“By the time a person has achieved years adequate for choosing a direction, the die is cast and the moment has long since passed which determine the future.”
Francis Scott Key Fitzgerald (September 24, 1896 – December 21, 1940) was an American author of novels and short stories, whose works are the paradigm writings of the Jazz Age, a term he coined himself. He is widely regarded as one of the greatest American writers of the 20th century. Fitzgerald is considered a member of the “Lost Generation” of the 1920s. He finished four novels: This Side of Paradise, The Beautiful and Damned, The Great Gatsby—his most famous—and Tender Is the Night. A fifth, unfinished novel, The Love of the Last Tycoon, was published posthumously. Fitzgerald also wrote many short stories that treat themes of youth and promise along with age and despair.
The Great Gatsby has been the basis for numerous films of the same name, spanning nearly 90 years; 1926, 1949, 1974, 2000, and 2013 adaptations. In 1958, his life from 1937 to 1940 was dramatized in Beloved Infidel.
Born in 1896 in Saint Paul, Minnesota, to an upper middle class Irish-American family, Fitzgerald was named after his famous second cousin, three times removed, Francis Scott Key, but was referred to as “Scott.” He was also named after his deceased sister, Louise Scott, one of two sisters who died shortly before his birth. “Well, three months before I was born,” he wrote as an adult, “my mother lost her other two children … I think I started then to be a writer.” His parents were Mollie (McQuillan) and Edward Fitzgerald. His mother was of Irish descent, and his father had Irish and English ancestry.
Fitzgerald spent the first decade of his childhood primarily in Buffalo, New York (1898–1901 and 1903–1908, with a short interlude in Syracuse, New York between January 1901 and September 1903). His parents, both practicing Catholics, sent Fitzgerald to two Catholic schools on the West Side of Buffalo, first Holy Angels Convent (1903–1904, now disused) and then Nardin Academy (1905–1908). His formative years in Buffalo revealed him to be a boy of unusual intelligence and drive with a keen early interest in literature, his doting mother ensuring that her son had all the advantages of an upper-middle-class upbringing. In a rather unconventional style of parenting, Fitzgerald attended Holy Angels with the peculiar arrangement that he go for only half a day—and was allowed to choose which half.
In 1908, his father was fired from Procter & Gamble, and the family returned to Minnesota, where Fitzgerald attended St. Paul Academy in St. Paul from 1908 to 1911. When he was 13 he saw his first piece of writing appear in print: a detective story published in the school newspaper. In 1911, when Fitzgerald was 15 years old, his parents sent him to the Newman School, a prestigious Catholic prep school in Hackensack, New Jersey. There he met Father Sigourney Fay, who noticed his incipient talent with the written word and encouraged him to pursue his literary ambitions.
After graduating from the Newman School in 1913, Fitzgerald decided to stay in New Jersey to continue his artistic development at Princeton University. At Princeton, he firmly dedicated himself to honing his craft as a writer. There he became friends with future critics and writers Edmund Wilson (Class of 1916) and John Peale Bishop (Class of 1917), and wrote for the Princeton Triangle Club, the Nassau Lit, and the Princeton Tiger. He also was involved in the American Whig-Cliosophic Society, which ran the Nassau Lit. His absorption in the Triangle—a kind of musical-comedy society—led to his submission of a novel to Charles Scribner’s Sons where the editor praised the writing but ultimately rejected the book. He was a member of the University Cottage Club, which still displays Fitzgerald’s desk and writing materials in its library.
Fitzgerald’s writing pursuits at Princeton came at the expense of his coursework. He was placed on academic probation, and in 1917 he dropped out of school to join the U.S. Army. Afraid that he might die in World War I with his literary dreams unfulfilled, in the weeks before reporting to duty Fitzgerald hastily wrote a novel called The Romantic Egotist. Although the publisher Charles Scribner’s Sons rejected the novel, the reviewer noted its originality and encouraged Fitzgerald to submit more work in the future.
Fitzgerald was commissioned a second lieutenant in the infantry and assigned to Camp Sheridan outside of Montgomery, Alabama. While at a country club, Fitzgerald met and fell in love with Zelda Sayre (1900–1948), the daughter of an Alabama Supreme Court justice and the “golden girl,” in Fitzgerald’s terms, of Montgomery youth society. The war ended in 1918, before Fitzgerald was ever deployed, and upon his discharge he moved to New York City hoping to launch a career in advertising lucrative enough to convince Zelda to marry him. He worked for the Barron Collier advertising agency, living in a single room at 200 Claremont Avenue in the Morningside Heights neighborhood on Manhattan’s west side.
Zelda accepted his marriage proposal, but after some time and despite working at an advertising firm and writing short stories, he was unable to convince her that he would be able to support her, leading her to break off the engagement. Fitzgerald returned to his parents’ house at 599 Summit Avenue, on Cathedral Hill, in St. Paul, to revise The Romantic Egoist, recast as This Side of Paradise, about the post-WWI flapper generation. Scott was so low on finances that he took up a job repairing car roofs. The revised novel was accepted by Scribner’s in the fall of 1919, and Zelda and Scott resumed their engagement. The novel was published on March 26, 1920, and became one of the most popular books of the year. Fitzgerald and Zelda were married in New York’s St. Patrick’s Cathedral. Their daughter (only child), Frances Scott “Scottie” Fitzgerald, was born on October 26, 1921.
Paris in the 1920s proved the most influential decade of Fitzgerald’s development. Fitzgerald made several excursions to Europe, mostly Paris and the French Riviera, and became friends with many members of the American expatriate community in Paris, notably Ernest Hemingway. Fitzgerald’s friendship with Hemingway was quite vigorous, as many of Fitzgerald’s relationships would prove to be. Hemingway did not get on well with Zelda. In addition to describing her as “insane” he claimed that she “encouraged her husband to drink so as to distract Scott from his work on his novel,” the other work being the short stories he sold to magazines. As did most professional authors at the time, Fitzgerald supplemented his income by writing short stories for such magazines as The Saturday Evening Post, Collier’s Weekly, and Esquire, and sold his stories and novels to Hollywood studios. This “whoring”, as Fitzgerald and, subsequently, Hemingway called these sales, was a sore point in the authors’ friendship. Fitzgerald claimed that he would first write his stories in an authentic manner but then put in “twists that made them into saleable magazine stories.”
Fitzgerald had been an alcoholic since his college days, and became notorious during the 1920s for his extraordinarily heavy drinking, leaving him in poor health by the late 1930s. According to Zelda’s biographer, Nancy Milford, Fitzgerald claimed that he had contracted tuberculosis, but Milford dismisses it as a pretext to cover his drinking problems. However, Fitzgerald scholar Matthew J. Bruccoli contends that Fitzgerald did in fact have recurring tuberculosis, and Nancy Milford reports that Fitzgerald biographer Arthur Mizener said that Fitzgerald suffered a mild attack of tuberculosis in 1919, and in 1929 he had “what proved to be a tubercular hemorrhage”. It has been said that the hemorrhage was caused by bleeding from esophageal varices.
Fitzgerald suffered two heart attacks in the late 1930s. After the first, in Schwab’s Drug Store, he was ordered by his doctor to avoid strenuous exertion. He moved in with Sheilah Graham, who lived in Hollywood on North Hayworth Avenue, one block east of Fitzgerald’s apartment on North Laurel Avenue. Fitzgerald had two flights of stairs to climb to his apartment; Graham’s was on the ground floor. On the night of December 20, 1940, Fitzgerald and Sheilah Graham attended the premiere of This Thing Called Love starring Rosalind Russell and Melvyn Douglas. As the two were leaving the Pantages Theater, Fitzgerald experienced a dizzy spell and had trouble leaving the theater; upset, he said to Graham, “They think I am drunk, don’t they?”
The following day, as Fitzgerald ate a candy bar and made notes in his newly arrived Princeton Alumni Weekly, Graham saw him jump from his armchair, grab the mantelpiece, gasp, and fall to the floor. She ran to the manager of the building, Harry Culver, founder of Culver City. Upon entering the apartment to assist Fitzgerald, he stated, “I’m afraid he’s dead.” Fitzgerald had died of a heart attack. His body was moved to the Pierce Brothers Mortuary.
Among the attendants at a visitation held at a funeral home was Dorothy Parker, who reportedly cried and murmured “the poor son-of-a-bitch,” a line from Jay Gatsby‘s funeral in Fitzgerald’s The Great Gatsby. His body was transported to Maryland, where his funeral was attended by twenty or thirty people in Bethesda; among the attendants were his only child, Frances “Scottie” Fitzgerald Lanahan Smith (then age 19), and his editor, Maxwell Perkins. Fitzgerald was originally buried in Rockville Union Cemetery. Zelda died in 1948, in a fire at the Highland Mental Hospital in Asheville, North Carolina. Scottie Smith worked to overturn the Archdiocese of Baltimore’s ruling that Fitzgerald died a non-practicing Catholic, so that he could be buried at the Roman Catholic Saint Mary’s Cemetery where his father’s family was interred; this involved “re-Catholicizing” Fitzgerald after his death. Both of the Fitzgeralds’ remains were moved to the family plot in Saint Mary’s Cemetery, in Rockville, Maryland, in 1975.
At first glance, Mother’s Day appears a quaint and conservative holiday, a sort of greeting card moment, honoring 1950s values, a historical throw back to old-fashioned notions of hearth and home. Let’s correct that impression by saying: Happy Radical Mother’s Day.
In May 1907, Anna Jarvis, a member of a Methodist congregation in Grafton, West Virginia, passed out 500 white carnations in church to commemorate the life of her mother. One year later, the same Methodist church created a special service to honor mothers. Many progressive and liberal Christian organizations–like the YMCA and the World Sunday School Association–picked up the cause and lobbied Congress to make Mother’s Day a national holiday. And, in 1914, Democratic President Woodrow Wilson made it official and signed Mother’s Day into law. Thus began the modern celebration of Mother’s Day in the United States.
For some years, radical Protestant women had been agitating for a national Mother’s Day hoping that it would further a progressive political agenda that favored issues related to women’s lives. In the late 19th century, Julia Ward Howe (better know for the “Battle Hymn of the Republic”) expressed this hope in her 1870 prose-poem, “A Mother’s Day Proclamation” calling women to pacifism and political resistance:
Arise then…women of this day!
Arise, all women who have hearts! Whether your baptism be of water or of tears!
The sword of murder is not the balance of justice.”
Blood does not wipe our dishonor,
Nor violence indicate possession.
As men have often forsaken the plough and the anvil
At the summons of war,
Let women now leave all that may be left of home
For a great and earnest day of counsel.
Let them meet first, as women, to bewail and commemorate the dead.
Let them solemnly take counsel with each other as to the means
Whereby the great human family can live in peace…
Each bearing after his own time the sacred impress, not of Caesar, But of God –
Years later, Anna Jarvis intended the new holiday to honor all mothers beginning with her own–Anna Reeves Jarvis, who had died in 1905. Although now largely forgotten, Anna Reeves Jarvis was a social activist and community organizer who shared the political views of other progressive women like Julia Ward Howe.
In 1858, Anna Reeves Jarvis organized poor women in West Virginia into “Mothers’ Work Day Clubs” to raise the issue of clean water and sanitation in relation to the lives of women and children. She also worked for universal access to medicine for the poor. Reeves Jarvis was also a pacifist who served both sides in the Civil War by working for camp sanitation and medical care for soldiers of the North and the South.
Although I’ve never seen it on a pastel flowered greeting card, Mother’s Day honors a progressive feminist, inclusive, non-violent vision for world community–born in the imagination of women who devoted themselves to God, not Caesar. Happy Radical Mother’s Day!
PITTSBURGH (KDKA) — The president of Carnegie Mellon University says charges have been filed in connection with an incident in which a female student dressed up as the pope, and was naked from the waist down, with a her pubic hair shaved in the shape of a cross. The incident happened at an annual art school parade last month. In a letter to the CMU community released today, President Jared Cohon said campus police have now filed misdemeanor charges for indecent exposure against two students in the incident.
The statement continues: “Final disposition of these charges will occur through the Allegheny County justice system, not through university channels. There will be no separate disciplinary action pursued through the university’s internal process.
After a two-week review, Carnegie Mellon police have charged 19-year-old art student, Katherine O’Connor with indecent exposure. 22-year-old Robb Godshaw was also charged with public nudity, along with another student who says he’s friends with both. The students contest the charges on the grounds of First Amendment Rights to Free Speech.
“They needed to do what they needed to do and I’m grateful that they took it seriously,” says Bishop David Zubik of the Pittsburgh Diocese. “I did what I needed to do; and said hold on this is offensive to catholics and chiristians alike.”
“The students took part in a campus art event and, in the case of the student who portrayed herself as the Pope, made an artistic statement which proved to be controversial. While I recognize that many found the students’ activities deeply offensive, the university upholds their right to create works of art and express their ideas. But, public nudity is a violation of the law and subject to appropriate action.
“I understand that this resolution may not be supported by those who believe that there can be no limits on the freedom of artistic expression. Others who were particularly offended by the incident may be distressed that more severe action is not being taken.
“There are competing values at issue here: Carnegie Mellon aims to be a place where ideas can be expressed and debated openly, but also where people of all backgrounds, faiths, and beliefs feel welcomed and supported. Unavoidably, the expression of some views will offend some people; that is the price of this freedom. However, if in the expression of these views, people in our community come to feel that the campus is intolerant, then the other of our cherished values is challenged. In such a situation, the institution may find it necessary to reassure those offended of its commitment to tolerance and inclusion. In doing so, I do not believe that the institution is compromising freedom of expression. Similarly, it is reasonable to expect individuals to consider the impact on others in expressing their views and how they choose to express them. This is responsibility, not censorship, and something that our students, especially, should learn while they are members of our community.”
Following the incident, Cohon released apology for the actions of the student, which outraged the Catholic Diocese of Pittsburgh. Following today’s developments of charges being filed, Pittsburgh Diocese Bishop David Zubik issued this statement:
“The Catholic Church of Pittsburgh acknowledges the fact that Carnegie Mellon University has taken the time to treat this unfortunate incident in a serious manner.
The reaction on campus is mixed. “I feel that oppression of ideas is far criminal than nudity, and to be offended by nudity and to make this a crime– that’s the crime,” says student Marissa Hughes. “I don’t think it was art. I think it was someone who had an idea and wanted to get attention,” student Tim Reid says.
“Once again, and as I have said over these last few weeks, this is an opportunity for all of us to be reminded that freedom of speech and freedom of expression do not constitute a freedom to dismiss or disrespect the beauty of anyone’s race, the sacredness of anyone’s religious belief or the uniqueness of anyone’s nationality.
“Dialogue, disagreements and even demonstrations must be conducted in an atmosphere of decency, self-respect, and esteem for the community in which we live and those who live in it. I hope that all of us – including the students involved – can learn and grow from this very important lesson in living.”
The National Catholic League called for an immediate suspension of the student, noting that CMU recently suspended fraternity members for taking sexual pictures inside the frat and emailing them to other members.
The shrines of Jerusalem’s Old City have been known throughout centuries as, among other things, tinderboxes of inter-religious bickering, violence, and bloodshed. On Friday at the Western Wall, several hundred female Jewish worshipers known as “Women of the Wall’’ were targeted by rock and bottle throwing from a crowd of thousands of ultra-Orthodox Jewish demonstrators outraged by their use of prayer shawls and phylacteries traditionally restricted to men.
The image at the Western Wall evoked scenes of civil rights struggles form the 1960s. Some 500 Israeli police officers on hand formed a human barrier between the women worshipers and the surging crush of demonstrators, who taunted the women and blew whistles to drown out the worship. Police said that about 2,000 ultra-Orthdox women initially arrived at the prayer site at the urging of rabbis in order to block the Women of the Wall group from reaching the massive stones. The peak of tension came after the hour long prayer service, as the women exited the Western Wall plaza and boarded armored buses, which were then pelted by rock throwing and spitting ultra-Orthodox demonstrators.
Police made three arrests. Mickey Rosenfeld, a police spokesman, said that the presence of Israeli security forces prevented the outbreak of violent riot. He predicted that the confrontation will to escalate next time if a compromise is not found. The prayer service marked the first time that women from non-Orthodox Jewish denominations held services at the Western Wall with the backing of a Supreme Court ruling instructing police that they be allowed avail themselves of the egalitarian rituals long accepted by Conservative and Reform denominations based in North America.
The group has been praying at the wall for 24 years monthly. The Friday service came a day after Israel’s national holiday to mark the capture of the Old City 46 years ago from Jordan. Indeed, Women of the Wall Chairwoman Anat Hoffman likened the milestone this morning to the capture of wall by Israeli paratroopers in the 1967 Arab Israeli War. “We are continuing in the path of the paratroopers who liberated the Kotel.
Shmuel Rabinowitz, the Rabbi of the Western Wall, expressed regret over the day’s events in an video interview with the Jerusalem Post. “This isn’t the Western Wall we prayed for,’’ he said. “There is a place at the Western Wall for every Jew. I’m not sure there is a place for every opinion. That is simply a recipe for an explosion. There is no such option.” Amid concern that the controversy will alienate conservative and reform Jews from Israel, the government has proposed as a compromise to set up a separate prayer area along the Western Wall.
The dispute could widen an already existing gap over Israeli policies toward the Palestinians between the more liberal Jewish community in North America and Israeli Jewry, said Yossi Klein Halevi, a fellow at the Shalom Hartman Institute in Jerusalem. “That is what makes this such a dangerous moment,’’ he said. “This is turning into an increasingly ugly confrontation between streams of Judaism. “The Western Wall, which is supposed to unite Jews, is increasingly dividing us.’’
ROME – Vatican officials say they have found what could be the first European images of American Indians in a fresco painted within two years of Christopher Columbus’s first voyage to the so-called New World.
The lightly sketched group of men — nude save for what appear to be feathered headdresses and posed as if dancing — emerged during the restoration of a fresco of the “Resurrection of Christ” by the Renaissance artist Pinturicchio, painted in one of several rooms he decorated for Pope Alexander VI between 1492 and 1494.
Writing last week in L’ Osservatore Romano, the Vatican newspaper, Antonio Paolucci, director of the Vatican Museums, suggested that the figures are consistent with the descriptions that Columbus gave in his letters of the indigenous people he saw upon his arrival in the Americas.
The figures’ appearance in the fresco is in keeping with a practice common during the Renaissance of introducing contemporary elements into historical or sacred scenes, said Franco Ivan Nucciarelli, a Pinturicchio scholar who teaches at the University of Perugia. And in particular, Alexander VI had a great interest “in emphasizing his ties with the New World,” which gave him much power, Mr. Nucciarelli said.
Nor would the inclusion of these figures be out of place in frescoes painted for Alexander VI, the former Spanish cardinal Rodrigo Borgia, Mr. Paolucci noted. “The Borgia pope, elected just a few months before Columbus made landfall, “was interested in the New World, as were the great chancelleries of Europe,” he wrote. “It is hard to believe that the papal court, especially under a Spanish pontiff, would have remained in the dark about what Columbus saw when he arrived at the ends of the earth.”
The figures emerged from under layers of soot and overpainting during a 2006 restoration of the space called Room of the Mysteries, which includes “Resurrection of Christ,” but Vatican experts took a cautious approach to their findings. “We didn’t publicize them because we wanted to carry out further verifications,” said Maria Pustka, who is responsible for restoring the rooms once inhabited by Alexander VI. “Now that further research been carried out, we felt it was opportune to make the finding known.”
Pinturicchio lightly sketched the figures in black and white paint directly onto the dried fresco, an unusual “and interesting” technique, she said, and they were painted over in successive restorations. When wet, the figures disappear altogether, she said.
Bernardino di Betto, called Pintoricchio or Pinturicchio (Italian: [pintuˈrikkjo]; 1454–1513) was an Italian painter of the Renaissance. He acquired his nickname, Pintoricchio (“little painter”), because of his small stature, and he used it to sign some of his works.
He was born in Perugia, the son of Benedetto or Betto di Blagio. He may have trained under lesser known Perugian painters such as Bonfigli and Fiorenzo di Lorenzo. According to Vasari, Pinturicchio was a paid assistant of Perugino.
The works of the Perugian Renaissance school are very similar; and paintings by Perugino, Pinturicchio, Lo Spagna and a young Raphael may often be mistaken one for the other. In the execution of large frescoes, pupils and assistants had a large share in the work, either in enlarging the master’s sketch to the full-sized cartoon, in transferring the cartoon to the wall, or in painting backgrounds or accessories.
After assisting Perugino in his frescoes in the Sistine Chapel, Pinturicchio was employed by various members of the Della Rovere family and others to decorate palaces (the Semi-Gods Ceiling of Palazzo dei Penitenzieri) and a series of chapels in the church of Santa Maria del Popolo in Rome, where he appears to have worked from 1484, or earlier, to 1492. The earliest of these is an altarpiece of the Adoration of the Shepherds, in the first chapel (from the west) on the south, built by Cardinal Domenico della Rovere; a portrait of the cardinal is introduced as the foremost of the kneeling shepherds. In the lunettes under the vault Pinturicchio painted small scenes from the life of St Jerome.
The frescoes which he painted in the next chapel, built by Cardinal Innocenzo Cybo, were destroyed in 1700, when the chapel was rebuilt by Cardinal Alderano Cybo. The third chapel on the south is that of Giovanni della Rovere, duke of Sora, nephew of Sixtus IV, and brother of Giuliano, who was afterwards Pope Julius II. This contains a fine altarpiece of the Madonna enthroned between Four Saints, and on the east side a very nobly composed fresco of the Assumption of the Virgin. The vault and its lunettes are richly decorated with small pictures of the Life of the Virgin, surrounded by graceful arabesques; and the dado is covered with monochrome paintings of scenes from the lives of saints, medallions with prophets, and very graceful and powerfully drawn female figures in full length in which the influence of Signorelli may be traced.
In the fourth chapel, Pinturicchio painted the Four Latin Doctors in the lunettes of the vault. Most of these frescoes are considerably injured by moisture and have suffered little from restoration. The last paintings completed by Pinturicchio in this church are found on the vault behind the choir, where he painted decorative frescoes, with main lines arranged to suit their surroundings in a skillful way. In the centre is an octagonal panel of the Coronation of the Virgin, and surrounding it, are medallions of the Four Evangelists. The spaces between them are filled by reclining figures of the Four Sibyls. On each pendentive is a figure of one of the Four Doctors enthroned under a niched canopy. The bands which separate these pictures have elaborate arabesques on a gold ground, and the whole is painted with broad and effective touches, very telling when seen (as is necessarily the case) from a considerable distance below. No finer specimen of the decoration of a simple quadripartite vault can be seen anywhere.
In 1492 Pinturicchio was summoned to Orvieto, where he painted two Prophets and two of the Doctors in the Cathedral. He then returned to Rome, and was employed by Pope Alexander VI (Borgia) to decorate a recently completed suite of six rooms, the Appartamenti Borgia in the Vatican. These rooms now form part of the Vatican library, and five still retain a series of Pinturicchio frescoes. The Umbrian painter worked in these rooms till around 1494, assisted by his pupils, and not without interruption. His other chief frescoes in Rome, still existing in a very genuine state, are those in the Bufalini Chapel in the southwest sector of Santa Maria in Ara Coeli, probably executed around 1484-1486. On the altar wall is a grand painting of St Bernardino of Siena between two other saints, crowned by angels; in the upper part is a figure of Christ in a mandorla, surrounded by angel musicians; on the left wall is a large fresco of the miracles performed by the corpse of St Bernardino, which includes portraits of members of the sponsoring Bufalini family.
One group of three females, the central figure with a child at her breast, recalls the grace of Raphael’s second manner. The composition of the main group round the saint’s corpse appears to have been suggested by Giotto‘s painting of St. Francis on his bier found in Santa Croce at Florence. On the vault are four noble figures of the Evangelists, usually attributed to Luca Signorelli, but more likely, as with the rest of the frescoes in this chapel, by the hand of Pinturicchio. On the vault of the sacristy of Santa Cecilia in Trastevere, Pinturicchio painted the Almighty surrounded by the Evangelists. During a visit to Orvieto in 1496, Pinturicchio painted two more figures of the Latin Doctors in the choir of the Duomo. Now, like the rest of his work at Orvieto, these figures are almost destroyed. For these he received fifty gold ducats. In Umbria, his masterpiece is the Baglioni Chapel in the church of S. Maria Maggiore in Spello.
Among his panel pictures the following are the most important. An altarpiece for S. Maria de’ Fossi at Perugia, painted in 1496-1498, now moved to the city’s picture gallery, is a Madonna enthroned among Saints, very minutely painted; the wings of the retable have standing figures of St Augustine and St Jerome; and the predella has paintings in miniature of the Annunciation and the Evangelists. Another fine altarpiece, similar in delicacy of detail, and probably painted about the same time, is that in the cathedral of San Severino — the Madonna enthroned looks down towards the kneeling donor. The angels at the sides in beauty of face and expression recall the manner of Lorenzo di Credi or Da Vinci.
The Vatican picture gallery has the largest of Pinturicchio’s panels — the Coronation of the Virgin, with the apostles and other saints below. Several well-executed portraits occur among the kneeling saints. The Virgin, who kneels at Christ’s feet to receive her crown, is a figure of great tenderness and beauty, and the lower group is composed with great skill and grace in arrangement.
In 1504 he designed a mosaic floor panel for the Cathedral of Siena: the Story of Fortuna, or the Hill of Virtue. This was executed by Paolo Mannucci in 1506. On top of the panel, Knowledge hands the palm of victory to Socrates.
The Ashmolean Museum (University of Oxford), Biblioteca Ambrosiana (Milan), the Cleveland Museum of Art, the Courtauld Institute of Art (London), the Denver Art Museum, the Fitzwilliam Museum (University of Cambridge), the Honolulu Museum of Art, the Louvre, the Museum of Fine Arts, Boston, the National Gallery, London, Palazzo Ruspoli (Rome), the Philadelphia Museum of Art, the Pinacoteca Ambrosiana (Milan), Princeton University Art Museum, Walters Art Museum in Baltimore and the Vatican Museums are among the public collections holding works by Pinturicchio. There are also paintings by this painter in the Museum of Fine Arts (Budapest, Hungary) and the Ferenc Mora Museum (Szeged, Hungary).
The White House is marking Mother’s Day, which is this Sunday, by celebrating free birth control provided by Obamacare. The White House made the declaration in a tweet today from their official Twitter account.
“Thanks to the #ACA, 1 in 3 women under 65 gained access to preventive care—like birth control—with no out-of-pocket costs. #HappyMothersDay,” the unsigned tweet reads.
— The White House (@whitehouse) May 10, 2013