive prediction. Each athlete has two jumps in the event, and the results are combined for the final score. I was startled to hear the sportscaster’s comments while athletes were preparing for their second jump: “Norway had a great first jump; he will be tense, hoping to protect his lead and will probably do worse” or “Sweden had a bad first jump and now he knows he has nothing to lose and will be relaxed, which should help him do better.” The commentator had obviously detected regression to the mean and had invented a causal story for which there was no evidence. The story itself could even be true. Perhaps if we measured the athletes’ pulse before each jump we might find that they are indeed more relaxed after a bad first jump. And perhaps not. The point to remember is that the change from the first to the second jump does not need a causal explanation. It is a mathematically inevitable consequence of the fact that luck played a role in the outcome of the first jump. Not a very satisfactory story—we would all prefer a causal account—but that is all there is.

As already suggested, when the individual first learns who it is that he must now accept a his own, he is likely, at the very least, to feel some ambivalence; for these others will not only be patently stigmatized, and thus not like the normal person he knows himself to be, but ma also have other attributes with which he finds it difficult to associate himself. What may end up as a freemasonry may begin with a shudder. A newly blind girl on a visit to The Lighthouse [probably the Chicago Lighthouse, one of the oldest social service agencies in Chicago serving the blind or visually impaired] directly from leaving the hospital provides an illustration: „My questions about a guide dog were politely turned aside. Another sighted worker took me in tow to show me around. We visited the Braille library; the classrooms; the clubrooms where the blind members of the music and dramatic groups meet; the recreation hall where on festive occasion the blind play together; the cafeteria, where all the blind gather to eat together; the huge workshops where the blind earn a subsistence income by making mops and brooms, weaving rugs, caning chairs. As we moved from room to room, I could hear the shuffling of feet, the muted voices, the tap-tap-tapping of canes. Here was the safe, segregated world of the sightless — a completely different world, I was assured by the social worker, from the one I had just left…. I was expected to join this world. To give up my profession and to earn my living making mops. The Lighthouse would be happy to teach me how to make mops. I was to spend the rest of my life making mops with other blind people, eating with other blind people, dancing with other blind people. I became nauseated with fear, as the picture grew in my mind. Never had I come upon such destructive segregation.“ (p.37)

What made the process still longer was that it was profusely illustrated, not only with pictures, as that of old Queen Elizabeth, laid on her tapestry couch in rose-coloured brocade with an ivory snuff-box in her hand and a gold-hilted sword by her side, but with scents — she was strongly perfumed — and with sounds; the stags were barking in Richmond Park that winter’s day. And so, the thought of love would be all ambered over with snow and winter; with log fires burning; with Russian women, gold swords, and the bark of stags; with old King James’ slobbering and fireworks and sacks of treasure in the holds of Elizabethan sailing ships. Every single thing, once he tried to dislodge it from its place in his mind, he found thus cumbered with other matter like the lump of glass which, after a year at the bottom of the sea, is grown about with bones and dragon-flies, and coins and the tresses of drowned women.

I shoot up out of my chair. “It’s Bree. Hide the board!” Everyone hops out of their chairs and starts scrambling around and bumping into each other like a classic cartoon. We hear the door shut behind her, and the whiteboard is still standing in the middle of the kitchen like a lit-up marquee. I hiss at Jamal, “Get rid of it!” His eyes are wide orbs, head whipping around in all directions. “Where? In the utensil drawer? Up my shirt?! There’s nowhere! That thing is huge!” “LADY IN THE HOUSE!” Bree shouts from the entryway. The sound of her tennis shoes getting kicked off echoes around the room, and my heart races up my throat. Her name is pasted all over that whiteboard along with phrases like “first kiss—keep it light” and “entwined hand-holding” and “dirty talk about her hair”. Yeah…I’m not sure about that last one, but we’ll see. Basically, it’s all laid out there—the most incriminating board in the world. If Bree sees this thing, it’s all over for me. “Erase it!” Price whispers frantically. “No, we didn’t write it down anywhere else! We’ll lose all the ideas.” I can hear Bree’s footsteps getting closer. “Nathan? Are you home?” “Uh—yeah! In the kitchen.” Jamal tosses me a look like I’m an idiot for announcing our location, but what am I supposed to do? Stand very still and pretend we’re not all huddled in here having a Baby-Sitter’s Club re-enactment? She would find us, and that would look even worse after keeping quiet. “Just flip it over!” I tell anyone who’s not running in a circle chasing his tail. As Lawrence flips the whiteboard, Price tells us all to act natural. So of course, the second Bree rounds the corner, I hop up on the table, Jamal rests his elbow on the wall and leans his head on his hand, and Lawrence just plops down on the floor and pretends to stretch. Derek can’t decide what to do so he’s caught mid-circle. We all have fake smiles plastered on. Our acting is shit. Bree freezes, blinking at the sight of each of us not acting at all natural. “Whatcha guys doing?” Her hair is a cute messy bun of curls on the top of her head and she’s wearing her favorite joggers with one of my old LA Sharks hoodies, which she stole from my closet a long time ago. It swallows her whole, but since she just came from the studio, I know there is a tight leotard under it. I can barely find her in all that material, and yet she’s still the sexiest woman I’ve ever seen. Just her presence in this room feels like finally getting hooked up to oxygen after days of not being able to breathe deeply. We all respond to Bree’s question at the same time but with different answers. It’s highly suspicious and likely what makes her eyes dart to the whiteboard. Sweat gathers on my spine. “What’s with the whiteboard?” she asks, taking a step toward it. I hop off the table and get in her path. “Huh? Oh, it’s…nothing.” She laughs and tries to look around me. I pretend to stretch so she can’t see. “It doesn’t look like nothing. What? Are you guys drawing boobies on that board or something? You look so guilty.” “Ah—you caught us! Lots of illustrated boobs drawn on that board. You don’t want to see it.” She pauses, a fading smile hovering on her lips, and her eyes look up to meet mine. “For real—what’s going on? Why can’t I see it?” She doesn’t believe my boob explanation. I guess we should take that as a compliment? My eyes catch over Bree’s shoulder as Price puts himself out of her line of sight and begins miming the action of getting his phone out and taking a picture of the whiteboard. This little show is directed at Derek, who is standing somewhere behind me. Bree sees me watching Price and whips her head around to catch him. He freezes—hands extended looking like he’s holding an imaginary camera. He then transforms that into a forearm stretch. “So tight after our workout today.” Her eyes narrow.

... The influence of the Pre-Raphaelites was felt less through their paintings than through a book, The Poems of Tennyson, edited by Moxon and wonderfully illustrated by Rossetti and Millais. The influence on Maeterlinck stems less from the poems themselves than from the illustrations. The revival of illustrated books in the last two years of the century derives from this Tennyson, the books printed at William Morris' press, the albums of Walter Crane. These last two and the ravishing little books for children by Kate Greenaway were heralded by Huysmans as early as 1881. Generally speaking, it is the English Aesthetic Movement rather than the Pre-Raphaelites which influenced the Symbolists, a new life-style rather than a school of painting. The Continent, passing through the Industrial Revolution some fifty years after England, found valuable advice on how to escape from materialism on the other side of the Channel. Everything that one heard about the refinements practised in Chelsea enchanted Frenchmen of taste: furniture by Godwin, open-air theatricals by Lady Archibald Campbell, the Peacock Room by Whistler, Liberty prints. As the pressure of morality was much less pronounced in France than in England, the ideal of Aestheticism was not a revolt but a retreat towards an exquisite world which left hearty good living to the readers of the magazine La Vie Parisienne ('Paris Life') and success to the readers of Zola. If one could not write a beautiful poem or paint a beautiful picture, one could always choose materials or arrange bouquets of flowers. Aesthetic ardour smothered the anglophobia in the Symbolist circle. The ideal of a harmonious life suggested in Baudelaire's poem L' Invitation au Voyage seemed capable of realization in England, whose fashions were brought back by celebrated travellers: Mallarmé after 1862, Verlaine in 1872. Carrière spent a long time in London, as did Khnopff later on. People read books by Gabriel Mourey on Swinburne, and his Passé le Détroit ('Beyond the Channel') is particularly important for the artistic way of life ... Thus England is represented in this hall of visual influences by the works of Burne-Jones and Watts, by illustrated books, and by objets d'art ...

A silver hairbrush, old and surely precious, with a little leopard's head for London stamped near the bristles. A white dress, small and pretty, the sort of old-fashioned dress Cassandra had never seen, let alone owned- the girls at school would laugh if she wore such a thing. A bundle of papers tied together with a pale blue ribbon. Cassandra let the bow slip loose between her fingertips and brushed the ends aside to see what lay beneath. A picture, a black-and-white sketch. The most beautiful woman Cassandra had ever seen, standing beneath a garden arch. No, not an arch, a leafy doorway, the entrance to a tunnel of trees. A maze, she thought suddenly. The strange word came into her mind fully formed. Scores of little black lines combined like magic to form the picture, and Cassandra wondered what it would feel like to create such a thing. The image was oddly familiar and at first she couldn't think how that could be. Then she realized- the woman looked like someone from a children's book. Like an illustration from an olden-days fairy tale, the maiden who turns into a princess when the handsome prince sees beyond her ratty clothing.

... You become responsible forever for what you’ve tamed. You’re responsible for your rose. ----- I have lived a great deal among grown-ups. I have seen them intimately, close at hand. And that has not much improved my opinion of them. ---- I am who I am and I have the need to be. ---- It is far more difficult to judge oneself than to judge others. If you succeed in judging yourself correctly, then you are truly a man of wisdom. ----- Straight ahead you can not go very far. ----- Grown-ups love figures... When you tell them you've made a new friend they never ask you any questions about essential matters. They never say to you "What does his voice sound like? What games does he love best? Does he collect butterflies? " Instead they demand "How old is he? How much does he weigh? How much money does his father make? " Only from these figures do they think they have learned anything about him. If you say to the grown-ups: 'I've seen a lovely house made of pink brick, with geraniums in the windows and doves on the rood', they are unable to picture such a house. You must say: I saw a house that come a hundred thousand francs.' Then they cry out: 'How pretty!' ---- One runs the risk of crying a bit if one allows oneself to be tamed.

Completed in Arles late in 1888 and now housed in the National Gallery, London, this painting depicts the artist’s humble chair and pipe. The work was completed shortly after Gauguin’s departure from the Yellow House. The two artists had quarrelled bitterly, causing Gauguin to write to Theo, “The incompatibility of both our characters means that Vincent and I cannot live together peacefully. It is imperative that I leave.” Vincent was devastated, seeing his dreams of establishing an artists’ commune with Gauguin shatter and disappear. In response, he painted his and Gauguin’s empty chairs, symbolising the loneliness and isolation that he felt. Van Gogh’s wooden chair is more modest, with the pipe and tobacco adding to its humble image; whilst Gauguin’s more elaborate chair, holding a book and candle, suggests learning and ambition. Van Gogh’s choice of colours for his chair include yellow and violet, hinting at daylight and a metaphorical idea of hope for the future. In contrast, Gauguin’s chair is depicted in darker colours of red and green, which along with the candle, enforce the idea of night-time. Together, the pictures represent day and night, with the painting of Gauguin’s chair suggesting that the absent friend had brought light and happiness to van Gogh’s evenings.

There are people who cannot read Tom Jones. I am not thinking of those who never read anything but the newspapers and the illustrated weeklies, or of those who never read anything but detective stories; I am thinking of those who would not demure if you classed them as members of the intelligentsia, of those who read and re-read Pride and Prejudice with delight, Middlemarch with self-complacency, and The Golden Bowl with reverence. The chances that it has never occurred to them to read Tom Jones; but, sometimes, they have tried and not been able to get on with it. It bores them. Now it is no good saying that they ought to like it. There is no 'ought' about the matter. You read a novel for its entertainment, and, I repeat, if it does not give you that, it has nothing to give you at all. No one has the right to blame you because you don't find it interesting, any more than anyone has the right to blame you because you don't like oysters. I cannot but ask myself, however, what it is that puts readers off a book which Gibbon described as an exquisite picture of human manners, which Walter Scott praised as truth and human nature itself, which Dickens admired and profited by, and of which Thackeray wrote: "The novel of Tom Jones is indeed exquisite; as a work of construction quite a wonder; the by-play of wisdom, the power of observation, the multiplied felicitous turns and thoughts, the varied character of the great comic epic, keep the reader in a perpetual admiration and curiosity.

This process is illustrated by an image of it that is continually taking place before our very eyes. Observe what happens when sunbeams are admitted into a building and shed light on its shadowy places. You will see a multitude of tiny particles mingling in a multitude of ways in the empty space within the light of the beam, as though contending in everlasting conflict, rushing into battle rank upon rank with never a moment’s pause in a rapid sequence of unions and disunions. From this you may picture what it is for the atoms to be perpetually tossed about in the illimitable void. To some extent a small thing may afford an illustration and an imperfect image of great things. Besides, there is a further reason why you should give your mind to these particles that are seen dancing in a sunbeam: their dancing is an actual indication of underlying movements of matter that are hidden from our sight. There you will see many particles under the impact of invisible blows, changing their course and driven back upon their tracks, this way and that, in all directions. You must understand that they all derive this restlessness from the atoms. It originates with the atoms, which move of themselves. Then those small compound bodies that are least removed from the impetus of the atoms are set in motion by the impact of their invisible blows and in turn cannon against slightly larger bodies. So the movement mounts up from the atoms and gradually emerges to the level of our senses, so that those bodies are in motion that we see in sunbeams, moved by blows that remain invisible.23

Neutrons and protons occupy the atom's nucleus. The nucleus of an atom is tiny- only one millionth of a billionth of the full volume of an atom- but fantastically dense, since it contains virtually all the atom's mass. As Cropper has put it, if an atom were expanded to the size of a cathedral, the nucleus would only be about the size of a fly- but a fly many thousands of times heavier than the cathedral... The picture that nearly everybody has in mind of an atom is of an electron or two flying around a nucleus, like planets orbiting a sun. This image... is completely wrong... In fact, as physicists were soon to realize, electrons are not like orbiting planets at all, but more like the blades of a spinning fan, managing to fill every bit of space in their orbits simultaneously (but with the crucial difference that the blades of a fan only seem to be everywhere at once; electrons are)... So the atom turned out to be quite unlike the image that most people had created. The electron doesn't fly around its sun, but instead takes on the more amorphous aspect of a cloud. The "shell" of an atom isn't some hard shiny casing, as illustrations sometimes encourage us to suppose, but simply the outermost of these fuzzy electron clouds. The cloud itself is essentially just a zone of statistical probability marking the area beyond which the electron only very seldom strays. Thus an atom, if you could see it, would look more like a very fuzzy tennis ball than a hard-edged metallic sphere (but not much like either, or, indeed, like anything you've ever seen; we are, after all, dealing here with a world very different from the one we see around us. p145

Kircher’s system shows certain affinities with our series of quaternios. Thus the Second Monad is a duality consisting of opposites, corresponding to the angelic world that was split by Lucifer’s fall. Another significant analogy is that Kircher conceives his schema as a cycle set in motion by God as the prime cause, and unfolding out of itself, but brought back to God again through the activity of human understanding, so that the end returns once more to the beginning. This, too, is an analogy of our formula. The alchemists were fond of picturing their opus as a circulatory process, as a circular distillation or as the uroboros, the snake biting its own tail, and they made innumerable pictures of this process. Just as the central idea of the lapis Philosophorum plainly signifies the self, so the opus with its countless symbols illustrates the process of individuation, the step-by-step development of the self from an unconscious state to a conscious one. That is why the lapis, as prima materia, stands at the beginning of the process as well as at the end.113 According to Michael Maier, the gold, another synonym for the self, comes from the opus circulatorium of the sun. This circle is “the line that runs back upon itself (like the serpent that with its head bites its own tail), wherein that eternal painter and potter, God, may be discerned.”114 In this circle, Nature “has related the four qualities to one another and drawn, as it were, an equilateral square, since contraries are bound together by contraries, and enemies by enemies, with the same everlasting bonds.” Maier compares this squaring of the circle to the “homo quadratus,” the four-square man, who “remains himself” come weal come woe.115 He calls it the “golden house, the twicebisected circle, the four-cornered phalanx, the rampart, the city wall, the four-sided line of battle.”116 This circle is a magic circle consisting of the union of opposites, “immune to all injury.