“Sod the wine, I want to suck on the writing. This man White is an instinctive writer, bloody rare to find one who actually pulls it off, as in still gets a meaning across with concision. Sharp arbitrage of speed and risk, closest thing I can think of to Cicero’s ‘motus continuum animi.’

Probably takes a drink or two to connect like that: he literally paints his senses on the page.”

DBC Pierre (Vernon God Little, Ludmila’s Broken English, Lights Out In Wonderland ... Winner: Booker prize; Whitbread prize; Bollinger Wodehouse Everyman prize; James Joyce Award from the Literary & Historical Society of University College Dublin)





15 April 2017


Perfect web weave/slanting weft; wool and linen; 19.1 X 16.8 cm. Fourth century; Pushkin Museum Moscow; Golenivshchev Egypt purchase; IN 5818

"I am the true vine, and my father is the husbandman. Every branch in me that beareth not fruit he taketh away, and every branch that beareth fruit, he purgeth it, that it may bring more fruit. Gospel according to John 15:1-2 

"The vine motif appeared in ancient times in Egypt (in the Osiris cult), in Greece and Rome (Dionysus, grape harvest theme, the cycles of the Seasons, , genre scenes depicting the gods of love gathering fruit etc.) and in the Old Testament (Numbers 13:23). The quotation from St John's Gospel represents an early introduction of the theme into Christian art. It must have been fairly simple to adapt this ancient theme to its novel content. The motif of the basket with fruit originates in the Dionysian Mysteries. Christianity had already adapted it in the catacombs, where it was used to depict the Feast of the Messiah (Tomb of Lucina)."

from Coptic Textiles, L. Kybalova (Paul Hamlyn, London; Prague 1967)

To see this beautiful textile in a more southern timeline listen to this episode of ABC Radio National The Science Show  

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