to the British Library and thanks for braving the heat to join us tonight and to all of those who are joining us online. I'm delighted to introduce Professor Lucy Freeman Sandler for her lecture entitled Golden Books as part of a series accompanying the exhibition Gold, 50 Spectacular Manuscripts from Around the World which is now on at the British Library just downstairs until the second of October. I'm Kathleen Doyle, the lead curator of illuminated manuscripts here at the library and one of the curators of the Gold exhibition. Lucy is the Helen Gould Shepherd Professor Emerita of Art History at New York University where she was chair of the department until 2003. I hope Lucy won't mind me saying that she's been studying and thinking about manuscripts for around 70 years and so she's one of the world's leading experts on Western European and in particular English illuminated manuscripts. Her list of publications and invited lectures runs to 15 pages so you'll be relieved, I'm not going to be reading that out to you tonight, but many of you will be familiar with her seminal work on English 14th century manuscripts, Gothic manuscripts 1285 to 1385 as well as monographs on the Omnibonem, the Peterborough Salter, the DeLio Salter and the Ramsey Salter. I can see from the audience that I'm not alone in seeing Lucy as a real inspiration in so many ways and as a model for a productive retirement as seven books and numerous pages of the 15 of the article's date from after 2003, including illuminators and patrons in 14th century England, the Salter and Hours of Humphrey de Boone and the manuscripts of the Boone family published by the British Library in 2014. During lockdown when many of us were struggling to get out of our pajamas, Lucy researched and wrote her latest book, Pend and Painted, the Art and Meaning of Books in Medieval and Renaissance Manuscripts, published in May and she'll be signing copies of her books after the lecture tonight just downstairs by the bookstore where you can acquire one for her to sign. Pend and Painted is written for a general audience in which Lucy includes an introduction followed by succinct one page analyses of 60 British Library manuscripts illustrated by full-color illustrations. Lucy included some of the most famous British Library manuscripts in her book and featured several that you will have seen or will see, I hope, in the Gold Exhibition. And about every week when we were at home during lockdown, Lucy would send me an entry and I remember often thinking she can't possibly find anything new to say about this manuscript. And every time Lucy would surprise me with discoveries from close looking and her erudite thoughtful, insightful and beautifully written text and I say without American hyperbole that it is truly a wonderful book. Lucy's talk tonight will be drawn in part from her work on Pend and Parchment but I know that she's written this lecture specifically to address some of the issues raised in the Gold Exhibition, in particular the varied uses, function and meaning of gold in illuminated manuscripts. Her lecture will be about 45 minutes and then Lucy will take about 15 minutes of questions. If you'd like to ask a question and you're here with us in the entrance hall, raise your hand and a microphone will be brought to you and if you're listening online you can participate too by using the question box just below the video. Now please join me in giving Lucy a warm welcome to the British Library. Good evening everybody. I want to thank Kathleen for such a lovely introduction and I want to thank the British Library for asking me to give this talk and I want to thank the whole staff of the Department of Manuscripts for many years of help and in particular Callum Coburn for his help with the pictures that I'm going to show tonight. When I mentioned to a friend that I was going to give a lecture about golden books she said immediately, oh, little golden books. This is the cover of one of the earliest little golden books published first in 1942. It's a series that's still going on today. The only vestige of material gold or gold color is, as you can see, at the edge of the spine. But when I thought of other associations of golden books that are still current, I called to mind my own copy of the Bible, neatly bound in black leatherette, stamped in gold on the cover, and with gold in four edges. The gilding of the edges of the pages of the holy scriptures is an ancient tradition. Those of you who've seen the British Library exhibition won't have found any tangible examples on show, however, because for the most part manuscript leaves have been clipped just as most manuscripts have been rebound many times. But representations of books in manuscripts, like the one here on the right, often show the bulk of the pages between the covers as golden, suggesting the precious both materially and conceptually. This is just one of the many ways that we can talk about books as golden. My aim today is to explore with you the visual ramifications of the phrase golden books and to think out loud about what the multiplicity of uses of golden manuscripts of the Middle Ages and the Renaissance meant to their commissioners, makers, and users. Because we're here in the British Library, almost all my examples will come from the fabulously rich collection of this institution. I have to begin with some disclaimers. This is not a talk about techniques of gold application. I'll be dealing with end results with effect, so to speak, and I leave precise descriptions of the processes of making and employing gold to experts on the craft of illumination, a craft nicely demonstrated by the way in a video in the gold exhibition. And also, I'm going to limit the range of my talk to manuscripts produced during the Middle Ages and the Renaissance in Western European and the Eastern Mediterranean world. Like many of you who've seen the British Library exhibition, I've been simply amazed by the golden treasures from far away India, Indonesia, Iran, Japan, Myanmar, Tibet, and Turkey. But like an old shoemaker, I'm sticking to my last. And the kinds of manuscripts about which I can claim any familiarity are those produced in Western Europe and the Eastern Mediterranean between the 6th and the 16th century. Let's begin simply with depictions in manuscripts of things that are actually gold or gold colored in the real world. Apart from the symbolic meaning of gold, which we'll come to in a while, gold has always been considered as materially precious, and medieval illuminators used gold leaf, gold paint, or gold colored paint to represent valuable things made of gold. First, of course, is monetary gold, minted in the form of coins. The picture you're looking at is one remarkable example in a manuscript produced in Genoa in the 1330s, and I included a discussion of this miniature in my book. The volume contains a treatise on the Seven Deadly Sins that was commissioned by a Genoese merchant of the Kokoreli family for the moral, educational, and civic education of his son. This miniature illustrates usually a subdivision of the vice of avarice by showing the interior of a pawn shop with the pawn broker making an offer to a client for a now tarnished silver object. On the table in the front are piles of gold coins, like the 14th century Genovino, which you see on the right. The coins are to be given, of course, in exchange for the deposits. Off to one side is the clerk who's recording the transaction and hanging on the wall in the background are objects that have already been pawned, all gold. Among them, as you can see, a gold sword, two gold belts, a gold ewer, a gold plate, and a gold seborrheum. The depiction of real gold, real gold coins, leads us to the much more common representation in manuscripts of gold coins that have a symbolic meaning in Christian terms. When the three magi came to venerate the newborn Christ child, they brought gifts of gold, frankincense, and myrrh. In manuscript illustration, the gift of gold was often shown in the form of gold coins. As we see here, this is the early 14th century English Queen Mary Salter. It's open in the exhibition, but to another page. Here, the container of the gold coins is a golden seborrheum, the liturgical vessel used to hold the sacramental eucharistic wafers of the mass. So the golden coins given by the king can also be understood symbolically as the offering of the body of Christ and the kneeling figure as the priest who makes the offering at mass. Here, blessed by the Christ child himself. As we can see here, manuscript images were and can often be read in multiple ways, one meaning enriching another. Now I'm going to focus on the uses of gold in manuscripts where the precious metal does signify more than material riches and has a symbolic meaning. Let's start with manuscripts themselves written in gold. Here's a magnificent book open to this page in the exhibition. The manuscript was produced around 800 under the patronage of the emperor Charlemagne, and it's famous today as a golden Gospels. Every word of the text is written in gold, and each page, as you see, is framed like a precious object with a protective pattern gold border. Gold here, of course, is equated with the holy scriptures, the sacred word of God, the creator and ruler of the universe. In the Middle Ages, gold was also considered as the appropriate vehicle for writing texts relating to secular rulers, whose rule in the medieval way of thinking was sanctioned by the deity. Here, for example, is a page with a detail of the last lines from the charter presented in 966 by the Anglo-Saxon King Edgar to New Minster Winchester on the occasion of the New Minster's refoundation as a Benedictine abbey. This part of the text that you're looking at concerns the king's benevolent intentions, and the detail includes the Latin words for our kingdom. The generous gifts of the king are worthy of being described in valuable gold script. Now here, oh, we've switched. We have to go back. There. Now here is another case of the use of gold script in connection with earthly rule. We're looking at a page from a slim picture book with miniatures of the kings of England from the time of Edward the Confessor in the 11th century to Edward I, who reigned from 1270 to 1377. This manuscript was produced between 1280 and 1300 while Edward I was still alive. Each picture, except for that of Edward, is accompanied by a short account of the life of the ruler written in various arrangements of gold and blue script, as you can see here in the miniature that shows Henry III. Henry is shown as the patron builder of Westminster Abbey, a model of which he holds on his lap. The Anglo-Norman text below, in alternating lines of blue and gold, begins with a line in gold saying, quote, after John, his son, Henry, the third, ruled for 16 years. And I think the detail gives a good idea of the brilliant polish of the golden letters, literally glorifying the name Henry. Golden letters were often greatly enlarged at the beginning of manuscript texts. The New Minster Charter that we just saw has a striking example, a page which begins with the overlapping Greek letters, chi and row, for the name Christ, a monogram that looks like XPI at the start of the phrase, quote, Christ, all powerful author of the whole fabric of creation, which is written in large golden capitals. Another monogram is shown in the exhibition, as you can see here on the right. It comes at the beginning of a long document composed in 1395 by a courtier of Charles VI, King of France, addressed to Richard II, King of England, pleading for peace between the two nations and for a joint crusade in the name of Jesus Christ, whose sacrifice for humankind is underscored by the crown of thorns radiating golden rays over the crowns of France and England. In the main section of the miniature, the golden letters YHS for Jesus are projected against a heraldic background of gold French fluridoli and gold English lions. On the facing page, a miniature which I reproduce in my book shows the presentation of this very work to Richard II. The miniature is painted above the textual prologue written in alternating lines of gold, red, and blue. The entire ensemble uses gold pictorially and textually as both sacred and royal symbol, and even includes a portrait of the manuscript itself on the right, showing it as covered in a binding richly decorated with gold. Now, among the dazzling manuscripts in the gold exhibition is the Salter of Nell ascend, Queen of the Latin Kingdom of Jerusalem, painted in Jerusalem around the middle of the 12th century. The page shown is the enlarged initial B for Bayardus, Blessed, the beginning of Psalm 1. Blessed is the man who hath not walked in the Council of the Ungodly. Here, as you can see, the entire image is golden, figural and decorative motifs and background as well. The elements of the design are outlined in black as if engraved in metal. And some details are picked out in white. King David, traditionally the author of the Psalms, appears in the lower part of the letter, seated and playing his harp. All the other figural elements in the initial, that is the fantastic animals and the birds, are ensnared in the stylized foliage. But David is free of these entanglements, his prominence visually evoking his importance as a ruler, an ancestor, and even an Old Testament figure of Christ himself. In medieval and Renaissance manuscripts, gold was used not only to enhance the value of the text and initial letters, but also to surround the text with rich borders, one example of which we've already seen. Later in the Middle Ages, such borders often consisted of golden foliage. For instance, small-scale stylized leaves on curving black stems that form a sparkling network scrolling across the surface of the page. I might mention here that the surfaces of manuscript pages are rarely completely flat and certainly curve when the pages are turned so the effective gold is usually enhanced when books are actually handled. But decreased in most documentary photographs, as you may have noticed in the slides I'm showing today. The example we're looking at here is from a solter made in the early 15th century for a Prince of France and given to King Henry VI of England. Every one of the text pages of the book, more than 500 of them, was treated in the same labor-intensive way, literally illuminating the word of God with gold. The latest development in the use of gold in the borders of manuscript pages was illustrated in the exhibition with this early 16th century French Renaissance book of ours, an extraordinary example of the mesmerizing trompe-leux representation of details of the natural world. Here flowers and insects casting shadows against the muted sheen of the gold background. In the age when printed books were becoming increasingly common, this handwritten and hand illuminated manuscript for a connoisseur of the art of illusion evokes the sheer wonder of God's creation. Let's move on now from borders to manuscript images of themselves. Where's gold used in pictures? First, we'll look at gold in the setting or background. Such large areas of gold are the artistic equivalent of light, light from the sun or from the deity. This on a screen now is a page from the Greek language Bernie Gospels. It's a miniature painted in Constantinople that is Istanbul in the 12th century. The manuscript is in the exhibition open to a miniature of Saint Mark, but I'm showing you a page that I illustrated in my book. It's the evangelist John turning his head to hear the voice of God and dictating his gospel to ascribe. The background of the figures and the rocky landscape is a shimmering expanse of gold, identifying the space and the event as sacred filled with the light of God. Medieval illuminators devoted a great deal of attention to gold backgrounds. Often to heighten the interplay between actual light and shining metal, they incised patterns that enliven the surface of the page. Here's an example from the exhibition, a detached leaf showing the enunciation from a solter of around 1200 that was produced in Flanders. The background is tooled with finely incised linear spirals and stylized foliage, overlaying the gold of the heavenly and the eternal with allusions to the earthly, the temporal of the natural world. A similar treatment of the background appears in one of my all time favorite manuscript images, which I couldn't resist showing today. The Virgin and Child of the Solter of Robert de Lille, painted in London in the first decade of the 14th century. Here, the five pointed leaves in the elaborate pattern incised into the gold ground are silhouetted against fields of closely spaced dots. I think introducing a sense of oscillation, not only across the surface, but from the front to the back. We could almost say that the pattern is a kind of visual metaphor of the ever changing motion, a movement of the universe. Now there's time to show one more variant of the treatment of gold backgrounds. This is the use of shaped metal punches to tool gold leaf grounds. That is to create regular rather than freehand patterns. The background of this page from the Golden Haggadah, which is in the exhibition, provides my example. The manuscript was made in Barcelona in the 1320s. Here, the pattern is composed of a diagonal linear grid ruled with a pointed instrument punctuated by star-like punched motifs at the intersections. The Golden Haggadah contains the service that takes place in Jewish households at Passover, marking the freeing of the Israelites from bondage in Egypt. The page you're looking at has four scenes from the lives of Jacob and Joseph, events mentioned in the book of Genesis. And the detail shows Joseph's two dreams. First, that his chief of corn would stand upright while those of his 11 brothers would lower themselves. And second, that the sun and moon and 11 stars, which you perhaps can see in the picture, that they would worship him, that is, Joseph. These are dreams of God's favor or favoritism, which arouse the anger of Joseph's father and brothers, and that's depicted in the lower right hand section of the whole page. As in Christian manuscripts, the gold backgrounds are equated with the sacred, here with the sacred history of God's relation to the Israelites of the Old Testament. Gold in the backgrounds that we've been looking at is not a representation. It is simply put a visual witness of the presence of light and all its attendant meanings. But light was also represented in medieval manuscripts using gold. Here is, to me, a breathtaking example from a biblical manuscript of the type called a Biblist Real, a history Bible, written in French and illustrated in Paris in the early 15th century. We remember that at the beginning of the book of Genesis, God said, quote, let light be made, quote, and quote, so that the light that it was good, and he divided the light from the darkness. So in this miniature, at God's command, the pale golden light of the upper hemisphere illuminates the blue sky above, and the black below casts the surrounding area into darkness. God's work on the first day of creation. More often, light was represented in the form of its source in our cosmos, that is, the sun. And gold was regularly used to depict the sun and its radiance. No. This example is from a Hebrew manuscript, another Hebrew manuscript, a miscellany compiled in northern France over a period of time from the late 13th to the early 14th century. The miniature shows, as the Hebrew caption says, quote, the sun and the moon and stars within the wheel. The term wheel evidently related to the idea of the rotational movement of the spheres of the universe. In a circle, which is the conventional medieval visualization of the spherical shape of the universe, we can see the gold sun with curving rays, a crescent moon, and small gold discs of the stars against a deep blue background. Another brilliant example is this illustration of the 14th century Italian poet Dante's Divine Comedy for one of the cantos of Paradise, the final section. This miniature was painted in the 1440s by the famed Sienese artist Giovanni Di Paolo. I discuss, actually, a different Paradise miniature in my book, but the one we see here shows the journey of Dante and his companion Beatrice toward the fourth sphere beyond the earth. In medieval cosmology, it's called the heaven of the sun. The blazing golden rays of the sun in the center beam down on the terrestrial landscape below. For Dante, the heaven of the sun was the realm of the souls of wise human beings enlightened by the message of the Christian deity. So the sun and its rays here can be understood as a symbol of God bestowing his wisdom on the earth and its human inhabitants. Golden rays, like those here, have multiple meanings in medieval imagery, but most often they symbolize the third person of the Christian trinity, the Holy Spirit. And two of the main pictorial subjects where the golden rays appear are the enunciation and the Pentecost. Here's a 14th century Florentine miniature of the enunciation. It's a cutting from a choir book used in the mass, and this page is in the exhibition. There's a brilliant gold leaf background against which the lushly ornamented initial letter R is displayed, encircling a scene of the enunciation, the appearance of the angel Gabriel to tell the Virgin that the Holy Spirit will, quote, come upon her, and she will conceive a sun. In the upper part of the composition, the Lord sends down the Holy Spirit in the form of a dove flying on fine linear golden rays, which pass over the middle of the initial. And if you look very hard on the far right, you might be able to see this tiny white bird approaching the dove of the Holy Spirit, approaching the head of the Virgin Mary. Now here are two miniatures of the Pentecost, the descent of the Holy Spirit that inspired the apostles to preach the gospel. On the left is a detail from the 12th century Winchester Salter, where we see flame-like golden rays descending from the dove of the Holy Spirit to the gold haloed heads of the apostles, who themselves are wearing gold-bordered garments. Gold is the vehicle of the Holy Spirit, and the transmission of the Holy Spirit to the apostles is underscored by the profusion of gold in the delineation of their robes. Now there on the right is a majestic and serene Pentecost with the Virgin Mary in the center. The miniature is a detached leaf from a book of hours of the very end of the 15th century that was illustrated in tour, France, by the well-known artist Jean Bourguignon. Here the Pentecost scene is viewed close up, almost as if we're right there in the circle of apostles. The golden rays are thin beams of light emanating from a sun-like circular aura, a kind of halo around the dove of the Holy Spirit. The aura of the holy was codified in the Middle Ages in the form of the golden halo, as we can see in these two Pentecost miniatures, in the one solid gold disks in the other transparent gold outline circles. Along with golden halos, other sacred symbols of the deity are often represented in gold. The idea of God's dominion over the entire universe is visualized in images called Christ in Majesty, where the Lord holds a golden orb. As we see here, this is a 12th century English manuscript known as the Schaft's Very Salter. Such images ultimately descend from ancient Roman imperial portraits. As they're reflected in medieval pictures of emperors, such as this famous image of the Holy Roman Emperor Otto III, painted around the year 1000. And this is one picture from a manuscript that's not in the British Library, but in the State Library of Munich. Another golden symbol of the deity, beside the orb is the chalice. If the golden orb alludes to the Lord as ruler of the universe, the chalice refers to the Lord as sacrifice for the sake of humankind. In the Christian mass, the sacramental wine in the chalice is changed to the blood shed by Christ at the crucifixion. Here in the Salter of Robert Deleel, a manuscript I mentioned before, Old Adam, the first man, the original sinner, holds a chalice, holds up the chalice containing the blood that's being shed by his redeemer, Christ, who was called the new Adam. The Eucharistic chalice itself was venerated and represented in gold. As we see here in two examples, the left is a miniature illustrating the reading for the feast of Corpus Christi, that's the body and blood of Christ, in a mass book completed around 158 on the commission of a mayor of London, his name was Stephen Jennings. And on the right, another golden chalice, the opening illustration of a register of all the names of the members of the Guild of Corpus Christi of Boston Lincolnshire as of the 1460s. Even more fundamental than the chalice as a Christian symbol is the cross itself. And while the cross of the crucifixion was often represented in manuscripts as wooden, tan, or brown, or sometimes green, as a symbol of the Christian faith itself, it was frequently represented in gold. Here, for example, is a modest, historiated initial at the beginning of the 13th century copy of a treatise on the virtues and vices perhaps produced in France, showing a personification of faith as a woman holding a disc with a golden cross, a golden chalice, and a golden orb. The lower section of the initial has the opposing vice identified there as idolatry and a pictorial example showing a man worshiping a monstrous idol. The cross is the Christian symbol par excellence. Now here is the full page cross where gold is a brilliant yellow pigment. This is a 10th century image from a Spanish book of readings from the mass. As you can see, hanging from the arms of the cross are the first and last letters of the Greek alphabet, alpha and omega, referring to Christ's words in St. John's apocalyptic vision, I am the beginning and the end. The inscription at the bottom of the page, again in bright yellow equivalent of metallic gold, and also continued in now dulled silver, says, quote, the sign of the cross of Christ the king. In the Christian liturgy, the cross stands on or above the altar. So here are two pictures of golden crosses in situ. On the left is a miniature commemorating the gift around the year 1031 of a golden cross to the church of New Minster Winchester by the Danish conqueror King Knut and his consort El-Gifu. And on the right is a Parisian miniature around 1440 to 50, showing members of the worldwide Christian community adoring a giant de-jewel golden cross on the altar of a chapel. The setting and the two-armed shape refer to an altar cross of a chapel erected in Jerusalem over the site of the crucifixion, which was only a distant memory in the Middle Ages. But the gold material and the rich array of jewels recalls reliquaries made throughout the period to house fragments of what was the relic of the true cross. As it happens, both of these manuscripts that I'm showing here appear in my book. And the 15th century image, no. The 15th century image is from a book of ours that was used for the cover of my book, which Kathleen showed you before, on which we see St. Luke the Evangelist in his study surrounded by books. Whether the giant size of the reliquary cross in the Parisian miniature records the dimensions of an actual object, we don't know. Certainly the gold material and the large scale underscore its symbolic importance. Like this cross, other containers of sacred relics were depicted in manuscripts as golden. Here's an example from a solter made in England in the second quarter of the 15th century. The initial for the psalm that begins sing to the Lord a new psalm shows David crowned in gold with his golden harp, adoring the golden arc of the covenant containing the 10 commandments. The historical biblical basis for the use of gold here is the detailed description of the arc of the covenant in the Old Testament book of Exodus. From the time of Moses, the arc was carried by the Israelites in all their wanderings until finally David brought it to Jerusalem. As the book of Kings says and our picture shows, quote, with joyful shouting and sound of trumpets. Now here are two contemporary English images of another golden shrine. This time that of a Christian saint, the martyred ninth century East Anglian kid Edmund, whose perfectly preserved body was venerated at Barry St. Edmund's, a major pilgrimage destination in the Middle Ages. From Christmas 1433 to Easter 1434, King Henry VI even stayed at the Abbey of St. Edmund's, a visit commemorated in the miniature on the left, which shows him worshiping at the golden shrine of St. Edmund, which was encrusted with jewels and precious marbles. With some variations, St. Edmund's shrine appears repeatedly in this manuscript, whose text is the verse account by the contemporary Barry Monk John Lidgate of the life and veneration of the saint. The picture on the right shows the author himself praying at the shrine. I'd like to turn now to the representation, to gold in the representation of human figures. Sometimes gold is used for precious metal ornaments such as crowns, collars, belts, or richly woven or embroidered garments. But here as we've seen before, gold can have a symbolic meaning, referring to earthly power and sacred dominion. In the exhibition is this miniature from a ninth century solter named for the Carolingian Emperor Lothar where the entire image of the ruler has been transformed into a golden ornament studded with pearls, rubies, emeralds, and sapphires from his crown to the brooch at his shoulder to his sword and even to the cushion under his feet. I'm showing a detail of Lothar along with a bejeweled ninth century Carolingian reliquary, the so-called talisman of Charlemagne meant to protect its original female owner and display her religious devotion in material form. It's the same purpose as Lothar's fictive garment. The Lothar solter also includes a miniature of David playing the kind of stringed instrument called a Scythera in the Book of Psalms. He's shown as a hallowed youth, a divinely chosen prefiguration of Christ according to the verses praising him on the facing page. What's surely significant here is the treatment of his garment whose folds are articulated by a gold linear pattern, a motif that marks David especially favored by the Lord. Gold pattern drapery is a rare phenomenon in the Carolingian era, but it's a hallmark of the work of the French Renaissance painter Jean Bourgogne, whose Pentecost miniature we see here again. And here from the same dismembered late 15th century Book of Hours is the beautiful miniature that's included in the exhibition the Virgin Mary of the Annunciation meditating over her reading as the Holy Spirit flies in from the upper left. Bourgogne has melded soft natural flesh with supernatural drapery and a kind of pictorial magic only possible via the art of the illuminator. Now we're going to leave the illuminated pages of manuscripts to consider the use of gold in their covers. Very, very few original book covers have survived from the Middle Ages or even the Renaissance, especially those of the kind known as treasure bindings composed of precious metal, ivory, enamel, and inset jewels. Such bindings were fit materially and conceptually for the deity and for kings and queens. Here's an example from the exhibition, the partially 12th century binding of a German gospel book intended to rest on the altar. A case of such reverence for the word of God that a manuscript whose text was written a hundred years earlier was covered with this splendid new binding of gold, rock crystal, and colored enamels surrounding a golden relief of Christ crowned blessing and holding a golden book. And here is one of the stars of the gold exhibition, a tiny book truly fit for a queen to wear on her belt. Even though L.A. Jackson, one of the show's curators has now discovered that this so-called solter of Queen Anne Boleyn was probably not really hers but belonged to another 16th century lady. And those of you who've seen the show will remember the minuscule size and skilled factor of this amazing golden book. I'm going to end this talk as I began with images of books, the golden books of my title. As you've heard from Kathleen Doyle when she introduced me, the theme of my book, Pendant Painted, is images of books in books, that is representations of books in medieval and Renaissance manuscripts. Among the examples that I discussed were several where books themselves were depicted as golden, either with gold bindings, gold forages, or gold script. We've already seen this miniature of the evangelist John from an 11th century gospel book from Cologne. And now here, here's a page from the 12th century Melisand Solter, who saw one initial we've also seen. This miniature shows Christ and throne between the Virgin Mary and Saint John the Baptist. As himself, the word of God, Christ holds a richly jewel golden book that contains the word of God. Yes, and finally, here's a page from the late 10th century book of Episcopal Blessings, the benediction of the saintly Anglo-Saxon Bishop Ethelwald that really sums it all up. The golden haloed Christian Lord in the golden initial O of the abbreviation for omnipotence almighty, identified in golden script below as the Trinity, quote, the one true God, Father, Son, and Holy Spirit, framed in a pointed golden arch of heaven, seated on a golden arc of earth, wearing a golden garment and holding a golden book. This is a resplendent example of the painted image of the book as a symbol of the sacred. And for me, it's the ideal picture with which to end this talk. Thank you. Thank you, Lucy, for really stimulating and thought-provoking lecture, which I'm sure will have stimulated questions both here in the audience. And just to remind you, if you haven't submitted a question online, there's a question box just below the video. And my colleague, Joan, is going to be reading out any questions that you have from our online audience. So if I may start in the room, is there anyone who has a question for Lucy? I see a hand just here in the back. Quran have miniatures and golden inscriptions. So the question was whether a Quran would also have in golden inscriptions and miniatures. The Quran is the sacred book of Islam and figural images are prohibited in Islam. There are Quran's, however, written in gold script. And there's an example in the exhibition. So a great deal of devotion, a devoted attention was paid to the calligraphy itself, the sacred text, and Quran's often have beautiful decorated borders decorated with gold as well. But no figural imagery. Wait for the microphone, and then... Would that be corrected saying that gold is sometimes associated with wisdom? Yes, and I think that the picture from the Dante manuscript that I showed is a sort of example of that because the gold sun, which is the emblem of God, is beaming down and it represents the wisdom of God that's transmitted to humankind. I think we have a question from our online audience that Joan is going to read out. Yeah, we've got a question here from Catherine Reynolds. Oh. Thank you for a wonderful lecture. Do you have any sense of how much a book like the Golden Gospels would have been used for its texts or was part of its function to glorify the word of God simply through its creation and existence? Well, let's say it's a ceremonial benedictional. There's always a question in relation to these very precious manuscripts so full of gold, particularly I think it's a question in relation to gospel books, were they actually used or were they there as sacred objects to rest on the altar? Now a benedictional contains these Episcopal blessings. I think that maybe even a bishop would probably have had to read from some text if he actually performed these ceremonies but I don't think that Ethelwald ever actually had to use this book to perform any of his Episcopal blessings. Maybe I can while you're waiting if anybody else has anything to add. Could I, you've looked at a lot of images to select these and to choose them for your book. What was the most surprising discovery you made in this process after looking at probably thousands of manuscripts in your career? Oh, that's a very hard question. That's a very challenging question. Well, it's a very challenging question. When I was working on the book, it was like a surprise a day. I mean, I started by, I started before COVID and then COVID happened and thanks to the wonderful digital resources of the British Library, I was able to compile a list of books in books mounted to about 180 examples. And then I siphoned them, I broke them down. But as I, I mean, I was attracted of course by the fact that there was a book in the picture. But then as I began to look at them for every, almost every manuscript, I just had a kind of surprise. It was because they were pictures in manuscripts many of them had been written about but they hadn't been, but the representation of books in those books hadn't been written about. And so, you know, just to shift your focus a bit enables you to have this wonderful exhilaration of seeing something new in the picture. I can't be more specific. I would. That sounds like you had some fun in actually doing the work. I think there's another question online. Yeah, another online question. This time from Brigitte. She is actually gilding while listening to you. Could you please tell me the technical name for gold backgrounds? I heard it once at a Society of Guilders Conference in 2019 and I've been trying to remember it ever since. I don't know. As I said, I listened here the other night at the British Library to Patricia Lovett who was an expert calligrapher and she talked about the application of gold. I'm not a craftsperson myself and I know very little actually about the technique. You can learn quite a lot, I think, from the exhibition itself but I don't know whether you'll learn the name that was used in the Middle Ages for gold backgrounds. I mean the general name for gold is Aoram, but... There's a question just here. Yeah, thank you. This was a really wide-ranging talk that took us through such different meanings for the presence of gold and made me wonder whether there might be some cases where you would hesitate between assigning different meanings to the gold or whether there might even be more than one meaning deliberately evoked by the gold in a particular case. There might be more than one... Well, I think that's... Multiple meanings are... Multiple meanings are not only the result of our distanced view but I think they're inherent in the work, in the design and the execution of the works themselves at the time. I mean, sometimes images are the results of very complex thinking on the part of the people who designed them and executed them. One more question in the back, perhaps. Thank you, Professor, for a really interesting talk, lecture. Just carrying on from your thought on what you said about the Bishop's book, Ethelwald, was it? Ethelwald. Ethelwald, yes, thank you. You said you didn't think that he would have used that book. Do you have reason to think that? Or is it more of an impression from maybe the good state of it? And have you written about it? Well, I'm not the person who's written about it. I mean, I have skipped over... One could not say that I've written in depth about the Benedictional or St. Ethelwald. I think my impression that it wasn't actually used in the actual ceremonies that the text contains, that's because of the character of this particular book. But the relation to Ethelwald is very certain. I think we have one last question from the online audience. So this question is from Rosemary. She thanks you for an amazing lecture. Why do you think that these types of golden books fell out of favor later and in more recent centuries? Why did they fall out of favor? Well, it's the advent... I suppose it's the advent of printing and the inexpensive... I mean, printed books at first were very expensive. And sometimes they were decorated by hand and sometimes the initials were gold and the borders were filled with gold. But as printed books really took over, I suppose we're in a situation of some kind of technological change now. But at some point by 1600, printed books more or less replaced manuscripts. And even the one with the wonderful borders with the flowers and the insects. That was made at a time when books of that sort were really for connoisseurs. And I think by that time a book of ours for daily use, even by the devout, would have been a printed book. Thank you all for coming to tonight's event, either here in person or by watching online. And I hope that you've enjoyed it as much as I have. And from the comments we've heard, it seems that that is the case. We welcome your feedback. If you're watching online, you can add some feedback by using the menu just above the video to do this or to make a donation. And although our online audience won't be able to join us for the book signing in just a few minutes, if you'd like to get a copy of Pendant Painted or indeed the little exhibition highlights book Gold, you can use the book tab on the screen to do that. And we'd also love to welcome you back to the British Library for more exhibitions, lectures, conversations, and performances. So keep an eye on the what's on pages of our website for that information. And you can also watch any past events in this series or in other series and see a 20-minute highlights video about the exhibition on the British Library Player. And do make a note in your diaries of the library's next major manuscript exhibition, Alexander the Great, The Making of a Myth, which opens on the 22nd of October. So thank you so much for joining us. And please join me in thanking Lucy once again for a really wonderful lecture. Thank you.


Go ahead and cut that rocket. You just got to do a cut. Take it on two, George Wood. Fire! Four. That's your four. Four. Take it on two, George Wood. Fire. Got two, half load. Take it on two, George Wood. Fire. Got two, half load. Take it on two, George Wood. Fire. Take it on two, George Wood. Fire. Take it on two, George Wood. Fire. We talked about it a little bit already. So how's it going to work? Most of the groups you guys have are going to have four. How do you dismounting? How do you dismounting? Okay. Make sure we say it loud so everyone hears it around us. I'm loaded. Where's the...


Hello friends, I am talking on SMIC chart which is part one in which I will be talking on SMIC chart basics, Myself Rohini Mergo working in ANTC department as associate professor at Walshian Institute of Technology, Sulapur. Learning outcomes at the end of this video you will be able to explain the elements of SMIC chart, you will be able to locate short circuit, open circuit point and center of the chart, you will be able to locate the angle of reflection coefficient and transmission coefficient circle, you will be able to locate the wavelength towards load or generator circle, you will be able to list the applications of SMIC chart, these are the contents of my video in which first I will give the introduction, I will explain the elements of the SMIC chart, then I will talk about the angle of reflection coefficient and transmission coefficient circle, then wavelength towards load generator circle, short circuit and open circuit and center of the chart, then normalized impedance and the applications. Introduction Originally, SMIC chart was developed around 1940 by Phyllis Smith, so the name is named as SMIC chart, SMIC chart is fantastic tool for visualizing the impedance of a transmission line and antenna sustain as a function of frequency, SMIC charts are also extremely helpful for impedance matching purposes. It is a useful tool for making the equations involved in transmission lines easier to manipulate, different parameters we can manipulate using SMIC chart. What is an impedance? Impedance Electrical impedance is the major of opposition that a circuit presents to occur and when voltage is applied. The term is named as a complex impedance and may be used interchangeably as impedance. Impedance can be represented in rectangular form, why it is named as a complex that you understand here, z is equal to r plus jx where z is the impedance, r is its resistance and x is reactance, this is a rectangular form of representation. Impedance can also be represented in polar form as z is equal to modulus of z and angle theta where modulus of z is magnitude of impedance, theta is the phase difference between voltage and current. Elements of SMIC chart Two major elements which are two circles or arcs, those are named as the constant r circles which are called rn circles, the constant x circles which are called xn circles. These are the elements of SMIC chart. Let us look first for rn circles. The set of circles referred to as a constant resistance lines form circles. What I mean is, along this axis if you see all the circles are drawn with respect to this real axis, these are constant r circles or rn circles, r is equal to 2, r is equal to 1.5 and 0 it goes on reducing the value of r and at this point r is infinite, all tangent to each other at the right hand of the horizontal diameter. Resistance is held constant while the reactance is varying. Along the circles resistance is constant, reactance is varying. These are called as rn circles. Xn circles, if you see these xn circles, these xn circles are no longer the circles but these are arcs. The constant x circles are more of arcs than circles. This is x is equal to 1, x is equal to 2, x is equal to 0.5 and 0. In the lower half, the xn values are negative minus 0.5, minus 1, minus 2 and so on. So all tangent to each other right hand extreme of the horizontal diameter, they are generated when the impedance has a fixed reactance but a varying value of resistance. These xn circles are generated when the impedance has a fixed reactance but varying value of resistance. So when I superimpose this rn circle, which rn circle, can you see this? This is the rn circle and this is the xn circles. When I superimpose these two circles on each other, I will get the chart like this. These are circular or the rn circle, the arcs are the xn circles. Those superimposed on each other will form the smith chart, rn and xn circles superimpose. Whether the actual smith chart is like this? No. This is a simplified form of a smith chart. Actual smith chart looks like this. It is much more complex than whatever shown here. But the same information is available on this chart also. All these circles are the rn circles, all these circles are the rn circles whereas the rn values are shown on this horizontal axis with rn value maximum on this side which is infinite and then 50 and so on and then goes on decreasing, then 1 and so on and 0.5, 0.1 and 0 on this side. So this is the rn circles and these are the xn circles. You can see these are the xn circles and the xn value on the horizontal axis is 0. On the upper side of the circle, the xn values are positive. On the lower half of the circle, the xn values considered are negative. Always hold the smith chart with this open circuit side on your right hand side and short circuit side towards your left hand side. What is this open circuit and short circuit point that I will talk further? Smith chart has one more variant. The same chart can also be represented like this with the same open circuit point, short circuit point and all these xn rn circles are there. But there is one more lower chart shown. This chart indicates the different parameters which can be measured either by using this smith chart by locating the point and then locating the point on this chart or the other method is directly by using this chart also we can determine the different values or the parameters. Angle of reflection and transmission coefficient circle. The circle immediate to rn circle is the angle of reflection coefficient circle. It ranges from 0 to 180 degree. The angle of reflection coefficient ranges from 0 to 180 degrees on upper half of the circle and lower half of the circle has negative values of the angles. This is because impedance repeats for every half wavelength. So here the angle of reflection coefficient circle I have shown. The same smith chart this part is zoomed and I have shown here. So here you can see here this is the rn0 circle and immediate to that after that there is one more circle which is named as angle of reflection coefficient circle. So you can see here this is the angle of reflection coefficient circle and if you read the values the values here will be changing from 0 to 180 degrees around this circle. Beyond that there is a lower scale. On the scale also there are different parameters shown and this scale also shows the angle of reflection coefficient and angle of transmission coefficient values. Wavelength towards load or wavelength towards generator. So after this the outermost circle marked wavelength towards load or wavelength towards generator what I mean by that is this is a generator and having some source impedance and terminated in some load impedance ZL and if I move somewhere here in between what is the impedance here if I want to find. So this is a wavelength towards generator if I move from load. If I move from source it is wavelength towards load. So at this point what is the condition of the transmission line if I move from load at this point. What is the condition of transmission line? What is its impedance? What is its whether there is a voltage minimum maximum? What is the impedance value? All this we can find out by using this circle wavelength towards generator or load circle by moving along it along the circle. Let us see the where this circle is there. So here I have zoomed out this part it looks like this. If you read here after angle of reflection coefficient circle there is one more circle which is marking zone from inside as well as outside and this is wavelength towards generator and wavelength towards load both are shown in different directions opposite directions there are the markings shown in terms of wavelength lambda. Let us locate a short circuit open circuit and center of the chart. This is the Smith chart as I already said the impedance or the resistance here is infinite. So Rn equal to infinite is this point which is point A as Rn is infinite this point of course will be the open circuit point. As the Rn values I look at this real axis goes on reducing reducing here 0.1 and at this point it is 0. As here Rn value is 0 this is a short circuit point with Rn equal to 0. Now what is the center of the chart between these two there is a center of the chart point O where Xn value of course is 0 but Rn value is 1. So that is nothing but center of the chart. The chart is normalized Zn all impedances on the chart are normalized with respect to characteristic impedance Z0. Normalized impedance Zn can be given as Zn is equal to Z upon Z0 the given impedance upon Z0 R upon Z0 plus J upon J into X upon Z0. So R by Z0 is the real part and X by Z0 is the imaginary part which we want to locate on the Smith chart. If we try to work with normalized impedances on the Smith chart the reason is very simple because when we locate the impedance on the Smith chart I can locate 1 ohm, I can look at 50 ohm, I can look at 500 ohm, I can look at 5000 ohm and more than that. So when the impedance values is increasing whether it is expected that the chart should expand and when impedance values are reducing in order to increase the accuracy whether the chart should compress or expand so all this is not possible. So for that a single chart is there which works with all the impedances provision is made to locate a point of the impedance with respect to characteristic impedance Z0 which is called as normalized impedance. List the applications so if there are different applications of the Smith chart basically the application the first application of the Smith chart is the impedance matching. Why we need impedance matching because when I connect the load the load should be matched with respect to source but practically every time it is not possible that the load is matched but in order to match the load how we can work out we can connect a stub single stub matching double stub matching methods are there. So using that we can match the load with respect to source. Why impedance matching is required in order to get the highest efficiency in order to get whatever you are transmitting the maximum should be received towards the load side for that the impedance matching is expected. So basically the application of Smith chart is for impedance matching purpose beyond that we can determine the different parameters using the Smith chart such as admittance, impedance at any point on the transmission line, we can determine the reflection coefficient, we can determine the VSWR, even we can determine the maximum voltage and the minimum voltage positions on the transmission line where the Vman and Vmax is located that also we can do and also we can determine the maximum load or maximum impedance along the transmission line and the minimum impedance along the transmission line. These are the references used for preparing this video. Thank you.


You know, we just always try to do what's best for the team. And you know, after talking about it with Craig and John and myself, we had both those guys in here to work out. And it was a really good workout. And again, we feel comfortable now going forward here with Cody. What did Cody show in that first workout that maybe didn't push him past Cairo? Yeah, again, it was really close. I mean, I think they all made everything that we asked him to kick. It was a very competitive workout, a very good workout. And in the end, you have to make decisions. And so we've moved on now here to Cody, and we'll get started with that here today. What makes you think, Mike, or can you be sure that he's kind of over things mentally from last year? We just have to make sure that we're doing everything we can to get him ready for the game. Denver, that's a huge challenge. We're going to need to make sure that we score points every chance that we get. When we get it down there, defense is very good defense. Not giving up a lot of yards, very good against the pass. So he's just going to be one piece of the other puzzle. And we'll work with him here like we do all the other players. What do you see Rod's role being in the team? That's the thing that's always, when you sign guys, the role is really yet to be determined. They define their role by what they can do on the practice field, what they can handle, learning the game plan, what their role can be on special teams, on fourth down. And then we'll decide, I think, as things kind of go further. But it's a versatile piece that's played. He's carried the football, he's played some fullback, has played on special teams. AJ Brown had a career high in snaps. What was behind him getting more snaps? And is that something you look to go to going forward? We want to just make sure that everybody understands what their job is on each and every play. Like a lot of players or young players, trying not to overload them and move them around and do a bunch of stuff with them and try to make sure that they know what to do on a consistent basis and can play fast and aggressive and let their talents shine on the field. And I think that's what all we're trying to do is, as the more guys can handle, the more we'll give them. And he's shown that, but we have to, I think, always be careful of how much you're asking a guy to do formationally, making minor changes to plays. May not seem much for a veteran player, but sometimes a young player is just conscious of making sure that they're fully committed to their job so that they can execute. You may have referenced Monday that we were looking to maybe expand the role of Dennis Kelly. Is that, am I accurate there? And did you expand on that? Well, I just said it was an option. I mean, we have options now. I mean, I think we have more options. And again, we were a little heavy if you look at the roster at O'Liaman. But there were injuries there. There were things that were happening. And so we'll just have to try to make sure that everybody knows what to do. They're playing with great effort. And up front, they blocked their guy. It's a big, big one-on-one matchup game for us this week. I mean, they'll be critical that everybody focuses on their one-on-one matchups and wins those across the board on all three phases. Like any player that comes back from injury, you have to be able to go through the return to play. And he got some reps last week. And I felt responded OK physically. And then we'll kind of see where it is here today going forward. Coach, when you have a player who understands the middle aspect and understands what they're supposed to do but is failing to execute, when that happens, is there a theme with all those kind of guys? Or is it a case by case basis as to what that's happening? I think that just the important thing to remember is just being smart and knowing what to do isn't enough in this league. I think that there's execution that has to take place. And I think as players, I was always given a blueprint. I was always given a playbook, given a diagram. And we talk about the details of being able to bring that picture to life. This isn't the first time that we've talked about this. And it's not the first time I've tried to talk to the team like that. Here's the route. This is what the route might look like on paper. Here's what the route looks like against man coverage. Here's what the route looks like on zone coverage. Here's where the defensive fit is. But a lot of times it doesn't always go like that picture. So just to be able to adjust and have instincts to maybe the guy who isn't three yards closer to the line of scrimmage than we thought he would be, thought we'd be three yards deeper. So there's a lot that goes into it.  When you look at Denver, was there a running game, I guess, that jumps out at your post? Well, I think that's going to be a huge key is to be able to, to the best of our ability, control these runners. Obviously, veteran quarterback has seen a lot, two really dynamic players with different skill sets on the edges. But with Lindsey and Freeman, combining for 33, really targets or touches a game, either handing it to them or throwing it to them. That's a lot of production. They had a great day in San Diego. So that's probably a lot of confidence with them coming in. How's the opposite side? Well, I mean, I think there's things that we'll always try to do every week. And certainly Derrick's a part of that. He's a big part of that. But we have to function as an offense and be able to throw the football and take 11 guys and understand their job and how they fit into the play pass, the protection, the route, the timing. Is it man coverage or zone coverage? This week, obviously, making sure Von Miller doesn't wreck the play before it gets started is a very explosive, disruptive player who's done it for a lot of years. Has beefing up, Marcus, given you to this point just waiting to open the field? Well, he's been there every snap. So we talked about how critical durability is in this league that you're able to come out and play and be available and be out there. So I guess the durability has been there. Is the week beginning with maybe a little bit more optimism about getting cam back or that to be determined? I think those are all things that are yet to be determined. Just kind of see where he's at today and move forward as the week progresses. I may be limited, but I can't answer that until we see kind of how he looks. We like guys to try to focus on what they can do and as opposed to what they can't. And so in saying that, we'd like to try to see what he can do. And then we'll make a determination after that, after he warms up or doesn't go through individual. As a coordinator, Vic Fanzio, his defenses have consistently been good. What is it that stands out about his defenses? Is it the inside linebackers, the edge? I think traditionally they've always had very good pass defense, very good mix and coverage. It's a very good scheme, but the players play hard. It's always about the players. They have good players. And they play with great fundamentals up front at the line of scrimmage. Safeties are active. They trigger the corners. I think can play man, can play zone. It's something that it's a versatile defense. So they've always, you know, he's always done well. He's a great coach. But to be a great coach, you have to have great players. We'll see. I don't think one of those two probably won't be out there. You like the boost you've got from Reggie Gilbert? Yeah. You know, I think it's always hard. I think we have a lot of specifics. And maybe we do things differently than whatever he was doing in Green Bay. So there's things that have helped us. And there's things that we're just going to continue to try to improve some of maybe the details that, you know, in our certain call or in our package that were a little different than maybe what he was doing in Green Bay. But he's helped us on the edge. He's helped us on special teams. On your sample, saying Monday that still kind of getting used to different coaching and combining that with, I think, he said, his own flavor. Is that transition or adjustment taking a little bit longer than anticipated? We're going to focus on improving here this week and seeing if we can block Wolf and Harris and all those got Walker and all those guys for Denver. However we can. We're going to try to practice, prepare, learn who to block, and do our best to block our guy. So this transition needs to be complete in order to block those guys? We all have to just be better with whatever transition we're making. We'll make it harder than what it is. That's what I'm trying to focus to the team. Let's just go practice, play. Don't let one play determine the outcome of the series or the game or the half or the quarter. It's going to be bad plays. We're going to miss a block. We're going to drop a ball. We're going to miss a tackle. Those things are going to happen. But we have to come back with a lineup, communicate with the guy next to us, and go compete. What is it that Daelyn does well that makes you guys like him so much? Thought he had when he was available in preseason. He's got a good burst. I feel like he goes hard. And one-cut runner is pretty violent in this cut. So I think he's improving. I think that he doesn't lack willingness, size, I would say is something that he can't do anything about. But I think he's improving.


Good morning everybody, how you guys doing today? Hope you guys are doing good. I have started a new series on my channel and I am decluttering my makeup collection and I'm really hopeful that this is going to free it up so I can get more creative and be less overwhelmed with the amount of stuff. So we're gonna go through everything, it's probably gonna take some time but I'll show you the whole process and I love watching these so I hope that you guys will enjoy watching mine as well. If you have any tips or anything, let me know. But let's get started. So here is my foundation drawer and I'm a little embarrassed to show this because yes, I have quite an extensive collection. However, some of these are for my makeup kit. Some of them are for personal use, some of them have been sent to me so I feel like that maybe just divides it but I do know that this is too many foundations, I know. But let's just take everything out and see what we have. So starting off, I have the Even Steven Foundation by The Balm. These are actually in my makeup kit. I used to use these on models. Now as you can see because I haven't been working recently, the foundation has started to separate. What I'm actually gonna do is clean out these little pots and then I can use them for other things for like storage and that way it's not that much of a waste. I will say this foundation was so flawless and anytime I used it on any of my models I would have people asking me like, what is that? Because the texture is so unusual it just went on flawlessly and even under heavy lights it just looked flawless. I absolutely love this foundation but I won't be doing any work for the next while so we're gonna have to clean these out and at least the storage isn't going to go to waste. Next up I have the Estee Lauder Double Wear. I've had this foundation for probably 10 years. It was one of the first kind of high-end foundations that I bought when I first started in the makeup industry because everybody would talk about double wear. It wasn't a foundation that I actually really liked using. I kind of got it because of the hype but you know what, it holds a special place in my heart so I'm never gonna use it but I'm gonna keep it just to look at. It also might serve as a reminder not to just go along with hype. Next up I have the Vichy Derma Blend. These are also from my makeup kit. Whenever I use Vichy on anybody they feel very comfortable with it I think because they recognize the brand as not being harmful to the skin I think people are just comfortable with this particular brand. So I have the two different types of foundation in here. I personally didn't use them that much on myself but I did like using them on other people. However, because I haven't been using them I'll probably give them to a makeup artist friend of mine but for now I'll put them back in the drawer. Next up I have the Infallible Foundations and Highlighters. Now the highlighters should actually be in the other drawer which we already organized last week. I think I thought that they were all the foundations. The foundations are amazing but these highlighter shades come in a variety which means I can mix and match depending on the color that I need and the look that I'm creating. But we will be putting them into the other drawers. Now the foundation, if you get a chance to find this stick foundation I highly recommend it. Even though I love the highlights the actual foundation itself is unbelievable and I use it all the time for my up close tutorials. Moving on we have the Urban Decay Stay Naked Foundation. I haven't a chance to use this. I wanna try up a few other things first but I love the Stay Naked Collection Show. I'm sure I'm gonna love this because I also love the concealer which I use all the time. Next up I have the Maybelline Dream Radiance Liquid and also the Urban Cover. I haven't a chance to use these but my sister says the Urban Cover is brilliant. I also think that the Dream Radiance Liquid is gonna be great for the more mature skin because it has the Hyaluronic Acid in there and the Collagen too. It's a perfect combination and I'm gonna give one to my mom and I'm also gonna keep the Urban Cover for myself because my sister says it's really good and I trust her. Next up we have the Benefit Hello Happy. I actually thought that this was a very limited collection but I see that they've added some more shades which I'm really thankful for. I love this foundation for more of the younger skin. If I'm gonna do like a dramatic eye I always have to put a little bit on the skin for the younger girls but I don't like to put anything too heavy. So this is a great one because it's not too heavy on the skin, it adds a little extra coverage and helps the eyes stand out. For more of the mature skin and also a personal favorite of mine I have the Isolauron All Nighter Primer and then the Lancome Ultraware. I just love the combination of the primer and then that foundation they work beautifully together. There is an All Nighter foundation however I do like it for more of the winter because it does last a really long time even if you're going from hot and cold environments. That one's more for the winter and then the Ultraware is kind of all year round. Next up I have the Giorgio Armani. This is a new one. I've already gone through one of these already.  It's great for on the go. If you're the type of person that just needs to have makeup maybe in your car or at your desk or wherever you're going I don't know where you're going but wherever you're going and you need just a little bit of makeup this one's a really handy one to have. Speaking of Giorgio Armani my go-to for my makeup kit is the Giorgio Armani Silk Foundation and the Power Foundation. These are the best wedding bridal mother of the bride foundations in my opinion. So you have the silk one which is more for the drier skin. It looks phenomenal and the lasting power is amazing. Seriously you can get a good 24 hours out of this if not more. If you really prep the skin and make sure you're kind of fixing it up. Unbelievable. One of my favorites. And then you have the Power One which is more for the oilier skin. For the more mature ladies what I like to do is I mix up a little bit of both particularly if the makeup is not holding onto the more mature skin which can often happen but I like to use like a combination of both for them. And I also really appreciate the fact that they've come out with a slightly different one but very similar in a tube form which is a lot handier for traveling rather than the glass containers. Don't get me wrong. Love the glass containers but having it in a tube is much, much easier. Something that's kind of similar to the Giorgio Armani Silk Foundation is the Rimmel Lasting Finish Foundation. This is a breathable. Now I think the breathable actually got discontinued which is really unfortunate because this is one of my favorites. Again, for up close tutorials I would use this foundation because it sits really nicely even when the camera is like really close to my face. It also feels quite hydrating on the skin particularly around the eye area when I'm doing my up close eye makeup tutorials. This is what I would use but I think it's been discontinued. However, the original formula the Lasting Finish Original is a beautiful foundation as well. And another product that I love from Rimmel is the Matte Perfection. This was actually my go-to in college. I loved this foundation so much. It always looked amazing on a night out. Not that I went out very much when I was in college but again, a great foundation. It holds up against some of the higher ones as well which I really like. And it's from the drug store. I wish they had a better shade range. However, their shade range is fairly limited. I'm pretty sure they've added more perhaps but I wish more brands would add more shades. You know, on skip shades rather than going like one, one and a half, two, two and a half. We should be getting like one, three, sixes, nines. You know, we should be jumping shades so that we have more variety but they don't have to have the expense of creating a huge collection. Just skip them. If they can't afford to make more shades, skip them. A foundation collection that does have a massive shade range is the True Match. And this is the American True Match bottles. These are glass bottles. What I'm gonna do is I'm gonna clean these out because these are really old. Clean these out and then I'm gonna use them. I think they'll be really cute in my bathroom actually with some bath salts or something. No, cosmetics next. I don't really use these that often. I have used them a few times. They're pretty good. And I always like to have a foundation from each brand. It helps me understand the brand. Which is again, what I have here, I have the LA Girl Pro Coverage. Again, I always like to have a foundation from each brand. So if I do like a brand tutorial, I always know I have a foundation ready for that. And I love actually the Pro Coverage. I think that they have a great collection. I love the fact that they have the different tones now that you can mix in. The concealer collections are amazing. I use the concealer every single day. Love LA Girl. I don't reach for this foundation that much, but I do reach for the concealer. A new favorite of mine is the Wet n Wild Stick foundations. I use these for cream contouring and highlighting. I love using the more of the cooler tones in the darker shade for contouring my face. I feel like they work really well for that. Not so much for foundation. I feel it's a little heavier for my skin. But I love the way that it blends and sits on the skin if I'm using it for cream contouring and highlighting. So I will be keeping the whole collection. Next up, I have the Maybelline 24 Hour Foundation. I love the Super Stay Collection by Maybelline. I know people like the Fit Me didn't really get into the Fit Me Collection. The Super Stay, in my opinion, was way better. I feel like it really did exactly what it said. It's super stayed on your skin. I used to use these when I had acne because it just covered everything and it stayed covered, you know, all day long. Again, I always like to have a foundation from each brand. Take a sip of water every time I say that. Oh, this brings back memories. I used to use shade 51 every single day in so many of my tutorials very early on. If you are here on the Makeup Chair channel for a long time, then you know about the Healthy Mix. I'm pretty sure they got discontinued here in Ireland. It's hard to find them, unfortunately, but shade 51, you know I love you. Now we have the Charlotte Tilbury Magic Foundation. I love this for more of the mature ladies because it really holds onto the skin for the younger people. Anybody below age 25, it's a little heavy in my opinion, but that's my opinion. But for the more mature ladies, this holds and it stays and it looks flawless. So I love that, particularly for like my mom. If I'm gonna do like a fancy look on my mom, I'll use this. I also just love their packaging. I think their packaging is beautiful. Another product by Charlotte Tilbury is the Healthy Glow. This is a unisex product, all makeup is unisex though. This is a kind of a tint. So basically it goes unclear, but as you start to rub it in, just ever so slightly, a little bit of coverage, but more glow to the skin.  I actually highly recommend it. I actually think this might be one of my favorite products from them. I just love the way it looks on the skin. Next up, we have the Wet and Wild Photo Focus. You can hear that I smiled immediately because I love the fact that this brand has the different tones and shades. This is great for showing people the different tones within foundations. I can be like, hey, look at this. This one's more pink. This one is more neutral. We have more yellows, and it's so obvious. And it's also written on the container as well. They have the warm, cool, and neutral, I believe, written on it. So it's a really great one. And I love the foundation itself, but it's a great representation of the different tones. Love it. This is something that my sister got me, and I was so excited. It's the Pro Foundation Mixer in Olive. Anybody with olive skin tone will know how difficult it is to find something that is olive enough. So you basically mix these with your foundation. I mix it with some white foundation, and then that way I can get my olive tone. It's great. I'm so happy. Thank you to my sister for this one. Next up, we have another product from Giorgio Amani, and this is from the Primer Collection. This is a product for people who hate tinted moisturizers but want to use a tinted moisturizer, AKA myself. I hate tinted moisturizers, but I love this because even though technically it's a tinted moisturizer, it doesn't add any heaviness to my skin because I find a lot of those tinted moisturizers, they're too heavy. This is light enough. It adds a little bit of extra coverage. In my opinion, it is amazing. And I have to say, the Primer Collection by Giorgio Amani hands down one of the best collections that they have. If you have a chance to use any of the products from this collection, highly recommended. Every single product that I have used from the Primer Collection, I have loved. Am I saying that right, by the way? Primer? Okay, moving swiftly on. We have a Clarins Foundation. Again, I always like to have a foundation from each brand. This is more of a mattifying foundation. It was sent to me. I think pure people think I have maybe oily skin. I actually have very dry skin, but I get sent a lot of the mattifying ones, which I am fine with because I can kind of make it work. It also gives me a great indication of how a brand works if I have a foundation from them. So if I want to do like a full look from Clarins, I have a foundation. Next up, we have the Isel Aron Touche Collette All in One Glow Foundation. It's a very long name, but it's an amazing product. This is second to the Giorgio Amani Silk Foundation. I also like the fact that this is in a tube and it has like a little pump, so it's great to have in my makeup kit. Isel Aron, you can't go wrong. That should be their tagline. Unbelievable foundation. So easy to apply, looks beautiful, looks flawless, and it's just effortless to use. If I had to pick, I still think I'd go for the Illuminous Silk by Giorgio Amani, but this would be a very, very close second. It's also easier to travel with though. So that's why it kind of wins. Moving on to Fenty Beauty. I got a massive collection of these. This is the Soft Matte, and you know what? As matte foundations go, I can actually use this on my skin. I don't use them that often, only because I have dry skin, but I do use the hydrating foundation, and I forgot, I forgot where I put these. It was buried under everything. I didn't know that they were even there, so I'm really glad that I cleaned this out because shade 150 is my go-to in the winter. I just find it's just perfect on my skin, and I love the hydrating finish. I love that it's really long lasting to apply it. It's flawless, I need to use this foundation more. It's brilliant, highly recommend. Moving on, I have the Body Shop Clay Foundation. Again, this was sent in Pior. That's why it's the matte version. I wanna just clarify that I am very appreciative of everything that's sent to me. Maybe it's not completely suitable, still really appreciative, and again, if I wanna do a brand focused tutorial, I have a foundation that works for that. Moving on, I have the Max Factor Healthy Skin Foundation. The shade's a little bit off for me, but the texture actually works pretty well. I always thought the Max Factor is what everybody was calling Mac, right? I thought it was like, Mac was like the slang term for Max Factor. And so I didn't understand why all these makeup artists were like, this is from Mac and use Mac and Mac, Mac, Mac. I thought they were saying Max for years. This is when I was very young then, then first starting out. So you'll have to forgive me for that. But yeah, I thought Max Factor and Mac were the same thing. Next, we have my Absolute Go-To It Cosmetics Your Skin Only Better Foundation, which I have on my face right now. I love it. I use it every day. It is my go-to, and I will use this until it's gone, because it's beautiful and amazing, and I love it. Now we have a Primark Foundation, and you know what? This is actually pretty good, especially for the price. Again, I always like to have a foundation from each brand. So if I wanna do a brand focus, I have a foundation. The Ofer Foundation, I totally forgot I even had this, and I absolutely loved it, particularly in the winter, which is good. I'm glad I found it now, because as we come into the winter, I can use it. The first time I used this, I was blown away. I was like, what is this? This is fantastic. I think it looks amazing on the skin, particularly on camera. Love. Milani Foundation, this is the Conceal and Perfect Foundation. Again, a nice, basic foundation. Gives me indication of the brand, and if I wanna do a brand focus, I have a foundation. The same thing with Floormar, I have the Matte One, and then I have the Perfect Coverage. Perfect Coverage would be kind of more of my go-to, but the Matte One works actually pretty well. That's not too matte, which is what I like. Again, if I wanna do a brand focus, I have a foundation. I don't know how to pronounce this brand, however, I absolutely love this. I don't know how you pronounce it, but it's really long-lasting, and it sits beautifully on my skin, and on camera it looks amazing, and I love the fact that it has a little spatula inside. So I'm definitely keeping that, love it. So I've kind of decided what I'm keeping when I'm giving away, so let's put it all back in the drawer. So that's all the decluttering that I'm gonna do today. Make sure to check the information box, and I'm also gonna like link it on the screen to see the other videos in this series. I hope that you enjoyed it. As always, be kind to yourself, be kind to others, and I'll see you in the next one.


This paper outlines the current state of mental health services in Cambodia, highlighting the need for further research into the area. It suggests five key research priority areas that should be addressed in order to develop effective and sustainable mental health services in the country. These include, I, service provision, two, interventions and programs of support, three, needs assessment, four, research capacity building, and V, policy frameworks. This article was authored by Alan Maddock, Nylia, and Campbell, and others.


Good morning. Oh Let's con you west for those that don't know silent Mike ladies and gentlemen Back with another video today. We're talking about power lifting versus bodybuilding power lifting new evidence What the evidence-based community is saying what some of this data and science is saying and maybe We're a little old Mikey thinks and is saying and maybe we can teach you how to not only be your strongest But your biggest baddest self all kind of depend on your goals whether you want to build muscle get jacked or build strength They aren't necessarily the same So if you want to get involved stick around be sure to subscribe turn on notifications Please it helps every Monday and Wednesday brand new videos. I see that like 50% of y'all aren't subbed I also see that you know a lot of y'all aren't watching the videos So if you tweet this out, I'm gonna retweet you if you post it on Instagram, I'm gonna repost you You help me. I scratch your your back. You scratch my back. We build this thing together I appreciate all the support this year. We're going in first things first I'm the realest Everyone's saying Mike This is administrative work. We got to get out the way We're streaming right now probably 3 p.m. Pacific Star and Time Monday through Wednesday come kick it It is absolutely amazing on the Twitch community You get to ask me anything hang out and we literally just get to build community play games and talk shit But a couple things can come on all my mind everyone's saying Mike you live in, California Why are you wearing a beanie? Do you live in a freezer? There's no snow in sunny, California Why are you so cold in the gym? Ladies and gentlemen for those that don't know I don't know why I get pet peeve by a little bit of Just a little geography.  So the afternoon so it is a little bit chilly to I look real good in a beanie. Why are you complaining? Hopping into the video so strength and hypertrophy There's a lot of you know many arguments or many and some may say it's on semantics But the truth is that it does help build how we program or how we may train for Optimizing our muscle gain and we all know kind of a calorie surplus helps Adequate protein helps spread out throughout the day in consistency now it used to kind of be the nomer And I've probably been guilty of saying this to that volume is the main driver of both and I do think that volume is a main aspect of both still in terms of hypertrophy and or strength so power building if you will But I don't think it's the only factor and I think you can split up volume a million ways right 10 sets of 1 Slightly different than one set of 10, but what is shown and kind of is sitting around this thing of you know The the argument of building muscle is that the rep range maybe isn't as important as we used to think You know especially 80s 90s Everyone said we got a train in the 15 rep range to build muscle and the three rep range to build strength But the truth is in what I believe to be true And how I program all my hypertrophy and aesthetic building muscle is how close to failure we get which is also a term called Intensity, but I literally mean going towards failure. So the closer to failure on a movement or a muscle or body part you get The more stimulus we get for that hypertrophy, right? the other big difference in the power lifting versus body building conversation is exercise variation and exercise selection and power lifting you're going to have to use a barbell Even in strength, I would argue that a barbell is going to be your first tool You don't have to use it because strength is relative to the function you want to do right a football player might not be able to bench Munch, but that guy's very strong It will shove you 50 yards down the field in O linemen But a barbell allows you to load the most amount of weight properly That's why it's power lifting you do the three lifts that you can move the most amount of weight And if you come to me like Mike, I overhead more than I bench I don't care Johnny sit down in the back of class before I send you to the principal because that's probably because you don't bench Often or you bench like shit and you're the anomaly. You're not the majority So most people will squat bench dead more weight than they will any other lift again, but if building pecs Or is the number one goal or is the number one goal and Bench press doesn't feel good on your shoulders or maybe your tricep Or maybe you don't feel the activation in your chest You can build the nastiest physique in the world never touching a barbell. You can get close to failure train to failure on flies Machines dumb bells plate loaded cables Shit, maybe even push-ups Again the variation can vary depending on what feels best for you and what you can activate that muscle with best We're in powerlifting. We're going to have to squat bench dead and because of a lot of specificity What I highly recommend is you're going to have to do those competition variants the ones that work best for you heavy and often now Again, it goes for any body part. You don't have to deadlift to be the world's best bodybuilder. Can it build a lot of muscle? Yeah, I think the deadlift is a great tool to build a lot of muscle in a lot of areas But you don't necessarily have to now if we're trying to mix both That's when things maybe get a little bit hairy because we want to train heavy with high intensities in the 80 90 percent to build the skill and the stimulus and the motor recruitment to Get stronger in those movements and practice lifting heavy If you only handle 40 percent on your squat and you start to load up 90 a hundred percent Mentally and physically you're not going to be prepared for that, right? We want to train specifically. So practicing singles around RPE 8 or 9 fairly frequently is going to be a really good tool if your form is fairly good And I know I just said fairly a lot because I'm fairly certain that I'm correct What I tend to do if the power building and all of us I think even most power lifters know that accessories and building more muscle Tends to have more potential to be stronger. So building muscle not only for perhaps injury prevention But also just leverages and overall strength is a good option is I tend to get closer to failure on those Isolation or the smaller muscles, right the smaller muscles And isolation is gonna take less general fatigue and less CNS fatigue Even though you're going to failure Then if I was out if I was going to do a squat to failure doing a bicep or preacher curl at the end of a couple sessions a week I can get a lot of hypertrophic response to my biceps without Absolutely blowing my load and not be able to move around the next day Whereas if you're squatting to absolute failure multiple times a week chances are You're going to regress. You're gonna go backwards not only In how you feel but the weight you move and if strength is anything to you or performance, right? Strength athletes power lifters strongman weight lifters, but you're in a performance athlete And so that's gonna go backwards. So we have to make progress with those So we kind of front load our workouts our programming with exercises that truly matter to us in our performance Handling our PE 8 and 9 still getting adequate volume to get practice of the lift and build some hypertrophy, right?  It just might be more optimal And then we'll kind of on the back load will get those smaller movements the accessories And train those a little bit closer to failure I think frequency is going to be very important for all lifts and all goals So if we can train our biceps to failure three times a week versus doing it once a week You're probably going to build more muscle if your sleep hydration and nutrition is all good The last piece with kind of the evidence base is how fatigue general CNS fatigue Accumulates and it used to be and still talked about in the powerlifting world that training too heavy too often burns that fatigue And your CNS is tired and burnt and everyone talking about but the what the data looks like it's showing us Is that actually training more reps more volume closer to failure actually burns you out more than training heavy? So singles doubles triples don't try to burn out your CNS or the general fatigue as bad Or as much or as long as if you are doing again squats sets of 10 15 close to failure deadlifts high reps bench High reps whatever exercise higher reps more volume will burn you out longer term And that's just kind of how I train you know I take kind of the Bulgarian ish method where they're handling a lot of specificity in the strength movements singles heavy very often And then I mix in whether you want to call it bodybuilding or more Russian style training where the Strength movements. I'm going a little bit higher sets lower reps still to practice that skill of being perfect Being a machine being a routine if you watched our past videos I talk a lot about that building the routine of the lift and then we start to get into sets of six eight 1214 with the more isolation exercise whether that be biceps triceps shoulders Even a little hamstring top off on a lower day or sprinkle throughout the week to bring up those quote-unquote weak points or build more muscles In in areas that we may lack from the big three I know that's a ton of info I just threw at you and how do you piece it together and the question the answer is it's very difficult And that's why good coaches are hard to come by and it takes a lot of experience and learning And that's why I've also said that I'm not the greatest at like teaching programming But I can break down one piece and give you a tool of that so that's something to consider when you program We talked about in the last video or a couple videos ago about variations and when to implement those So it also grab that and that's a piece in your toolbox and you accumulate all these tools You see your athlete or yourself or the situation you start to apply these tools as needed. Oh, here's a nail I need a hammer. Here's a screw. I need a screwdriver rather than just having one tool and trying to apply it to all situations They're all athletes That's it for me I'm going to start to jack up my power building as I've just kind of getting my base back here training two or three Times a week with the barbell mostly. I've done some accessories, but nothing crazy Now I'm splitting it up very similar to one of our power building programs at Kaizen Where I'm gonna hit my barbell days three times a week Squatting three times benching three times deadlifting twice and then on the off days I'm gonna try to come in get a little bit of shoulders back and biceps the volume will be low Frequency will be high two to three times a week But I'll just do one or two sets pretty close to failure try to bang it out and slowly progress in weight and volume over time So handling more weight in that bicep curl the volume Will allow me to progress and then also Getting more sets in throughout the week throughout the workout will allow me to progress over time I appreciate you. Hopefully you enjoyed it. Hopefully I catch you on twitch man. Come in say YouTube sent me I love to hang out love to get you guys and get to know you better And have some good times over there. So I appreciate your new podcast every Wednesday sign the mic Clothing coming through soon 3sb.co stay tuned or 3rd Street barbell on Instagram follow that for updates on the gym and Clothing I'm out of here