the name “galba”

“Why the surname ‘Galba’ was first assumed by a Sulpicius, and where it originated, must remain moot points. One suggestion is that after a tediously protracted siege of some Spanish town the Sulpicius in question set fire to it, using toches smeared with resin (galbanum). Another is that he resred to galbeum, a kind of poultice, during a long illness. Others are that he was very fat, the Gallic word for which is galba; or that, on the contrary, he was very slender – like the galba, a creature which breeds in oak trees.”

(Suetonius, The Twelve Caesars, “Galba” 3, p. 248 in the Robert Graves/Michael Grant translation.)

corrections

Correction: March 3, 2011
An art review on Friday about an exhibition of work by Ree Morton at the Alexander and Bonin gallery in Chelsea referred incorrectly to the exhibition. It is the first solo show of her work at a New York gallery in 10 years, not the first in New York in that time. (There was one at the Drawing Center in 2009.)

Correction: September 29, 2009
An art review on Sept. 18 about “Ree Morton: At the Still Point of the Turning World,” at the Drawing Center in SoHo, misstated the history of exhibitions of Morton’s drawings. Other exhibitions have highlighted her work; this one is not the first.

better days for the arts

“Tiberius also paid Asellius Sabinus 2,000 gold pieces, to show his appreciation of a dialogue in which a mushroom, a fig-picker, an oyster, and a thrush took part in a competition; and established a new office, Comptroller of Pleasures, first held by a knight named Titus Caesonius Priscus.”

(Suetonius, The Twelve Caesars, “Tiberius” 41, p. 135 in the Robert Graves/Michael Grant translation.)

hans hofmann

“A work of art can never be the imitation of life but only, and on the contrary, the generation of life.

A dancer must not only master his body but he must be a generation of life in bringing the space to life wherein he dances, and this as the answer to his entire personality.

A painter who attempts to imitate physical life (a naturalist) can never be a creator of pictorial life, because only the inherent qualities of the means can create physical life. That makes the esthetic difference between creation and imitation.

Creation asks for the capacity of empathy.

I do not study nature but I’m completely taken in by its secrets and mysteries, and this includes the secrets and mysteries of the creative means through which I attempt to realize one through the other.

Picasso makes this quite clear when he says: ‘First I eat the fish, then I paint him.’ This is the transformation from culinary empathy to pictorial empathy.”

(Hans Hofmann to Dore Ashton, quoted in Ashton’s The New York School: A Cultural Reckoning, pp. 83–84.)

good luck

“All such good things as excite envy are, as a class, the outcome of good luck. Luck is also the cause of good things that happen contrary to reasonable expectation: as when, for instance, all your brothers are ugly, but you are handsome yourself; or when you find a treasure that everybody else has overlooked; or when a missile hits the next man and misses you; or when you are the only man not to go to a place you have gone to regularly, while the others go there for the first time and are killed. All such things are reckoned pieces of good luck.”

(Aristotle, Rhetoric, book I, chapter 5, 1362a 5–12, trans. W. Rhys Roberts.)

things you can do.

“The following Bubble-Companies were by the same order declared to be illegal, and abolished accordingly:

51. For importing beaver fur. Capital, two millions.

52. For making pasteboard and packing-paper.

53. For importing of oils and other materials used in the woollen manufacture.

54. For improving and increasing the silk manufactures.

55. For lending money on stock, annuities, tallies, &c.

56. For paying pensions to widows and others, at a small discount. Capital, two millions.

57. For improving malt liquors. Capital, four millions.

58. For a grand American fishery.

59. For purchasing and improving the fenny lands in Lincolnshire. Capital, two millions.

60. For improving the paper manufacture of Great Britain.

61. The Bottomry Company.

62. For drying malt by hot air.

63. For carrying on a trade in the river Oronooko.

64. For the more effectual making of baize, in Colchester and other parts of Great Britain.

65. For buying of naval stores, supplying the victualling, and paying the wages of the workmen.

66. For employing poor artificers, and furnishing merchants and others with watches.

67. For improvement of tillage and the breed of cattle.

68. Another for the improvement of our breed in horses.

69. Another for a horse-insurance.

70. For carrying on the corn trade of Great Britain.

71. For insuring to all masters and mistresses the losses they may sustain by servants. Capital, three millions.

72. For erecting houses or hospitals for taking in and maintaining illegitimate children. Capital, two millions.

73. For bleaching coarse sugars, without the use of fire or loss of substance.

74. For building turnpikes and wharfs in Great Britain.

75. For insuring from thefts and robberies.”

(Charles Mackay, Extraordinary Popular Delusions and the Madness of Crowds, “The South Sea Bubble,” pp. 60–63.)

step 3: profit!

“But the most absurd and preposterous of all, and which shewed, more completely than any other, the utter madness of the people, was one started by an unknown adventurer, entitled ‘A company for carrying on an undertaking of great advantage, but nobody to know what it is.’ Were not the fact stated by scores of credible witnesses, it would be impossible to believe that any person could have been duped by such a project. The man of genius who essayed this bold and successful inroad upon public credulity, merely stated in his prospectus that the required capital was half a million, in five thousand shares of 100l. each, deposit 2l. per share. Each subscriber, paying his deposit, would be entitled to 100l. per annum per share. How this immense profit was to be obtained, he did not condescend to inform them at that time, but promised that in a month full particulars should be duly announced, and a call made for the remaining 98l. of the subscription. Next morning, at nine o’clock, this great man opened an office in Cornhill. Crowds of people beset his door, and when he shut up at three o’clock, he found that no less than one thousand shares had been subscribed for, and the deposits paid. He was thus, in five hours, the winner of 2000l. He was philosopher enough to be contented with his venture, and set off the same evening for the Continent. He was never heard of again.”

(Charles Mackay, Extraordinary Popular Delusions and the Madness of Crowds, “The South Sea Bubble,” pp. 55–56.)

the death of edward lear

“Thus the guests began, as time passed, to regard the affair in an historical light. They told their friends about it, reenacted parts of it for their children and grandchildren. They would reproduce the way the old man had piped ‘I’ve no money!’ in a comical voice, and quote his odd remarks about marrying. The death of Edward Lear became so popular, as the time passed, that revivals were staged in every part of the country, with considerable success. The death of Edward Lear can still be seen, in the smaller cities, in versions enriched by learned interpretation, textual emendation, and changing fashion. One modification is curious; no one knows how it came about. The supporting company plays in the traditional way, but Lear himself appears shouting, shaking, vibrant with rage.”

(Donald Barthelme, “The Death of Edward Lear,” from Overnight to Many Distant Cities.)