write a story about the importance of medieval manuscripts and their conservation

Result #1

. The fantasy tradition we draw on is rooted in pagan beliefs, but the appeal of a single manuscript by the secret genius of Nostradamus is equally magical. In one of the books, as in several of the others, the signs that would describe the show are stylized in a so-called Gothic still life; a misshapen manuscript in a modernist backdrop is a mock-Modern landscape. However, we are meant to understand the drawings as signs of the secret and not the obvious. We can see that the ghost is still, that the text is still, that there is still mystery. These are the necessary precursors to the modern myth. The modern myth is a written account of something. The ghost, its symbol, is the reality of the invisible, the veritable hidden treasure that we can observe and describe with confidence. The vaunted protectiveness of the manuscript seems more an emblem of the Catholic faith than it does of the Protestant one.

Result #2

write a story about the importance of medieval manuscripts and their conservation. Whether depicting the Gospel of Luke in depth or the construction of a manuscript, Herms relies on the beautiful, elegant, and beautiful-looking manuscript as a reference point. The scrawling, smeared, and blurred lines and various tic and triangular shapes of the manuscript, which are reminiscent of the pencil drawings of Fr. Michael Taylor, offer a neutral, essentially neutral reading of the text. Herms also draws this reading into play in his practice as a writer and producer.In this show, Herms presented five large, mass-produced panels. All were labeled with the title of a manuscript, showing the text itself on a transparent display, laid on its sides. The different types of wood, engravings, and inscriptions were traced onto the surface of the panels. In one panel, for example, three different images, several of the pages of a page of manuscript, were shown side by side in a grid. Their origin and meaning were discussed, while the number of ink marks (one for each of the numbered pages) were made clear. In another, two pages of a page of manuscript were shown on two panels and, depending on the relationship of the two sides, on the three that surround them. The five panels in the left gallery were all identical except for the color. The color, which was represented by a single red mark in black, was placed next to the text in a square format and showed the letters CUR in inverted rows and a shadowed dot (as well as the marks in the inscriptions) in white and white. The words GRAY and RED were painted on the top and bottom of the panel. One of the inscriptions was written with a straight line in black and called Hello. The others, written in bold, straight, diagonal script, were placed on the panels in different colors, showing the letters KIND in a circle or formed into the shape of a word.

Result #3

write a story about the importance of medieval manuscripts and their conservation, as though the idea of the ghost like an afterthought. In fact, the latter attempt also makes use of what appears to be the same pretension to authenticity, to the possibility of a very particular memory—the memory of an older, non-Western language. Other works on display, both on view here and on view elsewhere, presented a history that has been hidden, a history of facts that the museum wishes not to repeat. The Egyptian Pyramids, 2008, consists of a series of photographs of the work of Minai, the Egyptian poet who invented the written script, or hieroglyphics, and whose poetry is typically Egyptian in origin and Greek in content. The sequences evoke Egyptian manuscripts in a variety of ways, from the depiction of the various sides of a face (the top of the skull), to the depiction of an arm or hand, to the folding of a page to form a portrait, to the depiction of a modern house—and in general to the romantic and tragic history of Egypt. In these and other works, Minai seemed to have mined the full richness of ancient Egyptian narrative.There was a sense of nostalgic sureness to these exhibitions, which arrived at a sort of collective memory or universal recollection, more than a nostalgic sureness that the exhibitions curators recognize as a part of the museums current mission. This is not to suggest that the museums motivations do not serve the purposes of preserving Egypt, but rather that the public, having experienced the museums demise, is able to exercise a sort of ideological power over them. In the spirit of a collective memory, the exhibits effectively usurp the position of the museum in Egypt. For the Egyptian pavilion, three large black-and-white photographs of Minai and his colleagues in the writing of hieroglyphic inscriptions were among the exhibits most effective introductions to the museums history, which would serve the interests of the museum, and the public, very well.

Result #4

write a story about the importance of medieval manuscripts and their conservation. In the end, it is what he calls the casual glance—a glance that responds to the moment without being acted upon. I remember it, because it was what I could see in the dark.The dankness of the adjacent space, called the scellaring basement, offers a similarly ambivalent view. Hanging in the middle of this darkened room is a pile of sandals. Straped around the sculpture are two rectangular wooden frames. On the top of each, two rings of parchment paper are embroidered with Chinese characters. On the floor and ceiling of the basement, below the frames, is a chessboard made of pine cones. These works demonstrate the power of Chuans art to awaken within the depths of the unconscious. The images, but not the words, are there, but they are suppressed by the dankness, and by the stone floor. On the walls surrounding the frames, Chuan has embroidered drawings on paper; the surfaces of the works have been treated with oil paint. Below the frames, the wood has been boarded up, and in this dark room the wood of the wood floor is covered by dried clay, which Chuan has applied to make the floor look as if it had been snowing. He cuts through the clay and deposits the residue, which in turn is carved up into figures. The plaster also has been removed from the clay mold, and the clay is joined together with nuts, bolts, and keys.In the darkened room, Chuan places his fallen pieces on the floor. Here, the less tangible the better. While the wood frames here are painted, the wooden cubes are still and indistinct, like cardboard. The wood floor is covered with grass, which is damp, moldy, and has a vibrant greenish-brown color. The floor looks like a floor full of brown grass. The air is full of the damp smell of earthy, wet mold.

Result #5

. For example, Seurats prose at times utilizes picturesque themes—the pagoda, for example, or the glass curtains. Yet it is only in The Council that Seurats magic comes into full play. For example, in The Council, a woman in white looms large in a colorful pastel shadowed by a birdlike landscape; one of the animals in the background bears a resemblance to the legendary Waldensesa of Sweden. But Seurats connection with these cultural icons is more than symbolic. For example, in The Circle, a spiderlike form casts an almost cruel shadow against a stunning red background; here the spider is depicted as a ghostly presence that must be crushed before it can reemerge. Seurats dark, mythic, and occult references are evident in all of his works. The artist has described this series as a kind of contemporary version of the Gothic, a type of mysticism that he has discovered throughout his years of study of the pagan world. In The Council, one of the most recent works in the show, he depicts a shadowy figure seated on a throne, surrounded by a darkness that is both ancient and modern. The picture reveals an alliance of the dark and the light, which is at once both objective and subjective. In the middle of the picture, Seurat has placed a dark and a light-beaked bird within a dark, mottled, and light-colored background. This fuses the two elements of the picture, and shows how the picture creates a tension between form and content, an uneasy balance that Seurat is able to sustain.