The Manhattan Project Essay - 545 Words

The Manhattan Project was a very important event throughout the World War II history. It began the development of the atomic bomb and other nuclear weapons that were of good help during the war. It first began with a German scientist separating the uranium atom, which made people be scared of what Hitler might be capable of. Also Hitler and his people had begun discovering new types of weapons that were useful for them in the war. Something that apparently Hitler did not quite think about, was the persecution of Jewish scientists such as Albert Einstein, who could very well use his abilities against Hitler. Albert Einstein was a Jewish refugee in the United States. Another very important scientist, although not Jewish, was Enrico Fermi,†¦show more content†¦On July of 1945, J Robert Oppenheimer tests the first bomb at Trinity State, near Alamogordo, New Mexico. All the scientists readied themselves to watch the detonation of this atomic bomb which stood on top of a tower. On ce exploded, there was a blinding flash which could be seen from 200 miles away. It also grew up to 40,000 feet and damaged some of the homes near it that were 100 miles away. After this explosion President Truman, all the way from Postdam, Germany, declares that the project was successful. Later on we see how there were more bombings being made, not only this one at Trinity State. The United States was trying to make Japan surrender but they denied it. Because of this the United States developed a new bomb named little boy which was detonated in Hiroshima, Japan. On August 6, 1945 it exploded with an altitude of 1,750 feet. Over 69% of Hiroshima’s buildings were destroyed and about 7% damaged. About 80,000 (or about 30%) of the people in Hiroshima were killed instantly and another 70,000 were injured. After this occurring, Japan still didn’t want to surrender which caused the United States to develop another bomb. In August 9, 1945, the next bomb named Fat Man took pl ace at Nagasaki, Japan. This attack destroyed about 44% of the city, killed about 35,000 people and about 60,000 were injured. Emperor Hirohito from Japan had enough of these bomb attacks and finally decided to surrender. He was alreadyShow MoreRelatedThe Manhattan Project1114 Words   |  5 PagesThe Manhattan Project The Manhattan Project was to see if making an atomic bomb possible. The success of this project would forever change the world forever making it known that something this powerful can be manmade. The Manhattan Project’s success was something that had an impact on everybody involved since they helped create something with so much destructive power it could destroy a city within seconds. The University of Chicago in Illinois had a huge role with the making of the atomic bombRead MoreThe Manhattan Project568 Words   |  2 Pagesneutral so it sent suicide bombers to attack our naval base in Pearl Harbor on December 7, 1941. Thus leading into the use of the atomic bomb, but first the construction, an event referred to as the Manhattan Project. The name Manhattan Project came about because the program began under the Manhattan Engineering District of the War Department. Early 1939, the scientist of the world learned that German scientist had discovered a way to spit a uranium atom, created a bomb that was capable of the destructionRead MoreThe Manhattan Project : The York Project2877 Words   |  12 PagesHonors - Period 3 30 November 2014 The Manhattan Project Everyone has secrets, even the U.S. Government. The Manhattan project was one of the many secrets the Government kept from the United States until after the damage was done. What was the Manhattan Project? The manhattan project was a multi-billion dollar enterprise, 2.2 billion to be exact, that provided U.S. Military forces with the single most destructive weapon known to man; the atomic bomb. The project was to be a kept at high secrecy fromRead MoreEssay on Manhattan Project1664 Words   |  7 Pagesamp;quot;The Manhattan Projectamp;quot;. On Monday July 16th, 1945, a countdown for the detonation of the first atomic bomb took place near Los Alamos, New Mexico. This atomic bomb testing would forever change the meaning of war. As the atomic bomb was detonated it sent shock-waves all over the world. There was endless research done on the bomb in the United States. The research was called amp;quot;The Manhattan Engineer District Projectamp;quot; but it was more commonly known as qu ot;The Manhattan ProjectRead MoreThe Manhattan Project Essay901 Words   |  4 PagesThe world was shocked when the United States dropped two atomic bombs on Japan in 1945. The bombs were a result of years of research and testing completed by the nation’s top physicists in a top-secret project called the Manhattan Project. The Manhattan Project was a crucial development by the United States because it quickly ended the war with Japan. In August 1939, Albert Einstein and Leo Szilard drafted the Einstein-Szilard letter to send to President Roosevelt. The letter outlined the needRead More The Manhattan Project Essay941 Words   |  4 PagesThe Atomic Bomb The research for the first Atomic bomb took place in the United States, by a group of nuclear engineers; the name of this research was called, â€Å"The Manhattan Project†. On July 16, 1945, the detonation of the first atomic bomb was tested near Los Alamos, New Mexico. As the atomic bomb was detonated, it sent shock-waves across the globe, which demonstrated that nuclear power would forever change the meaning of war. To create a nuclear bomb, nuclear fission must occur. The processRead More The Manhattan Project Essay1507 Words   |  7 PagesThe Manhattan Project The Manhattan Project was the code name of the America’s attempt to construct an atomic bomb during World War II. It was named after the Manhattan Engineer District of the U.S. Army Corps of Engineers, because a lot of it’s earlier research was done in New York City. An atomic bomb is a weapon that uses the energy from a nuclear reaction called Fission for its destruction. The idea that mass could be changed into energy was predicted by Albert Einstein in the earlierRead MoreEssay on The Manhattan Project1934 Words   |  8 Pages Before the Manhattan Project, in the beginning there were many advancements in understanding made in the world of physics. These resulted in the recognition of nuclear fission and its potential as an energy source and as a potential weapon. Of these advancements none was more central and important than the development of the nuclear model of the atom, which by the year of 1932 contained a nucleus containing most of the mass of an atom in the form of two particles, protons and neutrons. This nucleusRead MoreAlbert Einstein/the Manhattan Project2254 Words   |  10 Pagesand evolution of the Manhattan Project and why did Einstein’s thoughts and involvement in the Manhattan Project change throughout World War II? Albert Einstein was undoubtedly one of the geniuses of the twentieth century. His work with gravity, relativity, light, and the universe helped to herald in a golden age for the study of science, of which scientists are still marveling at and studying today. Additionally, he was well-known for his participation in the Manhattan Project and the constructionRead MoreTaking a Look at the Manhattan Project1536 Words   |  6 PagesAlthough the Manhattan project was a bomb it was the psychological effects of the two bomb droppings that did more damage than the actual destruction caused. The projected was started through United States concern that the Germans were developing a similar weapon. It was kept a well guarded secret and when it was used for the first time on a city caused a horrible shock. The decision to use the bomb was not made lightly and had many different reasons behind it. It was made especially hard after seeing

Leisure studies in Canada. Free Essays

The city of saint Luc City is a beautiful city that has a lot of leisure opportunities such as parks, libraries, and Samuel Moskovitch arena. The city is very accessible as it has well constructed roads and paths that link each and every part of the city. There has been paths that have been constructed of late for example the four Heart paths that was officially opened on 30th September 2007. We will write a custom essay sample on Leisure studies in Canada. or any similar topic only for you Order Now These paths are meant to make Pierre Elliot Tradeau park accessible. (Heart in Motion Walking Paths, Cote Saint Luc City) These walking paths one which is a kilometer long, another of 3km, 5km, and the last one is of 8km. The heart in motion paths was extended from the city sidewalk by the Quebec stroke foundation. All these paths are clearly marked with distinct blue and yellow colors. These are supported with motion signs after a span of each one and a half kilometer so as to keep tourists who visit this city in the right track. All these city paths branch from the Pierre Elliot Tradeau Park on the southern corner. The construction of the four walking paths had some health benefits to the residents and visitors who come to this city. The paths allow those who want to do walking exercise a classic opportunity for doing so. This is according to the mayor of this city Anthony housefather. Construction of walking paths has been done in other places like Ireland, Denmark, Sweden, Finland and German and as thus it is not without precedence. It is something that is feasible as it has been tested and proved that city paths like those in Cote Saint Luc city help in keeping the city dwellers physically fit. Within the city there is a place that people can visit to enjoy themselves and one of these places is the Pierre Elliott Trudeau Park, which is located at Mackle road and next to the Samuel Moskovitch arena. It is situated at the northern side of the city. The park is just beautiful and you cannot afford not to visit it. Inside there is a base ball field, soft ban field there is and there is also an artificial lake called Contennial Lake where you can enjoy pedal boat rides at a small fee in summertime. There is a picnic area that is very beautiful in winter especially when it’s covered with ice. The parks scene is extremely beautiful with a green covered landscape. (Samuel Moskovitch Arena, 6985 Mackle Road.) The fees that are charged in this park are pocket friendly in fact the cost cannot exceed $25.00 U.S dollars. For example you can access the Baseball diamond with only one dollar, the second baseball diamond with 2 U.S dollars the third one with 3 U.S dollars. There is also a hotel where you can rent a room. These two rooms are equipped with a mini fridge and microwave. (Lesson 6) Also in the city of Cote saint-Luc, there is an arena called Samuel Moskovitch that is located at the Mackle road. This arena is a home to the ice surface that is used by the minor Hockey group, the skating club, hockey schools and adult as well as the youth leagues. Within the arena there is a studio room and a conference room which are good for private rentals. The two rooms are well equipped with basic set up as well as clean up. They also have chairs and table making them ideal for holding conferences. The studio room is equipped with a freezer and not forgetting that there is also enough parking area that can accommodate over two hundred vehicles. For those who might be interested in renting these places it’s good to know their exact measurements to avoid disappointments. The Ice Rink is 200feet in length and 85 feet wide, the studio is (36.5 x 25) feet that can accommodate 85 people when arranged in banquet style and while arranged in theater style it can hold one hundred and seven people. The conference room is 25 feet long and 12 feet wide and can hold twelve people while standing. All these rooms are rented for only two hours and any time on top of that is charged separately. The conference, studio and the studio room for partners are charged 50, 100 and 150 U.S dollars respectively. The ice is suitable for those who are holding birthday parties and has two dressing units. Those people who want to rent both the ice and the studio room are charged according to the set charges. The city has also a public library where you can go to read books, novels, magazines and newspapers. The library is well equipped thus making it ideal for conducting researches. This library is called Eleanor London public library. It offers some games like the classic board game. The library crew consists of skilled people who guide people on how to fully utilize the library materials. The library offers a scavenger hunt play where the winner merits some prizes. This library is also equipped with audio visual devices for storing information for example there is a number of musical as well as artistic works from the Baroque times that are free to all. Though the government has made sure that there are enough recreational places in Canada for all, there might be some barriers that may limit or prevent one from enjoying these sites. If you have some physical disabilities or limitations you might not enjoy these recreational facilities to the fullest. For example if you are crippled then you cannot be able to maneuver through the region. The park has three-baseball field which cannot be of any importance to the physically challenged people especially those who do not have legs and hands. But still arrangements can be made for them to be taken there to relax and enjoy the cool environment. For those who cannot access the park because they cannot walk, alternative means can be used such as airlifting these people to the designated places that are of importance to them. T they can also be driven to these places using vehicles but with a risk of not physically exercising their bodies. Taking a leisure walk helps one to improve the circulation of blood and thus making your heart strong. There are also pedal boats that are found in TheTradeau Park but people who have leg problems cannot be able to use pedals so they can’t enjoy the boat rides. (Pierre Elliot Trudeau Park). The governments of Canada in easing the burden of those who are physically impaired under a tourist and leisure companion sticker are allowed to access to all recreational places for free. If you are visually impaired you cannot have an access all the information that you might need. Some information is stored in magazines, books and journals and it is obvious they cannot be of any use to a blind person. (Lesson 5) In Canada this problem is well taken care of by the library management who has diversified information storage devices. Some library materials are audio visual. This means a blind person can have access to the needed information by listening. A blind person can also have some difficulties in accessing the recreation places as they are marked with colors and motion signs that guide the walkers but they are of no use to a blind person. Anybody who is knew to a particular place finds it hard to access the recreational places. This person must be guided on how to access them. Proper maps should be provided to these people assuming they know how to read maps. For these maps to be of beneficial to the map readers, then labeling of the features on the ground should be well labeled to avoid confusion. This is something that the government has taken care of; it has provided people who need to visit these places with posters and other signs to guide them. For example in the Cole Saint Luc City the paths are clearly marked with yellow and blue colors after every 500 meters, to keep the walkers on the right track. The government of Canada also uses the motion signs on the paths to guide those seeing these recreational places for this reason even people who are new to Canada can access these places without facing difficulties in locating them. It should not be forgotten that these can be of help to only those that are literate and who have no visual impairments. Sign language solves the language difficulty. Where people cannot communicate in one language then signs prove to be useful. But still you may not be able to enjoy these places as you should. If you do not speak the same language you may be limited to access places and information that you need. Lack of enough financial resources also limits people from enjoying their leisure to the maximum as not all these places are accessible for free. To access some of these you must part with some money. Lastly you may fail to have an excellent leisure time if you are not used to the climate of that particular region. For example, in the Trudeau Park pedal boats that are only available in summers and ice during the winter so if you go during other times apart from summer and winter respectively then you cannot enjoy your leisure time. Therefore climate can also be a limitation. In short, Canada offers people with one of the best recreational places in the world. The Cote Saint Luc City is a home to these places for example there is a public library, Samuel Moskovitch Arena, walking paths and Trudeau Park where some are freely accessible for free or at a fee. There are some barriers that may prevent one from enjoying these leisure places. These are factors like culture, language, physical disabilities and unfamiliar ness with a new place. Reference: 6985 Mackle Road. Samuel Moskovitch Arena. Lesson 6: Commercial Recreation, Economics of recreation. Lesson 5: Travel and Tourism study materials. Pierre Elliot Trudeau Park, 6975 Macle road. Heart in Motion Walking Paths, Cote Saint Luc City. How to cite Leisure studies in Canada., Essay examples

Bon voyage Essay Example For Students

Bon voyage Essay Moods, colors and people of the deep blue sea are portrayed in â€Å"The Sound of Waves and The Odyssey. Albeit the distance in time and space the Mediterranean sea of Homer and the Pacific Ocean of Mishima are alive with alike aspects. The Odyssey, epic poem written by the blind Homer in ancient Greek around 700 B.C. narrates the heroic story of Odysseus and his adventures at sea. The sound of waves, Japanese novel of Yukio Mishima portrays the course of love between two young habitants of Uta-Jima, the song island that â€Å"lies directly in the straits connecting the gulf with the Pacific Ocean†. Both books, the first being a poem, and the second for the gentle rate of words chosen to describe the sea put great emphasis in the poetry of the sea’s essence and effects. The sea is portrayed, in its descriptions with the use of a great range of metaphors, colors and symbols. Homer defines the sea as being very different according to the circumstances. The adjectives are strong, like â€Å"wild sea†, and give a powerful overview of the mighty sea. In his descriptions, the Mediterranean can be a â€Å"grey† â€Å"high wind sea† with â€Å"dark water† and â€Å"Grey ocean tides†, a â€Å"fathomless unresting sea† but also a noble, â€Å"great sea†, a â€Å"misty sea†. He uses repetition to give the idea of a â€Å"wine dark sea† used in books I, II, IV, V, VII, XII and XIII. Other colors are used to make the reader picture the â€Å"grey sea†, â€Å"the deep blue sea†, â€Å"the violet sea† and â€Å"the salt blue sea†. Whereas, Mishima describes it as being a â€Å"calm sea† with â€Å"cold waters† at times. He uses personification to give us an image of â€Å"the sea shaped like some amorphous, mysterious helmet.† He doesn’t differ as much as Homer with the shades and colors but does draw it as being â€Å"The dark indigo sea† and then having â€Å"opulent dark-blue waves on the open sea†. A considerable metaphor used throughout the entire Odyssey about four times in books I, XIV and XV is Thelemachus’s irony in making fun of the people who arrive on Ithaca asking them â€Å"Who are your sailors? I don’t suppose you walked here on the sea†, with this, he plays a joke and teases them as it is impossible to walk over the sea. This allows him to get people to tell him what he wants to hear. In the sound of waves the image of the butterfly that flies above the sea â€Å"Soaring high, the butterfly was trying to fly away from the island, directly into the sea breeze. Mild though it seemed, the breeze tore at the butterfly’s tender wings† again recalls the idea of being above the sea. The butterfly is affected by the wind that makes her struggle to fly away from the island over the sea. Both books rely in great means to the existence of Gods that control the course of the sea. In the sound of waves we are told, in the first pages that the island is â€Å"dedicated to Watasumi-no-Mikoto, god of the sea.† The Odyssey, on the other hand brings forth Odysseus’s struggles to go home due to Poseidon, god of the sea. Gods are benevolent in some cases like Athena that takes care of both Odysseus and his inexperienced son. â€Å"Grey-eyed Athena stirred them a following wind, soughing from the north-west on the wine dark sea, and as he felt the wind, Telà ¨makhos called to all hands to break out mast and sail†. Zeus though, is responsible of all therefore he controls other Gods â€Å"Zeus who views the wide world sent a gloom over the ocean and a howling gale come on with seas increasing, mountainous, parting the ships and driving half toward Crete†. The youngest habitants of Uta-Jima, friends of Shinji’s brother, invoke the God of the sea in chapter 10 by playing games inside the cave causing â€Å"The waters set the cavern to rumbling and swaying; and it seemed as though the sea were looking for a chance to snatch even these three Indians, seated in a circle within the stone room, and pull them into its depths†. .ub6fde2d35009dd511a326681ef9f8d47 , .ub6fde2d35009dd511a326681ef9f8d47 .postImageUrl , .ub6fde2d35009dd511a326681ef9f8d47 .centered-text-area { min-height: 80px; position: relative; } .ub6fde2d35009dd511a326681ef9f8d47 , .ub6fde2d35009dd511a326681ef9f8d47:hover , .ub6fde2d35009dd511a326681ef9f8d47:visited , .ub6fde2d35009dd511a326681ef9f8d47:active { border:0!important; } .ub6fde2d35009dd511a326681ef9f8d47 .clearfix:after { content: ""; display: table; clear: both; } .ub6fde2d35009dd511a326681ef9f8d47 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .ub6fde2d35009dd511a326681ef9f8d47:active , .ub6fde2d35009dd511a326681ef9f8d47:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .ub6fde2d35009dd511a326681ef9f8d47 .centered-text-area { width: 100%; position: relative ; } .ub6fde2d35009dd511a326681ef9f8d47 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .ub6fde2d35009dd511a326681ef9f8d47 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .ub6fde2d35009dd511a326681ef9f8d47 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .ub6fde2d35009dd511a326681ef9f8d47:hover .ctaButton { background-color: #34495E!important; } .ub6fde2d35009dd511a326681ef9f8d47 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .ub6fde2d35009dd511a326681ef9f8d47 .ub6fde2d35009dd511a326681ef9f8d47-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .ub6fde2d35009dd511a326681ef9f8d47:after { content: ""; display: block; clear: both; } READ: The Time Machine Book EssayShinji prays to God for him to give him calm seas and â€Å"Let me have much knowledge in the ways of sea†. In the same way, Telà ¨makhos, in book II â€Å"walked down along the shore and washed his hands in the foam of the grey sea, then said his prayer†; he finds strength in the sea and believes in help from the divine. Odysseus, instead, wounds Poseidon’s rage by blinding his son, the Cyclops Poliphemo. This brings him, â€Å"Poseidon Lord, who sets the earth a-tremble† to break up the rocks at the island’s ends causing a storms that makes Odysseus’s ship wreck at shore. The moods of the sea fluctuate through the books, sometimes it is calm and brings good things to lands and people and sometimes it troubles deeply. In the Odyssey the sea is pictured as being coarse most of the times, when visiting the underworld, Odysseus’s dead mother announces him that he will have trouble with the sea, â€Å"Child, how could you crow alive into this gloom at the world’s end? No sight of living eyes; great currents run between, desolate waters, the Ocean first, where no man goes a journey without ship’s timber under him†. Nonetheless, when Odysseus finally finds his way home after his painful struggle for survival, in book XXIV the sea is calm and in harmony with him. â€Å"He led them down dank ways, over grey Ocean tides, the Snowy Rock, past shores of Dream and narrows of the sunset, in swift flight to where the Dead inhabit wastes of asphodel at the world’s end.† In the sound of waves the sea is portrayed as being benevolent most of the times, â€Å" The sea- it only brings the good and right things that the island needs†¦and keeps the good and right things we already have.† Throughout the book though we do face sharp times when â€Å"the roar of the waves came as persistently as the garrulity of a drunk man† with this simile the author accentuates the strength of the sea that although when at peace and â€Å"the roar of the waves became a little quieter† it is described as being beautifully gratifying â€Å"Clear water flowed out from between moss-covered rocks, into a stone cistern, and the brimmed over one edge of the stone† It can be terribly rude â€Å"with a storm, raging seas and the wind that shrieked as it came tearing through the prostrate treetops.† In the odyssey the roughness of the sea is controlled by the gods â€Å"Homing, they wronged the goddess with grey eyes, who made a black wind blow and the sea rise†, Odysseus faces rough times with angry seas that make him risk his life â€Å"swollen from head to foot he was, and seawater gushed from his mouth and nostrils†. In book V Poseidon builds up a storm, â€Å"the winds drove his wreck over the deep† almost killing Odysseus that is eventually saved after being scattered against the rocks, he is brought back to shore after his ship is wrecked with the help of the goddess Athena of whom he was favourite. Thanks to his prayers he is able to swim out of it. Nonetheless, he is seen as a hero for surviving all the rage that storms and Poseidon play on him during his journey; â€Å"He heard the trampling roar of the sea on rock, where combers, rising shoreward, thudded down on the sucking ebb-all sheeted with salt foam.â€Å" Odysseus in fact, is remembered still today for his great bravery and as the â€Å"master of land and sea ways† like Shinji that proves to uncle Turu, by swimming at sea during the storm and with great courage pulling on board the great fish catch that he is worthy of marrying his daughter. .uc4790f4dc181c4c65b96be3c26ed08e3 , .uc4790f4dc181c4c65b96be3c26ed08e3 .postImageUrl , .uc4790f4dc181c4c65b96be3c26ed08e3 .centered-text-area { min-height: 80px; position: relative; } .uc4790f4dc181c4c65b96be3c26ed08e3 , .uc4790f4dc181c4c65b96be3c26ed08e3:hover , .uc4790f4dc181c4c65b96be3c26ed08e3:visited , .uc4790f4dc181c4c65b96be3c26ed08e3:active { border:0!important; } .uc4790f4dc181c4c65b96be3c26ed08e3 .clearfix:after { content: ""; display: table; clear: both; } .uc4790f4dc181c4c65b96be3c26ed08e3 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .uc4790f4dc181c4c65b96be3c26ed08e3:active , .uc4790f4dc181c4c65b96be3c26ed08e3:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .uc4790f4dc181c4c65b96be3c26ed08e3 .centered-text-area { width: 100%; position: relative ; } .uc4790f4dc181c4c65b96be3c26ed08e3 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .uc4790f4dc181c4c65b96be3c26ed08e3 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .uc4790f4dc181c4c65b96be3c26ed08e3 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .uc4790f4dc181c4c65b96be3c26ed08e3:hover .ctaButton { background-color: #34495E!important; } .uc4790f4dc181c4c65b96be3c26ed08e3 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .uc4790f4dc181c4c65b96be3c26ed08e3 .uc4790f4dc181c4c65b96be3c26ed08e3-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .uc4790f4dc181c4c65b96be3c26ed08e3:after { content: ""; display: block; clear: both; } READ: Novel Orwell - 1984 EssayAt night, the sea has a different aspect in both books it is described as being incredibly mystic, in the Odyssey we are introduced to the idea of a progress that brings the darkness of night where as in the sound of waves, night falls on the Ocean directly. In the first book as night comes â€Å"The rose Dawn might have found them weeping still had not grey-eyed Athena slowed the night when night was most profound, and held the Dawn under the Ocean of the East.† When travelling at sea, the night saves much time because it allows them to continue their route but as we see in book IX of the poem, it makes the sea go remarkably rough, â€Å"†¦.veils of squall moved down like night on land and sea. The bows went plunging at the guts; sails cracked and lashed out strips in the big wind.† Also the Tokachi-maru travels at night, here, we see how when there is no light, sailors are in the situations of having nothing else but the sea as they are not able to see anything around them, †The vast expanse of the gulf of isle was completely hidden by the night† this, amplifies the sensations brought by the night that is also perceived as being a calm peaceful moment, â€Å"The roar of the sea, surprisingly enough, gave the infinite night that enveloped them a quality of frenzied serenity.† Accordingly, the Mediterranean sea and the Pacific Ocean both have a tremendous repercussion on islands and islanders that are affected by its storms and it’s calmness, the sea is a means of life for the people that live on islands, it is a necessity for trade and food but also it connects to the people of the sea in some curious way. Although deceived by the sea â€Å"The light on the sea rim gladdened Odysseus† and as Shinji heard the sound of the waves striking the shore, it was as though the surging of young blood was keeping time with the movement of the sea’s great tides†. The sea is taken as a counsel to its people that with its movement and its light find themselves and feel the peace.

The Truman Dissision Essay Research Paper A free essay sample

The Truman Dissision Essay, Research Paper A adult male of wisdom, truth and leading, these are the things brought to mind when we think of our really ain 33rd president, Harry S. Truman. On Thursday, May 8th, 1884, Truman was born. He was born in a six-room farmhouse in Lomar, Missouri and twelve old ages subsequently he prospered as a Missouri husbandman. For college, he attended the University of Missouri-Kansas City and merely took dark categories. While go toing at that place, he took school of jurisprudence, but did non graduate. Often he visited a Baptist church for moral support to steer him in the right way in life. These are the premier old ages of our shortly to be powerful president. In World War I, Truman went to France as a captain in the Field Artillery. When he came back to America, he married Elizabeth Virginia Wallace and opened a clothing store in Kansas City. We will write a custom essay sample on The Truman Dissision Essay Research Paper A or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page As an active Democrat, Truman was elected a justice of the Jackson County Court in 1922. He became a senator in 1943. During World War II, he headed the Senate war look intoing commission, look intoing into waste and corruptness and salvaging every bit much as 15 billion dollars in one twelvemonth. In 1945, Harry S. Truman became our 33rd national President. His vice-president was Alben William Barkley. He served for two footings and he ended his presidential term in 1953. Truman made some of the most critical determinations in history. Soon after V-E twenty-four hours, the war against Japan had reached its concluding phase. Truman urged Japan to give up because the U.S. might convey atomic arms into the war, but the supplication was rejected. In early August 1945, atomic bombs were dropped on the Nipponese metropoliss, Hiroshima and Nagasaki. These two bombs yielded the resignation of Japan and an terminal to the American engagement in World War II. By 1946, the two bombs caused the decease of approximately 240,000 Nipponese citizens. The people of Japan do non hold an official ground forces because they do non believe in the spread of force after they stepped into atomic war and seting many lives at hazard. Because of Harry S. Truman s determination, today we are common with Japan. President Truman, I think is one of my favourite president s because of the action he took towards the war. Peoples may hold looked down on him because of the lives that were taken in the bombardments. But, I believe if the war continued, there would hold been six to seven times as many lives lost in the war. Equally shortly as he came into office, he tried to stop the war every bit shortly as possible and he ended up wining. These powerful actions made him a great leader and function theoretical account for all ages in our great state.

Narrative Essay Skills Essay Example

Narrative Essay Skills Essay Example Narrative Essay Skills Essay Narrative Essay Skills Essay Essay Topic: 8th Grade Narrative Writing Lesson plans and other teaching resources Action Chains Students learn to elaborate on an event in a narrative by expanding their sentences into action chains. Expanding single actions into an action chain provides the reader with a more detailed picture of an event in a narrative. This lesson is designed for grades 3-5. Active Beginnings This 3-page printable handout focuses on crafting strong leads. It is designed for elementary students and requires Adobe Reader or compatible application. Constructing Narratives: A Unit Plan for Taking Apart and Reconstructing Stories This lesson is designed as a project-based unit plan that will take students through the narrative process from deconstruction to construction. After initial discussion, students will use an interactive story map to deconstruct a short story. Students will use pictures to put together a PowerPoint-based storyboard that other students will use to construct a story. This unit is designed for grades 6-8. From Object to Story: Writing a Historical Narrative Featuring an Artifact from Ones Family History Students share observations about the history of familial artifacts. They then research the history and cultural significance of selected objects to prepare their own historical narratives. Includes short reading as prewriting activity. Getting Hooked: Introduction for a Narrative Students will be able to identify techniques for writing an introduction for a narrative and use them effectively. This lesson is designed for grades 2-4. Hands, Hands, Hands Writing a Narrative Essay from the Perspective of a Particular Hand The teacher will show pictures of six hands to students (pictures included with other handouts). After a brainstorming session, students will choose one hand that illustrates a particular story from their life. Then students will write a two page narrative essay about this story. These stories will be posted on a class blog to allow for feedback and discussion from classmates. In Search Of Wisdom: An Interview With An Elder Students develop interview questions, interview someone aged 60 or older, and write a narrative using that persons voice. Incorporating Flashbacks in Narrative Text - The Sinking of the U. S. S. Indianapolis Students watch a 2:25 video segment that shows an interview with one of the survivors of the U. S. S. Indianapolis who recalls the sinking of the ship and his survival. Students then create an original narrative that utilizes flashback to tell the survivors story. This lesson is designed for grades 8-10 and includes links to the downloadable video and all support materials. Make Kids Writing Shine: Using Beginnings and Endings to Teach Craft Strategies to build elementary writing skills. Scroll down for revision and assessment ideas, resources. Memory PreservationOne Relative at a Time After organizing and conducting an interview of a grandparent/senior citizen, students create a slideshow presentation using the information and memorabilia collected at the interview. This lesson plan includes rubric and model. It is designed for 8th grade. Narrative Writing Reading Core Skills Lesson Plan Creating a story is like magic! Grab your magicians hat and wand for this activity. Teach core curriculum concepts of narrative writing (story creation) through the use of characters, setting, and plot. Also teaches skills needed to meet language arts reading and writing core curriculum standards that require the ability to describe characters, settings, and major events in a story. Designed for elementary students. Nibble, Nibble, Little Mouse Students in grades 6-8 explore the implications of point of view in literature and write a narrative, retelling a traditional story from a different characters point of view. A Pictures Worth a Thousand Words Students are given a picture that tells a story. They brainstorm words and ideas, then write a story based on what they see. This lesson is designed for grades 6-8. Note: more ideas for teaching the personal narrative can be found on the Biography page. Prewriting Exercises for Personal Narratives Ten activities for personal narrative writing. Savvy Story Structurestudents learn to actively engage in reading by becoming more familiar with the elements of a story. Students will be required to think at a higher level and will enhance their understanding of selected passages and stories. Students should also begin to relate stories to their own lives. Designed for grades 3-5. Ten Narrative Writing Prompts These prompts are designed for high school and college students, but it might be possible to modify some of them for younger students. Tir Nan Og This 4:04 video offers many options: introduction to linear narrative, making predictions, sequencing, writing descriptions, adding dialogue. Using Music to Teach Personal Narrative Students use songs like Snapshots and Crossing the Border to reflect on their own experience. From the Rock and Roll Hall of Fame and Museum. Using Personal Photographs to Spark Narrative Writing The lesson plan asks students to bring in a photograph that has special meaning for them and to write about it. Using Pictures to Teach Narrative Writing with Roll of Thunder, Hear My Cry Students respond to pictures depicting segregation. They write a story from the point of view of someone in the picture. Writing to Photography/Photography to Writing A teacher designed this project with two goals in mind: (1) to improve students writing by incorporating photography into descriptive and narrative writing exercises designed to inspire more varied and creative perspectives, and (2) to enhance visual as well as verbal literacy.

How to Express Future Time in English

How to Express Future Time in English Legend has it that the final words of French grammarian Dominique Bouhours were, Je vais ou je vas mourir; lun et lautre se dit, ou se disent. In English that would be, I am about to or I am going to die. Either expression is used. As it happens, there are also multiple ways of expressing future time in English. Here are six of the most common methods. the simple present: We leave tonight for Atlanta.the present progressive: Were leaving the kids with Louise.the modal verb will (or shall) with the base form of a verb: Ill leave you some money.the modal verb will (or shall) with the progressive: Ill be leaving you a check.a form of be with the infinitive: Our flight is to leave at 10:00 p.m.a semi-auxiliary such as to be going to or to be about to with the base form of a verb: We are going to leave your father a note. But time is not quite the same as grammatical tense, and with that thought in mind, many contemporary linguists insist that properly speaking, the English language has no future tense. [M]orphologically English has no future form of the verb, in addition, to present and past forms. . . . In this grammar, then, we do not talk about the future as a formal category . . ..(Randolph Quirk et al., A Grammar of Contemporary English. Longman, 1985)[W]e do not recognize a future tense for English. . . . [T]here is no grammatical category that can properly be analyzed as a future tense. More particularly, we argue that will (and likewise shall) is an auxiliary of mood, not tense.(Rodney Huddleston and Geoffrey K. Pullum, The Cambridge Grammar of the English Language. Cambridge University Press, 2002)There is no future tense ending for English verbs as there is in other languages . . ..(Ronald Carter and Michael McCarthy, Cambridge Grammar of English. Cambridge University Press, 2006)English has no future tense, because it has no future tense inflections, in the way that many other languages do, nor any other grammatical form or combination of forms that can exclusively be ca lled a future tense.(Bas Aarts, Oxford Modern English Grammar. Oxford University Press, 2011) Such denials of a future tense may sound paradoxical (if not downright pessimistic), but the central argument hinges on the way we mark and define tense. Ill let David Crystal explain: How many tenses of the verb are there in English? If your automatic reaction is to say three, at least, past, present, and future, you are showing the influence of the Latinate grammatical tradition. . . .[I]n traditional grammar, [t]ense was thought of as the grammatical expression of time, and identified by a particular set of endings on the verb. In Latin there were present tense endings . . ., future tense endings . . ., perfect tense endings . . ., and several others marking different tense forms.English, by contrast, has only one inflectional form to express time: the past tense marker (typically -ed), as in walked, jumped, and saw. There is therefore a two-way tense contrast in English: I walk vs I walked: present tense vs past tense. . . .However people find it extremely difficult to drop the notion of future tense (and related notions, such as imperfect, future perfect, and pluperfect tenses) from their mental vocabulary, and to look for other ways of talking about the gramm atical realities of the English verb.(The Cambridge Encyclopedia of the English Language. Cambridge University Press, 2003) So from this perspective (and keep in mind that not all linguists wholeheartedly agree), English doesnt have a future tense. But is this something that students and instructors need to be concerned about? Consider Martin Endleys advice for EFL teachers: [T]here is no harm done if you continue to refer to the English future tense in your classroom. Students have quite enough to think about without being troubled by such matters and there is little sense in adding to their burden needlessly. Yet, underlying the dispute is an important issue that does have an obvious bearing on the classroom, namely, the difference between the way the present and past tenses are marked on the one hand, and the way the (so-called) future tense is marked on the other.(Linguistic Perspectives on English Grammar: A Guide for EFL Teachers. Information Age, 2010) Fortunately, English does have a future with plenty of ways of expressing future time.

Integration of reality into the works of william hogarth in the Research Paper

Integration of reality into the works of william hogarth in the eighteenth century - Research Paper Example This brief essay will work to analyze the ways in which William Hogarth’s works during eighteenth century Europe engendered many such forms of tacit transmission as well as seeking to incorporate elements of political, fictional and religious motifs. It should be noted that although this analysis will look at many of Hogarth’s works, it will not be specific to pointing out every layer of double entendre that might exist; rather, the research will be concentric on understanding and grappling with the major trends that Hogarth worked to enumerate upon within each of the pieces which will be analyzed. As such, the following research will be divided into sections which work to analyze the different means of conveyance that Hogarth employed as well as seeking to detail the specific motifs and themes that these means of conveyance sought to impress upon the viewer. The first of these paintings which will be analyzed was painted in 1754 and entitled, â€Å"An Election: Chairi ng Member†. This painting is extraordinarily unique due to the fact that it incorporates a host of both political, cultural, and religious motifs that bear discussion as a means of understanding some of the diverse themes and emotions that the artist was attempting to convey. The first of these themes is the pied piper that can be seen in front of the gathering of rowdy townspeople. In this way, all of the action and movement is behind this piper. Such a prominent exhibition in the foreground of the photo evokes the strong sense that Hogarth is attempting to convey to the reader. This strong sense is concentric around the fact that even though elections can be understood as an expressions of a participatory nature, the fact of the matter is that people still behave as if in a group and in a senseless manner. This cultural theme of the pied piper is further illustrated in a religious context by the inclusion of a small group of swine directly in the process of running off the s ide of the bridge that is pictured. This of course is reminiscent of the unclean spirits that Christ cast into the group of swine in Samaria that subsequently threw themselves into the Sea of Galilee. As such, the artist makes a firm connection between the religious imagery depicted and the cultural imagery of the pied piper. By presenting high levels of nuanced detail, Hogarth was able to evoke imagery that sought to express various elements within current society as well as to impress upon the reader a host of ideas and correlations that other artists did not. Furthermore, the artist seeks to convey an image that depicts the ridiculous nature of democracy in the form that it existed during his time. In this way, the artist seeks to represent the citizens in the foreground and the background as zealots that feverishly push and pull for the given belief system of their choice and fight against those that defy such a belief system. However, what is most interesting and almost unnotic eable is the fact that the aristocrats within the society look out from their second story windows onto the raucous below with amusement. In this way, the artist seeks to represent a face of politics that has continued to haunt our system until the current time; the fact that the ultra rich are often times directing the fate of politics unbeknownst to the workers who fight and die for the values that the super-rich espouse. The second painting of Hogarth’

Team Essay Example | Topics and Well Written Essays - 500 words - 2

Team - Essay Example Social groups of relative similarities functioned and develop them own system of values and accordance making them united in their own concept and apart from the other social groups. Thus with this concept, cultural diversity has predominantly existed as how society themselves strive and develop to the point of their current state. However, this innate and basically natural concept in the society has been always a massive hindrance for the establishment of social unity and uniformity especially on the principal level of a team. Since the team-building concept’s main agenda is the establishment of a uniting factor and bond among its members, their own personal and cultural diversity has always been a challenge for the said aim. Common problems and challenges such as uniqueness in the dominant language, dissimilarities with social norms and acceptable principles, differences concerning perception and opinions, and others often become a problem in the team-building aspect. In general, diversity produces stratification and division thus unification is being hindered. Indeed, cultural diversity in the aspect of team building is one of its main weaknesses. However, cultural diversity in a certain team can also serves as its potential strength producing advantages apart from its common disadvantages. Having a culturally diversified group is also beneficial because it can basically cover much more grounds than groups of only single culture. This concept is true because having a multicultural society in a single group will produce more and significantly different opinions and ideas and with the merging of these different ideas, a single group can produce a statement or an idea that is generally valid since it actually addresses point of views from each culture. It is like having a representative from each culture joining together to create a concept that will unify their principles and eliminate their differences. In

Compare three pre-20th Century poems about London Essay Example for Free

Compare three pre-20th Century poems about London Essay I am going to compare three very different poems about London. The first poem is London by William Blake, written around 1800. Upon Westminster bridge is the second poem , by William Wordsworth, again written around 1800. The third poem by Mary Ann Evans in the mid-19th century is called In a London drawing room. William Blake was a man of strong opinions, he was a strange person who painted horrific art and walked around naked in his garden. He was a strict Christian and wrote hymns. People disliked him for his strange ideas and strong criticism of what he felt was wrong. William Wordsworth lived in the Lake District, and wrote poems about where he live; the countryside. Whilst visiting London he wrote a poem about what he could see from Westminster bridge. Mary Ann Evans lived in London she was a tomboy by the name of George Elliot. Her father was a vicar. She moved to London to live a more interesting life. Working for a printing company she realised how mistreated women were. The story behind Upon Westminster bridge is:- London looks very beautiful. Youd be sad not to be impressed. Its about what Wordsworth sees from Westminster bridge. His theme is simple; He likes what he sees. London has a very different theme: William Blake lives in London and cant stand it. The story is very simple the poet wanders through Londons streets thinking about what he sees. In a London drawing room also has a simple story; Mary Ann Evans is in a drawing room looking out into the street. Her theme is much more complex She talks about how London through this window is dull, grey and boring. When she says this she actually means thats how she feels inside and expresses it through her poetry. Upon Westminster bridge is a sonnet because it has fourteen lines praising Londons beauty, it has only one verse. It has a regular iambic rhythm all the way through: Giving the poem a joyful sound. There is no regular rhyming pattern but some lines rhyme. London uses quatrains which means it has four equal lines into four verses. London has a regular and joyful rhythm, which is ironic because of its sad message. The rhyming follows an ACBD pattern (A rhymes with line C-B rhymes with line D.) In a London drawing room has no verses, twenty lines which have each ten syllables in them. There is no regular rhythm, because of the regular enjambment. Cutting the sky with one long line of wall Like soled Fog: Far as the eye can stretch. The enjambment causes lines to run into each other. There is no rhyme a tall in the poem. There is a lot of figurative language in Upon Westminster bridge. wear The beauty of the morning; silent bare, This a personification because the city wears the beauty of the morning like a dress. The river glideth at his own sweet will: In line twelve names the river a he. This poem has a lot of imagery, one of them mentions valley, rock and hill, putting the picture of the valleys, hills and rocks on the horizon. In a London drawing room too uses figurative language, The world seems one huge prison-house and court, this is a similar because the world seems to be like a prison-house. A metaphor would be, Cutting the sky with one long line of wall, this is calling the row of houses a wall cutting the sky. The figurative language in London are, The mind-forgd manacles I hear. Means the people in London believe they are in manacles. The metaphor at the end of the third verse is about the old war soldiers begging outside wealthy houses, And the hapless soldiers sigh Runs in blood down palace walls. In Upon Westminster bridge most of the play on words are to keep the rhyme and rhythm in a pattern. London plays on words quiet a lot compared with Upon Westminster bridge. At the end of the first verse there is an element of alliteration, Marks of weakness. Marks of woe, woe is a much more powerful word to use than sad plus it alliterates with weakness. The second verse uses in every. Four times to get the point that this is serious across more strongly. The mind-forgd manacles I hear, is an alliteration of the letter M. On the last line, the last two words are marriage and hearse (car that carries a coffin) this is called juxtaposition; because marriage is associated with beginning and hearse is associated with the end they are opposites. This is an interesting way to end the poem. The only real play on words in in a London drawing room was the last line because the three last words are the only positive words (colour, warmth and joy) in the whole poem but just before it says with lowest rate of. So they might be positive but shes saying there is no colour, warmth or joy. I feel London is the most effective poem. This is because I like the irony in the rhythm and rhyme which sounds happy but its meaning is sad. I also like the Juxtaposition in the last line Marriage hearse. He uses clever words and sentences to put down London. I dont like In a London drawing room because it drags on so as to lose its meaning. Upon Westminster bridge I quite like because its cheerful but I still prefer the way London is written because it uses good words and clever poetry.

Emotions And Decision Making Essay -- essays research papers

A recently published article seems to lend new information as to the way in which emotions influence our decision-making process. While emotions and reasoning are considered inherently separate by some, new experiments are challenging that perception. A series of studies done by experimental psychologists now show us that emotion plays a very natural role in decision-making situations. The experiments, ranging in type from neuroimaging to simple classical conditioning, suggest that emotions can affect everything from simple judgments of other people to severe behavioral disabilities seen for example in sociopathic individuals. Emotion is now acknowledged as possibly the most basic of human operations and the basis for personal judgments. Fear especially has been studied extensively and is proving to be a very unconscious and automatic cognitive reaction. One fear-related study was conducted using simple classical conditioning: subjects were shown a picture of a person exhibiting stereotypical properties along with a frown used to convey a feeling of social threat (Mineka, 2002). Once the subjects were adequately conditioned, simply seeing that type of person would cause an increase in heart rate, suggesting fear, as well as provoke responses attributed to anger. The experimenters used these findings to infer that social fears are easily instilled in people simply because they for some reason have a negative image of them implanted in their head. Extensive studies of the rela...

Learning organization Essay

Marquardt (2002, p. 211) presented 16 steps necessary to build a learning organization. A closer look at our organization revealed that there is still so much to learn and change. Using Marquardt’s metaphor, our organization is still in the caterpillar stage, â€Å"earthbound† and â€Å"nonlearning† (p. 235). The major challenge keeping our company in this status can be linked to only two things, attitude of employees and leadership style. Unfortunately, the 16 steps proposed by Marquardt boil down to these two things. Employees have negative view about change. They are not willing to leave their comfort zones, take risks or commit to transforming the company. They lack the motivation to educate, improve and develop themselves professionally. The old, tested way of doing things remains the norm. However, the more disturbing fact is the lack of effort from the leaders. Based on Marquardt’s discussion, the main effort for change should come from the top, from the leaders. Presently, the leadership style in the company does not cater to the needs of a learning organization. The organizational culture does not empower the empoyees to express their creativity or explore their potentials. In short, our organization is 16 steps away from transformation. Based on the guidelines, to effect change, the leaders need to recognize their role as the agents of change. According to Marquardt’s book, â€Å"The first step is for leadership to commit themselves to transforming the company into a learning organization† (p. 210). Before that could happen, leaders should first of all need to recognize the need to transform our caterpillar ways to that of a butterfly. This step corresponds to the creation of an organizational vision. The company needs a more dynamic, interesting, inspiring vision to keep both leaders and employees stimulated into transforming and improving the company as well as creating an environment for continious learning.

Economic Activity as Reflected in Painting:

ECONOMIC ACTIVITY AS REFLECTED IN PAINTING: THE CONTRASTING VIEWS OF ECONOMISTS AND ART HISTORIANS [1] Manuel Santos-Redondo Universidad Complutense de Madrid [las diferencias con respecto al Documento de Trabajo disponible en la Web estan subrayadas] 1. Introduction The Moneychanger and his Wife is probably the picture most widely used to illustrate economic activity, and so it is (supposedly) well known by economists, managers, and accountants. The accounting book which appears in the picture is the origin of former AECA (Spanish Association of Accounting and Business Administration) logotype. It is a Flemish painting from the early 16th century. Not so many economists are, however, aware that there are two different versions of this picture: one by Quentin Massys, painted about 1514 (now in Paris, the Louvre), and another by Marinus (Claeszon) van Reymerswaele, painted in 1539 (now in Madrid, in the Prado). There are significant changes between the two versions. This being the Scholastic period and also the epoch of the commercial revolution in Europe, we would expect this picture to have some sort of economic meaning, and for the changes in the pictures to reflect these changes in economic activity and economic thought. We will argue in this paper that there does exist such a meaning; and that also the very important changes between Massys’s and Reymerswaele’s pictures have much to do with the economic changes in Europe in the beginning of the 16th century. Most art historians have seen in Massys' and Reymerswaele's paintings a satirical and moralising symbolism, The Money Changer and his Wife being the representation of greed. Others think that the picture shows economic activity in a respectable way. Flanders at that time was the centre of a flourishing industrial and commercial activity, and also was the centre of a mercantile trade in works of art. Both things led to a representation of the professional activity of moneychangers, goldsmiths, and bankers in a way that shows those activities as respectable professions. The second view is the one implicitly shared by economists when choosing this picture to illustrate many books on economics or business. Some scholars have proposed more subtle interpretations. Marjorie Grice-Hutchinson, the historian of economic thought who first aroused the interest of economists in the Spanish Scholastics of â€Å"School of Salamanca†, considers Massys' painting to be an illustration of the intention of Scholastics to make compatible the commercial customs of the time with Church doctrine on usury. According to her interpretation, Massys' painting would mean the money lender working and, at the same time, discussing with his wife the fairness of a particular commercial deal, helped by the religious book his wife is reading. It is important to notice that, 25 years on, the book in Reymerswaele’ painting is no longer a religious work but an accounting book. But art historians claim that there is still some symbolism in the painting which gives it a moralising and satirical intent. According to them, this symbolism was clear to contemporaries but not to us; or sometimes would have been intentionally difficult to notice for those contemporaries who were not in the same religious group as the painter or his client. For instance, the long, curved fingers of the bourgeois couple allegedly represented avarice. But Reymerswaele painted the fingers of Saint Jerome in the same way , so it must have an aesthetic intention and not a symbolic one. In the process of reviewing the different interpretations provided by art historians of this picture and other similar ones, we shall see that they are consistent with the views that most art historians share about the economy (as Hayek points out in his chapter of The fatal conceit, 1988, â€Å"The Mysterious World of Trade and Money†) rather than based on any objective interpretation of the painting and history. Thus, while the picture shows commercial and financial activity to be a normal, respectable occupation, most art historians see a moralizing and satirical intention. My view is that art historians’ prejudice towards commercial and financial activity leads them to a wrong interpretation of the paintings. When the painters wanted to be satirical and moralizing, they did it in a way that is clearly recognizable by us today. And that this is not the case with the The Moneychanger and his Wife, in either the version of Massys or that of Reymerswaele. 2. Quentin Massys Let us start with Quentin Massys,[2] The Moneychanger and his Wife, dated 1514. Figure 1]. It is probably derided from a lost work by Jan van Eyck, c. 1440. [3] On the table are placed coins, a set of scales, and various other tools of their trade. (â€Å"various other tokens of their wealth†, says the art historian Jean-Claude Frere, 1997, p. 186. This is our first difference in interpretation). The man is wei ghing gold coins with great care. At that time, coins with the same face value varied in the amount of gold they contained (and therefore in their real exchange value), because it was a normal practice to file them down, clip them, or to shake them together in a bag in order to collect the gold dust they produced. So, the moneychanger is simply going about his business, not counting his money as a miser would do. And, if you look at his face, it is not the face of a miser, but the face of a concentrating working man, carefully carrying out his job. His wife is looking at the coins and scales too; but she has a book in her hands. The book is a religious one, an illustrated â€Å"book of hours†. Marjorie Grice-Hutchinson, the historian of economic thought who first brought economists attention to the Spanish Scholastics of the â€Å"School of Salamanca†, considers Massys painting an illustration of the intention of the Scholastics to make compatible the commercial practices of their time with the Church's doctrine on usury. According to her interpretation, Massys painting portrays the money lender at work and, at the same time, discussing with his wife the fairness of a particular commercial deal, helped by consulting the religious book his wife is reading. [4] Many other interpretations of Massys’s work consider this picture as to be a oralizing one, in a much stronger sense than that of Grice-Hutchinson's view. The Encarta Encyclopedia says: â€Å"In The Moneychanger and his Wife, the subtly hinted conflict between avarice and prayer represented in the couple illustrates a new satirical quality in his paintings. â€Å"[5] (It is curious that the â€Å"Web Gallery of Art†, together with the Encarta article, provides this contradictory explanation: â€Å"The painting remains in the Flemish tradition of van Eyck, with the addition of a profane sense of beauty, sign of a new world†). [6] Another scholar says this about Massys: â€Å"Painters also began to treat new subjects. Men like Quentin Massys, for example, played an active role in the intellectual life of their cities and began to mirror the ethical concerns expressed by humanist thinkers with new paintings that used secular scenes to impart moralizing messages. Vivid tableaux warned against gambling, lust, and other vices. â€Å"[7] At the bottom of the painting there is a circular mirror; we can see the tiny figure of a man wearing a turban. [Figure 2] For some reason, the following is the explanation of the art historian Jean-Claude Frere: â€Å"a side window, under which we can just make out the tiny figure of a thief. He would seem to be spying on the couple as they count their gold, while they would seem to be oblivious to his presence, blinded by their greed†. [8] Let us leave aside the greed and concentrate on the tiny man. Is he a thief? I don't know. But I'm sure he is not â€Å"spying on the couple as they count their gold†: I am not an art historian, but it seems clear to me that the man is inside the room, he is reading a book and looking out of the window to the street. In think that this is not a casual mistake: it is consistent with art historians’ interpretation. Symbolism, a source of moralistic interpretation My view is that art historians explanation of The Moneychanger and his Wife as a satirical work containing symbolic allusions hidden from contemporary observers, is merely a reflection of their own prejudices concerning certain economic activities. Let us consider the serious arguments supporting the symbolic explanations of paintings of the Flemish Renaissance, in order to be able to judge when a painting has this meaning and when has not. The famous art historian Erwin Panofsky held that the Early Flemish painters had to reconcile the â€Å"new naturalism† with a thousand years of Christian tradition. Based on St. Tomas Aquinas, who thought that physical objects were â€Å"corporeal metaphors for spiritual things†, Panofsky (Early Netherlandish Painting, 1953) maintains that â€Å"in early Flemish painting the method of disguised symbolism was applied to each and every object, man made or natural†. [9] There are other historical sources that point to a symbolic meaning in the painting of Quentin Massys. In his painting Portrait of a Merchant and his Partner,[10] [Figure 3] there is a clearly legible inscription, in French: â€Å"L'avaricieux n'est jamais rempli d'argent†¦ N'ayez point souci des richesses injustes, car elles ne vous profiteront en rien au jour de la visitation et de la vengeance. Soyez donc sans avarice†. This is a paraphrase of the Gospel of St Luke, ch. XII, 15, 21-34; Saint Matthew, ch. VI, 19-21. Jean Cailleux says that the main character in the painting â€Å"est soumis a la parole evangelique. Il est vraiment fidele dans les richesses injustes. Il ne cede pas a la sollicitacion du Tentateur qui, derriere lui, le visage tordu par lavarice et la soif du lucre, lui propose des comptes fantastiques†. 11] Painting and Economic Activity at Flanders We can expect the Flemish painters to be familiar with market oriented economic activity and the money world, because of the society in which they lived. Flanders at that time was the center of a flourishing industrial and commercial world, and also was the center of a mercantile trade of works of art. Both things led to a representation of the professional activity of moneychan gers, goldsmiths, and bankers in a way that shows those activities as respectable ones. Most Flemish artists were familiar with this world because of their own craft of painting, which was indeed market oriented. Massys was the most important of Antwerp painters of his time; and this means his shop was an example of how artistic production was organized in Antwerp, and formerly in Bruges. It is not at all odd that Flemish painters should portray business people. Massys worked for religious confraternities, and also painted portraits and other profane subjects, sometimes satirical, in response to commissions from humanists and scholars. Frere says that Massys was â€Å"perfectly attuned to the new mercantile conception of art. Antwerp was already established as an active and liberal center for trade in art† (1997, p. 186). Both Antwerp and Bruges had a regulated guild system for painters at the beginning of the sixteenth century. It is important to notice not only the art of the painter, but also the evolution of the master's workshop. At the beginning of the Renaissance, training in a craft took place in workshops regulated by civic authorities: apprenticeship was followed by admission to a guild. By the end of the century, â€Å"workshops had become more like shops nowadays, turning out goods for a flourishing private market accountable to no one. And change came without a defining moment and without artists missing a beat. Workshop assistants had certain preparatory tasks, including grinding pigments, laying grounds, and the transfer of under-drawings. Experienced assistants took on subsidiary passages, including background or stock figures. Assistants also made copies to keep pace with demand, and they had access to the master's designs once they set up for themselves. Workshop copies ranged from straightforward replicas to transpositions into other media and from large commissions to private, devotional images. â€Å"[12] The conventional portrait of a rich man But this familiarity of artists with a commercial society does not lead them automatically to portray business people in their trade, as â€Å"occupational portraits†: the common way to portray a business man was in a way that showed him as a religious man, or as an intellectual in his house, surrounded by works of art and literature. The best known example is The Arnolfini Portrait by van Eyck, but there are many others. In the triptych The Last Judgement, painted in 1480 by the Flemish painter, working in Bruges, Hans Memling, we can see the portraits of Tomaso Portinari and his wife, naked inside the scales; and those of Angiolo Tani and his wife, Catarina Tanagli, kneeling on the floor at prayer. [Figure 4] Both Portinari and Tani were important business men working in Bruges branch of the Medici company. In the Italian Renaissance, Lorenzo de Medici is portrayed as one of the Magi in Gozzoli’s Journey of the Magi, 1459. 13] It was quite common to include the donors' portrait in a religious scene. Tomaso Portinari and his wife, Maria Baroncelli, were also directly portrayed by Memling, at prayer. [14] (The fact that Antwerp was a rapidly enriched city and lacked a traditional aristocracy, may well have been an important reason for the artist representing economic activity in the portraits of businessmen , instead of the traditional â€Å"rich and cultured† portrait). 3. Marinus van Reymerswaele Let us now move on to the other version of the portrait and to a different year. Marinus van Reymerswaele[15] The Moneychanger and his Wife, [Figure 5] painted in 1539, is inspired by Massys. [16] This is the explanation of the painting provided by the Spanish Association of Accounting and Business Administration, AECA, which in 1979 chose as the symbol of the association a section this painting. [Figure 6] â€Å"The painting which has inspired our logotype is internationally famous as an image of financial activity during the Renaissance: it shows a scene typical of the counting house of a banker of the period. The subject of the pair of moneychangers shows us a new profession which has appeared in the period, a profession related to the world of finance, taxes and commercial accounts. Reymerswaele adapts the subject of the banker and his wife from Massys’s painting now in the Louvre in Paris. In Reymerswaele’s painting, the bourgeois married couple are seen counting out gold and silver coins, and the husband is weighing them with great care in a small set of scales, since most of them would be clipped or scraped. The coins are probably the product of tax-collection, an exchange of foreign currency or the repaying of a loan. This would imply the use of the abacus which the banker has at his right on the table, and then the setting out of accounts in the accounts book which the wife is holding in her delicate fine hands. â€Å"[17] Compare the explanation of this picture given by the AECA with the moralistic and over-sophisticated explanations of the art historians. The changes Between 1514 and 1539, many things have changed. In particular, the accelerated growth of the economy that stemmed from the discovery and colonization of the New World, and the religious transformation known as Lutheran Reformation. Reymerswaele was himself involved in the Lutheran Reformation. (We know that in 1567, being an old man, he took part in the sack of Middelburg cathedral, and was severely punished (six years of banishment and public humiliation). Reymerswaele specialized in everyday scenes of flourishing Flanders, with great realism, which gives his works a considerable documentary interest. (Paintings by masters of Northern Renaissance realism often recorded official contracts or acts. The Lawyer's Office, 1545, by Reymerswaele, [Figure 7] is a remarkable example of this practice. Recent research has demonstrated that the documents, which form the background of the painting, refer to an actual lawsuit begun in 1526 in the town of Reymerswaele on the North Sea). [18] His subjects were businessmen: usurers, notaries, tax gatherers; but what could be seen as â€Å"occupational portraits† are always stressed as moralizing: Another art historian says â€Å"usuriers, changeurs, avocats, notaires, percepteurs d'impots, monde apre et rapace de l'argent toujours plus puissant dans le metropole enrichie. †¦ ] L'art de Marinus [Reymerswaele] presente une accentuation presque caricaturale, qui donne a l'ouvre sa portee moralisante† (Philippot, 1994, p. 173). Puyvelde considers that, in the genre painting by Marinus van Reymerswaele, the realist portrait turns into a caricature of rapacious and greedy businessmen. In Reymerswaele The Moneychanger and his Wife, he says, â€Å"l'esprit de lucre est plus nettement marque dans les physionomies et les doigts maigres† (Puyvelde, p. 13; we will turn to the fingers latter). The study of the gold coins that appear in the painting shows that â€Å"the coins are mostly Italian and are all of types minted before 1520† (Puyvelde, p. 17). This could mean that the painting is a trial effort done by Reymerswaele, before his first clearly datable painting, Saint Jerome, of 1521. The importance of Puyvelde's argument is not the exact date, which I cannot dispute, but the fact that Puyvelde considers The Money changer and his Wife closer to a portrait than to a satire, as ompared to later works by Marinus: later in his career, Reymerswaele would have abandoned portraiture and turned to satire and caricature (â€Å"pamphlet†, says Puyvelde). [19] The public appears to have had a preference for satire, and Marinus sought to satisfy the public with pleasant humorous pictures which enjoyed great popularity among collectors of the period. Other paintings contain inscriptions which refer to the taxes charged on beer, wine or fish. In one of the copies or i mitations of The Lawyer's Office, titled The Notary's Study, the document the notary is reading has been deciphered: it appears to be a parody of legal slang. Even the signature on the document in French reads â€Å"Notaire infame et faussaire†. [20] Usually museum guides reflect the views of art historians. Referring to Reymerswaele The Moneychanger and his Wife, a guide to the Prado says: â€Å"In this painting we find all the characteristics of Northern European painters: minute detail, fine quality raw material, an empirical approach to reality, and above all, the naked sordidness with which Van Reymerswaele approaches one of the principal evils of his time: usury, the greater of all possible sins in a commercial society such as Flanders. Corruption and fraud affected all levels of society, even the clergy, producing a critical reaction on the part of writers, theologians and artists. â€Å"[21] Reymerswaele was not the only painter who developed Massys portraits; several other Flemish painters did. Again, there are significant differences in their style, differences which influence the overall â€Å"tone† of the picture either as â€Å"occupational portrait† or â€Å"caricature†. My point is that a common spectator of today can spot the difference. Corneille van der Capelle painted Le Percepteur d'impots et son Garant and Le Percepteur d'impots et sa Femme,[22] [Figure 8] in which we can notice a real, kind portrait of the businessmen, quite far from any caricature. But, even given the very different styles, I find no moral satire in Reymerswaele The Moneychanger and his Wife, as compared to his other works. In Reymerswaele version, the religious book has disappeared. This is an obvious change, since Marinus was a Protestant and wouldn't have accepted any other religious book for daily reading than the bible. But there is no bible in Marinus painting. Instead, there is a hand-written book, with no illustrations, which seems to be an accounting book. The characters in Reymerswaele painting are most elegant, with luxurious clothes, and long, delicate fingers. This is also thought by some scholars to be satirical: â€Å"Long, curved fingers were, in XVI century, a sign of greed or avarice, so an apparently domestic subject can also be full of moral meaning†. [23] Long, curved fingers and noses use to represent Jews and, by extension, greed or avarice in Christian iconography. It may be important to notice that Jews played an important role in Antwerp’s economic activity. The money market was controlled by the Italian Lombards, and Jews could only act as minor money-lenders. The Jews lent mainly small amounts of money for shorter periods of time to less wealthy people such as butchers and bakers. Scarcity was an excellent situation for Jewish money-lenders. As a consequence, the y had many clients among the common people who probably had great difficulties in paying them back. This fact may have reinforced the strong anti-Semitism prevalent at that time. There were a massacre of Jews in Antwerp in 1350, and then many Spanish and Portuguese â€Å"marranos† came to settle there after 1492 and 1497, expelled from Spain and Portugal. [24] I haven’t fully explored yet the possibility of the satirical portraits being racist or anti-Semitic). But the long fingers can imply other things: they can be an esthetic technique to make people appear more mystical, unmaterialistic, attractive. We could interpret thus the fingers of Reymerswaele’ Saint Jerome, in 1521. [Figure 9] And Saint Jerome transmits you the idea of ascetic sanctity, the antithesis of greed. Although, again, some scholar says that Reymerswaele painting of Saint Jerome is â€Å"stressing the crabbedness of scholarship†. Even if that is correct, it would not be the crabbedness of greed). To me, the long, curved fingers of the moneychanger and his beautiful wife imply simply elegance. This is my personal impression. If I then look at other paintings by Reymerswaele, for instance, the two Tax Gatherers (also The Misers), described by the same scholar as â€Å"exceedingly ugly and covetous†, I don't need to be his contemporary to notice the satirical meaning. [25] After comparing their clever interpretations with what a spectator sees in these pictures, I would recommend that the meaning of a painting, as given by art historians, not be accepted uncritically: their judgments appear to be based upon certain prejudices, in this case concerning commercial and financial practices, rather than any objective analysis of the painting. 4. Other Flemish â€Å"occupational portraits† If you look at other paintings of the same school, it is easy to find examples of â€Å"good†, non critical or satirical, representation of moneychangers, goldsmiths, and bankers. Adriaen Isenbrant Man Weighing Gold (c. 1518),[26] [Figure 10] is described in this way by Jean E. Wilson: â€Å"This sensitive portrait of a banker or, perhaps, a moneychanger reveals the sitter's evident pride in his occupation. The portrait also serves as an example of the widening interest in portraiture, which had gradually extended to members of the business sector† (Wilson 1998, p. 196). But another scholar points out that â€Å"the act of weighing coins may allude both to the man's profession and to his contemplation of higher values, comparable to Saint Michael's weighing of souls on Judgment Day†. [27] In Hieronimous Bosch's The Table of the Deadly Sins,[28] 1480, [Figure 11] avarice is shown as a judge who is being bribed. This is completely different from the activity of the banker: what Bosch shows us is not a profit-seeking commercial practice which is therefore sinful, but an act of corruption which would be taken to be immoral equally in a commercially oriented society or in an ideal world described by Scholastic theologians. Another example of an â€Å"occupational portrait† is the Portrait of a Merchant [Figure 12] by Jean Gossaert (c. 1530),[29] thought to be a portrait of Jeronimus Sandelin, a real merchant from Zealand, in Flanders. There is nothing satirical about it: it is a purely â€Å"occupational portrait†. But the National Gallery of Art Brief Guide says this: â€Å"the sitter's furtive glance and prim mouth are enough to inform us of the insecurity and apprehension that haunted bankers in the 1530s, when the prevailing moral attitude was summed up by the Dutch humanist Erasmus, who asked, â€Å"When did avarice reign more largely and less punished? â€Å"[30] St. Eloy (Eligius) in His Shop, 1449, by Petrus Christus,[31] [Figure 13] is the clear representation of a goldsmith working in his shop and attending two clients: a rich, well-born bridal couple. It seems to be a representation of the goldsmith's trade, with the excuse of the portrait of a saint (hardly a subtle ploy, since St. Eloy is the patron of goldsmith's guild). The goldsmith sits behind a window sill extended to form a table, a pair of jeweler's scales in one hand, a ring in the other. Only his halo suggests that the painting deals with legend. On the right is a display of examples of the goldsmith's craft. The picture may very well have been painted for a goldsmith's guild (the one in Antwerp). St. Eligius is the Patron of metalworkers. As a maker of reliquaries he has become one of the most popular saints of the Christian West. Eligius (also known as Eloy) was born around 590 near Limoges in France. He became an extremely skillful metalsmith and was appointed master of the mint under King Clothar of the Franks. Eligius developed a close friendship with the King and his reputation as an outstanding metalsmith became widespread. It is important to notice that most prominent features in the life of St. Eligius can be seen both as indications of sanctity and the best professional characteristics of a good goldsmith. In the goldsmith's trade, skills were as important as reliability, as Adam Smith notices in Wealth of Nations: â€Å"The wages of goldsmiths and jewelers are every-where superior to those of many other workmen, not only of equal, but of much superior ingenuity; on account of the precious materials with they are intrusted†. [32] Eligius is praised for both qualities. From his biography, we can see how important this reliability of his goldsmith was, for the king to become Eligius' protector: â€Å"The king gave Eligius a great weight of gold. Eligius began the work immediately and from that which he had taken for a single piece of work, he was able to make two. Incredibly, he could do it all from the same weight for he had accomplished the work commissioned from him without any fraud or mixture of siliquae, or any other fraudulence. Not claiming fragments bitten off by the file or using the devouring flame of the furnace for an excuse. â€Å"[33] The portrait Saint Eligius by Petrus Christus is a fine example of the â€Å"occupational portrait†, describing a goldsmith's shop, the only religious connection being the halo and the fact than the saint is the patron of the guild. The true â€Å"moralizing† pictures of the Flemish School Look at the painting The Ill-Matched Lovers, c. 1520, [Figure 14] by Quentin Massys:[34] again you don't need to be a contemporary of his to notice the satirical intention. (It is important to notice that the theme of love between the old and the young was extremely popular in sixteenth century, and we can agree that both the popularity and the moral view has changed on this subject in modern times. The meaning of the painting, however, hasn't changed at all, because the artist doesn't paint the old man with tenderness and love and mature elegance, but as undignified uncontrolled, despicable desire). There are other paintings by Marinus which shows a clearly satirical approach, or at least an ugly expression which does not imply pride in the profession: see The Lawyer’s Office, 1545, and The Misers [Figure 15] (also known, in different versions, as The Tax Gatherers or The tax gatherer and his guarantor). This one shows â€Å"two tax collectors, or rather a treasurer, or an administrator with his clerk, the collector with a winking grimace†¦. The treasurer enters in a book the sums received for the taxes†¦ with his right hand counts and weighs the coins†¦ â€Å"[35] Both of them look clearly satirical for a modern observer. 5. Conclusion This paper has compared the rival interpretations provided by economists and art historians of the painting The Moneychanger and his Wife. The painting is seen as an â€Å"occupational portrait†, showing a banker in his office, carefully weighing coins simply because this is one of most prominent features of his trade. It is a clearly secular subject, much more so in Reymerwaele's version: the religious books in the woman's hands has been turned into an accounting book. We could expect Flemish painters to be familiar with market oriented economic activity and the money world, because of the society in which they lived. Flanders at that time was the center of a flourishing industrial and commercial world, and also was the center of a mercantile trade in works of art. [36] Both things led to a representation of the professional activity of moneychangers, goldsmiths, and bankers in a way that shows those activities as respectable ones. In the process of reviewing the different interpretations provided by art historians about this picture and other similar ones, we have seen that they are consistent with the views that art historians share about the economic activity, rather than based on any objective interpretation of the painting and history. Thus, while the picture shows commercial and financial activity to be a normal, respectable occupation, most art historians see a moralizing and satirical intention. This paper maintains that art historian’s prejudice towards commercial and financial activity leads them to a wrong interpretation of the paintings. LIST OF ILUSTRATIONS 1. The Moneychanger and his wife, by Quentin Matsys, 1503-1505. 2. The Last Judgement, by Hans Memling, 1480. Portrait of Angiolo Tani and his wife. 3. The Moneychanger and his wife, by Marinus van Reymerswaele, 1539. 4. Saint Jerome, by Marinus Reymerswaele. 5. Logo of the Spanish Association of Accounting and Business Administration (AECA). 6. Adriaen Isenbrant, Man Weighing Gold, fist half of the sixteenth century. 7. St. Eloy (Eligius) in His Shop, by Petrus Christus, 1449. 8. The Table of Deadly Sins, 1480, by Hieronimous Bosch. 9. Portrait of a Merchant, by Jean Gossaert, c. 1530. 10. The Ill-Matched Lovers, by Quentin Mastsys. 11. The Misers, or The moneylenders, by Marinus van Reymerswaele, 1545. 12. Marinus van Reymerswaele, Two Tax-Gatherers, 15–, National Gallery, London. [Yamey, p. 52, Plate XVI] 13. Marinus van Reymerswaele, Two Tax-Collectors, 15–, Alte Pinakotheck, Munich. [Yamey, p. 54, 29 XVI] 14. Map of Flanders and Antwerp. 15. The Lawyer's Office, by Marinus van Reymerswaele, 1545. 16. Portrait of a Merchant and his Partner, by Quentin Metsys. 17. The taxgatherer and his Wife, by Corneille van de Capelle (Corneille de Lyon? ) BIBLIOGRAPHY Ainsworth, Maryan Wynn (et al. (1994), Les Primitifs flamands et leur temps (sous la direction de Brigitte Veronee-Verhaegen et Roger Van Schoute). Louvain-la-Neuve: La Renaissance du Livre. Benezit, E. (1976), Dectionaire critique et documentaire des peintres, sculpteurs, Dessinateurs et Graveurs (nouvelle edition, entierement refondue, revue el corrigee sous la direction des heritiers de E. Benezit). Libraire Grund. Vol. 7. â€Å"Marinus Van Roejmerswaelen† Campbell, Lorne, et al. (1978) â€Å"Quentin Massys, Desiderius Erasmus, Pieter Gillis and Thomas More†. The Burlington Magazine, Vol. CXX, n? 908, november, pp. 716-724. Cassagnes, Sophie (2001), D’art et d’argent. Les artistes et leurs clients dans l’Europe du Nord (XIVe -XVe siecle), Rennes: Presses Universitaires de Rennes. Frere, Jean-Claude (1997), Early Flemish Painting, Paris: Terrail. Friedlander, Max J. (1967) [1929] Early Netherlandish painting. Vol 1, The van Eycks–Petrus Christus, Brussels: La Connaissance, and Leyden: A. W. Sijthoff. Genaille, Robert (1967), Dictionnaire des peintres flamands et hollandais, Paris: Larousse. Grice-Hutchinson, Marjorie (1993) â€Å"Santo Tomas de Aquino en la historia del pensamiento economico†, in Ensayos sobre el pensamiento economico en Espana. This essay, lectured to receive the Honoris Causa Doctorate from Universidad Complutense de Madrid, is not in the English version of the same book). Hayek, Friedrich August (1988), The fatal conceit. The errors of socialism, London: Routledge. Chapter 6, â€Å"The Misterious World of Trade and Money†. Mackor, Adri:  "Are Marinus' Tax Collectors collecting taxes? † Bulletin du Musee National de Varsovie XXXVI (1995; n? 3-4) pp. 3-13. Mackor, Adri: â€Å"Marinus van Reymerswale: Painter, Lawyer and Iconoclast†, Oud Holland 109 (1995) pp. 191-200. Mund, Helene (1994), â€Å"La copie†, in Ainsworth (et al. ) (1994), pp. 125-141. Panofsky, Erwin (1971) [1953], Early Netherlandish painting: its origins and character (2 vols. ) London: Harper and Row. Panofsky, Erwin (1993) [1955], Meaning in the visual arts, Penguin. Philippot, Paul (1994), La peinture dans les anciens Pays-Bas. XV-XVIe siecles. Paris: Flammarion. Puyvelde, Leo van (1957), â€Å"Un Portrait de Marchand par Quentin Metsys et les Percepteurs d'Impots par Marin van Reymerswale†, Revue Belgue d'Archeologie et d'Histoire de l'Art, vol. 26, pp. 3-23. Silver, Larry (1984), The paintings of Quinten Massys with catalogue raisonne, Oxford. Montclair, N. J. : Allanheld & Schram. Smith, Adam (1976) [1776], An Inquiry into the Nature and Causes of the Wealth of Nations, Comps. R. Campbell, A. S. Skinner y W. B. Todd. Oxford : Clarendon Press. Van Houdt, Toon (1999), â€Å"The Economics of Art in Early Modern Times: Some Humanist and Scholastic Approaches†, History of Political Economy, 31(0), Supplement 1999 (Economic Engagements with Art, edited by Neil De Marchi and Craufurd D. W. Goodwin, London: Duke University Press), pages 303-31. Vanhoutte, Edward (1997), â€Å"In your seed all the nations of the Earth shall be blessed. Importance and unimportance of the Jews of Belgium from the Middle Ages to the Enlightenment†,. Guest-lecture. Lancaster (UK): Lancaster University, 6 february. In . VVAA (1994), El Prado, Barcelona: Lunwerg. Wilson, Jean E. (1998), Painting in Bruges at the close of the Middle Ages. Studies in Society and Visual Culture. Pennsylvania : University Press. Yamey, Basil S. (1989), Art and Accounting, New Haven and London: Yale University Press. ———————– [1] The author wants to thank John Reeder for his useful comments. A previous version of this paper, with the title â€Å"The Moneychanger and his Wife: from Scholastics to Accounting†, is in Internet, [http://www. ucm. es/BUCM/cee/doc/00-23/0023. tm]. [2] Quentin Massys (1465/66 – 1530), also Matsys, Metsys, Metsijs, Massijs. Famous Flemish painter, the founder of the Antwerp school, he was probably born in Leuven, Belgium. He was the main painter of his epoch. [3] Yamey (1989), pp. 24, 45. [4] Grice-Hutchinson (1993), pp. 203-205. [5] â€Å"Massys, Quentinâ₠¬  Microsoft Encarta Online Encyclopedia 2000, . In the same Encarta website, Erich Lessing/Art Resource, NY, says that Massys painted â€Å"a witty commentary on greed. The banker's wife pretends piety by leafing through a religious book, while stealing a glance at her husband's gold. [6] â€Å"Web Gallery of Art†, . The pages says that â€Å"the comments were compiled from various sources†. [7] National Gallery of Art (Washington D. C. , USA), 2000, â€Å"Antwerp in the Early 1500s†, . [8] Jean-Claude Frere, Early Flemish Painting (1997, pp. 187-188). [9] Wilson (1998), p. 191; quoted from Panofsky, Early Netherlandish painting, 1953, p. 142. â€Å"Every perceptible thing, man made or natural, becomes a symbol of that which is not perceptible†, says Panofsky (â€Å"Abbot Suger of St-Denis†, 1946, in 1955, p. 161) following Dionysius the Pseudo-Areopagite. 10] Quentin Massys, Portrait of a merchant and his partner (Paris, collection M. Cailleux) . [11] Puyvelde (1957, p. 5), quoting from Jean Cailleux, Les Richesses injustes, Reforme, Paris, n? 72, 3 aout 1946. In Antwerp, a tax-collector was obliged to have a surety or guarantor, who had the right to supervise the collection of money and its recording. The tax-collector is â€Å"shown as a respectable person, accompanied by his guarantor, malicously rendered with a pronounced scowl†. Yamey (1989, p. 54), confronts this van Puyvelde’s interpretation with other art historians’ view. 12] â€Å"The Boys in the Back Room†, written by John Haber in the Website â€Å"Postmodernism and Art History: Gallery Reviews from Around New York†. The informations refers to the exhibition â€Å"From Van Eyck to Bruegel: Early Netherlandish Painting†, at The Metropolitan Museum of Art, January 1999. . [13] Benozzo Gozzoli (1420-1497), Italian painter. Procession of the Magi, 1460, Medici Riccardi Palace, Florence. [14] The Triptych The Last Judgement, now in Gdansk, Narodowe Museum, was painted by Memling (also Memlinc) in 1477. Angiolo Tani is painted in the outside of the wings. Tani had been the head of the Bruges branch of Medici Bank from 1455 to 1465. Tomaso Portinari was his successor in the position. Memling, Tommaso Portinari, 1470, tempera and oil on wood, Metropolitan Museum of Art, New York. Maria Maddalena Baroncelli (Mrs. Tomasso Portinari), 1470, tempera and oil on wood, Metropolitan Museum of Art, New York. For details, see Ainsworth et al. (1994), chapter â€Å"Hans Memlinc†, pp. 462-466. [15] Marinus (Claeszon) van Reymerswaele (also Roymerswaele) is a Flemish painter (c. 1495-1566). He received his first artistic training as an apprentice to an Antwerp glass painter named Simon van Daele in 1509. Known as a painter of genre and satire, Reymerswaele was famous enough to have been mentioned by the Florentin historian Guicciardini and the art historian and painter Vasari. [16] Reymerswaele (or his workshop) made a lot of copies of this subject. Puyvelde (1957, p. 15) claims that the two paintings in the Prado and the one in the Collection of the State of Babiera, signed in 1538 and 1539, are inspired by Massys The moneychanger and his wife. Puyvelde considers that most other copies are inspired by Massys Tax Gatherers. 17] â€Å"El cuadro inspirador del logotipo es conocido internacionalmente como una imagen de la actividad economica del Renacimiento, especialmente de la financiera, ya que en el se muestra una situacion caracteristica de lo que podria considerarse un banquero de la epoca. El tema de la pareja de cambistas pone de manifiesto el surgimiento de una nueva profesion renacentista relacionada con el mundo de las finanzas, de los impuestos y de las cuentas mercantiles. Marinus toma de Quintin Metsys el tema del banquero y su mujer, que se expone en el Louvre de Paris. En el cuadro de Marinus, el matrimonio burges recuenta las monedas de oro y plata y el pesa en una pequena balanza, con gran delicadeza, aquellas, ya que la mayoria de las mismas eran raspadas o recortadas. Posiblemente provendrian de una recaudacion de impuestos, de una cambio de monedas o de la devolucion de un prestamo, lo que implicaria despues controlar o calcular la operacion con el abaco que tiene a su derecha sobre la mesa y a efectuar anotaciones en el libro de Contabilidad que ella tiene entre su bellas y delicadas manos†. From AECA's Website, 1999. 18] â€Å"Recent research has demonstrated that the documents, which form the background of the painting, refer to an actual lawsuit begun in 1526 in the town of Reymerswaele on the North Sea. The suit arose between three heirs of Anthonius Willem Bouwensz and Cornelius vander Maere, the latter having purchased a salt refinery from the heirs of Anthonius. Difficulties began when Cornelius vander Maere refused to make the initial payment and subsequently had his goods seized. The legal transactions lasted until 1538, by which time the property under dispute had probably been ubmerged or destroyed by storms. Ironically, the court fees still had to be paid. † New Orleans Museum of Art, Information written by Joan G. Caldwell. [http://www. noma. org/MARINUS. HTM]. The Museum owns one of the many versions of the painting: â€Å"Several versions of this composition exist in Munich, Amsterdam, Cologne and Brussels. While the Museum's version is apparently the last in the series, it is painted with the greatest detail, thus clearly revealing the documents in the lawsuit†. [19] Puyvelde (1957), pp. 7-18; â€Å"le veritable portrait fait place a la caricature de l'homme de affaire rapace† (Puyvelde, 1957, p. 13; also, p. 20). [20] Puyvelde (1957), p. 23. [21] â€Å"Es esta tabla encontramos todas las caracteristicas de los pintores nordicos: el detallismo, las calidades materiales que se aprecian a la perfeccion, la aproximacion empirica a la realidad, y sobre todo, la sordidez descarnada con la que Van Reymerswaele aborda uno de los principales males de su epoca: la usura, el mayor pecado posible dentro de una sociedad comerciante como era la flamenca. La corrupcion y la estafa afectaban a las capas de la sociedad, llegando al clero y provocando la reaccion de escritores, teologos y artistas†. CD-ROM La Pintura en el Prado, 1996, Editorial Contrastes. [22] Corneille van der Capelle, Le Percepteur d'impots et sa Femme. Jadis Sigmaringen, Pince of Hohenzollern collection. [23] The illustrated book El Prado (Barcelona: Lunwerg, 1994), p. 389. [24] Vanhoutte (1997). [25] â€Å"Web Gallery of Art†, description of the painting The Tax Collectors, 1542 (Wood, 103,7 x 120 cm. Alte Pinakothek, Munich), : â€Å"The Tax Collectors by Marinus Van Roymerswaele appears to be a deliberate caricature; the painter's Calvinist background clearly comes through in his depicting the tax collector's greed with a fierse grimace and claw-like hands, whilst the administrator records the money in the ledger, maintaining his proper distance. Marinus van Reymerswaele was a painter of three themes, all more or less caricatural. He painted a numbe r of straightforward S. Jeromes, all derived from Durer's picture of 1521 (Lisbon) but stressing the crabbedness of scholarship. The other two themes are interdependent: two exceedingly ugly and covetous Tax Gatherers and a Banker and his Wife (the banker counting his profits). The Banker is closely related to Massys's picture of the same subject, and it may be that the Tax Gatherers derive from Massys's borrowings from the caricatures of Leonardo da Vinci. There are about thirty versions of the Tax Gatherers (the best is in London, National Gallery; another has the date 1552), and what nobody has so far explained is why so many people should want to own a picture of tax collectors (and excessively ugly ones at that) gloating over their imposts. There are also examples in the British Royal Collection and in Antwerp, Berlin, Ghent, Madrid, Munich and Vienna. † The Website says on the Welcome page that â€Å"the comments were compiled from various sources†. [26] Adriaen Isenbrant (? ) Man Weighing Gold, New York, Metropolitan Museum of Art, The Friedsam Collection. Adriaen Isenbrant is also known as Hysebrant or Ysenbrant. He was active in Bruges, 1510 – 1551. He was first mentioned in 1510 when he became a master in the Bruges painters' and saddlemakers' guild. He was recorded as a stranger, but his native town was not mentioned. Between 1516/1517 and 1547/1548 he was listed numerous times as a vinder or minor offical of the guild and in 1526/1527 and 1537/1538 was a gouverneur or financial officer. Because of the uncertainty, some authorities prefer to use the name Isenbrandt in inverted commas or with or with question mark. See the Website of the National Gallery of Art, Washington D. C. , [27] Bauman, G. , â€Å"Early Flemish Portraits 1425-1525†, M. M. A. Bull. XLIII, Spring 1986, pp. 46 f. On the contrary, Wehle, H. B. , and M. Salinger, M. M. A. , A Catalogue of Early Flemish, Dutch and German Paintings, 1947, pp. 100 f. , â€Å"identify the sitter as a banker or a money changer and consider the portrait to be purely secular, not a ‘donor's likeness in a religious ensemble'†. References provided by Sandra Fritz, The Metropolitan Museum of Art, Central Catalog. [28] The Table of the Deadly Sins, 1480, by Hieronimous Bosch (c. 1450-1516). Oil on panel, 120 x 150 cm. Prado Museum. Bosch is the name given to the Dutch painter Hieronimus van Aeken. [29] Jan Gossaert (c. 1478 – 1532), Portrait of a Merchant, c. 1530. Oil on panel, . 636 x . 475 m Washington, National Gallery of Art, Ailsa Mellon Bruce Fund. [30] National Gallery of Art, Washington DC, USA, Brief Guide, in . [31] Petrus Christus (fl. 1444-c. 1470), St. Eloy (Eligius) in His Shop, 1449, oil on panel, Metropolitan Museum of Art, New York. [32] Smith (1976), I. x. b. 18. [33] The Life of St. Eligius, 588-660, paragraph 5. The Life of Eligius, bishop and confessor, was written by Dado, bishop of Rouen (his friend and contemporary). Eligius lived from 588 to 660. The full text is in . [34] Quentin Massys, Ill-Matched Lovers, c. 1520/1525, oil on panel, 0'432 x 0'630 m. National Gallery of Art, Washington D. C. Ailsa Mellon Bruce Fund. [35] Marinus Van Reymerswaele, The Misers, 1531. Oil on wood. Naples, Museo Nazionale di Capodimonte, . [36] â€Å"Bruges et surtout Anvers ont donc cree les premiers marches publics consacres a l’art en Occident†, Cassagness (2001), p. 264.