Month: January 2022

One of life’s great uncertainties is whether we will be remembered after our death, and if so by whom and in what way.  For most of us, the best we can hope is that friends and family will think kindly about us once we are gone.  To have made a positive impression upon and be well regarded by those who knew us best is no small thing.  For a few, records of whose words and deeds will be passed down to posterity, the expectation of lasting fame comes mixed with concern.  Will future generations remember them for the great things they achieved, or for some modest act with which they become associated?  Will future generations judge them more or less harshly than their contemporaries did?    Alfred (d. 899) the Saxon king of England, is now mostly remembered for allowing some cakes to burn, rather than his military victories, his legal and educational reforms, and his scholarship.  Richard (d. 1199), the Norman king of England, is celebrated today for his military prowess and piety, whereas the anti-Jewish riots which accompanied his coronation are largely forgotten.  Posthumous reputations are beyond the control of those to whom they attach.

Today, David Hume (d. 1776) is considered one of the pre-eminent British philosophers, whose work has greatly influenced not only the course of modern philosophy but also other important areas of social scientific study, notably psychology and economics.  During his lifetime, however, he was known primarily as an historian and essayist.  His History of England, published in six volumes, was widely discussed during his lifetime but not much today.  In a book published in 2008, the Hume scholar Annette Baier (d. 2012) wrote, I have been reading Hume now for sixty years, though it took retirement for me to really read his History of England.  Hume’s essays were also popular in his own day, ranging widely in length and subject matter, but mostly concerned with moral, political, and literary matters.  Last year, two hundred and eighty years after the first edition of the Essays was published, Oxford University Press issued the first, full critical edition – 1,200 pages in all – including a comprehensive account of the various published versions, with all revisions and deletions included.  Despite this new scholarly edition, they remain less familiar to most contemporary philosophers than Hume’s more overtly philosophical writings, which provoked widespread uninterest during his lifetime.

Continue reading “Death and taxes”

She sits, surrounded by an array of discarded objects, her head resting against her fist, her arm resting on her knee, her gaze resting on something, or someone, or maybe nothing in the far distance.  If she lived in the modern world, we might think that she was a bored student impatient for her studies to conclude so that her real life might begin; or a young traveller waiting for a much-delayed flight to a holiday destination; or, possibly, a refugee held in a temporary camp until the outcome of her appeal for permission to remain has been determined.  The young woman in question is, however, clearly not from our world.  Unlike most of us she has wings, and she shares her space with an undernourished dog and a dozing putto.  She sits – immobile – in a picture that was made in 1514. 

Albrecht Dürer’s engraving, Melencolia I, is on show at the National Gallery in London, as part of an exhibition that examines several major journeys the artist made during his working life.  I spent some time at the exhibition last weekend, my first visit to an art gallery this calendar year, and I enjoyed the chance to study the wide range of paintings, engravings, woodcuts, and drawings that have been assembled.  Central to the exhibition are a group of Dürer’s works that was either made or shown during his lengthy visit to what is now Belgium and the Netherlands, during 1520-21.  Antwerp competed with Venice (another city that Dürer visited) to be the preeminent port in Europe, and for a man with ambitions to sell his work to collectors all over the continent, it was an ideal place for him to showcase his skills as a draughtsman.  As well as painting works on commission, he was one of the first artists to seek commercial success through the distribution of multiple copies of woodblock prints and engravings, which were cheaper and easier to transport.  Melencolia I is one such work, and perhaps his best. The image is overly crowded for modern taste, but despite all the objects on view nothing much seems to be going on.  The picture is highly symbolic, but its meanings remain obscure.

Continue reading “Unpetrified”