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Such creatures had persisted since the time of Regret, but it seemed to Rostigan there had been more of them lately. Another sign, perhaps, of what was coming, though not enough to pick the day. There was a small portion of bread, some dried crab meat, half a vial of sweet sap, berries that looked on the turn, a few sprigs of mint, and a rabbit she had caught that morning. They had been many days away from settlement, and it was beginning to show in their supplies.

He knew she grew bored with their treks through the wilderness. It was her choice to be here, however, and she could leave whenever she wished. That was the original bargain, though if Rostigan was honest, its parameters had muddied over time. They had shared a bed almost from the start, wherever that bed might be, and so of course that tangled everything.

The Legacy Of Lord Regret

He retrieved the curltooth carefully — there was no wind, but he remained wary of a sudden gust — and unrolled the cloth before her. The blue-green clover heads had already begun to crumple, and he knew he should get them drying in the sun. She poked at a limp leaf.

We could sell them, but then what? Someone else enjoys the luxury great wealth can buy, and we enjoy great wealth without the luxury? Rostigan followed slowly, and while she went about cleaning the pot, which involved a run over hot sand to the water and back, he laid out the curltooth in the sun. Normally he would leave herbs alone to dry without worry, but this day he sat down on a log to watch over them closely. As Tarzi built up the fire and boiled the water, tore up mint and skinned the rabbit, for once she did not seem to mind his idleness.

One thing he remembered about the cooks who wielded it — they were always judicious about the number of accompanying ingredients. Curltooth had no taste of its own, its quality being to enhance other flavours, and if a dish contained too many, the result could prove overpowering. She froze for a moment with excitement, then rabbit and mint went into the pot. With exaggerated ceremony Rostigan lifted a curltooth leaf, tore a tiny shred from it, and dropped it in also.

After a while Tarzi gave up peering into the pot as if she could actually see the magic taking place, and seated herself. He put an arm around her, but she was too restless, and soon got up to pace and fuss about in a way that had him worried she would kick sand onto the drying curltooth. Once the stew was finally ready, her hands shook as she ladled it into two bowls.

She gave one to Rostigan and waited expectantly, as if it was up to him to take the first taste. Shrugging, he scooped up a spoonful of rabbit and broth. Perhaps it had been a while, but curltooth worked as well as he remembered. The mint twisted through his mouth in fresh green ribbons, and the rabbit was so alive on his tongue he felt like he was eating its soul.

On seeing his rapturous expression, Tarzi could wait no longer, and took her first hesitant sip.

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The face she made Rostigan had seen before, but only in the heat of certain moments. Together they ate slowly and reverently, and when there was no more they scraped the bowls, then licked them clean and fingers as well. Even the insides of their mouths they licked, eking wayward morsels from between teeth. A jar would be better for it, now that it was in danger of crumbling. Eagerly Tarzi set about sampling the food they had left.

Each new thing brought a moan and eyes rolling heavenwards, and Rostigan did not mind that she finished their stocks — he might have had a berry or two himself, indeed. Soon the last item remaining was the vial of sweet sap — which Tarzi unstoppered with a wicked grin and poured down her throat all at once. She sat up straight as if hit by lightning, her eyes even larger than usual. She nodded.

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Imagine how much fine food we could buy with that much gold! As she closed her eyes the sky went black, as if the sun had suddenly winked out. For a moment everything lay in pitch darkness … and then, just as suddenly, the day blazed forth once more. Toggle navigation. ADS 3. He shook his head, lest reverie take him.

Such a beauty, my Tarzi, and not modest about it either. She glanced up at him, a flustered look in her big dark eyes. He drew the sword from his back and rubbed it on the grass, cleaning off skitterer blood. Tarzi scrunched her freckled nose. And yet. He chuckled. At Love's Bidding by Regina Jennings. He graduated in with a second-class honours degree. In the Oxford Dictionary of National Biography Sir David Piper comments that Clark had been expected to gain a first-class degree, but had not applied himself single-mindedly to his historical studies: "his interests had already turned conclusively to the study of art".

While at Oxford, Clark was greatly impressed by the lectures of Roger Fry , the influential art critic who staged the first Post-Impressionism exhibitions in Britain. Bell became a mentor to him and suggested that for his B Litt thesis Clark should write about the Gothic revival in architecture. At that time it was a deeply unfashionable subject; no serious study had been published since the nineteenth century.

He did not complete the thesis, but later turned his researches into his first full-length book, The Gothic Revival Berenson was working on a revision of his book Drawings of the Florentine Painters , and invited Clark to help. The project took two years, overlapping with Clark's studies at Oxford. In , as a result of his work with Berenson, Clark was asked to catalogue the extensive collection of Leonardo da Vinci drawings at Windsor Castle.

That year he was the joint organiser of an exhibition of Italian painting which opened at the Royal Academy on 1 January He and his co-organiser Lord Balniel secured masterpieces never seen before outside Italy, many of them from private collections.

Clark was not convinced that his future lay in administration; he enjoyed writing, and would have preferred to be a scholar rather than a museum director. Over the next two years Clark oversaw the building of an extension to the museum to provide a better space for his department. In the director of the National Gallery in London, Sir Augustus Daniel , was aged sixty-seven, and due to retire at the end of the year. His assistant director, W.

Constable , who had been in line to succeed him, had moved to the new Courtauld Institute of Art as its director in He thought himself too young, aged 30, and once again felt torn between a scholarly and an administrative career. He accepted the directorship, although, as he wrote to Berenson, "in between being the manager of a large department store I shall have to be a professional entertainer to the landed and official classes".

At about the same time as accepting MacDonald's offer of the directorship, Clark had declined one from King George V 's officials to succeed C. Collins Baker as Surveyor of the King's Pictures. He felt that he could not do justice to the post in tandem with his new duties at the gallery. Clark believed in making fine art accessible to everyone, and while at the National Gallery he devised many initiatives with this aim in mind.

In an editorial, The Burlington Magazine said, "Clark put all his insight and imagination into making the National Gallery a more sympathetic place in which the visitor could enjoy a great collection of European paintings".


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A programme of cleaning was begun, despite sporadic sniping from those opposed in principle to cleaning old pictures; [35] [36] experimentally, the glass was removed from some pictures. Clark wrote and lectured during the decade. The annotated catalogue of the royal collection of Leonardo da Vinci's drawings, on which he had begun work in , was published in , to highly favourable reviews; eighty years later Oxford Art Online called it "a work of firm scholarship, the conclusions of which have stood the test of time".

He judged both as too elitist and too specialised — "the end of a period of self-consciousness, inbreeding and exhaustion". He maintained that good art must be accessible to everyone and must be rooted in the observable world. In he gave the Ryerson Lectures at Yale University ; from these came his study of Leonardo, published three years later; it too, attracted much praise, at the time and subsequently. One of Clark's least successful acts as director was buying four early-sixteenth century paintings now known as Scenes from Tebaldeo's Eclogues.

The approach of war with Germany in obliged Clark and his colleagues to consider how to protect the National Gallery's collection from bombing raids. It was agreed that all the works of art must be moved out of central London, where they were acutely vulnerable. One suggestion was to send them to Canada for safekeeping, but by this time the war had started and Clark was worried about the possibility of submarine attacks on the ships taking the collection across the Atlantic; he was not displeased when the prime minister, Winston Churchill , vetoed the idea: "Hide them in caves and cellars, but not one picture shall leave this island.

To protect the paintings special storage compartments were constructed, and from careful monitoring of the collection discoveries were made about control of temperature and humidity that benefited its care and display when back in London after the war. With an empty gallery to preside over, Clark contemplated volunteering for the Royal Naval Volunteer Reserve , but was recruited, at Lord Lee's instigation, into the newly-formed Ministry of Information , where he was put in charge of the film division, and was later promoted to be controller of home publicity.

There were up to two hundred engaged under Clark's initiative. Lowry , Henry Moore and Stanley Spencer. Although the pictures were in storage, Clark kept the National Gallery open to the public during the war, hosting a celebrated series of lunchtime and early evening concerts. They were the inspiration of the pianist Myra Hess , whose idea Clark greeted with delight, as a suitable way for the building to be "used again for its true purposes, the enjoyment of beauty.

The Musical Times commented, "Countless Londoners and visitors to London, civilian and service alike, came to look on the concerts as a haven of sanity in a distraught world. The institution of a "picture of the month" was retained after the war, and, at , continues to the present day. In , after overseeing the return of the collections to the National Gallery, Clark resigned as director, intending to devote himself to writing.

During the war years he had published little. For the gallery he wrote a slim volume about Constable's The Hay Wain ; from a lecture he gave in he published a short treatise on Leon Battista Alberti 's On Painting The following year he contributed an introduction and notes to a volume on Florentine paintings in a series of art books published by Faber and Faber. The three publications totalled fewer than eighty pages between them.

He was more in sympathy with modern painting and sculpture than with much of modern architecture. When it was reconstituted as the Arts Council of Great Britain in he was invited to serve as a member of its executive committee, and as chairman of the council's arts panel. In Clark became the Arts Council's chairman. He held the post until , but it was a frustrating experience for him; he found himself chiefly a figurehead.

Moreover, he was concerned that the way the council went about funding the arts was in danger of damaging the individualism of the artists whom it supported. The year after becoming chairman of the Arts Council, Clark surprised many and shocked some by accepting the chairmanship of the new Independent Television Authority ITA. It had been set up by the Conservative government to introduce ITV , commercial television, funded by advertising, as a rival to the British Broadcasting Corporation.

Clark was no stranger to broadcasting. He had appeared on air frequently from , when he gave a radio talk on an exhibition of Chinese Art at Burlington House ; the following year he made his television debut, presenting Florentine paintings from the National Gallery. By the end of his three-year term as chairman, Clark was hailed as a success, but privately considered that there were too few high-quality programmes on the network. Lew Grade , who as chairman of Associated Television ATV held one of the ITV franchises, felt strongly that Clark should make arts programmes of his own, and as soon as Clark stood down as chairman in , he accepted Grade's invitation.

Stourton comments, "this was the true beginning of arguably his most successful career — as a presenter of the arts on television". With the television camera strolling among the paintings by Goya , Breughel , Caravaggio , Van Gogh and Rembrandt and the urbane, confident Clark conveying his tremendous knowledge in exceptionally clear English, the viewer was treated to the essence of what the painter saw in his creation not an easy task in the era of black and white television. By the time in when he presented a programme about Picasso , Clark had further honed his presentational skills and came across as relaxed as well as authoritative.

The BBC was by this time planning to broadcast in colour, and his renewed contact with the corporation for this film paved the way for his eventual return to its schedules. Clark on the genesis of Civilisation [72]. He conceived the idea of a series about great paintings as the standard-bearer for colour television, and had no doubt that Clark would be much the best presenter for it. The series consisted of thirteen programmes, each fifty minutes long, written and presented by Clark, covering western European civilisation from the end of the Dark Ages to the early twentieth century.

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As the civilisation under consideration excluded Graeco-Roman, Asian and other historically important cultures, a title was chosen that disclaimed comprehensiveness: Civilisation: A Personal View by Kenneth Clark. Clark wanted to include more about law and philosophy, but "I could not think of any way of making them visually interesting. After initial mutual antipathy, Clark and his principal director, Michael Gill , established a congenial working relationship. They and their production team spent three years from filming in a hundred and seventeen locations in thirteen countries.

The New Yorker on Civilisation [79]. There were complaints, then and later, that by focusing on a traditional choice of the great artists over the centuries — all men — Clark had neglected women, [80] and presented "a saga of noble names and sublime objects with little regard for the shaping forces of economics or practical politics". I hold a number of beliefs that have been repudiated by the liveliest intellects of our time.

I believe that order is better than chaos, creation better than destruction. I prefer gentleness to violence, forgiveness to vendetta. On the whole I think that knowledge is preferable to ignorance, and I am sure that human sympathy is more valuable than ideology. The broadcaster Huw Wheldon believed that Civilisation was "a truly great series, a major work The British Film Institute notes how Civilisation changed the shape of cultural television, setting the standard for later documentary series, from Alastair Cooke 's America and Jacob Bronowski 's The Ascent of Man to the present day.

Clark made a series of six programmes for ITV.