

I confess that I love looking at other people's gardens, especially small personal gardens. Always interested to see what other people do with the small bits of nature that belong to them.


I have been planning some new posts, but I also have the most enormous pile of marking that I have been studiously avoiding and now have to spend the whole weekend on. So just imagine me under a pile of papers with a coffee or a wine (depending on which end of the day it is) crying over split infinitives and too much wikipedia in bibliographies.
The nave. You can see the old granite columns that were salvaged from classical buildings are use as supports along the nave. Very common practice in Rome where so many churches, and other buildings, have bits and pieces of architecture from a huge range of eras. Something I always think of when I hear people spouting off in discussion over retaining 20th century architecture that if you can't keep a whole building there is no historical/cultural value in keeping anything any of the building. Clearly places like this demonstrate the ridiculousness of such theories. They also demonstrate that so many historical buildings struggle to 'fit' a specific historical era.
The throne, the decoration of inlaid stone and gold leaf is known as 'cosmati'. The throne would date to the 12th century, the columns seen behind would be from an ancient Roman building.
The pulpit.
The cloister garden, most large basilicas have these spaces, always worth seeking out.


The garden, simple yet effective. Generally these gardens were (and are) used to grow vegetables and herbs that are used by the monks.



Captive Markets: Artists in Prison in the French Revolution
Hundreds of artists found themselves in prison during the French Revolution. While confined surprising numbers resumed painting, sculpting, drawing and even engraving. Few prisons were without some level or artistic production and exchange. Based on unpublished research of French prison archives and prison-made works of art, this lecture addresses some basic questions.
Who were the artists, and why were they imprisoned? What did they make and for whom? Using select case studies, this talk will propose some basic categories and functions of the prison-made object and present a model for its interpretation. It will also consider some of the wider implications of this curious and little-known area of cultural production for our understanding of the political prison in France in the period 1793-5.
Sophie Matthiesson is Curator of International Art at the National Gallery of Victoria. She has taught art history at the universities of Sussex, Manchester and Leeds. Her most recent publications are in the field of British Modernism, Surrealism, and cubism. The topic of the 2009 Margaret Manion lecture is drawn from her doctoral research on the artist in prison in the French Revolution.
6.30pm Tuesday 13 October 2009
Elisabeth Murdoch Theatre
The University of Melbourne