Alan Jacobs's Blog, page 260

I went down where the vultures feed

I would’ve gone deeper, but there wasn’t any need

Heard the tongues of angels and the tongues of men

Wasn’t any difference to me

Chilly wind sharp as a razor blade

House on fire, debts unpaid

Gonna stand at the window, gonna ask the maid

Have you seen dignity?

(click photo for details)

It was very interesting next day to see Cambridge. In many ways it is a contrast: there is something, I can hardly say whether of colour or of atmosphere, which at once strikes a more northern, a bleaker and a harder note. Perhaps the flatness of the country, suggesting places seen from the railway beyond Crewe, has something to do with it. The streets are narrow and crowded: the non-university parts depressing enough. Some things – such as King’s College Chapel, in which I was prepared to be disappointed – are indeed beautiful beyond hope or belief: several little quadrangles I remember, with tiled gables, sun dials and tall chimnies like Tudor houses, were charming. One felt everywhere the touch of Puritanism, of something Whiggish, a little defiant perhaps. It has not so much Church and State in its veins as we. The stained windows in the Halls show figures like Erasmus and Cranmer. Oxford is more magnificent, Cambridge perhaps more intriguing. Our characteristic colour is the pale grey, almost the yellow of old stone: theirs the warm brown of old brick. A great many Cambridge buildings remind one of the Tower of London.

— C. S. Lewis, undergraduate at University College Oxford, writing to his father after making his first visit to Cambridge (8 December 1920).

For what it’s worth, I have never seen trailers that look as bad as Ready Player One and A Wrinkle in Time. Both of them give every indication of being absolute turkeys — Ishtar-level turkeydom. Yeeessh.

New York Times

Norman McCaskill

Norman McCaskill

Available for pre-order at Amazon.com (clink photo for link)

Mitch Fraas (@MitchFraas) on Twitter (click photo for link)

It will be asked, How is imitation to be rendered healthy and vital? Unhappily, while it is easy to enumerate the signs of life, it is impossible to define or to communicate life; and while every intelligent writer on Art has insisted on the difference between the copying found in an advancing or recedent period, none have been able to communicate, in the slightest degree, the force of vitality to the copyist over whom they might have influence. Yet it is at least interesting, if not profitable, to note that two very distinguishing characters of vital imitation are, its Frankness and its Audacity; its Frankness is especially singular; there is never any effort to conceal the degree of the sources of its borrowing. Raffaelle carries off a whole figure from Masaccio, or borrows an entire composition from Perugino, with as much tranquillity and simplicity of innocence as a young Spartan pickpocket; and the architect of a Romanesque basilica gathered his columns and capitals where he could find them, as an ant picks up sticks. There is at least a presumption, when we find this frank acceptance, that there is a sense within the mind of power capable of transforming and renewing whatever it adopts; and too conscious, too exalted, to fear the accusation of plagiarism,—too certain that it can prove, and has proved, its independence, to be afraid of expressing its homage to what it admires in the most open and indubitable way; and the necessary consequence of this sense of power is the other sign I have named—the Audacity of treatment when it finds treatment necessary, the unhesitating and sweeping sacrifice of precedent where precedent becomes inconvenient.

— John Ruskin, The Seven Lamps of Architecture