(via The Outline of Art) William Orpen writes:
3
Working side by side first with Titian, afterwards with Tintoretto, was Paolo Cagliari, who, from Verona, the city of his birth, was known as Paul Veronese (1528-88). The whole splendor of Venice is revealed in his paintings, and his decorations in the Ducal Palace give immortality to the pageantry which characterized the Italy of his time.
When the Venetian Senate gave a festival in honor of King Henry III of France, the monarch was received (so history tell us) by two hundred of the fairest damsels in the city, dressed in white and covered with pearls and diamonds, ‘so that the King thought he had suddenly entered a realm of goddesses and fairies.’
This is the realm we enter through a canvas by Veronese, whether his subject be professedly historical, as in ‘The Family of Darius before Alexander’ in the National Gallery, or professedly religious as in ‘The Marriage of Cana’ at Dresden. We have only to look at this painting with all its wordily pomp and ostentatious luxury to see how far art has traveled from the simple piety of the earlier Primitive Masters.
The monasteries were the chief employers of Veronese as the eminent critic Mr Berenson has pointed out: ‘His cheerfulness, and his frank and joyous worldliness—the qualities, in short, which we find in his huge pictures of feasts—seem to have been particularly welcome to those who were expected to make their meat and drink of the very opposite qualities. This is no small comment on the times, and shows how thorough had been the permeation of the spirit of the Renaissance when even the religious orders gave up their pretence to asceticism and piety.’
A time came, however, when Veronese went too far even for the depraved ecclesiastics of his day. When he painted ‘The Last Supper’—now in the Louvre—in the style of ‘The Marriage at Cana,’ with the same glitter of crystal, silver, and jewels, the same sheen of silks and satins, the same multitude of serving men and attendants, the stricter clerics were scandalized. Information was laid against the painter, and on July 18, 1573, Paul Veronese was summoned before the tribunal of the Inquisition.
Exactly what happened then is not clearly known: while escaping banishment or severer punishment, the artist was sternly rebuked for his wordily treatment of religious subjects; and though the reprimand appears to have had little permanent effect on his paintings, it is significant to note that his ‘Adoration of the Magi’ in the National Gallery, which is dated 1573, is both in conception and in execution far more simple and respectful than are the majority of Veronese’s pictures of sacred subjects.
The most beautiful picture by Veronese in the National Gallery, and one of the most haunting of all his work, is ‘St. Helena’s Vision of the Cross,’ which is as reposeful as a piece of antique Greek sculpture and a superbly decorative example of the artist’s skill as a maker of patterns. The curious will note in this work how cunningly the painter has arranged the figure to secure decorative balance and rhythm, how the right leg continuing the line of the forearm repeats the diagonal of the cross, while the sharp horizontal of the cherub’s wing repeats the line of the window-sill. In these devices we recognize the hand of a master-craftsman.
The Splendor Of Venice (continued)
Thursday, December 13, 2007
Foundations Of The Bridge: The Technicalities Of Gem Trading
Louis Kornitzer's book, Gem Trader, is partly autobiographical and partly woven round the lore of pearls. It's educational + explains the distribution chain of gems, as they pass from hand to hand, from miner to cutter, from merchant to millionaire, from courtesan to receiver of stolen goods, shaping human lives as they go + the unique characters in the industry.
(via Gem Trader) Louis Kornitzer writes:
If, however, the offer is rejected, the owners may in their reply cable state another price, but as a rule the potential buyer has to increase his bid by slow stages until he and the owner meet—by cable—at a common price. Your Oriental merchant is not in great haste to part with his wares even by cablegram, so that gem buying from half-way across the world may demand just the same virtues of patience and insight into your opponent’s mentality as buying a curio in an Oriental bazaar. But there is one difference, at least. The buyer can take his time without fearing that another will cut in with a better offer, for no one else can see the goods, which, pending the ultimate decision, have been placed under his own seal in a safeguarding envelope according to the unvarying custom of the trade.
Long-distance bids and the protracted nature of the proceedings, however, make it virtually impossible for the small dealer to buy at first hand from source. He must come in at a later stage of the proceedings.
There are several ways open to the merchant who has completed a successful purchase and taken up a parcel of stones. He can, if he is known as a real expert and a keen buyer, obtain a profit from another dealer by merely disclosing what the goods cost him. In normal times a profit margin of anything from five to seven and a half percent will be offered him ‘blind’, that is without even an inspection beforehand of the goods contained in the sealed envelope.
Another way is to break the original seal and show the goods either himself or, as is customary, through a broker.
Or, finally, instead of selling the stones in the state he bought them, the dealer may choose not to sell them before having had them cut and polished, in which case he will grade them and send for his lapidary. When the gems have been fully fashioned, each in accordance with its structure, and the skillful lapidary has made the most of his material, the gems are again graded according to size, shape, luster and quality, and once more the broker is called on.
A good broker is worth his weight in diamond dust. He is not supposed to make a profit on the goods himself as apart from the legitimate commission paid him by the seller, and unless otherwise agreed on, the recognized rates are one percent on diamonds, two percent on pearls, and anything from two and a half percent on precious and semi-precious stones. Whether the sale effected is one for spot cash of terms—that is, credit—the commission is payable there and then to the broker, who is not supposed to take any financial risks whatever.
The gem dealer’s tools deserve mention here. They are not of an elaborate nature. In fact, they are of the simplest kind. For picking up the smaller stones the dealer or lapidary uses tweezers called ‘corn-tongs’; for sorting them in sizes he calls to his aid a circular brass box filled with movable perforated disks. This constitutes a diminutive colander and saves a great deal of labor. Then a powerful lens is indispensable, and for wiping the stones clean there there is of course nothing better than a soft chamois leather. Accurately balanced scales for weighing the gems are another indispensable item for any trader whose cargo is so precious that a five hundred millioneth of a metric ton may make a difference to him one way or another of ten or twenty pounds. Most dealers have several sets of scales: one maybe for single stones, another in which to weigh whole parcels, small pairs handy for carrying in the pocket, and as often as not a pair of scales enclosed in a glass case so that no stray current of air or small floating particles of dust may unduly affect the delicately poised beam.
In the gem importing trading centers like Antwerp, Amsterdam, Paris and London, the purchaser has the right, and not infrequently exercises it, of having the accurate weight of a single stone or of a parcel of gems determined by an unbiased third party. In the localities where the dealers have their professional clubs or associations, an official appointed for the purpose does the weighing and issues a certificate. In London, where no such club exists, the Jeweler’s section of the London Chamber of Commerce has established such a service for the convenience of the trade on payment of a small fee.
The price of semi-precious stones of the lower order is usually quoted per gramme or per ounce (thirty grammes go to the ounce). For semi-precious stones of the higher order and for precious stones the carat weight is the standard unit. No less than five million carats go to make up a metric ton, which gives an idea of the smallness of the carat weight. The carat itself is subdivided into a hundred parts, any one of which is called a point. One ‘point’ more or less in the established weight may mean a pound or so in or out of pocket when the stone in question is priced at something like a hundred pounds a carat.
Foundations Of The Bridge: The Technicalities Of Gem Trading
(via Gem Trader) Louis Kornitzer writes:
If, however, the offer is rejected, the owners may in their reply cable state another price, but as a rule the potential buyer has to increase his bid by slow stages until he and the owner meet—by cable—at a common price. Your Oriental merchant is not in great haste to part with his wares even by cablegram, so that gem buying from half-way across the world may demand just the same virtues of patience and insight into your opponent’s mentality as buying a curio in an Oriental bazaar. But there is one difference, at least. The buyer can take his time without fearing that another will cut in with a better offer, for no one else can see the goods, which, pending the ultimate decision, have been placed under his own seal in a safeguarding envelope according to the unvarying custom of the trade.
Long-distance bids and the protracted nature of the proceedings, however, make it virtually impossible for the small dealer to buy at first hand from source. He must come in at a later stage of the proceedings.
There are several ways open to the merchant who has completed a successful purchase and taken up a parcel of stones. He can, if he is known as a real expert and a keen buyer, obtain a profit from another dealer by merely disclosing what the goods cost him. In normal times a profit margin of anything from five to seven and a half percent will be offered him ‘blind’, that is without even an inspection beforehand of the goods contained in the sealed envelope.
Another way is to break the original seal and show the goods either himself or, as is customary, through a broker.
Or, finally, instead of selling the stones in the state he bought them, the dealer may choose not to sell them before having had them cut and polished, in which case he will grade them and send for his lapidary. When the gems have been fully fashioned, each in accordance with its structure, and the skillful lapidary has made the most of his material, the gems are again graded according to size, shape, luster and quality, and once more the broker is called on.
A good broker is worth his weight in diamond dust. He is not supposed to make a profit on the goods himself as apart from the legitimate commission paid him by the seller, and unless otherwise agreed on, the recognized rates are one percent on diamonds, two percent on pearls, and anything from two and a half percent on precious and semi-precious stones. Whether the sale effected is one for spot cash of terms—that is, credit—the commission is payable there and then to the broker, who is not supposed to take any financial risks whatever.
The gem dealer’s tools deserve mention here. They are not of an elaborate nature. In fact, they are of the simplest kind. For picking up the smaller stones the dealer or lapidary uses tweezers called ‘corn-tongs’; for sorting them in sizes he calls to his aid a circular brass box filled with movable perforated disks. This constitutes a diminutive colander and saves a great deal of labor. Then a powerful lens is indispensable, and for wiping the stones clean there there is of course nothing better than a soft chamois leather. Accurately balanced scales for weighing the gems are another indispensable item for any trader whose cargo is so precious that a five hundred millioneth of a metric ton may make a difference to him one way or another of ten or twenty pounds. Most dealers have several sets of scales: one maybe for single stones, another in which to weigh whole parcels, small pairs handy for carrying in the pocket, and as often as not a pair of scales enclosed in a glass case so that no stray current of air or small floating particles of dust may unduly affect the delicately poised beam.
In the gem importing trading centers like Antwerp, Amsterdam, Paris and London, the purchaser has the right, and not infrequently exercises it, of having the accurate weight of a single stone or of a parcel of gems determined by an unbiased third party. In the localities where the dealers have their professional clubs or associations, an official appointed for the purpose does the weighing and issues a certificate. In London, where no such club exists, the Jeweler’s section of the London Chamber of Commerce has established such a service for the convenience of the trade on payment of a small fee.
The price of semi-precious stones of the lower order is usually quoted per gramme or per ounce (thirty grammes go to the ounce). For semi-precious stones of the higher order and for precious stones the carat weight is the standard unit. No less than five million carats go to make up a metric ton, which gives an idea of the smallness of the carat weight. The carat itself is subdivided into a hundred parts, any one of which is called a point. One ‘point’ more or less in the established weight may mean a pound or so in or out of pocket when the stone in question is priced at something like a hundred pounds a carat.
Foundations Of The Bridge: The Technicalities Of Gem Trading
Succisa Virescit
Latin for 'Cut it down, and it will grow back stronger.' Find your niche + find that pain (heat+pressure) that makes you stronger + learn what exists inside you + when it is cut down, makes you grow back stronger = mentally uniform solid person with an orderly internal character.
Don Henly
Don Henley is an American rock singer + songwriter + drummer + best known as a founding member of the Eagles before launching a successful Grammy Award winning solo career + he has a distinctive style + he is active in several environmental/political causes, notably the Walden Woods Project + Caddo Lake Institute + Recording Artists' Coalition.
I love his music.
Useful links:
www.donhenley.com
http://en.wikipedia.org/wiki/Don_Henley
I love his music.
Useful links:
www.donhenley.com
http://en.wikipedia.org/wiki/Don_Henley
Wednesday, December 12, 2007
Intense Blue Diamond
It has been reported that a 6.5 carat intense blue diamond has been sold by the French auction house Guizzetti-Collet for €2.43 million ($3.56 million)/ $547,692 per carat.
Man Finds 1,000th Diamond Of '07 At Park
Denis Tyrrell's exciting diamond find (3.48-carat) at the Crater of Diamonds State Park, Arkansas + his story @ http://news.yahoo.com/s/ap/20071210/ap_on_fe_st/odd1000th_diamond
The Discreet Charm Of The Bourgeoisie
The Discreet Charm Of The Bourgeoisie (1972)
Directed by: Luis Buñuel Screenplay: Luis Buñuel, Jean-Claude Carrière
Cast: Fernando Rey, Delphine Seyrig, Stephane Audran, Jean-Pierre Cassel
(via YouTube): Criterion Trailer 102: The Discreet Charm of the Bourgeoisie
http://www.youtube.com/watch?v=GJ7m-Jb4a5g
The Discreet Charm of The Bourgeoisie
http://www.youtube.com/watch?v=7Z50Gg_16H4
Le Charme discret de la bourgeoisie - The Police Arrest
http://www.youtube.com/watch?v=1DS3OW7sxas
Le Charme discret de la bourgeoisie/The Dry Martini Lecture
http://www.youtube.com/watch?v=LJ-jNWFBVuA
A casual movie magic + fun/surprise + delightful. I enjoyed it.
Directed by: Luis Buñuel Screenplay: Luis Buñuel, Jean-Claude Carrière
Cast: Fernando Rey, Delphine Seyrig, Stephane Audran, Jean-Pierre Cassel
(via YouTube): Criterion Trailer 102: The Discreet Charm of the Bourgeoisie
http://www.youtube.com/watch?v=GJ7m-Jb4a5g
The Discreet Charm of The Bourgeoisie
http://www.youtube.com/watch?v=7Z50Gg_16H4
Le Charme discret de la bourgeoisie - The Police Arrest
http://www.youtube.com/watch?v=1DS3OW7sxas
Le Charme discret de la bourgeoisie/The Dry Martini Lecture
http://www.youtube.com/watch?v=LJ-jNWFBVuA
A casual movie magic + fun/surprise + delightful. I enjoyed it.
Witnesses To The World
(via The Guardian) Andrew Motion writes about the great photographic agency, Magnum Magnum + other viewpoints @ http://arts.guardian.co.uk/art/photography/story/0,,2223834,00.html
http://www.guardian.co.uk/arts/gallery/2007/nov/15/photography?picture=331277123
http://www.guardian.co.uk/arts/gallery/2007/nov/15/photography?picture=331277123
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