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1926 Serge Lifar in "Romeo et Juliette", costumes designed by Joan Miro, photo by Man Ray. From Art Deco, Avant Garde and Modernism, FB.

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Howard Thain, The Great White Way—Times Square, 1925. Oil on canvas.

Photo: NY Historical Society

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Striding Thoth

Ptolemaic Period, ca. 305-30 BC. Egyptian faience. Met Museum. 26.7.860

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Antonio Donghi, Due canarini in gabbia, 1934

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A study of a Pygmy Rattlesnake, Sistrurus - Aloys Zotl - 1855 - via Bonhams

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1920's Men's golf ensemble. From the China Silk Museum.

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E.O. Hoppè, Lanarkshire, Glasgow, Scotland, 1928.

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The Hunter's Funeral Procession

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1928 c. Silk travel suit with a fur neckpiece from China Silk Museum.

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Lifo Kim

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Studies into the Past by Laurent Grasso

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A Series of Seaside Mishaps.

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Frederick Ferdinand Schafer (German, 1839–1927) - In the White Mountains

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William James Webbe (or Webb) (1830-1904): The White Owl.

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CS Lewis's explanation of why oral poetic epics cannot be mined for fanfiction titles is not going to stop me from mining Paradise Lost for fanfiction titles. But I respect the explanation

The misunderstanding of [narrative poetry] I have learned from looking into used copies of our great narrative poems. In them you find often enough a num­ber of not very remarkable lines underscored with pencil in the first two pages, and all the rest of the book virgin. It is easy to see what has happened. The unfortunate reader has set out expecting 'good lines' – little ebullient patches of delight­ such as he is accustomed to find in lyrics, and has thought he was finding them in things that took his fancy for accidental reasons during the first five minutes; after that, finding that the poem cannot really be read in this way, he has given it up. ... If anyone will make the experiment for a week or two of reading no poetry and hearing a good deal, he will soon find the explanation of the stock phrases. It is a prime necessity of oral poetry that the hearers should not be surprised too often, or too much. The unexpected tires us: it also takes us longer to understand and enjoy than the expected. A line which gives the listener pause is a disaster in oral poetry because it makes him lose the next line. And even ifhe does not lose the next, the rare and ebullient line is not worth making. In the sweep of recitation no individual line is going to count for very much. The pleasure which moderns chiefly desire from printed poetry is ruled out anyway. You cannot ponder over single lines and let them dissolve on the mind like lozenges. That is the wrong way of using this sort of poetry. It is not built up of isolated effects; the poetry is in the paragraph, or the whole episode. To look for single, 'good' lines is like looking for single 'good' stones in a cathedral.

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Mushrooms Unknown , 1970.

Oil on panel , 40 x 35 cm.