![The sculptors of the cathedral porches of the Middle Ages already knew that we can identify many legendary figures by their attributes, not their physical appearance. How is one to recognize Orpheus without his lyre, or Saint Lawrence without his grid? At the same time it seems a bit absurd, In an art that claims to be realistic, to have Orpheus always carrying his lyre, like a German businessman his briefcase. There must have been moments when Orpheus and Saint Lawrence left their lyre or their grid at the checkroom, for instance.. [c. 1960, in France]. (Ossip Zadkine)](https://cdn.quotesdtb.com/img/quotes_images_webp/39/ossip-zadkine-absurd-appearance-964939.webp)
The sculptors of the cathedral porches of the Middle Ages already knew that we can identify many legendary figures by their attributes, not their physical appearance. How is one to recognize Orpheus without his lyre, or Saint Lawrence without his grid? At the same time it seems a bit absurd, In an art that claims to be realistic, to have Orpheus always carrying his lyre, like a German businessman his briefcase. There must have been moments when Orpheus and Saint Lawrence left their lyre or their grid at the checkroom, for instance.. [c. 1960, in France].
Ossip ZadkineRelated topics
appearance art bit carrying cathedral grid instance left legendary lyre middle orpheus saint briefcase LawrenceRelated quotes
Each and every loss becomes an instance of ultimate tragedy-something that once was, but shall never be known to us. The hump of the giant deer-as a nonfossilizable item of soft anatomy-should have fallen into the maw of erased history. But our ancestors provided a wondrous rescue, and we should rejoice mightily. Every new item can instruct us; every unexpected object possesses beauty for its own sake; every rescue from history's great shredding machine is-and I don't know how else to say this-a holy act of salvation for a bit of totality.
Stephen Jay Gould
The Treaty of Guarantee came out of a proposal by Lloyd George, the British Prime Minister, at the allied conference of Paris as a compromise to Marshal Ferdinand Foch's insistence that the Franco-German border be pushed back to the Rhine. Foch felt that this new border would prevent another German invasion into France. The Germans had invaded France from across the Rhine five times within a century in 1814, 1815, 1870, 1914, and 1918. Its terms called for solemn guarantees by Britain and America of the French frontier against future German aggression.
William L. Shirer
Opponents of Fracastoro met his arguments by feigning imaginary causes, which differed from each other rather in name than in substance. Andrea Mattioli, for instance, an eminent botanist, the illustrator of Dioscorides, embraced the notion of Agricola, a German miner, that a certain 'materia pinguis' or 'fatty matter,' set into fermentation by heat, gave birth to fossil organic shapes. Yet Mattioli had come to the conclusion, from his own observations, that porous bodies, such as bones and shells, might be converted into stone, as being permeable to what he termed the 'lapidifying juice.
Charles Lyell
I have left the obvious, essential fact till this point, namely, that it is the Russian Armies who have done the main work in tearing the guts out of the German army. In the air and on the oceans we could maintain our place, but there was no force in the world which could have been called into being, except after several more years, that would have been able to maul and break the German army unless it had been subjected to the terrible slaughter and manhandling that has fallen to it through the strength of the Russian Soviet Armies.
Winston Churchill
The rhythmic pattern of the poem, which forces continuity of attention – incites a pleasurable compulsion to ‘follow' – is either a tried metrical suasion-contrivance or a specially invented pattern of physical insistences, equally, if not more, binding in its effect on the reader. From a straight linguistic point of view, there is room for wonder if there is not latent vice in this environment in which pleasurable physically-compelled responses, produced by incidents of poetic utterance, are identified with the Good.
Laura Riding