The Watch of Korea's Last Emperor

Just recently this gold pocket watch, crafted by the legendary watch manufacturer Vacheron Constantin of Geneva, Switzerland, was offered and sold at an art auction in Seoul. What makes this valuable watch extremely fascinating is that it once belonged to Korea's last emperor, Sunjong (순종; 純宗; also known as the Yunghui Emperor).

Made in 1910, the watch weighs 75g and is 49mm in length. The back of the watch case has an engraving of Ihwamun (이화문; 李花紋), the Imperial Seal of the Korean Empire; the name of the master watchmaker is also engraved inside the case. This suggests that Sunjong specially ordered this watch from Vacheron Constantin back in 1910. Because the watch is identical to the one that appears on the photo album of Sunjong's funeral, it is without doubt genuine.

Back in the late and the early 20th century, mechanical pocket watches and clocks were viewed by Koreans as one of the mesmerizing and exclusive modern marvels offered by the western civilization. It may be not so surprising, then, that Sunjong had great affection towards them.

According to historic records, Sunjong collected great number of timepieces and went on to creat his own private clock hall in Changdeokgung Palace. He was said to greatly enjoy the moment when all his clocks and (repeater) watches simultaneously sounded their hours with different sounds.



During the time when Korea was controlled and dominated by the Japanese, Sunjong, dismally the last monarch of the nation that longer existed, might have found bitter solace by letting his timepieces to measure the flow of history that was no longer under his control. He died in 1926, but the watch survived.

Sold at 125,000,000 won (112,750 USD), the watch is now at the hands of an unnamed private collector. I hope he does appreciate the sadness behind this special relic.

Sagrada Familia

Gaudí was a genius.

Page in Progress..

Happy 200th Birthday, Chopin!

Portrait of Chopin by Eugène Delacroix
Today marks Chopin's 200th birthday. I celebrate his birth; he was a great artist who fully deserve my admiration.

A Century-Old Chickering Upright

While web surfing, I spent today eyeing this old relic for sale: an upright piano. It was made in 1885 by famed Chickering & Sons (serial #71147).

Adorned with traceries and beautifully crafted in rosewood, it reticently echoes a romance, perhaps, of La Belle Époque. I particularly like its fallboard letterings.

They just don't make them like they used to.

Seoul Station's Dome Complete!

Today I finally topped off my Lego model of Seoul Station. It was quite a challenge, but I am happy with the final design. I was able to finish it because the updated version of Lego Digital Designer is a lot faster and does not give error messages.

Now I have to work on the minor details and side wings of the station.

Elgin National Watch Co.

"The screws in a watch number forty-four, or more than one-quarter Of all its pieces. The Screw and Steel Department is one of the largest in the factory. Its magical little automata, run by nimble-fingered girls, convert shining steel wire into infinitesimal screws, pare down their heads, and cut slots in them for microscopic screwdrivers. They are polished to perfect smoothness, and then, like every other part of the watch, brought to "spring temper"-the temper of the sword-blade-by beating, which leaves them of a rich, deep blue..."

(From Making Watches By Machinery by Albert D. Richardson, Harper's Magazine, July 1869)

The Page in Progress...

Antique Grandfather Clocks

An English Grandfather Clock (Paul Rimbault, 1773, London)

Grandfather Clocks at the Metropolitan Museum of Art
(By Wynlok, Flickr)

A Grandfather Clock at Rosehill House, Coalbrookdale, England
(By Elliott Brown)

(By Dan Brady)

(By Duncan McNeil)

I love antique grandfather clocks.

Grandfather clocks, also called longcase or tall-case clocks, emerged in the 18th century with the invention of the anchor escapement around 1670. The verge escapement, which was widely in use for clock movements that were made before, required very wide pendulum swings to run; therefore, longer pendulums such as the ones found in grandfather clocks were not practical before the 18th century.

The clock consists of the hood, which houses the movement (mechanism) of the clock, the waist, which houses the pendulum, and the base.

To me, unlike today's grandfather clocks, antique clocks seem to possess certain elegance and humaine texture. Many old grandfather clocks have painted dials, and almost all of them have cases that are fully enclosed without having any glass openings. Some cases feature exotic wood veneers and beautiful craftmanship, while others were made simply with English Oak or mahogany. It seems English made many grandfather clocks during the 18th and 19th century, and the dials of these clocks bear their origins, such as London or Cockermouth.


As a child, I really enjoyed reading a collection of fairytale stories. In one of the stories (by Grimm, I later found out), a wolf attacked a house full of young lambs and ate them while their mother was away. The youngest, however, escaped by hiding inside of a grandfather clock. It was so impressionable that I wanted to hide inside if I found one.

The first time I had personally encountered such an old grandfather clock was back when I visited my mother's workplace about a year ago. It was there, a remarkably beautiful old clock that did not work, standing quietly at a lobby. It was from Dartington, England, and its metal dial was one of its fine features. I was rather surprised at the pendulum, which looked so simple, and the weights, which looked rather earthy. When I swinged the pendulum, the clock's second hand turned second by second as it completed one swing.

It made a sound, a sound that resembled a heartbeat. For how many years did it make that same sound?

I look forward to having an old grandfather clock as my lifelong companion.

Marie Antoinette's Breguet Pocket Watch

Breguet No. 1160, a Recreation of Breguet No. 160 "Marie Antoinette"
(Photo By Mike Disher)

Abraham Louis Breguet was a brilliant 19th-century clock/watchmaker and a horologist who established his successful career in Paris. His contributions to horology include Breguet balance spring, Breguet hands, the pare-chute (the anti-shock device for the balance pivots), and the tourbillon.

Breguet also had many eminent clients, including Napoleon Bonaparte, Caroline Napoleon the Queen of Naples, Czar Alexander I of Russia, King Louis XVI of France, and Queen Marie Antoinette.

Marie Antoinette already had Breguet's perpétuelles at the time of Breguet No. 160's commission, and was deeply captivated by it. In 1783, a man, who was possibly Marie Antoinette's lover, commissioned Breguet to make the most complicated watch ever created for the queen without a limit to its cost. The queen never knew about the watch or saw it completed, for she was later guillotined during the French Revolution.

Although Breguet had ties with the French royalty, he survived the French Revolution by temporarily fleeing to Switzerland, and after the revolution he continued making watches for clients, including Bonapartes. He also continued making Marie Antoinette's watch until his death in 1823. The watch, a masterpiece, was completed in 1827, four years after Breguet's death and 44 years after the commission.

The Page in Progress...

Nara's Historic Grand Piano

Nara Women's University (奈良女子大学), Nara
(By OhMyDeer, Wikipedia)

University's Yamaha Grand Piano (Serial #1749; 1909)




In 1909, just one year after its founding, this ornate Yamaha grand piano was bought by Nara Women's University (then called Nara Joshi Koto Shihan Gakko; 奈良女子高等師範学校) for its use. After many years of use and the World War II, the piano was locked away and forgotten in a storage building for decades until it was discovered in June, 2005.

Nippon Gakki Company (日本楽器製造株式会社; now called Yamaha Corporation) was founded by Torakusu Yamaha (山葉寅楠) in 1887, and it produced its first grand piano in 1902. The grand piano in Nara Women's University was made just seven years after the company's first production.

The piano itself has 85 keys, which is less than 88 keys that the modern grand pianos have. According to historic records the piano was purchased by a man named Fumi Rokurou Naitou (内藤文六郎), who paid 1000 yen, which was an extraordinary sum at the time. (For a comparison, a new government official (college graduate) then received 55 yen per month)

Having seen so many mechanical and plastic looking Yamaha pianos, I feel rather amazed that Yamaha produced such a beautiful piano back in 1909.

St. John the Baptist's Enigma

Leonardo da Vinci painted his last (known) painting, St. John the Baptist, around 1513 to 1516. Just three years later, he died in Cloux, France, while this painting still under his possession.

How St. John the Baptist is unconventionally conveyed by Leonardo, with his ambiguous gesture towards heaven, is a mystery that perplexed many art critics and scholars for centuries. The fact that the painting is Leonardo's last only deepens this mystery.

Traditionally before Leonardo, St. John the Baptist was often portrayed as a tough, determined and bearded (therefore masculine, crude) man who was fit for wilderness and desert. However, Leonardo chose to paint him as a strikingly young, handsome, and delicately featured man who simply gestures towards heaven, almost in a manner of Greek (pagan) mythological figures. His elegant curly hair graces his head, and a deep, featureless shadow is all around him, enhancing the chiaroscuro effect that the master is so famous for.

Why did Leonardo choose to portray St. John in this way?

Many generally believe that the man in the portrait is modeled after Gian Giacomo Caprotti da Oreno, Leonardo's pupil. His nickname was Salai (Trans: The Little Unclean One).

I think that perhaps Leonardo, who by then was an old (and probably retrospective) man, wanted to portray a saint full of youth and mischievousness. Maybe Leonardo himself was longing for his younger years of his life.

The baptism also symbolizes the new life, the birth, in Christianity; does it not fitting, then, that St. John, the giver of life, would have to be young?

My Favorite: Casa Batlló

By Caribb, Flickr

By MorBCN, Flickr

By guercio, Flickr

By (Erik), Flickr

Casa Batlló, one of Antoni Gaudí's most beautiful masterpieces, is located at Passeig de Gràcia of the Eixample District in Barcelona. The Eixample literally means "extension" in Catalan, and the district was constructed accordingly between the 19th and 20th century.

Locally also known as Casa dels ossos (House of... Bones), Casa Batlló was actually already built in 1877 in a conventional style; Antoni Gaudí only "remodeled" the building during the years 1905 to 1907. At the time, Barcelona was expanding rapidly and emerged as the largest city of Spain, and its economic prosperity brought the cultural movement known as the Catalan Renaissance or Renaixença.

The building's stunning architectural details show Gaudí's creative and deeply individualistic style, and some parts of the building (like the corridor shown) are very modern in design. It seems to me that Santiago Calatrava (another Spanish but contemporary architect) is inspired by Casa Batlló.

Gaudí certainly was aware of Art Nouveau and was deeply influenced by Eugène Viollet-le-Duc's writings and by his architectural visions regarding Gothic architecture. The building features organic motifs, including a colorful roof that resembles dragon's spine and skin and windows flanked by skeleton-like columns.

It is one of my favorite buildings by Gaudí. I am always stunned at how he used so many colors to decorate this building while not making it look kitsch.

Gustave Doré and His Engravings

Paul Gustave Doré (1832~1883) was a prolific French artist and famed book illustrator who produced numerous wood and steel engravings during his lifetime.

His illustrations are utterly wonderful.

Orreries

Engraving from The Universal Magazine (1749)
Showing John Rowley's Orrery

Grand Orrery (Picture by Marcin Wichary)

Thomas Heath's Grand Orrery, c. 1740 (Adler Planetarium)

Engraving Showing the Heliocentric Universe from Harmonia Macrocosmica (1661)

The orrery is a mechanical machine designed to precisely imitate the movements of planets, and is usually driven by a clock. The origin of its unusal name is a British nobleman named Charles Boyle, 4th Earl of Orrery, who supported a clockmaker named George Graham to build such machine in the 18th century.

Such mechanical devices must have symbolized revolutionary ideas that captivated Europeans during the Enlightenment. There is an irresistible charm behind an idea that the universe follows certain logical and mathematical laws, and orreries, or cosmic clockworks, are rather well-suited to beautifully convey such an idea. Orreries, moreover, were designed to describe the heliocentric system, an idea that was revolutionary and controversial in its own right at the time.

The heliocentric system forever removed the Earth from the center of the universe. Perhaps it was the first step that stripped the humanity of its sense of self sanctity...


I have a weak spot for orreries. I want one.

Stradivarius and Piano Collection in the Palacio Real de Madrid

The Palacio Real de Madrid
(By Kaunokainen, Flickr ID)

Grand Piano
(Original Picture by Jorge Louzao Penalva)

Stradivarius Cello
(By Terence Wei)

Stradivarius Violin
(By Giant Ginkgo, Flickr ID)

El Palacio Real de Madrid, located in Madrid the capital city and once the residence of the King of Spain, is notable for its royal art collections and its immense scale. The current building was constructed between 1738 to 1755 by the orders of Philip V of Spain, and Italian architects Filippo Juvarra, Giovanni Battista Sacchetti, and Francesco Sabatini were mainly responsible for its Baroque design.

Antonio Stradivari, an Italian luthier who was born in 1644 and died in 1737, arguably crafted the most beautifully sounding string instruments of all time, and an instrument by him is known as a "Stradivarius."

The royal collections of the palace include the World's only complete set of Stradivarius instruments, which consists of two violins, a viola, and two cellos (One of the two cellos, pictured above, is an extra guarded by the palace, dated around 1700). This collection is named as "del Cuarteto Real" (meaning the Royal Quartet), or "los Stradivarius Palatinos." These rare instruments were acquired by Charles (Carlos) IV of Spain in 1775.

The grand piano shown is also a part of the palace's royal collection, but sadly I could not find much more about it other than that it was probably manufactured by Collard & Collard of London. It certainly is very beautiful, worthy of royalty.

I would love to try one of these priceless instruments.

Anamorphosis and Renaissance Art

The Ambassadors by Holbein the Younger, 1533

King Edward VI by William Scrots, 1546

Vexierbild by Erhand Schon, 1535

Anamorphosis is a technique that involves an unusual projection of the image to a plane, causing the viewer to only grasp the image's true or hidden form when viewed it at a certain and specific perspective or by using a deformed mirror. It seems during the Renaissance, anamorphosis provided another way to fascinate and amuse the royalty, scholars, and aristocrats alike. :)

The earliest known experimentation of anamorphosis was done by Leonardo da Vinci, who sketched an anamorphic image of an eye around 1485. This sketch is known as "Leonardo's Eye."

The Page in Progress...

Jan Vermeer and Maps

The Painter (self-portrait) and His Model as Klio

The Officer and Laughing Girl


Jan Vermeer was a 17th-century Dutch painter who painted mostly paintings depicting domestic scenes and seemingly confined spaces with great care and, in my opinion, dreamily touch. His works, rare and surprisingly unnoticed for centuries after his death, were rediscovered by the art critic Thoré Bürger in 1866; today, Vermeer is one of the most celebrated painters of the 17th-century Netherlands.

Interestingly, he also painted many maps, which are executed with surprising detail.

Because the maps in the paintings were created with their west direction facing up, they can be quite puzzling to the modern eye when initially viewed. Two of the maps present in the paintings shown portray the Netherlands, and when the maps are rotated so that their north direction is facing up, they are more recognizable. The map in the painting the Officer and Laughing Girl is rotated as an example.

According to the paper titled Vermeer's Maps: A New Digital Look in an Old Master's Mirror, maps or cartographs were expensive yet popular in the 17th century Netherlands because they were viewed as indications of humanistic learning and scholarly interest in geography. The particular map in the painting the Officer and Laughing Girl is identified to be made in 1620 by Balthasar Floriszoon van Berckenrode, and the title of the map reads, "NOVA ET ACCVRATA TOTIVS HOLLANDIAE WESTFRISIAEQ.(VE) TOPOGRAPHIA," meaning New and Accurate Description of the Topography of the Whole Holland and of West Friesland.

Vermeer lived when the Dutch traders dominated the European sea trade and brought great prosperity to the Netherlands. Probably he was keenly aware of how the maps contributed and played very important role for his nation.


Reference: Livieratos, Evangelos, and Koussoulakou, Alexandra. "Vermeer's Maps: A New Digital Look in an Old Master's Mirror." e-Perimetron, Vol 1, No. 2, Spring 2006

Art Nouveau

Casa Van Eetvelde, Brussels, Belgium, by Victor Horta

Hotel Tassel, Brussels, Belgium, by Victor Horta

Job by Alfons Mucha, 1897

29 Avenue Rapp, Paris, by Jules Lavirotte; Picture by photigule, Flickr ID

Art Nouveau was an influential artistic movement of the late 19th century that aimed to break away from the tradition of Europe's "academic" art, which emphasized proper standards, repetition of historic art forms, and correct tastes. Its name, a French term, literally means "new art," and is also known as Jugenstil, a German term for "youth style."

Art Nouveau is generally characterized by the use of flowing and curved lines, which are inspired from organic and floral forms. Because the artists of Art Nouveau shunned using clichés of elements and styles that were already created in the past, including those constituting classicism, they instead explored "uncluttered" forms that are found in nature in order to create "new art."

Another very interesting characteristic of the Art Nouveau movement is that it refused to distinguish between lower, "applied" art and higher, "free" art. From decorative arts, such as ordinary household utensils, furniture, silverware, jewelry, to architecture and visual arts, the artists of Art Nouveau wanted to equally control, give attention, and exquisitely design all of them. Art is to permeate and influence a way of life.


The Writing in Progress...

References: http://en.wikipedia.org/wiki/Art_Nouveau
http://www.nga.gov/feature/nouveau/exhibit_intro.shtm