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| Anonymous French Artist Académie ca. 1775 drawing Princeton University Art Museum |
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| Anonymous Italian Artist Académie 17th century drawing Yale University Art Gallery |
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| attributed to Jacques-Louis David Académie ca. 1780 drawing Princeton University Art Museum |
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| Giovanni Battista Piazzetta Académie ca. 1720 drawing Cincinnati Art Museum, Ohio |
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| Guillaume-Marie Borione Académie ca. 1850 drawing Scottish National Gallery, Edinburgh |
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| Matteo Rosselli Académie ca. 1610 drawing Fondation Custodia, Paris |
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| Gabriel Ferrier Académie 1866 drawing Getty Museum, Los Angeles |
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| Andrea Sacchi Académie before 1661 drawing National Gallery of Art, Washington DC |
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| Louis Boullogne the Younger Study for Endymion ca. 1710 drawing National Gallery of Canada, Ottawa |
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| Baldassare Franceschini Académie ca. 1640 drawing Statens Museum for Kunst, Copenhagen |
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| Louis-Roland Trinquesse Académie ca. 1765 drawing Princeton University Art Museum |
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| Bernard Hall Académie 1881 drawing National Gallery of Victoria, Melbourne |
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| Bernard Hall Académie ca. 1890 drawing National Gallery of Victoria, Melbourne |
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| Pietro Montana Académie ca. 1910 drawing Cooper Hewitt, Smithsonian Design Museum |
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| Carle Vanloo Académie before 1765 drawing Scottish National Gallery, Edinburgh |
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| Noël Hallé Académie ca. 1737-44 drawing Scottish National Gallery, Edinburgh |
from Return to Hinton
Written on the author's return to Hinton Blewett from the United States
Ten years
and will you be
a footnote, merely,
England
of the Bible
open at Genesis
on the parlour table?
'God
saw the light
that it was good.'
It falls
athwart the book
through the window-lace
whose shadow
decorates the sheets
of 'The Bridal March' –
a square of white
above the keyboard
and below
a text which is a prayer.
The television box
is one,
the mullions and flagged floor
of the kitchen
through the open door
witness a second
world in which
beside the hob
the enormous kettles'
'God
saw the light
that it was good.'
It falls
athwart the book
through the window-lace
whose shadow
decorates the sheets
of 'The Bridal March' –
a square of white
above the keyboard
and below
a text which is a prayer.
The television box
is one,
the mullions and flagged floor
of the kitchen
through the open door
witness a second
world in which
beside the hob
the enormous kettles'
blackened bellies ride –
as much the tokens of an order as
the burnished brass.
as much the tokens of an order as
the burnished brass.
* * *
Death's
not the enemy
of you nor of your kind:
a surer death
creeps after me
out of that generous
rich and nervous land
where, buried by
the soft oppression of prosperity
locality's mere grist
to build
the even bed
of roads that will not rest
until they lead
into a common future
rational
and secure
that we must speed
by means that are not either.
not the enemy
of you nor of your kind:
a surer death
creeps after me
out of that generous
rich and nervous land
where, buried by
the soft oppression of prosperity
locality's mere grist
to build
the even bed
of roads that will not rest
until they lead
into a common future
rational
and secure
that we must speed
by means that are not either.
– Charles Tomlinson (1963)
