 |
| Domenico Fossati Stage Design for opera Artaserse by Giuseppe Ponzo 1766 drawing Graphische Sammlung Albertina, Vienna |
 |
| Domenico Fossati Monumental Interior 1762 drawing British Museum |
 |
| Domenico Fossati Campo San Zanipolo, Venice, decorated for the Visit of Pope Pius VI 1782 drawing National Gallery of Art, Washington DC |
 |
| Domenico Fossati Vaulted Dungeon before 1784 drawing Metropolitan Museum of Art, New York |
 |
| Stephen Etnier Coast Guard Tower 1938 oil on canvas Portland Museum of Art, Maine |
 |
| Stephen Etnier Backwater 1978 oil on panel Portland Museum of Art, Maine |
 |
| Stephen Etnier Laying the Keel 1941 oil on canvas New Britain Museum of American Art, Connecticut |
 |
| Stephen Etnier At Prout's Neck ca. 1960 oil on panel Portland Museum of Art, Maine |
-Nottingham-City-Museums-and-Galleries.jpg) |
| Defendente Ferrari St John the Baptist ca. 1520 oil on panel (altarpiece fragment) Nottingham City Museums and Galleries |
-Metropolitan-Museum-of-Art-New-York.jpg) |
| Defendente Ferrari St Lawrence and St John the Evangelist ca. 1520 oil on panel (altarpiece fragment) Metropolitan Museum of Art, New York |
 |
| Defendente Ferrari Virgin and Child 1526 oil on panel Rijksmuseum, Amsterdam |
 |
| Defendente Ferrari Virgin and Child with St Anne 1528 oil on panel Rijksmuseum, Amsterdam |
 |
| William Etty Model in Landscape before 1849 oil on panel Savannah College of Art & Design Museum, Georgia |
 |
| William Etty Model in Landscape ca. 1830-35 oil on board Denver Art Museum |
 |
| William Etty Sheet of Studies ca. 1841-43 drawing British Museum |
 |
| William Etty Study of Model ca. 1816-20 oil on canvas Agnes Etherington Art Centre, Kingston, Ontario |
Formaggio
The world
was whole because
it shattered. When it shattered,
then we knew what it was.
It never healed itself.
But in the deep fissures, smaller worlds appeared:
it was a good thing that human beings made them;
human beings know what they need,
better than any god.
On Huron Avenue they became
a block of stores; they became
Fishmonger, Formaggio. Whatever
they were or sold, they were
alike in their function: they were
visions of safety. Like
a resting place. The salespeople
were like parents; they appeared
to live there. On the whole,
kinder than parents.
Tributaries
feeding into a large river: I had
many lives. In the provisional world,
I stood where the fruit was,
flats of cherries, clementines,
under Hallie's flowers.
I had many lives. Feeding
into a river, the river
feeding into a great ocean. If the self
becomes invisible has it disappeared?
I thrived, I lived
not completely alone, alone
but not completely, strangers
surging around me.
That's what the sea is:
we exist in secret.
I had lives before this, stems
of a spray of flowers: they became
one thing, held by a ribbon at the center, a ribbon
visible under the hand. Above the hand,
the branching future, stems
ending in flowers. And the gripped fist –
that would be the self in the present.
– Louise Glück (1999)