tear

Rewardes

To the Porters that watched all nighte at the black
Fryars brydge for the cummyng of the stuf from the
Coorte : ij 8 .

To the woo'kmen that wayted on the Mask all nighte
who had no tyme to eate theyer supper xvj of them by
way of Rewardes in all : vij 8 .

Will a m Lyzarde for xviij pencells

Will a m Lyzarde for xviij pencells at viij d . the peece ;
xij 8 . for Banners iiij at vj 8 . viij d . the peece; xxvj 8 . viij d .
Crownes ij ; v 8 . for paynting ij Marshalls staves ; ij 8 . for
paynting a castell ; x 8 . the Rock T; churche in the Castle;
x 8 . The pillers Arcatrye, frize cornish 1 the roofe gilt
w* golde and ffine silver; c 8 . The Armes of England



THE REVELS AT COURT. 21

and Fraunce upon it ; x 8 . the wingf ; iiij 8 . certeyne gar-
londf ; xx 8 . Ollyff Braunches and snakes; vij 8 . Avi-
zard for Argus ; ij B . Candlestick^ likwise by him paynted,
ij dozen ; iiij u . A prison for discord $ v 8 . for drawing
of divers hedpeeces; vj 8 . viij d . for gilding iiij. pillers of
a waggon, iij 8 . iiij d . xv u . iij 8 . viij d .

…

Will a m Lyzarde for x peecf and pendent^ fastned to Painter and
them of iiij foote over ; iiij 11 . iiij pendente of xiiij inches his P^ 06 " 8 -
over ; xv 8 . xvj pendente of x Inches ; xxxij 8, viij doo-
zen Roses ; iiij 11 . ij dozen di. of fflowerdeluces ; xv 8 . for
patternes x 8 . all paynted gylded % bestowed on the seide
howse for the better garnishing % setting foorth therof.


…
Will a m Lyzard for gilding T^ paynting sundry thingf
at his howse vidzJ . Patternes for gsonages of Men T;
Women in strange attyer, hedepeecf , dishes for frutes
% ffishes in all : xx 8 . iiij d .

…
Wyll»m Lyzarde for syze ; xxvj 8 . vj d . Black, xv 8 . Painter &c
viij d . Redd; xv 8 . iiij d . Vert; v 1 . vj d . Sapp; iij 8 . viij d .
Crymsen;v 8 . White; xv*. Browne xij d - Yolow; iiij*.
Smalt; xlij 8 . Pott£ 1 Nayles; viij 8 . ij d . spruce yolow;
xxij d . Gowlde ; xv 8 . x d . Silver ; iiij 8 . ix d . Oker de
Rowse; ij 8 . Glew; iij 8 . iiij d . ffoyle; vij 8 . vj d . fflor-
rey ; iiij 8 . Copg culler ; xx d . shave russet to smoothe
the eggf : viij d . A Fedew ; iij 8 . iiij d . Cullers for the
sugerw r ke; xij d . the hier of a horse v daies % his
meate by the* waye to Hampton Coo'te T£ ; xiiij 8 . vj d .
Reduced by the Clerk Comptrowler in all to viij u .

…
Will a m Lyzarde for mony to him due for sundry punters
cullers. vS percells

». d.
Syze 1 pott? vij

White x ft at iij d . the ft v

Black iij ft at xvj d . the ft • iiij

Nayles; viij

Smalt iij lb at iij 8 . vj d . the lb x vj

Masticote j ft ; iij

Ende di. ft; , ij viij

sinop j ft; ij

Browne di. ft; ix

Vert j ft ij viij

sape j eg**** xx

Gold culler iij

Glew viij

Wex; vj

Golde v

sylver vj

ffynegolde vj viij

Vermillion ij

Byce 8 <5zcf>

dishes for devells eyes

EXTRACTS PROM THE ACCOUNTS OP 



Imple-
mentes for
propertyes
suche as
sundry
playes re-
q'red pro-
vided and
employed

*7»



chyns, Nayles, vices, Hookes, Hingf, Horstayles, Hobby
horses, pitchers, paper, Braunches of sylke and othe 7 gar-
nit r for pageant? , fethers, ffagbroches, Tow, Trenchers,
gloves black, septers, wheate sheaves, Bodyes of men in
iymber, dishes for devells eyes, devices for hell, T; hell
mowthe staves for banners Tx. Bowes, bills, daggs, Tar-
gets, swordes, daggers, fawchins fierw r ke, Bosses for
bittf , speares, past, glew, pacthrede, whipcorde, Holly,
Ivy, % other greene bowes, bayes, % strewing erbes T;
such like Irapleraetf by him employed at the coo'te % in
thoffice to acceptable purposes w* cariagf % Reward? by
him paid in all ; xiiij 1 *. xj". j d .



Sachary Benett for x dosen of Kyddf skynnes together
The Fur- with the woorkmanship by him and his servauntf doone
ryer. U po n the Hobby horses that s r ved the children of West-

minster in the triumphe (where parris wan the Christall
sheelde for vienna, at the Turneye and Barryers) in all ;

xlijs vj d .

William Lyzard for Golde, sylver and sundry other

The Cullers Cullers by him spent in paynting the howses that se'ved

for the playes *l players at the Coo'te ; w* theier pperties

% necessaries Incident the gticul's wherof appeere at

lardge in his bill ; xiij u . xvj 1 . j d .



Wyerdraw*
and his per-
cells



Thomas Leverett for mony to him due for wyer, plates,
Lantornes, canstikf staples, snakes pack needls, Ropes,
bittf % suche like trinkett? w* his attendaunce as more
at lardge appereth in his bill am** * to ; vj u . xvj".



Thomas Gyles for mony to him due for xxj ffyne
Vizardes vyzard? with long Berdes, lxx 8 . And for vj Turk?
vizard? xv s . In all as by his bill therof appereth ;



iiij li . v".

Name:	HMS Prince Royal
Ordered:	November 1607.
Builder:	Phineas Pett I, Woolwich
Laid down:	20 October 1608
Launched:	25 July 1610
Honours and awards:	Participated in: Battle of the Kentish Knock Battle of the Gabbard Battle of Scheveningen Battle of Lowestoft Four Days Battle
Fate:	Burnt, 3 June 1666 by the Dutch

beake - peake?

Hendrick Vroom - detail showing the Prince Royal

The Arrival at Vlissingen of the Elector Palatinate Frederick V 1632

i6n APPENDIX V 207



V.

New Building the Prince Royal at Woolwich

[Pipe Office Declared Account No. 2249] 1
[N.B. Spelling and numerals modernised]

Mathew Baker, one of his Majesty's Master Ship-
wrights, for his pains and charges in many journeys
between Deptford and Woolwich during the time of the
new building of his Majesty's ship the Prince Royal, by
special command from the Lord Treasurer and the Lord
Admiral of England . .... io/.

Robert Beake and Paul Isackson, painters, for paint-
ing and gilding his Highness' ship the Prince Royal with
fine gold and divers colours wrought and laid in oil,
finding at their own charge all manner of stuff and work-
manship : viz. the beakhead three times primed and
stopped ; his Majesty's arms and badges, with divers
beasts, and the Prince's arms all gilded with fine gold
and wrought in oil colours . . . 621. 6s. Sd.

For both the sides, and all the carved work on both
the sides, as well on the backside as foreside, three times
primed and stopped ; with his Majesty's whole arms and
badges on the two upper strakes ; the Prince's arms and
badges on the third strake ; the great mask head on the
fourth strake ; all the foresaid arms, with very much
other work, and the lower strake all gilded and wrought
in oil colours iqol,

For the galleries, three on each side, priming three
times ; the lower galleries with his Majesty's beasts and
badges ; the third with the like and very much other
work ; all gilded and wrought in oil colours . . ioo/.

For the upright in the stern with his Majesty's whole
arms and badges ; on the first, second and third galleries
on the stern, with his Majesty's arms and beasts, and
the Prince's also ; on the lower counter two great mask
heads three times primed and stopped, all gilded and
laid in oil colours 140^.



208 APPENDIX V 1611

For all the bulkheads, the first in the poop, the second
afore the Master's cabin, the third afore the Prince's
cabin, the fourth and fifth in the waist with the bell-
house, the sixth and seventh afore the forecastle, thereon
some of his Majesty's badges and much other work,
three times primed and stopped, gilded and wrought in
oil colours 45/. los.

For all the timbers within the board, and all the
plansers 1 afore and abaft, double primed and stopped
and laid in oil colours ...... io/.

For the galleries within board, primed and stopped
and laid in oil colours 61.

For the Prince's lodging cabin, very curiously wrought
and gilded with divers histories, and very much other
work in oil colours ..... i6^l.

For the state cabin, gilded and very curiously wrought
with divers histories, and much other works, wrought in
oil colours and varnished go/.

For the room abaft the stateroom, wrought overhead
and on each side with sundry figures in oil colours . 15^.

For the Master's cabin wrought and varnished, with
his mate's cabins, primed and laid in oil colours nos.

And for all the works under the half deck, double
primed and stopped, with very much works, and up the
stairs to the half deck, all laid in oil colours . . 40/.

In all 868J. 6s. Sd.

phineas pett 1570 -1647

Phineas Pett of Chatham in the county of Kent one of his Maj.s shipwrights
of the age of XXXiX yeres or thereabouts sworne and examined the daye and yere aforesaid.

via wikipedia
Phineas Pett first met the King (James I of England) in 1607, through the good graces of the Earl of Nottingham, William Howard, the Lord High Admiral, to whom he had presented a model of a ship intended for the young prince Henry.

Howard thought the mould good enough for the direct attention of the King and arranged for a presentation in the presence of James, and his son the Prince, at Richmond. The model was presented to the Prince at St. James's, "who entertained it with great joy, being purposely made to disport himself withal." King James being likewise impressed and ‘exceedingly delighted with the sight of the model’ placed the task of constructing a full-size replica of the ship in Pett’s charge.

i6o 4 SHIP FOR PRINCE HENRY 21 

a letter sent post to Chatham from my honourable Lord
Admiral, commanding me with all possible speed
to build a little vessel for the young prince Henry
to disport himself in above London Bridge, and to
acquaint his Grace with shipping and the manner
of that element, setting me down the proportions
and the manner of her garnishing, which was
to be like the work of the Ark Royal, battlement
wise. This little ship was in length by the keel
25 foot, and 12 foot in breadth, garnished with
painting and carving both within board and with-
out very curiously, according to his Lordship's
directions. I laid her keel the igth day of Janu-
ary, wrought upon her as well day as all night
by torch and candle lights under a great awning
made with sails for that purpose.

Stephen Johnston, ‘Making mathematical practice: gentlemen, practitioners and artisans in Elizabethan England’

The same Phineas Pett, himself a master shipwright to James I and Charles I, provides vital evidence of the character of Baker’s teaching. Despite much enmity between the two men in subsequent years, Pett was to recall in his autobiography that in the winter of 1595/6,

in the evenings, commonly I spent my time to good purposes, as [page 133:] in cyphering, drawing and practising to attain the knowledge of my profession, and I then found Mr Baker sometime forward to give me instructions, from whose help I must acknowledge I received my greatest lights.31

Pett’s testimony is of exceptional interest. Firstly, it specifies the area in which he supposed knowledge of his profession to lie: ‘cyphering, drawing and practising’. Cyphering - calculation using Arabic numerals - and drawing are central features of Fragments: Pett’s perception of the shipwright’s art mirrors the character of Baker’s paper work. In addition, primary responsibility for fostering this perception is ascribed to Baker, who was evidently encouraging and open with his knowledge, even though Pett was never his apprentice; in an (admittedly flattering) letter to Baker of 1603, Pett remarked that ‘although I served no years in your service, yet I must ever acknowledge whatever I have of any art (if I have any) it came only from you’.32

Pett’s casual comment that Baker’s instruction was given in the evenings also suggests a deeper point. Shipwrights traditionally learnt their trade by the observation and imitation of a master out in the shipyard. The art was passed on during the hours of the working day and the process did not demand literacy or formal numeracy. But Baker was sponsoring an alternative approach to teaching, carried out when work was over. Facility in calculation and draughting techniques was developed and literacy probably assumed. Baker was promoting a form of training separate from the exercise of the craft at the workplace. So not only design, but craft teaching too, was removed from the wooden world of the shipyard and transferred to a new space like that of [page 134:] Baker’s drawing office (Figure 3.1).33

mathew baker master shipwright 1530 - 1613

MATHEW BAKER AND THE ART OF THE SHIPWRIGHT 1. ‘FRAGMENTS OF ANCIENT ENGLISH SHIPWRIGHTRY’

However, aside from its use of perspective, the artifice of Baker’s drawing can be more radically dismantled. Figure 3.2 shows a room with two men creating a perspective image, and might seem a possible source for Baker’s general motif. A closer comparison, looking not at the human figures but at the table on which they are working, shows that the connection is much stronger: Baker’s table is a direct copy from the engraving. This exact source is the final woodcut in Albrecht Dürer’s Underweysung der Messung (1525), a heavily-illustrated treatise on practical geometry directed specifically at painters. As will become clear later, there is independent evidence elsewhere in Baker’s Fragments that he knew and borrowed from Dürer’s text. But the point here is that Baker was deliberately and self-consciously assembling his identity as a shipwright and designer, pulling together elements from the prestigious artistry and mathematics of Dürer.

The Venetian Vettor Fausto commented in 1530 that

if knowledge of the architecture of buildings on land is so thoroughly difficult, what should I say about that of the sea, where everything is drawn out not by straight lines (which is an almost easy method) but by curves and variations repeatedly made to them?13

Stephen Johnston, ‘Making mathematical practice: gentlemen, practitioners and artisans in Elizabethan England’ (Ph.D. Cambridge, 1994)

The decoration of the few major ship draughts is possibly the glory for which the whole work is celebrated. They are indeed finely worked, highly detailed, and some still glistening gold and silver. Others have beautiful, subtle colour washes. In most there is a riot of geometric pattern and scrollwork, even on mere merchantmen, and many display carved figures apart from the figureheads. There are numerous heraldic shields in Fragments, most notably as pavesses along the waists of the three galliasses, but also in the window of the shipwrights workroom (p8). None are identifiable, and so throw no light on the identity of Baker’s patron (if any), but several have marked similarities with the commonest form adopted for their arms by the London craft guilds - a chevron between three appropriate implements or products.

Fragments of Ancient English Shipwrighty Richard Barker

IV International Reunion for Nautical Science and Hydrography, Sagres 1983.

Published in Revista da Universidade de Coimbra, Vol XXXII, 1986, pp 161-178.

LC2/4/5

deliveries of blacke
Cloth for Liveries hangings … and all other Silke & furniture
whatever employed by diverse Artificers

Jo: De Crites

Item for … painting & guilding a
Caryett in… a Garter and …
the … Princs Armes in it guilt in …
fine gold and bi…

Item for painting and guilding of
a … … … a lion and their …
over it …

Itm for painting and guilding ……
fine gold a Coronet … … the …
… in the Sonbeames upon Taffata

Itm for painting and guilding …
fine gold a great Banner upon Taffata
for the Earldome of …

Itm for painting and guilding …
fine gold a great Banner upon Taffata
for the Earldome of Cornwall

Itm for guilding … fine gold and
painting a banner upon Taffata for
the Principalitie of wales

Itm for painting and guilding no 8
fine gold a great banner for …
Itm for painting and guilding no 8fine
gold a great banner for

Itm for painting and guilding no 8 fine
gold a great banner for the kingdome
of Scotland prt

Itm for painting and guilding no 8 fine
gold a Banners of : upon …
and … Taffata …

Itm for painting and guilding no 8
fine gold … banneretts upon …
and bleu Tafffata at … …

Itm for painting and guilding no 8
fine gold … dozen of penetts upon Taffata at …

lion trophy

hole in the park

pictorial stones

Antonio Carracci, Annunciation, Painted on Alabaster Slabs prior to 1618, Naples, National Musem of Capodimonte
























Johann Konig, The Last Judgment, Painting on Agate 1632, Uppsala, Cabinet of Gustavus Adolphus

crossing the line

radium woman

A "lock down" in police terms is when officers control where people can go in a certain area in response to a specific risk, hazard or threat

electric spring

infinite fill landscape

perceptual ground

image from homemade Claude Glass

reconstructed double yellow

recto verso

ploughshare

What I miss most are the songs in the fields… And there are no more plows. I love a plow more than anything else on a farm

Arshile Gorky, American (born Armenia), 1904 – 1948,
Haikakan Gutan III (Armenian Plow III), c. 1947
Wood, 8 1/8 x 28 5/8 x 6 in. Diocese of the Armenian Church of America (Eastern) on Deposit at the Calouste Gulbenkian Foundation, Lisbon, Portugal.

negative

dido shelley pasolini

Living in a Piranesi

talk with the animals

tele/path/ological syn/aesthete

Ford Driver/3D scanner

1 grab pictures from webcam
2 convert to rgb format
3 remove green & blue
4 threshold red components to remove shading

to detect scanned profile and extract x-y coordinates
each frame will get taken at different rotation angle so z-axis can be extracted

monument to gagarin

moscow 1994

roma

automatic collage

antarctic silver

automatic collage

universal history/ peace march

As a final conclusion, this question: scholars have argued that the architecture of cathedrals, temples, and mosques creates a sense of the community of believers through the ritual practices of everyday life. Benedict Anderson has claimed that the mass readership of newspapers and novels creates an imagined community of the nation. What kind of community can we hope for from a global dissemination of images, and how can our work help to create it?

Susan Buck-Morss, 2004

image-event

folk museum

pot drying tree

forward slash

We are not enamoured of astrological, zoological, heraldic or cabalistic fashions. We have hunted neither the phoenix nor the unicorn, we have dug up no helmet and plume, nor have we tacked on learned mottoes. And for "Sapienta" or "Virtus" we are still too young.…

"By beauty of shapes I do not mean, as most people would suppose, the beauty of living figures or of pictures, but, to make my point clear, I mean straight lines and circles, and shapes, plane or solid, made from them by lathe, ruler and square. These are not, like other things, beautiful relatively, but always, and absolutely." (Plato: Philebus 51C)

March, 1935 Josef Albers

Voight-Kampff Empathy Test‏/ Harriet Smith @ HOVEL

Voight-Kampff Empathy Test‏

an intervention by Harriet Smith @ HOVEL

Open:

Weekends February 20^th 21th 27^th 28^th

March 6th 7th: 1-6pm.

Private View 21st of February 3-7pm.

Address:

37 Evelina Mansions

New Church Road

Camberwell, SE5 7JW

Other viewing by appointment:

0207 703 6337 or hoveltenant@googlemail.com

The Voight-Kampff test attempts to distinguish androids from human beings by autonomic responses to questions that should elicit an empathic response. Because it seeks to gather and measure biological information for security purposes, the empathy testing procedure is a kind of biometric identification system.

"I'm not a peace officer," Rick said. "I'm a bounty hunter." From his opened briefcase he fished out the Voight-Kampff apparatus, seated himself at a nearby rosewood coffee table, and began to assemble the rather simple polygraphic instruments...
"This" - he held up the flat adhesive disk with its trailing wires - "measures capillary dilation in the facial area. We know this to be a primary autonomic response... This records fluctuations of tension within the eye muscles.

A B S T R A C T
E N I H C A M

PALING

PALING

Paling ( tsetsen pitchi ) is considered to be the most beautiful kind of fencing. It was made by putting branches of a purple willow or a nut tree 2 or 2,5 metres long vertically behind the 3 parallel poles fastened between 2 pickets. Fir-tree boughs cut from green fir-trees were the main raw material for making a paling. Such fences have been used for centuries.

A wettle-fence was used for fencing bee-gardens, haystacks in the meadows and ravines. Aspen, willow, bird-cherry tree and sometimes fir-tree branches were used for a wettle-fence. Some stakes were driven in the earth. They were made of hard wood and were put at a distance of 1 - 1,5 mts from each other. Some things twined around them.

foreigners, strangers, aliens

Today the terms “alien” and “foreigner” are used interchangeably to describe people who originate from a different country than the one in which they reside. However, during the Early Modern period in England these two terms had different, specific meanings. Early Modern Englanders understood the term “alien” to mean “[o]ne who is a subject of another country than that in which he resides. A resident foreign in origin and not naturalized, whose allegiance is thus due to a foreign state” ( OED “alien” n.3 a.). Naturalization was an Act of Parliament by which a refugee could legally become an English subject (Chitty 132). The use of the term “foreigner” today refers to “[a] person born in a foreign country; one from abroad or of another nation; an alien” ( OED “foreigner” 1.a.) During the Early Modern Era, however, a “foreigner” was “[o]ne of another county, parish, etc.; a stranger, outsider. In early use esp. one not a member of any particular guild, a non-freeman” ( OED “foreigner” 2). A foreigner came from somewhere within the country, but outside the city of London, while an alien originated from a country other than England.

















Aliens were also required to make their presence known to the government upon arriving in England, in addition to adhering to the laws regarding London’s guilds and companies. Refugees or the municipal authorities of an area would write to the royal government, soliciting for a license in the form of a letters patent (28). Upon receipt of a licence, a refugee would become part of the community known as “alien friends,” and would “enjoy limited privileges within the country” (Chitty 132). Although alien friends were forbidden by law to own any form of property, they “were often permitted in practice to buy or lease dwellings for [their] own use” (132).

Aliens could transcend the status of “alien friend” by becoming either denizens or naturalized Englishmen (Norwood 35). To become a denizen, an alien had to apply for a letter of denization. Unlike alien friends, denizens were allowed rights to residence but were still forbidden to inherit land (35). Both denizens and aliens were subject to a poll-tax from which natives were exempt. In special circumstances, an alien could obtain rights equal to those of a native Englishman through an Act of Naturalization. An Act of Naturalization required an Act of Parliament. Many immigrants did not petition for any form of status, because they hoped their stay in England would be temporary (35-36).

Tempo di viaggio

Tarkovsky and Tonino Guerra fail to see the marble floor painted with strewn petals in Sorrento...

testaccio