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« Imaging Mass Casualties: the Big Crowd series, continued. | Main | A Map of The Office, 1942 -&- On the Cusp of Color: Bringing Color to Packaging »



I love the scratching dog and the lecher's shoes. The lecher makes me think of the fat monk who trades meat for flesh with the lovely young girl in the film of The Name of the Rose. Inexplicable choice by Christian Slater in the end. Also nice ... the knife in the door.

John Ptak

Yes. This guy reminds me of the Rodney Dangerfield character from "Natural Born Killers"--it was a terrifically creepy and off-putting role for Mr. D(angerfield). Really greasy-vile. ALSO: this guy seems to be holding his prayer book in a bag by his side. I thought I hadn't seen this much before, but maybe I just never saw that detail. I can't remember what Slater chose. ALso also: the knife in the door (a rock band's name) is just another of those details that creep by unnoticed until you start to look around the edges of these things.


Why is it that all of the women look pregnant? Even the more matronly woman in the first print. Perhaps that has something to do with their "get out of my face" attitude toward the men?

John Ptak

Odd isn't it? Now the question comes to mind of the percentage of pregnant women depcited in published art in the 16th and 17th centuries. I'm sure that someone out in the vast land of Academe knows this ("17.2%!" comes a shout from stage right, "100%" comes the assertion from C. Paglia from stage left). I( would agree with your second observation!

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