beaumes de venise :(

it derives from the image of a blue towel on a wooden door against a white wall

En passant

dynamitage de l'obélisque

C CRU

ccru

virtual futures

cyberwar

Simon's interview with CCRU (1998)

sierpinski carpet / menger sponge

fight

rage

killed by fire

sua cuique persona

Auch ich muss es verstehen.

dim stockings

In the early 1970s there was an advertisement shown in Paris movie theaters that promoted a well-known brand of French stockings, 'Dim' stockings. It showed a group of young women dancing together. Anyone who ever watched even a few of its images, however distractedly, would have a hard time forgetting the special impression of synchrony and dissonance, of confusion and singularity, of communication and estrangement that emanated from the bodies of the smiling dancers. This impression relied on a trick: Each dancer was filmed separately and later the single pieces were brought together over a single sound track. But that facile trick, that calculated asymmetry of the movement of long legs sheathed in the same inexpensive commodity, that slight disjunction between the gestures, wafted over the audience a promise of happiness unequivocally related to the human body.

 Agamben, The Coming Community

lump

peterloo medal / 16-08-1819

http://www.peterloomassacre.org/history.htmlhttp://www.peterloomassacre.org/history.html

Percy Bysshe Shelley - The Mask of Anarchy

Written on the occasion of the massacre carried out by the British Government
at Peterloo, Manchester 1819
 

As I lay asleep in Italy
There came a voice from over the Sea,
And with great power it forth led me
To walk in the visions of Poesy.

I met Murder on the way -
He had a mask like Castlereagh -
Very smooth he looked, yet grim;
Seven blood-hounds followed him:

All were fat; and well they might
Be in admirable plight,
For one by one, and two by two,
He tossed the human hearts to chew
Which from his wide cloak he drew.

Next came Fraud, and he had on,
Like Eldon, an ermined gown;
His big tears, for he wept well,
Turned to mill-stones as they fell.

And the little children, who
Round his feet played to and fro,
Thinking every tear a gem,
Had their brains knocked out by them.

Clothed with the Bible, as with light,
And the shadows of the night,
Like Sidmouth, next, Hypocrisy
On a crocodile rode by.

And many more Destructions played
In this ghastly masquerade,
All disguised, even to the eyes,
Like Bishops, lawyers, peers, or spies.

Last came Anarchy: he rode
On a white horse, splashed with blood;
He was pale even to the lips,
Like Death in the Apocalypse.

And he wore a kingly crown;
And in his grasp a sceptre shone;
On his brow this mark I saw -
'I AM GOD, AND KING, AND LAW!'

With a pace stately and fast,
Over English land he passed,
Trampling to a mire of blood
The adoring multitude.

And a mighty troop around,
With their trampling shook the ground,
Waving each a bloody sword,
For the service of their Lord.

And with glorious triumph, they
Rode through England proud and gay,
Drunk as with intoxication
Of the wine of desolation.

O'er fields and towns, from sea to sea,
Passed the Pageant swift and free,
Tearing up, and trampling down;
Till they came to London town.

And each dweller, panic-stricken,
Felt his heart with terror sicken
Hearing the tempestuous cry
Of the triumph of Anarchy.

For with pomp to meet him came,
Clothed in arms like blood and flame,
The hired murderers, who did sing
'Thou art God, and Law, and King.

'We have waited, weak and lone
For thy coming, Mighty One!
Our Purses are empty, our swords are cold,
Give us glory, and blood, and gold.'

Lawyers and priests, a motley crowd,
To the earth their pale brows bowed;
Like a bad prayer not over loud,
Whispering - 'Thou art Law and God.' -

Then all cried with one accord,
'Thou art King, and God and Lord;
Anarchy, to thee we bow,
Be thy name made holy now!'

And Anarchy, the skeleton,
Bowed and grinned to every one,
As well as if his education
Had cost ten millions to the nation.

For he knew the Palaces
Of our Kings were rightly his;
His the sceptre, crown and globe,
And the gold-inwoven robe.

So he sent his slaves before
To seize upon the Bank and Tower,
And was proceeding with intent
To meet his pensioned Parliament

When one fled past, a maniac maid,
And her name was Hope, she said:
But she looked more like Despair,
And she cried out in the air:

'My father Time is weak and gray
With waiting for a better day;
See how idiot-like he stands,
Fumbling with his palsied hands!

He has had child after child,
And the dust of death is piled
Over every one but me -
Misery, oh, Misery!'

Then she lay down in the street,
Right before the horses' feet,
Expecting, with a patient eye,
Murder, Fraud, and Anarchy.

When between her and her foes
A mist, a light, an image rose,
Small at first, and weak, and frail
Like the vapour of a vale:

Till as clouds grow on the blast,
Like tower-crowned giants striding fast,
And glare with lightnings as they fly,
And speak in thunder to the sky,

It grew - a Shape arrayed in mail
Brighter than the viper's scale,
And upborne on wings whose grain
Was as the light of sunny rain.

On its helm, seen far away,
A planet, like the Morning's, lay;
And those plumes its light rained through
Like a shower of crimson dew.

With step as soft as wind it passed
O'er the heads of men - so fast
That they knew the presence there,
And looked, - but all was empty air.

As flowers beneath May's footstep waken,
As stars from Night's loose hair are shaken,
As waves arise when loud winds call,
Thoughts sprung where'er that step did fall.

And the prostrate multitude
Looked - and ankle-deep in blood,
Hope, that maiden most serene,
Was walking with a quiet mien:

And Anarchy, the ghastly birth,
Lay dead earth upon the earth;
The Horse of Death tameless as wind
Fled, and with his hoofs did grind
To dust the murderers thronged behind.

A rushing light of clouds and splendour,
A sense awakening and yet tender
Was heard and felt - and at its close
These words of joy and fear arose

As if their own indignant Earth
Which gave the sons of England birth
Had felt their blood upon her brow,
And shuddering with a mother's throe

Had turned every drop of blood
By which her face had been bedewed
To an accent unwithstood, -
As if her heart had cried aloud:

'Men of England, heirs of Glory,
Heroes of unwritten story,
Nurslings of one mighty Mother,
Hopes of her, and one another;

'Rise like Lions after slumber
In unvanquishable number,
Shake your chains to earth like dew
Which in sleep had fallen on you -
Ye are many - they are few.

'What is Freedom? - ye can tell
That which slavery is, too well -
For its very name has grown
To an echo of your own.

'Tis to work and have such pay
As just keeps life from day to day
In your limbs, as in a cell
For the tyrants' use to dwell,

'So that ye for them are made
Loom, and plough, and sword, and spade,
With or without your own will bent
To their defence and nourishment.

'Tis to see your children weak
With their mothers pine and peak,
When the winter winds are bleak, -
They are dying whilst I speak.

'Tis to hunger for such diet
As the rich man in his riot
Casts to the fat dogs that lie
Surfeiting beneath his eye;

'Tis to let the Ghost of Gold
Take from Toil a thousandfold
More that e'er its substance could
In the tyrannies of old.

'Paper coin - that forgery
Of the title-deeds, which ye
Hold to something of the worth
Of the inheritance of Earth.

'Tis to be a slave in soul
And to hold no strong control
Over your own wills, but be
All that others make of ye.

'And at length when ye complain
With a murmur weak and vain
'Tis to see the Tyrant's crew
Ride over your wives and you -
Blood is on the grass like dew.

'Then it is to feel revenge
Fiercely thirsting to exchange
Blood for blood - and wrong for wrong -
Do not thus when ye are strong.

'Birds find rest, in narrow nest
When weary of their wingèd quest
Beasts find fare, in woody lair
When storm and snow are in the air.

'Asses, swine, have litter spread
And with fitting food are fed;
All things have a home but one -
Thou, Oh, Englishman, hast none!

'This is slavery - savage men
Or wild beasts within a den
Would endure not as ye do -
But such ills they never knew.

'What art thou Freedom? O! could slaves
Answer from their living graves
This demand - tyrants would flee
Like a dream's dim imagery:

'Thou art not, as impostors say,
A shadow soon to pass away,
A superstition, and a name
Echoing from the cave of Fame.

'For the labourer thou art bread,
And a comely table spread
From his daily labour come
In a neat and happy home.

'Thou art clothes, and fire, and food
For the trampled multitude -
No - in countries that are free
Such starvation cannot be
As in England now we see.

'To the rich thou art a check,
When his foot is on the neck
Of his victim, thou dost make
That he treads upon a snake.

'Thou art Justice - ne'er for gold
May thy righteous laws be sold
As laws are in England - thou
Shield'st alike the high and low.

'Thou art Wisdom - Freemen never
Dream that God will damn for ever
All who think those things untrue
Of which Priests make such ado.

'Thou art Peace - never by thee
Would blood and treasure wasted be
As tyrants wasted them, when all
Leagued to quench thy flame in Gaul.

'What if English toil and blood
Was poured forth, even as a flood?
It availed, Oh, Liberty,
To dim, but not extinguish thee.

'Thou art Love - the rich have kissed
Thy feet, and like him following Christ,
Give their substance to the free
And through the rough world follow thee,

'Or turn their wealth to arms, and make
War for thy belovèd sake
On wealth, and war, and fraud - whence they
Drew the power which is their prey.

'Science, Poetry, and Thought
Are thy lamps; they make the lot
Of the dwellers in a cot
So serene, they curse it not.

'Spirit, Patience, Gentleness,
All that can adorn and bless
Art thou - let deeds, not words, express
Thine exceeding loveliness.

'Let a great Assembly be
Of the fearless and the free
On some spot of English ground
Where the plains stretch wide around.

'Let the blue sky overhead,
The green earth on which ye tread,
All that must eternal be
Witness the solemnity.

'From the corners uttermost
Of the bounds of English coast;
From every hut, village, and town
Where those who live and suffer moan,

'From the workhouse and the prison
Where pale as corpses newly risen,
Women, children, young and old
Groan for pain, and weep for cold -

'From the haunts of daily life
Where is waged the daily strife
With common wants and common cares
Which sows the human heart with tares -

'Lastly from the palaces
Where the murmur of distress
Echoes, like the distant sound
Of a wind alive around

'Those prison halls of wealth and fashion,
Where some few feel such compassion
For those who groan, and toil, and wail
As must make their brethren pale -

'Ye who suffer woes untold,
Or to feel, or to behold
Your lost country bought and sold
With a price of blood and gold -

'Let a vast assembly be,
And with great solemnity
Declare with measured words that ye
Are, as God has made ye, free -

'Be your strong and simple words
Keen to wound as sharpened swords,
And wide as targes let them be,
With their shade to cover ye.

'Let the tyrants pour around
With a quick and startling sound,
Like the loosening of a sea,
Troops of armed emblazonry.

Let the charged artillery drive
Till the dead air seems alive
With the clash of clanging wheels,
And the tramp of horses' heels.

'Let the fixèd bayonet
Gleam with sharp desire to wet
Its bright point in English blood
Looking keen as one for food.

'Let the horsemen's scimitars
Wheel and flash, like sphereless stars
Thirsting to eclipse their burning
In a sea of death and mourning.

'Stand ye calm and resolute,
Like a forest close and mute,
With folded arms and looks which are
Weapons of unvanquished war,

'And let Panic, who outspeeds
The career of armèd steeds
Pass, a disregarded shade
Through your phalanx undismayed.

'Let the laws of your own land,
Good or ill, between ye stand
Hand to hand, and foot to foot,
Arbiters of the dispute,

'The old laws of England - they
Whose reverend heads with age are gray,
Children of a wiser day;
And whose solemn voice must be
Thine own echo - Liberty!

'On those who first should violate
Such sacred heralds in their state
Rest the blood that must ensue,
And it will not rest on you.

'And if then the tyrants dare
Let them ride among you there,
Slash, and stab, and maim, and hew, -
What they like, that let them do.

'With folded arms and steady eyes,
And little fear, and less surprise,
Look upon them as they slay
Till their rage has died away.

'Then they will return with shame
To the place from which they came,
And the blood thus shed will speak
In hot blushes on their cheek.

'Every woman in the land
Will point at them as they stand -
They will hardly dare to greet
Their acquaintance in the street.

'And the bold, true warriors
Who have hugged Danger in wars
Will turn to those who would be free,
Ashamed of such base company.

'And that slaughter to the Nation
Shall steam up like inspiration,
Eloquent, oracular;
A volcano heard afar.

'And these words shall then become
Like Oppression's thundered doom
Ringing through each heart and brain,
Heard again - again - again -

'Rise like Lions after slumber
In unvanquishable number -
Shake your chains to earth like dew
Which in sleep had fallen on you -
Ye are many - they are few.'

bookshelf

Get a pocket computer
Try to do what you used to do yeah

stonehenge hedgehog

Most records in archives are grouped together by origin and provenance rather than by subject.

APelles painted a Mare and a Dogge so liuelie

APelles painted a Mare and a Dogge so liuelie, that Horses and Dogges pas|sing by woulde neigh, and barke at them; hee grewe so famous for his excellent Art, that great Alexander came often to his shoppe to visite him, and commaunded that none other should paint him; at his death hee left Venus vnfinished, neither was anie euer founde, that durst perfect, what hee had begunne. Zeuxis was so excellent in painting, that it was easier for anie man to view his pictures, then to imitate them, who to make an excel|lent Table, had fiue Agrigentine Vir|gins naked by him; hee painted Grapes so liuelie, that Birdes did flie to eate them. Parrhasius painted a Sheete so artificiallie, that Zeuxis tooke it for a Sheete in deede, and commaunded it to bee taken away to see the picture, that hee thought it had vayled; as learned and skilfull Greece had these excellent|ly renowned for their limning: so Eng|lande hath these; Hiliard,  Isaac Oliuer, and Iohn de Creetes, very famous for their painting.

As Greece moreouer had these Pain|ters; Timantes, Phidias, Polignotus, Pa|neus, Bularchus, Eumarus, Cimon Cleonaeus, Pythis, Apollodorus Atheniensis, Aristi|des The banus Nicophanes, Perseus, An|tiphilus, and Nicearchus: so in Englande wee haue also these; William and Francis Segar brethren, Thomas and Iohn Bettes, Lockey, Lyne, Peake, Peter Cole, Arnolde, Marcus, Iaques de Bray, Cornelius, Peter Golchis, Hieronimo and Peter Vande Uelde. As Lysippus, Praxiteles, and Pyrgoteles, were excellent engrauers: so wee haue these engrauers, Rogers, Christoper Swit|ser, and Cure.


Meres, Francis, 1565-1647.
Title: Palladis tamia Wits treasury being the second part of Wits common wealth. By Francis Meres Maister of Artes of both vniuersities.
Date: 1598 

OF all MONUMENTS built by Mankind since the beginning of the World

OF all MONUMENTS built by Mankind since the beginning of the World, there seem to be only two General Causes.

The FIRST Natural, namely a certain desire of Immortality, inherent in, and as it were Essential to the Human Soul. Which being an Immaterial Essence, participant of Divinity both in its Crea|tion, and Hopes, perpetually carrieth about it this impress or character of that Eternal Being, from whence it was derived; that it abhorreth Oblivion, and as not contented with that perpetuity in posterity, which Nature hath ordained by propagation of the Species, (an institution common also to Brute Animals) it aims at another kind of Eternity, by seeking to deliver the Remembrance of some notable actions to all succeeding Generations. So strong are the incitements of this our congenial Ambition, that the Dullest Souls are not altogether insensi|ble of them, and Heroique ones feel a sort of felicity in suffering themselves to be transported by them: Yea, many have preferr'd the Imaginary life of Glory, to that Real one of Nature; and through most horrid dangers and pains exposed themselves to death, meerly out of an obscure hope of being soon revived by Fame, and obtaining a better subsistence in the immortality of their Names.

The OTHER, which is Politique; namely an incitement of men to hazardous undertakings, and enterprizes of difficulty, by set|ting before their eyes the glorious Examples of such among their Predecessors, who by actions of eminent fortitude, prudence, justice, knowledge, piety to their Country, or other the like Virtues, have highly obliged mankind. For, since Glory and Renown is one of the sharpest spurrs to Heroical spirits; and that glory is alwayes great|est, that is most permanent: it was a high point of Wisedome and Policie in our Forefathers to erect publick memorials of great and worthy men, such as being lookt upon by their Successors, might in|spire them with a generous Emulation to atchieve the like meritori|ous actions, that so they may attain to the like honour and esteem, with those that shall come after them. Virtue, though a sufficient reward to it self, would yet have but few followers, unless attended on by Fame. Whereupon Cicero (in 1. Tusculan.) discoursing of gallant men, sayes positively, Eorum nemo unquam, sine magna spe

immortalitatis, se pro patria offerret ad mortem; no man, however magnanimous and brave, would for the good of his Country offer him|self to death, without great hope of immortality; and Euripides (in Ajace) not indecently cries out [undefined span non-Latin alphabet]. Among the most durable Memorials of worthy Men and Actions, by which generous spirits are animated to tread in the rough and crag|gy wayes of Virtue, upon expectation the Gratitude of posterity will endeavour to vindicate their names and deserts from the devouring jaws of Oblivion; the first place belongs to those, which the Greci|ans call [undefined span non-Latin alphabet], the Romans Monumenta, and we in imitation of them Monuments: because they serve to instruct the present and fu|ture ages, in things done in ages past; and remain to succeeding gene|rations, as certain Memorials of the famous performances of their Ancestors. The word Monumentum deriving it self from Moneo; and that again holding from Memoria; as Varro (de lingua Latin. lib. 8. ) monere est a memoria dictum, quod is, qui monet, perinde sit ac memoria. So that a Monument, in propriety of signification, is an Admonition by putting in remembrance.

After the Horsemen came the Antimasquers

After the Horsemen came the Antimasquers, and as the Horsemen had their Musick, about a do|zen of the best Trumpeters proper for them, and in their Livery, sounding before them; so the first Antimasque being of Cripples, and Beggers on horseback, had their Musick of Keys and Tongues, and the like, snapping and yet playing in a Con|sort before them.
These Beggers were also mounted, but on the poorest leanest Jades that could be gotten out of the Dirt-carts, or elsewhere: and the variety and change from such noble Musick, and gallant Hor|ses, as went before them, unto their proper Mu|sick, and pitiful Horses, made both of them the more pleasing.
The Habits and properties of these Cripples and Beggers, were most ingeniously fitted (as of all the rest) by the Commissioners direction, wherein (as in the whole business) Mr. Attorney Noy, Sir John Finch, Sir Edward Herbert, Mr. Selden, those great and eminent Persons, as all the rest of the Committee, had often Meetings, and took extraor|dinary care and pains in the ordering of this bu|siness, and it seemed a pleasure to them.

After the Beggers Antimasque, came men on Horseback, playing upon Pipes, Whistles, and In|struments sounding Notes like those of Birds of all sorts, and in excellent consort, and were followed by the Antimasque of Birds: This was an Owl in an Ivy-bush, with many several sorts of other Birds, in a clustre about the Owl, gazing as it were upon her: these were little Boys put into covers of the shapes of those Birds, rarely fitted, and sit|ting on small Horses, with Footmen going by them, with Torches in their hands; and here were some besides to look unto the Children, and this was very pleasant to the Beholders. After this Antimasque, came other Musicians on Horseback playing upon Bag-pipes, Horn-pipes, and such kind of Northern Musick, speaking the following Antimasque of Projectors to be of the Scotch and Northern Quarters; and these, as all the rest, had many Footmen with Torches waiting on them.
First in this Antimasque, rode a Fellow upon a little Horse, with a great Bit in his mouth, and upon the man's head was a Bit, with Headstall and Rains fastned, and signified a Projector, who begged a Patent, that none in the Kingdom might ride their Horses, but with such Bits as they should buy of him.
Then came another Fellow with a bunch of Carrots upon his Head, and a Capon upon his Fist, describing a Projector who begg'd a Patent of Mo|nopoly, as the first Inventer of the Art to feed Ca|pons fat with Carrots, and that none but himself might make use of that Invention, and have the Priviledge for fourteen years, according to the Statute.
Several other Projectors were in like manner per|sonated in this Antimasque; and it pleased the Spectators the more, because by it an Information was covertly given to the King, of the unfitness and ridiculousness of these Projects against the Law: and the Attorney Noy, who had most know|ledge of them, had a great hand in this Anti|masque of the Projectors.
After this, and the rest of the Antimasques were past, all which are not here remembred; there came six of the chief Musicians on Horseback upon Foot-clothes, and in the habits of heathen Priests, and Footmen carrying of Torches by them.

Whitlocke, Bulstrode, 1605-1675 or 6.
Title: Memorials of the English affairs, or, An historical account of what passed from the beginning of the reign of King Charles the First, to King Charles the Second his happy restauration containing the publick transactions, civil and military : together with the private consultations and secrets of the cabinet.
Date: 1682 

a broadside panegyric

Peake, Robert (active 1635-died 1667) Robert (later Sir Robert) Peake was son of the print publisher William Peake. In 1635 he and William jointly published The Booke of five Columnes at their house near Holborn Conduit. On William's death in 1639 (Edmonds, Burlington Magazine, 118 (1976), p. 79), Robert inherited and continued the business. He published the finest prints of the early 1640s: sixteen early Faithorne plates, as well as one by Glover (Hind III 233.22), Edward Pierce's set of friezes of 1640, Hollar's set of three-quarter-length Seasons of 1641 (Pennington 610-3), and several portraits of personalities in the Civil War, many as small ovals that were probably used as badges of allegiance. In a letter to Pepys of 26 September 1690, Evelyn stated that the man 'who had the most choice' of prints was Mr Peake of Holborn Conduit (H.C. Levis, Extracts from the Diaries and Correspondence of J. Evelyn and S. Pepys relating to Engraving (1915), p. 84). Peake was associated with Archbishop Laud in the production of a set of small plates designed to illustrate Bibles (see G.Henderson, 'Bible illustration in the age of Laud', Transactions of the Cambridge Bibliographical Society, 8 (1982), pp. 178ff.). In 1642 Peake closed his business in order to join the Royalist army. He arrived at Basing House as Lieutenant-Colonel on 31 July 1643 with William Faithorne serving as his ensign. As a soldier Robert had a glittering career, which culminated in his being knighted by Charles I at Oxford on 27 March 1645 (Vertue I p. 71 from Symonds ms). In October he was taken prisoner at the siege of Basing House, and a box of unspecified copper plates was found among his possessions. He was first imprisoned at Winchester House, then in Aldersgate, and was later exiled for refusing to take the oath of allegiance to Cromwell. He returned to England at an unknown time, and became vice-president and leader of the Honourable Artillery Company. He died in 1667, and was buried in St Sepulchre's. His will (Edmonds p. 133) shows that he had wished to spend the vast sum of £500 on his funeral, but that the Great Fire had consumed his 'houses and tenements at Holborn Conduitt' so that he had to reduce the sum to £200. His fame was such that a broadside panegyric was published on his death (BL 82 l.8(27)).

Peake, William (fl. 1626-died 1639) All previous writings on the Peake family have been made obsolete by Mary Edmond, who has worked out the family tree ('Limners and Picturemakers', Walpole Society, 47 (1978-80), pp. 129-33). She shows that there were three generations of the family in the publishing business. The eldest was the well-known painter Robert Peake (c.1551-1619), who held the position of Serjeant-Painter to James I jointly with John de Critz, and was also painter to Prince Henry. It was he who leased a house at Holborn Conduit from the Saddlers' Company, whence he published a number of books, such as the 1611 translation of Serlio's First Book of Architecture, which he dedicated to Prince Henry (Harris cat.817). The blocks used to illustrate this were imported from the Continent where they had first been used in Antwerp c.1540. William was his eldest son, and was also trained as a painter. Like all generations of the family he was a freeman of the Goldsmiths' Company. On his father's death in 1619 he inherited the shop at Holborn Conduit next to the Sun Tavern at the bottom of Snow Hill. Although he presumably took over his father's illustrated book publishing business, there are no signs of his acting as a publisher of single sheet prints before 1626. His address appears on a large number of ex-Humble plates. One of them (Hind II 265.45) has a date 1626 which suggests that the transfer took place in this year. In 1635 the engraver William Faithorne was apprenticed to him, and at an unknown earlier date the painter William Dobson. William published various sets of Senses, Complexions, Worthies etc. by Cecill and Glover.

http://www.bpi1700.org.uk/resources/directory_publishers_P.html 

Giorgio Agamben - We Refugees

Giorgio Agamben. "We Refugees." Symposium. 1995, No. 49(2), Summer, Pages: 114-119, English, Translation by Michael Rocke.

7. Before the extermination camps are reopened in Europe (which is already starting to happen), nation-states must find the courage to call into question the very principle of the inscription of nativity and the trinity of state/nation/territory which is based on it. It is sufficient here to suggest one possible direction. As is well known, one of the options considered for the problem of Jerusalem is that it become the capital, contemporaneously and without territorial divisions, of two different states. The paradoxical condition of reciprocal extraterritoriality (or, better, aterritoriality) that this would imply could be generalized as a model of new international relations. Instead of two national states separated by uncertain and threatening boundaries, one could imagine two political communities dwelling in the same region and in exodus one into the other, divided from each other by a series of reciprocal extraterritorialities, in which the guiding concept would no longer be the ius of the citizen, but rather the refugium of the individual. In a similar sense, we could look to Europe not as an impossible "Europe of nations," whose catastrophic results can already be perceived in the short term, but as an aterritorial or extraterritorial space in which all the residents of the European states (citizens and noncitizens) would be in a position of exodus or refuge, and the status of European would mean the citizen's being-in-exodus (obviously also immobile). The European space would thus represent an unbridgeable gap between birth and nation, in which the old concept of people (which, as is well known, is always a minority) could again find a political sense by decisively opposing the concept of nation (which until now has unduly usurped it).
This space would not coincide with any homogeneous national territory, nor with their topographical sum, but would act on these territories, making holes in them and dividing them topologically like in a Leiden jar or in a Moebius strip, where exterior and interior are indeterminate. In this new space, the European cities, entering into a relationship of reciprocal extraterritoriality, would rediscover their ancient vocation as cities of the world

in the year 1638. for one Peake a Stationer

To put this out of question, we shall only adde one irrefragable evidence more con|cerning Images and Pictures. We have proved formerly that the Archbishop had in his own private Study a Book of Popish pictures of the Life, Passion, and Death of our Lord Jesus Christ, and of the Virgin Mary, printed by Boetius à Bolswert in forein parts, Anno 1623. These very Pictures were all licensed by the Archbishops own Chaplain Doctor Bray; printed by his own printer and Kinsman Badger, in the year 1638. for one  Peake a Stationer (now in armes against the Parliament) and publickly sold and bound up in Bibles; as was testified by Mr. Walley Clerk of Sta|tioners Hall, and Michael Sparke Senior. Master Willingham likewise attested upon oath concerning these Pictures and Crucifixes put into the Bibles: that Captain  Peak at Holborne Cundit, Bookseller, who printed these pictures for Bibles, did affirme, that he printed them with the good liking, and by the speciall direction of the Arch|bishop, and his Chaplaine Dr. Bray: which Dr. Bray, as he said, carried him divers times to the Archbishop, to shew him the prints thereof, as they were cut and finished, who liked them all well, and gave his consent for the binding them up in Bibles; say|ing, That the Bibles wherein these pictures were bound up, they should be called THE BISHOP OF CANTERBURIES BIBLES; (stiling them after his own name, so much did he owne this fact, not the Bibles and Book of God, who abhorres such Images:) and further deposed, That he found two Bibles bound up with these Pictures in them, the one among Secretary Windebanks, the other among Sir John Lambes and Dr. Ducks chiefe papers and treasure (two of the Archbishops bosome friends and favourites) who highly esteemed them: both of which Bibles seized by Mr. Willingham, and richly bound up with these pictures in them, were then produced and shewed to the Lords. Master Walley further deposed, that these pictures bound up in Bibles giving great offence and scandall to many well affected people, himselfe with some other Stationers repaired to Lambeth to the Arch|bishop and complained against these pictures, and the binding of them up in Bibles, demanding his Graces direction therein; whether they should seize such Bibles with pictures which gave offence, or suffer them to be sold? To which the Arch|bishop answered, That they might doe well not to lay them out publickly upon their stals to be sold as yet, lest they should give offence; but if any come to ask for them or to buy them in your shops, in Gods name sell them freely to them, without

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any scrupple; adding the second time, sell them to such in Gods name, but lay them not upon your stals in publick view. Upon which testimony the Archbishop deman|ded of Mr. Walley, who it was that gave him this direction concerning the sale of those Bibles with pictures? To which he readily replyed; Your Grace with your own mouth, as you may well remember. Whereunto the Archbishop answered, it was true, he did so; but the pictures were printed & bound up with Bibles before he knew of it; and that the first time he saw one of these Bibles, was in a Ladies hand in the Chappell at Whitehall; which he looking upon, when he came to Lambeth, sent for one of those Bibles himself; after which, the Stationers comming unto him about the sale of them, he gave them such directions as aforesaid, not to sell them openly for fear of giving offence, but only privately in their shops to such as asked for them: As most evident confession of guiltinesse. For if such pictures in Bibles were good & usefull, why should they not be exposed to open sale, & the view of all men? if ill and unlawfull, why should any of them be printed, or sold to any in private, and not totally suppressed, demolished, burnt? being contrary to our Statutes, Ho|milies, Writers, and the received Doctrine of our Church? These directions then of his, shewes his good affection to popish and idolatrous pictures: he had polluted his own English Bible with an embroydred Crucifix on its cover, before these Pictures printed; and now he would corrupt, pollute all our Bibles and New Te|staments with these Romish Images bound up in them, to which they are most re|pugnant. He would suffer no English Bibles to be printed or sold with marginall Notes to instruct the people, all such must be seized and burnt, as we shall prove a|none: but himself gives speciall approbation for the venting of Bibles with Popish pictures taken out of the very Masse book, to seduce the people to popery and idolatry.

The evidence to prove the first generall branch of his Charge, con|cerning the alteration, ub version of Religion.

To begin with his owne Kennel at Lambeth: We shall first lead you by the hand into his publike Chapell there, a place devoted to Gods worship, and evidence what Popish Superstitious, Pictures, Vtensils, Vestments, Ceremonies, Innovati|ons he there introduced, and constantly practised since his instalment in the Arch|bishopricke of Canterburie, never heard off in any his Predecessors dayes since the beginning of reformation in King Edward the 6th. and Queene Elizabeths reignes.
First, we shall manifest what Idolatrous, superstitious Popish Pictures were there newly repaired, furbished, erected by him in this Chappell, to the great scan|dall of our Religion, and encouragement of Papists in their Idolatry, contrary to our Statutes, Articles of Religion, Homilies, Jnjunctions, Writer, & the established Doctrine of our Church, wherein the matter of fact stands thus: In the beginning of Reformation by vertue of the Statute of 3. and 4. Ed. 6. c. 10. for the abolishing, de|facing, and putting away of divers Bookes and Jmages then standing in any Church or Chapell; of the severall Homilies against the Perill of Jdolatry, then published by Au|thority, & of Queen Elizabeths subsequent Jnjunctions (given by her as well to the Clergy as Laity of this Realme, by the advise of her most honourable Councell in the first yeare of her Raigne, for the advancement of the honour of Almighty God, and sup|pression of superstition throughout her Realmes, Injunction, 2. 3. 23. 25. and Articles of in|quiry thereon: Artic. 2. 45. which enjoyned, All Pictures, Paintings, Images, and other monuments of Idolatry, and superstition to be utterly extinct, removed, abolished and dis|troyed, so that there remaine no memory of the same in Walls, Glassewindows, or else where within any Churches or Houses: the Idolatrous superstitious Pictures set up in times of Popery in the Glassewindowes of the Chapell at Lambeth house, were a|mong others defaced, demolished in such sort, that nought but a few broken imper|fect fragments of them remained, peeced up with white incoherent Glasse, and so continued altogether unrepaired, unfurbished, and utterly neglected, till this super|stitious Arch Prelate was translated to the See of Canterbury after the death of Dr. Georg Abbot, as was attested by Sir Nathaniel Brent, Vicar Generall, Dr. Daniel Featly household Chaplin to Archbishop Abbot, and Mr. Pryn, who had beene out in that Chappel, & exactly viewed it in Abbots dayes and since: But no sooner was the Prisouer at the Bar, W. Laud translated from London to Lambeth, but with all expe|dition & care, to his great cost [as appeares by the Glasiers Bills] he caused these demo|lished superstitious Pictures in the Glassewindowes to be repaired, furbished, beauti|fied, and made more compleat and accurate with new painted Glasse, then ever be|fore, setting them up againe in fresh lively colours, according to the very Patterne in the great Roman Missall, or Masse Book (which he had diligently noted with his own hand almost in every Page) so as no Chappel in Rome could be more Idolatrous, Po|pish, superstitious in regard of such offensive Pictures, then his at Lambeth, the par|ticulars whereof, after (a late double serious view) were thus attested before the Lords upon Oath, by Mr. William Pryn, Mr. Pember (the Glasier who helped to repaire and set them up) Mr. Dell the Archbishops owne secretary: Mr. Browne (his Ioyner) Sir Nathaniel Brent, and Dr. Featley.
That in the East Window of the Archbishops Chappel at Lambheth just over the high Altar (there newly erected) consisting of five severall Panes, there was in the middle pane in painted Glasse, a large Crucifix, or Picture of our Saviour Christ hanging on the Crosse, under which were the Picturs of a Scul, & of dead mens bones, with a Baskit full of Tooles, Nailes, and Round about the Crucifix were the High Priests with their Officers an horsebacke, and some Souldiers with others who crucified Christ, & the 2. theeves standing on foot; which portrature was taken out of the very expresse patterne thereof in the Archbishops owne Roman Missall


2ly. As he new moulded his Chappell Windowes; so he likewise altered the ancient Communion Table; standing with the ends East and West, some distance from the Wall Table-wise, even from the beginning of Reformation till his comming to the Arch-Bishopricke without any Rayle about it, into a New Altar placed Altar|wise against the Wall, with the ends North and South, hedged in with a new cost|ly Raile. Attested by Doctor Featly, Sir Nathaniell Brent, and Master Pryn.

EEBO 

 

All the small vvorkes of that famous poet Iosuah Siluester

LITTLE BARTAS.

IF wanton Lovers so delight to gaze
On mortall Beauties brittle little Blaze;
That not content, with (almost) daily sight
Of Those deere Idols of their Appetite;
Nor, with th'Idëas which th'Idalian Dart
Hath deepe imprinted in their yielding heart;
Nor, with Their Pictures (with precisest charge)
Done by De-Creets, Marcus, or  Peake, at large
(And hangd of purpose, where they most frequent,
As some faire Chamber's choicest Ornament)
They must haue Heliard, Isaac, or His Sonne,
To doe in Little, what in Large was done;
That they may ever, ever beare about
A Pictures Picture (for the most, I doubt).
Much more shold Those, whose Soules, in Sacred Loue,
Are rapt with Beautie's-Proto-Type aboue

(Sith, heere, they cannot see th'ORIGINAL;
Nor, in themselues, now, finde His Principal)
Thirst for Their Obiect; and [much lesse content
With th'ample Table of the Firmament,
And various Visage of this goodly Globe,
Wherein, they see but (as it were) His Robe,
Embrodered rich; and with Great Works embost,
Of Power, of Prudence, & of Goodnes, most;
Yet, so farre-off, so massie, so immense,
As over-swaies Their weake Intelligence:
Or with that lesser Tablet of their Owne
(The Little-World, wherein the Great is show'n)
Which, neer & deer, though still about they beare,
Such Cloudes of Passion are still crowding there,
That seld or neuer can they ought perceiue
Of those pure Rayes it did at first receiue]
Long for Their Long-Home, past the Gates of Grace,
To see Their Loue, in Glory, face to face.
Till when; awhile to entertaine them heere
With Prospects fittest Their faint Thoughts to cheere
(Insted of That Great Vniversal Table,
Made in Six Dayes, with Art so admirable;
And, by My BARTAS, in His Weekes divine,
So large and liuely draw'n in every line) 

DU-VAL, and I (too short of Isaac's Art)
Haue Thus Essaid to play the Limners part,
And drawe in little (like a Quintessence)
That goodly Labours glorious Excellence;
For ease of Such, whom Publique Charge denies
Leasure to view so large Varieties:
And Such, whose Meanes may not affoord their Mindes
So costly Pleasures, of so Gain-less kindes:
And (lastly) Such, as, loving BARTAS best,
ould glad and faine still beare Him in their brest,
t in their Bosome, were He Pocket-fit,
As well He might; would Printers Gain permit.
Now therfore, Thou, All-forming ONLY-TRINE,
As, in the Large, Thou ledst His hand & Mine;
end likewise heere Thy gracious Help agen,
o guide aright my Pencil and my Pen;
o sute my Colours, sweet my Shadowes, so,
hat This my Little, Thy Great Works may showe.
And, grant, the-while, I be not like the Hand
Which at S. Albons, in the Street doth stand
irecting Others in the ready Way;
ut, void of minde, it Selfe behinde doth stay:
or, like a Buoy, which warneth from a Shelfe;
t lyes still wallowing in the Sea, it Selfe.


Author: Sylvester, Josuah, 1563-1618.
Title: All the small vvorkes of that famous poet Iosuah Siluester Gathered into one volume.
Date: 1620