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| Themistocles von Eckenbrecher Corner of a Meadow with Fountaingrass ca. 1870 watercolor National Gallery of Art, Washington DC |
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| William Eggleston Memphis ca. 1969 dye-transfer print Museum of Modern Art, New York |
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| Pieter van Anraedt Still Life 1658 oil on canvas Mauritshuis, The Hague |
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| Gianlorenzo Bernini Chair of St Peter 1658 terracotta (modello for monument in St Peter's Basilica) Detroit Institute of Arts |
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| John Yenn Design for Garden Obelisk ca. 1795 drawing, with watercolor Royal Academy of Arts, London |
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| Denton Welch Cow at Oxenhouth House (Oxon Hoath Manor, Kent) ca. 1940 drawing, with watercolor Royal Academy of Arts, London |
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| Agnes Mary Webster Drapery Study ca. 1890 drawing Royal Academy of Arts, London |
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| Haydn Reynolds Mackey Portrait of the artist's wife, Florence 1942 drawing Royal Academy of Arts, London |
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| George Elgar Hicks Gnarled Tree Trunk ca. 1880 oil on paper Ulster Museum, Belfast |
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| Philip Reinagle Group of Conch Shells ca. 1790 watercolor Royal Academy of Arts, London |
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| James Ensor Shells 1896 oil on canvas Musée Fin de Siècle, Brussels |
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| Jacobus Schijnvoet Ram's Skull before 1733 drawing (print study) Royal Academy of Arts, London |
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| Edmund Thomas Parris Head of an Old Man ca. 1844 drawing Royal Academy of Arts, London |
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| Walt Kuhn Pink Roses in Blue Vase 1938 oil on canvas private collection |
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| Alexander Kanoldt Table in the Studio 1924 oil on canvas Osthaus Museum, Hagen, Germany |
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| John Constable Study of Sky and Trees ca. 1821 oil on paper Victoria & Albert Museum, London |
Dawn at St. Patrick's
There is an old
statue in the courtyard
that weeps, like Niobe, its sorrow in stone.
The griefs of the ages she has made her own.
Her eyes are rain-washed but not hard,
her body is covered in mould,
the garden overgrown.
One by one
the first lights come on,
those that haven't been on all night.
Christmas, the harshly festive, has come and gone.
No snow, but the rain pours down
in the first hour before dawn,
before daylight.
Swift's home
for 'fools and mad' has become
the administrative block. Much there
has remained unchanged for many a long year –
stairs, chairs, Georgian windows shafting light and dust,
of the satirist;
but the real
hospital is a cheerful
modern extension at the back
hung with restful reproductions of Dufy, Klee and Braque.
Television, Russian fiction, snooker with the staff,
a snifter of Lucozade, a paragraph
of Newsweek or the Daily Mail
are my daily routine
during the festive season.
They don't lock the razors here
as in Bowditch Hall. We have remained upright –
though, to be frank, the Christmas dinner scene,
with grown men in their festive gear,
was a sobering sight.
I watch the last
planes of the year go past,
silently climbing a cloud-lit sky.
Earth-bound, soon I'll be taking a train to Cork
and trying to get back to work
at my sea-lit, fort-view desk
in the turf-smoky dusk.
Meanwhile,
next door, a visiting priest
intones to a faithful dormitory.
I sit on my Protestant bed, a make-believe existentialist,
and stare at the clouds of unknowing. We style,
as best we may, our private destiny;
or so it seems to me
as I chew my thumb
and try to figure out
what brought me to my present state –
an 'educated man,' a man of consequence, no bum
but one who has hardly grasped what life is about,
if anything. My children, far away,
don't know where I am today,
in a Dublin asylum
with a paper whistle and a mince pie,
my bits and pieces making a home from home.
I pray to the rain-clouds that they never come
where their lost father lies; that their mother thrives; and that I
may measure up to them
before I die.
Soon a new year
will be here demanding, as before,
modest proposals, resolute resolutions, a new leaf,
new leaves. This is the story of my life,
the story of all lives everywhere,
mad fools whatever we are,
in here or out there.
Light and sane
I shall walk down to the train,
into the world whose sanity we know,
like Swift to be a fiction and show.
The clouds part, the rain ceases, the sun
casts now upon everyone
its ancient shadow.
– Derek Mahon (1991)