diff --git "a/data/json_info/sentences.json" "b/data/json_info/sentences.json"
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-{
-  "W1982215463_s0001": {
-    "English Original": "DOI: 10.2478/ausfm20140017\n\n Of Artists and Models.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0002": {
-    "English Original": "Italian Silent Cinema between Narrative Convention and Artistic Practice\n\nIvo Blom VU University Amsterdam Email: il.blom@let.vu.nl\n\nAbstract.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0003": {
-    "English Original": "The paper presents the author's research on the representation of painters and sculptors, their models and their art works in Italian silent cinema of the 1910s and early 1920s.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0004": {
-    "English Original": "This research deals with both the combination of optical (painterly) vs. haptical (sculptural) cinema.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0005": {
-    "English Original": "It also problematizes art versus the real, as well as art conceived from cinema's own perspective, that is within the conventions of European and American cinema.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0006": {
-    "English Original": "In addition to research in these l lmic conventions the author compares how the theme manifests itself within different genres, such as comedy, crime and adventure l lms, diva l lms and strong men l lms.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0007": {
-    "English Original": "Examples are : Il trionfo della forza (The Triumph of Strength, 1913), La signora Fricot è gelosa (Madam Fricot is Jelous, 1913), Il fuoco (The Fire, Giovanni Pastrone, 1915), Il fauno (The Faun, Febo Mari, 1917), Il processo Clemenceau (The Clemenceau Affair, Alfredo De Antoni, 1917) and L'atleta fantasma (The Ghost Athlete, Raimondo Scotti, 1919).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0008": {
-    "English Original": "I will relate this pioneering study to recent studies on the representation of art and artists in Hollywood cinema, such as Katharina Sykora's As You Desire me.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0009": {
-    "English Original": "Das Bildnis im Film (2003), Susan Felleman's Art in the Cinematic Imagination (2006) and Steven Jacobs's Framing Pictures.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0010": {
-    "English Original": "Film and the Visual Arts (2011), and older studies by Thomas Elsaesser, Angela Dalle Vacche, Felleman and the author.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0011": {
-    "English Original": "Keywords: Italian cinema, art in l lm, representation of painters in l lm, intermediality.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0012": {
-    "English Original": "The spectators and in particular the women seeing the l lm shed torrents of tears, and didn't see the l lm just once but twice, three times or more.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0013": {
-    "English Original": "The world lived in happy times then, when the only preoccupation was love.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0014": {
-    "English Original": ")1 This\n\n<sup1</sup I owe thanks l rst to Giovanna Ginex, and then to Claudia Gianetto (Museo Nazionale del Cinema, Torino), Mario Musumeci, Franca Farini (Cineteca Nazionale, Roma), Anna Fiaccarini, Andrea Meneghelli (Cineteca di Bologna), Livio Jacob (Cineteca del Friuli), Rommy Albers (EYE Filmmuseum, Amsterdam), and Ágnes PethŐ (Sapientia Hungarian University of Transylvania).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0015": {
-    "English Original": "example of the emotional, even tactile l lm experience stems from the Romanian collector Emil Constantinescu.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0016": {
-    "English Original": "He refers to the success of the Italian silent l lm Odette (Giuseppe De Liguoro, 1916), starring Italian diva Francesca Bertini.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0017": {
-    "English Original": "She was the most popular Italian l lm actress of the 1910s and early 1920s, especially in Romania, as Romanian l lm historian DinuIoan Nicula has shown.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0018": {
-    "English Original": "Nicula writes that though Transylvania could not see these l lms during the war, as it was part of the AustrianHungarian Empire then, the rest of Romania could.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0019": {
-    "English Original": "And so they cherished the epic Cabiria (Giovanni Pastrone, 1914), adventure l lms with l gures like Maciste, and the diva l lms with Bertini.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0020": {
-    "English Original": "One particular aspect within the highly emotionally charged l eld of Italian silent cinema is its relationship to the representation of art and artists during cinema's transition from fairground amusements to entertainments for middleclass audiences in fashionable movie palaces, and from vaudeville style to one closer to theatre and painting.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0021": {
-    "English Original": "In particular, Italian silent cinema was typical in its dynamic of explicitly referring to and appropriating such former media as the theatre and visual arts.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0022": {
-    "English Original": "Two main topics will be treated here, l rst the narrative conventions around the representation of art and artists, and second, the relationship between the offscreen, \"real\" art world and its visual representation in l lm.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0023": {
-    "English Original": "I will treat both painting and sculpture here which, despite their formal differences, are quite close in the ways that they are narratively treated.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0024": {
-    "English Original": "How did Italian silent cinema represent art and artists?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0025": {
-    "English Original": "What does this tell us about cinema's own perspective and problematization of art versus the real?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0026": {
-    "English Original": "How are art objects treated as physical, touchable objects?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0027": {
-    "English Original": "And how do these objects function as standins for characters out of reach (the Pygmalion effect), no longer alive (the ancestors' portrait gallery), or destined to die (Oscar Wilde's The Picture of Dorian Gray or Edgar Allen Poe's Oval Portrait)?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0028": {
-    "English Original": "And secondly, what happens when we correlate the l lmic conventions of representation with art historical investigation?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0029": {
-    "English Original": "As this territory is rather new for Italian silent cinema, it might be useful to have a brief look at an area that has been thoroughly researched by scholars: classical Hollywood's representation of artists and their works.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0030": {
-    "English Original": "(See Sykora [2003], Felleman [2006], and Jacobs [2011].)",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0031": {
-    "English Original": "Narrative Conventions: Dangerous Portraits\n\nIn Hitchcock's Motifs (2005), Michael Walker categorizes the meaning of painted portraits in l lm: 1) the power of the patriarchal (sometimes matriarchal) character or portraits of fathers who founded empires; 2) the power of the family tradition, as with the gallery of ancestors; 3) the lost love (like a lost wife); and 4) the desire of the beholder (Walker 2005, 320).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0032": {
-    "English Original": "Such connotations often occur when the portrait is a young woman and the spectators admiring her are men, as in Laura (Otto Preminger, 1944) or The Woman in the Window (Fritz Lang, 1944).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0033": {
-    "English Original": "When the portrait is painted within the l lmic narrative, desire is the most usual association, even when the classic gender division of male artist and female model is reversed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0034": {
-    "English Original": "Within all these categories, the dominant idea is that the portrait's subject is of lasting importance.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0035": {
-    "English Original": "In order to obtain this status, however, the character needs to die l rst, either before or during the l lmic narrative.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0036": {
-    "English Original": "In the American cinema of the 1940s the painted portrait is often linked to murder and suicide.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0037": {
-    "English Original": "Painters kill their models, in particular when the latter are young, and thus murdered victims remain visible by their portraits.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0038": {
-    "English Original": "Suicide occurs just as often with painters as with their models.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0039": {
-    "English Original": "The association of painted portraits with violent deaths was a central theme at the 1991 conference \"Le portrait peint au cinéma/The Painted Portrait in Film,\" held at the Louvre, whose proceedings were published in the journal Iris.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0040": {
-    "English Original": "Thomas Elsaesser (1992) emphasized here the feeling of fatality that looms over so many painted portraits in l lms.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0041": {
-    "English Original": "Having a painted portrait is a hazardous enterprise for a young female character.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0042": {
-    "English Original": "The portrait ignites passions in the painter or in other men, which may lead to violence or selfdestruction.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0043": {
-    "English Original": "Other men can observe the woman of their dreams without limitation and this may be more embarrassing when they are not her choice.2 This was recently conl rmed in Susan Felleman's book, Art in the Cinematic Imagination (2006), where she takes a gendered perspective of male necrophilic desire in classical Hollywood cinema.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0044": {
-    "English Original": "Dangerous Portraits in Italian Silent Cinema\n\nNow I wish to turn to some examples of Italian l lms from the 1910s, and their conventions of representing art and artists.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0045": {
-    "English Original": "This is the result of screening l lm prints in Rome, Turin, Bologna, and Amsterdam in 2011.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0046": {
-    "English Original": "On basis of the excellent reference books on Italian silent cinema by Aldo Bernardini and Vittorio Martinelli (1991¥1996), I established beforehand which l lms were important to my research.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0047": {
-    "English Original": "Like most silent era l lms, just a few titles in my long list survived in Italian and foreign l lm archives.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0048": {
-    "English Original": "First: a few l lms in which the painting or the sculpture creates mishap, just like in the American l lms of the 1940s.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0049": {
-    "English Original": "In the drama Il fuoco (The Fire, 1915) by\n\n<sup2</sup See in the same issue also Felleman (1992), who deals with American cinema of the 1940s as well.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0050": {
-    "English Original": "Giovanni Pastrone, a poor painter (Febo Mari) falls in love with a femme fatalelike rich poetess (Pina Menichelli).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0051": {
-    "English Original": "She takes him to her castle and has him paint her portrait, lying on a sofa and teasingly covering her face, as if not wanting to be painted [Fig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0052": {
-    "English Original": "1].3 The undulating pose is clearly inspired by Alexandre Cabanel's Venus (1863), but it is also close to a long series of dressed and undressed women stretching themselves out on a sofa, bed, ocean wave, etc., both in painting and in cinema, offering themselves to the observer (e.g.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0053": {
-    "English Original": "Pedro Almodóvar's recent La piel que habito [The Skin I Live In, 2011] and its quotations from Titian's Venus, Goya's Maya, Manet's Olympia, and so on).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0054": {
-    "English Original": "Within the plot of Il fuoco the portrait functions as catalyst.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0055": {
-    "English Original": "It is crowned with a l rst prize at a Salon, the model thus inspiring the artist to make a masterpiece (a typical narrative convention in the examples I viewed).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0056": {
-    "English Original": "But soon after, the lady is warned that her husband is returning, so she m ees the castle, drugging the painter.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0057": {
-    "English Original": "He is desperate, even though she warned him previously that their affair would be passionate but short, like a m ame.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0058": {
-    "English Original": "When they meet again by chance, she refuses to recognize him, causing him to go mad.4 Another good example is Il quadro di Osvaldo Mars (The Painting by Osvaldo Mars, 1921) by Guido Brignone.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0059": {
-    "English Original": "His sister, Mercedes, plays a countess who discovers that a daring painting is about to be exposed publicly, showing her in a Salome outl t and not much more [Fig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0060": {
-    "English Original": "When the painter, Osvaldo Mars (Domenico Serra), refuses to withdraw his new masterpiece, she slashes the canvas to pieces, but is also accused of murdering the painter afterwards.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0061": {
-    "English Original": "In the end, we learn that the painter loved a lookalike of the countess (also played by Brignone), a farmer's wife who leaves her husband and child to climb the social ladder.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0062": {
-    "English Original": "It is this woman whom Osvaldo Mars painted and over whom he committed suicide.5\n\nIn both Il fuoco and Il quadro di Osvaldo Mars, the painted portraits are negative catalysts.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0063": {
-    "English Original": "In Il fuoco the artistic triumph means the end of the painter's love affair,\n\n<sup3</sup See my own article (Blom 1992).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0064": {
-    "English Original": "<sup4</sup The narrative convention of an artist going mad over a femme fatale was repeated by Febo Mari in his l lm Il tormento (The Torment, 1917) with Helena Makowska as the femme fatale and Mari himself as the artist.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0065": {
-    "English Original": "Makowska was often typecasted as femme fatale in the Italian cinema of those years.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0066": {
-    "English Original": "The press praised her beauty but condemned her rather inexpressive acting.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0067": {
-    "English Original": "In real life she must have been a kind of femme fatale as well.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0068": {
-    "English Original": "The Argentinian sculptor César Santiano, collaborator of Bistoll , made a daring, lascivious nude sculpture of her in 1916, but in 1919 he committed suicide because of her (Audoli 2008, 26–29).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0069": {
-    "English Original": "<sup5</sup The Salome attire seems to have been inspired by theatrical costumes of Salome performances in the Belle Époque, or at least by their depictions by painters such as Vladislav Ismaylovich, Leopold von Schmutzler, and Clemens von Pausinger.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0070": {
-    "English Original": "One is also reminded of an interl lmic relationship with actresses wearing Salome attire in earlier l lms such as Lyda Borelli in Ma l'amor mio non muore (Love Everlasting, Mario Caserini, 1913) and Rapsodia satanica (Satanic Rhapsody, Nino Oxilia, 1917).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0071": {
-    "English Original": "while in Il quadro di Osvaldo Mars the scandalous painting is destroyed because of its potentially damaging implications for a noble lady's reputation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0072": {
-    "English Original": "This latter narrative trope is also present in an earlier short l lm, Il ritratto dell'amata (The Portrait of the Beloved, Gerolamo Lo Savio, 1912), in which a painter named Alma (a hint at Alma Tadema?)",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0073": {
-    "English Original": "l nishes a historical portrait of a lady by giving it the face of an English diplomat's wife with whom he has fallen in love.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0074": {
-    "English Original": "She notices it and quickly paints the face black, though the artist manages to wash the paint away.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0075": {
-    "English Original": "When unpacked at the lady's home, everybody is embarrassed, and the husband explodes and chases his wife out of her home and away from her child.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0076": {
-    "English Original": "Their child creates a reconciliation in the end – a classic narrative convention.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0077": {
-    "English Original": "So the message here is that even if legitimized because of a historical or mythological setting, portraits of the welltodo in daring outl ts risk ruining one's reputation and that of one's family.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0078": {
-    "English Original": "Thus, the model, too, may risk both this symbolic and physical loss.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0079": {
-    "English Original": "In the short, La modella (The Model, Ugo Falena, 1916), a nonprofessional model (Stacia Napierkowska) is picked up from the street because she is more genuine, more authentic, and more honest than a professional model – a common topos in silent cinema.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0080": {
-    "English Original": "She poses for a statue of an almost naked woman holding a chalice, set on a pedestal, and falls in love with the sculptor, who is also her protector [Fig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0081": {
-    "English Original": "3].6 When the statue, however, is publicly exposed, the girl is mocked – another common occurrence in silent l lms dealing with artists7 – by a former model l red by the artist and now taking revenge by slandering the newcomer.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0082": {
-    "English Original": "Fortunately a painter friend mediates, restoring both the girl's honour and her relationship with the sculptor.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0083": {
-    "English Original": "In both Il ritratto dell'amata and La modella, then, the artwork may damage one's reputation and one's lover, but the mutual restoration of honour and love remains a narrative possibility.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0084": {
-    "English Original": "Destructive Art Works\n\nPaintings or sculptures might also mean the end of life, though, in a more irreparable way, causing death and mutilation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0085": {
-    "English Original": "Their physical presence, their literal weight has serious consequences for protagonists and/or antagonists.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0086": {
-    "English Original": "First, paintings and sculptures may function as avenging saviours of damsels in distress.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0087": {
-    "English Original": "Often the artwork is venerated by the protagonists as it portrays\n\n<sup6</sup I noticed that the statue was recycled one year after in the sculptor's workshop in Il processo Clemenceau (Alfredo De Antoni, 1917), shot at the Caesar Film studios of Rome.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0088": {
-    "English Original": "<sup7</sup Another example of a model jealous of a newcomer is Amore sentimentale (Sentimental Love, Cines, 1911).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0089": {
-    "English Original": "In the Francesca Bertini vehicle, Il nodo (The Knot, Gaston Ravel, 1921), the poor girl Agnese (Elena Lunda) is adopted by the painter Lelio Salviati (Carlo Gualandri), who paints her portrait featuring her holding m owers.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0090": {
-    "English Original": "Agnese sacril ces herself for the good of the painter and his lover, the marchioness Della Croce (played by Bertini), whose mean and unfaithful husband (Giorgio Bonaiti) tortures her and refuses a divorce.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0091": {
-    "English Original": "Knowing she has a terminal disease, Agnese pretends to be the lady and dies in the burning of the marchioness's garden house.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0092": {
-    "English Original": "The lovers are temporarily freed, until the husband discovers his wife hasn't died when hearing her sing a familiar tune.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0093": {
-    "English Original": "Here, sound betrays her ¥ a curious plot device for a silent l lm.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0094": {
-    "English Original": "The l lm concludes with a struggle in which a rim e accidentally shoots the cord of the lifesize painting, killing the evil marquis, allowing the absent girl to save the lovers a second time from beyond the grave.8 Likewise in La notte che dormii sotto le stelle (The Night I Slept Under the Stars, Giovanni Zannini, 1918) – a l lm that survives only in an incomplete print – the girl, Fiamma (Lina Pellegrini), is abducted and raised by gypsies following a l re in her home when she is a child.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0095": {
-    "English Original": "She ends up being raised by her uncle, both being unaware that they are family.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0096": {
-    "English Original": "The brutal gypsy foster father, Giacomo (Sergio Mari), pursues the girl, however, and pushes her into helping him to rob the family.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0097": {
-    "English Original": "When she refuses, a statue of a bearded old man that the girl has been cherishing, and for which she feels an inexplicable attachment, saves her from being molested by the bad guy.9 She throws the bust on the villain, killing him [Fig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0098": {
-    "English Original": "Of course the bust is a portrait of the girl's dead father (whom we never see in the l lm).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0099": {
-    "English Original": "Through its physical weight, the artwork here too liberates the protagonist from the clutches of evil, allowing the good supporting character to help beyond death.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0100": {
-    "English Original": "In contrast to the trope of artwork as moral avenger, the physical weight of the statue may also have a negative effect on the protagonist.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0101": {
-    "English Original": "In La Gioconda (Eleuterio Rodoll , 1916), based on a play by D'Annunzio, Mercedes Brignone is Sylvia, the wife of sculptor Lucio Settala (Umberto Mozzato).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0102": {
-    "English Original": "He has fallen in love with his femme fatalelike model Gioconda Danti (Helena Makowska), who models for an ecstatic, Symbolistlike statue [Fig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0103": {
-    "English Original": "The women l ght over the same man, but when the enraged Gioconda throws Sylvia against the sculpture for which she has modelled, the poor wife tries to save her husband's work from\n\n<sup8</sup The l lm has been restored by the Cineteca Nazionale in Rome.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0104": {
-    "English Original": "<sup9</sup While the style of the bust is quite general and even banal for late 19th century sculpture, Fiamma's pose when she venerates the statue is more striking and is reminiscent of paintings commissioned to commemorate lost relatives, such as those by Francesco Hayez.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0105": {
-    "English Original": "It is also similar to late 19th century funeral sculpture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0106": {
-    "English Original": "falling, ruining her hands forever.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0107": {
-    "English Original": "This extreme sacril ce makes the sculptor repent and return to her.10\n\nIn considering the destructive force of artwork in Italian silent cinema, there are a number of l lms in which the efl gy of the model causes her serious trouble, with even stronger consequences than in Il ritratto dell'amata and La modella.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0108": {
-    "English Original": "11 Here the artist confuses his work with the model, or he believes himself entitled to create and also to destroy it; and, likewise, to give life to his model, launch her image, but also to destroy her when she becomes unworthy.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0109": {
-    "English Original": "So when the model becomes spoiled and a spendthrift as a result of her artist's success, and cruelly dumps him for a richer protector, the artist goes berserk and takes revenge.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0110": {
-    "English Original": "This narrative convention recurs in a few Italian silent l lms.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0111": {
-    "English Original": "In the short, L'idolo infranto (The Broken Idol, Emilio Ghione, 1913), the artist (Alberto Collo) has become poor and a drunk after the loss of his model/lover, but is unable to sell the bust with her likeness as it represents his work – and his love.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0112": {
-    "English Original": "The once golddigging model (Bertini) now feels sorry for the man's downfall and wants to surprise him, so she secretly replaces the bust with herself.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0113": {
-    "English Original": "When the drunken artist comes in and sees her smiling in the rem ection of a mirror, he thinks even the model's bust mocks him; so he destroys the \"sculpture,\" realizing too late what he has done.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0114": {
-    "English Original": "In a later l lm with Bertini, Il processo Clemenceau (The Clemenceau Affair, Alfredo De Antoni, 1917), a similar scenario, though more complex, was devised.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0115": {
-    "English Original": "Here the sculptor Pierre Clemenceau (Gustavo Serena) confesses in a m ashback how he met his model, the impoverished aristocrat Iza (Bertini); how she dropped him l rst for a rich count before returning, marrying and having a child with him; but then how she cheated on him again because of her lust for money and adventure and her disgust over a morally restricted middle class life (represented by the artist's mother).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0116": {
-    "English Original": "This function of the artist's mother is also a recurring topos in many Italian silent l lms.12 First, the man destroys the bust he made of her, as it functions\n\n<sup10</sup Despite the opening of l lm archives around the globe, no print of the l lm has yet been found, but extant original postcards provide a visual impression.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0117": {
-    "English Original": "I hold many of these in my own collection.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0118": {
-    "English Original": "<sup11</sup This was a topos rather common in the cinema of the 1910s, also outside of Italy.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0119": {
-    "English Original": "In the Russian silent l lm Umirayushchii lebed (The Dying Swan, Yevgeni Bauer, 1917) an artist obsessed by death in art is inspired by a ballerina dancing the Dying Swan.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0120": {
-    "English Original": "But when she is too cheerful as a model, he kills her, permitting him to pose her correctly for his artwork.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0121": {
-    "English Original": "<sup12</sup A good example is La madre (The Mother, Giuseppe Sterni, 1917), starring Vitalia Italiani.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0122": {
-    "English Original": "It was based on the play La madre by the Catalan writer Santiago Rusiñol, which Vitaliani had performed with great success all over Spain in 1907, before having it adapted for the screen a decade later.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0123": {
-    "English Original": "Actually, Vitaliani had been a regular performer of Rusiñol's plays around the 1900s, to great acclaim in Spain, and in particular in Barcelona.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0124": {
-    "English Original": "The l lm La madre was rediscovered at the EYE Filmmuseum not too long ago.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0125": {
-    "English Original": "as a standin for her physical presence but also as a symbol of his love [Fig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0126": {
-    "English Original": "Then when the model returns to him a second time (in torment over her conduct and desperately missing her child), he kills her since he cannot cope with her behaviour and is unwilling to believe in her moral contrition.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0127": {
-    "English Original": "Just like in L'idolo infranto, the man realizes afterwards what he has done in blind rage.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0128": {
-    "English Original": "So the artist creates and destroys the model, just like he creates and destroys the artwork.13\n\n Narrative Convention vs.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0129": {
-    "English Original": "Artistic Practice\n\nOf course, the abovementioned narrative conventions are not just cinematic conventions, but have predecessors in art, as Steven Jacobs has explained in Framing Pictures: Film and the Visual Arts (2011), in his analysis of the narrative conventions in artists' biographies by, for example, Kris and Kurz, Von Schlosser and Wittkower (Jacobs 2011, 43–47).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0130": {
-    "English Original": "Still, afte r discussing all these narrative conventions on the l lmic representation of art and artists, one wonders: do these l lms still have some correlation with the offscreen, real art world, or are they only simulacra – selfcontained, l lmic clichés alive only within the diegesis of the l lms?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0131": {
-    "English Original": "When starting this research, my hypothesis was that most of what I would encounter would be just cinema's perspective of art and the art world, a very coloured and biased perspective, using that world to create a milieu in which things were permitted which ordinary mortals – that is, the cinema spectators – were not supposed to do.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0132": {
-    "English Original": "Relatively few props were necessary to express this milieu, to stage a set recognizable as an artist's workshop.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0133": {
-    "English Original": "Sometimes these props were copies of famous classical sculptures, such as the Capitoline Venus, the Laocoön Group, Giambologna's Rape of the Sabine Women, or copies from 19th century popular sculptures once famous and now forgotten.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0134": {
-    "English Original": "Other props were just coarse, hastily made artworks, only serving to decorate the set of the artist's studio.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0135": {
-    "English Original": "This generalization of the artist's studio in Italian silent cinema characterizes short comedies in particular.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0136": {
-    "English Original": "As the comedy genre represents the world in a farcical way, this is expressed in the set design of the artist's workshop or in the art that he makes.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0137": {
-    "English Original": "Modern art is often ridiculed.14 Representational strategies in the dramatic\n\n<sup13</sup We see this narrative convention of the artist who creates and destroys his model in the Italian silent l lm La chiamavano Cosetta (They Called Her Cosetta, Eugenio Perego, 1917).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0138": {
-    "English Original": "Here a sculptor (Amleto Novelli) is devastated when he discovers his femme fatalelike model (Soava Gallone) has caused his only son to commit suicide over her, at the foot of the father's statue representing her beauty.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0139": {
-    "English Original": "The artist crushes his model under his own statue.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0140": {
-    "English Original": "<sup14</sup Examples are a.o.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0141": {
-    "English Original": "La signora Fricot è gelosa (Ambrosio, 1913) and Robinet è geloso (Tweedledum is Jelous, Ambrosio, 1914).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0142": {
-    "English Original": "features of the 1910s and early 1920s are, however, more complex.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0143": {
-    "English Original": "Not only do we see more diversil cation in the workshops of poor and established artists, but both are also more closely modelled on images of real workshops, though rather those of nonavantgarde artists of the turnofthe century or even before.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0144": {
-    "English Original": "The emphasis on the nonavantgarde workshops also goes for the art represented in the l lms.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0145": {
-    "English Original": "The paintings and sculptures in dramatic features of the 1910s are mostly not the art of that decade but the later decades of the 19th century, either the more naturalist styles in painting or sculpture or the more Salonlike academic versions.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0146": {
-    "English Original": "This is perhaps not surprising as cinema needed a conventional, reassuring version of art for its lower and middle class audiences, who were mostly little acquainted or favourable to the many isms of the 1910s: Cubism, Futurism, etc.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0147": {
-    "English Original": "Moreover, naturalist art was itself strongly based on and aided by photography in order to \"catch reality\" as closely possible.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0148": {
-    "English Original": "Naturalist art was widely visible in public buildings such as city halls (Weisberg 2010).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0149": {
-    "English Original": "Moreover, the established art of the late 19th century, the academic art of orientalists and idealists, as well as those of the naturalists had been massively reproduced and distributed through the rise of illustrated postcards from the 1890s onwards, as well as by illustrated magazines, thanks to the introduction of halfblock reprography.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0150": {
-    "English Original": "Paintings and sculptures hitherto visible only to social elites were now freely available everywhere, even more than during the introduction of the etching.15 They were now used on the covers of matchboxes, cigarette and chocolate boxes, etc., and thus transformed into iconic images.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0151": {
-    "English Original": "They became part of the collective memory, providing a repertoire of images for l lmmakers to draw upon (nowadays we no longer have any notion of that collective memory.)",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0152": {
-    "English Original": "Just to give an example, when in La madre (Giuseppe Sterni, 1917), the artist (played by Sterni himself) is working in a shared studio, he is working on a painting that depicts the biblical Flight to Egypt.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0153": {
-    "English Original": "It is a copy of naturalist painting by Maxime Dastugue, La Fuite en Egypte (1889), made after Dastugue's trip to Egypt the same year [Figs.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0154": {
-    "English Original": "Dastugue's painting was popular well into the 1910s and 1920s through reproductions on postcards and in illustrated magazines.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0155": {
-    "English Original": "There is also a practical explanation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0156": {
-    "English Original": "Within a l lm's plot, paintings and sculptures were often used as portraits of characters, so audiences had to be able to recognize them otherwise their function as meaningful props would be lost.16 To\n\n<sup15</sup It sufl ces to have a glance at modern digital shops like eBay and Delcampe to notice the enormous divulgation of these postcards of late 19th century and early 20th century painting and sculpture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0157": {
-    "English Original": "<sup16</sup This goes both for short comedies like La signora Fricot è gelosa and Robinet è geloso and dramatic features such as Il processo Clemenceau.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0158": {
-    "English Original": "The plot would fail if recognition of the statue as a portrait of one of the characters was not possible.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0159": {
-    "English Original": "l nd the pictorial equivalents of paintings or sculptures represented in the Italian cinema of the 1910s, one has to look therefore at late 19th century portraits or even at the monumental sculpture in Italian graveyards, such as that by Giulio Monteverde (Angel, 1882).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0160": {
-    "English Original": "There is, however, a m ipside to this.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0161": {
-    "English Original": "In the 1910s and early 1920s several Italian artists collaborated with the Italian cinema industry, either as set and costume designers (such as Duilio Cambellotti and Camillo Innocenti), as poster designers, or as creators of the art works visible in l lms.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0162": {
-    "English Original": "Thus, contemporary artists created art for l lm sets.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0163": {
-    "English Original": "While l lm historical research has focused too narrowly on the infrequent collaborations between the avantgarde of the Italian Futurists and the professional l lm industry, this other, vaster territory has hardly been explored.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0164": {
-    "English Original": "Let me provide two examples.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0165": {
-    "English Original": "For Il fauno (1917) by Febo Mari, a kind of reversed Pygmalion story – a woman falling in love with the statue of a male faun – the Piemontese sculptor Giuseppe Riva made the statue, even in multiple versions (Audoli 2008, 18–61) [Figs.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0166": {
-    "English Original": "9–10].17 Riva stood in a late nineteenthcentury representational tradition of the Faun that was present not only in Stéphane Mallarmé's famous poem, but also in sculptures in and outside of Italy like Antonio Bezzola's The Idol (1891).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0167": {
-    "English Original": "Thus, an iconography was already there, only the form was altered.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0168": {
-    "English Original": "Finally, the bust of Francesca Bertini's character in Il processo Clemenceau that was destroyed by its creator, was based on an identical real bust of Bertini made by the Neapolitan sculptor Amleto Cataldi which was published in the renowned Italian art journal Emporium in 1917, the same year the l lm was released [Figs.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0169": {
-    "English Original": "The bust of Bertini is depicted on pages 166 and 170.)",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0170": {
-    "English Original": "In conclusion, we can say that, while more research is necessary, Italian silent cinema was surely not only looking backwards but also keeping an eye on the artistic present as well.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0171": {
-    "English Original": "In that sense the presence of art works and artists in Italian silent cinema was not only linked to particular narrative conventions, but also to the art world outside of the l lmic diegesis.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0172": {
-    "English Original": "Following Jens Schröter's categorization of intermediality, we can del ne the representation of one medium (art) in the other (cinema) as transformational intermediality, but intrinsically we are also dealing with ontological intermediality as well, as the cinema is redel ned through its comparison with painting and sculpture (Schröter, 1998).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0173": {
-    "English Original": "While the pictorial invites us to make a comparison between the cinema and the framing and deep staging in l gurative painting, the sculptural refers to cinema's ability to sculpt as well – but with light rather than stone.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0174": {
-    "English Original": "<sup17</sup Actor turned director Febo Mari had often scripts about artists such as La gloria (The Glory, 1916), in which a sculptor ruins his own statue, and Il tormento (1917), see note 5.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0175": {
-    "English Original": "Miti, allegorie e simbolismi plastici da Bistoll a Martinazzi.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0176": {
-    "English Original": "Myths, Allegories, and Painterly Symbolism from Bistoll to Martinazzi].",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0177": {
-    "English Original": "Torino: Weber & Weber.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0178": {
-    "English Original": "Bernardini, Aldo and Vittorio Martinelli.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0179": {
-    "English Original": "Il cinema muto italiano, 1905–1931.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0180": {
-    "English Original": "[The Italian Silent Cinema, 1905–1931].",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0181": {
-    "English Original": "Il Fuoco or the Fatal Portrait.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0182": {
-    "English Original": "The XIXth Century in the Italian Silent Cinema.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0183": {
-    "English Original": "Le portrait peint au cinéma.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0184": {
-    "English Original": "Mirror, Muse, Medusa: Experiment Perilous.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0185": {
-    "English Original": "Le portrait peint au cinéma.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0186": {
-    "English Original": "The Moving Picture Gallery.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0187": {
-    "English Original": "Le portrait peint au cinéma.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0188": {
-    "English Original": "Art in the Cinematic Imagination.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0189": {
-    "English Original": "Austin: University of Texas Press.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0190": {
-    "English Original": "Film and the Visual Arts.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0191": {
-    "English Original": "Edinburgh: Edinburgh University Press.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0192": {
-    "English Original": "Artisti contemporanei: Amleto Cataldi.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0193": {
-    "English Original": "[Contemporary Artists: Amleto Cataldi], Emporium, vol.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0194": {
-    "English Original": "Film italiani in Romania.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0195": {
-    "English Original": "Dagli anni '10 alla Seconda Guerra Mondiale.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0196": {
-    "English Original": "[Italian Films in Romania.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0197": {
-    "English Original": "From the 1910s to the Second World War], In Cinema italiano in Europa, 1907–1929, II, ed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0198": {
-    "English Original": "Rome: Associazione Italiana per le Ricerche di Storia del Cinema.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0199": {
-    "English Original": "Facetten und Problemen eines aktuellen medienwissenschaftlichen Begriffes.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0200": {
-    "English Original": "As You Desire me.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0201": {
-    "English Original": "Das Bildnis im Film.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0202": {
-    "English Original": "Amsterdam: Amsterdam University Press.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0203": {
-    "English Original": "Weisberg, Gabriel P., et.al.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0204": {
-    "English Original": "Naturalist Painting, Photography, Theatre and Cinema, 1875–1918.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0205": {
-    "English Original": "List of Figures\n\nFigure 1.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0206": {
-    "English Original": "Il fuoco (Giovanni Pastrone, 1915).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0207": {
-    "English Original": "Courtesy Museo nazionale del cinema, Turin.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0208": {
-    "English Original": "Il quadro di Osvaldo Mars (Guido Brignone, 1921).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0209": {
-    "English Original": "Courtesy Cineteca di Bologna.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0210": {
-    "English Original": "La modella (Ugo Falena, 1916).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0211": {
-    "English Original": "Courtesy Cineteca di Bologna.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0212": {
-    "English Original": "La notte che dormii sotto le stelle (Giovanni Zannini, 1918).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0213": {
-    "English Original": "Courtesy Cineteca Nazionale, Rome.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0214": {
-    "English Original": "La Gioconda (Eleuterio Rodoll , 1916).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0215": {
-    "English Original": "Collection Ivo Blom, Amsterdam.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0216": {
-    "English Original": "Il processo Clemenceau (Alfredo De Antoni, 1917).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0217": {
-    "English Original": "Courtesy Cineteca di Bologna.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0218": {
-    "English Original": "La madre (Giuseppe Sterni, 1917).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0219": {
-    "English Original": "Courtesy EYE Filmmuseum, Amsterdam.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0220": {
-    "English Original": "La fuite en Egypte (Maxime Dastugue, 1889).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0221": {
-    "English Original": "Collection Ivo Blom, Amsterdam.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0222": {
-    "English Original": "Giuseppe Riva: Fauno (1917) (courtesy Armando Audoli), and the sculpture in Il fauno (Febo Mari, 1917).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0223": {
-    "English Original": "Courtesy Museo nazionale del cinema, Turin.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0224": {
-    "English Original": "Amleto Cataldi: Francesca Bertini (1917), and a still from Il processo Clemenceau (Alfredo De Antoni, 1917).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1982215463_s0225": {
-    "English Original": "Courtesy Cineteca di Bologna.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0001": {
-    "English Original": "Original citation:\n\nBelfiore, Eleonora, 1975 and Bennett, Oliver, 1950.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0002": {
-    "English Original": "(2007) Determinants of impact : towards a better understanding of encounters with the arts.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0003": {
-    "English Original": "Cultural Trends, Vol.16 (No.3).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0004": {
-    "English Original": "ISSN 09548963\n\n Permanent WRAP url:\n\n<http://wrap.warwick.ac.uk/53072/\n\n Copyright and reuse:\n\nThe Warwick Research Archive Portal (WRAP) makes the work of researchers of the University of Warwick available open access under the following conditions.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0005": {
-    "English Original": "Copyright © and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0006": {
-    "English Original": "To the extent reasonable and practicable the material made available in WRAP has been checked for eligibility before being made available.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0007": {
-    "English Original": "Copies of full items can be used for personal research or study, educational, or notforprofit purposes without prior permission or charge.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0008": {
-    "English Original": "Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0009": {
-    "English Original": "Publisher's statement:\n\nThis is an Author's Original Manuscript of an article whose final and definitive form, the Version of Record, has been published in Cultural Trends 2007 copyright Taylor & Francis, available online at: http://www.tandfonline.com/10.1080/09548960701479417\n\n A note on versions:\n\nThe version presented here may differ from the published version or, version of record, if you wish to cite this item you are advised to consult the publisher's version.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0010": {
-    "English Original": "Please see the 'permanent WRAP url' above for details on accessing the published version and note that access may require a subscription.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0011": {
-    "English Original": "For more information, please contact the WRAP Team at: wrap@warwick.ac.uk\n\n\n\nhttp://go.warwick.ac.uk/libpublications \n\n Determinants of Impact: towards a better understanding of encounters with the arts\n\n Eleonora Belfiore and Oliver Bennett<sup1</sup\n\nThe paper argues that current methods for assessing the impact of the arts are largely based on a fragmented and incomplete understanding of the cognitive, psychological and sociocultural dynamics that govern the aesthetic experience.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0012": {
-    "English Original": "It postulates that a better grasp of the interaction between the individual and the work of art is the necessary foundation for a genuine understanding of how the arts can affect people.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0013": {
-    "English Original": "Through a critique of philosophical and empirical attempts to capture the main features of the aesthetic encounter, the paper draws attention to the gaps in our current understanding of the responses to art.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0014": {
-    "English Original": "It proposes a classification and exploration of the factors – social, cultural and psychological – that contribute to shaping the aesthetic experience, thus determining the possibility of impact.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0015": {
-    "English Original": "The 'determinants of impact' identified are distinguished into three groups: those that are inherent to the individual who interacts with the artwork; those that are inherent to the artwork; and 'environmental factors', which are extrinsic to both the individual and the artwork.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0016": {
-    "English Original": "The paper concludes that any meaningful attempt to assess the impact of the arts would need to take these 'determinants of impact' into account, in order to capture the multidimensional and subjective nature of the aesthetic experience.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0017": {
-    "English Original": "Keywords:\n\nArts impacts assessment; aesthetic experience; transformative powers of the arts; reception; audience research.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0018": {
-    "English Original": "<sup1</sup The authors would like to acknowledge the Arts and Humanities Research Council and Arts Council England for their support of this research and thank three anonymous referees for their useful suggestions and insightful comments on an earlier draft of the paper.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0019": {
-    "English Original": "Introduction\n\nThere are many things that policy makers expect the subsidised arts to achieve.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0020": {
-    "English Original": "These have to do with, amongst other things, local and national economic development; job creation; the enhancement of selfesteem, personal health and wellbeing; an individual's competitiveness in the job market; and the reduction of criminal reoffending.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0021": {
-    "English Original": "As we have put it in an earlier paper (Bennett, 2002), \"[i]t really is difficult to think of any other area of public policy which attracts quite such an extraordinary combination of expectations\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0022": {
-    "English Original": "This paper concerns itself in particular with the belief, central to contemporary articulations of the aims and rationales for public support of the arts, that the artistic experience can have transformative effects on both the individual and society.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0023": {
-    "English Original": "The following passage from ACE's (2003) manifesto Ambition for the Arts, clearly shows the central place that the language of transformation has gained in the official rhetoric that accompanies arts funding in England:\n\n We will argue that being involved with the arts can have a lasting and transforming effect on many aspects of people's lives.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0024": {
-    "English Original": "This is true not just for individuals, but also for neighbourhoods, communities, regions and entire generations, whose sense of identity and purpose can be changed through art.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0025": {
-    "English Original": "In her widely cited, personal essay, Government and the Value of Culture, Secretary of State for Culture, Tessa Jowell (2004) suggests that 'poverty of aspiration' can trap underprivileged young people in Britain to day in a condition of physical poverty.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0026": {
-    "English Original": "The arts, however, have the capacity to transform peoples' sense of what is possible:\n\n … I do believe that the rewards of grappling with great art in any medium are enormous.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0027": {
-    "English Original": "The reluctance of so many to attempt that challenge is a terrible waste of human potential, with a concomitant loss of human realisation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0028": {
-    "English Original": "Can we be sure, though, that engagement with the arts and culture really does have transformative powers?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0029": {
-    "English Original": "In other words, what do we actually know about the psychological, intellectual and emotional processes that people go through when they participate in cultural activities or enjoy works of art?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0030": {
-    "English Original": "This paper explores these questions.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0031": {
-    "English Original": "The research presented is the result of the second phase of a threeyear project currently under way at the Centre for Cultural Policy Studies at the University of Warwick.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0032": {
-    "English Original": "The study, cofunded by the Arts and Humanities Research Council and Arts Council England, aims at a critical reformulation of the present debate around the social impacts of the arts.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0033": {
-    "English Original": "By exploring in particular the activity of theatregoing and reading for pleasure, the research aims to throw further light on the deeprooted conviction that the 'arts are good for you'.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0034": {
-    "English Original": "The first phase of the project, culminating in the publication of The Social Impact of the Arts: An Intellectual History (Belfiore & Bennett, 2008, forthcoming) has offered a detailed historical analysis of the intellectual origins of the conviction that the arts can transform both individuals and society (for the better and the worse).<sup2</sup\n\nOne thing that our extensive analysis of sources, philosophical, artistic and scientific, was not able to clarify, however, was exactly how the arts operated their magic upon people; by what mechanisms the arts were capable of leaving a lifealtering mark on the human psyche; and what aspects of the aesthetic experience were likely to play the major part in determining or shaping the impact of the aesthetic encounter.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0035": {
-    "English Original": "This was territory that was still relatively unexplored and where further research was needed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0036": {
-    "English Original": "However, the questions opened up by this research did not lend themselves to straightforward answers.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0037": {
-    "English Original": "The present paper, therefore, represents a first attempt to deal with some of the questions that our criticalhistorical approach to understanding the social impacts of the arts had thrown up<sup3</sup .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0038": {
-    "English Original": "It will not provide exhaustive answers, but it will begin to explore some fundamental questions\n\n<sup2</sup An introduction to this study can be found in Belfiore and Bennett 2007.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0039": {
-    "English Original": "<sup3</sup For more on this, please refer to Belfiore and Bennett 2008.\n\nthat need to be dealt with if we are to make any progress towards a clearer understanding of what the social and psychological impacts of involvement in the arts might be.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0040": {
-    "English Original": "Such an understanding is essential to any attempt to develop robust methodologies for arts impact assessment.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0041": {
-    "English Original": "The paper is structured into three main sections.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0042": {
-    "English Original": "The first provides a theoretical exploration of the notion of 'aesthetic experience', in an attempt to establish whether the encounter with works of art does indeed result in a type of experience that is inherently and essentially distinguishable from other types of human experience.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0043": {
-    "English Original": "The second section, by referring to a wide range of material produced within a number of different fields of enquiry (readerresponse theory; reception theory; aesthetics; psychology just to name but a few) clarifies what is actually known about people's interaction with the arts and the cognitive and emotional mechanisms that are triggered by the aesthetic experience.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0044": {
-    "English Original": "The third section, finally, presents a classification of the main factors that we suggest are likely to shape the aesthetic experience, thus determining whether a longlasting impact might occur and what that impact might be.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0045": {
-    "English Original": "These 'determinants of impact' are divided into three groups: those that are inherent to the individual who interacts with the artwork; those that are inherent to the artwork; and those that are extrinsic to both the individual and the artwork, and which we might refer to as 'environmental factors'.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0046": {
-    "English Original": "For obvious limitations of space, this paper will focus principally on the first group of factors, but will also outline the other two categories, point out our gaps in knowledge and identify the areas that would benefit from further investigation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0047": {
-    "English Original": "The first section of the paper, being more theoretical and philosophical in nature, presents a discussion of theories and ideas that have been predominantly elaborated within the disciplinary areas of aesthetics, art theory and cultural studies.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0048": {
-    "English Original": "The second section, on the other hand, relies on a body of work a substantial part of which we define as 'empirical' or 'scientific'.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0049": {
-    "English Original": "Our use of these labels probably needs some qualification.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0050": {
-    "English Original": "These terms, as used in this paper, include – but are not limited to – the natural sciences, encompassing also social research and work in other areas (cultural and\n\nsocial psychology, for instance) in which conclusions are reached not exclusively through a process of theoretical reasoning and argumentation, but mainly though a process of observation (through field work, for example) or experimentation (as in the case of the study of human responses to audiovisual stimuli).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0051": {
-    "English Original": "In other words, the principal distinction that the paper makes in categorizing the large body of work consulted relies on a distinction between theoretical or philosophical approaches to discussions of the aesthetic experience and empirical ones, which attempt to describe and account for people's interaction with the arts on the basis of their observed experiences and their responses to the artistic encounter.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0052": {
-    "English Original": "Insights from both types of research traditions are drawn on in the last section of the paper, in the attempt to provide a rich and multidisciplinary picture of the factors that are likely to bear significantly on people's reception of artworks.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0053": {
-    "English Original": "As mentioned above, the analysis presented is centred mainly, but by no means exclusively, on the experiences of reading for pleasure and on attendance at theatrical performances.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0054": {
-    "English Original": "The decision to narrow the focus in this way stems from our doubts over the extent to which experiences of different arts, or, indeed, even within the same art form, can be seen as commensurate.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0055": {
-    "English Original": "We shall be attending to this issue in the third stage of the project, when we will investigate further what can actually be said to constitute the 'novel' and 'theatrical performance', with a view to determining how far it is possible to generalise about them.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0056": {
-    "English Original": "Part One: What is an 'aesthetic experience' 4 ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0057": {
-    "English Original": "<sup4</sup In the context of this paper the expression 'aesthetic experience' is used as a synonym of 'artistic experience', to refer to the individual's encounter and interaction with the work of art.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0058": {
-    "English Original": "The etymological meaning of the phrase, whereby aesthetics is, in Baumgarten's words, \"a science of sensual recognition\"  or as De Bolla (2002, p.9) paraphrases \"a general enquiry into how we come to know the world from the evidence of our senses\"  is for practical reasons, not considered here, as it would extend and complicate the discussion beyond what can be dealt with adequately within the constraints of this paper.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0059": {
-    "English Original": "Indeed, as Arnold Berleant points out, if we were to consider the full etymological implications of the adjective 'aesthetic', \"[t]o the extent that every thing, every place, every event is experienced by an aware body with sensory directness and immediate significance, [everything]…has an aesthetic element\" (quoted in Maclagan, 2001, p.10).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0060": {
-    "English Original": "Understanding what an aesthetic experience is, what it feels like to have one and what emotional responses it provokes is an endeavour fraught with complexities and uncertainties.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0061": {
-    "English Original": "Indeed, both terms in the phrase represent extremely complex notions that are difficult to articulate.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0062": {
-    "English Original": "As Iseminger (1981, p. 389) notes, distinguishing the aesthetic from the nonaesthetic has been a constant and persisting preoccupation for philosophers of art.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0063": {
-    "English Original": "Some have interpreted the distinction as ontological in nature, thus talking about 'aesthetic objects' that display essentially aesthetic qualities or features.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0064": {
-    "English Original": "Others have viewed the distinction in cultural terms, as a result of cultural and historical conventions, thus giving centrality to notions of 'aesthetic evaluation', 'aesthetic functions' or 'aesthetic institutions'.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0065": {
-    "English Original": "Others, finally, see the aesthetic as fundamentally psychological, whereby the nature of the 'aesthetic' is tightly linked to notions of aesthetic enjoyment, pleasure and aesthetic perception.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0066": {
-    "English Original": "The concept of experience is equally problematic; not surprisingly, HansGeorg Gadamer could refer to it as \"one of the most obscure we have\" (cited in Shusterman, 2006, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0067": {
-    "English Original": "It would therefore be questionable to assume as a given the differentiation of experience into easily distinguishable types and the possibility of singling out and observing a specifically aesthetic kind of experience (Berleant, 1970, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0068": {
-    "English Original": "IS THERE SUCH A THING AS AN 'AESTHETIC EXPERIENCE'?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0069": {
-    "English Original": "Not surprisingly, then, scholars writing within the field of aesthetics have been arguing, during the last fifty years, over whether there is such a thing as an aesthetic experience at all<sup5</sup .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0070": {
-    "English Original": "Whilst the concept of aesthetic experience seems to be going through a phase of academic and intellectual revival (Carroll, 2002, p. 145), the fact remains that a significant number of philosophers have argued that it is pointless to speak about 'aesthetic experiences' on two main grounds.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0071": {
-    "English Original": "Firstly, it is hard to identify a feature or a quality that is characteristic of and essential to what we, in common speech, refer to as the artistic experience (a quality, in other words, that makes the aesthetic experience\n\n<sup5</sup For an extensive discussion of these arguments and the progressive decline of the concept of aesthetic experience  in particular in twentiethcentury AngloAmerican philosophical thinking  see Iseminger 2005 and Shusterman 1997.\n\nunique, thus distinguishing it from moral, religious and all other possible types of experiences)<sup6</sup .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0072": {
-    "English Original": "Secondly, the concept of 'experience' cannot be properly qualified by the connotation of being 'aesthetic', on account of the fact that an experience is not an object or a physical thing that can have or possess qualities (Mitias, 1988, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0073": {
-    "English Original": "As a matter of fact, 'experience' is a highly subjective concept, a discussion of which inevitably entails references to a mental event taking place in what could be defined either as the individual's 'mind' or 'spirit', the definition of which is also very difficult and controversial (Ibid, p. 11).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0074": {
-    "English Original": "As Berleant (1970, p. 93) explains:\n\n … a careful description of the full range and variety of human experience must recognize the underlying continuity of its various types.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0075": {
-    "English Original": "Experiences associated with art are not radically different or sharply separated from other sorts of experiences.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0076": {
-    "English Original": "[…] Thus while aesthetic experience has an identity, it is not set off from other modes of experience by some unique attribute.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0077": {
-    "English Original": "Indeed, the aesthetic is not a separate kind of experience but rather a mode in which experience may occur.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0078": {
-    "English Original": "Despite the scepticism raised in some quarters over the possibility of providing a clear and straightforward definition of the nature and characteristics of the artistic encounter, numerous competing and contrasting articulations and explanations of the aesthetic experience have been put forward since the beginnings of aesthetic speculation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0079": {
-    "English Original": "Indeed, in many respects, attempts to define and make sense of aesthetic experience came to be identified with the quest for an answer to one of the most complex questions of aesthetics: 'what is art?'.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0080": {
-    "English Original": "In the fascinating historical review he offers in his Art and Engagement, Arnold Berleant (1991, chapter 1) suggests\n\n<sup6</sup Those who argue in favour of the possibility of identifying essentially aesthetic qualities of objects believe that what makes an experience aesthetic is the fact that what is experienced are the aesthetic qualities of a certain object.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0081": {
-    "English Original": "As Mitias (1988, p. 6) explains, according to this view, in the process of aesthetic perception the experience is 'infected' by the aesthetic nature of the object being experienced, thus colouring aesthetically the experience itself.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0082": {
-    "English Original": "A proponent of this position, Kinsley Price (1979, p. 139), explains that \"what makes an experience aesthetic is not the awareness in that experience, but some property of its object.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0083": {
-    "English Original": "The concept 'aesthetic experience' finds its character in the fact that it is applied correctly not where awareness is of a certain kind (awareness is always of the same kind), but where the object of awareness is of a certain kind.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0084": {
-    "English Original": "What makes an experience aesthetic is that it is the experience of an aesthetic object.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0085": {
-    "English Original": "The contentious element here is due to the difficulties in describing precisely and convincingly the nature of such an 'aesthetic object'.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0086": {
-    "English Original": "that the centrality of the notion of experience in thinking about the arts and the mode of our appreciation of them begins to assert itself in the eighteenth century, being prefigured in the writing of the English thinkers Shaftesbury, Hutcheson and Reid (see also Mortensen, 1997, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0087": {
-    "English Original": "It is with Kant, and his notion of 'disinterestedness' as the key feature of the correct response to art, however, that the idea of a specifically aesthetic mode of perception and a type of apprehension of objects distinguished from that of everyday experience is fully developed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0088": {
-    "English Original": "Barleant (Ibid., p. 12) explains Kantian 'disinterestedness' as follows:\n\n … an attitude denoting the perception of an object for its own sake without regard to further purposes, especially practical ones, and requiring the separation of the object from its surroundings in order that it may be contemplated freely and with no distracting considerations.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0089": {
-    "English Original": "Disinterestedness began to emerge as the mark of a new and distinctive mode of experience called 'aesthetic,' a kind of awareness distinct from more commonly recognized alternative modes, such as instrumental, cognitive, moral, and religious experience.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0090": {
-    "English Original": "This formulation of an 'aesthetic attitude' is rooted in another important development that took place in the eighteenth century, that is, the emergence of the notion of 'beauty' as \"the constitutive feature and distinguishing mark of art (its main aim being to create beautiful objects)\" (Dziemdok, 1988, p. 2).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0091": {
-    "English Original": "In Kant's view, the pleasure afforded by beauty is a type of pleasure caused by an object which is not accompanied by desire for that object.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0092": {
-    "English Original": "As McMahon (2001, p. 232) explains, \"[d]isinterested pleasure means that the basis for the pleasure is not egocentric.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0093": {
-    "English Original": "The pleasure of beauty is like perceiving a solution to a problem, and enjoying it for its own sake, rather than because personal rewards are anticipated\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0094": {
-    "English Original": "This idea of the disinterested nature of the experience of beauty in the work of art, therefore, requires a conception of the art object<sup7</sup as something isolated from the rest of life and existing in a\n\n<sup7</sup The term 'art object' is used here, and in the rest of the paper, in the broad sense that Jennifer Anne McMahon (2001, p. 227) gives to the expression in her exploration of the notion of 'beauty': \"to refer not only to tangible things like paintings and objects of nature, but also to intellectual constructs and temporally extended art works like music and performance\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0095": {
-    "English Original": "The various philosophical approaches to understanding art, and consequently\n\nseparated ideal region that little has to do with the rest of human activity.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0096": {
-    "English Original": "In order to be properly appreciated, such an object requires the adoption, on our part, of a correct contemplative and, indeed, disinterested disposition, removed from both sensory pleasure and ordinary emotions.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0097": {
-    "English Original": "AN INTERACTIVE VIEW OF THE AESTHETIC EXPERIENCE\n\nIn the view discussed above, the role of the recipient of the beauty of the work of art is on the whole passive, based as it is on the acceptance of the autonomy of the work of art and on the assumption of the correct intellectual posture as a prerequisite for an adequate response to the work of art.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0098": {
-    "English Original": "Berleant suggests that such a conception of the aesthetic experience reflects the distinction between person and world that characterises philosophical thinking around the eighteenth century (and particularly evident in empiricist theories of knowledgeformation).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0099": {
-    "English Original": "It is only in the late nineteenth century that attempts to challenge such a duality inspire different conceptualizations of human experience, in which the perceiver and the world are seen as bound together by a relation of reciprocity.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0100": {
-    "English Original": "This trend Berleant (Ibid., p. 15) defines as 'the rise of the idea of experiential continuity', according to which an active engagement between the perceiver and the art object is central to the aesthetic experience <sup8</sup .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0101": {
-    "English Original": "Berleant compellingly shows how these theoretical developments have taken place, especially in the last century, at least partly in response to the innovative trends in contemporary artistic production.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0102": {
-    "English Original": "This new conceptualization of the aesthetic experience as characterised by the active involvement of the perceiver only reflects the creation of a type of art, music\n\nthe aesthetic experience, that we have briefly discussed here all conceive of the 'art object' differently.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0103": {
-    "English Original": "Yet all find ways to identify art objects and distinguish them from all the other objects present in everyday life and experience.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0104": {
-    "English Original": "We discuss this in more detail in Belfiore and Bennett 2006 (pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0105": {
-    "English Original": "<sup8</sup Obviously, the degree of such engagement varies depending on the thinker considered.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0106": {
-    "English Original": "We cannot, for reasons of space, discuss this philosophical development in great detail here, but we would refer the reader to chapter 1 of Berleant's Art and Engagement (1991) for a fuller discussion of this notion of experiential continuity in the thought of Henri Bergson, John Dewey, Maurice MerleauPonty and Mikel Dufrenne.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0107": {
-    "English Original": "and performance that demands an active role and an unprecedented degree of interaction from its public.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0108": {
-    "English Original": "In Berleant's (Ibid., p. 26) own words, \"artists have been forcing us to realize that entering the world of art requires the active engagement of the total person and not just a subjective cast of mind.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0109": {
-    "English Original": "[…] Art thus remains distinctive without being separate.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0110": {
-    "English Original": "[…] the idea of aesthetic engagement has become the keystone of the new artistic sensibility\" 9 .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0111": {
-    "English Original": "The changed and more demanding expectations placed by the creators of art on the perceivers are confirmed by this quotation from Pablo Picasso, who reiterated the centrality of the notion of 'engagement' in the aesthetic encounter:\n\n The picture is not thought out and determined beforehand; rather while it is being made it follows the mobility of thought.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0112": {
-    "English Original": "Finished, it changes further, according to the condition of him who looks at it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0113": {
-    "English Original": "A picture lives its life like a living creature, undergoing the changes that daily life imposes upon us.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0114": {
-    "English Original": "That is natural, since a picture lives only through him who looks at it (cited in Berleant, 1970, p. 97).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0115": {
-    "English Original": "In What is Literature?, Sartre (1950), likewise, assigns a crucial and creative role to the reader of fiction.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0116": {
-    "English Original": "He maintains that \"[t]he creative act is only an incomplete and abstract moment in the production of a work\" (Ibid., p. 29).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0117": {
-    "English Original": "Sartre argues that literature does have an important social function and that the collaboration  indeed the 'pact'  between author and reader is a necessary precondition for the novel to come to life and become an instrument of social change.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0118": {
-    "English Original": "In Sartre's (Ibid., pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0119": {
-    "English Original": "2930) own words:\n\n If the author existed alone he would be able to write as much as he liked; the work as object would never see the light of day and he would either have to put down his pen or despair.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0120": {
-    "English Original": "But the operation of writing implies that of reading as its dialectical correlative and these two connected acts necessitate two distinct agents.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0121": {
-    "English Original": "It is the joint effort of author and reader which brings upon the scene that concrete and\n\n<sup9</sup Fenner (2003, p. 40) makes an important point with regards to the shift described by Berleant: \"The movement from the Taste Theories to those focused on aesthetic experience is not a movement that is over and done with – far from it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0122": {
-    "English Original": "There is still (and I think there will always be) a tension between these two very basic aspects of philosophical aesthetics\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0123": {
-    "English Original": "imaginary object which is the work of the mind.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0124": {
-    "English Original": "There is no art except for and by others<sup10</sup .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0125": {
-    "English Original": "This notion of the collaborative nature of the interaction between creator and consumer of art has become even more predominant in the last fifty years.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0126": {
-    "English Original": "[As art historian Clare Bishop (2006, p. 10) points out, since the 1960s, a new wave of artists have devoted themselves to \"striving to collapse the distinction between performer and audience, professional and amateur, production and reception.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0127": {
-    "English Original": "Their emphasis in on collaboration, and the collective dimension of the social experience\" Nicolas Bourriaud's theory of a 'relational art' presented in his influential essay entitled Relational Aesthetics (2002) is indeed a clear example of this theoretical trend.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0128": {
-    "English Original": "Bourriaud's idea of a relational art  which he (Ibid., p. 14) defines as \"an art taking as its theoretical horizon the realm of human interactions and its social context, rather than the assertion of an independent and private symbolic space\"  indeed entails that the meaning of the artwork is created collectively, rather than resulting from the private space of individual consumption.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0129": {
-    "English Original": "As Bourriaud (Ibid., p. 13) himself explains, \"the role of artworks is no longer to form imaginary and utopian realities, but to actually be ways of living and models of action within the existing real, whatever the scale chosen by the artist\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0130": {
-    "English Original": "Kant's notion of 'disinterested' art could have been more thoroughly and explicitly rejected.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0131": {
-    "English Original": "Similar views have also been expressed for the forms of cultural and artistic experience that are provided by the mass media.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0132": {
-    "English Original": "John Fiske, for instance, has commented upon the open and polysemic nature of television, and the active audience it requires:\n\n What television delivers is not programs but a semiotic experience.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0133": {
-    "English Original": "This experience is characterised by its openness and polysemy.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0134": {
-    "English Original": "<sup10</sup Wolfang Iser (1972, p. 279), one of the founding fathers of readerresponse theory expresses a similar view when he states that \"the [literary] work is more than the text, for the text only takes on life when it is realised, and furthermore the realization is by no means independent of the individual disposition of the reader – though this in turn is acted upon by the different patterns of the text\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0135": {
-    "English Original": "For Iser, it is precisely in the convergence of text and readers that the literary work comes into existence.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0136": {
-    "English Original": "For a broader overview of the theories that see reading as part of the process that produces the text, see Storey, 1999, chapter 4 and Rosenblatt, 1982.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0137": {
-    "English Original": "Television is not quite a doityourself meaning kit but neither is it a box of readymade meanings for sale.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0138": {
-    "English Original": "Although it works within cultural determinations, it also offers freedoms and the power to evade, modify, or challenge these limitations and controls (in Abercrombie and Longhurst 1998, p. 23)<sup11</sup .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0139": {
-    "English Original": "Theories that highlight the notion of the perceiver's engagement as crucial to the aesthetic experience are obviously very interesting for the research in hand, for they inevitably draw attention and explore the interaction between individuals and the arts.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0140": {
-    "English Original": "Some theorists, such as for instance, Malcolm Budd (1995, p. 4; see also Matravers, 2003) have gone as far as proposing an understanding of artistic value in terms of 'the experience a work of art offers'.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0141": {
-    "English Original": "This means equating the value of the art with the quality and value of the experience it produces: \"So a work of art is valuable as art if it is such that the experience it offers is intrinsically valuable; and it is valuable to the degree that this experience is intrinsically valuable\" (Ibid., p. 5) <sup12</sup .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0142": {
-    "English Original": "Noël Carroll (2000, p. 204) further explains the theoretical foundation of this perspective of the aesthetic experience as follows:\n\nAn experience only counts as aesthetic experience if it is undertaken in the belief that the experience is valuable for its own sake.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0143": {
-    "English Original": "Those who are prone to contemplate an artwork – appreciating its formal structures, tracking its aesthetic and expressive properties – in the belief that this has some instrumental value are simply not undergoing aesthetic experiences.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0144": {
-    "English Original": "That is a consequence of the thesis that aesthetic experience is necessarily a matter of experience valued for its own sake.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0145": {
-    "English Original": "<sup11</sup Abercrombie and Longhurst (1998, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0146": {
-    "English Original": "go one step further, and suggest that, due to the pervasive nature of the media in contemporary society, a new form of audience experience is prevalent today.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0147": {
-    "English Original": "This they refer to as diffused audience.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0148": {
-    "English Original": "The defining characteristic of this type of audienceexperience is that \"everyone becomes an audience all the time.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0149": {
-    "English Original": "Being a member of an audience is no longer an exceptional event, nor even an everyday event.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0150": {
-    "English Original": "Rather, it is constitutive of everyday life\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0151": {
-    "English Original": "Similarly, Baz Kershaw (1994, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0152": {
-    "English Original": "1667), suggests that we now live in a performative society, \"in which human transactions are completely structured through the growing use of performative modes and frames\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0153": {
-    "English Original": "The implications of such theories would be that a study of the audience experience might ultimately equate to a study of life in contemporary times.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0154": {
-    "English Original": "<sup12</sup This is, however, a contested view of aesthetic value.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0155": {
-    "English Original": "Goldman (2006), for example, argues that equating the value of works of art solely  or even primarily  with the experiences they generate ultimately devalues the artworks.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0156": {
-    "English Original": "For this line of reasoning would lead one to assert that a genuine painting and a forgery have the same value if they are capable of having a similar effect on the viewer, or instigate an equally valuable experience.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0157": {
-    "English Original": "Goldman suggests that this would be a problematic and ultimately untenable conclusion.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0158": {
-    "English Original": "It is interesting to point out how such articulations of the nature and value of the aesthetic experience to individuals is consistent with the very influential notion of the enjoyment of the arts as an instance of flow experience put forward by the psychologist and theorist of creativity Mihaly Csikszentmihalyi (1997; 2002; Csikszentmihalyi and Robinson 1990).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0159": {
-    "English Original": "Csikszentmihalyi and Robinson (1990, p. 73), on the basis of a series of interviews carried out among museum professionals have suggested that:\n\n … the aesthetic experience is a specific form of that more general enjoyment people report when they become deeply involved with opportunities for using their skills – be they sensory, intellectual, physical, or emotional in nature.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0160": {
-    "English Original": "Like other kinds of flow experiences, encounters with works of art present feasible goals which can be reached by using and refining perceptual skills, a wide range of knowledge, and emotional sensitivity.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0161": {
-    "English Original": "The application of these skills to the challenges presented by the work of art results in a deep involvement in the transaction, which leaves the viewer in a state that is experienced as autotelic – that is, intrinsically rewarding<sup13</sup .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0162": {
-    "English Original": "point out however, that what distinguishes the artistic encounter from other types of autotelic pastimes and hobbies is the communicative element in the arts.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0163": {
-    "English Original": "Works of art, whatever their nature and medium, are borne out of the artist's desire to communicate and share thoughts, feelings and experiences with his or her audience.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0164": {
-    "English Original": "This communicative dimension of the artistic encounter that can operate across cultures and historical times is both the distinguishing characteristic of the particular type of 'flow experience' provided by the arts, and one of the rootcauses of its complexity.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0165": {
-    "English Original": "<sup13</sup This interpretation of the aesthetic experience as an instance of flow experience has become popular in recent years, probably due to the success of Csikszentmihalyi's work on creativity and his guidebooks on how to achieve happiness by fostering flow in everyday life (see, for instance, Csikszentmihalyi, 2002).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0166": {
-    "English Original": "However, similar definitions of the aesthetic experience have also been put forward by aesthetic theorists.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0167": {
-    "English Original": "Alan H. Goldman (2006, p. 334), looking back to his past research, summarises his position as follows: \"I have characterised [the aesthetic] experience in terms of the simultaneous challenge and engagement of all our mental capacities – perceptual, cognitive, affective, imaginative, even volitional – in appreciation of the relations amongst aspects and elements of artworks.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0168": {
-    "English Original": "Such engagement creates a rich and intense mental experience imbued with meanings from all these faculties operating in tandem and informing one another\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0169": {
-    "English Original": "Coming back to the original question we set out to explore, it is interesting to note how Csikszentmihalyi and Robinson (Ibid., p. xiii), whilst suggesting that it is possible to construct a model of the aesthetic experience, are also careful to point out that the question 'is there such a thing as an aesthetic experience?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0170": {
-    "English Original": "', is not one that can be answered easily, or in a fashion that can satisfy criteria of scientific objectivity.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0171": {
-    "English Original": "As they further explain (Ibid.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0172": {
-    "English Original": "), \"[e]xperiences are subjective phenomena and therefore cannot be externally verified.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0173": {
-    "English Original": "Either one trusts the words of the person who reports the experience or one does not\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0174": {
-    "English Original": "This section of the paper has reviewed philosophical investigations around the nature of the aesthetic object and the kind of experience it can provide to the individuals who observe and perceive it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0175": {
-    "English Original": "It has also looked at denials of the very possibility of distinguishing, among different types of human experience, one that can be identified as aesthetic.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0176": {
-    "English Original": "Finally, it has traced the historical trajectory of theoretical understandings of the aesthetic experience and identified in theories that highlight the centrality of the interaction between creator and audience a good theoretical foundation for our study of the ways in which the arts might affect people.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0177": {
-    "English Original": "In the following section, we will put to the test Csikszentmihalyi and Robinson's conclusion that aesthetic experience is always subjective and therefore not amenable to exhaustive scientific analysis.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0178": {
-    "English Original": "We propose to do this by surveying and assessing the extent to which empirical research can help us to throw light on the cognitive and psychological mechanisms at play in the aesthetic experience.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0179": {
-    "English Original": "Part Two: What do we know about the aesthetic experience?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0180": {
-    "English Original": "One thing that emerges quite clearly from the preceding analysis of different positions vis à vis the nature and characteristics, or indeed the existence, of a distinct form of experience originating from the aesthetic encounter is the multifaceted and volatile nature of the concept of the aesthetic experience.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0181": {
-    "English Original": "Inevitably, the complexity of the notion becomes even greater when we move from theoretical debates about aesthetics to more concrete attempts to understand actual experiences of the arts and what their effects might be on specific individuals.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0182": {
-    "English Original": "As mentioned earlier, a good way to try and assess what the gaps in our understanding of the interaction between people and artworks might be, is to start from what we already know about it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0183": {
-    "English Original": "Hence, it is important to ask 'what do we actually know about people's aesthetic experiences?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0184": {
-    "English Original": "', and 'do aesthetic experiences lend themselves to observation in a scientific setting?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0185": {
-    "English Original": "'<sup14</sup\n\nCsikszentmihalyi and Robinson's (1990) scepticism about the possibility of achieving a 'scientific' explanation of aesthetic experiences was recorded above.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0186": {
-    "English Original": "And yet, that cautious warning appears in the context of a study that claims, on the basis of empirical research carried out amongst a sample of museum professionals, to be able to describe the structure of the aesthetic experience.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0187": {
-    "English Original": "On the basis of the data gathered, the authors feel able to conclude that, while the thoughts and emotions instigated by a work of visual art are going to be inevitably different for each individual, \"the structure of the experience, its quality, the way it feels while it lasts, seems to be the same regardless of its cognitive and emotional content\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0188": {
-    "English Original": "It is precisely this general and common experiential structure that they attempt to illuminate through their empirical work<sup15</sup .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0189": {
-    "English Original": "Attempts to try and find out more about people's response to the arts in a scientific setting have been, in the course of time, numerous.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0190": {
-    "English Original": "They have originated from a number of different disciplinary fields, from aesthetics and\n\n<sup14</sup By the expression a 'scientific setting' we do not refer here just to experimental research carried out in a laboratory, but rather to empirical observations of responses to the arts that strive to fulfil criteria of scientific rigour and objectivity.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0191": {
-    "English Original": "<sup15</sup Csikszentmihalyi and Robinson (1990) identify four main structural components in the visual artistic experience: a perceptual response that has to do with composition, form, balance, proportion, colours, etc.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0192": {
-    "English Original": "; an emotional response, which has to do with matters of interpretation and reactions to the emotional content of the work of art; an intellectual response that is determined by a focus on the more theoretical and arthistorical questions raised by the artwork; and, finally, a communicative response, whereby the work of art is seen as a means to establish a connection of sorts between the individual and the artist's time, place and cultural climate.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0193": {
-    "English Original": "It is the interplay of these elements that their model of the aesthetic experience is based on.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0194": {
-    "English Original": "See Eversmann (2004) for an attempt to adapt this model to the interpretation of the theatrical experience.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0195": {
-    "English Original": "psychology to, more recently, marketing and consumer research.<sup16</sup In the hope of gaining a better understanding of the ways in which people respond to the arts, scholars from both humanistic and scientific backgrounds have attempted to adapt the scientific model of investigation to the study of individuals' response to the encounter with artworks.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0196": {
-    "English Original": "This entails applying to the study of aesthetic response a method of analysis based on a series of steps: observation, classification, formulation of hypotheses and their verification through experiments devised to either confirm or discredit the initial hypothesis.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0197": {
-    "English Original": "As Molnar (1974, p. 24) observes, this is a problematic proposition from the outset, on the grounds that the scientific method deals with the identification and observation of objective facts, whereas in the realm of the aesthetic \"subjective factors rather than objective external physical factors are of primary importance\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0198": {
-    "English Original": "As Molnar (1974, p. 25) further points out, the ambition to study aesthetic experience 'objectively' and in a scientific setting is also marred by the recent questioning of the very possibility of objectivity in scientific experiments.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0199": {
-    "English Original": "He refers to evidence showing how the behaviour of animals under controlled conditions in laboratories has been shown to be influenced by the experimenter, and also points towards research showing that some observations made by astronomers had been influenced by their subjective interpretations of data.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0200": {
-    "English Original": "Hence Molnar's conclusion that \"the physical phenomenon under study, the measuring instruments used and the eyes of the experimenter form a linked system in which each component is hierarchically equally important\" (Ibid.).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0201": {
-    "English Original": "Nevertheless, numerous attempts have been made to examine the aesthetic experience in a scientific and experimental setting, especially within the field of psychology.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0202": {
-    "English Original": "These were pioneered by G. T. Fechner's Vorschule der Aesthetic, published in 1876, and have resulted in the collection and analysis of a considerable body of empirical data under the labels of 'psychology of art', 'psychological\n\n<sup16</sup As a result of changes in the marketplace, companies now have shifted from attempting to sell goods and services to the selling of experiences.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0203": {
-    "English Original": "This is why the achievement of a better understanding of the mechanisms by which consumer experiences can be enhanced has become central to marketing theory and consumer research in the cultural sphere as much as in other economic sectors (Joy and Sherry, 2003, p. 259; Miesen, 2004, p. 45).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0204": {
-    "English Original": "aesthetics' and 'experimental aesthetics' (; Dickie 1962; Kreitler & Kreitler, 1972; Lindauer, 1973; Maclagan, 2001; Molnar, 1974; Wallach, 1959) 17 .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0205": {
-    "English Original": "So, Molnar's reservations notwithstanding, what has the empirical study of the response to artistic stimuli shown?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0206": {
-    "English Original": "Has the contribution of the natural and social sciences to the understanding of the aesthetic experience proved valuable?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0207": {
-    "English Original": "UNDERSTANDING THE RESPONSE TO THE ARTS: THE EXPERIMENTAL APPROACH\n\nAs mentioned above, the psychological disciplines have shown a particular interest in attempting to explore the processes behind artistic reception, so it seems logical to start our review with this body of work.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0208": {
-    "English Original": "Kreitler and Kreitler (1972) identify four main theories that have provided the theoretical underpinning for psychological studies of the aesthetic experience: psychoanalysis, Gestalt theory, behaviourism or neobehaviourism, and information theory<sup18</sup .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0209": {
-    "English Original": "For obvious limits of space, we cannot assess the contribution of each of these approaches to understanding the experience of artworks.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0210": {
-    "English Original": "We will therefore focus on those empirical attempts to understand people's encounter with art that have originated from behaviourism.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0211": {
-    "English Original": "This is, indeed, the oldest approach (having been pioneered, as we have seen, in the midnineteenth century, when the other theories had not even been fully formulated), and because of the significant volume of research that has\n\n<sup17</sup The popularity of the study of the aesthetic experience in a scientific and experimental setting is demonstrated by the bibliographical review compiled by Norman Kiell (1965) in the mid1960s and entitled Psychiatry and Psychology in the Visual Arts and Aesthetics: A bibliography.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0212": {
-    "English Original": "Here Kiell lists in excess of 7000 pieces of research, catalogued by topic and author.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0213": {
-    "English Original": "Yet, one of the criticisms moved against the book concerned omissions and incompleteness in the listing of the literature (Mittleman, 1965).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0214": {
-    "English Original": "<sup18</sup The more recent development of a neurological theory of aesthetic experience (Ramachandran and Hirstein, 1999) is a further interesting theoretical direction of recent scientific attempts to grasp the artistic experience.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0215": {
-    "English Original": "A detailed discussion of the distinctive contribution of each of these theoretical approaches to the study of human responses to the arts is beyond the scope of this paper.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0216": {
-    "English Original": "However, Kreitler and Kreitler (1972) offer an extensive and insightful introduction to the psychology of art.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0217": {
-    "English Original": "Zeki (1999a; 1999 b) presents a fascinating account of the contribution of neurology and brain science to the explanation of the aesthetic experience, while Young and Saver (2001) look at the neurological aspects of narrative and storytelling.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0218": {
-    "English Original": "The reader might also find the critique of such scientific approaches to art offered by Carey (2005, chapter 3) relevant and interesting.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0219": {
-    "English Original": "accumulated, over the past two centuries, in this area.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0220": {
-    "English Original": "Behaviourism has indeed inspired a very large proportion of the studies that have been carried out, since the early twentieth century, into spectator's preferences between different works of art and physiological reactions to aesthetic stimuli (Ibid., pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0221": {
-    "English Original": "The emphasis on experimentation that characterises the behaviourist approach, and the progressive improvements in the methodological sophistication of the experiments conducted in this field, have resulted in the gathering of a significant quantity of data and information on human responses to various art forms.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0222": {
-    "English Original": "By applying the tools of psychological research, for instance, scientists have been able to establish correspondences between certain personality traits and visual preferences.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0223": {
-    "English Original": "So, evidence seems to show that individuals with an extrovert temperament tend to prefer simple colours and forms, and more expressive paintings.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0224": {
-    "English Original": "Highly ambitious individuals seem to prefer colours on the cool end of the chromatic spectrum rather than the warmer reds and yellows; sensation seekers, as one might have expected, appear to prefer red (Csikszentmihalyi and Robinson, 1990, 15).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0225": {
-    "English Original": "As far as musical preferences are concerned, scientific evidence would appear to show that individuals  and possibly mammals more generally  display a preference for consonant over dissonant tones.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0226": {
-    "English Original": "Fannin and Braud's (1971) research was inspired by the work of anthropologists, who showed how most forms of polyphonic music around the world, including those of 'primitive tribes', seemed to avoid dissonant tones<sup19</sup.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0227": {
-    "English Original": "In their attempt to decide whether such preference might be dictated by cultural norms, they studied the behaviour of 16 albino rats with no previous exposure to consonant or dissonant tones (and for which, obviously, any kind of culturally determined preference could be safely excluded).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0228": {
-    "English Original": "All of the 16 albino rats preferred consonant tones, moving the authors to conclude that \"consonant and dissonant tones are experienced as\n\n<sup19</sup The discussion of the difference between consonant and dissonant tones falls beyond the scope of the present paper, since it entails tackling the most complex question of \"why musical harmony sounds harmonious\" (Cazden, 1980, 123).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0229": {
-    "English Original": "We would therefore refer the reader to Norman Cazden's paper on the difference between musical consonance and dissonance for a full exploration of the problem.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0230": {
-    "English Original": "positive and negative, respectively, for reasons other than their discrepancy from learned 'norms'\" (Ibid., 193).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0231": {
-    "English Original": "These findings were confirmed by later experiments, leading Trainor and Heinmiller (1998) to conclude that sixmonthold infants, like adults, also display a preference for consonant sounds, as testified by their preference for the original version of a Mozart minuet over a version that contained many dissonant intervals.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0232": {
-    "English Original": "On the grounds of such data, one might be tempted to suggest that there is something intrinsically more pleasurable to humans (and albino rats) in consonant tones, and that, in some way, these might be 'better' than dissonant ones (although scientists are very careful not to translate their scientific findings into aesthetic judgements of quality and value).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0233": {
-    "English Original": "Similarly intriguing is the research carried out into the socalled 'golden section' or 'golden ratio'.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0234": {
-    "English Original": "This is believed to be an irrational number, approximately equal to 0.618, which has been credited, since the times of Ancient Greece, with being the key to the mystery of beauty<sup20</sup.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0235": {
-    "English Original": "Believers in the existence of the golden ratio argue that the proportion expressed by the number 0.618 can be seen to be present in many pictorial works, sculptures and architectural designs from antiquity to the present day that have been consistently perceived as beautiful (Green, 1995).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0236": {
-    "English Original": "Many explanations for the alleged importance of the golden section and its relation to our perception of beauty have been made over the centuries, and many stand out for their inventive nature.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0237": {
-    "English Original": "Some, for instance, attribute humans' apparent preference for artworks that display the golden section on the grounds of its correspondence to the ratio of the length and width of the binocular visual field (Boselie, 1984, p. 367).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0238": {
-    "English Original": "Others, more imaginatively (though probably less plausibly), have suggested that the aesthetic attractiveness of the golden section is related to the features of a woman's face.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0239": {
-    "English Original": "As Boselie (Ibid., p. 368) explains, according to this theory, \"the facial division of the chintoeyesline and chintohairline tallies for women (on the average) with the golden ratio.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0240": {
-    "English Original": "[Hence] the pleasure of the golden section is derived from the mother's face\n\n<sup20</sup Hochberg lists the golden section among the three \"most famous prescriptions for beauty in visual art\" (cited in Boselie 1984, p. 367).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0241": {
-    "English Original": "because it increases the chances of survival\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0242": {
-    "English Original": "Fascinating as these theoretical hypothesis are, they are not supported by indisputable scientific or experimental evidence (Ibid.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0243": {
-    "English Original": "), so that, unsurprisingly, the very existence of any intrinsic aesthetic quality of the golden section has been questioned<sup21</sup .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0244": {
-    "English Original": "Other interesting research has involved the investigation of the extent to which the titles that often accompany a work of visual art are capable of influencing the reception of the painting.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0245": {
-    "English Original": "Writing from an arts theory perspective, John Fisher (1980, p. 298) has argued that titles have a clear impact on how we perceive and understand paintings, so that \"when an artwork is titled, for better or worse, a process of interpretation has inexorably begun\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0246": {
-    "English Original": "Levinson (1985) similarly argues that titles are an integral part of the work of art, which directs, to a significant extent, our interpretation of the visual stimuli, so as to effectively shape the aesthetic experience.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0247": {
-    "English Original": "Such positions within aesthetic theory seem to be confirmed by empirical evidence showing that, when different titles are attributed to the same painting, the person's reception of that painting changes  as demonstrated by the individual's verbalization of his or her experience of the painting (Franklin et al.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0248": {
-    "English Original": "Mills' (2001) research further suggests that metaphorical titles, by constituting an incentive to work harder to interpret the painting, may enhance the aesthetic experience more than descriptive titles (due to the socalled 'elaboration effect'), though this effect is limited to representational artworks and does not occur with abstract pictures.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0249": {
-    "English Original": "Other experimental research into the aesthetic experience has established that listening to a piece of music several times may increase its pleasantness to the listener, whilst prolonged observation of a picture makes its pleasantness and affective value decrease (Verveer et al.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0250": {
-    "English Original": "This would lead one to infer that different art forms engage us in different ways, through this insight still leaves open the crucial question of how one particular artwork (whether experienced once only or repeatedly) might engage and affect a particular individual.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0251": {
-    "English Original": "<sup21</sup See, for instance, Boselie, 1984; Godkewitsch, 1974; Plug, 1980.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0252": {
-    "English Original": "If we turn to theatrical performances and reading for pleasure, the areas at the centre of our research project, we see that this type of experimental approach to understanding the encounter with the artwork seems less developed<sup22</sup.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0253": {
-    "English Original": "Research into reading, however, has been increasing since the midtwentieth century<sup23</sup .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0254": {
-    "English Original": "Research has been carried out especially into text processing and reading or narrative comprehension (Coplan, 2004).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0255": {
-    "English Original": "Bower and Morrow (1990, p. 247) explain the scientific interest in reading comprehension as follows:\n\n Cognitive psychologists and education specialists focus on research in reading comprehension because it involves many components of intelligence: recognition of words, decoding them into meanings, segmenting word sequences into grammatical constituents, combining meanings into statements, inferring connections among statements, holding in shortterm memory earlier concepts while processing later discourse, inferring the writer's or speaker's intentions, schematization of the gist of a passage, and memory retrieval in answering questions about the passage.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0256": {
-    "English Original": "Thus, the study of comprehension has become for cognitive psychologists what the fruit fly became for geneticists, a means of investigating many issues.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0257": {
-    "English Original": "It is therefore quite clear that the motivations and the research questions behind research into reading mechanisms are numerous and varied, so that what this body of work ultimately aspires to illuminate are various specific aspects of the activity of reading, rather than the understanding of what reading 'does' to people, and how people might be affected by what they read.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0258": {
-    "English Original": "A number of these studies, thus, have focused on matters of identification and empathy in reading (Hjort & Laver, 1997; Oatley, 1994).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0259": {
-    "English Original": "<sup22</sup Susan Bennett (1997, especially chapter 3) argues this point compellingly with regards to research into theatrical audiences, and John Tulloch's (2005) interdisciplinary exploration and integration of various methodologies in his study of audiences at theatrical performances also testifies to the need to fill research gaps in this area.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0260": {
-    "English Original": "Eversmann (2004, p. 149) maintains that \"a systematic exploration of the theatrical total experience itself is lacking\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0261": {
-    "English Original": "This he attributes to the speculative and theoretical nature of the disciplines of aesthetic philosophy and theatre theory, which tend not to rely on empirical data to develop explanations of the theatrical experience; audience research and reception studies, on the other hand, have proved to be narrowly empirical, limiting the analysis to partial aspects of the theatrical experience or to responses to a specific performance.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0262": {
-    "English Original": "Neither approach seems to have managed to produce a comprehensive and balanced study of the theatrical experience (Ibid.).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0263": {
-    "English Original": "<sup23</sup Victor Nell's Lost in a Book (1988) offers a good, if slightly dated, introduction to the psychology of reading for pleasure.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0264": {
-    "English Original": "They show, for instance, that readers generally tend to identify with the protagonist of the fictional text, whose point of view they tend to adopt (Bower & Morrow, 1990; Coplan, 2004; Harold, 2005; Morrow, 1985).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0265": {
-    "English Original": "Empirical research has also shown that committed readers of fiction may unwittingly gain practical and useful information from their activity of reading for pleasure (Ross, 1999); readers may also establish affective relationships with fictional characters and 'learn' from them important lessons about life and the real world (Hoorn & Konijn, 2003; Usherwood & Toyne, 2002).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0266": {
-    "English Original": "EMPIRICAL APPROACHES TO AESTHETIC EXPERIENCE: AN ASSESSMENT\n\nAspects of the type of research surveyed so far can undoubtedly offer useful insights for arts impact assessment.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0267": {
-    "English Original": "However, what this necessarily succinct and inevitably incomplete review of empirical attempts to study the aesthetic encounter in a scientific setting clearly shows is that there is much that is left unexplained and uninterrogated by these studies.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0268": {
-    "English Original": "Michael J. Parsons (1987, p. xii), in his critique of cognitive studies in the arts, identifies an important limitation in their scope.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0269": {
-    "English Original": "He argues that they are based on a limited conception of cognition, where \"cognition is taken to be substitutable by some form of behavior, such as preferring, recognizing, categorizing, producing.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0270": {
-    "English Original": "But behaviours are not equivalent to understanding, and to look at behaviours is at best a roundabout way of finding out about understanding\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0271": {
-    "English Original": "In other words, to establish that humans show a preference for consonant over dissonant tones is an advance in our knowledge of human response to auditory stimuli, but it tells us very little about how people experience music, are moved (or unmoved) by it and possibly transformed (or untransformed) by it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0272": {
-    "English Original": "Unsurprisingly, then, despite the enduring popularity of behaviourisminspired experimental studies of artistic perception, a number of voices have raised concerns about the limitations of the insight that they can offer.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0273": {
-    "English Original": "Significantly,\n\neven the already mentioned Kreitler and Kreitler (1972, p. 10), authors of the influential Psychology of the Arts, express reservations about such methods:\n\n … the contribution of this work [behaviourisminspired studies] to the understanding of art experience is extremely limited unless one is willing to settle for the implied thesis that art experience is but a taste judgement reflected in a preference statement and that degree of preference for the whole work of art is the summation of preferences for its discrete elements, each considered in isolation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0274": {
-    "English Original": "A similar opinion is expressed, from the Humanities' camp, by John Carey (2005, p. 75), who discusses in some detail scientific approaches to understanding art in his recent book What Good Are the Arts?.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0275": {
-    "English Original": "His conclusion is a denunciation of the inadequacy of science to explain the arts and people's fascination with them:\n\n Behaviourism is limited in that it can only record preferences, not explain them.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0276": {
-    "English Original": "Also, it is rudimentary.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0277": {
-    "English Original": "To progress from recording people's responses to shapes, colours and sounds, to explaining the effect that painting or symphonies or operas have on them, would be inconceivably difficult, since artworks are not made just out of shapes, colours and sounds but [...] out of highly unstable meanings that differ with different recipients<sup24</sup .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0278": {
-    "English Original": "Similarly, the psychologists Csikszentmihalyi and Robinson (1990, p. 15) maintain that \"the literature concerning visual art preferences in contradictory and confusing […] as well as quite primitive\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0279": {
-    "English Original": "One would therefore be justified in concluding that, effectively, not much research has been conducted on understanding how people respond to the work of art (Fairchild 1991, p. 267).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0280": {
-    "English Original": "John Hyman (2000, p. 23) suggests that the shortcomings of the behaviourist approach might lie in \"a prevailing tendency to think of perception, as Descartes did, as a purely passive operation in which perceptible objects\n\n<sup24</sup Carey (2005, p. 73) also criticizes scientific studies that extend to human's observations of animal behaviour of the type discussed earlier, and notes: \"A primary fact about human responses to artworks is that they vary enormously across times, cultures and individuals, so that comparisons with the automatic responses of rats or seagull chicks are obviously inappropriate\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0281": {
-    "English Original": "produce sensory perceptions in the minds of sentient animals by causing changes to occur in their senseorgans\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0282": {
-    "English Original": "In a similar vein, Maclagan (2001, p. 48) stresses the multidimensionality of the aesthetic experience:\n\n Aesthetic experience involves a much more complex psychosomatic texture than can be accounted for in terms of the detached or disembodied contemplation of formal properties.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0283": {
-    "English Original": "Yet the idea has persisted that aesthetic qualities are merely a surface allure, or that they are preeminently a matter of visual (or as Duchamp scathingly referred to it, 'retinal') apprehension.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0284": {
-    "English Original": "It would appear, therefore, that there might be a parallel between a view of perception as a merely passive process (in which the percipient merely responds to the visual, musical or linguistic stimuli) and the traditional Kantian model of the aesthetic experience as a disinterested process of contemplation of the work of art discussed in the first section of the paper.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0285": {
-    "English Original": "In the same way in which a new articulation of the interactive relationship between individual and artwork was required for the aesthetic experience to become central to art theory disquisitions, we need to bring a new and fuller awareness of the complexities of the aesthetic experience in the study (both theoretical and empirical) of the artistic encounter.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0286": {
-    "English Original": "THE MISSING LINK: THE EMOTIONAL DIMENSION OF THE AESTHETIC EXPERIENCE\n\nSurely one of the most crucial missing elements in the type of studies we have discussed so far is the emotional and psychological component of the experience of the arts.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0287": {
-    "English Original": "Yet, if we are to really understand how people might be deeply affected by their engagement with artworks, this dimension cannot be overlooked.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0288": {
-    "English Original": "As Maquet (1987, p. 109) points out, \"in our common language, to be \"experiencing something\" or \"going through an experience\" is to be deeply and totally involved in some process\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0289": {
-    "English Original": "In order to grasp the impacts of the arts, we need to make sense of the mechanisms of this emotional involvement.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0290": {
-    "English Original": "Writing about the activity of reading for pleasure, Susan L. Feagin (1996, p. 1) maintains that:\n\nTo appreciate a work is not merely to recognize that a work has certain properties, aesthetic qualities, or artistic virtues, not merely to be able to recognize what it is about a work that gives it these qualities or its value.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0291": {
-    "English Original": "To appreciate a work is, in part, to get the value out of it, and \"getting the value out of it\" involves being affectively or emotionally moved.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0292": {
-    "English Original": "It is to experience the work in certain ways; it involves reading \"with feeling\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0293": {
-    "English Original": "Similarly, Poet Laureate Andrew Motion, in Poetry in Public (2000, p. 2) highlights the centrality of the emotional dimension to the activity of reading poetry for pleasure:\n\n Poetry is vitally, though not uniquely, an art that depends on solitary reflection – solitary in the way that it is meditated and created, and also solitary in the way that it is mediated and received.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0294": {
-    "English Original": "That's to say, the relationship between a poem and its reader is always onetoone, even when that poem is being recited to a room full of people.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0295": {
-    "English Original": "We receive it individually, interpret it through the filter of our own individual memories and expectations, and recognise its power as being inseparable from our deep feelings.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0296": {
-    "English Original": "Indeed, this sense of how a poem connects with our emotional selves is the crucial validating element in our response.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0297": {
-    "English Original": "Poems are a hotline to our hearts, and even when we pass on our readingpleasure to others in the familiar language of appreciation, or in the more rarefied language of academic discourse, we forget this emotional power at our peril.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0298": {
-    "English Original": "Poetry is always a primitive and visceral thing, however it might be surrounded with various kinds of sophistication.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0299": {
-    "English Original": "Inevitably, however, the consideration of the emotional dimension of the aesthetic experience complicates the study of the individual's encounter with the arts<sup25</sup.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0300": {
-    "English Original": "As we have discussed elsewhere (Belfiore & Bennett, 2008; Belfiore, 2006), engagement with the arts is likely to have effects and impacts\n\n<sup25</sup This is partly because, as Maclagan (2002, p. 12) shows, the nature of 'feeling' is itself most complicated: \"The word is both a noun and a verb, referring to processes of sensation or exploration, as well as to emotion as one possible result of such processes.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0301": {
-    "English Original": "We do not in fact always know which comes first, the perception or sensation, or the emotional response.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0302": {
-    "English Original": "Academic psychology may find it convenient to assume that one is stimulus and the other response; but it is often hard to tell whether a particular feeling makes us tune into a specific sense impression, or whether the latter somehow prompts the former.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0303": {
-    "English Original": "There may be an elusive truth embodied in the fact that the word 'feeling' refers to both a process and to its result\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0304": {
-    "English Original": "which might take place at the unconscious level, thus making them difficult to study in an experimental setting where people are asked to verbalize and explain their responses to the arts.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0305": {
-    "English Original": "Any attempt to investigate empirically the aesthetic experience is therefore inevitably going to explore only its conscious aspects and will result in a fragmented and incomplete reconstruction of what it feels like to have an aesthetic experience and the range of effects it can have.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0306": {
-    "English Original": "Moreover, the idea itself of an individual discussing what it 'feels' to enjoy the arts is fraught with difficulties.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0307": {
-    "English Original": "Peter De Bolla (2001) raises an important point about the difficulty of expressing the aesthetic experience verbally.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0308": {
-    "English Original": "He further suggests that this linguistic stumbling block, this 'mutism', might indeed be the most typical and common reaction to engagement with the arts.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0309": {
-    "English Original": "In Bolla's (Ibid., p. 4) own words:\n\nI believe this \"mutism\", the sense of running out of words or not knowing how or where to begin speaking in the face of the artwork, to be the most common initial response to works of art […].",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0310": {
-    "English Original": "Almost as common is the sense that any attempt at verbalizing a response to an artwork diminishes the experience or even destroys it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0311": {
-    "English Original": "[…] A reason for this \"mutism\" is sometimes given within the technical literature on aesthetics: since, it is claimed, affective experiences do not lie within the realm of the cognitive, there is nothing, as it were, to communicate.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0312": {
-    "English Original": "The only language that might be appropriate is that of interjection or exclamation – the ah!",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0313": {
-    "English Original": "This observation is also sometimes connected to a theoretical elaboration of the concept of art.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0314": {
-    "English Original": "According to this way of seeing things, the very definition of art is tied to this inarticulacy.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0315": {
-    "English Original": "Bolla's suggestion seems to be confirmed by the empirical research undertaken by Peter Eversmann (2004), who has attempted to adapt the model of the aesthetic experience developed by Csikszentmihalyi and Robinson (1990) for the visual arts to the theatrical experience.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0316": {
-    "English Original": "In order to do this, Eversmann conducted extensive interviews with theatregoers of different ages and varying degrees of familiarity with the theatre.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0317": {
-    "English Original": "He reports that one of the main difficulties encountered in the process of data collection was the interviewees' initial reluctance to talk about their theatrical experience.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0318": {
-    "English Original": "De Bolla (2001, p. 4) goes on to suggest that our struggle to find an appropriate means of articulating our response to the arts might have less to do with the dynamics of the interaction between person and artwork and more to do with the shortcoming of our language:\n\nBut what if this were not the case?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0319": {
-    "English Original": "What if this \"mutism\" were merely the result of a fault in our language – the lack of a lexicon for dealing with such experiences – and not a constitutive aspect of arts as a category?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0320": {
-    "English Original": "De Bolla (Ibid., p. 14) argues that our limited understanding of the artistic experience might ultimately be a result of the fact that \"for many if not most people a certain embarrassment is associated with our attempts to break in upon the affective moment\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0321": {
-    "English Original": "The incapacity of our scientific and academic language to deal with the emotional sphere would therefore merely reflect this reluctance to explore in detail our affective life<sup26</sup .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0322": {
-    "English Original": "Arthur C. Danto (2003, p. 132) agrees and points out that \"[w]e need only think of quite ordinary works and what they mean to us to realize how inadequate most of what is written and taught about art is for explaining how this [the transformative power of art] happens\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0323": {
-    "English Original": "Could it be, then, that affective responses to works of art are underresearched because they necessarily require the use of a lexicon of emotions and feeling with which academic language and discourse are fundamentally uncomfortable?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0324": {
-    "English Original": "A similar point had already been made in 1929 by the literary critic I.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0325": {
-    "English Original": "A. Richards (1929, p. 217), who suggested that we enjoy a very sophisticated logical language that allows us to effectively elucidate the intellectual meaning of the literary works we read.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0326": {
-    "English Original": "When it comes to feelings, however, our capacities for introspection prove much feebler:\n\n<sup26</sup Eversmann (2004, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0327": {
-    "English Original": "1501) agrees with De Bolla when he suggests that the reluctance to discuss the theatrical experience he observed in his respondents might be linked to people's disinclination to confide their private feelings and emotional reactions to strangers.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0328": {
-    "English Original": "Yet, he also suggests that his interviewees, many of whom worked in the theatre sector in various capacities, might be more comfortable discussing the economics of producing and touring theatrical performances, about marketing or programming decisions rather than their own response to theatre.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0329": {
-    "English Original": "This might be, perhaps, according to Eversmann (Ibid.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0330": {
-    "English Original": "), because \"the function and impact of theatrical events get relatively little attention in the ongoing discourse within the theatre world\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0331": {
-    "English Original": "For handling feelings we have nothing at all comparable.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0332": {
-    "English Original": "We have to rely upon introspection, a few clumsy descriptive names for emotions, some scores of aesthetic adjectives and the indirect resources of poetry, resources at the disposal of a few men only, and for them only in exceptional hours.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0333": {
-    "English Original": "Introspection has become a byword, even where intellectual and sensory products and processes are concerned, but it is even more untrustworthy when applied to feelings.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0334": {
-    "English Original": "For a feeling even more than an idea or an image tends to vanish as we turn our introspective attention upon it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0335": {
-    "English Original": "We have to catch it by the tip of its tail as it decamps.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0336": {
-    "English Original": "Furthermore, even when we are partially successful in catching it, we do not yet know how to analyse it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0337": {
-    "English Original": "Indeed, despite the 'emotional turn' which is supposedly taking place in a wide range of disciplines (Wood & Smith, 2004, p. 534), a profound distrust for emotions runs through Western culture, ranging from Plato's suggestion that they originate from the soul's baser part to Darwin's contention that, in human adults, the emotions are little more than an obsolete residue of the evolution and growing up processes (Oatley & Jenkins, 1996, p. 38)<sup27</sup.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0338": {
-    "English Original": "This might go some way towards explaining why, until quite recently, \"within research in psychology emotions have been relatively neglected\" (Ibid., p. xxiii)<sup28</sup.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0339": {
-    "English Original": "A possible reason for the reluctance of academia to engage seriously with emotions is suggested by human geographers Anderson and Smith (2001, p. 7), who argue that \"thinking emotionally is implicitly cast as a source of subjectivity which clouds vision and impairs judgement, while good scholarship depends on keeping one's own emotions under control and others' under wrap\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0340": {
-    "English Original": "They further comment on the gendered nature of such view:\n\n Emotions are an intensely political issue, and a highly gendered one too.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0341": {
-    "English Original": "The gendered basis of knowledge production is probably a key reason why the emotions have been banished from social science and most other critical commentary for so long.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0342": {
-    "English Original": "This marginalization of emotion has been part of a gender politics of research in which\n\n<sup27</sup Despite his disparaging view of emotions, Darwin is credited with one of the earliest attempt in modern science to catalogue the full range of human emotions (Denzin, 1984, p. 3) <sup28</sup This suggested neglect of emotions has not been limited to the psychological sciences.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0343": {
-    "English Original": "As Anderson and Smith (2001, p. 9) point out, \"social relations are lived through the emotions, but … the emotional qualities of social life have rarely been made apparent within the lexicon of social research\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0344": {
-    "English Original": "detachment, objectivity and rationality have been valued, and implicitly masculinised, while engagement, subjectivity, passion and desire have been devalued, and frequently feminized.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0345": {
-    "English Original": "Even when emotions are considered worthy of academic enquiry, however, their exploration is fraught with difficulties.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0346": {
-    "English Original": "As Parkinson (1995, p. 4) explains, such difficulties revolve around the possibility of the very identification of such entities as emotions:\n\n 'Emotion', to be sure, is a word used in psychological discourse as well as in everyday conversation, but this does not mean that there is a simple object, event or process that is referred to whenever the word is used.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0347": {
-    "English Original": "Then again, it is not just a word either.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0348": {
-    "English Original": "Emotion is a concept, a social practice, a way of beingintheworld.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0349": {
-    "English Original": "further comments that \"[m]any people assume that emotions are just intact and uncomplicated internal feelings, which are immediately distinguishable in terms of their felt quality\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0350": {
-    "English Original": "Needless to say, things are much more complex than that<sup29</sup, and indeed, the fundamental question 'what is emotion?'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0351": {
-    "English Original": "has been dominating modern psychological and sociological approaches to the study of emotions, engendering a broad spectrum of contrasting answers<sup30</sup.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0352": {
-    "English Original": "Hence the difficulty in studying emotions: since no emotional experience is ever experienced exactly in the same way a second time, inevitably the labels that both lay people and researchers apply to\n\n<sup29</sup Unsurprisingly, Goldie (2000, p. 13) identifies in complexity one of the distinguishing characteristics of emotion.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0353": {
-    "English Original": "<sup30</sup One of the first academic articles on the topic was penned in 1884 by Professor William James and pertinently entitled \"What is an emotion?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0354": {
-    "English Original": "\", and the academic debate on the very existence of emotions has been very lively ever since.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0355": {
-    "English Original": "A forceful negation of the usefulness of the notion of 'emotion' in intellectual and scientific enquiry has come from Elizabeth Duffy, whose 1941 paper on the topic opens with the following statement: \"For many years the writer has been of the opinion that \"emotion,\" as a scientific concept, is worse than useless\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0356": {
-    "English Original": "Duffy (Ibid., p. 292) goes on to conclude: \"I am aware of no evidence for the existence of a special condition called \"emotion\" which follows different principles of action from other conditions of the organism.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0357": {
-    "English Original": "I can therefore see no reason for a psychological study of \"emotion\" as such.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0358": {
-    "English Original": "\"Emotion\" has no distinguishing characteristics.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0359": {
-    "English Original": "It represents merely an extreme manifestation of characteristics found in some degree in all responses.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0360": {
-    "English Original": "If there is any particular point at which a difference in degree becomes a difference in kind this fact has not been demonstrated\" (emphasis in the original).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0361": {
-    "English Original": "emotional experience are always shifting and can be subject to multiple interpretations; effectively, \"the meaning of a given emotion lies in the interpretations a person brings to it\" (Denzin, 1984, p. 5).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0362": {
-    "English Original": "If we add to these considerations the effect that social and cultural norms have in shaping the formation and expression of emotions, we begin to get a sense of the complexity of this area of enquiry (Fisher & Chon, 1989; Kemper, 1981).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0363": {
-    "English Original": "The challenge that the volatile nature of emotions poses for the researcher is arguably the reason why the academic world does not seem to have succeeded in providing a theoretical approach that can satisfactorily conclude the arguments briefly outlined above, thus making sense of and analysing adequately both feelings and emotions.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0364": {
-    "English Original": "Inevitably, despite growing attempts to harness the progress made in studying emotions to the study of the arts and their reception, we are still far from having a full grasp of the emotional dimension of artistic reception<sup31</sup .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0365": {
-    "English Original": "As the Professor of English Literature Christopher Butler (2004, p. 35) has recently pointed out in his book Pleasure and the Arts:\n\nEmotions are not just difficult to list and to categorize for critics and clinicians; they are often very difficult to name, even as they occur in ordinary experience.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0366": {
-    "English Original": "We have a current, culturally determined, rather limited ability to specify the emotions we feel.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0367": {
-    "English Original": "This may just be due to the nonavailability of a wide range of linguistic labels for particular feelings, and may be misleading.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0368": {
-    "English Original": "This awareness of the shortcoming of reason in making sense of the emotional realm is indeed deepseated in Western consciousness.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0369": {
-    "English Original": "As Csikszentmihalyi and Robinson (1990, p. 6) point out, it had already emerged in the seventeenth century, when Descartes  one of the key figures of the Scientific Revolution, who contributed to codifying reason as the most reliable tool for the attainment of true knowledge  also helped to show how little\n\n<sup31</sup Examples of work that explores, from different disciplinary perspectives, the emotional dimension of artistic production and reception that were consulted as part of this research project are: the special issue of Poetics (Vol.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0370": {
-    "English Original": "23, n. 1 & 2) devoted to the theme 'Emotions and Cultural Products'; Boruah (1988); Coplan (2004); Kivy (2006); the essays contained in Hjort & Laver (1997); Oatley and Jenkins (1996, 365374); Yanal (1999); Wood and Smith (2004).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0371": {
-    "English Original": "about human experience reason could actually explain, and how strong a hold 'interior' emotions (émotions interieures) had on us (Averill, 1996, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0372": {
-    "English Original": "IS THE AESTHETIC EXPERIENCE UNKNOWABLE?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0373": {
-    "English Original": "If we accept the view that our capacity to analyse and understand, by a process of introspection, our own feelings and emotions is indeed so limited, then we must also accept that the possibility of understanding and studying other people's feelings and the emotions aroused in them by their engagement with the arts might just be beyond our grasp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0374": {
-    "English Original": "The idea that other people's feelings and experiences might ultimately be unknowable has indeed been made.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0375": {
-    "English Original": "Virginia Woolf claimed that \"[w]e do not know our own souls, let alone the souls of others.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0376": {
-    "English Original": "Human beings do not go hand in hand the whole stretch of the way.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0377": {
-    "English Original": "There is a virgin forest in each, a snowfield where even the print of birds' feet is unknown\" (cited in Carey, 2005, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0378": {
-    "English Original": "American philosopher Robert Nozick (1968, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0379": {
-    "English Original": "maintains that unless we were able to build and use 'an experience machine' that could recreate other people's perceptions for us, the possibility of imagining how people's experiences feel 'from the inside' remains irrevocably utopian<sup32</sup .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0380": {
-    "English Original": "More recently, John Carey (2005, p. 23) has expressed scepticism about the possibility of comprehending our fellow humans' inner world, let alone study their response to art:\n\n… we have no means of knowing the inner experience of other people, and therefore no means of judging the kind of pleasure they get from whatever happens to give them pleasure.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0381": {
-    "English Original": "A very little selfexamination will tell us that the sources of our own pleasures and preferences are by no means apparent, even to us.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0382": {
-    "English Original": "In each of us there is an undiscovered country.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0383": {
-    "English Original": "<sup32</sup In fact, Nozick (1968) goes on to argue that even if such an 'experience machine' existed, there still would be much of other people's inner world of experience that we would be unable to grasp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0384": {
-    "English Original": "In Carey's (2005, p. 48) opinion, then, \"the inaccessibility of other people's consciousness, and the variability of personal responses to artworks, makes all statements about art's emotional effects suspect\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0385": {
-    "English Original": "Interestingly, denials of our capacity to penetrate other human beings' experiences have come from humanists, philosophers, literary writers and scientist alike.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0386": {
-    "English Original": "Experimental psychologist Robert L. Solso (2003), for instance, underlines the subjectivity and therefore noncommunicability  of our perceptual experience, of the arts as well as of all other aspects of human life.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0387": {
-    "English Original": "Whilst we share the same physical perceptual systems and processes, and whilst, as humans, we have enough in common to be able to broadly agree about what might be represented in a painting or a dramatic performance, what we make of such representation remains inevitably subjective and thus personal: \"Because individual perceptualcognitive experiences differ for each of us, specific interpretations of art are subjective\" (Ibid, p. 150).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0388": {
-    "English Original": "Csikszentmihalyi and Robinson (1990) come to a similar conclusion in their elaboration of a theoretical model to explain the aesthetic experience.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0389": {
-    "English Original": "They advocate caution in making generalisations about people's response to the arts:\n\n… if we expect the aesthetic experience to be a single universal reaction, like the blinking of the eyelid under strong light or the sensation of sweetness at the taste of sugar, then there is no aesthetic experience.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0390": {
-    "English Original": "But very few human experiences are that simple.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0391": {
-    "English Original": "Most events in consciousness are built from culturally defined contents as well as from personal meanings developed throughout an individual's life.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0392": {
-    "English Original": "Thus two persons can never be expected to have the same experience, and the farther apart in time and place they are, the more the details of the two experiences will differ (Ibid., p. 17).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0393": {
-    "English Original": "So, must we conclude that the aesthetic experience is ultimately unknowable and impossible to study?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0394": {
-    "English Original": "Such a view in fact seems excessive.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0395": {
-    "English Original": "We would rather suggest that the aesthetic theories discussed in part one of the paper might hold the key to a more constructive view of the aesthetic experience and our powers to comprehend it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0396": {
-    "English Original": "If we look back at the view put forward, as we have seen, by Picasso and Sartre among others and according to which the aesthetic experience can be understood as the coming together of a person and a work of art, the possibility is opened up for the study of the interaction between the two.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0397": {
-    "English Original": "If we are to understand the interaction between individual and artwork that produces the aesthetic experience, we need to know more about the artwork and the mechanisms through which it engages people, and we need to know more about the individual people that encounter that particular work of art at a particular time in their lives and at a particular time in history.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0398": {
-    "English Original": "We might never be able to fully grasp the aesthetic experience in its entirety, or to account for the interplay of conscious and unconscious impacts of engagement in the arts.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0399": {
-    "English Original": "In other words, we might never be able to know and describe what 'it feels like' for a certain individual to engage with the arts as if we were able to put ourselves through an experience machine.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0400": {
-    "English Original": "Yet, we would argue, a better understanding of the factors that shape the encounter between individual and work of art would shed some light on the nature and potential impacts of that encounter.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0401": {
-    "English Original": "The third and last section of the paper presents our suggested 'determinants of impacts' and identifies different groups of factors that can be plausibly expected to mould the aesthetic response, thus influencing the possibility that it may (or may not) result in longlasting transformations.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0402": {
-    "English Original": "Part Three: Factors that shape the response to the arts\n\nBefore moving on to discussing the categories of factors that are likely to affect people's response to the arts it is important to discuss two features of the aesthetic experience that need to be understood and taken into consideration if we are to move towards the elaboration of more rigorous methods of arts impact assessment.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0403": {
-    "English Original": "The first point that needs to be considered is that, as we have already seen, the encounter with the work of art is always a historical occurrence, both in the sense that it occurs at a historical time where certain sociallydetermined type of responses might be more acceptable than others, and also in the\n\nsense that it happens at a specific – and unrepeatable – point of the individual's personal history<sup33</sup .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0404": {
-    "English Original": "THE HISTORICAL DIMENSION\n\nIt is important to bring to arts impact assessment the awareness that the type of response generated by a certain art form or specific art works is affected by the social norms that dominate in the locality and at the time in which the aesthetic encounter takes place.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0405": {
-    "English Original": "This point is clearly elucidated by James Elkins' (2001) fascinating book on crying in front of paintings, Picture & Tears.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0406": {
-    "English Original": "The starting point of Elkins' intellectual journey is the observation that, in our present society, it is perfectly acceptable to cry at the theatre, or when reading a novel or watching a film.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0407": {
-    "English Original": "Yet, crying in front of a painting is not considered a typical response to a work of pictorial art.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0408": {
-    "English Original": "Nevertheless  in spite of what Elkins refers to as our contemporary 'lack of intensity' when observing art (p. ix)  in the past, crying in front of art was considered quite a normal reaction, as demonstrated by the collection of anecdotes contained in his book.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0409": {
-    "English Original": "As he himself (Ibid.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0410": {
-    "English Original": ",p. x) explains:\n\n It turns out that viewers cried in front of paintings in the Middle Ages and early Renaissance, and again in the eighteenth century, and again in the nineteenth, each time for different reasons and with different pictures.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0411": {
-    "English Original": "Few centuries, it seems, are as determinedly tearless as ours.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0412": {
-    "English Original": "Some people still do cry over paintings – a small group, nearly invisible in the masses of unmoved museum visitors.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0413": {
-    "English Original": "<sup33</sup Things are further complicated by the fact that for certain activities  such as, for instance, reading for pleasure  temporality is built into the experience.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0414": {
-    "English Original": "Feagin (1996, p. 31) points out that literary appreciation is a temporally extended activity: \"one progresses through a novel sequentially, and readers are only gradually exposed to various structural features, plot developments, and revelations of characters.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0415": {
-    "English Original": "[…] The fact that reading takes time structures the very possibilities inherent in (and the values of) our involvement with and experience of the medium – in short our appreciation of it\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0416": {
-    "English Original": "John Tulloch (2005, p. 7) makes a similar point with regards to theatrical performances, when he maintains that \"an audience participates in a performance processually, across a changing temporality before, during, and (sometimes long) after the performance\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0417": {
-    "English Original": "Elkins's work undoubtedly forces us to refrain from taking the exterior signs of the response to art as a clear indicator of the intensity or nature of the inner aesthetic experience.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0418": {
-    "English Original": "Indeed, if we agree that our response to a work of art happens within a framework of 'acceptable behaviour' that is determined by the culture and the historical time in which we live, we will then need to conclude that crying or staying dryeyed in front of a painting is not necessarily a marker of the intensity of the aesthetic experience.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0419": {
-    "English Original": "Is there any evidence that modern museum audiences are less moved by the beauty of a Renaissance painting than sixteenthcentury arts lovers just because they do not express the emotions instigated by the picture through tears?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0420": {
-    "English Original": "Probably not; yet considerations of the historical dimension of each and every individual's encounter with the arts reminds us of the difficulty of truly capturing the ways in which the arts affect people.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0421": {
-    "English Original": "As Susan Bennett (1997, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0422": {
-    "English Original": "points out with regard to theatrical audiences, people respond to theatre on the basis of \"culturally and aesthetically constituted interpretive processes\"<sup34</sup, which we need to understand in order to grasp the audience's experience.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0423": {
-    "English Original": "Brian Rosebury (2000, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0424": {
-    "English Original": "767) poignantly encapsulates the crucial historical dimension of the aesthetic encounter:\n\n … for each of us, objects of aesthetic attention subsist, like pearls in the ocean, in some part of a more or less rich and idiosyncratic imaginative medium, which though composed of common elements is unique for each of us because each of us is historically differently situated.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0425": {
-    "English Original": "[…] I maintain that aesthetic experience is historically contingent: each of us is situated at a unique point in space and time from which we imagine a personal and collective history, and our enjoyment of any object of aesthetic attention is capable of being influenced by associations, that is, by our locating it within some part of that imagined history<sup35</sup .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0426": {
-    "English Original": "<sup34</sup It is also important to remember that, precisely in the same way in which responses to the arts are to a significant degree shaped by accepted sociocultural norms, also the study of that response will take place within similarly constructed accepted notions of what the arts are and how they (and their effects) ought to be studied.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0427": {
-    "English Original": "For an interesting example of this, see Tompkins' (1980) historical review of changing notions of literature and literary response from Ancient Greece to the present day.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0428": {
-    "English Original": "<sup35</sup Crucially, in the same way in which accepted responses to the arts are culturally and historically shaped, the art forms themselves are also determined by the culture and social norms of a certain historical period.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0429": {
-    "English Original": "See for instance, what Sparshott (1997, p. 122) says of dance: \"Dance, if anything is, a culturally emergent entity.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0430": {
-    "English Original": "Even if there is dance in every society, and even if there are physical and social and psychological constants in human life that account for the universality of dance, what dance is in any culture or historical epoch is always something unique to its time and place, historically determined, conceptualized in\n\nRosebury's words clearly underscore the importance of exploring the dynamics which make up each individual's personal and collective history and thus contribute to determining each person's reception of a work of art.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0431": {
-    "English Original": "THE IMPORTANCE OF MOTIVATIONS AND EXPECTATIONS\n\nAs we have just seen, cultural and societal norms are central to the understanding of the aesthetic response.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0432": {
-    "English Original": "However, equally important are the set of expectations and motivations that each individual brings to bear on the artistic encounter.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0433": {
-    "English Original": "Kreitler and Kreitler (1972, p. 257) maintain that, from a psychological perspective, expectations are key in the aesthetic experience, in that they have a direct influence on the individual's responsiveness to the artistic stimulus: the higher the level of responsiveness, the more emotionally involved he or she will become, and more involvement results in a heightened aesthetic experience.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0434": {
-    "English Original": "As Parsons (1987, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0435": {
-    "English Original": "13) explains with regards to visual experiences, \"people respond to paintings differently because they understand them differently.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0436": {
-    "English Original": "They have different expectations about what paintings in general should be like, what kind of qualities can be found in them, and how they can be judged; and these expectations deeply affect their response.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0437": {
-    "English Original": "Assumptions of this kind are often implicit, not consciously brought to mind\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0438": {
-    "English Original": "If we consider the case of reading novels, we will see that here too, expectations and motivations play a central role in the reading experience.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0439": {
-    "English Original": "First of all, behind any decision to spend some time in the company of a book is the central expectation/motivation that reading will be a pleasurable experience (Nell 1988, 8).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0440": {
-    "English Original": "Secondly, the individual's attitude towards the reading process will instigate a number of expectations that influence the reading act: whether one\n\nways inseparable from the ways and views of the dancers and their reference groups, and assigned meanings peculiar to the society and culture\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0441": {
-    "English Original": "Obviously, a similar case could be made for all other art forms and subgenres.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0442": {
-    "English Original": "is reading to seek information or purely for pleasure (or for both reasons) entails different expectations of the reading experience.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0443": {
-    "English Original": "Most young people's encounter with works of literature are mediated by the school: surely whether one is reading a novel out of one's own initiative or as part of schoolwork – in other words, whether the novel represents a welcome pastime or an imposed chore – will make all the difference in the reading experience.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0444": {
-    "English Original": "Similarly, when reading in an educational context, expectations might be created by teachers and textbooks (Cole & Lindemann, 1990, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0445": {
-    "English Original": "Prior knowledge of the literature genre or the author's other work is also an important determinant of expectations, while parental attitudes towards reading have been found to influence significantly children's and adolescents' reading motivation (Baker & Scher, 2002; Van Schooten et al., 2004).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0446": {
-    "English Original": "Even a book cover, or its title, can set the reader up with certain ideas of what the reading experience might be like and how to approach a book.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0447": {
-    "English Original": "As literary critic John Mullan (2006, p. 16) argues, taking Jane Austen's Emma as an example: \"Even the most common and unremarkable kind of title, the bare name of a novel's central character, will tell us something in advance about how to read\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0448": {
-    "English Original": "In her study of theatrical audiences, Susan Bennett (1997) discusses the features that contribute to the shaping of what she refers to as the audiences' 'horizons of expectations', which play a major part in determining the nature and the quality of the theatrical experience.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0449": {
-    "English Original": "She (Ibid., p. 91) refers to a seminal study conducted in the early eighties by AnneMarie Gourdon on French theatre.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0450": {
-    "English Original": "The research looks at various aspects of the audience's perception of performances, and identifies as key the expectations shaped by the place of performance, the history of the institution or company or director, the stage environment, and by the play itself.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0451": {
-    "English Original": "To this insight, Bennett (Ibid.)",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0452": {
-    "English Original": "adds her own detailed analysis of the many factors that contribute to creating expectations in members of theatre audiences.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0453": {
-    "English Original": "She draws particular attention to the notion of 'investment in the idea of event': whether an audience member lives in a remote rural community, and therefore sees a theatrical performance as a rare treat, or whether he is an urban dweller for which a monthly show is a routine social ritual, will be crucial in determining expectations of the theatrical event.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0454": {
-    "English Original": "Whether an audience member attends a performance as a matter of regular habit, or whether the person in question is a tourist will also make a difference, for tourists tend to see the theatrical event in a much more glamorous light (Ibid., p. 101).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0455": {
-    "English Original": "Similarly, the audience member at an expensive or starstudded production might approach the performance with a sense of excitement and anticipation that might not occur for a performance of the local touring company: \"audiences are prepared to pay for (and indeed then expect) a special kind of theatrical event when icons of the profession are involved\" (Ibid., p. 100).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0456": {
-    "English Original": "Theatre critics might also have a role in shaping the reception of a theatrical performance: empirical evidence from the Netherlands would seem to show that negative reviews especially can have a strong affect on the audience's perceptions of a performance (Boorsma & Van Maanen, 2003)<sup36</sup .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0457": {
-    "English Original": "Logically, the extent to which a performance lives up to the audience's expectations (positive or negative) will also be a key aspect of the experience (Ibid., p. 100).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0458": {
-    "English Original": "The inevitable conclusion to be drawn from this discussion, therefore, is that no two spectators at a performance will bring with them the same set of expectations and motivations, and no two spectators will thus approach the theatrical event from the same standpoint.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0459": {
-    "English Original": "Any impact assessment exercise ought to be mindful of such differences and their implications.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0460": {
-    "English Original": "FACTORS THAT SHAPE THE AESTHETIC RESPONSE: A CLASSIFICATION\n\nAs mentioned in the introduction, the factors that are likely to mould the aesthetic experience, thus acting as 'determinants of impact', can be divided into three groups: those that are inherent to the individual who interacts with\n\n<sup36</sup A plausible explanation of the reason why a negative review is likely to have a stronger impact on audiences that a positive one might be that negative information in general has more influence than positive information: \"Negative information is more surprising, attracts more attention and it appears less ambiguous\" (Boorsma & Van Maanen, 2003, p. 329).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0461": {
-    "English Original": "the artwork; those that are inherent to the artwork; and those that are extrinsic to both the individual and the artwork, and which we might refer to as 'environmental factors'.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0462": {
-    "English Original": "The following section of the paper will present a discussion of each of them, although the primary focus of the analysis will be the exploration of the first group.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0463": {
-    "English Original": "FACTORS THAT PERTAIN TO THE INDIVIDUAL\n\nEarlier sections of the paper have discussed views of the aesthetic experience that revolve around the notion of the active engagement of the individual in shaping the work of art.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0464": {
-    "English Original": "If we accept this as our theoretical premise, then in order to understand what happens in the encounter between a person and an artwork, we must first understand how that particular individual engages with the work of art.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0465": {
-    "English Original": "As De Bolla (2001, p. 14) succinctly puts it, \"[e]xperience is both nachträglich, known to us after the fact, and contaminated by the myriad filters through which we perceive and come to understand both the world and ourselves\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0466": {
-    "English Original": "It is precisely on the examination of some of these filters that this subsection of the paper centres.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0467": {
-    "English Original": "Our previous discussion of the historical dimension of the response to the arts and the impacts of motivations and expectations on how we approach artworks is predicated on the understanding that every human being is the result of a complex set of variables, of a unique combination of circumstances, life experiences, cultural and social conditioning, gender and sexual orientation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0468": {
-    "English Original": "All of these factors, by shaping the subject that undergoes the aesthetic experience, effectively determine that person's response to art.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0469": {
-    "English Original": "If we want to grasp  and indeed measure  the power of cultural activities to produce social and psychological change, we need to research in greater details the role of each of these factors (and their interaction) in shaping reception.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0470": {
-    "English Original": "The factors that, we argue, can plausibly be expected to play a significant part in influencing expectation, motivations and responses to the arts are: age; gender and sexual orientation; cultural background; social class and cultural capital; emotional and psychological status.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0471": {
-    "English Original": "We will argue that, in order to capture the transformative dimension of the aesthetic encounter, a rigorous social impacts assessment method ought to account for these variables.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0472": {
-    "English Original": "AGE\n\nAs was noted above, the encounter with a work of art always has a historical dimension.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0473": {
-    "English Original": "Furthermore, if we accept that people develop over time and that, as time passes, individuals find themselves at different stages of personal development, then it seems plausible to suggest that  in the natural progression from childhood to adulthood  the developmental level of the individual will affect his or her response to the arts.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0474": {
-    "English Original": "Indeed, a number of different models of child development proposed by different scholars all seem to agree that different stages in children's cognitive development correspond to different modes of reception of the arts, and that these become more complex and sophisticated the more advanced the developmental level achieved (Fairchild, 1991; Parsons, 1987).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0475": {
-    "English Original": "If we take for example a theatrical performance, the younger audience members are likely to react and respond differently to it than older, and therefore ostensibly more mature, spectators.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0476": {
-    "English Original": "This common sense assumption is confirmed by the study of theatrical audiences carried out by Swedish theatre scholar Willmar Sauter (2000), who has devised a method for the study of theatrical reception called 'talking theatre'<sup37</sup.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0477": {
-    "English Original": "He has found age to be an important determinant in the response to performances.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0478": {
-    "English Original": "Children and younger people seem to be mostly interested in the fictional story that is presented on stage, and considerations about the quality of the production or the acting are clearly of secondary importance to a good plot.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0479": {
-    "English Original": "On the contrary, for adult audiences, the quality of the acting is the single most influential factor in determining enjoyment of the performance, irrespective of\n\n<sup37</supIn brief, this consists of eliciting comments and debate from various groups, each composed of around seven theatregoers, shortly after a performance.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0480": {
-    "English Original": "The discussion is lead by a researcher, who is in charge of stimulating the debate whilst reducing to a minimum his or her own engagement in it (Sauter, 2000, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0481": {
-    "English Original": "the type of performance and the audiences' cultural and social background.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0482": {
-    "English Original": "The age of twenty seems to be, according to Sauter's data, the dividing line when theatregoers become more sophisticated in their appreciation of theatre shows, and when acting and other theatrical qualities become more central to enjoyment of the performance (Ibid., pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0483": {
-    "English Original": "A solid, comprehensible plot, with a clear beginning, middle and end, and easilyunderstandable characters that make identification simpler are thus necessary ingredients for an enjoyable children's show<sup38</sup.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0484": {
-    "English Original": "David Wood and Janet Grant (1997), on the basis of their experience of writing, directing and producing theatre for children, agree with Sauter.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0485": {
-    "English Original": "They explain how crucial identification is for young audiences (much more, in fact, than for their adult counterparts), as this is what allows them to become emotionally involved in the action taking place on stage.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0486": {
-    "English Original": "Being able to follow the plot is therefore crucial.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0487": {
-    "English Original": "As actor Peter Duncan is quoted saying:\n\n The thing that stands out most strongly in my mind about playing to an audience only of children is the belief they have in the story and the situation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0488": {
-    "English Original": "Children can project their imaginings into reality.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0489": {
-    "English Original": "In the theatre, when you have convinced a young audience of your character's plight, the silence and stillness is deafening (Ibid., 18).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0490": {
-    "English Original": "Children's natural capacity to become emotionally involved in a good story and their tendency to identify with what is portrayed in the arts and media, obviously make them more vulnerable to the potentially harmful consequences of exposure to unsuitable images or performances.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0491": {
-    "English Original": "Evidence seems to show that media violence has a stronger impact on younger children than on older ones (Valkenburgh, 2004, p. 53).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0492": {
-    "English Original": "This is precisely because the younger the spectator, the more he or she will interpret the content of what is portrayed as real.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0493": {
-    "English Original": "Moreover, this high level of impressionability in young children is not dependent upon the type of representation, so that young elementary school children have been found to\n\n<sup38</sup Studies on reading preferences seem to suggest that the plot is also important in determining the quality of young people's reading experiences (Fisher, 1994, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0494": {
-    "English Original": "be equally affected by a violent cartoon as by a film with real actors (Ibid.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0495": {
-    "English Original": "; Cantor, 1995) 39\n\nAnother area where more research might be useful is the reception of the arts in older people.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0496": {
-    "English Original": "A Mintel (2003) survey on lifestyle changes in the UK reveals that theatre attendance has been growing significantly among women over fiftyfive years of age.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0497": {
-    "English Original": "Registering that this increase occurs in particular among separated women, the report suggests that the reason behind increased attendance rates might be the desire to socialise and enjoy cultural activities as a way to gain a new lease of life after the failure of a relationship.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0498": {
-    "English Original": "Data collected by the Office of National Statistics (ONS, 2005) on cultural participation confirms that people in their fifties and of both sexes regularly engage in the arts (more than both their younger and older counterparts).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0499": {
-    "English Original": "A possible explanation for this pattern of cultural consumption is the high disposable income available to this group, as a result of having paid mortgages and debts, and of not having dependants to support<sup40</sup .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0500": {
-    "English Original": "What is not clear, however, is what the impacts of high participation in middle age might be: will people react differently to a play or a novel at this particular stage in their life than they would have done earlier, or they might do later in life?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0501": {
-    "English Original": "While we know that age is a predictor of cultural consumption and arts attendance levels<sup41</sup, we still do not know what the implications are of having certain aesthetic experiences at a certain age instead of another.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0502": {
-    "English Original": "Furthermore, available data indicates that interest in reading for pleasure tends to decline with age (Fisher, 1994); does this mean that the reading experience becomes less gratifying as we get older?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0503": {
-    "English Original": "Or is it just one more \n\n<sup39</sup The extent to which children are likely to be affected by violence witnessed through literature and the media has been at the centre of a heated debate for decades.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0504": {
-    "English Original": "Notions of 'copycat behaviour' (Bondora & Goodwin, 2005; Pirkis & Blood, 2001) and the theorisation of the socalled 'Werther effect' (Phillips, 1985) being just examples of the research that has been carried out in this area.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0505": {
-    "English Original": "This extensive body of literature cannot, for reasons of space, be discussed satisfactorily here.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0506": {
-    "English Original": "However, it is important to point out that a body of material rejecting the allegedly damaging influence of violence in the media upon children has also been developed (see for instance, Barker and Petley, 1997), giving rise to a lively debate on the 'ill effects' (Ibid.)",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0507": {
-    "English Original": "of violent media products on children.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0508": {
-    "English Original": "<sup40</sup The report also notes, however, that once people reach retirement age, participation levels tend to drop, so that while, in 2003, 84% of those aged 45 to 54 attended at least one cultural event in the past year, the percentage drops to 47% for individuals aged 75 and over (Office for National Statistics, 2005, p. 87).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0509": {
-    "English Original": "<sup41</sup Arts Council England's 2004 study of arts attendance in England confirms this (ACE, 2004, p. 37).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0510": {
-    "English Original": "instance of life getting in the way of artistic engagement?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0511": {
-    "English Original": "We simply do not seem to have clear answers to these questions.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0512": {
-    "English Original": "Whilst the research discussed here offers interesting insights into how aesthetic preferences are shaped by age, it remains true that, as was noted earlier, understanding children's and adults' preferences does not equate to an understanding of what the aesthetic experience means or feels like for individual people, and whether experiencing the arts at different ages can result in different impacts.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0513": {
-    "English Original": "There is therefore much still to be understood about the ways in which age shapes arts reception.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0514": {
-    "English Original": "For instance, one further aspect of the relationship between age, developmental level and the response to the arts that seems to have been underexplored, is the extent to which, reencountering at a later point in life an artwork first experienced in young age might alter the original reception of the work.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0515": {
-    "English Original": "In other words, does the interpretation or the perception of a novel change if it is reread at different lifestages?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0516": {
-    "English Original": "The idea of a correlation between arts reception and age has obvious repercussions for social impact assessment and highlights the limitations of a onesizefitsall model of impact evaluation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0517": {
-    "English Original": "Especially when evaluating an arts activity that involves an audience or a cohort of mixed ages, the differences in responsemodes are likely to be significant and need to be accounted for.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0518": {
-    "English Original": "GENDER AND SEXUAL ORIENTATION\n\nLike age, gender is reputed to be an important factor in shaping cultural attitudes and attendance.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0519": {
-    "English Original": "To what extent it also shapes response, however, seems to be less clear.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0520": {
-    "English Original": "Surveys of attendance and participation in the arts all seem to register the higher participation of women in all art forms, particularly theatre (ACE, 2004; Mintel, 2003).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0521": {
-    "English Original": "Statistical data on cultural activities also points to differences in attendance patterns between the sexes, so that, for instance, women are more likely to attend craft events than men (ONS, 2005, p. 87).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0522": {
-    "English Original": "Whilst there seems consensus about the fact that women tend to be involved in more cultural activities, there is no clarity over why that is the case.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0523": {
-    "English Original": "Sauter's (2000, p. 183) empirical study of Swedish theatre audiences has tried to put to the test a working hypothesis based on the fact that women go to the theatre more often than men: \"This suggests not only that women have a different attitude towards theatre than men, but also that women might experience performances in a special way, displaying stronger empathy or using a wider range of their imagination, understanding, and emotions\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0524": {
-    "English Original": "These all seem like conceivable possibilities; nevertheless, Sauter's own empirical work could not prove true any of them, leaving unanswered the question 'does gender affect the aesthetic response, and – if this is the case – how?'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0525": {
-    "English Original": "If we consider the case of reading for pleasure, we come up with similar difficulties.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0526": {
-    "English Original": "Reading attitudes also correlate to gender.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0527": {
-    "English Original": "Women are more likely than men to attend public libraries and to buy fiction, and they tend to read more for pleasure (ACE, 2004, p. 47; Book Marketing Limited, 2002).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0528": {
-    "English Original": "Women also seem to prefer reading fiction (83% of the women sampled by ACE did so in the previous year compared to 68% of men), whilst men's preferences lie with nonfiction (56% men  46% women).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0529": {
-    "English Original": "Whilst ACE's data does not provide information on whether there are differences between the genres of fiction preferred by men and women, this might indeed be the case<sup42</sup.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0530": {
-    "English Original": "The literature on reading preferences clearly shows that already in childhood, there are marked differences between the reading tastes of boys and girls: the former prefer adventure and violent material, while the latter are oriented towards animal stories, fairytales and fiction that is based on relationships and domestic situations (Fisher, 1994, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0531": {
-    "English Original": "As Elizabeth Segel (1986, p. 165) observes: \"[o]ne of the most obvious ways gender influences our experience as readers is when it determines what books are made available to us or are designated as appropriate or\n\n<sup42</sup Flynn (1983, p. 236) points out that while extensive empirical research has been carried out on the reading preferences and behaviour of schoolage children and adolescents, we know very little about the reading patterns of mature readers (of both sexes).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0532": {
-    "English Original": "inappropriate for our reading\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0533": {
-    "English Original": "In Britain, in the early 1930s, books for children were clearly distinguished between books suitable for boys and those suitable for girls, and similar distinctions were made in America at least until the 1960s (Ibid.).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0534": {
-    "English Original": "Whilst distinctions are less marked today  and popular children's books such as the Harry Potter series have no immediately obvious gender association  children's reading preferences broadly reflect traditional views of femininity and masculinity which are still prevalent in society.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0535": {
-    "English Original": "Janice Radway's (1984) influential study of female romance readers, for instance, identifies escapism from the frustrations of everyday life as one of the principal motivations behind women's interest in romantic fiction<sup43</sup:\n\n … romances can be termed compensatory fiction because the act of reading them fulfils certain basic psychological needs for women that have been induced by the culture and its social structures but that often remain unmet in daytoday existence as the result of concomitant restrictions on female activity.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0536": {
-    "English Original": "[…] Most important, it provides vicarious emotional nurturance by prompting identification between the reader and a fictional heroine whose identity as a woman is always confirmed by the romantic and sexual attentions of an ideal male (Ibid., pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0537": {
-    "English Original": "Whilst Radway's work is useful in order to make sense of genderbased reading preferences and motivations, the question of whether  or how gender affects reading is still an open one and needs further exploration (Crawford and Chaffin, 1986).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0538": {
-    "English Original": "Similarly underresearched is the extent to which sexual orientation might contribute to shaping responses to the arts.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0539": {
-    "English Original": "For instance, sexual stereotypes attribute a special affinity for the arts to the homosexual population, on account of high participation of this group in cultural activities and their alleged overrepresentation in artistic or creative professions (Bailey & Oberschneider, 1997).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0540": {
-    "English Original": "But is sexual orientation really a crucial determinant of an interest in the arts?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0541": {
-    "English Original": "There is very little research in this area, and Lewis and Seaman (2004), whose work represents a rare exception, suggest that this\n\n<sup43</sup Usherwood and Toyne (2002) identify escapism as a prime motivation for reading in both male and female readers.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0542": {
-    "English Original": "might be due to the difficulty in obtaining the type of data required for a systematic study of differences in the response to the arts amongst sexual minorities.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0543": {
-    "English Original": "The research they carried out aimed at scrutinizing some of the most common (and stereotypical) explanations for high levels of engagement with the arts amongst lesbians, gay men and bisexuals (LGBs).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0544": {
-    "English Original": "Various theories were put to the test, including the idea that LGBs might have an innate creativity that fuels their passion for the arts, and that an interest in the arts among this group might be a side effect of the fact that, traditionally, music hall, theatres and cinemas offered a relatively safe place for homosexuals to meet and socialize (especially in the past, when nonheterosexual behaviour was considered less socially acceptable).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0545": {
-    "English Original": "Ultimately, however, Lewis and Seaman's research shows that there is no evidence to support any special connection between a homosexual or bisexual orientation and a special attitude for the arts.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0546": {
-    "English Original": "The only explanations for LGB's high art attendance that are supported by the data are that LGBs tend to have good incomes, to be single and not to have children (which means a good disposable income, more free time and less restrictions to attending the arts), and that arts venues and events tend to provide a more welcoming environment for LGBs than other alternative socialising spaces.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0547": {
-    "English Original": "So, are we to conclude that sexual orientation plays no part in shaping the way in which people encounter works of art?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0548": {
-    "English Original": "Since gender and sexuality are \"two of the most basic components of identity\", and since \"[a] perceived sense of gender and sexuality commonly helps us to understand our own or another's identity\" (Juhasz, 2004, p. 135), it would seem reasonable to propose that matters of gender and sexuality are likely to shape most realms of experience, including the reception of art.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0549": {
-    "English Original": "Kennard (1986, p. 63), for instance, suggests that we need to ask \"whether the lesbian reader is not a different reader from the heterosexual woman reader, and what it means to her and to the reading enterprise if she is\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0550": {
-    "English Original": "She does not suggest any definite conclusions, and laments the paucity of work in this area, but she also raises some interesting issues.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0551": {
-    "English Original": "For instance, if we accept that pleasure in reading is largely based on reading literature that reflects our own experience (thus facilitating identification), then we would have to conclude that the publishing\n\nworld would afford the lesbian reader limited scope for reading pleasure.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0552": {
-    "English Original": "Yet, this still leaves open to questions whether a lesbian reader interprets works of literature written by heterosexual authors differently from the heterosexual female reader.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0553": {
-    "English Original": "Furthermore, it has been argued that the ways in which we experience and express emotions are crucial to the shaping and definition of the 'gendered self' (Lupton, 1998, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0554": {
-    "English Original": "Since, as we have seen, the emotional dimension is central to the aesthetic experience, the links between gender, sexuality and emotionality ought to be further explored in the study of the aesthetic response.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0555": {
-    "English Original": "These questions are obviously very complicated ones, and their full exploration falls beyond the scope of the present paper.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0556": {
-    "English Original": "Yet what is important to highlight here is the wide and deep gap in our present understanding of the full extent and the ways in which gender and sexual orientation might affect the reception of works of art.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0557": {
-    "English Original": "CULTURAL BACKGROUND<sup44</sup\n\nDoes cultural and ethnic background affect the ways in which people engage in a work of art?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0558": {
-    "English Original": "We know that, in Britain, one of the most ethnically diverse countries in Europe, ethnicity correlates with certain attitudes and behaviours towards participation in the arts.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0559": {
-    "English Original": "Arts attendance data for England, for instance, reveal that Asian or British Asian members of the public are more likely to attend a culturespecific festival and dance performance (ACE, 2003).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0560": {
-    "English Original": "Yet, this still leaves our original question unanswered.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0561": {
-    "English Original": "Interesting insights are to be gained from the psychological and anthropological fields, where an interdisciplinary body of research has been produced on the similarities and differences in emotional meanings across cultures under the label of 'cultural psychology' <sup45</sup (Mesquita & Frijda, 1992; Russell, 1991; Shweder 1993, p. 417;\n\n<sup44</sup We are grateful to Mariaelisa Santonastaso, a doctoral student at the Institute of Health and Community Studies at Bournemouth University for pointing us towards useful references for this section of the paper.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0562": {
-    "English Original": "<sup45</sup Richard A. Shweder (1993, p. 417) defines the purpose of the field of 'cultural psychology' as follows: \"The major goals of cultural psychology are to spell out the implicit meanings that give shape to psychological processes, to examine the distribution of those meanings, across\n\nWierzbicka, 1999).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0563": {
-    "English Original": "In view of the centrality of emotions to the aesthetic experience, the insights to be gained from this work are potentially significant.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0564": {
-    "English Original": "The cultural psychology literature clearly shows that, whilst there might be some 'emotional universals', there are also remarkable differences across different cultures in how emotions are identified, defined, classified and evaluated, and even more so in the meanings they have and the social context in which they are expressed (Heelas, 1996).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0565": {
-    "English Original": "As Goldie (2000, p. 85) explains, \"[e]vidence of what is common points towards an evolutionary explanation, and evidence of diversity points towards the local influence of culture\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0566": {
-    "English Original": "Such differences in the conception and the expression of emotions are compounded by the fact that a number of cultures do not make distinctions that are central to the Western understanding of the world, such as those between 'mental' and 'physical'; 'body' and 'mind'; and 'emotion' and 'cognition' (Ibid., p. 174).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0567": {
-    "English Original": "Linguistic differences also play an important role.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0568": {
-    "English Original": "As Russell (1991, p. 426) points out, on the one hand, \"there are hints of unmistakeable similarity in the categories of emotion even across great differences in language and culture\"; on the other hand, however, there are many emotions for which equivalent terms are hard to find in different languages.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0569": {
-    "English Original": "Two typical examples are the German words schadenfreude – which refers to the pleasure that derives from another person's displeasure – and angst – which is similar, yet not fully equivalent to, the English 'dread' (Ibid.)",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0570": {
-    "English Original": "Markus (1991) further shows how people in different cultures have significantly different constructs of the self, of others, and of the interdependence between the two<sup47</sup.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0571": {
-    "English Original": "Such constructs are powerful influences\n\nethnic groups and temporalspatial regions of the world, and to identify the manner of their social acquisition\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0572": {
-    "English Original": "<sup46</sup Anna Wierzbicka (1999, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0573": {
-    "English Original": "argues that angst is indeed \"a peculiarly German concept.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0574": {
-    "English Original": "The fact that this word has been borrowed and is used in English for a different range of situations, highlights the sui generis meaning of the German Angst\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0575": {
-    "English Original": "<sup47</sup Markus (1991), for example, explains that many Asian cultures share a notion of individuality that emphasises the idea of 'relatedness' of individuals to each other.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0576": {
-    "English Original": "This entails\n\non the very nature of individual experience, including cognition, emotion and motivation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0577": {
-    "English Original": "Nevertheless, despite the growing evidence, provided by psychologists and anthropologists, on how different cultural backgrounds entail different articulations of the self, research models are still largely based on a Western understanding of the individual as an independent, selfcontained and autonomous entity.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0578": {
-    "English Original": "As a result, \"much of psychological theory and experimentation is misguided by a cultural prejudice that individual functioning is primary\" (Parkinson, 1995, p. 7) and therefore tends to focus on private and intrapsychic aspects of emotions, rather than on interpersonal factors that are likely to play a more significant role in nonWestern cultures<sup48</sup .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0579": {
-    "English Original": "This means that much is still to be understood about culturebound notions of the self and their impact on behaviour, emotion, cognition and motivation, and that even less is known about how cultural background might affect responses to the arts<sup49</sup .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0580": {
-    "English Original": "SOCIAL CLASS AND CULTURAL CAPITAL\n\nThere is substantial evidence on the connection between a person's social class, his or her cultural capital (as expressed by family background and educational attainment) and his or her cultural habits.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0581": {
-    "English Original": "All the participation and attendance surveys already cited agree that class, education and profession are, combined, clear predictors of engagements with the arts.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0582": {
-    "English Original": "The better educated, wealthy, and those employed in managerial or professional jobs\n\nthe importance, in those cultures, of looking after relatives and friends, of trying to fit in and live in harmony with the other members of the community.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0583": {
-    "English Original": "American culture, by contrast, attributes less value to the idea of the interrelatedness of people, and values more individuals who strive to maintain their independence form others, look after themselves and strive for selfexpression.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0584": {
-    "English Original": "<sup48</sup It will not come as a surprise, then, that one of the 'untranslatables' referred to above should be the Japanese notion of 'amae', which indicates a pleasant feeling of dependence on someone and has no equivalent term in the English language.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0585": {
-    "English Original": "<sup49</sup An inevitable corollary of the discussion presented in this section is that in the same way in which the aesthetic experience is not universal but is affected by cultural conditioning and shaped by the intellectual and psychological categories of one's culture, so is any exploration of the aesthetic encounter.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0586": {
-    "English Original": "Therefore, despite its ambition for academic rigour and scientific objectivity, the present enquiry into the aesthetic encounters is itself – ineluctably  born out of the research protocols and the intellectual horizon of Western academia.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0587": {
-    "English Original": "are the most regular and frequent arts attenders<sup50</sup .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0588": {
-    "English Original": "Elsewhere (Belfiore & Bennett, 2008) we have discussed in some detail theories that argue that cultural consumption and taste are a means to establish or reinforce social distinctions and to make public statements about one's social status (by distancing oneself from forms of behaviour and taste perceived to have been appropriated by the lower social strata).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0589": {
-    "English Original": "For the purposes of this paper, however, it is more interesting to explore the connections between class and educational attainment and certain patterns of cultural consumption.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0590": {
-    "English Original": "Recent research (Chan & Goldthorpe, 2005; Roberts, 2004) shows that the traditional association of higher social status with consumption of 'high art' might now be outdated.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0591": {
-    "English Original": "The middle and upper classes, in fact, distinguish themselves by the consumption of a broad range of cultural products, which encompasses the whole spectrum of high, middle and lowbrow culture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0592": {
-    "English Original": "As Roberts (2004, p. 65) puts it, \"the middle classes do more of most things\", from going to the opera and the theatre more often than the lower classes, to spending more on alcohol consumption and gambling.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0593": {
-    "English Original": "Indeed, Chan and Goldthorpe (2005) suggest that a person's breadth of artistic interests and cultural engagement is a reliable marker for higher social status.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0594": {
-    "English Original": "They distinguish between 'omnivores'  whose hunger for culture is satiated through a combination of high and low cultural activities, and who tend to belong to the welleducated middle class  and 'univores', who tend to stick to a single preferred genre, whose engagement tends to be restricted to more popular forms, and who are likely to belong to the lower social groups.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0595": {
-    "English Original": "Things are further complicated by the fact that social norms and distinctions have become incorporated in the broader cultural values of society, and embodied in its cultural institutions (with the implication that alternative or competing aesthetic values are relegated to a secondary role).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0596": {
-    "English Original": "In his seminal studies of popular theatre, the playwright John McGrath (1981, p. 3) makes a\n\n<sup50</sup In addition to the audience surveys cited so far, see: Aschaffenburg and Maas, 1997; Bennett, 2005; Bourdieu, 1984; Chan & Goldthorpe, 2005; Di Maggio, 1996; KatzGerro, 1999; Morrison & West, 1986; Roberts, 2004.\n\ncompelling case for the predominance of bourgeois aesthetic values in mainstream theatre:\n\n My belief, and the basis of my practice as a writer in the theatre for the last ten years, has been that there are indeed different kinds of audiences, with different theatrical values and expectations, and that we have to be very careful before consigning one audience and its values to the critical dustbin.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0597": {
-    "English Original": "Unfortunately, almost all the current assumptions of critical thought do precisely that, by universalizing whitemiddle class sensitive but sophisticated taste to the status of exclusive arbiter of a true art and culture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0598": {
-    "English Original": "McGrath's observations, then, contribute to explaining the correlation between, class, educational attainment and engagement in traditional art forms which represent official (or  as McGrath would probably put it – bourgeois) culture and its aesthetics.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0599": {
-    "English Original": "Indeed, since Bourdieu's development of the concept of 'cultural capital'<sup51</sup to indicate the type of resource which one acquires principally through one's family background and the process of schooling, studies of the influence that different levels of cultural capital have on people's experience of the arts have been numerous.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0600": {
-    "English Original": "There appears to be a certain degree of disagreement among scholars over which of the two main determinant of cultural capital  family environment or education  is more influential in shaping patterns of cultural consumptions.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0601": {
-    "English Original": "Some have empirically established links between educational levels and higher arts participation rates and therefore consider educational attainment as the principal predictor of cultural consumption (Aschaffenburg & Maas, 1997; Gray, 1998; Kracman, 1996; Morrison & West, 1986).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0602": {
-    "English Original": "Others (Roberts, 2004; Van Eijck, 1997), on the contrary, argue that the cultural capital and habits transmitted by the family of origin have more influence on cultural consumption than educational success.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0603": {
-    "English Original": "Van Eijck (1997, p. 196) explains that \"[f]amily socialization is thought to inculcate a (class) specific habitus which determines one's attitude towards the arts, and thereby one's degree of\n\n<sup51</sup Van Eijck (1997, p. 197) summarises the concept of cultural capital as follows: \"Cultural capital refers to good taste, appropriate manners, cognitive sophistication, and knowledge of, and receptivity to, legitimate cultural products (such as art, classical music, theatre and literature)\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0604": {
-    "English Original": "cultural participation, to a considerable extent\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0605": {
-    "English Original": "Roberts (2004) suggests that this might occur because middle and upper class parents are more likely to be involved themselves in a wide range of cultural activities, and that this early exposure might create an unconscious predisposition for the arts: \"Children in middleclass homes are introduced to the widest ranges of leisure experiences […] although school education may moderate it never obliterates the leisure effects of family background\" (Ibid., pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0606": {
-    "English Original": "The correlation between cultural capital and levels of engagement with the arts have been indisputably demonstrated, yet, there seem to be less research carried out that explores the possibility that cultural capital might not just affect the regularity and variety of cultural consumption but also the nature and quality of the aesthetic experience.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0607": {
-    "English Original": "Research into the visual arts seems to suggest that 'cultural competence'<sup52</sup  or the capacity to read and interpret correctly a work of art  which is tightly linked to cultural capital, has a central role in determining the quality of the aesthetic experience (Kesner, 2006; Smith & Wolf, 1996).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0608": {
-    "English Original": "As Kesner (2006, p. 5) explains with regards to the museum experience, \"[i]ndividual variations in such competence significantly determine the different levels of engagement, ranging from repeated and skilled users to casual consumers, who tend to disperse the object (art) experiences within a broad range of other recreational experiences that the museums has to offer\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0609": {
-    "English Original": "Studies that compare the aesthetic judgement of art experts and those of nonexperts have indeed shown that there are vast differences between the two group's reaction to paintings (Hekkert & Van Wieringen, 1996).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0610": {
-    "English Original": "Such\n\n<sup52</sup Like 'cultural capital', the notion of 'cultural competence' was also first elaborated by Bourdieu (1993), who defines it as follows: \"Artistic competence is … defined as the previous knowledge of the strictly artistic principles of division which enable a representation to be located, through the classification of the stylistic indications which it contains, among the possibilities of representations constituting the universe of art and not among the possibilities of representation constituting the universe of everyday objects or the universe of signs, which would amount to treating it as a mere monument, i.e.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0611": {
-    "English Original": "as a mere means of communication used to transmit a transcendent signification\" (pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0612": {
-    "English Original": "At the heart of cultural competence is the capacity to read a work of art and note its distinctive stylistic features in relation to the ensemble of the artworks that belong to the same category.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0613": {
-    "English Original": "This capacity, in turn, requires an early exposure to the arts and regular later engagement with them, previous knowledge and intellectual sophistication – or, in other words, cultural capital.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0614": {
-    "English Original": "differences are usually explained in terms of the different weight that experts and lay people attribute to specific features of the artworks.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0615": {
-    "English Original": "Lay viewers tend to base their judgements on the content or theme of the paintings, and indeed show a preference for realistic and figurative works over abstract ones.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0616": {
-    "English Original": "This is because the nonexperts consider their enjoyment of the artwork as germane to everyday perception, where the search for useful information is crucial (hence the preference for figurative artworks which appear easier to interpret).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0617": {
-    "English Original": "Experienced and competent art observers, on the other hand, give more weight to formal, stylistic and relational properties of the work of art in their value judgements (Hekkert & Van Wieringen, 1996, p. 391).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0618": {
-    "English Original": "The originality of a painting in particular, was found to be highly more significant for art experts in shaping perception of the overall quality of the artwork (Ibid.).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0619": {
-    "English Original": "It seems reasonable to conclude, then, that competence might be an important factor in determining the richness and therefore the intensity of the artistic experience.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0620": {
-    "English Original": "2178) discussing the centrality of competence – especially in the encounter with the high arts  suggests that inadequate competence is likely to result in a limited experience:\n\n … faced with scholarly culture, the least sophisticated are in a position identical with that of ethnologists who find themselves in a foreign society and present, for instance, at a ritual to which they do not hold the key.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0621": {
-    "English Original": "The disorientation and cultural blindness of the lesseducated beholders are an objective reminder of the objective truth that art perception is a mediate deciphering operation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0622": {
-    "English Original": "Since the information presented by the works exhibited exceeds the deciphering capabilities of the beholder, he perceives them as devoid of signification – or, to be more precise, of structuration and organization – because he cannot 'decode' them, i.e.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0623": {
-    "English Original": "reduce them to an intelligible form<sup53</sup .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0624": {
-    "English Original": "<sup53</sup We would suggest, however, that in the contemporary cultural context, the issue of competence is not limited to the traditional high arts.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0625": {
-    "English Original": "Certain forms of contemporary artistic creation, such as digital art, or even certain forms of popular music (e.g.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0626": {
-    "English Original": "hip hop and rap) have their own codes that have to be mastered if the specific cultural object is to be fully understood, and therefore require their own brand of cultural competence.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0627": {
-    "English Original": "Similarly, writing about 'media competence', Abercrombie and Longhurst (1998, p. 119) note that \"[m]odern societies take the media so much for granted that it is easy to forget that the appropriation of the media also does involve the learning of skills of various kinds\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0628": {
-    "English Original": "This appears to confirm our hypothesis that different levels of cultural competences entail great differences in the cognitive and aesthetic quality of the reception of art.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0629": {
-    "English Original": "It is plausible to assume, indeed, that those individuals who have not managed to master the complex cultural code that deciphering art (both 'high' and 'low') requires, will not have the opportunity to have an aesthetic experience as rich and fulfilling as that of those who master the code, and for whom engaging in the arts is not a foreign ritual but a rewarding experience.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0630": {
-    "English Original": "EMOTIONAL AND PSYCHOLOGICAL STATUS\n\nThroughout this paper we have emphasized the centrality of the emotional sphere to the aesthetic experience.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0631": {
-    "English Original": "It is therefore only logical to hypothesize that the emotional and psychological condition of the person engaging with the artwork is likely to have an effect on the reception of that artwork, thus determining whether short or longterm impacts will originate from the aesthetic encounter.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0632": {
-    "English Original": "Elsewhere (Belfiore & Bennett, 2008), we have discussed in detail notions of the healing powers of the arts.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0633": {
-    "English Original": "By identifying its origins in Aristotle's theory of dramatic catharsis and following its evolution over the centuries, we have traced the intellectual development or the kernel of ideas that has later developed into artbased therapies: art therapy, bibliotherapy and poetry therapy, cinematherapy and creative writing as a means of dealing with illness, grief, and other forms of emotional trauma.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0634": {
-    "English Original": "Whilst the scientific evidence is not conclusive, the medical establishment seems, to a large extent, to have accepted the idea that arts activities can have a beneficial therapeutic function (often in conjunction with medication) in alleviating the symptoms of mild psychological pathologies (such as, for instance, minor depression) (Madden & Bloom, 2004).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0635": {
-    "English Original": "However, it is also important to explore the effects that mood and temporary psychological conditions have on the aesthetic experience of psychologically healthy people.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0636": {
-    "English Original": "In other words, if we really are to understand how the arts affect people, we need to consider the possibility that mood and emotional status\n\nmight filter the perception and reception of the arts, and therefore enhance or inhibit the possibility of impact.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0637": {
-    "English Original": "For instance, would a book read when in a condition of sadness have a different impact if that same person had read it when in a cheerful disposition?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0638": {
-    "English Original": "If the answer to this question were to be positive, then we would necessarily have to acknowledge that the possibility of generalising about the impacts of a certain art work or art experience on even a single individual might be undermined, on account of the extreme variations which psychological factors determine:\n\n If one is distracted, sad or in a silly mood, one's experience will be affected.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0639": {
-    "English Original": "Indeed, psychological influences have a huge effect on the way that we take in the contents of our experiences, the way we meaningfully shape them, and the way we record them in our memories.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0640": {
-    "English Original": "If one is distracted enough, what might at another time constitute a very powerful experience might on this viewing constitute a minor, even forgettable, experience.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0641": {
-    "English Original": "If one feels sufficiently negative or negatively critical, what might be the substance of a very valuable experience might go entirely unnoticed (Fenner, 2003, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0642": {
-    "English Original": "Furthermore, as Hogan (2003, p. 158) points out with regards to reading, \"personal memories are crucial to our emotional response to literature\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0643": {
-    "English Original": "It is likely that whether the memories activated by the act of reading bring with them positive or negative, sad or happy associations will be a contributing factor to shaping the reading experience.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0644": {
-    "English Original": "However, as Fergin (1996, p. 66) remarks, \"many ways in which past experiences affect how new stimuli are processed and what cognitive, emotional and affective connections they have are characteristically not accessed by, and often not even accessible to, conscious awareness\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0645": {
-    "English Original": "She further (Ibid., p. 67) observes that what is accessible to our awareness  in the form of a perception, idea, or experience  is only effectively the outcome of a very complex psychological process.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0646": {
-    "English Original": "This translates into as of yet unresolved difficulties for arts impact assessment: is it possible to develop methodological tools that can contend with (and take into consideration) the complexity of the emotional dimension in the aesthetic encounter?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0647": {
-    "English Original": "Can arts impact assessment ever aspire to capture the unconscious dimension of the artistic experience and manage to evaluate impacts of which the individual might have no awareness?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0648": {
-    "English Original": "In addition to psychological health, the questions raised by the potential effect of physical illness or disability over the response to art need to be further explored.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0649": {
-    "English Original": "As LeVasseur (1999) points out, \"[a] patient's negotiation of his or her illness can be a powerful experience that is dramatically different from the flow of ordinary, less reflective life.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0650": {
-    "English Original": "Sometimes it is only at moments of illness that patients stop to reflect, to take stock of their life, and so become newly awakened to life and to experience\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0651": {
-    "English Original": "The medical literature seems indeed to agree that disability and serious illness can have a profound effect on a person's sense of self (De Rozario, 1997; Frank, 1993).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0652": {
-    "English Original": "In particular, illness and disability have been found to induce a refashioning of the self that can happen in several ways, such as, for instance, by encouraging spiritual or religious transformation (De Rozario, 1997; Nosek & Hughes, 2001).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0653": {
-    "English Original": "The English poet John Donne, in his Devotions upon Emergent Occasions (1623) described his illness as a process of selfchange centred around a rekindling of his religious faith (Frank, 1993, p. 39).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0654": {
-    "English Original": "The loss of selfrecognition that can follow from serious illness (and the need to regain or recreate it) is the prime agent behind the process of selfrefashioning that takes places in the affected individuals.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0655": {
-    "English Original": "As medical ethicist William May explains:\n\n If the patient revives after such [life threatening] events, he must reconstruct afresh, tap new power, and appropriate patterns that help define a new existence.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0656": {
-    "English Original": "One cannot talk simply of a new accessory [prosthesis] here, a change of venue there, but … of a new Phoenix that must emerge form the ashes (cited in Frank, 1993, p. 40).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0657": {
-    "English Original": "This process of reconstruction of the self is further complicated by the fact that different types of illness will affect the self in different ways.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0658": {
-    "English Original": "Research shows that illnesses that are accompanied by social stigma (such as HIV/AIDS) have a stronger negative impact on the self, on the grounds that the stigma entails \"membership in a social category that results in a spoiled identity setting the individual apart from others\" (Fife & Wright, 2000, p. 50).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0659": {
-    "English Original": "Whilst there does not seem to be much research carried out on the correlation between these processes of selfchange and selfrefashioning as a result of illness and disability and changes in the response to the arts, it is\n\nonly reasonable to assume that dramatic changes to an individual sense of self and identity will also be reflected in the ways in which he or she interacts with the arts.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0660": {
-    "English Original": "FACTORS THAT PERTAIN TO THE ARTWORK\n\nHaving characterised the aesthetic experience as the result of the encounter between an individual and a work of art, and having looked at the social and psychological aspects that can determine the individual's reception of art, it logically follows that the characteristics of the artwork are also central to the moulding of the art experience.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0661": {
-    "English Original": "We have seen already how, for particular cohorts, stylistic features determine the quality of the experience, while for others semantic features, such as plot and content, are paramount.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0662": {
-    "English Original": "Our earlier discussion of the differences in the reception of theatrical performances between adults and children is a case in point.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0663": {
-    "English Original": "It is therefore reasonable to postulate that the different qualities of artworks, their different formal, structural, and semantic characteristics, as well as the social practices that accompany their consumption, will have to be taken into account in arts impact assessment.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0664": {
-    "English Original": "For example, comparing the experiences of attending theatrical performances and reading novels highlights the difficulties that are inherent in the attempt to compare a highly sociable cultural activity, which takes place in public spaces, with a largely private pursuit, which tends to take place in the more private sphere of the home or – even when reading in public places is considered – is based on the solitary enjoyment of a text (Abercrombie & Longhurst, 1998, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0665": {
-    "English Original": "Bennett's (1997, p. 153) study of theatre audiences highlights the centrality of the social dimension to the theatrical experience and the effects that it is likely to have on reception: \"Semiotic analysis has stressed that the communication between spectators usually determines a 'homogeneity of response' [… ] despite variations in horizons of expectations and/or cultural values brought to the theatre by the\n\nindividual spectator.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0666": {
-    "English Original": "In almost all cases laughter, derision, and applause is infectious\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0667": {
-    "English Original": "Given that there is a significant variation in the characteristics that make up even objects belonging to the same art form, issues of commensurability inexorably arise.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0668": {
-    "English Original": "In the context of arts impact assessment, it is necessary to ask whether it is possible to identify a connection between specific types of content or specific stylistic characteristics of the art form being evaluated and certain effects on audiences and readers.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0669": {
-    "English Original": "For example, in the case of the impacts of the novel, we ought to be able to articulate how different novels might have different impacts on people.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0670": {
-    "English Original": "In an interesting empirical study, Harold Miesen (2004) has investigated the correlation between levels of appreciation of various text attributes that contribute to the complexity of novels (e.g.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0671": {
-    "English Original": "storyline, characters, place, time and writing style) and the preference for literary or popular novels.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0672": {
-    "English Original": "His findings show that \"readers of literature are distinct from readers of romance in that they appreciate figurative language, several primary plot lines and sidelines, and frequently changing story perspective\" (Ibid., p. 53).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0673": {
-    "English Original": "Readers of romance, on the other hand, prefer to be engrossed by a simpler plot and prefer to avoid linguistic complexity (as confirmed by their reading material of choice)<sup54</sup .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0674": {
-    "English Original": "However, differences in the reading experience do not relate simply to hierarchies between 'high' and 'low' cultural products: even within the category of 'literary fiction' one can expect to find a diverse range of material that is likely to affect people differently.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0675": {
-    "English Original": "In order to understand the potential transformative powers of the novel, it is thus important to develop means of articulating the different social impacts that might accrue from subsections of the same literary genre.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0676": {
-    "English Original": "If we consider, again, the genre of the 'literary novel', we cannot but be struck by the diversity of the books that are brought together under that label.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0677": {
-    "English Original": "Novels as diverse as Jane Austen's Pride and \n\n<sup54</sup Miesen (2004, p. 53) refers to the work of Whissel, who has conducted an analysis of differences in word usage between romance and adventure novels.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0678": {
-    "English Original": "Her work reveals that romance novels tend to employ more commonly used words and present more word repetitions than adventure novels.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0679": {
-    "English Original": "Hence, Mieser's suggestion that, linguistically, romances are less complex than literary novels and require less effort from the reader.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0680": {
-    "English Original": "Prejudice, Michel Houellebecq's Platform, James Joyce's Ulysses, Vladimir Nabokov's Lolita, Bret Easton Ellis' American Psycho are all classified as literary fiction, yet are the experiences of reading these books genuinely commensurate?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0681": {
-    "English Original": "Can we legitimately talk of 'the impacts of the novel', or would this entail an unsustainable generalization?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0682": {
-    "English Original": "One further obstacle to easy associations between certain art forms and their potential impacts is represented by the blurring, in today's complex cultural environment, of the boundaries between art forms.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0683": {
-    "English Original": "If we stick with the example of the novel, the difficulties in defining clearly what we are trying to understand the impact of become clear.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0684": {
-    "English Original": "Video games are increasingly being described as 'fictional forms', 'game fiction', and 'computerbased narrative forms' (Atkins, 2003); where, then, shall we draw the line between the novel and other narrativebased art forms?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0685": {
-    "English Original": "In the age that has seen the progressive development and popularity of 'mixed media arts' and 'cross art forms', such definitional difficulties have clear and important implications for arts impact assessment, and for the question of generalising findings across art forms when discussing people's experience of the arts.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0686": {
-    "English Original": "These issues fall beyond the scope of the present paper, but they will be the object of more indepth investigation in the next phase of our research.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0687": {
-    "English Original": "ENVIRONMENTAL FACTORS\n\nWe have already discussed the historical dimension of the aesthetic experience: the encounter with an artwork happens at a certain historical time, and it is deeply affected by the cultural and social norms that are prevalent at the time.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0688": {
-    "English Original": "In his study of theatrical audiences, Sauter (2000, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0689": {
-    "English Original": "9 10) highlights the significance of 'context' for both the presentation and the reception of a performance.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0690": {
-    "English Original": "He identifies four types of contexts, the first three of which are those more closely linked to the theatrical sphere:\n\n The conventional context, indicating the traditions and features of a theatre world in a certain place and a certain time; the structural context, describing the organization of theatre in a society (subsidies,\n\nlocations, legal frames, etc.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0691": {
-    "English Original": "); and the conceptual context, reflecting the ideology which society expresses in relation to theatre, such as the functions of theatre as a means of entertainment, propaganda, or education and the political consequences emanating from the ideological positions, attitudes, and value of journalists, politicians, theatre practitioners, and theatre scholars.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0692": {
-    "English Original": "The fourth and last type of context indicated by Sauter as worthy of consideration is the cultural context, which includes aspects such as education, history, religion, eating and drinking habits, etc., and marks the interdependence of theatre and other art forms as part of a coherent cultural whole.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0693": {
-    "English Original": "In his already mentioned study of British popular theatre, John McGrath (1981, p. 5), points out that, in order to achieve a comprehensive description of the theatrical event, one needs not only to consider the elements that pertain to the miseenscène (casting, music, lighting, etc.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0694": {
-    "English Original": "), but also:\n\n … the nature of the audience, the nature, social, geographical and physical, of the venue, the price of tickets, the availability of tickets, the nature and placing of prepublicity, where the nearest pub is, and the relationships between all these considerations themselves and of each with what is happening on stage.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0695": {
-    "English Original": "For when we discuss theatre, we are discussing a social event, and a very complex social event, with a long history and many elements, each element also having a long and independent history.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0696": {
-    "English Original": "The physical environment in which the aesthetic encounter takes place, in particular, can have a significant effect on the quality of the experience.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0697": {
-    "English Original": "Whilst Bennett (1997) laments the paucity of studies in this area, the existing research seems to demonstrate the impacts of physical environment, and particularly architecture, on the aesthetic experience (Ibid., pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0698": {
-    "English Original": "Bennett's essay, for example, discusses the way in which theatrical architecture can affect the audience's reception and interpretation of theatrical events.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0699": {
-    "English Original": "This effect takes place, in traditional theatres, as a result of the 'tyranny of architectural grandeur', exemplified by the solemn and grandiose\n\nfacades of many older theatre buildings, which highlight how these institutions represent official high culture (thus requiring a certain reverence and a respectful attitude from the audience)<sup55</sup.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0700": {
-    "English Original": "For nontraditional forms of theatre that are usually staged in nontraditional theatrical spaces, however, the influence of architecture on the audience's experience is likely to be less marked.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0701": {
-    "English Original": "Similarly, the empirical data gathered by Bourdeau and Chebat (2001) shows that the physical characteristics of the display galleries in art exhibitions (which include the location of the works of art in the gallery space, their labels and display fittings, etc.)",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0702": {
-    "English Original": "not only affect the ways in which visitors move around the gallery, but can actually affect the visitors' interest in the artworks.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0703": {
-    "English Original": "Bourdeau and Chebat also show how architectural aspects that might appear of secondary importance – such as the location of the entrances and exits to the display area  do in fact condition the level of attention paid by visitors to the works on display (Ibid., p. 64).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0704": {
-    "English Original": "Carù and Cova (2005), on the basis of their study of audiences attending a classical music performance, conclude that the architecture of the auditorium, the person's location in it (in a good/bad, comfortable/uncomfortable seat), and the behaviour of other members of the audience are central to determining the quality of the experience.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0705": {
-    "English Original": "Indeed, as Wood and Smith (2004, p. 539) observe, \"all performance spaces, whether concert halls, football stadiums or public parks, are distinctive in allowing people to experience themselves and others in 'different' and emotionally intensive ways\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0706": {
-    "English Original": "In other words, the physical environment of the space in which the aesthetic encounter takes place is not the only type of 'enviromental' factor that impact assessment ought to consider, for the interactions between the people that find themselves enjoying the art work together also have a bearing on the experience.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0707": {
-    "English Original": "As Christopher Small (cited in Wood & Smith, 2004, p. 539) puts it:\n\n<sup55</sup See for instance, the empirical research carried out by Reason (2006, p. 229) on young people's experiences of live theatre, and how one of the predominant and most recurring memories of the interviewees was \"of the large and glitzy chandelier hanging in the centre of the auditorium\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0708": {
-    "English Original": "It is clear from Reason's work that the glamour of the theatre had both an exciting and intimidating effect on the young audience.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0709": {
-    "English Original": "We are prepared to laugh, to weep, to shudder, to be excited, or to be moved to the depth of our being, all in the company of people the majority of whom we have never seen before, to whom we shall probably address not a word, or a gesture, and whom we shall in all probability never see again.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0710": {
-    "English Original": "A fascinating exploration of the public nature of the theatrical experience is offered by Matthew Reason's (2005 and 2006) study of the ways in which young people experience live performance.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0711": {
-    "English Original": "The interviews and the workshops that were carried out as part of the research revealed that, for the young people who had attended a performance of Shakespeare's Othello, the annoyance with, constant awareness of and fascination with fellow spectators in the audience was a significant element of the theatrical experience.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0712": {
-    "English Original": "Whilst the public nature of the performance was perceived as a source of enthrallment and excitement for the youngsters interviewed, it seemed also to induce a discomforting sense of selfawareness and, in those with little previous experience of the theatre and its 'etiquette', a feeling of social and emotional awkwardness.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0713": {
-    "English Original": "These observation lead Reason (2005, p. 7) to conclude that:\n\n This perception of other people looking and judging you makes the theatre auditorium a fairly exposed and intimidating space.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0714": {
-    "English Original": "For some young people the result was a sense that the Lyceum Theatre was not a place for them and that they didn't belong there.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0715": {
-    "English Original": "For others it provoked a level of selfconsciousness that prevented them from relaxing and meant that their focus was on the social experience of being in the audience rather than on watching the performance on the stage.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0716": {
-    "English Original": "These observations, thus, seem to confirm the point made by Fenner (2003, p. 50) on the importance that factors which apparently have nothing to do with aesthetics can have in the construction of aesthetic experiences.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0717": {
-    "English Original": "Whether one is a seasoned theatregoer, whether one happens to be seated comfortably in a theatre, whether one's neighbours are quiet or noisy can significantly alter our perception of a performance and our response to it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0718": {
-    "English Original": "CONCLUSIONS\n\nThe premise on which the intellectual exploration presented in this paper is based is that, if we want to be able to develop robust methodologies for assessing and measuring the ways in which the arts impact on people, we need a better understanding of the aesthetic experience.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0719": {
-    "English Original": "We need a clearer picture of what the aesthetic experience is, what its constitutive cognitive and emotional elements are, and what the factors which contribute to shaping it might be.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0720": {
-    "English Original": "This paper has attempted to throw some light on these areas.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0721": {
-    "English Original": "It has first interrogated theoretical elaborations of the aesthetic experience, and discussed shifting notions of the role of the audience in the aesthetic encounter.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0722": {
-    "English Original": "Empirical attempts to understand the cognitive and behavioural dynamics of the artistic encounter produced within both the natural and social sciences have been reviewed, and we have argued that there are inherent limitations to the possibility of obtaining a full picture of the aesthetic experience through these kinds of study.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0723": {
-    "English Original": "While the extant empirical research can illuminate some of the basic cognitive and emotional mechanisms behind the aesthetic experience, it falls short of capturing the aesthetic experience in its totality and fails to account for its complexity and richness.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0724": {
-    "English Original": "We have therefore proposed an alternative multidisciplinary approach that strives to combine, and thus maximise, the contribution that different disciplines bring to the exploration of the artistic experience.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0725": {
-    "English Original": "Through this holistic approach, we have put forward and discussed three groups of factors that we suggest are likely to influence the response to the arts.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0726": {
-    "English Original": "We have argued that any rigorous attempt to evaluate the impact of the arts ought to encompass an assessment of the weight of these factors in shaping impacts.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0727": {
-    "English Original": "The analysis presented is by no means exhaustive and represents more of an exploratory exercise than a definitive account.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0728": {
-    "English Original": "In fact, one of the principal aims of the paper is to offer a reflection upon the complexities of the aesthetic experience.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0729": {
-    "English Original": "Central to this task is an acknowledgement of the challenges, both theoretical and empirical, that the investigation of the aesthetic experience poses, and the difficulties that, as a consequence, inevitably arise from the attempt to capture, describe and measure its potential impact.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0730": {
-    "English Original": "As Fenner (2003, p. 41) puts it:\n\n Aesthetic experiences are, first, experiences.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0731": {
-    "English Original": "They are complex things, having to do with things as tidy as the formal qualities of the object under consideration and with things as messy as whether one had enough sleep the night before, whether one just had a fight with his roommate, whether one is carrying psychological baggage that is brought to consciousness by this particular aesthetic object.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0732": {
-    "English Original": "Indeed, the picture that emerges from our research emphasises the multidimensionality, the subjectivity and the unpredictability of encounters with the arts.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0733": {
-    "English Original": "We have identified and discussed the psychological and sociocultural factors that define the contours of these encounters and it is only by considering the interplay of all these variables that we can hope to capture the aesthetic experience in its intricacy.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0734": {
-    "English Original": "Clearly, any attempt to develop a meaningful methodology for assessing the impact of the arts is going to have to take account of these complexities.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0735": {
-    "English Original": "This, of course, raises the question of whether, given the limitations of empirical research, such a methodology can  be developed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0736": {
-    "English Original": "Indeed, given the variables we have identified, within the arts themselves and across the diverse populations that engage with them, the paper raises questions about whether any meaningful generalizations can actually be made about the social impact of the arts.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0737": {
-    "English Original": "This clearly has implications for the practice of arts impact assessment.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0738": {
-    "English Original": "In the course of the paper, we have rejected the view, endorsed by John Carey amongst others, that an individual's experience of the arts is simply not accessible to others<sup56</sup.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0739": {
-    "English Original": "We therefore reject the proposition that the aesthetic experience irrevocably belongs to the realm of the unknowable.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0740": {
-    "English Original": "In fact, one of the aims of the paper is to provide a clearer picture of what is already known about the aesthetic encounter and what is still to be fully understood or has been so far underresearched.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0741": {
-    "English Original": "However, from the investigations we have undertaken, we know enough of the complexities involved to conclude safely that it is not possible to develop a rigorous protocol for the assessment of the impacts of the aesthetic experience that can be boiled down to a handful of bulletpoints and a userfriendly 'evaluation toolkit', to be easily applied to any art form in any setting and replicated whenever the need for impact evaluation arises.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0742": {
-    "English Original": "The most useful contribution that this paper, and the research project as a whole, can therefore perhaps be said to make to the debate about the social impact of the arts, is to foster a more critical and a more cautious approach.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0743": {
-    "English Original": "Indeed, its importance may lie in putting to rest, finally, the idea that the value of the arts to society can somehow be conclusively 'proved' through an intellectually convincing demonstration of their social impact.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0744": {
-    "English Original": "We shall return to this question in the final phase of the project, when we will consider the full implications of our research for arts policy and the role of arts impact assessment within it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0745": {
-    "English Original": "<sup56</sup It should be noted that Carey himself does not appear wholly convinced of his own conclusion on this issue.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0746": {
-    "English Original": "Having spent a good half of his What Good Are the Arts?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0747": {
-    "English Original": "(2005) on denying the possibility of making judgements, or even forming opinions, on others' encounters with the arts, he then delivers a peroration on the transformative and ameliorative effects that reading fiction has on young offenders, confidently pronouncing (but in clear contradiction of his own premise) on their emotional involvement in the novels and their inner reception of them.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0748": {
-    "English Original": "Bibliography\n\nAbercrombie, N. & Longhurst, B.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0749": {
-    "English Original": "Anderson, K. & Smith, S, J.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0750": {
-    "English Original": "Transactions of the Institute of British Geographers, 26(1), 710.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0751": {
-    "English Original": "Ambition for the Arts 20032006, London: Arts Council England.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0752": {
-    "English Original": "Focus on Cultural diversity: The arts in England.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0753": {
-    "English Original": "Attendance, participation and attitudes, London: Arts Council England.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0754": {
-    "English Original": "Arts in England 2003: Attendance, participation and attitudes, London: Arts Council England.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0755": {
-    "English Original": "Aschaffenburg, K & Maas, I.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0756": {
-    "English Original": "(1997) Cultural and educational careers: the dynamics of social reproduction.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0757": {
-    "English Original": "American Sociological Review, 62(4), 573587.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0758": {
-    "English Original": "More Than a Game: The computer game as fictional form.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0759": {
-    "English Original": "Manchester: Manchester University Press.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0760": {
-    "English Original": "Averill, J. R. (1996).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0761": {
-    "English Original": "Intellectual emotions, in R. Harré & W. G. Parrott (Eds.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0762": {
-    "English Original": "), The Emotions: Social, cultural and biological dimensions (pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
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-    "English Original": "Bailey, J. M. & Oberschneider, M. (1997).",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0764": {
-    "English Original": "Sexual orientation and professional dance.",
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-    "Has PaintingCLIP Embedding": true
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-    "English Original": "Archives of Sexual Behaviour, 26(4), 433443.",
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-    "Has PaintingCLIP Embedding": true
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-    "English Original": "Baker, L. & Scher, D. (2002).",
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-    "Has PaintingCLIP Embedding": true
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-    "English Original": "Beginning readers' motivation for reading in relation to parental beliefs and home reading experiences.",
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-    "Has PaintingCLIP Embedding": true
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-    "English Original": "Reading Psychology, 23(4), 239269.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0769": {
-    "English Original": "Barker, M. & Petley, J.",
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-    "Has PaintingCLIP Embedding": true
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-  "W1989549616_s0770": {
-    "English Original": "Ill Effects: The media/violence debate, London and New York: Routledge.",
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-    "Has PaintingCLIP Embedding": true
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-    "English Original": "The social impacts of the arts myth or reality?, in M. Mirza, M.",
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-    "Has PaintingCLIP Embedding": true
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-    "English Original": "), Culture Vultures: Is UK arts policy damaging the arts?",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0773": {
-    "English Original": "2037), London: Policy Exchange.",
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-    "Has PaintingCLIP Embedding": true
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-    "English Original": "Belfiore, E. & Bennett, O.",
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-    "Has PaintingCLIP Embedding": true
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-  "W1989549616_s0775": {
-    "English Original": "Rethinking the Social Impact of the Arts.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0776": {
-    "English Original": "The International Journal of Cultural Policy, 13(2), 135151.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0777": {
-    "English Original": "Belfiore, E. & Bennett, O.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0778": {
-    "English Original": "The Social Impact of the Arts: An Intellectual History, Basingstoke: Palgrave Macmillan.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0779": {
-    "English Original": "Arts and culture: another case of policybased evidence making?.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0780": {
-    "English Original": "Paper presented at the AHRC/ERSC seminar entitled Arts and culture: another case of policybased evidence making?",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0781": {
-    "English Original": "Understanding the relationships between \"research\", \"effective evaluation\" and \"responsible advocacy\", London 15th January 2007.",
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-    "Has PaintingCLIP Embedding": true
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-  "W1989549616_s0782": {
-    "English Original": "Expecting too much from culture: The extravagant claims of cultural policy.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0783": {
-    "English Original": "Keynote speech to Changing Worlds, the 2002 Arts Marketing Association Conference, Glasgow, 2527 July 2002.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0784": {
-    "English Original": "Theatre Audiences: A theory of production and reception.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0785": {
-    "English Original": "Cultural Participation and Social Division.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0786": {
-    "English Original": "Paper presented at the IPPR workshop Arts, Heritage and Civic Renewal, London, 7 March 2005.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0787": {
-    "English Original": "The Aesthetic Field: A phenomenology of aesthetic experience.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0788": {
-    "English Original": "Springfield, IL: Charles C. Thomas\n\nBerleant, A.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0789": {
-    "English Original": "Philadelphia: Temple University Press.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0790": {
-    "English Original": "Bondora, J. T. & Goodwin, J. L. (2005).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0791": {
-    "English Original": "The impact of suicidal content in popular media on the attitudes and behaviours of adolescents.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0792": {
-    "English Original": "Book Marketing Limited (2002).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0793": {
-    "English Original": "The Reading Habits of Individuals & Couples: Report on a panel Study.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0794": {
-    "English Original": "London: Book Marketing Limited.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0795": {
-    "English Original": "Boorsma, M & Van Maanen, H. (2003).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0796": {
-    "English Original": "View and review in the Netherlands: The role of theatre critics in the construction of audience experience.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0797": {
-    "English Original": "International Journal of Cultural Policy, 9(3), 319335.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0798": {
-    "English Original": "Fiction and Emotion: A study in aesthetics and the philosophy of mind.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0799": {
-    "English Original": "The aesthetic attractivity of the golden section.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0800": {
-    "English Original": "Psychological Research, 45(4), 367375.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0801": {
-    "English Original": "Bourdeau, L. & Chebat, J.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0802": {
-    "English Original": "An empirical study of the effects of the design of the display galleries of an art gallery on the movement of visitors.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0803": {
-    "English Original": "Museum Management and Curatorship, 19(1), 6373.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0804": {
-    "English Original": "Distinction: A social critique of the judgement of taste.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0805": {
-    "English Original": "The Field of Cultural Production: Essays on Art and Literature.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0806": {
-    "English Original": "Dijon: Le presses du réel.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0807": {
-    "English Original": "Bower, G. H. & Morrow, D. G. (1990).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0808": {
-    "English Original": "Mental models in narrative comprehension.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0809": {
-    "English Original": "Values of Art: Pictures, poetry and music.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0810": {
-    "English Original": "Pleasure and the Arts: Enjoying literature, painting and music.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0811": {
-    "English Original": "Oxford: Oxford University Press.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0812": {
-    "English Original": "Children's fright reactions to television and film.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0813": {
-    "English Original": "Poetics, 23(1 & 2), 7589.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0814": {
-    "English Original": "What Good Are the Arts?.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0815": {
-    "English Original": "London: Faber and Faber.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
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-  "W1989549616_s0816": {
-    "English Original": "Art and the domain of the aesthetic.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0817": {
-    "English Original": "British Journal of Aesthetics, 40(2), 191208.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0818": {
-    "English Original": "British Journal of Aesthetics, 42(2), 145168.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0819": {
-    "English Original": "The impact of service elements in the artistic experience: the case of classical music concerts.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0820": {
-    "English Original": "International Journal of Arts Management, 7(2), 3954.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0821": {
-    "English Original": "The definition of consonance and dissonance.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0822": {
-    "English Original": "International Review of the Aesthetics and Sociology of Music, 11(2), 123168.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0823": {
-    "English Original": "Chan, T. W. & Goldthorpe, J. H. (2005).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0824": {
-    "English Original": "The social stratification of theatre, dance and cinema attendance.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0825": {
-    "English Original": "Cultural Trends, 14(3), 193212.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0826": {
-    "English Original": "Cole, S. & Lindemann, J.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0827": {
-    "English Original": "Reading and Responding to Literature.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0828": {
-    "English Original": "San Diego: Harcourt Brace Jovanovich.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0829": {
-    "English Original": "Empathic engagement with narrative fictions.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0830": {
-    "English Original": "The Journal of Aesthetics and Art Criticism, 62(2), 333342.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0831": {
-    "English Original": "Crawford, M & Chaffin, R. (1986).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0832": {
-    "English Original": "The readers' construction of meaning: Cognitive research on gender and comprehension\", in E. A. Flynn, and P. Schweickart (Eds.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0833": {
-    "English Original": "), Gender and Reading: Essays on readers, texts, and context (pp 330).",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0834": {
-    "English Original": "Baltimore and London: The John Hopkins University Press.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0835": {
-    "English Original": "Creativity: Flow and the psychology of discovery and invention.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0836": {
-    "English Original": "New York: Harper Perennial.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0837": {
-    "English Original": "Flow: The classic work on how to achieve happiness.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0838": {
-    "English Original": "Csikszentmihalyi, M. & Robinson, R. E. (1990).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0839": {
-    "English Original": "The Art of Seeing: An interpretation of the aesthetic encounter.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0840": {
-    "English Original": "Los Angeles: The J. Paul Getty Museum.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0841": {
-    "English Original": "Danto, A. C. (2003).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0842": {
-    "English Original": "The Abuse of Beauty: Aesthetics and the concept of art.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0843": {
-    "English Original": "Chicago and La Salle: Open Court.",
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-    "Has PaintingCLIP Embedding": true
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-  "W1989549616_s0844": {
-    "English Original": "Cambridge, MA and London: Harvard University Press.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0845": {
-    "English Original": "Toward the materiality of aesthetic experience.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0846": {
-    "English Original": "De Rozario, L. (1997).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0847": {
-    "English Original": "Spirituality in the lives of people with disability and chronic illness: A creative paradigm of wholeness and reconstitution.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0848": {
-    "English Original": "Disability and Rehabilitation, 19(10), 427434.",
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-    "Has PaintingCLIP Embedding": true
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-  "W1989549616_s0849": {
-    "English Original": "Denzin, N. K, (1984).",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0850": {
-    "English Original": "Is psychology relevant to aesthetic?.",
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-    "Has PaintingCLIP Embedding": true
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-  "W1989549616_s0851": {
-    "English Original": "The Philosophical Review, 71(3), 285302.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0852": {
-    "English Original": "Are artmuseum visitors different from other people?",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0853": {
-    "English Original": "The relationship between attendance and social and political attitudes in the United States.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0854": {
-    "English Original": "An explanation of 'emotional' phenomena without the use of the concept 'emotions'.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0855": {
-    "English Original": "Journal of General Psychology, 25, 183293.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0856": {
-    "English Original": "Controversy about the aesthetic nature of art.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0857": {
-    "English Original": "British Journal of Aesthetics, 28(1), 117.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0858": {
-    "English Original": "Pictures & Tears: A history of people who have cried in front of paintings.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0859": {
-    "English Original": "New York and London: Routledge.",
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-    "Has PaintingCLIP Embedding": true
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-  "W1989549616_s0860": {
-    "English Original": "The experience of the theatrical event.",
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-    "Has PaintingCLIP Embedding": true
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-  "W1989549616_s0861": {
-    "English Original": "In V. A. Cremons; P.",
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-    "Has PaintingCLIP Embedding": true
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-  "W1989549616_s0862": {
-    "English Original": "; H. van Maanen, H.; W. Sauter & J. Tulloch (Eds.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0863": {
-    "English Original": "), Theatrical Events: Border, dynamics, frames (pp.",
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-    "Has PaintingCLIP Embedding": true
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-  "W1989549616_s0864": {
-    "English Original": "Amsterdam and New York: Rodopi.",
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-    "Has PaintingCLIP Embedding": true
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-  "W1989549616_s0865": {
-    "English Original": "Fairchild, A. W. (1991).",
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-    "Has PaintingCLIP Embedding": true
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-  "W1989549616_s0866": {
-    "English Original": "Describing aesthetic experience: Creating a model.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0867": {
-    "English Original": "Canadian Journal of Education, 16 (3), 267280.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0868": {
-    "English Original": "& Braud, W. G. (1971).",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0869": {
-    "English Original": "Preference for consonant over dissonant tones in the albino rat.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0870": {
-    "English Original": "Perceptual and Motor Skills, 32, 191193.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0871": {
-    "English Original": "Feagin, S. L. (1996).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0872": {
-    "English Original": "Reading with Feeling: The aesthetics of appreciation.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0873": {
-    "English Original": "Ithaca and London: Cornell University Press.",
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-  },
-  "W1989549616_s0874": {
-    "English Original": "Fenner, D. E. W. (2003).",
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-    "Has PaintingCLIP Embedding": true
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-    "English Original": "Journal of Aesthetic Education, 37(1), 4053.",
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-    "English Original": "Journal of Health and Social Behaviour, 41(1), 5067.",
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-    "English Original": "& Chon, K. K. (1989).",
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-    "English Original": "Durkheim and the social construction of emotions.",
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-    "English Original": "Social Psychology Quarterly, 52(1), 119.",
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-    "English Original": "Critical Inquiry, 11(2), 286298.",
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-    "English Original": "Fisher, J. L. (1994).",
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-    "English Original": "\"Who reads what and when?.",
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-    "English Original": "In E. H. Cramer & M. Castle (Eds.",
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-    "English Original": "), Fostering the Love of Reading: The affective domain in reading education (pp.",
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-    "English Original": "Newark: International Reading Association.",
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-    "English Original": "College English, 45(3), 236253.",
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-    "English Original": "Frank, A. W. (1993).",
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-    "English Original": "The rhetoric of selfchange: Illness experience as narrative.",
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-  },
-  "W1989549616_s0892": {
-    "English Original": "The Sociological Quarterly, 34(1), 3952.",
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-    "English Original": "Franklin, M. B.; Becklen, R. C. & Doyle, C. L. (1993).",
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-    "English Original": "The influence of titles on how paintings are seen.",
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-    "English Original": "The 'golden section': An artefact of stimulus range and measure preference.",
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-    "English Original": "The American Journal of Psychology, 87(1/2), 269277.",
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-    "English Original": "The Emotions: A philosophical investigation.",
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-    "English Original": "Goldman, A. H. (2006).",
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-    "English Original": "The experiential account of aesthetic value.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0900": {
-    "English Original": "The Journal of Aesthetics and Art Criticism, 64(3), 333342.",
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-    "English Original": "Gray, C. M. (1998).",
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-    "English Original": "Hope for the future?",
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-    "English Original": "Early exposure to the arts and adult visits to art museums/ Journal of Cultural Economics, 22(2), 8798.",
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-    "English Original": "Green, C. D. (1995).",
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-    "English Original": "All that glitters: A review of psychological research on the aesthetics of the golden section.",
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-    "English Original": "Philosophical Explorations, 8(2), 173187.",
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-  "W1989549616_s0907": {
-    "English Original": "Heelas, P. (1996) \"Emotion talk across cultures\", in R. Harré & W. G. Parrott, W. G.",
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-    "English Original": "), The Emotions: Social, cultural and biological dimensions (pp.",
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-    "English Original": "Hekkert, P. & Van Wieringen, P. C. W. (1996).",
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-    "English Original": "Beauty in the eye of expert and nonexpert beholders: A study in the appraisal of art.",
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-    "English Original": "American Journal of Psychology, 109(3), 389407.",
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-    "English Original": "Hjort, M. & Laver, S.",
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-    "English Original": "(1997).Emotion and the Arts.",
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-    "English Original": "New York and Oxford: Oxford University Press.",
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-    "English Original": "Hogan, P. C. (2003).",
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-    "English Original": "Cognitive Science, Literature and the Arts: A guide for humanists.",
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-    "English Original": "Hoorn, J. F & Konijn, E. A.",
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-    "English Original": "Japanese Psychological Research, 45(4), 250268.",
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-    "English Original": "Pictorial art and visual experience.",
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-    "English Original": "British Journal of Aesthetics, 40(1), 2145.",
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-    "English Original": "The Journal of Aesthetics and Art Criticism, 39(4), 389397.",
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-    "English Original": "Iseminger, G. (2005).Aesthetic Experience.",
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-    "English Original": "In J. Levinson (Ed.",
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-    "English Original": "), The Oxford Handbook of Aesthetics (pp.",
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-    "English Original": "Oxford: Oxford University Press.",
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-    "English Original": "The reading process: A phenomenological approach.",
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-    "English Original": "New Literary Theory, Vol.",
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-  "W1989549616_s0930": {
-    "English Original": "What is an emotion?.",
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-    "English Original": "Government and the Value of Culture.",
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-    "English Original": "London: Department for Culture, Medial and Sport.",
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-  "W1989549616_s0933": {
-    "English Original": "& Sherry, J. F. Jr. (2003).",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0934": {
-    "English Original": "Speaking of art as embodied imagination: A multisensory approach to understanding the aesthetic experience.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0935": {
-    "English Original": "Journal of Consumer Research, 30(2), 259282.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0936": {
-    "English Original": "The prince is wearing a tutu: Queer identity and identificatory reading in Joan Hamilton's The Short Story of a Prince.",
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-  "W1989549616_s0937": {
-    "English Original": "American Imago, 61(2), 134164.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0938": {
-    "English Original": "Cultural Consumption and social stratification: Leisure activities, musical tastes, and social location.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0939": {
-    "English Original": "Sociological Perspectives, 42(4), 627646.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0940": {
-    "English Original": "Kemper, T. D. (1981).",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0941": {
-    "English Original": "Social constructionist and positivist approaches to the sociology of emotions.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0942": {
-    "English Original": "The American Journal of Sociology, 87(2), 336362.",
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-    "Has PaintingCLIP Embedding": true
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-  "W1989549616_s0943": {
-    "English Original": "Kennard, J. E. (1986).",
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-  },
-  "W1989549616_s0944": {
-    "English Original": "Ourself behind ourself: A theory for lesbian readers.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0945": {
-    "English Original": "In E. A. Flynn & P. Schweickart (Eds.",
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-    "Has PaintingCLIP Embedding": true
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-    "English Original": "), Gender and Reading: Essays on readers, texts, and contexts (pp.",
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-    "English Original": "Baltimore and London: The John Hopkins University Press.",
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-  "W1989549616_s0948": {
-    "English Original": "Framing the audience for theatre.",
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-    "English Original": "; N. Whiteley & N. Abercrombie (Eds.",
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-    "English Original": "), The Authority of the Consumer (pp.",
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-    "English Original": "The role of cognitive competence in the art museum experience.",
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-    "English Original": "Museum Management and Curatorship, 21(1), 419.",
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-    "English Original": "Madison: The University of Wisconsin Press.",
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-    "English Original": "Mood and music: Some reflections for Noël Carroll.",
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-  "W1989549616_s0957": {
-    "English Original": "The Journal of Aesthetics and Art Criticism, 64(2), 271281.",
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-  "W1989549616_s0958": {
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-    "English Original": "Kreitler, H. & Kreitler, S. (1972).",
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-    "English Original": "Toward an understanding of art in nursing.",
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-    "English Original": "Advances in Nursing Science, 21(4), 4863.",
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-    "English Original": "The Journal of Aesthetics and Art Criticism, 44,(1), pp.",
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-    "English Original": "Social Science Quarterly, 85(3), 523538.",
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-  "W1989549616_s0967": {
-    "English Original": "Lindauer, M. S. (1973).",
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-    "English Original": "Toward a liberalization of experimental aesthetic.",
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-    "English Original": "The Emotional Self: A sociocultural exploration.",
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-    "English Original": "Psychological Aesthetics: Painting, feeling and making sense.",
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-    "English Original": "London and Philadelphia: Jessica Kingsley Publishers.",
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-    "English Original": "Madden, C. & Bloom, T. (2004).",
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-    "English Original": "International Journal of Cultural Policy,10(2),133156.",
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-  "W1989549616_s0976": {
-    "English Original": "Markus, H. R. (1991).",
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-    "English Original": "Culture and the self: Implications for cognition, emotion, and motivation.",
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-  "W1989549616_s0978": {
-    "English Original": "Psychological Review, 98(2), 224253.",
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-  "W1989549616_s0979": {
-    "English Original": "The aesthetic experience: An anthropologist looks at the visual arts.",
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-    "English Original": "British Journal of Aesthetics, 43(2), 158174.",
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-    "English Original": "(1981) A Good Night Out.",
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-    "English Original": "Popular Theatre: Audience, class and form, London: Eyre Methuen.",
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-    "English Original": "In B. Gaut & D. McIver Lopes, D.",
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-    "English Original": "), The Routledge Companion to Aesthetics (pp.",
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-    "English Original": "London and New York: Routledge.",
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-    "English Original": "& Frijda, N. H. (1992).",
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-  "W1989549616_s0988": {
-    "English Original": "Cultural variations in Emotions: A review.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0989": {
-    "English Original": "Psychological Bulletin, 112(2), 179204.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0990": {
-    "English Original": "Fiction readers' appreciation of text attributes in literary and popular novels.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0991": {
-    "English Original": "International Journal of Arts Management, 7(1), 4556.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0992": {
-    "English Original": "Making meaning brings pleasure: The influence of titles on aesthetic experiences.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0993": {
-    "English Original": "Mitias, M. H. (1988).",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0994": {
-    "English Original": "What Makes an Experience Aesthetic?.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0995": {
-    "English Original": "Women  Changing Lifestyles, Influences and Decision Making.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0996": {
-    "English Original": "Book Review: Psychiatry and Psychology in the Visual Arts and Aesthetics: A bibliography.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0997": {
-    "English Original": "The Journal of Aesthetics and Art Criticism, 24(2), 325.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0998": {
-    "English Original": "Experimental aesthetics or the science of art.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s0999": {
-    "English Original": "Morrison, W. G. & West, E. G. (1986).",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s1000": {
-    "English Original": "Child exposure to the performing arts: the implications for adult demand.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s1001": {
-    "English Original": "Journal of Cultural Economics, 10(1), 1724.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s1002": {
-    "English Original": "Morrow, D. G. (1985).",
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-    "Has PaintingCLIP Embedding": true
-  },
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-    "English Original": "Prominent characters and events organize narrative understanding.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s1004": {
-    "English Original": "Journal of Memory and Language, 24(3), 304319.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s1005": {
-    "English Original": "Art in the Social Order: The making of the modern conception of art.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s1006": {
-    "English Original": "Albany: State University of New York Press.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s1007": {
-    "English Original": "London: Arts Council England.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s1008": {
-    "English Original": "Oxford: Oxford University Press.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s1009": {
-    "English Original": "Lost in a Book: The psychology of reading for pleasure.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s1010": {
-    "English Original": "New Haven and London: Yale University Press.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s1011": {
-    "English Original": "& Hughes, R. B.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s1012": {
-    "English Original": "Psychospiritual aspects of sense of self in women with physical disabilities.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s1013": {
-    "English Original": "The Journal of Rehabilitation, 67(1), 2026.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s1014": {
-    "English Original": "Anarchy, State, and Utopia.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s1015": {
-    "English Original": "Oatley, K. & Jenkins, J. M. (1996).",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s1016": {
-    "English Original": "A taxonomy of the emotions of literary response and a theory of identification in fictional narrative.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s1017": {
-    "English Original": "23(1 & 2), 5374.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s1018": {
-    "English Original": "Focus on Older People.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s1019": {
-    "English Original": "London: Office for National Statistics.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s1020": {
-    "English Original": "Ideas and Realities of Emotion.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s1021": {
-    "English Original": "London and New York: Routledge.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s1022": {
-    "English Original": "How We Understand Art: A cognitive developmental account of aesthetic experience.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s1023": {
-    "English Original": "Cambridge: Cambridge University Press.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s1024": {
-    "English Original": "Phillips, D. P. (1985).",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s1025": {
-    "English Original": "The Werther effect: Suicide and other forms of violence are contagious.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s1026": {
-    "English Original": "The Sciences, 7/8, 3239.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s1027": {
-    "English Original": "Pirkis, J & Blood, W. (2001).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s1028": {
-    "English Original": "Suicide and the Media.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s1029": {
-    "English Original": "Part II: Portrayal in fictional media.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s1030": {
-    "English Original": "The Golden Section Hypothesis, The American Journal of Psychology, 93(3), 467487.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s1031": {
-    "English Original": "What makes an experience aesthetic?.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s1032": {
-    "English Original": "British Journal of Aesthetics, 19(2), 145168.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s1033": {
-    "English Original": "Reading the Romance: Women, patriarchy, and popular literature.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s1034": {
-    "English Original": "Chapel Hill and London: The University of Carolina Press.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s1035": {
-    "English Original": "Ramachandran, V. S. & Hirstein, W. (1999).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s1036": {
-    "English Original": "The science of art: A neurological theory of aesthetic experience.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s1037": {
-    "English Original": "Journal of Consciousness Studies, 6(67), 1551.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s1038": {
-    "English Original": "Young audiences and live theatre, Part 2: Perception of liveness in performance.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s1039": {
-    "English Original": "Studies in Theatre and Performance, 26(3), 221241.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s1040": {
-    "English Original": "Young Audiences & Live Theatre: An investigation into perceptions of live performance.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s1041": {
-    "English Original": "York: York St. john University.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s1042": {
-    "English Original": "Practical Criticism: A study of literary judgement.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s1043": {
-    "English Original": "London: Routledge & Kegan Paul.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s1044": {
-    "English Original": "Leisure inequalities, class divisions and social exclusion in presentday Britain.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s1045": {
-    "English Original": "Cultural Trends, 13(2), 5771.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s1046": {
-    "English Original": "The historical contingency of aesthetic experience.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s1047": {
-    "English Original": "British Journal of Aesthetics, 40(1), 7388.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s1048": {
-    "English Original": "Rosenblatt, L. M. (1982).",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s1049": {
-    "English Original": "The literary transaction: Evocation and response.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s1050": {
-    "English Original": "Theory into Practice, 21(4), 268277.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s1051": {
-    "English Original": "Ross, C. S. (1999).",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s1052": {
-    "English Original": "Finding without seeking: The information encounter in the context of reading for pleasure.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s1053": {
-    "English Original": "Information Processing and Management, 35(6), 783799.",
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-    "Has PaintingCLIP Embedding": true
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-  "W1989549616_s1054": {
-    "English Original": "Culture and the categorization of emotions.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s1055": {
-    "English Original": "Psychological Bulletin, 110(3), 426450.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s1056": {
-    "English Original": "Young People Reading: Culture and response.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s1057": {
-    "English Original": "Milton Keynes: Open University Press.",
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-    "Has PaintingCLIP Embedding": true
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-  "W1989549616_s1058": {
-    "English Original": "Sartre, J. P. (1950).",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s1059": {
-    "English Original": "London: Methuen & Co.\n\n Sauter, W. (2000).",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s1060": {
-    "English Original": "The Theatrical Event: Dynamics of performance and perception.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s1061": {
-    "English Original": "Iowa City: University of Iowa Press.",
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-    "Has PaintingCLIP Embedding": true
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-  "W1989549616_s1062": {
-    "English Original": "'As the twig is bent…': Gender and childhood reading, in E. A. Flynn & P. Schweickart (Eds.",
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-    "Has PaintingCLIP Embedding": true
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-  "W1989549616_s1063": {
-    "English Original": "), Gender and Reading: Essays on readers, texts, and contexts (pp.",
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-    "Has PaintingCLIP Embedding": true
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-    "English Original": "Baltimore and London: The John Hopkins University Press.",
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-    "Has PaintingCLIP Embedding": true
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-  "W1989549616_s1065": {
-    "English Original": "The end of aesthetic experience.",
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-    "Has PaintingCLIP Embedding": true
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-  "W1989549616_s1066": {
-    "English Original": "The Journal of Aesthetics and Art Criticism, 55(1), 2941.",
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-    "Has PaintingCLIP Embedding": true
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-  "W1989549616_s1067": {
-    "English Original": "Aesthetic experience: From analysis to Eros.",
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-    "Has PaintingCLIP Embedding": true
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-  "W1989549616_s1068": {
-    "English Original": "The Journal of Aesthetics and Art Criticism, 64(2), 131143.",
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-    "Has PaintingCLIP Embedding": true
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-  "W1989549616_s1069": {
-    "English Original": "The cultural psychology of the emotions.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s1070": {
-    "English Original": "In M. Lewis, & J. M. Haviland (Eds.",
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-    "Has PaintingCLIP Embedding": true
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-  "W1989549616_s1071": {
-    "English Original": "), Handbook of Emotions (pp.",
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-    "Has PaintingCLIP Embedding": true
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-    "English Original": "New York and London: The Guilford Press.",
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-    "English Original": "Smith, J. K. & Wolf, L. F. (1996).",
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-    "Has PaintingCLIP Embedding": true
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-    "English Original": "Museum visitor preferences and intentions in constructing aesthetic experience.",
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-    "Has PaintingCLIP Embedding": true
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-  "W1989549616_s1075": {
-    "English Original": "Solso, R. L. (2003).",
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-    "Has PaintingCLIP Embedding": true
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-  "W1989549616_s1076": {
-    "English Original": "The Psychology of Art and the Evolution of the Conscious Brain.",
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-    "Has PaintingCLIP Embedding": true
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-    "English Original": "Cambridge, MA: MIT Press.",
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-    "Has PaintingCLIP Embedding": true
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-  "W1989549616_s1078": {
-    "English Original": "Emotion and emotions in theatre dance.",
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-    "Has PaintingCLIP Embedding": true
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-  "W1989549616_s1079": {
-    "English Original": "In M. Hjort & S. Laver (Eds.",
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-    "Has PaintingCLIP Embedding": true
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-    "English Original": "), Emotion and the Arts (pp.",
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-    "Has PaintingCLIP Embedding": true
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-    "English Original": "New York and Oxford: Oxford University Press.",
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-    "Has PaintingCLIP Embedding": true
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-    "English Original": "Cultural Consumption and Everyday Life.",
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-    "English Original": "Tompkins, J. P. (1980).",
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-    "Has PaintingCLIP Embedding": true
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-  "W1989549616_s1084": {
-    "English Original": "The reader in history: The changing shape of literary response.",
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-    "English Original": "In J. P. Tompkins (Ed.",
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-    "Has PaintingCLIP Embedding": true
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-  "W1989549616_s1086": {
-    "English Original": "), ReaderResponse Criticism: From  formalism to poststructuralism (pp.",
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-    "Has PaintingCLIP Embedding": true
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-  "W1989549616_s1087": {
-    "English Original": "Baltimore and London: The John Hopkins University Press.",
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-  "W1989549616_s1088": {
-    "English Original": "& Heinmiller, B. M. (1998).",
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-    "Has PaintingCLIP Embedding": true
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-  "W1989549616_s1089": {
-    "English Original": "The development of evaluative responses to music: infants prefer to listen to consonance over dissonance.",
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-  "W1989549616_s1090": {
-    "English Original": "Infant Behavior & Development, 21(1), 7788.",
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-    "Has PaintingCLIP Embedding": true
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-  "W1989549616_s1091": {
-    "English Original": "Shakespeare and Chekhov in Production and Reception: Historical events and their audiences.",
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-    "Has PaintingCLIP Embedding": true
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-  "W1989549616_s1092": {
-    "English Original": "Iowa City: University of Iowa Press.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s1093": {
-    "English Original": "The value and impact of reading imaginative literature.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
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-  "W1989549616_s1094": {
-    "English Original": "Journal of Librarianship and Information Science, 34(1), 3341.",
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-    "Has PaintingCLIP Embedding": true
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-  "W1989549616_s1095": {
-    "English Original": "Valkenburg, P. M. (2004).",
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-    "Has PaintingCLIP Embedding": true
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-  "W1989549616_s1096": {
-    "English Original": "Children's responses to the Screen.",
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-    "Has PaintingCLIP Embedding": true
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-  "W1989549616_s1097": {
-    "English Original": "Mahwah and London: Lawrence Erlbaum Associates.",
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-    "Has PaintingCLIP Embedding": true
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-  "W1989549616_s1098": {
-    "English Original": "The impact of family background and educational attainment on cultural consumption: A sibling analysis.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W1989549616_s1099": {
-    "English Original": "Van Meel, J. M. (1994).",
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-    "Has PaintingCLIP Embedding": true
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-  "W1989549616_s1100": {
-    "English Original": "Representing emotions in literature and paintings: A comparative analysis.",
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-  "W1989549616_s1101": {
-    "English Original": "23 (1 & 2), 159176.",
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-    "Has PaintingCLIP Embedding": true
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-  "W1989549616_s1102": {
-    "English Original": "Van Schooten, K; De Glopper, K. & Stoel, R. D. (2004).Development of attitude toward reading adolescent literature and literary reading behaviour.",
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-    "English Original": "| Title                           | 'Headless Rome' and Hungry Goths: Herodotus and Titus Andronicus                                                                                                                                                                              |\n|||\n| Authors(s)                      | Grogan, Jane                                                                                                                                                                                                                                  |\n| Publication date                | 201312                                                                                                                                                                                                                                       |\n| Publication information         | Grogan, Jane.",
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-    "English Original": "|\n| Publisher                       | Wiley                                                                                                                                                                                                                                         |\n| Item record/more<brinformation | http://hdl.handle.net/10197/7737                                                                                                                                                                                                              |\n| Publisher's statement           | This is the author's version of the following article: Grogan, J.",
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-    "English Original": "(2013) \"English Literary<brRenaissance\" English Literary Renaissance, 43(1): 3061 which has been published in final form at<brhttp://dx.doi.org/10.1111/14756757.12001.",
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-    "English Original": "|\n| Publisher's version (DOI)       | 10.1111/14756757.12001                                                                                                                                                                                                                       |\n\nDownloaded 20250724 21:10:20\n\nThe UCD community has made this article openly available.",
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-    "English Original": "For more information\n\n Published in ELR 43: 1 (2013): 3061\n\n \"Headless Rome\" and Hungry Goths: Herodotus and Titus Andronicus Dr Jane Grogan, University College Dublin\n\n Abstract\n\nThis essay argues for the intertextual contribution of Book 1 of Herodotus's Histories to Titus Andronicus.",
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-  "W2019734204_s0009": {
-    "English Original": "in 1584, Herodotus's accounts of rise and fall of the founder of the ancient Persian empire, Cyrus the Great, hold topical resonances for the first audiences of Shakespeare's Roman play, resonances that the play seems to invite.",
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-  "W2019734204_s0010": {
-    "English Original": "Modelling Tamora on Herodotus's Tomyris and borrowing crucial elements of plot from the narratives surrounding Cyrus, Shakespeare's most productive response to Herodotus is his adaptation of the figure of the \"swallowing womb\" from the account of Tomyris's revenge on Cyrus.",
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-  "W2019734204_s0011": {
-    "English Original": "Through it, Shakespeare explores the contentious and topical subjects of female rule and England's imperial aspirations.",
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-  "W2019734204_s0012": {
-    "English Original": "The essay explores possible connections between Tamora and Queen Elizabeth through their shared iconography in the mould of the just avenger, Tomyris.",
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-    "English Original": "Ultimately, I argue, the Herodotean allusions facilitate a position sympathetic to the Goths in the play, one that tackles the dominance of Roman cultural models in latesixteenth century English culture, and that responds defiantly to the vexed and embarrassing subject of Britain's own barbarian history as a colony of Rome.",
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-    "English Original": "\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\n\nFor scholars tracking the origins and intertexts of Titus Andronicus, all roads lead to Rome.<sup1</sup Rome and Romanitas provide its setting, sources, values, politics and interests, and although its plot is not found in Livy or any other historian of Rome, there can be little doubt but that Shakespeare's interest in the play is to examine the cultural legacy of classical Rome.",
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-    "English Original": "And, as T. J.",
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-  "W2019734204_s0016": {
-    "English Original": "B. Spencer famously noted, in his representation of classical Rome, Shakespeare seems concerned not so much with getting it all right but with getting\n\nit all in.<sup2</sup Yet, as modern editors of the \"noble Roman historye\" entered by John Danter in the Stationers' Register often remark, sometimes the world of Titus Andronicus hardly looks Roman at all.",
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-    "English Original": "In fact, the ubiquitous Latin tags, names and overt appeals to Roman values make the aberrant details alongside them all the more conspicuous.<sup3</sup The very opening scenes at the Capitol, heart of the Roman political world for Elizabethan audiences, produce a false note when Lucius, in contradiction of wellknown Roman mores, demands the ritual sacrifice of Alarbus  the act that precipitates the revenge plots dominating the rest of the play.",
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-    "English Original": "<sup4</sup Nor does the play's Rome even remain classical.",
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-  "W2019734204_s0019": {
-    "English Original": "Advancing with an army of Goths, Lucius passes a \"ruinous monastery\" more evocative of Reformation England than early Rome.",
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-  "W2019734204_s0020": {
-    "English Original": "Ultimately  and with a pointed accommodation of historical fact  Shakespeare has the exiled Lucius, \"the turned forth\", heading an army of Goths (Rome's much maligned historical conquerors now embodying Rome's own martial and political values), redeem Rome from its selfgenerated crisis.",
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-    "English Original": "How might we account for these important dissonances and aberrations in Shakespeare's Roman world?",
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-  "W2019734204_s0022": {
-    "English Original": "My contention in this essay is that we should take them seriously as indications of significant nonRoman material underlying at least some of the political work of the play and helping to shape and moralise Shakespeare's critique of Roman values.",
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-  "W2019734204_s0023": {
-    "English Original": "These dissonances have not gone unnoticed, but they have not generally troubled prevailing interpretations of Titus Andronicus, which continue to take their cues for reading the play's literary, political, historical and ethical concerns from the Roman context and Roman intertexts: primarily Ovid, Seneca and Roman law.",
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-  "W2019734204_s0024": {
-    "English Original": "Coppélia Kahn, for example, argues that Shakespeare \"generates his main action from versions of Roman pietas and virtus\" even as it travesties those very notions, but even this selfdivided model fails to capture the cultural complexity of Titus's Rome.<sup5</sup While this Romecentred approach has generated compelling accounts of the play's critique of Roman values, and its legacy to early modern England, such readings have tended to overlook or trivialize the inconsistencies described, and, concomitantly, to make cartoon villains of the Goths, mere foils to the more significant matter of Rome.<sup6</sup Moreover, they fail to account for the streak of sympathy for Tamora that the play enables, although Jonathan Bate and Neil Rhodes have noted a residual sympathy for the Goths articulated in the play.<sup7</sup In this\n\nessay I will suggest that just as the anachronisms of Roman paganism in the play allow it to become \"a jagged mirror for Christians, reflecting the troubled conscience of postReformation Europe,\" so the blurred lineaments of its classical Roman setting and the historical legerdemain of its treatment of the Goths betray the outlines of another ancient culture and another nonRoman intertext at work in the play.<sup8</sup That culture, that country is ancient Persia, and, I suggest, the important and hitherto unnoticed intertext through which it is mediated is Book 1 of Herodotus's Histories.",
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-  "W2019734204_s0025": {
-    "English Original": "Specifically, Shakespeare's play evokes a wellknown set of narratives centred on the figure of Cyrus the Great, founder of the ancient Persian empire.",
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-  "W2019734204_s0026": {
-    "English Original": "These intertextual resonances work not only in Tamora's favour, but also provide a positive moral cast for the play's central image of the disaster that has befallen Rome: the \"swallowing womb\".Through the Herodotean intertext, then, the contradictions of Shakespeare's Rome take new political shape, and the questions Shakespeare poses of Roman values – and England's obsession with them – gain a stronger moral and historical force than we have hitherto allowed.",
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-  "W2019734204_s0027": {
-    "English Original": "The 1580s and 1590s saw a marked interest in Persia ancient and modern in Elizabethan England, an interest that went far beyond Herodotus and into the realms of political theory, Protestant exegesis and comparative historiography.<sup9</sup Although the successful commercial and diplomatic Persian travels of Anthony Jenkinson and other agents of the Muscovy Company were eventually sidelined in 1580 in favour of trade agreements with the Ottomans, Persia's enemies, their narratives were proudly advertised and reproduced in Hakluyt's Principall Navigations, Voyages, Discoveries and Traffiques of the English Nation (1589).<sup10</sup Histories of Persia formed a prominent part of the classical inheritance as well as a recent preoccupation of continental comparative historians and ethnographers, and the ambiguous image that these studies provided of a Persia that was both \"barbarian\" and \"civil\" was one that endured into the eighteenth century.<sup11</sup On the public stage, this interest was reflected in the production of plays such as Tamburlaine (Parts 1 and 2) (1587?)",
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-  "W2019734204_s0028": {
-    "English Original": "and Soliman and Perseda (1592), plays often associated generically with Titus Andronicus.",
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-  "W2019734204_s0029": {
-    "English Original": "But the bestknown Persian in late Elizabethan England was Cyrus the Great, founder of the ancient Persian (Achaemenid) empire and the figure around whom many of the classical historical and ethnographic materials were centred.",
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-  "W2019734204_s0030": {
-    "English Original": "By 1590, accounts of the life of Cyrus by Herodotus, Xenophon\n\nand Justin were available even in English translation, and the commendations of Cicero, Erasmus and even Machiavelli, as well as the striking approbation in the Old Testament Book of Ezra, made Cyrus a central figure of debate by scholars and schoolboys alike.<sup12</sup Beyond the purely scholarly domain, the romance play, The Warres of Cyrus (published 1594, but performed early in the 1580s), kept Cyrus on stage and in public view.",
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-  "W2019734204_s0031": {
-    "English Original": "And a long list of appearances in mirrorsforprinces and educational treatises, as well as in Sidney's Apology for Poetry, meant that the name and career of Cyrus had currency and prestige among English readers of all ages.",
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-  "W2019734204_s0032": {
-    "English Original": "It is this popular knowledge of a set of narratives centred on the Persian Cyrus that Shakespeare awakens in the \"barbarous\" Rome of Titus Andronicus, and specifically the account originating in Herodotus's Histories.",
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-  "W2019734204_s0033": {
-    "English Original": "The antiquity of Cyrus made his life and achievements no less relevant to travellers or commentators on Persia.",
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-  "W2019734204_s0034": {
-    "English Original": "Early modern discussions of contemporary (Safavid) Persia, too, were heavily inflected by the accrued knowledge of ancient Persia disseminated through classical Greek texts, the most prominent of which were those of Herodotus and Xenophon.",
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-  "W2019734204_s0035": {
-    "English Original": "In writing about Persia, travellers such as Jenkinson, and later Thomas Coryat and the Sherley brothers, reached as easily for their Herodotus, Xenophon and Strabo as they did for more recent sources.",
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-  "W2019734204_s0036": {
-    "English Original": "While stories from Herodotus circulated through prose compendia such as Richard Taverner's twovolume The Garden of Wisdom (1539), it was through the 1584 translation of the first two books of the Histories that Herodotus was best known to Elizabethan readers.<sup13</sup But these readers inherited mixed views of Herodotus.",
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-    "English Original": "Cicero's \"Father of History,\" Herodotus had also acquired the appellation of \"father of lies\" and \"lover of barbarians\" (philobarbaros) from Plutarch who dedicated an entire essay to attacking Herodotus's scurrility and inaccuracies.<sup14</sup Prominent among those classical heroes whom Herodotus knocked from their pedestals (thereby incurring Plutarch's ire) was Cyrus.<sup15</sup Plutarch's reaction reveals an important feature of the textual legacy about Cyrus: an interrogative attitude about him, his status as an exemplar, his moral character and political leadership, one that arises from the significant divergences between the bestknown accounts of his life and which is kept alive by his medieval and Renaissance proponents and opponents.",
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-  "W2019734204_s0038": {
-    "English Original": "A favourite exemplar of humanist pedagogues notwithstanding the Herodotean account, Cyrus was known to Renaissance readers in the first instance through the fictionalised biography written by Xenophon, a Greek contemporary of Plato's.",
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-  "W2019734204_s0039": {
-    "English Original": "Xenophon's Cyropaedia described the education and career of Cyrus in glowing terms, making the life of Cyrus easily assimilable to the later mirrorforprinces tradition.<sup16</sup But Herodotus's account of Cyrus, which dominates Book 1 of the Histories (and which Xenophon had strategically ignored), gave an altogether less glowing account of a proud and merciless king who merited his bloody end at the hands of a barbarian queen, Tomyris.",
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-  "W2019734204_s0040": {
-    "English Original": "Xenophon omits this entire episode, replacing it with a dignified deathbed scene where Cyrus, ever the shining exemplar, dispenses advice to his sons on the vagaries of power and the responsibilities of the empire that he bequeaths them.",
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-  "W2019734204_s0041": {
-    "English Original": "If Xenophon's was the pious schoolroom narrative, Herodotus's was the story on the street.",
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-  "W2019734204_s0042": {
-    "English Original": "The obvious disjunctions between their accounts, notably on the subject of Cyrus's death, only added to their appeal, as the numerous references to Cyrus in both popular and esoteric texts testifies.<sup17</sup So if Shakespeare made use of Herodotus's narratives of ancient Persia, and particularly the tales of Cyrus, he should have been able to count on his first audiences to spot the allusions.",
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-  "W2019734204_s0043": {
-    "English Original": "These allusions, at first, comprise rich parallels of plot and imagery, direct evocations, and looser but resonant details, and are revealingly numerous.",
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-  "W2019734204_s0044": {
-    "English Original": "The conflict between Media and Persia which first brought Cyrus to power  a war between a dominant race and a subordinate nation which eventually reverses that hierarchy  shadows the quasihistorical powerstruggles between Romans and Goths in Titus Andronicus.",
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-  "W2019734204_s0045": {
-    "English Original": "Herodotus identifies the turningpoint in the MedoPersian struggle as the defection of the Median general Harpagus to the cause of Persian Cyrus in a counteract of revenge upon King Astyages who had previously made Harpagus unwittingly consume his own son during a banquet.",
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-  "W2019734204_s0046": {
-    "English Original": "Astyages had organised that cruel act as punishment of Harpagus for previously disobeying his orders years earlier to murder Cyrus, his grandson whom he feared would, once grown, usurp him.",
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-  "W2019734204_s0047": {
-    "English Original": "Astyages's horrible vengeance is, in fact, the primary source for Seneca's cannibalistic banquet in Thyestes  itself an acknowledged source for the infamous banquet in Titus Andronicus.",
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-  "W2019734204_s0048": {
-    "English Original": "<sup18</sup Some further allusions may persuade us we should remember this earlier cannibalistic banquet as well\n\nas the Senecan source: in both Shakespeare and Herodotus babyswapping is used as a means of saving the life of a young royal child.",
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-  "W2019734204_s0049": {
-    "English Original": "Continuing this theme, Aaron's mutinous silence broken only at the threat to his royalborn son remembers Croesus's mute son in Herodotus, who miraculously recovers speech only when his father is threatened with death by one of Cyrus's soldiers, ignorant of his royal status.",
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-  "W2019734204_s0050": {
-    "English Original": "The secret letters Lucius receives \"from great Rome / Which signifies what hate they bear their emperor\" (5.1.23) and Titus's letter to Saturninus delivered inside a basket of pigeons both evoke the secret letter sewn inside the belly of a hare that Harpagus sends to Cyrus inviting him to invade his grandfather's kingdom and guaranteeing him internal support.",
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-  "W2019734204_s0051": {
-    "English Original": "More distant echoes of Herodotus's account of Cyrus might include the truthtelling significance of playacting and the Andronici's recourse to archery  for which the Persians were famed  as symbolic assaults on Tamora and Saturninus.",
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-  "W2019734204_s0052": {
-    "English Original": "But perhaps the strongest indication of the Herodotean resonances of the play comes from Shakespeare's naming of the Goth queen 'Tamora', a close approximation of 'Tomyris', notorious conqueror of Cyrus in the Herodotean account.",
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-  "W2019734204_s0053": {
-    "English Original": "Herodotus is the primary source through which early modern readers learn of Tomyris and her achievement.<sup19</sup At least one early reader of the text seems to have made the connection between Tomyris and Tamora: in the First Folio Tamora is misprinted on one occasion (at 3.2.74) as \"Tamira.",
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-  "W2019734204_s0054": {
-    "English Original": "\"<sup20</sup Twentiethcentury editors have noted but quickly dismissed the echo of Tomyris's name in Shakespeare's Tamora: in his 1953 Arden edition, J.C. Maxwell suggested that she may owe something to \"the notoriously cruel Scythian queen Tomyris\", and both Eugene Waith and Jonathan Bate follow Maxwell's lead in their Oxford and Arden editions, but do not investigate further.<sup21</sup Dorothea Kehler alone pursues the Herodotus connection, but rejects the possibility that Tamora might be modelled on Herodotus's \"most noble and vertuous queene\" Tomyris, on the fallacious grounds that Tomyris is (again) \"a Queen of Scythia notorious for her cruelty.",
-    "Has CLIP Embedding": true,
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-  },
-  "W2019734204_s0055": {
-    "English Original": "\"<sup22</sup But Kehler appears to have misread her Histories: Herodotus quite clearly identifies Tomyris as queen of the Massagetae, and not of the Scythians whom he treats briefly in a later section of this Book and more fully in Book 4 – a far less easily accessible Book of Herodotus in the 1580s.",
-    "Has CLIP Embedding": true,
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-  },
-  "W2019734204_s0056": {
-    "English Original": "A northern tribe, the Massagetae  unlike the Scythians  were considered to be ancestors of the European Goths: this genealogy was suggested by the\n\nsixthcentury historian Jordanes, the only early historian of the Goths whose work survives.",
-    "Has CLIP Embedding": true,
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-  },
-  "W2019734204_s0057": {
-    "English Original": "His point was picked up, in turn, by early modern readers and writers.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0058": {
-    "English Original": "Lodowick Lloyd, for example, writes in 1590 that \"Cyrus made warre vpon the Massagites, which were of the stocke of the Gothes: of these Messagites came the Getes [Goths].",
-    "Has CLIP Embedding": true,
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-  },
-  "W2019734204_s0059": {
-    "English Original": "\"<sup23</sup For early modern readers, then, Tamora's Goths are not just the historical conquerors of Rome: they are also the direct descendents of Tomyris's Massagetae.<sup24</sup (That Tamora's people do not regard themselves as Scythians should be clear in any case from Chiron's angry remark about the ostensibly civil Rome: \"Was never Scythia half so barbarous!\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0060": {
-    "English Original": "It is hardly an expression of homesickness!)",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0061": {
-    "English Original": "And if Tamora's Goths strongly evoke Tomyris's Massagetae, Tamora's motive for revenge upon Titus  that he refused mercy to her son  is exactly that of Tomyris's revenge upon Cyrus.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0062": {
-    "English Original": "More compellingly still, the manner of her revenge gives Shakespeare the precise form and figure for Titus's counterrevenge on Tamora: the swallowing womb.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0063": {
-    "English Original": "But through the Herodotean intertext, that image acquires a more positive and politically meaningful set of resonances than has heretofore been considered.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0064": {
-    "English Original": "Let me submit that Shakespeare fashions his horrifying masterconceit of the \"swallowing womb\" partly from Herodotus's account of Astyages's vengeance (of enforced cannibalism) on Harpagus, but primarily from the final revenge that Tomyris exacts upon the corpse of Cyrus, having defeated him in battle.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0065": {
-    "English Original": "Book 1 of the Histories closes with a detailled account of Cyrus's fall, and his death and mutilation at Tomyris's hands.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0066": {
-    "English Original": "Herodotus uses a Greek moral framework to describe an unforgettable case of barbarian hubris: Cyrus foolishly crosses the river Araxes to attack the Massagetae and then uses underhand means to capture a large part of the Massagetae army, including Tomyris's son Spargapises.",
-    "Has CLIP Embedding": true,
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-  },
-  "W2019734204_s0067": {
-    "English Original": "Refusing Tomyris's pleas for the release of the nowsuicidal Spargapises  or, as Justin has it in a later version also known to Renaissance readers, actually killing Spargapises with his own hand  Cyrus incurs her wrath and vengeance.<sup25</sup Accordingly, Tomyris defeats his army and takes the terrible maternal revenge that so interests Shakespeare.",
-    "Has CLIP Embedding": true,
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-  },
-  "W2019734204_s0068": {
-    "English Original": "After the battle, she seeks out Cyrus's body and has it decapitated, ordering that his head be thrown into a vat of blood, whereupon she jeers at him: \"Thou boutcherly tyrant, my sonne thou tokest by craft and kylled by cruelty, wherefore with thy selfe I haue kept touch; Now therefore take thy fill bloudy \n\ncaitife, sucke there till thy belly cracke.\"",
-    "Has CLIP Embedding": true,
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-  },
-  "W2019734204_s0069": {
-    "English Original": "<sup26</sup Tomyris exacts her revenge upon Cyrus by literalising the figurative, visiting his bloodthirstiness on his body as cruelly as she can, preempting the classic horror technique so favoured in early modern revenge tragedy: \"[t]hou insatiable and bloudy boutcher … I will glut that greedy pawnch of thine with abou[n]daunce of bloude, wherewith thou seemest to bee insaturable and neuer to be satisfied.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0070": {
-    "English Original": "\"<sup27</sup\n\nHer revenge is both politicised and gendered.",
-    "Has CLIP Embedding": true,
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-  },
-  "W2019734204_s0071": {
-    "English Original": "Indicting his bloodthirstiness by improvising a surrogate stomach full of blood in which Cyrus might sate his \"insaturable\" bloodthirstiness, Tomyris creates a gruesome but unforgettable image of righteous barbarian vengeance upon supposedly \"civil\" wrongdoing.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0072": {
-    "English Original": "The moral transgressions and hubris signalled by Cyrus's crossing of the river Araxes, boundary between Europe and the barbarians of Asia, and highlighted in Herodotus's account of his duplicitous stratagems and degraded standards of war and mercy, give Tomyris's revenge a moral authority and even a providential inevitability for Christian readers.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0073": {
-    "English Original": "Tomyris's act is also an image of salutary maternal vengeance: by its close association with her function as mother to Spargapises, the vat of blood also figures the womb of maternal nurture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0074": {
-    "English Original": "Cyrus's broken body is forcefed in a bloody barbarian womb whose proper issue he has unmercifully destroyed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0075": {
-    "English Original": "And in a final cruel irony, this makeshift womb also becomes his tomb  a conflation that Shakespeare powerfully mobilises in the Andronicus tomb and the \"swallowing pit\" of mother earth and \"tigerish\" earth mother Tamora.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0076": {
-    "English Original": "Horrible as the revenge is, there is good reason to suppose that Shakespeare's first audiences and readers read Tomyris's actions as just vengeance.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0077": {
-    "English Original": "Herodotus relates Cyrus's fall in the most sensational terms, and the tenor of his account, his tacit support for Tomyris's actions after Cyrus's cruelty to her son, remains an integral part of the narrative in the centuries that followed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0078": {
-    "English Original": "The episode gained a particularly strong purchase on the early modern imagination, and Tomyris's colourful condemnation of Cyrus's bloodthirstiness was frequently remembered with it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0079": {
-    "English Original": "The Duke of Buckingham's ventriloquised complaint in the Mirror for Magistrates, for example, advises his auditors to\n\nConsyder Cyrus in your cruell thought, A makeles prynce in ryches and in myght, And weygh in minde the bloudy dedes he wrought, In sheading which he set his whole delyght: But see the guerdon lotted to this wyght, He whose huge power no man might ouerthrowe, Tomyris Queen with great despite hath slowe.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0080": {
-    "English Original": "His head dismembred from his mangled corps, Her selfe she cast into a vessell fraught With clottered bloud of them that felt her force.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0081": {
-    "English Original": "And with these wordes a iust reward she taught: Drynke nowe thy fyll of thy desyred draught.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0082": {
-    "English Original": "Loe marke the fine that did this prynce befall: Marke not this one, but marke the ende of all.<sup28</sup\n\nThe moralised terms of Herodotus's rendering of the Tomyris/Cyrus encounter were also strengthened by medieval exegetical traditions in which Tomyris is seen as fulfilling nothing less than divine mandate in toppling \"irous Cirus.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0083": {
-    "English Original": "\"<sup29</sup The Speculum humanae salvationis makes this clear with its typological illustrations of Tomyris alongside Judith and Jael prefiguring the Virgin Mary's defeat of the devil.<sup30</sup In similar vein, Cyrus was consigned to the salutary exemplars of Pride in Dante's Purgatorio.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0084": {
-    "English Original": "Tomyris becomes a regular presence in medieval enumerations of the \"Nine Worthies\", heroic female figures from scriptural and classical history lauded in the verbal and visual arts.<sup31</sup These classical and medieval moralisations held currency well into the early modern period, as we see in numerous witty or moralised representations of Cyrus, and in Tomyris's inclusion in later catalogues of heroic women.<sup32</sup That Cyrus \"did lose his heed\" is playfully remembered by analogy with Ariosto's Orlando \"quho did lose his braine\" by one of King James's \"Castalian band.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0085": {
-    "English Original": "\"<sup33</sup Robert Chester merely spells out what is implicit in many other texts when, in Love's Martyr (a 1601 miscellany to which Shakespeare was later to contribute) he describes Tomyris as being \"full of Noblenesse.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0086": {
-    "English Original": "\"<sup34</sup It seems, therefore, that Sir John\n\nHarington had good grounds for noting that Tomyris's was a \"wel knowne speech\"  and Tomyris a well known and admired heroine.<sup35</sup\n\nThis tradition of Tomyris as an instrument of God's justice, or a just avenger in her own right, seems to lie behind moments in Titus Andronicus when Tamora is put in a position to generate sympathy from the audience  and behind the image of the \"swallowing womb\" itself.<sup36</sup Her initial plea and persuasive reasonings with Titus on behalf of her son Alarbus is an example, one that made its mark on early audiences, as the curious Longleat manuscript drawing shows.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0087": {
-    "English Original": "<sup37</sup From moralization, it can be merely a small step to sectarian polemic, and Tomyris gets conscripted for such duties too.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0088": {
-    "English Original": "In Thomas Wilson's A Christian Dictionary (1612), for example, \"to drinke Blood\" is defined by explicit reference to Tomyris's revenge: \"To take in blood, as men take in other drinke, as Cyrus did by the compulsion of Tomyris.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0089": {
-    "English Original": "Wilson's further explication that \"[t]o haue their owne blood abundantly shed, till they swim in it, and do drinke (as it were) their owne blood …[is] a fit punishment, for Popish and all other cruel persecutors, that they shold one slaughter another, til they be bathed in their own bloods, as hapned to the Midianites in the Iudges; and to Papists also\" completes the validation of Tomyris's revenge in sectarian as well as moralized Elizabethan terms.<sup38</sup Thus, Tomyris's moral authority and just cause for sympathy and redress, evinced in Herodotus and developed by these later writers, remains a powerful strand of the early modern reception of Herodotus.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0090": {
-    "English Original": "What, then, of the gruesome manner of her revenge?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0091": {
-    "English Original": "Mustn't it be mitigated even a very little given these strong moral precedents and memories of a civil barbarian justly brought low by a barbarian queen?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0092": {
-    "English Original": "And if the critique of imperial Rome articulated in Titus Andronicus through Roman sources is bolstered by the Herodotean allusions, the most prominent of these is Shakespeare's reworking of Tomyris's revenge in the figure of the \"swallowing womb\" (2.3.239), Shakespeare's dominant image for Rome's turbulence.<sup39</sup Rather than simply scapegoating such disorder as female and Gothic, as Heather James has argued, Shakespeare's Herodotean allusions, his remembrance of Tomyris's revenge to support a sympathy towards the Goth queen and her cause, enable a more trenchant and committed attack on Roman values and the cultural authority of Rome in Elizabethan society than has previously been recognised.",
-    "Has CLIP Embedding": true,
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-  },
-  "W2019734204_s0093": {
-    "English Original": "This critique of Rome\n\nmay even be more topical and focussed still: if the buildup of variations of the \"swallowing womb\" allusions help to mould an image of Tamora as a just avenger, this in turn facilitates pointed connections to contemporary iconography of Queen Elizabeth as Justice.<sup40</sup This latter possibility will be explored in the final section of this paper.",
-    "Has CLIP Embedding": true,
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-  },
-  "W2019734204_s0094": {
-    "English Original": "BELLIES AND BARBARISM\n\nThe connection between the swallowing womb and Tomyris's revenge can be observed in the minor details of language and so on, as well as the larger structural parallels, and here the recent translation of Herodotus is particularly relevant.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0095": {
-    "English Original": "The account of Tomyris and Cyrus in the 1584 translation of the first two books of the Histories is markedly obsessed with stomachs and wombs.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0096": {
-    "English Original": "Tomyris is \"full of stomacke and displeasure\" to see her son captured by Cyrus's ruse (which itself involved a banquet by which the Massagetae army \"hauing there stomacks forced with vittayls\" are easily captured); she determines to \"glut that greedy pawnch of [Cyrus's] with abou[n]daunce of bloude\"; and another revealing elaboration on the Greek source details that rather than simply committing suicide, Tomyris's son \"pawnched him selfe into the belly with a Jauelyne and so dyed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0097": {
-    "English Original": "\"<sup41</sup This obsession might best be described as crowdpleasing, proleptic intimations of Tomyris's final revenge on the man responsible for the death of her son, a grotesque parade of bellies that bolster the readers' sense of Tomyris's justification in her terrible act as well as the thrill of horror in reading about it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0098": {
-    "English Original": "Building on the substance as well as the cumulative techniques of these imagepatterns, Shakespeare adopts the image of Tomyris's vengeance as a politicised and gendered motif of disorder for his play: the image of the swallowing womb.<sup42</sup In his reworking of it within the play, however, its positive Herodotean moral coding itself comes under visible challenge, notably through the play's adumbration of Tamora as a figure of failed justice, Astraea's cruel usurper.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0099": {
-    "English Original": "More curiously still, through the course of the play, that image of justified barbarian vengeance migrates from Tamora to Lavinia, the trueblue Roman usually heroised within the play, its Roman imaginary, and through her own impeccable textual precedents.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0100": {
-    "English Original": "Vilified but justified, Tomyris's bloody revenge ultimately brings Goth queen and Roman virgin into surprising coalition in their separate, vain attempts to counter the debased Roman imperial values that have made sufferers of them all.<sup43</sup\n\nThrough this challenge to its remembered Herodotean precedents, then, Shakespeare's play in turn challenges its audiences to consider what happens when the moral values they espouse come under pressure.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0101": {
-    "English Original": "Shakespeare's masterimage of the swallowing womb is, in the first instance, a transferred epithet that symbolises both a voracious maternal appetite for revenge and a fundamental disorder at the heart of the Roman world, one conveniently (if temporarily) displaced onto the female and nonRoman Tamora.<sup44</sup The swallowing womb is repeatedly associated with Tamora in the play, and by extension, with Rome under her sway.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0102": {
-    "English Original": "But if Tomyris's revenge is the dominant pattern of Shakespeare's \"swallowing womb,\" the image also remembers elements from Herodotus's account of the cannibalistic revenge of Cyrus's grandfather Astyages on Harpagus in forcing him to consume his own son, an account that appears just a little earlier in Book 1.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0103": {
-    "English Original": "Once again, we find a sense of justified revenge, but this time in Harpagus's subsequent defection to Cyrus's side as a response to Astyages's horrible punishment; here, I cannot help but think of Lucius's astonishing ability to occupy the moral high ground as he leads an army of Goths against his fellowRomans.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0104": {
-    "English Original": "As noted previously, this particular allusion to Herodotus's narrative of Astyages/Harpagus/Cyrus is mediated through one of Shakespeare's acknowledged Roman sources: Seneca's Thyestes.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0105": {
-    "English Original": "Shakespeare also probably draws on the concluding scene added by Jasper Heywood to his 1560 translation of Thyestes, in which the eponymous hero laments that his \"more then monstrous womb\" has \"become a cursed tombe.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0106": {
-    "English Original": "\"<sup45</sup Together, Herodotus's proleptic bellies and stomachs (culminating in Tomyris's revenge), Seneca's cannibalistic banquet and Heywood's \"womb\" and \"tomb\" form the pattern of Shakespeare's \"swallowing womb.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0107": {
-    "English Original": "From these narratives of barbarian maternal revenge and \"civil\" paternal suffering, Shakespeare forges even fiercer narratives of civil maternal suffering and barbaric paternal revenge based on the swallowing womb, narratives which obfuscate the line between civil and barbarian, Roman and Goth, and which throw the basis of all \"civil\" values into question.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0108": {
-    "English Original": "The pattern of Tomyris's revenge recurs throughout Shakespeare's play, sometimes on its own terms, other times in coalition with Roman cultural paradigms.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0109": {
-    "English Original": "Beginning with Marcus's plea to Titus to \"help to set a head on headless Rome\" (1.1.186), it reappears in the reminder in Saturninus's name of both Saturn (who, fearful of their usurping him, consumed his sons) and the Assyrian emperor Ninus (whose wife, Semiramis, ruled in his stead and attempted incest with her son).<sup46</sup The imprisoning maternal womb invoked by Aaron later in the play as a way of engendering fraternal sympathy between Chiron and Demetrius and his own son again builds on the elements of Tomyris's revenge.<sup47</sup More often, the connection between womb and tomb suggested by Heywood and already implicit in Herodotus allows the swallowing womb to be figured as the earth.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0110": {
-    "English Original": "Shakespeare fuses this form with the quintessentially Roman notion of the earth as \"great mother of us all,\" remembered to Rome by none other than Lucius Junius Brutus.<sup48</sup The earth with its \"dry appetite\" (3.1.14) simply drinks the penitent Titus's blood and tears, just as it swallowed most of Titus's sons.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0111": {
-    "English Original": "(The Andronicus brothers may be interred in Roman soil but the only solace its guardian, Marcus, offers is Greek: the (again, Herodotean) trope of \"Solon's happiness\".)",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0112": {
-    "English Original": "Again and again, the Herodotean intertext dismantles the political distinctions between civil and barbarian in Roman imperial values, together with their tacit moral inflections.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0113": {
-    "English Original": "So, for example, if Roman tradition values the tomb as a sanctuary in which Roman heroism is perpetually remembered, the Herodotean overtones expose the heroic distinction of the tomb and Roman rites of death to be ineffectual decorations of the consuming, feminine womb of the earth.<sup49</sup Nor is it any different to what the barbarians endure: Tamora and Aaron, too, are eventually left to be consumed by the earth (Aaron set \"breastdeep in earth\" and starved (5.3.178) and Tamora exposed to be consumed by \"beasts and birds of prey\" (5.3.197)).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0114": {
-    "English Original": "Nor do the Andronici escape the swallowing womb of the earth.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0115": {
-    "English Original": "The term \"swallowing womb\" first appears in Act 2, Scene 2, describing the pit in which Bassianus's body is dumped and in which two Andronicus brothers are entrapped.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0116": {
-    "English Original": "The \"detested, dark, blooddrinking pit\" (2.3.224) has long been associated not just with \"the malign fecundity of the maternal womb\" but, specifically, with Tamora's womb.<sup50</sup Once again suggestions of Tomyris's revenge shape events at the pit.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0117": {
-    "English Original": "Two of its victims, Quintus and Martius Andronicus, are beheaded as a result of having been found there; another, Bassianus, is dumped there as a makeshift tomb.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0118": {
-    "English Original": "An \"unhallowed and bloodstained hole\" (2.3.210) located in a sinister wood outside Rome, the pit is insistently marked as Gothic, and even more insistently as female.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0119": {
-    "English Original": "Tamora figuratively swallows the flesh and blood of the Andronicus boys, even as their entrapment within the pit is\n\nmanipulated to represent the lie that they have spilled the blood of Bassianus (\"berayed in blood\" (2.3.222)).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0120": {
-    "English Original": "But an awareness of Herodotus's barbarian \"pattern\" for this \"swallowing womb\" highlights not so much Gothic rapacity as brutal and debased Roman appetites: the irreligious pietas of the Andronicus thirst for sacrifical Goth blood.<sup51</sup And the residual sympathy for Tomyris in the interpretative tradition inherited by Shakespeare goes some distance towards justifying Tamora's vengeful actions, primarily by remembering her just cause.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0121": {
-    "English Original": "If it recalibrates the moral burden of the episode, however, it does not go all the way: the play does not stand over Tamora's viciousness, nor that of her sons.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0122": {
-    "English Original": "More striking still in its erasure of the boundaries between civil and incivil parties is another permutation of the \"swallowing womb\": the revenge of Titus upon Tamora.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0123": {
-    "English Original": "Titus's oddly pedantic methods are seldom remarked, but can be better understood through their evocation and reworking of Tomyris's revenge.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0124": {
-    "English Original": "Like Tomyris, Titus first collects blood before proffering it to his primary intended victim.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0125": {
-    "English Original": "He cuts the throats of Chiron and Demetrius, fastidiously collecting their blood for culinary purposes.<sup52</sup Next, he uses this basin of blood to bake the Goths' flesh, before making Tamora consume her own flesh and blood in cannibalistic \"pasties\" (5.2.189).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0126": {
-    "English Original": "In so doing, the barbarian revenge of Tomyris, overlaid with Astyages's vengeful punishment of Harpagus, is reprised by the ostensiblycivil Roman faction in the play and visited instead on the delinquent young men who have raped Lavinia and their mother who has set them on to it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0127": {
-    "English Original": "The Herodotean connection is reinforced in both the language and conception of Titus's taunt that he will make Tamora \"swallow her own increase\" (5.2.190) to a horrible satiety: \"And this the banquet she shall surfeit on\" (5.2.193; emphasis mine).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0128": {
-    "English Original": "Just as Tomyris sought to literalise Cyrus's bloodthirstiness, by insisting that Tamora \"swallow her own increase\" Titus forces a literal enactment of the \"swallowing womb\" with which Tamora has previously been associated.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0129": {
-    "English Original": "The result of Titus's counterrevenge is yet another dissolution of the boundaries between civil and barbarian factions, one entirely in keeping with Tomyris's revenge, in fact, where another terrible irony reposed: that in attempting in this fashion to impugn Cyrus's bloodthirstiness, she succeeded equally in revealing her own.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0130": {
-    "English Original": "But once again, the details of Shakespeare's refashioning of Herodotus demand scrutiny: although Titus orchestrates this barbarian revenge, Lavinia is enlisted to act it, and in another gruesomely memorable way.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0131": {
-    "English Original": "It is Lavinia who collects the surfeit of blood upon which Titus's victim will be gorged.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0132": {
-    "English Original": "In his extraordinary elaboration of Tomyris's revenge, Titus has the despoiled Roman virgin, cipher for the most enduring social and political ideals of Rome, hold \"[t]he basin that receives [their] guilty blood\" (5.2.183) in the \"stumps\" (5.2.182) of her mutilated arms.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0133": {
-    "English Original": "In including her in his revenge, Titus mobilises Lavinia  and by implication Rome  to avenge her own rape, her own destruction.<sup53</sup But the image of justified female vengeance that he seizes upon is that of the barbarian queen Tomyris, one already conspicuously and corrosively embodied by Tamora and her \"swallowing womb.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0134": {
-    "English Original": "This identification of Lavinia with vengeful agency on the model of Tamora thus becomes another corrupting assault on Lavinia, simultaneously a doomed defence and desecration of Lavinia's body and what it stands for, a travesty of the female offices of care and chastity as they once operated in Roman ideology.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0135": {
-    "English Original": "<sup54</sup (In turn, it is this brutalisation of Lavinia (and not necessarily a misremembered Roman precedent) that prepares Titus for her mercy killing soon after, I would suggest.)",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0136": {
-    "English Original": "Just as the echo of Tomyris's revenge helped to justify that of Tamora up to a limit, so too it couches Titus's revenge in relatively sympathetic terms  up to a limit.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0137": {
-    "English Original": "Critics tend to agree that Titus is, ultimately, \"a man more sinned against than sinning,\" but his appropriation of the moral authority of Tomyris's revenge in turn subjects him to the paradox of the revenger: that in the psychological and moral dynamics of revenge, the revenger must in a sense become, and become worse than the person who has wronged him.<sup55</sup Here, at least, Seneca trumps Herodotus.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0138": {
-    "English Original": "Lavinia's agency in Titus's revenge thus undermines her moral stature too, and the social and political myths of Romanitas that she anchors.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0139": {
-    "English Original": "In Shakespeare's capable hands, the motif of the swallowing womb is productively mobile, migrating from Tamora to Titus and Lavinia, marking the nonepiphanic nature of allusion within what James has termed Shakespeare's \"politics of citational violence.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0140": {
-    "English Original": "\"<sup56</sup But more vigorously still, this refashioned, mobile Herodotean motif marks the diminishing of justice under the arrogance of imperial rule, whether Roman or Persian.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0141": {
-    "English Original": "Herodotus and the reception tradition of Tomyris, thus give Shakespeare a powerful and malleable motif of disorder that can articulate not just doubts about the grounds of civility, the limits of empire and the mutability of humans and human affairs, but also even more topical contemporary anxieties about civil barbarism, female rule, and the moral probity of imperial ideals, anxieties that have previously been considered only within the Roman purview and terms of the play.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0142": {
-    "English Original": "In dissolving again and again the distinctions between civil and barbarian, and in showing the reappropriations of Tomyris's revenge by Tamora and Titus, Shakespeare challenges Romanitas, and the moral authority and cultural prestige of imperial Rome.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0143": {
-    "English Original": "But he also weakens the polemical animus of the term \"barbarian\" and presents instead the selfjustifying actions of competing peoples who refuse to recognise the humanity of the other.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0144": {
-    "English Original": "This has at least two important ramifications for our readings of the play: firstly, Shakespeare opens a space for a more sympathetic view of Tamora and the Goths as \"barbarians\" to prevail, one otherwise inaccessible through the Roman values that have dominated scholarship of Titus Andronicus.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0145": {
-    "English Original": "This space might well encourage Shakespeare's Elizabethan audiences to embrace \"their own ancestors,\" as Jonathan Bate suggests, \"barbarian\" vanquishers of Roman might.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0146": {
-    "English Original": "In sparking echoes of a nonRoman text in a play that skirts conspicuously closely around the subject of the fall of Rome to the Goths, Shakespeare allows his first audiences to defy the weighty and unflattering writings of Caesar, Tacitus and others, and to contemplate a new English barbarian identity less beholden to Rome and their own embarrassing history under Rome.<sup57</sup Behind the play's image of ancient imperial Rome (its allure, as well as the Elizabethan concern with Britain's Roman inheritance) lies ancient imperial Persia (its allure, and the no less troubling Tudor fear of acknowledging the \"barbarian\" within their own ethnographic makeup).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0147": {
-    "English Original": "The revenge of Tamora thus potentially eclipses even the rape of Lavinia within the political imaginary of the play, at least as it speaks to Shakespeare's contemporary audiences.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0148": {
-    "English Original": "But foregrounding Tomyris's just vengeance rather than Cyrus's imperial conquests, Shakespeare also puts the question of empire at the heart of his play, uncovering its murky, bloody demands and its corrosiveness to moral and social ideals at a significant moment of England's selfdefinition as an empireinthemaking.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0149": {
-    "English Original": "Secondly, and building on that point, the Herodotean echoes of the play's central motif, the \"swallowing womb\", complicates the moral and political work of the play by overlaying Roman mores with Greek, Persian, Goth and \"barbarian\" models, challenging the esteem in which imperial Rome was held by Shakespeare's contemporaries.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0150": {
-    "English Original": "If Tamora is advantaged by the association with the just avenger, Tomyris, the play does not allow this identification any easy space within Titus's Rome: after all, Tamora stands for the failure of justice in Rome, the flight of Astraea, and becomes a victim of just vengeance herself when Titus successfully assumes Tomyris's prerogative.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0151": {
-    "English Original": "The bloody theme of the \"swallowing womb\" reveals in Titus, as it had in Herodotus, a classical maxim that Marcus Andronicus, unwittingly prescient, alluded to earlier in the play: \"Solon's happiness\" (1.1.177).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0152": {
-    "English Original": "Solon's apocryphal argument that no man can be deemed happy until his last day was a familiar sententia.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0153": {
-    "English Original": "It is also to be found in Book 1 of Herodotus, in the account of the Athenian Solon's declaration to the Lydian king Croesus that no man be called happy until his death, such was the mutability of fortune.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0154": {
-    "English Original": "In fact, the story is already secondhand in Herodotus: we hear it when the Persian king Cyrus has Croesus retell it, having just conquered the Lydia and ordered Croesus be put to death.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0155": {
-    "English Original": "Though Solon's advice was wellknown and much cited by classical authorities and Renaissance writers including Sophocles, Aristotle and Montaigne, its touchstone  and one of its earliest formulations  was Book I of the Histories.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0156": {
-    "English Original": "<sup58</sup In thus redescribing the Roman culture of heroic death as confirmation of a Greek metaphysical principle mulled over by barbarian kings, Marcus again points to Herodotus as a vital nonRoman intertext through which the complex political imaginary of Titus Andronicus must be elucidated.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0157": {
-    "English Original": "The Roman model alone is insufficient as an exemplar to Elizabethan England.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0158": {
-    "English Original": "And in its troubling potential for vice and injustice, it may not even be a positive model at all.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0159": {
-    "English Original": "Through Marcus's remembrance of this maxim, the play suggests that Titus and Tamora  like Cyrus and Tomyris  are locked into a sterile struggle in which both of them may stand justifiably avenged on the other.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0160": {
-    "English Original": "The question is not which of them is justified, but rather how Roman deformations of justice have made aggressors  and victims  of them both.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0161": {
-    "English Original": "Animating and moralising Shakespeare's conception of the dying days of the Roman empire, then, is Herodotus's account of the dying days of the founder of the\n\nPersian empire, I have been arguing.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0162": {
-    "English Original": "Tomyris's revenge adds another, vital shade to the Roman colouring of Shakespeare's politics of dismemberment, and in the process, instigates a deeper challenge to the political arrogance and accepted moral authority of imperial Rome for Shakespeare's audiences and readers than has previously been considered.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0163": {
-    "English Original": "Through awakening a Herodotean intertext in Titus Andronicus, Shakespeare borrows the Herodotean tendency to critique great men, and not to praise them (as Xenophon did)  and to critique the praising of them, as my next section will suggest.",
-    "Has CLIP Embedding": true,
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-  },
-  "W2019734204_s0164": {
-    "English Original": "A short but salient digression, this section tries to reconcile my intertextual interpretation of the play through Herodotus with the play's own treatment of the dynamics of intertextual engagement, and to explore the purposes that Shakespeare's reflectiveness on this issue might serve.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0165": {
-    "English Original": "This will bring us, finally, to the question of Shakespeare's first audiences and readers, and the potential topical implications that the play holds for this contingent.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0166": {
-    "English Original": "INTERTEXTUAL TITUS\n\nPositing a new intertext for Titus Andronicus has conspicuous perils: the play has already anticipated and theorised the hunt for its own sources, playfully dramatising the very acts of intertextual interpretation that it simultaneously demands.<sup59</sup Successful interpretation of signs and texts and the forms of resolution that such interpretations produce are subject and strategy for the protagonists as much as for Shakespeare's audiences.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0167": {
-    "English Original": "Intertextuality is one of the crucial ways in which the semantics of the play operates, both within and beyond the world of the play, allowing Shakespeare to reach out to, and assert political community with his audience and readership.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0168": {
-    "English Original": "Of those audiences, the sensibilities of one contingent in particular seem to be privileged: those young educated men recently arrived from Cambridge and Oxford, marked out by their disposable incomes, fashionable literary tastes and showy classicism, men who might in the long run prove to be useful patrons and who, in the short run, were valued customers of the public theatres.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0169": {
-    "English Original": "Shakespeare's responsive adaptations from Herodotus seem to target the learning and concerns of this savvy audience, playing both to their bloodthirsty dramatic appetites and to their sceptical political sensibilities in the last years of Elizabeth's reign.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0170": {
-    "English Original": "The very privileged textuality of the play, the playful interest in books and the experience of schooling and reading supports this.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0171": {
-    "English Original": "The play repeatedly and ostentatiously invites the viewers and readers to make sense of its plots and moral codes by reference to other texts, just as its protagonists do to try to make sense of their own situations.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0172": {
-    "English Original": "More often than not, it is the wellworn classical texts of the early modern schoolroom and the homosocial communities of the universities and Inns of Court that are invoked: Virgil, Horace, Ovid, Seneca, Livy, and a host of Roman historians and lawyers.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0173": {
-    "English Original": "And the spirit in which such texts are invoked is mockscholarly, sometimes brutally so.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0174": {
-    "English Original": "The counterrevenge plot, of course, turns on Lavinia's recourse to Ovid's Philomela narrative, and Titus finally kills his daughter on the authority of Virginius's precedent (misremembered from the Roman historians), first checking his interpretation of the sources in high pedagogical fashion with Saturninus.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0175": {
-    "English Original": "If these moments provide valuable interpretative cues, they also introduce a note of warning about how such intertexts can be used.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0176": {
-    "English Original": "Underlying all of the play's intertextual impulses is the familiar search for authorising classical models, the dogma Titus insists upon when he kills Lavinia upon \"A pattern, precedent, and lively warrant / For me, most wretched, to perform the like\" (5.3.434).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0177": {
-    "English Original": "And if the play puts this characteristic habit of thought in question, it interrogates with particular zest this canonical selection of classical Roman models upon which English culture bestowed such dazzling authority.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0178": {
-    "English Original": "Titus Andronicus interrogates the very transferrals of narrative meaning upon which it so loudly relies.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0179": {
-    "English Original": "It does so in two ways: it exposes the fragile mechanics of interpretation and the slippages that can occur in that process, and it provides unsympathetic exemplars of literary interpretation within the plot.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0180": {
-    "English Original": "(Both of these have a cautionary relevance for readings of the play through other texts, whether or not the play invites such intertextual readings!)",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0181": {
-    "English Original": "The painfully grotesque rigmarole of Lavinia trying to express herself through her terrified nephew's copy of Ovid is only matched by the horror of Marcus's untimely verbosity when he finds his niece raped and mutilated and sorely in need of more than words.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0182": {
-    "English Original": "The price  as well as the necessity  of intertextual interpretation could not be evoked with more pungency.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0183": {
-    "English Original": "Halfremembering their schoolday Horace, Tamora's sons in turn demonstrate the more quotidian vagaries of schoolroom learning and intertextual application.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0184": {
-    "English Original": "As Goths with conspicuously Greek– sounding names, they might be forgiven a sloppy grasp of Roman authors.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0185": {
-    "English Original": "But here, as elsewhere, it is Aaron the Moor who proves the better scholar.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0186": {
-    "English Original": "Villain though he may be,\n\nAaron joins bloodless Marcus Andronicus as the two best intertextual readers in the play.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0187": {
-    "English Original": "When Lavinia turns to Ovid to communicate her pain, Titus looks to his brother (\"Marcus, what means this?\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0188": {
-    "English Original": "(4.1.30)), and Marcus obliges by both interpreting the text and improvising an alternative mode of expression for his niece.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0189": {
-    "English Original": "His reputation as the scholarly brother is justified: it is Marcus who tips us to look to Herodotus early in the play by evoking \"Solon's happiness\" (1.1.177) in solemnising the funeral rites of Rome's fallen sons.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0190": {
-    "English Original": "Similarly, Aaron correctly apprises Titus's textual \"conceit\" (4.1.30) far ahead of his tutees, Chiron and Demetrius (5.1.98) and advises them accordingly.<sup60</sup In these embedded examples of reading and interpretation, Shakespeare is at pains to highlight the political stakes in the game of identifying intertexts and, as Renaissance literary theory would have readers do, in the ensuing task of selecting models both personal and social/political for emulation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0191": {
-    "English Original": "However compromised they may be, the literary skills of Marcus and Aaron prove as valuable to Shakespeare's audience as they are to their interlocutors.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0192": {
-    "English Original": "Both Roman and Moor like to evoke the dynamics of the early modern schoolroom, and this helps to authorise their intertextual choices.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0193": {
-    "English Original": "Provocatively styling himself a \"tutor\" in vice, Aaron's pedagogical flair counterbalances the more pedantic Marcus, but both implicitly address themselves to educated but impressionable young men not too distant from Shakespeare's own target audience.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0194": {
-    "English Original": "Strikingly, both tend to look not just to Roman sources but also far beyond Roman culture for an understanding of what is happening in Rome.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0195": {
-    "English Original": "Aaron, like Marcus, thinks intertextually, and despite his sure grasp of Roman social and cultural mores, his classical references are, for the most part, Greek rather than Roman: Tamora climbs \"Olympus\" top\" (2.1.1) in marrying Saturninus, and puts Aaron in mind of the Assyrian queen Semiramis (2.1.22), whose notorious exploits are recounted in Book 1 of Herodotus's Histories and elsewhere.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0196": {
-    "English Original": "But the play's sceptical eye on the uses and abuses of intertextual interpretation prevails.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0197": {
-    "English Original": "Through the wide reading and different interpretative abilities of Marcus and Aaron, we see that intertextual allusion is a tricky business, all too amenable to selfserving interpretation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0198": {
-    "English Original": "Clearly Herodotus does not seem to be a source in the same way or to the same extent that Ovid is a source for Shakespeare in this play.<sup61</sup But as an intertext, the Herodotean allusions open up a cogent critical perspective on Rome, her institutions\n\nand mores that seems firmly embedded in the play, a perspective proximate but not identical to Tamora's perspective on Rome, and one that can speak to England's obsessive reflections on its own barbarian identity, female sovereignty and imperial ambitions, as I will argue in the final section.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0199": {
-    "English Original": "The analogies of plot between Herodotus and Titus Andronicus are sometimes just that, and it is difficult to map Herodotean characters onto those of Shakespeare.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0200": {
-    "English Original": "The hapless clown is simply executed for his message, and, confusingly, it is Tamora, the closest figure to Tomyris, who is most graphically made to swallow her own flesh and blood in a reprise of Tomyris's revenge on Cyrus.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0201": {
-    "English Original": "The figure of Cyrus himself is absent, or rather, mobile.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0202": {
-    "English Original": "Nonetheless, certain Herodotean motifs and narrative patterns are reworked over and over again in the alien Roman setting of Titus Andronicus, and they are patterns of which the protagonists seem on occasion to be aware.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0203": {
-    "English Original": "While none of the protagonists of Titus Andronicus stand constantly and unequivocally for Cyrus, Tamora is only the first of several to choose to follow Tomyris's example and to evoke Tomyris's revenge, the most important intertextual amplification of Shakespeare's \"swallowing womb.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0204": {
-    "English Original": "The ironies underlying her actions  that in the play, Tamora also stands for the flight of Astraea, the failure of justice in Rome  do not only undermine that identification with the just avenger and the political scepticism about Roman imperial values that this helps to convey, but also direct attention to the malleability of the values of exemplary figures and the (sometimes questionable) political motivations behind their textual prestige.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0205": {
-    "English Original": "The pieties and pedanticism of Marcus, the grotesque, childscaring accommodations of Lavinia's recourse to Ovid, the failure of Latin learning to teach Tamora's boys to live good lives: Shakespeare casts a caustic eye on the aspirations and conventions of humanist education and their claims over their subjects.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0206": {
-    "English Original": "I think that Shakespeare is trying to draw attention to the flexibility inherent in intertextual interpretation, a flexibility both destabilising and fortifying that is to be embraced, but which is rarely found in the rigid, implicitly conservative and authoritarian literary and quotidian doctrines of imitatio and exemplary imitation promoted in the early modern schoolroom and embodied by a Marcus Andronicus, or indeed a later Polonius.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0207": {
-    "English Original": "Caveats aside, however, for the adept intertextual readers among the Inns of Court men, Tamora's evocation of both the just avenger and the absence of justice holds\n\nadditional interest in distantly reflecting on the iconographical instability of their own difficult queen.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0208": {
-    "English Original": "Tomyris's alignment with Judith and Jael in biblical typology, not so very far from Deborah, brings her into contact with the iconography of Elizabeth as a queen of justice so pronounced in the early 1580s.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0209": {
-    "English Original": "Does the play seek to activate reflections on Elizabeth's rule, her age, and indeed the imminent end of the Tudor dynasty?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0210": {
-    "English Original": "Does Shakespeare's play look to Elizabeth's increasingly conspicuous impatience with the forms and principles of justice, her recalcitrance in that role  the Faerie Queene vanished and sought, Astraea elsewhere  and allow her to be read through Tamora, vicariously, treasonably, but thrillingly for young men whose reading had not prepared them to accept female regiment but whose circumstances compelled them to do so in increasingly visible, courtly ways?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0211": {
-    "English Original": "And if so, they were probably not the only ones to find in Shakespeare's play ways of thinking about Elizabeth's rule, and about England under Elizabeth.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0212": {
-    "English Original": "If the Herodotean overtones of the swallowing womb reshape the moral configuration of the plot and its discourses of civility and barbarism, they also hold troubling political and symbolic implications for both Rome and an England that cherished Roman classical ideals.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0213": {
-    "English Original": "The sovereignty of the swallowing womb  embodied by Tamora and then adopted by Titus in concert with Lavinia  has significant consequences for Roman political ideology, not least because of its displacement of the expected totemic bodypart preserving Rome: the head.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0214": {
-    "English Original": "One of the favourite political legends of Rome and Romanitas is Livy's account of the human head found under the Capitoline, taken to prophesy Rome's place as the \"head\" of the world.<sup62</sup The terms of Livy's prophetic legend (the imperative to \"set a head on headless Rome\" (1.1.186)) explicitly underscore Rome's degenerate state in Titus Andronicus under the sovereignty of Tamora and the swallowing womb.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0215": {
-    "English Original": "The play therefore also accommodates an exploration of the implications of female rule, the feminising of Rome and Roman values under Tamora, and with them, perhaps, England under Elizabeth.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0216": {
-    "English Original": "On the face of it, those implications appear to coincide with the worst fears of the class of educated young university wits and Inns of Court men in Shakespeare's\n\naudience: the emasculation of masculinity and virtue, the compromising of military defences and national borders, the erosion of sovereignty itself.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0217": {
-    "English Original": "(For these young men, such structural debilitation threatens all possible futures, and certainly stymies the daring military and imperial hopes of an Essex or a Ralegh and any number of their wouldbe followers.)",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0218": {
-    "English Original": "While the play opens with the problem of a leaderless Rome, Titus's abrogation of the position with which Romans wish to invest him leaves Rome ominously \"headless\" even after the appointment of Saturninus as emperor.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0219": {
-    "English Original": "Within the Roman political mythology of body parts, a vacuum appears, quickly filled by the regime of the swallowing womb.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0220": {
-    "English Original": "Tamora's belly becomes \"incorporate\" with Rome, and Roman society accordingly takes on the voracious appetitites of that belly and womb instead of the moderation of the masculine principle, the head.<sup63</sup The implications for Rome are disastrous.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0221": {
-    "English Original": "Instead of issuing forth children, the \"swallowing womb\" eats what it has already nurtured.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0222": {
-    "English Original": "In perversely swallowing her own lifeblood, the new barbarian Rome destroys the future of imperial Rome; female rule destroys the past and future of a proud, ambitious state.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0223": {
-    "English Original": "Nonetheless, Shakespeare's play also shows the impoverishment and moral dubiousness of those patriarchal Roman ideals before Tamora and even facilitating her dominion.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0224": {
-    "English Original": "I have argued that in using the figure of the swallowing womb to help blur the boundaries between civil and barbarian peoples and actions, Shakespeare strikes a blow against the established ideal of imperial Rome in all its cultural authority, revealing the hypocrisy of Roman denigrations of barbarians and deploying Herodotean intertextual allusions to legitimize and substantiate the Goths' concerns.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0225": {
-    "English Original": "In fact, despite the misogyny and pessimism ostensibly articulated in the play through Tamora's cruelty, the Herodotean intertext with its emphasis on Tomyris as a just avenger opens a moral perspective from which audiences are enabled to support the barbarian queen against her Roman opponents.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0226": {
-    "English Original": "It is here, in the evocation of Tamora as Tomyris, that the play's closest topical parallels with Queen Elizabeth are made available.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0227": {
-    "English Original": "While exaggerated for the purposes of genre, the play's admixture of sympathy and horror for Tamora, its simultaneous appreciation of her justice and cruelty, its observation of her tyrannous rule and the destabilising of the entire patriarchal fabric of society under her dominion,\n\narticulates some recognisable contemporary reactions to Elizabeth and might well have acted as a vehicle for them.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0228": {
-    "English Original": "How plausible is it that an English dramatist making his first forays into the world of the London theatres might imagine his queen as a vicious barbarian?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0229": {
-    "English Original": "If Jonathan Bate is correct in identifying a perceived sense of kinship between Shakespeare's countrymen and the Goths, then it is indeed likely that Tamora might be considered a fictional ancestor of Elizabeth's, just as Spenser construed Britomart.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0230": {
-    "English Original": "And beyond Gothic Tamora, the Massagete Tomyris.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0231": {
-    "English Original": "As James has pointed out, Tamora has particular affiliations with Elizabeth's \"body iconographic\" of the 1580s and 1590s, and many of these are mediated through her connection with Tomyris.<sup64</sup History was kind to Tomyris, as we have seen.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0232": {
-    "English Original": "Medieval and early modern readers credited Tomyris with the heart and stomach of a king, and early modern commentators tended to agree.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0233": {
-    "English Original": "For Arthur Golding, for example, she was \"a manly woman,\" a comment intended as a compliment.<sup65</sup Tomyris was also frequently considered together with Judith and Jael, biblical virgins who had protected their countries by decapitating wouldbe aggressors of their people (and bodies).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0234": {
-    "English Original": "Judith and Jael were also prominent in contemporary iconography of Elizabeth in the 1580s, used to strengthen her position in the political framework of state.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0235": {
-    "English Original": "<sup66</sup Emanuel van Meteran's account of Queen Elizabeth at Tillbury, included in Hakluyt's Principal Navigations, explicitly describes her as \"representing Tomyris that Scythian warlike princesse, or rather diuine Pallas her selfe.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0236": {
-    "English Original": "\"<sup67</sup In these telling overlaps, Elizabeth's image as a formidable, just and virgin queen can be remembered to her people.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0237": {
-    "English Original": "Or it can be mourned.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0238": {
-    "English Original": "Such remembrances cannot have been as triumphant in the mid1590s as they were in the preceding decade.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0239": {
-    "English Original": "The ageing queen  a desperate Ralegh's Cynthia, a cool Spenser's Gloriana and Radigund  continued to demand images of youthful vigour fashioned in Petrarchan ideals, or ageless virtue, but (as she well knew) those images failed to distract her courtiers from their preoccupations with her likely demise and lack of a successor.<sup68</sup Pointed remembrances of Elizabeth's preferred icons of justice as belated as this can work against their ostensible encomiastic powers at the moment of performance.<sup69</sup If the image of the virgin queen so celebrated in the 1580s drew for support on evocations of Elizabeth in the mode of Old Testament and classical heroines of justice, figures such as Deborah, Esther, and above all, Astraea, by\n\nthe time Titus Andronicus came to be performed, that cult of the virgin queen, and its attendant iconography was well and truly \"depleted,\" and remembrances of it could turn nasty.<sup70</sup Elizabeth's languishing image as powerful virgin queen seems to be Shakespeare's target in his parodic realisations of Tamora as a wanton Diana, a vicious Venus armata, a wicked Astraea.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0240": {
-    "English Original": "For James, Shakespeare deploys the worn iconography of formidable royal power so as to direct attention to the false promises of that iconography, producing a critique of Tudor imperial ambitions as they were legitimated through the Troy myth.<sup71</sup The juxtapositions suggested in the play's refracted images of Elizabeth therefore had the potential to undermine the compliments of the royal iconography invoked.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0241": {
-    "English Original": "Shakespeare's Elizabethan Tomyris could cut both ways.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0242": {
-    "English Original": "By the same token, the play's articulation of a flawed imperial model serves to both inspire and arrest any English imperial ambitions that might seek legitimation through the Gothic, \"barbarian\" line when Lucius commands the Goths to \"be as your titles witness / Imperious\" (5.1.56).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0243": {
-    "English Original": "The idea of a \"barbarian\" empire must have seemed an attractive one to Shakespeare's early audiences, or at least a familiar one.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0244": {
-    "English Original": "In the 1590s and after, England  or, better, Britain  generated a national politics largely through the concept of empire.<sup72</sup But nationalist efforts to annex the translatio imperii and its promise of empire needed to confront Britain's own history as a \"barbarian\" colony of Rome, evidence of which came primarily from all too eloquent Roman colonisers like Tacitus and Caesar.<sup73</sup Responses from early modern readers and writers to these troubling barbarian origins ran the gamut from severe cultural embarrassment to delusional repudiation of any foreign sources.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0245": {
-    "English Original": "On the one hand, Polydore Vergil's scepticism about Arthurian myths laid open Britain's subjugation by Rome while on the other, Camden took the opportunity to celebrate Britishborn emperor Constantine.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0246": {
-    "English Original": "Concerns about early English barbarism accrued particular importance at the sites of emerging English colonialism, whether Virginia or Ireland.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0247": {
-    "English Original": "Spenser's Irenius enunciates the fears of a generation in noting that \"it is but even the other day since England grew civil,\" but he uses such reminders to promote vigorous plantation of Ireland, as if to purge the English memory of Roman colonialism through exercising such powers elsewhere.<sup74</sup If Shakespeare's barbarians had empires on their mind, so too did his first audiences and readers.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0248": {
-    "English Original": "But ultimately neither Tomyris nor the Goths confer the political rewards of the\n\ntranslatio imperii, the historical claims of which had been undermined by those same antiquarian investigations of Britain's barbarian origins.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0249": {
-    "English Original": "As Jodi Mikalachki notes, \"The doublebind of native origins  barbarous if unknown and barbarous when found  produced complicated and at times alienating versions of nationalism in early modern England, requiring both affirmation and denial of the 'native' in projects of national recovery.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0250": {
-    "English Original": "\"<sup75</sup With its affirmation and denial of \"newmade empress\" (2.1.20) Tamora as a protoBritish Goth, and indeed as a cryptoEnglish Elizabeth, Titus Andronicus might therefore be considered a defiant response to the increasingly obvious and embarrassing history of early British barbarism, and a repudiation those harsh Roman accounts of early Britain in a gratifying, sensationalised rehearsal of the fall of Rome to barbarian Goths.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0251": {
-    "English Original": "From this point of view, its dissolution of differences between \"civil\" and \"barbarian\" peoples enunciates a barbarian politics of defiance with strong nationalistic resonances for its first audiences.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0252": {
-    "English Original": "Thus, the return of Lucius with his army of Goths has the potential to awaken that English genealogical sympathy with the Goths that, for Bate, sees them as heroic avatars of \"the Protestant succession.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0253": {
-    "English Original": "\"<sup76</sup\n\nIn the elucidation of a position sympathetic to the Goths through Herodotean allusion, then, Shakespeare moves toward formulating an English barbarian identity unbowed by its embarrassing early history as a colony of Rome, and unbound from that towering Roman model.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0254": {
-    "English Original": "But with the return of Lucius (who, in Act 5, looks suspiciously like Cyrus), the play also problematises the defiant identification that made this possible.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0255": {
-    "English Original": "The dream of empire, in several possible versions, is writ large, but inauspiciously, in Shakespeare's play.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0256": {
-    "English Original": "Tomyris almost succeeded in bringing down the ancient Persian empire of Cyrus, and the Goths certainly did bring down that of Rome as far as Elizabethans were concerned.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0257": {
-    "English Original": "Nor does the play allow Tomyris and the Goths to be constantly or easily supported.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0258": {
-    "English Original": "Promising though the Goths might have seemed to aspiring English minds, however, they are nonetheless far from Christopher Marlowe's testosteronefuelled barbarians who manage in more than simply \"conceit\" to \"bear empires on our spears.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0259": {
-    "English Original": "\"<sup77</sup Ultimately, Shakespeare's are not barbarian ancestors with an imperial destiny to bequeath, and the imperial fantasy his play entertains is shown to be severely flawed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0260": {
-    "English Original": "Shakespeare on occasion wrote histories in the conditional mode, histories that come close to the Nietzchean idea of a \"critical history,\" freed from the monumentalising drive of the victors and concerned instead to scrutinise the past  including the roads not taken  in order to be free of it.<sup78</sup Titus is an early example of this, but finds itself in good company later in Shakespeare's career: Othello is set in Cyprus just before its historical fall to the Turks, though Shakespeare leaves the Venetians precariously in power at the end of the play; Cymbeline is set in a Roman Britain where the British relinquish their victory over the Romans as if in obeisance to a later history.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0261": {
-    "English Original": "Set in a fictionalised Rome just before it would fall to the Goths, Titus Andronicus explores a set of radical hypothetical possibilities  and dangerous political realities  centred on the issues of female sovereignty, barbarian identity and England's imperial future.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0262": {
-    "English Original": "Despite its barbarian history, English (and later British) nationalism  and its very real imperial aspirations  had to be rooted in its sense of its own past, in \"the sense of nostalgia.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0263": {
-    "English Original": "\"<sup79</sup In Shakespeare's hands, such nostalgia could smooth the sharp edges of the Goths' notorious barbarity, and could resuscitate their victory against the Romans for English ends.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0264": {
-    "English Original": "But having indicted Roman imperial values, the play conspicuously fails to recuperate a solid imperial precedent from its barbarian politics.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0265": {
-    "English Original": "The Herodotean intertext enables audience sympathies for the Goths against the Romans, and against the combined weight of Roman history and cultural authority in Elizabethan England, but it falls short of transforming its nascent barbarian politics into an imperial agenda.",
-    "Has CLIP Embedding": true,
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-  },
-  "W2019734204_s0266": {
-    "English Original": "Through the intertextual dynamics with Herodotus's history of Cyrus, Shakespeare compels his audience both to remember and to revise Persian, Roman and British history, and to reexamine the dream of empire that his contemporaries were so keen to pursue.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0267": {
-    "English Original": "<sup1</sup All references to the play are to the New Cambridge Shakespeare edition of Titus Andronicus, ed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0268": {
-    "English Original": "Alan Hughes (Cambridge: Cambridge UP, 2006).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0269": {
-    "English Original": "Debate on the authorship of the play is ongoing, but is not particularly relevant to the argument of this paper.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0270": {
-    "English Original": "For the argument for George Peele's contribution to the writing of Titus Andronicus, see Brian Vickers, Shakespeare: CoAuthor: A Historical Study of Five Collaborative Plays (Oxford: Oxford UP, 2002), 148243.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0271": {
-    "English Original": "2 Spencer, 32; cited in Titus Andronicus, ed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0272": {
-    "English Original": "Jonathan Bate (London and New York: Routledge, 1995), 16 17.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0273": {
-    "English Original": "<sup3</sup The play uses the terms \"Rome\" and \"Roman\" 126 times, as Charles Wells points out: that is, twice as often as in Julius Caesar and three times as often in Antony and Cleopatra.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0274": {
-    "English Original": "See The Wide Arch: Roman Values in Shakespeare (New York: St Martin's Press, 1992), 13.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0275": {
-    "English Original": "Yet the plot of Titus Andronicus has not been fully situated in Roman history, and as G.K. Hunter notes, its Roman ethic combines such contradictory elements as Republican austerity and imperial decadence.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0276": {
-    "English Original": "Charles and Michelle Martindale cite Hunter's argument in support of their feeling that Titus is not a Roman play in the sense that Coriolanus or Julius Caesar are.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0277": {
-    "English Original": "Shakespeare and the Uses of Antiquity: An Introductory Essay (London; New York: Routledge, 1990), 143.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0278": {
-    "English Original": "<sup4</sup Other false notes include the dubious idea that hunting panthers (as the new emperor and his companions seek to do) was typical of \"Our Roman hunting\" (2.2.20).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0279": {
-    "English Original": "<sup5</sup Roman Shakespeare: Warriors, Wounds and Women (London and New York: Routledge, 1997), 47.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0280": {
-    "English Original": "<sup6</sup On Rome and English dreams of translatio imperii, see, for example, Heather James, Shakespeare's Troy: Drama, Politics, and the Translation of Empire (Cambridge: Cambridge UP, 1997); Liz OakleyBrown, \"Titus Andronicus and the Cultural Politics of Translation in Early Modern England,\" Renaissance Studies 19 (2005): 32547.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0281": {
-    "English Original": "Naomi Conn Liebler finds echoes of Herodian's Roman history in certain names and elements of plot in \"Getting it All Right: Titus Andronicus and Roman History,\" Shakespeare Quarterly 45 (1994): 26278.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0282": {
-    "English Original": "<sup7</sup Bate, \"Introduction\" to his edition; Neil Rhodes, \"Shakespeare the Barbarian,\" in Jennifer Richards (ed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0283": {
-    "English Original": "), Early Modern Civil Discourses (Basingstoke: Palgrave Macmillan, 2003), 99114.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0284": {
-    "English Original": "<sup8</sup Nicholas R. Moschovakis, \"'Irreligious Piety' and Christian History: Persecution as Pagan Anachronism in Titus Andronicus,\" Shakespeare Quarterly 53 (2002): 46086, esp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0285": {
-    "English Original": "9 See, for example, Jean Bodin, Les Six Livres de la République (1576; translated into English 1606), Joannes Boemus, The Fardle of Facions (1555).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0286": {
-    "English Original": "Lodowick Lloyd, The Consent of Time (1590),\n\n<sup10</sup Prominently in the prefatory material, Hakluyt boasts, \"Which of [\"all the [other] nations and people of the earth\"] hath euer dealt with the Emperor of Persia, as her Maiesty hath done, and obtained for her merchants large & louing priuileges?\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0287": {
-    "English Original": "<sup11</sup John Speed, for example, proffers an uptodate map of Persia in A Prospect of the most Famous Parts of the World (1646) even as he castigates the Persians' \"antique barbarisme\" (fol.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0288": {
-    "English Original": "See also Ros Ballaster, Fabulous Orients: Fictions of the East in England, 16621785 (Oxford: Oxford UP, 2005) for material on Persia being read as both \"civil\" and \"barbaric.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0289": {
-    "English Original": "<sup12</sup See footnote 16.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0290": {
-    "English Original": "An earlier play about Cyrus's son, the eponymous Cambyses (possibly by Thomas Preston (1570)), also drew directly on Herodotus's accounts of ancient Persia.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0291": {
-    "English Original": "<sup13</sup The famous hystory of Herodotus, trans.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0292": {
-    "English Original": "(London: Thomas Marshe, 1584).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0293": {
-    "English Original": "Book 1 deals mostly with Persia and Assyria, Book 2 with Egypt.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0294": {
-    "English Original": "The edition was a small, accessible quarto, containing only the first two books of the nine promised on the titlepage.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0295": {
-    "English Original": "The identity of B.R., the translator, remains unclear, but the only candidate to have emerged with any likelihood is the soldier and pamphleteer, Barnaby Rich.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0296": {
-    "English Original": "Rich could have sidestepped an ignorance of Greek by working from either a Latin text (Lorenzo Valla's 1450 translation, revised in 1537 by Heusbach) or a French text (the more recent translations of 1556, 1575 or 1580 by Pierre Saliat).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0297": {
-    "English Original": "<sup14</sup The Malice of Herodotus, ed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0298": {
-    "English Original": "Anthony Bowen (Warminster: Arish & Phillips, 1992).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0299": {
-    "English Original": "Johannes Boemus, for example, explicitly follows the Ciceronian model of Herodotus in The Fardle of Facions (1555).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0300": {
-    "English Original": "Christopher Pelling has recently shown that Plutarch's animosity towards Herodotus was not sustained beyond this essay.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0301": {
-    "English Original": "\"De malignitate Plutarchi: Plutarch, Herodotus, and the Persian Wars,\" in Cultural Responses to the Persian Wars, ed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0302": {
-    "English Original": "Emma Bridges, Edith Hall and P.J.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0303": {
-    "English Original": "Rhodes (Oxford: Oxford UP, 2007), 14564.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0304": {
-    "English Original": "<sup15</sup The best history of the Persian (or Achaemenid) empire is that of Pierre Briant, From Cyrus to Alexander: A History of the Persian Empire, trans.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0305": {
-    "English Original": "Peter T. Daniels (Winona Lake Ind.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0306": {
-    "English Original": ": Eisenbrauns, 2002; first published in French (1996)).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0307": {
-    "English Original": "<sup16</sup For a detailled account of the texts and influence of the Cyropaedia in English Renaissance literature, see my essay, 'Barbarous Utopias: Xenophon's Cyropaedia in the English Renaissance', Hermathena 183 (2007; published 2009): 16374.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0308": {
-    "English Original": "<sup17</sup It was only in the seventeenth century that attempts were made to reconcile these divergent accounts of Cyrus, most notably in Mlle de Scudéry's monumental romance, Artamène, ou le Grand Cyrus (164953), and in John Banks's illfated tragedy, Cyrus the Great: Or, The Tragedy of Love (1696).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0309": {
-    "English Original": "In both, Cyrus is made to fall in love with Tomyris.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0310": {
-    "English Original": "<sup18</sup Critics also posit Sophocles's lost plays Atreus and Thyestes as intermediate sources for Seneca.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0311": {
-    "English Original": "<sup19</sup Justin also gives a derivative account of Tomyris in Book 1 of his Epitome of the Philippic History of Pompus Trogus, translated by Arthur Golding in 1564 and reprinted in 1570 and 1578.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0312": {
-    "English Original": "But the story of Solon's happiness, also explored by the play as I will later suggest, is absent from Justin's narrative.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0313": {
-    "English Original": "Less well known was the (more tenuous still) account of Cyrus and Tomyris in the surviving books of Diodorus of Sicily's Library, whose work was only fully translated into English in 1653.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0314": {
-    "English Original": "Diodorus, however, also gives the story of Solon's happiness (9.2.1).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0315": {
-    "English Original": "<sup20</sup This may also be influenced by French translations of Boccaccio and Christine de Pizan in which Tomyris is translated as \"Thamire\" or \"Thamiris.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0316": {
-    "English Original": "<sup21</sup \"Introduction\" to Titus Andronicus, ed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0317": {
-    "English Original": "J.C. Maxwell (London and New York: Routledge, 1989; reprint of 1953 Arden edition), xxx.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0318": {
-    "English Original": "Curiously, Kehler deems Herodotus  Plutarch's philobarbaros  to be \"no friend of the Persians.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0319": {
-    "English Original": "\"'That Ravenous Tiger Tamora': Titus Andronicus's Lusty Widow, Wife, and M/other' in Philip C. Kolin (ed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0320": {
-    "English Original": "), 'Titus Andronicus': Critical Essays (New York: Garland Publishing, 1995), 31732, esp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0321": {
-    "English Original": "Carolyn Sale has recently endorsed the connection between Tamora and Tomyris from whom, she states, Tamora 'almost certainly gets her name' (41), although Sale's essay is primarily concerned with the play's challenge to Roman literary values, channeled through the figure of Aaron the Moor.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0322": {
-    "English Original": "'Black Aeneas: Race, English Literary History and the \"Barbarous\" Poetics of Titus Andronicus', Shakespeare Quarterly 62: 1 (2011): 2552, especially 4143.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0323": {
-    "English Original": "<sup23</sup The Consent of Time (London: George Bishop and Ralph Newberie, 1590), fol.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0324": {
-    "English Original": "Jordanes also relates Tomyris's defeat of Cyrus, treating her as a Goth queen, in chapter 10 of his Getica (The Origins and Deeds of the Goths).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0325": {
-    "English Original": "Jordanes offers us a onevolume abridgement of a lost 12volume history of the Goths by another sixthcentury historian, Magnus Aurelius Cassiodorus, and remains the major source on the history of the Goths.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0326": {
-    "English Original": "<sup24</sup Bate suggests that Shakespeare's Elizabethan audience would also recognise them as their own German forebears (1921).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0327": {
-    "English Original": "<sup25</sup For Justin see Arthur Golding (trans.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0328": {
-    "English Original": "), Thabridgment of the histories of Trogus Pompeius (London: Thomas Marshe, 1564).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0329": {
-    "English Original": "The adjustment is one that would have been readily understood (or even taken as implicit in the Herodotean account) by an honour culture such as that espoused at Elizabeth's court.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0330": {
-    "English Original": "K4 verso; emphasis mine.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0331": {
-    "English Original": "By contrast, Xenophon entirely suppresses the memory of Tomyris and Cyrus's illadvised campaign against the Massagetae, fabricating instead a dignified deathbed scene in which Cyrus determines the succession, giving wise advice to his two sons before going gently into that good night.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0332": {
-    "English Original": "<sup28</sup The last part of the Mirour for Magistrates (London: Thomas Marshe, 1578); emphasis mine.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0333": {
-    "English Original": "<sup29</sup Herodotus's implicit Greek moral perspective challenges Cyrus's hubris, fitting him into a larger pattern of foolish kings and wise advisers, as Stewart Flory notes in The Archaic Smile of Herodotus (Detroit: Wayne State UP, 1987).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0334": {
-    "English Original": "The term \"irous Cirus\" comes from Chaucer's \"Summoner's Tale\" (l. 415).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0335": {
-    "English Original": "<sup30</sup The (anonymous) Speculum humanae salvationis, dating from the early fourteenthcentury, was a popular text in both manuscript and print before the Reformation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0336": {
-    "English Original": "<sup31</sup These include Giovanni Boccaccio's De Mulieribus claris (136162), Christine de Pizan's Le livre de la cité des dames (1405).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0337": {
-    "English Original": "Tomyris, or the Nine Worthies, were popular subjects of tapestries in the period, and numerous Flemish examples from the period featuring Tomyris could be found across Britain, Ireland and Europe.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0338": {
-    "English Original": "<sup32</sup Thomas Heywood's Gunaeikon (1624) is a good example.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0339": {
-    "English Original": "Tomyris also makes an appearance in Jonson's Masque of Queens (1609).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0340": {
-    "English Original": "<sup33</sup This comes from the translation of the Orlando Furioso by John Stewart of Baldynneis, canto 11, ll.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0341": {
-    "English Original": "35 40, in Poems of John Stewart of Baldynneis, ed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0342": {
-    "English Original": "Thomas Crockett, 2 vols (William Blackwood & Sons.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0343": {
-    "English Original": "Edinburgh and London, 1913), vol.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0344": {
-    "English Original": "<sup34</sup 'A Meeting Dialoguewise betweene Nature, the Phoenix and the Turtle Doue' 1601 Line 402.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0345": {
-    "English Original": "<sup35</sup Glossing Ariosto's praise of women in Canto 38, Harington evokes Tomyris who, \"in reuenge of her son, … put Cyrus head into a great boule of bloud, vsing that wel knowne speech: Satia te sanguine quisanguinem sitijsti, Fill thy selfe with bloud that didst thirst for bloud.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0346": {
-    "English Original": "See Harington, Orlando furioso in English heroical verse (London: Richard Field for John Norton and Simon Waterson, 1607), fol.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0347": {
-    "English Original": "<sup36</sup A later play also finds some moral flexibility in Tomyris's vengefulness, or at least manages to parody it, perhaps with a subtextual dramatic remembrance of Titus Andronicus.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0348": {
-    "English Original": "George Chapman's The Reuenge of Bussy D'Ambois opens with the dead Bussy's former lover, Tamyra, calling for 'Reuenge, that euer red sitt'st in the eyes / Of iniur'd Ladies, till we crown thy browes / With bloudy Lawrell …' (1.1); (London: T[homas] S[nodham] for John Helme, 1613), sig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0349": {
-    "English Original": "Her appropriation of Tomyris's just vengeance is compromised, however, by her adulterous affair with Bussy in the earlier play, Bussy D'Ambois.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0350": {
-    "English Original": "<sup37</sup In the drawing, Tamora appears not as Revenge incarnate  as she was to appear soon after in Bussy D'Ambois, for example  but at her most \"royal and sympathetic,\" pleading for the life of her son, as WynneDavies notes (134).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0351": {
-    "English Original": "<sup38</sup This appears in \"A Dictionarie, for that Mysticall Booke called the Reuelation of Saint John\" in Thomas Wilson, A Christian Dictionarie (London: W. J[aggard], 1612), 17; emphasis mine.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0352": {
-    "English Original": "<sup39</sup See especially Heather James on Shakespeare's poetics of imitation and what she terms his Ovidian deformation of Virgilian imperial rationale.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0353": {
-    "English Original": "See also WynneDavies, \"'The Swallowing Womb': Consumed and Consuming Women in Titus Andronicus,\" in The Matter of Difference: Materialist Feminist Criticism of Shakespeare, ed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0354": {
-    "English Original": "Valerie Wayne (New York: Harvester Wheatsheaf, 1991), 134, 145.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0355": {
-    "English Original": "K3 verso, K4 recto; emphases mine.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0356": {
-    "English Original": "Galenic humoral theory postulated that both the womb and the stomach were nourished by blood, but ambiguities about the referent (stomach/womb) of the term \"belly\" allow for further development of the \"swallowing womb\" theme.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0357": {
-    "English Original": "See, for example, Helkiah Crooke, Microcosmographia (1615).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0358": {
-    "English Original": "<sup42</sup The Longleat manuscript drawing arguably depicts Tamora pregnant.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0359": {
-    "English Original": "<sup43</sup James also argues that Tamora and Lavinia's bodies are \"twinned,\" and that it is the pit that marks \"her sexualized body as the metaphorical site of revenge\" exacted on Lavinia (58).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0360": {
-    "English Original": "<sup44</sup See James, 48.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0361": {
-    "English Original": "<sup45</sup The seconde Tragedie of Seneca entituled Thyestes (London: Thomas Berthelettes, 1560), sig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0362": {
-    "English Original": "E4 verso <sup46</sup As if to confirm that Rome remains headless (like the decapitated Cyrus), even after Lucius's arrival, Titus's remaining sons kiss his \"trunk\" (5.3.151) in their closing burial and renewal rituals, although their father has not actually been decapitated.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0363": {
-    "English Original": "As Kahn points out, that Tamora takes her revenge on Titus upon the body of his daughter shows a sophisticated understanding of Roman mores (Kahn, 49).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0364": {
-    "English Original": "Ninus and Semiramis also appear in Book 1 of Herodotus's Histories.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0365": {
-    "English Original": "<sup47</sup See Janet Adelman's influential arguments about the preoccupation with the suffocating maternal womb in Shakespeare's plays.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0366": {
-    "English Original": "Suffocating Mothers: Fantasies of Maternal Origin in Shakespeare's Plays, 'Hamlet' to 'The Tempest' (New York and London: Routledge, 1992).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0367": {
-    "English Original": "<sup48</sup This designation was enduringly remembered in Roman history: at the end of his first Book, Livy narrated how Lucius Junius Brutus– founder of the Roman republic  correctly interprets the Delphic oracle's prophecy about who next will succeed the Tarquins.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0368": {
-    "English Original": "Being told to kiss his mother, Brutus bends down and kisses the earth.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0369": {
-    "English Original": "<sup49</sup Robert S. Miola reads the Andronicus tomb in Senecan terms as \"an escape from worldly trouble, a memorial to the honoured dead.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0370": {
-    "English Original": "Shakespeare and Classical Tragedy: The Influence of Seneca (Oxford: Clarendon Press, 1992), 21.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0371": {
-    "English Original": "<sup51</sup Speaking beside the pit, Tamora's insistent remembrance of Alarbus strengthens the pit's association with Rome: \"Remember, boys, I poured forth tears in vain / To save your brother from the sacrifice / But fierce Andronicus would not relent\" (2.3.1635).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0372": {
-    "English Original": "<sup52</sup Louise Noble notes that this means of collecting blood is, in fact, in line with Paracelsian prescriptions for curing epilepsy, in \"'And make two pasties of your shameful heads': Medicinal Cannibalism and Healing the Body Politic in Titus Andronicus,\" ELH (2003): 677708, esp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0373": {
-    "English Original": "Noble usefully shows how the play systematically breaks down the civility/barbarism binarism that turns on the issue of cannibalism through its construction of the Romans in terms that evoke contemporary European practices of cannibalism in the service of medicine.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0374": {
-    "English Original": "<sup53</sup This chimes with Katherine Rowe's argument about the way that Titus instrumentalises Lavinia \"as the vehicle and emblem of his efficacious action,\" but with Lavinia enabled to articulate revenge too.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0375": {
-    "English Original": "\"Dismembering and Forgetting in Titus Andronicus,\" Shakespeare Quarterly 45 (1994): 279303, esp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0376": {
-    "English Original": "<sup54</sup This transformation of Lavinia into a type of Tamora might help to explain why Lavinia is explicitly compared to the avenging mother, Hecuba, in the play (4.1.201), although it is the less threatening Roman Hecuba rather than Euripides's Greek avenging Hecuba who is suggested.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0377": {
-    "English Original": "<sup57</sup Bate, 1621, esp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0378": {
-    "English Original": "<sup58</sup Sophocles, Oedipus Rex, 152830; Aristotle, Nicomachean Ethics, I.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0379": {
-    "English Original": "10; Montaigne, \"Our Affections are Transported Beyond our Selves\" and \"That we Should Not be Deemed Happy till After our Death.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0380": {
-    "English Original": "A version of the commonplace appears in Book III of Ovid's Metamorphoses, but (as in Sophocles) without being ascribed to Solon: in Golding's translation, \"But aye the end of everything must marked be and known / For none the name of blessedness deserveth for to have / Unless the tenor of his life last blessed to his grave\" (ll.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0381": {
-    "English Original": "The account given in Plutarch's \"Life\" of Solon is a close paraphrase of the section in Herodotus.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0382": {
-    "English Original": "The meeting between Solon and Croesus was probably fictitious, however, as the Oxford Classical Dictionary (1421) suggests: Solon's travels can be dated to the ten or twenty years after his reforms (the latter probably 594BC) while Croesus's Lydian empire fell to Cyrus nearly half a century later.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0383": {
-    "English Original": "<sup59</sup Other Shakespearean precedents exist for drama that incorporates explorations of the very mechanisms by which it might be received or interpreted.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0384": {
-    "English Original": "Heather James writes of Shakespeare's probing of \"antitheatrical anxiety about the destabilizing influence of tragic performance on audiences\" in the tragedies themselves.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0385": {
-    "English Original": "\"Dido's Ear: Tragedy and the Politics of Response,\" Shakespeare Quarterly 52 (2001): 36082, esp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0386": {
-    "English Original": "<sup60</sup See also Francesca Royster, \"WhiteLimed Walls: Whiteness and Gothic Extremism in Shakespeare's Titus Andronicus,\" Shakespeare Quarterly 51 (2000): 432455.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0387": {
-    "English Original": "<sup61</sup Jonathan Bate's suggestion that we think of the play's sources  or in this instance, intertexts  in terms of \"patterning\" rather than origins seems particularly useful at this point.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0388": {
-    "English Original": "Bate, 90\n\n<sup62</sup Livy, History of Rome, trans.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0389": {
-    "English Original": "Foster, 14 vols (London: William Heinemann; New York: GP Putnam, 1919), vol.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0390": {
-    "English Original": "<sup63</sup Stoic thinking also disapproved of choler, arrogance and other passions associated with the stomach.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0391": {
-    "English Original": "WynneDavies sees Tamora as \"a distantly refracted image of Elizabeth I\" (134, 145).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0392": {
-    "English Original": "<sup65</sup This is a marginal gloss in Golding, sig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0393": {
-    "English Original": "<sup66</sup Susan Doran has argued that it was precisely in the early 1580s that iconography of Elizabeth began most searchingly to look to Old Testament heroines such as Judith and Deborah, as wise and powerful protectorvirgins.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0394": {
-    "English Original": "\"Why did Elizabeth Not Marry?\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0395": {
-    "English Original": "in Dissing Elizabeth: Negative Representations of Gloriana, ed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0396": {
-    "English Original": "Julia M. Walker (Durham and London: Duke UP, 1998), 3059 (378).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0397": {
-    "English Original": "<sup67</sup Richard Hakluyt, The Principal Nauigations, Voyages, Traffiques, and Discoueries of the English Nation (London: George Bishop, Ralph Newberie, and Robert Barker, 15991600), fol.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0398": {
-    "English Original": "Elizabeth's Italian tutor's pleasure in the fact that his charge had a \"mervelous meeke stomacke\" seems to have been somewhat precipitate.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0399": {
-    "English Original": "His comment is cited by Judith M. Richards in \"'To Promote a Woman to Beare Rule': Talking of Queens in MidTudor England', SixteenthCentury Journal 28 (1997): 10121, esp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0400": {
-    "English Original": "<sup68</sup See Susan Frye, Elizabeth I: The Competition for Representation (Oxford: Oxford UP, 1993), 97148, esp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0401": {
-    "English Original": "<sup69</sup I am grateful to Heather James for this point, and related comments.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0402": {
-    "English Original": "See Frances A. Yates, Astraea: The Imperial Theme in the Sixteenth Century (London and Boston: Routledge & Kegan Paul, 1975), 2987.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0403": {
-    "English Original": "<sup71</sup James, 4284, esp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0404": {
-    "English Original": "<sup72</sup See the various discussions in Philip Schwyzer, Literature, Nationalism and Memory in Early Modern England and Wales (Cambridge: Cambridge UP, 2004); Willy Maley, Nation, State, and Empire in English Renaissance Literature (Basingstoke: Palgrave, 2003); Claire McEachern, The Poetics of English Nationhood, 15901612 (Cambridge: Cambridge UP, 1996); Andrew Hadfield, Shakespeare, Spenser, and the Matter of Britain (Basingstoke: Palgrave, 2004); David J. Baker and Willy Maley (ed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0405": {
-    "English Original": "), British Identities and English Renaissance Literature (Cambridge: Cambridge UP, 2002).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0406": {
-    "English Original": "<sup73</sup See Tacitus's comments on Britain in the Agricola and Caesar's in his commentaries on the Gallic wars, both texts familiar to educated young Englishmen in the late sixteenth century.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0407": {
-    "English Original": "See also the various treatments of this issue in Camden's Brittannia (1610) and Holinshed's Chronicles, for example.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0408": {
-    "English Original": "For discussion of Renaissance approaches to Britain's barbarian origins see Schwyzer; Jodi Mikalachki, The Legacy of Boadicea: Gender and Nation in Early Modern England (London and New York: Routledge,\n\n1998); John E. Curran, Roman Invasions: The British History, Protestant AntiRomanism, and the \n\nHistorical Imagination in England 15301660 (New York: University of Delaware Press; London and Cranbury, NJ: Associated UP, 2002).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0409": {
-    "English Original": "<sup74</sup See A View of the Present State of Ireland, ed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0410": {
-    "English Original": "Edwin Greenlaw, Charles Grosvenor Osgood, Prederick Morgan Padelford and Ray Heffner (Variorum edition), 10 vols (Baltimore: Johns Hopkins Press, 1949),\n\nvol.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0411": {
-    "English Original": "<sup77</sup The First Part of Tamburlaine (1.2.64).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0412": {
-    "English Original": "<sup78</sup Friedrich Nietzsche, \"On the Utility and Liability of History for Life\" in Unfashionable Observations,\n\ntrans.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2019734204_s0413": {
-    "English Original": "Richard T. Gray (Stanford: Stanford UP, 1995).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0001": {
-    "English Original": "The Historical Journal, , (), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0002": {
-    "English Original": "–  Cambridge University Press DOI: .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0003": {
-    "English Original": "}SX Printed in the United Kingdom\n\n COUNSEL, PUBLIC DEBATE, AND QUEENSHIP: JOHN STUBBS'S THE DISCOVERIE OF A GAPING GULF, 1579\\\n\n NATALIE MEARS\n\nUniversity of St Andrews\n\n.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0004": {
-    "English Original": "John Stubbs's controversial pamphlet against Elizabeth's proposed marriage with Francis, duke of Anjou, The discoverie of a gaping gulf (), has conventionally been seen – with Edmund Spenser's The shepheardes calendar and Philip Sidney's letter to Elizabeth – as part of a propaganda campaign organized by Leicester and Walsingham to force Elizabeth to reject the marriage.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0005": {
-    "English Original": "Yet the evidence linking Stubbs with Leicester and Walsingham is thin.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0006": {
-    "English Original": "This article reexamines that evidence in the light of recent research on court factionalism, menofbusiness, and concepts of counsel.It argues that A gaping gulf was an independent initiative taken by Stubbs which expressed very different attitudes to 'counsel' from Sidney's letter.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0007": {
-    "English Original": "It suggests that participants in public debate need to be explored on their own terms, rather than as necessarily catspaws of councillors; that there was an emergent Elizabethan public sphere independent of the court which, in holding different attitudes to counsel than councillors, could bring them into conflict with Elizabeth.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0008": {
-    "English Original": "The execution of John Stubbs's sentence – to have his right hand struck off with a cleaver for writing the pamphlet, The discoverie of a gaping gulf, against Elizabeth's proposed marriage to Francis, duke of Anjou – shocked Elizabethan spectators.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0009": {
-    "English Original": "According to William Camden, they were ' altogether silent, either out of horrour of this new and unwonted punishment, or else out of pity towards the man being of most honest and unblameable report, or else out of hatred of the marriage, which most men presaged would be the overthrow of Religion'.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0010": {
-    "English Original": "It also shocked Stubbs.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0011": {
-    "English Original": "Born c. , the son of John Stubbs of Buxton in Norfolk, trained and probably practising as a lawyer in London, Stubbs was confronted with the fact that his wellmeant advice was perceived as seditious, if not treasonous, by the very person it was designed to help.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0012": {
-    "English Original": "His scaffold speech suggests he was genuinely shocked that the English\n\n<sup\\</sup I would like to thank John Guy and Kevin Sharpe for their comments on earlier drafts of this paper; Simon Adams for giving me the reference to Bibliothe'que Nationale, Fonds franc:ais , and very kindly lending me his microfilm; Chris GivenWilson for advice on medieval political literature; Mark Taviner for references on scribal publication; and Robin Harcourt Willams for translating the Latin in the Controlment and Coram Rege Rolls. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0013": {
-    "English Original": "William Camden, Annals, or the historie of the most renowned and victorious Princesse Elizabeth, late Queen of England (translated R.N.)",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0014": {
-    "English Original": "(London, rd edn, ), p. .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0015": {
-    "English Original": "Lloyd E. Berry, ed., John Stubbs's 'Gaping gulf' with letters and other relevant documents (Charlottesville, VA, ), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0016": {
-    "English Original": "xx–xxiv, xli–xlv (hereafter, Berry); Charles John Palmer, The\n\nDeborah, sent by God to restore the true faith, was not just deaf to good advice, but positively hostile.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0017": {
-    "English Original": "He could not help but comment on the injustice of the punishment: Elizabeth had refused to show him mercy (an essential of both kingship and queenship) though she had pardoned ' greater offences':\n\nI ame sorie for the losse of my haund, and more sorie to lose it by judgment; but most of all with her Majesties indignation and evell opinion, whome I have soe highlie displeased … I pray God it maie be an example to youe all that it being soe daungerous to offend the lawes, without an evell meaninge, as breadeth the losse of an haund … but my greatest greffe is, in soe many weekes and daies of imprisonment, her Majestie hath not once thoughte me worthie of her mercie, which she hath often times extended to divers persons in greater offences.\\$\n\nThe scene on the scaffold in Westminster market place on November was a significant moment in Elizabethan history, reflecting how Elizabethans perceived their political roles (especially in regard to counselling) and suggestive of the relationship between court politics and public debate.",
-    "Has CLIP Embedding": true,
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-  },
-  "W2020798572_s0018": {
-    "English Original": "The work of Wallace MacCaffrey, Patrick Collinson, John Guy, and others has developed our understanding of the culture of counsel and its centrality to Tudor politics and theory, but problems remain.% Interpreting public debate as shaped by, or conducted on the behalf of, councillors either in parliament or in print has meant the Elizabethan public sphere has been defined in narrow terms.& This has been reinforced by focusing on the work of committed Protestants articulating ideas of the 'mixed polity', even though Markku\n\nhistory of Great Yarmouth (Great Yarmouth, ), p. .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0019": {
-    "English Original": "Froude argued that Stubbs was initially tried for treason but, the jury failing to convict, he was retried at Queen's Bench for conspiracy to excite sedition, James Anthony Froude, History of England from the fall of Wolsey to the defeat of the Spanish Armada ( vols., London, –), , p. .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0020": {
-    "English Original": "\\$\n\nMr John Stubb's words on the scaffold, [ Nov. ], in Thomas Park, ed., Nugae antiquae : being a miscellaneous collection of original papers … by Sir John Harington … selected … by the late Henry Harington ( vols., London, ), , pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0021": {
-    "English Original": "%\n\nPatrick Collinson, 'De republica Anglorum: or, history with the politics put back', in idem, Elizabethan essays (London and Rio Grande,), pp.–; idem, 'The monarchical republic of Queen Elizabeth I', Bulletin of the John Rylands University Library of Manchester, (), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0022": {
-    "English Original": "–; John Guy, Politics, law and counsel in Tudor and early Stuart England (London, ); idem, 'The s: the second reign of Elizabeth I ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0023": {
-    "English Original": "', in idem, ed., The reign of Elizabeth I : court and culture in the last decade (Cambridge, ), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0024": {
-    "English Original": "���; idem, 'Tudor monarchy and its critiques', in idem, ed., The Tudor monarchy (London, ), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0025": {
-    "English Original": "–; Stephen Alford, The early Elizabethan polity : William Cecil and the British succession crisis, – (Cambridge, ), ch.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0026": {
-    "English Original": "; Markku Peltonen, Classical humanism and republicanism in English political thought, – (Cambridge, ); A. N. McLaren, Political culture in the reign of Elizabeth I : queen and commonwealth, – (Cambridge, ).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0027": {
-    "English Original": "&\n\nPatrick Collinson, 'Puritans, men of business and Elizabethan parliaments', Parliamentary History, (), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0028": {
-    "English Original": "–; M. A. R. Graves, 'Thomas Norton, the parliament man: an Elizabethan M.P., –', Historical Journal, (), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0029": {
-    "English Original": "–; idem, 'The management of the Elizabethan House of Commons: the council's menofbusiness', Parliamentary History, (), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0030": {
-    "English Original": "–; idem, 'The common lawyers and the privy council's parliamentary menofbusiness, –', Parliamentary History, (), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0031": {
-    "English Original": "Peltonen has shown that classical humanism (from which ideas of the active citizen were derived) was neither dependent on Protestantism nor exclusive to Puritans.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0032": {
-    "English Original": "Certain common ideas have been emphasized at the expense of potential diversity, while a division between elite and popular politics has been perpetuated.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0033": {
-    "English Original": "Part of the problem lies in that Elizabethan public debate appears the poor cousin of its Jacobean and Caroline counterparts because the circulation of newsletters, on which public debate is perceived partly to be dependent, was less widespread.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0034": {
-    "English Original": "( Exploration of public debate needs to be released from these restraints and this article attempts to help begin the process.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0035": {
-    "English Original": "Stubbs's attack on the marriage in A gaping gulf was twofold.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0036": {
-    "English Original": "He began by arguing that the marriage of a Protestant with a Catholic was a breach of God's law which would be punished.)",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0037": {
-    "English Original": "He proceeded to argue that the marriage would benefit neither the state nor Elizabeth personally, in the process confuting all of the earl of Sussex's answers to objections against the marriage made during debates among selected councillors in March and April .\\ It would not resolve the succession or provide England with a strong ally.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0038": {
-    "English Original": "He thought Elizabeth was too old to conceive and deliver a child safely while, because Anjou was at loggerheads with his brother, Henry III of France, the alliance with France would not be assured.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0039": {
-    "English Original": "Neither could Anjou please Elizabeth personally: he was too young, a Catholic, French, degenerate, and from an evil family.\"!",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0040": {
-    "English Original": "Stubbs saw the marriage as a plot to destroy Protestantism comparable to that of the marriage of Henry of Navarre to Marguerite Valois which had been followed by the St Bartholomew Day Massacre in .\"\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0041": {
-    "English Original": "At the very least, it would be a precursor of the absorption of England into France because Anjou was Henry III's heir presumptive and it looked increasingly unlikely that Henry would have a male child.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0042": {
-    "English Original": "Elizabeth suspected that A gaping gulf was a collaborative work by opponents of the marriage at court; a suspicion Stubbs himself appeared to substantiate by alleging that an unidentified councillor had foreknowledge of the tract but\n\n Stubbs, Gaping gulf; Sussex to Elizabeth, Aug. [], Hertfordshire, Hatfield House (Hatfield), CP, fos.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0043": {
-    "English Original": "–; 'Obyectyons to be made against the marryage', Mar.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0044": {
-    "English Original": ", Hatfield, CP, fos.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0045": {
-    "English Original": "–, with CP, fos.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0046": {
-    "English Original": "–, indicate the former is also by Sussex: the hand and spelling is the same, e.g.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0047": {
-    "English Original": "'wordell' for 'world'; two of the three sections of the memorandum cover the same areas as the letter; the objections, answers, and benefits are similar in order and content; the phrasing of the objections is often exactly the same and large parts of the answers appear copied from, or closely paraphrase, the letter.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0048": {
-    "English Original": "Stubbs, Gaping gulf, sigs.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0049": {
-    "English Original": "<sup&</supx27; Peltonen, Classical humanism, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0050": {
-    "English Original": "Levy, 'How information spread among the gentry, –', Journal of British Studies, (), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0051": {
-    "English Original": "–; Richard Cust, 'News and politics in early seventeenthcentury England', Past and Present, (), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0052": {
-    "English Original": "–; Thomas Cogswell, The blessed revolution : English politics and the coming of war, – (Cambridge, ), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0053": {
-    "English Original": "–; Adam Fox, 'Rumour, news and popular political opinion in Elizabethan and early Stuart England', Historical Journal, (), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0054": {
-    "English Original": "John Stubbs, The discoverie of a gaping gulf whereinto England is like to be swallowed by an other French mariage (London, ; STC ), sigs.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0055": {
-    "English Original": "failed to limit the political fallout from its publication.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0056": {
-    "English Original": "\"\\$ These arguments have gained greater authority this century with the work of Conyers Read and Sir John Neale and research on Stubbs's printer, Hugh Singleton.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0057": {
-    "English Original": "\"% By defining Elizabethan court politics as factional, Read and Neale set the scene for A gaping gulf to be seen as factionally sponsored propaganda.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0058": {
-    "English Original": "In conjunction with Edmund Spenser's The shepheardes calendar (also printed by Singleton in ) and Philip Sidney's letter to Elizabeth (allegedly commissioned by the earl of Leicester at a colloquy of friends and relatives at Pembroke House in August) it is argued that Leicester and Sir Francis Walsingham commissioned A gaping gulf to apply pressure on Elizabeth to reject the Anjou match.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0059": {
-    "English Original": "\"& They aimed to exploit existing court and popular opposition to deny her the conciliar support necessary to gain parliamentary ratification of the marriage and to create fears that its conclusion would excite rebellion.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0060": {
-    "English Original": "All three texts, it is argued, had clear factional overtones: Stubbs openly questioned and impugned the motives of supporters of the marriage; Spenser highlighted divisions between Leicester and the earl of Oxford (a supporter of the match) over policy and political service in the fable of the Oak and Briar; Sidney was directly involved in a quarrel with Oxford around the time of the Pembroke House meeting.\"'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0061": {
-    "English Original": "If the three pamphlets demonstrated that some councillors were willing to try and 'bounce' Elizabeth into policy decisions then Elizabeth's reaction demonstrated her 'imperial' view of her own authority.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0062": {
-    "English Original": "If James Froude is to be believed, Elizabeth sought to execute Stubbs summarily by royal prerogative; a scenario perhaps less surprising when one considers she took legal advice about doing the same to William Davison nine years later.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0063": {
-    "English Original": "\"(\n\nJohn Stubbs's familiarity with the procontra arguments raised by councillors in conferences held in the spring and his ability to refute in detail points in the marriage's favour made by the earl of Sussex, its leading supporter, were\n\n\"\\$ Mauvissie're reported to Henry III that Elizabeth thought Stubbs, Page, and Singleton were secretaries for those with evil designs: Mauvissie're to Henry III, Nov. , Paris, Bibliothe'que Nationale (BN), Fonds franc:ais , fo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0064": {
-    "English Original": "In a petition to a privy councillor, present at his examination, Stubbs argued 'before the matter was fownde out', the councillor had been able ' to examine and resiste, by timelie foresighte, any things that might fall out perilous to this commonwelthe'.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0065": {
-    "English Original": "Not doing so, Stubbs found ' the worste their of fallen upon myselfe'.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0066": {
-    "English Original": "Stubbs to ' your lordship', Dec. , in Park, ed., Nugae antiquae, , p. .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0067": {
-    "English Original": "Hatton was present at Stubbs's examination but it is not clear if Stubbs's petition was directed to him: Stubbs to Hatton, Dec. , London, British Library (BL), Additional MS , fo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0068": {
-    "English Original": "v. \"%\n\n Conyers Read, 'Walsingham and Burghley in Queen Elizabeth's privy council', English Historical Review, (), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0069": {
-    "English Original": "–; J. E. Neale, 'The Elizabethan political scene', Proceedings of the British Academy, (), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0070": {
-    "English Original": "–; H. J. Byrom, 'Edmund Spenser's first printer, Hugh Singleton', The Library, th ser., (), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0071": {
-    "English Original": "\"&\n\n M. M. Leimon, 'Sir Francis Walsingham and the Anjou marriage plan, –' (PhD thesis, Cambridge, ), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0072": {
-    "English Original": "–; Susan Doran, Monarchy and matrimony : the courtships of Elizabeth I (London, ), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0073": {
-    "English Original": "–, –; Blair Worden, The sound of virtue : Philip Sidney's Arcadia and Elizabethan politics (New Haven and London, ), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0074": {
-    "English Original": "Doran, Monarchy and matrimony, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0075": {
-    "English Original": ", ; Wallace T. MacCaffrey, Queen Elizabeth I and the making of policy (Princeton, NJ, ), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0076": {
-    "English Original": "–; Paul E. McLane, Spenser's Shepheardes calendar: a study in Elizabethan allegory (Notre Dame and London, edn), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0077": {
-    "English Original": "\"(\n\nFroude, History of England, , p. ; John Guy, Tudor England (Oxford, edn), p. .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0078": {
-    "English Original": "But it has proved impossible to forge convincing connections between him, Leicester, and Walsingham.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0079": {
-    "English Original": "Susan Doran has rightly pointed out that William Davison, the English agent in Antwerp, could not have been Stubbs's mole as Mitchell Leimon argued: he knew Stubbs but was not a member of the council and could not have been conversant with the details of the debates.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0080": {
-    "English Original": "But her own claim – that Stubbs was supplied with information directly by Walsingham – cannot be substantiated.\")",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0081": {
-    "English Original": "Similarly, there are no discernible connections between Hugh Singleton and Leicester other than through Spenser.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0082": {
-    "English Original": "Placing Sidney's letter in the sequence of events is also problematic.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0083": {
-    "English Original": "Katherine DuncanJones and Jan van Dorsten have concluded that the letter was probably written several months after the colloquy at Pembroke House: the earliest suggested terminus a quo is November because Sidney failed to mention it when discussing the marriage in a letter to George Buchanan in October.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0084": {
-    "English Original": "\"\\\n\nDefining public debate as orchestrated by councillors also seems at odds with the broader direction of recent research.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0085": {
-    "English Original": "Simon Adams has shown that the Elizabethan polity was not characterized by persistent factionalism until the s; a view reinforced by Paul Hammer's work on the second earl of Essex.!",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0086": {
-    "English Original": "Though this is disputed for the Anjou negotiations by Susan Doran, Adams's work raises questions about how deep policy divisions between councillors ran and how they were articulated.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0087": {
-    "English Original": "Second, while it is clear that men outwith the court were commissioned to write pamphlets in defence of government policy – including Stubbs himself in – Thomas Freeman's recent work on Thomas Norton's role in furthering ecclesiastical reform in the parliament of has questioned the extent to which we can continue to understand the actions of 'menofbusiness' in blanket terms: always council stooges, never acting on their own initiative.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0088": {
-    "English Original": "Third, Anne McLaren's arguments that Elizabeth's queenship was legitimated by utilizing a 'providential' model and that 'counsel' became a more socially inclusive (though maledominated) activity raises crucial questions about the role of public debate in Elizabethan governance and the exact nature of Elizabeth's authority.\\$ If England was, in\n\n\") Leimon, 'Walsingham', p. ; Doran, Monarchy and matrimony, p. ; Davison did not leave Antwerp until May .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0089": {
-    "English Original": "A. F. Scott Pearson, Thomas Cartwright and Elizabethan puritanism (London, ), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0090": {
-    "English Original": "\"\\\n\n Katherine DuncanJones and Jan van Dorsten, eds., The miscellaneous prose works of Sir Philip Sidney (Oxford, ), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0091": {
-    "English Original": "They set the terminal ad quem as Oct. .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0092": {
-    "English Original": "Simon Adams, 'Favourites and factions at the Elizabethan court', reprinted, with a bibliographical postscript, in Guy, ed., Tudor monarchy, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0093": {
-    "English Original": "–; idem, 'Eliza enthroned ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0094": {
-    "English Original": ": the court and its politics', in Christopher Haigh, ed., The reign of Elizabeth I (Basingstoke and London, ), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0095": {
-    "English Original": "–; Paul Hammer, The polarisation of Elizabethan politics : the political career of Robert Devereux, second earl of Essex, – (Cambridge, ). \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0096": {
-    "English Original": "Doran, Monarchy and matrimony, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0097": {
-    "English Original": "Stubbs was commissioned by Burghley to respond to Cardinal Allen's A true sincere and modest defence of English catholiques, an attack on Burghley's The execution of justice.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0098": {
-    "English Original": "The work was not published and is no longer extant.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0099": {
-    "English Original": "xlii–xliv; Thomas S. Freeman, '''The reformation of the church in this parliament'': Thomas Norton, John Foxe and the parliament of ', Parliamentary History, (), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0100": {
-    "English Original": "\\$ McLaren, Political culture, passim.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0101": {
-    "English Original": "Collinson's phrase, a 'monarchical republic' and if Elizabeth accepted the constraints of counsel on her authority, why was Stubbs's advice judged unacceptable ?%\n\nThus A gaping gulf addresses the questions of the nature of public debate and 'counsel'.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0102": {
-    "English Original": "Was Elizabethan public debate characterized primarily by courtsponsored partisan propaganda, or was there an emergent public sphere based on ideas of (independent) active citizenship, in which individuals outwith the court sought to offer Elizabeth advice ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0103": {
-    "English Original": "If the latter, were concepts of 'counsel' offered at court and in public the same ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0104": {
-    "English Original": "To answer these questions, this article reexamines specific problems with understanding A gaping gulf as commissioned propaganda and seeks to develop a new model for public debate.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0105": {
-    "English Original": "If it also appears that the focus on Stubbs perpetuates the emphasis on articulate Protestant theorists, then I hope that my new model suggests ways of exploring the emergent Elizabethan public sphere and its relationship with court politics.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0106": {
-    "English Original": "What can it reveal about how Elizabethans (the queen included) perceived their own and others' political roles in the public sphere ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0107": {
-    "English Original": "I\n\nArguments that A gaping gulf (as well as The shepheardes calendar and Sidney's letter) was commissioned by opponents at court are founded on two premises: that policy divisions at court were factional and that councillors were willing to 'bounce' Elizabeth into rejecting the marriage.",
-    "Has CLIP Embedding": true,
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-  },
-  "W2020798572_s0108": {
-    "English Original": "Reports from Sir Amias Paulet, English ambassador in Paris, and the comments they provoked by councillors like Sir Nicholas Bacon and Sir Francis Knollys, indicate that the central issue on the midElizabethan agenda was the unresolved succession.& Mary Stewart's imprisonment did little to allay fears about the threat she posed to the crown: she remained Elizabeth's heir presumptive and, in Catholic eyes, the present legitimate queen.'",
-    "Has CLIP Embedding": true,
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-  },
-  "W2020798572_s0109": {
-    "English Original": "There was also a strong belief that France and Spain were actively working to end the civil wars in their own territories in order to attack England.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0110": {
-    "English Original": "( However, as Elizabeth aged, it became less likely that the succession could be resolved dynastically as it was feared that Elizabeth was too old to conceive and deliver a child safely, if she married.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0111": {
-    "English Original": "In turn, this raised the profile of a political settlement, first proposed by Burghley in , comprising improving domestic military defences, tightening laws against recusants to reduce the threat of domestic subversion, building a\n\n<sup%</sup Collinson, 'Monarchical republic', pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0112": {
-    "English Original": "–; Peltonen, Classical humanism, passim.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0113": {
-    "English Original": "&\n\nPaulet to Walsingham, Sept. , in Octavius Ogle, ed., Copybook of Sir Amias Poulet's letters written during his embassy to France (Roxburghe Club; London, ) pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0114": {
-    "English Original": "– (hereafter, Ogle); same to Elizabeth, Sept. , ibid., pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0115": {
-    "English Original": "–; same to Walsingham, Oct. , ibid., pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0116": {
-    "English Original": "–; same to [Mildmay ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0117": {
-    "English Original": "], Dec. , ibid., p. ; Bacon to Elizabeth, Sept. , BL, Additional MS , fo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0118": {
-    "English Original": "r–v; Knollys to Wilson, Jan. , BL, Harley MS , fo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0119": {
-    "English Original": "'Degrees', , BL, Cotton MS Caligula C., fo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0120": {
-    "English Original": "(\n\nPaulet to Elizabeth, Sept. , Ogle, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0121": {
-    "English Original": "–, same to Walsingham, Oct. , ibid., pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0122": {
-    "English Original": "–; same to Leicester, Dec. , ibid., p. .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0123": {
-    "English Original": "network of (Protestant) allies and (ideally) excluding Mary from the succession and nominating an alternative heir.)",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0124": {
-    "English Original": "The consensus in favour of the political settlement broke apart on the conclusion of an alliance for financial aid between Anjou and the States General of the Low Countries in August .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0125": {
-    "English Original": "Conditional on the duke also contracting an alliance with Elizabeth, the AngevinDutch alliance also intensified the marriage negotiations, revived from their lacklustre progress since by Henry III and Catherine de Me!dici in the spring: Anjou favoured a dynastic alliance with Elizabeth.\\ Fearing that Anjou sought to annex the Low Countries to France and believing that the alliance supplanted English influence over the Dutch, the earl of Sussex argued that the danger Anjou posed eclipsed all other problems England faced.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0126": {
-    "English Original": "The marriage, however, offered Elizabeth the opportunity to direct Anjou's actions: the duke would be her ' servant & defender'.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0127": {
-    "English Original": "This was a striking reversal from conventional understanding that all wives were subject to their husbands – an issue which, when applied to queens regnant, was hotly debated under both Mary and Elizabeth.\\$!",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0128": {
-    "English Original": "But it was grounded on Sussex's conversation with de Quissy, one of Anjou's envoys, who had emphasized that Anjou 'wowld be dyrected by your majeste [Elizabeth] in his actyons in the lowe countreyes'.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0129": {
-    "English Original": "Sussex further believed that the marriage would have the additional advantage of providing dynastically for the succession.\\$\" Wilson supported Sussex as he believed that England's strategic position was too dire, in the context of the succession question and Catholic conspiracy: 'It is high tyme for us to bee assured of some bodie abroade, least beeinge forsaken of al, we shal bee over weake to withstande the meanest yf wee showlde bee tryed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0130": {
-    "English Original": "'\\$\n\nIn their reading both of Anjou and of the political agenda, Burghley, Walsingham, and others disagreed with Sussex.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0131": {
-    "English Original": "They shared his suspicions about Anjou but they disputed that the duke's actions could be directed through marriage.\\$\\$ Moreover, they believed that it was essential not to lose sight of the wider dimensions of the succession problem, especially after the collapse of the earl of Morton's Anglophile regency in Scotland the previous March.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0132": {
-    "English Original": "The Low Countries were significant to English strategic concerns: the Dutch revolt occupied Philip's resources, preventing him from invading; the provinces were identified as an ally and were crucial, with Ireland and\n\n<sup)</sup Alford, Early Elizabethan polity, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0133": {
-    "English Original": "–; BL, Additional MS , fo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0134": {
-    "English Original": "r–v; BL, Harley MS , fo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0135": {
-    "English Original": "; BL, Cotton MS Caligula C., fo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0136": {
-    "English Original": "\\\n\nCatherine de Me!dici to Mauvissie're, June , in M. le Comte Baguenault de Puchesse, ed., Lettres de Catherine de MeUdicis ( vols., Paris, –), , pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0137": {
-    "English Original": "– (hereafter, Lettres de Catherine de MeUdicis); Henry III to Mauvissie're, May , Pierre Champion and Michel Franc:ois, eds., Lettres de Henri III, roi de France ( vols., Paris, –), , pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0138": {
-    "English Original": "– (hereafter, Lettres de Henri III).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0139": {
-    "English Original": "Constance Jordan, 'Women's rule in sixteenth century British political thought', Renaissance Quarterly, (), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0140": {
-    "English Original": "\\$\"\n\nSussex to Walsingham, Aug. , London, Public Record Office (PRO), SP}}; Hatfield, CP, fos.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0141": {
-    "English Original": "\\$ Wilson to Walsingham, Aug. , PRO, SP}}.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0142": {
-    "English Original": "\\$\\$\n\nWilson to Davison, May , PRO, SP}}, fo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0143": {
-    "English Original": "Scotland, in forming a ring of buffers protecting England from invasion.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0144": {
-    "English Original": "But, both strategically and politically, they were less significant than Scotland which represented the most immediate access point to England: a 'posterne gate' in Sir Christopher Hatton's words.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0145": {
-    "English Original": "Furthermore, Scottish (and French) agreement was essential to resolve Mary Stewart's anomalous position or to exclude her from the succession.\\$% The collapse of Morton's regency was perceived to open the Scottish access route; a reading reinforced further, Walsingham made clear, by perceptions of FrancoScottish relations under Francis I.\\$& Consequently, men like Burghley were active in trying to repair AngloScottish amity when the Scots provided an opportunity by sending an embassy under Robert Pitcairn, Commendator of Dunfermline and Secretary of State, in July.\\$' Focusing on Anjou's intervention in the Dutch revolt would distract from these issues while not providing a suitable alternative resolution.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0146": {
-    "English Original": "Divisions over a dynastic settlement grew as the marriage negotiations intensified after the arrival of Jean de Simier, Anjou's Master of the Wardrobe and envoy, in January .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0147": {
-    "English Original": "Though no longer emphasizing that it would resolve the succession dynastically, Sussex remained committed to the match: it would provide England with a strong ally; to refuse the match would exacerbate political weakness as Anjou would marry the Spanish Infanta.\\$( On the other hand, it was precisely the inability of the marriage to resolve the succession which reinforced Walsingham's and Burghley's opposition.\\$) Conventionally identified as a supporter of the match on the basis of his procontra memoranda, Burghley opposed it throughout the negotiations.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0148": {
-    "English Original": "Viewed in the contemporary classicalhumanist context of rhetorical devices to examine issues from different angles, the memoranda cannot be read simply as Burghley's conclusions.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0149": {
-    "English Original": "These have to be found instead in the advice offered to Elizabeth of April and his statement to the rest of the council on October: the latter clearly and categorically rejected the marriage, 'except hir Majesty wold of hir mynd inclyn to this marriadg, he wold never advise her therto'.\\$\\ If only because of the existence of similar memoranda, and reports of probouleutic (primary discussion) or conciliar meetings, these divisions appeared to spread.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0150": {
-    "English Original": "Commenting on Sussex's views, Sir Walter Mildmay concurred with Walsingham and Burghley that the marriage would not resolve the succession; he also disputed Sussex's perception of the wider strategic\n\n\\$% Hatton to Burghley, Sept. , BL, Additional MS , fo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0151": {
-    "English Original": "v; BL, Cotton MS Caligula C., fo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0152": {
-    "English Original": "\\$&\n\n BL, Additional MS , fo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0153": {
-    "English Original": "r–v; Walsingham to Randolph and Bowes, Mar.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0154": {
-    "English Original": ", BL, Harley MS , fo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0155": {
-    "English Original": "\\$'\n\n Burghley to Walsingham and Cobham, July , PRO, SP}}, fo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0156": {
-    "English Original": "; Walsingham to Hatton, June , BL, Additional MS , fo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0157": {
-    "English Original": "; same to same, June , BL, Additional MS , fo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0158": {
-    "English Original": "v. \\$( Hatfield, CP, fos.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0159": {
-    "English Original": "\\$)\n\n State of affairs, [?",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0160": {
-    "English Original": "], PRO, SP}}, fo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0161": {
-    "English Original": "\\$\\\n\n Quentin Skinner, Reason and rhetoric in the philosophy of Hobbes (Cambridge, ), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0162": {
-    "English Original": "–; Conyers Read, Lord Burghley and Queen Elizabeth (London, ), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0163": {
-    "English Original": "–; 'The remedyes sought for to preserve hir Maty and the state in peace, if she shall not marry', Apr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0164": {
-    "English Original": ", Hatfield, CP, fos.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0165": {
-    "English Original": "–; 'The Anjou marriage', Oct. , Hatfield, CP, fos.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0166": {
-    "English Original": "But Mildmay's memorandum also demonstrated that assessments of the marriage as a remedy to the succession were matched by deeper concerns about the nature of Elizabethan government if Elizabeth married.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0167": {
-    "English Original": "In particular, Mildmay challenged Sussex's argument that the marriage would not lead to Anjou's assumption of the reins of government.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0168": {
-    "English Original": "Philip II, he argued, had held Mary 'in his hande'. '",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0169": {
-    "English Original": "[M]en of judgementt' knew that while ' thordinarie matters' of law and order had been administered by the English, major political decisions had been taken by the Spanish, contrary to the marriage treaty.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0170": {
-    "English Original": "Invoking a complaint Lord Windsor had made at the time, Mildmay asked 'if kinges breake covenantes who shall sue the bonde[ ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0171": {
-    "English Original": "]'.%\"\n\nHowever, these divisions over policy were not factional under the terms defined by Simon Adams.% It appears that Sussex was temporarily frozen out of correspondence between the court and Walsingham and Lord Cobham during the latter's embassy to Antwerp in .%\\$ But, if this signalled a political or personal rivalry, it did not appear to ' overr[ide] all other considerations'.%% For example, in the autumn of Leicester and Sussex proposed different measures to deal with Anjou's intervention in the Low Countries but both were prepared to back each other's policy.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0172": {
-    "English Original": "Despite their reservations, they still believed that their colleague's proposal provided a better strategy than the queen's preferred course of commanding Anjou's actions 'uppon bare wordes'.%& Second, there was no attempt to construct a following of supporters comparable to the second earl of Essex's demands in for Lord Grey to declare himself 'his only friend or friend to Mr Secretary, and his enemy'.%' Third, there was not always consensus among opponents as to why the marriage was not a feasible policy: for Walsingham it was because it would not resolve the succession; for Mildmay that Elizabeth would resign authority to Anjou as Mary had to Philip.%( Divisions were also fluid.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0173": {
-    "English Original": "In August , after the earl of Lennox's seizure of the strategically important castle of Dumbarton, Sussex shifted his support back in favour of the political settlement.%) Lennox was perceived by the English as a Guisian agent, and the changes to the Scottish court which his rise in James's favour had precipitated were interpreted as Scottish realignment towards Catholic Europe.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0174": {
-    "English Original": "The actions of James's counsellers, like Lennox, were important because, young, male, and\n\n<sup%!</sup 'Notes taken out of a letter writen from the earle of Sussex', [after Aug. ], Northamptonshire Record Office (NRO), Fitzwilliam (Milton) Political , fos.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0175": {
-    "English Original": "–v; 'Certaine notes drawen oute of a letter sente by the Earle of Sussex' [after Aug. ], NRO, Fitzwilliam (Milton) Political , fos.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0176": {
-    "English Original": "–; 'Notes taken owt of a lettre from the Earl of Sussex, xxviii Auguste to the Queen's Majesty', n.d., San Marino, CA, Huntington Library, Ellesmere .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0177": {
-    "English Original": "%\" NRO, Fitzwilliam (Milton) Political , fos.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0178": {
-    "English Original": ", v. %\n\nSimon Adams, 'Faction, clientage and party: English politics, –', History Today, (), p. .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0179": {
-    "English Original": "%\\$ Sussex to Walsingham, Aug. , PRO, SP}}.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0180": {
-    "English Original": "%%\n\nAdams, 'Faction, clientage and party', p. .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0181": {
-    "English Original": "%&\n\nBurghley to Walsingham, Aug. , PRO, SP}}.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0182": {
-    "English Original": "%'\n\nLord Grey to Lord Cobham, July , Hatfield, CP, fo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0183": {
-    "English Original": "%(\n\nPRO, SP}}, fo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0184": {
-    "English Original": "; NRO, Fitzwilliam (Milton) Political , fos.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0185": {
-    "English Original": "%)\n\nSussex to Walsingham, Jan. , PRO, SP}}.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0186": {
-    "English Original": "at liberty, James posed a potentially greater threat than Mary to the English crown.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0187": {
-    "English Original": "Lennox's possession of Dumbarton, the traditional entry point for French ships, appeared to signal preparations for a Catholic invasion of England and hence a realization of fears of Catholic conspiracy, previously centred on Mary Stewart.%\\\n\nMoreover, the 'factional' qualities of A gaping gulf itself are not clear cut.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0188": {
-    "English Original": "Stubbs endorsed the political settlement and emphasized the importance of maintaining the AngloScottish amity which, he believed, was jeopardized by the French marriage.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0189": {
-    "English Original": "It was strategically crucial to English defences: geographical proximity meant that Scotland could provide readier assistance than an overseas ally for whom they 'must tary for the wind and tyde.'&!",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0190": {
-    "English Original": "He also criticized Sussex's arguments sharply.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0191": {
-    "English Original": "Strategic considerations aside, the marriage would not make France an ally: Stubbs astutely recognized Henry III's deep dislike of Anjou and the factionalism it created at the French court among their followers.&\" Moreover, believing that Elizabeth was too old to conceive or have children safely, the marriage would not resolve the succession; rather it would plunge the realm more quickly into civil war and foreign invasion.& But, if he advised Sussex to weigh his arguments again, then Stubbs also attacked Burghley's and Walsingham's proposals for statutory exclusion of Mary Stewart from the succession and nomination of an heir.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0192": {
-    "English Original": "Those who attempted to resolve the succession by acts of parliament or 'provide for them with his penn in hys studye … forgets the many experiences of fayths most solemnly geven, falsified'.&\\$ His distinctions between flatterers (who supported the match) and 'playne, honest speakers' (who spoke against it) were less signs of factionally inspired abuse than rhetorical devices of persuasion.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0193": {
-    "English Original": "Their purpose was to employ tropes of honesty and plainness – conventionally associated with ' good counsel' – to persuade the listener that the advice offered was for the common good; and tropes of flattery, selfseeking behaviour, ambition, vanity, and greed – characteristics of 'bad counsel' – to dissuade them from opposing arguments.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0194": {
-    "English Original": "It was for this reason that Stubbs advised Elizabeth to consider whether supporters of the match had previously been 'hanging on her skyrtes' to marry or had been 'domme or slow speakers' who now sought their own advantage.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0195": {
-    "English Original": "It was a ' tryall' which only had the vaguest correlation with how individuals like Sussex, Burghley, Leicester, and others supported the Anjou match and previous proposals.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0196": {
-    "English Original": "&%\n\n%\\ Walsingham to same, May , PRO, SP}}, fo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0197": {
-    "English Original": "r–v; BL, Additional MS , fo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0198": {
-    "English Original": "r–v; Cobham to [Walsingham], Feb. , PRO, SP}a}; same to [Walsingham ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0199": {
-    "English Original": "], Oct. , PRO, SP}b}; same to Elizabeth, June , PRO, SP}a}; [Walsingham ?]",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0200": {
-    "English Original": "to [Cobham], Sept. , PRO, SP}b}; Gordon Donaldson, All the queen's men : power and politics in Mary Stewart's Scotland (London, ), p. .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0201": {
-    "English Original": "Stubbs, Gaping gulf, sigs.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0202": {
-    "English Original": "Bv, Dv, Ev–Ev, Ev–F.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0203": {
-    "English Original": "&\"\n\n Henry III to Mauvissie're, May , Lettres de Henri III, , pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0204": {
-    "English Original": "–; same to Sieur d'Abain, June , ibid., , pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0205": {
-    "English Original": "–; same to Catherine de Me!dici, June , ibid., , pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0206": {
-    "English Original": "–; Pierre Chevallier, Henri III : roi Shakespearien (Paris, ), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0207": {
-    "English Original": "&\n\n Stubbs, Gaping gulf, sigs.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0208": {
-    "English Original": "Bv–B, D–Dv, Dv, Bv; Skinner, Reason and rhetoric, p. .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0209": {
-    "English Original": "Factionalism, if it existed, was a visible manifestation of how councillors and courtiers perceived their roles and their working relationship with Elizabeth.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0210": {
-    "English Original": "Utilizing printed literature like A gaping gulf to offer advice and whip up opposition presupposed that they believed they could legitimately lobby, if not dictate, to Elizabeth on key issues.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0211": {
-    "English Original": "There are examples of the council as a corporate body 'bouncing', or attempting to 'bounce', Elizabeth into decisions or actions: Mary's execution being the most notable.&& During the negotiations themselves, Walsingham and Cobham had encouraged Horatio Pallavicino to advance credit to the States General on 'word and [their] handes' when Elizabeth continued to prove reluctant to deliver promised financial bonds during the two men's embassy to the Low Countries in August .&' However, this was not a uniform template for relations between Elizabeth and her advisers; they were more varied and nuanced.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0212": {
-    "English Original": "Wallace MacCaffrey has called the privy council's decision to offer Elizabeth pro and contra advice on the marriage on October a ' stalling motion'; Susan Doran, a complex strategic device to force her to decline the match.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0213": {
-    "English Original": "It denied Elizabeth the support she required to push an unpopular marriage treaty through a strongly Protestant and hostile parliament.&( But there is no reason to dismiss the council's message as disingenuous.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0214": {
-    "English Original": "Both Burghley and Sussex had explicitly recognized that only Elizabeth could take the decision: in Sussex's words, 'her hart is to be gyded by godes dyrectyon and her awne … by cause no man can knowe the Inward dyrectyon of her harte … [neither] can eny man gyve councell therin, but leave that to god and her selfe'.&) Marriage was a personal issue: as Elizabeth would have to live with Anjou, only she could decide whether to accept his proposal.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0215": {
-    "English Original": "Proceedings of the privy council on May showed that councillors were concerned to have an opportunity to voice their opinions: this appears to be why Burghley deliberately ignored Elizabeth's instructions that they discuss only the treaty articles and allowed them to debate the match itself.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0216": {
-    "English Original": "But, when clarification was sought from the queen after some councillors expressed confusion over their remit, there was no attempt – by Burghley or anyone else – to pursue the issue or lobby Elizabeth.&\\ The parameters of 'counsel' thus appeared to be constantly shifting: the degree to which advisers sought to persuade or realize their ideas dependent, at the least, on the issue in question.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0217": {
-    "English Original": "<sup&</supamp;& Guy, Tudor England, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0218": {
-    "English Original": "&'\n\nLeicester to Walsingham, July , PRO, SP}}, fo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0219": {
-    "English Original": "&(\n\nHatfield, CP, fo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0220": {
-    "English Original": "v; 'Message from the council on the marriage', – Oct. , Hatfield, CP, fos.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0221": {
-    "English Original": "r–v; MacCaffrey, Making of policy, p. ; Doran, Monarchy and matrimony, p. .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0222": {
-    "English Original": "&)Memorandum on the marriage, Mar.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0223": {
-    "English Original": ", PRO, SP}}, fo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0224": {
-    "English Original": "; Hatfield, CP,\n\nfo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0225": {
-    "English Original": "&\\\n\n'Reports as to the conferences with Simier', – May , Hatfield, CP, fos.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0226": {
-    "English Original": "If the culture of counsel at court and the absence of court factionalism suggest that A gaping gulf was not a commissioned piece of propaganda, then a new model is required; one that explores the milieu in which A gaping gulf was produced and thereby takes greater account of Elizabethan concepts of citizenship, and the role of counsellor therein.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0227": {
-    "English Original": "Stubbs's inner circle of friends included Burghley's secretaries Vincent Skinner and Michael Hickes.'!",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0228": {
-    "English Original": "Stubbs met both men in the s at Cambridge, where he was tutored by George Blythe (who also became one of Burghley's secretaries).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0229": {
-    "English Original": "They both followed Stubbs to Lincoln's Inn and maintained a close relationship until Stubbs's death in .'\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0230": {
-    "English Original": "Burghley was an opponent of the match who retained his own procontra memoranda (drawn up for discussions in March and April ) and acquired (though at what point is not known) Sussex's letter to Elizabeth and memoranda on the marriage, both of which outlined the earl's arguments in detail.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0231": {
-    "English Original": "A further memorandum, 'Whether a Protestant may Marye with a papiste', was also prepared for him.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0232": {
-    "English Original": "'\\$ Stubbs's Cecilian connections functioned not as missing links for understanding A gaping gulf as a commissioned piece – the culture of counsel and the absence of court factionalism renders this unlikely – but as the milieu in which A gaping gulf was produced.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0233": {
-    "English Original": "What was this milieu and how does it shape our understanding of the relationship between court politics and the public sphere ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0234": {
-    "English Original": "Both in his capacity as a practising lawyer from and in the public offices he held from , Stubbs demonstrated a commitment to active citizenship.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0235": {
-    "English Original": "Called to the bar in , his appointments as steward and associate of the bench at Lincoln's Inn ( and ) and as steward of Yarmouth () suggest he was a practising lawyer.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0236": {
-    "English Original": "He was commissioned by Burghley to respond to Cardinal William Allen's attack on Burghley's own The execution of justice (), a defence of the execution for treason of the Jesuit missionary, Edmund Campion, and fourteen others in .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0237": {
-    "English Original": "In he became secretary to Lord Willoughby d'Eresby and was used as a messenger between d'Eresby\n\n'!",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0238": {
-    "English Original": "The history of parliament : the House of Commons, –, ed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0239": {
-    "English Original": "P. W. Hasler ( vols., London, ), , pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0240": {
-    "English Original": "– (hereafter, Commons); ibid., , pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0241": {
-    "English Original": "–; A. G. R. Smith, Servant of the Cecils : the life of Sir Michael Hickes, – (London, ); Hickes to Burghley, [n.d., c. ], BL, Lansdowne MS , fos.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0242": {
-    "English Original": "Commons, , p. ; Berry, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0243": {
-    "English Original": "xxii–xxiv; Stubbs to Hickes, Mar.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0244": {
-    "English Original": ", BL, Lansdowne MS , fo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0245": {
-    "English Original": "r–v; same to same, Dec. , BL, Lansdowne MS , fo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0246": {
-    "English Original": "; same to same, July , BL, Lansdowne MS , fos.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0247": {
-    "English Original": "–; same to same, Sept. , BL, Lansdowne MS , fo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0248": {
-    "English Original": "; Hickes to Stubbs, [Dec. or Jan. ], BL, Lansdowne MS , fo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0249": {
-    "English Original": "r–v; same to same, BL, Lansdowne MS , fo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0250": {
-    "English Original": "'To be advised in the motion of mariadg by Monsieur d'alanson with the Queen's Majesty', Mar.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0251": {
-    "English Original": ", Hatfield, CP, fos.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0252": {
-    "English Original": "–v; 'Answers to the obiections made agaynst the marriadg with Monsieur Dallanson', Mar.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0253": {
-    "English Original": ", Hatfield, CP, fos.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0254": {
-    "English Original": "–v; 'The perills that may happen to the Q. Maty if she lyve unmarried', Mar.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0255": {
-    "English Original": ", Hatfield, CP, fos.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0256": {
-    "English Original": "–; PRO, SP}}, fos.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0257": {
-    "English Original": "–; Hatfield, CP, fos.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0258": {
-    "English Original": "–; Hatfield, CP, fos.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0259": {
-    "English Original": "'\\$\n\n 'Whether a Protestant may Marye with a papiste', [?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0260": {
-    "English Original": "], BL, Lansdowne MS , fos.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0261": {
-    "English Original": "and Burghley in .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0262": {
-    "English Original": "The same year he was returned as MP for Yarmouth.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0263": {
-    "English Original": "'% His friends were, likewise, politically active.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0264": {
-    "English Original": "Skinner and Hickes served as Burghley's secretaries and as MPs, both sitting first for Truro, in and respectively.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0265": {
-    "English Original": "'& Moreover, Stubbs's circle was part of a wider one of men committed to active citizenship.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0266": {
-    "English Original": "As a political finishing school and stage for Christmas revels for the queen, Lincoln's Inn was an extension of the court; it also provided significant role models during Stubbs's stay.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0267": {
-    "English Original": "James Dalton and Robert Monson, for instance, were both senior members.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0268": {
-    "English Original": "Dalton was a leading lawyer and sat in parliament between and , probably under the patronage of Bedford and then Burghley.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0269": {
-    "English Original": "Monson was raised first to the Court of High Commission in , the post of serjeant at law (by special mandate) in , and the Court of Common Pleas in November of the same year.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0270": {
-    "English Original": "Like Dalton, he also sat for parliament under Bedford's patronage.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0271": {
-    "English Original": "The significance of Lincoln's Inn became acutely apparent in when both men openly questioned the validity of Stubbs's sentence.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0272": {
-    "English Original": "Moreover, Dalton had already been joined on his Saltash seat in and by William Page, who attempted to distribute copies of A gaping gulf to the West Country via Sir Richard Grenville, and shared Stubbs's fate on the scaffold.''",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0273": {
-    "English Original": "Parliament and Lincoln's Inn are crucial for understanding Stubbs.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0274": {
-    "English Original": "A close friend of MPs Skinner and Hickes, and later an MP himself, Stubbs needs to be located within a parliamentary culture of counsel.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0275": {
-    "English Original": "Sovereignty lay in the queeninparliament, and parliamentary consent (as representing the whole realm) was required for all major political and religious changes, including marriage and the succession.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0276": {
-    "English Original": "This doctrine derived primarily from Christopher St German – whose Doctor and student (; a modified English translation, ) and New additions () were ' set texts' at the Inns of Court – but was reinforced by both Sir Thomas Smith's De republica Anglorum () and John Aylmer's An harborowe for faithfull and trewe subjects ().",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0277": {
-    "English Original": "'( A petition Stubbs drafted against Whitgift's subscription campaign against nonconforming Puritan clergy in demonstrates the extent to which he had absorbed these ideas.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0278": {
-    "English Original": "He asked Elizabeth to appoint ' such most honorable Lordes, and Counsellors' to alter or enforce more mildly the laws because the impending dissolution of parliament (' this corporation') meant it would be unable ' to explane & approue' remedial action itself.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0279": {
-    "English Original": "Stubbs and his fellow petitioners were 'fellow citizens and coheires as well of this earthly inheritaunce in your [Elizabeth's] kingdom as of that ever lasting inheritaunce in the kingdom of heaven'.')",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0280": {
-    "English Original": "In A gaping gulf, Stubbs made it clear that the importance of counsel\n\n'% The stewardship was usually given to an eminent lawyer as it required the holder to execute the judicial duties of the high steward and act as the corporation's legal adviser.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0281": {
-    "English Original": "'& Commons, , pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0282": {
-    "English Original": "–; ibid., , pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0283": {
-    "English Original": "Ibid., , p. ; ibid., , pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0284": {
-    "English Original": "–, ; Camden, Annals, p. .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0285": {
-    "English Original": "'(\n\n Guy, 'Tudor monarchy and its critiques', pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0286": {
-    "English Original": "–; Sir Thomas Smith, De republica Anglorum, ed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0287": {
-    "English Original": "Mary Dewar (Cambridge, ); John Aylmer, An harborowe for faithfull and trewe subjects (Strasbourg, ; STC ). ')",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0288": {
-    "English Original": "Petition to parliament, Mar.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0289": {
-    "English Original": ", BL, Additional MS , fos.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0290": {
-    "English Original": "increased when the monarch was female: queens must accept advice (including on marriage) from their male counsellors because they lacked the necessary judgement to make decisions independently:\n\nThe same [i.e.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0291": {
-    "English Original": "men giving advice to women on marriage] should be much more diligently don in mariage of a Queen and her realme and it is a faythles careles part, to leave hir helples in hir choise of the person and personall conditions of hir husband to hir own consideration, which how so ever sufficient it be, so much the more hath she need of help, as the matter is more weightie in hir then in common matches.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0292": {
-    "English Original": "'\\\n\nLincoln's Inn was crucial ideologically.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0293": {
-    "English Original": "It had developed a Protestant identity in the s and it was within this confessional dimension that ideas of active citizenship and parliamentary counsel, represented in Stubbs's immediate and wider circle, were conceived.(!",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0294": {
-    "English Original": "The purpose of political action was to benefit the common weal, defined as the preservation of Protestantism.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0295": {
-    "English Original": "(\" In A gaping gulf, Stubbs explicitly defined England as a Protestant, elect nation (' a kingdome of light, confessing Christ and serving the living God') under attack from ' our popish enemies', the papacy, Spain, and France.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0296": {
-    "English Original": "( Though monarchs had a prime duty to preserve Protestantism – they were ' the sacred defender' of God's church – as the petition of showed, parliament's role was equally, if not more, crucial.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0297": {
-    "English Original": "Lincoln's Inn had an additional significance.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0298": {
-    "English Original": "Since at least the fourteenth century, the Inns of Court had developed a strong tradition of political satire and complaint in poetry and prose romance, assuming a role initially held by ecclesiastics.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0299": {
-    "English Original": "(\\$ This was an important literary milieu for some of Stubbs's individual and collaborative works.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0300": {
-    "English Original": "In the wake of Archbishop Parker's drive for conformity after the vestiarian controversy () and the publication of the Admonition to parliament and A view of popish abuses (both ), Stubbs and his circle identified increasingly with the reform movement that Parker's actions had pushed underground.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0301": {
-    "English Original": "(% In Vincent Skinner had produced an English translation of Gonsalvius's denunciation of the Spanish Inquisition, Sanctae Inquisitionis Hispanicae artes aliquot detectae; it was reissued the following year with a dedication to Parker.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0302": {
-    "English Original": "'\\ Stubbs, Gaping gulf, sigs.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0303": {
-    "English Original": "R. M. Fisher, 'The Reformation in microcosm ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0304": {
-    "English Original": "Benchers at the Inns of Court, –', Parergon, n.s., (), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0305": {
-    "English Original": "–, , ; Berry, p. xxiv, John Venn and J.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0306": {
-    "English Original": "A. Venn, eds., Alumni Cantabrigiensis ( vols., Cambridge, –), , p. .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0307": {
-    "English Original": "(\"\n\n For instance, both Dalton and Monson spoke out in parliament in the s and s on key issues connected to the preservation of Protestantism: the succession, Mary Stewart, and church reform: Commons, , p. ; ibid., , pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0308": {
-    "English Original": "(\n\n Stubbs, Gaping gulf, sigs.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0309": {
-    "English Original": "to PRO, SP}}, fos.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0310": {
-    "English Original": "(\\$\n\n John Taylor, English historical literature in the fourteenth century (Oxford, ), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0311": {
-    "English Original": ", –; T. F. Tout, 'Literature and learning in the English civil service in the fourteenth century', Speculum, (), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0312": {
-    "English Original": ", ; Janet Coleman, English literature in history, – : medieval readers and writers (London, ), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0313": {
-    "English Original": "(%\n\n Mark E. C. Perrott, 'Richard Hooker and the problem of authority in the context of Elizabethan church controversies' (PhD thesis, Cambridge, ), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0314": {
-    "English Original": "–, –; Patrick Collinson, The Elizabethan puritan movement (Oxford, ), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0315": {
-    "English Original": "–, , , –, –; Scott Pearson, Thomas Cartwright, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0316": {
-    "English Original": "By the early s, however, Skinner's praise of Parker and his implicit endorsement of the conformity campaign, evident in the second edition of A discovery and playne declaration, had been replaced by sharper criticism.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0317": {
-    "English Original": "(& <supA</sup precise attribution remains uncertain, but the Short title catalogue argues that in Skinner collaborated with Hickes and Stubbs on The life of the archbishopp off Canterbury.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0318": {
-    "English Original": "It was a faithful English translation of De antiquitate Britannicae ecclesiae & priuilegiis ecclesiae Cantuariensis, cum archiepiscopis eiusdem but attacked Parker in the printed marginalia.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0319": {
-    "English Original": "These were polemical, levelled primarily at Parker's hostility to the moderate Puritans' concerns (particularly preaching) and his defence of the episcopal structure in De antiquitate Britannicae.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0320": {
-    "English Original": "Parker was criticized as a poor and infrequent preacher, antipathetic to preaching as a whole.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0321": {
-    "English Original": "Episcopacy was a usurped authority and the De antiquitate Britannicae itself like the tomb of the Assyrian queen of Babylon uncovered by Darius: purporting to be full of great treasures, it was nothing but a 'charnell howse}off brainlesse unlearned skulles'.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0322": {
-    "English Original": "('\n\nBy the time The life was published, Stubbs, Hickes, and Skinner moved in a wider circle of leading reformers, like Thomas Cartwright, and committed Protestants working as secretaries and clerks, like Laurence Tomson and William Davison.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0323": {
-    "English Original": "(( Despite these connections, however, it would be a mistake to see The life as part of Cartwright's publishing campaign and not as an independent initiative provoked by growing religious tensions between reformers and men like Parker, and which drew on medieval traditions of political satire with which the Inns of Court had been associated.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0324": {
-    "English Original": "() The identification of the printer of The life as Christoph Froschauer of Zurich is still debatable but typographical evidence shows it was not issued from the same press (Michael Schirat's in Heidelberg) as Cartwright's The second replie agaynst Maister Doctor Whitgiftes second answer (), A full and plaine declaration of ecclesiastical discipline (), Walter Travers's Ecclesiasticae disciplinae et Anglicanae ecclesiae () and A brieff discours off the troubles begonne at Franckford (; attributed to William Whittingham), as has been suggested.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0325": {
-    "English Original": "(\\\n\nStubbs's legal and political career, his views on citizenship as manifested in A gaping gulf and the petition of , and his possible earlier collaboration with Skinner and Hickes on The life, are important lenses for reconsidering the\n\n(& Reginaldus Gonsalvius Montanus, A discovery and playne declaration of sundry subtill practises of the holye inquisition of Spayne.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0326": {
-    "English Original": "Set forth in Latine, and newly translated [by V. Skinner] (London, ; STC ); Montanus, A discovery and playne declaration … (London, ; STC ), sigs.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0327": {
-    "English Original": "('\n\nThe life of the archbishopp off Canterbury.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0328": {
-    "English Original": "by John Stubbs ?]",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0329": {
-    "English Original": "(Zurich, ; STC a), sigs.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0330": {
-    "English Original": "Aiii, Cii, Bviii, Civ–Cvv ; Matthew Parker, De antiquitate Britannicae ecclesiae & priuilegiis ecclesiae Cantuariensis, cum archiepiscopis eiusdem (London, –; STC ).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0331": {
-    "English Original": "((\n\n Scott Pearson, Thomas Cartwright, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0332": {
-    "English Original": ", –; Stubbs to Hickes, Mar.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0333": {
-    "English Original": ", BL, Lansdowne MS , fo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0334": {
-    "English Original": "()\n\n Taylor, English historical literature, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0335": {
-    "English Original": ", –; Tout, 'Literature and learning', pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0336": {
-    "English Original": "(\\\n\n C. E. Sayle, Early English printed books in the University Library, Cambridge, – ( vols., Cambridge, –), , pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0337": {
-    "English Original": "–; Collinson, Puritan movement, p. ; A. F. Johnson, 'Books printed at Heidelberg for Thomas Cartwright', The Library, th ser., (–), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0338": {
-    "English Original": "circumstances of A gaping gulf's production.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0339": {
-    "English Original": "Stubbs moved in a politically and confessionally aware circle; he was committed to an active public life, but understood its purpose to be the preservation of Protestantism.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0340": {
-    "English Original": "His commitment to Protestantism appears to have intensified in the early s and he remained willing to express these views in print: his presumed collaboration on The life postdated his first appearance in print (A discourse … conteyning the life and death of John Calvin) by a decade.)!",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0341": {
-    "English Original": "Importantly, his later works emerged against a background of religious tension: in the case of A gaping gulf, the halting of Archbishop Grindal's reforms by Elizabeth both directly and through his suspension from office.)\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0342": {
-    "English Original": "In conjunction with the nature of court politics in and , these suggest that, far from emanating from the council, A gaping gulf emerged independently from an articulate, middleranking, politically and confessionally conscious circle.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0343": {
-    "English Original": "Stubbs's friendship with Skinner and Hickes may have been crucial and it is possible that they supplied information from Burghley's archive of procontra memoranda to Stubbs.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0344": {
-    "English Original": "Hickes was in trouble with Burghley over his service as secretary in , though there is absolutely no evidence to suggest that this was connected to any transfer of documents to Stubbs.)",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0345": {
-    "English Original": "But it would seem more appropriate to understand these dynamics in terms of a circle of friends or colleagues who discussed politics and, through their professional connections, could tap surreptitiously into debate at court, rather than of a network exploited by councillors for propaganda purposes.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0346": {
-    "English Original": ")\\$\n\nThe history of the other men involved in the production and (attempted) dissemination of A gaping gulf seems to lend credence to this alternative model.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0347": {
-    "English Original": "Most important was Hugh Singleton, the printer, spared Stubbs's fate (the French ambassador alleged) because his age prompted Elizabeth's mercy (he was about eighty).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0348": {
-    "English Original": ")% Singleton had started as a bookseller in Paul's Churchyard in but had employed other printers to print works for him until he began printing himself, independently or with Joos Lambrecht, under false imprints, possibly in Wesel from late .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0349": {
-    "English Original": ")& Early works were largely partisan and dominated by reformers like John Foxe and John Knox.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0350": {
-    "English Original": "Two crucial books were printed in .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0351": {
-    "English Original": "The copie of a pistell or letter sent to Gilbard Potter was heavily critical of Northumberland and his attempt to settle the succession on Jane Grey.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0352": {
-    "English Original": "It defended Mary only as the rightful claimant by title under the terms of Henry VIII's will and made no comment on her Catholicism.)'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0353": {
-    "English Original": "Shortly after\n\n See a similar depiction for Thomas Hobbes in Richard Tuck, Hobbes (Oxford, ), p. .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0354": {
-    "English Original": ")%\n\n<sup)!</sup John Stubbs, A discourse … conteyning the life and death of John Calvin (London, ; STC ). )\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0355": {
-    "English Original": "Collinson, Puritan movement, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0356": {
-    "English Original": "–, –, –. )",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0357": {
-    "English Original": "BL, Lansdowne MS , fos.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0358": {
-    "English Original": ")\\$\n\nBN, Fonds franc:ais , fos.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0359": {
-    "English Original": ")&\n\nA short title catalogue of books printed in England, Scotland & Ireland and of English books printed abroad, –, ed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0360": {
-    "English Original": "W. A. Jackson, F. S. Ferguson and Katharine F. Pantzer ( vols., London, –), , pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0361": {
-    "English Original": "–; Byrom, 'Hugh Singleton', pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0362": {
-    "English Original": "), The copie of a pistell or letter sent to Gilbard Potter (London, ; STC ).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0363": {
-    "English Original": "This is possibly the earliest printed attack on Northumberland.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0364": {
-    "English Original": "Mary's accession, Singleton reprinted Stephen Gardiner's De vera obedienta deliberately to humiliate the new lord chancellor with a reminder of his defence of the royal supremacy.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0365": {
-    "English Original": ")( Singleton also moved in a circle of committed Protestant printers, including Stephen Mierdman and John Day.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0366": {
-    "English Original": "Day had invested in and printed Foxe's Acts and monuments; he had also printed Foxe's Reformatio legum ecclesiasticarum that Norton attempted to introduce into parliament in , after previous failed attempts in parliament and convocation.))",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0367": {
-    "English Original": "William Page, who attempted to distribute fifty copies of <supA</sup gaping gulf to the West Country, was an MP and former secretary to the earl of Bedford; he had been arrested in Venice in June for stating he wanted to assassinate QueenMary.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0368": {
-    "English Original": ")\\ Sir Richard Grenville, to whom Page had attempted to send the copies, had independently appointed Eusebius Paget, minister of Kilkhampton, and had encouraged him to hold conventicles in his own house.\\!",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0369": {
-    "English Original": "In their Protestant commitment, their political activity, and, in Singleton's and Page's case, their subversive agitation, all three men appeared less council stooges than independent activists.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0370": {
-    "English Original": "III\n\nIf A gaping gulf was an independent initiative, can the same be said for Spenser's The shepheardes calendar and Sidney's letter ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0371": {
-    "English Original": "It is more difficult to place Edmund Spenser in an identifiable political and religious circle than Stubbs and space precludes an extensive evaluation, but there are important similarities which, if briefly outlined, are none the less suggestive.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0372": {
-    "English Original": "First, Spenser was also politically active.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0373": {
-    "English Original": "He became secretary to John Young, bishop of Rochester (a friend of Grindal's) in and had entered Leicester's household by October the following year.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0374": {
-    "English Original": "In he became secretary to Lord Grey, lord deputy of Ireland.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0375": {
-    "English Original": "After Grey's return to England, Spenser continued to hold a number of official posts in Ireland.\\\" Second, Spenser was a committed Protestant; an affiliation modern historians and critics have sought to play down.\\ In Spenser translated epigrams and sonnets for Jan van der Noodt's A theatre wherein be represented as wel the miseries and calamaties that follow the voluptuous worldlings, a widely circulated attack on the Catholic church.\\\\$ Moreover, the\n\n Anthea Hume, Edmund Spenser : Protestant poet (Cambridge, ), p. ; Richard Rambuss, Spenser's secret career (Cambridge, ), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0376": {
-    "English Original": "\\\n\nHume, Edmund Spenser, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0377": {
-    "English Original": "See also Scott Pearson, Thomas Cartwright, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0378": {
-    "English Original": "<sup)(</sup Byrom, 'Hugh Singleton', p. ; James Arthur Muller, Stephen Gardiner and the Tudor reaction (London, ), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0379": {
-    "English Original": "–, –; Glyn Redworth, In defence of the church Catholic : the life of Stephen Gardiner (Oxford, ), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0380": {
-    "English Original": "Freeman, '''The reformation of the church''', passim.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0381": {
-    "English Original": ")\\ Commons, , p. .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0382": {
-    "English Original": "A. Ritchie, 'Sir Richard Grenville and the puritans', English Historical Review, (), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0383": {
-    "English Original": "–; Commons, , p. .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0384": {
-    "English Original": "\\\"\n\nHume, Edmund Spenser, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0385": {
-    "English Original": "Critics have deemphasized Spenser's Protestant affiliations, partly because of the speculative nature of the identification of characters in The shepheardes calendar with real figures, and partly the failure, by the first proponent of these ideas, Lilian Winstanley in , to note Spenser's tenure with Rochester.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0386": {
-    "English Original": "\\\\$\n\nMay and November eclogues in The shepheardes calendar replicated Stubbs's view of England as a ' godly realm' threatened immediately by Catholic conspiracy and, in the long term, by Catholicism and unreformed Protestantism.\\% In both substance (the fable of the Fox and the Kid) and language (his use of 'fox' to denote secret Catholics and 'wolf ' as open Catholics), Spenser drew on reformist works like Anthony Gilby's A pleasaunt dialogue, betweene a souldior of Barwicke, and an English chaplaine (written , printed ) and William Turner's The huntinge and fynding out of the Romyshe wolfe ([?])",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0387": {
-    "English Original": "and The hunting of the fox and the wolfe ([]).\\& Finally, a connection between political service and Protestant commitment comparable to Stubbs's is suggested by the date when the May eclogue was written.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0388": {
-    "English Original": "Though it is difficult to date with exactitude, there is a consensus that it was probably written while Spenser was working for Rochester, along with the July and September eclogues which also commented on issues of ecclesiastical reform.\\'\n\nThese three elements seem to suggest that The shepheardes calendar emanated from the same milieu as A gaping gulf: the independent response of a politically active and aware man with a strong Protestant conviction and a belief that the marriage would not resolve the succession issue without creating far greater problems.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0389": {
-    "English Original": "As Thomalin's emblem in the March eclogue stated: 'Of Hony and of Gaule in love there is store; The Honye is much, but the Gaule is more.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0390": {
-    "English Original": "'\\(\n\nSidney's letter – and one written to Elizabeth by Sir Thomas Cecil in January – was different.\\) Sidney shared Stubbs's and Spenser's political and religious outlook.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0391": {
-    "English Original": "He defined England as a ' godly realm' under attack from Catholicism at home and abroad but argued that the marriage would only aggravate the situation by weakening the loyalty of Elizabeth's Protestant subjects and drawing Catholics further into disobedience.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0392": {
-    "English Original": "It would be a cure worse than the disease of the unsettled succession.\\\\ But he perceived the role of counsel strikingly differently.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0393": {
-    "English Original": "For Sidney, counsel was advisory – Elizabeth was not obliged to accept proffered advice – and rooted in the traditions of noble counsel (both humanistclassical, as articulated by Sir Thomas Elyot and Thomas Starkey in the late s and early s, and feudalbaronial).\"!!",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0394": {
-    "English Original": "For Stubbs, counsel was socially inclusive and essential to queenship.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0395": {
-    "English Original": "He acknowledged that nobles and councillors were 'borne & chosen … fathers of advise', but stated that bishops and courtiers in Elizabeth's favour had an advisory role.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0396": {
-    "English Original": "More crucially, he also argued that he could offer counsel\n\n<sup\\%</sup Edmund Spenser, The shepheardes calendar (London, ; STC ), fo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0397": {
-    "English Original": "v (lines , ), fo.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0398": {
-    "English Original": "v (lines –, ), fo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0399": {
-    "English Original": "v (lines –); Hume, Edmund Spenser, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0400": {
-    "English Original": "\\'\n\nE. Greenlaw, C. G. Osgood, F. M. Padelford, eds., The works of Edmund Spenser : a variorum edition (Baltimore, rd edn, ).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0401": {
-    "English Original": "The minor poems : volume (ed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0402": {
-    "English Original": "C. G. Osgood, H. G. Lotspeich with Dorothy E. Mason), Appendix , p. .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0403": {
-    "English Original": "\\( Spenser, Shepheardes calendar, fo.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0404": {
-    "English Original": "\\)\n\n[Sir Thomas Cecil] to Elizabeth, Jan. , Hatfield, CP, fos.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0405": {
-    "English Original": "\\\\\n\nPhilip Sidney to Elizabeth, [], BL, Harley MS , fos.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0406": {
-    "English Original": "Guy, 'The rhetoric of counsel in early modern England', in Dale Hoak, ed., Tudor political culture (Cambridge, ), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0407": {
-    "English Original": "–; BL, Harley MS , fo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0408": {
-    "English Original": "because he was driven by 'necessitie', not as ' a busie body … but of a true Englishman, a sworne liegmen to hir Majestie'.\"!\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0409": {
-    "English Original": "' [N]ecessitie' and loyalty legitimated his offering counsel as a citizen.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0410": {
-    "English Original": "Counsel was a necessary element of queenship because queens, as women, were 'weaker vessel[s]' unable to exercise power independently and successfully; they required counsel to guide their actions and ensure they acted for the 'common weale'.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0411": {
-    "English Original": "In contrast to Burghley's and Sussex's statements, Stubbs argued that this applied particularly to the issue of marriage: 'how so ever sufficient it [her consideration] be, so much the more hath she need of help, as the matter is more weightie in hir then in common matches'.\"!",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0412": {
-    "English Original": "Stubbs's position was a major departure from conventional ideas of counsel and counselling.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0413": {
-    "English Original": "Though Aylmer and Smith had both argued that counsel was a fundamental element of female monarchy, they did not empower private citizens to act as counsellors identifying only the privy council and parliament as legitimate fora for advice.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0414": {
-    "English Original": "\"!\\$\n\nThese different attitudes to counsel and queenship suggest Sidney's letter contributed to a different debate to that addressed by A gaping gulf and The shepheardes calendar.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0415": {
-    "English Original": "Sidney's deference had more in common with the actual practice of counselling at court on the marriage issue – as articulated by Burghley and Sussex – than with Stubbs's harangues and invocations of the 'mixed polity'.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0416": {
-    "English Original": "This seems reinforced by Sidney's social and political circle.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0417": {
-    "English Original": "Whereas Stubbs's milieux were the Inns of Court and their traditions of political satire and complaint, Sidney's were the court and the tradition of noble counsel.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0418": {
-    "English Original": "As the political heir of both his father, Sir Henry Sidney, and his uncle, Leicester (until the birth of Leicester's legitimate son on June ), Sidney was groomed for political service.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0419": {
-    "English Original": "\"!% He accompanied his father to Ireland in and undertook diplomatic missions to Emperor Rudolph II and Counts Palatine Ludwig and Casimir in , when he also met Don John of Austria and William of Orange.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0420": {
-    "English Original": "He was subject to much advice – from his father, uncles, potential fathersinlaw (Burghley, the first earl of Essex and Orange), his future fatherinlaw (Walsingham), and Hubert Languet – less to create a puppet or mouthpiece than to foster a wise head on young shoulders and enable him to fulfil his dynastic and political expectations.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0421": {
-    "English Original": "\"!& Moreover, he lived in a climate where young courtiers, like himself, strove to gain political office as counsellors; where privy councillors wrote letters of advice to Elizabeth when they could not offer counsel in person – such as Nicholas Bacon in September and Francis Knollys the following January – and where Elizabeth took or sought advice from household officials, agents, and ambassadors who were not members of the privy council.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0422": {
-    "English Original": "Sir Thomas Heneage, treasurer of the household, was an important conduit of information and \"!\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0423": {
-    "English Original": "Stubbs, Gaping gulf, sigs.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0424": {
-    "English Original": "\"!\\$\n\nAylmer, An harborowe, sigs.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0425": {
-    "English Original": "Hv–H; Smith, De republica Anglorum, ed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0426": {
-    "English Original": "\"!% I would like to thank Simon Adams for telling me about the date of the birth of Leicester's son.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0427": {
-    "English Original": "<sup&</supquot;!& Katherine DuncanJones, Sir Philip Sidney : courtier poet (London, ), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0428": {
-    "English Original": ", , –, –, –.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0429": {
-    "English Original": "advice to Elizabeth during Walsingham's Dutch embassy in ; advice from Thomas Randolph was fundamental to Elizabeth's decision not to secure by force Lennox's removal from power in Scotland and Morton's release in the early months of .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0430": {
-    "English Original": "Sidney's letter, therefore, operated in a circumscribed forum of policymaking at court.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0431": {
-    "English Original": "Where Stubbs and Spenser felt provoked to write in response to the failure of reform initiatives over preceding years and because they believed that the marriage threatened the future of Protestantism, Sidney (and Sir Thomas Cecil) sought to contribute to probouleutic discussion on the marriage and succession at court.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0432": {
-    "English Original": "Not selected by Elizabeth to discuss the marriage during the spring conferences, and not members of the privy council and so unable to contribute to conciliar debate in October, they resorted to letters, as Bacon and Knollys before them, to have their say.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0433": {
-    "English Original": "IV\n\nIt was precisely Stubbs's and Sidney's contrasting approach to 'counsel' that explains why Elizabeth's reactions to the two works were so different: no proceedings were taken against either Sidney (or Cecil) and there is no evidence that Sidney's departure from the court in was related to his writing the letter.\"!",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0434": {
-    "English Original": "( As both the proclamation against A gaping gulf and the trial proceedings made clear, what incensed Elizabeth was Stubbs's presumption that he and other subjects could offer counsel, specifically on issues – marriage and the succession – about which she had consistently attempted to restrict debate in the privy council and in parliament.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0435": {
-    "English Original": "They also made evident Elizabeth's anger with Stubbs for impugning her political judgement and ability to rule.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0436": {
-    "English Original": "First, the proclamation denied Stubbs legitimacy as a counsellor – he only 'pretendeth' to be one – because he was not specifically chosen by Elizabeth to act in an advisory capacity.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0437": {
-    "English Original": "Second, A gaping gulf was explicitly condemned for ' offering to every most meanest person of judgement … authorite to argue and determine, in every blinde corner, at their several willes, of the affaires of publique estate'.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0438": {
-    "English Original": "It was an unlicensed pamphlet which Stubbs and Page had deliberately attempted to disseminate to a more socially diverse and geographically dispersed readership than that in which Sidney's letter appears to have circulated.\"!)",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0439": {
-    "English Original": "The social inclusivity of debate and counsel this represented was, Elizabeth considered, 'A thing most pernicious in any estate.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0440": {
-    "English Original": "Unlike her appointed 'counsellors' and 'faithfull Ministers', ordinary subjects did not have the access to\n\n\"!'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0441": {
-    "English Original": "BL, Additional MS , fo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0442": {
-    "English Original": "r–v; BL, Harley MS , fo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0443": {
-    "English Original": "; [Walsingham] to Heneage, [ Sept.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0444": {
-    "English Original": ", PRO, SP}}o; Randolph to [Walsingham], Feb. , BL, Harley MS , fo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0445": {
-    "English Original": "; Walsingham to Randolph, Mar.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0446": {
-    "English Original": ", PRO, SP}}; same to same, Mar.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0447": {
-    "English Original": ", PRO, SP}}; [Walsingham] to [Randolph], Feb. , BL, Cotton MS Caligula C., fo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0448": {
-    "English Original": "( DuncanJones and van Dorsten, eds., Miscellaneous prose, p. .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0449": {
-    "English Original": "The number of extant copies of Sidney's letter suggests it circulated in manuscript form.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0450": {
-    "English Original": "For manuscript publication see Harold Love, Scribal publication in seventeenthcentury England (Oxford, ), H. R. Woudhuysen, Sir Philip Sidney and the circulation of manuscripts, – (Oxford, ).\n\n'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0451": {
-    "English Original": "true information', the ability to examine it and offer constructive advice, nor her own 'motherly or princely care' to evaluate what was 'honorable to her Majestie, profitable to the state of the Realme, and not hurtfull to the continuance of the peaceable government of the same, both in state of religion and policie'.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0452": {
-    "English Original": "These were the hallmarks of legitimate counsel, and criteria that Stubbs's advice did not meet.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0453": {
-    "English Original": "He was accused of basing his arguments on 'malitious reportes of hearesayes uncertaine or of vaine gessings and suppossals' and for failing to provide any constructive alternatives to the marriage.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0454": {
-    "English Original": "Indeed, the proclamation went so far as to claim that, if he had offered the latter, it 'might have in some part qualified the rest of the rash discourses, by shewing thereby some sincerity of good meaning'.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0455": {
-    "English Original": "\"!\\ Third, passages cited in the trial demonstrated how Stubbs had challenged Elizabeth's 'princely care' of the realm, arguing that the marriage would lose England its Protestant allies, throw it open to the invasions of France and Spain, lead to the overthrow of religion and the 'capture' of Elizabeth and her subjects.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0456": {
-    "English Original": "The realm would be governed by Catherine de Me!dici and her Italian cronies; counsellors, bishops, judges, and magistrates would lose their posts; labourers would become ' one degree, at least, beneath vile peasants & Lackeis' and soldiers sent out 'for some more desperate service then S. Quintin … and cut in pieces'.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0457": {
-    "English Original": "It was 'ungodly and dangerous … incertain & needles … dishonourable & unprofitable'.\"\"!",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0458": {
-    "English Original": "Elizabeth's response to A gaping gulf demonstrated her conception of counsel and monarchical power.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0459": {
-    "English Original": "She explicitly rejected the view that subjects, beyond those she specially appointed, had any right, duty, or responsibility to contribute to the policymaking process.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0460": {
-    "English Original": "Moreover, she made clear she was not bound to hear or accept even legitimate counsel: advice could only be offered 'with her Majestie's good lyking' and its fitness was judged by her 'princely care'.\"\"\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0461": {
-    "English Original": "It reflected views she later demanded Walsingham convey, via Shrewsbury, to Mary Stewart: that her councillors ' are Councellors by choyce, and not by birth, whose services are no longer to be used in that publike function then it shall please her Majestie to dispose of the same' and that she was not '' so absolut as that without thassent of such whome she [Mary] termeth ''principal members of the Crowne'' she [Elizabeth] cannot direct her pollicie'.\"\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0462": {
-    "English Original": "If people wanted proof of her ability to govern well then they only had to look at the years of godly and peaceful government she had given them.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0463": {
-    "English Original": "\"\"\\$\n\n<sup&</supquot;!\\ Proclamation against The gaping gulf, Sept. , PRO, SP}}, fos.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0464": {
-    "English Original": "Coram Rege Roll, Michaelmas term – Elizabeth, PRO, KB}, membranes – (Crown side); Stubbs, Gaping gulf, sigs.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0465": {
-    "English Original": "Additional passages cited in the trial include sigs.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0466": {
-    "English Original": "Av, E, Fv–F. \"\"\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0467": {
-    "English Original": "Walsingham to the earl of Shrewsbury, July , Edmund Lodge, ed., Illustrations of British history, biography and manners ( vols., London, ), , pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0468": {
-    "English Original": "\"\"\\$\n\nPRO, SP}}, fos.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0469": {
-    "English Original": "V\n\nAs the initiative of a politically conscious, committed Protestant, rather than a court directive, A gaping gulf suggests the existence of a lively public sphere, interacting with the court but not subject to it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0470": {
-    "English Original": "If it is accepted that Stubbs was not supplied with information from the court, then the knowledge he displayed of, for instance, French politics also suggests that the circulation of news and information was not dependent on the existence of newsletters and that, among articulate Elizabethans, its spread was more fully realized than extant evidence might suggest.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0471": {
-    "English Original": "Further, it also seems that the public sphere was more diverse and varied than previously thought: the three texts were not consciously produced to form a coordinated debate; they were driven by different motivations, drew on different traditions, and, in the case of Sidney's letter, written at some remove from A gaping gulf and The shepheardes calendar.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0472": {
-    "English Original": "\"\"% Finally, the role of the public sphere could be a matter of conflict between men like Stubbs and Elizabeth – Stubbs saw it as a legitimate forum for political debate and advice; Elizabeth did not – partly because concepts of counsel conflicted on issues like the role of counsel and the status of counsellors.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0473": {
-    "English Original": "But A gaping gulf raises as many questions as it answers.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0474": {
-    "English Original": "How typical was Stubbs, either in his ideas on counsel, his perception of events, or the way he articulated them ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0475": {
-    "English Original": "How important was debate in print to the emergent public sphere compared to other means of articulation (for example, plays, ballads, alehouse gossip) ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0476": {
-    "English Original": "It is conceivable that Stubbs was (informally) supplied with memoranda by his friends Hickes and Skinner, though equally he could have learned of the substance of debate at court through the ordinary chatter among his friends.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0477": {
-    "English Original": "How do these networks of communication help us understand the circulation of news and the emergence of a public sphere ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0478": {
-    "English Original": "We are already aware of the role of traders, travellers, and others in spreading news and rumours into the provinces; to what extent might an exploration of informal networks of friends, colleagues, and acquaintances enable us to draw together debates among articulate Londoners and, say, servants in Essex ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0479": {
-    "English Original": "\"\"& And to what extent can some of the blame for the expansion of counsel offered by subjects be laid at Elizabeth's own door ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0480": {
-    "English Original": "Stubbs appeared genuinely surprised that he had misjudged Elizabeth's openness to counsel, offered by a selfconfessed loving and loyal subject for her own safety and benefit.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0481": {
-    "English Original": "How much of his mistake was due to Elizabeth's often, but perhaps rhetorical, courting of 'popularity' ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0482": {
-    "English Original": "Did it lull her subjects into a false sense of openness ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0483": {
-    "English Original": "<sup&</supquot;\"% Byrom's reconstruction of Singleton's printing activity in suggests The shepheardes calendar may have been issued shortly after the publication of A gaping gulf.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0484": {
-    "English Original": "Byrom, 'Hugh Singleton', pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0485": {
-    "English Original": "–; DuncanJones and van Dorsten, Miscellaneous prose, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2020798572_s0486": {
-    "English Original": "\"\"&\n\nFox, 'Rumour, news', passim.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0001": {
-    "English Original": "Family Galleries: Women and Art in the Seventeenth and Eighteenth Centuries\n\nRosemary O'Day\n\ncassandra willoughby brydges, first Duchess of Chandos (1670–1735), was an unusual woman.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0002": {
-    "English Original": "She was married to one of the great patrons and art collectors of the eighteenth century, James Brydges, first Duke of Chandos, and she was herself an artist.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0003": {
-    "English Original": "She also left behind a remarkable variety of personal papers ranging from diaries and letters to historical writings and travel journals.1 One of the tasks before the historian must be to determine the extent and nature of what sets her apart from other elite women of the period.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0004": {
-    "English Original": "Is it the survival of a rich archive or the nature of her activity?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0005": {
-    "English Original": "Her papers, which make clear that her artistic work was amateur but expert, give rise to a number of questions concerning elite women and art.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0006": {
-    "English Original": "When were \"ordinary\" English girls taught to draw and paint?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0007": {
-    "English Original": "What is known of women as practitioners of the visual arts during the period 1500–1800?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0008": {
-    "English Original": "Did their involvement in these arts, 1670–1820, discussed in a number of recent studies, really represent a break with the recent past?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0009": {
-    "English Original": "Was there a sharp divide between women who painted for the \"public\" and women who painted and drew in \"private\"?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0010": {
-    "English Original": "What and why did early modern women draw and paint?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0011": {
-    "English Original": "To what uses were their artistic works put?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0012": {
-    "English Original": "Here I have approached these questions from the perspective of a social and family historian, not an art historian, although I hope that this article will make a valuable contribution to several disciplines and discussions.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0013": {
-    "English Original": "I wish to acknowledge Elizabeth Mitchell of the University of California at Santa Barbara, Yvonne Alton of the Open University, Judy Hayden of the University of Tampa, Amy Froide of the University of Maryland Baltimore County, Laetitia Yeandle of the Folger Shakespeare Library, and Mary Robertson of the Huntington Library for their valuable assistance in the preparation of this article.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0014": {
-    "English Original": "Cassandra Willoughby, who hailed from an old but not welloff Nottinghamshire and Warwickshire gentry family, married James Brydges, the first duke, at the age of fortythree.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0015": {
-    "English Original": "See Rosemary O'Day, Women's Agency in Early Modern Britain and the North American Colonies(London, 2007), and Cassandra Brydges (1670–1735), First Duchess of Chandos (Woodbridge, U.K., 2007).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0016": {
-    "English Original": "Also see Susan Jenkins, \"The Patronage and Collecting of James Brydges, 1st Duke of Chandos (1674–1744)\" (University of Bristol, Ph.D. thesis, 2001).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0017": {
-    "English Original": "Henceforward, the city of publication is London unless otherwise indicated.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0018": {
-    "English Original": "huntington library quarterly | vol.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0019": {
-    "English Original": "©2008 by Henry E. Huntington Library and Art Gallery.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0020": {
-    "English Original": "issn 00187895 | eissn 1544399x.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0021": {
-    "English Original": "For permission to photocopy or reproduce article content, consult the University of California Press Rights and Permissions website, http://www.ucpressjournals.com/reprintInfo.asp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0022": {
-    "English Original": "Historians have generally sought to place women artists in the context of male \"professional art,\" and consequently have often concluded that there were few women artists in England prior to the eighteenth century, especially ones who painted for a public audience.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0023": {
-    "English Original": "They have paid little attention to female \"amateur\" painters (if indeed there were any), simply viewing those who painted commercially as exceptional.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0024": {
-    "English Original": "The examples they have drawn from the seventeenth century were unusual women, often those who hailed from families or workshops of artists or from unconventional backgrounds.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0025": {
-    "English Original": "Examples include Joan Palmer Carlisle (1606–1679), daughter of William Palmer, an official in the royal parks, regarded as probably the first female English portrait painter, who attracted the praise of contemporary male artists of the first rank, including Van Dyck, and royal patrons; and Mary Beale (1633–ca.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0026": {
-    "English Original": "1697), who supported her family by portrait painting, largely for a fashionable and clerical clientele.2The Beales moved in the circles of the early Royal Society and were also close friends of Sir Peter Lely, who loaned Mary paintings to copy and was a great admirer of her work.3\n\nSeveral female \"public\" painters belonged to immigrant families.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0027": {
-    "English Original": "Maria Verelst (1680–1744) and Adriana Verelst (see n. 126, below) were probably both members of the Verelst family of portrait painters.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0028": {
-    "English Original": "Artemesia Gentileschi (1593–1653) and Angelica Kauffman (1741–1807) were also foreigners who made a living and a reputation from painting.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0029": {
-    "English Original": "By the seventeenth century there are also a few references to women of the middling sort who engaged in painting for public viewing.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0030": {
-    "English Original": "Their work seems frequently to have fallen into that category that today might be called interior design or decorating.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0031": {
-    "English Original": "A firm of painters, for example, employed to decorate the king's house at Theobalds, was headed by Widow Stanhopp (ca.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0032": {
-    "English Original": "Other women produced religious works for churches: Widow Margaret Pearce (ca.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0033": {
-    "English Original": "1670–1680), who probably belonged to a family of artists, painted an altarpiece at St. Bartholomew Exchange that contained the image of the Ten Commandments and the figures of Aaron and Moses; an altarpiece at St. Michael Bassishaw was painted by Mary Grimes (ca.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0034": {
-    "English Original": "Anne Crawford et al., eds., The Europa Biographical Dictionary of British Women (1983), 78.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0035": {
-    "English Original": "C. H. Collins Baker and W. G. Constable, in English Painting of the Sixteenth and Seventeenth Centuries (Paris, 1930), made it clear that portrait painting by English men predated Carlisle (Carlisle's painting of the stag hunt belongs to the Lamport Hall Trust).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0036": {
-    "English Original": "Sarah Broman and Anne Killigrew were also noteworthy.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0037": {
-    "English Original": "Anne died at age twentyfive but was already an accomplished portraitist.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0038": {
-    "English Original": "Bod[leian] Lib[rary], MS. Rawlinson 8o 572, Charles Beale Sr.'s diary entries for 1676/7 in William Lilly's \"Almanack\"; see also Charles Beale's pocketbook for 1680/1, National Gallery, MS. 9535, and Tabitha Barber, \"Introduction,\" in David Dewing, ed., Mary Beale (1632/3–1699): Portrait of a SeventeenthCentury Painter, Her Family, and Studio (1999).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0039": {
-    "English Original": "The fashion for portraits of both upper and lower clergy and their wives certainly predated the Beales.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0040": {
-    "English Original": "See, for example, the portrait of Immanuel Bourne (1621), rescued from Ashover Rectory, Derbyshire, and a later one (?1670s) of his wife, Jemima, both in the Ashover Collection in Derby Public Library.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0041": {
-    "English Original": "Frances Reynolds (1729–1807), younger sister of Joshua Reynolds, provides a further example of a tradition of painting within a family —although, as Germaine Greer explains, she was scarcely encouraged by her brother.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0042": {
-    "English Original": "Her portrait of Hannah More is owned by the Bristol Art Gallery.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0043": {
-    "English Original": "See Germaine Greer, The Obstacle Race: The Fortunes of Women Painters and Their Work (New York, 1979), 30–32.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0044": {
-    "English Original": "See Anne Laurence, Women in England, 1500–1760: A Social History (New York, 1994), 158.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0045": {
-    "English Original": "Elizabeth Pickering (1642–1728) painted altarpieces in parish churches near Oundle, Northamptonshire; Greer, Obstacle Race, 280–91.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0046": {
-    "English Original": "Limning—that is, miniature painting—also provided employment for several women: Susannah Penelope Rose, the daughter of Richard Gibson, drawing master to the princesses Mary and Anne, was an accomplished miniaturist.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0047": {
-    "English Original": "She may have been taught by Samuel Cooper, and by the 1690s she was given commissions, albeit unpaid ones.5 Mrs. Cawardine (ca.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0048": {
-    "English Original": "1800) also took commissions for limning.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0049": {
-    "English Original": "Maria (Hadfield) Cosway (1759/60–1838) was a successful miniaturist who worked alongside her husband.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0050": {
-    "English Original": "There were also some noted female calligraphers, such as Esther Inglis (1571–1624)6 and Susanna Perwich (d. 1661), and calligraphy had an accepted association with miniature painting.7 The inference is clear: women painters chiefly emanated from \"artistic\" circles, and elite women, if they drew or painted at all, did not paint or draw for a public audience.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0051": {
-    "English Original": "Art historians, for their part, have tended to dismiss female interest in art as amateur, practical, and nonintellectual.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0052": {
-    "English Original": "Iain Pears, for example, quotes Mary Astell's dismissal of art as a demonstration of \"the mindless occupations which kept women from real learning.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0053": {
-    "English Original": "Although Pears cites the example of Lady Lempster, who penned a biography of Van Dyck, he sees her as exceptional in displaying \"intellectual\" interest in art, and he insists that \"the appreciation of the arts was increasingly considered to be a masculine preserve\" from 1680 to 1769.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0054": {
-    "English Original": "The Duchess of Portland and Lady Betty Germaine serve, as it were, to prove the rule that women were incapable of appreciating art.8 Pears considers virtually no evidence to the contrary, concentrating on data from printed books rather than manuscripts or published correspondence.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0055": {
-    "English Original": "There are, of course, scholars who have sought to challenge these assumptions about gender and the practice of art, and the underlying distinctions between public and private, amateur and professional, and intellectual and practical art.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0056": {
-    "English Original": "In Learning to Draw (2000) Ann Bermingham has offered illuminating discussions of the ways in which the practice of art became gendered.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0057": {
-    "English Original": "Some arts, and particularly those beloved by women, became categorized as \"crafts,\" and works produced by these means were not considered part of the canon.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0058": {
-    "English Original": "Certain activities, notably flower painting, were effectively excluded from the academy, at least partly because they were seen as \"feminine.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0059": {
-    "English Original": "The \"feminization\" of drawing, however, is depicted as a late eighteenth and nineteenthcentury phenomenon in Bermingham's study.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0060": {
-    "English Original": "Examining earlier (and especially manuscript and printed primary) sources may make it possible to push these boundaries further into the past.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0061": {
-    "English Original": "Mary and Anne were later Queen Mary II and Queen Anne.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0062": {
-    "English Original": "See Carol GibsonWood, \"Susanna and Her Elders: John Evelyn's Artistic Daughter,\" in Frances Harris and Michael Hunter, eds., John Evelyn and His Milieu (2003), 245–46.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0063": {
-    "English Original": "See A. H. ScottElliot and E. Yeo, \"Calligraphic Manuscripts of Esther Inglis (1571–1624): A Catalogue,\" in The Papers of the Bibliographic Society of America 84 (1990): 11–63.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0064": {
-    "English Original": "Limning, miniature painting, was originally associated with illuminated manuscripts.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0065": {
-    "English Original": "An excellent illustration of the close relationship between calligraphy and limning is provided by Huntington Library MS. (hereafter HEH), STT Literature and Religion Box 1, Religious Folder, Item 13.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0066": {
-    "English Original": "The sixline verse includes the line, \"By art the hand each severall work is tought.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0067": {
-    "English Original": "It is beautifully penned, framed with a decoration resembling peacock feathers and signed \"Francis Temple.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0068": {
-    "English Original": "See Iain Pears, The Discovery of Painting: The Growth of Interest in the Arts in England, 1680–1768 (1988), 186–87—the only pages he devotes to the discussion of female interest in art; see also p. 3.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0069": {
-    "English Original": "The quality as well as the quantity of available evidence is a major issue, and some historians have given credence to anecdotal and often retrospective references to art by women.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0070": {
-    "English Original": "In what follows, I rely as much as possible on primary sources, including manuscripts and printed original documents and correspondence.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0071": {
-    "English Original": "For the moment, gathering such evidence as survives seems a necessary first step to discovering what part art, and especially portraiture, played in the lives of early modern women.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0072": {
-    "English Original": "It certainly appears that painting and drawing played little or no recognized part as separate skills in English women's (or in men's) general education prior to the later seventeenth century.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0073": {
-    "English Original": "The creative arts for women were apparently represented by music and by embroidery and other needlework.9 Girls with intellectual pretensions, such as Lady Jane Grey, were not taught specifically to draw and paint, nor were elite young women who fully participated in fashionable life at Court.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0074": {
-    "English Original": "For instance, Lady Arbella Stuart in the late Elizabethan era was taught embroidery, singing, and dancing, and to play the lute and viol, but the evidence does not mention drawing or painting.10 Specific references to the instruction of women in drawing and painting seem to be absent from the relevant fifteenth and sixteenthcentury correspondence.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0075": {
-    "English Original": "In the late sixteenth century a girls' boarding school intended for daughters of the elite could still advertise its curriculum and rates thus:\n\n.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0076": {
-    "English Original": "sixteen pounds a year a piece, for diet, lodging, washing, and teaching them to work, reading, writing and dancing, this cometh unto £32 a year.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0077": {
-    "English Original": "But for music you must pay for besides according as you will have them learn.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0078": {
-    "English Original": "She hath teachers for viol, singing, virginals and lute.11\n\nProspectuses and advertisements for girls' schools do not specifically mention drawing and painting until the third quarter of the eighteenth century.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0079": {
-    "English Original": "Provincial schools probably lagged behind those in London.12\n\nThe teaching of drawing in the English Renaissance was closely associated with the teaching of writing,13 however, so we should not be surprised that it was not singled out in such advertisements.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0080": {
-    "English Original": "Nor can we conclude from accounts of what girls were\n\n9.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0081": {
-    "English Original": "Susan Frye, \"Sewing Connections: Elizabeth Tudor, Mary Stuart, Elizabeth Talbot, and SeventeenthCentury Anonymous Needleworkers,\" in Susan Frye and Karen Robertson, eds., Maids and Mistresses, Cousins and Queens: Women's Alliances in Early Modern England (New York and Oxford, 1999), 165–82.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0082": {
-    "English Original": "Sarah Gristwood, Arbella: England's Lost Queen, paperback ed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0083": {
-    "English Original": "On the education of Lady Mary (Sidney) Wroth ( ca.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0084": {
-    "English Original": "1651–53), see Historical Manuscripts Commission Report on the Manuscripts of Lord de L'Isle and Dudley, preserved at Penshurst Place, 6 vols.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0085": {
-    "English Original": "(1925–66), 2:176; Rowland Whyte to Robert Sidney.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0086": {
-    "English Original": "At Hardwick Hall cards and board games, plays, music making, orchestral performances, and dances were frequent pastimes, but not painting and drawing despite Bess of Hardwick's family portrait gallery; see Gristwood, Arbella, 121–22.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0087": {
-    "English Original": "\"To work\" meant to embroider, stitch, and, possibly, weave.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0088": {
-    "English Original": "F[olger]S[hakespeare]L[ibrary], Le.644: Anne Higginson to Lady Ferrers at Tamworth Castle, 13 May ?1590s (I have modernized the spelling).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0089": {
-    "English Original": "I owe the dating of this letter to paleography expert Laetitia Yeandle.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0090": {
-    "English Original": "For an example, see Derek Robson, Some Aspects of Education in Cheshire in the Eighteenth Century (Manchester, 1951), 198–99, 203–5.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0091": {
-    "English Original": "Juliet Fleming, Graffiti and the Writing Arts of Early Modern England (2001), passim.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0092": {
-    "English Original": "taught at home that drawing was not being taught to them at all.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0093": {
-    "English Original": "It is probable that youngsters of both sexes who learned to write were taught some of the elements of drawing, but that it was regarded as a \"lower\" subject by the grammar schools and universities.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0094": {
-    "English Original": "Henry Peacham described how \"from a child I have been addicted to the practice [of drawing]; yet .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0095": {
-    "English Original": "I have been cruelly beaten by ill and ignorant schoolmasters, when I have been taking, in white and black, the countenance of some one or other (which I could do at thirteen or fourteen years of age)\"—and especially when this activity was at the expense of his learning Latin and Greek.14 If drawing was taught in school it was apparently as a skill to be used in the service of other subjects.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0096": {
-    "English Original": "Girls were probably taught to draw more readily than boys because they were not restricted by the classical curriculum, and they then used this skill in the service of patterns for samplers, embroidery, and tapestry making.15 In sixteenthcentury Wiltshire, Lady Grace Sherington was brought up to design her own needlework patterns, and some of these could be very elaborate.16 Bess of Hardwick's own appliqué design of the classical story of Penelope, created in the 1570s, suggests Bess's personal involvement in the narrative.17The fashion for turning women's embroideries into \"works of art\" continued.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0097": {
-    "English Original": "Eighteenthcentury evidence suggests that this was an ongoing practice rather than a new development—despite Walpole's assertion that \"Miss Gray [later wife of Philip Lloyd, Dean of Norwich] was the first who distinguished herself by so bold an emulation of painting.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0098": {
-    "English Original": "Her needlework copy of one of Van Dyck's paintings of three figures (which commanded a price of £300) was viewed, among many other needlework \"paintings,\" by Horace Walpole at Earl Spencer's house at Wimbledon.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0099": {
-    "English Original": "The wife of the miniaturist Thomas Worlidge became famous, in the contemporary news and periodical press, for her landscapes in embroidery.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0100": {
-    "English Original": "Walpole commented that Lady Caroline Conway \"has not only surpassed several good pictures that she has copied, but works with such rapidity and intelligence, that it is almost more curious to see her pictures in their progress than after they are finished.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0101": {
-    "English Original": "He thought that her \"old woman spinning, whole length, from Velasco [?Velasquez] [had] greater force than the originals.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0102": {
-    "English Original": "\"18\n\nSuch work required advanced, if conventional, copying skills on the part of the needlewomen.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0103": {
-    "English Original": "Various books of designs and illustrations survive that bear testimony to their intended audience \"for the imitation of young ladies either in drawing or in needlework.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0104": {
-    "English Original": "In 1810, Rudolph Ackerman made the connection between needlework and drawing explicit: \"drawing and fancy work of endless variety have been raised on the ruins of that heavy, unhealthy, and stupifying occupation, needlework.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0105": {
-    "English Original": "Henry Peacham, The Compleat Gentleman .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0106": {
-    "English Original": "with the Art of Limning (1634), 127.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0107": {
-    "English Original": "Dorothy Gardiner, English Girlhood at School(Oxford, 1929), 261–62.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0108": {
-    "English Original": "See Susan Lambert, Pattern and Design: Designs for the Decorative Arts, 1480–1980 (1983).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0109": {
-    "English Original": "Dorothy M. Meads, ed., Diary of Lady Margaret Hoby (1930), introduction; see also Rosika Parker, The Subversive Stitch: Embroidery and the Making of the Feminine (1984), 96–97.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0110": {
-    "English Original": "See Frye, \"Sewing Connections,\" 173–74.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0111": {
-    "English Original": "Horace Walpole, Anecdotes of Painting, ed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0112": {
-    "English Original": "James Dallaway and Ralph N. Wornum, 3 vols.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0113": {
-    "English Original": "Rudolph Ackerman, \"Observations on Fancy Work, as affording an agreeable occupation for ladies,\" in Repository of the Arts, Literature, and Commerce (March 1810), 192.\n\nmuch earlier poetic tribute to the Duchess of Chandos (\"Now with her readie needle paints the lawn / Where various figures are so finely drawn\") closely links the arts of painting and embroidery, and seems to indicate that Cassandra executed a needlework \"painting\" of the gardens at Cannons.20\n\nIt is dangerous to deduce from silence that ladies either did or did not draw their own embroidery designs throughout the sixteenth and seventeenth centuries.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0114": {
-    "English Original": "Some ladies purchased from print shops designs that had already been printed onto cloth the seventeenthcentury equivalent of painting by numbers.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0115": {
-    "English Original": "As noted above, such designs were indeed likely to be copies.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0116": {
-    "English Original": "Pattern books were frequently handed down within families.21 Bess of Hardwick, for example, and her friend Mary Stuart (Queen of Scots) generally drew their designs from books of patterns that Mary owned, Gesner's Icones Animalium and Mattioli's Herbal.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0117": {
-    "English Original": "At other times Bess employed a man living in her household to draw the designs.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0118": {
-    "English Original": "Talent and inclination of course played their part: both Mary and Bess did, on occasion, indulge their own creativity.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0119": {
-    "English Original": "Mary's embroidery, \"A catte\" (after Gesner; now at Holyrood Palace), showed a personified cat, meant to resemble Elizabeth I, closely watching a mouse that was mindful of Mary.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0120": {
-    "English Original": "A later embroiderer emphasized the point even more bluntly by giving the cat red hair and a crown.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0121": {
-    "English Original": "Another idiosyncratic small embroidery by the Queen of Scots apparently shows one of Mary's little dogs.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0122": {
-    "English Original": "In one of the tapestries at Hardwick worked by Queen Mary, the head of Zenobia, warrior queen of ancient Syria, appears to be a portrait of Bess herself.22\n\nFemale Practitioners from the Sixteenth to the Eighteenth Centuries Studies of English women have not revealed any specific examples of wellborn girls, before the midseventeenth century, engaged in drawing or painting on what has been defined as a high level.23There are a few suggestions that artistic pursuits were already popular in elite circles by the 1620s, when the PainterStainers' Company in London (to which professional artists were required to belong) complained of increasing numbers of men and women who, without its permission, drew \"and counterfeited the effigies of great and noble personages.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0123": {
-    "English Original": "\"24 During the seventeenth century, however, particularly after the Restoration, a \"new\" activity apparently attracted the daughters of the aristocracy and the professional classes, or at least such a change was remarked upon.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0124": {
-    "English Original": "If we delve beneath the thin layer of painting for \"public consumption\" as recently defined by historians concerned with the public/private divide, we can see that\n\n20.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0125": {
-    "English Original": "Charles Gildon, \"Cannons, or The Vision\" (1718).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0126": {
-    "English Original": "See Frye, \"Sewing Connections,\" 177–78, 174, and Parker, Subversive Stitch, passim, esp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0127": {
-    "English Original": "Richard Shorleyker's Scholehouse of the Needle (1624) was still being used as a source for sampler figures in the late 1690s.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0128": {
-    "English Original": "David Durant, Bess of Hardwick: Portrait of an Elizabethan Dynast(reprint ed., 2002), 64–65, 66; Mary S. Lovell, Bess of Hardwick: First Lady of Chatsworth (2005), passim, and 221.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0129": {
-    "English Original": "See Barbara J. Harris, English Aristocratic Women 1450–1550 (Oxford, 2002), 32–39, Sara Mendelson and Patricia Crawford, Women in Early Modern England (Oxford, 1998), Anne Laurence, Women in England 1500–1760: A Social History (2002), 158–60.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0130": {
-    "English Original": "Cited in Gardiner, English Girlhood, 261.\n\nelite and even some middlingsort women from the 1670s to the 1820s were expected to be able to sketch, draw, and paint.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0131": {
-    "English Original": "If they could not, they seem to have felt deprived.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0132": {
-    "English Original": "When Mary FoxStrangeways Talbot came to Penrice as a bride, she found awaiting her \"two of the nicest little painted work tables, and the most compleat paintbox with water colours and body colours, crayons and colours in bottles, saucers and pallats,\" and these seemed both the most delightful and the most appropriate gift.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0133": {
-    "English Original": "Later, one of her activities with her children was grinding powders and making paints.25\n\nAlmost every archive that documents the lives of such women in any detail in the period 1670–1820 yields information about their artistic endeavors in these areas painting, drawing, and sketching—of the visual arts.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0134": {
-    "English Original": "Painting in particular is highlighted.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0135": {
-    "English Original": "An educated gentlewoman prided herself on accomplishments in these areas, especially in the eighteenth century, it is true, but also in the seventeenth.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0136": {
-    "English Original": "There are a number of examples showing the continuity of this tradition among young women from a variety of elite backgrounds.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0137": {
-    "English Original": "Lord Hatton's daughter Alice had a drawing mistress in the 1690s,26 although women were usually tutored by men.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0138": {
-    "English Original": "Alexander Browne taught several ladies, including Mrs. Elizabeth Pepys, to draw.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0139": {
-    "English Original": "Pepys noted her progress in limning and praised one of her paintings as \"mighty finely done.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0140": {
-    "English Original": "Browne dedicated his book to a pupil, the Duchess of Monmouth.27 Mary Evelyn made a miniature of Raphael's Entombment of Christ, which she was permitted to present to Charles II.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0141": {
-    "English Original": "In 1701 old John Evelyn showed the visiting Yorkshire antiquary Ralph Thoresby drawings, etchings, miniatures, and other oil paintings made by his wife, Mary, and by their daughter Susanna (b.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0142": {
-    "English Original": "Susanna may have attended a drawing master on a trip to London in 1685/6 and was almost certainly taught by a professional at some time thereafter.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0143": {
-    "English Original": "She may have been taught to paint in oils by one of the artists who made portraits of her family, and taught to paint miniatures by Susannah Rose.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0144": {
-    "English Original": "She was encouraged by her parents in her art and, on her father's advice, attended a picture auction in Tunbridge Wells in 1689.28 She specialized in portraits but also worked in stilllife and painted biblical subjects.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0145": {
-    "English Original": "As most amateur artists did, she chiefly copied the works of other painters, and her copies either adorned her home or were given to relatives and friends.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0146": {
-    "English Original": "In 1694 she copied, on her father's advice, Matthew Dixon's portrait of Evelyn's friend Margaret Godolphin.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0147": {
-    "English Original": "Then she progressed to making several copies of a painting of Robert Boyle.29 Twicemarried Mary Waller More (fl.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0148": {
-    "English Original": "1670s) made no fewer than nine copies of Holbein's portrait of Thomas Cromwell (one of which she donated to the Bodleian Library in 1674 under the misapprehension that it\n\n25.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0149": {
-    "English Original": "Mary Talbot to Harriet Strangeways, early 1794; cited in Joanna Martin, Wives and Daughters: Women and Children in the Georgian Country House (2004), 232.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0150": {
-    "English Original": "I am grateful to Laetitia Yeandle for information pertaining to \"recipes\" for colors, contained in many early modern English recipe books.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0151": {
-    "English Original": "Gardiner, English Girlhood, 261.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0152": {
-    "English Original": "See Alexander Browne, Ars pictoria: or an academy treating of drawing, painting, limning and etching, to which are added thirty copper plates (1669).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0153": {
-    "English Original": "See Greer, Obstacle Race, on Elizabeth Pepys as the first amateur lady watercolorist (p. 288).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0154": {
-    "English Original": "Pears, who maintains that men were contemptuous of women in the auction houses (Discovery of Painting, 187).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0155": {
-    "English Original": "GibsonWood, \"Susanna,\" 233–54, esp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0156": {
-    "English Original": "A portrait of the historian John Stow at St. Andrew's Under shaft, her parish church, has also been attributed to More.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0157": {
-    "English Original": "It was also noted that \"in the family are her and her husband's portraits by herself.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0158": {
-    "English Original": "It appears that a sketch of her son, Richard Waller, accompanying his manuscript translation of The Aeneid could be by Mary.30 Lady Anne Killigrew painted a selfportrait circa 1686 and several other portraits of royalty (notably James II) and courtiers.31 Lady Dorothy (Savile) Boyle, Countess of Burlington, painted several family portraits in oils, the best being that of her daughter Charlotte (ca.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0159": {
-    "English Original": "1740–1745), but she was also an accomplished caricaturist, much admired by Alexander Pope.32 Young women of the upper and professional classes, furthermore, had the necessary leisure to devote to achieving a high standard.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0160": {
-    "English Original": "In the decades 1720–40, Mary Delany's entire circle appear to have had instruction in drawing of one kind or another, and she herself received instruction from Hogarth.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0161": {
-    "English Original": "By the 1750s she was showing her work not only to her closest friends but also to others: \"Tomorrow morning the Duchess of Leeds brings Lady Vanbrugh to see my pictures.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0162": {
-    "English Original": "\"33 Cozens, exponent of \"blot\" landscapes, taught Mary, Countess of Harcourt (d. 1833), in the 1780s.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0163": {
-    "English Original": "She exhibited paintings in the Royal Academy in 1785 and 1786, some of which have been mistaken for Cozens's own.34 When George Stubbs was selected to paint the Wedgwood family portrait in 1779 he taught the several children (Sukey [1765–1817], Sarah, Kitty, Sally, Jos, Tom, and John) to paint and gave them lessons in perspective.35 Paul Sandby (1725/31–1809) was a popular drawing master who specialized in landscapes and topography: he probably tutored Lady Frances Scott, and in about 1780 he depicted her in riding costume, sketching a scene outdoors with the help of a camera obscura.36Arthur Pond was another artist who helped make ends meet by instructing the daughters of wealthy men.37 Joanna Martin has noted the\n\n30.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0164": {
-    "English Original": "Horace Walpole, Anecdotes of Painting, 3:622–23; cited in Margaret Ezell, The Patriarch's Wife: Literary Evidence and the History of the Family (Chapel Hill, N.C., 1987), 145–46.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0165": {
-    "English Original": "MS. 27347; also cited by Ezell (p. 148).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0166": {
-    "English Original": "For a reproduction of the selfportrait, see Mary Prior, Women in English Society, 1500–1800 (1985), plate 18.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0167": {
-    "English Original": "The selfportrait is in the collection of the Earl of Berkeley; Women's Art Show, 1550–1970, exhibition catalogue, Nottingham Castle Museum, 1982.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0168": {
-    "English Original": "See M. de Novellis, Pallas Unveiled: The Life and Art of Lady Dorothy Savile, Countess of Burlington, exhibition catalogue, Orleans House Gallery, Twickenham (1999).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0169": {
-    "English Original": "Mary Delany, Autobiography and Correspondence, 3 vols.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0170": {
-    "English Original": "(1861), 3:478–80; Mrs. Delany to Mrs. Dewes from Spring Gardens, 3 February 1757/8.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0171": {
-    "English Original": "Kim Sloan, in \"The Teaching of Nonprofessional Artists in EighteenthCentury England\" (University of London, Ph.D. thesis, 1986), lists all of Cozens's pupils (pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0172": {
-    "English Original": "Edna Healey, Emma Darwin: The Inspirational Wife of a Genius (2001), 26–27.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0173": {
-    "English Original": "All also had the opportunity of lessons from Joseph Wright of Derby (p. 24).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0174": {
-    "English Original": "See also Alice FairfaxLucy, ed., Mistress of Charlecote: The Memoirs of Mary Elizabeth Lucy, paperback ed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0175": {
-    "English Original": "(1985), on Mary Elizabeth Williams, who describes herself as a teenager in the 1810s who was \"passionately fond of music and drawing\" (p. 18).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0176": {
-    "English Original": "Paul Sandby, Lady Frances Scott and Lady Elliot, ca.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0177": {
-    "English Original": "1780, is illustrated in Robert Irwin, The Art of Paul Sandby (New Haven, Conn., 1985); see Bermingham, Learning to Draw, 81–83, where Sandby is said to have been sixteen in 1747; Harold Osborne, in The Oxford Companion to Art (Oxford, 1970), lists Sandby's date of birth as 1725/6 (p. 1034).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0178": {
-    "English Original": "L. W. Lippincott, Selling Art in Georgian London: The Rise of Arthur Pond (1983), 38–40.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0179": {
-    "English Original": "artistic endeavors of the Talbot daughters in the late eighteenth century.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0180": {
-    "English Original": "In 1794 their drawing master was paid £5.19s.6d for his services.38 At approximately the same time Lord Ilchester's younger daughters were said to be progressing well in drawing.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0181": {
-    "English Original": "Harriet Strangeways was taught drawing in blackandwhite crayons at her Weymouth boarding school in the 1790s.39 In 1813 Susan O'Brien, visiting Medbury with the new Lady Ilchester and their nieces, praised the drawing room there as \"like an academy of arts not trumpery arts of boxmaking and cutting paper, but painting and music to please the most knowing connoisseurs.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0182": {
-    "English Original": "\"40 Louise Gurney (ca.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0183": {
-    "English Original": "1783–1836), younger daughter of a welltodo Norfolk Quaker family, was receiving drawing lessons in 1798.41 Jos Wedgwood singled out his daughter Charlotte (1797–1862), who showed artistic flair, for special tuition in painting from Copley Fielding.42 In 1827 Charlotte, encouraged by her brother Harry, put her drawings and paintings up for sale at a bazaar in aid of Greek refugees.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0184": {
-    "English Original": "Heartened by its success she repeated the sale in support of a fever ward at the local infirmary.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0185": {
-    "English Original": "Harry commented, \"Charlotte's drawings came to great honour.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0186": {
-    "English Original": "A gentleman paid two pounds for them.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0187": {
-    "English Original": "\"43\n\nWomen might learn to draw and paint in town, but when they retired to the countryside, drawing and painting were apparently accepted as a more central part of their repertoire of activities.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0188": {
-    "English Original": "Margaret Harley contrasted in 1738 her life in London and in the provinces:\n\nBut you are sensible what a hurry one lives in there [London] & particularly after being confined some months that is I mean from publick diversions How much one is engaged in them Operas Park assemblies Vaux Hall .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0189": {
-    "English Original": "My amusements are all of the rural kind working [embroidering] spinning knotting drawing reading writing walking & picking herbs to put in an herbal.44\n\n Why Did Elite Women Paint and Draw?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0190": {
-    "English Original": "It is unsurprising that drawing and painting became fashionable, given the popularity of collecting paintings among the upper and middle classes from the midseventeenth century onward.45That drawing, sketching, and painting were apparently an accepted part of a young woman's repertoire probably also owes a good deal to the emergence of several elite \"crazes\": for family history, genealogy, and for likenesses of living family\n\n38.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0191": {
-    "English Original": "Evidence of the skill they developed is provided by charming watercolors, ca.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0192": {
-    "English Original": "1815; see Martin, Wives and Daughters, 221.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0193": {
-    "English Original": "Harriet Strangeways to Mary Strangeways, 12 April 1791; cited ibid., 232.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0194": {
-    "English Original": "MS. 51359; Susan O'Brien's Journal, 19 January 1813.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0195": {
-    "English Original": "Louisa Gurney's Journals, Norfolk Record Office, MS. 1.12.66: II:1797–1799; cited in Bermingham, Learning to Draw, 197.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0196": {
-    "English Original": "Healey, Emma Darwin, 68.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0197": {
-    "English Original": "I owe this reference, and others from the same book, to Yvonne Alton.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0198": {
-    "English Original": "HEH, MO 176, Duchess of Portland to Elizabeth (Robinson) Montagu, 30 June 1738.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0199": {
-    "English Original": "Pears, Discovery of Painting, esp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0200": {
-    "English Original": "members;46 for collecting, classifying, and recording;47 and for touring and topography.48 Mary Delany's descriptions of her delight in many types of collecting suggest that the social aspect of such activities was important; in a letter written from Ireland in 1732 she told her sister of their daily joys: gathering shells (while one of them sings), taking the shells to the grotto, working in the grotto, \"shewing the elegancy of your fancy, praising your companion's works, and desiring approbation for what you have finished.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0201": {
-    "English Original": "\"49 Although there were devotees of both sexes, women seem to have given more time and attention to these activities and to the artistic expression allied to them.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0202": {
-    "English Original": "Perhaps this was because women were freed from the tight bands of a formal and classical education, and also because these activities were linked to leisure and the domestic.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0203": {
-    "English Original": "Women were seen as having particular responsibilities toward the family, including the education of the young and the creation of a congenial home.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0204": {
-    "English Original": "What was the link between the craze for collecting—and recording the objects collected—and women's artistic expression?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0205": {
-    "English Original": "Let us take, for example, botany and medicine.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0206": {
-    "English Original": "Women had long been associated with flower painting and drawing.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0207": {
-    "English Original": "Sir Peter Lely's painting of the Capel sisters, for example, shows the Countess of Carnarvon with a sketch of a flower, which reflects the vogue for flower painting linked to the popularity of Dutch styles from the late seventeenth century.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0208": {
-    "English Original": "Flower painting, from the mideighteenth century on, was clearly aimed at a feminine audience.50 Yet it seems apparent that women wanted to sketch and paint flowers not only for decorative purposes but also for more intellectual ones, as Bermingham suggests.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0209": {
-    "English Original": "Charles Darwin was encouraged to look carefully at flowers by his mother, and one of his earliest memories was of her showing him the stamens of a flower.51 In 1797, Louise Gurney, age fifteen, demonstrated her keen interest in botany, which provided her with an outlet for artistic expression.52 In 1796 Priscilla Wakefield promoted the study of botany as a subject for women in her An Introduction to Botany, an epistolary work illustrated by plates showing plants in Linnean dissection.53 Mary Gartside (fl.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0210": {
-    "English Original": "1781–1808), who taught drawing to young ladies, provides another example of a young woman\n\n46.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0211": {
-    "English Original": "See O'Day, Women's Agency, 406–7.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0212": {
-    "English Original": "In Cassandra's drawing room at Cannons was a \"most magnificent large sideboard table inlaid with variety of curious Italian stones, so beautifully disposed as to exhibit birds, fruit, flowers, insects and supported by a frame elegantly enriched\"; catalogue of auction at Cannons, 1747; Alatheia Howard, Countess of Arundel (d. 1654) and her husband had agents who scoured Europe for objects for the museum that was their house.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0213": {
-    "English Original": "The Duchess of Somerset had a collection of porcelain.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0214": {
-    "English Original": "See S[hakespeare]B[irth]P[lace]T[rust]R[ecord]O[ffice], DR 18/20/21/1: Cassandra Willoughby Brydges, \"An account of the journeys I have taken & where I have been since March 1695\"; a fragmentary account of journeys in 1692 and 1693 is preserved in HEH, STB Box 2, loose sheets; see also Esther Moir, The Discovery of Britain: The English Tourists (1964).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0215": {
-    "English Original": "To these crazes we might also add those for gardening and grotto making, both of which gave scope for a lady's talents for design and drawing.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0216": {
-    "English Original": "Anne Laurence makes a convincing case for this in Women in England, 157–58.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0217": {
-    "English Original": "49.Delany, Autobiography, 1:32; Mary to Anne Granville from Killala, September 1732 .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0218": {
-    "English Original": "Margaret Whinney and Oliver Millar, English Art, 1625–1714 (Oxford, 1957), 281 (cited in\n\nBermingham, Learning to Draw, 203; see also 202–4).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0219": {
-    "English Original": "Healey, Emma Darwin, 42.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0220": {
-    "English Original": "Louise Gurney's Journal, 9 July 1797; cited in Bermingham, Learning to Draw, 197.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0221": {
-    "English Original": "See also John Lindley, Ladies' Botany (1834), and Jane Loudon, Botany for Ladies (1842).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0222": {
-    "English Original": "who \"pursued flower painting as a route to something else—in this case, scientific knowledge [optics] as well as a professional artistic career.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0223": {
-    "English Original": "Her manual on Ornamental Groups, descriptive of flowers, birds, shells, fruit, insects &c (1808) both demonstrates the fashionable interests of her pupils and her own determination to teach them to draw properly before they began to paint.54\n\nBotany involved flower collection, pressing, and copying, and it was often in the service of medicine.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0224": {
-    "English Original": "There are many examples of women's responsibilities for the administration of medicine, which involved botanically derived remedies, in early modern households.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0225": {
-    "English Original": "Even though John Evelyn began a collection of recipes, or receipts, for example, this responsibility eventually passed to his wife, Mary, who by his own admission became an expert.55 It was some time, however, before women who collected plants and knew their medicinal or nutritional value saw fit to provide illustrations of them as a guide.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0226": {
-    "English Original": "It is hard to resist the argument that this development was closely linked to the increasing popularity of printing and engraving.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0227": {
-    "English Original": "1730s) supported her family with illustrations of plants supplied her by Mr. Rand, curator of the Chelsea Physick Garden.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0228": {
-    "English Original": "In 1737 her twovolume Curious Herbal appeared, a work of both botany and medicine that united these two female interests with drawing, engraving, and coloring.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0229": {
-    "English Original": "Mary Delany provides another example—her reputation was such that she was commissioned by Kew Gardens and the Chelsea Physic Garden to record new specimens in paper collage or \"mosaick.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0230": {
-    "English Original": "Other forms of collection were also in vogue.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0231": {
-    "English Original": "Mary Elizabeth Williams, despite the absence of her \"pocketbook\" for that year, recalled of 1820, \"I became so fond of drawing that year and spent a great deal of time drawing and painting from nature on rice paper every butterfly that could be caught—and they were legion.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0232": {
-    "English Original": "\"56\n\nWomen who, like Cassandra Brydges, occupied themselves with paper cutting, shell decoration, box making, and other handicrafts,57 may have found a deeper satisfaction in drawing and painting.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0233": {
-    "English Original": "\"I am very glad you have taken a fancy to drawing, you\n\n54.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0234": {
-    "English Original": "See Bermingham, Learning to Draw, 217–24, quotation at 217.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0235": {
-    "English Original": "Frances Harris, \"Living in the Neighbourhood of Science,\" in L. Hunter and S. Hutton, eds., Women, Science, and Medicine, 1500–1700: Mothers and Sisters of the Royal Society (Stroud, U.K., 1997), 203–4.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0236": {
-    "English Original": "FairfaxLucy, ed., Mistress of Charlecote, 26.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0237": {
-    "English Original": "See SBPTRO, DR 18/20/21/2, Letters of Cassandra Willoughby before her marriage.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0238": {
-    "English Original": "In 1725 Cassandra displayed in her closet \"a landskip in cutt paper\" by herself; see HEH, ST 83, Inventory of Cannons, 19 June 1725.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0239": {
-    "English Original": "See also O'Day, Cassandra Brydges, Letter 208, p. 195.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0240": {
-    "English Original": "Mary Delany, for example, made \"shell work, feather work, silhouettes, designed furniture, spun wool .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0241": {
-    "English Original": "and invented paper collage,\" according to Janet Todd; see A Dictionary of American and British Women Writers, 1660–1800 (1984), 101.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0242": {
-    "English Original": "Mary's group creation of a shell grotto in Ireland in the early 1730s found an echo in that made by Sarah, Duchess of Richmond (d. 1751), and her daughter at Goodwood, Sussex.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0243": {
-    "English Original": "A fine example can be viewed at Woburn Abbey.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0244": {
-    "English Original": "Mrs. Montagu also did feather pictures.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0245": {
-    "English Original": "Cassandra and James Brydges displayed in their shared bedroom in St. James's Square, King Charles ye firsts head in feathers, probably by the duchess.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0246": {
-    "English Original": "There were also two framed drawings of a bird and a rose \"drawn with pencills\"; see HEH, ST 83, Inventory of St. James's Square house, 1725.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0247": {
-    "English Original": "For \"the business of amateur art,\" see Bermingham, Learning to Draw, 127–81, esp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0248": {
-    "English Original": "145–64, for a fascinating discussion of the place of such fancy work within this context.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0249": {
-    "English Original": "Laurence sees these occupations as, while demanding, \"time passers\" (Women in England,148–49).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0250": {
-    "English Original": "will find a great deal of entertainment in it,\" wrote Mary (Granville Pendarves) Delany to her younger sister Anne Granville in 1724.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0251": {
-    "English Original": "Mary dismissed the art of japanning as something that appealed to the eyes but did not increase the understanding.58 By the later eighteenth century, authors, publishers, and print makers were producing manuals of drawing and painting to appeal to a growing audience that included young gentlemen and ladies.59\n\n Women Learning to Draw and Paint\n\nI have already mentioned the popularity of drawing masters, especially from the mideighteenth century onward.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0252": {
-    "English Original": "We know from other sources that drawing and painting were commonly taught to girls and boys, using copying techniques.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0253": {
-    "English Original": "John Aubrey (1626–1697) described his activities at age eight: \"I then fell to drawing .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0254": {
-    "English Original": "and at nine to colours, having nobody to instruct me, copied pictures.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0255": {
-    "English Original": "\"Professional\" artists learned in the same way: Mary Beale learned by copying portraits by Van Dyck and Lely.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0256": {
-    "English Original": "In the 1760s Angelica Kauffman spent her time at the Florentine Accademia del Disegno copying masterpieces.60There are only occasional references to female artists using models for history paintings or to depict religious scenes.61 Elite women were fortunate in that their family galleries frequently contained Old Masters.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0257": {
-    "English Original": "Cassandra Brydges, for example, was apparently copying paintings by Titian and Raphael.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0258": {
-    "English Original": "In the picture room at Cannons in 1725, displayed alongside original paintings by Titian, Van Dyck, and Quentin Massys, was King Charles the First at three different views by the Dutchess of Chandos.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0259": {
-    "English Original": "In her own closet she hung at least two other copies, including one \"feast of the sea gods after Rottenhamber and Brugell.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0260": {
-    "English Original": "\"62 Another example of learning by copying Old Masters is provided by Elizabeth Robinson, later Montagu, who confided to her bosom friend Margaret Harley that her \"papa thinks he has found a remedy for [her isolation in the country life], by teaching me to draw.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0261": {
-    "English Original": "He had her copy \"old men's heads,\" such as that of St. John the Baptist on a charger.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0262": {
-    "English Original": "Elizabeth, by her own admission, was not a very apt pupil.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0263": {
-    "English Original": "So despairing was she of making her portraits resemble the originals that \"I threw away my pencil.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0264": {
-    "English Original": "She added humorously, \"I have heard of some who have been famous landscape painters, others who have been\n\n58.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0265": {
-    "English Original": "On the other hand, Delany saw shell collection as a serious pursuit on a par with botany; see 1:484–86 (1734), where she regrets the stupidity of mankind for its view that shells are aesthetically pleasing but nothing more.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0266": {
-    "English Original": "I am grateful to Amy Froide for drawing these Delany references to my attention.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0267": {
-    "English Original": "There had been such manuals in English since the sixteenth century.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0268": {
-    "English Original": "On Aubrey, see Foster Watson, Beginnings of the Teaching of Modern Subjects in England (1909), passim, for a general account that includes this quotation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0269": {
-    "English Original": "See Collins Baker and Constable, English Painting of the Sixteenth and Seventeenth Centuries, 57, and Angelica Goodden, Miss Angel: The Art and World of Angelica Kauffman, EighteenthCentury Icon (2006), 38–39.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0270": {
-    "English Original": "In Charles Beale's pocketbook for 1671–72 is listed Mary's painting of \"a Magdalen painted from Moll Trioche, a young woman who died 1672\"; Walpole, Anecdotes, 3:541.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0271": {
-    "English Original": "See HEH, ST 83, Inventory of Cannons, 19 June 1725.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0272": {
-    "English Original": "Cassandra's copy of Van Dyck's famous tripartite portrait was apparently the only one to be displayed in an overtly \"public room\" in the great house.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0273": {
-    "English Original": "The other copy in her closet was a madonna \"after Andreo Delsarto.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0274": {
-    "English Original": "It seems probable that the duke also counted as part of his household at Cannons a resident artist—Richardson (see also n. 91, below).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0275": {
-    "English Original": "famous battle painters; but I take myself to have been the best hospital painter, for I never drew a figure that was not lame or blind.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0276": {
-    "English Original": "\"63 Her comments provide a sharp reminder of the role that natural talent played in determining whether a young gentlewoman took seriously to painting and drawng.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0277": {
-    "English Original": "In 1731 Mary Pendarves jokingly compared her own expertise with that of her sister Anne Granville, claiming that revealing the tips she had received from Hogarth would allow Anne to outstrip her, \"for you excel me now, and when I have deliveredup my arms you will vanquish me quite.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0278": {
-    "English Original": "\"64 Louisa Gurney was irritated by the superior drawing abilities of her older sister Richenda.65\n\nThe next stage was to progress to drawing and painting from nature, and Cassandra successfully made the transition, although not all did.66 It is hard to believe that a young girl initially (if briefly) tutored by John Ray, and with her father Francis Willoughby's example and his huge collection of natural history specimens about her, would not have been taught to draw what she saw from a very early age.67 She and her brother brought their father's neglected natural history collection from Middleton to Wollaton, repaired the specimens, and organized and labeled them.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0279": {
-    "English Original": "Francis Willoughby, as a member of the Royal Society, had been committed to the necessity for accurate observation, something his daughter appreciated.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0280": {
-    "English Original": "She waxed lyrical about his fine linedrawings of birds, which formed the basis of the engravings of the published Ornithologia.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0281": {
-    "English Original": "Paintings by her in her closet at Cannons in 1725 included a stilllife, a landscape of a \"sea port,\" a painting of flowers, a painting of birds, and summer and winter scenes.68As we shall see, she also depicted various houses.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0282": {
-    "English Original": "Accurate observation in drawing and shading permitted contemporary women to create artistic masterpieces even of their elaborate gowns.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0283": {
-    "English Original": "In 1740 Elizabeth Montagu created an apron for which she needed accurately drawn and embroidered flowers of several kinds, which were to be supplied by her art tutor, her friends, and her family.69 A month later Elizabeth explained her ambitions for the garment and described the artistic processes involved and the way in which she drew upon her associates' varied talents:\n\nI expect to see it the finest thing in the way of work that ever was done My father is an excellent instructor, & your ladyship an admirable performer, I shall fall much short of you both in design & execution but the state of\n\n63.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0284": {
-    "English Original": "Matthew Montagu, ed., The Letters of Mrs Elizabeth Montagu (1809); to Lady Margaret Cavendish Harley, Duchess of Portland, 3 November 1734; 21 June ?1736.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0285": {
-    "English Original": "Delany, Autobiography, 1:283–84; see also FairfaxLucy, ed., Mistress of Charlecote, 23, for a later example.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0286": {
-    "English Original": "See Bermingham, Learning to Draw, 199.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0287": {
-    "English Original": "Ibid., 185; Bermingham makes it clear that \"in academic practice, copying from the antique preceded drawing from life.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0288": {
-    "English Original": "Consider also the example of Mary and Henry Strangeways, above in the text.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0289": {
-    "English Original": "A. C.Wood, ed., History of the Willoughby Family (Eton, U.K., 1958), 104, 107.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0290": {
-    "English Original": "HEH, ST 83, Inventory of Cannons, 19 June 1725.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0291": {
-    "English Original": "Some of these could be copies of other paintings but, in an inventory, which generally gives such details, these were simply described as being \"by the Dutches of Chandos.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0292": {
-    "English Original": "HEH, MO 5535, Elizabeth Robinson Montagu to Sarah (Robinson) Scott, 29 July 1740.\n\nmy affairs I will lay before that you may help & advise me.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0293": {
-    "English Original": "Mrs Pendarves has sent me a pretty pattern enough in black & white only outlines.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0294": {
-    "English Original": "It consists of auriculas anemonies a poppy roses & buds orange flowers & lillies of the vally.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0295": {
-    "English Original": "To help me in shading she lent me the prints of the flowers which my Pappa said would be admirable directions if they were coloured but I have only in black & white [emphasis added].",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0296": {
-    "English Original": "Now what I should be infinitely obliged to my father & you for would be to get me a pattern done by Mr Hately of auriculas in abundance Convalvalews (that is the blew flower we work in the print in the facing) the lilies you mention, poppies, & tulips (of which I have painted ones very fine) as likewise convalvalews in a picture, lilies I would have too & narcissus's & any thing else to make out the pattern which tho I would not chuse a full one, the Dutchess has a great mind for an apron & as I am obliged to work very often I had much rather be imploy'd for her than any one.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0297": {
-    "English Original": "Mr Achard draws very well & understands shading particularly his advice I shall always have, & Mrs Pendarves intends to come to us in six weeks time or two months & stays with us till January.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0298": {
-    "English Original": "The Dutchess would have me work upon a black ground because it wont dirty but if my Pappa thinks any other ground prettier I will chuse it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0299": {
-    "English Original": "He would oblige her Grace extreamly who depends much upon his fancy if he would order it according to his taste .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0300": {
-    "English Original": "I never work but when I am in company & then such is the diligence of this family every body works too.70\n\nThat women viewed their fashions as art seems probable.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0301": {
-    "English Original": "Both Montagu and Delany made frequent, detailed references to evening dresses, and Montagu observed with approval that the flowers with which they were embellished accurately replicated nature.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0302": {
-    "English Original": "The Duchess of Portland's \"cloaths were embroidery upon white cattin, vine leaves & convalvalews & rose buds as well shaded as it was possible.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0303": {
-    "English Original": "Elizabeth's sister Sarah similarly strove for accuracy: \"if I had had time I would have darken'd some of the seeds in the anemonys which wou'd have covered them a little particularly the back one.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0304": {
-    "English Original": "\"71\n\nCassandra's portraits of family members were apparently given away as gifts, much as today we might distribute copies of photographs.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0305": {
-    "English Original": "Demand for such gifts appears to go back at least into the middle years of the seventeenth century: John Finch responded in 1653 to a request from his sister Anne, Lady Conway, \"I thank you dearest for your affection in desiring my picture.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0306": {
-    "English Original": "He promised to have one made in Venice, but \"the price will be your own picture in exchange,\" for at present he only has her \"garter and hair\" to comfort him.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0307": {
-    "English Original": "He later wrote in a letter, \"Your picture will be the most acceptable thing can come from England by a messenger,\" but adds that he can\n\n70.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0308": {
-    "English Original": "HEH, MO 5544, Montagu to Scott, 27 August 1740.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0309": {
-    "English Original": "HEH, MO 5601, Montagu to Scott, 5 February 1740/1; MO 5165, Scott to Montagu, 13 February 1740/1.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0310": {
-    "English Original": "Better known are embroideries from \"nature\" on drapes, such as the cockatoos on the bed hangings of Mary Blount, Duchess of Norfolk; see Rosemary Baird, Mistress of the House: Great Ladies and Grand Houses (2004), photograph between pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0311": {
-    "English Original": "112 and 113.\n\nnot find a miniaturist to paint his own likeness.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0312": {
-    "English Original": "Her mentor, Henry More, accepted a portrait of her in 1657, noting \"the often repeated pleasure I shall take in looking upon it when I have it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0313": {
-    "English Original": "\"72 Mary Beale probably learned her skill alongside her father, Rev.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0314": {
-    "English Original": "John Cradock, in an amateur circle of artists in Bury St. Edmunds, and she went on to perfect her art in the period before 1670 by painting portraits of family and friends and giving them away as gifts.73 Margaret (Smith), Countess of Lucan (d. 1814), copied a portrait of Catherine Hyde, Duchess of Queensberry, that was exhibited in the Portland Collection.74 It is thought that an unsigned portrait of Lady Mary Wortley Montagu displayed at Welbeck Abbey in the 1750s had found its way there as a gift from the Duchess of Portland, who was a close friend of Mary's daughter, Lady Bute.75The act of giving away a portrait drew the recipient into the close circle of someone such as the first Duchess of Chandos.76\n\nMany of Cassandra's paintings were apparently portraits from life, and until just before her death she was still taking the likenesses of family members.77 We know that she sent her sisterinlaw Emma Chamberlayne portraits of Henry and Emma Barnard (their mutual maternal grandparents)78 and of Catherine (Brydges) Bourchier: \"In the box was .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0315": {
-    "English Original": "Sir Henry & Lady Barnard's pictures & one dead colloured which I drue from my sister Bourchier before she dyed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0316": {
-    "English Original": "\"79 In her dressing room at the house in St. James's Square in London, she displayed portraits of her husband, of her brother Lord Middleton, of Lord Middleton's two sons, and \"severall family pieces.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0317": {
-    "English Original": "\"80 Such portraits appear to have served the same purpose as the family photograph album does today, as a record and a reminder of the physical appearance of friends and family.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0318": {
-    "English Original": "When thirteenyearold James Brydges, Marquis of Carnarvon, wrote an essay on\n\n72.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0319": {
-    "English Original": "18, John Finch to Anne Conway, February 1652/3; see Sarah Hutton and Marjorie Hope Nicolson, eds., The Conway Letters (Oxford, 1992), 71–72.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0320": {
-    "English Original": "Conway apparently sat for a miniature portrait that was sent to her brother.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0321": {
-    "English Original": "Samuel Van Hoogstraten may have been responsible for surviving matching portraits of brother and sister.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0322": {
-    "English Original": "See also BL, Add.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0323": {
-    "English Original": "15, John Finch to Anne Conway, ca.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0324": {
-    "English Original": "1652/3; and BL, Add.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0325": {
-    "English Original": "MS., 23,216, fol.252, Henry More to Anne Conway, 11 May 1657.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0326": {
-    "English Original": "It seems that unmarried ladies would give their portraits only to young men they considered to be appropriate suitors; see Delany, Autobiography, 1:133: \"At last he [Lord Baltimore] begged me to give him my picture in miniature to take abroad with him.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0327": {
-    "English Original": "I told him it could not be, that though I had a great opinion of his honor, I did not think it right, and hoped he would not be offended at my refusing it.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0328": {
-    "English Original": "Dewing, ed., Mary Beale, 1; on the basis of extracts from Charles Beale's pocketbooks for 1661 and 1671/2.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0329": {
-    "English Original": "John Kerslake, Early Georgian Portraits(1977), 224.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0330": {
-    "English Original": "The Yale Edition of Walpole's Correspondence, ed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0331": {
-    "English Original": "W. S. Lewis et al., vol.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0332": {
-    "English Original": "35 (New Haven, Conn., 1973), 271.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0333": {
-    "English Original": "There are other examples of women giving portraits to friends.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0334": {
-    "English Original": "See, for example, HEH, HM6660 Suffolk Papers, letter from Thomas Killigrew to Henrietta Hobart Howard, Countess of Suffolk, ca.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0335": {
-    "English Original": "1715: \"pray let me know madam where the painter lives that drew the picture you gave of yr self to Mrs [Mary] Bellenden.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0336": {
-    "English Original": "George Romney, Caroline, Viscountess Clifton, and Lady Elizabeth Spencer (1794; now at the Huntington), which shows Caroline sketching her sister from life, after first copying a statue for practice.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0337": {
-    "English Original": "Perhaps, but not necessarily, executed by herself.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0338": {
-    "English Original": "O'Day, Cassandra, Letter 437, p. 323; to Sister Chamberlayne, 8 July 1735.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0339": {
-    "English Original": "\"Dead colouring\" was the first layer of a painting.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0340": {
-    "English Original": "HEH, ST 83, Inventory of St. James's Square, 1725.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0341": {
-    "English Original": "Cannons in 1745, he noted that in a \"little closet belonging to the dutchess .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0342": {
-    "English Original": "most of the pictures are of the late Dutchesses painting one is Mrs Vincent late of Chelsea that was:81 & the late Bp Robinson's lady,\"82 who were her close friends and relatives.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0343": {
-    "English Original": "As noted above, the duke had multiple copies made of the family portrait of himself, his sons, and their stepmother, Cassandra.83This seems consistent with what is known of the market for portraits in the postRestoration period.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0344": {
-    "English Original": "One of the most pronounced features of Mary Beale's business was the seemingly insatiable demand by her clientele for copies of portraits, many of them originally executed by Lely.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0345": {
-    "English Original": "Mary often rendered these copies as halflength portraits or as miniatures.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0346": {
-    "English Original": "She noted, \"Lady Lowther's face coppied for Mris Robson at the third painting.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0347": {
-    "English Original": "The large number of Lowther portraits, many of them copies, suggests that most were intended for third parties.84 Some at least of the Duke of Chandos's copies were also designed for distribution.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0348": {
-    "English Original": "Such portrait collections were of a different kind from paintings by Old Masters, such as those owned by the duke himself.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0349": {
-    "English Original": "With family portraits the emphasis was on the likeness as well as the aesthetic appeal of the painting,85 and their monetary value was regarded as relatively trivial.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0350": {
-    "English Original": "This is clearly illustrated by Cassandra's gifts to her friend Mrs. [Lisle] Dunbar of Antigua and to her cousin and close friend, Mrs. Brydges of Avington, Hampshire.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0351": {
-    "English Original": "In the accompanying letter she wrote: \"we return you our humble thanks, & hope you will give us leave to find out something in return for these civilities you have shewn us, more valuable than the pictures you desire & which shall be sent you soon.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0352": {
-    "English Original": "\"86 Nevertheless, the duchess could be hypercritical of images of herself and showed dissatisfaction with most of the recent portraits (apparently made by others)\n\n81.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0353": {
-    "English Original": "See also HEH, ST 83, Inventory of Cannons, 19 June 1725, on this portrait by the duchess, which hung in her closet.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0354": {
-    "English Original": "Mrs. Rebecca Vincent was Cassandra's cousin.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0355": {
-    "English Original": "HEH, James Brydges, Marquis of Carnarvon, essay on Cannons, ca.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0356": {
-    "English Original": "This portrait is perhaps the \"Mrs Robinson in miniature by the Dutchess of Chandos\" mentioned as hanging in the duchess's closet in HEH, ST 83.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0357": {
-    "English Original": "The portrait was of Cassandra's close friend and cousin Emma (Charlton Cornwallis) Robinson, who was the widow of Thomas Cornwallis (1670–1703) and of Bishop John Robinson (d. 1723).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0358": {
-    "English Original": "She died on 26 January 1748.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0359": {
-    "English Original": "This seems to be the Brydges family portrait held by the National Gallery of Canada, Ottawa.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0360": {
-    "English Original": "It was once thought to be a portrait of James Brydges and his first wife, Mary, with their sons, but the timing and a further letter, which indicates that Brydges had copies made of this family portrait by \"Mr Lence\" in autumn 1713 when he was married to Cassandra, suggest that this portrayed Brydges, Cassandra, and Brydges's two sons by his first wife.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0361": {
-    "English Original": "By December 1713 Kneller was painting Lady Child, Cassandra's mother.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0362": {
-    "English Original": "See HEH, ST 57, vol.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0363": {
-    "English Original": "9, p. 281, 7 December 1713, to Sir Godfrey Kneller.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0364": {
-    "English Original": "A similar practice, commissioning multiple copies of portraits for distribution in the family of Caroline Lennox Fox, is noted in Baird,Great Ladies and Grand Houses, 122–23.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0365": {
-    "English Original": "Lib., MS. Rawlinson, 8o 572, 31 July 1677; in June and July 1677 no fewer than six portraits of Lady Lowther (two of them \"heads\") were being painted; simultaneously, halflength portraits and several \"heads\" of \"Old Lady Lowther\" and \"Old Sir John Lowther\" were underway.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0366": {
-    "English Original": "Some of these were specified as copies.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0367": {
-    "English Original": "Even a thirteenyearold boy could discriminate between an \"excellent\" piece of portrait painting and a poor likeness; see HEH, James Brydges's description of Cannons in 1745: \"a picture of my Lady Dutchess painting my Lords picture it is a fine peice but not like.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0368": {
-    "English Original": "O'Day, Cassandra, Letter 197, p. 190; to Mrs. Dunbar at Antigua, 27 March 27 1724/5.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0369": {
-    "English Original": "Raymond A. Anselment, The Remembrances of Elizabeth Freke, 1671–1714, Camden Society, 5th ser., vol.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0370": {
-    "English Original": "18 (Cambridge, 2001): \"these three [family portraits] given me by my deere sister Norton.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0371": {
-    "English Original": "E. Freke\" (p. 183).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0372": {
-    "English Original": "and copies of them.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0373": {
-    "English Original": "The wording of the letter is open to several contradictory interpretations.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0374": {
-    "English Original": "Had the duchess made the copies or not?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0375": {
-    "English Original": "I wish the pictures which you desired were better worth your acceptance.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0376": {
-    "English Original": "That of my Lord is copyed from one which we think the best of any done for him, & for myself I should very willingly have sate for an originall could I have been pleased with any lately drawn for me, but finding I make a much worse picture now than I would willingly send to a strange country, have rather chose to make the best I could of my self, & sent you the copy of a picture drawn for me many years agoe.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0377": {
-    "English Original": "I fear the pictures so newly painted may grow yellow with being kept close from the air during their voyage but hope they will soon after recover their complections by having as much air as you can give them.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0378": {
-    "English Original": "I wish they may please you.87\n\nWhatever Cassandra's opinion of her own work was, others valued it considerably.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0379": {
-    "English Original": "Charles Gildon fixed upon her artistic skills in his poem of 1718:\n\n Now from her pencil the mute poesie flows, And on the canvas some bright wonder glows; Raphael and Titian there together shine, For colour this, and that for great design.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0380": {
-    "English Original": "Now with her readie needle paints the lawn, Where various figures are so finely drawn.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0381": {
-    "English Original": "Now with her fingers plies the gentle loom, Then with her works adorns each spacious room.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0382": {
-    "English Original": "A muse herself, the muses she'll defend, And to their cause her glad assistance lend.88\n\nAllowing for poetic license and the exaggeration expected from someone seeking patronage, it is nevertheless interesting that Gildon chose to comment on her skill (when she was still Marchioness of Carnarvon) with pencil, brush, embroidery thread, and tapestry needle.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0383": {
-    "English Original": "The duke again singled out this aspect of his wife's many accomplishments in 1719, commissioning from the artist Van der Myne a double portrait of himself and Cassandra in which she is drawing the euke's portrait as he poses in classical Roman attire.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0384": {
-    "English Original": "This portrait was still displayed at Cannons when her successor, Duchess Lydia, lived there.89 Walpole, after a visit to Cannons almost ten years after Cassandra's death, wrote of her fame as an artist: \"His [the duke's] late lady was a great painter: there is an admirable picture of her, drawing the duke's portrait, by one Vandermine.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0385": {
-    "English Original": "He is in a Roman habit.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0386": {
-    "English Original": "\"90 There was little that was private about Cassandra's art.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0387": {
-    "English Original": "O'Day, Cassandra, Letter 208, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0388": {
-    "English Original": "195–96; to Mrs Dunbar at Antigua, 9 September 1725.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0389": {
-    "English Original": "HEH, James Brydges, Marquis of Carnarvon, description of Cannons in 1745.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0390": {
-    "English Original": "30 (Oxford, 1961), 61.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0391": {
-    "English Original": "The painting was also viewed by the artist John Van Gool in the early 1750s; see J.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0392": {
-    "English Original": "Van Gool, Nieuwe Schonburg der Nederlantsche Kunstschilders en schilderessen (1751), 41–42, 44–45; cited in P. Toynbee, ed., Letters of Horace Walpole (1903–25)\n\n<sup88.</sup Gildon, \"Cannons, or The Vision.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0393": {
-    "English Original": "Very occasionally we are treated to Cassandra's opinions of portraits she has been sent by relatives, opinions that may provide clues to her attitude to her own art: \"my Lord & I had the pleasure to find at our house [in London] .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0394": {
-    "English Original": "the most agreeable present which you & my cousin Brydges have made us of your pictures.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0395": {
-    "English Original": "His I think by much the best I ever saw of Richardson's91 painting & your's we reckon very like but wish it had been a better likeness.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0396": {
-    "English Original": "Both my Lord & self are at a loss how to express our selves thankfull enough for so valuable a present, but are very sure if you could know how much we esteem them you would not think them ill bestowed.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0397": {
-    "English Original": "Cassandra noted the aesthetic value of the painting but questioned its accuracy.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0398": {
-    "English Original": "Here, there seem to be echoes of the influence of Fellows of the Royal Society, who proclaimed the superiority of painting from life.92\n\nCharles Beale, a member of the Royal Society, praised most those portraits by his wife, Mary, that were superior \"both for painting and likenes.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0399": {
-    "English Original": "She herself thought that \"flattery and dissimulation is a kind of mock friendship\" and certainly portrayed her husband \"warts and all.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0400": {
-    "English Original": "\"93 To some degree this echoes the views of Mary Delany, who made it clear that, above all, a portrait should be \"like\": \"I have released Lady Sunderland from her promise of giving me her picture by Zinck, to have it done by Hogarth.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0401": {
-    "English Original": "I think he takes a much greater likeness, and that is what I shall value my friend's picture for, more than for the excellence of the painting.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0402": {
-    "English Original": "Of a crayon drawing of her sister Anne, she lamented, \"I have a picture too, but alas!",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0403": {
-    "English Original": "a feint, feint resemblance!",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0404": {
-    "English Original": "I am always vexed as well as pleased when I look at it, for it certainly is a bad likeness, and not well painted; you are much better drawn in a place where the air cannot fade you, and where justice is done you without flattery; there are not only the outlines and the air of the countenance, the life and sweetness of the eyes, but that sensible penetrating look that fairly shows how well the form is animated.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0405": {
-    "English Original": "\"94\n\nThe ability to draw and paint \"landskips\" was also regarded as important, but like the family portrait it was considered an expression of the individual's experience.95 Such landscapes may have been seen largely as a pictorial record of the houses the elite\n\nsupplement 3 (Oxford, 1925), 365 n. 17.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0406": {
-    "English Original": "This picture (by now cut to show just the Duke of Chandos) was donated to the British Museum in 1762 by James Farqharson, formerly Chandos's secretary.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0407": {
-    "English Original": "Its cleaning in 1975 revealed the duchess's easel, paints, and foot.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0408": {
-    "English Original": "For further discussion, see John Kerslake, Early Georgian Portraits, 36, and J. Kerslake, \"The Duke of Chandos' Missing Duchess,\" National Trust Studies(1981).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0409": {
-    "English Original": "Jonathan Richardson (1665–1745) was the leading portrait painter of his day, after the deaths of Godfrey Kneller and Michael Dahl.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0410": {
-    "English Original": "See Abraham Cowley's famous \"Prefatory Verses\" to Sprat's History of the Royal Society:\"He before his sight must place / The natural and living face / The real object must command / Each judgement of his eye, and motion of his hand.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0411": {
-    "English Original": "Charles Beale's Notebook, 1680/1, National Gallery, 17 October 1681; Mary Beale, \"Discourse on Friendship,\" BL, Harley MS. 6828; Dewing, ed., Mary Beale, passim.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0412": {
-    "English Original": "Delany, Autobiography, 1:283, 280; in HEH, MO 1007, Elizabeth Montagu contrasted the arts of painting and poetry—opining that whereas painting relies on accurate representation, \"One of the great qualities of a poet is invention & I suppose you chose such a subject on purpose to give scope to your imagination to show what you did not find you could make.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0413": {
-    "English Original": "The View of Windsor painted in 1723 by Lady Diana Spencer (1710–1735), later Duchess of Bedford, provides a good example; see Greer, Obstacle Race, 286.\n\noccupied or visited and the places they took in on their tours at home and abroad.96 It was certainly accepted that women as well as men should make such tours and should prepare for them by studying guidebooks, travel journals, and, in some cases, illustrated works of ancient history.97 Mary Delany kept a sketchbook of her travels around Ireland in the early 1730s.98Whether making such a record should be regarded as a peculiarly feminine accomplishment is moot: John Locke had noted that drawing should be studied \"as a thing very useful for a gentleman on several occasions and especially if he travel.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0414": {
-    "English Original": "\"99 In the 1790s Elizabeth Howard Manners, Duchess of Rutland, was encouraged to illustrate her husband's diaries, which were later published.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0415": {
-    "English Original": "During tours abroad she developed a keen interest in architecture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0416": {
-    "English Original": "It seems that her sketches of a tour in 1819 were \"finished\" by a Mr. Holworthy, a professional watercolorist.100 In the early 1800s the Hicks Beach daughters painted landscapes, and both Mary FoxStrangeways Talbot and her brother Henry expressed frustration about their inability to capture the scene at places they visited.101 There are several references in the Wedgwood papers to Charlotte Wedgwood's drawings documenting her travels: in 1822, when she was twentyfive, Charlotte made a \"pretty little drawing\" of Rievaulx Abbey and on a grand tour that the family took in 1825 she made a point of painting the landscapes they viewed.102\n\nSometimes, however, this ability to observe and record from nature was employed to commemorate the unusual.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0417": {
-    "English Original": "Mary Delany, unexpectedly encountering an old man's cottage near Creswell Craggs in 1756, wrote that she \"was too much entertained with the scene to lose sight of it one moment, and .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0418": {
-    "English Original": "took an imperfect sketch of one part.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0419": {
-    "English Original": "Landscape also offered Mary opportunities to develop her imagination: \"I have now in hand two frames of shells, .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0420": {
-    "English Original": "for two drawings I have done for the Duchess; one a copy of one of my Cornbury views, the other a fancy by way of companion.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0421": {
-    "English Original": "\"103\n\nEvidence that Cassandra painted landscapes is by no means unusual, compared with that available for some other women of the period.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0422": {
-    "English Original": "It is the survival of landscapes done before 1750 by women that is rare.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0423": {
-    "English Original": "One of Cassandra's drawings, of Thoresby Hall, Nottinghamshire, however, does survive.104 It is undated but is probably an\n\n96.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0424": {
-    "English Original": "See Norfolk Record Office, MSS.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0425": {
-    "English Original": "6184 and 6256, containing twentyfour pencil sketches by Richenda Gurney Cunningham done in the 1840s.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0426": {
-    "English Original": "See Healey, Emma Darwin, 81ff, on the Wedgwood grand tour to Paris, Geneva, Naples, Venice, Florence, and Rome for approximately six months in 1825.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0427": {
-    "English Original": "See Watson, Teaching of Modern Subjects,146.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0428": {
-    "English Original": "John Henry Manners, fifth Duke of Rutland, Travels in Great Britain with engravings from the drawings of the Duchess of Rutland: Journal of a Tour around the southern coasts of England (1805); and Manners, A Tour through part of Belgium, and the Rhennish provinces (with plates from sketches by E. Manners, Duchess of Rutland); Correspondence of the Duchess of Rutland and Sir Frederick Trench, vol.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0429": {
-    "English Original": "1, 15 December 1821.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0430": {
-    "English Original": "Martin, Wives and Daughters, 232–33.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0431": {
-    "English Original": "Healey, Emma Darwin, 76, 81.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0432": {
-    "English Original": "Delany, Autobiography, 3:441–42, 473–74; Delany to Mrs. Dewes from Bulstrode, 29 December 1757.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0433": {
-    "English Original": "HEH, STB Box 1 (2), 45.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0434": {
-    "English Original": "Thoresby was close to Cassandra's former home, Wollaton Hall, Nottingham.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0435": {
-    "English Original": "Thoresby was owned by Evelyn Pierrepoint, Duke of KingstonuponHull.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0436": {
-    "English Original": "That she made other drawings of places that were important to her (and perhaps collected similar drawings and paintings executed by others) seems probable.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0437": {
-    "English Original": "Her mother, Emma Child, added to notes for her final will, in shaky hand, the words: \"The picture of Wollaton is Lady Dutchesses own pikture which I desire she may have.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0438": {
-    "English Original": "\"105That Cassandra created pictures specially to ornament Wollaton seems likely.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0439": {
-    "English Original": "Some of these were copies of existing paintings, perhaps by wellknown artists.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0440": {
-    "English Original": "Her comments suggest a prolific output, but she was selfcritical:\n\nMany of the pictures which I drew myself are only fit for the fire.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0441": {
-    "English Original": "That of my brother & which I copyed from Lady Middleton's picture, if I should ever see Wollaton again & be able to mend (together with a picture which I dead coulour'd for the closet chimney), I would try to paint again that I might make that better, & then perhaps I should desire to have them & some others of the pictures, my self.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0442": {
-    "English Original": "Till then I must wish they were better & that they together with the linen china, japan boxes, &c were worth your acceptance or fit for your Lady's use.106\n\nArt historians have noted the growth of interest in the arts in England in the later Stuart and early Georgian periods.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0443": {
-    "English Original": "It is time to recognize that Mary Astell's attitude was not representative, and that an aptitude for drawing and painting was not regarded by either men or women as a merely \"social\" attribute.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0444": {
-    "English Original": "A woman who could draw the family \"pile,\" create clothing and furnishings resplendent with realistic flowers and foliage, make copies of family portraits or even draw and paint them from life had skills that were highly valuable to the family.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0445": {
-    "English Original": "She was the equivalent of the modern family camera.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0446": {
-    "English Original": "Women Artists, Connoisseurs, and the Family\n\nSome of the evidence, much of it belonging to the early eighteenth century, suggests that portraits were used to cement friendships.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0447": {
-    "English Original": "Women best known for their other literary and artistic activities—Mary Delany, Anne Granville, Elizabeth Robinson Montagu, Mary Wortley Montagu, Mary Bellenden, Margaret Cavendish Harley, Judith Tichborne, and Lady Sunderland among them—are known to have exchanged portraits and to have treasured them.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0448": {
-    "English Original": "Possessing and displaying portraits of family and friends emphasized publicly the connection with the person depicted.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0449": {
-    "English Original": "The effect upon Horace Walpole caused by the decorative scheme of Welbeck Abbey was as the owner desired: \"It is impossible to describe the bales of Cavendishes, Harleys, Holleses, Veres and Ogles .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0450": {
-    "English Original": "N[ottingham]U[niversity]L[ibrary], Middleton Papers, Mi Av 143/18/6.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0451": {
-    "English Original": "Also cited in Dorothy Johnston, \"Emma Child, nee Barnard, formerly Willoughby (1644–1725): Records of the Life of a Gentlewoman,\" in John Beckett, ed., Nottinghamshire Past: Essays in Honour of Adrian Henstock (Cardiff, 2003), 75.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0452": {
-    "English Original": "O'Day, Cassandra, Letter 161, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0453": {
-    "English Original": "166–68; to my nephew [Francis] Willoughby, 14 November 1723.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0454": {
-    "English Original": "Lady Middleton's portrait is possibly that by Sir Godfrey Kneller.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0455": {
-    "English Original": "\"Japan boxes\" were japanned.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0456": {
-    "English Original": "his tories transcribed; all their arms, crests, devices, sculpted on chimneys.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0457": {
-    "English Original": "\"107 Portraits hung in such places were often produced by \"professional\" artists, prominent or not so prominent.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0458": {
-    "English Original": "Elizabeth Montagu, dressed as Anne Boleyn, sat for Zincke, as did Margaret Harley and Mary Pendarves.108 A surprising number of Willoughby/Child/Brydges portraits have survived, including those of Lady Emma Child, and Elizabeth [Rothwell] Willoughby, her daughterinlaw; of the More Molyneux at Loseley; and of Cassandra and James Brydges and their children, John and Henry.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0459": {
-    "English Original": "Many were by important male portraitists of the day: Dahl, Richardson, Kneller.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0460": {
-    "English Original": "Preserving and improving this family gallery was an ongoing commitment.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0461": {
-    "English Original": "James Brydges had had his first wife sit for her portrait.109 We have noted above the flurry of such activity when Cassandra became James Brydges's wife.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0462": {
-    "English Original": "The portrait of Emma Child's deceased husband, also named Francis, was the subject of a letter from his devoted sister, Lettice Wendy, in 1676.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0463": {
-    "English Original": "Emma Child spent £3.3s.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0464": {
-    "English Original": "for alterations to Adriana Verelst's portrait of Sir Francis Willoughby sometime between 1717 and Emma's death in 1725.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0465": {
-    "English Original": "On 23 July 1725 George Schubert presented her with a bill \"for work and material to inlarge Sir Frances Willoughby Pikture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0466": {
-    "English Original": "\"110 Cassandra's stepgrandson, James, Marquis of Carnarvon (later third Duke of Chandos) appears to have had Mary (Lake) Brydges's fulllength portrait carefully restored in the 1750s and also to have commissioned a new portrait of her using a copy of Dahl's headandshoulders portrait.111 Cassandra herself executed at least some of the copying of family portraits and new (and more intimate) family portraits.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0467": {
-    "English Original": "Cassandra's obsession with her father's family extended to her production of a twovolume history of the Willoughby family based on original research.112 Her portraits of family members and her gifts of such portraits echoed this interest.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0468": {
-    "English Original": "The word \"publicly\" is used advisedly.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0469": {
-    "English Original": "\"Private\" galleries made a statement about a family in a very public way.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0470": {
-    "English Original": "The aristocracy and gentry adorned their houses from the sixteenth century onward with portrait galleries commemorating their ancestors and trumpeting their current connections.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0471": {
-    "English Original": "Bess of Hardwick's gallery was intended \"to celebrate her family.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0472": {
-    "English Original": "Most of its seventysix pictures were portraits, twentysix of them depicting her relatives; the majority of the rest were of\n\n107.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0473": {
-    "English Original": "Walpole's Correspondence, Walpole to Bentley, August 1756, 35:270–71.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0474": {
-    "English Original": "HEH, MO 5526, Elizabeth Robinson Montagu to Sarah (Robinson) Scott; MO 744, Anne Donnellan to Elizabeth (Robinson) Montagu, 9 April 1740.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0475": {
-    "English Original": "There was a marked fashion for posing as historical or exotic figures in costume.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0476": {
-    "English Original": "In the 1680s Cassandra and her family had played a variety of charades, dressing in the inherited costumes of their ancestors in order to imitate the family portraits; see Wood, Willoughby Family, 135–38.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0477": {
-    "English Original": "Michael Dahl (1656–1743) was a Swedish portrait painter who settled in England in 1688 and became fashionable.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0478": {
-    "English Original": "Sir Godfrey Kneller (1646–1723) was a Germanborn painter who settled in London in 1676 and was appointed court painter.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0479": {
-    "English Original": "He was knighted in 1691 and in 1715 George III made him a baronet.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0480": {
-    "English Original": "The portrait of Brydges's first wife was by Dahl; HEH, ST 26, Thurs: 19 [August 1697]: \"about 6: I went to Mr Doll's, to look after my wife's picture.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0481": {
-    "English Original": "For Richardson, see n. 91.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0482": {
-    "English Original": "NUL, Middleton Papers, Mi Av 143/36/22, Lettice Wendy to Emma Willoughby at Middleton, 18 March [1676]; 141; NUL, Middleton Papers, Mi Av 143/19/19; NUL, Middleton Papers, Mi Av 143/23/1–39.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0483": {
-    "English Original": "On Verelst, see n. 126.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0484": {
-    "English Original": "See HEH, STB Financial Box 11 (25d), 21 March 1754.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0485": {
-    "English Original": "See O'Day, Women's Agency, 406–7.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0486": {
-    "English Original": "monarchs.113 Walpole described Lady Betty Germaine's house at Drayton, Northamptonshire, as \"covered with portraits.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0487": {
-    "English Original": "\"114A woman of lesser means, Elizabeth Freke, had on display in her parlor \"1 picture of my deer fathers, given me by my deer sister Norton\" and in the dining room \"1 long pictture of my deere sister Norton 1 long picture of my deere neece Gettings, her only daughter, 1 monument picture of hers, .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0488": {
-    "English Original": "1 long picture of my wretched selfe.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0489": {
-    "English Original": "\"115 The fashion for portraiture enveloped both men and women, and anyone with pretensions to distinguished lineage.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0490": {
-    "English Original": "The \"family rooms\" found in stately homes were in fact family portrait galleries.116Attention has recently been drawn to the value of portraits as \"documents designed to chronicle specific details of lives, ally sitters with certain social groups, emphasize virtues intended to prompt admiration and record an individual's place in the history of a family, institution or nation.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0491": {
-    "English Original": "Portrait commissions often coincided with a marriage or a birth or an inheritance entered into.117 At Boughton, in Northamptonshire, a gallery was created that consisted of modern fulllength portraits of imaginary ancestors in the supposed dress of their times.118 Family portraits were important to aristocratic families.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0492": {
-    "English Original": "Louise de Keroualle surrounded herself in exile in France with them.119 In about 1760, Caroline Lennox Fox created a picture gallery at Holland House to exhibit portraits of her and her husband's families.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0493": {
-    "English Original": "To the south of this gallery were portraits of Caroline's royal ancestor, Charles II, and his mistress Louise de Keroualle and portraits by Kneller of their son the first Duke of Richmond and his duchess; of Caroline's parents, the second Duke and his Duchess, and so on.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0494": {
-    "English Original": "Portraits of Caroline and her siblings by Allan Ramsay and those by Sir Joshua Reynolds of Henry and Caroline, their son Stephen, \"Ste,\" Mary, Duchess of Richmond, and Caroline's brother George Lennox were likewise displayed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0495": {
-    "English Original": "But it was Reynolds's group portrait of Lady Sarah Lennox, Lady Susan FoxStrangeways, and Charles James Fox at Holland House and a fulllength one of Lady Louisa that dominated the gallery.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0496": {
-    "English Original": "The effect was to accentuate the status of the present generations above that of their ancestors.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0497": {
-    "English Original": "Similarly, Henrietta Cavendish Holles, Countess of Oxford and Mortimer, remodeled Welbeck Abbey, Nottinghamshire, as a family seat for her descendants, and to accommodate \"All the family paintings of the Cavendishes, Holles, Pierpoints, Harleys, etc.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0498": {
-    "English Original": "Noblemen, Ladys and gentlemen in any way related.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0499": {
-    "English Original": "She had spent her widowhood \"in collecting and monumenting the portraits and\n\n113.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0500": {
-    "English Original": "Laurence, Women in England, 156.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0501": {
-    "English Original": "Walpole's Correspondence, Walpole to George Montagu, 23 July 1763, vol.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0502": {
-    "English Original": "10 (Oxford, 1941), 89–90.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0503": {
-    "English Original": "Anselment, Remembrances of Elizabeth Freke, 178–83.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0504": {
-    "English Original": "See HEH, ST 83.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0505": {
-    "English Original": "Later homes, such as the Rothschild mansion at Waddesden, near Aylesbury, attest the continuation of this tradition into the 1890s and early twentieth century.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0506": {
-    "English Original": "Kate Retford, The Art of Domestic Life: Family Portraiture in EighteenthCentury England (New Haven, Conn., and London, 2006), 6.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0507": {
-    "English Original": "The large number of Lowther portraits executed by Mary Beale in 1676/7 apparently followed the marriage between Sir John Lowther and Catherine Thynne.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0508": {
-    "English Original": "Examples of family galleries include not only the wellknown but also the obscure: see, for instance, the collection retained in part of Blithfield Hall, Staffordshire, which contains sixteenthcentury Bagot marriage portraits.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0509": {
-    "English Original": "BL, Add MS. 5834, fols.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0510": {
-    "English Original": "Baird, Great Ladies and Grand Houses, 89.\n\nreliques of all the great families from which she descended, and which centred in her.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0511": {
-    "English Original": "Rosemary Baird rightly cites her as a prime example of the woman as \"guardian of family history.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0512": {
-    "English Original": "\"120 Yet, if descent was important, family history nonetheless culminated in the present.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0513": {
-    "English Original": "Although it may well be true that portraits of this kind were not exhibited in public galleries, as presently understood, until the late nineteenth century,121 it is a mistake to believe that family portraiture was always for family consumption alone.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0514": {
-    "English Original": "Great houses were opened to the public more and more frequently in the late seventeenth and eighteenth centuries,122 and together with their gardens could be viewed by the public on particular days and times.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0515": {
-    "English Original": "Cannons, in Cassandra's time, was no exception.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0516": {
-    "English Original": "The Duke of Chandos farmed out the right to show Cannons to his steward, James Farquarson, in one of his attempts to save money on the estate.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0517": {
-    "English Original": "He and Cassandra, meanwhile, spent more and more time at Shaw Hall, Berkshire.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0518": {
-    "English Original": "\"When the steward is at home the house [Cannons] be shown to no person whatever without his leave and at other times that it be not shown to any but such as have the appearance of gentle people,\" ordered the duke.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0519": {
-    "English Original": "Moreover, the house was to be closed on Sundays.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0520": {
-    "English Original": "In the period 1690–1713 Cassandra was familiar with the great houses and gardens of the Beauforts at Badminton, of the Earls of Bath at Longleat, and of Lord Pembroke at Wilton, near Salisbury.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0521": {
-    "English Original": "She visited other houses in Yorkshire, Worcestershire, Monmouth, Wiltshire, Buckinghamshire, Northamptonshire, Derbyshire, Nottinghamshire, and Bedfordshire.123 In 1756, Mary Delany recorded her delight in the family portrait gallery at Bolsover in Derbyshire.124 Elizabeth Seymour Smythson, Countess and then Duchess of Northumberland in her own right, traveled extensively from country house to country house and in her diary of the 1750s set out to describe all of them, from Castle Howard to Woburn Abbey and from Ragley Hall to Stowe.125 Elizabeth Montagu visited many houses and gardens in Berkshire and further afield, including Beaulieu, the Montagu home in Hampshire; Lord Lyttleton's new house at Hagley, Worcestershire; Garrick's villa at Hampton; and Alexander Pope's garden at Twickenham.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0522": {
-    "English Original": "In these public spaces the families were vaunted.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0523": {
-    "English Original": "We should not, however, overstate the case.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0524": {
-    "English Original": "It could well be that \"amateur\" portraits were treated differently from fashionable \"professional\" portrayals of family\n\n120.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0525": {
-    "English Original": "Walpole's Correspondence, Walpole to Bentley, August 1756, 35:270–71.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0526": {
-    "English Original": "See Baird,Great Ladies and Grand Houses, 60.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0527": {
-    "English Original": "Delany was aware of this function of family portrait collections, although she does not attribute this to any particular individual, whether male or female (Autobiography, 3:442–43).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0528": {
-    "English Original": "Bermingham, in Learning to Draw, argues that George Romney's Caroline, Viscountess Clifton, and Lady Elizabeth Spencer (1794) was commissioned by their father, the fourth Duke of Marlborough, for private consumption only because it was not exhibited to \"the public\" until the late nineteenth century (p. 185).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0529": {
-    "English Original": "See the comment about public exhibition of the embroidery paintings of Caroline Conway, formerly Countess of Aylesbury in Walpole, Anecdotes of Painting, 3:719–20.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0530": {
-    "English Original": "HEH, STB, Box 14 (55) Duke of Chandos to James Farquarson, 8 October 1731; and 18 November 1731.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0531": {
-    "English Original": "SBPTRO, DR 18/20/21/1; SBPTRO, DR 18/20/21/1.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0532": {
-    "English Original": "James Greig, The Diaries of a Duchess: Extracts from the Diaries of the First Duchess of Northumberland, 1716–1776 (1926); cited in Baird, Great Ladies and Grand Houses, 170.\n\nmembers.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0533": {
-    "English Original": "According to the 1725 inventories of the Duke and Duchess of Chandos's houses in Edgware (Cannons) and London (St. James's Square), the only one of the duchess's paintings on display in an obviously public space was her copy of Van Dyck's masterpiece, the portrait of Charles I.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0534": {
-    "English Original": "Generally, paintings attributed to her seem to have been confined to her private rooms and, possibly, to those of the duke.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0535": {
-    "English Original": "(In the inventory of their shared bedroom and closet at St. James's Square, for instance, portraits of the duke, stilllifes, paintings of flowers, and heads are unattributed and given no monetary value, and these were probably by the duchess.)",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0536": {
-    "English Original": "The \"family room\" at Cannons certainly contained a large number of family portraits, but not one was attributed to Cassandra.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0537": {
-    "English Original": "Instead, there were individual portraits of the duke's four sisters, Elizabeth Dawson, Emma Chamberlayne, Mary Leigh, and Catherine Bourchier, by one of the duke's favorite portrait painters, Mrs. Verelst;126 Sir Peter Lely's portraits of Lady Rich, Sir Lancelot, and Lady Essex Lake, and Mr. Franklin; and Sir Godfrey Kneller's portrait of the duke and duchess, and their sons John and Henry.127 Cassandra and other women painted portraits of relatives, but it seems that in general their efforts were kept private and displayed in rooms open only to a chosen few guests—such as Walpole.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0538": {
-    "English Original": "Nonetheless, this display of family portraits before members of the family and friends was important, and straddled the socalled public/private divide.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0539": {
-    "English Original": "Conclusion\n\nCassandra Willoughby Brydges's artistic activities add to our knowledge of elite women's participation in the visual arts.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0540": {
-    "English Original": "We know something not only about the types of work she produced but also about why she drew or painted them, where they were displayed, and what she and her husband thought about them.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0541": {
-    "English Original": "Looking beyond her modest protestations, we can discern the value she believed her drawings and paintings would have for her brother and his family, and for other friends and relatives.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0542": {
-    "English Original": "We can place her efforts at portrait making in the context of her authorship of a family history, of her natal family's portrait collection, and of her marital family's use of portraits as gifts.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0543": {
-    "English Original": "Through the midseventeenth century it seems that drawing (not painting) was taught in at least some schools but simply as an adjunct of writing.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0544": {
-    "English Original": "It could have\n\n126.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0545": {
-    "English Original": "This is probably Maria Verelst (1680–1744), who was a daughter of Harman Verelst (1641/2–1699), portrait painter, a niece of Simon Verelst, famed for his flower paintings, sister of Cornelis Verelst (1667–1734) and aunt of William Verelst, an accomplished portraitist.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0546": {
-    "English Original": "Maria studied with both Harman and Simon and made a career for herself in England.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0547": {
-    "English Original": "Mrs. Verelst was also responsible for a painting of the Duke of Chandos in the dressing room, of the duke and duchess in the chamber, portraits of the Chandos sons, John and Henry, and of Lord Castlemain's two children (the Duchess of Chandos's nephews), a portrait of Lady Castlemain, and a small \"landskip\" in another dressing room.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0548": {
-    "English Original": "At the London house in the \"salon\" were a fulllength portrait of the duchess and others of the duke's mother, Lady Chandos; of his father, Lord Chandos, and three other portraits; in the duke's \"visiting room\" was her portrait of the Duchess of Chandos.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0549": {
-    "English Original": "These were given a low value when compared to portraits by Lely and Kneller.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0550": {
-    "English Original": "However, the portraitist could have been Adriana Verelst.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0551": {
-    "English Original": "It seems reasonable to suppose that Adriana belonged to the same family, although I have found no trace of her in modern art histories.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0552": {
-    "English Original": "She appears to have married into Cassandra Willoughby's mother's family, and this may explain why she was selected to paint a portrait for Emma Child.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0553": {
-    "English Original": "HEH, ST 83.\n\nbeen taught more informally at home; there were certainly manuals available in English.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0554": {
-    "English Original": "It is probable that girls as well as boys received some elementary instruction in it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0555": {
-    "English Original": "A few women, especially wives or daughters of artists, specialized in painting or limning for a living.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0556": {
-    "English Original": "In general, girls might, in the course of their embroidery and tapestry work, create and work designs and drawings.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0557": {
-    "English Original": "If they did, then something happened in the midtolate seventeenth century to distinguish painting and drawing from the creation of such designs.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0558": {
-    "English Original": "A change appears to have occurred during the socalled Century of Revolution, so that by the late seventeenth century elite women in general were expected to be proficient in drawing and painting, as skills apart from their application in practical or domestic activities.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0559": {
-    "English Original": "This seems to echo a new emphasis upon drawing as a useful skill for both men and women from the 1640s onward.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0560": {
-    "English Original": "Women achieved proficiency through copying masterpieces and through constant practice, which included the ubiquitous selfportraits, although some had the benefit of instruction from drawing or painting masters and access to printed manuals.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0561": {
-    "English Original": "They, like Cassandra Willoughby Brydges, Mary Granville Pendarves Delany, Elizabeth Robinson Montagu, Mary Cradock Beale, and Susanna Evelyn, had the great advantage of being in the neighborhood of great art.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0562": {
-    "English Original": "They had been trained to see and to record, and several came under the influence of the Royal Society, with its emphasis on accurate observation and record keeping.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0563": {
-    "English Original": "Some painted selfportraits and often, apparently, to a high standard.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0564": {
-    "English Original": "It is unfortunate that identified examples of their art, and especially their portraiture, do not in general survive.128 They discussed their painting and drawing (and other creative activities) among themselves.129 A letter from Cassandra to her friend in Antigua in 1725 indicates the opportunities for new creative ventures opened up by contact with the colonies and plantations of the New World.130They also shared an appreciation of the artistic endeavors of others—from great masters to copyists—and enjoyed possessing and exhibiting works by other artists.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0565": {
-    "English Original": "Mary Delany (who had watched Hogarth paint and who had conversed with him about his technique) wrote: \"I cannot say I\n\n128.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0566": {
-    "English Original": "Consider the small percentage of Mary Beale's extensive portfolio that survived, and also the fact that some contemporarily wellknown artists, such as Sarah Broman, are apparently entirely unrepresented.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0567": {
-    "English Original": "Germaine Greer, noting the popularity of pastel drawing among women, surmises that few examples of such art survived because of the fragility of the items themselves and the fact that fixatives were in their infancy; see Greer, Obstacle Race, 285–86.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0568": {
-    "English Original": "The transience of so many \"works\" of art executed by women may also be explained by Juliet Fleming's argument that writing was often executed on a whitewashed wall.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0569": {
-    "English Original": "This finds an interesting echo in the example of Frances Reynolds and other siblings of Joshua Reynolds who practiced their drawings on a whitewashed wall in their home.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0570": {
-    "English Original": "See Fleming, Graffiti and the Writing Arts, passim, and Greer, Obstacle Race, 30–31.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0571": {
-    "English Original": "Henrietta (Hyde) Scott (d. 1730), of whom Jonathan Swift wrote in 1713, \"I did not like her, she paints too much,\" was welcome at the Chandos's dinner table at Cannons in the 1720s.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0572": {
-    "English Original": "Mary Delany frequently discussed such matters with friends and with her sister Ann Granville in the 1720s and 1730s; Autobiography and Correspondence, vol.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0573": {
-    "English Original": "Elizabeth Robinson's letters contain similar discussions with friends and family in the 1730s and 1740s.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0574": {
-    "English Original": "O'Day, Cassandra, Letter 208, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0575": {
-    "English Original": "195–96; to Mrs. Dunbar, 9 September 1725; this point is underscored in HEH, MO 264, Elizabeth (Robinson) Montagu to the Duchess of Portland, 3 December 1736, where Elizabeth reports asking her seafaring brother to bring back colorful parrot feathers from the East Indies for the duchess.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0576": {
-    "English Original": "like Mr Lafountain's painting, he does not understand the drawing part so well as he ought; but I am grown passionately fond of Hogarth's painting, there is more sense in it than any I have seen.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0577": {
-    "English Original": "\"131 We know that by the late eighteenth and early nineteenth centuries, part of the London and spa seasons for both men and women consisted of visiting galleries and exhibitions.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0578": {
-    "English Original": "In the 1770s Sukey Wedgwood (Charles Darwin's mother) attended school in Chelsea and was taken by Thomas Bentley to plays, concerts, and art galleries.The watercolorist Copley Fielding attracted both female viewers and students by staging an exhibition in 1830.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0579": {
-    "English Original": "Tours abroad included visits to both major and minor collections.132 Women showed off their own works of art to one another.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0580": {
-    "English Original": "The artistic prowess of women themselves was generally regarded with pride by their spouses and/or parents.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0581": {
-    "English Original": "Although drawing and painting were apparently regarded by some as acceptable pastimes for bored young women, their skill was also selfconsciously put to good use by themselves and their kin in the service of family and house.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0582": {
-    "English Original": "The division between amateur and professional, often assumed by historians of this period, is artificial.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0583": {
-    "English Original": "Some women artists were regarded as experts, even though they certainly did not produce art for a living.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0584": {
-    "English Original": "The example of Mary Beale (who slipped so easily from \"amateur\" to \"professional\") underscores this point.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0585": {
-    "English Original": "Similarly, a separation between public and private is difficult to sustain.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0586": {
-    "English Original": "Women produced portraits and landscapes for many purposes: as gifts that bound others to them with ties of affection or patronage; as decoration for the spaces they occupied; as a record of people they loved or places they remembered fondly; as memorials for their dead; as items to be sold for charity.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0587": {
-    "English Original": "These female aristocratic artists evidently produced and displayed their work in the context of family and connection.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0588": {
-    "English Original": "However, the sparse evidence suggests that they did not display their own efforts in parts of their houses that were regularly opened to the wider public or necessarily seen by large numbers of social visitors.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0589": {
-    "English Original": "Nevertheless, their practical acquaintance with the great masters and with the world of the auction house did enable them to participate in the conversation of their menfolk and excited the interest of their fathers, husbands, and brothers.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0590": {
-    "English Original": "Their own artistic prowess might, as in Cassandra's case, have become part of their \"fame\" that was blazed abroad.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0591": {
-    "English Original": "We may today treat galleries of family portraits with something approaching boredom, and the \"private\" efforts and \"public\" commissions they contained chiefly as examples of changing fashions and styles of portraiture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0592": {
-    "English Original": "But we should recognize their importance in helping to define concepts of family and self for commissioners, sitters, and owners alike, and the role of women in producing, collecting, and displaying them.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0593": {
-    "English Original": "the open university\n\n131.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0594": {
-    "English Original": "See Delany's comments on Hogarth's superior skills in her Autobiography, 1:283; see also Susanna \"Sukey\" Wedgwood's visit in the 1780s to see Joseph Wright of Derby's paintings and her intelligent comments about them to her father Josiah (Healey, Emma Darwin, 29).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0595": {
-    "English Original": "Healey, Emma, 24, 115.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0596": {
-    "English Original": "83–87 on the response of the Wedgwood daughters to various artists and works of art.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0597": {
-    "English Original": "abstract\n\nHistorians have assumed that women in England, prior to the later eighteenth century, did not engage in serious artistic activity, unless they hailed from the families of male artists.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0598": {
-    "English Original": "Rosemary O'Day uses the prism provided by the papers of Cassandra Willoughby Brydges (1670–1735), who was herself an artist, to determine whether this was indeed the case.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0599": {
-    "English Original": "Drawing upon a variety of original sources and interdisciplinary perspectives, she explains that art, and particularly portraiture, for many elite women and certainly for Cassandra, was put to many social uses within both domestic and more public spheres.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0600": {
-    "English Original": "O'Day thus implicitly questions the polarities of amateur and professional, and of public and private art.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2021094421_s0601": {
-    "English Original": "Keywords: Cassandra Willoughby Brydges, Mary Delany, Elizabeth Robinson Montagu, \"public consumption\" and female artists 1670–1820, female artists in relation to touring and topography as well as collecting, classifying, and recording",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2024149543_s0001": {
-    "English Original": "MIT Open Access Articles\n\n Picturing Animals in Britain 17501850\n\nThe MIT Faculty has made this article openly available.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2024149543_s0002": {
-    "English Original": "Please share how this access benefits you.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2024149543_s0003": {
-    "English Original": "\"Picturing Animals in Britain 1750–1850.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2024149543_s0004": {
-    "English Original": "Annals of Science 68.2 (2011): 286288.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2024149543_s0005": {
-    "English Original": "As Published: http://dx.doi.org/10.1080/00033790902898383\n\nPublisher: Taylor & Francis\n\nPersistent URL: <http://hdl.handle.net/1721.1/72038\n\nVersion: Author's final manuscript: final author's manuscript post peer review, without publisher's formatting or copy editing\n\nTerms of use: Creative Commons AttributionNoncommercialShare Alike 3.0\n\n\n\nD. DONALD.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2024149543_s0006": {
-    "English Original": "Picturing Animals in Britain 17501850.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2024149543_s0007": {
-    "English Original": "New Haven and London: Yale University Press.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2024149543_s0008": {
-    "English Original": "2007. ix + 377 pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2024149543_s0009": {
-    "English Original": "We are proverbially admonished not to judge a book by its cover, but the cover of Diana Donald's Painting Animals in Britain says a lot about what is inside.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2024149543_s0010": {
-    "English Original": "Like the rest of this overview of the representation of animals in the visual culture of eighteenth and nineteenthcentury Britain it is physically magnificent.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2024149543_s0011": {
-    "English Original": "Inside, the pages are large and the paper is glossy; the numerous illustrations are reproduced with precise detail and (often) in stunning color.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2024149543_s0012": {
-    "English Original": "Of the images that receive such lavish treatment, most were expensive products when they were created—for example, oil painting or plates designed for connoisseurs of natural history—but not all; the book includes some striking color images of massproduced cartoons and prints.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2024149543_s0013": {
-    "English Original": "And this diversity of intended audience is one of Donald's main points.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2024149543_s0014": {
-    "English Original": "She has drawn her blackandwhite illustrations from the widest possible range of available visual media, from the cheapest ephemera to paintings acknowledged as masterpieces in their own time and (sometimes) afterwards.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2024149543_s0015": {
-    "English Original": "Beautiful as it is, Picturing Animals in Britain 17501850 is no mere coffee table book.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2024149543_s0016": {
-    "English Original": "Donald has judiciously selected the illustrations to support her assertion that, during the period she discusses, animals were a ubiquitous feature of British culture, and, further, that their visual representation reflected the \"fractured consciousness\" (vii) that informed human attitudes toward and treatment of them.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2024149543_s0017": {
-    "English Original": "Her demonstration begins on the cover, which features a detail from one of Edwin Landseer's paintings of Isaac Van Amburgh, an American wild animal tamer who thrilled London theater audiences with his control of big cats.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2024149543_s0018": {
-    "English Original": "(Queen Victoria commissioned one of the paintings; the Duke of Wellington the other.)",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2024149543_s0019": {
-    "English Original": "The cover image focuses on the recumbent Van Amburgh, resting\n\nRitvo 2\n\nhis head on the flank of a lion and his hand on the head of a tiger who snarls but does not bite.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2024149543_s0020": {
-    "English Original": "A leopard gazes up at him with doglike adoration—or perhaps with longing at the lamb who snuggles (in affection or terror?)",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2024149543_s0021": {
-    "English Original": "The whole tableau occurs behind bars, and the entire painting also includes the admiring audience that has gathered safely on the other side of them.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2024149543_s0022": {
-    "English Original": "The painting is obviously about human control of other animals, and, probably, about British control of the African and Asian homelands of Van Amburgh's cats.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2024149543_s0023": {
-    "English Original": "But Landseer does not present the exercise of power as simple; in the understanding of the human and nonhuman actors in the scene, as well as in that of the observer, it is mixed with acquiescence, admiration, and affection.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2024149543_s0024": {
-    "English Original": "Further, although the scene recalls popular \"happy family\" displays, in which diminutive natural enemies (for example, cats and mice) calmly coexisted, Van Amburgh appears to share some of the lamb's uncertainty about the intentions of the felines.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2024149543_s0025": {
-    "English Original": "Instead of offering a chronological survey, Donald divides her study into four thematic sections, each of which consists of two chapters.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2024149543_s0026": {
-    "English Original": "The first section focuses on natural history illustration, with special attention to the visual representation of the struggle for existence, and to the relationship between theology and natural history.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2024149543_s0027": {
-    "English Original": "The second section deals with attempts to understand animal consciousness, most elaborately that of dogs, the domesticated animals whose lives were most closely intertwined with those of people.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2024149543_s0028": {
-    "English Original": "The third section considers human domination of both wild and domesticated animals, and the fourth considers elite hunting culture (mostly, but not entirely, foxhunting culture) and its critics.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2024149543_s0029": {
-    "English Original": "Donald's anchors her discussion of each topic in close analyses of a few images, which are often familiar and (therefore?)",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2024149543_s0030": {
-    "English Original": "For example, her\n\n2\n\nRitvo 3\n\nPrologue features Joseph Wright's \"An Experiment on a Bird in the Air Pump\" and William Hogarth's \"Four Stages of Cruelty\"; her chapter about the mental lives of dogs focuses on Landseer's canine portraits; and George Stubbs figures prominently in her account of the experience of British horses.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2024149543_s0031": {
-    "English Original": "Her discussions of these images (as well as of images less well known) illuminatingly ground close readings in historical context, drawing on literature, religion, science, and popular culture of its time.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2024149543_s0032": {
-    "English Original": "The very diversity of these sources often highlights the tension between conflicting attitudes toward animals that is the book's main theme.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2024149543_s0033": {
-    "English Original": "Thus, although her chapter on horses begins with Stubbs' handsome portrait of \"Whistlejacket,\" along with other representations of elite horses, Donald quickly reminds the reader that most British horses endured much harsher existences.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2024149543_s0034": {
-    "English Original": "Indeed, as Anna Sewell showed in Black Beauty, even horses who seemed destined for a relatively pampered life might finish on the streets and at the knackers'.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2024149543_s0035": {
-    "English Original": "This thread becomes increasingly pronounced in the course of the chapter.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2024149543_s0036": {
-    "English Original": "Donald concludes it with an extended consideration of the role played by depictions of cruelty in the humane movement, which became increasing popular and influential in the course of the nineteenth century.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2024149543_s0037": {
-    "English Original": "The role of animals in modern British history has received a fair amount of scholarly attention in recent decades, and the general outlines of Donald's account will not surprise anyone who is familiar with this body of work.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2024149543_s0038": {
-    "English Original": "But her insightful attention to contemporary imagery valuably enhances received understandings.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2024149543_s0039": {
-    "English Original": "Historians may wonder about her decision to focus on the century that began in 1750.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2024149543_s0040": {
-    "English Original": "Donald might agree that this periodization seems arbitrary since, despite her title, her discussion ranges freely both earlier and later.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2024149543_s0041": {
-    "English Original": "More problematic is her occasional tendency to treat the\n\n3\n\nRitvo 4\n\nperiod as a homogeneous unit, rather than acknowledging that human relations with other animals changed from decade to decade, along with theological convictions, scientific understandings, and most other aspects of the culture that shaped the lives of both her human and her nonhuman subjects.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2024149543_s0042": {
-    "English Original": "This is not to say that Donald is unaware of changing attitudes, or of their uneasy relationship to attitudes that persist.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2024149543_s0043": {
-    "English Original": "The tension between admiration, sympathy, and compassion on the one hand, and exploitation, cruelty, and domination on the other, unifies her entire discussion.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2024149543_s0044": {
-    "English Original": "As she notes intermittently, although consideration for animals increased in Britain throughout the period she discusses, and has continued to increase subsequently, this trend has by no means resulted in the elimination of animal suffering at the hands of humans.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2024149543_s0045": {
-    "English Original": "Although she begins her final chapter with an optimistic reference to the nearpresent—the 2005 ban on hunting—which she uncharacteristically suggests was an inevitable result of \"change not only in attitudes to animals, but also in notions of the proper role of the state in defining and preventing cruelty towards them\" (273), she concludes with a more sobering and realistic assessment of \"the strangely divided consciousness of human beings in their attitudes to animals\" (305).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0001": {
-    "English Original": "NBER WORKING PAPER SERIES\n\n QUANTIFYING ARTISTIC SUCCESS: RANKING FRENCH PAINTERS  AND PAINTINGS  FROM IMPRESSIONISM TO CUBISM\n\nDavid W. Galenson\n\nWorking Paper 7407 http://www.nber.org/papers/w7407\n\n NATIONAL BUREAU OF ECONOMIC RESEARCH 1050 Massachusetts Avenue Cambridge, MA 02138 October 1999\n\nThe views expressed herein are those of the authors and not necessarily those of the National Bureau of Economic Research.",
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-  },
-  "W2029124454_s0002": {
-    "English Original": "© 1999 by David W. Galenson.",
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-  },
-  "W2029124454_s0003": {
-    "English Original": "Short sections of text, not to exceed two paragraphs, may be quoted without explicit permission provided that full credit, including © notice, is given to the source.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0004": {
-    "English Original": "Quantifying Artistic Success: Ranking French Painters and Paintings  from Impressionism to Cubism David W. Galenson NBER Working Paper No.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0005": {
-    "English Original": "7407 October 1999\n\n ABSTRACT\n\nFor 35 leading painters who lived in France during the first century of modern art, this paper uses textbook illustrations as the basis for measuring the importance of both painters and individual paintings.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0006": {
-    "English Original": "The rankings pose an interesting puzzle: why do some of the greatest artists not produce famous paintings, and why do some relatively minor artists produce some of the most famous individual paintings?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0007": {
-    "English Original": "The answer may lie in an important difference in approach between experimental and conceptual painters.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0008": {
-    "English Original": "Experimental artists work incrementally, their innovations appear gradually, and they generally do their best work late in their careers; conceptual artists innovate more suddenly, produce individual breakthrough works, and usually do their best work early in their careers.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0009": {
-    "English Original": "This paper demonstrates that artistic success can usefully be quantified, and that doing so increases our understanding of the working methods of modern painters.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0010": {
-    "English Original": "David W. Galenson Department of Economics University of Chicago 1126 East 59th Street Chicago, IL 60637 sogrodow@midway.uchicago.edu If ever there was a study which, needing as it does the cooperation of so many sciences, would benefit by sharing the life of the University, it is surely that of Arthistory... [W]e have such a crying need for systematic study in which scientific methods will be followed wherever possible, where at all events the scientific attitude may be fostered and the sentimental attitude discouraged.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0011": {
-    "English Original": "Roger Fry<sup1</sup\n\nRobert Storr, a curator at New York's Museum of Modern Art, recently declared that an artist's success \"is completely unquantifiable.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0012": {
-    "English Original": "\"<sup2</sup By studying a key group of painters  those who invented and first developed modern art  this paper shows that quantitative measures not only can produce informative rankings of the relative importance of both painters and paintings, but furthermore can be used to highlight an important difference in approach among major modern artists that has significant implications for our understanding of their careers and their accomplishments.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0013": {
-    "English Original": "The analysis of this paper consequently demonstrates that artistic success can be quantified, and that doing so enriches our understanding of the evolution of modern art.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0014": {
-    "English Original": "The Artists\n\nThe goal in choosing the artists to be studied here was to select the most important painters who lived and worked in France, the birthplace of modern art, during roughly the first century of that art's history.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0015": {
-    "English Original": "This was done by using five leading texts on the history of modern art.<sup3</sup The first step was to list all artists who had at least one painting reproduced in three or more of these five books.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0016": {
-    "English Original": "The 27 artists included in this list who had been born in France between 1819 (the birth year of Gustave Courbet) and 1900 were placed in the sample.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0017": {
-    "English Original": "Another 8 artists on the list who were born elsewhere during the same period but who spent substantial portions of their careers in France were also placed in the sample.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0018": {
-    "English Original": "The resulting sample of 35 painters is shown in Table 1.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0019": {
-    "English Original": "In addition to Courbet and\n\nManet, who are generally considered key figures in the transition to modern painting, the sample contains the central members of a series of important groups of French artists  the Impressionists, the PostImpressionists, the Fauves, the Cubists, and the Surrealists.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0020": {
-    "English Original": "The sample members therefore include the artists who dominated modern painting in France in the nineteenth century and well into the twentieth.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0021": {
-    "English Original": "They also include a number of less prominent artists, and this will serve to test whether the method used here can clearly identify the leading artists.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0022": {
-    "English Original": "The Data\n\n[Q]uality in art is not just a matter of private experience.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0023": {
-    "English Original": "There is a consensus of taste.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0024": {
-    "English Original": "The best taste is that of the people who, in each generation, spend the most time and trouble on art, and this best taste has always turned out to be unanimous, within certain limits.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0025": {
-    "English Original": "Clement Greenberg<sup4</sup\n\nTexts about art history are also the source of the evidence analyzed in this study.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0026": {
-    "English Original": "This evidence was drawn from all available books, published in English in the past 30 years, that provide illustrated surveys of modern painting.<sup5</sup A total of 33 such books were found.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0027": {
-    "English Original": "The data set for this study was created by listing every reproduction of every painting shown in these books by all of the 35 artists in the sample.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0028": {
-    "English Original": "Texts on art history were chosen as the source of the data in order to draw on the judgments of art scholars as to the most important painters and paintings.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0029": {
-    "English Original": "The dozens of authors and coauthors represented include many of the most distinguished art historians, critics, and curators of the recent past and present.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0030": {
-    "English Original": "Although the eminence of the authors varies, the number of books consulted is sufficiently large that no important result depends on the opinions of any one author, or the emphasis of any one book.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0031": {
-    "English Original": "This investigation is obviously done in the spirit of a citation study.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0032": {
-    "English Original": "Yet using illustrations of paintings as the unit of measurement, instead of such alternatives as the number of times a painter or painting is mentioned, has the advantage that illustrations are substantially more costly than written references.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0033": {
-    "English Original": "In addition to the greater space taken up by the illustration and the greater cost of printing, the author must obtain permission to reproduce each painting, and of course a suitable photograph.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0034": {
-    "English Original": "This cost in time and money implies that authors may be more selective in their use of illustrations, and that illustrations may consequently provide a more accurate indication than written references of what an author believes to be genuinely important.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0035": {
-    "English Original": "The objection might be raised that the paintings reproduced in textbooks are not the most important, but rather the most easily accessible to the author, or those that require the lowest royalty payments.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0036": {
-    "English Original": "Authors would deny this  Marilyn Stokstad, for example, declares that her book covers \"the world's most significant paintings\"  but such claims might be suspected of disingenuousness.<sup6</sup Yet for major artists, whose work has had decades to make its way into museums by purchase and bequest, the constraint posed by ease of access is not likely to bind tightly.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0037": {
-    "English Original": "Scores of public museums own the work of the artists considered by this study, in quantities generally far greater than the requirements of the textbooks.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0038": {
-    "English Original": "Even if we restrict our view to a small number of the greatest museums, the numbers of works by these artists are substantial.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0039": {
-    "English Original": "So for example 35 different works by Picasso just from the collection of New York's Museum of Modern Art are illustrated in the 33 textbooks; 19 different illustrated Monets are drawn just from the collections of the Louvre and the Musée d'Orsay, as are 19 works of Degas, and 11 of Manet.<sup7</sup And these museums often hold many more works than are displayed, or reproduced: so for example, Chicago's Art Institute alone owns a total of 49 paintings by Monet,\n\n31 by Manet, 27 by Picasso, and 18 by Matisse.<sup8</sup The works owned by museums also tend to be important ones, because curators  particularly at major museums  have little interest in acquiring unimportant works.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0040": {
-    "English Original": "Thus it seems clear that authors can readily choose among large numbers of important works in selecting the paintings to illustrate their textbooks.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0041": {
-    "English Original": "The Rankings and the Puzzles\n\nThe two most basic rankings from these data can be presented immediately: Table 2 ranks the artists by total illustrations, while Table 3 ranks individual paintings by the same measure.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0042": {
-    "English Original": "For those acquainted with the history of modern art, neither list appears surprising in itself.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0043": {
-    "English Original": "The artists at the top of Table 2 are the greatest masters of modern French painting: Picasso, Matisse, and Braque are clearly the major figures of the twentieth century, as were Cézanne, Manet, and Monet those of the nineteenth.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0044": {
-    "English Original": "And the paintings in Table 3 are all classic works, their images immediately familiar to students of modern art.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0045": {
-    "English Original": "Yet puzzles appear when Tables 2 and 3 are compared.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0046": {
-    "English Original": "Two of the five highestranked artists in total illustrations  Cézanne and Monet  have no paintings among the 10 highestranked works in Table 3.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0047": {
-    "English Original": "Cézanne's only painting in Table 3, ranked just twelfth, appears in less than half of all the books surveyed, and Monet's only entry, ranked in a tie for nineteenth place, appears in only onethird of the books.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0048": {
-    "English Original": "Furthermore, two artists among the leading ten in Table 2, Braque and Degas, fail to have even a single painting among the 21 listed in Table 3.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0049": {
-    "English Original": "Conversely, some artists ranked below the top group in Table 2 have paintings very prominently placed in Table 3.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0050": {
-    "English Original": "Seurat ranks only fourteenth in total illustrations, but his painting of a Sunday afternoon in a park near Paris ranks third in Table 3, reproduced in over 70% of the\n\nbooks surveyed, more than any other painting executed in the nineteenth century.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0051": {
-    "English Original": "Duchamp, ranked only eleventh in Table 2, remarkably has two paintings among the first seven in Table 3 both of them above any work by such masters as Cézanne, Matisse, and Monet.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0052": {
-    "English Original": "And not only do Picasso and Manet each have three paintings listed in Table 3, but so does Courbet, who ranks only twelfth overall among artists in Table 2.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0053": {
-    "English Original": "Why did some of the most important artists not produce the most important individual works?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0054": {
-    "English Original": "Why were some of the most important individual paintings produced by painters who do not rank among the most important artists?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0055": {
-    "English Original": "Answering these questions obviously requires consideration of what makes modern painters, and paintings, important.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0056": {
-    "English Original": "Importance in Modern Art\n\nFor modern artists, importance is primarily a function of innovation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0057": {
-    "English Original": "The central place of innovation in modern art has been generally recognized by critics and scholars.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0058": {
-    "English Original": "Thus in 1968 the critic Clement Greenberg remarked that \"Until the middle of the last century innovation in Western art had not had to be startling or upsetting; since then ... it has had to be that.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0059": {
-    "English Original": "\"<sup9</sup Greenberg's archrival, Harold Rosenberg, stated simply that \"the only thing that counts for Modern Art is that a work shall be NEW.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0060": {
-    "English Original": "\"<sup10</sup Historian Meyer Schapiro remarked in 1952 on the \"unique intensity of the growth of styles in painting since the 1830s,\" and observed: \"Every great painter in that period (and many a lesser one) is an innovator in the structure of painting.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0061": {
-    "English Original": "\"<sup11</sup Historian Alan Bowness agreed in 1972 that the recent stress on innovation is not new: \"we are always persuaded that there has never been a more revolutionary period, never an age when art was more experimental.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0062": {
-    "English Original": "This remark, however, has been made about contemporary art for a great\n\nmany years now  certainly since Manet exhibited at the Salon des Refusés [in 1863].",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0063": {
-    "English Original": "\"<sup12</sup Sociologist Raymonde Moulin observed that \"Artists since the impressionists have been in the business of challenging established values and perpetually renovating the house of art.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0064": {
-    "English Original": "The history of modern art has been one of new tendencies establishing themselves in opposition to the old, only to be quickly challenged by still newer ones.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0065": {
-    "English Original": "\"<sup13</sup The critic Michael Fried described the history of modern art as one of \"perpetual revolution,\" arguing that \"the best model for the evolution of modernist painting is that of the dialectic understood as an unceasing process of perpetual radical selfcriticism.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0066": {
-    "English Original": "\"<sup14</sup More simply, critic Arthur Danto declared that \"the Paris art world of the 1880s was like the New York art world of the 1980s  competitive, aggressive, swept by the demand that artists come up with something new or perish.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0067": {
-    "English Original": "\"<sup15</sup And historian Leo Steinberg remarked that \"Modern art always projects itself into a twilight zone where no values are fixed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0068": {
-    "English Original": "\"<sup16</sup\n\nSince the birth of modern painting in the midnineteenth century, artists have made innovations in many areas, including subject matter, composition, scale, materials, and techniques.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0069": {
-    "English Original": "But whatever the nature of an artist's innovation, its importance has been determined primarily by its influence on other artists.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0070": {
-    "English Original": "The more widespread the adoption of an innovation by other artists, the more important its creator.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0071": {
-    "English Original": "The importance of individual works similarly depends on the extent of their influence.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0072": {
-    "English Original": "The most important individual paintings are those that announce the first appearance of innovations that become widely adopted.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0073": {
-    "English Original": "Recognition of the key role of innovation in determining the importance of modern painters and paintings allows a restatement of the puzzles raised earlier, derived from the differences in rankings between Tables 2 and 3.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0074": {
-    "English Original": "Specifically, why did some of the most important\n\ninnovators not produce individual works that announced important innovations, and why were many of the most important individual embodiments of innovations not executed by the most important innovators?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0075": {
-    "English Original": "Answering these questions requires recognition of the fact that there have been two very different types of innovation in the history of modern art.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0076": {
-    "English Original": "What distinguishes them is not their relative importance, for instances of both rank among the major innovations in modern art.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0077": {
-    "English Original": "What distinguishes them is rather the method by which they are produced.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0078": {
-    "English Original": "One of these methods can be called esthetically motivated experimentation, the other conceptual execution.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0079": {
-    "English Original": "Modern artists who have produced experimental innovations have generally been prompted by esthetic considerations; their art has usually sought to express visual perceptions or sensations.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0080": {
-    "English Original": "They typically describe their goals as elusive, and difficult to describe precisely.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0081": {
-    "English Original": "Their usual procedure has consequently been incremental.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0082": {
-    "English Original": "These artists repeat themselves, painting the same subjects many times  sometimes painting over a single work many times  in an experimental process of trial and error.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0083": {
-    "English Original": "As a result, their innovations often appear gradually over long periods: they are not declared in any single work, but rather emerge piecemeal in a large body of work.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0084": {
-    "English Original": "These artists are often uncertain of their progress, and commonly believe that their experiments produce no conclusive results, so that even the greatest of these innovators often express frustration at their inability to achieve their desired goals.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0085": {
-    "English Original": "In contrast, modern artists who have produced conceptual innovations have generally been motivated by criteria that are other than visual; their art has typically been intended to express emotions or ideas.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0086": {
-    "English Original": "The goals of their work, and the methods of its execution, can often be stated precisely, in advance of its production.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0087": {
-    "English Original": "Their work is consequently often systematic, with all\n\nmajor decisions made before they begin to paint, and they often describe the execution of a painting as perfunctory.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0088": {
-    "English Original": "Conceptuallydriven innovations often appear suddenly: a new idea produces a result significantly different not only from other artists' work, but also from the artist's own previous work.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0089": {
-    "English Original": "One consequence of the suddenness of these innovations is that they can be embodied in individual breakthrough works.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0090": {
-    "English Original": "The long periods often required for experimental innovations mean that they frequently occur late in an artist's career, but conceptual innovations can occur at any age.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0091": {
-    "English Original": "Extreme conceptual innovations are in fact most often made by young artists, who are not yet committed to existing conventions and accustomed to traditional methods, and who might consequently perceive and appreciate more radical approaches.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0092": {
-    "English Original": "Experimental and Conceptual Innovators\n\nCertain artists clearly illustrate each of these types.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0093": {
-    "English Original": "In just two letters written in September, 1906, the month before his death, the 67yearold Paul Cézanne expresses nearly all the characteristics of the experimental innovator: the visual criteria, the view of his enterprise as research, with the need for accumulation of evidence, the incremental nature of his procedure, its slowness, the repeated study of a single motif, the total absorption in the pursuit of an elusive goal, and the artist's dissatisfaction with his perceived lack of success in achieving the desired results.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0094": {
-    "English Original": "Thus he wrote to his son:\n\n I must tell you that as a painter I am becoming more clearsighted before nature, but that with me the realization of my sensations is always painful.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0095": {
-    "English Original": "I cannot attain the intensity that is unfolded before my senses.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0096": {
-    "English Original": "I have not the magnificent richness of coloring that animates nature.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0097": {
-    "English Original": "Here on the bank of the river\n\nthe motifs multiply, the same subject seen from a different angle offers subject for study of the most powerful interest and so varied that I think I could occupy myself for months without changing place, by turning now more to the right, now more to the left.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0098": {
-    "English Original": "Two weeks later he wrote to the painter Emile Bernard:\n\n...now it seems to me that I see better and that I think more correctly about the direction of my studies.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0099": {
-    "English Original": "Will I ever attain the end for which I have striven so much and so long?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0100": {
-    "English Original": "I hope so, but as long as it is not attained a vague state of uneasiness persists which will not disappear until I have reached port, that is until I have realized something which develops better than in the past, and thereby can prove the theories  which in themselves are always easy; it is only giving proof of what one thinks that raises serious obstacles.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0101": {
-    "English Original": "So I continue to study.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0102": {
-    "English Original": "But I have just reread your letter and I see that I always answer off the mark.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0103": {
-    "English Original": "Be good enough to forgive me; it is, as I told you, this constant preoccupation with the aim I want to reach, which is the cause of it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0104": {
-    "English Original": "I am always studying after nature and it seems to me that I make slow progress.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0105": {
-    "English Original": "I should have liked you near me, for solitude always weighs me down a bit.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0106": {
-    "English Original": "But I am old, ill, and I have sworn to myself to die painting ...<sup17</sup\n\nThe irony of these expressions of frustration stems from the fact that in time not only would\n\nCézanne come to be generally recognized as the most important painter of his generation, but that\n\nit would be the work he did late in his life that would be considered his greatest contribution.<sup18</sup\n\nThe only two of his paintings that appear in ten or more of the texts considered here were both\n\ncompleted within the final two years of his life.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0107": {
-    "English Original": "The incremental nature of Cézanne's approach was eloquently discussed by his\n\nbiographer, Roger Fry:\n\nFor him, as I understand his work, the ultimate synthesis of a design was never revealed in a flash; rather he approached it with infinite\n\nprecautions, stalking it, as it were, now from one point of view, now from another, and always in fear lest a premature definition might deprive it of something of its total complexity.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0108": {
-    "English Original": "For him the synthesis was an asymptote toward which he was for ever approaching without ever quite reaching it; it was a reality, incapable of complete realization ...",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0109": {
-    "English Original": "But when one speaks thus of Cézanne it is necessary to explain that all this refers to Cézanne in the plenitude of his development, after many years of research, after the failure of many attempts in different directions  to Cézanne when he had discovered his own personality.<sup19</sup\n\nMeyer Schapiro pointed to the same characteristic when he wrote that \"Cézanne's method was not a foreseen goal which, once reached, permitted him to create masterpieces easily.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0110": {
-    "English Original": "His art is a model of steadfast searching and growth.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0111": {
-    "English Original": "\"<sup20</sup\n\nLate in his life, in his letters Cézanne repeatedly stressed the visual character of his goal.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0112": {
-    "English Original": "In his opinion, his progress was slow because of the complexity of nature, the difficulty of training his eye to see it more clearly, and the problems involved in developing a technique that would express his perceptions; thus he wrote to a friend in 1904 that the knowledge of how to express his feeling for nature \"is only to be acquired through very long experience.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0113": {
-    "English Original": "\"<sup21</sup His procedures in painting were painstaking in the extreme.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0114": {
-    "English Original": "His dealer and friend Vollard reported that \"For one who has not seen him paint, it is difficult to imagine how slow and painful his progress was on certain days.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0115": {
-    "English Original": "Vollard had occasion to know, for when Cézanne agreed to paint his portrait, during Cézanne's visits to Paris the dealer would sit in the artist's studio each morning for three and a half hours.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0116": {
-    "English Original": "After 115 of these sittings over a period of three years, Cézanne left the painting to return to his home in Aix.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0117": {
-    "English Original": "Even then, however, he considered the portrait unfinished, insisting that Vollard leave in the studio the clothes in which he had posed, in anticipation of additional sessions at some later date.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0118": {
-    "English Original": "Vollard understood that Cézanne almost invariably considered his\n\nwork provisional: \"When Cézanne laid a canvas aside, it was almost always with the intention of taking it up again, in the hope of bringing it to perfection.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0119": {
-    "English Original": "\"<sup22</sup\n\nCézanne's experimental approach may also explain the casual disregard he often showed for his completed works, an aspect of his behavior that has often been remarked on as a curious and unfortunate idiosyncracy.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0120": {
-    "English Original": "Vollard recounted a number of examples: how Cézanne allowed the dealer Tanguy to cut pieces from his canvases for collectors who could not afford to buy larger paintings; Cézanne's amusement when his young son poked holes in his father's paintings; Cézanne's random destruction of paintings in his studio when he wished to vent his anger; and the understanding of Cézanne's servants that they were to destroy canvases that they found discarded in the garden of his house.<sup23</sup Recently, historian Richard Shiff disapprovingly described what he called \"the unprofessional character of Cézanne's enterprise  as a rule, he neither signed nor dated his paintings, left parts of them in varying states of finish, and often returned to repaint canvases with the result of placing one image over another incompatible one.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0121": {
-    "English Original": "\"<sup24</sup Rather than simply demonstrating his eccentricity or his lack of respect for his craft, these accounts of apparent negligence may be evidence of Cézanne's view of his paintings as a series of experiments: once he had learned their lessons in the process of painting them, he no longer needed them.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0122": {
-    "English Original": "Thus the critic Clive Bell wrote that \"For him every picture was a means ... something he was ready to discard as soon as it had served his purpose.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0123": {
-    "English Original": "He had no use for his own pictures.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0124": {
-    "English Original": "To him they were experiments.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0125": {
-    "English Original": "He tossed them into bushes, or left them in the open fields...\"<sup25</sup Cézanne's own language reflects this attitude, as for example in his admonition to Bernard: \"painters must devote themselves entirely to the study of nature and try to produce pictures which will be an education.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0126": {
-    "English Original": "\"26 Because it was education that mattered, individual works\n\n14\n\nwere not crucial: \"When a picture isn't realized, you pitch it in the fire and start another one!",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0127": {
-    "English Original": "\"<sup27</sup\n\nAmong the artists in this study, the most important example of the conceptually driven\n\ninnovator is Picasso.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0128": {
-    "English Original": "A statement of his, first published in 1923, clearly presents his view that art\n\nshould communicate conceptual discoveries, and expresses his contempt for the experimental\n\napproach:\n\nI can hardly understand the importance given to the word research in connection with modern painting.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0129": {
-    "English Original": "In my opinion to search means nothing in painting.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0130": {
-    "English Original": "To find, is the thing ...",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0131": {
-    "English Original": "Among several sins that I have been accused of committing, none is more false than the one that I have, as the principal objective in my work, the spirit of research.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0132": {
-    "English Original": "When I paint my object is to show what I have found and not what I am looking for ...",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0133": {
-    "English Original": "They speak of naturalism in opposition to modern painting.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0134": {
-    "English Original": "I would like to know if anyone has ever seen a natural work of art.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0135": {
-    "English Original": "Nature and art, being two different things, cannot be the same thing.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0136": {
-    "English Original": "Through art we express our conception of what nature is not ...",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0137": {
-    "English Original": "I also often hear the word evolution.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0138": {
-    "English Original": "Repeatedly I am asked to explain how my painting evolved.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0139": {
-    "English Original": "To me there is no past or future in art ... Art does not evolve by itself, the ideas of people change and with them their mode of expression ...",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0140": {
-    "English Original": "The several manners I have used in my art must not be considered as an evolution, or as steps toward an unknown ideal of painting ...",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0141": {
-    "English Original": "I have never made trials or experiments.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0142": {
-    "English Original": "Whenever I have had something to say, I have said it in the manner in which I have felt it ought to be said.<sup28</sup\n\nPicasso's attitude toward his own completed works contrasted sharply with Cézanne's\n\ncasual disregard.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0143": {
-    "English Original": "He became furious if he saw that any of his paintings had been varnished or\n\ncleaned.<sup29</sup He always signed his works, and he often dated them not only with the customary year\n\nbut also with the month and day of their execution.30 Unlike Cézanne, who would often destroy\n\nworks he considered unsuccessful, Picasso wanted to leave all his works to posterity: \"I paint the way some people write their autobiography.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0144": {
-    "English Original": "The paintings, finished or not, are the pages of my journal, and as such they are valid.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0145": {
-    "English Original": "The future will choose the pages it prefers.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0146": {
-    "English Original": "It's not up to me to make the choice.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0147": {
-    "English Original": "\"<sup31</sup Far from considering his work as merely the residue of past experiments, Picasso's words and actions indicate that he regarded every piece as a potentially significant work that would someday be of historical interest.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0148": {
-    "English Original": "John Golding, a historian of Cubism, underscored the conceptual rather than visual basis of Picasso's great early innovation:\n\n ...the Cubism of Picasso and Braque was to be essentially conceptual.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0149": {
-    "English Original": "Even in the initial stages of the movement, when the painters still relied to a large extent on visual models, their paintings are not so much records of the sensory appearance of their subjects, as expressions in pictorial terms of their idea or knowledge of them.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0150": {
-    "English Original": "\"I paint objects as I think them, not as I see them,\" Picasso said....<sup32</sup\n\nPicasso painted the Demoiselles d'Avignon, generally regarded as the forerunner of Cubism, in 1907, at the age of 26.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0151": {
-    "English Original": "He and Georges Braque went on to develop Cubism between that date and the outbreak of World War I. Picasso would make other important contributions later in his long career, but this was the most significant.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0152": {
-    "English Original": "Of the Demoiselles in particular, critic John Russell wrote \"there is no doubt that the Demoiselles is the white whale of modern art: the legendary giant with which we have to come to terms sooner or later,\" while historian George Heard Hamilton declared that \"it has been recognized as a watershed between the old pictorial world and the new.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0153": {
-    "English Original": "\"<sup33</sup Similarly, Golding characterized Cubism as \"perhaps the most important and certainly the most complete and radical artistic revolution since the Renaissance,\" and historian Douglas Cooper described it as \"the most potent generative force in twentiethcentury\n\nart.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0154": {
-    "English Original": "\"<sup34</sup The Demoiselles is a classic example of a single work that declares a conceptual innovation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0155": {
-    "English Original": "Remarkably, agreement among historians on the importance of the painting is so great that it fails to appear in only three of the 33 books examined by this study.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0156": {
-    "English Original": "Resolving the Puzzles: A Hypothesis\n\nThis distinction between the two methods by which major modern artists have produced innovations suggests a resolution of the puzzles raised earlier.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0157": {
-    "English Original": "First, why do some of the most important artists not produce the most important individual works?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0158": {
-    "English Original": "The answer may be that experimental innovators produce bodies of work that lead incrementally to their innovations, rather than individual breakthrough works.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0159": {
-    "English Original": "Cézanne's work provides an obvious example.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0160": {
-    "English Original": "His attempt to create depth without sacrificing the colors of the Impressionists, through the development of his distinctive composition and brushstroke, is witnessed dramatically in his late views of Mont SainteVictoire.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0161": {
-    "English Original": "Had he produced just one of these, it would likely rival the Demoiselles d'Avignon in importance.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0162": {
-    "English Original": "But instead he made dozens; 13 different paintings of the mountain done in just his last two decades are illustrated in the books surveyed here, and together they appear 30 times.<sup35</sup\n\nBesides Cézanne, the most prominent experimental innovator considered in this study is probably Monet.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0163": {
-    "English Original": "Monet's own descriptions of his method parallel those of Cézanne in defining the experimental approach, with the emphasis on the painstaking effort to capture visual sensations, the disbelief in the possibility of rapid progress, and the resulting frustration with his own work.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0164": {
-    "English Original": "While working in Brittany in 1886, he wrote that \"I do know that to paint the sea really well, you need to look at it every hour of every day in the same place so that you can\n\nunderstand its ways in that particular spot; and this is why I am working on the same motifs over and over again, four or six times even.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0165": {
-    "English Original": "\"<sup36</sup In 1890 the 50yearold artist described painting as a \"continual torture,\" and reported to a friend: \"I am working at a desperately slow pace, but the further I go, the more I see that I have a lot of work in order to manage to convey what I am seeking: 'instantaneity', above all, the envelopment, the same light spread over everywhere; and more than ever, easy things achieved at one stroke disgust me.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0166": {
-    "English Original": "Finally I am more and more maddened by the need to convey what I experience ...\"<sup37</sup Three years later he declared \"I tell myself that anyone who claims he's finished a painting is terribly arrogant.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0167": {
-    "English Original": "To finish something means complete, perfect and I'm forcing myself to work, but can't make any progress; looking for something, groping my way forward, but coming up with nothing very special.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0168": {
-    "English Original": "\"<sup38</sup In one respect, Monet's use of the experimental approach is even more celebrated than Cézanne's, for although Cézanne did repeated studies of several motifs, one of Monet's most noted innovations is the serial approach he adopted during the 1890s.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0169": {
-    "English Original": "His views of grainstacks, poplars, the facade of Rouen cathedral, the cliffs of Normandy, the Seine, and the Thames were the most intensive studies of particular subjects that had been done to date, with each series considered as a set of related observations.<sup39</sup Monet had in fact had worked less formally in series throughout his career, and the scores of paintings of water lilies he later did at Giverny between 1899 and his death in 1926 constitute perhaps the most monumental single example of serial painting in the history of modern art.<sup40</sup Their collective importance is clear: 17 different paintings of the water lilies appear in the texts surveyed, illustrated a total of 22 times.<sup41</sup\n\nThe second puzzle raised above was why some of the most important individual paintings were produced by painters who themselves do not rank among the most important artists.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0170": {
-    "English Original": "In light\n\nof the distinction made earlier, these cases should be those of conceptual innovations.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0171": {
-    "English Original": "In the most extreme cases, an artist might produce a conceptual innovation, clearly embodied in an individual breakthrough work; this breakthrough work would then be of much greater importance than any later works that simply repeated the innovation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0172": {
-    "English Original": "Seurat provides an obvious example.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0173": {
-    "English Original": "A friend wrote of Seurat's approach to his work that \"Not only did he never begin his paintings without knowing where he was going, but his concern went even beyond their success as individual works.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0174": {
-    "English Original": "They had no great meaning for him if they did not prove some rule, some truth of art, or some conquest of the unknown.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0175": {
-    "English Original": "\"<sup42</sup Inspired by the idea of applying scientific theories of visual perception to painting, at the age of 25 Seurat methodically set out to produce a masterpiece as a definitive illustration of the use of color theory.<sup43</sup After making studies at the site, he produced his view of the Grande Jatte in his studio, often standing on a ladder before the canvas that was nearly seven feet high.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0176": {
-    "English Original": "He \"always concentrated on a single section of the canvas, having previously determined each stroke and color to be applied.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0177": {
-    "English Original": "Thus he was able to paint steadily without having to step back from the canvas in order to judge the effect obtained.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0178": {
-    "English Original": "He could also paint at night, despite the poor quality of the artificial light: \"the type of lighting was unimportant, since his purpose was completely formulated before he took his brush and carefully ordered palette in hand.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0179": {
-    "English Original": "\"<sup44</sup When visitors to his studio praised his painting, Seurat remarked to a friend: \"They see poetry in what I have done.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0180": {
-    "English Original": "No, I apply my method and that is all there is to it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0181": {
-    "English Original": "\"<sup45</sup Completed when Seurat was just 27 years old, his painting of Parisians relaxing on a Sunday afternoon is illustrated in 24 of the 33 textbooks surveyed for this study.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0182": {
-    "English Original": "Although Seurat subsequently intended to develop a more systematic basis for the use of line in painting, his efforts were cut short by his early death, at the age of 31.46 Thus one great painting dominates his\n\naccomplishments.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0183": {
-    "English Original": "Marcel Duchamp is perhaps the other most extreme case of a conceptual innovator among the artists considered here.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0184": {
-    "English Original": "Although he produced few works, several have become very famous.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0185": {
-    "English Original": "The fourthranked painting in Table 3, his Nude Descending a Staircase of 1912, painted when Duchamp was just 25, outraged many artists for its attack on Cubism.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0186": {
-    "English Original": "It became a focal point for critics of the legendary 1913 Armory Show, and Theodore Roosevelt observed that it reminded him of a Navajo rug.<sup47</sup In seventh place in Table 3 is Duchamp's Bride Stripped Bare, an even more enigmatic conceptual work.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0187": {
-    "English Original": "Duchamp made other radical conceptual contributions to art that are not listed here because they ceased to involve painting: these included his Fountain  a urinal he purchased and signed  and other examples of what he would call \"readymades\" objects he purchased and signed.<sup48</sup Duchamp's motivation was avowedly conceptual: \"I wanted to get away from the physical aspect of painting.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0188": {
-    "English Original": "I was much more interested in recreating ideas in painting ...",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0189": {
-    "English Original": "I was interested in ideas  not merely in visual products.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0190": {
-    "English Original": "I wanted to put painting once again at the service of the mind.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0191": {
-    "English Original": "\"<sup49</sup Duchamp's attempts to dissolve the aesthetic boundaries between art and life became enormously influential in the 1960s and beyond, as many contemporary artists pursued the question of what constitutes art.<sup50</sup\n\n Categorizing Painters: Quantitative Evidence\n\nThe modern professional humanist is an academic person who pretends to despise measurement because of its \"scientific\" nature.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0192": {
-    "English Original": "He regards his mandate as the explanation of human expressions in the language of normal discourse.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0193": {
-    "English Original": "Yet to explain something and to measure it are similar operations.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0194": {
-    "English Original": "George Kubler<sup51</sup\n\nThe data set constructed for this study can be used to examine the implications of the\n\ndistinction suggested above, by producing evidence of systematic differences between experimental and conceptual innovators in modern painting.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0195": {
-    "English Original": "Table 4 presents Gini ratios for the paintings illustrated in the textbooks surveyed, by artist.<sup52</sup The Gini ratio is the measure of inequality most often used by economists; it is normally used to measure the degree of inequality in a country's income distribution.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0196": {
-    "English Original": "It varies between zero (perfect equality) and one (maximum inequality).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0197": {
-    "English Original": "Here, instead of people, the units over which the ratio is measured are paintings: the ratio measures how unequally a given artist's paintings are illustrated.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0198": {
-    "English Original": "Thus for example Camille Pissarro's 38 total illustrations show 34 different paintings, with no single painting illustrated more than twice, and his Gini ratio is therefore very low, whereas Marcel Duchamp's 72 illustrations represent 19 different paintings, and just two of these account for more than half of the illustrations, yielding a very high Gini.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0199": {
-    "English Original": "Duchamp and Seurat have the highest Gini ratios among the artists studied, as would be expected from the earlier discussions of their work: neither was prolific, and both produced famous individual breakthrough works that embodied influential conceptual innovations.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0200": {
-    "English Original": "Near them at the high end of the list are Manet and Courbet, each of whom similarly produced several monumental individual works that introduced specific conceptual innovations.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0201": {
-    "English Original": "Thus for example in the Déjeuner sur l'herbe and the Olympia, both completed in 1863, and both listed in Table 3, Manet made dramatic innovations of subject matter and technique: both the placement of modern figures in settings borrowed from portrayals of classical themes and the abandonment of shadow in modelling have led many historians to identify these as the first modern paintings.<sup53</sup Similarly, in the Bar at the FoliesBergère, his last major work, also high in Table 3, Manet distorted the representation of space in a way that has been identified as an inspiration to later artists to use\n\nspace arbitrarily, thus initiating a process that eventually led to abstraction in painting.<sup54</sup While Manet's total of 130 illustrations represent 48 different paintings, 56 of the illustrations  more than twofifths  are of just these three famous works.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0202": {
-    "English Original": "Unlike his friends Cézanne and Monet, whose experimental approach led them to return repeatedly to study the same subjects, Manet's conceptual approach led to variety.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0203": {
-    "English Original": "A friend of Manet's, the critic Théodore Duret, wrote that the painter \"had no circumscribed circle.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0204": {
-    "English Original": "He painted indifferently all that the eye can see  men and women under every aspect and all sorts of groupings, landscape, seascape, still life, flowers, animals, in the open air, and in the studio.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0205": {
-    "English Original": "His method was to have a constant change of subject, and never to stale a success by repetition.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0206": {
-    "English Original": "\"<sup55</sup\n\nExperimental innovators should have low Gini ratios, as their incremental method reduces the importance of individual paintings.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0207": {
-    "English Original": "Monet has a very low Gini, as does his contemporary Degas, another artist who shared his commitment to repetition: \"one must redo ten times, one hundred times the same subject.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0208": {
-    "English Original": "\"<sup56</sup The dealer Vollard noted that \"Because of the many tracings that Degas did of his drawings, the public accused him of repeating himself.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0209": {
-    "English Original": "But his passion for perfection was responsible for his continual research.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0210": {
-    "English Original": "<sup57</sup Thus although Degas ranks ninth among artists in Table 2, he has no individual work listed in Table 3.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0211": {
-    "English Original": "Degas was famous for his studies of ballet dancers, but as a friend observed, \"He has done so many dancers and so often repeated himself that it is difficult to specify any particular one.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0212": {
-    "English Original": "\"<sup58</sup Although 20 different individual paintings of dancers appear in the books considered by this study, and together these account for a total of 29 illustrations, no one of them appears in more than four different books.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0213": {
-    "English Original": "Another Impressionist, Pissarro, has by far the lowest Gini ratio among the artists considered here.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0214": {
-    "English Original": "Both his paintings and his eloquent letters attest to his conception of art as a visual and experimental enterprise.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0215": {
-    "English Original": "His advice to his son Lucien, who had gone to London to advance his career as an artist, always returned to the need for practice: \"It is only by drawing often, drawing everything, drawing incessantly, that one fine day you discover to your surprise that you have rendered something in its true character.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0216": {
-    "English Original": "\"<sup59</sup Progress would come only with effort: \"So much the better if it is painful for you to take even the first step, the more toilsome the work the stronger you will emerge from it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0217": {
-    "English Original": "\"<sup60</sup Although deeply committed to his art, Pissarro suffered from persistent doubt over the quality of his work.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0218": {
-    "English Original": "In 1883, past the age of 50, he confessed that \"I am much disturbed by my unpolished and rough execution,\" but he vowed to persevere in spite of his uncertainty: \"I will calmly tread the path I have taken, and try to do my best.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0219": {
-    "English Original": "At bottom, I have only a vague sense of its rightness or wrongness.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0220": {
-    "English Original": "\"<sup61</sup It is not only art historians who do not find individual paintings that stand out among Pissarro's oeuvre, for later the same year the artist wrote to his son: \"You tell me that if I have a show in London I should send my best works.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0221": {
-    "English Original": "That sounds simple enough, but when I reflect and ask myself: which are my best things?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0222": {
-    "English Original": "I am in all honesty greatly perplexed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0223": {
-    "English Original": "\"<sup62</sup\n\nThe Gini ratio for Miró is among the lowest in Table 4.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0224": {
-    "English Original": "Miró's statements about his art consistently revealed his experimental approach.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0225": {
-    "English Original": "So for example he told an interviewer that \"when I've finished something I discover it's just a basis for what I've got to do next.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0226": {
-    "English Original": "It's never anything more than a point of departure...",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0227": {
-    "English Original": "I'd paint over it again, right on top of it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0228": {
-    "English Original": "Far from being a finished work, to me it's just a beginning.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0229": {
-    "English Original": "\"<sup63</sup He emphasized the spontaneity of his approach to each painting: \"I start a canvas without a thought of what it may eventually become ...",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0230": {
-    "English Original": "I begin painting and as I paint the picture begins to assert itself, or suggest itself under my brush.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0231": {
-    "English Original": "The form becomes a sign for a woman or a bird as I work.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0232": {
-    "English Original": "\"64 In a letter written early in\n\nhis career Miró gave an extended description of the kind of artist he admired, who \"sees a different problem in every tree and in every bit of sky: this is the man who suffers, the man who is always moving and can never sit still, the man who will never do what people call a 'definitive' work.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0233": {
-    "English Original": "He is the man who always stumbles and gets to his feet again ... [He] is always saying not yet, it is still not ready, and when he is satisfied with his last canvas and starts another one he destroys the earlier one.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0234": {
-    "English Original": "His work is always a new beginning...\"<sup65</sup While still in his twenties he expressed his belief \"that one's serious work begins only in maturity,\" and he retained this attitude in later years, as in his forties he denounced his \"young contemporaries ... who begin their shameful decline at the age of thirty,\" and declared that \"The great ones develop and grow as they get older.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0235": {
-    "English Original": "\"<sup66</sup\n\nAlthough Cézanne's Gini ratio is below that of Picasso, as their contrasting approaches would imply, the difference between them in Table 4 is not great.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0236": {
-    "English Original": "Yet in a different dimension they appear at the opposite ends of a spectrum.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0237": {
-    "English Original": "Table 5 presents the age of each artist in the single year of his career represented by the largest number of textbook illustrations.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0238": {
-    "English Original": "Here Cézanne's age of 67 is the oldest among all the artists considered, as 31 of the total of 136 illustrations of his work  just over onefifth  represent paintings executed in the final year of his life.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0239": {
-    "English Original": "Picasso's entry in Table 5, at age 26, is above only those of Chagall and Duchamp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0240": {
-    "English Original": "As discussed earlier, experimental innovators' incremental approach often means that their greatest contributions appear late in their careers, and Cézanne is followed by Monet  whose peak year for illustrations occurs at age 54  among the artists whose late work is most heavily represented in the texts.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0241": {
-    "English Original": "Degas and Pissarro, other prominent experimental artists, also both have peak years above age 40.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0242": {
-    "English Original": "In contrast, conceptual innovations can be made quickly, and dramatic new\n\napproaches are perceived more readily by the young.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0243": {
-    "English Original": "Thus Picasso is joined by Seurat and Duchamp as important conceptual innovators whose peak age for illustrations occurred before the age of 30, and Manet's peak age occurs at just 31.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0244": {
-    "English Original": "Another quantitative measure points to an additional systematic difference between experimental and conceptual innovators.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0245": {
-    "English Original": "Table 6 shows the shortest span of years that contains at least half of each artist's total illustrations.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0246": {
-    "English Original": "So for example 30 of the 60 illustrations of Seurat's paintings are of work done during 188586, so his entry in Table 6 is two years; the shortest span that contains half of Cézanne's total illustrations is 18941906, so his entry is 13 years.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0247": {
-    "English Original": "This measure gives an indication of the temporal concentration of an artist's contribution.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0248": {
-    "English Original": "The lowest entries in Table 6 are for conceptual innovators.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0249": {
-    "English Original": "Thus Duchamp and Seurat are among the lowest entries, of three years or less.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0250": {
-    "English Original": "They are joined by van Gogh.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0251": {
-    "English Original": "Although van Gogh was not as young as other leading conceptual innovators when he did his greatest work, this was in part because he decided to become a painter only in his late 20s, after abandoning unsuccessful careers as an art dealer, teacher, and missionary.<sup67</sup Van Gogh's approach to his work was clearly conceptual, though unlike Seurat, who based his work on scientific theories, or Duchamp, who used his work to pose intellectual questions, van Gogh's goal was to use painting to express emotions.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0252": {
-    "English Original": "In a description of his famous painting of the Night Café in Arles  one of his two paintings listed in Table 3  he declared that he had \"tried to express the terrible passions of humanity by means of red and green.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0253": {
-    "English Original": "This was a instance of his general practice that \"instead of trying to reproduce exactly what I have before my eyes, I use color more arbitrarily, in order to express myself forcibly.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0254": {
-    "English Original": "\"<sup68</sup\n\nThe measure used in Table 6 does not clearly separate out all the conceptual innovators,\n\nbut rather produces low entries for those who made a single major contribution.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0255": {
-    "English Original": "Those who made several, separated in time, have higher entries.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0256": {
-    "English Original": "Obvious examples include Manet and Picasso.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0257": {
-    "English Original": "Nonetheless, the table's two highest entries, pointing to the most prolonged periods of innovation, are those of the great experimental innovators Monet and Cézanne, and they are followed by their friend Pissarro, who shared their complete commitment to the belief that real progress could be made only slowly, and could result only from the visual study of nature.<sup69</sup\n\nIn histories of art, a prominent place is often given not simply to an important artist's great individual works, but to a short period in which the artist makes his principal contribution.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0258": {
-    "English Original": "Narratives of modern art are often organized around these episodes, for in the modern era these have often been key periods in which the work of a few individuals gave rise to a new movement, from Impressionism and NeoImpressionism through Fauvism, Cubism, and beyond.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0259": {
-    "English Original": "Table 7 uses the textbook illustrations to provide an indication of which of these are considered most important, by identifying the episodes that include the largest number of illustrations of work by individual artists within any fiveyear period .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0260": {
-    "English Original": "This does not precisely correspond to the historians' analyses, for artists' creative episodes vary in length, but five years constitute a period long enough to capture many of the most important breakthrough phases in modern artists' careers.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0261": {
-    "English Original": "The analysis presented above would predict that Table 7 should be dominated by conceptual innovators, because of the greater temporal concentration of their achievements.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0262": {
-    "English Original": "This is clearly the case.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0263": {
-    "English Original": "Interestingly, in spite of Picasso's preeminent position in total illustrations and the enormous importance of Cubism, the list is headed by van Gogh, as his years in France emerge as the most heavily illustrated episode in the portion of modern art studied in this paper.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0264": {
-    "English Original": "The\n\ninvention and development of Cubism does account for the high positions of Picasso (both second in Table 7 for 190610, and fourth for 191115) and Braque (fifth for 190812).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0265": {
-    "English Original": "The period in which Matisse moved from NeoImpressionism to the leadership of the Fauves places him third in Table 7, and Gauguin's leading role in Symbolism, from his time in PontAven to his first trip to Tahiti, places him fifth.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0266": {
-    "English Original": "The conceptual innovations of Manet, Seurat, and Duchamp also put them high on the list, ahead of the experimental innovators Cézanne and Monet, who rank just eleventh and thirteenth, respectively.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0267": {
-    "English Original": "The difference in the relative importance of short periods in the careers of conceptual and experimental innovators is again witnessed by the fact that the proportion of the artist's total illustrations that represented work done in this primary fiveyear period was lower for Cézanne and Monet than for any other artist in Table 7 except Picasso.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0268": {
-    "English Original": "The careers of van Gogh, Gauguin, and Seurat  each known primarily for one major achievement  are heavily dominated by these episodes, with more than twothirds of all the illustrations of their work done within the relevant five years.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0269": {
-    "English Original": "The careers of conceptual innovators like Picasso and Manet, who made several major contributions, are much less dominated by these episodes, as were the careers of Cézanne and Monet, whose incremental approach reduced the importance of any single period.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0270": {
-    "English Original": "Picasso's exceptional position in modern painting is impressively demonstrated by his appearance in Table 7 for five separate episodes, while no other artist appears more than once.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0271": {
-    "English Original": "A final table provides evidence of another consequence of the predominantly conceptual origins of the most important individual works identified by this study.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0272": {
-    "English Original": "Table 8 presents the ages of the artists when they executed the paintings listed in Table 3.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0273": {
-    "English Original": "Seventeen of the total of 21 paintings were produced by artists aged below 40; ten were the work of artists under 35.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0274": {
-    "English Original": "Because\n\nof multiple entries in the table by several artists (Picasso, Manet, and Courbet each have three paintings listed, and Duchamp, Matisse, and van Gogh each have two), there are 12 different artists represented in the table.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0275": {
-    "English Original": "Of these 12, all but one  Cézanne  have at least one entry in the table that was executed at age 40 or earlier; 8 of the 12 have at least one work done at age 35 or earlier; and 5 of the 12 have at least one work done at 30 or earlier.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0276": {
-    "English Original": "These great paintings were therefore commonly done by young artists, and when they were not, with only one notable exception, the works done by older artists were the products of innovators who had earlier executed other works that also appear on the list.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0277": {
-    "English Original": "This pattern is consistent with the view that Table 3  the most celebrated individual works in this first century of French modern painting  is dominated by artists who arrived at their innovations through conceptual rather than experimental means.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0278": {
-    "English Original": "Art and Science\n\nIt is valuable to recognize that the analysis proposed in this study of the careers of experimental and conceptual innovators has a parallel in the findings of psychologists on the life cycles of practitioners of a variety of scientific, and artistic, disciplines.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0279": {
-    "English Original": "The psychologists have established that chemists, mathematicians, theoretical physicists, and poets typically make their most important contributions at younger ages than do astronomers, biologists, geologists, and novelists.<sup70</sup A proposed explanation for these differences argues that they are a consequence of the rates at which creative ideations can be produced and elaborated: both processes may occur more rapidly in disciplines that deal with more abstract conceptual entities than in those in which the central ideas are more complex and concrete.71 The empirical methods followed by\n\nexperimental innovators in painting makes their enterprise resemble that of the more concrete disciplines considered by the psychologists, whereas the theoretical approach of the conceptual innovators makes theirs resemble that of the more abstract disciplines.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0280": {
-    "English Original": "Following the psychologists' analysis, this would lead to a prediction  which is confirmed by the evidence analyzed above  that conceptual painters would generally produce their major works at younger ages than the experimental painters.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0281": {
-    "English Original": "The correspondence of this result with the regularity of the relationship between age and achievement across the disciplines studied by the psychologists thus provides additional support for the significance of the categorization of painters suggested by this study.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0282": {
-    "English Original": "Conclusion\n\n I was very naive...",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0283": {
-    "English Original": "I didn't realize that only art historians were allowed to write about artists.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0284": {
-    "English Original": "Penelope Fitzgerald<sup72</sup\n\nArtistic success can be quantified, in a variety of ways.<sup73</sup This paper has illustrated one of these, by using evidence drawn from art history textbooks.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0285": {
-    "English Original": "The results not only produced rankings of major painters and paintings that are clearly reasonable, but posed a puzzle  in the differences between the rankings of major painters and paintings  that led to the identification of a basic difference in approach among major modern artists that has never received systematic attention from art historians.<sup74</sup The characteristics of each of these approaches were not only described qualitatively, but were also documented quantitatively.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0286": {
-    "English Original": "Specifically, quantitative analysis of the textbook illustrations provides systematic support for a distinction between experimental and conceptual innovators.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0287": {
-    "English Original": "Quantitative measures show that the innovations of the\n\nconceptual artists have been embodied in a smaller number of key works, typically made at younger ages, and concentrated in shorter periods than have those of artists who have followed an experimental approach.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0288": {
-    "English Original": "So conceptual innovators like Courbet, Duchamp, Manet, Picasso, and Seurat produced innovations, typically announced in individual masterpieces, early in their careers, whereas experimental innovators like Cézanne, Degas, Miró, Monet, and Pissarro followed an incremental procedure in which innovations appeared gradually, in larger bodies of work, and usually at older ages.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0289": {
-    "English Original": "This quantitative study of artistic success has made a new contribution to our understanding of the history of modern art.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0290": {
-    "English Original": "Among the most general lessons of the study of modern art is that innovations are rarely broadly welcomed, and are indeed initially most strenuously denounced by practitioners.<sup75</sup Battles over new approaches consequently appear as a sign of vitality.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0291": {
-    "English Original": "The same might equally be true of the study of art history.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0292": {
-    "English Original": "It is consequently to be hoped that this demonstration of the value of quantification in a discipline in which it has been sorely neglected will not only inspire more scholars to bring quantitative methods to bear on art history, but will also prompt others to devote greater efforts to producing more considered and insightful criticisms of their results.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0293": {
-    "English Original": "Footnotes\n\nI thank Allison Gamble, Robert Jensen, and Britt Salvesen for discussions of the issues treated in this paper, and Rebecca Kalmus and Thomas Walker for research assistance.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0294": {
-    "English Original": "Roger Fry, Last Lectures (Boston: Beacon Press, 1962), p. 3.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0295": {
-    "English Original": "Quoted in Christina Duff, \"In Payscales, Life Sometimes Imitates Art,\" Wall Street Journal, May 22, 1998, p. B1.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0296": {
-    "English Original": "George Heard Hamilton, 19th and 20th Century Art (New York: Abrams, 1970); John Russell, The Meanings of Modern Art (New York: Museum of Modern Art, 1981); Robert Hughes, The Shock of the New (New York: Knopf, 1982); H. H. Arnason, History of Modern Art, Third edition (New York: Abrams, 1968); Sam Hunter and John Jacobus, History of Modern Art, Third edition (Englewood Cliffs, NJ: PrenticeHall, 1992).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0297": {
-    "English Original": "Clement Greenberg, The Collected Essays and Criticism, Vol.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0298": {
-    "English Original": "4 (Chicago, 1993), p. 118.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0299": {
-    "English Original": "The textbooks were not restricted to surveys of modern art, but rather to books that surveyed at least all of modern art.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0300": {
-    "English Original": "The books surveyed are the following; they are listed chronologically.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0301": {
-    "English Original": "In each of two cases indicated, two books that were included in a series were treated as one book.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0302": {
-    "English Original": "H. H. Arnason, History of Modern Art (New York: Abrams, 1968).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0303": {
-    "English Original": "George Heard Hamilton, 19th and 20th Century Art (New York: Abrams, 1970) Two books treated as one: Fritz Novotny, Painting and Sculpture in Europe, 1780 to 1880, Second ed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0304": {
-    "English Original": "George Heard Hamilton, Painting and Sculpture in Europe, 18801940 (Harmondsworth: Penguin, 1972)..\n\nEdward LucieSmith, A Concise History of French Painting (New York: Praeger, 1971).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0305": {
-    "English Original": "Alan Bowness, Modern European Art (London: Thames and Hudson, 1972).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0306": {
-    "English Original": "Dale G. Cleaver, Art: An Introduction, Second ed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0307": {
-    "English Original": "(New York: Harcourt Brace Jovanovich, 1972).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0308": {
-    "English Original": "Ariane Ruskin, History in Art (New York: Franklin Watts, 1974).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0309": {
-    "English Original": "Horst de la Croix and Richard G. Tansey, Gardner's Art Through the Ages, Sixth ed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0310": {
-    "English Original": "(New York: Harcourt Brace Jovanovich, 1975).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0311": {
-    "English Original": "Harold Spencer, The Image Maker: Man and His Art (New York: Charles Scribner's Sons, 1975).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0312": {
-    "English Original": "H. W. Janson, History of Art, Second ed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0313": {
-    "English Original": "(Englewood Cliffs: PrenticeHall, 1977).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0314": {
-    "English Original": "Norbert Lynton, The Story of Modern Art (Ithaca: Cornell University Press, 1980).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0315": {
-    "English Original": "John Canaday, Mainstreams of Modern Art, Second ed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0316": {
-    "English Original": "(Ft. Worth: Harcourt Brace Jovanovich, 1981).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0317": {
-    "English Original": "John Russell, The Meanings of Modern Art (New York: Museum of Modern Art, 1981).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0318": {
-    "English Original": "Robert Hughes, The Shock of the New (New York: Knopf, 1982).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0319": {
-    "English Original": "Hugh Honour and John Fleming, A World History of Art (London: Macmillan, 1982).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0320": {
-    "English Original": "Sara Cornell, Art: A History of Changing Style (Englewood Cliffs: PrenticeHall, 1983).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0321": {
-    "English Original": "Ralph A. Britsch and Todd A. Britsch, The Arts in Western Culture (Englewood Cliffs: PrenticeHall, 1984).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0322": {
-    "English Original": "E. H. Gombrich, The Story of Art, 14th ed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0323": {
-    "English Original": "(Englewood Cliffs: PrenticeHall, 1985).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0324": {
-    "English Original": "Frederick Hartt, Art, Vol.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0325": {
-    "English Original": "2, Third ed.. (Englewood Cliffs: PrenticeHall, 1989).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0326": {
-    "English Original": "Michael Wood, Bruce Cole, and Adelheid Gealt, Art of the Western World (New York: Simon and Schuster, 1989).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0327": {
-    "English Original": "Daniel Wheeler, Art Since MidCentury (Englewood Cliffs: PrenticeHall, 1991).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0328": {
-    "English Original": "Sam Hunter and John Jacobus, Modern Art, Third ed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0329": {
-    "English Original": "(Englewood Cliffs: PrenticeHall, 1992).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0330": {
-    "English Original": "Carol Strickland and John Boswell, The Annotated Mona Lisa (Kansas City: Andrews and McMeel, 1992).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0331": {
-    "English Original": "Two books treated as one:\n\nFrancis Frascina, Nigel Blake, Briony Fer, Tamar Garb, and Charles Harrison, Modernity and Modernism (New Haven: Yale University Press, 1993).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0332": {
-    "English Original": "Charles Harrison, Francis Frascina, and Gill Perry, Primitivism, Cubism, Abstraction (New Haven: Yale University Press, 1993).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0333": {
-    "English Original": "Larry Silver, Art in History (New York: Abbeville Press, 1993).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0334": {
-    "English Original": "Laurie Schneider Adams, A History of Western Art (New York: Abrams, 1995).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0335": {
-    "English Original": "Marilyn Stokstad and Marion Spears Grayson, Art History (New York: Abrams, 1995).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0336": {
-    "English Original": "Liz Dawtrey, Toby Jackson, Mary Masterson, Pam Meecham, and Paul Wood, eds., Investigating Modern Art (New Haven: Yale University Press, 1996).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0337": {
-    "English Original": "Alison Gallup, Gerhard Gruitrooy, and Elizabeth M. Weisberg, Great Paintings of the Western World (New York: Hugh Lauter Levin Associates, 1997).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0338": {
-    "English Original": "Charles Harrison, Modernism (Cambridge: Cambridge University Press, 1997).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0339": {
-    "English Original": "David Wilkins, Bernard Schultz, and Katheryn Linduff, Art Past, Art Present (New York: Abrams, 1997).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0340": {
-    "English Original": "Julian Freeman, Art: A Crash Course (New York: WatsonGuptill, 1998).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0341": {
-    "English Original": "Volker Gebhardt, The History of Art (New York: Barron's Educational Series, 1998).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0342": {
-    "English Original": "Stokstad, Art History, p. 6\n 7.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0343": {
-    "English Original": "If we tabulate the number of different works by the top 10 painters in Table 2, illustrated in the 33 texts, that are held by just 10 major museums, the results are: Picasso 67; Matisse 33; Cézanne 33; Manet 27; Braque 18; van Gogh 17; Gauguin 14; Degas 36; and Renoir 24.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0344": {
-    "English Original": "The museums are: Metropolitan, and Museum of Modern Art, New York; Art Institute, Chicago; Philadelphia Museum; Baltimore Museum; National Gallery, Washington; Tate Gallery; National Gallery, London; Louvre; Musée d'Orsay.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0345": {
-    "English Original": "I thank Britt Salvesen for this information.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0346": {
-    "English Original": "Clement Greenberg, The Collected Essays and Criticism, Vol.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0347": {
-    "English Original": "4 (Chicago: University of Chicago Press, 1993), p. 300.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0348": {
-    "English Original": "Harold Rosenberg, The Tradition of the New (New York: Da Capo Press, 1994), p. 37.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0349": {
-    "English Original": "Meyer Schapiro, Modern Art: 19th and 20th Centuries (New York: George Braziller, 1979), p. 153; also see p. 167.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0350": {
-    "English Original": "Alan Bowness, Modern European Art (London: Thames and Hudson, 1972), p. 172.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0351": {
-    "English Original": "Raymonde Moulin, The French Art Market: A Sociological View (New Brunswick: Rutgers University Press, 1987), p. 30.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0352": {
-    "English Original": "Michael Fried, Art and Objecthood (Chicago: University of Chicago Press, 1998), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0353": {
-    "English Original": "Arthur C. Danto, Embodied Meanings (New York: Noonday Press, 1995), p. 85.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0354": {
-    "English Original": "Leo Steinberg, Other Criteria (London: Oxford University Press, 1972), p. 15.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0355": {
-    "English Original": "John Rewald, ed., Paul Cézanne Letters (New York: Da Capo Press, 1995), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0356": {
-    "English Original": "see Theodore Reff, \"Painting and Theory in the Final Decade,\" in William Rubin, ed., Cézanne: The Late Work (New York: Museum of Modern Art, 1977), p. 13; Meyer Schapiro, Paul Cézanne (New York: Abrams, 1952), p. 27.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0357": {
-    "English Original": "Roger Fry, Cézanne (Chicago: University of Chicago Press, 1989), p. 3.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0358": {
-    "English Original": "Schapiro, Cézanne, p. 10.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0359": {
-    "English Original": "Rewald, Paul Cézanne Letters, p. 299.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0360": {
-    "English Original": "Ambroise Vollard, Cézanne (New York: Dover, 1984), Chap.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0361": {
-    "English Original": "48, 63, 77; Ambroise Vollard, Recollections of a Picture Dealer (Boston: Little, Brown, 1936), p. 182.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0362": {
-    "English Original": "Richard Shiff, Cézanne and the End of Impressionism (Chicago: University of Chicago Press, 1984), p. 162.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0363": {
-    "English Original": "Clive Bell, \"The Debt to Cézanne,\" in Francis Frascina and Charles Harrison, eds., Modern Art and Modernism (New York: Museum of Modern Art, 1982), p. 77.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0364": {
-    "English Original": "Rewald, Paul Cézanne Letters, p. 303.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0365": {
-    "English Original": "Vollard, Cézanne, p. 105.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0366": {
-    "English Original": "Alfred H. Barr, Jr., Picasso: Fifty Years of His Art (New York: Museum of Modern Art, 1946), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0367": {
-    "English Original": "Patrick O'Brian, Pablo Ruiz Picasso (New York: W. W. Norton, 1994), p. 179.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0368": {
-    "English Original": "Ibid, p. 208, Picasso told a friend he did this because \"it is not sufficient to know an artist's works  it is also necessary to know when he did them, why, how, under what circumstances.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0369": {
-    "English Original": "In words that would no doubt please Richard Shiff, Picasso explained that \"I want to leave to posterity a documentation that will be as complete as possible.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0370": {
-    "English Original": "That's why I put a date on everything I do;\" Brassai, Picasso and Company (Garden City, NJ: Doubleday, 1966), p. 100.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0371": {
-    "English Original": "Francoise Gilot and Carlton Lake, Life with Picasso (New York: Doubleday, 1964), p. 123.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0372": {
-    "English Original": "John Golding, Cubism, Third edition (Cambridge: Harvard University Press, 1988), p. 51.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0373": {
-    "English Original": "Russell, Meanings of Modern Art, p. 97; Hamilton, Painting and Sculpture in Europe, p. 235.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0374": {
-    "English Original": "Golding, Cubism, p. xiii; Douglas Cooper, The Cubist Epoch (London: Phaidon Press, 1971), p. 12.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0375": {
-    "English Original": "The dates of these 13 views of Mont SainteVictoire range from 18851906.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0376": {
-    "English Original": "If the novelty of the motif were the source of these paintings' importance, it might be supposed that the earliest of these would be most often reproduced.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0377": {
-    "English Original": "This is not the case, as the 1885 view of Mont SainteVictoire from the Barnes Collection is reproduced only once.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0378": {
-    "English Original": "Because of Cézanne's incremental process of innovation, it is the 1906 view in the Philadelphia Museum of Art that is reproduced most often (ten times).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0379": {
-    "English Original": "Richard Kendall, Monet by Himself (New York: Knickerbocker Press, 1999), p. 122.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0380": {
-    "English Original": "Linda Nochlin, ed., Impressionism and PostImpressionism, 18741904 (Englewood Cliffs, NJ: PrenticeHall, 1966), p. 34.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0381": {
-    "English Original": "Kendall, Monet by Himself, p. 178.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0382": {
-    "English Original": "Paul Hayes Tucker, Monet in the '90s: The Series Paintings (Boston: Museum of Fine Arts, 1989); Grace Seiberling, Monet's Series (New York: Garland Publishing, 1980); Arthur C. Danto, Embodied Meanings (New York: Noonday Press, 1995), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0383": {
-    "English Original": "Joel Isaacson, Claude Monet: Observation and Reflection (Oxford: Phaidon Press, 1978); John House, Monet: Nature Into Art (New Haven: Yale University Press, 1986).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0384": {
-    "English Original": "It might be argued that Cézanne and Monet do not have entries high in Table 3 because they have few works, or few characteristic works, in collections accessible to scholars.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0385": {
-    "English Original": "This argument can readily be dismissed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0386": {
-    "English Original": "28 of the total of 74 paintings by Cézanne illustrated in the texts, and 45 of the 80 by Monet, are owned by just eight museums: Chicago's Art Institute, Boston's Museum of Fine Arts, Philadelphia's Museum of Art, New York's Metropolitan Museum, Washington's National Gallery, London's National Gallery, and Paris' Louvre and Musée d'Orsay.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0387": {
-    "English Original": "These 28 Cézannes include five views of Mont SainteVictoire, and the 45 Monets include five paintings of water lilies.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0388": {
-    "English Original": "All these major museums make their collections readily available for scholarly study and reproduction.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0389": {
-    "English Original": "It is equally the case that restricted access does not prevent paintings from appearing prominently in Table 3.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0390": {
-    "English Original": "Matisse's Joy of Life, reproduced more often than any painting by Cézanne or Monet, is owned by the Barnes Foundation, which for many years severely limited scholarly use of its collection.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0391": {
-    "English Original": "Norma Broude, ed., Seurat in Perspective (Englewood Cliffs, NJ: PrenticeHall, 1978), p. 148.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0392": {
-    "English Original": "Ibid., p. 31; Paul Signac, \"From Eugène Delacroix to NeoImpressionism,\" in Floyd Ratliff, Paul Signac and Color in NeoImpressionism (New York: Rockefeller University Press, 1992), p. 247.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0393": {
-    "English Original": "John Rewald, Georges Seurat (New York: Wittenborn, 1943), p. 26.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0394": {
-    "English Original": "John Rewald, PostImpressionism (New York: Museum of Modern Art, 1956), p. 86.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0395": {
-    "English Original": "That Seurat sincerely believed his work was the product of method rather than inspiration is witnessed by his conflict with Signac in 1888.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0396": {
-    "English Original": "Signac was delighted at the growing number of artists who were adopting NeoImpressionist methods, but Seurat was worried by this increase.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0397": {
-    "English Original": "Seurat explained to Signac that \"the more numerous we are, the less originality we shall have, and the day when everybody uses this technique, it will no longer have any value.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0398": {
-    "English Original": "Trying to calm Signac, Pissarro dismissed Seurat's concern as \"absurd\": \"After all, all art is not in the scientific theory ...",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0399": {
-    "English Original": "Thus apply the science which belongs to everybody, but keep for yourself the gift you have;\" ibid., p. 114.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0400": {
-    "English Original": "But it was Seurat's belief that the value of the work lay in the scientific theory, which could readily be appropriated by others, that led him to resist showing his work in public; John Rewald, ed., Camille Pissarro: Letters to his Son Lucien (New York: Da Capo Press, 1995), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0401": {
-    "English Original": "William Innes Homer, Seurat and the Science of Painting (Cambridge: MIT Press, 1964), p. 181.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0402": {
-    "English Original": "Harold Rosenberg, The DeDefinition of Art (Chicago: University of Chicago Press, 1972), p. 57.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0403": {
-    "English Original": "Calvin Tomkins, Duchamp (New York: Henry Holt, 1996), p. 157.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0404": {
-    "English Original": "Michael Sanouillet and Elmer Petersen, eds., The Writings of Marcel Duchamp (New York: Da Capo Press, 1989), p. 125.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0405": {
-    "English Original": "Irving Sandler, American Art of the 1960s (New York: Harper and Row, 1988), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0406": {
-    "English Original": "George Kubler, The Shape of Time (New Haven: Yale University Press, 1962), p. 83.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0407": {
-    "English Original": "Table 4 and subsequent tables will be restricted to the most important artists in the sample, defined as those with more than 33 total illustrations.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0408": {
-    "English Original": "This selection level was chosen because these are the artists with an average of more than one illustration per book.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0409": {
-    "English Original": "Briony Fer, \"Introduction,\" in Francis Frascina, et.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0410": {
-    "English Original": "al., Modernity and Modernism (New Haven: Yale University Press, 1993), p. 25.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0411": {
-    "English Original": "James D. Herbert, \"Privilege and the Illusion of the Real,\" in Bradford R. Collins, ed., 12 Views of Manet's Bar (Princeton: Princeton University Press, 1996), p. 215.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0412": {
-    "English Original": "Théodore Duret, Manet and the Impressionists (Philadelphia: J.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0413": {
-    "English Original": "B. Lippincott, 1910), p. 57.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0414": {
-    "English Original": "Marcel Guérin, ed., Lettres de Degas (Paris: Bernard Grasset, 1931), p. 107.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0415": {
-    "English Original": "Ambroise Vollard, Degas (London: George Allen and Unwin, 1928), p. 102.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0416": {
-    "English Original": "George Moore, Impressions and Opinions (New York: Brentano, 1913), p. 229.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0417": {
-    "English Original": "Rewald, Camille Pissarro, p. 32.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0418": {
-    "English Original": "Joan Miró, Selected Writings and Interviews (New York: Da Capo Press, 1992), p. 98.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0419": {
-    "English Original": "The case of van Gogh (as well as that of Gauguin, who became a fulltime painter only after resigning his job in the stock exchange, at age 35) raises an interesting qualification to the proposition that extreme conceptual innovations are typically made by the young.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0420": {
-    "English Original": "Chronological age and career experience tend to be highly correlated.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0421": {
-    "English Original": "But individuals who begin a career late will have the stages of their career delayed accordingly; see Dean Keith Simonton, Greatness: Who Makes History and Why (New York: Guilford Press, 1994), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0422": {
-    "English Original": "What matters for conceptual innovation is apparently less youth than recency of exposure to a discipline.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0423": {
-    "English Original": "A more precise statement is consequently that extreme conceptual innovations are typically made early in an artist's career.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0424": {
-    "English Original": "Vincent van Gogh, The Complete Letters of Vincent van Gogh, vol.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0425": {
-    "English Original": "3 (London: Thames and Hudson, 1958), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0426": {
-    "English Original": "Rewald, ed., Camille Pissarro, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0427": {
-    "English Original": "Harvey C. Lehman, Age and Achievement (Princeton: Princeton University Press, 1953), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0428": {
-    "English Original": "32425; Dean Keith Simonton, Scientific Genius (Cambridge: Cambridge University Press, 1988), p. 67; Simonton, Greatness, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0429": {
-    "English Original": "Simonton, Scientific Genius, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0430": {
-    "English Original": "Arthur Lubow, \"An Author of a Certain Age,\" New York Times Magazine, (August 15, 1999), p. 33.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0431": {
-    "English Original": "In a different quantitative approach, I have used auction prices to measure the value of painters' works over the course of their careers.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0432": {
-    "English Original": "This approach produces similar conclusions about the value of the distinction between experimental and conceptual innovators, for it shows that whereas experimental innovators usually executed their most valuable work late in their careers, conceptual innovators typically produced their most valuable work at young ages.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0433": {
-    "English Original": "See David W. Galenson, \"The Careers of Modern Artists: Evidence from Auctions of Contemporary Paintings,\" Journal of Cultural Economics, forthcoming; Galenson, \"The Lives of the Painters of Modern Life: The Careers of Artists in France from Impressionism to Cubism,\" NBER Working Paper 6888 (January 1999); Galenson and Bruce A. Weinberg, \"Age and the Quality of Work: The Case of Modern American Painters,\" Journal of Political Economy, forthcoming.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0434": {
-    "English Original": "Distinctions similar to the one made here have sometimes been made by art historians.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2029124454_s0435": {
-    "English Original": "For example, Alan Bowness observed of the course of modern art that \"By a kind of dialectical necessity, the realists always seem to be accompanied by idealist (or symbolist) painters,\" then remarked: \"The manifold complexities of this general tendency for art to divide may depend on certain basic temperamental differences among artists  on, for example, the degree to which the painter or sculptor can envisage the finished work of art before he starts to make it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
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-  "W2029124454_s0436": {
-    "English Original": "Does creation reside in the idea or in the action?\"",
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-  "W2029124454_s0437": {
-    "English Original": "Bowness, Modern European Art, p. 73.",
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-  "W2029124454_s0438": {
-    "English Original": "Yet Bowness does not pursue this distinction, and his\n\nfailure to understand its implications is witnessed by his later comment that \"Innovations in art usually come from young men;\" ibid., p. 122..\n\n75.",
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-  "W2029124454_s0439": {
-    "English Original": "see Steinberg, Other Criteria, p. 4.",
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-  "W2029124454_s0440": {
-    "English Original": "|  |  |  | Table 1: Artists Included in this Study |  |  |  |\n||||||||\n||||||||\n\n| Artist             | Country of birth | Year of birth | Year of death |\n|||||\n| Arp, Jean          | France           | 1886          | 1966          |\n| Bonnard, Pierre    | France           | 1867          | 1947          |\n| Braque, Georges    | France           | 1882          | 1963          |\n| Cézanne, Paul      | France           | 1839          | 1906          |\n| Chagall, Marc      | Russia           | 1887          | 1985          |\n| Courbet, Gustave   | France           | 1819          | 1877          |\n| Degas, Edgar       | France           | 1834          | 1917          |\n| Delaunay, Robert   | France           | 1885          | 1941          |\n| Derain, André      | France           | 1880          | 1954          |\n| Duchamp, Marcel    | France           | 1887          | 1968          |\n| Dufy, Raoul        | France           | 1877          | 1953          |\n| Gauguin, Paul      | France           | 1848          | 1903          |\n| Gogh, Vincent van  | Holland          | 1853          | 1890          |\n| Gris, Juan         | Spain            | 1887          | 1927          |\n| Léger, Fernand     | France           | 1881          | 1955          |\n| Manet, Edouard     | France           | 1832          | 1883          |\n| Masson, André      | France           | 1896          | 1987          |\n| Matisse, Henri     | France           | 1869          | 1954          |\n| Miró, Joan         | Spain            | 1893          | 1983          |\n| Modigliani, Amedeo | Italy            | 1884          | 1920          |\n| Monet, Claude      | France           | 1840          | 1926          |\n| Picabia, Francis   | France           | 1879          | 1953          |\n| Picasso, Pablo     | Spain            | 1881          | 1973          |\n| Pissarro, Camille  | France           | 1830          | 1903          |\n| Redon, Odilon      | France           | 1840          | 1916          |\n\n| Artist                     | Country of birth | Year of birth | Year of death |\n|||||\n| Renoir, PierreAuguste     | France           | 1841          | 1919          |\n| Rouault, Georges           | France           | 1871          | 1958          |\n| Rousseau, Henri            | France           | 1844          | 1910          |\n| Seurat, Georges            | France           | 1859          | 1891          |\n| Soutine, Chaim             | Lithuania        | 1893          | 1943          |\n| Tanguy, Yves               | France           | 1900          | 1955          |\n| ToulouseLautrec, Henri de | France           | 1864          | 1901          |\n| Vlaminck, Maurice de       | France           | 1876          | 1958          |\n| Vuillard, Edouard          | France           | 1868          | 1940          |\n| Whistler, James            | United States    | 1834          | 1903          |\n\nSource: See text.",
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-  "W2029124454_s0441": {
-    "English Original": "| Artist              | Total illustrations | Artist        | Total illustrations |\n|||||\n| 1<brPicasso        | 335                 | 19 Rouault    | 31                  |\n| 2<brMatisse        | 169                 | 20 Bonnard    | 29                  |\n| 3<brCézanne        | 136                 | 20 Delaunay   | 29                  |\n| 4<brManet          | 130                 | 20 Whistler   | 29                  |\n| 5<brMonet          | 125                 | 23 Rousseau   | 29                  |\n| 6<brBraque         | 116                 | 24 Derain     | 27                  |\n| 6<brVan Gogh       | 116                 | 25 Arp        | 26                  |\n| 8<brGauguin        | 97                  | 26 Redon      | 23                  |\n| 9<brDegas          | 81                  | 27 Picabia    | 20                  |\n| 10 Renoir           | 74                  | 28 Gris       | 19                  |\n| 11 Duchamp          | 72                  | 29 Vuillard   | 18                  |\n| 12 Courbet          | 68                  | 30 Vlaminck   | 15                  |\n| 13<brMiró          | 64                  | 31 Soutine    | 14                  |\n| 14 Seurat           | 60                  | 32 Tanguy     | 13                  |\n| 15 Léger            | 51                  | 33 Masson     | 12                  |\n| 16 Toulouse Lautrec | 40                  | 34 Modigliani | 10                  |\n| 17 Pissarro         | 38                  | 35 Dufy       | 7                   |\n| 18 Chagall          | 35                  |               |                     |\n\nTable 2: Ranking of Artists by Total Illustrations\n\nSource: This and subsequent tables are based on the data set constructed for this study.",
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-  "W2029124454_s0442": {
-    "English Original": "See text for description.",
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-  "W2029124454_s0443": {
-    "English Original": "| Rank  | Illustrations | Artist, Title                                                 | Date | Location         |\n||||||\n| 1     | 30            | Picasso, Les Demoiselles d'Avignon                            | 1907 | New York         |\n| 2     | 25            | Picasso, Guernica                                             | 1937 | Madrid           |\n| 3     | 24            | Seurat, Sunday Afternoon on the Island<brof the Grande Jatte | 1886 | Chicago          |\n| 4(t)  | 21            | Duchamp, Nude Descending a<brStaircase, No.",
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-  "W2029124454_s0444": {
-    "English Original": "2                | 1912 | Philadelphia     |\n| 4(t)  | 21            | Manet, Le Déjeuner sur l'Herbe                                | 1863 | Paris            |\n| 6     | 20            | Manet, Bar at the FoliesBergère                              | 1882 | London           |\n| 7     | 16            | Duchamp, The Bride Stripped Bare by<brHer Bachelors, Even    | 1923 | Philadelphia     |\n| 8(t)  | 15            | Courbet, L'Atelier                                            | 1855 | Paris            |\n| 8(t)  | 15            | Gauguin, The Vision After the Sermon                          | 1888 | Edinburgh        |\n| 8(t)  | 15            | Manet, Olympia                                                | 1863 | Paris            |\n| 8(t)  | 15            | Matisse, The Joy of Life                                      | 1906 | Merion, PA       |\n| 12    | 14            | Cézanne, Large Bathers                                        | 1906 | Philadelphia     |\n| 13    | 13            | Matisse, Green Stripe (Madame<brMatisse)                     | 1905 | Copenhagen       |\n| 14(t) | 12            | Courbet, Burial at Ornans                                     | 1850 | Paris            |\n| 14(t) | 12            | Courbet, The Stone Breakers                                   | 1849 | Formerly Dresden |\n| 14(t) | 12            | Renoir, Moulin de la Galette                                  | 1876 | Paris            |\n| 14(t) | 12            | van Gogh, The Night Café                                      | 1888 | New Haven        |\n| 14(t) | 12            | van Gogh, The Starry Night                                    | 1889 | New York         |\n| 19(t) | 11            | Monet, Impression: Sunrise                                    | 1873 | Paris            |\n| 19(t) | 11            | Picasso, Still Life with Chair Caning                         | 1912 | Paris            |\n| 19(t) | 11            | ToulouseLautrec, At the Moulin<brRouge                      | 1892 | Chicago          |\n\nTable 3: Ranking of Paintings by Total Illustrations\n\n| Artist           | Ratio |\n|||\n| Duchamp          | .59   |\n| Seurat           | .57   |\n| Manet            | .54   |\n| Courbet          | .53   |\n| Gauguin          | .47   |\n| Matisse          | .45   |\n| Léger            | .43   |\n| Renoir           | .43   |\n| Picasso          | .42   |\n| van Gogh         | .39   |\n| ToulouseLautrec | .39   |\n| Cézanne          | .38   |\n| Braque           | .35   |\n| Chagall          | .34   |\n| Miró             | .32   |\n| Monet            | .31   |\n| Degas            | .28   |\n| Pissarro         | .09   |\n\nTable 4: Gini Ratios for Paintings by Artists with More than 33 Total Illustrations\n\n| Artist           | (1) Year | (2) n | (3) Age |\n|||||\n| Cézanne          | 1906     | 31    | 67      |\n| Monet            | 1894     | 16    | 54      |\n| Pissarro         | 1873     | 7     | 43      |\n| Degas            | 1876     | 11    | 42      |\n| Gauguin          | 1889     | 19    | 41      |\n| Léger            | 1919     | 9     | 38      |\n| Courbet          | 1855     | 19    | 36      |\n| Matisse          | 1905     | 32    | 36      |\n| Renoir           | 1876     | 17    | 35      |\n| van Gogh         | 1888     | 39    | 35      |\n| Miró             | 1925     | 11    | 32      |\n| Manet            | 1863     | 38    | 31      |\n| Braque           | 1911     | 21    | 29      |\n| ToulouseLautrec | 1892     | 18    | 28      |\n| Seurat           | 1886     | 28    | 27      |\n| Picasso          | 1907     | 39    | 26      |\n| Duchamp          | 1912     | 30    | 25      |\n| Chagall          | 1911     | 10    | 24      |\n\nTable 5: Artist's Age in Year of Most Illustrations, for Artists with More than 33 Total Illustrations\n\nNotes: Column 1 shows the year from which the largest number of each artist's illustrations date.",
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-  "W2029124454_s0445": {
-    "English Original": "Column 2 shows the number of illustrations of paintings done in that year.",
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-  "W2029124454_s0446": {
-    "English Original": "Column 3 shows the artist's age in that year.",
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-  "W2029124454_s0447": {
-    "English Original": "| Artist           | Dates     | Number of Years |\n||||\n| Cézanne          | 18941906 | 13              |\n| Monet            | 186677   | 12              |\n| Pissarro         | 186777   | 11              |\n| Miró             | 192433   | 10              |\n| Picasso          | 190413   | 10              |\n| Léger            | 191321   | 9               |\n| Renoir           | 187481   | 8               |\n| Degas            | 187379   | 7               |\n| Manet            | 186268   | 7               |\n| Courbet          | 185055   | 6               |\n| Matisse          | 190510   | 6               |\n| Braque           | 190811   | 4               |\n| Gauguin          | 188891   | 4               |\n| Chagall          | 191113   | 3               |\n| Duchamp          | 191113   | 3               |\n| van Gogh         | 188889   | 2               |\n| Seurat           | 188586   | 2               |\n| ToulouseLautrec | 189192   | 2               |\n\nTable 6: Shortest Periods that Include at Least Half an Artist's Total Illustrations, for Artists with More than 33 Illustrations\n\n| Artist                  | Dates   | Illustrations | % of Artist's Total Illustrations |\n|||||\n| 1.<brvan Gogh          | 188690 | 101           | 87                                |\n| 2.<brPicasso           | 190610 | 92            | 27                                |\n| 3.<brMatisse           | 190509 | 78            | 46                                |\n| 4.<brPicasso           | 191115 | 74            | 22                                |\n| 5.<brGauguin           | 188892 | 66            | 68                                |\n| 6.<brBraque            | 190812 | 65            | 56                                |\n| 7.<brManet             | 185963 | 55            | 42                                |\n| 8.<brPicasso           | 192125 | 48            | 14                                |\n| 9.<brSeurat            | 188499 | 47            | 78                                |\n| 10.<brDuchamp          | 191014 | 40            | 56                                |\n| 11.<brCézanne          | 190206 | 38            | 28                                |\n| 12.<brPicasso          | 190105 | 37            | 11                                |\n| 13.",
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-  "W2029124454_s0448": {
-    "English Original": "(t) Monet           | 186973 | 35            | 28                                |\n| 13.",
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-  "W2029124454_s0449": {
-    "English Original": "(t) Picasso         | 193337 | 35            | 10                                |\n| 15.<brToulouseLautrec | 189195 | 32            | 80                                |\n\nTable 7: Ranking of FiveYear Periods in Artists' Careers, by total Illustrations\n\nNote: The final column shows the percentage of each artist's total illustrations (from Table 2) made up by illustrations of paintings done in the periods identified here.",
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-    "English Original": "| Number | Artist           | Age |\n||||\n| 1      | Picasso          | 26  |\n| 2      | Picasso          | 56  |\n| 3      | Seurat           | 27  |\n| 4(t)   | Duchamp          | 25  |\n| 4(t)   | Manet            | 31  |\n| 6      | Manet            | 50  |\n| 7      | Duchamp          | 36  |\n| 8(t)   | Courbet          | 36  |\n| 8(t)   | Gauguin          | 40  |\n| 8(t)   | Manet            | 31  |\n| 8(t)   | Matisse          | 37  |\n| 12     | Cézanne          | 67  |\n| 13     | Matisse          | 36  |\n| 14(t)  | Courbet          | 31  |\n| 14(t)  | Courbet          | 30  |\n| 14(t)  | Renoir           | 35  |\n| 14(t)  | van Gogh         | 35  |\n| 14(t)  | van Gogh         | 36  |\n| 19(t)  | Monet            | 33  |\n| 19(t)  | Picasso          | 31  |\n| 19(t)  | ToulouseLautrec | 28  |\n\nTable 8: Ages at which Artists Executed Paintings Listed in Table 3\n\n| Number | Author(s)                                                  | Title                                                                                                                                     | Date |\n|||||\n| 7356   | Alec Ian Gershberg<brMichael Grossman<brFred Goldman     | Competition and the Cost of Capital Revisited: Special<brAuthorities and Underwriters in the Market for Tax<brexempt Hospital Bonds     | 9/99 |\n| 7357   | Robert E. Lipsey                                           | Foreign Production by U.S. Firms and Parent Firm<brEmployment                                                                            | 9/99 |\n| 7358   | Vernon Henderson                                           | Marshall's Economies                                                                                                                      | 9/99 |\n| 7359   | Iain Cockburn<brRebecca Henderson<brScott Stern          | The Diffusion of ScienceDriven Drug Discovery:<brOrganizational Change in Pharmaceutical Research                                       | 9/99 |\n| 7360   | Douglas HoltzEakin<brJohn W. Phillips<brHarvey S. Rosen | Estate Taxes, Life Insurance, and Small Business                                                                                          | 9/99 |\n| 7361   | BongChan Kho<brRené M. Stulz                             | Banks, the IMF, and the Asian Crisis                                                                                                      | 9/99 |\n| 7362   | Jagadeesh Gokhale<brLaurence J. Kotlikoff                 | Social Security's Treatment of Postwar Americans:<brHow Bad Can It Get?",
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-    "English Original": "| 9/99 |\n| 7363   | Bruce D. Meyer<brDan T. Rosenbaum                         | Welfare, the Earned Income Tax Credit, and the<brLabor Supply of Single Mothers                                                          | 9/99 |\n| 7364   | Dani Rodrik<brAndrés Velasco                              | ShortTerm Capital Flows                                                                                                                  | 9/99 |\n| 7365   | Michael D. Bordo<brLars Jonung                            | The Future of EMU: What Does the History of<brMonetary Unions Tell Us?",
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-    "English Original": "| 9/99 |\n| 7366   | Emmanuel Saez                                              | Do Taxpayers Bunch at Kink Points?",
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-    "English Original": "| 9/99 |\n| 7367   | Emmanuel Saez                                              | The Effect of Marginal Tax Rates on Income: A Panel<brStudy of 'Bracket Creep'                                                           | 9/99 |\n| 7368   | Alan L. Gustman<brThomas L. Steinmeier                    | What People Don't Know About Their Pensions<brand Social Security: An Analysis Using Linked Data<brFrom The Health and Retirement Study | 9/99 |\n| 7369   | Wolfgang Keller<brArik Levinson                           | Environmental Compliance Costs and Foreign Direct<brInvestment Inflows to U.S. States                                                    | 9/99 |\n\n| Number | Author(s)                                                                          | Title                                                                                                               | Date  |\n|||||\n| 7370   | Michael Baker<brGary Solon                                                        | Earnings Dynamics and Inequality among Canadian<brMen, 19761992: Evidence from Longitudinal Income<brTax Records | 9/99  |\n| 7371   | Michael Baker<brNicole M. Fortin                                                  | Occupational Gender Composition and Wages in Canada: 9/99<br19871988                                              |       |\n| 7372   | B. Douglas Bernheim<brLorenzo Forni<brJagadeesh Gokhale<brLaurence J. Kotlikoff | The Adequacy of Life Insurance: Evidence from the<brHealth and Retirement Survey                                   | 10/99 |\n| 7373   | Paul A. David<brBronwyn H. Hall<brAndrew A. Toole                                | Is Public R&D a Complement or Substitute for Private<brR&D?",
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-    "English Original": "A Review of the Econometric Evidence                   | 10/99 |\n| 7374   | Peter Cappelli<brDavid Neumark                                                    | Do \"High Performance\" Work Practices Improve<brEstablishedLevel Outcomes?",
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-    "English Original": "| 10/99 |\n| 7375   | Charles I. Jones                                                                   | Was an Industrial Revolution Inevitable?<brEconomic Growth Over the Very Long Run                                  | 10/99 |\n| 7376   | Harrison Hong<brJeremy C. Stein                                                   | Differences of Opinion, Rational Arbitrage<brand Market Crashes                                                    | 10/99 |\n| 7377   | George Chacko<brLuis M. Viceira                                                   | Dynamic Consumption and Portfolio Choice with<brStochastic Volatility in Incomplete Markets                        | 10/99 |\n| 7378   | Bruce A. Blonigen<brStephen E. Haynes                                             | Antidumping Investigators and the PassThrough of<brExchange rates and Antidumping Duties                          | 10/99 |\n| 7379   | Victor R. Fuchs                                                                    | The Future of Health Economics                                                                                      | 10/99 |\n| 7380   | Michael D. Hurd<brJames P. Smith                                                  | Anticipated and Actual Bequests                                                                                     | 10/99 |\n| 7381   | Olivia S. Mitchell                                                                 | New Trends in Pension Benefit and<brRetirement Provisions                                                          | 10/99 |\n| 7382   | Michael B. Devereux<brCharles Engel<brCedric Tille                               | Exchange Rate Passthrough and the Welfare<brEffects of the Euro                                                   | 10/99 |\n\n| Number | Author(s)                                                       | Title                                                                                                                                               | Date  |\n|||||\n| 7383   | Stephen L. Mehay<brRosalie Liccardo Pacula                     | The Effectiveness of Workplace Drug Prevention<brPolicies: Does 'Zero Tolerance' Work?",
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-    "English Original": "| 10/99 |\n| 7384   | Michael Klein<brGiovanni Olivei                                | Capital Account Liberalization, Financial Depth and<brEconomic Growth                                                                              | 10/99 |\n| 7385   | Jean Abraham<brAshish Arora<brMartin Gaynor<brDouglas Wholey | Enter at Your Own Risk: HMO Participation and<brEnrollment in the Medicare Risk Market                                                             | 10/99 |\n| 7386   | Gerardo della Paolera<brAlan M. Taylor                         | Internal Versus External Convertibility and Developing 10/99<brCountry Financial Crises: Lessons from the Argentine<brBank Bailout of the 1930's |       |\n| 7387   | Alberto Alesina<brStephan Danninger<brMassimo V. Rostagno     | Redistribution Through Public Employment: The Case<brof Italy                                                                                      | 10/99 |\n| 7388   | Oliver Hart<brJohn Moore                                       | On the Design of Hierarchies: Coordination Versus<brSpecialization                                                                                 | 10/99 |\n| 7389   | Joshua Aizenman<brNancy Marion                                 | Uncertainty and the Disappearance of International<brCredit                                                                                        | 10/99 |\n| 7390   | David M. Cutler<brEllen Meara                                  | The Technology of Birth: Is it Worth It?",
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-  "W2029124454_s0457": {
-    "English Original": "| 10/99 |\n| 7391   | Joel Waldfogel                                                  | Preference Externalities: An Empirical Study of Who<brBenefits Whom in Differentiated Product Markets                                              | 10/99 |\n| 7392   | James M. Poterba<brAndrew A. Samwick                           | Taxation and Household Portfolio Composition: U.S.<brEvidence from the 1980's and 1990's                                                           | 10/99 |\n| 7393   | Bennett T. McCallum                                             | Theoretical Issues Pertaining to Monetary Unions                                                                                                    | 10/99 |\n| 7394   | Alan M. Taylor                                                  | Latin America and Foreign Capital in the Twentieth<brCentury: Economics, Politics, and Institutional Change                                        | 10/99 |\n| 7395   | Bennett T. McCallum                                             | Analysis of the Monetary Transmission Mechanism:<brMethodological Issus                                                                            | 10/99 |\n| 7396   | Owen A. Lamont<brChristopher Polk                              | The Diversification Discount: Cash Flows vs. Returns                                                                                                | 10/99 |\n\n| Number | Author(s)                                                                         | Title                                                                                                         | Date  |\n|||||\n| 7397   | V. Joseph Hotz<brSusan Williams McElroy<brSeth G. Sanders                       | Teenage Childbearing and its Life Cycle Consequences: 10/99<brExploiting a Natural Experiment                |       |\n| 7398   | Joshua Aizenman                                                                   | Capital Controls and Financial Crises                                                                         | 10/99 |\n| 7399   | Anne Case<brMotohiro Yogo                                                        | Does School Quality Matter?",
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-    "English Original": "Returns to Education and<brthe Characteristics of Schools in South America       | 10/99 |\n| 7400   | Assaf Razin<brEfraim Sadka<brChiWa Yuen                                        | Excessive FDI Flows Under Asymmetric Information                                                              | 10/99 |\n| 7401   | Anne Case<brIFen Lin<brSara McLanahan                                          | How Hungry is the Selfish Gene?",
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-    "English Original": "| 10/99 |\n| 7402   | Eckhard Janeba<brJohn D. Wilson                                                  | Tax Competition and Trade Protection                                                                          | 10/99 |\n| 7403   | Rafael La Porta<brFlorencio LopezdeSilanes<brAndrei Shleifer<brRobert Vishny | Investor Protection and Corporate Valuation                                                                   | 10/99 |\n| 7404   | Thomas J. Prusa                                                                   | On the Spread and Impact of Antidumping                                                                       | 10/99 |\n| 7405   | H. Naci Mocan<brDaniel I. Rees                                                   | Economic Conditions, Deterrence and Juvenile Crime:<brEvidence from Micro Data                               | 10/99 |\n| 7406   | Alon Brav<brGeorge M. Constantinides<brChristorpher C. Geczy                    | Asset Pricing with Heterogeneous Consumers and<brLimited Participation: Empirical Evidence                   | 10/99 |\n| 7407   | David W.Galenson                                                                  | Quantifying Artistic Success: Ranking French Painters  10/99<brand Paintings  from Impressionism to Cubism |       |\n\nCopies of the above working papers can be obtained for \\$10.00 per copy (plus \\$10.00 per order for shipping for all locations outside the continental U.S.) to Working Papers, NBER, 1050 Massachusetts Avenue, Cambridge, MA 021385398.",
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-  "W2029124454_s0460": {
-    "English Original": "Prepayment is required on all orders and may be made by check or credit card.",
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-    "English Original": "Checks should be made payable to the NBER and must be in dollars drawn on a U.S. bank.",
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-    "English Original": "If paying by credit card, include the cardholder's name, account number, and expiration date.",
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-    "English Original": "For all orders, please be sure to include your return address and telephone number.",
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-  "W2029124454_s0464": {
-    "English Original": "Working papers may also be ordered by telephone (8683900), fax (6178682742), or email (orders@nber.org).",
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-  "W2124297491_s0001": {
-    "English Original": "Edinburgh Research Explorer\n\n History as Form: Architecture and Liberal Anglican Thought in the Writings of E. A. Freeman\n\nCitation for published version:\n\nBremner, A & Conlin, J 2011, 'History as Form: Architecture and Liberal Anglican Thought in the Writings of E. A. Freeman', Modern Intellectual History, vol.",
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-  "W2124297491_s0002": {
-    "English Original": "<https://doi.org/10.1017/S1479244311000205\n\nDigital Object Identifier (DOI): 10.1017/S1479244311000205\n\n Link:\n\nLink to publication record in Edinburgh Research Explorer\n\nDocument Version: Publisher's PDF, also known as Version of record\n\nPublished In: Modern Intellectual History\n\n Publisher Rights Statement:\n\nWith permisson copyright Cambridge University Press 2011.",
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-    "English Original": "Bremner, A., & Conlin, J.",
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-    "English Original": "History as Form: Architecture and Liberal Anglican Thought in the Writings of E. A. Freeman.",
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-    "English Original": "Modern Intellectual History, 8(2), 299326, doi: 10.1017/S1479244311000205\n\n General rights\n\nCopyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights.",
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-    "English Original": "Modern Intellectual History\n\nhttp://journals.cambridge.org/MIH\n\nAdditional services for Modern Intellectual History:\n\nEmail alerts: Click here Subscriptions: Click here Commercial reprints: Click here Terms of use : Click here\n\n\n\n HISTORY AS FORM: ARCHITECTURE AND LIBERAL ANGLICAN THOUGHT IN THE WRITINGS OF E. A. FREEMAN\n\nG. A. BREMNER and JONATHAN CONLIN\n\nModern Intellectual History / Volume 8 / Issue 02 / August 2011, pp 299 326 DOI: 10.1017/S1479244311000205, Published online: 28 July 2011\n\nLink to this article: http://journals.cambridge.org/abstract\\S1479244311000205\n\n How to cite this article:\n\nG. A. BREMNER and JONATHAN CONLIN (2011).",
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-    "English Original": "HISTORY AS FORM: ARCHITECTURE AND LIBERAL ANGLICAN THOUGHT IN THE WRITINGS OF E. A. FREEMAN.",
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-    "English Original": "Modern Intellectual History, 8, pp 299326 doi:10.1017/ S1479244311000205\n\nRequest Permissions : Click here\n\n history as form: architecture and liberal anglican thought in the writings of e. a. freeman∗\n\n g. a. bremner and jonathan conlin\n\nG. A. Bremner: Department of Architecture, University of Edinburgh Email: alex.bremner@ed.ac.uk Jonathan Conlin: School of Humanities (History), University of Southampton Email: J.Conlin@soton.ac.uk\n\nTraditionally viewed as one of the leading lights of Whig history in the High Victorian period, Edward Augustus Freeman (1823–1892) is best known for his History of the Norman Conquest (1865–1876).",
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-  "W2124297491_s0011": {
-    "English Original": "For all his reputation for scholarly pedantry, Freeman had wideranging interests, including architecture.",
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-  "W2124297491_s0012": {
-    "English Original": "His first book,A History of Architecture (1849), was both unique and controversial: unique in being the first history of world architecture in English, and controversial because its \"philosophical\" method differed so markedly from the two most common understandings of architecture in his own time (antiquarianism and ecclesiology).",
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-  "W2124297491_s0013": {
-    "English Original": "A closer look at Freeman's intellectual pedigree reveals links through Thomas Arnold to German idealist models of universal history.",
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-  "W2124297491_s0014": {
-    "English Original": "These links lead Freeman to open up a wider perspective on history by developing an understanding of the past based on an analysis of material culture.",
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-  "W2124297491_s0015": {
-    "English Original": "Architecture offered a window onto the \"hidden law\" by which human culture evolved.",
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-  "W2124297491_s0016": {
-    "English Original": "To study Freeman's historical writing on architecture is to gain a new insight into the development of the Liberal Anglican mind and its concern for a divinely ordained pattern in world history.",
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-    "English Original": "We can trace in the arts and literature of a nation the mysterious symbolism of its inner mind, the unconscious expression of its position and tone of thought, according to the same hidden law which has caused those very diversities of which these works become the visible and tangible expression.<sup1</sup\n\nToday the Victorian historian Edward Augustus Freeman (1823–92) is best known for his History of the Norman Conquest, Its Causes and Results\n\n<sup∗</sup The authors would like to thank Peter Mandler and the anonymousMIHreviewers for their comments on an earlier draft of this piece.",
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-  "W2124297491_s0018": {
-    "English Original": "Jonathan Conlin gratefully acknowledges the University of Southampton and in particular the Leverhulme Trust for funding research for this essay, as part of the latter's Early Career Fellowship scheme.",
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-  "W2124297491_s0019": {
-    "English Original": "<sup1</sup Edward A. Freeman, A History of Architecture (London, 1849), 13.",
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-  "W2124297491_s0020": {
-    "English Original": "(1865–1876)—an opus, like its author, noted for being longwinded, pedantic and somewhat eccentric.<sup2</sup Freeman's role as the selfappointed gatekeeper of rigorous, \"scientific\" history was rewarded in 1884, when his longheld dream of an Oxford professorship was finally realized.",
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-    "English Original": "Opinionated as well as cantankerous, Freeman combined traditional heady scholarship with enthusiastic participation in contemporary debates concerning politics and empire.",
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-  "W2124297491_s0022": {
-    "English Original": "\"History is past politics; politics is present history\" is perhaps his most memorable quip.",
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-  "W2124297491_s0023": {
-    "English Original": "As a scholar, Freeman is often seen as taking his place alongside J. R. Seeley, William Stubbs, and J. R. Green in the rise of the Whig tradition of academic history.<sup3</sup Supposedly unWhiggish aspects of his historical method—most notably his racialism have either been ignored or downplayed as the personal eccentricities of a \"Teutomaniac\".<sup4</sup\n\nMore than two decades before the publication of his Norman Conquest, Freeman had already established himself in Oxford as an authority on architecture, having been an active member of the Oxford Society for Promoting the Study of Gothic Architecture.",
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-  "W2124297491_s0024": {
-    "English Original": "In this capacity he encouraged cooperation as well as a certain amount of frank dialogue between the Oxford society and its Cambridge counterpart, the Cambridge Camden Society (CCS, later the Ecclesiological Society).",
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-  "W2124297491_s0025": {
-    "English Original": "This led to his being commissioned to prepare a history of world architecture for Burns's Select Library, which appeared eventually with the publisher Joseph Masters as A History of Architecture in 1849.",
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-  "W2124297491_s0026": {
-    "English Original": "5\n\n<sup4</sup Burrow, A Liberal Descent; and, more recently, Peter Mandler, The English National Character: The History of an Idea from Edmund Burke to Tony Blair (New Haven, 2006).",
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-  "W2124297491_s0027": {
-    "English Original": "For one exception, see C. J. W. Parker, \"The Failure of Liberal Racialism: The Racial Ideas of E. A. Freeman\", Historical Journal 24/4 (1981), 825–46.",
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-  "W2124297491_s0028": {
-    "English Original": "The \"Teutomaniac\" label was coined by Matthew Arnold.",
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-  "W2124297491_s0029": {
-    "English Original": "<sup2</sup As J. W. Burrow noted in his introduction to the abridged version of the History: \"It would be absurd to deny that he can be crude, distasteful, silly, and even sheerly comic ...",
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-  "W2124297491_s0030": {
-    "English Original": "Yet it is hard not to enjoy the cheerfully robust way in which Freeman enjoys his own prejudices, the genial unselfconsciousness and vigor and the slightly absurd combativeness.\"",
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-  "W2124297491_s0031": {
-    "English Original": "See editor's introduction to E. A. Freeman, The History of the Norman Conquest, ed.",
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-  "W2124297491_s0032": {
-    "English Original": "and abridged by J. W. Burrow (Chicago, 1974), xxv.",
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-  "W2124297491_s0033": {
-    "English Original": "<sup3</sup Above all J. W. Burrow, A Liberal Descent: Victorian Historians and the English Past (Cambridge, 1981).",
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-  "W2124297491_s0034": {
-    "English Original": "See also Philippa Levine, The Amateur and the Professional: Antiquarians, Historians and Archaeologists in Victorian England, 1838–1886–(Cambridge, 1986); and Peter R. H. Slee, Learning and a Liberal Education: The Study of Modern History in the Universities of Oxford, Cambridge and Manchester, 1800–1914 (Manchester, 1986).",
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-  "W2124297491_s0035": {
-    "English Original": "<sup5</sup The change in publisher was motivated by James Burns's objections as a Roman Catholic to \"a good many expressions here and there\" in Freeman's manuscript of the History.",
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-  "W2124297491_s0036": {
-    "English Original": "Although the precise passages to which Burns objected are not identifiable it is clear that Burns already felt that \"the High Ch[urch] Anglicans\" had such animus towards him that it would be unwise to publish Freeman's work.",
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-  "W2124297491_s0037": {
-    "English Original": "James Burns to Freeman, 14 March\n\nWhat makes Freeman worthy of study as an architectural writer is his understanding of architecture as a historical phenomenon whose institutional and aesthetic characteristics were shaped by \"natural\" processes of development.",
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-  "W2124297491_s0038": {
-    "English Original": "Central to this understanding was the idea of race.",
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-  "W2124297491_s0039": {
-    "English Original": "For Freeman, race acted as the underlying factor linking the natural, inborn intellectual aptitudes of a given people with their supposed artistic achievement.",
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-  "W2124297491_s0040": {
-    "English Original": "In taking this view, Freeman differed markedly from his contemporaries, divided on the one hand by attitudes to archaeological enquiry, represented by wellknown antiquaries such as John Sell Cotman, John Britton, Thomas Rickman and Robert Willis, and on the other by the dogmatism of Tractarian fellowtravellers such as the CCS.",
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-  "W2124297491_s0041": {
-    "English Original": "In this context Freeman's History of Architecture represented a radical new perspective on architecture (at least in the Englishspeaking world).",
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-  "W2124297491_s0042": {
-    "English Original": "By marrying the comparative method in philology, politics, and history with the study of buildings, Freeman was able to arrive at an understanding of architecture that foreshadowed methods of interpretation based on anthropology and social science—methods more readily associated with scholarship in the twentieth century.",
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-  "W2124297491_s0043": {
-    "English Original": "John Ruskin's Seven Lamps of Architecture, although appearing in the same year as Freeman's History, presented architecture in a wholly different light, emphasizing the moral rather than historical nature of building.",
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-  "W2124297491_s0044": {
-    "English Original": "Unlike Ruskin, Freeman's aim was to codify architecture as a mode of analysis that would both reveal and substantiate the wider currents and patterns of human history.",
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-  "W2124297491_s0045": {
-    "English Original": "\"The architectural monuments of every nation,\" Freeman asserts in the opening pages of his History, \"cannot fail to throw light upon its history, institutions, and modes of thought\".<sup6</sup As far as Freeman was concerned, there was no merit in the study of architecture for architecture's sake; only architecture seen as evidence of something greater than its formal (i.e.",
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-  "W2124297491_s0046": {
-    "English Original": "stylistic) mutability—that is, as the \"expression\" of the character of man and his relative levels of cultural and spiritual attainment—was worthy of the historian's consideration.<sup7</sup\n\nRace was doubly important to Freeman because it provided an alternative to the Whig idea that history was about mankind's march towards \"civilization\", a story of progress towards religious toleration, the nation state, and parliamentary\n\n<sup1848</sup.",
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-  "W2124297491_s0047": {
-    "English Original": "John Rylands Library, University of Manchester (hereafter JRL), FA1/1/10.",
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-  },
-  "W2124297491_s0048": {
-    "English Original": "For other correspondence on this issue see FA1/1/9–12 (Burns) and FA1/1/72–3 (Masters).",
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-  "W2124297491_s0049": {
-    "English Original": "<sup6</sup Freeman, History of Architecture, 10.",
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-  "W2124297491_s0050": {
-    "English Original": "<sup7</sup In this his writing and its antagonism towards the archaeological tendency in architecture is reminiscent of Heinrich Hubsch and the \"archaeology\" versus \"history\" debate played ¨ out among German historians in the 1820s.",
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-  "W2124297491_s0051": {
-    "English Original": "Indeed, so close does Freeman's thinking on architecture come to Hubsch at times that one is left wondering if he did not know it.",
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-  "W2124297491_s0052": {
-    "English Original": "¨ For Hubsch and the architectural debate in Germany see Barry Bergdoll, \"Archaeology vs. ¨ History: Heinrich Hubsch's Critique of Neoclassicism and the Beginnings of Historicism ¨ in German Architectural Theory,\" Oxford Art Journal 5/2 (1983), 3–12.",
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-  "W2124297491_s0053": {
-    "English Original": "Like his teacher at Oxford, the famous headmaster and Regius Professor of History, the Reverend Thomas Arnold (1795–1842), Freeman believed in the \"unity of history\"—the past understood as one, grand, unfolding drama in which various ethnic groups struggled in time to preserve and define their character and institutions within a divine order.",
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-  },
-  "W2124297491_s0054": {
-    "English Original": "Freeman believed that the rise and expression of Aryan culture was revealed through a series of conflicts with outside and opposing racial forces, such as \"the Asiatic\".",
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-  },
-  "W2124297491_s0055": {
-    "English Original": "Only by addressing such conflicts could the study of architecture be restored to its \"proper position as a branch of mental philosophy\".<sup8</sup\n\nArnold's influence on Freeman in this regard was considerable.",
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-  },
-  "W2124297491_s0056": {
-    "English Original": "Attending his inaugural lectures on modern history at Oxford in 1841–2, Freeman later described Arnold as \"that great teacher of historic truth\" from whom he \"first learned what history is and how it should be studied\".<sup9</sup Arnold's underlying notion of \"unity\" is one that stayed with Freeman for the remainder of his life, forming the basis of his own approach to historical scholarship.",
-    "Has CLIP Embedding": true,
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-  "W2124297491_s0057": {
-    "English Original": "In this respect, Freeman may be considered the intellectual progeny of Arnold.",
-    "Has CLIP Embedding": true,
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-  },
-  "W2124297491_s0058": {
-    "English Original": "His History of Architecture is clearly haunted by Arnold's presence, thus making it a species of what Duncan Forbes has termed \"Liberal Anglican\" history.<sup10</sup It is precisely this \"idea\" of history as defined by Forbes—this new Weltanschauung, inspired as it was by the antiRationalist \"GermanoColeridgean\" tradition as filtered through Arnold—that influenced Freeman so profoundly and which opens a window onto his conception of architecture as a mode of historical analysis.",
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-  "W2124297491_s0059": {
-    "English Original": "It is important to note, however, that Freeman was no blind disciple of Arnold.",
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-  "W2124297491_s0060": {
-    "English Original": "They may have shared a general idealist view of history, but they deviated on other points.",
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-  "W2124297491_s0061": {
-    "English Original": "Where Arnold believed the arts to be of only subsidiary importance to history, Freeman viewed them as essential to grasping its \"pervading principles\".",
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-  "W2124297491_s0062": {
-    "English Original": "The two men also differed on matters of theology and church organization.",
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-  "W2124297491_s0063": {
-    "English Original": "While Arnold abhorred Tractarianism, Freeman's aesthetic sensibilities naturally drew him to it.",
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-  },
-  "W2124297491_s0064": {
-    "English Original": "To be sure, Freeman was not seduced by the teachings of the Oxford reformers as many of his contemporaries were, but Tractarianism did alter and subsequently inform his understanding of the arts, especially architecture.<sup11</sup This is where Freeman departed from Arnold's purely \"liberal\" perspective.",
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-  "W2124297491_s0065": {
-    "English Original": "For\n\n<sup8</sup Freeman, A History of Architecture, xi–xix.",
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-  "W2124297491_s0066": {
-    "English Original": "The label \"philosophical architecturalist\" was applied to Freeman by Beresford Hope.",
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-  },
-  "W2124297491_s0067": {
-    "English Original": "See Hope to Freeman, 17 Feb. 1853.",
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-  },
-  "W2124297491_s0068": {
-    "English Original": "<sup9</sup W. R. W. Stephens, Life and Letters of Edward Augustus Freeman, 2 vols.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0069": {
-    "English Original": "(London, 1895), 1: 66.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0070": {
-    "English Original": "<sup10</sup Duncan Forbes, The Liberal Anglican Idea of History (Cambridge, 1952).",
-    "Has CLIP Embedding": true,
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-  },
-  "W2124297491_s0071": {
-    "English Original": "<sup11</sup Stephens notes that the tone of Freeman's college (Trinity) was influenced significantly by Newman, Isaac Williams and Samuel Whyte.",
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-  },
-  "W2124297491_s0072": {
-    "English Original": "Freeman became especially intimate with Whyte.",
-    "Has CLIP Embedding": true,
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-  },
-  "W2124297491_s0073": {
-    "English Original": "See Stephens, Life, 1: 43–4.",
-    "Has CLIP Embedding": true,
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-  },
-  "W2124297491_s0074": {
-    "English Original": "Freeman, Arnold's philosophical understanding of history and the \"spirit\" of Tractarianism were not necessarily incompatible.",
-    "Has CLIP Embedding": true,
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-  },
-  "W2124297491_s0075": {
-    "English Original": "Both stemmed from certain Romantic impulses, and both contained aspects of \"development\" (in particular spiritual development) that Freeman was able to reconcile and synthesize in his own mind—the one concerning the \"hidden laws\" of human genius, the other its externalization.<sup12</sup This allowed Freeman to see the world in a slightly different way to that of his master, but one no less spiritually determined, formulating what was less a history of past architecture than an architectural history of the past.",
-    "Has CLIP Embedding": true,
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-  },
-  "W2124297491_s0076": {
-    "English Original": "This essay will consider the extent to which Freeman's approach to the understanding of architecture may be appreciated as a species of Liberal Anglican thought; or, put another way, how our interpretation of \"Liberal Anglicanism\" can (indeed should) be extended to include Freeman's writing on architecture.",
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-  },
-  "W2124297491_s0077": {
-    "English Original": "i\n\nBefore addressing the History of Architecturein detail it is important to appreciate the extent to which the project emerged from a set of debates that preoccupied Freeman and Oxford in the 1840s.",
-    "Has CLIP Embedding": true,
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-  },
-  "W2124297491_s0078": {
-    "English Original": "Freeman came up to Trinity College in 1841, becoming a fellow after taking his degree.",
-    "Has CLIP Embedding": true,
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-  },
-  "W2124297491_s0079": {
-    "English Original": "In 1844 he proposed to Eleanor Gutch.",
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-  },
-  "W2124297491_s0080": {
-    "English Original": "The pair wed in 1845, settling in Littlemore, a small village near Oxford where Freeman would write his History.",
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-  },
-  "W2124297491_s0081": {
-    "English Original": "Personal correspondence and unpublished poetry preserved among Freeman's papers at the John Rylands Library enable us to form a fuller picture of Freeman's search for a vocation in the 1840s than that presented by his nineteenthcentury biographer, W. R. W. Stephens.",
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-  },
-  "W2124297491_s0082": {
-    "English Original": "Even before he came up to Oxford, Freeman had been exploring the liturgical and historical traditions of Anglicanism in a Tractarian spirit, in correspondence with the Reverend Henry Thompson (1797–1878), author and curate of Wrington, Somerset.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0083": {
-    "English Original": "The pair first made contact in 1839, and Thompson became something of a mentor to the young Freeman.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0084": {
-    "English Original": "Thompson held that the Tractarians' views were \"in the main ... the views that have been ever entertained by all wellread Churchmen\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0085": {
-    "English Original": "\"It was high time\", Thompson believed, \"to recal [sic] the wandering church to the settled principles of primitive and catholick Christianity—now called 'Puseyism', forsooth—it might as well be called Hookerism or Jewelism\".<sup13</sup\n\n<sup12</sup Forbes is unwilling to make any connection between the Liberal Anglican tradition and Tractarianism; however, Romanticism affected both.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0086": {
-    "English Original": "See Stephen Prickett, Romanticism and Religion: The Tradition of Coleridge and Wordsworth in the Victorian Church (Cambridge, 1976).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0087": {
-    "English Original": "See also Owen Chadwick, The Victorian Church, 2 vols.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0088": {
-    "English Original": "(London, 1966), 1: 174.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0089": {
-    "English Original": "<sup13</sup Henry Thompson to Freeman, 2 Sept. 1839.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0090": {
-    "English Original": "A partial transcript is in Stephens, Life, 1: 24.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0091": {
-    "English Original": "The Tractarians had indeed been claiming sixteenth and seventeenthcentury Anglican divines such as Richard Hooker (author of Laws of Ecclesiastical Polity) and John Jewel in support of their dogma.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0092": {
-    "English Original": "As Peter Nockles has argued, the strain of manipulating selective quotations to propagate the \"myth of a unique Anglicanism\" put terrible strain on Newman, who was complaining as early as 1836 that \"Anglicanism\" (i.e.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0093": {
-    "English Original": "Anglicanism as a discrete doctrinal corpus) was nothing but a \"paper theory\".<sup14</sup Thompson felt no strain, however, and his views on the seventeenthcentury Nonjurors and the sacral role of the King as supreme head of the church closely match those of \"Old High Churchmen\".<sup15</sup\n\nThus when Freeman arrived at Oxford in 1841 he was already an AngloCatholic.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0094": {
-    "English Original": "In his personal habits at Trinity he and his friends attended chapel twice a day and abstained from dinner on Wednesdays and Fridays, although they also abstained from the mortifications practised by others of the same persuasion.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0095": {
-    "English Original": "In the climate of the 1840s Freeman's behaviour would not have been viewed as peculiar, but it would certainly have put him in the \"atrisk\" category.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0096": {
-    "English Original": "In early 1846 his close friend Samuel Wayte saw Freeman's attitude to his church as having strong similarities to that of the highminded Richard Hurrell Froude (1803–36), Tractarian firebrand and onetime fellow at Oriel College.<sup16</sup Around the same time, Eleanor was worried that her fiance was spending so much time ´ with Wayte and other friends with \"a leaning towards Rome\".<sup17</sup\n\nAmong Freeman's papers in the Rylands Library is a bound manuscript collection of his poems from 1840 to 1844.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0097": {
-    "English Original": "Thanks to Henry Thompson, several of them were subsequently published.<sup18</sup Thompson published translations of two of Schiller's plays in 1845, and doubtless encouraged Freeman's taste for sorrowful yet selfrighteous admiration for the Middle Ages, expressed in a style redolent of the Kunstfr¨ommigkeit (\"artpiety\") of German Romantics such as Wilhelm Heinrich Wackenroder.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0098": {
-    "English Original": "Much like Froude's poetry, Freeman's ballads are steeped in nostalgia for a blissful medieval age of cathedrals, crusading knights and blushing maidens, when all altars were well garnished and all lances well lubricated with \"paynim gore\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0099": {
-    "English Original": "\"A Rime of Old Things and New\" (1842) is characteristic.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0100": {
-    "English Original": "After a rousing description of a battle during the crusades, in which \"The Teuton's deathful\n\n<sup14</sup Peter Benedict Nockles, The Oxford Movement in Context: Anglican High Churchmanship, 1760–1857 (Cambridge, 1994), 129, 130–33.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0101": {
-    "English Original": "<sup15</sup For his reaction to the controversies surrounding the appointment of Bishop Hampden of Worcester and H. G. Ward see Henry Thompson to Freeman, 29 Nov. 1847 and 1 May 1848.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0102": {
-    "English Original": "JRL, FA1/7/752 and 755.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0103": {
-    "English Original": "<sup16</sup Stephens, Life, 1: 72.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0104": {
-    "English Original": "<sup17</sup Freeman to Eleanor Gutch, 1 Feb. 1846.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0105": {
-    "English Original": "Stephens, Life, 1: 87.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0106": {
-    "English Original": "<sup18</sup In the anthologies he edited: Poems Legendary and Historical and Original Ballads by Living Authors (both 1850).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0107": {
-    "English Original": "frown\" glares \"from double panoply of arms and prayers\", Freeman turns wistfully to his own times:\n\nO for the gold:decked shrines of other days, Chalice, and cross, and taper's mystick blaze, And windows pouring from their painted height Through saints of old their dim and trembling light, The clustered shafts, the arches spiring high, Each sculptured marvel pointing to the sky, The boundless temple's awe, as far and wide, Aisle, chapel, transept, rear their Gothick pride; The daily Host on each dread Altar laid, The seven:fold orison to Jesus paid.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0108": {
-    "English Original": "...\n\nWhere is thine Altar, where thy carved skreen?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0109": {
-    "English Original": "¨ I see but relicks of what once hath been.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0110": {
-    "English Original": "The spoiler's hand hath seized what erst was thine, And deems it loss to deck thine holy shrine.<sup19</sup\n\nSuch verse's sacramentalism, liturgical appetites, and critique of latterday \"restorers\" shows strong ecclesiological sympathies.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0111": {
-    "English Original": "Although he claimed to have abandoned such plans by May 1846, for several years Freeman considered taking up architecture as a profession, and may have prepared designs for a chapel at Wantage.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0112": {
-    "English Original": "The poems also show Freeman's interest in the Norman Conquest, several years before his 1846 Oxford prize essay on the subject.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0113": {
-    "English Original": "Though it did not win, this essay, entitled \"The Effects of the Conquest of England by the Normans\", was a source of considerable pride to Freeman, and researching it played a crucial role in its author's decision to abandon ideas of a career in either the church or architecture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0114": {
-    "English Original": "It sought to demonstrate \"in what sense England has ever [i.e.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0115": {
-    "English Original": "always] retained independence\", how \"her successive conquests\" by \"strangers\" were \"territorial\" rather than \"political\" ones.<sup20</sup Freeman begins his essay with what seems to be a fairly typical \"Norman yoke\" interpretation of the Conquest: the \"native English\" degraded into \"an inferior and vanquished race\" by Norman lords, who import an oppressive feudal system, stamping out any spark of ancient Saxon liberties.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0116": {
-    "English Original": "But he then resolves this violent picture of total annihilation into a peaceful scene of total assimilation of two races which are really no \"strangers\" at all.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0117": {
-    "English Original": "By reuniting these two Teuton races and their political systems, \"the overthrow of the English led to the greatness of England\".<sup21</sup\n\n<sup19</sup Freeman, \"A Rime of Old Things and New\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0118": {
-    "English Original": "<sup20</sup Freeman, \"The Effects of the Conquest of England by the Normans\", f. 1.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0119": {
-    "English Original": "<sup21</sup Freeman, \"Effects of Conquest\", f. 46.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0120": {
-    "English Original": "As mentioned, Freeman attended Arnold's inaugural lecture series as an undergraduate in 1841–2, and both his unpublished essay and his 1849 pamphlet entitled Thoughts on the Study of History make his debt to Arnold clear.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0121": {
-    "English Original": "In his inaugural, Arnold made a distinction between the traditional understanding of history as an exercise in memorizing battles, which he called the \"external\" part of history, and the \"inner life of a nation\", centred around each nation's \"main object\": the \"setting forth of God's glory by doing His appointed work\".<sup22</sup \"Modern history\" began with the collapse of the Roman Empire, and was modern precisely because it was in the Teutonic invasions that our story, that of \"our blood, our language\", began.<sup23</sup\n\nAlthough there had been no mixture of blood, the Teutons had nonetheless picked up the torch of civilization from the Romans; in a sense \"the German race\" was the fertile soil in which the Roman civilizational \"seed\" had germinated.<sup24</sup While the Teutonic races had thrived, other races had fallen out of God's Providential race due to \"exhaustion\", leaving \"us\" with no \"soil\" in which to deposit our seed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0122": {
-    "English Original": "We were God's \"last reserve\"; our isolation was itself a sign of the \"end times\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0123": {
-    "English Original": "Modern history, Arnold concluded, bore \"marks of the fulness of time, as if there would be no future history beyond it\".<sup25</sup\n\nThrough his working knowledge of German, Arnold had been exposed to the Altertumswissenschaft method of historical analysis by 1825, in particular the writings of Barthold Georg Niebuhr (1776–1831), a Danish bureaucrat in Prussian service who distinguished himself in retirement as a historian of ancient Rome.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0124": {
-    "English Original": "Arnold taught himself German specifically to read Niebuhr's R¨omische Geschichte (1811–32).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0125": {
-    "English Original": "His efforts did not go unrewarded.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0126": {
-    "English Original": "The work was a complete revelation, opening up a whole new \"intellectual world\" and laying \"wide before my eyes the extent of my own ignorance\".<sup26</sup Niebuhr preferred to study Roman songs rather than legal or constitutional documents.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0127": {
-    "English Original": "For him it was language which evolved, not the constitution or constitutional principles.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0128": {
-    "English Original": "Poetry contained the Saft und Kraft (essence and strength) of a people's lived experience, and the historian's duty was to immerse himself in it totally, to forget his own time entirely.<sup27</sup Niebuhr was adept at making analogies across the centuries with the histories of other\n\n<sup22</sup Thomas Arnold, Introductory Lectures on Modern History, Delivered in Lent Term, 1842, 2nd edn (London, 1843), 13.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0129": {
-    "English Original": "<sup24</sup Ibid., 26 (Germanic race), 29 (seed).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0130": {
-    "English Original": "<sup26</sup Arnold quoted in Arthur Stanley, The Life and Correspondence of Thomas Arnold, D.D.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0131": {
-    "English Original": "<sup27</sup Peter H. Reill, \"Barthold Georg Niebuhr and the Enlightenment Tradition\", German Studies Review 3/1 (Feb. 1990), 9–26, 16.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0132": {
-    "English Original": "Reill translates Saft as \"flavour\", when \"essence\" seems more apposite.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0133": {
-    "English Original": "nations, including English history, though he drew the line at supposedly static nonEuropean civilizations that had no history at all.<sup28</sup It was the social evolution of nations that determined their particular character and gave their achievements meaning.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0134": {
-    "English Original": "Thus, following Niebuhr's lead, Arnold was able to present the idea of modern history in his Oxford lectures as one of process; that is, the rise, fall and assimilation of distinct cultural configurations.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0135": {
-    "English Original": "The ebb and flow of these patterns over time, along with their interconnectedness, is what gave history its apparent \"unity\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0136": {
-    "English Original": "Arnold and Niebuhr offered Freeman a way around the nostalgia that dogged \"A Rime of Old Things and New\" by means of historical analogy.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0137": {
-    "English Original": "For Arnold the analogy between the Spartans in Laconia and the Normans in England collapsed into identity: the Spartans were Normans, the Normans Spartans.<sup29</sup Such superimpositions enabled us to do more than reconstruct the past in telling it; we could experience it on a level denied those actually present at the original event.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0138": {
-    "English Original": "Thus Freeman writes in his Thoughts on the Study of History that we are \"more truly present\" at Hastings than those who actually fought there.<sup30</sup\n\nAlongside Arnold we should also consider John Henry Newman as an influence on Freeman's historical thought, and in particular Newman's concept of the \"development of doctrine\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0139": {
-    "English Original": "Newman first advanced the concept in a sermon at St Mary's in February 1843, later expanded into the booklength Essay on the Development of Doctrine (1845).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0140": {
-    "English Original": "The manuscript of the Essay was completed shortly before Newman's conversion on 9 October, and appeared shortly afterwards.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0141": {
-    "English Original": "Although Owen Chadwick has drawn up a pedigree for \"development\" that goes back through German Liberal Catholics, he argues that Newman picked up the concept from W. G. Ward.<sup31</sup Newman spoke of doctrine in quasiarchitectural terms, as a \"large fabric of divinity ... irregular in structure\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0142": {
-    "English Original": "For all the apparent irregularity in its course, Newman insisted that doctrine \"evolved\" in the minds of Christians.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0143": {
-    "English Original": "Though the \"common origin\" that ultimately connected its manifold forms was always perceptible, \"development\" also involved reacting to alien or mutant strains of doctrine.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0144": {
-    "English Original": "Even heresy could function as a spur to \"fresh forms\" and \"farther developments\".<sup32</sup The book proposed a series of seven tests by which true developments could be distinguished\n\n<sup28</sup Barthold C. Witte, Der preussischer Tacitus: Aufstieg, Ruhm und Ende des Historikers Barthold Georg Niebuhr, 1776–1831 (Dusseldorf, ¨ 1979), 192.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0145": {
-    "English Original": "<sup29</sup E. A. Freeman, Thoughts on the Study of History with Reference to the Proposed Changes in the Public Examinations (Oxford, 1849), 35.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0146": {
-    "English Original": "<sup31</sup Owen Chadwick, From Bossuet to Newman: The Idea of Doctrinal Development (Cambridge: Cambridge University Press, 1957), 116, 119.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0147": {
-    "English Original": "<sup32</sup J. H. Newman, Fifteen Sermons Preached before the University of Oxford, between A.D. 1826 and 1843 (London, 1872), 317.\n\nfrom false.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0148": {
-    "English Original": "As Chadwick has noted, the book met with confused embarrassment from Rome as well as from leading English Roman Catholics.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0149": {
-    "English Original": "Even today it is often misconstrued as justifying any and all innovations in doctrine, a misreading common among Anglican critics of Newman at the time (such as J.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0150": {
-    "English Original": "It must be admitted that Freeman's published writings do not acknowledge a debt to Newman as they do to Arnold.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0151": {
-    "English Original": "The ructions caused by Newman's conversion may have made it unwise to do so.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0152": {
-    "English Original": "Yet, as David Brownlee has noted, Newman's concept of the development of Christian doctrine must have seemed pregnant with explanatory potential for Freeman.<sup33</sup Newman's book was a heroic attempt to find a via media between Anglican claims to embody the \"primitive church\" and Roman Catholic acceptance of Marian and other doctrines not supported by the letter of \"primitive revelation\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0153": {
-    "English Original": "After Newman's conversion Thompson wrote to Freeman in terms that suggest that both were familiar enough with the idea:\n\nIt is my great comfort that Newman and his followers have not \"developed\" Church principles into Romanism, but have been obliged to abandon Church principles in order to be Romanists.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0154": {
-    "English Original": "The Development Theory places Romanism in bold and avowed opposition to Catholicism ... Rome cannot stand upon antiquity.<sup34</sup\n\nUnfortunately we do not have Freeman's reply to this letter.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0155": {
-    "English Original": "A closer discussion of Freeman's History suggests that he did not join Thompson and Mozley in dismissing \"The Development Theory\", but—like William Ewart Gladstone saw it as a spur to his own thought on \"development\".<sup35</sup\n\n ii\n\nJust as Arnold had encouraged the student of history to immerse himself in the literature of a given period so that he might appreciate better its \"prevailing tone of opinion and feeling,\" so too, he believed, should the student \"enquire into the state of art, whether in painting, sculpture or architecture\".<sup36</sup This advice not only confirmed Freeman's instinctive prejudice for the true value of architecture\n\n<sup33</sup David Brownlee mentions the influence of Newman in Freeman's thinking on architecture but does not mention Arnold.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0156": {
-    "English Original": "See David B. Brownlee, \"The First High Victorians: British Architectural Theory in the 1840s,\" Architectura 15/1 (1985), 35–7.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0157": {
-    "English Original": "<sup34</sup Henry Thompson to Freeman, St Stephen's Day (26Dec.)1845.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0158": {
-    "English Original": "JRL, FA1/7/749, underlining in original.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0159": {
-    "English Original": "<sup35</sup See Jonathan Conlin, \"Gladstone and the Debate on Evolution\", in David Bebbington, Roger Swift and Ruth Windscheffel, eds., Gladstone: Bicentennial Essays (Aldershot, forthcoming).",
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-  },
-  "W2124297491_s0160": {
-    "English Original": "<sup36</sup Arnold quoted in Forbes, Liberal Anglican Idea, 130.\n\nas historical evidence, but also justified his close study of it.<sup37</sup By Hilary Term of his first year at Oxford (1841–2) Freeman had already become an active member of the recently established Oxford Society for Promoting the Study of Gothic Architecture (commonly known as the Oxford Architectural Society, OAS).<sup38</sup In the years that followed he would spend a considerable amount of time discussing architecture with his friends and going on excursions to historic sites in and around Oxfordshire, Northamptonshire and Leicestershire.<sup39</sup These activities fed directly into his association with the society.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0161": {
-    "English Original": "He regularly gave lectures at its meetings and frequently contributed pieces to its journal, the Rules and Proceedings.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0162": {
-    "English Original": "40\n\nFounded in February 1839, the OAS was, in spirit at least, an outgrowth of the Oxford Movement.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0163": {
-    "English Original": "Many of its founding members were keen Tractarians who could see that architecture was essential to the full and thoroughgoing process of Anglican renewal.<sup41</sup The society's remit was not merely the study of medieval architecture for its own sake—as meritorious as this was—but the promotion of a particular understanding of Gothic architecture that would lead to an appreciation of its \"true\" catholic and Christian principles.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0164": {
-    "English Original": "The activities and publications of the OAS quickly generated interest within Oxford and beyond, with its membership reaching over four hundred by the time Freeman became secretary in 1845, including a number of prominent clergymen and architects.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0165": {
-    "English Original": "The general interest in medieval architecture and its revival in England at the time owed much to the agitations of the indefatigable A. W. N. Pugin (1812–52).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0166": {
-    "English Original": "However, as Pugin was a Roman Catholic, the enthusiasm he had whipped up in favour of the Gothic required a legitimate Anglican voice if it was to avoid\n\n<sup37</sup Freeman had always said that Arnold's \"true\" method \"ought to be the centre and life of all our historic studies; the truth of the unity of history\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0167": {
-    "English Original": "Stephens, Life, 1: 66.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0168": {
-    "English Original": "It is possible that Freeman was also influenced in his \"philosophical\" approach to the understanding of architecture by the Rev.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0169": {
-    "English Original": "William Sewell, Dean of Exeter College (later president of the OAS).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0170": {
-    "English Original": "A staunch Tractarian, Sewell was among the first in the OAS to outline a theory concerning the principles and symbolic meaning of Gothic architecture along philosophical lines.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0171": {
-    "English Original": "See Rules and Proceedings of the Oxford Society for Promoting the Study of Gothic Architecture (June 1840), 44.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0172": {
-    "English Original": "<sup38</sup Freeman came up to Oxford in Michaelmas Term 1841 and joined the society in March 1842.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0173": {
-    "English Original": "He was twice secretary of the OAS, 1845 and 1846–7; librarian from 1847; and, in later life, president from 1886–91.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0174": {
-    "English Original": "<sup39</sup Stephens, Life, 1: 51.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0175": {
-    "English Original": "<sup40</sup For an indepth account of Freeman's association with the OAS see Christine DadeRobertson, \"Edward Augustus Freeman and the University Architectural Societies\", Oxoniensia 71 (2006), 151–73.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0176": {
-    "English Original": "<sup41</sup For the connection between the OSPSGA and the Oxford Movement see S. L. Ollard, \"The Oxford Architectural and Historical Society and the Oxford Movement\", Oxoniensia 5 (1940), 146–60.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0177": {
-    "English Original": "being condemned as mere \"Popery\".<sup42</sup This was in part the aim of the OAS.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0178": {
-    "English Original": "Although James F. White has observed that the society was not particularly concerned with modern church building, it nevertheless sympathized with this cause.<sup43</sup In fact, as Freeman's diary reveals, the formation of the Brotherhood of St Mary—an obscure offshoot of the OAS comprising society members that was established in Freeman's rooms in 1844—considered its basic aim to be the study of \"ecclesiastical art upon true and Catholic principles\".<sup44</sup Such thinking infused and influenced the outlook of the OAS in various ways.<sup45</sup\n\nThe OAS was not alone in advancing the cause of Gothic architecture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0179": {
-    "English Original": "There was, of course, the Cambridge Camden (later Ecclesiological) Society.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0180": {
-    "English Original": "The CCS was formed shortly after the OAS in May 1839, and is now more widely recognized for its contribution to the practice and development of modern Anglican church design and restoration in the nineteenth century.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0181": {
-    "English Original": "Like the OAS, the CCS was inspired by the Oxford Movement and its reforming zeal.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0182": {
-    "English Original": "More so than the OAS, however, the CCS was the practical arm of Tractarianism.<sup46</sup It soon assembled a coterie of designers that would became a veritable who's who of Victorian church architecture, including G. G. Scott, William Butterfield, G. E. Street, G. F. Bodley and William White.<sup47</sup\n\nFollowing Pugin's lead, the CCS insisted upon a far more archaeologically accurate approach to the revival of Gothic architecture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0183": {
-    "English Original": "They felt that much of what passed for modern church architecture in England (whether classical or Gothic) was nothing more than an insipid and fraudulent sham.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0184": {
-    "English Original": "They described their approach as ecclesiology, or the \"science\" of church design and restoration, and promoted it with vigour in the pages of their principal publication, the Ecclesiologist.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0185": {
-    "English Original": "For a number of years the CCS determined upon a version of late\n\n<sup44</sup As stated in Stephens, Life, 1: 58.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0186": {
-    "English Original": "<sup46</sup The CCS saw its remit as covering \"Church Building at home and in the Colonies; Church Restoration in England and abroad; the theory and practice of ecclesiological architecture; the investigation of Church Antiquities; the connection of Architecture with Ritual; the science of Symbolism; the principles of Church Arrangement; Church Musick and all the Decorative Arts\", Ecclesiologist, n.s.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0187": {
-    "English Original": "<sup47</sup For the history and wider influence of the CCS see Christopher Webster and John Elliott, eds., \"A Church as It Should Be\": The Cambridge Camden Society and Its Influence (Stamford, 2000).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0188": {
-    "English Original": "See also White, The Cambridge Movement.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0189": {
-    "English Original": "<sup42</sup John Ruskin had also played a crucial role in extricating the revival of medieval architecture from the idea of Roman Catholicism by taking it beyond a question of religion and transforming it into one of morality.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0190": {
-    "English Original": "See Michael Brook, John Ruskin and Victorian Architecture (London, 1987), 33–60.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0191": {
-    "English Original": "<sup43</sup James F. White, The Cambridge Movement: The Ecclesiologists and the Gothic Revival (Cambridge, 1979), 42–3.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0192": {
-    "English Original": "<sup45</sup Ollard, \"The Oxford Architectural and Historical Society\", 149.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0193": {
-    "English Original": "See also W. A. Pantin, \"The Oxford Architectural and Historical Society, 1839–1939\", Oxoniensia 4 (1939), 162–94.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0194": {
-    "English Original": "thirteenth and early fourteenthcentury English Gothic, or \"Middle Pointed,\" as the only sound and therefore acceptable model for modern church architecture.<sup48</sup Anything prior to this date was considered too primitive, while anything much after it (especially Perpendicular) was perceived as whimsical and therefore debased.<sup49</sup\n\nFreeman, who was a corresponding member of the CCS, had always railed against this narrow and restricted assessment of Gothic architecture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0195": {
-    "English Original": "Although he too accepted medieval architecture as the only proper basis for modern church design, his own preferences regarding style occupied both ends of the CCS spectrum: Romanesque and Perpendicular.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0196": {
-    "English Original": "To Freeman, the true value of medieval architecture lay not in any one fixed or arbitrary point of \"perfection\" but, as with the comparative method, in the process of its development as a distinct cultural form.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0197": {
-    "English Original": "It was primarily this insight that enabled him to appreciate the whole of medieval architecture—what in essence was a continuous working out of the Teutonic spirit—in a way that the CCS could not.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0198": {
-    "English Original": "Freeman first tested this idea in a paper he delivered at a meeting of the OAS in March 1843 entitled \"On the Progressive Development of the Several Styles of Architecture, and the Connection of Each with the Spirit of the Age in Which It Arose\".<sup50</sup In this paper Freeman laid down the same thesis he would later develop in his History.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0199": {
-    "English Original": "As the paper's title suggests, his basic point was that architecture should be understood, and therefore appreciated, as a logical outgrowth or manifestation of the culture in which it was produced.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0200": {
-    "English Original": "This interpretation of architecture clearly exhibited the influence of Arnold, in particular his call to seek out the \"tone of opinion and feeling\" of a people through examination of its various forms of expression.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0201": {
-    "English Original": "Freeman's first attempt at relating this concept to architecture, however, fell on deaf ears.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0202": {
-    "English Original": "It was not until two years later, in November 1845, that he was able to restate his thesis in a lecture entitled \"Development of Roman and Gothick Architecture, and Their Moral and Symbolical Teaching\"—the title this time reflecting what had come to be expected of ecclesiological discourse, with key words such \"moral\" and \"symbol\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0203": {
-    "English Original": "In this lecture Freeman was at pains to stress the underlying meaning of architecture (what he called its \"philosophical principles\") rather than its aesthetic or \"outward beauties\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0204": {
-    "English Original": "\"If Architecture, the first of arts, if Ecclesiastical Architecture, its noblest\n\n<sup48</sup See, for example, Ecclesiologist 1/6 and 1/7 (April 1842), 96–7.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0205": {
-    "English Original": "<sup49</sup By the late 1840s the CCS had relaxed its attitude on this point and was willing to look farther afield for inspiration, especially to continental Europe.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0206": {
-    "English Original": "One of the major turning points in this regard was the publication in 1848 of Benjamin Webb's Sketches of Continental Ecclesiology.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0207": {
-    "English Original": "For Webb see J. Mordaunt Crook, \"Benjamin Webb (1819–85) and Victorian Ecclesiology\", in R. N. Swanson, ed., The Church Retrospective (Melton, 1997), 423–55.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0208": {
-    "English Original": "<sup50</sup Rules and Proceedings (March 1843), 11–12.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0209": {
-    "English Original": "form, be something more than a stock of details for antiquarian research, or of picturesque effects for the pencil, or of mere aestheticks in any shape\", he insisted,\n\nwe must look on its successive changes not as the result of mere chance, or of the caprice or taste of individual architects, but as the developments of some great philosophical and moral principles, intimately connected with the spirit and feelings of the successive ages in which they arose; and not merely as arising from them, but as being best suited for them, best calculated, each in its own day, to produce that moral effect which is the end of all art ... and, if art be moral, if Architecture be the chief of arts, thus to narrow and limit its teaching, shews as little perception of its inward depth of meaning, as of its merely outward beauties.<sup51</sup\n\nIn emphasizing \"inward\" content (a concept akin to Arnold's \"inner life\") over outward form, Freeman was extending a challenge to the doctrinaire position of the Cambridge Camden Society.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0210": {
-    "English Original": "He was criticizing not only its insistence on MiddlePointed as the only style worthy of admiration (and imitation), but also its endorsement of the recent translation by John Mason Neale and Benjamin Webb of the thirteenthcentury treatise on church symbolism by William Durandus, the Rationale Divinorum Officiorum.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0211": {
-    "English Original": "<sup52</sup Freeman believed the Rationale to be totally subjective and therefore groundless either as a record of the true meaning of medieval architecture or as an aid to modern design.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0212": {
-    "English Original": "To focus on the arbitrary and \"overminute allegorizing\" of Durandus was, in Freeman's mind, to miss the wood for the trees.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0213": {
-    "English Original": "The real meaning of architecture lay not in \"mere detail\" on the surfaces of buildings but in \"protosymbolism\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0214": {
-    "English Original": "Protosymbolism was fundamental to Feeman's understanding of architecture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0215": {
-    "English Original": "It represented an elemental, firstorder symbolism evident only in the underlying mass and formal character of a building—what he later referred to in his History as the \"grand features of outline and composition\".<sup53</sup This particular understanding of architecture demonstrated Freeman's distaste for the fetishization of extraneous symbolism to which many of his AngloCatholic colleagues were increasingly drawn.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0216": {
-    "English Original": "Like his initial interpretation of the Norman Conquest, Freeman's insistence on protosymbolism was essentially idealist.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0217": {
-    "English Original": "It displays the hallmarks of a Liberal Anglican reading of the past that presupposes the true meaning of phenomena to be comprehensible only in the context of historical development.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0218": {
-    "English Original": "To Freeman, protosymbolism was more significant than \"aesthetick\" symbolism precisely because it was a method of analysis that revealed\n\n<sup51</sup E. A. Freeman, \"Development of Roman and Gothick Architecture, and Their Moral and Symbolical Teaching,\" Rules and Proceedings (Nov. 1845), 24.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0219": {
-    "English Original": "<sup52</sup John Mason Neale and Benjamin Webb, The Symbolism of Churches and Church Ornaments: A Translation of the First Book of the Rationale Divinorum Officiorum, written by William Durandus ... (Leeds, 1843).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0220": {
-    "English Original": "<sup53</sup Freeman, History of Architecture, 8.\n\nin architecture the fundamental organizing principles of society.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0221": {
-    "English Original": "It had practical benefits too, for it was from this type of symbolism that the most immediate moral \"lessons\" might be gleaned, both historical and spiritual.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0222": {
-    "English Original": "Again, this appeal to the moral and spiritual capacity of history reveals the teaching of Arnold.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0223": {
-    "English Original": "\"Romanesque Architecture has to convey the great lesson that the Church is everlasting on earth,\" explains Freeman,\n\nthat neither the storms of persecution, nor the subtler snares of internal corruption, can avail to overthrow her; that she is firm and immovable from her foundations.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0224": {
-    "English Original": "This is expressed by giving the building a character of physical firmness and immovability; huge, unbroken walls, massive columns, heavy arches, all combine to produce this effect.<sup54</sup\n\nUnlike the previous occasion that Freeman presented his theory, this time the CCS sat up and listened.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0225": {
-    "English Original": "This no doubt had much to do with the fact that he had charged them with a particular \"narrowness of conception\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0226": {
-    "English Original": "So incensed were the CCS by Freeman's jibe, and so desirous to repudiate it, that they attacked him for several months in the pages of the Ecclesiologist, printing an especially longwinded and devastating critique of his theories in the June edition of 1846.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0227": {
-    "English Original": "55 Unwilling, or perhaps unable, to appreciate Freeman's ideas, the CCS countered his criticism by suggesting that protosymbolism was no less arbitrary, describing it as nothing more than a \"curious metaphysical process\" applied ab externo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0228": {
-    "English Original": "56\n\nFreeman and the CCS were not entirely at odds, however.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0229": {
-    "English Original": "A careful examination of their respective positions on symbolism reveals that neither completely dismissed the ideas of the other, only that they placed their emphases differently.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0230": {
-    "English Original": "For example, in its critique of Freeman, the CCS conceded that all true Christian architecture was a \"compacture\" of protosymbolism and aesthetic symbolism, or what it called the \"symbolism of Catholic dogma and practice\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0231": {
-    "English Original": "It was just that the latter of these two (according to the Ecclesiologist) was more significant because it offered access to the specific and peculiar nature of Christian architecture.<sup57</sup Despite this apparent divergence of opinion, both Freeman and the CCS were moving firmly in the direction of a developmental theory by 1846.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0232": {
-    "English Original": "Freeman, it must be said, had been grappling with ideas of development in architecture long before Neale, Webb and the CCS.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0233": {
-    "English Original": "One factor that may have hastened their apparent convergence over the matter was the intervention of the then chairman of the CCS (by now the Ecclesiological Society), A. J.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0234": {
-    "English Original": "B. Beresford Hope (1820–87).<sup58</sup Hope had established an acquaintance with\n\n<sup54</sup \"Mr. E. A. Freeman's Reply to the Ecclesiologist,\" Ecclesiologist 2/11 (May 1846), 181.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0235": {
-    "English Original": "5 (1846), 53–5, 177–86, 217–49.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0236": {
-    "English Original": "<sup58</sup Beresford Hope was one of the earliest and most active members of the CCS.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0237": {
-    "English Original": "He was the youngest son of the noted antiquary and collector Thomas Hope (1769–1831), and\n\nFreeman in September 1845, and the correspondence between the two reveals a far more friendly and respectful relationship than that conveyed in the pages of the Ecclesiologist.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0238": {
-    "English Original": "In reaching out to Freeman and the OAS in this way, Hope was admitting Freeman's desire to have his theories acknowledged and respected by the increasingly influential CCS, while garnering support for the Camdenians' reformed attitude towards modern church design.<sup59</sup\n\nIf Freeman's theory of development was concerned with the historical interpretation of architecture, then Beresford Hope's was associated more with contemporary design.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0239": {
-    "English Original": "Hope believed that modern British architecture had reached an impasse by the 1840s.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0240": {
-    "English Original": "It no longer appeared to bear the stamp of artistic progress, languishing as it was in a quagmire of recycled historic styles.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0241": {
-    "English Original": "It lacked the essential animus recognizable in past architectural epochs, whether medieval or classical.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0242": {
-    "English Original": "To counter this predicament Beresford Hope began encouraging British architects to create a new, \"developed\" style of architecture by synthesizing a wide range of forms and materials, not just from within Britain but from around the world.<sup60</sup\n\nHope may have aimed squarely at the problem of contemporary architectural design but his ideas nevertheless contained an air of that \"philosophical\" principle characteristic of Freeman's theories.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0243": {
-    "English Original": "As David Brownlee and Michael Hall have observed, it is indeed likely that Beresford Hope acquired this penchant for the notion of development from Freeman.<sup61</sup But, again, such ideas were already in circulation more generally by 1846.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0244": {
-    "English Original": "This makes it difficult to pin Beresford Hope\n\nsomeone who had already amassed a considerable knowledge of architecture by the time he joined the CCS in 1840.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0245": {
-    "English Original": "See H. W. Law and I.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0246": {
-    "English Original": "Law, The Book of the Beresford Hopes (London, 1925).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0247": {
-    "English Original": "<sup59</sup See JRL, FA1/1/38a–46 and 61a–66.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0248": {
-    "English Original": "<sup60</sup This process was imagined as a sort of crossfertilization of stylistic pedigrees.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0249": {
-    "English Original": "The caveat, however, was that Gothic—preferably English MiddlePointed Gothic—would remain the foundation style, or \"main ingredient,\" as Beresford Hope described it, onto which the foreign elements would be grafted.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0250": {
-    "English Original": "J. Mordaunt Crook has described Beresford Hope's idea as \"progressive eclecticism\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0251": {
-    "English Original": "See \"Progressive Eclecticism: The Case of Beresford Hope\", in J. Mordaunt Crook, The Architect's Secret: Victorian Critics and the Image of Gravity (London, 2003), 85–120.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0252": {
-    "English Original": "<sup61</sup Brownlee, \"The First High Victorians,\" 42–3; Michael Hall, \"'Our Own': Thomas Hope, A. J.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0253": {
-    "English Original": "B. Beresford Hope and the Creation of the High Victorian Style\", Studies in Victorian Architecture and Design 1 (2008), 68.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0254": {
-    "English Original": "One can see this \"doctrine\" beginning to characterize Beresford Hope's writing in two articles that appeared shortly after his first meeting with Freeman.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0255": {
-    "English Original": "B. Beresford Hope, \"Past and Future Developments of Architecture,\" Ecclesiologist5(Feb. 1846),52; Anon.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0256": {
-    "English Original": "(A. J. Beresford Hope), Saturday Review, 29 Jan. 1856, 236.\n\nand the CCS's change of heart down to any one source.<sup62</sup There had not only been Robert Chambers's Vestiges of the Natural History of Creation (1844) and Newman's Essay, but also Charles Lyell's Principles of Geology (1830–33).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0257": {
-    "English Original": "Indeed, as Beresford Hope had indicated to Freeman in March 1846, the Ecclesiological Society was now \"impressed with the feeling that Christian architecture must be developed to suit present exigencies\".<sup63</sup The idea of development was now exerting its influence with full force in the world of British architecture, and Freeman must have felt that the time was right to apply his method in a more extended and substantial manner.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0258": {
-    "English Original": "iii\n\n\"The term style is one in itself not very easy to define\", Freeman writes in the introduction to his History, \"and its use in architecture is more especially vague, as it serves to denote alike the most comprehensive and the most minute divisions under which architectural works may be arranged\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0259": {
-    "English Original": "He outlines three different ways of conceiving \"style\": as an antiquarian term serving to locate a building in a certain age and country; as a way of arranging buildings according to \"some easily recognized circumstance of construction or detail\"; and finally as exemplifying \"some pervading principle, of which details are merely more or less perfectly developed instances\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0260": {
-    "English Original": "These three means of deploying style represented an \"ascending scale\", with the last being \"the highest and most scientific\".<sup64</sup By \"style\" Freeman means all by which we recognize architecture as a cultural artefact: form and construction, as well as decor (i.e.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0261": {
-    "English Original": "Like its author, A History of Architecture is caught between a desire to classify specific buildings by country or construction (deploying \"style\" in the first and second of the three senses of the term) and a fascination with tracing the process by which a \"pervading principle\" (\"style\" in the third sense) manifests itself in buildings spread across time and space.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0262": {
-    "English Original": "On the one hand, isolation, purity and stasis were necessary to identify the characteristics of a specific style, to make fine distinctions; on the other, juxtaposition, assimilation and change (what Freeman called \"transition\") were constantly blurring those distinctions.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0263": {
-    "English Original": "Freeman is pulled\n\n<sup62</sup Michael Hall, \"What Do Victorian Churches Mean?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0264": {
-    "English Original": "Symbolism and Sacramentalism in Anglican Church Architecture, 1850–1870\", Journal of the Society of Architectural Historians 59/1 (March 2000), 81–3.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0265": {
-    "English Original": "<sup63</sup Hope to Freeman, 31 March 1846.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0266": {
-    "English Original": "The real turning point for the Ecclesiological Society on the matter of \"development\" was George Edmund Street's keynote address in 1852, \"The True Principles of Architecture, and the Possibility of Development\", Ecclesiologist 10/55 (Aug. 1852), 247–62.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0267": {
-    "English Original": "<sup64</sup Freeman, History of Architecture, 17–18.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0268": {
-    "English Original": "both ways: the theorist speaks of styles as pure, fixed forms; the historian prefers to speak of styles as \"streams\" that divide and recombine, \"sometimes remaining parallel and distinct, sometimes converging and commingling\".<sup65</sup\n\nThis understanding of architecture has interesting parallels with the insights and concepts of natural science.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0269": {
-    "English Original": "The Liberal Anglicans recognized analogies between evolution in the natural world and the developmental processes of history, even if they understood them as distinct phenomena.<sup66</sup Architects and antiquaries, too, had established theoretical and methodological connections between architecture and natural science by the 1840s.<sup67</sup Indeed, if we were to use the scientific vernacular of Freeman's own day, then we might say that he was both a Cuvierite and a transmutationist.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0270": {
-    "English Original": "In a similar vein to the French comparative anatomist Georges Cuvier (1769–1832), Freeman positions style as a fixed, eternal archetype, understood as principles of construction.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0271": {
-    "English Original": "Where Cuvier classifies life into rough categories according to whether it has a shell (Mollusca), a radial form (Radiata) or a spinal chord (Chordata), Freeman classifies buildings by whether they are constructed around caves, entablatures or arches.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0272": {
-    "English Original": "He does, in fact, use the word \"type\" interchangeably with \"style\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0273": {
-    "English Original": "Thus, for Freeman, resemblances between the buildings of widely scattered peoples are not indications that those peoples were of one race or even influenced each other.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0274": {
-    "English Original": "This is because \"architecture is in most countries a plant of indigenous birth, and has everywhere passed through the same, or at least analogous, stages\".<sup68</sup Thus the similarities between Indian and Egyptian architecture reflect an \"analogous origin\", not imitation of one by the other.<sup69</sup As one works one's way through the History from Incas and Aztecs through Greeks and Romans to the heights of Gothic, Freeman becomes more and more transmutationist; so much so that one begins to suspect that as far as its author is concerned all architecture is under \"development\", and the greatest architecture is \"in a state of almost incessant flux\".<sup70</sup All styles are \"transitional styles, periods of progress from one principle to another\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0275": {
-    "English Original": "Freeman's enthusiasm for them is clear:\n\n<sup65</sup Ibid., 164.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0276": {
-    "English Original": "<sup66</sup Forbes, Liberal Anglican Idea, 145.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0277": {
-    "English Original": "<sup67</sup See Carla Yanni, \"On Nature and Nomenclature: William Whewell and the Production of Architectural Knowledge in Early Victorian Britain,\" Architectural History 40 (1997), 204–21.",
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-  },
-  "W2124297491_s0278": {
-    "English Original": "<sup68</sup Freeman, History of Architecture, 47.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0279": {
-    "English Original": "It was not uncommon for Freeman to use biological metaphors such as this in his writing on architecture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0280": {
-    "English Original": "For example, in comparing English Perpendicular with French Flamboyant in his 1845 essay \"Development of Roman and Gothick Architecture\", 30, he observed that they did not differ essentially, but \"only as species from species\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0281": {
-    "English Original": "<sup69</sup Freeman, History of Architecture, 52.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0282": {
-    "English Original": "The forms produced by these transitional periods are generally, in an aesthetical point of view, the most unsatisfactory of all ...",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0283": {
-    "English Original": "But in an investigation of the history of art no periods are so replete with interest; every stage, every minute detail, illustrates the combat of antagonist principles; the struggles of the decaying style, receding step by step from the scene of its ancient sovereignty; the sure though slow inroads of its successor, first grasping the main features of construction, then gradually bringing within its power the details of shaft, and capital, and moulding, till all are fused into a perfect whole; are at once a subject of most curious inquiry, and one tending to point out more strongly than any other part of their history, the real animating principles of successive styles, and to supply also a valuable commentary on the two great rival principles in the human mind itself.<sup71</sup\n\nWith the benefit of hindsight the historian is able to perfect or complete the \"transitional\" style in his own imagination.<sup72</sup\n\nThe History is divided into two books.",
-    "Has CLIP Embedding": true,
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-  },
-  "W2124297491_s0284": {
-    "English Original": "The first is devoted to \"Architecture of the Entablature\" and begins by considering the ancient civilizations of Central and South America as well as India and Persia, whose architecture is seen as beyond or below discussion, due to insufficient evidence or \"fixed depravity of taste\".<sup73</sup James Burns's original commission had been for a \"'manual of architecture' ... a well filled duodecimo vol[ume] of about 400 pages—which should embrace architecture generally, from the earliest ages and embrace every form of the art secular as well as ecclesiastical\".<sup74</sup In his introduction Freeman is candid enough to admit that he had to \"get up\" large parts of Book One in order to fill this brief, something he found \"a wearisome task\".<sup75</sup He steers clear of historiographical minefields such as the debate over the degree of influence Indian and Egyptian architecture had on each other, and only espies his first \"style\" when he comes to the latter.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0285": {
-    "English Original": "Already we get a fuller sense of how Freeman defines \"style\" (which does seem here to overlap significantly with \"type\"): it must express \"an idea\", protected by \"laws of taste\" and consistent expression from becoming \"mere fancy\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0286": {
-    "English Original": "This is the moral imperative of Freeman's method making itself felt.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0287": {
-    "English Original": "Egyptian architecture is in \"an excavated style\", its buildings and their elements, such as their columns, with their \"reverse diminution\", are all related to the cave \"type\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0288": {
-    "English Original": "Thus the use of bracket capitals betrays \"the idea of original cohesion between the support and the mass supported\", whereas \"in a constructed style\" such additional weights on\n\n<sup71</sup Ibid., 16.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0289": {
-    "English Original": "<sup74</sup James Burns to Freeman, 7 Dec. 1846.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0290": {
-    "English Original": "<sup75</sup Freeman, History of Architecture, viii.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0291": {
-    "English Original": "the pillar are avoided, so as not to compromise the \"appearance of security\".<sup76</sup Although this \"particular origin\" of a style in a type of construction could never be entirely obscured, \"the fact of a style having one particular origin\" did not prevent a certain amount of borrowing.<sup77</sup\n\nFreeman thus begins by discussing style as a principle of construction, or perhaps a building \"type\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0292": {
-    "English Original": "Unfortunately this suggests that Greek and Egyptian architecture on the one hand and Roman and Gothic on the other are in some way related.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0293": {
-    "English Original": "Freeman the Christian racialist refuses to accept this, and devotes several pages to proving that \"there does not appear to be any resemblance between the two styles [Greek and Egyptian], beyond that which cannot fail to exist between any two which employ the same construction\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0294": {
-    "English Original": "Such resemblances that do exist are \"details\"—which, as already noted above, are of little interest to Freeman.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0295": {
-    "English Original": "Fundamental differences in religion and temperament were key to this interpretation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0296": {
-    "English Original": "He also employs climate theory to widen the gap—a vestige of the Niebuhrian method as translated through Arnold.<sup78</sup For Freeman, it is ultimately the higher \"national character\" and greater \"national originality\" which distinguishes the Greeks.<sup79</sup\n\nAlthough he clearly admires Greek architecture, it is already clear from the second part of Book One that the agenda of the History is to propose that Gothic is \"the most perfect form which the art [of architecture] can assume\".<sup80</sup If such a suggestion in itself was by no means controversial by 1849, the method by which he arrived at it certainly was.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0297": {
-    "English Original": "As with his preliminary essays on the topic of medieval architecture discussed above, Freeman was not only seeking to readjust the relative worth assigned each style in architectural history, but also proposing an entirely new system of assessing that worth.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0298": {
-    "English Original": "It is this approach that distinguishes Freeman from his contemporaries.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0299": {
-    "English Original": "Part of the problem, of course, was the Renaissance.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0300": {
-    "English Original": "In a passage reminiscent of Pugin, Freeman insists that the pedantries by which \"generation after generation of paganizers\" had characterized buildings by orders (Doric, Ionic, Corinthian) was reductive, imposing \"unnatural shackles\" of \"artificial bondage\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0301": {
-    "English Original": "Freeman's squirming over suspected Egyptian influences shows the strain of treating style in abstract aesthetic terms.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0302": {
-    "English Original": "<sup77</sup \"An architecture then, which borrowed its principal forms, and above all, its general effect and character, from the one source, might, in the gradual progress of its development, derive both ornamental and constructive features from the other.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0303": {
-    "English Original": "<sup78</sup For example, see Arnold, Introductory Lectures, 157–67; Reill, \"Barthold Georg Niebuhr\", 21.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0304": {
-    "English Original": "Thomas Hope, whom Freeman praises in his History, also associated the causes of architectural formation with climate and geography.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0305": {
-    "English Original": "Thomas Hope, An Historical Essay on Architecture (London, 1835).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0306": {
-    "English Original": "<sup79</sup Freeman, History of Architecture, 98 (details), 99 (nationality).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0307": {
-    "English Original": "It is at this point that the transmutationist and, to some extent, the racialist and ecclesiologist begin to make their presence felt.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0308": {
-    "English Original": "Architecture, Freeman concedes, responds to a universal human need.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0309": {
-    "English Original": "Each style (qua building \"type\") is theoretically equal, with the same potential to incarnate \"ideas\", to achieve \"perfection\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0310": {
-    "English Original": "Seen as \"the legitimate adorning of a certain construction\", however, a style may be \"perfect\" and yet not be \"either mechanically, aesthetically, or morally, the best that has been produced\".<sup81</sup Whether certain \"ideas\" are expressed or not depends on who is thinking them, and some races seem to be better at thinking than others, their intellectual muscles toned by true faith.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0311": {
-    "English Original": "Differences of race, faith, and national character are thus superimposed on Freeman's neat classification of \"architecture of the entablature\" and \"of the arch\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0312": {
-    "English Original": "Thanks to their influence, \"all styles are not of the same merit, all do not equally contain a principle of life, all are not equally the expression of an idea\".<sup82</sup That Gothic reached \"real perfection\" as a style was due to its elements having been seized by the \"plastic hand of the Northman\".<sup83</sup\n\nAs already noted above, Freeman is aware of our tendency to view style as something alive (\"something really existing ... like a tree\"), and in a certain context he is prepared to admit that this concept is useful, in so far as it makes a narrative and a certain sort of architectural knowledge possible.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0313": {
-    "English Original": "But that knowledge is ultimately antiquarian, not philosophical or scientific.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0314": {
-    "English Original": "A style may be alive, but its life is not its own; its life is literally inspired or breathed into it by race, and its degree of development is determined by the degree of intellect, nationality and faith exhibited by that race.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0315": {
-    "English Original": "Thus the introductory chapter on \"division of styles in architecture\" shows a tension between the classificatory task Freeman feels he has been set and the higher task he feels calling him, between constructing \"a general arrangement of styles of architecture\" and what he sees as that \"deep and philosophical investigation into architecture\", which takes the two styles of Greek and Gothic as its focus, \"and of the two, Gothic, as the expression of the deeper and nobler idea, even more so than its rival\".<sup84</sup Whenever the \"arrangement of styles in architecture\" places the styles of different races in a potentially embarrassing juxtaposition (the Romans and the Teutons, for example), Freeman's \"scientific\" racialism asserts itself.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0316": {
-    "English Original": "\"Wherever the two races are brought into contact with each other\", Freeman writes, \"the stern and hard virtues of the Northern conquerors bespeak a far higher standard, physical,\n\n <sup83</sup Ibid., 150.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0317": {
-    "English Original": "<sup82</sup Ibid., 18.\n\nintellectual, and moral, than the worn out and enervated system of Rome could supply\".<sup85</sup\n\nHere style is seen to have a certain equivalency with language.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0318": {
-    "English Original": "Drawing on Niebuhrian philologic methodology, architectural style, like language, is interpreted by Freeman as an elemental form of cultural expression, one that is understood to embody the unique experiences and character of a people.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0319": {
-    "English Original": "If, for Niebuhr, words, metaphors and grammar were related to a definite historical context, then so too for Freeman were the \"tall shaft, and the soaring arch, and the vault\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0320": {
-    "English Original": "However, it was not the mere presence of these elements that mattered, but the underlying \"spirit\" or principle that enabled their coming together in a unique and coherent form.<sup86</sup Again, this was the genius of the Teuton.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0321": {
-    "English Original": "The idea that a \"germ\" of civilization could be passed across racial divides underpinned the \"unity of history\", the scheme by which Arnold saw certain ideals as having been passed from Greek to Roman and then from Roman to Teuton.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0322": {
-    "English Original": "As with Arnold, in Freeman's case this transfer will only work if the race in question offers a fertile \"soil\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0323": {
-    "English Original": "In Book Two Freeman turns to consider \"the architecture of the arch\", and starts with Romanesque, which might be called the quintessential transitional style.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0324": {
-    "English Original": "In Freeman's day it was common to deny that it was a style at all: it was seen either as \"corrupted\" Roman or as \"imperfect\" Gothic.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0325": {
-    "English Original": "This, as Freeman notes, enabled both the ecclesiologist and \"the despiser of Gothic\" alike to revile it: it \"is looked on not as a distinct style, but as an imperfect form of Gothic, containing the same elements, but in a rude and undeveloped form\".<sup87</sup Freeman insisted that Romanesque was \"a distinct form of Christian architecture\", albeit one only perceptible to those able to think beyond archetypes, able to see a style in transition, to judge \"without reference to a fixed standard either of Grecian or Gothic excellence\".<sup88</sup Freeman is able to perceive the Romanesque as emerging from a \"germ\" passed to the Teuton by the Romans along with the Christian faith.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0326": {
-    "English Original": "In both cases the Romans pass on this \"germ\" without even having been able to propagate it themselves, due to the \"exclusively heathen\" nature of their achievements.<sup89</sup This is an instance of Freeman's protosymbolist concept at work.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0327": {
-    "English Original": "For the Roman Empire, Christianity \"was but the\n\n<sup85</sup Ibid., 150.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0328": {
-    "English Original": "<sup86</sup Freeman describes the Romanesque and Gothic styles as \"the architectural language of our own race and religion\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0329": {
-    "English Original": "History of Architecture, 8.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0330": {
-    "English Original": "<sup89</sup There are certain limits imposed, therefore, on translation or \"transition\" between styles.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0331": {
-    "English Original": "Here Freeman states that the \"Saracens\" borrow elements from Gothic, only to produce \"a sort of dead Gothic\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0332": {
-    "English Original": "\"We shall see however\", he continues, \"that many of these dead forms were grasped by the Teutonic architects, and by them endued with true life and vigour\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0333": {
-    "English Original": "Ibid., 27.\n\nprecursor of its fall\"—to the Teutons it brought new strength.<sup90</sup Thus it was possible to see Romanesque both as a distinct style and as one borrowed from the Romans, even while claiming that in Roman hands it had not in fact been a style at all.<sup91</sup\n\nTransition is not, therefore, the result of \"a direct and formal imitation\", but requires a catalyst: \"some great mechanical discovery, some mighty revolution in politics or religion, some complete revulsion in taste and feeling\".<sup92</sup It is unclear whether this trigger comes, as it were, from \"outside\" or \"inside\" architecture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0334": {
-    "English Original": "In a passage from Book One where Freeman is insisting that the Greek style did not emerge from the Egyptian, he argues that \"to suppose such an opposite style [i.e.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0335": {
-    "English Original": "Greek] to have grown up out of a direct and formal imitation, without any great innovation, like the arch, to revolutionize the whole, is contrary to all possibility\".<sup93</sup Thus a borrowed element of construction could be combined with traditional decoration in the established style, marking the beginning of a phase of transition which would itself give birth to a new style, to a \"third form\" that matched neither the form of the borrower nor the borrowed form.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0336": {
-    "English Original": "Freeman introduces this quasievolutionary process in his introduction, acknowledging a debt to Thomas Hope's Historical Essay and noting its similarities with that \"progression by antagonism\" which Lord Lindsay had advanced in his 1846 Sketches of Christian Art.<sup94</sup\n\nAgain, as in the case of his preliminary essays, the \"truth\" of this higher, protosymbolist understanding of style as a question of principles more or less perfectly developed was noumenal, almost quasireligious, based on \"evidence of things not seen\".<sup95</sup At times in the History it can seem quite literally to melt into air, for all the characteristic mixture of breeziness and bluntness with which Freeman presents it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0337": {
-    "English Original": "\"Any one but an archaeologian knows that there is an indescribable something about buildings\", he writes, \"as about everything else, call it air, character, what you please, which stamps their style and date better than all the technicalities from one end of the Glossary to the other\".<sup96</sup But how could one capture this \"air\", how could wouldbe imitators capture a style and keep it alive?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0338": {
-    "English Original": "<sup94</sup Freeman incorrectly refers to Sketches as \"Letters on Christian Art\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0339": {
-    "English Original": "See History of Architecture, xviii (Lindsay), 15 (Hope and \"third form\").",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0340": {
-    "English Original": "For Lindsay see Conlin, \"Gladstone and Christian Art\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0341": {
-    "English Original": "<sup96</sup Freeman, History of Architecture, 207–8.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0342": {
-    "English Original": "iv\n\nAlthough Freeman would never be as influential as the Ecclesiologists, it is a mistake to think that he had no impact on the world of British architecture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0343": {
-    "English Original": "Through his involvement with the OAS, and the publication of his History, Freeman's ideas percolated into contemporary thinking on architecture, particularly theories concerning the Gothic Revival.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0344": {
-    "English Original": "One such admirer was George Gilbert Scott (1811–78), a young designer who was soon to become one of Britain's premier architects.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0345": {
-    "English Original": "On 3 October 1849 Scott wrote to Freeman to congratulate him on his History, though he did suspect that it would \"puzzle\" the editor of the Builder, \"it being so different from the common view\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0346": {
-    "English Original": "Scott was rather unenthusiastically preparing a paper for the following Tuesday's OAS meeting on the subject of his own restoration work at St Peter's, Northampton.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0347": {
-    "English Original": "His restoration there had been strongly criticized: as he wrote to Freeman, \"they have nailed me to it\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0348": {
-    "English Original": "Apart from agreeing that he was wrong, however, Scott could see little sign of any consensus on how the balance between imitation and archaeology should be struck.<sup97</sup For his part Freeman had insisted in his History that the question whether Romanesque was a \"perfect or an imperfect style\" had no place in \"theories as to the preservation or destruction of ancient buildings\".<sup98</sup\n\nRestoration was not the only area of contention in British architecture over which Freeman and Scott ruminated; the rise of \"secular Gothic\" was another.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0349": {
-    "English Original": "As both were enthusiasts for the Gothic style, it is hardly surprising that their views on this matter coincided.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0350": {
-    "English Original": "To be sure, Freeman had argued for the revival of Gothic forms primarily with respect to religious buildings, but he was also aware of the potential it offered the secular domain.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0351": {
-    "English Original": "After all, a Christian nation ought to build in a Christian style, no matter what the occasion.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0352": {
-    "English Original": "But for Scott the synergies went further.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0353": {
-    "English Original": "Through exposure to Freeman and his ideas, it seems that Scott developed an appreciation for both the \"philosophy\" of architecture and racialist theory.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0354": {
-    "English Original": "Traces of both are evident in Scott's own writing, especially in A Plea for the Faithful Restoration of Our Ancient Churches (1850) and Remarks on Secular and Domestic Architecture (1857), where he can be found justifying Gothic architecture in terms that are palpably Freemanesque.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0355": {
-    "English Original": "For instance, in Remarks, Scott defends \"our Gothic Renaissance\" against what he considers to be the invidious \"revived Roman\", observing that the\n\nClassicists fought hard against it, but—their own architecture being a Renaissance, and that of the style of a foreign land and of an old world—they failed to enunciate any philosophical argument against the revival of the native architecture of our own country and our own family of nations.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0356": {
-    "English Original": "<sup97</sup Scott to Freeman, 3 and 9 Oct. 1849.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0357": {
-    "English Original": "JRL, FA1/1/93a (quote), 94a.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0358": {
-    "English Original": "<sup98</sup Freeman, History of Architecture, 254.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0359": {
-    "English Original": "\"[O]ur aim must be a style of our own,\" he adds, \"the indigenous style of our race must be our point de depart\".<sup99</sup Although these passages also exhibit the influence of Beresford Hope, to whom Scott dedicated Remarks, the association he makes between race, nation and architecture also reveals the impact of Freeman.<sup100</sup\n\nFreeman's views on secular Gothic were to be put to the test in a way that he could scarcely have predicted.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0360": {
-    "English Original": "It was Scott who called upon him for moral and intellectual support during his illfated encounter with Lord Palmerston over the design of the new Government Offices in 1859–60.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0361": {
-    "English Original": "In this altercation Scott was forced to substitute his original Gothic Revival design for a classical one, owing to Palmerston's personal dislike of Gothic.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0362": {
-    "English Original": "Although Freeman's interjection came too late for Scott, the debate over style that gripped this project was both fierce and protracted, representing one of the most farreaching and divisive debates in the history of British architecture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0363": {
-    "English Original": "The terms of this debate (known as the \"Battle of the Styles\") were grist to the mill for Freeman, and one suspects that he had been looking for an excuse to wade in.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0364": {
-    "English Original": "In fact, the association between architecture and identity that had largely characterized this debate chimed perfectly with many of the arguments that he had made in his History.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0365": {
-    "English Original": "For a public building of such import, and one upon which the artistic merits of the British nation would be judged, \"modern Gothic\", as far as Freeman could see, was the only viable option.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0366": {
-    "English Original": "To this end he penned two articles in June 1859 in which he raised the stakes of the debate considerably.<sup101</sup These pieces gave Freeman the opportunity to reheat his Teutonic theory in what amounted to a heavyhanded appeal to nationalist sentiment.<sup102</sup He began rather cautiously by reiterating a number of wellworn prejudices concerning the cultural origins of Gothic architecture that had been present in revivalist theory since the 1820s, especially those developed by John\n\n<sup99</sup George Gilbert Scott, Remarks on Secular and Domestic Architecture Present and Future, 2nd edn (London, 1858), 262–3.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0367": {
-    "English Original": "<sup100</sup In A Plea for the Faithful Restoration of Our Ancient Churches (1850), 7, Scott describes Freeman's History as a \"masterly outline\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0368": {
-    "English Original": "In writing to Freeman, he also described the History as \"the most masterly outline of the whole subject I have ever met with\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0369": {
-    "English Original": "See G. G. Scott to Freeman, 3 Oct. 1849.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0370": {
-    "English Original": "Scott's lectures before the Royal Academy in 1855 also displayed the influence of Freeman in the way they presented the genius of Gothic architecture in cultural and nationalist terms.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0371": {
-    "English Original": "See George Gilbert Scott, Lectures on the Rise and Development of Mediaeval Architecture, 2 vols.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0372": {
-    "English Original": "(London, 1878), 1: 5, 7, 17, 217–19, 275; 2: 292–3, 309, 315.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0373": {
-    "English Original": "<sup101</sup David Brownlee has noted that Scott himself had made extensive comments on the draft version of at least one of these articles (National Review, Jan. 1860) and assisted in having the other one (The Times, 19 Oct. 1859) published.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0374": {
-    "English Original": "See Brownlee, \"That 'Regular Mongrel Affair': G. G. Scott's Design for the Government Offices\", Architectural History 28 (1985), 181 n. 89.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0375": {
-    "English Original": "<sup102</sup The Times, 19 Oct. 1859, 10–11; National Review 10 (1860), 24–53.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0376": {
-    "English Original": "Henry Parker, William Sewell and the university architectural societies.<sup103</sup But then he struck out in the only way he knew how, arguing, as he had in the History, that Gothic architecture had grown out of a certain kind of racial temperament and was not only the outward expression of English identity but also a ready and palpable source of historical continuity.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0377": {
-    "English Original": "Freeman sought to win back the moral high ground for the Goths by lending their argument a wider and more scholarly profile.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0378": {
-    "English Original": "\"We, as Teutons prefer to cleave to Teutonic architecture\", he declared; \"as Englishmen, we select by special preference its English variety ... Gothic architecture is the architecture of the Teutonic race\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0379": {
-    "English Original": "Peddling the idea that the unity of history was not just a phenomenon observable in the development of English culture but also one that ought to characterize English architecture, he added, \"The architecture of England arose alongside of her laws, her constitution, her language.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0380": {
-    "English Original": "They are all the work of that wonderful thirteenth century, which made England what she still is\".<sup104</sup\n\nUnfortunately for both Freeman and Scott, Lord Palmerston did not have the same view.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0381": {
-    "English Original": "He forced Scott to change his original Gothic design for the Foreign Office to a classical one, threatening to dismiss him from the project unless he did so.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0382": {
-    "English Original": "Reluctantly, Scott presented a revised set of plans in April 1861.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0383": {
-    "English Original": "In July that year the House of Commons voted in favour of the revised plans, bringing an end to the saga and resulting in the building we see today.<sup105</sup\n\nWith the Gothic cause on the retreat, Freeman retired from the fray.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0384": {
-    "English Original": "Although he remained active in the OAS, he would not enter into public debate over architecture in the same way again.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0385": {
-    "English Original": "He continued to write on architecture but in terms that were considerably less highminded and compelling.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0386": {
-    "English Original": "Gone was the desire to transform the way architecture was perceived and understood, sapped perhaps by the apparent indifference he sensed among the wider architectural community to his ideas.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0387": {
-    "English Original": "Nevertheless, one is left wondering why he believed that\n\n<sup103</sup J. M. Frew, \"Gothic Is English: John Carter and the Revival of the Gothic as England's National Style\", Art Bulletin 64 (1982), 315–19; S. Bradley, \"The Englishness of Gothic: Theories and Interpretations from William Gilpin to J. H. Parker\", Architectural History 45 (2002), 325–46.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0388": {
-    "English Original": "<sup104</sup National Review 10 (1860), 24–53.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0389": {
-    "English Original": "Much of the \"unity\" argument presented in this piece by Freeman can also be found in a similar piece written around the same time titled \"The Continuity of English History\", which appeared in the Edinburgh Review for July 1860.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0390": {
-    "English Original": "See \"The Continuity of English History\", in E. A. Freeman, Historical Essays, first series, 5th edn (London, 1896), 40–52.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0391": {
-    "English Original": "<sup105</sup For further discussion of this episode in British architectural history see G. A. Bremner, \"Nation and Empire in the Government Architecture of MidVictorian London: The Foreign and India Office Reconsidered\", Historical Journal 48/3 (2005), 703–42; Ian Toplis, The Foreign Office: An Architectural History (London, 1987); M. H. Port, Imperial London: Civil Government Building in London, 1851–1915 (New Haven and London, 1995).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2124297491_s0392": {
-    "English Original": "so abstract and academic a theory as his would receive widespread acclaim in the British architectural establishment.",
-    "Has CLIP Embedding": true,
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-  "W2124297491_s0393": {
-    "English Original": "It seems clear that most British architects were not yet ready for architecture as a branch of \"mental philosophy\".",
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-  "W2124297491_s0394": {
-    "English Original": "v\n\nFreeman wished his ideas had had a greater impact in the world of British architecture.",
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-  "W2124297491_s0395": {
-    "English Original": "He could see the huge influence that his rivals such as the CCS and John Ruskin had achieved, and maybe wondered what it was that prevented his own conclusions on symbolism and architectural nomenclature from being accepted more generally.",
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-  "W2124297491_s0396": {
-    "English Original": "Although Ruskin, Viollet le Duc and, later, William Morris followed Freeman in delivering architectural writing from the dryasdust antiquarian approach of the 1820s and 1830s, under their guidance the terms of debate shifted radically in the1850s and 1860s.",
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-  "W2124297491_s0397": {
-    "English Original": "No longer was symbolism a leading consideration.",
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-  "W2124297491_s0398": {
-    "English Original": "Architecture had become a means of diagnosing the moral and social ills of modern Britain, rather than embodying such abstract notions as the vitality of race.",
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-  "W2124297491_s0399": {
-    "English Original": "Indeed, Ruskin's Seven Lamps of Architecture, which appeared the same year as Freeman's History, made a direct appeal to the romantic, emotive, and somewhat pious inclinations of younger British architects.",
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-  "W2124297491_s0400": {
-    "English Original": "It, along with The Stones of Venice (1851–3), was a deeply engaging narrative that captured the imagination of a generation.<sup106</sup\n\nBut it should be remembered that architects and architecture did not represent Freeman's ultimate objective.",
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-  "W2124297491_s0401": {
-    "English Original": "If architects read his History and took something from it, as had Scott, then all well and good.",
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-  "W2124297491_s0402": {
-    "English Original": "The context in which the ideas underpinning it were developed was 1840s Oxford, and the OAS was an organization established more for the benefit of historians and other likeminded enthusiasts than for architects.",
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-  "W2124297491_s0403": {
-    "English Original": "These tensions highlight just how different, fundamentally, Freeman's ideas were to those of Beresford Hope and the CCS.",
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-  "W2124297491_s0404": {
-    "English Original": "Despite areas of overlap, particularly on the point of development, it is clear that Freeman's notion of protosymbolism was essentially anathema to the Camdenians whose agenda revolved around ecclesiastical symbolism and the liturgical diktats of modern church design.",
-    "Has CLIP Embedding": true,
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-  "W2124297491_s0405": {
-    "English Original": "For Freeman, the study of architecture had a much higher and nobler aim.",
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-  "W2124297491_s0406": {
-    "English Original": "In reading his writings on the subject one gets the distinct impression that to study architecture for architecture's sake was limiting and tiresome, that architecture had a greater and more important story to tell about the history of man and\n\n<sup106</sup Indeed, in Modern Painters (vol.",
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-  "W2124297491_s0407": {
-    "English Original": "3) Ruskin proudly confessed his ignorance of German philosophy.",
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-  "W2124297491_s0408": {
-    "English Original": "See Cornelius J. Baljon, \"Interpreting Ruskin: The Argument of the Seven Lamps of Architecture and the Stones of Venice\", Journal of Aesthetics and Art Criticism 55/4 (1997), 410.\n\nhis achievements.",
-    "Has CLIP Embedding": true,
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-  "W2124297491_s0409": {
-    "English Original": "The idealist streak that so characterized the Liberal Anglican mind revealed to Freeman a whole new understanding of built form and the way it might be interpreted as evidence of the developmental and unifying processes of history.",
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-  "W2124297491_s0410": {
-    "English Original": "In this respect, he was ahead of his mentor and master Arnold, and stands out from other nineteenthcentury British writers on architecture, who have often been characterized as eschewing the theoretical pretensions of their Continental counterparts.",
-    "Has CLIP Embedding": true,
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-  "W2124297491_s0411": {
-    "English Original": "Freeman is now all but forgotten to the world of architecture.",
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-  "W2124297491_s0412": {
-    "English Original": "His History may have been the first account of world architecture in the English language, but its conclusions can hardly be taken seriously.",
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-  "W2124297491_s0413": {
-    "English Original": "Nevertheless, to read Freeman's writings on architecture today is to rediscover the suppleness and wideranging grasp of the Liberal Anglican mind.",
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-  "W2124297491_s0414": {
-    "English Original": "At first glance Freeman may seem not to fit the Liberal Anglican mould.",
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-  "W2124297491_s0415": {
-    "English Original": "As a scholar he took the methodological tools developed by Arnold and adapted them to suit his own research agenda, opening up novel, if controversial, ways of viewing the past.",
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-  "W2124297491_s0416": {
-    "English Original": "But this application of the idealist method in its British guise does not make Freeman any less of a Liberal Anglican.",
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-  "W2124297491_s0417": {
-    "English Original": "Rather, it forces us to rethink the nature and extent of \"Liberal Anglicanism\" as an intellectual tradition.",
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-  "W2124297491_s0418": {
-    "English Original": "Can this tradition have been as limited or circumscribed as Duncan Forbes proposed?",
-    "Has CLIP Embedding": true,
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-  "W2124297491_s0419": {
-    "English Original": "Freeman's development and articulation of it through his History of Architecture suggests not.",
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-  "W2124297491_s0420": {
-    "English Original": "Finally, it is only in relatively recent times that the philosophical turn (i.e.",
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-  "W2124297491_s0421": {
-    "English Original": "postmodern theory) has come to shape the practise and \"reading\" of architecture in Britain, particularly in educational establishments.",
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-  "W2124297491_s0422": {
-    "English Original": "Cultural and \"philosophical\" interpretations of architecture are nowde rigueur.",
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-  "W2124297491_s0423": {
-    "English Original": "Though largely neglected by his contemporaries, all those who think and write about architecture today are in a sense heirs of Edward Augustus Freeman.",
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-  "W2322640565_s0001": {
-    "English Original": "Airports as urban narratives.",
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-  "W2322640565_s0002": {
-    "English Original": "Towards a cultural history of global infrastructures\n\nNathalie Roseau\n\n To cite this version:\n\nNathalie Roseau.",
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-    "English Original": "Airports as urban narratives.",
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-    "English Original": "Towards a cultural history of global infrastructures.",
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-  "W2322640565_s0005": {
-    "English Original": "Transfers, 2012, 2 (1), pp.3254.",
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-  "W2322640565_s0006": {
-    "English Original": "ffhal00734353ff\n\n HAL Id: hal00734353 <https://enpc.hal.science/hal00734353v1\n\nSubmitted on 11 Nov 2021\n\nHAL is a multidisciplinary open access archive for the deposit and dissemination of scientific research documents, whether they are published or not.",
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-  "W2322640565_s0007": {
-    "English Original": "The documents may come from teaching and research institutions in France or abroad, or from public or private research centers.",
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-    "English Original": "L'archive ouverte pluridisciplinaire HAL, est destinée au dépôt et à la diffusion de documents scientifiques de niveau recherche, publiés ou non, émanant des établissements d'enseignement et de recherche français ou étrangers, des laboratoires publics ou privés.",
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-  "W2322640565_s0009": {
-    "English Original": "Version postprint de : Nathalie Roseau.",
-    "Has CLIP Embedding": true,
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-  },
-  "W2322640565_s0010": {
-    "English Original": "Airports as urban narratives.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0011": {
-    "English Original": "Towards a cultural history of global infrastructures.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0012": {
-    "English Original": "Transfers, Berghahn Journals, 2012, 2 (1), pp.32 54.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0013": {
-    "English Original": "Airports as Urban Narratives Toward a Cultural History of the Global Infrastructures Nathalie Roseau Université Paris Est, École des Ponts ParisTech\n\n Abstract\n\nThis article focuses on the process of the design of airports and how in particular the urban context has shaped their specific histories.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0014": {
-    "English Original": "Far from being merely pure technical or functional equipment, they have been mirrors for contemporary expectations, just as they informed the modern urban imaginary.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0015": {
-    "English Original": "According to this perspective, an urban history of airports can be traced from the first aerodromes dedicated to large urban publics to the development of spectacular airports driven by the massive recent routinization of air transport so intricately bound up with globalization.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0016": {
-    "English Original": "Based on research on specific cases of the design and building of New York and Paris airports, this article aims to resist the temptations to dehistoricize the airport topic, and to introduce a narrative mode of thinking about these specific and concrete spaces.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0017": {
-    "English Original": "Keywords\n\naeromobility, airport, design, future, historicity, obsolescence, spatiality, urban imagery\n\n Introduction\n\nThis paper focuses on the relations between the city fabric and the development of aerial mobility, and their particular interaction through the design and the building of material urban artifacts such as airport infrastructures.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0018": {
-    "English Original": "We know that travel modes in general have radically transformed spatiality.1 As well as triggering a metamorphosis of cities themselves, transport transforms perceptions of space and recasts our modes of representation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0019": {
-    "English Original": "However, as Marc Bloch has stressed, \"The invention is not everything.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0020": {
-    "English Original": "It also has to be accepted and taken up by society and this is where the technique itself ceases to be the only factor in controlling its own destiny.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0021": {
-    "English Original": "\"2 Bloch was outlining the permanent hybridization process along which technology and society interact, enlarging the key issue of causality in history as more complex and multiform.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0022": {
-    "English Original": "Since the 1960s, the \"social construction of technology\" has developed and expanded as a field of research, leading to the advent of Science and Technology Studies.3 For scholars examining the city, the turn to technology—and following more recently the turn to mobility4 —led to a renewal in urban studies, and an affirmation that the city fabric was the result of complex interactions between society and technology.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0023": {
-    "English Original": "Within this general frame, this paper focuses on the black box of the spatial fabric, investigating how aerial mobility has been domesticated by, even as it has transformed the urban environment.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0024": {
-    "English Original": "To detail this symbiotic relationship between urbanism and aerial mobility, the article will look in particular at how airports have been designed and built in relation to their urban context.5\n\n Airport and the City: (Ir)resistible Temptations for Ahistoricity and Aspatiality?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0025": {
-    "English Original": "While they already boast eighty years of history and figure among cities' most emblematic buildings, airports paradoxically are often considered only in the immediacy of the present.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0026": {
-    "English Original": "A few books dedicated to airports have been published over the last fifteen years, some of them historically oriented, and most covering the global diffusion of airports,6 and celebrating them as flamboyant technical and architectural achievements.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0027": {
-    "English Original": "However, the current mainstream discourse most often figures the airport either in a futuristic perspective that includes both fear and fascination (as can be seen from the comments on the recent gigantic and spectacular projects in Asia or the United Arab Emirates, for example) or in a present perspective that analyzes with both criticism and perplexity the existing chaotic airport environment.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0028": {
-    "English Original": "This apparent amnesia of the historical thickness of the airport may be primarily explained by the fact that airports now represent perfectly legitimate research topics inasmuch as the rapid development of airport zones over the past few decades has raised key questions about the content, purpose and limits of the \"urbanism of flows\" and is closely bound up with globalization.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0029": {
-    "English Original": "The subject of fascination and bitter criticism in equal measure—they have even been described as urban, technical, or social dystopias—the airport is often used to illustrate the \"space of flows\" (Castells) or \"global cities\" (Sassen) paradigms.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0030": {
-    "English Original": "According to Saskia Sassen, contemporary airports also emphasize the intrinsic duality of the global city.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0031": {
-    "English Original": "As she aptly puts it, within this space \"decisionmakers without borders encounter workers without (working) papers.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0032": {
-    "English Original": "\"7 Manuel Castells raises another structural dialectic, using airports to enlighten his concept of \"space of flows\"—a fluid and virtual space\n\nallowing us to be here and nowhere—which he confronts to what he calls the \"space of places\"—a visible and material form of the built environment conducive to the experience of a local place.8\n\nAirports also have variously been termed \"generic cities\" or \"nonplaces.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0033": {
-    "English Original": "The anthropologist Marc Augé has introduced this last term through the narrative of a road journey to and through Roissy, which according to him epitomizes the highly disembodied environment of the contemporary society.9 The architect Rem Koolhaas also opens his manifesto on the \"generic city\" with an airport reference that illuminates his reflections on Bigness and the large scales of architecture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0034": {
-    "English Original": "However, Koolhaas does not seem to share the conclusions of Augé on the standardization of all contemporary designs, such as airports, highspeed railway stations or shopping centers; on the contrary, the architect sees in airports a new arena of differentiation: \"Once manifestations of ultimate neutrality, airports now are among the most singular, characteristic elements of the Generic City, its strongest vehicle of differentiation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0035": {
-    "English Original": "\"10\n\nAs we can see, airports have become, over the past twenty years, one of the subjects of predilection of researchers tasked with analyzing all things urban.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0036": {
-    "English Original": "As hybrids of the transnational and the local, of gigantism and microcosm, of intensity and dispersal, of ubiquity and immobility, of introversion and exteriority, of transcendence and failure, airports now seem to embody a sort of critical lesson whereby, like a distorting mirror, they reflect the crucial issues in our contemporary environment.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0037": {
-    "English Original": "But they also function as a sort of liminal area between the urban and the nonurban, as they appear to bring the thorniest urban issues to the fore without necessarily being accorded the noble status of prized urban spaces.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0038": {
-    "English Original": "Consequently, to the ahistoricity of airports' current representations, we may also add an \"aspatiality\" trend, doubtless resulting from this hybrid position, neither inside the city nor outside.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0039": {
-    "English Original": "Urban Narratives as a Way to Recontextualize Airport History\n\nActually, airports' supposed ahistoricity and aspatiality may be accounted for by the fact that airports have very often been conceived of in relation to the future.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0040": {
-    "English Original": "This orientation has tended to prevent their framing in historical time and space.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0041": {
-    "English Original": "What must be emphasized is that there has always been an ongoing dialogue between cities and their airports, and that, instead of being merely pure functional or technical equipment, airports and their processes of construction have been formidable instruments for projecting in vivo urban fictions.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0042": {
-    "English Original": "They have been the focus of heightened and contradictory expectations, and have reflected utopian and critical projects back onto their host cities.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0043": {
-    "English Original": "Therefore, the urban condition of\n\nthe airport as a \"future present,\" confers it with a particular historical character as its cultural construction can ultimately be understood in terms of a succession of projections of the future.11 Analyzing the history of airports through this retrospective of \"past futures\" narratives, we can outline their progressive stratification, and understand the way visions and designs aggregated, mutated, consolidated a palimpsest of images and discourses, and finally partly shaped the manner in which we view these places.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0044": {
-    "English Original": "The airport also exhibits a natural extraurban status, as it can also be regarded as a space that has sought to emancipate itself from its host city.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0045": {
-    "English Original": "While the numerous reasons for this \"distancing\" may appear obvious, this extraterritoriality is also the result of a permanent process of design and planning that has nearly always placed aerial infrastructure at the very edge of urban territory.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0046": {
-    "English Original": "However, this specific position on a constantly moving frontier does not necessarily designate the airport an anonymous nonplace.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0047": {
-    "English Original": "Airports differ from one city to another; mere observation testifies to this fact.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0048": {
-    "English Original": "Moreover, spatial transformation processes highlight major disparities in airports undergoing construction, renovation or enlargement.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0049": {
-    "English Original": "Models' constant evolution is subject to local variants that shape their future.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0050": {
-    "English Original": "Within this frame, this article militates against seeing airports as simply evidence of the standardization wrought by globalization, and aims instead to relocalize airports in their specific cities' histories.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0051": {
-    "English Original": "To this end, viewing airports as urban narratives—a chronotope, Mikhail Bakhtin would say12—can be understood as a way to recontextualize the airports topic both in a temporal and spatial urban framing.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0052": {
-    "English Original": "The specific case studies of New York and Paris illustrate my claims.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0053": {
-    "English Original": "These two cities have been emblematic in the history of aviation, as well as symbolic examples of the expanding and renewing modern metropolis.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0054": {
-    "English Original": "Spectacular exploits, heroism, grandiosity as well as catastrophe, characterize these two large cities and their airports, which have been alternately celebrated and stigmatized.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0055": {
-    "English Original": "However, though Paris and New York are specific situations, they are not atypical.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0056": {
-    "English Original": "One of the peculiarities of the history of aviation and the urban imaginary connected to it is internationalization (or transnationalization), even though national and local variation of broader visions remained.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0057": {
-    "English Original": "Based on an archival research on the process of design, building and public reception of the New York and Paris airports, informed by sources from airport professional representations, and from popular visual culture—cinema and illustrated press in particular—this paper tries to resist the temptations of globalizing the airport typology.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0058": {
-    "English Original": "Instead, it asserts each airport to be a specific construction with its own place in history.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0059": {
-    "English Original": "Enlightened by a few other illustrative references, the central examples of the New York and Paris airports allow us to see precisely how transnational visions are implemented locally, and how the processes of imagining and building airports are tied to specific urban narratives surrounding \"aeromobility.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0060": {
-    "English Original": "\"13\n\n Narrative 1: The Spectacle of Aeromobility\n\nIn the early days of aviation, the business community did not immediately perceive the technical, military or strategic benefits or even the utility of air travel.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0061": {
-    "English Original": "As the historian Emmanuel Chadeau has written, the airplane was an \"uncalledfor invention\"14 and, unlike the automobile, its birth was followed by a relatively long period in which it struggled to break through the decisive threshold required before mass travel could take place.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0062": {
-    "English Original": "The years between the actual invention of the airplane and its dissemination saw the organization of a number of public displays intended to give media coverage to the invention.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0063": {
-    "English Original": "1909 marked a turning point in the history of these spectacular events, which involved thrills, spills, crashes, and the emergence of new heroes,15 all intended to inspire modern audiences and provide food for thought.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0064": {
-    "English Original": "Cities and their peripheries were generally the sites for these huge meetings, which were given maximum exposure in the mass media.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0065": {
-    "English Original": "Therefore, the manner in which the exploits were put on display reinforced the remarkable nature of what was on show.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0066": {
-    "English Original": "In France, event organizers erected enormous racecourse or circustype outdoor stands, usually with the full support of the local municipality.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0067": {
-    "English Original": "Juvisy Port Aviation was the first aerodrome settled in Paris Region; a large public air meeting opened there on May 23, 1909.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0068": {
-    "English Original": "Three months later, at the end of August, several hundred thousand spectators attended the Semaine de l'Aviation de la Champagne (Champagne Aviation Week) held at Bétheny near Reims.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0069": {
-    "English Original": "Enormous makeshift stands, opening on to large fields, had been erected in a few weeks, creating a new kind of distance between the spectators and the aviators.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0070": {
-    "English Original": "That September, in Paris, the first large aerial locomotion exhibition opened at the Grand Palais.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0071": {
-    "English Original": "Later the same month, it was New Yorkers' turn to be captivated by the series of flights made by Wilbur Wright to commemorate the 300th anniversary of the arrival of Henry Hudson to the harbor.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0072": {
-    "English Original": "On September 29, the aviator flew up the Hudson, over the assembled steamboat flotillas and around by the Statue of Liberty before returning towards Governors Island.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0073": {
-    "English Original": "The entire flight lasted only five minutes, but its impact was enormous.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0074": {
-    "English Original": "Excitement reached fever pitch as Wright's plane rounded the emblem of the City, just as the assembled masses feared that he would crash into it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0075": {
-    "English Original": "One million people witnessed the exploit, watching from places where it was possible to see it: large parks, islands, quays and rooftops.16\n\n\n\nFigure 1.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0076": {
-    "English Original": "Last Wilbur Wright flight in New York, during the HudsonFulton celebrations, October 4, 1909.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0077": {
-    "English Original": "Courtesy of Special Collections and Archives, Wright State University.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0078": {
-    "English Original": "The illustrated press gave frontpage coverage to the event in the mass circulation dailies.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0079": {
-    "English Original": "The New York papers that had planned to give precedence to military parades organized to commemorate the Port's tercentennial celebrations, quickly switched to Wright's remarkable aviation exploits.17 The Parisbased magazine L'Illustration also capitalized on the spectacular dimension of aerial meetings, publishing the extraordinary photographs snapped by Léon Gimpel at Bétheny from a dirigible.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0080": {
-    "English Original": "The photographer had audaciously captured both aviator and the watching crowd below in a single shot.18 Meanwhile, the early Pathé and Gaumont newsreels managed to capture the cinematographic dimension of the spectacle of flight.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0081": {
-    "English Original": "Indeed, such images constituted the most immediate and radical vector for spreading news of these exploits and the excitement generated by urban flights and virtuoso exploits across international borders, conferring the aerial stage with a status that was both understood and shared by all.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0082": {
-    "English Original": "Narrative 2: The Metropolis of the Future\n\nThe mechanical conquest of the air did not turn the airport into the only intermediary between aviation and the urban milieu.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0083": {
-    "English Original": "Of course, aerodromes (small airfields) sprouted up with the beginnings of aviation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0084": {
-    "English Original": "Some were even imagined as part of a future \"Aéropolis,\"19 as coined in a project imagined in 1910 for a new aerodrome located four kilometers from the Paris fortifications, in Le Bourget!",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0085": {
-    "English Original": "However, despite being sites\n\nof incredible exploits in front of huge crowds, aerodromes or airfields— Flugfelder in Germany—were at this time simple fields equipped with a runway, a hangar, and a bar to welcome the pilots.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0086": {
-    "English Original": "The relatively ephemeral character of this early aerial infrastructure occasioned an international debate about the manner in which the city would be recast through this new form of emerging mobility.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0087": {
-    "English Original": "This debate was all the more exacerbated by the showcasing, through aerial meetings and the illustrated media coverage, of the switch from the impossible to the plausible.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0088": {
-    "English Original": "A shift was then taking place, in which the \"aerial cities\" depicted in the fantastic literature of Albert Robida, Herbert Wells and Jules Verne20 began to transmute in the plans of architects, urban planners and engineers.21\n\nSuch visions raised the possibility of a structural transformation of the urban milieu.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0089": {
-    "English Original": "As it inserted itself into the city fabric, the airplane inspired innovative explorations of new programs and extensions of the urban sphere in the third dimension.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0090": {
-    "English Original": "In 1910, the French architectengineer Eugène Hénard imagined \"Les Villes de l'Avenir\" (\"Cities of the Future\").22 At a time when the last Parisian city walls were the subject of prospective developments, Hénard was reflecting on enlarging the capital.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0091": {
-    "English Original": "As this debate over \"Greater Paris\" was just beginning, Hénard, fully convinced of aeromobility as a future transport mode, imagined an urban universe where buildings would feature liftgarages containing cars and planes, the latter which he actually termed \"aerial motor cars.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0092": {
-    "English Original": "Hénard built up his vision gradually, his city becoming nearly an aerialbased system.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0093": {
-    "English Original": "From the smallest to the grandest, the nature of aerial traffic was in relation to the respective functions of the successive peripheral extensions planned around the city centre.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0094": {
-    "English Original": "New, quasiimmaterial perimeters, dotted with lighthousestyle towers or with \"aerial buoys,\" marked boundaries and helped orient the aviators.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0095": {
-    "English Original": "Roof terraces and landing peaks traced a new architecture of urban ridges.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0096": {
-    "English Original": "In his vision of a concentric city, Eugène Hénard sought to organize the Paris metropolitan area along regional lines while the New York City architects harnessed air mobility to conceive of an \"upper city\" superimposed on the existing city and making the urban substratum denser still.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0097": {
-    "English Original": "Among them was Harvey Wiley Corbett, a professor at Columbia University and a partner in one of the major New York architectural firms, who very early proved to have a passionate interest in aviation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0098": {
-    "English Original": "Facing increasing urban congestion in Manhattan, he studied, together with the renowned architectural draftsman Hugh Ferriss, rational solutions which sought to tackle hyperdensity.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0099": {
-    "English Original": "Sketched in 1925 by Paul, a New Yorkbased artist, much appreciated by Corbett, a drawing of Manhattan entitled \"How you may live and travel in the city of 1950,\" lent his reflections a new edge and developed this idea of superposed, autonomous spaces.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0100": {
-    "English Original": "In his proposed sketch, terrestrial mechanical systems, pneumatic tubes and electric trains were all pushed underground, while urban functions, housing, recreational areas, schools, offices, and restaurants were all superposed vertically above ground.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0101": {
-    "English Original": "Right at the top of the drawing, a roof platform looks down onto a skyscraper bearing the legend \"Aircraft landing fields\" and containing a group of airplanes ready for takeoff.23\n\nThe First World War had allowed aviation more visibility, as it played an emerging role in the conflict.24 After the war, aviation was now set up as an industry and commercial transport.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0102": {
-    "English Original": "The first regular line between Paris and London was settled in 1919, carrying fewer than fifteen passengers.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0103": {
-    "English Original": "This specific situation of a visible transport, though still in its infancy, stimulated new urban visions as urban development grew more robust.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0104": {
-    "English Original": "In 1925, the Beaux Arts Institute of Design in New York launched an architectural competition among its students for the design of \"An Aeroplane landing in a Metropolis\" stressing \"the necessity of finding a method of landing aeroplanes in a large city.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0105": {
-    "English Original": "The three winning projects were all by students from Corbett Studio, and were based exclusively on a direct relationship between air transport and the constitutive underlying metropolitan forms: \"Airplane platform over a building,\" \"Airplane landing over a bridge\" and \"Airplane landing over docks all placed the landing pad at the apex of\n\n\n\nFigure 2.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0106": {
-    "English Original": "Raymond P. Hughes, \"Airplane landing over a bridge\", 1925, winner of competition held by the New York Beaux Arts Institute of Design An aeroplane landing in a Metropolis.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0107": {
-    "English Original": "Source: Drawings and archives, Avery Architectural And Fine Arts Library.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0108": {
-    "English Original": "Columbia University, New York.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0109": {
-    "English Original": "the surrounding skyline, built atop or suspended over existing buildings.25 Here proposals did not invent totally new configurations, but rather, legitimated already incubated ideas, that Corbett and his colleagues Raymond Hood and Hugh Ferriss were exploring through their visionary projects and exhibitions on the Metropolis of Tomorrow.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0110": {
-    "English Original": "26\n\nDespite their marked differences in vision, images and articles produced and circulated in the 1920s depicted a future of airplanes without airports.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0111": {
-    "English Original": "From Eugène Hénard to Le Corbusier, from Harvey Corbett to Hugh Ferriss, from the Italian futurists to the Russian suprematists, architects were inventing new systems of aerial platforms to bring aircraft directly in and out of the alreadyexisting built environment of the city.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0112": {
-    "English Original": "In 1929, Francis Keally, who also worked with Corbett, published in the journal American Architect a vision entitled Aerial City, which imagined the city as an immense chessboard, punctuated by landing roofs or mooring masts.27 This first era of formal planning to bring airplanes into cities conceived new superimposed urban strata, such as highrise canopies or extensive suburban grids, recasting existing structures and tracing the contours of the city of the future.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0113": {
-    "English Original": "Narrative 3: The Flagship Monument\n\nThis prospective work conducted around the \"aerial city\" did not preclude reflections on the airport per se.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0114": {
-    "English Original": "A number of configurations coexisted that explored future mobility possibilities and related infrastructure.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0115": {
-    "English Original": "But these links were also to be all the more marked insofar as some of the \"aerial city\" visionaries, such as Hugh Ferriss, became key players in the design of certain major international airports.28 This formative period29 spawned a collection of plausible images, programs, and approaches that would guide future airport design.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0116": {
-    "English Original": "There was a turn in the early 1930s, when the key actors in this burgeoning transport sector began focusing increasingly on creating the conditions for successful commercial aviation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0117": {
-    "English Original": "Advocates of aeromobility needed to both impress and reassure a skeptical public, who remained fearful of the perils and discomfort of aerial transportation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0118": {
-    "English Original": "Luckily, the advocates' wish to promote aerial infrastructure as a means of showcasing commercial aviation dovetailed with cities' desire to strut their stateofthe art modernity, catapulting the airport issue to the top of the agenda even though air transport itself was still in its infancy.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0119": {
-    "English Original": "The organization of architectural competitions represented a first step.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0120": {
-    "English Original": "In the U.S., a competition was organized in late 1929 by the Lehigh Portland Cement Company, which was very interested in the proposed infrastructures, including parkways feeding the future airports.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0121": {
-    "English Original": "The competition took on an international dimension: over 250 entries were received.30 And while all four winning projects broke with the idea of a structural overhaul of downtown areas, they all nevertheless incorporated a new territorial \"gateway\" to the city with the idea of an epicenter replete with attractive urban amenities and creature comforts.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0122": {
-    "English Original": "Located on the urban periphery, this conception of the airport prefigured the city's extension and marked it out both as a part of the city and its outer frontier.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0123": {
-    "English Original": "The airport as envisioned in these plans was often linked by rail or metro, and was surrounding by parks and urban amenities trade fairs, hotels, shops, aviation schools, sports grounds, and so on—which were all linked by a plaza.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0124": {
-    "English Original": "Here, prevailing discourse harnessed abundant rhetoric and a host of urban references that reflected the imaginary aerial city.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0125": {
-    "English Original": "From its position on the outer city limits, the airport took on all of the city's attributes and extrapolated these within a peripheral space based around new models that simultaneously reflected the latest new ideas: distension—of the urban grid, building, or open space; consolidation of functions by superimposing or combining these within a single place; the emergence of a new eccentric centrality; being part of a system; and the definition of a strong identity.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0126": {
-    "English Original": "Competitions and designs facilitated the transfer of a certain number of emerging ideas, but also acted as vectors for in situ experiments.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0127": {
-    "English Original": "Both the converging realties of a nascent mode of transport and increasingly important promotional objectives were reflected in a number of major urban events in the late 1930s that were to boost the development of the first international airports.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0128": {
-    "English Original": "As part of the celebrations to mark the 700th anniversary of Berlin as well as the newly installed Nazi regime, Tempelhof Airport was extensively rebuilt in 1937.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0129": {
-    "English Original": "The new airport featured a colossal terminal building with a roof terrace to welcome up to 80,000 spectators.31 In France, the International Exhibition of 1937 was the catalyst for the complete redesign of Paris' Le Bourget Airport by the Rome prizewinning architect Georges Labro.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0130": {
-    "English Original": "This project also featured a monumental air terminal building.32 Meanwhile, New York's new La Guardia Airport was inaugurated to coincide with the International Exhibition of 1939– 1940.33 As the flagships of capital cities and celebratory beacons placed at their gates, airports became linchpins of the modernization strategies of the great cities in the 1930s.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0131": {
-    "English Original": "Obviously, the transition from the ideal to the real did not take place without numerous shifts in emphasis.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0132": {
-    "English Original": "Because airports had to break free of the symbolic \"heart\" of the city, in the meantime they tended to crystallize urban values within their new frontiers.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0133": {
-    "English Original": "However, the airport soon revealed numerous ambiguities, caught between a forwardlooking and a commemorative perspective.34 The \"monumentalization\" of airports would appear to have replaced the reforming spirit that underpinned the images of the airplanecentric city with a grandstanding approach designed to project a city's power and pride.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0134": {
-    "English Original": "Le Bourget Terminal Building, Paris, 1937, View of the building and terrace from the runway.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0135": {
-    "English Original": "Source : Aéroports, Transports en Commun, Éditions Albert Morancé , 1937, p 76\n\n Narrative 4: The Urban Showcase\n\nThe Second World War was a further watershed that pointed up both the emergence of a formidable aviation industry and the realization that aircraft also constituted a weapon of mass destruction.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0136": {
-    "English Original": "It also progressively ended the dream of individualized and Edenic air transport35 and signaled fairly clearly that the future lay in collective transport with more and more constraints attached.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0137": {
-    "English Original": "At the same time, there was a definitive shift from the ideal city recast around aerial mobility—the \"aerial city\"—to the quest for an airport figured as an urban alternative, the \"airport city.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0138": {
-    "English Original": "One of the key events of the immediate postwar period was the emergence of the Paris and New York airport authorities, frequently in the wake of bitter turf wars between existing actors.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0139": {
-    "English Original": "Founded in 1921, the Port Authority of New York and New Jersey wrested in 1947 the\n\nconcessions to run the major New York airports from the New York and Newark municipalities.36 In France, the creation of Aéroport de Paris as an autonomous governmentowned corporation (établissement public autonome) in 1945 was the brainchild of Alain Bozel, who had spent the war in London alongside General de Gaulle, as well as the outcome of a fierce struggle between the ministers of the provisional postwar government.37 The status and goals of the new Authority were intensively discussed, along with new airport concepts, within the frame of the quest for the Redressement National.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0140": {
-    "English Original": "While this process of increasing institutional autonomy for airports was not as pronounced in Paris as in other major capitals,38 it still marked out airports' emergence as a world per se, particularly as they began to take up residence outside of the limits of the host city.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0141": {
-    "English Original": "From then, the emergence of airports outside of the city walls was to boost reflections on urban matters around what would soon be known as \"air cities.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0142": {
-    "English Original": "With their outsize dimensions—as reflected in the numerous parallels drawn between the dimensions of projected airports and their host cities— airports became testing grounds for unbridled suburban experimentation as city boundaries experienced unprecedented growth.39 New York's new Idlewild Airport, fully operational from 1958, was known as Terminal City, the urban concept of which was designed by Hugh Ferriss and Wallace K. Harrison, Chief Urban Planner for the United Nations New York headquarters.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0143": {
-    "English Original": "Idlewild (renamed after slain President John F. Kennedy in 1963) was monument, showcase and event, all in one.40 Paris's Orly Sud megastructure, inaugurated by General De Gaulle in 1961 and designed by Henri Vicariot and Jean Prouvé, deployed a radically new glass structure\n\n\n\nFigure 4.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0144": {
-    "English Original": "Orly Sud, Paris, The airport Megastructure, 1963.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0145": {
-    "English Original": "Courtesy of Aéroports de Paris.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0146": {
-    "English Original": "(particularly the curtainwalling of the building), as well as roof terraces, viewing areas and restaurants with panoramic views.41\n\nWhat stands out most in this postwar period are the massive promotional campaigns that accompanied the opening of the major international airports.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0147": {
-    "English Original": "These campaigns sought to welcome a public largely comprising of daytrippers who came to see a new type of entertainment: the airport in movement.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0148": {
-    "English Original": "Now it was not just the planes but the airport as a whole that was getting media attention and being turned into a suburban attraction and a \"must\" on people's itineraries.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0149": {
-    "English Original": "Replete with cinemas, theatres, stores, leisure amenities (even Turkish baths!)",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0150": {
-    "English Original": "and all the hallmarks of suburbia, these new complexes became a neverending celebration of abundance and mobility that consolidated the entire airportrelated \"imaginary.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0151": {
-    "English Original": "They resembled the theme parks that had also sprung up during this era: the stars passed through them, journalists reported on them, tourists and locals enjoyed weekend \"skyrides\" through them, and they even served as sites for many an inauguration.42\n\n Narrative 5: A Prototype for Uncertainty\n\nBy the 1960s, cinematic references to airports, which marked them out as emblematic places in the popular imagination, were routine.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0152": {
-    "English Original": "Airportrelated fictions tended to explore the ambiguity of modernity (Jacques Tati, Playtime, 1967), the anticipatory dimension of the airport place (Chris Marker, La Jetée, 1962) or its catastrophic power (Airport, adapted from Arthur Hailey's 1968 novel43).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0153": {
-    "English Original": "Even if the public's penchant for Sunday trips out to Orly or JFK would not last very long, the reciprocal connection between the visual arts and modern airports remained powerful.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0154": {
-    "English Original": "The 1970s, when aviation entered the era of mass transport, witnessed the beginning of a chronic crisis in aviation and its infrastructures.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0155": {
-    "English Original": "The arrival of the Jet Age, growth in traffic, complex new procedures, oil price shocks, environmental degradation, and terrorism all undermined the model of the perfect showcase airport and made apparent the issue of uncertainty as a key component in the airport development equation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0156": {
-    "English Original": "This was a turning point for the reflection on the fourth airport in New York,44 as the original Idlewild Terminal City, conceived as a closed diadem of unique flagship buildings, would prove to be difficult to reenact in a period of new and increasing political, structural, economic and traffic obstacles.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0157": {
-    "English Original": "The history of Paris' new Roissy Airport illustrates the problems airport authorities have faced and will face in building highperformance infrastructure in times of uncertainty.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0158": {
-    "English Original": "The first sketches of the new airport made in the mid1960s were part of the ambitious plans conceived by Paul Delouvrier and his team to redevelop the entire Greater Paris region.45\n\nRoissy 1 terminal was designed by Paul Andreu using radically new architecture that drew on interacting flows, flexible spaces and a dynamic and global modus operandi for the entire building.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0159": {
-    "English Original": "But the goalposts rapidly shifted before the airport was even opened.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0160": {
-    "English Original": "Passenger traffic grew and larger jets hampered the desired free movement of aircraft around the Roissy 1 terminal.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0161": {
-    "English Original": "These functional considerations, combined with the new economic situation thrown up by the 1973 oil price shocks were to alter the original blueprint, which called for five more terminals identical to the existing Roissy 1 terminal.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0162": {
-    "English Original": "Consequently, the construction of the Roissy 2 terminals was subject to new considerations.46 The sequential pattern according to which this string of air terminals was built between 1982 and the present was a result of both the investment difficulties experienced by Aéroports de Paris\n\n\n\nFigure 5.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0163": {
-    "English Original": "Aerial view of Roissy Terminal 2, Paris, 2005.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0164": {
-    "English Original": "Courtesy of Aéroports de Paris.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0165": {
-    "English Original": "and uncertainty over the future of growth of air transport.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0166": {
-    "English Original": "The attempt to implement a phased airport building program even as the first air terminal was going up resulted in a segmented, incremental development strategy.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0167": {
-    "English Original": "Four modules of the terminal were built prior to the arrival of the future TGV (highspeed train) station in 1994, marking a changeover to a hubbased conception.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0168": {
-    "English Original": "This was the approach gradually adopted by the major airlines in the wake of deregulation of the industry and \"open skies\" as a means of getting the most out of their fleets by centralizing them at a number of large hubs.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0169": {
-    "English Original": "These factors, combined with the growing complexity of passenger transport formalities, safety issues and expectations, undermined the principle of splitting up airports into smaller terminal buildings.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0170": {
-    "English Original": "It became necessary to \"recentralize\" facilities.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0171": {
-    "English Original": "Fifteen years after Roissy opened, a third generation of terminals was designed along the lines of Terminal 2F, which was finally completed in 1998, and, with the growth in air traffic, the infrastructure was rounded out by two elongated satellite buildings.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0172": {
-    "English Original": "Airports are in a constant state of evolution; indeed, as Paul Andreu has claimed, \"each project is both selfcontained and complete, while at the same time only representing a small part of a broader ensemble that is recast on an ongoing basis.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0173": {
-    "English Original": "\"47\n\n Narrative 6: A \"Metapolitan\" Archetype\n\nWhile they remain experimental spaces in urban development, this is now related more to exploring new forms of spatiality and innovative urban production techniques, in a context of an uncertain future.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0174": {
-    "English Original": "Moreover, the new airport forms gradually emerging are the result of an urban repositioning of the airport structure.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0175": {
-    "English Original": "It no longer lies outside of the built city but inside a constantly changing metropolis.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0176": {
-    "English Original": "It no longer showcases the city of the future but provides a testing ground for contemporary urban issues.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0177": {
-    "English Original": "As an integrated exchange platform at the epicenter of the \"city of flows,\" accumulating more and more functions and services, the airport now receives traffic and flows from the entire city and its role in the metropolization of these same agglomerations is gradually making it one of the dominant institutions in global cities.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0178": {
-    "English Original": "As they get bigger, airport authorities both anticipate and cause the distension of urban space.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0179": {
-    "English Original": "They eat into swathes of outlying territories that are in turn invested with a mix of architecture, urban forms and infrastructure.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0180": {
-    "English Original": "Contemporary airports entail sprawling complexes of air terminals and hangars as well as transport and engineering networks, all of them increasingly exurban.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0181": {
-    "English Original": "Nonetheless, moving all of these new amenities further away from the city centre only increases the necessity of forging physical links between\n\n\n\nFigure 6.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0182": {
-    "English Original": "View of the Central Airport Express Station dominated by the highest skyscraper of the city, 2005, Photography Nathalie Roseau\n\nthem and the airport.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0183": {
-    "English Original": "Designers and city planners have constantly strived to compress or even ignore this intermediate space between the two attracting poles in order to counter the effects of placing the airport in exurban space.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0184": {
-    "English Original": "Highspeed transportation infrastructures play a key role in this constant quest for suppressing this physical distance and ignoring the intermediate space between the city and the airport.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0185": {
-    "English Original": "These could include either unrealized projects such as the aérotrain—designed by the engineer Jean Bertin and originally proposed in the mid1960s to link some strategic new suburban nodes, including airports,48 or actually deployed projects such as the 250km/hour ShanghaiMaglev magnetic levitation train now operational since 2003 from Pudong to the airport.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0186": {
-    "English Original": "The \"hidethathorriblesuburbsowedon'thavetoseeit\" reaction prevalent around\n\nthe time of the ParisLe Bourget link and the 1937 Exhibition49 was already symptomatic of the authorities' embarrassment at the rundown areas surrounding the new symbols of Parisian modernity.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0187": {
-    "English Original": "And the more recent debates over the \"CDG express\" highspeed link to Roissy Airport, for which the project backers militated against a stop in the deprived neighborhood of Seine Saint Denis, have helped to reactivate this chronic pathology.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0188": {
-    "English Original": "Contemporary airport design has also refocused on urban air terminals.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0189": {
-    "English Original": "The developments at Les Invalides in Paris or New York's 42nd Street were precursors in this regard.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0190": {
-    "English Original": "The recent wave of downtown air terminals (at which travelers receive boarding passes and check baggage) such as Hong Kong's terminals, achieved in the wake of the new refoundation of the global city harbor, have accelerated the return of functions that had been banished to the outer city limits.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0191": {
-    "English Original": "Physical distancing and the sheer size of airports have been offset by the return of air terminals in downtown areas, offering everything you would expect to find in an airport apart from planes!",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0192": {
-    "English Original": "While cities develop \"aircraftless airports\" in their downtown areas, airport authorities strive to urbanize the airport using various signs and urban codes.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0193": {
-    "English Original": "Both situations civilization of airports on the one hand, and aeroportization of cities on the other hand—reflect the extent to which the two spaces are still inextricably linked in a relationship of ambiguity and hybridization.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0194": {
-    "English Original": "Diffusing the airport within the host city, or designing it as a whole new frontier city, or trying to compress the timespace distance which divides airport from city: airports exist as a sort of metastructure which both challenges and renews the whole metropolis.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0195": {
-    "English Original": "Future Narrative: Learning from the Heritage Issue\n\nIf this diachronic perspective shows airports to be powerful instruments for exploring the urban future, it also reveals their unfinished and elusive nature.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0196": {
-    "English Original": "The phenomenon of chronic airport obsolescence, already identified as early as 1962 by Reyner Banham,50 is all the more acute as it is compounded by the airport's prototypal dimension.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0197": {
-    "English Original": "In particular, this issue of obsolescence in airport design process, helps us to understand the current conflicts in controversies over the future of \"airport heritage.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0198": {
-    "English Original": "In a context where project temporalities abound with uncertainty, the notion of heritage is difficult to circumscribe.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0199": {
-    "English Original": "Indeed, any mention of the past where airports are concerned frequently condemns them to uselessness in view of their predestined eternal youth.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0200": {
-    "English Original": "How could we preserve monuments and entire complexes wholly dedicated to a future that is now in the past?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0201": {
-    "English Original": "By the turn of the twentyfirst century, the era of the megaterminal was inaugurated by JFK airport, leading to the disappearance of the original Terminal City  completed in the 1960s.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0202": {
-    "English Original": "A new complex has been built over this \"fortyyear old ruin,\" moving the author of a monograph devoted to the airport to declare \"Terminal City is dead, long live the new JFK.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0203": {
-    "English Original": "\"51 From then, the landmark TWA Terminal designed by Eero Saarinen became the focus of a conflict between airport authorities and preservation groups, and crystallized the whole issue of obsolescence.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0204": {
-    "English Original": "However, the two perceptions of the terminal building—alternatively condemned as obsolete or defended as an icon of paradise lost—still appear inadequate to nurture a debate around its renewal; the building's status remains uncertain.52\n\nRoissy Airport, on the other hand, cultivates a stratification approach that has tended towards accumulation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0205": {
-    "English Original": "Construction and renovation has proceeded over a thirtyfiveyear period that has witnessed the changeover from elite to mass passenger transport and the creation of an exurban territory followed by the airport's reabsorption into the regional Greater Paris.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0206": {
-    "English Original": "This development has also produced a highly\n\n\n\nFigure 7.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0207": {
-    "English Original": "Terminal 5 exhibit, Eero Saarinen TWA terminal, New York, 2004 Photography Dean Kaufman Source: Dean Kaufman\n\noriginal architectural ensemble that includes the recently restored Roissy 1 terminal and the colossal glass and concrete cathedrals of the Roissy 2F and 2E terminals.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0208": {
-    "English Original": "This living heritage constantly negotiates the terms of its own transformation in light of the relentless demands of air transport.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0209": {
-    "English Original": "For its part, the airport authority, faced with challenges to perform efficiently, reflect hypermodern aesthetics, and reintegrate the airport into the urban sphere, now also has to contend with the challenges of sustainability.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0210": {
-    "English Original": "Conclusion: Understanding the Airport City as a Local Urban Utopos\n\nThe concept of the \"airport\" must be understood through a diachronic perspective, which looks back to the first aerial public urban meetings settled in ephemeral Aeropolis, followed by the Aerial Cities visions depicted in the 1920s, the Air Cities celebrated as the weekend hotspots of the postSecond World War boom period, and more recently the exurban Airport Cities emerging at the turn of the 1990s as new huge metropolitan fragments.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0211": {
-    "English Original": "Whether located in, on top of, near, outside, or far from its \"host city,\" the airport always develops in symbiotic relation to the urban environment in which it is situated, which it serves and on which it depends.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0212": {
-    "English Original": "This diachronic perspective contextualizes airports and roots them in time and space, as well as emphasizing their hybridization with and emancipation from the city.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0213": {
-    "English Original": "Metropolitan gateway, institutional boundary, suburban laboratory, structural prototype: airport design and implementation formalize boundaries that circumscribe and transcend the contours of the host city, even as they invoke localized urban issues.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0214": {
-    "English Original": "This position at the extremity also explains why the transnational corpus of reflections on the aerial or airport city reveals differentiation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0215": {
-    "English Original": "Designers on both sides of the Atlantic do not project the same places: the prism provided by the primarily global dimension of aerial mobility is more an opportunity to reflect upon the future of their specific cities in terms of their particular qualities and crises.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0216": {
-    "English Original": "Viewed through these urban narratives, which replicate and amplify, as well as deform and distend the airport's own urban context, the airport should not be considered less a \"nonplace\" than an utopos, a spatial perspective on the outside looking in and questioning, extrapolating and crystallizing the acute tensions present in the contemporary city.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0217": {
-    "English Original": "In this sense, the airport is a place of mediation of contemporary urban issues, either in promoting experimentation or occasioning controversies.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0218": {
-    "English Original": "As such it suggests a megaevent, which may also explain why it has developed such direct links with the mass visual arts, such as photography, cinema and advertising.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0219": {
-    "English Original": "The diachronic retrospective also helps highlight the successive imaginary structures that have forged airports from the outset, their status as the result of a complex alchemy superimposing both past and present representations and practices.53 Analyzing airports through this narrative mode gives fuller account of their design and realization, their limitations and their transformations within cultural, political, and economic structures, but also within their urban and metropolitan context.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0220": {
-    "English Original": "By reflecting the way they have been shaped, this subnarrative can also shed light on the conditions underpinning their transformation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0221": {
-    "English Original": "Marc Desportes, Paysages en mouvement, Transports et perception de l'espace, XVIIIèXXè siècle (Paris: Gallimard, 2005).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0222": {
-    "English Original": "Marc Bloch, \"Technique et évolution sociale: réflexions d'un historien,\" Europe, 1938, in Mélanges historiques, vol.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0223": {
-    "English Original": "2 (Paris: S.EV.P.E.N., 1963), 837–838.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0224": {
-    "English Original": "Pioneers of these studies have been, in particular, Wiebe E. Bijker, Th.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0225": {
-    "English Original": "P. Hughes and Trevor J.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0226": {
-    "English Original": "Pinch, The Social Construction of Technological Systems: New Directions in the Sociology and History of Technology (Cambridge, MA: MIT Press, 1987); see also the actornetwork theory drawn by Michel Callon and Bruno Latour.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0227": {
-    "English Original": "Bruno Latour, Science in Action: How to Follow Scientists and Engineers through Society (Cambridge, MA: Harvard University Press, 1987).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0228": {
-    "English Original": "See also the works driven by Patrice Flichy and Antoine Picon, eds., Technique et Imaginaire (Hermès Science, 2001).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0229": {
-    "English Original": "John Urry and Mimi Sheller, \"The New Mobilities Paradigm,\" Environment and Planning, A38 (February 2006), 207–226.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0230": {
-    "English Original": "The following argumentation is taken from my doctoral research: Nathalie Roseau, L'imaginaire de la ville aérienne, 2 volumes (Ph.D.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0231": {
-    "English Original": "diss., University Paris East, 2008).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0232": {
-    "English Original": "Forthcoming book, Aerocity, Quand l'avion fait la ville (Marseille: Editions Parenthèses, 2012).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0233": {
-    "English Original": "See, for example, John Zukowsky, ed., Building for Air Travel, Architecture and Design for Commercial Aviation (New York: The Art Institute of Chicago and Prestel Verlag, 1996); Marcus Binney, Airports Builders (London: John Wiley, Academy Editions, 1999); Manuel Cuadra, World Airports (Hamburg: Deutsches Architektur Museum, Junius Verlag et Dam, 2002); Alastair Gordon, Naked Airport: A Cultural History of the World's Most Revolutionary Structure (New York, Metropolitan Books, 2004); Hugh Pearman, Airports: A Century of Architecture (UK, Laurence King Publishing, 2004).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0234": {
-    "English Original": "Saskia Sassen, Urbanisme, no.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0235": {
-    "English Original": "345 (December 2005): 71.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0236": {
-    "English Original": "Manuel Castells, La société en réseaux, L'ère de l'information [1996] (Paris: Fayard, 2001), 473–530.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0237": {
-    "English Original": "Marc Augé, Nonlieux, Introduction à une anthropologie de la surmodernité (Paris: Seuil, 1992), 7–13.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0238": {
-    "English Original": "Rem Koolhaas, \"La ville générique,\" in Mutations: Harvard Project on the City (Bordeaux: Arc en rêve Centre d'architecture, ACTAR, 2001), 726.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0239": {
-    "English Original": "In a similar vein to Delirious New York in which Rem Koolhaas outlines a retroactive Manifesto for Manhattan; Rem Koolhaas, Delirious New York: A Retroactive Manifesto for Manhattan (London: Academy Editions, 1978).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0240": {
-    "English Original": "Mikhail Bakhtin, \"Form of Time and Chronotope in the Novel,\" The Dialogic Imagination: Four Essays, ed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0241": {
-    "English Original": "Michael Holquist (Austin: UTOP, 1981), 84–258.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0242": {
-    "English Original": "For specific research on the local history of airports framed in a global context, see in particular Marc Dierikx and Bram Bouwens, Building Castles of the Air: Schiphol Amsterdam and the Development of Airport Infrastructure in Europe, 1916–1996 (SDU, 1997).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0243": {
-    "English Original": "Emmanuel Chadeau, Le rêve et la puissance, L'avion et son siècle (Paris: Fayard, 1996), 41–43.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0244": {
-    "English Original": "For an overview of the long line of epic airshows since the eighteenth century, see Marie ThébaudSorger, \"Le spectacle de l'envol, Mobilités aériennes (1783– 1909),\" in De L'histoire des transports à l'histoire de la mobilité, eds.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0245": {
-    "English Original": "Mathieu Flonneau and Vincent Guigueno (Rennes, Presses Universitaires de Rennes, 2009), 235–245.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0246": {
-    "English Original": "John Sanford, \"The First Aerial Canoe: Wilbur Wright and the HudsonFulton Flights,\" paper presented at the international conference Following in the Footsteps of the Wright Brothers, Their Sites and Stories, held in Wright State University, Dayton, Ohio, September 28, 2001.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0247": {
-    "English Original": "\"Above Ship on Hudson River,\" New York Evening Mail, September 29, 1909, 1; \"Wright in Daring Flights Rounds Liberty Statue,\" The Globe, September 29, 1909, 1.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0248": {
-    "English Original": "\"La grande semaine de Champagne,\" L'Illustration, no.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0249": {
-    "English Original": "3471 (September 4, 1909): 153–164.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0250": {
-    "English Original": "\"Aéropolis, un aérodrome à 4 kilomètres des fortifications,\" supplement to L'Aéronaute, March 26, 1910.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0251": {
-    "English Original": "Albert Robida, Le Vingtième siècle (Paris: G. Decaux, 1883), 38–53, 89–98; Jules Verne, Robur le conquérant (Paris: Hetzel, 1886); Herbert G. Wells, The War in the Air (London: G. Bell and Sons, 1908).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0252": {
-    "English Original": "Nathalie Roseau, \"Reach for the Skies: Aviation and Urban Visions circa 1910,\" The Journal of Transport History, 30, no.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0253": {
-    "English Original": "2 (December 2009): 121–140.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0254": {
-    "English Original": "Eugène Hénard, Les villes de l'Avenir [The Cities of the Future], paper delivered at the Town Planning Conference held at the Royal Institute of British Architects on October 14, 1910, subsequently published in L'Architecture, November 13, 1910, 383–387.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0255": {
-    "English Original": "Paul, \"How you may live and travel in the city of 1950.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0256": {
-    "English Original": "Published in Popular Science Monthly (August 1925).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0257": {
-    "English Original": "Source: Archives of Harvey Wiley Corbett, Box 4:1, Drawings and archives, Avery Architectural and Fine Arts, Library, Columbia University, New York.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0258": {
-    "English Original": "Chadeau, Le rêve et la puissance, 86–99.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0259": {
-    "English Original": "\"An Aeroplane landing in a Metropolis,\" The Bulletin of the Beaux Arts Institute of Design (July 1925), 5–10 and Harry B. Brainerd, \"An aeroplane landing in a metropolis,\" American City, no.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0260": {
-    "English Original": "34 (February 1926), 187–190.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0261": {
-    "English Original": "The Metropolis of Tomorrow was a large exhibition held in New York in 1929.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0262": {
-    "English Original": "Written and illustrated by Hugh Ferriss, a famous New York architectural draftsman, a book based on his sketches drawn over a period of ten years was also published.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0263": {
-    "English Original": "Hugh Ferriss, The Metropolis of Tomorrow (New York: Ives Washburn Publisher, 1929).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0264": {
-    "English Original": "Francis Keally, \"How Airports Will Affect Zoning Laws,\" American Architect (December 1929): 20–21, 100, 102.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0265": {
-    "English Original": "Roseau, L'imaginaire de la ville aérienne, 119–121.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0266": {
-    "English Original": "This term is inspired by Janet Bednarek, America's Airports: Airfield Development, 1918–1947 (College Station: Texas A&M University Press, 2001), 178–181; see also Deborah Douglas' dissertation, The Invention of Airports: A Political, Economic and Technological History of Airports in the United States, 1919–1939 (Ph.D.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0267": {
-    "English Original": "diss., University Of Pennsylvania, 1996).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0268": {
-    "English Original": "The US\\$10,000 offered in prize money was attributed to four projects in the following order: A.C. Zimmerman and William H. Harrison (Los Angeles); C. Gifford Rich (Chicago); Odd Nansen (East Orange, New Jersey) and Latham C Suire (New York); Will Rice Amon (New York).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0269": {
-    "English Original": "American Airport Designs, Lehigh Portland Cement Company (New York: American Institute of Architects Press, 1990).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0270": {
-    "English Original": "Republication of documents initially published in 1930 after the competition was held.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0271": {
-    "English Original": "See also \"The Lehigh Airports Competition,\" Architectural Forum (January 1930), 75–106.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0272": {
-    "English Original": "Lars Olof Larsson, Albert Speer, le plan de Berlin, 1937–1943 (Bruxelles, Archives d'Architecture Moderne, 1983).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0273": {
-    "English Original": "\"Le concours de l'aéroport du Bourget,\" Architecture d'Aujourd'hui (February 1936), 4–5.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0274": {
-    "English Original": "See a later paper on the criticism of La Guardia's Folly, from Florence Teets, \"The Little Flower's Folly,\" Pegasus (October 1954), 1–15.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0275": {
-    "English Original": "For an overview of the airports built in Europe and United States during this period, see the volume \"Aéroports,\" Transports en commun (Paris: Editions Albert Morancé, 1937).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0276": {
-    "English Original": "On the story of the flying cars dreams and prototypes, see from Patrick J. Gyjer, Les voitures volantes, Souvenirs d'un futur rêvé (Lausanne: Favre, 2005).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0277": {
-    "English Original": "Jameson W. Doig, Empire on the Hudson: Entrepreneurial Vision and Political Power at the Port Authority (New York: Columbia University Press, 2001), 247– 314.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0278": {
-    "English Original": "Alain Bozel, L'Aéroport de Paris (published privately), November 1944.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0279": {
-    "English Original": "Source: Archives of Aéroports de Paris.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0280": {
-    "English Original": "In London, airports remained under military rule in this period.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0281": {
-    "English Original": "BAA was not created until 1966.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0282": {
-    "English Original": "Between 1950 and 1960, the number of inhabitants living in the New York Metropolitan Area increased by five million (out of a total population of eighteen million) while the population of the more central Greater New York area stagnated at around eight million.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0283": {
-    "English Original": "Wallace K. Harrison, Presentation of the Terminal City project for the Port Authority, February 16, 1955, Wallace K. Harrison Archives, Box 3, Drawings and Archives, Avery Architectural and Fine Arts Library, Columbia University, New York.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0284": {
-    "English Original": "Terminal City was also the name given to the new refurbished Manhattan Grand Central Station, achieved in 1913.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0285": {
-    "English Original": "\"Une véritable ville, consacrée au transport aérien,\" Le Parisien, February 23, 1961; or \"Idlewild et Orly … L'une et l'autre sont de véritables cités,\" Paris Presse, August 27, 1964, source: Archives of Aéroports de Paris.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0286": {
-    "English Original": "And promoted in articles such as \"Your Weekend Guide Visits: Idlewild Airport,\" The New Haven Register, August 25, 1962, 32.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0287": {
-    "English Original": "Arthur Hailey, Airport (New York: Doubleday, 1968).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0288": {
-    "English Original": "See \"An Offshore 4th Jetport Is Suggested by Lindsay,\" The New York Times, January 9, 1971, 57.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0289": {
-    "English Original": "Artist perspectives of Roissy were published by Paris Match in one of the two exclusive issues edited for the promotion of the new plans for the Paris Region.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0290": {
-    "English Original": "\"Paris en l'an 2000,\" Paris Match, no.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0291": {
-    "English Original": "952, July 8, 1967.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0292": {
-    "English Original": "The earliest designs for Roissy 2 date from 1969 and were first published in 1971 at the same time as the studies and work inprogress for the Roissy 1 terminal.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0293": {
-    "English Original": "\"Roissy en France,\" Architecture d'Aujourd'hui, no.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0294": {
-    "English Original": "156 (June–July 1971): 25.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0295": {
-    "English Original": "Paul Andreu, June 10, 2002, www.paul.andreu.com.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0296": {
-    "English Original": "Vincent Guigueno, \"Building a High Speed Society, France and the Aérotrain, 1962–1974,\" Technology and Culture, 49 (January 2008): 21–40.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0297": {
-    "English Original": "\"Le problème des liaisons urbaines avec les têtes de lignes aériennes internationales, Quatre solutionstypes: Londres, Paris, Berlin et Marseille,\" Urbanisme 66 (OctoberNovember 1938): 280–281.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0298": {
-    "English Original": "Reyner Banham, \"The Obsolescent Airport,\" Architectural Review (October 1962), 250–253.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0299": {
-    "English Original": "Mark Blacklock, Recapturing the Dream: A Design History of New York's JFK Airport (London: Mark Blacklock, 2005), 4.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0300": {
-    "English Original": "Nathalie Roseau, \"The Obsolescence of the Monument, the Future of Airport Icons,\" in The Challenge of Change: Dealing with the Legacy of the Modern Movement, eds.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0301": {
-    "English Original": "D. van den Heuvel, M. Mesman, W. Quist, B. Lemmens (Amsterdam: IOS Press, 2008), 87–92.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2322640565_s0302": {
-    "English Original": "Jocelyn de Noblet, \"Le futur n'est plus ce qu'il était,\" in \"Rêves de futur,\" Culture Technique, ed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0001": {
-    "English Original": "M/C Journal, Vol 19, No 1 (2016)\n\n Grave Matters: Mediating Corporeal Objects and Subjects through Mortuary Practices Michael J. Gantley, James P. Carney\n\n Abstract\n\n Introduction\n\nThe common origin of the adjective \"corporeal\" and the noun \"corpse\" in the Latin root corpus points to the value of mortuary practices for investigating how the human body is objectified.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0002": {
-    "English Original": "In postmortem rituals, the body—formerly the manipulator of objects—becomes itself the object that is manipulated.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0003": {
-    "English Original": "Thus, these funerary rituals provide a type of double reflexivity, where the object and subject of manipulation can be used to reciprocally illuminate one another.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0004": {
-    "English Original": "To this extent, any consideration of corporeality can only benefit from a discussion of how the body is objectified through mortuary practices.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0005": {
-    "English Original": "This paper offers just such a discussion with respect to a selection of two contrasting mortuary practices, in the context of the prehistoric past and the Classical Era respectively.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0006": {
-    "English Original": "At the most general level, we are motivated by the same intellectual impulse that has stimulated expositions on corporeality, materiality, and incarnation in areas like phenomenology (MerleauPonty 77–234), Marxism (Adorno 112–119), gender studies (Grosz vii–xvi), history (Laqueur 193–244), and theology (Henry 33–53).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0007": {
-    "English Original": "That is to say, our goal is to show that the body, far from being a transparent frame through which we encounter the world, is in fact a locus where historical, social, cultural, and psychological forces intersect.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0008": {
-    "English Original": "On this view, \"the body vanishes as a biological entity and becomes an infinitely malleable and highly unstable culturally constructed product\" (Shilling 78).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0009": {
-    "English Original": "However, for all that the cited paradigms offer culturally situated appreciations of corporeality; our particular intellectual framework will be provided by cognitive science.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0010": {
-    "English Original": "Two reasons impel us towards this methodological choice.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0011": {
-    "English Original": "In the first instance, the study of ritual has, after several decades of stagnation, been rewarded—even revolutionised—by the application of insights from the new sciences of the mind (Whitehouse 1–12; McCauley and Lawson 1–37).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0012": {
-    "English Original": "Thus, there are good reasons to think that ritual treatments of the body will refract historical and social forces through empirically attested tendencies in human cognition.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0013": {
-    "English Original": "In the present connection, this means that knowledge of these tendencies will reward any attempt to theorise the objectification of the body in mortuary rituals.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0014": {
-    "English Original": "In the second instance, because beliefs concerning the afterlife can never be definitively judged to be true or false, they give free expression to tendencies in cognition that are otherwise constrained by the need to reflect external realities accurately.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0015": {
-    "English Original": "To this extent, they grant direct access to the intuitive ideas and biases that shape how we think about the world.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0016": {
-    "English Original": "Already, this idea has been exploited to good effect in areas like the cognitive anthropology of religion, which explores how counterfactual beings like ghosts, spirits, and gods conform to (and deviate from) prereflective cognitive patterns (Atran 83–112; Barrett and Keil 219–224; Barrett and Reed 252–255; Boyer 876–886).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0017": {
-    "English Original": "Necessarily, this implies that targeting postmortem treatments of the body will offer unmediated access to some of the conceptual schemes that inform thinking about human corporeality.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0018": {
-    "English Original": "At a more detailed level, the specific methodology we propose to use will be provided by conceptual blending theory—a framework developed by Gilles Fauconnier, Mark Turner, and others to describe how structures from different areas of experience are creatively blended to form a new conceptual frame.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0019": {
-    "English Original": "In this system, a generic space provides the ground for coordinating two or more input spaces into a blended space that synthesises them into a single output.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0020": {
-    "English Original": "Here this would entail using natural or technological processes to structure mortuary practices in a way that satisfies various psychological needs.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0021": {
-    "English Original": "Take, for instance, W.B.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0022": {
-    "English Original": "Yeats's famous claim that \"Too long a sacrifice / Can make a stone of the heart\" (\"Easter 1916\" in Yeats 578).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0023": {
-    "English Original": "Here, the poet exploits a generic space—that of everyday objects and the effort involved in manipulating them—to coordinate an organic input from that taxonomy (the heart) with an inorganic input (a stone) to create the blended idea that too energetic a pursuit of an abstract ideal turns a person into an unfeeling object (the heartasstone).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0024": {
-    "English Original": "Although this particular example corresponds to a familiar rhetorical figure (the metaphor), the value of conceptual blending theory is that it cuts across distinctions of genre, media, language, and discourse level to provide a versatile framework for expressing how one area of human experience is related to another.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0025": {
-    "English Original": "As indicated, we will exploit this versatility to investigate two ways of objectifying the body through the examination of two contrasting mortuary practices cremation and inhumation—against different cultural horizons.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0026": {
-    "English Original": "The first of these is the conceptualisation of the body as an object of a technical process, where the postmortem cremation of the corpse is analogically correlated with the metallurgical refining of ore into base metal.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0027": {
-    "English Original": "Our area of focus here will be Bronze Age cremation practices.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0028": {
-    "English Original": "The second conceptual scheme we will investigate focuses on treatments of the body as a vegetable object; here, the relevant analogy likens the inhumation of the corpse to the planting of a seed in the soil from which future growth will come.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0029": {
-    "English Original": "This discussion will centre on the Classical Era.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0030": {
-    "English Original": "Burning: The Body as Manufactured Object\n\nThe Early and Middle Bronze Age in Western Europe (25001200 BCE) represented a period of change in funerary practices relative to the preceding Neolithic, exemplified by a move away from the use of Megalithic monuments, a proliferation of grave goods, and an increase in the use of cremation (Barrett 389; Cooney and Grogan 105121; Brück, Material Metaphors 308; Waddell, Bronze Age 141149).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0031": {
-    "English Original": "Moreover, the Western European Bronze Age is characterised by a shift away from communal burial towards single interment (Barrett 32; Bradley 158168).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0032": {
-    "English Original": "Equally, the Bronze Age in Western Europe provides us with evidence of an increased use of cist and pit cremation burials concentrated in lowlying areas (Woodman 254; Waddell, Prehistoric 16; Cooney and Grogan 105121; Bettencourt 103).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0033": {
-    "English Original": "This greater preference for lowerlying location appears to reflect a distinctive change in comparison to the distribution patterns of the Neolithic burials; these are often located on prominent, visible aspects of a landscape (Cooney and Grogan 5361).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0034": {
-    "English Original": "These new Bronze Age burial practices appear to reflect a distancing in relation to the territories of the \"old ancestors\" typified by Megalithic monuments (Bettencourt 101103).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0035": {
-    "English Original": "Crucially, the Bronze Age archaeological record provides us with evidence that indicates that cremation was becoming the dominant form of deposition of human remains throughout Central and Western Europe (Sørensen and Rebay 5960).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0036": {
-    "English Original": "The activities associated with Bronze Age cremations such as the burning of the body and the fragmentation of the remains have often been considered as corporeal equivalents (or expressions) of the activities involved in metal (bronze) production (Brück, Death 8486; Sørensen and Rebay 60–1; RebaySalisbury, Cremations 6667).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0037": {
-    "English Original": "There are unequivocal similarities between the practices of cremation and contemporary bronze production technologies—particularly as both processes involve the transformation of material through the application of fire at temperatures between 700 ºC to 1000 ºC (Musgrove 272276; Walker et al.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0038": {
-    "English Original": "132; de Becdelievre et al.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0039": {
-    "English Original": "We assert that the technologies that define the European Bronze Age—those involved in alloying copper and tin to produce bronze—offered a new conceptual frame that enabled the body to be objectified in new ways.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0040": {
-    "English Original": "The fundamental idea explored here is that the displacement of inhumation by cremation in the European Bronze Age was motivated by a cognitive shift, where new smelting technologies provided novel conceptual metaphors for thinking about ageold problems concerning human mortality and postmortem survival.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0041": {
-    "English Original": "The increased use of cremation in the European Bronze Age contrasts with the archaeological record of the Near Eastern—where, despite the earlier emergence of metallurgy (3300–3000 BCE), we do not see a notable proliferation in the use of cremation in this region.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0042": {
-    "English Original": "Thus, mortuary practices (i.e.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0043": {
-    "English Original": "cremation) provide us with an insight into how Western European Bronze Age cultures mediated the body through changes in technological objects and processes.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0044": {
-    "English Original": "In the terminology of conceptual blending, the generic space in question centres on the technical manipulation of the material world.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0045": {
-    "English Original": "The first input space is associated with the anxiety attending mortality—specifically, the cessation of personal identity and the extinction of interpersonal relationships.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0046": {
-    "English Original": "The second input space represents the technical knowledge associated with bronze production; in particular, the extraction of ore from source material and its mixing with other metals to form an alloy.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0047": {
-    "English Original": "The blended space coordinates these inputs to objectify the human body as an object that is ritually transformed into a new but more durable substance via the cremation process.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0048": {
-    "English Original": "In this contention we use the archaeological record to draw a conceptual parallel between the emergence of bronze production technology—centring on transition of naturally occurring material to a new subsistence (bronze)—and the transitional nature of the cremation process.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0049": {
-    "English Original": "In this theoretical framework, treating the body as a mixture of substances that can be reduced to its constituents and transformed through technologies of cremation enabled Western European Bronze Age society to intervene in the natural process of putrefaction and transform the organic matter into something more permanent.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0050": {
-    "English Original": "This transformative aspect of the cremation is seen in the evidence we have for secondary burial practices involving the curation and circulation of cremated bones of deceased members of a group (Brück, Death 8793).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0051": {
-    "English Original": "This evidence allows us to assert that cremated human remains and objects were considered products of the same transformation into a more permanent state via burning, fragmentation, dispersal, and curation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0052": {
-    "English Original": "Sofaer (6269) states that the living body is regarded as a person, but as soon as the transition to death is made, the body becomes an object; this is an \"ontological shift in the perception of the body that assumes a sudden change in its qualities\" (62).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0053": {
-    "English Original": "Moreover, some authors have proposed that the exchange of fragmented human remains was central to mortuary practices and was central in establishing and maintaining social relations (Brück, Death 7688).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0054": {
-    "English Original": "It is suggested that in the Early Bronze Age the perceptions of the human body mirrored the perceptions of objects associated with the arrival of the new bronze technology (Brück, Death 8892).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0055": {
-    "English Original": "This idea is more pronounced if we consider the emergence of bronze technology as the beginning of a period of capital intensification of natural resources.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0056": {
-    "English Original": "Through this connection, the Bronze Age can be regarded as the point at which a particular natural resource—in this case, copper—went through myriad intensive manufacturing stages, which are still present today (intensive extraction, production/manufacturing, and distribution).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0057": {
-    "English Original": "Unlike stone tool production, bronze production had the addition of fire as the explicit method of transformation (Brück, Death 8892).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0058": {
-    "English Original": "Thus, such views maintain that the transition achieved by cremation—i.e.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0059": {
-    "English Original": "reducing the human remains to objects or tokens that could be exchanged and curated relatively soon after the death of the individual—is equivalent to the framework of commodification connected with bronze production.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0060": {
-    "English Original": "A sample of cremated remains from Castlehyde in County Cork, Ireland, provides us with an example of a Bronze Age cremation burial in a Western European\n\ncontext (McCarthy).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0061": {
-    "English Original": "This is chosen because it is a typical example of a Bronze Age cremation burial in the context of Western Europe; also, one of the authors (MG) has firsthand experience in the analysis of its associated remains.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0062": {
-    "English Original": "The Castlehyde cremation burial consisted of a rectangular, stonelined cist (McCarthy).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0063": {
-    "English Original": "The cist contained cremated, calcined human remains, with the fragments generally ranging from a greyish white to white in colour; this indicates that the bones were subject to a temperature range of 700900ºC.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0064": {
-    "English Original": "The organic content of bone was destroyed during the cremation process, leaving only the inorganic matrix (brittle bone which is, often, described as metallic in consistency—e.g.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0065": {
-    "English Original": "There is evidence that remains may have been circulated in a manner akin to valuable metal objects.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0066": {
-    "English Original": "First of all, the absence of long bones indicates that there may have been a practice of removing salient remains as curatable records of ancestral ties.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0067": {
-    "English Original": "Secondly, remains show traces of metal staining from objects that are no longer extant, which suggests that graves were subject to secondary burial practices involving the removal of metal objects and/or human bone.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0068": {
-    "English Original": "To this extent, we can discern that human remains were being processed, curated, and circulated in a similar manner to metal objects.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0069": {
-    "English Original": "Thus, there are remarkable similarities between the treatment of the human body in cremation and bronze metal production technologies in the European Bronze Age.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0070": {
-    "English Original": "On the one hand, the parallel between smelting and cremation allowed death to be understood as a process of transformation in which the individual was removed from processes of organic decay.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0071": {
-    "English Original": "On the other hand, the circulation of the transformed remains conferred a type of postmortem survival on the deceased.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0072": {
-    "English Original": "In this way, cremation practices may have enabled Bronze Age society to symbolically overcome the existential anxiety concerning the loss of personhood and the breaking of human relationships through death.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0073": {
-    "English Original": "In relation to the former point, the resurgence of cremation in nineteenth century Europe provides us with an example of how the disposal of a human body can be contextualised in relation to sociotechnological advancements.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0074": {
-    "English Original": "The (re)emergence of cremation in this period reflects the postEnlightenment shift from an understanding of the world through religious beliefs to the use of rational, scientific approaches to examine the natural world, including the human body (and death).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0075": {
-    "English Original": "The controlled use of fire in the cremation process, as well as the architecture of crematories, reflected the industrial context of the period (RebaySalisbury, Inhumation 16).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0076": {
-    "English Original": "With respect to the circulation of cremated remains, Smith suggests that Early Medieval Christian relics of individual bones or bone fragments reflect a reconceptualised continuation of preChristian practices (beginning in Christian areas of the Roman Empire).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0077": {
-    "English Original": "In this context, it is claimed, firstly, that the curation of bone relics and the use of mobile bone relics of important, saintly individuals provided an embodied connection between the sacred sphere and the earthly world; and secondly, that the use of individual bones or fragments of bone made the Christian message something portable, which could be used to reinforce individual or collective adherence to Christianity (Smith 143167).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0078": {
-    "English Original": "Using the example of the Christian bone relics, we can thus propose that the curation and circulation of Bronze Age cremated material may have served a role similar to tools for focusing religiously oriented cognition.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0079": {
-    "English Original": "Burying: The Body as a Vegetable Object\n\nGiven that the designation \"the Classical Era\" nominates the entirety of the GraecoRoman world (including the Near East and North Africa) from about 800 BCE to 600 CE, there were obviously no mortuary practices common to all cultures.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0080": {
-    "English Original": "Nevertheless, in both classical Greece and Rome, we have examples of periods when either cremation or inhumation was the principal funerary custom (RebaySalisbury, Inhumation 1921).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0081": {
-    "English Original": "For instance, the ancient Homeric texts inform us that the ancient Greeks believed that \"the spirit of the departed was sentient and still in the world of the living as long as the flesh was in existence […] and would rather have the body devoured by purifying fire than by dogs or worms\" (Mylonas 484).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0082": {
-    "English Original": "However, the primary sources and archaeological record indicate that cremation practices declined in Athens circa 400 BCE (RebaySalisbury, Inhumation 20).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0083": {
-    "English Original": "With respect to the Roman Empire, scholarly opinion argues that inhumation was the dominant funerary rite in the eastern part of the Empire (RebaySalisbury, Inhumation 1721; Morris 52).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2336548655_s0084": {
-    "English Original": "Complementing this, the archaeological and historical record indicates that inhumation became the primary rite throughout the Roman Empire in the first century CE.",
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-    "English Original": "Inhumation was considered to be an essential rite in the context of an emerging belief that a peaceful afterlife was reflected by a peaceful burial in which bodily integrity was maintained (RebaySalisbury, Inhumation 1921; Morris 52; Toynbee 41).",
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-    "English Original": "The question that this poses is how these beliefs were framed in the broader discourses of Classical culture.",
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-  "W2336548655_s0087": {
-    "English Original": "In this regard, our claim is that the growth in inhumation was driven (at least in part) by the spread of a conceptual scheme, implicit in Greek fertility myths that objectify the body as a seed.",
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-  "W2336548655_s0088": {
-    "English Original": "The conceptual logic here is that the postmortem continuation of personal identity is (symbolically) achieved by objectifying the body as a vegetable object that will regrow from its own physical remains.",
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-  "W2336548655_s0089": {
-    "English Original": "Although the dominant metaphor here is vegetable, there is no doubt that the motivating concern of this mythological fabulation is human mortality.",
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-  "W2336548655_s0090": {
-    "English Original": "As Jon Davies notes, \"the myths of Hades, Persephone and Demeter, of Orpheus and Eurydice, of Adonis and Aphrodite, of Selene and Endymion, of Herakles and Dionysus, are myths of death and rebirth, of journeys into and out of the underworld, of transactions and transformations between gods and humans\" (128).",
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-  "W2336548655_s0091": {
-    "English Original": "Thus, such myths reveal important patterns in how the postmortem fate of the body was conceptualised.",
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-  "W2336548655_s0092": {
-    "English Original": "In the terminology of mental mapping, the generic space relevant to inhumation contains knowledge pertaining to folk biology—specifically, pretheoretical ideas concerning regeneration, survival, and mortality.",
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-  "W2336548655_s0093": {
-    "English Original": "The first input space attaches to human mortality; it departs from the anxiety associated with the seeming cessation of personal identity and dissolution of kin relationships subsequent to death.",
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-  "W2336548655_s0094": {
-    "English Original": "The second input space is the subset of knowledge concerning vegetable life, and how the immersion of seeds in the soil produces a new generation of plants with the passage of time.",
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-  "W2336548655_s0095": {
-    "English Original": "The blended space combines the two input spaces by way of the funerary script, which involves depositing the body in the soil with a view to securing its eventual rebirth by analogy with the sprouting of a planted seed.",
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-    "English Original": "As indicated, the most important illustration of this conceptual pattern can be found in the fertility myths of ancient Greece.",
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-  "W2336548655_s0097": {
-    "English Original": "The Homeric Hymns, in particular, provide a number of narratives that trace out correspondences between vegetation cycles, human mortality, and inhumation, which inform ritual practice (Frazer 223–404; Carney 355–65; Sowa 121–44).",
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-  "W2336548655_s0098": {
-    "English Original": "The Homeric Hymn to Demeter, for instance, charts how Persephone is abducted by Hades, god of the dead, and taken to his underground kingdom.",
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-  "W2336548655_s0099": {
-    "English Original": "While searching for her missing daughter, Demeter, goddess of fertility, neglects the earth, causing widespread devastation.",
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-    "English Original": "Matters are resolved when Zeus intervenes to restore Persephone to Demeter.",
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-  "W2336548655_s0101": {
-    "English Original": "However, having ingested part of Hades's kingdom (a pomegranate seed), Persephone is obliged to spend half the year below ground with her captor and the other half above ground with her mother.",
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-    "English Original": "The objectification of Persephone as both a seed and a corpse in this narrative is clearly signalled by her seasonal inhumation in Hades' chthonic realm, which is at once both the soil and the grave.",
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-  "W2336548655_s0103": {
-    "English Original": "And, just as the planting of seeds in autumn ensures rebirth in spring, Persephone's seasonal passage from the Kingdom of the Dead nominates the individual human life as just one season in an endless cycle of death and rebirth.",
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-    "English Original": "A further signifying element is added by the ingestion of the pomegranate seed.",
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-  "W2336548655_s0105": {
-    "English Original": "This is evocative of her being inseminated by Hades; thus, the coordination of vegetation cycles with life and death is correlated with secondary transition—that from childhood to adulthood (Kerényi 119–183).",
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-  "W2336548655_s0106": {
-    "English Original": "In the examples given, we can see how the Homeric Hymn objectifies both the mortal and sexual destiny of the body in terms of thresholds derived from the vegetable world.",
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-  "W2336548655_s0107": {
-    "English Original": "Moreover, this mapping is not merely an intellectual exercise.",
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-  "W2336548655_s0108": {
-    "English Original": "Its emotional and social appeal is visible in the fact that the Eleusinian mysteries which offered the ritual homologue to the Homeric Hymn to Demeter—persisted from the Mycenaean period to 396 CE, one of the longest recorded durations for any ritual (Ferguson 254–9; Cosmopoulos 1–24).",
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-  "W2336548655_s0109": {
-    "English Original": "In sum, then, classical myth provided a precedent for treating the body as a vegetable object—most often, a seed—that would, in turn, have driven the move towards inhumation as an important mortuary practice.",
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-  "W2336548655_s0110": {
-    "English Original": "The result is to create a ritual form that makes key aspects of human experience intelligible by connecting them with cyclical processes like the seasons of the year, the harvesting of crops, and the intergenerational oscillation between the roles of parent and child.",
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-  "W2336548655_s0111": {
-    "English Original": "Indeed, this pattern remains visible in the germination metaphors and burial practices of contemporary religions such as Christianity, which draw heavily on the symbolism associated with mystery cults like that at Eleusis (Nock 177–213).",
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-  "W2336548655_s0112": {
-    "English Original": "Conclusion\n\nWe acknowledge that our examples offer a limited reflection of the ethnographic and archaeological data, and that they need to be expanded to a much greater degree if they are to be more than merely suggestive.",
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-    "English Original": "Nevertheless, suggestiveness has its value, too, and we submit that the speculations explored here may well offer a useful starting point for a larger survey.",
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-  "W2336548655_s0114": {
-    "English Original": "In particular, they showcase how a recurring existential anxiety concerning death—involving the fear of loss of personal identity and kinship relations—is addressed by different ways of objectifying the body.",
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-    "English Original": "Given that the body is not reducible to the objects with which it is identified, these objectifications can never be entirely successful in negotiating the boundary between life and death.",
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-  "W2336548655_s0116": {
-    "English Original": "In the words of Jon Davies, \"there is simply no letup in the efforts by human beings to transcend this boundary, no matter how poignantly each failure seemed to reinforce it\" (128).",
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-    "English Original": "For this reason, we can expect that the record will be replete with conceptual and cognitive schemes that mediate the experience of death.",
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-    "English Original": "At a more general level, it should also be clear that our understanding of human corporeality is rewarded by the study of mortuary practices.",
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-  "W2336548655_s0119": {
-    "English Original": "No less than having a body is coextensive with being human, so too is dying, with the consequence that investigating the intersection of both areas is likely to reveal insights into issues of universal cultural concern.",
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-    "English Original": "References\n\nAdorno, Theodor W. Metaphysics: Concept and Problems.",
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-    "English Original": "Barrett, John C. \"The Living, the Dead and the Ancestors: Neolithic and Bronze Age Mortuary Practices.\"",
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-  "W2401519288_s0001": {
-    "English Original": "This extract is taken from the author's original manuscript and has not been edited.",
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-    "English Original": "The definitive, published, version of record is available here: http://www.palgrave.com/us/book/9781137295200 and http://dx.doi.org/ 10.1057/9781137295217\n\n CHAPTER 2\n\n Making the Bed in Later Stuart and Georgian England\n\nSara Pennell As you make your own bed, so you must lie in it.",
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-  "W2401519288_s0003": {
-    "English Original": "Early modern English proverb\n\nThis is a chapter that deals with perhaps the most important item of furniture and its soft furnishings that any early modern probably invested in and owned.",
-    "Has CLIP Embedding": true,
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-  "W2401519288_s0004": {
-    "English Original": "In 2001 Roger Ekirch suggested that the 'elusive realm of sleep' had been long ignored by historians of most stamps; only now are we 'waking up' to what he calls the 'profound role preindustrial sleep played in the lives of ordinary men and women' as being of concomitant importance as investigating what they did in their waking hours.1 And yet this is not a chapter about sleeping or dreaming or conversing with God or sexual congress, in bed.2 It is rather an examination of the material making and maintaining of the bed – from frame to cord to 'bed' or mattress, linens and 'furniture' or curtains and valences – and their routes into and out of the consuming lives of seventeenth and eighteenthcentury householders.",
-    "Has CLIP Embedding": true,
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-  },
-  "W2401519288_s0005": {
-    "English Original": "The bed as a material entity has had peculiar, partial coverage in histories of decorative arts, interior decoration and furnishing, with one or two excursions into the 'meanings' of bed decoration.",
-    "Has CLIP Embedding": true,
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-  },
-  "W2401519288_s0006": {
-    "English Original": "The state bed, the pinnacle of the upholsterer's art and indeed more art object than place to lay one's (even royal) head, has attracted enormous attention in recent years, from the conservation and reinstatement of the state bed from Melville House, Fife, at the Victoria and Albert Museum, to dedicated conferences and exhibitions.3 The symbolism of the\n\nAuthor's Accepted Manusript English Renaissance bed was explored in the work of the late Sasha Roberts, while the middling bed has also had its champions: Lorna Weatherill's inventorybased study of British material culture between 1660 and 1760 noted that beds, bedding and associated linens could represent as much as half the value of all household goods in nonelite appraisals, while Amanda Vickery has attended to the bed as a key investment site in the genteel Georgian interior.4 And yet, as Weatherill also noted, and which is still the case today, specialist studies of the material culture of the early modern bed and bedding are still wanting, once we move beyond the spectacular confines of those state beds.5 The only other bed in British history to have achieved the same level of material attention as the surviving group of state beds is the great Bed of Ware: as much because of its Shakespearean fame, as its historic, and muchaltered, material being.6 There is, however, a material culture of the 'middling' bed that lies between that of the unslept Melville Bed and its ilk, and the ragged Hogarthian bed, that telling symbol of domestic and moral desuetude.7 This material culture, while not surviving extensively in its original material forms, can be investigated through documentary sources: not only inventories and personal papers, but also the now easily accessible records of the central London and suburban criminal courts, Georgian newsprint and other eighteenthcentury publications.",
-    "Has CLIP Embedding": true,
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-  "W2401519288_s0007": {
-    "English Original": "Two central aspects of bedmaking will be explored here.",
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-  },
-  "W2401519288_s0008": {
-    "English Original": "Firstly, through examining the means of assembling and maintaining the bed and its furnishings, I will point to the costs (in time and money) of the material assembling of those beds so central to conceptions of the idealised married household.",
-    "Has CLIP Embedding": true,
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-  },
-  "W2401519288_s0009": {
-    "English Original": "Secondly, I will explore how the idea of the bed as a significant 'cost centre' in many households fed into the availability of used beds and bedding for purchase; and how this secondhand circulation was crucial in domestic processes of assembly/maintenance.",
-    "Has CLIP Embedding": true,
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-  },
-  "W2401519288_s0010": {
-    "English Original": "Work on the premodern significance of circulation of used clothing by the likes of Beverley Lemire and John Styles has been seminal in opening up the field of historic secondhand circulation, now afforded its own multinational studies.8 Yet this dominance of clothing in the scholarship for English used goods distribution has occluded the place of other domestic textiles in such circuits.",
-    "Has CLIP Embedding": true,
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-  },
-  "W2401519288_s0011": {
-    "English Original": "It has also overshadowed the associated but shifting values, from thrift to cleanliness, with which such textiles were invested, and which influenced their resale value in such markets.",
-    "Has CLIP Embedding": true,
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-  "W2401519288_s0012": {
-    "English Original": "In twentyfirst century\n\nThis extract is taken from the author's original manuscript and has not been edited.",
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-  "W2401519288_s0013": {
-    "English Original": "The definitive, published, version of record is available here: http://www.palgrave.com/us/book/9781137295200 and http://dx.doi.org/ 10.1057/9781137295217\n\nBritain it is almost impossible to dispose of a bed mattress via secondhand conduits, and charity shops seldom sell bed linens.",
-    "Has CLIP Embedding": true,
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-  },
-  "W2401519288_s0014": {
-    "English Original": "Yet in eighteenthcentury London, bedding and bedclothes were often prime, and swiftselling, lots in household sales and furniture auctions.9 By considering secondhand bedding in the eighteenth century, and some of the developing concerns with it, the origins of modern consumer resistance to purchasing used bedding might begin to emerge more clearly.",
-    "Has CLIP Embedding": true,
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-  },
-  "W2401519288_s0015": {
-    "English Original": "Making the premodern bed\n\nBy 'wedding and bedding', to use the popular balladeer's phrase, a premodern household was set up in more than just the sense of nuptials consummated.10 The acquisition of the marital bed was essential as much as it was symbolic and, for Daniel Defoe in Augustan England, such acquisition could be a supreme act of patriotic purchasing.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0016": {
-    "English Original": "In his 1727 imagining of the household furnishings of a provincial grocer living in Horsham – used to illustrate 'to how many counties of England, and how remote, the furniture of but a mean house must send' – the bedding and the curtains are truly national: 'Serge, from Taunton or Excester; or of Camblets, from Norwich' or Kidderminster 'linseywolseys' en suite with the roomhangings or window curtains; the sheets, 'if good linen' from Ireland, the blankets, Witney; the ticking and feathers for the mattress from the West Country; and the rugs from Westmoreland and Yorkshire.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0017": {
-    "English Original": "The making of this idealised British yet domestic bed gazetteers the mercantile flows of textiles around early Georgian England and Ireland, but also reminds us that Georgian bedding was a complex assemblage of component parts.11\n\nAuthor's Accepted Manusript For many, assembling the marital bed was not simply achieved in a onetime purchase.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0018": {
-    "English Original": "While the rich, elderly widow Martha Dodson could purchase a brand new mahogany bed with linen and chintz hangings, entirely and directly from a London upholsterer in 1758,12 much more common amongst the middling sorts and groups below was the experience of the farming and textileproducing Latham family, living near Preston in the first half of the eighteenth century.",
-    "Has CLIP Embedding": true,
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-  },
-  "W2401519288_s0019": {
-    "English Original": "The second entry in the account book of Richard Latham for 1724, the year after he and his wife Ann (known throughout the accounts as 'Nany') wed, is for a 'fither bed and bolster' containing 61 poundsweight of feathers.",
-    "Has CLIP Embedding": true,
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-  },
-  "W2401519288_s0020": {
-    "English Original": "At £2 3s, this bedmattress and bolster was the most expensive outlay of the year, after their livestock.13 Such a purchase was probably made by a local upholsterer, the traditional provider of mattresses and bolsters, and the tradesman who also serviced such items (as we shall see below).14 Later in the same year, bolster ticking, bed cord, a red rug and two blankets were bought, possibly from a local fair (since adjacent entries are for fair expenditure) and yet more feathers.",
-    "Has CLIP Embedding": true,
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-  },
-  "W2401519288_s0021": {
-    "English Original": "No bed frame is mentioned, although this may already have been in their possession; 'stuff for bed curtains' and iron rods were purchased in the autumn of 1725.15 While the maintenance of this marital bed seldom features in the subsequent forty years of accounts, it may well have been in this very bed that Latham died, in 1767.",
-    "Has CLIP Embedding": true,
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-  },
-  "W2401519288_s0022": {
-    "English Original": "Marriage was, however, not the only point at which a new bed and new bedding might be assembled, as Martha Dodson's purchase in her seventies proves.",
-    "Has CLIP Embedding": true,
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-  },
-  "W2401519288_s0023": {
-    "English Original": "The east Sussex clergyman Giles Moore (deceased in 1679) married in 1649, but purchased new bedding in May 1656, some three months after being presented to a new living at Horsted Keynes, and to which he moved in September 1656.",
-    "Has CLIP Embedding": true,
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-  },
-  "W2401519288_s0024": {
-    "English Original": "The bedding was purchased from 'William Clowson, upholsterer itinerant … who comes about the country with his packs on horseback', one of Margaret Spufford's\n\nmany reclothers in rural England.16 In November 1659, on a trip to London, Moore also purchased 13 yards of 'grass green serge' at 3s 3d per yard and 'green silk fringe' at 1s 8d per ounce, sounding very much like the makings of bed curtains.",
-    "Has CLIP Embedding": true,
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-  },
-  "W2401519288_s0025": {
-    "English Original": "However, as his journal records less than four months later, Moore gave up housekeeping at Horsted Keynes, and went to board with his soninlaw, suggesting that the wellfurnished bed might have lain unused or was packed away until his return in 1666.17\n\nAlso contributing to the making of the bed was domestic production.",
-    "Has CLIP Embedding": true,
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-  },
-  "W2401519288_s0026": {
-    "English Original": "The manufacture of bedding and hangings represented an enormous productive and emotional investment, especially on the part of the housewife, who may have spun the yarn from which sheets and pillowcases were woven, embroidered valences and curtains, and indeed given birth within their embrace.",
-    "Has CLIP Embedding": true,
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-  },
-  "W2401519288_s0027": {
-    "English Original": "In January 1666, when Elizabeth Pepys finally completed sewing 'with her own hands' (as Pepys proudly recorded) the new bed furnishings and en suite hangings for the best chamber at Seething Lane, Pepys noted that the 'old red ones' were removed to his dressing room.18 One suspects that, even though a new bed and furnishings were purchased for the same best chamber in November 1668, Elizabeth's handiwork did not go to waste; they were probably redeployed elsewhere in the house, or perhaps sold on.19\n\n Servicing the bed\n\nAuthor's Accepted Manusript Beds, then, were a perpetual site of (re)furnishing, whether by needle or by negotiation, rather more commonly than 'an item' that came into the household complete and readymade.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0028": {
-    "English Original": "This may seem obvious, and yet little attention has been paid to these processes of servicing and maintenance.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0029": {
-    "English Original": "This is in part because the information for such procedures is often difficult to locate, buried or indeed a 'small thing forgotten' in the multifaceted recording of domestic inandoutgoings that comprised household accounts; and less interesting to the historian's eye than the bigticket purchases, gendered or otherwise.20 To return to the Latham's marital bed, it is astonishing that, given Nany probably gave birth to eight children in or on the mattress purchased in 1724, no further entries – for feather or ticking renewal for example – other than for new bed cords are to be found in the following 40 or so years of the accounts.",
-    "Has CLIP Embedding": true,
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-  },
-  "W2401519288_s0030": {
-    "English Original": "Does this silence indicate that they sourced their own feathers, spun and wove their own bedticking (all entirely possible in this household)?21\n\nOther household accounts are more forthcoming about the cycles of maintenance required to keep beds and bedding in serviceable condition.",
-    "Has CLIP Embedding": true,
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-  },
-  "W2401519288_s0031": {
-    "English Original": "Making up and maintaining household linen of all sorts, from clothing to tablecloths was for a Georgian 'gentleman's daughter' like Elizabeth Shackleton still very much a labour defining her role as domestic paragon, and as 'a museum curator administering her collection'.22 But this somewhat romanticises what was often repetitive and cyclical remaking, repair and renovation work, needed to keep beds in working order.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0032": {
-    "English Original": "Beds needed their frames realigned and their cords tightened and replaced; bedding required dusting, cleaning and refreshing, and linen needed regular laundering and mending.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0033": {
-    "English Original": "A series of payments dating to 1727–37 from the accounts of the wellresourced Charles Aldworth (1711–14) and his sister Susan (who appears to have lived in the parish of St George's, Hanover Square, and also in a crown property at Frogmore on\n\nthe Windsor estate) hints at the cycles of maintenance involved in the middling bed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0034": {
-    "English Original": "In April 1730, an unnamed upholsterer was paid 14 shillings for 'altering the Redbed'; in May 1731, 9s 6d was 'paid for a New sacking beed [sic] and Workmanship to the red Bed'; in November 1734, a joiner was paid 2s 10d 'for taking down & set[t] ing up again Two Beds & for nails', while Mr Paxton (possibly an upholsterer), was paid 6s 6d on 8 November 1736 'for 4lbs ¾s of feathers & for a bed Pully [pullet] feathers 6s pully [pulley?]",
-    "Has CLIP Embedding": true,
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-  },
-  "W2401519288_s0035": {
-    "English Original": "6d'.23 In Elizabeth Bridger's early eighteenthcentury account books for Coombe Place, Hamsey (near Lewes, E. Sussex), the December 1719 entry for renewing a bed tick (for 15s) and for 'driving the feathers in' (1s) paid to a Mr Edwards reveals the nosetickling work involved in rehousing the contents of a 'bed' in a new ticking case.24 And all this refreshing and cleaning doesn't even mention the 'deep' cleaning (and its costs) that debugging a bedstead and its bedding\n\nmight involve, to which we will turn later.",
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-  },
-  "W2401519288_s0036": {
-    "English Original": "Author's Accepted Manusript From the bed we go to the sheets, which required laundering, pressing and mending on a regular basis, to keep them presentable.",
-    "Has CLIP Embedding": true,
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-  },
-  "W2401519288_s0037": {
-    "English Original": "Weatherill estimates that washing alone could take up to four hours per working week; and as Lemire explores in her contribution, the work was arduous, repetitive and ultimately damaging to the linens themselves.25 That even modest households owned several pairs of sheets of different qualities (as detailed in the inventories Margaret Spufford studied for the late seventeenth century) is an indication that, when possible, householders used their linen differentially, with 'best beds' using the best quality sheets and pillowcases, while servants' beds were probably furnished with the coarsest or perhaps older, more careworn bed linens.",
-    "Has CLIP Embedding": true,
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-  },
-  "W2401519288_s0038": {
-    "English Original": "Owning multiple pairs of sheets also possibly lightened the load on washing day.26 It is also worth noting that, by the end of the seventeenth century, the variety of fabrics on offer to the householder for making sheets, counterpanes, bed curtains and the like, had multiplied rapidly, with the opening up of East Asian markets.27 To be a canny consumer, and to buy fabrics which would endure, was by no means an easy task – as 'J.F.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0039": {
-    "English Original": "', the author of The Merchant's WareHouse Laid Open; Or, The Plain Dealing LinnenDraper (London, 1695), detailed in his helpful preface.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0040": {
-    "English Original": "The little handbook was, he declared, intended to 'prevent People from buying damaged Cloth, which most People buy, it looking well to the Eye, but when it comes into the water, falls into pieces, and are in as much want the week after it is washed as if they had not bought any'.28 The fact that so few examples of seventeenth or eighteenthcentury bed linen survive in museum collections does demonstrate that, for the most part, such textiles were used up to the point of near destruction through laundering and use.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0041": {
-    "English Original": "When they could no longer be used as sheets, they were repurposed as towels and dishcloths, until they could be useful to the household no longer.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0042": {
-    "English Original": "Even then, the services of the ragman, collecting good linen rag for papermaking, meant that bed linens were rarely ever wasted.29 But I want to focus here on one aspect of maintenance illuminating the value of bed linens that is less about their eventual recycling, and more about their potential reuse while still serviceable.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0043": {
-    "English Original": "Even before a sheet was laid across a bed for the first time, one might mark it by embroidering (or, by the end of the eighteenth century, stamping) a monogram or other identifying symbol on it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0044": {
-    "English Original": "To this end, the 1746 edition of George Fisher's The Instructor: or Young Man's Best Companion included in its (very small) section for 'Instruction and Benefit of the Femalekind', diagrams for crossstitching capitals, lowercase letters and numerals, expressly for attaining 'to Perfection in marking on Linnen'.30 The schedule of bed and table linens taken by Benjamin Browne (1666–1748), a Westmoreland 'statesman', or\n\nyeoman, farmer, on preparing to downsize his household in or about 1731, documents this practice across generations.31 Amongst the pairs of sheets are those marked with the initials of his parents, George and Elinor Browne (GEB), as well as EF (his mother's maiden initials), BAB (the initials of Benjamin and his first wife, Anne) and BEB (initials of Benjamin and his second wife, Elizabeth).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0045": {
-    "English Original": "Two new pillowcases are simply marked 'B' (Browne is by now a widow for the second time), while one 'fine old sheet [is] without mark' at all.32 Although some sheets were sold in the household sales of April 1731, it is probable that these were not\n\namong them.33 Here, as with Elizabeth Shackleton's note that she marked the 'two pair of sheets' she made herself in 1774 with 'R.R.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0046": {
-    "English Original": "and a diamond, the other pair with a diamond red for my own bed', are marks suggestive of linens as treasured\n\nAuthor's Accepted Manusript goods with significant intergenerational value.34 Yet, when we understand that 'R.R.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0047": {
-    "English Original": "on Shackleton's sheets merely recorded these for use in the 'Red Room', it is clear that marks were also simply a means for identification to distinguish the sheets from other sets in the increasing numbers owned and stored in chests and presses.35 Such stitching served principally as a tracking device, should sheets go astray or get stolen, from washing lines and by lodgers.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0048": {
-    "English Original": "In looking through the many cases involving stolen bed linens in the Old Bailey Sessions papers between 1674 and 1800 (at least 1400 cases of theft involving sheets, 738 cases involving pillows and pillowcases, 1132 involving blankets, rugs or quilts, and so on)36 it is telling on how many occasions a victim was able to testify to a sheet being hers or her mistress's, due to the marks sewn into them.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0049": {
-    "English Original": "Priscilla Scarr was sentenced to transportation in October 1750, for stealing a pair of sheets from the bed in her 'ready furnished lodgings' and a pillow bear from a drawer, property of Susannah Field.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0050": {
-    "English Original": "One of the sheets was marked with an 'S', and was easily located with its pair in the east London pawnshop whence Scarr had taken them.37 Ann Stubbs, a defendant in a case of theft heard in February 1762, did try to remove the distinctive coronet marks from the sheets she and Mary Davenport had spirited away from the household of the Earl of March and Rutland, tearing off the corner of one sheet when confronted.38\n\nMarking linen was a means of slowing down, indeed hopefully preventing, illicit movement from drawer to pawnshop, from bed to roadside barter.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0051": {
-    "English Original": "The hopeful retailers of a stamping device, which could mark in as many minutes 'as much linen … as would take a month to mark with a needle' emphasised its value against stitched marks which could so easily be picked out, 'by which many people are defrauded of a valuable part of their property'.39 What such cases and devices also reveal is the enormous vitality of a secondhand trade in such domestic textiles: a trade to which we will now turn.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0052": {
-    "English Original": "Used bedding and the secondhand market in Georgian England\n\nLet us return to Giles Moore's 1656 purchase of his bedding from William Clowes.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0053": {
-    "English Original": "In a note of the purchase, he records:\n\nAll bought together at once of the above say'd Clowser [sic] for £9 5s.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0054": {
-    "English Original": "There is to be abated & deducted 12s and 10d, which yet is here set down as coming to £9 17 10d.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0055": {
-    "English Original": "I setting them down, not as They were all bought together by mee but as they were rated particularly by him unto Mee after I had bought them which I have set down as a Direction to them who may afterwards prize, value\n\nor sell them.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0056": {
-    "English Original": "Who if they prize or sell them together they are then to be priz'd and sold at £9 5s and no more but if severally Then are these dates [sic: rates] to be demanded for them[.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0057": {
-    "English Original": "]40\n\nAuthor's Accepted Manusript This note suggests three things.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0058": {
-    "English Original": "Firstly, that by buying in bulk, or as a set, the chapman was willing to rebate Moore about 6.5 per cent of the total cost; secondly, that Moore saw these goods as holding their value should they later be sold; and thirdly, that Moore was happy to envisage someone making a profit on selling on the goods separately in that transaction.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0059": {
-    "English Original": "Altogether, these remarks underline a lively and competitive secondhand circulation of, and market for, used household textiles clearly already in existence in Moore's midseventeenthcentury Sussex, and certainly in urban centres like London well before then.41 The conventional view of secondhand retailing of any commodity tends towards seeing it serving constituencies that could not afford to buy new, and this is superficially also the case for bed linens and mattresses.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0060": {
-    "English Original": "Thomas Brown noted in the 1702 edition of his Amusements Serious and Comical, Calculated for the Meridian of London, in his meandering in the Rag Fair of Long Lane, that the clothessellers were selling goods smelling 'as rankly of Newgate and Tyburn as the bedding to be sold at the Ditchside near Fleetbridge smells of the bawdy house and brandy'.42 Making the marital bed, indeed any bed, for some did depend on this bottomrung circulation, and the 'no questions asked' services of brokers like the one to whom Elizabeth Scurr sold on the stolen sheets.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0061": {
-    "English Original": "Yet we must hesitate before classifying all secondhand retailing of bed linens – or indeed of any domestic textiles – as being borne solely of necessity and serving only these 'economies of makeshifts'.43 As Olivia Fryman has discussed, even royal beds and bedding were subject to being circulated through courtier hands (with the socalled James II bed at Knole a prime example) and elite, indeed aristocratic shoppers were not averse to buying what we now euphemise as 'preloved' goods, if the price and style were right.44\n\nA series of letters between Jean Scott Hay (1629–88), countess of Tweeddale and her husband, John Hay (1626–97), the second earl of Tweeddale dating to the mid 1670s, brilliantly illustrate that bedfurnishing was both an expensive and allabsorbing business, for the countess at least, marooned at their seat, Yester Castle (east of Edinburgh).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0062": {
-    "English Original": "In one, sent early in 1674 [?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0063": {
-    "English Original": "], while Hay was in London, she\n\nstated that his trip south was as good a time as any to get a great bed to smarten up Yester:\n\nI would have something provided for your house which really is bot ill furnished tho good enough for it, yet will serve a better when we get it, and upon nex bot bot it is fitter to have some lying by as that upon occasions may be used, and therefore I wold have a damask bed & if you could get a secondhand one were not soiled and fashionable, you might buy it if it be either a blew or crimson[.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0064": {
-    "English Original": "]45\n\nThe letters from Jean continue to detail – exhaustively – just what fabric, linings, passementerie, colouring and other accoutrements she was after in her new(ish) bed.46 The obsession with fabric and with colour bears out David Mitchell's work on contemporary Orphans' Court inventories, as well as supporting his thesis that fashions for colourings of bed hangings followed distinct periodisations.47 That this was not the cheap or easy route to the bed of the countess' dreams is made very clear in one letter where she admitted\n\nthe bedstead scares [?]",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0065": {
-    "English Original": "me more then any thing because it is dear, tho I wold\n\n[^gladly] have gladly one of the new fashion it need not be made so rich and fine, I have sent a patt/fol.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0066": {
-    "English Original": "64r/ pattern of such a colour as I wold have the tabie [tabby silk] of & speckled with a fold [sic: gold?]",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0067": {
-    "English Original": "colloured silke I like a molo morala best if it can be had so chype [cheap] afford[ed].48 A quarter of a century later, and in a more modest household, Edward Belson (1680–1746), a journeyman distiller living in Reading at the time of his marriage to Rachel Angel on 20 April 1709, recorded the purchase of the constituent parts of the couple's new bed in his memorandum book in August 1710.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0068": {
-    "English Original": "From his neighbour the shoemaker William Alder, he purchased 'a good second hand feather bed, weigh'd 64 lbs at 7d per lb', costing £1 17 4d (although the 4d was rebated); from Edward Lambden, a Reading upholsterer, he purchased eight days later, '26 yards of blew water'd cheyney for Curtains etc at 15d per yard [£1 12 6d] & a good secondhand bedstead 11s'.49 This combination of informal neighbourly sale and purchase from a specialised dealer makes clear that the secondhand market for household goods was highly diversified.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0069": {
-    "English Original": "The Belson bed, costing at least £4 to assemble, was almost certainly used for Rachel's lyingin in January of the following year.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0070": {
-    "English Original": "As an aggregation of old and new elements, it was nevertheless carefully done; the new 'cheney' hangings (very much in line with the popularity of like hangings in Mitchell's London samples for the period 1705–20) concealed both used bed and frame.50\n\nAuthor's Accepted Manusript It is evident from these examples that secondhand circulation of bedding was practised widely in the later Stuart and early Georgian period, both in terms of the routes to accessing such goods and geographically.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0071": {
-    "English Original": "The burgeoning metropolitan press and accompanying print culture from circa 1720 onwards also permits more detailed consideration of the place of bedding and bed furnishings in the secondhand market, primarily through advertisements of, and catalogues for, auction sales of household furnishings taking place in and around London.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0072": {
-    "English Original": "The data presented in Table 2.1 represent a small sample of advertisements drawn from London newspapers in the digitised Burney Collection for the months of April 1730, 1750 and 1770.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0073": {
-    "English Original": "The 1730s saw the expansion of advertised auction sales beyond those for deceased aristocrats and the casualties of the South Sea Company debacle,51 to include urban gentry, traders 'leaving off business' and those simply moving to a new house.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0074": {
-    "English Original": "1770 was selected to see if there was a discernible difference between advertisements from the first half of the century and those of the second, but also predates the 1777 Auction Duty Act (17 Geo III.c.50) that introduced a levy on activities of auctioneers and produced a temporary decline in the number of auctions held.52 Bed furnishings and bedsteads featured in the majority of advertisements in April 1730 and April 1750, and also took first billing in the listing of objects for\n\nsale.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0075": {
-    "English Original": "The advertisements in the 1730 and 1750 samples were also more detailed about the nature of the bed furniture for sale, using both material type and finish (damask, mohair, camlet, 'needlework') and to a lesser extent colour and quality, for example the 'very rich crimson Genoa damask and other beds' in the advertisement for the auction sale of the household effects of Gabriel Bourdon in 1730, as hooks for the potential buyer.53 It is the bed furniture – its curtains, valances, headpieces and so on – which takes pride of place, although bedding also figures: the 4 April advert for the sale of the bankrupt Mary Chester's effects at Egham (Surrey), to take place on Easter Monday (16 April) 1750, details 'wrought linen, damask, harrateen and other Furniture in beds, chairs and window curtains, feather beds, blankets, quilts and counterpanes',54 while the advert a week later for the 'rich household furniture' (no bankruptcy this one), of the late Hugh\n\nSmith of Weld Hall, Essex, lists 'swans, down and goose feather beds', notably before the 'antique Italian cabinets'.55 Bed linen is only infrequently detailed in the advertisements, although mention is made in more than one advertisement of 'fine household linen' in general.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0076": {
-    "English Original": "The 1770 sample suggests a shift, in not only the number but also the focus of auction advertisements.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0077": {
-    "English Original": "Beds and their furnishings are mentioned in much less qualitative detail, and actually singled out as key items no more frequently than pier and other lookingglasses, coaches or harpsichords.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0078": {
-    "English Original": "More auctions meant more stock, and that stock, with one or two exceptions, was not sufficiently distinguished to merit further description than 'neat household furniture' or 'all the beds and bedding'.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0079": {
-    "English Original": "Although what I present here is preliminary (focused as it is on greater London: only in the second half of the century does the provincial press begin to advertise auction sales in any quantity) and much more could be done with this data,56 it does suggest that secondhand bed furnishings and bedding were being viewed by upholders/upholsterers, brokers and the new breed of auctioneers, as a less distinctive commodity by the last quarter of the eighteenth century.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0080": {
-    "English Original": "This was perhaps, indeed, as a result of being more widely in secondhand circulation, but\n\nTable 2.1 A sample of advertisements drawn from London newspapers for the months of April 1730, 1750 and 1770 Year No.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0081": {
-    "English Original": "of household auction sales advertised\n\nNo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0082": {
-    "English Original": "listing beds, bedding, bed linens (% of total) No.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0083": {
-    "English Original": "listing beds/ bedding/bed linen first (% of total) April 1730 11 10 (91) 8 (73) April 1750 7 7 (100) 6 (86) April 1770 27 12 (44) 11 (41)\n\nAuthor's Accepted Manusript Note: Only advertisements for auction sales (confer fixed price or other forms of sale, for example by candle) and sales of household goods belonging to private individuals (confer sales of stockintrade of upholsterers, brokers, etcetera; and specialist sales of artworks, books and so on) were included in the samples.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0084": {
-    "English Original": "Each sale was counted only once, although multiple advertisements for individual sales were published across each month, and across different newspapers.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0085": {
-    "English Original": "Each sample was gathered in the same way, using the search term 'auction' and limiting search to 'classified advertisements' category for 1–30 April in each year.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0086": {
-    "English Original": "Source: Burney Newspaper Collections Online.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0087": {
-    "English Original": "changing fashions in bed furnishing – away from heavier damasks, mohairs and crewelembroidered hangings, towards lighter painted and printed cotton fabrics – may have played their part too; where beds are mentioned in the April 1770 adverts, bedding (mattresses, quilts and the like) continue to be noted, but the material and colour of the hangings less so.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0088": {
-    "English Original": "To advertisers in 1770, silk damask bed hangings may have lost their lustre, but they nevertheless remained saleable.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0089": {
-    "English Original": "However, while it is plausible to include bedhangings in explanations of secondhand selling above the most basic levels, that prioritise fashion or 'kudos', bed linens and mattresses are less easy to accommodate in this way.57 The appeal of secondhand sheets, beds and blankets clearly lay in the value they continued to hold invested in their original quality and subsequent preservation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0090": {
-    "English Original": "The small amount of evidence that has yet been derived from sale schedules and printed catalogues, matched against either inventory valuations, or auctioneers' estimates, does support Giles Moore's midseventeenth century view that good quality, wellmaintained bedding and bed linens could\n\nhold their values in the secondhand market, and attract buyers willing to pay more than the inventoried or appraised valuation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0091": {
-    "English Original": "The evidence of this is not easily quantified, given that so few annotated catalogues or inventories with sale schedules survive, but one source, the catalogue of the sale of the household furniture of Edward Cokayne (deceased on Saturday 26 February 1753), does support this view.58 In this catalogue, Stephen Geare the selling broker provided estimated prices in the righthand margin, while an unknown annotator has given prices realised.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0092": {
-    "English Original": "The sale must have been very brisk indeed, since almost all the lots were sold above their estimates (almost all achieving 10 to 50 per cent over the estimated value).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0093": {
-    "English Original": "The beds and bedding certainly held their own, with the crimson mohair tester bed achieving the highest lot price after the plate.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0094": {
-    "English Original": "It is notable that this was not the sale of a dowager duchess or a great collector; the goods are of high quality, no doubt (Cokayne was a Hackneydwelling citizen and silkman), but it is less likely punters enthusiastically snapped up Cokayne's goods because of his name, than because they were of good quality, on offer at competitive prices.59\n\nAuthor's Accepted Manusript While the explanations put forward by Jon Stobart, Cynthia Wall and others for buying secondhand furniture and household utensils at auction sales seem to hold here – seizing a bargain, capturing value, clever consumption – we must however factor in the impact of growing fears associated with the cleanliness of used beds and bedding.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0095": {
-    "English Original": "Bed bugs and other infestations of the bed were of course nothing new.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0096": {
-    "English Original": "They were the object of some of Thomas Tryon's most lurid cautions in his counsels against filth and slovenliness at the end of the seventeenth century, and regular bedairing, replacement of sheets and minimal bedsharing were at the top of Tryon's list of mustdos to avoid infestation.60 With the publication of John Southall's Treatise on Buggs in 1730, the concern with the material cleanliness of bedding and beds became more visible and visualised, in illustrations of the chief culprit, the bed bug (Cimex lectularius).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0097": {
-    "English Original": "John Southall both published the problem and his patent solution (the 'nonpareil liquor'), as well as arguably creating the conditions for a new trade to arise: that of bug destroyer.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0098": {
-    "English Original": "Bedsteads were mostly viewed as the main culprits in harbouring the bed bug, especially those made with deal and beech.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0099": {
-    "English Original": "Thus Southall recommended to his readers that in purchasing bedsteads and furniture both old and new, they should undertake a thorough examination of holes in the woodwork, and look for the bugs themselves in the draperies.61\n\nSouthall does seem to have conflated bed bugs (which do not bore into wood, but can find their way into existing cracks and crevices) with woodboring beetles and bugs, but the message was incontrovertible: used furniture and furnishings were all potential harbingers of such vermin and one needed to be on the lookout for infestation in any like items entering into one's household, through servants' boxes or indeed secondhand bargain.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0100": {
-    "English Original": "Recipes based on Southall's 1730 'non pareil liquor' were quickly published in bestselling household manuals, too, such as in the fifth (1732) edition of E. Smith's The Compleat Housewife (first published in 1727 without any mention of bed bugs).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0101": {
-    "English Original": "Smith's 'receipt' confidently claimed that it would 'neither stain, soil, or in the least hurt to finest Silk or Damask Bed that is'.62 More dramatic still is Hannah Glasse's fumigation technique in The Art of Cookery Made Plain and Easy 1747), which involved a chafing dish of brimstone left in the centre of the bed chamber, while the housewife herself beat a hasty retreat before being rendered unconscious by the fumes.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0102": {
-    "English Original": "So much was made of the inclusion of this recipe in the advertisements for subscriptions to Glasse's book and every advertisement published for the second through fifth editions, into the\n\n1770s, that its importance as a selling point is beyond doubt.63 For all their claims of not soiling the 'furnishings' of treated beds, these techniques of eradication were necessarily invasive, based as they were on drilling holes in the bedstead itself, and wiping the hangings with the liquor compounded mainly from turpentine and camphor.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0103": {
-    "English Original": "Indeed, a Mr Muckleston, advertising his new shop in 1769 – a shop in which he promised he could 'clean and get ready twenty beds' in a week – stressed his higher competency in leaving bedding undamaged in his expert eradication of bugs: 'beware of imposters, who daily puff in the papers, but by woeful experience have left the bedding and furniture in little better condition than they found them'.64\n\nAuthor's Accepted Manusript This professional extermination trade becomes visible in the London press from the 1740s onwards, with George Bridges being one of the earliest to advertise his skills, in 1748 (at which date he claimed he had already been carrying out his trade for six successful years).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0104": {
-    "English Original": "Bridges charged a flat rate of five shillings per 'plain bed', and 7s 6d for those with 'cornishes', testers and so on.65 Upholsterers in particular seem to have added extermination to their portfolio.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0105": {
-    "English Original": "Muckleston was an upholsterer, as was Richard Wear, advertising in April 1756 on a 'no cure: no pay' basis his bugdestroying services.66 Bedbug eradication was even required by the royal household, with the Tiffin family (Thomas, who married the daughter of George Bridges, succeeded by his widow, and then his son, Benjamin), claiming to hold the rank of 'bug destroyer to His Majesty' between the 1760s and 1790s.67 In the light of such interventions, would not the prospective purchaser think twice about buying bed furniture and bedding secondhand?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0106": {
-    "English Original": "There seems to be a slight increase in emphasis in advertisements of houses and household goods for sale in London that cleanliness, and freedom from bugs was an issue, from the 1730s onwards.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0107": {
-    "English Original": "Thus, in the sale advertisement for the household goods of Lady Dixie from her Queen Square property, published repeatedly in the Daily Advertiser  in September 1742, the virtue of all the goods, but the beds in particular, as being 'clean, in good condition, and free from buggs' is reiterated.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0108": {
-    "English Original": "In the May 1745 notice of the auction of the household goods of a 'gentleman, deceas'd', the bed curtains are described as 'very clean Mohair, Damask and other furniture', and all furniture 'warranted free from bugs'.68 In 1769, one Careless (a slightly unfortunate name, given his trade), advertised his Richmond warehouses full of furnishings and furniture to hire or buy, including 'near fifty secondhand feather beds, with blankets, quilts, bedsteads and curtains', concluding 'I warrant that all I sell from the above houses is clear of bugs'.69 How far the possibility of infestation featured in changing attitudes to secondhand bedding purchases on the part of the potential buyer as yet remains unknowable, but, in combination with changing fashions in bedclothes and durability of bedding, the evidence from sellers suggests it had become a matter of interest and a possible dealbreaker, by the third quarter of the eighteenth century.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0109": {
-    "English Original": "Conclusion\n\nAlthough noone has yet studied domestic textiles in the same way as either clothing or solid furniture in English nineteenthcentury secondhand circuits, it is probably safe to assume that bedding and bed furnishings continued the descent from being desirable as secondhand purchases across the first half of the nineteenth century.70 While other concerns (not in the least the flammability of synthetic materials) have cemented this decline in the twentyfirst century,\n\nsuch practicalities surely sit side by side with a tacit reluctance about sleeping in someone else's used sheets.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0110": {
-    "English Original": "Indeed, the trajectory of bedding and bed linens may trace another route for secondhand circuits between premodern and modern uses and meanings, quite apart from the 'polarisation' tied up with ambivalent attitudes to massproduced new furniture and the rising cachet of the antique, identified by Margaret Ponsonby and Clive Edwards in the Victorian furniture trade.71 For the early modern English householder of pretty much any socioeconomic level, bed linens and bedding embodied a substantial financial outlay; the possibility of canny consumption (or a bad bargain); and a potential cash cow for those with access to them (via legal and illegal routes), as executors dispersing estates, clever consumers, and domestic servants on the fiddle.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0111": {
-    "English Original": "These were possessions that were worth maintaining, marking and making anew, as they could hold significant resale value, as well as emotional value.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0112": {
-    "English Original": "But emerging concerns about bodily cleanliness, domestic intimacies and the morality attached to the sharing of beds across the eighteenth century, surely made it very unlikely that the fine beds and bedding of a citizen and silkman at the turn of the nineteenth century would have made quite as much (or even been exposed to auction sale), as they did for Edward\n\nAuthor's Accepted Manusript Cokayne's executors in the middle of the eighteenth.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0113": {
-    "English Original": "It involved conduits both legitimate and illicit, formalised and informal; labour both mundane (featherdriving and linenscouring) and emotionally charged (embroidered monograms and handwrought bed curtains); and a complex, continual maintenance cycle – of laundering, pressing, storage, mending, debugging and replumping.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0114": {
-    "English Original": "The Georgian bed was above all an achievement of all these varying procedures and systems of investment and care, and the eighteenth century perhaps the last era in which it served as the most important domestic locus of such processes.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0115": {
-    "English Original": "A. Roger Ekirch (2001) 'Sleep we have lost: preindustrial slumber in the British Isles', American Historical Review, 106, 2, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0116": {
-    "English Original": "See S. Handley (2012) 'From the sacral to the moral: sleeping practices, household worship and confessional cultures in lateseventeenthcentury England', Cultural and Social History, 9, 1, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0117": {
-    "English Original": "27–46; and C. Koslofsky (2011) Evening's Empire: A History of the Night in Early Modern Europe (Cambridge: Cambridge University Press), especially pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0118": {
-    "English Original": "For the Melville bed, see T. Murdoch (2002) 'Fit for a king: the state bed from Melville House, Fife', Apollo, 155, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0119": {
-    "English Original": "3–9; Conference papers 'Bedtime stories: beds and bedding in Britain, 1650–1850' (Leeds: Temple Newsam House, 21–22 June 2012); and the exhibition, 'Secrets of the Royal Bedchamber', Hampton Court Palace, 27 March–3 November 2013.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0120": {
-    "English Original": "S. Roberts (1995) 'Lying among the classics: ritual and motif in elite Elizabethan and Jacobean Beds', in L. Gent (ed.)",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0121": {
-    "English Original": "Albion's Classicism: the Visual Arts in Britain, 1550–1660  (New Haven, CT: Yale University Press), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0122": {
-    "English Original": "324–57; L. Weatherill (1988) Consumer \n\nBehaviour and Material Culture in Britain (London: Routledge), p. 160; A. Vickery (2009) Behind Closed Doors: At Home in Georgian England (New Haven, CT: Yale University Press), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0123": {
-    "English Original": "Weatherill, Consumer Behaviour, p. 161.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0124": {
-    "English Original": "See http://www.vam.ac.uk/content/articles/t/thegreatbedofware/ (accessed 11 May 2014).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0125": {
-    "English Original": "See the bed of Tom Idle in plate 7 of William Hogarth's 'Industry and Idleness' series (first published September 1747):http://www.tate.org.uk/whatson/tatebritain/ exhibition/hogarth/hogarthhogarthsmodernmoralseries/hogarthhogarths3 (accessed 11 May 2014); Weatherill, Consumer Behaviour, p. 161.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0126": {
-    "English Original": "For example B. Lemire (2004) 'Shifting currency: the culture and economy of the secondhand trade in England, c. 1600–1850', in A. Palmer and H. Clark (eds) Old Clothes, \n   New Looks: Secondhand Fashion (Oxford: Berg); John Styles (2007) The Dress of the People: Everyday Fashion in EighteenthCentury England (New Haven, CT: Yale University Press); I.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0127": {
-    "English Original": "Van Damme and J. Stobart (eds) (2011) Modernity and the Secondhand Trade in Europe  (Basingstoke: Palgrave).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0128": {
-    "English Original": "Such reselling is heavily restricted in many American states; UK regulations restrict the resale of nonfiresafe items (including mattresses, nightwear and others): see http://www.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0129": {
-    "English Original": "tradingstandards.gov.uk/advice/advicebusinesssfsum20.cfm (accessed 11 May 2014).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0130": {
-    "English Original": "Author's Accepted Manusript 10.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0131": {
-    "English Original": "For example, see THE Scottish Contract OR, A Marriage Agreement Betwixt Wanton Willy and Mincing Meggy (printed for Richard Burton: London [c.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0132": {
-    "English Original": "]), with its refrain 'Then let us provide for bedding/ And all that is bonny and gay/ For weele have a joviall wedding/ The Piper shall sweetly play': available at the English Broadside Ballad Archive, www.ebba.english.ucsb.edu/ballad/31987/citation (accessed 3 November 2012); J. Bailey and A. McShane (2010) 'Beds and the making of the domestic landscape', unpublished paper given at 'The body in bed' seminar series, Royal Holloway University of London.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0133": {
-    "English Original": "D. Defoe (1727) The Complete English Tradesman, In Familiar Letters (London: Charles\n\nRivington), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0134": {
-    "English Original": "Cited in Vickery, Behind Closed Doors, p. 221.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0135": {
-    "English Original": "(1990) The Account Book of Richard Latham, 1724–1767 (Oxford: British Academy/Oxford University Press), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0136": {
-    "English Original": "The history of the London Company of Upholders (see http://www.upholders.co.uk) is given in J.F.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0137": {
-    "English Original": "Houston (2006) Featherbedds and Flock Bedds (Sandy: Three Tents Press), but we know relatively little about provincial upholders/upholsterers in England (but see\n\nC. Edwards (2005) Turning Houses into Homes: A History of the Retailing and Consumption of Domestic Furnishings (Aldershot: Ashgate), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0138": {
-    "English Original": "38–74; Vickery, Behind Closed Doors, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0139": {
-    "English Original": "Weatherill, Latham Accounts, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0140": {
-    "English Original": "For provision of ironmongery for beds, see Bodleian Library, Oxford, MS. Top.Oxon.b.278, customer account book of blacksmith Alexander Kirby at Stoke Lyne (Oxon.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0141": {
-    "English Original": "), c. 1823–35; British Museum, Prints and\n\nDrawings, Trade cards Banks 85.54, trade card of John Giles, 'cabinet founder and ironmonger', of Addle Street, London, undated [1750s?].",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0142": {
-    "English Original": "M. Spufford (1984) The Great Reclothing of Rural England (London: Hambledon Press).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0143": {
-    "English Original": "F. Stenton Eardley (1939) Horsted Keynes, Sussex (London: Macmillan), p. 81; and R. Bird\n\n (ed.)",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0144": {
-    "English Original": "(1971) The Journal of Giles Moore (Lewes: Sussex Record Society), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0145": {
-    "English Original": "Vickery, Behind Closed Doors, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0146": {
-    "English Original": "231–56; R. Latham and W. Matthews (eds) (1985) The Diary of Samuel Pepys, 11 vols (London: Bell & Hyman), VII, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0147": {
-    "English Original": "Pepys Diary, IX, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0148": {
-    "English Original": "A. Vickery (2006) 'His and hers: gender, consumption and household accounting in eighteenthcentury England', Past & Present, supplement 1, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0149": {
-    "English Original": "Weatherill, Material Culture, p. 145.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0150": {
-    "English Original": "A. Vickery (1998) The Gentleman's Daughter: Women's Lives in Georgian London (New Haven, CT: Yale University Press), p. 147.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0151": {
-    "English Original": "Berkshire RO, D/EN/F30, domestic accounts of Charles Aldworth (1711–14) and his sister Susan, c. 1727–37, uf.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0152": {
-    "English Original": "East Sussex RO, SHR/1364, household accounts of Elizabeth Bridger, née Alford (1671–1729), who married Richard Bridger (d. 1729) in 1697; entry for December 1719.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0153": {
-    "English Original": "The accounts also include extensive records for textile production within the household.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0154": {
-    "English Original": "Weatherill, Material Culture, p. 143; see also Lemire, this volume, chapter 1.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0155": {
-    "English Original": "Spufford, The Great Reclothing, p. 115.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0156": {
-    "English Original": "G. Riello (2009) 'The globalisation of cotton textiles: Indian cottons, Europe and the Atlantic world, 1600–1850', in Riello and P. Parthasarathi (eds) The Spinning World: \n\nA Global History of Cotton Textiles, 1200–1850 (Oxford: Oxford University Press),\n\npp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0157": {
-    "English Original": "(1695) The Merchant's WareHouse Laid Open; Or, The Plain Dealing LinnenDraper  (London: John Sprint and Geo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0158": {
-    "English Original": "D. Woodward (1985) '\"Swords into ploughshares\": recycling in preindustrial England', Economic History Review, 38, 2, p. 187.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0159": {
-    "English Original": "G. Fisher (1747) The Instructor: or Young Man's Best Companion (London: S. Birt), diagram on pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0160": {
-    "English Original": "312–3, quotation from p. 311.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0161": {
-    "English Original": "For Benjamin Browne, see M.A.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0162": {
-    "English Original": "Logie (1971) 'Benjamin Browne of Troutbeck: High Constable of Kendal Ward, 1711–32', Transactions of the Cumberland and Westmorland Antiquarian and Archaeological Society, NS 71, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0163": {
-    "English Original": "The schedule may have preceded the sale of his household goods in 1731, for which see S. Pennell (2011) '\"All but the kitchen sink\": household sales and the circulation of secondhand goods in early modern England' in Stobart and Van Damme (eds) Modernity and the SecondHand Trade,\n\npp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0164": {
-    "English Original": "Cumbria RO (Kendal), WD/TE/box 3, vol.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0165": {
-    "English Original": "125r–126r, 'Part of a schedule of goods, chattels & personal estate belonging to Benjamin Browne of Troutbeck' (u.d.).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0166": {
-    "English Original": "Cumbria RO (Kendal), WD/TE box 3 vol.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0167": {
-    "English Original": "Vickery, Gentleman's Daughter, p. 151.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0168": {
-    "English Original": "Spufford, The Great Reclothing, p. 115.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0169": {
-    "English Original": "Author's Accepted Manusript 36.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0170": {
-    "English Original": "These are very rough figures generated through keyword searches, for all types of theft; some cases clearly overlap, with 192 cases concerning thefts of sheets and blankets, for example.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0171": {
-    "English Original": "See www.oldbaileyonline.org (accessed 15 July 2012).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0172": {
-    "English Original": "See also J. Styles (2006) 'Lodging at the Old Bailey: lodgings and their furnishing in eighteenthcentury London', in Styles and A. Vickery (eds) Gender, Taste and Material Culture in Britain and North America 1700–1830 (New Haven, CT: Yale University Press), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0173": {
-    "English Original": "tables\n\n1 & 2.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0174": {
-    "English Original": "Old Bailey Proceedings Online (www.oldbaileyonline.org, version 7.0 19 June 2012), October 1750, trial of Priscilla Scarr (t17501017–6).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0175": {
-    "English Original": "Ibid., February 1762, trial of Ann Stubbs & Mary Davenport (t17620224–7).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0176": {
-    "English Original": "Dublin Mercury, 10 April 1770, p. 2.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0177": {
-    "English Original": "T. Brown (1702) Amusements Serious and Comical, Calculated for the Meridian of London  (London), p. 45; Woodward, 'Swords', p. 187; B. Lemire (1991) 'Peddling fashion: salesmen, pawnbrokers, tailors, thieves and the secondhand clothes trade in England, c. 1700–1800', Textile History, 22, 1, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0178": {
-    "English Original": "Lloyd (2003) '\"Agents in their own concerns?\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0179": {
-    "English Original": "Charity and the economy of makeshifts in eighteenthcentury England', in S. King and A. Tomkins (eds) The Poor in England 1700–1850: An Economy of Makeshifts (Manchester: Manchester University Press), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0180": {
-    "English Original": "O. Fryman, Historic Royal Palaces, personal communication; see also http://www.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0181": {
-    "English Original": "nationaltrustcollections.org.uk/object/129447 (accessed 11 May 2014).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0182": {
-    "English Original": "National Library of Scotland, Tweeddale Papers, MS 14402/fols 83r–86v: letter from JSH to 1st Marquess, from [Yester?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0183": {
-    "English Original": "]: 28 February [1674], fol.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0184": {
-    "English Original": "There are further letters on the subject across March 1674 in MS 14402, fols 91–104v.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0185": {
-    "English Original": "D. Mitchell (2009) '\"My purple will be too sad for that melancholy room\": furnishings for interiors in London and Paris, 1660–1735', Textile History, 40, 1, especially pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0186": {
-    "English Original": "NLS, Tweeddale Letters, MS14402, from JSH [at Yester?]",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0187": {
-    "English Original": "to JH, 31 January [1674], fols 63v–64r.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0188": {
-    "English Original": "'Morala' refers to a type of mohair fabric, rather than to 'morello' [cherrycoloured].",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0189": {
-    "English Original": "My thanks to Nicola Gentle for communicating other examples of the use of\n\nthis fabric in late seventeenthcentury sources to me; and to Michael Pearce for communicating the details of beds and bedding at Yester and Dalgety in the 1680s and early\n\neighteenth century.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0190": {
-    "English Original": "See also Mitchell, 'Furnishings', p. 10.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0191": {
-    "English Original": "Berks RO, Belson memorandum book, D/EZ/12/ 1&2, 1 & 9 August 1710.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0192": {
-    "English Original": "Other entries confirm this bed and its bedding continued to serve Belson well into the 1720s.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0193": {
-    "English Original": "Lambden took on apprentices as a master upholsterer between c.1710 and 1730: see the\n\nstamp duty he paid on indentures at TNA/IR1, Apprenticeship Books.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0194": {
-    "English Original": "Mitchell, 'Furnishing', Table 2 & Figure 9.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0195": {
-    "English Original": "M. Balen (2002) A Very English Deceit: The South Sea Bubble and the World's First Great Financial Scandal (London: Fourth Estate), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0196": {
-    "English Original": "S. Ohashi (2007) 'The Auction Duty Act of 1777: the beginning of the institutionalisation of auctions in Britain', in J. Warren and A. Turpin (eds) Auctions, Agents and \n\nDealers.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0197": {
-    "English Original": "The Mechanisms of the Art Market 1660–1830 (Oxford: Oxford University Press),\n\npp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0198": {
-    "English Original": "Daily Post, 28 April 1730, p. 3.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0199": {
-    "English Original": "General Advertiser, 6 April 1750, p. 3.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0200": {
-    "English Original": "Whitehall Evening Post or London Intelligencer, 14–17 April 1750, p. 3.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0201": {
-    "English Original": "Making the Bed in Later Stuart and Georgian England 45\n\n56.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0202": {
-    "English Original": "For example, household sales in London may have been seasonally differentiated.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0203": {
-    "English Original": "J. Stobart (2009) 'In and out of fashion?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0204": {
-    "English Original": "Advertising novel and secondhand goods\n\nin Georgian England', in B.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0205": {
-    "English Original": "Blonde, N. Coquery, J. Stobart and I.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0206": {
-    "English Original": "Van Damme (eds)\n\nFashioning Old and New: Changing Consumer Patterns in Western Europe (1650–1900)  (Turnhout: Brepols), p. 137.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0207": {
-    "English Original": "Bodleian Library, John Johnson Collection, Johnson.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0208": {
-    "English Original": "d. 1681, A Catalogue of the Houshold Furniture etc of Mr Edward Cokayne (London, 1753).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0209": {
-    "English Original": "Stobart, 'In and out of fashion?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0210": {
-    "English Original": "'; C. Wall (1997) 'The English auction: narratives of dismantlings', Eighteenthcentury Studies, 31, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0211": {
-    "English Original": "Author's Accepted Manusript 60.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0212": {
-    "English Original": "T. Tryon (1682) A Treatise on Cleanness in Meats and Drinks, of the Preparation of Food … and the Benefits of Clean Sweet Beds (London).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0213": {
-    "English Original": "See also W.W. (1680) The VerminKiller.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0214": {
-    "English Original": "Being a Very Necessary FamilyBook (London: Samuel Lee); and E. Cockayne (2007) Hubbub: Filth, Noise and Stench in England (New Haven, CT: Yale University Press), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0215": {
-    "English Original": "J. Southall (1793) A Treatise on the Cimex Lectularis, or Bed Bug, second edition, (Ipswich), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0216": {
-    "English Original": "The recipe is clearly inspired by Southall's, since it does not appear in any of the preceding editions: E. Smith (1732) The Compleat Housewife: or, Accomplish'd Gentlewoman's Companion (London: J. Pemberton), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0217": {
-    "English Original": "A Lady [Hannah Glasse] (1747) The Art of Cookery Made Plain and Easy (London), p. 166.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0218": {
-    "English Original": "For a subscription advertisement, see the London Evening Post, 15–18 March 1746, p. 3.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0219": {
-    "English Original": "Gazetteer and New Daily Advertiser, 18 April 1766, p. 3.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0220": {
-    "English Original": "Whitehall Evening Post or London Intelligencer, 22–25 October 1748, p. 3.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0221": {
-    "English Original": "Public Advertiser, 27 April 1756, p. 3; Vickery, Behind Closed Doors, p. 282.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0222": {
-    "English Original": "Potter (2011) 'The history of bed bug management – with lessons from the past', American Entomologist, 57, 1, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0223": {
-    "English Original": "Daily Advertiser, 23 September 1742, p. 3; Daily Advertiser, 21 May 1745, p. 3.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0224": {
-    "English Original": "St. James's Chronicle or the British Evening Post, 24–27 August 1765, p. 3.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0225": {
-    "English Original": "C. Edwards and M. Ponsonby (2011) 'The polarization of the secondhand market for furniture in the nineteenth century', in Stobart and Van Damme (eds) Modernity and the  This extract is taken from the author's original manuscript and has not been edited.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2401519288_s0226": {
-    "English Original": "The definitive, published, version of record is available here: http://www.palgrave.com/us/book/9781137295200 and http://dx.doi.org/ 10.1057/9781137295217\n\nsecondhand trade, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0001": {
-    "English Original": "UWL REPOSITORY repository.uwl.ac.uk\n\nThe floating face: Garbo, photography and death masks\n\nHenning, Michelle ORCID: https://orcid.org/0000000337987227 (2017) The floating face: Garbo, photography and death masks.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0002": {
-    "English Original": "ISSN 17540763 \n\nhttp://dx.doi.org/10.1080/17540763.2016.1266691\n\nThis is the Accepted Version of the final output.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0003": {
-    "English Original": "UWL repository link: https://repository.uwl.ac.uk/id/eprint/3283/\n\nAlternative formats: If you require this document in an alternative format, please contact: open.research@uwl.ac.uk\n\n Copyright:\n\nCopyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0004": {
-    "English Original": "Take down policy: If you believe that this document breaches copyright, please contact us at open.research@uwl.ac.uk providing details, and we will remove access to the work immediately and investigate your claim.",
-    "Has CLIP Embedding": true,
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-  },
-  "W2608926771_s0005": {
-    "English Original": "THEFLOATINGFACE: GARBO,PHOTOGRAPHYANDDEATHMASKS\n\n Michelle Henning\n\nProfessor of Photography and Cultural History, London School of Film, Media and Design, University of West London.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0006": {
-    "English Original": "Preprint version  please only cite the version published in Photographies Journal which has the illustrations and correct pagination\n\n Abstract\n\nA number of writers have noted the influence of Ernst Benkard's 1927 book of death masks, Das Ewige Antlitz, on Modernist artists and writers of the interwar period.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0007": {
-    "English Original": "This article links it specifically to the emergence in the late 1920s of a very particular way of photographing people, which I term \"the floating face\" and which is epitomised in publicity portraits of Greta Garbo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0008": {
-    "English Original": "It is suggested that this photographic convention is linked to changing attitudes associated with war, to the techniques of cinema, and to surrealism, but also to the influence of Benkard's book.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0009": {
-    "English Original": "The resemblance between the death mask image and movie star portrait is significant for an understanding of the origins and affective impact of a certain photographic style.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0010": {
-    "English Original": "This essay also suggests that the death mask as a figure in film and photography theory emerges out of this particular style of photography, and this specific social and cultural context, but then becomes applied to 'the photograph' in general.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0011": {
-    "English Original": "I argue that the idea of photographs as like death masks is overdetermined by the social and cultural context of 1920s Europe.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0012": {
-    "English Original": "In 1928, Edward Steichen was commissioned by Vanity Fair to photograph Greta Garbo (fig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0013": {
-    "English Original": "Describing the experience in his autobiography, Steichen said,\n\nI made five or six exposures, all more or less like her typical movie stills.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0014": {
-    "English Original": "She moved her hair this way and that way, chin up and down, but what bothered me most was her hair.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0015": {
-    "English Original": "I said: It's too bad we're doing this with that movie hairdo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0016": {
-    "English Original": "At that, she put her hands up to her forehead and pushed every strand of hair back away from her face, saying 'oh, this terrible hair'.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0017": {
-    "English Original": "At that moment, the woman came out, like the sun coming out from behind dark clouds.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0018": {
-    "English Original": "The full beauty of her magnificent face was revealed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0019": {
-    "English Original": "(Steichen cited in Muir, 76)\n\nGarbo only became Garbo the icon once the overt signs of fashion (the \"hairdo\"), and\n\ntherefore of the passing of time, were removed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0020": {
-    "English Original": "Without hair covering her forehead, Garbo's face appears more sculptural, and harder to place in a time or a social class.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0021": {
-    "English Original": "The importance of this in the construction of Garbo as a \"star\" was dramatised in her first American film The Torrent (dir.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0022": {
-    "English Original": "Monta Bell, 1925) in which she plays a peasant who becomes a famous singer: as the singer, La Brunna, she appears with her hair slicked back from her face.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0023": {
-    "English Original": "The look is distinctively Art Deco: film scholar Lucy Fischer has described how Garbo was increasingly moulded to fit an Art Deco ideal, her face simplified and abstracted through its framing by collars and hats, through the styling of her hair and makeup (83–85,103–105).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0024": {
-    "English Original": "<sup1</sup Yet Garbo's star persona, constructed in the films and publicity stills, seemed to imply a quality that went beyond the transience of fashion: she was described as \"the face of the century\", \"eternal\", \"divine\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0025": {
-    "English Original": "FIGURE 1 Edward Steichen, portrait of Greta Garbo, 1928 © the estate of Edward Steichen/ARS, NY and DACS, London 2016.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0026": {
-    "English Original": "Garbo's stardom is consistent with Walter Benjamin's contemporaneous definition of aura as a strange mix of the momentary and the permanent, of proximity and distance.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0027": {
-    "English Original": "In \"Small History of Photography\" (1931) he described aura as \"a peculiar weave of space and time: the singular appearance only of distance, however close it may be\" (83).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0028": {
-    "English Original": "Benjamin saw aura as something\n\nphotography had only been able to capture in its very early days, technically conditioned by long exposure times, so that in Hill and Adams' portraits, for example, \"light wrests itself agonisingly from the darkness\" (80).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0029": {
-    "English Original": "Aura is associated with the technical limitations of early cameras, but also with the sitters themselves, who had not yet learnt to pose for the camera, who \"stepped spotless into the image space\", and who themselves possessed the aura of a social class on the rise (70, 80).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0030": {
-    "English Original": "After the 1880s, the technical refinement of photographic optics, the increased commercialisation of the portraiture, and the arrival of the \"imperialist bourgeoisie\" ousted aura from the photograph.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0031": {
-    "English Original": "According to Benjamin, it was substituted by an artificiallycreated aura, using techniques such as retouching and lighting, and \"it became fashionable to have a blurry tone, interspersed with artificial highlights\" — the pictorialist style that the nineteenthcentury press disparagingly referred to as \"fuzzygraphs\" (81).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0032": {
-    "English Original": "Nowhere was the production of artificial aura more important than in Hollywood, and the burgeoning industry of movie magazines relied on this tension between intimacy and distance.<sup2</sup Garbo was contracted to Metro Goldwyn Meyer (MGM), who employed their own staff photographers both to document the films on set and to take official publicity photographs.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0033": {
-    "English Original": "Film historian David S. Shields argues that \"photographic work at MGM represented the height of a kind of industrial rationalisation infused by an intense communal impetus for aesthetic polish\" (15).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0034": {
-    "English Original": "Steichen was not a staff photographer, but his photograph, first published in Vanity Fair in 1929, set a new standard of aesthetic refinement, moving the visual representation of Garbo away from the fuzzygraphs of the Garbo's previous photographers, Arnold Genthe and Ruth Harriet Louise but also building on the visual repertoire of poses and lighting they had established.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0035": {
-    "English Original": "3\n\nSteichen's photograph uses a dark framing to contrast with Garbo's pale complexion.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0036": {
-    "English Original": "Garbo wears a longsleeved dark dress with a low neckline but as her arms are raised to pull back her hair, the dress becomes a black geometric surround for her face, while her neck is concealed in shadow.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0037": {
-    "English Original": "Garbo's face appears to float within this black geometric frame, while the photograph retains a candid, immediate feel, after all, she is just pulling her hair back with her hands.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0038": {
-    "English Original": "It preserves the\n\nsense of her face as a momentary revelation, \"like the sun coming out from behind dark clouds\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0039": {
-    "English Original": "Steichen's portrait underscores the importance of a play of revealing and concealing both in the construction of Garbo as a star, and in Modernist photography more generally.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0040": {
-    "English Original": "The new emphasis on \"capturing the moment\" in photography, combined with unusual geometric compositions and intimate closeups, was aided by new cameras such as the Rolleiflex and the Leica.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0041": {
-    "English Original": "Steichen was a key figure in the popularisation of \"straight\" photography, and his influence challenged the pictorialist approach which had hitherto dominated the studios.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0042": {
-    "English Original": "However, it was not Steichen who produced the most iconic and \"timeless\" (and impeccably Art Deco) photograph of Garbo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0043": {
-    "English Original": "That was made by Clarence Sinclair Bull, staff photographer for MGM, who photographed Garbo regularly from 1929.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0044": {
-    "English Original": "Bull took the photograph in question in 1931 for Mata Hari.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0045": {
-    "English Original": "The portrait is lit so that Garbo's head emerges from the darkness.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0046": {
-    "English Original": "A similar technique had been used for an earlier portrait taken during the filming of The Kiss in 1929.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0047": {
-    "English Original": "Portrait of Garbo for The Kiss, 1929 © Everett/REX/Shutterstock.This photograph appears to be taken by Clarence Sinclair Bull, though it has also been credited to Nickolas Muray, whose family gifted a negative of it to the George Eastman Museum.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0048": {
-    "English Original": "In the earlier photograph, Garbo was wearing a beret, which gave a sharp outline to her forehead, but the edges of her face were soft (fig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0049": {
-    "English Original": "But now Bull had abandoned the expressive pictorialist softness of Garbo's earlier photographs for a sharp, clear cut Modernist aesthetic that is much more polished, and less spontaneous than Steichen's.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0050": {
-    "English Original": "The photograph shows Garbo styled as her character in the film, with hair slicked back, her hand almost seeming to prop up her face, which floats against a deep black, but in light shadow, sharply lit at the edges to separate it from the dark background (fig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0051": {
-    "English Original": "Clarence Sinclair Bull, Portrait of Garbo for Mata Hari, 1931 © Moviestore/ REX/Shutterstock.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0052": {
-    "English Original": "Garbo's eyes are cast down, and her mouth firmly closed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0053": {
-    "English Original": "If Steichen's portrait suggests the revealing and concealing associated with the passing moment, Bull's Mata Hari photograph suggests a different play of concealing and revealing.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0054": {
-    "English Original": "Here, the slick precision of the image is such that it seems as if Garbo, like Queen Nefertiti, embodies a beauty that will never change or deteriorate.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0055": {
-    "English Original": "The portrait displays Garbo's face for the viewer to examine in detail while at the same time seeming to hold something back, behind the closed lids and mouth.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0056": {
-    "English Original": "The idea that Garbo was distant and unreadable was reaffirmed through such photographs.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0057": {
-    "English Original": "She was nicknamed \"The Swedish Sphinx\", a reference to her inscrutability and preference for privacy.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0058": {
-    "English Original": "In 1931, Bull even made a photomontage of Garbo in which he superimposed her face on the Sphinx.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0059": {
-    "English Original": "This notion of her face as a kind of mask is repeated in the most famous essay on Garbo, Roland Barthes' \"The Face of Garbo\", originally published in the periodical Les Lettres Nouvelles in 1955.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0060": {
-    "English Original": "Barthes described Garbo's face as \"an admirable faceobject\" and he wrote, \"the makeup has the snowy thickness of a mask; it is not a painted face, but one set in plaster protected by the surface of the colour, not by its lineaments\" (56).4 Barthes implies that the makeup takes the face in the direction of something that is not living: an object, a plastercast, a statue, a death mask.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0061": {
-    "English Original": "Yet, \"in this deified face, something sharper than a mask is looming\" (57).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0062": {
-    "English Original": "According to Barthes, Garbo's face is archetype and idea, but also hovers between mask and face, being exactly at the transitory point \"when the archetype leans towards the fascination of mortal faces\" (57).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0063": {
-    "English Original": "Steichen's photograph of Garbo was also recirculating in the year Barthes was writing: it featured, for instance, on the cover of LIFE magazine on 10 January 1955, to accompany \"The Great Garbo: A Candid Biography\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0064": {
-    "English Original": "Garbo was also featured in Paris Match in April 1955, the same month that Barthes essay was published, under the title l'Enigme Garbo (Garbo the Enigma).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0065": {
-    "English Original": "Barthes refers specifically to the film Queen Christina (1933), which had been recently screened in Paris.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0066": {
-    "English Original": "During the shooting of the final scene, in which Queen Christina gazes out to sea, its director Rouben Marmoulian reportedly instructed Garbo to \"make your mind and your heart a complete\n\nblank, make your face into a mask\" (cited in Vieira 1889, see also Milne, 7475).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0067": {
-    "English Original": "The final shot slowly tracks in to a tight closeup of Garbo's face, which, as film theorist Mary Ann Doane has said, \"is held for an unexpectedly long time\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0068": {
-    "English Original": "Doane comments \"Although Garbo's face here seems to constitute a veritable zero degree of expression, its blankness nevertheless is forced into legibility by the pressure of the narrative culminating in that moment\" (101).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0069": {
-    "English Original": "These are very specific ways of talking about photographs and film sequences of Garbo's face: as masklike, blank and yet somehow legible or expressive; as a surface that repels interpretation yet seems to have endless depths; as an archetype or ideal that nevertheless hovers on the edge of being human; as something that seems to promise to remain forever and yet also seems about to disappear.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0070": {
-    "English Original": "This discourse describes something very specific to Garbo, and something that other film stars and studios would attempt to emulate with limited success, but it is also consistent with the \"floating face\" style of portraiture, which bridged the divide between pictorialist and Modernist styles, and which became popular at the same time as Garbo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0071": {
-    "English Original": "There are a very few examples of this portrait technique, in which an illuminated face glows from a surrounding darkness, before the 1920s.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0072": {
-    "English Original": "We can identify it in Julia Margaret Cameron's famous portraits of Sir John Herschel, though in the early print that she gave to Herschel the velvet in which she had draped him is clearly visible.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0073": {
-    "English Original": "But Cameron is in many ways an anomaly in the history of photography.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0074": {
-    "English Original": "It would be more accurate to say that this technique was pioneered by cinema.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0075": {
-    "English Original": "The cinema of the 1920s brought to prominence the closeup on the face, in particular, which had a number of curious effects.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0076": {
-    "English Original": "First, the face is dissociated from background or miseenscène, from any \"spatiotemporal coordinates\" (Dowd 74).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0077": {
-    "English Original": "Second, it causes the time of the film to appear to slow down, so that the film image become more like a still (Balázs 39, Wen 24).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0078": {
-    "English Original": "This is doubled by the presentation of women as objects of \"erotic contemplation\", so that, as film theorist Laura Mulvey noted, the lingering closeup on the female star seems to stop the narrative flow of the film altogether (Mulvey 19).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0079": {
-    "English Original": "Additionally, the closeup enlarges the face far beyond human scale.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0080": {
-    "English Original": "In his 1940 essay \"Sketch on the Psychology of Cinema\", André Malraux wrote:\n\nA small head in an enormous auditorium, such is the stage actor; a film actor is an enormous head in a small auditorium.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0081": {
-    "English Original": "All to the advantage of the latter, for moments that the theatre could never render save by silence could, even on the silent screen, be implemented by the play of emotions writ large on a face (323).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0082": {
-    "English Original": "One effect of this enlarging, which actually works against the emotional identification with the actor, is that the face can become \"unrecognisable, monstrous and effectively inhuman\" (Dowd 75).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0083": {
-    "English Original": "In contrast to the cinematic closeup, photographic closeups in the form of prints do not generally enlarge the face, but shrink it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0084": {
-    "English Original": "Nevertheless, they share some of the impact of the cinematic headshot, not least through the use of similar lighting techniques.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0085": {
-    "English Original": "Cinematic techniques of lighting and framing were adopted by portrait photographers: unsurprisingly in Bull's case, since he worked in such proximity to the movies and had been a film cameraman.5\n\nBy 1933, the floating face looming out of a dark surround had become a photographic cliché: the German film and photography critic Siegfried Kracauer wrote in that year, \"why are very many portraits, particularly socalled artistic ones, so odd?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0086": {
-    "English Original": "I am thinking of the portraits that one often sees hanging behind glass, framed, at the entrances to photography studios.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0087": {
-    "English Original": "Some famous man's head emerges out of a mystical darkness...\" (\"A Note\", 59).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0088": {
-    "English Original": "The popularity of this style of portraiture testified to the ongoing influences of phrenology and physiognomy, Victorian fads in which the external appearance of a head or face becomes the means to classify an individual as a type; but it also staged, as a hallucinatory vision, the promise of immortality offered by fame.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0089": {
-    "English Original": "The depicted subject is unaccompanied by the trappings of the age (by period objects and fashions), and becomes a ghostly floating countenance.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0090": {
-    "English Original": "The floating face promises to endow the sitter with mythical status, just as the closeup in film did.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0091": {
-    "English Original": "But it also brings the sitter closer to being an object: the cinematic closeup makes objects expressive, like faces, and faces \"objective\" or objectlike (Balázs, 60).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0092": {
-    "English Original": "This is noticeable in photography of the period too: for example in the work of the Swissborn portrait photographer Helmar Lerski who treated faces as sculptural objects, their expressions little more than effects of lighting.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0093": {
-    "English Original": "Lerski also had a background in cinema, having worked as a cameraman and lighting technician on German Expressionist films (including Fritz\n\nLang's Metropolis).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0094": {
-    "English Original": "Photography critic Francis Hodgson sees Lerski's portraits as exemplifying the way \"the face is only one small remove away from the mask\" and as seeming to turn the human countenance into the faces of a Gothic sculptures.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0095": {
-    "English Original": "The Undying Face\n\nConversely, cinematic lighting techniques could animate the inanimate: Malraux wrote in Museum without Walls (1947) of how photographs of statues made them resemble film stars through the use of identical lighting techniques (Malraux 1967, 86).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0096": {
-    "English Original": "The cultural historian Claudia Schmölders mentions early 1920s German books, depicting the heads of medieval and Gothic statues, that similarly treated their subjects as film stars: \"They doused them in dramatic lighting, they severed head from body and shot them in closeups\" (74).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0097": {
-    "English Original": "As these writers suggest, the influence of the cinematic closeup on photography was not restricted to the Hollywood studio portrait.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0098": {
-    "English Original": "Similar lighting techniques were used in a remarkably influential book of 1926: Das Ewige Antlitz (The Undying Face), authored by the art historian and critic Ernst Benkard.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0099": {
-    "English Original": "Benkard's widelycirculated book contained photographic reproductions of 96 death masks (112 including lifemasks and busts) and had gone through at least 19 print runs by 1935.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0100": {
-    "English Original": "In The Torch in my Ear, the second volume of his autobiography, the writer Elias Canetti describes his first encounter with Benkard's book.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0101": {
-    "English Original": "The book was given to his friend Ibby Gordon by one of her male admirers, who was a bookseller in Vienna.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0102": {
-    "English Original": "It had a strong effect on the young Canetti who recounts that he and Ibby pored over the book in rapt silence, and the bookseller left, having been almost completely ignored.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0103": {
-    "English Original": "The scene takes place in a Viennese coffeehouse in 1927.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0104": {
-    "English Original": "Canetti writes, \"I had never seen death masks: they were something completely new to me...",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0105": {
-    "English Original": "I reeled from one face to another, as though I had to catch and hold each single one.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0106": {
-    "English Original": "Curiously, in a book that mentions photography several times, Canetti overlooks the fact that the images of the death masks are photographs.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0107": {
-    "English Original": "Their vivid impact is transmitted through photography, but Canetti writes as if what he encounters, as he turns the pages, are the masks\n\nthemselves, unfiltered by any photographic rhetoric or staging.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0108": {
-    "English Original": "Essentially, the fact of the photograph's apparent fidelity as a copy is what allows Canetti to treat the photograph as transparent and assign this affect to the masks.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0109": {
-    "English Original": "Yet the death masks are photographed and presented in Benkard's book in very specific ways.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0110": {
-    "English Original": "The majority are photographed from the front, though in some cases a second, profile shot is included.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0111": {
-    "English Original": "They are generally lit as if from above and to one side — that is, from over the top of the head, so that shadows are cast beneath the brow and nose, just like a portrait of a living person standing up (rather than lying down, in death).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0112": {
-    "English Original": "Several use the portrait lighting style sometimes referred to as \"Rembrandt\" lighting, in which one side of the face is in light shadow, but with an illuminated triangle on the cheek.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0113": {
-    "English Original": "The backgrounds are nearly always plain, and range in tone from black to light grey: the only exception to this is the first mask, of Bernardino da Siena (13801444) which is presented surrounded by leaves.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0114": {
-    "English Original": "Many float against black, for example, the masks of Franz Liszt, Isaac Newton and Queen Louise of Prussia, or the gaunt, scrunchedup face of Saint Antoninus (d.1459).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0115": {
-    "English Original": "Some appear serene, but a few, most notably the mask of Marat, seem to be seized by agony (and unusually, both his mouth and eyes are open).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0116": {
-    "English Original": "Most have their eyes cast down and their mouths clenched shut.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0117": {
-    "English Original": "Some, like the masks of Jonathan Swift or Walter Scott, are like moons or pebbles, white and uncannily smooth (fig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0118": {
-    "English Original": "Those such as Schiller's and Mahler's, that are presented both in front and sideview, are revealed as objects, since the masks have no back.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0119": {
-    "English Original": "Others are also very objectlike, too much like decapitated heads than faces still belonging to a body: the masks of Peter the Great and Henry II both appear as objects simply plonked onto a surface and photographed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0120": {
-    "English Original": "As Benkard's notes to the plates reveal, the death masks are held in various collections across Europe, and the photographs taken by different photographers in a number of countries, yet they are remarkably consistent in style.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0121": {
-    "English Original": "Death Mask of Walter Scott 1771–1832 as reproduced in Benkard, Das Ewige Antlitz, 1926.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0122": {
-    "English Original": "Benkard's book was the first, but a flurry of books on death masks followed — notably Richard Langer's Totenmasken (Death Masks) of 1928, and Egon Friedell's Das letzte Gesicht (The Last Face) of 1929.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0123": {
-    "English Original": "Schmölders sees Benkard's book, and the volumes which followed it, by Langer and others, as a new attempt to produce \"a national portrait gallery\" for Germany (78).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0124": {
-    "English Original": "She suggests that Benkard's book provided a compromise between the gallery of \"meritorious men\" and the bourgeois thirst for photographs (73–4).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0125": {
-    "English Original": "And this is a parade of \"great men\": five women are included in the German edition, and only two in the English edition, one of which is Queen Louisa of Prussia and the other is the famous but anonymous Inconnue de La Seine (Unknown Woman of the Seine), a purported death mask of a drowned woman (fig 5).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0126": {
-    "English Original": "<sup6</sup The Inconnue mask was hugely popular, inspiring stories that attempted to give some identity to the unknown woman: her appeal lay in the contradiction between her serene expression and tragic end (see Saliot for a full account).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0127": {
-    "English Original": "In her anonymity, she was effectively an empty vessel for the projection of desire.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0128": {
-    "English Original": "The Inconnue de la Seine as reproduced in Benkard, Das Ewige Antlitz, 1926.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0129": {
-    "English Original": "Schmölders also comments on the death mask photographs in Das Ewige Antlitz, linking them to photographs of silent movie stars: \"they appeared like powdered faces sprung from a silent movie\" (74).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0130": {
-    "English Original": "Her main interest in them is in their possible influence on Hoffman's 1927 portrait of Hitler, which was the basis of a 1932 election poster.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0131": {
-    "English Original": "As she discusses, the portrait was from a larger shoot in which Hitler practiced the gestures from his speeches — the whole set reminiscent of a slightly ludicrous silent movie performance.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0132": {
-    "English Original": "In the poster, Hitler's face looms out of a dark background, disconnected from any body or context, and anchored by the single word \"Hitler\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0133": {
-    "English Original": "It is hard, with hindsight, to see this image as anything other than threatening, and at the time, it\n\npresumably would have worked in a double way, as a threat to some, and as announcing his greatness, or starlike appeal, to others.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0134": {
-    "English Original": "This emphasis on the physiognomy of Hitler was, as Schmölders shows, part of the larger cult of the face, and linked to ideas about national and racial identity.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0135": {
-    "English Original": "Benkard's book is one of several German titles that used the word Antlitz (face or countenance) in this period, as part of this \"national face cult\" that was not restricted to photography or to death masks or even to \"meritorious men\" (Schmölders 78).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0136": {
-    "English Original": "These were part of a new, postwar construction of German national identity: historian Peter Fritzsche writes that before 1914 the histories had focussed on the achieving of German unification, now there was a new emphasis on the Volk, on social \"types\" enumerated through \"physiognomic surveys\" (25).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0137": {
-    "English Original": "August Sander's collection of his own photographs, Antlitz Der Zeit (Face of Our Time) was published in 1929, only a few years after Benkard's book of death masks — Alfred Döblin's introduction even compared the book to Benkard's (James 39).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0138": {
-    "English Original": "While Sander's photographs were full length portraits, other photographers worked specifically with closeups of faces, for example Lerski's 1931 book Kopfe des Alltags (Everyday Heads) and Erna LendvaiDircksen's Das deutsche Volksgesicht (The Face of the German People) which was published in several volumes beginning in 1932.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0139": {
-    "English Original": "This archive fever quickly gets harnessed by the Nazis for the purposes of racial classification (Fritzsche 27).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0140": {
-    "English Original": "Several writers connect the fascination with the death mask book with the experience of the Great War, both the scale of death and the mutilated soldiers whose presence was an uncomfortable and ongoing reminder of the conflict.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0141": {
-    "English Original": "By the 1920s, Emanuel Alloa writes, \"a vague desire to endow the phenomenon of death with a meaning transcending its historical circumstances\" was being expressed through the death masks.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0142": {
-    "English Original": "He argues that, \"In the death masks of outstanding historical figures, the wounded Weimar Republic not only lent death a singular countenance, but was also able to found a new beginning upon the rubble of the past.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0143": {
-    "English Original": "Schmölders also connects Benkard's book with the war, seeing the images as a kind of \"reconciliatory compensation\" for the educated bourgeoisie.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0144": {
-    "English Original": "She suggests they acted as an \"aesthetic buffer\" against other, more violent images of war and death — for instance, those circulated by pacifists and antiwar activists as in Ernst Friedrich's photographic book Kreig dem Kreige (Wage War on War) of 1924 which included closeup portraits of soldiers with facial mutilations, in some cases, patched together experimentally by an early plastic surgery, which, if lifesaving, was also monstrous (Schmölders 745).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0145": {
-    "English Original": "Friedrich intended the pictures to shock, accompanying them with explicitly antiwar captions in German, French, Dutch and English, hoping that it would influence the public to oppose war (for more on see Kreig dem Kreige see Sontag 2002, Apel, and Hüppauf).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0146": {
-    "English Original": "The book was denounced by patriotic organisations and bookshops were raided: in Germany, as in Britain, \"the wounded face was taboo.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0147": {
-    "English Original": "7\n\nSchmölders suggests that the floating, ghostly and organically whole death masks in Benkard's book might have acted as compensation for these other shocking depictions of the consequences of steel helmets and shell warfare (74).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0148": {
-    "English Original": "Yet such political meaning was not altogether evident at the time, since not everyone who opposed war subscribed to Friedrich's tactics and since such images were not in wide public circulation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0149": {
-    "English Original": "Virginia Woolf, herself a lifelong pacifist, published the British edition of Benkard's book.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0150": {
-    "English Original": "In fact, it found its greatest reception among the bohemian circles of the European avantgarde and their attraction to death masks can be understood as related to their interest in other kinds of masks, and in the dismembered and fragmented body, the savage \"breaking of the human frame\" that repudiated the glorification of war.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0151": {
-    "English Original": "The Uncanny Mask\n\nThe surrealists were fascinated by death masks but also by Oceanic and African masks.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0152": {
-    "English Original": "Masks spoke of hybridity, metapmorphosis, the blurring of boundaries between human and animal, human and machine, the animate and the inanimate.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0153": {
-    "English Original": "They were associated with fluidity of identity,\n\nwith acts of mimicry in which the mimic becomes that which she or he imitates.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0154": {
-    "English Original": "In surrealist journals such as Minotaure and Variétés, the masks of nonWestern cultures were brought together with older hybrid creatures from the Western tradition, such as the Minotaur and the Sphinx (Cheng 67).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0155": {
-    "English Original": "Around 192930 Minotaure and Variétés included numerous photographs of masks, mannequins and people wearing facial coverings such as diving helmets, gas masks, optometric instruments, as well as photomontages replacing human heads with technical objects.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0156": {
-    "English Original": "These mechanical masks and commodified bodies mock the modern cult of the machine and turn images associated with desireability into uncanny grotesques (see Foster 136 140 for a more detailed analysis).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0157": {
-    "English Original": "André Breton, Paul Eluard, and Louis Aragon are among those known to have been influenced by Benkard's book and subsequent ones on death masks (Saliot 68, Alloa 7071, Stubbs).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0158": {
-    "English Original": "They may even have connected them to the life masks taken of the warmutilated: Breton and Aragon had worked at the ValdeGrâce military hospital in Paris, which contained a museum displaying wax and plaster casts of mutilated faces (Lyford 467).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0159": {
-    "English Original": "Art historian Amy Lyford argues that the ValdeGrâce museum defused the violence of the facial casts (or \"life masks\") by showing them in in sequences representing stages of recovery and reconstruction, but that singly displayed, one of these casts \"emphasises trauma as something permanent, static, endless\" (Lyford 50).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0160": {
-    "English Original": "It freezes time, like a photograph.8\n\nPhotography further confused masks and faces.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0161": {
-    "English Original": "In 1929 Man Ray photographed the death mask of Modigliani.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0162": {
-    "English Original": "The same year he photographed the model Jacqueline Barsotti, isolating her face with paper and delineating it using his solarisation technique, so that it appeared like a mask.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0163": {
-    "English Original": "In 1933, Lee Miller, his collaborator since 1929, photographed Vogue model Mary Taylor with her head seeming to float, as if severed, against a dark background (entitled \"Floating head\" in monographs of Miller's work) (fig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0164": {
-    "English Original": "In doing so she articulated something already implicit in the floating face style of portraiture, in its separation of head from body, the aestheticisation of decapitation, the necrophiliac appeal of L'Inconnue.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0165": {
-    "English Original": "Understood as part of the visual iconography of surrealism, masks, including death masks, are uncanny in the Freudian sense: Freud included \"waxwork figures, articulate dolls and automatons\" as uncanny objects and they share with the mask their capacity to conflate the animate with the inanimate through doubling (Freud cited in Foster, 128).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0166": {
-    "English Original": "Hal Foster links the Freudian uncanny to the surrealist concept of \"convulsive beauty\" (Foster 2023).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0167": {
-    "English Original": "He gave examples in L'Amour Fou (1937), including instances of mimicry in nature, mediated through photography, such as Karl Blossfeldt's mysterious botanical photographs, in which, \"the animate is so close to the inanimate\" that it \"suggests the inertia of life, the dominance of death\" (Breton, cited in Foster, 23; Foster 23).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0168": {
-    "English Original": "The death mask photographs also heighten this sense of the animateinanimate, insofar as they are inorganic objects that substitute themselves for the onceanimate, photographed in such a way that they appear alternately as real faces and as lumpen things.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0169": {
-    "English Original": "Other examples of convulsive beauty relate to the arrest or expiry of motion, or more violently, \"reality convulsed in shock\" (Foster 28).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0170": {
-    "English Original": "Art theorist Rosalind Krauss describes this as \"intrinsically photographic\" but we could say it is also intrinsically a quality of death masks (Krauss 28).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0171": {
-    "English Original": "The death masks reproduced in Benkard's book would have been mostly taken very shortly after death, before the onset of rigor mortis.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0172": {
-    "English Original": "As Canetti observed: \"It is the bating of breath, but as if the breath were preserved.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0173": {
-    "English Original": "Breath is man's most precious possession, most precious of all at the end; and this ultimate breath is preserved in the mask as an image\" (243).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0174": {
-    "English Original": "The death mask translates the fragile and ephemeral breath into an image and by doing so holds (bates) it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0175": {
-    "English Original": "The photograph of the death mask doubles this affect, not by freezing the object (which is already inanimate) but on the contrary, by seeming to reanimate it, implying the possibility of further movement by increasing the similarity between the mask and a human face.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0176": {
-    "English Original": "It convulses the death mask into life.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0177": {
-    "English Original": "Surrealist images of female bodies often seem to violently and misogynistically affirm a connection between death and sexuality.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0178": {
-    "English Original": "Foster suggests they were influenced by Freud's concept of the death drive: the drive of the organic to return to the state of inorganic, the compulsion towards dissolution and death, closely bound to the sexual drives (Foster 1011).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0179": {
-    "English Original": "<sup9</sup Benkard's book also suggests the idea of death as a kind of heroic and sexualised pleasure in a \"note\" on the process of making death masks, by the German sculptor Georg Kolbe:\n\n… the last breath is followed almost immediately by an unearthly smile.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0180": {
-    "English Original": "Freed from all suffering, achievement!",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0181": {
-    "English Original": "To die seems thus a fulfilment, a consummation, the most exalted moment in life.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0182": {
-    "English Original": "So long as the blood is yet warm and the muscles yet in action, the face is transfigured as if in a final glow of youth.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0183": {
-    "English Original": "(Benkard 43)10\n\nWhile Kolbe's description seems to almost anticipate not the fragmented and dismembered bodies of surrealist art, but the Nazi cult of the idealised body, Canetti's response to the death mask photographs also suggests there is a heroism in confronting death.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0184": {
-    "English Original": "He singles out one mask in particular that he keeps returning to, the mask of Blaise Pascal (fig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0185": {
-    "English Original": "7), which seems to preserve, not just a momentary breath, but the experience of pain, through which his face becomes \"eternal\" (244).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0186": {
-    "English Original": "Death Mask of Blaise Pascal (1623–1662), as reproduced in Ernst Benkard, Das Ewige Antlitz, 1926.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0187": {
-    "English Original": "Yet Canetti rails against the inevitability of death.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0188": {
-    "English Original": "The masks, he points out, capture the \"final instant before decay\", and in doing so,\n\n\"there are some that wound you — masks that expose.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0189": {
-    "English Original": "Their purpose is the dreadful truth that they churn up, the dominating principle on which this specific life had to end: the burden on Walter Scott, the sharp madness of old Swift, the terrible, consuming disease of Géricault\" (243).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0190": {
-    "English Original": "For Canetti, the death masks also seem to pause the passage of time in a physical, bodily way.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0191": {
-    "English Original": "Both the \"indignation against death\" and the fascination with the face after death are associated in his mind with Gilgamesh, the Sumerian king of the ancient epic (50).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0192": {
-    "English Original": "Gilgamesh's futile quest to defeat death begins with the death of his friend, and in the version Canetti had heard, he sits with the corpse until its face begins to decompose.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0193": {
-    "English Original": "The appeal of the death mask to Canetti is that it suspends this moment between when a life expires, and before decay and the ravaging of the face.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0194": {
-    "English Original": "Benkard himself also saw the death mask as a threshold object, that \"stands and admonishes us at the gateway between what we call life and what we call death\" (3940).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0195": {
-    "English Original": "Here he seems to almost anticipate later theories of photography, particularly Barthes' Camera Lucida, in which Barthes treats photographs as speaking both to our anticipation of our own death and our sense of the thin line between the living and the dead, evoked by photographs of the dead when they were living (\"he is dead and he is going to die\") (Barthes 45).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0196": {
-    "English Original": "The Death Mask in Photography Theory\n\nThe desire to defeat death and the attempt to preserve or stop time are key themes in twentiethcentury photography theory, but they emerge earlier in nineteenthcentury writings on photography.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0197": {
-    "English Original": "The death mask as a figure for the photograph only appears later, well after 1926, when death masks, photographed and circulated for the first time, coincided with certain cultural preoccupations with death and with new cinematic conventions.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0198": {
-    "English Original": "Photography had reached a certain maturity by this point: the first subjects of photography were now dead, and as Kracauer argued in 1927, what photographs seemed to preserve was not \"time\" at all, but the \"detritus\" normally left behind by memory and history ( \"Photography\" 35).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0199": {
-    "English Original": "Time has turned the face into a mask: \"The girl smiles on, always the same persisting smile, which stands still, without reference anymore to the life from which it has been taken\" ( \"Photography\" 35).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0200": {
-    "English Original": "While Canetti finds in the death mask photographs a reaffirmation of his own rebellion against death, his own desire to defeat the inexorable, Kracauer sees photography itself as bound up in the inevitability of death as well as the desire to prevent it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0201": {
-    "English Original": "He writes, \"That the camera gobbles the world is a sign of the fear of death\", but also, \"this [photographed] present seems to have been delivered from death but in reality is delivered up to it\" ( \"Photography\" 40).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0202": {
-    "English Original": "Perhaps the most famous essay to parallel death masks with photography is André Bazin's \"The Ontology of the Photographic Image\", first published in French in 1945 (but written a few\n\nyears earlier).<sup11</sup Bazin takes up this notion of photography being bound up with the human desire to defeat time and achieve immortality.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0203": {
-    "English Original": "Alongside embalming and cave paintings, he cites death masks as evidence of what he calls the \"mummycomplex\", meaning the human psychological desire to defeat death.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0204": {
-    "English Original": "Bazin mentions them only in a footnote, but oddly, in Anglophone photography theory in particular, it is this aside which has become most strongly associated with his essay, and his broader position (Bazin 7).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0205": {
-    "English Original": "<sup12</sup Death masks have since been referred to a number of times in photography theory, particularly to suggest that just as the death mask is a direct cast or imprint , so is the photograph, a quality that gives it a particularly powerful \"truthclaim\" or realism.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0206": {
-    "English Original": "For example, in On Photography Susan Sontag describes a photograph as \"a trace, something directly stenciled off the real, like a footprint or a death mask\" (154).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0207": {
-    "English Original": "Rosalind Krauss, in her essay \"The Photographic Conditions of Surrealism\" also repeats the analogy, describing photographs as related to \"palm prints, death masks, the Shroud of Turin, or the tracks of gulls on beaches.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0208": {
-    "English Original": "(26)\n\nThe difference between Bazin's analogy and Sontag and Krauss's is that while they place the death mask in relation to types of unmediated, accidental, or even miraculous types of images or imprints, Bazin is clear that the death mask is an artifice; like embalmed mummies and cave painting, it is a cultural expression.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0209": {
-    "English Original": "What it expresses is \"man's primitive need to have the last word in the argument with death by means of the form that endures\" (6).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0210": {
-    "English Original": "<sup13</sup He links the mummy complex with a certain magical understanding of images in which the image has an inherent connection with what it depicts, regardless of whether it visually resembles it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0211": {
-    "English Original": "Indeed, Bazin distinguishes it from \"the obsession with resemblance\" (the culture of copies) that comes to dominate Western art since the Renaissance.14 This \"sublimates\" the mummy complex, which only reappears with photography.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0212": {
-    "English Original": "Photography succeeds both in appealing to the mummy complex and freeing \"the plastic arts from their obsession with likeness\", not because it produces more adequate resemblances necessarily, but because it produces them mechanically, and \"objectively\", that is, by means of the lens (in French, \"objectif\") (Rifkin 12, 122; Bazin, 7).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0213": {
-    "English Original": "The mummy complex, in itself,\n\ndoes not require perfect illusionism (as the references to Egyptian art and cave painting suggest).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0214": {
-    "English Original": "What it requires is a means of representation that promises to defeat time, that directly addresses the struggle against death.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0215": {
-    "English Original": "The death mask is marginal to Bazin, and appears only in a footnote, because it is a \"minor art\" out of step with the main thrust of Western culture prior to photography, which had been to sublimate the mummy complex.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0216": {
-    "English Original": "As Malraux later argued in Museum without Walls, minor arts compete with major ones through photographic reproduction (Malraux 1967, 94).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0217": {
-    "English Original": "So the death mask really arrives with photography, in the sense that it is both consistent with photography's \"argument with death\" and given a new and more visible status by photographic reproduction.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0218": {
-    "English Original": "In Das Ewige Antlitz, Benkard makes the case for seeing death masks as modern objects, that only become relatively commonplace with modern secularisation and \"disenchantment\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0219": {
-    "English Original": "Death masks displace religious effigies of the dead at the end of the eighteenth century, at \"the twilight of the idols ushered in by the rationalist era\" (37).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0220": {
-    "English Original": "Benkard describes the mask of Lessing as the first modern death mask in the sense that it becomes symbolic of the \"spiritual bond\" with the dead, rather than something associated with superstition or magic (38).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0221": {
-    "English Original": "Photography theory, then, adopts an analogy that is overdetermined: by the publication and impact of Das Ewige Antlitz; by the popularity of a certain photographic style that, influenced by silent cinema, produces objectlike faces; by the surrealist reading of the death mask in terms of the marvellous / uncanny; by the cult of faces; and by the priorities and modes of perception of a generation still coming to terms with the consequences of the Great War and who possess, for the first time, photographs of their own dead ancestors.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0222": {
-    "English Original": "This analogy is not incidental or marginal in later writings, though it is in Bazin.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0223": {
-    "English Original": "Instead it is central to a theory that presents photography in general as inherently cast or imprint like (indexical) and inherently deathly.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0224": {
-    "English Original": "These qualities are used to define photography as such, to distinguish its mediumspecificity, that is, to mark it as distinctive from other kinds of image.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0225": {
-    "English Original": "But what gets lost is a sense of the specificity of the masks and the photographs of the masks: whether symptomatic of modern\n\nideas about mortality and collective social identity as Benkard would have it, or of the \"mummy complex\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0226": {
-    "English Original": "Instead the death mask is drained of any cultural meaning , and any historicity, primitive or modern.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0227": {
-    "English Original": "It becomes merely death + mask ( ie.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0228": {
-    "English Original": "cast) , a handy cipher for what are understood to be the two fundamental characteristics of photography as such.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0229": {
-    "English Original": "The work of JeanLuc Nancy offers an alternative theory of the image, although also rooted in the death mask and specifically in Benkard's book.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0230": {
-    "English Original": "For Nancy, the image is not about representation, but is about acts of appearing and disappearing, concealing and showing.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0231": {
-    "English Original": "As Louis Kaplan has argued, an alternative to the characterisation of photography as a deathly imprint can be found in Nancy's reading of Heidegger, specifically the discussions of death mask photographs in Heidegger's Marburg lectures of Summer 1926.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0232": {
-    "English Original": "Heidegger did not mention Benkard.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0233": {
-    "English Original": "But as Nancy writes: \"There is no great risk in the hypothesis that Heidegger was also struck by this work [Benkard's book], whose renown would surely have made him aware of it.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0234": {
-    "English Original": "For Heidegger, the death mask photographs offered a means to explain more general processes of seeing images and their copies, and in particular, to interpret Kant's writings on the mental schema that mediates between a concept of a thing and its appearance.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0235": {
-    "English Original": "In Heidegger's reading of Kant, objects offer themselves to the gaze, and so do their copies or reproductions.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0236": {
-    "English Original": "But this is complicated when the thing reproduced is itself already showing something else.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0237": {
-    "English Original": "So the photograph shows the death mask, shows itself as photograph, and also shows the \"showing itself\" of the death mask, meaning it shows what the death mask shows: the appearance of a human face shortly after death (Nancy, 87).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0238": {
-    "English Original": "Nancy uses this to think through a different theory of the image.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0239": {
-    "English Original": "The death mask is \" the casting of a presence fleeting into absence\" (Nancy 99).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0240": {
-    "English Original": "In Nancy's writing, the image is not first about representing something but about acts of appearing and disappearing, concealing and showing.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0241": {
-    "English Original": "Like the portraits of Garbo discussed at the beginning of this essay, for Nancy the death mask hovers between being available to be gazed at, and withdrawing from the gaze, between visibility and concealment.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0242": {
-    "English Original": "The photograph as death mask is photography as a form of\n\n\"monstration\" — of showing, or a method of display.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0243": {
-    "English Original": "But to display is also to hold back , and it involves, in Nancy's phrase, \"the withdrawal of the gaze\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0244": {
-    "English Original": "In the death mask, the eyes are always shut, and these are eyes that have seen but see no longer.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0245": {
-    "English Original": "Since, in Heidegger's terms, objects are not only seen, but offer themselves to a gaze, looking at the death mask is an odd experience.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0246": {
-    "English Original": "The face \"does not show itself but essentially withdraws itself from all monstration\" (Nancy 91).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0247": {
-    "English Original": "Using Nancy and Heidegger, Kaplan rereads the death mask as the foundation for a different photography theory.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0248": {
-    "English Original": "He writes, \"In invoking the death mask's casting of presence as simultaneously the becomingabsent of the body, Nancy recasts photography theory from thinking about the index to thinking about exposure\" (49).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0249": {
-    "English Original": "Exposing means to be \"in a relationship with the outside\" as Kaplan puts it, and of course, this idea evokes the photographic meaning of exposure (50).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0250": {
-    "English Original": "Nancy is not the only Heideggerinfluenced philosopher to theorise the image in terms of exposure and exteriority: Maurice Blanchot also did, though for Blanchot it is the cadaver, not the death mask, which becomes the model for the image (Kaplan, Alloa 77–78).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0251": {
-    "English Original": "However, neither Nancy nor Blanchot were speaking specifically about photography, their interest was in theorising the image (and not even, solely, the visual image).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0252": {
-    "English Original": "Even if, as for Benjamin, portraits are exemplary for Nancy, his category of the image does not privilege photography: he writes of pictures that are not \"images\" (\"an identification photo, a descriptive record\"), and pieces of writing that are (Nancy 4 –5).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0253": {
-    "English Original": "He avoids the question of the medium and makes the image an ideal and ahistorical category.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0254": {
-    "English Original": "If we were looking for an alternative ontology of the photographic image, or an alternative way of expressing the mediumspecificity of photography, it is not here.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0255": {
-    "English Original": "Either the death mask is a figure for the image in general, or it is a figure that marks out photography as specific and different from other kinds of image.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0256": {
-    "English Original": "The Image as Garbo\n\nBull's Mata Hari photograph seems to explicitly dramatise the tension between presentation and withdrawal, intimacy and distance that Nancy makes characteristic of the image, so that the \"floating face\" collapses the qualities of the imageasdeathmask with the qualities of Garbo herself.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0257": {
-    "English Original": "However Garbo's face could only be preserved as image through her gradual withdrawal from the public eye, beginning with her retirement from films in 1941.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0258": {
-    "English Original": "As Roland Barthes put it: \"The Essence became gradually obscured, progressively veiled with dark glasses, broad hats and exiles: but it never deteriorated\" (57).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0259": {
-    "English Original": "After her final withdrawal, film opportunities arose but were not accepted.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0260": {
-    "English Original": "Garbo was, in any case, known for her refusals and withdrawals.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0261": {
-    "English Original": "Richard Schickel suggests that Garbo was \"always a creature of withdrawal, of silence – thus ideally of the silent – an actress who from the first moment she appeared on the screen defined herself by her refusals\" (Schickel 441).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0262": {
-    "English Original": "Charles Affron writes of her performances as \"withholding and yielding ... hiding and revealing\" (142, 164 and 126), while Melinda Szaloky uses Gilles Deleuze's phrase \"turning towardsturning away\" (3).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0263": {
-    "English Original": "Accounts of Garbo's cinematic performance stress the flickering rapidity with which emotions seem to pass across her face, while her expression hardly changes.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0264": {
-    "English Original": "Szaloky sees Garbo in films as both \"mercurial\" and still, restrained and understated by the standards of the day (7).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0265": {
-    "English Original": "Even so, Paul Morrison argues that her career could not withstand the increasing rejection of theatricality in film.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0266": {
-    "English Original": "Garbo was grand and enigmatic, her face characterised by a \"sublime inaccessibility\" entirely out of step with the demands of a newer, more naturalistic cinema (Morrison 159).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0267": {
-    "English Original": "Garbo became \"eternal\" by refusing to be photographed, but also by being photographed, in a particular way, in the first place.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0268": {
-    "English Original": "It is true, I think, that the photographs by Steichen and Bull have not dated in the way that her films have.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0269": {
-    "English Original": "But even in these photographs, or especially in these photographs, there is a sense of her pulling away from visibility, as I have suggested.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0270": {
-    "English Original": "These photographs epitomise both Nancy's theory of the image as displaying / withdrawing and\n\nBenjamin's theory of the aura, even if Benjamin saw aura as only artificially constructed in such images.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0271": {
-    "English Original": "Like Nancy's image, Garbo is separate, cutoff, distinct, unavailable, and yet at the same time \"intimate\" (Nancy 1–3).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0272": {
-    "English Original": "Like the image, Garbo \"crosses the distance of the withdrawal even while maintaining it\", she keeps her distance \"while also making contact\" (3).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0273": {
-    "English Original": "Nancy's formulation comes especially close to Benjamin's when he says that the image \"approaches across a distance, but what it brings into such close proximity is distance\", and again, he could be describing Garbo in these portraits (4).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0274": {
-    "English Original": "I have tried to show that ways of conceptualising photographs develop and mature in specific historical and cultural contexts.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0275": {
-    "English Original": "To say an insight has specific historical origins does not tell us anything about its value, but it does suggest that different historical circumstances might have produced a different set of concepts.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0276": {
-    "English Original": "Photography theory is developed in the encounter with specific photographs (as in Barthes' Camera Lucida) but also it has a longer, more obscure history in other texts and in other images.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0277": {
-    "English Original": "Images themselves theorise the image.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0278": {
-    "English Original": "It is no coincidence that the characterisation of withdrawal and refusal as a qualities of the (auratic) image seem to echo descriptions of Garbo, and that these qualities are articulated so precisely in certain \"floating face\" portraits.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0279": {
-    "English Original": "There is a story that in 1947, the film director Billy Wilder asked Garbo to play L'Inconnue de La Seine.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0280": {
-    "English Original": "Perhaps Wilder sensed the similarity between the famous photographs of the Inconnue and of Garbo, but while the unfortunate Inconnue was passive in the face of other people's projections, Garbo was not.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0281": {
-    "English Original": "15\n\n7526 words\n\n Works cited\n\n Affron, Charles.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0282": {
-    "English Original": "Star Acting: Gish, Garbo, Davis.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0283": {
-    "English Original": "New York: E. P. Dutton, 1977.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0284": {
-    "English Original": "Colloquy: Text, Theory, Critique, 10, 2005: 69–82.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0285": {
-    "English Original": "\"Cultural Battlegrounds: Weimar Photographic Narratives of War.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0286": {
-    "English Original": "New German Critique 76, 1999: 4984.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0287": {
-    "English Original": "\"The Face of Garbo.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0288": {
-    "English Original": "London: Paladin, 1973: 56.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
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-    "English Original": "Camera Lucida: Reflections on Photography, New York: Hill and Wang, 1981.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
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-  "W2608926771_s0290": {
-    "English Original": "Theory of the Film: Character and Growth of a New Art.",
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-    "Has PaintingCLIP Embedding": true
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-  "W2608926771_s0291": {
-    "English Original": "New York: Dover, 1970.",
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-    "Has PaintingCLIP Embedding": true
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-  "W2608926771_s0292": {
-    "English Original": "\"The Ontology of the Photographic Image.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
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-  "W2608926771_s0293": {
-    "English Original": "Film Quarterly 3.4, 1960: 4–9.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0294": {
-    "English Original": "\"A Small History of Photography.\"",
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-    "Has PaintingCLIP Embedding": true
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-  "W2608926771_s0295": {
-    "English Original": "(1931) Walter Benjamin, On Photography.",
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-    "Has PaintingCLIP Embedding": true
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-    "English Original": "Esther Leslie, London: Reaktion Books, 2015.",
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-    "English Original": "London: Hogarth Press, 1929.",
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-    "Has PaintingCLIP Embedding": true
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-    "English Original": "Biernoff, Suzannah, \"Flesh Poems: Henry Tonks and the Art of Surgery.\"",
-    "Has CLIP Embedding": true,
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-  "W2608926771_s0299": {
-    "English Original": "Visual Culture in Britain.",
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-    "Has PaintingCLIP Embedding": true
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-    "English Original": "\"Annus Mirabilus: The Film in 1927.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
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-    "English Original": "Film History: An International Journal, 17:2/3, 2005: 168178.",
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-  "W2608926771_s0302": {
-    "English Original": "The Torch in My Ear.",
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-    "English Original": "London: Granta Books, 2011.",
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-    "English Original": "\"Mask, Mimicry, Metamorphosis: Roger Caillois, Walter Benjamin, and Surrealism in the 1930s.\"",
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-    "English Original": "\"The Closeup: Scale and Detail in the Cinema.\"",
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-    "Has PaintingCLIP Embedding": true
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-  "W2608926771_s0306": {
-    "English Original": "differences: A Journal of Feminist Cultural Studies.",
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-    "Has PaintingCLIP Embedding": true
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-    "English Original": "\"'All out': The Dismantling of the Face in Beckett's Murphy.\"",
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-    "English Original": "The Journal of Beckett Studies.16: 1 & 2, 2006: 64–84.",
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-    "English Original": "\"Greta Garbo and Silent Cinema: The Actress as Art Deco Icon.\"",
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-    "English Original": "Camera Obscura, 16: 3, 2001: 82–111.",
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-    "English Original": ": MIT Press, 1993.",
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-    "English Original": "Fritzsche, Peter, \"The Archive.\"",
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-    "English Original": "\"Harlequin Without his Mask.",
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-    "English Original": "\"( May 6 2013).",
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-    "English Original": "Online at www.francishodgson.com, accessed March 28 2016.",
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-    "English Original": "\"Experiences of Modern Warfare and the Crisis of Representation.\"",
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-    "English Original": "\"Photograph/Death Mask: JeanLuc Nancy's Recasting of the Photographic Image.\"",
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-  "W2608926771_s0318": {
-    "English Original": "Journal of Visual Culture.",
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-    "Has PaintingCLIP Embedding": true
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-  "W2608926771_s0319": {
-    "English Original": "(1927) The Past's Threshold: Essays on Photography.",
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-    "Has PaintingCLIP Embedding": true
-  },
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-    "English Original": "Chicago: University of Chicago Press, 2014: 27–46.",
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-  "W2608926771_s0321": {
-    "English Original": "\"A Note on Portrait Photography.",
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-    "English Original": "\"(1933) The Past's Threshold: Essays on Photography.",
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-  "W2608926771_s0323": {
-    "English Original": "Chicago: University of Chicago Press, 2014: 59–62.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
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-  "W2608926771_s0324": {
-    "English Original": "\"The Photographic Conditions of Surrealism.\"",
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-  "W2608926771_s0325": {
-    "English Original": "October 19, 1981: 334.",
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-  "W2608926771_s0326": {
-    "English Original": "Lubin, David M. \"Masks, Mutilation and Modernity : Anna Coleman Ladd and the First World War.\"",
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-  "W2608926771_s0327": {
-    "English Original": "Archives of American Art Journal.",
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-  "W2608926771_s0328": {
-    "English Original": "\"The Aesthetics of Dismemberment: Surrealism and the Musée du ValdeGrâce in 1917.\"",
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-  "W2608926771_s0329": {
-    "English Original": "\"Sketch for a Psychology of Cinema.\"",
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-  "W2608926771_s0330": {
-    "English Original": "(1940) Reflections on Art.",
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-  "W2608926771_s0331": {
-    "English Original": "Oxford: Oxford University Press, 1958.",
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-    "English Original": "Museum Without Walls, London: Secker and Warburg 1967.",
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-    "English Original": "Morrison, Paul, \"Garbo Laughs!\"",
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-    "English Original": "Modernist Cultures, 2.2, 2006: 153–169.",
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-    "English Original": "The World's Most Photographed, London: National Portrait Gallery, 2005.",
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-    "English Original": "\"Visual Pleasure and Narrative Cinema.\"",
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-  "W2608926771_s0337": {
-    "English Original": "Visual and Other Pleasures.",
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-  "W2608926771_s0338": {
-    "English Original": "The Ground of the Image.",
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-  "W2608926771_s0339": {
-    "English Original": "New York: Fordham University Press, 2005.\n\n Pepper, Terrence and Kobal, John.",
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-  "W2608926771_s0340": {
-    "English Original": "The Man Who Shot Garbo: The Hollywood Photographs of Clarence Sinclair Bull.",
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-  "W2608926771_s0341": {
-    "English Original": "New York: Simon & Schuster, 1989.",
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-  "W2608926771_s0342": {
-    "English Original": "Rifkin, Steven J. André Bazin's \"Ontology of the Photographic Image\": Representation, Desire and Presence.",
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-  },
-  "W2608926771_s0343": {
-    "English Original": "Doctoral Thesis, Ottowa, Ontario: Carleton University, 2011.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0344": {
-    "English Original": "The Drowned Muse: Casting the Unknown Woman Across the Tides of Modernity.",
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-  "W2608926771_s0345": {
-    "English Original": "Oxford: Oxford University Press, 2015.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2608926771_s0346": {
-    "English Original": "Schickel, Richard, \"Afterword\" in Antoni Gronowicz, Garbo: Her Story, New York: Simon & Schuster, 1990.",
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-  "W2608926771_s0347": {
-    "English Original": "Hitler's Face: The Biography of an Image.",
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-    "English Original": "Philadelphia: University of Pennysylvania Press, 2009.",
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-  "W2608926771_s0349": {
-    "English Original": "Shields, David S. The Still: American Silent Motion Picture Photography.",
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-  "W2608926771_s0350": {
-    "English Original": "Chicago: University of Chicago Press, 2013.",
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-  "W2608926771_s0351": {
-    "English Original": "Regarding the Pain of Others.",
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-    "English Original": "New York: Picador 2002.",
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-  "W2608926771_s0353": {
-    "English Original": "\"'As You Desire Me': Reading 'The Divine Garbo' Through Movement, Silence and the Sublime.\"",
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-  "W2608926771_s0354": {
-    "English Original": "Film History: An International Journal 18.2, 2006:196–208.",
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-  "W2608926771_s0355": {
-    "English Original": "Vieira, Mark A. Greta Garbo: A Cinematic Legacy, New York: Harry N. Abrams, 2005.",
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-  "W2608926771_s0356": {
-    "English Original": "\"The Withdrawal of Touch in Close Encounter: The Tactility of Facial CloseUps in Ingmar Bergman's Films.\"",
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-  "W2608926771_s0357": {
-    "English Original": "Journal of Scandinavian Cinema.",
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-  },
-  "W2608926771_s0358": {
-    "English Original": "<sup3</sup Louise, a young woman the same age as Garbo, was hired by MGM as a portrait photographer in 1925 and had the distinction of being the first female portrait photographer in Hollywood.",
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-  "W2608926771_s0359": {
-    "English Original": "<sup4</sup Garbo's luminously white countenance was not strictly an aesthetic choice but a technical response to early film stock's sensitivity to red hues, which made pink faces appear dark.",
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-  "W2608926771_s0360": {
-    "English Original": "The thick makeup of the silent film era, more vivid to Barthes in the 1950s, was effectively a racial marker, to distinguish white skin from brown (Brownlow, 171).",
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-  "W2608926771_s0361": {
-    "English Original": "<sup5</sup Curiously, one initial sideeffect of the introduction of the sound to the movies was a temporary end to the cinematic closeup: sound immobilized the camera so that for the 1930 film Anna Christie, the only closeups of Garbo that the public saw were the stills made by Bull (Pepper and Kobal 237).",
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-  "W2608926771_s0362": {
-    "English Original": "<sup6</sup In the original German edition the other women included are Charlotte Volter, Alma von Goethe, and Anna Amalia von SachsenWeimer: presumably none were considered sufficiently wellknown to a British readership.",
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-    "English Original": "<sup7</sup The photographs in Friedrich's book may have been taken originally for purposes of facial reconstruction.",
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-  "W2608926771_s0364": {
-    "English Original": "In Britain, Henry Tonks photographed disfigured soldiers in collaboration with the surgeon Harold Delf Gillies.",
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-  "W2608926771_s0365": {
-    "English Original": "Tonks' images were reproduced in Gillies' book Plastic Surgery of the Face (1920), but did not reach a nonspecialist audience.",
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-  "W2608926771_s0366": {
-    "English Original": "<sup8</sup Similar casts were used during wartime at the American Red Cross Studio for Portrait Masks on the Left Bank in Paris, for making prostheses (partial masks) for soldiers with facial injuries, in order to make them publicly acceptable (and their lives bearable) (Lubin).",
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-  "W2608926771_s0367": {
-    "English Original": "In contrast, the Surrealists wanted to undermine the view of the war as rational, to reveal that which is repressed in official accounts (Lyford 51).",
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-  "W2608926771_s0368": {
-    "English Original": "<sup9</sup Freud's Beyond the Pleasure Principle was not translated into French until 1927, and surrealist writings rarely refer to it, yet Foster argues that the surrealists were aware of it \"by late 1929 at least\" (13).",
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-  "W2608926771_s0369": {
-    "English Original": "<sup1</sup Art Deco was the first massproduced, industrial style that permeated all aspects of design and visual culture.",
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-  "W2608926771_s0370": {
-    "English Original": "Garbo, as an Art Deco star, is arguably the epitome of the film star as industrially styled product.",
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-  "W2608926771_s0371": {
-    "English Original": "<sup2</sup Titles such as Photoplay, Screen Romances, True Romances, True Confessions and Romantic Movie Stories (US) (US), or Picturegoer, Picture Show, and Film Pictorial (UK), indicate the importance of a mix of visual idealisation and a sense of intimacy.",
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-  "W2608926771_s0372": {
-    "English Original": "<sup10</sup Though early associated with artists the Nazis classified as \"degenerate\", Kolbe continued to practice throughout the National Socialist era, and his idealized nudes fitted well with the Nazi fetishisation of the \"Aryan\" body.",
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-    "English Original": "<sup11</sup Bazin's revised version was published in 1958, and this version formed the basis of an English translation published in 1960, after Bazin's death.",
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-  "W2608926771_s0374": {
-    "English Original": "<sup12</sup Steven J. Rifkin, in his PhD thesis on this essay, has attempted to correct this reading of Bazin, partly by showing how the translation and reception history of the essay overdetermined this interpretation — the translations altering the paragraph and section structure of the essay and losing many of the psychoanalytic connotations.",
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-  "W2608926771_s0375": {
-    "English Original": "<sup13</sup Bazin's choice of examples needs to be seen in the context of his time of writing.",
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-  "W2608926771_s0376": {
-    "English Original": "When Bazin was working treats ancient Egypt as a foundational cultural moment and place and when he describes cave paintings as \"a magic identitysubstitute for the living animal\", he is entirely consistent with interpretations of ancient Egyptian culture and of cave painting that were quite commonplace and accepted in European cultural circles in the 1940s.",
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-  "W2608926771_s0377": {
-    "English Original": "<sup14</sup In this respect, Bazin's narrative is influenced by Malraux's \"Sketch of a Psychology of Cinema\", mentioned earlier, where Malraux also describes a drive toward illusionism since the Renaissance and sees photography as taking over painting's representational function (Rifkin 125, Malraux 1958).",
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-  "W2608926771_s0378": {
-    "English Original": "<sup15</sup The complexity of Garbo's sexual identity is suggested by the counterproposal she allegedly gave Wilder: she wanted to play a male clown, adored by female fans, who are unaware that he is in fact a woman.",
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-  },
-  "W2608926771_s0379": {
-    "English Original": "Around the same time, Cecil Beaton photographed her as Pierrot, the sad clown, bringing out something that had always been implicit in Garbo's face with her arched eyebrows, white makeup and sharply defined lips.",
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-  },
-  "W2678154589_s0001": {
-    "English Original": "Angela K. Ho\n\n Creating Distinctions in Dutch Genre Painting\n\nRepetition and Invention\n\nCreating Distinctions in Dutch Genre Painting\n\n Visual and Material Culture, 1300–1700\n\nA forum for innovative research on the role of images and objects in the late medieval and early modern periods, Visual and Material Culture, 1300–1700 publishes monographs and essay collections that combine rigorous investigation with critical inquiry to present new narratives on a wide range of topics, from traditional arts to seemingly ordinary things.",
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-  "W2678154589_s0002": {
-    "English Original": "Recognizing the fluidity of images, objects, and ideas, this series fosters crosscultural as well as multidisciplinary exploration.",
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-  "W2678154589_s0003": {
-    "English Original": "We consider proposals from across the spectrum of analytic approaches and methodologies.",
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-  "W2678154589_s0004": {
-    "English Original": "Series Editor\n\nDr. Allison Levy, an art historian, has written and/or edited three scholarly books, and she has been the recipient of numerous grants and awards, from the National Endowment for the Humanities, the American Association of University Women, the Getty Research Institute, the Dumbarton Oaks Research Library of Harvard University, the Whiting Foundation and the Bogliasco Foundation, among others.",
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-  },
-  "W2678154589_s0005": {
-    "English Original": "Creating Distinctions in Dutch Genre Painting\n\nRepetition and Invention\n\nAngela K. Ho \n\nAmsterdam University Press\n\nThe publication was published with support from the Historians of Netherlandish Art and the Department of History and Art History at George Mason University.",
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-  "W2678154589_s0006": {
-    "English Original": "Cover illustration: Gerard ter Borch, The Suitor's Visit, c. 1658.",
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-  },
-  "W2678154589_s0007": {
-    "English Original": "Oil on canvas, 80 × 75 cm.",
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-    "Has PaintingCLIP Embedding": true
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-    "English Original": "isbn 978 94 6298 297 0 eisbn 978 90 4853294 0 doi 10.5117/9789462982970 nur 654\n\n© A.K.",
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-    "English Original": "Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of both the copyright owner and the author of the book.",
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-    "English Original": "Table of Contents\n\n| List of Illustrations                                          |                                                                                             | 7   |\n||||\n| Acknowledgments                                                |                                                                                             | 15  |\n| Introduction                                                   |                                                                                             | 17  |\n| 1.",
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-    "English Original": "| Key Concepts                                                                                | 29  |\n| 2.",
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-    "English Original": "| A Niche of One's Own: Gerrit Dou's BrandBuilding Project                                   | 53  |\n| 3.",
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-    "English Original": "| The Pleasure of Novelty: Gerard ter Borch's Innovation                                      | 93  |\n|                                                                | 4.",
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-    "English Original": "Invention through Repetition: Imitation and Emulation in the Work of<brFrans van Mieris | 139 |\n| Epilogue: On Signature Products, KnockOffs, and Product Lines |                                                                                             | 183 |\n| Notes                                                          |                                                                                             | 191 |\n| Bibliography                                                   |                                                                                             | 225 |\n| Index                                                          |                                                                                             | 249 |\n\n List of Illustrations\n\n Color Plates\n\n| Plate 1.",
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-    "English Original": "| Frans van Mieris, The Duet, 1658.",
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-    "English Original": "|\n|||\n|           | Staatliches Museum, Schwerin.",
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-    "English Original": "Erich Lessing/Art                     |\n|           | Resource, NY.",
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-    "English Original": "| Gerard ter Borch, A Lady at her Toilet, c. 1660.",
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-    "English Original": "Oil on canvas,     |\n|           | 76.2 × 59.7 cm.",
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-    "English Original": "Detroit Institute of Arts, Detroit.",
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-    "English Original": "Founders        |\n|           | Society Purchase, Eleanor Clay Ford Fund, General Membership        |\n|           | Fund, Endowment Income Fund and Special Activities Fund/            |\n|           | Bridgeman Images.",
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-    "English Original": "Oil on canvas,       |\n|           | 80 × 75 cm.",
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-    "English Original": "National Gallery of Art, Andrew W. Mellon Collection,   |\n|           | Washington, DC.",
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-    "English Original": "|\n| Plate 4.",
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-    "English Original": "|\n|           | Oil on panel, arched top, 38.5 × 29 cm.",
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-    "English Original": "|\n|           | Photo: Hervé Lewandowski.",
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-    "English Original": "© RMNGrand Palais/Art                    |\n|           | Resource, NY.",
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-    "English Original": "|\n| Plate 5.",
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-    "English Original": "|\n|           | © LIECHTENSTEIN, The Princely Collections, VaduzVienna/            |\n|           | Scala, Florence/Art Resource, NY.",
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-    "English Original": "Oil on panel, |\n|           | arched top, 40 × 29 cm.",
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-    "English Original": "Oil on canvas,         |\n|           | 86.4 × 70.2 cm.",
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-    "English Original": "Purchased with        |\n|           | funds from the Libbey Endowment, Gift of Edward Drummond            |\n|           | Libbey.",
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-    "English Original": "Bequest of       |\n|           | Mary M. Emery/Bridgeman Images.",
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-    "English Original": "|\n| Plate 9.",
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-    "English Original": "| Gerard ter Borch, Gallant Conversation, c. 1654.",
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-    "English Original": "Oil on canvas,     |\n|           | 71 × 73 cm.",
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-    "English Original": "|\n| Plate 10.",
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-    "English Original": "| Frans van Mieris, The Cloth Shop, 1660.",
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-    "English Original": "Oil on panel, 54.5 ×        |\n|           | 42.7 cm.",
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-    "English Original": "|\n| Plate 11.",
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-    "English Original": "|\n|           | Musée du Louvre, Paris.",
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-    "English Original": "|\n|           |                                                                     |\n\n Plate 12.",
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-    "English Original": "Gerrit Dou, The Doctor, signed and dated 1653.",
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-    "English Original": "Gerard ter Borch, The Introduction, c. 1662.",
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-    "English Original": "Polesdon Lacey, National Trust, UK.",
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-    "English Original": "National Trust Photo Library/Art Resource, NY.",
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-    "English Original": "Oil on panel, 44.5 × 31.1 cm.",
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-    "English Original": "J. Paul Getty Museum, Los Angeles.",
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-    "English Original": "Digital image courtesy of the Getty's Open Content Program.",
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-    "English Original": "Frans van Mieris, The Family Concert, 1675.",
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-    "English Original": "Oil on panel, 51.8 × 40.2 cm.",
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-    "English Original": "Galleria degli Uffizi, Florence.",
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-    "English Original": "Frans van Mieris, The Letter Writer, 1680.",
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-    "English Original": "Oil on panel, 25 × 19.5 cm.",
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-    "English Original": "Black and White Figures\n\n| Fig.",
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-    "English Original": "| Gerard ter Borch, The Concert, c. 1657.",
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-    "English Original": "Oil on panel, 47 × 44 cm.",
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-  "W2678154589_s0090": {
-    "English Original": "|\n|||\n|         | Musée du Louvre, Paris.",
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-    "English Original": "Erich Lessing/Art Resource, NY.",
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-  "W2678154589_s0092": {
-    "English Original": "| Jan Steen, A Young Woman Playing a Harpsichord to a Young Man,       |\n|         | c. 1659.",
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-    "English Original": "Oil on panel, 42.3 × 33 cm.",
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-    "English Original": "The National Gallery, London.",
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-  "W2678154589_s0095": {
-    "English Original": "|\n|         | © National Gallery, London/Art Resource, NY.",
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-  },
-  "W2678154589_s0096": {
-    "English Original": "| Johannes Vermeer, A Young Woman standing at a Virginal,              |\n|         | c. 1670–72.",
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-  "W2678154589_s0097": {
-    "English Original": "Oil on canvas, 51.7 × 45.2 cm.",
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-  "W2678154589_s0098": {
-    "English Original": "The National Gallery,     |\n|         | London.",
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-    "English Original": "© National Gallery, London/Art Resource, NY.",
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-  "W2678154589_s0100": {
-    "English Original": "| Samuel van Hoogstraten, The Slippers, c. 1670.",
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-    "English Original": "Oil on canvas,        |\n|         | 103 × 70 cm.",
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-    "English Original": "Musée du Louvre, Paris.",
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-  },
-  "W2678154589_s0103": {
-    "English Original": "Erich Lessing/Art               |\n|         | Resource, NY.",
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-  "W2678154589_s0104": {
-    "English Original": "| Willem van Haecht, The Cabinet of Cornelis van der Gheest, 1628.",
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-  "W2678154589_s0105": {
-    "English Original": "|\n|         | Oil on panel, 100 × 130 cm.",
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-  "W2678154589_s0106": {
-    "English Original": "Scala/Art           |\n|         | Resource, NY.",
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-    "English Original": "| Gerrit van Honthorst, The Merry Fiddler, 1623.",
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-    "English Original": "Oil on canvas,        |\n|         | 108 × 89 cm.",
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-    "English Original": "| Rogier van der Weyden, Altarpiece of St. John, 1440s.",
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-    "English Original": "Oil on panels, |\n|         | each 77 × 48 cm.",
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-    "English Original": "Staatliche Museen, Gemäldegalerie, Berlin.",
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-    "English Original": "bpk,     |\n|         | Berlin/Gemäldegalerie, Berlin/Jörg P. Anders/Art Resource, NY.",
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-  "W2678154589_s0113": {
-    "English Original": "| Herman Doomer, Ebony chest, c. 1635–45.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0114": {
-    "English Original": "Ebony, motherofpearl       |\n|         | inlay, 220.5 × 206 × 83.5 cm.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0115": {
-    "English Original": "| Rembrandt, StillLife with Two Dead Peacocks and a Girl, c. 1639.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0116": {
-    "English Original": "|\n|         | Oil on canvas, 145 × 135 cm.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0117": {
-    "English Original": "Gerrit Dou, Woman Hanging a Rooster at a Window, 1650.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0118": {
-    "English Original": "Oil on panel, 26 × 20 cm.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0119": {
-    "English Original": "Musée du Louvre, Paris.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0120": {
-    "English Original": "© RMNGrand Palais/Art Resource.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0121": {
-    "English Original": "Rembrandt, Girl at a Window, 1645.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0122": {
-    "English Original": "Oil on canvas, 81.6 × 66 cm.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0123": {
-    "English Original": "Dulwich Picture Gallery, Dulwich.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0124": {
-    "English Original": "© By permission of the Trustees of Dulwich Picture Gallery/Dist.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0125": {
-    "English Original": "RMNGrand Palais/Art Resource, NY.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0126": {
-    "English Original": "Rembrandt, Girl at a Window, 1651.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0127": {
-    "English Original": "Oil on canvas, 78 cm × 64 cm.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0128": {
-    "English Original": "© Nationalmuseum, Stockholm, Sweden/Bridgeman Images.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0129": {
-    "English Original": "Rembrandt, Agatha Bas, 1641.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0130": {
-    "English Original": "Oil on canvas, 105.4 × 83.9 cm.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0131": {
-    "English Original": "© Her Majesty Queen Elizabeth II, 2016/ Bridgeman Images.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0132": {
-    "English Original": "Gerrit Dou, A Girl with a Basket of Fruit at a Window, c. 1657.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0133": {
-    "English Original": "Oil on panel, 37.5 × 29.1 cm.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0134": {
-    "English Original": "Waddesdon, The Rothschild Collection (The National Trust), Bequest of James de Rothschild, 1957; acc.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0135": {
-    "English Original": "Photo © The National Trust, Waddesdon Manor.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0136": {
-    "English Original": "Gerrit Dou, Still Life with Candlestick, Pipe, and Pocketwatch, c. 1660.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0137": {
-    "English Original": "Oil on panel, 43 × 35.5 cm.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0138": {
-    "English Original": "bpk, Berlin/Gemäldegalerie Alte Meister, Dresden/HansPeter Klut/ Art Resource, NY.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0139": {
-    "English Original": "Gerrit Dou, Still Life with Ewer, Basin and Cloth, c. 1660.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0140": {
-    "English Original": "Oil on two panels, each 102 × 42 cm.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0141": {
-    "English Original": "Musée du Louvre, Paris.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0142": {
-    "English Original": "© RMNGrand Palais/Art Resource, NY.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0143": {
-    "English Original": "Copy after Francois Duquesnoy, Bacchanal, 19th century.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0144": {
-    "English Original": "Ivory, 11.5 × 16 cm.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0145": {
-    "English Original": "Victoria and Albert Museum, London.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0146": {
-    "English Original": "© Victoria and Albert Museum, London.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0147": {
-    "English Original": "Jost Amman, \"Der Holzdreschser (The Turner),\" from: Eygentliche Beschreibung aller Stände auff Erden … (Ständebuch), by Hans Sachs.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0148": {
-    "English Original": "Woodcut, Frankfurt am Main, 1568. bpk, Berlin/Art Resource, NY.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0149": {
-    "English Original": "Gerrit Dou, The Quack, signed and dated 1652.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0150": {
-    "English Original": "Oil on panel, 112 × 83 cm.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0151": {
-    "English Original": "Museum Boijmans Van Beuningen, Rotterdam.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0152": {
-    "English Original": "Gerrit Dou, The Poulterer's Shop, c. 1665–70.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0153": {
-    "English Original": "Oil on panel, 58 × 46 cm.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0154": {
-    "English Original": "© National Gallery, London/Art Resource, NY.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0155": {
-    "English Original": "Willem Buytewech, Merry Company, c. 1622–24.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0156": {
-    "English Original": "Oil on canvas, 61 × 81 cm.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0157": {
-    "English Original": "Staatliche Museen, Gemäldegalerie, Berlin.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0158": {
-    "English Original": "bpk, Berlin/Gemäldegalerie Berlin/Jörg P. Anders/Art Resource, NY.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0159": {
-    "English Original": "Gerard ter Borch, Young people around a table drinking, smoking and making music, 1632.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0160": {
-    "English Original": "Pencil, pen in brown ink, 16.1 × 21.3 cm.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0161": {
-    "English Original": "Gerard ter Borch, Portrait of Robert van Voerst, 1635–36.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0162": {
-    "English Original": "Black chalk, 22.7 × 18.2 cm.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0163": {
-    "English Original": "Gerard ter Borch, Two Boys seen from the Rear, c. 1631.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0164": {
-    "English Original": "Black chalk, 21.3 × 16.6 cm.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0165": {
-    "English Original": "Gerard ter Borch, Standing boy, seen from the rear, 1631.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0166": {
-    "English Original": "Black chalk, 16.5 × 9.6 cm.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0167": {
-    "English Original": "Gerard ter Borch, Rider on a Rearing Horse, 1630s.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0168": {
-    "English Original": "Black chalk, 15 × 19.8 cm.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0169": {
-    "English Original": "Gerard ter Borch, Officer, seen from behind, watching skaters, 1633–34.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0170": {
-    "English Original": "Pen in brown, brush in black, over black chalk, 10.1 × 15.8 cm.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0171": {
-    "English Original": "Gerard ter Borch, Man, seen from behind, watching skaters, c. 1633.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0172": {
-    "English Original": "Pen and brush in brown, over black chalk, 11.7 × 12 cm.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0173": {
-    "English Original": "Gerard ter Borch, Skaters outside the Zwolle city walls, late 1630s.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0174": {
-    "English Original": "Pen and brush in black, pen in brown, brush in grey, pencil, 15.1 × 29 cm.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0175": {
-    "English Original": "Gerard ter Borch, Ice activities by Zijlpoort, Haarlem, 1634.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0176": {
-    "English Original": "Black chalk, 16.8 × 32.8 cm.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0177": {
-    "English Original": "Gerard ter Borch, The Lute Player, c. 1667–70.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0178": {
-    "English Original": "Oil on canvas, 53 × 39 cm.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0179": {
-    "English Original": "bpk, Berlin/ Gemäldegalerie Alte Meister, Kassel/Art Resource, NY.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0180": {
-    "English Original": "Gerard ter Borch, Woman Playing the Theorbo to Two Men, c. 1667.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0181": {
-    "English Original": "Oil on canvas, 68 × 58 cm.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0182": {
-    "English Original": "© National Gallery, London/Art Resource, NY.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0183": {
-    "English Original": "Gerard ter Borch, The Music Lesson, c. 1668.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0184": {
-    "English Original": "Oil on canvas, 67.6 × 59.4 cm.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0185": {
-    "English Original": "The Getty, Los Angeles.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0186": {
-    "English Original": "Digital image courtesy of the Getty's Open Content Program.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0187": {
-    "English Original": "Gerard ter Borch, Gallant Conversation, c. 1654.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0188": {
-    "English Original": "Oil on canvas, 70 × 60 cm.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0189": {
-    "English Original": "Staatliche Museen, Gemäldegalerie Berlin.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0190": {
-    "English Original": "bpk, Berlin/Gemäldegalerie Berlin/Art Resource, NY.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0191": {
-    "English Original": "Gerard ter Borch, Jan van Duren, c. 1666.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0192": {
-    "English Original": "Oil on canvas, 81.5 × 65.5 cm.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0193": {
-    "English Original": "The Metropolitan Museum of Art, Robert Lehman Collection, 1975 (1975.1.141), New York.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0194": {
-    "English Original": "Photograph by Schecter Lee.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0195": {
-    "English Original": "Image © The Metropolitan Museum of Art.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0196": {
-    "English Original": "Gerard ter Borch, Margaretha van Haexbergen, c. 1666.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0197": {
-    "English Original": "Oil on canvas, 81.3 × 65.1 cm.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0198": {
-    "English Original": "The Metropolitan Museum of Art, Robert Lehman Collection, 1975 (1975.1.141), New York.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0199": {
-    "English Original": "Photograph by Schecter Lee.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0200": {
-    "English Original": "Image © The Metropolitan Museum of Art\n Fig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0201": {
-    "English Original": "Frans Hals, Portrait of Willem van Heijthuysen, c. 1637.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0202": {
-    "English Original": "Oil on panel, 46.9 × 37.5 cm.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0203": {
-    "English Original": "Musée Royaux des BeauxArts, Brussels.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0204": {
-    "English Original": "Dirck van Baburen, The Procuress, 1622.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0205": {
-    "English Original": "Oil on canvas, 101.5 × 107.6 cm.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0206": {
-    "English Original": "Museum of Fine Arts, Boston.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0207": {
-    "English Original": "Photograph © 2017 Museum of Fine Arts, Boston.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0208": {
-    "English Original": "Gerard ter Borch, Woman Peeling an Apple, 1660–61.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0209": {
-    "English Original": "Oil on canvas, 36 × 30.5 cm.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0210": {
-    "English Original": "Erich Lessing/Art Resource, NY.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0211": {
-    "English Original": "Gerard ter Borch, Curiosity, c. 1660.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0212": {
-    "English Original": "Oil on canvas, 76.2 × 66.2 cm.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0213": {
-    "English Original": "The Metropolitan Museum of Art, New York.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0214": {
-    "English Original": "The Jules Bache Collection, 1949 (49.7.38).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0215": {
-    "English Original": "Image © The Metropolitan Museum of Art.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0216": {
-    "English Original": "Pieter Codde, Lady Holding a Letter seated at a Virginal, early 1630s.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0217": {
-    "English Original": "Oil on panel, 40.3 × 31.7 cm.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0218": {
-    "English Original": "Collection RKD‐Netherlands Institute for Art History, The Hague.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0219": {
-    "English Original": "Willem Duyster, Soldiers Fighting over Booty in a Barn, c. 1623–24.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0220": {
-    "English Original": "Oil on panel, 37.6 × 57 cm.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0221": {
-    "English Original": "© National Gallery, London/Art Resource, NY.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0222": {
-    "English Original": "Gerard ter Borch, The Gallant Officer, c. 1662.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0223": {
-    "English Original": "Oil on canvas, 67 × 55 cm.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0224": {
-    "English Original": "Musée du Louvre, Paris.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0225": {
-    "English Original": "© RMNGrand Palais/Art Resource, NY.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0226": {
-    "English Original": "Nicolaes Maes, The Eavesdropper, 1656.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0227": {
-    "English Original": "Oil on canvas, 84.7 × 70.6 cm.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0228": {
-    "English Original": "The Wallace Collection, London.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0229": {
-    "English Original": "By kind permission of the Trustees of the Wallace Collection, London/Art Resource, NY.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0230": {
-    "English Original": "Willem Duyster, The TricTrac Players, c. 1625.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0231": {
-    "English Original": "Oil on canvas, 31.1 × 41 cm.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0232": {
-    "English Original": "Jan Steen, In Luxury, Look Out, 1663.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0233": {
-    "English Original": "Oil on canvas, 105 × 145 cm.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0234": {
-    "English Original": "Erich Lessing/ Art Resource, NY.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0235": {
-    "English Original": "Hendrick Goltzius, The Circumcision, c. 1594.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0236": {
-    "English Original": "Engraving, 50.5 × 36.8 cm.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0237": {
-    "English Original": "National Gallery of Art, Ailsa Mellon Bruce Fund, Washington, DC.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0238": {
-    "English Original": "Rembrandt, Self Portrait Leaning on a Stone Sill, 1639.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0239": {
-    "English Original": "Etching, 20.6 × 16.3 cm.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0240": {
-    "English Original": "National Gallery of Art, Rosenwald Collection, Washington, DC.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0241": {
-    "English Original": "Oil on canvas, 102 × 80 cm.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0242": {
-    "English Original": "© National Gallery, London/Art Resource, NY.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0243": {
-    "English Original": "Titian, Portrait of a Man, c. 1508–11.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0244": {
-    "English Original": "Oil on canvas, 81 × 66 cm.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0245": {
-    "English Original": "© National Gallery, London/Art Resource, NY.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0246": {
-    "English Original": "Frans van Mieris, SelfPortrait, 1667.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0247": {
-    "English Original": "Oil on panel, 17.7 × 13.3 cm.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0248": {
-    "English Original": "Polesden Lacey, National Trust Estate, UK National Trust Photo Library/Art Resource, NY.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0249": {
-    "English Original": "Gerrit Dou, \"Dropsical Woman\", c. 1663.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0250": {
-    "English Original": "Oil on panel, 86 × 67.8 cm.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0251": {
-    "English Original": "Musée du Louvre, Paris.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0252": {
-    "English Original": "Erich Lessing/Art Resource, NY.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0253": {
-    "English Original": "Caspar Netscher, A Young Woman Feeding a Parrot, 1666.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0254": {
-    "English Original": "Oil on panel, 45.7 × 36.2 cm.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0255": {
-    "English Original": "National Gallery of Art, The Lee and Juliet Folger Fund, Washington, DC.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0256": {
-    "English Original": "Frans van Mieris, A Woman Feeding a Parrot, c. 1663.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0257": {
-    "English Original": "Oil on copper, 22.5 × 17.3 cm.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0258": {
-    "English Original": "© National Gallery, London/Art Resource, NY.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0259": {
-    "English Original": "Frans van Mieris, A Woman Feeding a Parrot, c. 1663.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0260": {
-    "English Original": "Oil on panel, 22.5 × 17.5 cm.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0261": {
-    "English Original": "Collection RKD‐Netherlands Institute for Art History, The Hague.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0262": {
-    "English Original": "Jacob Ochtervelt, Musical Company in an Interior, c. 1670.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0263": {
-    "English Original": "Oil on canvas, 58.5 × 48.9 cm.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0264": {
-    "English Original": "Cleveland Museum of Art, Cleveland.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0265": {
-    "English Original": "Leonard C. Hanna, Jr. Fund/Bridgeman Images.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0266": {
-    "English Original": "Matthijs Naiveu, Boy and Girl Blowing Soap Bubbles, c. 1700.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0267": {
-    "English Original": "Oil on canvas, 50 × 42 cm.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0268": {
-    "English Original": "Museum of Fine Arts, Boston.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0269": {
-    "English Original": "Photograph © 2017 Museum of Fine Arts, Boston.",
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-    "Has PaintingCLIP Embedding": true
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-  "W2678154589_s0270": {
-    "English Original": "Frans van Mieris, Boy Blowing Bubbles, 1663.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0271": {
-    "English Original": "Oil on panel, 26 × 19 cm.",
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-    "Has PaintingCLIP Embedding": true
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-  "W2678154589_s0272": {
-    "English Original": "Matthijs Naiveu, Newborn Baby, 1675.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0273": {
-    "English Original": "Oil on canvas, 64 × 80 cm.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0274": {
-    "English Original": "The Metropolitan Museum of Art, New York.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0275": {
-    "English Original": "Image © The Metropolitan Museum of Art.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0276": {
-    "English Original": "Gabriel Metsu, The Visit to the Nursery, 1661.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0277": {
-    "English Original": "Oil on canvas, 78 × 81 cm.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0278": {
-    "English Original": "The Metropolitan Museum of Art, New York.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0279": {
-    "English Original": "Gift of J. Pierpont Morgan, 1917.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0280": {
-    "English Original": "Image © The Metropolitan Museum of Art.",
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-    "Has PaintingCLIP Embedding": true
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-  "W2678154589_s0281": {
-    "English Original": "Godfried Schalcken, A Girl Reading a Letter.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0282": {
-    "English Original": "Oil on panel, 27 × 20.5 cm.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0283": {
-    "English Original": "Gemäldegalerie Alte Meister, Dresden.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0284": {
-    "English Original": "bpk, Berlin/ Gemäldegalerie Alte Meister, Dresden/Elke Estel, HansPeter Klut/Art Resource, NY.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0285": {
-    "English Original": "Frans van Mieris, A Woman Tuning a Lute, c. 1680.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0286": {
-    "English Original": "Oil on panel, 21 × 17.5 cm.",
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-    "Has PaintingCLIP Embedding": true
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-  "W2678154589_s0287": {
-    "English Original": "Frans van Mieris, The Serenade, c. 1678–80.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0288": {
-    "English Original": "Oil on panel, arched top, 14.6 × 11.1 cm.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0289": {
-    "English Original": "The Metropolitan Museum of Art, New York.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0290": {
-    "English Original": "Bequest of Lillian S. Timken, 1959 (60.71.3).",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0291": {
-    "English Original": "Image © The Metropolitan Museum of Art.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0292": {
-    "English Original": "Gerard ter Borch, The Letter Writer, c. 1655.",
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-    "Has PaintingCLIP Embedding": true
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-  "W2678154589_s0293": {
-    "English Original": "Oil on panel, 39 × 29.5 cm.",
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-    "Has PaintingCLIP Embedding": true
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-  "W2678154589_s0294": {
-    "English Original": "Dominicus van Tol, Woman in a Window, Holding a Dead Fowl.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0295": {
-    "English Original": "Oil on panel, 41.6 × 30.2 cm.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0296": {
-    "English Original": "Museum of Fine Arts, Boston.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0297": {
-    "English Original": "Photograph © 2017 Museum of Fine Arts, Boston.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0298": {
-    "English Original": "Frans van Mieris, The Duet, 1658.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0299": {
-    "English Original": "Oil on panel, 31.5 × 24.6 cm.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0300": {
-    "English Original": "Erich Lessing/Art Resource, NY.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0301": {
-    "English Original": "Gerard ter Borch, A Lady at her Toilet, c. 1660.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0302": {
-    "English Original": "Oil on canvas, 76.2 × 59.7 cm.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0303": {
-    "English Original": "Detroit Institute of Arts, Detroit.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0304": {
-    "English Original": "Founders Society Purchase, Eleanor Clay Ford Fund, General Membership Fund, Endowment Income Fund and Special Activities Fund/Bridgeman Images.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0305": {
-    "English Original": "Gerard ter Borch, The Suitor's Visit, c. 1658.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0306": {
-    "English Original": "Oil on canvas, 80 × 75 cm.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0307": {
-    "English Original": "National Gallery of Art, Andrew W. Mellon Collection, Washington, DC.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0308": {
-    "English Original": "Gerrit Dou, The Grocer's Shop, signed and dated 1647.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0309": {
-    "English Original": "Oil on panel, arched top, 38.5 × 29 cm.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0310": {
-    "English Original": "Musée du Louvre, Paris.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0311": {
-    "English Original": "© RMNGrand Palais/Art Resource, NY.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0312": {
-    "English Original": "Gerrit Dou, The Violin Player, signed and dated 1653.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0313": {
-    "English Original": "Oil on panel, arched top, 31.7 × 20.3 cm.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0314": {
-    "English Original": "© LIECHTENSTEIN, The Princely Collections, VaduzVienna/Scala, Florence/Art Resource, NY.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0315": {
-    "English Original": "Gerrit Dou, The Violin Player, signed and dated 1665.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0316": {
-    "English Original": "Oil on panel, arched top, 40 × 29 cm.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0317": {
-    "English Original": "bpk, Berlin/Gemäldegalerie Alte Meister, Dresden/Art Resource, NY.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0318": {
-    "English Original": "Gerard ter Borch, The Music Lesson, c. 1668.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0319": {
-    "English Original": "Oil on canvas, 86.4 × 70.2 cm.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0320": {
-    "English Original": "Toledo Museum of Art, Toledo.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0321": {
-    "English Original": "Purchased with funds from the Libbey Endowment, Gift of Edward Drummond Libbey.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0322": {
-    "English Original": "Gerard ter Borch, The Music Party, c. 1668.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0323": {
-    "English Original": "Oil on panel, 58.1 × 47.3 cm.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0324": {
-    "English Original": "Cincinnati Art Museum, Cincinnati.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0325": {
-    "English Original": "Bequest of Mary M. Emery/Bridgeman Images.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0326": {
-    "English Original": "Gerard ter Borch, Gallant Conversation, c. 1654.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0327": {
-    "English Original": "Oil on canvas, 71 × 73 cm.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0328": {
-    "English Original": "Frans van Mieris, The Cloth Shop, 1660.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0329": {
-    "English Original": "Oil on panel, 54.5 × 42.7 cm.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0330": {
-    "English Original": "Erich Lessing/Art Resource, NY.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0331": {
-    "English Original": "Gerrit Dou, The Trumpeter, c. 1660–65.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0332": {
-    "English Original": "Oil on panel, 38 × 29 cm.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0333": {
-    "English Original": "Musée du Louvre, Paris.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0334": {
-    "English Original": "Erich Lessing/ Art Resource, NY.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0335": {
-    "English Original": "Gerrit Dou, The Doctor, signed and dated 1653.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0336": {
-    "English Original": "Oil on panel, arched top, 49.3 × 36.6 cm.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0337": {
-    "English Original": "Erich Lessing/Art Resource, NY.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0338": {
-    "English Original": "Gerard ter Borch, The Introduction, c. 1662.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0339": {
-    "English Original": "Oil on canvas, 76 × 68 cm.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0340": {
-    "English Original": "Polesdon Lacey, National Trust, UK.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0341": {
-    "English Original": "Photo: Derrick E. Witty.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0342": {
-    "English Original": "National Trust Photo Library/Art Resource, NY.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0343": {
-    "English Original": "Frans van Mieris, The Doctor's Visit, 1667.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0344": {
-    "English Original": "Oil on panel, 44.5 × 31.1 cm.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0345": {
-    "English Original": "J. Paul Getty Museum, Los Angeles.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0346": {
-    "English Original": "Digital image courtesy of the Getty's Open Content Program.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0347": {
-    "English Original": "Frans van Mieris, The Family Concert, 1675.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0348": {
-    "English Original": "Oil on panel, 51.8 × 40.2 cm.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0349": {
-    "English Original": "Galleria degli Uffizi, Florence.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0350": {
-    "English Original": "Frans van Mieris, The Letter Writer, 1680.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0351": {
-    "English Original": "Oil on panel, 25 × 19.5 cm.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0352": {
-    "English Original": "Acknowledgments\n\nI have benefited from the generosity of many individuals and organizations over years of research and writing for this project.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0353": {
-    "English Original": "I would like to begin by acknowledging the institutions that offered financial assistance during this long process.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0354": {
-    "English Original": "The dissertation stage was funded by a Rackham Merit Fellowship from the University of Michigan and the Robert H. and Clarice Smith Fellowship from the Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, DC.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0355": {
-    "English Original": "At George Mason University, the Study Leave for TenureTrack Faculty program and the Mathy Junior Faculty Award in the Arts and Humanities provided two semesters of much needed research leave for developing the dissertation into this book.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0356": {
-    "English Original": "Summer Research Funding for TenureTrack Faculty and an Alan and Gwen Nelson Travel Grant enabled me to conduct additional research in Dutch archives and libraries.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0357": {
-    "English Original": "A Historians of Netherlandish Art Fellowship provided financial support for the production of this book.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0358": {
-    "English Original": "I would also like to thank the Department of History and Art History at George Mason for granting me funds to defray the costs of obtaining images and copyright licenses.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0359": {
-    "English Original": "I would like to thank the curators of the many museums in Europe and the US who made it possible for me to study the paintings in their collections and consult their curatorial files.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0360": {
-    "English Original": "In particular, I thank Arthur Wheelock, Marjorie Wieseman, and the late Walter Liedtke for sharing their insights during my visits to their museums in the early phases of my research, and Dominique Surh at the Leiden Gallery for her help in the final stages of the project.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0361": {
-    "English Original": "I would like to express my appreciation to the librarians and staffs of the following institutions: the RKD Nederlands Instituut voor Kunstgeschiedenis, the Koninklijke Bibliotheek, the Rijksmuseum Library, the Stadsarchief Amsterdam, the Special Collections at the University of Amsterdam Library, the University of Michigan Fine Arts Library, and the Fenwick Library at George Mason University.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0362": {
-    "English Original": "I am grateful to the scholars in the US and the Netherlands who shared their knowledge on various aspects of my project.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0363": {
-    "English Original": "I thank Eric Jan Sluijter, Marten Jan Bok, and Elmer Kolfin for the opportunity to participate in the graduate discussion group in Amsterdam in the early stages of my project.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0364": {
-    "English Original": "For their encouragement and interest in my work, I would like to thank Kevin Carr, Wayne Franits, Elaine Gazda, Dorothy Metzger Habel, Alison Kettering, Diane Owen Hughes, Helmut Puff, Lisa Rosenthal, and Elizabeth Sears.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0365": {
-    "English Original": "For their friendship and support, I thank Heather Badamo, Heidi Gearhart, Katie Hornstein, Monica Huerta, Timothy McCall, Sean Roberts, Olivia Poska, and Noël Schiller.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0366": {
-    "English Original": "Several individuals helped me negotiate the intense final stages of preparing the book manuscript for publication.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0367": {
-    "English Original": "Special thanks are due to Diana Bullen Presciutti, Kirsten Olds, and Heather Vinson for poring over much of the text and offering imaginative suggestions and practical advice, as well as years of friendship.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0368": {
-    "English Original": "My colleagues at the History and Art History Department at George Mason University have been a great source of support and inspiration.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0369": {
-    "English Original": "In particular, I am grateful to Robert DeCaroli, Michele Greet, and Ellen Todd for reading and commenting on various chapters of the manuscript, and to Lawrence Butler, Sheila ffolliott, Carol Mattusch, Paula Petrik, Brian Platt, and Jennifer van Horn for their advice on the publication process.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0370": {
-    "English Original": "I would also like to thank Erika Gaffney at Amsterdam University Press for her support and guidance, and the anonymous reader for the many helpful suggestions on improving the manuscript.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0371": {
-    "English Original": "I am fortunate to have had generous mentors over the years.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0372": {
-    "English Original": "I thank Zirka Filipczak, who first sparked my interest in early modern Netherlandish art, and Megan Holmes and Pat Simons, who challenged me to question my assumptions and step out of my comfort zone.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0373": {
-    "English Original": "I am especially grateful to Celeste Brusati, my dissertation advisor, who encouraged me to develop a project that somehow fused my interests in art making and economic theory.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0374": {
-    "English Original": "Finally, I want to thank my family.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0375": {
-    "English Original": "I am grateful to my parents for understanding and supporting my decision to pursue an academic career far from home, and to my sister, my brotherinlaw, and my big extended family for cheering me on.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0376": {
-    "English Original": "This book is dedicated to the memory of my aunt, Betty Ho, an inspiring scholar and teacher.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0377": {
-    "English Original": "Introduction\n\nWhen the art collection of Adriaan Bout, agent of the Elector Palatine Johann Wilhelm, was auctioned in 1733, the painting that fetched the highest price was The Duet (Plate 1; 1658) by Frans van Mieris the Elder.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0378": {
-    "English Original": "At 3,000 guilders, it was almost seven times the price of Rembrandt's Song of Simeon, which had once belonged to Stadhouder Frederik Hendrik.1 The Duet, completed early in Van Mieris's career, already shows the qualities that would make him one of the most famous Dutch painters of his age.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0379": {
-    "English Original": "With his characteristically polished manner of painting, Van Mieris puts his stamp on a pictorial type—music making by elegant figures in a refined domestic space—that today has become almost synonymous with Dutch genre painting from the second half of the seventeenth century.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0380": {
-    "English Original": "Working within a familiar pictorial idiom, Van Mieris nevertheless asserts his personal artistic identity through a stylized elegance and vivid, lifelike details in this painting.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0381": {
-    "English Original": "As such, it exemplifies the pictorial phenomenon at the center of this study: the creation of distinctions through purposeful repetition.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0382": {
-    "English Original": "With The Duet, Van Mieris participated in an exchange among artists who were experimenting in the socalled highlife genre painting in the third quarter of the seventeenth century.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0383": {
-    "English Original": "In the early 1650s Gerard ter Borch introduced compositions representing encounters between upperclass figures that were distinct in appearance and tone from the merry companies produced in the previous generation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0384": {
-    "English Original": "Shortly thereafter artists including Pieter de Hooch, Gabriel Metsu, Jan Steen, and Van Mieris produced adaptations of Ter Borch's novel pictorial type.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0385": {
-    "English Original": "The Duet, for example, bears a resemblance to Ter Borch's paintings in the tone of the scene and the figural types.2 In this painting, Van Mieris has limited the number of figures and arranged them in a compact pyramid, with the striking young woman at the apex, in the center of the painting.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0386": {
-    "English Original": "The slight tilt of her head to the right accentuates her long neck and sloping shoulders, her figure forming an elegant Scurve as she leans back from the harpsichord.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0387": {
-    "English Original": "Music was a common pictorial metaphor for love and harmony, yet here Van Mieris, again in a way similar to Ter Borch in his courtship pictures, offers a restrained interpretation of the amorous theme.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0388": {
-    "English Original": "None of Van Mieris's figures make eye contact with each other or the viewer, with the musicmaking couple focusing their gaze on the sheet music, and the young servant giving his full attention to the tray in his hands.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0389": {
-    "English Original": "Despite the similarities, Van Mieris accentuates his authorship in this picture by introducing features that distinguish his work from Ter Borch's.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0390": {
-    "English Original": "Scholars have identified the seated female figure and the young boy serving a drink in Ter Borch's Concert (Fig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0391": {
-    "English Original": "1) as models for the corresponding elements in Van Mieris's Duet.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0392": {
-    "English Original": "Ter Borch demonstrates his celebrated ability to render finely clad human figures in this picture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0393": {
-    "English Original": "He carefully differentiates the various fabrics—from the woven carpet to the\n\n\n\nFig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0394": {
-    "English Original": "Gerard ter Borch, The Concert, c. 1657.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0395": {
-    "English Original": "Oil on panel, 47 × 44 cm.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0396": {
-    "English Original": "Musée du Louvre, Paris.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0397": {
-    "English Original": "Erich Lessing/Art Resource, NY.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0398": {
-    "English Original": "shiny satin skirt—and captures the graceful actions and gestures of the young women.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0399": {
-    "English Original": "The backdrop, which consists of a dark patterned bed curtain, is summarily treated, further focusing the viewer's attention on the brightly illuminated musicmaking scene in the foreground.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0400": {
-    "English Original": "By contast, Van Mieris brings almost the entire picture to a high level of finish.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0401": {
-    "English Original": "He does devote much attention to the figures, painstakingly differentiating the play of light over the delicate hair and bared shoulder of the young woman from the sheen of the orange satin dress and gold embroidery, but he meticulously describes the surrounding objects as well.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0402": {
-    "English Original": "For example, the curling page of music is given a palpable sense of texture, while the decorations on the harpsichord are rendered with such fastidious care that scholars have been able to connect the inscribed name to known harpsichord makers in Antwerp.3 The insistence on capturing the smallest detail recalls the work of Gerrit Dou, Van Mieris's famous teacher in Leiden.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0403": {
-    "English Original": "Van Mieris imagines light streaming in from an unseen source on the left, a feature that may have been inspired by an exchange with the Delft artists Pieter de Hooch and Carel Fabritius.4 Another element that recalls Delft paintings is the opening to a secondary space on the right, even though the ascending staircase has not been constructed with the same mathematical accuracy found in the works of De Hooch or Gerrit Houckgeest.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0404": {
-    "English Original": "Van Mieris, here at the beginning of his career, was therefore appropriating and fusing thematic and technical elements from various sources in midcentury Dutch genre painting to create his own distinctive treatment of a familiar subject.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0405": {
-    "English Original": "The Duet has in turn been regarded as the inspiration for Jan Steen's Young Woman Playing a Harpsichord to a Young Man (c. 1659; Fig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0406": {
-    "English Original": "2) and Vermeer's Young Woman standing at a Virginal (c. 1670–72; Fig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0407": {
-    "English Original": "3), both in London.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0408": {
-    "English Original": "Indeed, a dialogue developed among artists in different locations in the 1650s and 1660s, as ideas in composition, brushwork, and narrative are adopted from, assimilated by, and transformed among painters specializing in refined genre painting.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0409": {
-    "English Original": "Each artist also creatively redeployed motifs and techniques he himself developed in order to generate innovative compositions.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0410": {
-    "English Original": "These acts of borrowing and reusing pictorial elements are not just indicative of the conventional nature of Dutch art or mechanical attempts to facilitate production—as they have often been characterized in the art historical literature—but of efforts to create difference through the reworking of stock themes and motifs.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0411": {
-    "English Original": "The patterns of collecting reveal that the viewers in the most privileged segment of the Dutch art market were cognizant of the artists' purposeful acts of repetition, and they were moreover interested in creating juxtapositions between diverse interpretations of common themes and motifs in their collections.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0412": {
-    "English Original": "Inventories and auction catalogues indicate that substantial collections of paintings in the late seventeenth and early eighteenth century often featured pictures of similar subjects by different artists.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0413": {
-    "English Original": "For instance, along with The Duet, Bout's collection included works by painters—including the Leiden fijnschilders (\"fine painters\")5 Dou, Carel de Moor, and Pieter Slingelandt, as well as Ter Borch, Gabriel Metsu, and Caspar Netscher—who were known for their detailed and polished renderings.6 Bout was not an isolated example; other wealthy art enthusiasts had pictures that were related in theme and technique in their collections.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0414": {
-    "English Original": "Moreover, contemporary testimonies, including artists' biographies and travelers' journals, suggest that the purchase of a painting in the top layer of the Dutch market was often not simply an isolated, impersonal business transaction, but could involve social interactions between artist and client.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0415": {
-    "English Original": "A collector could forge a sustained relationship with an artist s/he admired, buying several paintings from him and introducing him to other art lovers.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0416": {
-    "English Original": "For example, Franciscus de le Boe Sylvius, who assembled an impressive collection\n\n\n\nFig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0417": {
-    "English Original": "Jan Steen, A Young Woman Playing a Harpsichord to a Young Man, c. 1659.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0418": {
-    "English Original": "Oil on panel, 42.3 × 33 cm.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0419": {
-    "English Original": "The National Gallery, London.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0420": {
-    "English Original": "© National Gallery, London/Art Resource, NY.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0421": {
-    "English Original": "that contained eleven works by Dou and six by Van Mieris, was described in contemporary sources as not only a customer but also a supporter of Van Mieris.7 I therefore propose that artists in this market segment were well aware of viewers' preferences for this sophisticated interplay between familiarity and difference and could develop strategies not just to meet their demand but to shape collectors' preferences.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0422": {
-    "English Original": "Johannes Vermeer, A Young Woman standing at a Virginal, c. 1670–72.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0423": {
-    "English Original": "Oil on canvas, 51.7 × 45.2 cm.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0424": {
-    "English Original": "The National Gallery, London.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0425": {
-    "English Original": "© National Gallery, London/Art Resource, NY.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0426": {
-    "English Original": "In order to study this interdependence between production and reception in greater specificity, this book focuses on the practices of three genre painters: Dou, Ter Borch, and Van Mieris.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0427": {
-    "English Original": "Not only were they already famous in their own time,8 all three have also been seen as innovators in the history of genre painting.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0428": {
-    "English Original": "The third quarter of the seventeenth century saw the emergence of new stylistic traits and subject matter in Dutch genre painting.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0429": {
-    "English Original": "Technically, there was a growing preference for polished finishes and astonishing feats of illusionism, an area in which Dou reached new heights.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0430": {
-    "English Original": "His meticulous rendering of lifelike details on a miniature scale attracted the admiration of collectors and authors, who considered him the founder of the Leiden school of fijnschilders.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0431": {
-    "English Original": "In terms of imagery, paintings featuring elegant figures in wellappointed spaces became increasingly popular.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0432": {
-    "English Original": "Such depictions of upperclass life draw from earlier merry company paintings by Haarlem artists and the musical companies by Pieter Codde and Willem Duyster, but there was a novel emphasis on introspection and narrative ambiguity in the works produced after 1648.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0433": {
-    "English Original": "Ter Borch has long been regarded as a pivotal artist in developing and popularizing such refined—and sometimes puzzling—scenes of courtship and domesticity in patrician settings.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0434": {
-    "English Original": "As pioneers of the innovative genre paintings in the middle of the century, Dou and Ter Borch each accentuated his novelty and distinctive character by developing personal motifs that highlighted his own expertise.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0435": {
-    "English Original": "Dou's niche window, which frames many of his genre scenes, not only provides an easily recognizable trademark feature, but it also underscores the illusionistic effects generated through his unique \"fine\" manner of painting.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0436": {
-    "English Original": "Ter Borch, meanwhile, draws attention to his virtuosity by repeating the skillful execution of the satin dress.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0437": {
-    "English Original": "In each case, the recurring motif became linked to a strong sense of artistic identity, craftsmanship, and innovation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0438": {
-    "English Original": "The thematic and technical innovations of Dou and Ter Borch would shape the development of Dutch genre painting in the second half of the seventeenth century and beyond.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0439": {
-    "English Original": "Van Mieris, who studied with Dou, was one of the artists who drew inspiration from the two older masters to create his own unique brand of genre painting, in the process achieving extraordinary commercial success and critical acclaim.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0440": {
-    "English Original": "Indeed, his work became a touchstone as genre imagery reached a heightened sense of luxury in the 1670s and 1680s.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0441": {
-    "English Original": "Writing in the early eighteenth century, Gerard de Lairesse praised Van Mieris's success at renewing Dutch art in accordance with classicizing principles.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0442": {
-    "English Original": "To De Lairesse, Van Mieris had surpassed even Dou in elevating genre painting to a new elegance.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0443": {
-    "English Original": "What is also interesting about Van Mieris is the shift in his manner from the delicate brushwork of the 1650s to the stylized rendering in his late works.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0444": {
-    "English Original": "His use of a common stock of motifs—musical parties, young women performing various activities in wellappointed interiors—helped to underscore Van Mieris's distinctive manner of painting in comparison to the techniques exhibited by his contemporaries and in his own previous creations.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0445": {
-    "English Original": "For Dou, Ter Borch, and Van Mieris, innovation was thus inextricably linked to creative repetition, both in the development of idiosyncratic motifs and the practice of emulation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0446": {
-    "English Original": "The attraction of their simultaneously novel and familiar images to art enthusiasts, as we shall see, opens up questions about the ways in which paintings were assessed and valued, as well as the role they played in social negotiations among the Dutch elite.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0447": {
-    "English Original": "This book takes a multidisciplinary approach to scrutinizing the interdependent processes of artistic invention, art collecting, and social negotiation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0448": {
-    "English Original": "The first task is to use the art historians' tools to study how artists appropriated from others or themselves while creating difference in the process.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0449": {
-    "English Original": "I look at the motifs an artist chose to repeat and the possible meanings conveyed through those features.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0450": {
-    "English Original": "For\n\nexample, Ter Borch's artistic persona was—and is—very much tied to his unrivaled ability to simulate the reflective quality of satin.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0451": {
-    "English Original": "Apart from being a striking visual feature, the satin dress also asserts Ter Borch's expertise in describing the effects of light, which is discussed as a fundamental painterly skill by Van Mander.9 Yet despite the impression of realism, it is clear that Ter Borch sometimes reproduces the identical skirt in several paintings, which suggests that he reuses the same detailed studies.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0452": {
-    "English Original": "At the same time, results of technical examinations support what we can observe with the naked eye: Ter Borch builds up the vivid image of satin in several paint layers, using a variety of brushstrokes to achieve a high degree of verisimilitude.10 Even if Ter Borch or his assistants traced the contours of the skirt onto multiple painting supports, the rendering of the material would have still required considerable skill and time, making efficiency an unlikely reason for the repetition of such a complex motif.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0453": {
-    "English Original": "While it may be argued that depicting the same or similar motifs more than once could eventually simplify the task, the artist still had to solve another problem.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0454": {
-    "English Original": "We know from writings on connoisseurship in the period that replicas, even those by the same artist, were seen as lacking the spontaneity and grace of the original.11 The repetition of an artistic performance, such as the skirts in the Detroit Lady at her Toilet (Plate 2) and the Washington Suitor's Visit (Plate 3), without allowing the subsequent renditions to appear inferior represented a challenge in itself.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0455": {
-    "English Original": "The material and technical aspects of the paintings, as well as the contemporary discourse on painting, thus suggest the reuse of specific motifs in certain segments of the Dutch art world to be purposeful rather than merely expeditious.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0456": {
-    "English Original": "My second major task is to establish the conditions in which the historical viewers received these paintings.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0457": {
-    "English Original": "Dou, Ter Borch, and Van Mieris operated in circles where the authorship of a work of art was a key factor in determining its value, and developing signature motifs was one way for each artist to emphasize his hand in the creation of a picture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0458": {
-    "English Original": "It should be noted that not every segment of the Dutch art market placed such an emphasis on the identity of the maker of a painting.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0459": {
-    "English Original": "There is evidence, for example, that some dealers actively suppressed the individuality of the painters in their employ as they offered lowcost products to consumers with lower levels of disposable income.12 So it is worth asking under what circumstances viewers would value paintings that were readily recognizable as the works of named masters.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0460": {
-    "English Original": "To complicate matters further, other artists targeting the same audience cited the works of Ter Borch, Dou, and Van Mieris while endeavoring to build their own reputations.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0461": {
-    "English Original": "The qualities of individuality and uniqueness were thus defined in relation to famous precedents.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0462": {
-    "English Original": "To understand the conditions under which a premium was placed on this particular form of invention, it is necessary to consider the purposes that paintings served in the viewers' social and cultural milieu.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0463": {
-    "English Original": "It has been well established that there was a surge in demand for, and production of, paintings from the turn of the seventeenth century to the 1650s.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0464": {
-    "English Original": "Art historians have pointed to the economic boom following the Dutch Revolt and the arrival of migrants from the southern Netherlands as driving forces behind the growth of the art market, but the interesting question of why the affluent gravitated towards particular kinds of luxury goods still remains.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0465": {
-    "English Original": "It may not be feasible to pinpoint the personal motives of an individual buyer in purchasing a painting, but it is possible to understand what buying and displaying paintings meant in particular social circles.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0466": {
-    "English Original": "We can make inferences from contemporary treatises on paintings and connoisseurship, personal correspondence, and probate inventories about the acquisition of pictures as a meaningful act.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0467": {
-    "English Original": "Just as Dutch artists sought to carve out niches in a variegated art market by devising distinguishing features in their work, their target customers strove to create an identity of their own: one of wealth, knowledge, and discernment that would separate them from other social groups.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0468": {
-    "English Original": "Factors in different areas of Dutch life, including the newly formed political system that left the power in the hands of wealthy commoners, the spectacular rise of the economy and relatively high degree of social mobility, an artistic tradition that valued craftsmanship, and the culture of collecting, all combined to produce the conditions that made projecting the identity of an art lover, or liefhebber, an effective means of social negotiation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0469": {
-    "English Original": "As Mary Douglas and Baron Isherwood have argued, consumer goods (including paintings) are carriers of constantly shifting meanings, and one way in which a culture can \"pin down meanings so that they can stay still for a little time\" is the ritualized manipulation of material possessions.13 Viewing and discussing a highly prized painting by a renowned master in a private collection was just such a ritual through which meanings and identities could be established and projected.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0470": {
-    "English Original": "This is not just a matter of finding pieces of information that one particular painting conveys about its owner (e.g., wealth because of its cost, or piety through its religious subject), but it entails analyzing how collectors engage with or exclude others from their circles through their patterns of consumption.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0471": {
-    "English Original": "Finally, I draw on recent theories of the economics of information and consumer behavior to consider the ways in which the development of the art market as a whole, with its interlocking segments, might create pressures on the most privileged consumer group.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0472": {
-    "English Original": "This relatively new area of research in economics goes beyond traditional concepts such as utility and price to examine the signaling function of consumption.14 Economic and sociological studies have shown that the widening distribution of a specific product diminishes its ability to signal distinction.15 As the market for standardized, finished paintings grew in the seventeenth century and the works became affordable to a broader range of consumers, simply possessing some paintings no longer distinguished the owner as a person of means and discernment.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0473": {
-    "English Original": "We need not assume that consumers consciously displayed their status to others; indeed, some economists have argued that individuals could derive satisfaction from the knowledge that they possessed the characteristics of a certain desired identity.16 Regardless of whether the image of a liefhebber was externally or internally directed, the individual's project of identity construction was executed in a social context.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0474": {
-    "English Original": "Even though this book focuses on artists and collectors at the top of the socioeconomic hierarchy, the various segments of the market were interconnected.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0475": {
-    "English Original": "For instance, the wealthy and knowledgeable consumers served as trendsetters for the middling and lower strata of the market.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0476": {
-    "English Original": "Just as importantly, however, the growth in the demand for cheap paintings could have driven the connoisseur's search for novelty and ever finer demonstrations of skill.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0477": {
-    "English Original": "In the seventeenthcentury Dutch Republic, the pressure to justify one's inclusion in the upper echelons of society was a crucial factor in the emergence of the demand for not only paintings that allowed collectors to express their wealth and taste, but also for innovations.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0478": {
-    "English Original": "The following chapters will explore how, at the top end of the Dutch art market, the artists' interests in constructing an authorial identity converged with the viewers' efforts to claim membership in the cultural elite.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0479": {
-    "English Original": "The first chapter expounds on three key terms in my analytical framework: creative repetition, liefhebber, and taste.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0480": {
-    "English Original": "Repetition can result from a variety of practices, ranging from literal copying to thoughtful and competitive engagement with one's sources; this book analyzes those that generated difference and contributed to the projection of an artist's creative persona.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0481": {
-    "English Original": "These strategic and innovative uses of repetitive imagery were designed to appeal to individuals who identified as liefhebbers, a role clearly associated with wealth, but also with interest and knowledge in the arts and sciences of the period.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0482": {
-    "English Original": "The category of liefhebber enabled individuals of disparate backgrounds, including rich merchants, welloff intellectuals, and foreign princes, to interact in a network forged through shared cultural interests.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0483": {
-    "English Original": "The liefhebber was not a role defined by birth, hence individuals had to justify their designation as such through the display of taste.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0484": {
-    "English Original": "This meant demonstrating that they were knowledgeable about the preferences and patterns of purchases by other members of the group.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0485": {
-    "English Original": "Since those aspiring to join their ranks could learn to develop similar preferences, liefhebbers had to regularly redefine their tastes.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0486": {
-    "English Original": "This chapter considers how the constant need to assert one's cultural pedigree and the inherent instability of taste emerged in the Dutch Republic, and how those factors shaped the demand for paintings that combined familiarity and novelty.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0487": {
-    "English Original": "An art enthusiast performed his identity as liefhebber in a specific physical setting, namely, an art collection.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0488": {
-    "English Original": "Chapter Two investigates how one particular painter, Dou, exploits that visual environment by developing his signature \"niche picture.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0489": {
-    "English Original": "In a prestigious collector's cabinet, where a large number of paintings and precious objects competed for the viewer's attention, such a \"trademark\" element as the niche window helped knowledgeable viewers to establish Dou as the maker of the work.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0490": {
-    "English Original": "Yet I argue that the window was much more than a simple identifier.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0491": {
-    "English Original": "Used in religious paintings and trompe l'oeil images, the window establishes the framed scenes as removed from the quotidian world, even as it simultaneously provides a visual bridge between the two realms.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0492": {
-    "English Original": "This chapter examines how the window, through its association with those genres, underscored Dou's celebrated ability to create a fictive world that nonetheless appears persuasive.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0493": {
-    "English Original": "Dou's reuse of the distinctive compositional format also took into account the social custom among liefhebbers of visiting renowned collections, inviting them to recollect and compare his works in different locations.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0494": {
-    "English Original": "The subtle variations around a pictorial theme thus served two interrelated functions: they provided the occasion for viewers to assert their role as liefhebbers, and formed a sustained commentary on Dou's superlative skills.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0495": {
-    "English Original": "Chapter Three explores the intersections between innovation and repetition in the work of Gerard ter Borch.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0496": {
-    "English Original": "Ter Borch's genteel genre scenes have been regarded in the existing scholarship as reflections of the growing prosperity enjoyed by Dutch burghers in the midseventeenth century.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0497": {
-    "English Original": "My study treats these paintings not just as portrayals (even idealized ones) of patrician life, but as novel genre scenes that exuded elegance but subverted seventeenthcentury viewers' expectations.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0498": {
-    "English Original": "The concept of \"product innovation\" provides an analytical tool for considering the production and reception of these works.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0499": {
-    "English Original": "John Michael Montias defines product innovation as a new product with characteristics that distinguish it from the existing items on the market, but I propose that the concept can actually offer ways to analyze innovative behavior beyond the consideration of the quantifiable factors of profits and costs.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0500": {
-    "English Original": "I suggest that Ter Borch creates novelty in his paintings by appropriating stock figures from pictorial subjects already familiar to the seventeenthcentury viewer, such as the guardroom scene, the bordello picture, and the merry company.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0501": {
-    "English Original": "The figures are arranged in unusual configurations, however, creating a tantalizing sense of enigma.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0502": {
-    "English Original": "Meanwhile, Ter Borch's signature motif of the shimmering satin skirt, repeated with consummate skill, puts his personal stamp on the innovation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0503": {
-    "English Original": "His paintings tested liefhebbers' ability to identify the associations, and at the same time appealed to them as refined works of artifice.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0504": {
-    "English Original": "The chapter thus examines how the commercial drive for innovation, the agency of the paintings as they helped affluent citizens perform as liefhebbers, and Ter Borch's artistic process intersected in the artist's novel creations.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0505": {
-    "English Original": "With Frans van Mieris the Elder as a case study, the fourth chapter shifts the focus from an artist's creative use of selfrepetition to repetition in the form of imitation and emulation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0506": {
-    "English Original": "According to the contemporary discourse of artistic invention, Van Mieris was practicing a sophisticated and reflexive form of imitation, exercising his judgement in selecting and combining elements from Dou and Ter Borch, among others.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0507": {
-    "English Original": "Van Mieris's process can tell us much about the complex and changing concepts of invention and originality in early modern Dutch art.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0508": {
-    "English Original": "It also asks us to consider the historical conditions that made emulation the paradigmatic mode of invention.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0509": {
-    "English Original": "Working from around 1660 to 1680, Van Mieris's career coincided with tumultuous changes in the economy and the art market.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0510": {
-    "English Original": "Political and economic crises exacerbated the problem of a saturated market, leading to a collapse of the demand for less expensive paintings.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0511": {
-    "English Original": "Artists who remained in the profession had to compete for the attention of the wealthiest and most discriminating of liefhebbers.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0512": {
-    "English Original": "By combining allusions to popular pictorial themes with his own distinctive techniques, Van Mieris invited the informed historical viewer to compare his work to those by his predecessors and his peers.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0513": {
-    "English Original": "This chapter argues that imitation and citations underlined the uniqueness and value of Van Mieris's inventions in this rarefied cultural milieu.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0514": {
-    "English Original": "This study thus explores the symbiotic relationship between collectors' demand for innovation and the painters' competitive endeavors in the art market, which made creative repetition a strategy that served the interests of both groups.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0515": {
-    "English Original": "My investigation into the creation of distinctions in genre paintings brings out larger thematic questions—such as the significance of cultural consumption and social negotiation, the fraught relationship between imitation and invention, and the market as a network of forces that its constituents tried to shape—which I address through the three case studies.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2678154589_s0516": {
-    "English Original": "In the next chapter we turn to the conceptual tools needed for analyzing how painting played a role in mediating social relations between the various participants in the rituals of collecting and viewing of art.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0001": {
-    "English Original": "Manuscript version: Published Version\n\nThe version presented in WRAP is the published version (Version of Record).",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0002": {
-    "English Original": "Persistent WRAP URL:\n\n<http://wrap.warwick.ac.uk/104468\n\n How to cite:\n\nThe repository item page linked to above, will contain details on accessing citation guidance from the publisher.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0003": {
-    "English Original": "Copyright and reuse:\n\nThe Warwick Research Archive Portal (WRAP) makes this work by researchers of the University of Warwick available open access under the following conditions.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0004": {
-    "English Original": "Copyright © and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0005": {
-    "English Original": "To the extent reasonable and practicable the material made available in WRAP has been checked for eligibility before being made available.",
-    "Has CLIP Embedding": true,
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-  "W2887919011_s0006": {
-    "English Original": "Copies of full items can be used for personal research or study, educational, or notforprofit purposes without prior permission or charge.",
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-    "English Original": "Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way.",
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-  },
-  "W2887919011_s0008": {
-    "English Original": "Publisher's statement:\n\nPlease refer to the repository item page, publisher's statement section, for further information.",
-    "Has CLIP Embedding": true,
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-  },
-  "W2887919011_s0009": {
-    "English Original": "For more information, please contact the WRAP Team at: wrap@warwick.ac.uk\n\n\n\nGenealogy and Royal Representation: Edmund Brudenell's Pedigree Roll for Elizabeth I (1558–60)\n\nSara Trevisan\n\nHuntington Library Quarterly, Volume 81, Number 2, Summer 2018, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0010": {
-    "English Original": "257275 (Article)\n\nPublished by University of Pennsylvania Press DOI: <https://doi.org/10.1353/hlq.2018.0011\n\n\n\nFor additional information about this article <https://muse.jhu.edu/article/700624\n\n notes and documents\n\n Genealogy and Royal Representation: Edmund Brudenell's Pedigree Roll for Elizabeth I (1558–60)\n\nSara Trevisan\n\nabstract This essay is the first study of a ninetyfootlong pedigree roll made for Elizabeth I in 1558–60 and now preserved at Hatfield House.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0011": {
-    "English Original": "Conceived and supervised by Edmund Brudenell of Deene Park—a Catholic gentleman and an amateur antiquary and genealogist—the pedigree traces Elizabeth's descent from the Creation, via Adam and Eve, to the mythical and historical British, Saxon, and Norman kings.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0012": {
-    "English Original": "It also features the genealogies of European royal houses, the descent of the most important English aristocratic families, numerous textual extracts containing historical information, and lavish heraldic decorations.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0013": {
-    "English Original": "In the present essay, Sara Trevisan explores the sources and content of the pedigree roll—an intersection between medieval and early modern traditions of royal genealogical discourse—and discusses its making, its social and political function, and the strategies it employed to construct a celebration of the queen's right to rule.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0014": {
-    "English Original": "keywords: sixteenthcentury pedigree rolls; genealogy of Elizabeth I; William Cecil; heraldic drawings; Elizabethan gift exchange\n\nl One of the items that visitors to Hatfield House in Hertfordshire are advised to see is an illuminated parchment roll of Queen Elizabeth I's genealogy.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0015": {
-    "English Original": "This ninetyfootlong manuscript, now kept in a wooden cabinet, mounted on two rotating horizontal poles that allow the viewer to unroll it, was commissioned and supervised by Edmund Brudenell (1521–1585) of Deene Park, Northamptonshire, between 1558 and 1560.1 The pedigree traces Elizabeth's descent from the Creation via Adam, to Noah, to the mythical and historical British, Saxon, and Norman kings.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0016": {
-    "English Original": "The diagram also includes the genealogies of European royal houses, the descent of the most important\n\n1.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0017": {
-    "English Original": "Although the cabinet seems to be a later addition, it is impossible to say whether it was made to replace an earlier structure devised to facilitate the reading of the pedigree.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0018": {
-    "English Original": "©2018 by Henry E. Huntington Library and Art Gallery.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0019": {
-    "English Original": "issn 00187895 | eissn 1544399x.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0020": {
-    "English Original": "For permission to photocopy or reproduce article content, consult the University of Pennsylvania Press Rights and Permissions website, http://www.upenn.edu/pennpress/about/permissions.html.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0021": {
-    "English Original": "English aristocratic families, textual extracts containing historical information drawn from sixteenthcentury chronicles, and lavish heraldic drawings.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0022": {
-    "English Original": "Although this pedigree may be among the most magnificent objects ever made to celebrate the queen, it has not been thus far examined in depth, due to its obscurity, size, and overall idiosyncratic nature.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0023": {
-    "English Original": "The roll is briefly mentioned in the Historical Manuscripts Commission's Calendar of the Salisbury (Cecil) manuscripts.2 It is also referred to in the context of the sixteenthcentury \"pedigree craze\" by J. Horace Round and Sir Anthony Wagner in their studies on English genealogical practice, but their dismissal of its nonhistorical content—including biblical ancestors, classical heroes, and mythical kings—did not foster any further study.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0024": {
-    "English Original": "Wagner associated the Brudenell pedigree roll with sixteenthcentury specimens made for the gentry and nobility, showing \"descent on many lines\" and \"decorated with paintings, not only of arms, but of the imagined figures of primitive ancestors.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0025": {
-    "English Original": "\"3 Round saw Brudenell's roll as an epitome of elaborate and much requested \"false pedigrees\" and \"genealogical concoctions\" based on a historical \"tradition\" unproven by tangible evidence, which could just be \"the guess of some speculative antiquary or even of a member of the family itself.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0026": {
-    "English Original": "\"4\n\nBut Brudenell's genealogy is not a mere example of sixteenthcentury \"false pedigrees\" prepared for the monarch.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0027": {
-    "English Original": "Because it was made early in Elizabeth's reign, under the supervision of a member of the gentry, the roll provides important evidence on the intersection between late medieval and early modern traditions of royal genealogical discourse, and on the ways in which, in the midsixteenth century, the gentry could engage with monarchical celebration and the national past through medieval models of royal praise that were still alive and meaningful.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0028": {
-    "English Original": "l The Gift of a Catholic Gentleman?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0029": {
-    "English Original": "A few lines at the end of the pedigree roll reveal its date and origin: \"Edmound brudenell Sone And heyre of Sr thos.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0030": {
-    "English Original": "Brudenell knight wch cawsed this bouke to by compiled in his house at dyne.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0031": {
-    "English Original": "1558 & there endyd.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0032": {
-    "English Original": "\"5 Textual evidence confirms that the pedigree was begun in 1558, after Mary Tudor's death, and finished between July 1559 and March 1560.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0033": {
-    "English Original": "This makes it one of the earliest objects ever produced to celebrate Elizabeth I.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0034": {
-    "English Original": "The Brudenells were a Catholic family.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0035": {
-    "English Original": "The patron of the genealogical roll, Edmund Brudenell, first became involved in politics during the reign of Queen Mary.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0036": {
-    "English Original": "Royal Commission on Historical Manuscripts, Calendar of the Manuscripts of the Most Honourable the Marquess of Salisbury […] Preserved at Hatfield House, vol.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0037": {
-    "English Original": "1 (London, 1883), 150: \"Royal Genealogy of England\" (Cecil Papers 357).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0038": {
-    "English Original": "Anthony Wagner, The Records and Collections of the College of Arms (London, 1952), 16.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0039": {
-    "English Original": "J. Horace Round, Family Origins and Other Studies (London, 1930), 5, 12–13.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0040": {
-    "English Original": "The word book is used in the sense of a \"list of names\" or \"register,\" and more specifically as \"an account of a person's lineage or descent\"—that is, a \"book of the generations\" or a \"book of the pedigree\" (OED 1.c).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0041": {
-    "English Original": "He was appointed high sheriff of Rutland in the year of Elizabeth's accession, and he would later become high sheriff of Northamptonshire.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0042": {
-    "English Original": "He was knighted by the Earl of Leicester at Charlecote in 1566,6 the same year that Queen Elizabeth stayed for one night at Deene Park during her progress.7 Brudenell's continuing and generally successful political career during the Elizabethan period confirms that, although a Catholic, he was willing to pay homage to a Protestant monarch.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0043": {
-    "English Original": "His pedigree roll, which was begun right after Elizabeth's accession and in the same year as his first political appointment, may have been a gift devised to express his loyalty to the new queen.8\n\nWhile there is no proof that the roll was ever received by Elizabeth, the amount of work and expense that went into its making and the uncommon presence of a signature at the end suggest that the genealogy was conceived as a highprofile gift and not for display at Deene Park.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0044": {
-    "English Original": "The fact that the roll has been preserved at Hatfield House, where the Cecils would move from Theobalds palace in 1606, suggests other scenarios.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0045": {
-    "English Original": "First, the owner of Theobalds, Sir William Cecil, may have been an intermediary between Brudenell and the queen.9 In the world of royal gift exchange, the provenance of a present could affect its essential value,10 and a royal pedigree endorsed by Cecil would have acquired greater significance.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0046": {
-    "English Original": "Nevertheless, the pedigree may have never reached the court.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0047": {
-    "English Original": "Second, if the roll was given to the queen, its presence at the Cecils' home may be additional evidence that gifts given to the monarch could end up in the houses of royal favorites.11 In the following decades, Cecil would develop an increasing interest in genealogy and antiquarianism, and Elizabeth might have presented him with the pedigree roll while he was still living at Theobalds, knowing that it would give him particular pleasure.12\n\n6.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0048": {
-    "English Original": "Joan Wake, The Brudenells of Deene (London, 1954), 53.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0049": {
-    "English Original": "Wake, The Brudenells of Deene, 66.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0050": {
-    "English Original": "See also ODNB, s.v.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0051": {
-    "English Original": "\"Brudenell, Sir Robert (1461–1531),\" by J. H. Baker, last modified January 2008, doi:10.1093/ref:odnb/3766.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0052": {
-    "English Original": "In 1576–77, Francis Peto, an exiled Catholic Englishman in Milan, planned and supervised, with the assistance of local artists, a majestic genealogy intended as a gift to garner the queen's benevolence toward his situation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0053": {
-    "English Original": "The genealogy, which remained unfinished, is not extant.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0054": {
-    "English Original": "See \"Francis Peyto to Lord Burghley\" (March 31, 1576), in Calendar of State Papers Foreign: Elizabeth, vol.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0055": {
-    "English Original": "Allan James Crosby (London, 1880), 293, British History Online, https://www.britishhistory.ac.uk/calstatepapers/foreign/vol11/pp276298: SP 70/137, fols.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0056": {
-    "English Original": "319r–20v, National Archives, Kew.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0057": {
-    "English Original": "Francis Peto (see note 8) corresponded briefly with Sir William Cecil to request the latter's assistance with the making of his genealogy, including Cecil's intercession with the College of Arms heralds for the retrieval of information on coats of arms.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0058": {
-    "English Original": "Felicity Heal, The Power of Gifts: Gift Exchange in Early Modern England (Oxford, 2014), 51.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0059": {
-    "English Original": "Heal, The Power of Gifts, 52.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0060": {
-    "English Original": "Since Cecil's passion for genealogy developed only in his later years, it would be anachronistic to suggest that Brudenell made the pedigree for Cecil himself as early as 1558–60.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0061": {
-    "English Original": "See Norman Jones, Governing by Virtue: Lord Burghley and the Management of Elizabethan England (Oxford, 2015), 54–55.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0062": {
-    "English Original": "l Brudenell's Pedigree Roll and Its Sources\n\nLike many of the gentry and aristocracy of the time, and as proved by their rich library, the Brudenells had a passion for antiquity and genealogy; these increasingly common interests \"influenced their political choices, their own sense of family history, and of participation in local and national politics.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0063": {
-    "English Original": "\"13 Notes and signatures found on medieval royal pedigree rolls confirm that gentry and aristocratic families frequently preserved in their libraries genealogies dating back to the fifteenth century and even the thirteenth; these were inherited from ancestors or acquired after the dissolution of the monasteries.14\n\nThe fact that Brudenell's genealogy begins with the Creation and Adam and Eve, followed by the biblical, mythical, and historical ancestors of the English and European kings, reveals the influence of a diagrammatic model used in midfifteenthcentury English royal genealogies, which traced the origins of the dynasty and the foundation of its power to Adam.15 These pedigrees were in turn influenced by medieval rolls with diagrams modeled on the biblical genealogies presented in Peter of Poitiers's twelfthcentury Compendium historiae in genealogia Christi and on genealogical chronicle rolls of the kings of England from Egbert or Brutus of Troy, produced between the thirteenth and early fifteenth centuries.16 A comparison between Brudenell's roll and extant midfifteenthcentury pedigrees highlights as a plausible model the diagram and decorations typical of rolls tracing the descent of Henry VI from Adam, such as the fortytwofootlong Scroll \"Considerans\" (Magdalen College Oxford MS 248), made in the style of Roger of St. Albans's workshop (ca.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0064": {
-    "English Original": "1450s).17 These genealogical rolls included figurative decorations, heraldry, and a\n\n13.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0065": {
-    "English Original": "Raluca Radulescu, The Gentry Context for Malory's \"Morte Darthur\" (Cambridge, 2003), 70.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0066": {
-    "English Original": "See also Nicolas Barker and David Quentin, The Library of Thomas Tresham and Thomas Brudenell (London, 2006); Wake, The Brudenells of Deene, 46, 106; D. R. Woolf, The Social Circulation of the Past: English Historical Culture 1500–1730 (Oxford, 2003), 73–140; and Felicity Heal and Clive Holmes, The Gentry in England and Wales, 1500–1700 (London, 1994), 278–82.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0067": {
-    "English Original": "See, for instance, Handbook to the Maude Roll: Being a XVth Century MS. Genealogy of the British and English Kings from Noah to Edward IV., with a Marginal History, ed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0068": {
-    "English Original": "Arnold Wall (Auckland, New Zealand, 1919).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0069": {
-    "English Original": "Christiane KlapischZuber, L'ombre des ancêtres (Paris, 2000), 195; and Alison Allan, \"Yorkist Propaganda: Pedigree, Prophecy, and the 'British History' in the Reign of Edward IV,\" in Patronage, Pedigree, and Power in Late Medieval England, ed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0070": {
-    "English Original": "Charles Ross (Gloucester, U.K., 1979), 171–92.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0071": {
-    "English Original": "For further discussion on mythical ancestry in early modern Europe, see Roberto Bizzocchi, Genealogie incredibili: Scritti di storia nell'Europa moderna (Bologna, 2010).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0072": {
-    "English Original": "See Olivier de Laborderie, Histoire, mémoire et pouvoir: Les généalogies en rouleau des rois d'Angleterre (1250–1422) (Paris, 2013); Olivier de Laborderie, \"Les généalogies des rois d'Angleterre sur rouleaux manuscrits (milieu XIIIe siècle–début XIVe siècle).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0073": {
-    "English Original": "Conception, diffusion et fonctions,\" in La généalogie entre science et passion, ed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0074": {
-    "English Original": "T. Barthélémy and M.C.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0075": {
-    "English Original": "Pingaud (AixenProvence, France, 1997), 181–99; and Alixe Bovey, The Chaworth Roll: A FourteenthCentury Genealogy of the Kings of England (London, 2005).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0076": {
-    "English Original": "The Scroll \"Considerans\" (Magdalen MS 248) Giving the Descent from Adam to Henry VI, trans.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0077": {
-    "English Original": "J. E. T. Brown, with an introduction by G. L. Harriss (Oxford, 1999), 3; Allan, textual commentary with didactic purposes drawn from chronicles in either Latin or English; the diagram of such pedigrees could be lengthened by their owners, following the succession of monarchs.18 The Brudenells owned one or more of these genealogies, at least one of which had been extended to the time of Henry VII.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0078": {
-    "English Original": "In the 1530s, Edmund's father had welcomed Henry VIII's antiquary, John Leland, to Deene Park and had shown him \"an old record of the King's\" and some pedigree rolls of Henry VII.19 Leland copied down parts of these rolls to integrate the historical information destined for his Itinerary, marking the sections as \"Thinges excerptid out of rolle that Mr. Brudenel of Dene shewid me.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0079": {
-    "English Original": "\"20\n\nl Tracing Elizabeth's Descent: Universal History and English Nationalism Brudenell's pedigree naturalized Elizabeth's status as part of the Tudor lineage through late medieval models of royal praise.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0080": {
-    "English Original": "At the top of the genealogy, seven roundels narrate the days of the Creation through quotations from Genesis, an incipit influenced by the structure of Peter of Poitiers's Compendium (fig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0081": {
-    "English Original": "1).21 Quite common in medieval rolls was the presence of Adam and Eve,22 whose roundels in Brudenell's pedigree are encircled by a quotation from John 1:1, taken from the Protestant Great Bible (1539)—a telling detail, considering that the patron of the genealogy was a Catholic.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0082": {
-    "English Original": "Although Brudenell sought to follow the traditional biblical diagram as faithfully as possible, his own differs from the previous genealogical tradition, in which Adam and Eve were often portrayed standing by the Tree of Knowledge, looking ashamed and being kept apart by the snake.23 Brudenell avoids illustrating the scene, preferring instead a cartouche devoted to the narration of their creation and moment of purity in the Garden of Eden (Genesis 2:7–9 and 18–25).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0083": {
-    "English Original": "The omission of\n\n21.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0084": {
-    "English Original": "C. M. Kauffmann, \"An Early SixteenthCentury Genealogy of AngloSaxon Kings,\" Journal of the Warburg and Courtauld Institutes 47 (1984): 209–16 at 211.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0085": {
-    "English Original": "Sydney Anglo, \"The British History in Early Tudor Propaganda,\" Bulletin of the John Rylands Library 44 (1961): 17–48 at 41–48.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0086": {
-    "English Original": "See, for instance, a fifteenthcentury genealogical roll chronicle of the kings of England (Marston MS 242, Beinecke Library, Yale University); a roll chronicle for Henry VI (Harley Roll C.9, British Library); and two pedigree rolls for Edward IV (Unbound MSS 20/23 and 20/25, College of Arms, London).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0087": {
-    "English Original": "For further discussion on these genealogies, see E. D. Kennedy, Manual of the Writings in Middle English, 1050–1500, vol.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0088": {
-    "English Original": "8, Chronicles and Other Historical Writing (New Haven, Conn., 1989), 2675–79, 2888–91.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0089": {
-    "English Original": "A roll of this kind—now Royal MS 14 B VIII, British Library—was present in the library of another amateur antiquary, Lord Lumley.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0090": {
-    "English Original": "See The Lumley Library: The Catalogue of 1609, ed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0091": {
-    "English Original": "Sears Jayne and F. R. Johnson (London, 1956), 1443, 1444, 1445, 1446.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0092": {
-    "English Original": "<sup18.</sup Additional examples are King's MS 395, British Library, and MS O.5.54, Trinity College, Cambridge.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0093": {
-    "English Original": "<sup19.</sup Wake, The Brudenells of Deene, 46.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0094": {
-    "English Original": "<sup20.</sup John Leland, The Itinerary of John Leland in or about the Years 1535–1543: Parts 1 to 3, ed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0095": {
-    "English Original": "L. Toulmin Smith (London, 1907), 307–8, 313.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0096": {
-    "English Original": "The Creation and Adam and Eve (detail).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0097": {
-    "English Original": "Cecil Papers 357, 1558–60.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0098": {
-    "English Original": "Reproduced with the permission of the Marquess of Salisbury, Hatfield House.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0099": {
-    "English Original": "all references to original sin thus served to adjust the medieval template to the celebration of a female monarch.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0100": {
-    "English Original": "As in fifteenthcentury rolls, the queen's genealogical connection to biblical rulers highlighted the divinely sanctioned royal legitimacy she shared with them and strengthened her spiritual relationship to them.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0101": {
-    "English Original": "Comparisons to biblical patriarchs were employed to both flatter and counsel monarchs, and quite often, in Elizabeth's case, to remind her of her duty toward her country and the continuation of the royal line.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0102": {
-    "English Original": "In 1563, Parliament's second petition seeking to convince the queen to marry featured biblical episodes on hereditary succession and genealogies to illustrate the necessity of royal marriage and offspring.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0103": {
-    "English Original": "The petition stated that \"God by the course of the Scriptures hath declared succession and having of children to be one of His principal benedictions in this life\"—a point illustrated, for instance, through the example of Abraham, who is assured by God that his successor will be his natural heir.24 The petition also translated the interconnection of genealogical continuity and political stability from family to nation: whereas the kingdom of Israel was afflicted with intestine wars, being \"often destitute of lawful heirs,\" the kingdom of Judah throve because \"God gave lineal succession by descent of kings.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0104": {
-    "English Original": "\"25\n\nThis biblical framework contextualized English royalty within a Christian universal history that was also a history of dynasties and empires.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0105": {
-    "English Original": "Through a color illustration of the Ark and a cartouche narrating the episode of the Flood (Genesis 6–9), Noah is presented as a key figure in history—the father of three sons, from whom all nations are descended (Genesis 10).26 As in several midfifteenthcentury rolls—which, following the tradition of medieval universal historiography, represented history in the form of an immense genealogy—Japhet is shown as the root of all European peoples and dynasties.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0106": {
-    "English Original": "His line is divided into those of the mythical ancestors of the Germanic peoples; the GrecoRoman ancestry of the kings of France from Hector of Troy, of the English kings from Brutus, and of the kings of Rome from Aeneas; and Alanus, a biblical ancestor who fathered all these peoples taken together.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0107": {
-    "English Original": "The presence of the mythical Germanic ancestors in Brudenell's pedigree reflects the template of fifteenthcentury rolls celebrating the Saxon ancestry of Henry VI and, less often, of Edward IV.27 Under the influence of Christianized genealogies of the AngloSaxon kings, the ancestry of the god Woden—the original forefather of the Germanic peoples and their kings—is traced down to Adam through pseudohistorical and euhemerized figures.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0108": {
-    "English Original": "Although the most common medieval source for this Germanic lineage was William of Malmesbury's\n\n24.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0109": {
-    "English Original": "Elizabeth I: Collected Works, ed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0110": {
-    "English Original": "Leah S. Marcus, Janel Mueller, and Mary Beth Rose (Chicago, 2000), 84.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0111": {
-    "English Original": "Marcus, Mueller, and Rose, 85.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0112": {
-    "English Original": "M. D. Johnson, The Purpose of the Biblical Genealogies (Cambridge, 1998), 77–84, 139–252.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0113": {
-    "English Original": "Alexander M. Bruce, Scyld and Scef: Expanding the Analogues (London, 2002), 53–54.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0114": {
-    "English Original": "twelfthcentury De gestis regum anglorum, 28 the full sequence of ancestors in Brudenell's roll—Streffius, Bodagius, Gwala, Hadra, Sterinodius, Stephius, Steldius, and Boerinus—contains additional names that only appeared in midfifteenthcentury genealogies.29 The detail that can dispel any further doubts about Brudenell's source is the cartouche accompanying Strephius's roundel, which replicates verbatim a gloss added to some midfifteenthcentury rolls, such as the Scroll \"Considerans\":\n\nOf this Streffius is dessendyd the northe[rn] partes of the world that is to saye the Saxsones / the Englyshemen / Suti / Daci / Gothi / Norwayes / Wandali / and Fryselas.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0115": {
-    "English Original": "[Brudenell's roll]\n\nFrom this Strepheus the son of Japhet are descended all those who inhabit the northern parts of the world: Saxons, Angles, Suevi, Danes, Goths, Norwegians, Vandals, and Frisians, who all in their time harried the kingdom of Britain with violent invasions.30 [Scroll \"Considerans,\" English translation]\n\nInterestingly, Brudenell omits all references to the \"violent invasions\" characterizing English history, highlighting instead the composite ancestry of the monarch.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0116": {
-    "English Original": "To the traditional \"British\" descent from Brutus of Troy, derived from Geoffrey of Monmouth's Historia regum Britanniae (ca.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0117": {
-    "English Original": "1136–38), Brudenell devoted a third of the roll (fig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0118": {
-    "English Original": "By surrounding it with cartouches containing detailed chronicle extracts—two of which, for instance, are entirely devoted to King Leir's story—Brudenell clearly sought to exploit the full narrative potential and national mythographic value of the British History.31 The extensive textual passages, drawn\n\n28.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0119": {
-    "English Original": "William of Malmesbury, De gestis regum anglorum, ed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0120": {
-    "English Original": "William Stubbs, 2 vols.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0121": {
-    "English Original": "These genealogies were drawn from Asser's Life of King Alfred and the AngloSaxon Chronicle.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0122": {
-    "English Original": "\"J. M. Kemble 1837,\" in Beowulf: The Critical Heritage, ed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0123": {
-    "English Original": "Andreas Haarder and T. A. Shippey (London, 1998), 207–14 at 209–10.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0124": {
-    "English Original": "The Latin original of the Scroll \"Considerans\" reads: \"Ab isto Strepheo filio Japhet descenderunt omnes habitantes septentrionales partes mundi: Saxones Angli Suebi Daci Gothi Norvagenses Vandali et Fresi; qui omnes regnum Britannie suo tempore acerrimis irruptionibus infestabant\"; and, further on, \"Ab istis IX filiis Boerini descenderunt novem gentes septentrionalem partem inhabitantes qui quondam regnum Britannie invaserunt et optinuerunt; videlicet Saxones Angli Suthi Daci Norwagenses Gothi Wandali Geathi et Fresi.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0125": {
-    "English Original": "The Scroll \"Considerans,\" 9–10, 41; Bruce, Scyld and Scef, 53.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0126": {
-    "English Original": "The Latin original of the Scroll \"Considerans\" thus features both \"Suebi\" and \"Suthi,\" the latter being the source for Brudenell's \"Suti.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0127": {
-    "English Original": "Before the union of the Crowns of England and Scotland in 1603, the adjective \"British\" referred to the ancient Welsh (or Briton) civilization.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0128": {
-    "English Original": "England's \"British History\" was identified with the period spanning the conquest of the island by the mythical Brutus of Troy whence the name \"Britain\"—and the Saxon invasions.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0129": {
-    "English Original": "The dynasty of the British kings, which included King Lear and King Arthur, was incorporated into that of the English kings in the medieval period.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0130": {
-    "English Original": "Cartouche of the British king Cassibelan (left) and the invented coat of arms of Julius Caesar (right) (detail).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0131": {
-    "English Original": "Cecil Papers 357, 1558–60.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0132": {
-    "English Original": "Reproduced with the permission of the Marquess of Salisbury, Hatfield House.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0133": {
-    "English Original": "from Robert Fabyan's Chronicle (1516), John Rastell's Pastyme of People (1529), and Thomas Lanquet and Thomas Cooper's Chronicle (1549), were a remnant of the tradition of \"commented genealogies\" with didactic purposes—typical of medieval pedigree rolls.32 But there is no trace of Geoffrey's prophecies concerning a return to power of the British line; these had been used in pedigree rolls supporting Edward IV's right to the throne, and later on to celebrate the accession of Henry VII Tudor in the early years of his reign.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0134": {
-    "English Original": "By the end of Henry VIII's reign, new celebratory themes had emerged, highlighting Henry VII's prowess and the union of the roses of York and Lancaster.33 Both are present in Brudenell's pedigree, where the cartouche of Henry VII exalts his victory at Bosworth, while white and red lines trace the Yorkist and Lancastrian descent of Henry VIII.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0135": {
-    "English Original": "Although the pedigree roll is pervaded by a general skepticism toward the British History, and two of Brudenell's sources—Fabyan's Chronicle and Rastell's Pastyme of People—were dubious of the Galfridian matter for its uncertain historical value,34 criticism is kept to a minimum.35 In fact, when necessary, Brudenell leaves aside Fabyan and Rastell in favor of Lanquet and Cooper's Chronicle, which, although inspired by Fabyan, was less overtly critical.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0136": {
-    "English Original": "For instance, Brudenell employed Lanquet and Cooper in the case of King Arthur: \"Of this Arthur be written many thinges in the english cronicle, of small credence, and farre discordant from other writers.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0137": {
-    "English Original": "But yet all agree, that he was a noble and victorious prince in all his deedes.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0138": {
-    "English Original": "\"36 These lines were actually the beginning of a longer dismissal of the Arthur story written by Fabyan, the core of which Lanquet and Cooper, and Brudenell with them, omitted.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0139": {
-    "English Original": "Whatever Brudenell's opinion, the genealogy of the mythical kings of Britain in his pedigree roll is most carefully narrated, with red rubrics in the cartouches focusing the reader's attention on key information.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0140": {
-    "English Original": "The second part of the pedigree increases in complexity, due to the sheer number of interweaving lines and the extensive use of heraldry.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0141": {
-    "English Original": "The main source for the textual extracts on the kings of England is Lanquet and Cooper's chronicle, which is sometimes quoted almost verbatim.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0142": {
-    "English Original": "However, not all the kings are accompanied by a commentary: for instance, the roundel of Richard III simply states that he \"vsurped\" the throne.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0143": {
-    "English Original": "Brudenell's genealogy shows Elizabeth I's descent from both the Lancastrian—via John of Gaunt and Lady Margaret Beaufort, wife of Edmund Tudor—and the Yorkist sides.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0144": {
-    "English Original": "The Tudor line acquires visual importance in the diagram only with the union of Catherine of Valois and Owen Tudor, father of Edmund\n\n32.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0145": {
-    "English Original": "De Laborderie, \"Les généalogies des rois d'Angleterre,\" 188.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0146": {
-    "English Original": "Anglo, \"The British History,\" 40.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0147": {
-    "English Original": "Philip Schwyzer, Literature, Nationalism, and Memory in Early Modern England and Wales (Cambridge, 2003), 28.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0148": {
-    "English Original": "The Brudenells' library contained copies of Polydore Vergil's Anglica Historia, a famously harsh scholarly critique of the British History; Barker and Quentin, The Library, 1444, 1820.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0149": {
-    "English Original": "Thomas Lanquet and Thomas Cooper, An Epitome of Cronicles (London, 1549), 144.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0150": {
-    "English Original": "Tudor, who was in turn Henry VII's father (fig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0151": {
-    "English Original": "What is highlighted is the importance of the Mortimer family within the royal genealogy—through the marriage of Ralph Mortimer to the Welsh princess Gwladus Ddu; the union of Edmund Mortimer to Philippa, daughter of the Duke of Clarence; and the MortimerWelsh ancestry of Edward's father, Richard, Duke of York.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0152": {
-    "English Original": "Only three of Henry VIII's wives are present—Catherine of Aragon, mother to Mary, said to have been \"justeley divorced\"; Jane Seymour, mother to Edward VI; and Anne Boleyn, mother to Elizabeth I.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0153": {
-    "English Original": "While this was done to maintain the linearity of the diagram and focus on the genealogical continuity, the lack of references to Anne Boleyn's execution was doubtlessly a conscious choice.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0154": {
-    "English Original": "An interesting confusion concerning the children of William the Conqueror is further evidence not only of Brudenell's use of a midfifteenthcentury source but also of the continuing role played by such royal pedigrees in the transmission of historical information, as proved by the fact that antiquary John Leland had consulted some of them in Brudenell's library for his research on national history.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0155": {
-    "English Original": "In the roll, an illustrated roundel just beneath the Conqueror's states that the figure portrayed is \"Maud daughter of William Conqueror married to the earle of Bloyes father to kyng Stephen.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0156": {
-    "English Original": "\"37 In English historiography, the number of daughters of the Conqueror had traditionally ranged from four to six, and, since the twelfth century, few works of historiography had agreed on their number and names.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0157": {
-    "English Original": "Most medieval sources mention Cecily, abbess at Caen, and Ella, married to the Count of Blois and mother to King Stephen, but most early sixteenthcentury printed sources barely mention any.38 It is instead in midfifteenthcentury pedigree rolls (based on earlier ones) that we find a thorough, though not necessarily consistent, list.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0158": {
-    "English Original": "Like Brudenell's roll, these pedigrees usually featured Gundreda, absent from any other easily accessible sixteenthcentury source, and quite frequently Ella, Cecily, and another daughter who was\n\n37.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0159": {
-    "English Original": "Beside Maud there are Gundreda, wife to William de Warenne; \"a daughter promised to [King] Harold\"; a daughter whose fate the faded ink cannot reveal; and another Maud, married to Hugh Mortimer.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0160": {
-    "English Original": "Matthew Paris's Flores historiarum features Cecily, Adela, and \"four other daughters\"; Flores historiarum, ed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0161": {
-    "English Original": "Henry Richards Luard, 3 vols.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0162": {
-    "English Original": "William of Malmesbury mentions Cecily, Constance married to the Earl of Brittany, and Adela, adding that the names of the last two \"escaped\" him; De gestis, 307.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0163": {
-    "English Original": "Orderic Vitalis cites Agatha and Adeliza; quoted in De gestis, 307.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0164": {
-    "English Original": "In the sixteenth century, Polydore Vergil listed Cecily, who became a nun; Constance, married to the Earl of Brittany; and Adela, married to the Earl of Blois, while \"the names of the other two were obliterated by time, and they died before reaching a marriageable age,\" one of them having been promised and repudiated by King Harald; Polydore Vergil, Anglica Historia (London, 1555), bk.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0165": {
-    "English Original": "Lanquet and Cooper only mention Adela (An Epitome of Cronicles, 200), while Fabyan and Rastell do not mention any.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0166": {
-    "English Original": "However, John Leland—who was, as we have seen, much interested in medieval pedigrees—lists Cecily, Constantia, Adala, one daughter promised to Harold, and one married to the Duke of Castille; John Leland, Joannis Lelandi Antiquarii de rebus britannicis collectanea, ed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0167": {
-    "English Original": "Thomas Hearne, 4 vols.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0168": {
-    "English Original": "In Brudenell's pedigree, the Maud said to be married to the Duke of Blois is a mistake for Ella.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0169": {
-    "English Original": "Henry V's coat of arms (center) (detail).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0170": {
-    "English Original": "Cecil Papers 357, 1558–60.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0171": {
-    "English Original": "Reproduced with the permission of the Marquess of Salisbury, Hatfield House.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0172": {
-    "English Original": "betrothed to King Harold.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0173": {
-    "English Original": "Some medieval genealogies also contained a roundel with the words \"filia miia\" or \"meia [sic],\" as a placeholder for an unknown name.39 Its Latin abbreviation written in Gothic script, as found in the Scroll \"Considerans,\" could be easily mistaken for \"filia maud,\" and, if we consider that the Conqueror's wife was called Matilda, such a misunderstanding would not be surprising, due to the obscurity of these historical figures.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0174": {
-    "English Original": "In addition to the wealth of information contained in the roundels and cartouches, the genealogy sought to present the history of Elizabeth I's line in relation to those of other English and European dynasties and aristocratic families.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0175": {
-    "English Original": "The second part of the pedigree is a visual rendition of their mutual competition in the course of history, as family coats of arms increase in size, shrink, or disappear altogether.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0176": {
-    "English Original": "Their political continuity is determined by the survival of their genealogical identity and their interconnections with the English line.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0177": {
-    "English Original": "The kings of Wales, initially so prominent, are gradually relegated to the side, while families like the Mortimers acquire increasing visibility in the last part of the roll, together with the Talbots, the Cliffords, and the earls of Rutland and Richmond, among others.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0178": {
-    "English Original": "The genealogical lines that reach the bottom of the pedigree are those of the kings of England, Scotland, and France, and that of the Habsburgs.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0179": {
-    "English Original": "l Elizabeth I's Heraldic Marriage\n\nIn Brudenell's roll, the genealogical and political continuity of the monarchical institution is understood not only in terms of mythical and historical ancestry but also through the visualization of blood ties in heraldic form.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0180": {
-    "English Original": "Elizabeth I is shown as the rightful descendant of Edward III.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0181": {
-    "English Original": "His colossal coat of arms reflects how, through his sons John of Gaunt and Lionel, Duke of Clarence, he was a common ancestor to the Houses of York and Lancaster, whose union was fulfilled in the blood of Henry VIII and of his daughter Elizabeth.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0182": {
-    "English Original": "This historical heritage is visualized in the queen's coat of arms through its subdivision into quarterings (fig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0183": {
-    "English Original": "4).40\n\nUnlike in most medieval rolls, Elizabeth's heraldic device marks only a temporary end to the royal genealogy.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0184": {
-    "English Original": "In fact, the queen's coat of arms is depicted as \"impaled\"—a design reserved for married women, in which the wife's heraldic device occupies only the sinister side of a bigger escutcheon representing the marriage union.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0185": {
-    "English Original": "The dexter portion of the device is blank, waiting to be painted with the coat of arms of Elizabeth's consort, while a sketched roundel, decorated with a crown and linked to Elizabeth's own, is ready to welcome the new king's name.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0186": {
-    "English Original": "The last membrane of the roll also displays, in diagrammatic and heraldic form, the fulfilled unions and potential political leagues of the late 1550s.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0187": {
-    "English Original": "It shows\n\n<sup39.</sup George F. Duckett, Observations on the Parentage of Gundreda, the Daughter of William Duke of Normandy and Wife of William de Warenne (n.p., 1878), 1–19 at 13.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0188": {
-    "English Original": "<sup40.</sup John Baker, \"Tudor Pedigree Rolls and Their Uses,\" in Heralds and Heraldry in Shakespeare's England, ed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0189": {
-    "English Original": "Nigel Ramsay (Donington, U.K., 2014), 125–65 at 132.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0190": {
-    "English Original": "(Left) Mary Queen of Scots and Francis II; (center) Elizabeth I; (above right) Ferdinand I; (below right) Mary Tudor and Philip II; (far right) Henri II and Catherine de' Medici (detail).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0191": {
-    "English Original": "Cecil Papers 357, 1558–60.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0192": {
-    "English Original": "Reproduced with the permission of the Marquess of Salisbury, Hatfield House.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0193": {
-    "English Original": "Elizabeth's unmarried status alongside the unions of Mary Queen of Scots to Francis II, son of Catherine de' Medici, and of the late Mary Tudor to Philip II of Spain.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0194": {
-    "English Original": "But the genealogy also highlights Elizabeth's possible suitors and candidates to the throne of England.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0195": {
-    "English Original": "To the right of her coat of arms is that of Ferdinand I of the House of Habsburg, Holy Roman Emperor, while far right is the marriage union of Henri II of France and Catherine de' Medici.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0196": {
-    "English Original": "Although the diagram does not record any heirs to either Ferdinand I or Henri II,41 two of their sons—Archduke Charles and Charles of Valois, later Charles IX of France—were the most obvious foreign suitors to Elizabeth I at the time.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0197": {
-    "English Original": "Their Catholicism must have pleased Brudenell, and negotiations concerning a potential marriage between the English queen and Archduke Charles of Habsburg had begun in 1559,42 while the pedigree roll was being produced.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0198": {
-    "English Original": "l The Making and Purpose of Brudenell's Roll\n\nAs suggested at the beginning of this essay, the roll may have been given to Elizabeth I as a present by Edmund Brudenell, who was seeking to provide a token of his willingness as a Catholic to pay homage to a Protestant monarch.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0199": {
-    "English Original": "As such, the roll might be the first of several pedigrees that were donated to the queen during her reign.43\n\nAll the genealogies given to Elizabeth I whose records have come down to us were in manuscript form, a medium that made them unique texts destined for private perusal.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0200": {
-    "English Original": "However, the patrons of these genealogies also hoped to advertise at court their loyalty to the Crown; their mastery of heraldry, history, and politics; and sometimes their own artistic skills.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0201": {
-    "English Original": "According to the Elizabethan New Year's Gifts rolls, manuscript books of arms and pedigrees were often donated to the queen, which suggests her interest in such material.44 In 1565, herald Robert Cooke gave her a now lost pedigree book, and a second one in 1567 (possibly King's 396, British Library).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0202": {
-    "English Original": "In 1575, Merchant Otto de Baehere petitioned Elizabeth I for a license to transport cloths, in consideration of his now lost pedigree with numerous illuminated coats of arms, tracing the genealogy and alliances of the kings of England and France since the time of Louis I.45 In 1576, the exiled Catholic Francis Peto wrote to William Cecil about a genealogy of the queen that he had planned and supervised to request the\n\n41.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0203": {
-    "English Original": "The lines in Henri II's roundel, which are partly illegible, state that the king was slain in 1559 and that he was a \"father.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0204": {
-    "English Original": "Susan Doran, \"Religion and Politics at the Court of Elizabeth I: The Habsburg Marriage Negotiations of 1559–1567,\" English Historical Review 104 (1989): 908–26.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0205": {
-    "English Original": "These and others will be discussed as part of a monograph on the politics and materiality of royal genealogy between 1550 and 1700, which is currently in progress.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0206": {
-    "English Original": "A. Lawson, \"This Remembrance of the New Year: Books Given to Queen Elizabeth as New Year's Gifts,\" in Elizabeth I and the Culture of Writing, ed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0207": {
-    "English Original": "Peter Beal and Grace Ioppolo (London, 2007), 133–71 at 152, 154.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0208": {
-    "English Original": "Calendar of State Papers, Domestic Series, of the Reigns of Edward VI., Mary, Elizabeth, vol.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0209": {
-    "English Original": "Robert Lemon (London, 1856), 512, British History Online, https:// www.britishhistory.ac.uk/calstatepapers/domestic/edweliz/154780/pp508513: SP 12/106/1, fol.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0210": {
-    "English Original": "143r, National Archives, Kew.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0211": {
-    "English Original": "reinstatement of his pension.46 And in 1585 Italian courtier, calligrapher, and illuminator Petruccio Ubaldini gave Elizabeth I an unidentified \"pettygrye.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0212": {
-    "English Original": "\"47 What made these genealogies valuable was the complexity of the historical reconstruction, the fine decoration, the expensive material support, and the aesthetic value of the text as object.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0213": {
-    "English Original": "The use of royal genealogies as gifts to display loyalty or request favors from the monarch rested on the idea that these were complicated and sophisticated texts that would impress the receiver with the labor and expense incurred by the patron.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0214": {
-    "English Original": "Such royal genealogies thus recall the category of \"great gifts\" used by Felicity Heal in her book The Power of Gifts—a category that includes \"giftbooks drawn in elegant scribal hands, or distinctively bound.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0215": {
-    "English Original": "These \"great gifts,\" Heal explains, were complex luxury items, reminding the recipients that their future generosity toward the sender should not cease with a single returned favor.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0216": {
-    "English Original": "Elizabeth I was particularly interested in such \"distinctive and glamorous\" objects, an enthusiasm that provided \"useful leverage for those beyond the immediate circle of courtiers who sought her attention.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0217": {
-    "English Original": "\"48\n\nBrudenell's conscious choice of a medium so dated, sizeable, expensive, and timeconsuming to produce as the parchment roll suggests that his pedigree may have been intended as a royal present—a magnified counterpart to the traditional gift of illuminated manuscript books and a conscious revival of the medieval royal genealogical tradition that had waned by the end of Henry VIII's reign.49 While the circumstances surrounding the making of the pedigree remain obscure, it is clear that the labor and expense incurred by Brudenell were extensive, not only due to the costly purchase of ninety feet of vellum, but also because the design of sophisticated pedigrees was most frequently a collaborative effort requiring the participation of several professionals.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0218": {
-    "English Original": "The planning and making of such genealogies was often shared between the patron, who could be not only the underwriter but also the provider of genealogical material and sometimes even one of the craftsmen; one or more artists skilled in heraldic painting; and possibly one or more professional heralds, who could provide information on coats of arms and assist with the drawing of heraldry.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0219": {
-    "English Original": "Edmund Brudenell was clearly involved in the planning of the form and content of the pedigree.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0220": {
-    "English Original": "The choice of a fifteenthcentury roll as a model was linked to the historical memory of his family and social class, and laden, as has been shown, with political significance.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0221": {
-    "English Original": "Although Brudenell was also wont to copy down coats of arms in private heraldry books,50 which suggests that he possessed, like many other gentlemen of his time, an average knowledge of heraldry and at least basic skills in heraldic drawing, it is unlikely that he played a primary role in the material production of the\n\n46.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0222": {
-    "English Original": "See notes 8 and 9.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0223": {
-    "English Original": "A. Lawson, The Elizabethan New Year's Gift Exchanges, 1559–1603 (Oxford, 2013), no.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0224": {
-    "English Original": "Heal, The Power of Gifts, 97–99.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0225": {
-    "English Original": "Heal, The Power of Gifts, 46.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0226": {
-    "English Original": "Wake, The Brudenells of Deene, 106.\n\npedigree.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0227": {
-    "English Original": "The great number of coats of arms in the roll, their complexity, and their sometimes obscure provenance, suggest the assistance of professional heralds, who possessed thorough records of historical and current family lineages.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0228": {
-    "English Original": "The presence of sophisticated figurative portraits of ancestors, including King Arthur (fig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0229": {
-    "English Original": "5), William the Conqueror, and Arthegal, first Earl of Warwick,51 indicates that Brudenell may have hired one or more provincial artists trained in the execution of miniatures and heraldry.52 Extant evidence confirms that at least one was operating in Northamptonshire less than ten years after the roll was made.53 Whereas in London, professional heralds or \"painterstainers\" were employed to devise and draw coats of arms,54 in provincial England, the artistic production of heraldry was assigned to variously skilled itinerant or local artists frequently registered with guilds.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0230": {
-    "English Original": "Wealthy patrons might even hire such painters as permanent members of their households, to take care of their picture collection and even assist in the making of genealogies, \"using their painterly skills to embellish family trees on vellum and sometimes adding miniature portraits alongside entries on the family tree.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0231": {
-    "English Original": "\"55 Artists like these, of the kind most likely employed by Brudenell, have usually remained unknown, as they rarely signed or had any reason to sign their work; sometimes their names were registered in household accounts, yet no information of the sort seems to be extant in Brudenell's papers.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0232": {
-    "English Original": "The roll follows the sixteenthcentury tradition by which only the forefathers of a lineage were depicted in full.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0233": {
-    "English Original": "There are portraits of monarchs (Arthur, Egbert, Pharamond, Clovis, and William the Conqueror) and of the founding fathers of aristocratic houses (Ingelgerius, first Count of Anjou; Arthal or Arthegal, first Earl of Warwick; Rollo, Duke of Normandy and his wife Gylda; William de Percy, first Duke of Northumberland; Ranulph I de Mortimer; and Hugh Capet).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0234": {
-    "English Original": "Egbert—as the first king to unite the whole of England—is shown sitting in majesty on the throne, which recalls the illustrated roundels of medieval pedigrees based on royal seals.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0235": {
-    "English Original": "William the Conqueror is the biggest figure of all; the pose of his horse, the coat of arms, and the sword are reminiscent of early prints of the Nine Worthies.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0236": {
-    "English Original": "In 1558, a former member of Brudenell's household, Robert Cooke, who would be employed as a heraldic artist by Robert Dudley in 1560 and would become Rose Blanche Pursuivant and Chester Herald in 1562, had just graduated from Cambridge.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0237": {
-    "English Original": "It is intriguing to hypothesize that he might have assisted Brudenell in the making of the pedigree roll.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0238": {
-    "English Original": "\"Cooke, Robert (d. 1593),\" by J. F. R. Day, last updated January 2008, doi:10.1093 /ref:odnb/6148; and Robert Tittler, \"Regional Portraiture and the Heraldic Connection in Tudor and Stuart England,\" British Art Journal 10 (2009): 3–10 at 5.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0239": {
-    "English Original": "Robert Tittler, Portraits, Painters, and Publics in Provincial England 1540–1640 (Oxford, 2013), 105–9.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0240": {
-    "English Original": "Tittler, Portraits, Painters, and Publics, 110; Elizabeth Goldring, \"Heraldic Drawing and Painting in Early Modern England,\" in Painting in Britain, 1500–1630, ed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0241": {
-    "English Original": "Tarnya Cooper et al.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0242": {
-    "English Original": "(Oxford, 2015), 262–77 at 271–72.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0243": {
-    "English Original": "For further discussion, see William A. D. Englefield, The History of the PainterStainers Company of London (London, 1923).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0244": {
-    "English Original": "Tittler, Portraits, Painters, and Publics, 69, 71; Tittler, \"Regional Portraiture and the Heraldic Connection,\" 5.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0245": {
-    "English Original": "The portraits of King Arthur (center) and King Clovis (left) (detail).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0246": {
-    "English Original": "Cecil Papers 357, 1558–60.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0247": {
-    "English Original": "Reproduced with the permission of the Marquess of Salisbury, Hatfield House.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0248": {
-    "English Original": "l Conclusion\n\nBrudenell's pedigree roll is a unique object that, despite its idiosyncratic nature, can shed new light on the ways in which the gentry approached and politicized national history in the midsixteenth century.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0249": {
-    "English Original": "It can also illuminate the connections they made between contemporary and medieval modes of royal praise, which were still present in the historical memory of their families as well as in their private libraries in the form of medieval genealogical rolls of the kings of England.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0250": {
-    "English Original": "A masterful revival of fifteenthcentury royal celebration and a possible token of loyalty to Elizabeth I, the roll was firmly rooted in the politics of the late 1550s.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0251": {
-    "English Original": "Its purpose was not simply to exalt the prestigious origins of a unique monarch, but to visualize, celebrate, and encourage Elizabeth I's active role in the genealogical and political continuity of the English royal line.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0252": {
-    "English Original": "The author is grateful to Charlotte Brudenell for her generous help and priceless accounts of the Brudenells' family history, to Prof. James Knowles, to the archivists at Hatfield House, and to the Leverhulme Trust and the Institute for Research in the Humanities at the University of Wisconsin–Madison for granting research time and financial support for the writing of this essay.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0253": {
-    "English Original": "l Sara Trevisan is a Leverhulme Early Career Fellow at the Centre for the Study of the Renaissance, University of Warwick.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2887919011_s0254": {
-    "English Original": "She is currently working on a book about the politics and materiality of royal pedigrees produced between 1550 and 1700.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0001": {
-    "English Original": "Mirror as a Prescreen Image in Tennyson's Poem \"The Lady of Shalott\" and PreRaphaelite Illustrations\n\nAnna Nikiforova Department of the artistic problems of mass media The State Institute for Art Studies Moscow, Russia Email: anna\\nikiforova@list.ru\n\nAbstract—The relation between screen culture and images in Alfred Tennyson's poem \"The Lady of Shalott\" as well as in PreRaphaelite illustrations and paintings to the poem are analyzed in the article.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0002": {
-    "English Original": "The image of the Lady represents a total dependence on a magical \"screen\", which in itself is a mirror.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0003": {
-    "English Original": "The author draws attention to the fact that fairy behaves like a dependent person, passive perceiving individual, more typical for mass media era.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0004": {
-    "English Original": "Works by Dante Gabriel Rossetti, John Everett Millais and William Holman Hunt which represent the poem episodes and consider to different extents the image of a mirror similar to screen are studied.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0005": {
-    "English Original": "Hunt's illustrations highlight the connection between prescreen motifs with the theme of female selfdetermination and crisis of romantic masculinity.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0006": {
-    "English Original": "As well author analyzes Henry Peach Robinson's staged photography \"The Lady of Shalott\" which resembles blackandwhite film frame.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0007": {
-    "English Original": "Keywords—visual culture; screen prehistory; Tennyson; the Lady of Shalott; the PreRaphaelites; mirror; photography; film; addiction; gender \n\n I.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0008": {
-    "English Original": "INTRODUCTION\n\nThe author of the book \"Traditions and interaction of arts\" V. I. Bozhovich, in reference to S.M.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0009": {
-    "English Original": "Eisenstein, marks that the elements of cinematographic vision existed in different arts for thousands of years.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0010": {
-    "English Original": "Author defines the decades preceding the creation of cinema as \"a period of embryonic development of cinema, its progressive maturing in the bosom of precede arts, which also approached the boundary of sharp structural mutations\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0011": {
-    "English Original": "Forefeeling of the new art birth could be found in the novels by Emile Zola, Gustave Flaubert, Marcel Proust as well as in the British art of the XIX century, in particular, in Alfred Tennyson's poetry.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0012": {
-    "English Original": "It is indicative that Herbert Marshall McLuhan in his article \"Tennyson and Picturesque Poetry\" notes that \"if anybody ever had and consciously cultivated a moviecamera eye it was Tennyson\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0013": {
-    "English Original": "The images of the poem \"The Lady of Shalott\" (published in 1842) are of interest to contemporary researchers largely due to the image of a mirror, analyzed in the context of the symbolic vision of the world in art [3], ancient imagery, as well as the English tradition of mirrors and portraits pun in works by Lewis Carroll, Oscar Wilde, Joan Rowling [4].",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0014": {
-    "English Original": "But still there is no scientific works where the poem analyzed as а part of the literary background of modern media.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0015": {
-    "English Original": "Nevertheless, for all its exquisite poetry, the poem \"The Lady of Shalott\" can be analyzed as one of the precursors of cinema and television.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0016": {
-    "English Original": "We consider that it would be useful to study the poem and PreRaphaelite illustrations to it, which also show penchant to dialogue of Tennyson's poetry and visual arts.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0017": {
-    "English Original": "Activation of the relationship between literature and painting which partly determined the cinema emergence is representative of 19th century art and its perception by contemporaries.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0018": {
-    "English Original": "In England the relationship between poetry and painting was marked by John Ruskin and Joshua Reynolds [5].",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0019": {
-    "English Original": "Comparison of the poem and illustrations is also useful as an example of the complicated interaction of verbal and visual images, which is studied today in the human sciences devoted to mass media [6].",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0020": {
-    "English Original": "This research can be attributed to studies devoted to the history of contemporary screen culture and its relationship to gender, in particular, to literary and dramatic images referring to the phenomenon of a mirror and a screen [7], [8].",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0021": {
-    "English Original": "Also, this article is based on the studies devoted to the history of female selfdetermination and representation of this theme in art.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0022": {
-    "English Original": "[9]\n\nThe subject of the article is the study of the images in poem \"The Lady of Shalott\", associated with the mirror and screen, and interpretation of these images in painting, drawings by the PreRaphaelites.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0023": {
-    "English Original": "The aim of the study is to analyze the formal and substantial aspects of the mirror image in Tennyson's poem and illustrations to it in the context of the further history of screen arts, and also in the context of the formation of views on the remote interaction of people and transformation of the women role in society.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0024": {
-    "English Original": "PRESCREEN IMAGES IN TENNYSON'S POEM \"THE LADY OF SHALOTT\"\n\nThe poem is about beautiful woman who must continually weave on her loom images reflected in the magic mirror.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0025": {
-    "English Original": "Curse will lie upon her, if she looks directly out at the world.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0026": {
-    "English Original": "Character of the curse, which forces the Lady to live a sheltered life, is unknown, as distinct from a weaver Arachne, who was turned by Athena into a spider; or Princess enhanced by evil fairy in \"The Sleeping Beauty\" by Charles Perrault.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0027": {
-    "English Original": "The curse in the poem is an objective impersonal power which could not be identified with a concrete figure.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0028": {
-    "English Original": "The Lady subserviently fulfills the will of unknown agency being insensitive to anything else, till she sees knight Lancelot in the mirror.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0029": {
-    "English Original": "She stops weaving and looks out of her window toward Camelot.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0030": {
-    "English Original": "After that mirror cracks, the web flew out.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0031": {
-    "English Original": "The Lady leaves her prison, sings the last song and dies in the boat on the way to Camelot.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0032": {
-    "English Original": "In the earlier version of the poem (1832), the dead Lady holds a letter explaining what happened.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0033": {
-    "English Original": "In the later version, she is known for the citizens of Camelot only by the name, which she wrote on the boat's prow.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0034": {
-    "English Original": "The Lady \"sends\" herself as a message, which has a name, inextricably linked with the artificial barrier of the body, with the boat.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0035": {
-    "English Original": "A beautiful dead woman in a boat doesn't need any detailed commentary or message; she is a message to the big world, from which she was torn off for a long time.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0036": {
-    "English Original": "It radically changes position of the heroine.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0037": {
-    "English Original": "Before, she only obediently functioned, remaining unknown for people.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0038": {
-    "English Original": "She wove a tapestry, creating estranged image, guided, in turn, by the images in the mirror, also estranged from the outside world.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0039": {
-    "English Original": "According to the poem, no one has ever seen the Lady before.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0040": {
-    "English Original": "Only reapers hear her song that echoes cheerily from the river to Camelot — political and social centre of the \"real\" world, where the various urban classes go, passing by the island of Shalott.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0041": {
-    "English Original": "Now the heroine reveals herself to an open reality, engages all eyes, even at the cost of her life.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0042": {
-    "English Original": "In \"Alfred Lord Tennyson: A memoir by his son\" Hallam Tennyson gives a comment attributed to Tennyson himself: \"the newborn love for something, for someone in the wide world for which she had been so long secluded takes out of the region of shadow into that of realities\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0043": {
-    "English Original": "The Lady sacrifices her life for the right to feelings, for love.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0044": {
-    "English Original": "Awaken love forces the Lady's eyes away from the mirror and turns to a big world.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0045": {
-    "English Original": "That activates destructive magical power which shortly takes her life.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0046": {
-    "English Original": "As can be seen, the mirror brings certain ambivalence, because it tears the Lady from a fulfilled life in the real world, but also shows her Lancelot, for whom she will break the ban and turn away from the mirrorscreen.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0047": {
-    "English Original": "This way, it suppresses the Lady, and fuels a riot.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0048": {
-    "English Original": "For the first time the Lady realizes, that her barren life, in fact, imprisonment, passes in the world of shadows, when she sees two lovers in the magic mirror.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0049": {
-    "English Original": "At that time the Lady breaks the silence.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0050": {
-    "English Original": "She says \"I'm half seek of shadows\" — images, produced by the magic mirror.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0051": {
-    "English Original": "Like \"a number of man living in an underground cavernous chamber\", which \"could have seen anything of themselves or of each other, beyond the shadows thrown by the fire upon the part of the cavern facing them\" in \"The Republic of Plato\", confined Lady could see nothing except the mirror.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0052": {
-    "English Original": "In essence, the mirror forms the perception of reality, which the Lady, in turn, reproduces creating the tapestry.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0053": {
-    "English Original": "[12]\n\nJoseph Chadwick discusses the magic mirror not only as \"the central symbol of her separation\", saying that unlike the \"market girls,\" the \"troop of damsels glad,\" or the \"two young lovers\", she remains outside the cycles of economic and sexual (\"She hath no loyal knight and true\") exchange\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0054": {
-    "English Original": "He believes, \"that mirror, showing her \"shadows of the world\" rather than her own reflection, indicates that she is utterly dependent upon the world from which she is separated\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0055": {
-    "English Original": "Her inner world is unknown for her.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0056": {
-    "English Original": "Stroeva analyzes the evolution of Narcissus' image from the archaic era to the age of \"selfie\" [14].",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0057": {
-    "English Original": "The Lady of Shalott is an antiNarcissus, she lives in \"antiselfie\" genre.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0058": {
-    "English Original": "Not only outside world is inaccessible for her, but even the selfcontemplation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0059": {
-    "English Original": "Forcible antinarcissism inevitably leads to an \"explosion\", to Lady's rebellion and the destruction of artificial distancing from the \"self\" and the world.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0060": {
-    "English Original": "Psychologically, the ability to visual selfrecognition is unique human ability [15].",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0061": {
-    "English Original": "So the magical world for a long time doesn't make possible to the Lady to gain a mature human selfidentity.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0062": {
-    "English Original": "Leaving the tapestry and the mirror costs the heroine's life.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0063": {
-    "English Original": "In the context of screen culture, it is important to note that the image of the Lady embodies a strong dependence on the magic \"screen\", which, in fact, is a mirror, if we mean the broad interpretation of the screen as \"a plane with an estranged image\" [16].",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0064": {
-    "English Original": "In the second half of the twentieth century and at present, the reality of screen addiction, outlined by Tennyson, takes root in everyday life, losing its glamour.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0065": {
-    "English Original": "Long hours in front of the screen or screens became a part of modern life.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0066": {
-    "English Original": "Every day parallel realities in social networks are perceived remotely by recipients, who get used to the endless contemplation of what is \"not here.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0067": {
-    "English Original": "The reapers name the Lady of Shalott a \"fairy\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0068": {
-    "English Original": "However, she doesn't realize her magical potential.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0069": {
-    "English Original": "Paradoxically, the heroinefairy behaves as totally dependent person, passive, perceiving individual, typical for the era of media domination.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0070": {
-    "English Original": "And only the appearance of handsome knight, who represented as a symbol of absolute, makes the Lady to neglect the selfprotection and violate the magical rules.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0071": {
-    "English Original": "Tennyson's landscape is a means to show the contrast between real life and the world of shadows.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0072": {
-    "English Original": "V. Pitt marks: \"All the way through the poem there is this contrast between the fruitful world of the barley sheaves, the fields and the reapers and the world of the Lady in the tower\" [17].",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0073": {
-    "English Original": "Arthur Vaughn finds out that the whole spirit of the poem changes directly the mirror cracks: \"Suddenly we are in the open air with the Lady: the breeze is in our faces, we are out on the stream.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0074": {
-    "English Original": "The pictures are no longer the pictures of the mirror; they are the sounds and sights of living, moving nature\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0075": {
-    "English Original": "Tennyson's landscape is an embodiment of the Lady's states of mind.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0076": {
-    "English Original": "Pale yellow woods, stormy eastwind, the stream complaining in the banks predict her death.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0077": {
-    "English Original": "Later, combining of different states of nature with emotional expressions of heroes became one of cinematic clichés, which gave a sense of parallelism between human life and nature.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0078": {
-    "English Original": "Filling the poem with highly semantic images, such as mirror, tapestry, boat, island, Tennyson creates a work faced the future of culture, the era of the growing presence of visual images and screens in everyday life and mediate interaction of the individual with surrounding world.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0079": {
-    "English Original": "ILLUSTRATIONS TO POEM\n\nArtists' interest in Alfred Tennyson's poems was largely due to visibility of the images and emotional depths.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0080": {
-    "English Original": "PreRaphaelite illustrations of Tennyson's \"Poems\", published by Edward Moxon in 1857, as well as paintings and drawings are studied in this part of the article in order to understand artists' response to Tennyson's images and \"prescreen\" tendencies in his poetry.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0081": {
-    "English Original": "In particular, we'll analyze the illustration by Dante Gabriel Rossetti (1857), drawing The Lady of Shalott by John Everett Millais (1854), painting by the artist of the PreRaphaelite circle Arthur Hughes (1858) and numerous artworks by William Holman Hunt on this subject, created in different years, including the major painting The Lady of Shalott created with Edward Robert Hughes (18861905).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0082": {
-    "English Original": "The painters produced numerous visual interpretation of final episode of Tennyson's poem, when already dead Lady comes into the view of Lancelot and turns from the passive perceiver into the main object of visual perception.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0083": {
-    "English Original": "Lancelot, surrounded by knights and burghers, lords and dames, looks at the Lady and says \"She has a lovely face\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0084": {
-    "English Original": "Perhaps just for this moment the Lady decided to break the ban – for posthumous admiration, for manifestation of her beauty and name.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0085": {
-    "English Original": "The death is used as a continuation of mediated interaction with the world, previously driven by curse.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0086": {
-    "English Original": "But now the Lady becomes the center of the media space, a kind of an artwork that is meant to be admired.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0087": {
-    "English Original": "Dante Gabriel Rossetti shows the Lady's arrival in Camelot and depicts Lancelot, surrounded by fearful burghers, looking at her.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0088": {
-    "English Original": "Elizabeth K. Helsinger marks, that \"the apparently fraught relations between the figures are not easy to explain as ordinary human experiences or emotions… the closeness and strangeness is raised to an almost claustrophobic pitch by the crowding of every inch of the small picture space (about three inches square) \"The drawing resembles a tapestry, each figure seems as it is woven or scratched in the effect that there is no empty space left.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0089": {
-    "English Original": "Figures stand still in unnatural poses like in a stopframe.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0090": {
-    "English Original": "And it may seem that the domination of the mirrorscreen reality comes back and subjugates the whole world  the curse still works.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0091": {
-    "English Original": "According to Helsinger, the artist \"wanted\n\nto capture a tone or mood or idea representative of the whole poem inventing decor and details to produce a highly condensed, replete image of the text, not simply a rendition of a scene from it\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0092": {
-    "English Original": "His work seems to give a sense of prolongation of the magic mirror effect on the world around and dependence on an unknown force.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0093": {
-    "English Original": "This force controls the movement of people, like a player controls the movement of computer game figures and put them on a \"pause\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0094": {
-    "English Original": "[19]\n\nIn his drawing, closely related to 1851 the painting Ophelia, John Everett Milles represents the Lady in a tiny boat.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0095": {
-    "English Original": "Millais focuses on the death itself as a beautiful and romantic event.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0096": {
-    "English Original": "He depicts both women in the last moments of life, just as they merge with the watery landscape, ending their life for love.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0097": {
-    "English Original": "Life and death are engaged in the drawing and in the canvas: spring anemones near a fallen tree over Ophelia's head, a flock of young swans near driftwood and the single swan close to the Lady.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0098": {
-    "English Original": "[20] This beautiful \"frame\" sublimes the death and melodramatize the view of a dead body.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0099": {
-    "English Original": "In the era of cinema, such intraframe compositions with dead and alive components became a common screen vehicle.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0100": {
-    "English Original": "Arthur Hughes, associated with the PreRaphaelite circle, illustrates the moment when the Lady arrives in Camelot.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0101": {
-    "English Original": "Her beautiful hair and dress trail through the water like in Millais's works.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0102": {
-    "English Original": "The Lady's face is turned towards the viewer, but her unseeing eyes look beyond the viewer.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0103": {
-    "English Original": "In the background, Hughes represents Camelot women, who are looking at the Lady with fear, sympathy and, perhaps, curiosity.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0104": {
-    "English Original": "This painting can be compared with a stopframe of а fairytale film or computer game with a medieval setting.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0105": {
-    "English Original": "A notable work on Tennyson's poem was a composite photograph by Henry Peach Robinson's The Lady of Shalott (1861).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0106": {
-    "English Original": "The photographer saw the relationship between PreRaphaelite paintings with minute accuracy in natural details and photography and followed their principles.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0107": {
-    "English Original": "In particular, he was impressed by Millais's Ophelia.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0108": {
-    "English Original": "At first Robinson photographed outdoor a model lying in the punt, then a length of the river and printed two negatives together.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0109": {
-    "English Original": "The photograph resembles a black and white film frame.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0110": {
-    "English Original": "The photographer explained: \"I made the barge, crimped the model's long hair….and gave her a background of weeping willows, taken in the rain that they might look dreary; and really they were very expressive…I think I succeeded in making the picture very PreRaphaelite, very weird and very untrue — I mean imaginative\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0111": {
-    "English Original": "Illustrating the poem accurately Robinson deviated from it in the inscription on the boat \"Ye Lady of Shalott\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0112": {
-    "English Original": "One of the critics wrote that \"no girl, distraught from such grief, would do such a thing inscription\", another critic did \"not like the boat, which is not a boat but a punt\" and mentioned as well that the boat did not show any evidence of movement in the water.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0113": {
-    "English Original": "[22]\n\nSo, critics did not consider photography as a selfcontained work, creating which artist has a right to express own aesthetic principles.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0114": {
-    "English Original": "On the other hand, spectators were waiting for the illusion of dynamics in the static image.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0115": {
-    "English Original": "That also indicates the spontaneous moving towards the era of cinema common to artists and audience.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0116": {
-    "English Original": "But the most significant and unusual in Robinson's photograph is the combination of realistic image and elaborate composition, which will later determine the principles of staged photo, cinema, including digital and even computer graphics.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0117": {
-    "English Original": "The Lady of Shalott is a key image in William Holman Hunt's art.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0118": {
-    "English Original": "Hunt continually turns to the moment when the curse falls upon the Lady.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0119": {
-    "English Original": "The earliest representation of the subject is drawing made by the artist in 1850.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0120": {
-    "English Original": "He represents the Lady's story in a set of small mirrors which look like film frames, surrounding the large central cracked mirror which reflects the Lady entangled in the tapestry threads and Lancelot riding away to Camelot.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0121": {
-    "English Original": "Thus, the artist emphasized the allencompassing significance of the mirror, which, according to the illustration, saves the visual images of the recent past, displaying the ability for more complex enchantment than in the poem.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0122": {
-    "English Original": "This fact often remains on the periphery of the researchers' interests, discussing gender issues in PreRaphaelite illustrations.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0123": {
-    "English Original": "Elizabeth Prettejohn notes that Hunt focuses on the aspect of sexual morality.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0124": {
-    "English Original": "The Lady abandons her duty and forsakes woman's passive role and gives her life for a single look at Sir Lancelot [23].",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0125": {
-    "English Original": "The Lady's awareness and affirmation of her own attraction and sexuality, which comes through the interaction with the magical screens, is inherent in selfimmolation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0126": {
-    "English Original": "Thus female riskbearing selfdetermination is determined as extremely high value.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0127": {
-    "English Original": "Working on the illustration (1857) to the Moxon Tennyson artist creates completely new image based on the earliest one.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0128": {
-    "English Original": "On the foreground, Hunt placed gigantic figure of the Lady in the frame of the web.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0129": {
-    "English Original": "Her flying hair merges with cracks on the mirror's surface.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0130": {
-    "English Original": "The heroine tries to break the bonds of the threads entangled her.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0131": {
-    "English Original": "The moment, when the Lady forsakes her work, is represented in this illustration much more dynamically and dramatically, than it's described in the poem.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0132": {
-    "English Original": "CONCLUSION\n\nMotives preexisted screen culture and development of the distant modes of interaction are dominant in Tennyson's poem.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0133": {
-    "English Original": "Mirrorscreen extremely complicates but prolongs the existence of the heroine and pushes her to a new stage of selfawareness, selfdetermination.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0134": {
-    "English Original": "The complex nature of the effect of the magic mirrorscreen on person is realized in this way.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0135": {
-    "English Original": "Present day motive of the user's inextricable communication with his screen is forefelt in the poem.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0136": {
-    "English Original": "In the illustrations the image of the mirror fades into the background.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0137": {
-    "English Original": "But the threads of the tapestry entangled the Lady in the paintings by Hunt and John William Waterhouse is the most successful visual image which doesn't occur in Tennyson's poem, but invented by the PreRaphaelites and associated with the remote action and addiction to the mirrorscreen and with the threads of fate in ancient understanding.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0138": {
-    "English Original": "The Lady takes first step to death when she\n\nstops to weave; she plays the role of Parka and cut the thread of her life.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0139": {
-    "English Original": "The artists felt more acutely then Tennyson the dependence of the beautiful heroine and interpreted it as a symbol of the woman's social and psychological dependence.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0140": {
-    "English Original": "Their paintings became a mirror of trend to highlight this problem in the art and literature of England in the mid19th century.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0141": {
-    "English Original": "Illustrations with the dominance of female figures and disregarding of Lancelot's image highlight the connection between prescreen motifs with the theme of female selfdetermination and crisis of romantic masculinity.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0142": {
-    "English Original": "In contrast to the poem, artists elaborate the details of the Lady's life with the striking lifelikeness.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0143": {
-    "English Original": "The \"stage lightning\" used in photography as well as bright colors of PreRaphaelite paintings produce the effects of modeling.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0144": {
-    "English Original": "The artworks look like a stopframe.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0145": {
-    "English Original": "PreRaphaelite paintings can be called prescreens, showing the various moments of the death of iconic figure of the Victorian era trying to break her bonds.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0146": {
-    "English Original": "REFERENCES\n\n [1] Bozhovich V.I.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0147": {
-    "English Original": "Traditions and the interaction of the arts.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0148": {
-    "English Original": "France at the end of XIXbeginning of XX century), Moscow: Science Publ., 1987, p. 56.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0149": {
-    "English Original": "Alfred Tennyson: The Critical Legacy, Camden House, Rochester, Boydell and Brewer Ltd, Inc, Woodbridge, 2014, p 92.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2908269078_s0150": {
-    "English Original": "[3] McLuhan H. M. Tennyson and picturesque poetry, Essays in criticism (1951).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
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-    "English Original": "[4] Kronegger M. The Orchestration of the Arts: A Creative Symbiosis of Existential Powers.",
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-    "English Original": "The Vibrating Interplay of Sound, Color, Image, Gesture, Movement, Rhythm, Fragnance, Word, Touch.",
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-    "English Original": "[5] Alban G. M. E. The Medusa Gaze in Contemporary Women's Fiction: Petrifying, Maternal and Redemptive.",
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-    "English Original": "Newcastle upon Tyne, Cambridge Scholars Publishing, 2017, p.64.",
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-    "English Original": "Illusionism and Illusionists of the beginning of XVII century as a preface to the technical visual culture of the late XIXXX centuries, Moscow: Knowledge .",
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-    "English Original": "Skill 2011, №4, p. 129.",
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-    "English Original": "To the prehistory of the computer intrascreen setup The Art and Science of Television Moscow: Humanities Institute of Television and Radio Broadcasting named after M. A. Litovchin, 2016. p. 66.",
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-    "English Original": "[10] Budge G. The Hallucination of the Real PreRaphaelite Vision as a Crisis of Romantic Masculinity.",
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-    "English Original": "// PreRaphaelite Masculinity in Art and Literature.",
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-    "English Original": "By Yeates A., Trowbridge S. London, New York, Routledge.",
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-    "English Original": "[11] Prettejohn, E. The Art of the PreRaphaelites.",
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-    "English Original": "London: Tate Publishing, 2000, p. 223.",
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-    "English Original": "[12] Tennyson, H. Alfred Lord Tennyson: A memoir by his son [1897] Vol.1.",
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-    "English Original": "[13] Plato The Republic of Plato / Transl.",
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-    "English Original": "into English, with an analysis, and notes, by John Llewelyn Davies and David James Vaughan.",
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-    "English Original": "[14] Chadwick, J A Blessing and a Curse: The Poetics of Privacy in Tennyson's \"The Lady of Shalott\" // Victorian Poetry.",
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-    "English Original": "Evolution of Narcissus' image from the archaic era to the age of \"selfie\" Culture and Civilization, Moscow: The Art and Science of Television Moscow: Humanities Institute of Television and Radio Broadcasting named after M. A. Litovchin 2018, № 14 p. 298301.",
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-    "English Original": "[16] Fisher S. Development and Structure of the Body Image.",
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-    "English Original": "New York, London Psychology Press.",
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-    "English Original": "To the prehistory of the computer intrascreen setup The Art and Science of Television Moscow: Humanities Institute of Television and Radio Broadcasting named after M. A. Litovchin, 2016. c. 6667.",
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-    "English Original": "[18] Pitt, V Tennyson laureate.",
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-    "English Original": "Toronto : University of Toronto press, 1969.",
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-    "English Original": "[19] Waugh, А. Alfred Lord Tennyson: A Study of his Life and work by Arthur Waugh with numerous illustrations, London: William Heinemann, 1894. p. 78.",
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-    "English Original": "Poetry and the PreRaphaelite arts: Dante Gabriel Rossetti and William Morris / Elizabeth K. Helsinger.",
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-    "English Original": "New Haven; London : Yale university press, cop.",
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-  "W2908269078_s0181": {
-    "English Original": "[21] Pictorial Interpretations of \"The Lady of Shalott\": The Lady in her Boat // The Victorian Web  literature, history, and culture in the age of Victoria URL: <http://www.victorianweb.org/authors/tennyson/losboat.html (14.09.2018).",
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-    "English Original": "[22] Harker, M, F Henry Peach Robinson: The Grammar of Art // Weaver M British photography in the nineteenth century: The fine art tradition.",
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-  "W2908269078_s0183": {
-    "English Original": ": Cambridge university press, 1989.  p. 135136.",
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-    "English Original": "[23] The Victorian Web literature, history, and culture in the age of Victoria URL: http://www.victorianweb.org/photos/robinson/2.html (дата обращения: 16.09.2018).",
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-    "English Original": "[24] Prettejohn, E. The Art of the PreRaphaelites.",
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-    "English Original": "London: Tate Publishing, 2000. p. 224.",
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-  "W2999083341_s0001": {
-    "English Original": "Università degli studi di Udine\n\n Patrons and artists on the move: New light on Matteo Giovannetti between Avignon and Rome\n\nOriginal\n\nAvailability:\n\nThis version is available http://hdl.handle.net/11390/1174028 since 20201125T09:26:53Z\n\nPublisher:\n\nPublished DOI:10.1017/S0068246219000370\n\nTerms of use:\n\nThe institutional repository of the University of Udine (http://air.uniud.it) is provided by ARIC services.",
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-    "English Original": "The aim is to enable open access to all the world.",
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-    "English Original": "Publisher copyright\n\n(Article begins on next page)\n\n PATRONS AND ARTISTS ON THE MOVE: NEW LIGHT ON MATTEO GIOVANNETTI BETWEEN AVIGNON AND ROME\n\n by Claudia Bolgia1\n\nThis article reassesses artistic production in Rome at the time of the temporary return of Pope Urban V, between 1367 and 1370, after a lengthy period of absence of the papacy in Avignon, and offers new insights into the longterm impact of this production.",
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-  "W2999083341_s0004": {
-    "English Original": "It does so by starting from a thoroughly neglected artwork now in the Museo Storico Artistico del Tesoro di S. Pietro, a victim of the traditional interpretative dichotomy as either a work by Giotto or not.",
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-  "W2999083341_s0005": {
-    "English Original": "By taking a different methodological approach, which is to think in terms of movement of patrons and artists, and on the basis of combined technical/visual analysis and documentary sources, the article sheds new light on this painting, offering new proposals concerning its dating, attribution, original location and function.",
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-  "W2999083341_s0006": {
-    "English Original": "It then addresses its historical contextualization and significance, allowing us to rethink art in Rome in the fourteenth century by discussing the role that the circulation of patrons and artists played in creating new forms.",
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-  "W2999083341_s0007": {
-    "English Original": "This discussion not only contributes to a better understanding of the art produced in Rome in the Trecento but also throws some light on the very origins and nature of Renaissance art.",
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-  "W2999083341_s0008": {
-    "English Original": "Questo articolo riesamina alcuni aspetti della produzione artistica a Roma all'epoca del temporaneo ritorno di Urbano V, tra il 1367 e il 1370, dopo il lungo periodo di assenza del papato avignonese, e mette in luce l'impatto che questa produzione ha avuto nel secolo successivo.",
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-  "W2999083341_s0009": {
-    "English Original": "Il punto di partenza è lo studio di un'opera poco nota, che si conserva nel Museo Storico Artistico del Tesoro di S. Pietro, vittima della dominante dicotomia interpretativa Giotto o nonGiotto.",
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-  "W2999083341_s0010": {
-    "English Original": "Partendo da un diverso approccio metodologico, che pone l'accento sulla circolazione di committenti e artisti, e associando un'analisi tecnica e visiva al riesame delle fonti testuali, l'articolo pone questo dipinto in una nuova luce e offre nuove proposte sulla sua datazione, attribuzione, collocazione originaria e funzione.",
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-  "W2999083341_s0011": {
-    "English Original": "L'articolo mette inoltre a fuoco il contesto storico e il significato dell'opera, consentendoci di ripensare l'arte del Trecento romano attraverso la discussione del ruolo svolto dalla circolazione di committenti e artisti nella creazione di nuove forme.",
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-  "W2999083341_s0012": {
-    "English Original": "Questa discussione non solo contribuisce ad offrire una migliore comprensione dell'arte prodotta a Roma nel XIV secolo, ma serve anche a fornire nuovi spunti per chiarire le complesse origini e la natura dell'arte del Quattrocento.",
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-  "W2999083341_s0013": {
-    "English Original": "<sup1</sup This article stems from research for a booklength project, The Long Trecento: Rome without the Popes (c. 1305–1420), undertaken while Samuel H. Kress Senior Research Fellow (2016–17) at CASVA, the Center for Advanced Study in the Visual Arts in Washington, DC, and in Rome and Avignon as Leverhulme Trust Research Fellow (2017–18).",
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-  "W2999083341_s0014": {
-    "English Original": "My gratitude goes to both institutions for their support.",
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-  "W2999083341_s0015": {
-    "English Original": "An earlier version of this essay was presented at the International Medieval Congress in Leeds on 3 July 2019, within four sessions on 'A Global Trecento: Objects, Artists, and Ideas across Europe, the Mediterranean and Beyond', coorganized with Luca Palozzi.",
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-  "W2999083341_s0016": {
-    "English Original": "I am grateful to that audience and the anonymous peerreviewers of the Papers of the British School at Rome for their thoughtprovoking comments.",
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-  "W2999083341_s0017": {
-    "English Original": "I also wish to thank Pietro Zander at the Fabbrica di San Pietro, and Dominique Vingtain and Julien Gallon in Avignon, for their assistance in the search for the photographs used as figures 1–2, 7 and 3–6, 8, respectively.",
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-  "W2999083341_s0018": {
-    "English Original": "Vatican City, Museo Storico Artistico del Tesoro di San Pietro, Sts Peter and Paul.",
-    "Has CLIP Embedding": true,
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-  },
-  "W2999083341_s0019": {
-    "English Original": "Tempera on copper (formerly on walnut wood).",
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-  },
-  "W2999083341_s0020": {
-    "English Original": "Photo: per gentile concessione del Capitolo di S. Pietro in Vaticano.",
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-  },
-  "W2999083341_s0021": {
-    "English Original": "The Museo Storico Artistico del Tesoro di S. Pietro in the Vatican houses an enigmatic painting (Fig.",
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-  "W2999083341_s0022": {
-    "English Original": "1) depicting images of the Apostles Peter and Paul, each holding a book in the left hand and the traditional attributes of keys and sword in the right.",
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-  },
-  "W2999083341_s0023": {
-    "English Original": "What makes the work so enigmatic is its considerable size (130 × 95 cm), its unknown original location and function, and its formal/ stylistic appearance which hitherto has defied both dating and attribution.",
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-  "W2999083341_s0024": {
-    "English Original": "This 'painting', in fact, turns out to be a combination of two separate panels, originally of tempera on walnut wood, both of which were transferred to copper and turned into one single painting in 1862.<sup2</sup The transfer has been explained by the fact that copper may have been considered a better support in terms of hygrometric resistance at a period of experimentation in conservation techniques (D'Alessandro, 2009: 17–18).",
-    "Has CLIP Embedding": true,
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-  "W2999083341_s0025": {
-    "English Original": "Such a drastic intervention, however, had unexpected and traumatic consequences.",
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-  },
-  "W2999083341_s0026": {
-    "English Original": "Not only was the painting deprived of all its preparatory layers but it also suffered craquelures and losses of the pictorial surface, caused by the immediate surfacing of the resin ( pece greca) used to make the layer of tempera adhere to the copper (D'Alessandro, 2009: 17).",
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-  "W2999083341_s0027": {
-    "English Original": "In turn, the losses and craquelures prompted heavy repainting, which fatally distorted the appearance of the artefact, and unquestionably contributed to its critical misfortune.",
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-  "W2999083341_s0028": {
-    "English Original": "What survives today is not merely a mutilated painting but rather a medieval artwork which has been almost entirely stripped of its original materiality, and thus of that 'matter' which plays such an important part in our understanding of its original appearance, significance and use.",
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-  "W2999083341_s0029": {
-    "English Original": "The overpainting was removed in the conservation campaign of 2009, at least in so far as removal was possible without further damaging the work.3 The conservator's report clarifies that earlier restorations lie beneath that of 1862 and that, in some parts of the painting, no trace of any original layer survives under the pictorial surface.",
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-  "W2999083341_s0030": {
-    "English Original": "These parts include the head of St Peter, the robe and feet of St Paul, and the dark green band where the figures stand, all of which are, therefore, the result of reworking (D'Alessandro, 2009: 18).",
-    "Has CLIP Embedding": true,
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-  "W2999083341_s0031": {
-    "English Original": "The cleaning and removal of later additions has, however, also brought to light what survives of the original painting, which has not yet received the attention it deserves.",
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-  "W2999083341_s0032": {
-    "English Original": "The reason for such damaging neglect lies within that same historiographical tradition which obsessively seeks out Giotto whenever considering Italian Trecento painting.",
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-  "W2999083341_s0033": {
-    "English Original": "This attitude owes much to the influential view of Vasari and continues to permeate modern art historical scholarship.",
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-  "W2999083341_s0034": {
-    "English Original": "It is also responsible for undervaluing the significance of the work in question — or rather, the works since we are discussing two discrete panels.",
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-  "W2999083341_s0035": {
-    "English Original": "This article aims to shed light on these paintings, beginning with their attribution and dating.",
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-  "W2999083341_s0036": {
-    "English Original": "It then addresses their contextualization and significance, allowing us to rethink art in Rome in the Trecento by discussing the role that the movement of patrons and artists played in creating new forms.",
-    "Has CLIP Embedding": true,
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-  },
-  "W2999083341_s0037": {
-    "English Original": "This in turn will throw some light on the longterm impact of such movement, especially on the very origins and nature of Quattrocento art.",
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-  "W2999083341_s0038": {
-    "English Original": "<sup2</sup As we learn from the account of the subarchivist of the Chapter of St Peter's in the Diario della Basilica Vaticana (27 June 1862), preserved in the Archivio Capitolare di S. Pietro, and cited by Stocchi, 2009: 13.",
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-  "W2999083341_s0039": {
-    "English Original": "This piece of information, without reference to the source, had already\n\nappeared in Cascioli, [1925]: 44.",
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-  "W2999083341_s0040": {
-    "English Original": "<sup3</sup The report of the campaign, promoted by the Administration of the Vatican Chapter, is published by the conservator Lorenza D'Alessandro, 2009: 16–23.",
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-  "W2999083341_s0041": {
-    "English Original": "188 CLAUDIA BOLGIA\n\nTo reexamine the panels without preconceptions, it is necessary to start with a\n\nbrief review of relevant literature.",
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-  "W2999083341_s0042": {
-    "English Original": "The 'panel' of the Apostles was first brought to scholarly attention by two authoritative art historians, Wolfgang Fritz Volbach and Albert Maria Ammann, who together visited the Treasury of the Basilica of St Peter's under the guidance of Canon Monsignor Ludwig Kaas in 1942.",
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-  "W2999083341_s0043": {
-    "English Original": "The Chapter of the Canons had recently created a Museumlike arrangement for the Treasury in two rooms on the ground floor of the present sacristy (Cascioli, 1912: 294–319; Lipinsky, 1950: 23–4).",
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-  "W2999083341_s0044": {
-    "English Original": "It is probable that the reason for their visit was an examination 'in the flesh', de visu, of the socalled icona paleoslava, a thirteenthcentury icon on which Volbach had written the previous year, and to which Ammann was about to add his Nachträge und Ergänzungen (Volbach, 1941: 480–97; Ammann, 1942: 457–68; Stocchi, 2009: 9).",
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-  "W2999083341_s0045": {
-    "English Original": "Towards the end of their visit the two scholars noticed a painting above the door of the Sacristy of the Beneficiates and requested that it be taken down for closer examination.",
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-  "W2999083341_s0046": {
-    "English Original": "Their closeup analysis resulted in Volbach's proposal to identify the work as a commission to Giotto by Cardinal Jacopo Caetani Stefaneschi for the main altar of Old St Peter's, a commission attested in the Liber Anniversariorum of the Vatican Basilica (Volbach, 1947: 369–75; 1979: 55–6).",
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-  },
-  "W2999083341_s0047": {
-    "English Original": "As is well known, the passage — recording the cardinal's donation of a 'tabulam depictam de manu Iocti super eiusdem bas[ilice] sacrosanctum altare' 4 — is today understood by most scholars as referring to the socalled Stefaneschi polyptych now in the Pinacoteca Vaticana, even if some scholars still continue to afford credibility to Volbach's suggestion.<sup5</sup Volbach also attempted to reconstruct the 'life' of the paintings by identifying references to them in the inventories of the Basilica and other sources (1947: 369–75; 1979, 55–6), but most of these 'identifications' — subsequently repeated by other scholars have convincingly been demonstrated as incorrect in the rigorous study by Arnold Nesselrath and Serena Romano for the sixth volume of the Corpus of the Pittura Medievale a Roma (Nesselrath and Romano, 2017: 333–4).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0048": {
-    "English Original": "Although the identification with Giotto's painting recorded in the Liber Anniversariorum has unsurprisingly found little support in scholarship, the association with Giotto has tenaciously remained, with some scholars firmly placing the painting in a Giottesque artistic milieu, and others — more wisely — rejecting the attribution.<sup6</sup In other words, the debate over this painting has always revolved around whether it is or is not by Giotto.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0049": {
-    "English Original": "Yet, this traditional interpretative dichotomy has long since hindered our consideration of other\n\n<sup4</sup 'Panel painted by the hand of Giotto above the holy altar of the said basilica': 'Liber\n\nAnniversariorum della basilica vaticana', in Egidi, 1908, I: 222–3.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0050": {
-    "English Original": "<sup5</sup For instance, Stocchi, 2009: 10.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0051": {
-    "English Original": "On the Stefaneschi polyptych, see, from an extended bibliography, Gardner, 1974: 57–103; Kempers and De Blaauw, 1987: 83–113; Romano and\n\nZander, 2017: 281–5, with full bibliography.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0052": {
-    "English Original": "<sup6</sup In favour of Giotto, see Stocchi, 2009, 8–15; Tomei, 2009a, II: 169–70; 2009b: 4–7; for the notGiotto party, see Nesselrath and Romano, 2017: 334, describing the attribution as 'bold to say the least' ('l'attribuzione a Giotto appare quanto meno ardita').",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0053": {
-    "English Original": "Vatican City, Museo Storico Artistico del Tesoro di San Pietro, Sts Peter and Paul.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0054": {
-    "English Original": "Tempera on copper (formerly on walnut wood), head of St Paul.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0055": {
-    "English Original": "Photo: per gentile concessione del Capitolo di S. Pietro in Vaticano.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0056": {
-    "English Original": "We should now reconsider the question with a broader horizon in mind.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0057": {
-    "English Original": "And we ought to begin by concentrating our attention on the head of St Paul (Fig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0058": {
-    "English Original": "2), an area for which no overpaintings have been signalled by the conservator (indeed the saint's halo is described as the bestpreserved part of the work) (D'Alessandro, 2009: 19–20).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0059": {
-    "English Original": "A series of three photographs, taken before, during and after the 2009 campaign, clearly shows how the head has resurfaced following the removal of layers of overpainting (D'Alessandro, 2009: 22, figs 14–16).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0060": {
-    "English Original": "It is almost certainly not in pristine condition (no medieval painting ever is), but, thanks to its recovery, it is clearly legible.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0061": {
-    "English Original": "In the best analysis of the painting to date, Serena Romano and Arnold Nesselrath observe that the head of St Paul has a 'curiously snubnosed physiognomy' and 'does not match any known painting by Giotto, either in style — and we use the word with great reticence — or in its iconographical and physiognomical details' (Nesselrath and Romano, 2017: 333–4).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0062": {
-    "English Original": "With regard to the dating, Romano and Nesselrath generally refer the painting to the Trecento, primarily on the basis of the silhouettes of the figures, and seem to favour a date around Giotto's time.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0063": {
-    "English Original": "Only towards the end of their analysis do they suggest that we cannot exclude 'other hypotheses, such as the period of the papacy's return from Avignon and the work at the Vatican of Giovanni da Milano, whose figures may perhaps be suggestive in this respect (see, for instance, the Saint Nicholas currently in the Corsini Gallery in Rome)'.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0064": {
-    "English Original": "<sup7</sup Whilst\n\n<sup7</sup Nesselrath and Romano, 2017: 334: '... altre ipotesi, per esempio al momento del ritorno da Avignone e dei lavori in Vaticano di Giovanni da Milano, le cui figure potrebbero forse essere in questo senso suggestive (si veda ad esempio il San Nicola attualmente nella Galleria Corsini, Roma)'.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0065": {
-    "English Original": "190 CLAUDIA BOLGIA\n\nthe reference to Giovanni da Milano is only vaguely evocative by explicit admission of the proposers (and still depends on Giotto's authority since Giovanni's formation is usually associated with the former's activity in northern Italy), the possibility of a date subsequent to the papal return following the lengthy period of absence in Avignon — left up in the air by these two scholars — is of interest.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0066": {
-    "English Original": "Indeed, an even more specific possibility, worthy of serious consideration, is that the two panels were made at the time of the 'temporary' return of the pope to Rome, that is, during the pontificate of Urban V (1362–70), who moving to the city in 1367 intended to transfer the papal see there permanently, only to abandon the idea and return to Avignon on 16 April 1370.<sup8</sup That this hypothesis has not previously been considered is presumably owing to the fact that nothing survives of the monumental pictorial enterprises promoted by the pope upon his return.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0067": {
-    "English Original": "At first glance it would seem that we are left with no comparative material to test our hypothesis and no artistic context in which to place our paintings.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0068": {
-    "English Original": "However, the Register of Expenses concerning one of the most important undertakings — the decoration of the Vatican Palace, chosen as the papal residence — is extant, and attests that the leading painter in the pope's service was Matteo Giovannetti da Viterbo, accorded the title of pictor sacri palatii.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0069": {
-    "English Original": "<sup9</sup As remarked upon by various scholars, this suggests that Matteo was responsible for, and in charge of, the team working on the main pictorial enterprises in the Vatican Palace before 18 October 1367 (when he is first recorded in a payment alongside his socii) until at least 29 April 1369, the date of his last recorded payment.<sup10</sup Such enterprises included the decoration of the camera paramenti, two papal upper rooms (duae camerae superiores domini nostri), the staircase leading to them and a linking upper portico (either a corridor or, more probably, a loggia).<sup11</sup Matteo himself most probably died in the summer of 1369 (Castelnuovo, 1991: 151).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0070": {
-    "English Original": "Highly relevant to our discussion is that Matteo had been a major painter in the papal palace of Avignon too, and for more than twenty years: his first record as pictor papae dates to 17 March 1346 (Castelnuovo, 2004: 168).<sup12</sup He was probably already active in Avignon towards the end of the pontificate of Benedict XII (1334–42), but his main commissions date from the pontificate of Clement VI (1342–52) (Castelnuovo, 1991: 38–40; 2004, 169–74).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0071": {
-    "English Original": "Of these,\n\n<sup8</sup As a reference point for the pontificate of Urban V see Hayez, 2000: 542–50.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0072": {
-    "English Original": "On his patronage\n\nin Rome: Bolgia, 2016: 343–50.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0073": {
-    "English Original": "<sup9</sup Most entries in the Register, preserved in the Vatican Archives (ASV, Camera Apostolica, collectoriae), are published in Kirsch, 1898.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0074": {
-    "English Original": "See also Monciatti, 2005: 239–41.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0075": {
-    "English Original": "For the appellation pictor sacri palatii see ASV, Camera Apostolica, collectoriae 450, fol.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0076": {
-    "English Original": "147r, cited in\n\nMonciatti, 2005: 240.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0077": {
-    "English Original": "<sup10</sup For the first payment see Kirsch, 1898: 111; for the second (ASV, Camera Apostolica,\n\ncollectoriae 450, fol.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0078": {
-    "English Original": "147r), see Monciatti, 2005: 240.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0079": {
-    "English Original": "<sup11</sup See entries in Kirsch, 1898: 111, 115 and, especially, 116.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0080": {
-    "English Original": "On Matteo Giovannetti the reference monograph is Castelnuovo, 1991.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0081": {
-    "English Original": "<sup12</sup On the papal palace at Avignon, see Vingtain, 1998.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0082": {
-    "English Original": "Avignon, Papal Palace, Chapel of St John, frescoes.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0083": {
-    "English Original": "Matteo Giovannetti da Viterbo, 1346–8, Resurrection of Drusiana, detail.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0084": {
-    "English Original": "the frescoes of the chapels of St Martial (1344–6) and of St John (1346–8) are still extant, as is part of the decoration of the Great Audience Hall (c. 1353).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0085": {
-    "English Original": "He also worked for Innocent VI in 1355 at the Chartreuse of VilleneuvelèsAvignon (where portions of his frescoes are still visible), and for Urban V, who commissioned from him the decoration of the newly built part of the palace, the socalled Roma (1365–6), and 56 painted linen canvases with legends of St Benedict for the eponymous college in Montpellier (1366–7) (Castelnuovo, 1991: 151).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0086": {
-    "English Original": "Neither the Ala Roma nor the canvases survive.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0087": {
-    "English Original": "As a favourite painter of Urban V, Matteo moved to Rome when, in 1367, the pope brought the Holy See back to the Eternal City.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0088": {
-    "English Original": "If, as Serena Romano reminds us, we should be cautious of any stylistic analysis, an iconographical and physiognomical analysis still remains viable.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0089": {
-    "English Original": "The snubnosed physiognomy is a characterizing feature of Matteo Giovannetti's painting, as is evident in many of his figures, such as the group of women witnessing the Resurrection of Drusiana in the chapel of St John (Fig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0090": {
-    "English Original": "3), to mention just one example.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0091": {
-    "English Original": "The wide and high forehead, the bald\n\n\n\nFig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0092": {
-    "English Original": "Avignon, Papal Palace, Chapel of St Martial, frescoes.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0093": {
-    "English Original": "Matteo Giovannetti da Viterbo, 1344–6, Christ Blessing St Martial, detail.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0094": {
-    "English Original": "and round top of the head, with hair gathered on the sides, are also typical (Fig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0095": {
-    "English Original": "4), as are the prominent ears (Fig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0096": {
-    "English Original": "Figures, such as that of Moses in the vault of the Prophets in the Great Audience Hall, combine several such characterizing elements (Fig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0097": {
-    "English Original": "6) and offer a good comparison for the head of St Paul in the Vatican (Fig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0098": {
-    "English Original": "Other figures in the same vault, such as Solomon, show a partially turned head with a nose in halfprofile, which finds a parallel in St Peter's nose.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0099": {
-    "English Original": "Although his head has been repainted, it is possible that the original outline of head and nose was retained by the restorer: particularly distinctive is the lower line defining the nostrils (Fig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0100": {
-    "English Original": "7), which can be paralleled with that in the sinopia of the head of St John the Evangelist in the Great Audience Hall (Fig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0101": {
-    "English Original": "8): their almost perfect matching, if superimposed, suggests more than a coincidence.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0102": {
-    "English Original": "The idea of pairing 'iconic' frontal standing figures with those that are partially turned is also typical of Matteo Giovannetti.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0103": {
-    "English Original": "Additionally, if we compare the silhouettes or outlines of the figures — ignoring the drapery which has been altered or entirely remade — we can observe further similarities.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0104": {
-    "English Original": "For instance, the flying pointed portion of cloak hanging down the right arm of St Peter finds several parallels in Matteo's surviving work in Avignon, including a figure of the Prince of the Apostles himself in the vault of the chapel of St Martial (in the scene depicting St Peter handing the pastoral staff to St Martial).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0105": {
-    "English Original": "Of course, parallels are difficult as we are comparing works that are technically different (frescoes and panel paintings,\n\n\n\nFig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0106": {
-    "English Original": "Avignon, Papal Palace, Chapel of St Martial, frescoes.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0107": {
-    "English Original": "Matteo Giovannetti da Viterbo, 1344–6, Healing of Sigisbert, Count of Bordeaux, detail.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0108": {
-    "English Original": "the latter almost entirely deprived of their very matter) and which may be dated between fifteen and twenty years apart, provided that we are correct in ascribing the Vatican panels to the period 1367–9.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0109": {
-    "English Original": "And yet, these considerations serve only to reinforce the parallels.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0110": {
-    "English Original": "It is also worth bearing in mind that medieval artists usually led workshops and that Matteo Giovannetti was no exception, according to the reference to his socii in the payment records.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0111": {
-    "English Original": "The collaborative nature of the medieval cantiere complicates problems further since the leading master tended to impose a standardized and uniform mode of painting on the pictorial enterprise, including consistency in proportions, modes of depicting flesh, and even physiognomies.<sup13</sup Thus, any discussion of a 'hand' (and related parallels) needs also to take into account the organization of a medieval workshop and the many hands of the assistants.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0112": {
-    "English Original": "These often worked in a specialization — one may have painted heads, another clothing, and yet another architectural structures.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0113": {
-    "English Original": "As Zanardi observed, 'one could say that the problem a master faced then was the exact opposite of what an art historian faces today: the medieval\n\n<sup13</sup The phenomenon is well studied.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0114": {
-    "English Original": "Amongst the many publications, see, in particular, Zanardi, 1996, 2002; 2004: 32–62.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0115": {
-    "English Original": "On Giovannetti's workshop, Denifle, 1888: 602–30.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0116": {
-    "English Original": "Avignon, Papal Palace, Great Audience Hall, frescoes.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0117": {
-    "English Original": "Matteo Giovannetti da Viterbo, c. 1353.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0118": {
-    "English Original": "Vault of the Prophets, detail of Moses.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0119": {
-    "English Original": "Vatican City, Museo Storico Artistico del Tesoro di San Pietro, Sts Peter and Paul.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0120": {
-    "English Original": "Tempera on copper (formerly on walnut wood), head of St Peter.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0121": {
-    "English Original": "Photo: per gentile concessione del Capitolo di S. Pietro in Vaticano.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0122": {
-    "English Original": "Avignon, Papal Palace, Great Audience Hall, frescoes.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0123": {
-    "English Original": "Matteo Giovannetti da Viterbo, c. 1353.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0124": {
-    "English Original": "Sinopia of the head of St John the Evangelist from the Calvary scene.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0125": {
-    "English Original": "master needed to know how to conceal as much as possible the individual artistic personalities of his assistant painters; the modern art historian seeks to reveal them' (Zanardi, 2004: 61).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0126": {
-    "English Original": "And yet, it is vital that a modern art historian attempts to identify the master and related workshop responsible for any given artefact as a starting point for a wider contextualization; otherwise such an artefact might remain a silent ghost, as was the case of the Vatican panels.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0127": {
-    "English Original": "The size of these panels suggests an important commission, and a relevant destination.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0128": {
-    "English Original": "Unfortunately, the very nature of an Expense Register means that Matteo Giovannetti's actual activity is only partially recorded.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0129": {
-    "English Original": "Indeed, in two instances in which Matteo is mentioned in the Register, there is a reference to more detailed forms of written documentation, dubbed 'cartabulum' and 'cedula'.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0130": {
-    "English Original": "In an entry of 11 January 1368, it is said that Matteo is paid for various colours according to what had been set down in writing and commissioned 'in quadam cedula'.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0131": {
-    "English Original": "<sup14</sup An entry of the following 30 January makes reference to various works listed in a 'cartabulo dato per supradictum dominum Matheum a supradicto domino Gaucelino' (the latter — as we know\n\n<sup14</sup Document transcribed in Kirsch, 1898: 115: 'I.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0132": {
-    "English Original": "in coloribus diversis preter superius expressos per dictum dominum Gaucelinum sibi traditis per dominum Matheum de Viterbio archipresbiterum Certellensem fuit in quadam cedula scriptum et ordinatum in summa 116 flor.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0133": {
-    "English Original": "from other entries in the same Register — was Gaucelin de Pradelhe, the director of the work).15\n\nNevertheless, it remains a fact that the panels are not explicitly mentioned in the surviving documentation concerning work at the Vatican Palace.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0134": {
-    "English Original": "It is possible, therefore, that the paintings were not designed for it, and we shall return to this point.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0135": {
-    "English Original": "Their monumental size and presumably high value (if only for the generous use of gold) raise the question of their original function.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0136": {
-    "English Original": "If we virtually split the current painting on copper in two, we obtain two panels of 130 by 47.5 cm each.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0137": {
-    "English Original": "This may not have been their original exact size as the dismantling of their first setting may well have caused some alteration in the size of their support, but it is fair to start our discussion from an approximate reconstructed size of c. 130 by 47.5 cm.<sup16</sup\n\nRectangular panels of a similar size are not common, but are attested primarily in the fifteenth century, when they were deployed for the promotion of the cult of saints in the making or recently canonized.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0138": {
-    "English Original": "A number of such panel paintings survive depicting St Bernardino of Siena (d. 1444), a recently deceased saintinthemaking, whilst the panel of the 'blessed' Giovanna Felici formerly in the Locatelli Milesi Collection (but originating from Rome and dating c. 1433–40) is a good example of attempted 'canonization through images', albeit a failed one (Fig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0139": {
-    "English Original": "9).<sup17</sup Such paintings provided a smart answer to the functional exigencies of commemoration, cult and sanctification, serving either as potential miracleworking images that replaced the actual miraculous bodies or as valuable assets for the canonization process (Israëls, 2007: 77–114; Bolgia, 2013b: 52–60).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0140": {
-    "English Original": "These panels were primarily hung on pillars or columns in churches, as 'mobile' equivalents of images frescoed there, and their function was likewise related to cult promotion.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0141": {
-    "English Original": "The Chronica fratrum minorum observantiae of Bernardino Aquilano, for instance, attests that painted portraits of Bernardino of Siena were hung on columns within churches before his canonization.<sup18</sup Albeit more rarely, similar paintings are also found in the Duecento and Trecento, as is the case with the extant portraits of St Francis of Assisi.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0142": {
-    "English Original": "An example of these is the panel (c. 1270) in the Upper Chapel (cella of St Francis) in S. Francesco a Ripa in Rome (Fig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0143": {
-    "English Original": "10), measuring 129 × 52 cm, whilst the images of St Louis of Toulouse and St Anthony of Padua in the same\n\n<sup15</sup Kirsch, 1898: 116.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0144": {
-    "English Original": "Indeed, one of Matteo's own account books (dated 1347, and recording expenses concerning the decoration of the Concistoro in the Avignon Palace) survives, thus constituting an invaluable source for the organization of a painter's workshop in the papal palace.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0145": {
-    "English Original": "On Gaucelin see, for instance, the entry of 28 October 1368 in\n\nKirsch, 1898: 136: 'Gaucelino de Pradallo directori operum palacii Romae'.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0146": {
-    "English Original": "<sup16</sup The conservator's report (D'Alessandro, 2009: 16–23) does not include any indication of the measures of the panels before 1862.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0147": {
-    "English Original": "<sup17</sup On S. Bernardino, see Israëls, 2007: 77–114; Cobianchi, 2009: 55–83.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0148": {
-    "English Original": "On Giovanna Felici, Bolgia, 2013b: 52–60.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0149": {
-    "English Original": "On the creation of beati and the phenomenon of canonizations through images, see Vauchez, 1988: 109–20.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0150": {
-    "English Original": "<sup18</sup '...quia pinguntur plures figurae sancti et in columnis appenduntur ecclesiae': Lemmens, 1902:\n\n<sup37;</sup Cobianchi, 2009: 57.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0151": {
-    "English Original": "Unknown location, formerly Bergamo, Achille Locatelli Milesi Collection, the 'blessed' Giovanna Felici.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0152": {
-    "English Original": "Tempera on wood (?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0153": {
-    "English Original": "Photo: Biblioteca Berenson, Fototeca, Villa I Tatti — The Harvard University Center for Italian Renaissance Studies.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0154": {
-    "English Original": "convent, datable to c. 1325, measure 129 × 24 cm, a size that may have been dictated by the earlier St Francis's panel (the reduced width depending on the hierarchy of sainthood within the Order).<sup19</sup In this case, the 'portrait' of St Francis may have originally hung either in the church or in the cella where the sainttobe had allegedly lived during his Roman residence, while the later panels were probably conceived as a pendant, perhaps to transform the original single panel into a triptych.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0155": {
-    "English Original": "All these cases feature either the portrait of a recent saint or of a saintinthemaking.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0156": {
-    "English Original": "Examples portraying already established or traditional saints are also known, but are rarer and primarily of the type often referred to as 'devotional paintings', that is, commissioned by a clerical or lay devotee, whose tiny image in prayer appears at the feet of the saint.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0157": {
-    "English Original": "These paintings are not often studied with\n\n<sup19</sup Queijo, 2012: 303–4, with bibliography on this and other similar portraits of St Francis; Sgherri, 2017: 308–9, with full bibliography.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0158": {
-    "English Original": "Rome, S. Francesco a Ripa, Upper Chapel, St Francis.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0159": {
-    "English Original": "Tempera on wood, c. 1270 (heavily repainted).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0160": {
-    "English Original": "attention to their original location and function, but it seems probable that they too were hung on columns or pillars, and were the expression of intense devotion, sometimes even of thanksgiving for a received miracle.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0161": {
-    "English Original": "One such case should be seen in the image of St Lucy (170 × 64 cm), formerly in the Roman church of S. Lucia in Selci (Fig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0162": {
-    "English Original": "11), variously dated between the end of the thirteenth and the midfourteenth century, and commissioned by the wife of a member of a prominent Roman noble family, 'Angila uxor Odonis Cerronis', according to the inscription flanking the minuscule donor.20 That the image\n\n<sup20</sup For the earlier dating, based on stylistic analysis, see Romano, 2017: 37–8; for the later dating, grounded in a possible identification of the donor in archival documents, see Barry, 2003: 111–39.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0163": {
-    "English Original": "The hinges on the sides of the panel are later and should not be seen as evidence that the panel was the central component of a triptych originally.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0164": {
-    "English Original": "On sacred images and devotional practices, see Bacci, 2000.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0165": {
-    "English Original": "Grenoble, Musée des Beaux Arts, St Lucy.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0166": {
-    "English Original": "Tempera on wood, from S. Lucia in Selci, Rome.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0167": {
-    "English Original": "Photo: © Ville de Grenoble/Musée de Grenoble.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0168": {
-    "English Original": "was a private commission, not destined for the high altar — contrary to what some scholars have proposed — is indicated by the fact that the saint is holding a vase with a flame, symbol of the Wise Virgin, in the one hand, and a fold of her cloak in the other: a private and intimate gesture, unusual for 'official' public images, in which the saints typically hold the cross or the attribute of their martyrdom in the left hand and make a gesture of testimony/prayer palm frontally outward — with the right hand.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0169": {
-    "English Original": "Examples of large individual rectangular panels displaying more traditional images of wellestablished saints appear to be unprecedented in Rome, and very rare throughout Italy.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0170": {
-    "English Original": "Those that survive are primarily in museums where their original provenance and function are unknown.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0171": {
-    "English Original": "In the church of S. Maria Nuova in Viterbo there survives a twelfthcentury folding tabernacle, measuring 150 by 100 cm in total (that is, when open), showing Christ enthroned in the centre, and the Virgin and John the Evangelist in the intercessory gesture of the 200 CLAUDIA BOLGIA\n\nDeesis on the rectangular side panels.<sup21</sup When these are closed, their backs are on display, featuring standing images of St Peter and St Paul with their attributes, acting as authoritative guardians to the holy trio inside.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0172": {
-    "English Original": "A seraph holding a sword on the back of the central panel further enhances the shrine effect.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0173": {
-    "English Original": "In this case, the width of the rectangular images of Peter and Paul is only 25 cm, that is, exactly half of the size of the Saviour whom they protect.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0174": {
-    "English Original": "The proportion is therefore very different from our panels (even taking into account that the current support presumably does not correspond precisely to the original size).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0175": {
-    "English Original": "Furthermore, the images are set against a blue background, the golden background being reserved to the internal central image of the blessing Christ.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0176": {
-    "English Original": "Thus, it is unlikely that the Vatican panels had a similar function.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0177": {
-    "English Original": "So then, what function did they actually perform?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0178": {
-    "English Original": "Before addressing this question, we ought to consider the germane issue of original location.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0179": {
-    "English Original": "According to Romano and Nesselrath, the earliest mention in the Vatican of two paintings which may arguably be recognized as those under consideration is found in Torrigio (1618: 44) who saw 'due antichissime tavole lunghe ove sono dipinti questi due santi Apostoli [Pietro e Paolo]' ('two most ancient long panels in which these two holy Apostles are depicted') in the Clementine Chapel in the Vatican Grottoes, on the altar which was believed to house half of the bodies of Peter and Paul.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0180": {
-    "English Original": "The two scholars additionally observe that the panels may be the same as those described in the inventory of 1603–16 as located on the altar under the confessio of St Peter's, which is indeed convincing since the altar of the Clementine chapel is situated exactly under the confessio of St Peter's, but this anticipates their first mention by only a few years.<sup22</sup It is puzzling that Torrigio does not record the provenance of the panels before their arrival in the Clementine chapel (dating around 1592, under Clement VIII).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0181": {
-    "English Original": "He is usually very accurate on this type of information in his work on the Vatican Grottoes, the main raison d'être of which was, after all, to document the movement of relics and artworks from Old St Peter's to the newly constructed Grottoes.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0182": {
-    "English Original": "It is even more surprising that the panels are recorded in neither literary nor documentary sources accounting for the removal of relics and artworks at the time of the demolition of Old St Peter's.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0183": {
-    "English Original": "Romano and Nesselrath observed that 'no specific tradition accompanied them' (Nesselrath and Romano, 2017: 334).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0184": {
-    "English Original": "The lack of a tradition or a legend associated with them is rather perplexing, especially considering the wealth of information that survives for other monuments or artworks now in the Grottoes and originally in the Vatican basilica.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0185": {
-    "English Original": "A plausible explanation might be that the panels were not originally conceived for Old St Peter's and were only transferred there at a later stage, perhaps when their original setting was dismounted.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0186": {
-    "English Original": "<sup21</sup Leone, 2012, I: Cat.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0187": {
-    "English Original": "39, on 86–7, figs 22a–c, on 123–4.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0188": {
-    "English Original": "<sup22</sup BAV, Archivio Capitolare di S. Pietro, Inventario 18: 'Altare sotto la Confessione di S. Pietro.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0189": {
-    "English Original": "Quadri due antichi dove sono depinte l'imagini di S. Pietro e di S. Paolo' (Altar under the Confessione of St Peter.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0190": {
-    "English Original": "Two ancient paintings in which the images of St Peter and St Paul are depicted).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0191": {
-    "English Original": "Nesselrath and Romano, 2017: 334.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0192": {
-    "English Original": "Furthermore, the difficulty of finding comparative material for the size (and iconography in relation to size) as well as related function of the paintings may be an indication that they originally belonged to an unusual type of monument.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0193": {
-    "English Original": "In Rome, a single example survives of paintings similar in size and iconography, and yet these paintings are much later, generally dated to the late fifteenth or early sixteenth century, and ascribed to the school of Antoniazzo Romano.<sup23</sup What is interesting for our discourse, however, is that these form part of an earlier monument, dating precisely to 1368–9, and that they replace earlier paintings, presumably of the same or similar subject, and contemporary to the monument.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0194": {
-    "English Original": "I am referring here to the paintings which decorate the base of the platform for the display of the reliquaries of Sts Peter and Paul in the tabernacle over the high altar of St John Lateran (Fig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0195": {
-    "English Original": "12), the cathedral of Rome.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0196": {
-    "English Original": "Each side of the tabernacle displays three paintings (Fig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0197": {
-    "English Original": "13), featuring a pair of saints in each of the side panels, and a Coronation of the Virgin, a Crucifixion, an enthroned Virgin and Child with a kneeling donor, and Christ as Good Shepherd, in the central panels.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0198": {
-    "English Original": "Their size is 94 by 156 cm, which means 47 by 156 if we ideally split the panel with a pair of saints into two separate panels, each featuring one saint only.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0199": {
-    "English Original": "Their width is therefore almost identical to the approximately reconstructed width of the Vatican panels (47.5 cm).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0200": {
-    "English Original": "The height of the latter panels is less than that of the paintings currently on the tabernacle, but, in these, the saints appear under a round arch, which occupies some space (c. 25 cm) in the upper part of the composition.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0201": {
-    "English Original": "If we posit the existence of a similar arch or simply more golden background above the heads of the saints in the Vatican Treasury panel (corresponding to the space occupied by the arch in the paintings on the tabernacle), we obtain a height of c. 155 cm, which is remarkably similar to that of the tabernacle's paintings (156 cm).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0202": {
-    "English Original": "Indeed, Peter and Paul now appear rather squat, which may well be the consequence of a reduction in height of the background behind their heads.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0203": {
-    "English Original": "With all necessary caution, I would therefore like to suggest that the painting now in the Vatican Treasury originally pertained to the decoration of the base of the relic chamber of the tabernacle commissioned by Urban V and realized c. 1368–70.<sup24</sup Within Urban V's artistic policy, this was the most important commission, aimed at refocusing attention on the Lateran, the cathedral of Rome, as the centre of Western Christendom, and the pope as its very leader.<sup25</sup It was indeed rather successful in this respect, to the extent that hundreds of\n\n<sup23</sup Monferini, 1962: 210 follows Longhi's suggestion that they may be the work of a 'seguace umbreggiante di Antoniazzo' ('an Umbrianish follower of Antoniazzo').",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0204": {
-    "English Original": "Luciani, 2009: 182 ascribes them to Antoniazzo himself and Fiorenzo di Lorenzo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0205": {
-    "English Original": "<sup24</sup The tabernacle was completed under Gregory XI (1370–8), as attested by the presence of his coat of arms in one of the crowning gables.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0206": {
-    "English Original": "The shrine, however, must have been in an advanced stage in April 1370, when the reliquaries of Sts Peter and Paul were ceremonially installed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0207": {
-    "English Original": "<sup25</sup Bolgia, 2018: 177–92.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0208": {
-    "English Original": "For a subsequent episode of the 'Tabernacles' War' (that is, the use of monumental tabernacles to shape and express relics' and icons' embodiments of papal and civic identities), see Bolgia, 2019: 311–40; Bolgia, forthcoming.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0209": {
-    "English Original": "Rome, St John Lateran, high altar, tabernacle for the relics of St Peter and St Paul.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0210": {
-    "English Original": "Giovanni di Stefano da Siena and assistants, c. 1368–72.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0211": {
-    "English Original": "images of Urban V, holding either the tabernacle or the reliquaries it housed, were depicted in Rome and across Italy as part of a propaganda campaign in favour of the reestablishment of the papal residence in Rome during the pontificate of Gregory XI (1370–8) and in support of a 'Roman' pope in the course of the following Great Schism (1378–1417) (Bolgia, 2002: 562–74; 2016: 343–50).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0212": {
-    "English Original": "The monument is ascribed to the Sienese architect and sculptor Giovanni di Stefano, who was responsible for building activity in the basilica, assisted by a team of sculptors working under his direction (Monferini, 1962: 182–212).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0213": {
-    "English Original": "Despite some restorations, the most visible of which dates to 1851, the monument is in relatively good condition.<sup26</sup\n\nAlready by the late fifteenth or early sixteenth century a need must have arisen to replace the paintings, presumably more damaged and darkened by smoke and candles than the sculptures.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0214": {
-    "English Original": "Although the early modern paintings are in fresco, there is some physical evidence to suggest that the originals were on panels.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0215": {
-    "English Original": "The\n\n<sup26</sup The nineteenthcentury restoration is not only attested by the inscription running under the relic chamber (visible in our Fig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0216": {
-    "English Original": "13), but also documented in Martinucci, 1854.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0217": {
-    "English Original": "An article on the Lateran tabernacle in the context of Urban V's patronage and its broader impact outside Italy is in preparation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0218": {
-    "English Original": "Rome, St John Lateran, high altar, tabernacle for the relics of St Peter and St Paul.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0219": {
-    "English Original": "Giovanni di Stefano da Siena and assistants, <supc</sup.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0220": {
-    "English Original": "1368–72, base of the relic chamber, late fifteenth/early sixteenthcentury paintings by Antoniazzo Romano'<sups</sup school.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0221": {
-    "English Original": "Rome, St John Lateran, high altar, tabernacle for the relics of St Peter and St Paul.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0222": {
-    "English Original": "Giovanni di Stefano da Siena and assistants, c. 1368–72, detail of the base of the relic chamber.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0223": {
-    "English Original": "small Gothic pilasters framing the images protrude visibly by c. 8 cm (Fig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0224": {
-    "English Original": "14), indicating that they originally framed images of greater depth, which supports the hypothesis that the latter were on wooden panel.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0225": {
-    "English Original": "As the original decoration of the base of the relic chamber was replaced very early in the history of the monument (that is, less than a century and a half after it was realized), it is unsurprising that no description or reference to its appearance has survived.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0226": {
-    "English Original": "There is, nevertheless, one controversial exception, namely a mideighteenthcentury note by Guglielmo Della Valle (1785: 116) according to which the seventeenthcentury erudite Giulio Mancini had ascribed the paintings to a certain Barna da Siena.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0227": {
-    "English Original": "Monferini (1962: 211), who recorded the attribution, was sceptical as she could not find the reference in Mancini's work.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0228": {
-    "English Original": "The passage, however, is found in Mancini's Considerazioni sulla Pittura and reads: 'One may believe that the paintings commissioned by Urban V for the ciborium of the heads of Saints Peter and Paul in St John Lateran are probably by the hand of the aforementioned Berna because this artist spent such a short time in his own land, and lived during those times, and could have had people who would have brought him close to the said pontiff, who was very dear to the Sienese...' <sup27</sup The passage is highly problematic, not only as\n\n<sup27</sup Marucchi, 1956, I: 179: 'Di questo Berna probabilmente si può credere che siano le pitture del ciborio, dove stan le teste di Ss.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0229": {
-    "English Original": "Pietro e Paolo in S. Giovanni Laterano fatte fare da Urbano V, perché questo artefice fu poco nella patria, e visse in questi tempi, e poté aver genti che lo portassero appresso al detto pontefice il quale era molto ben affetto ai Senesi ...'\n\nMancini's argument is very flimsy (a point already noted by Della Valle),<sup28</sup but also as the attribution came at a time when the original decoration had already been replaced by the fifteenthcentury frescoes, whilst Mancini seems to ascribe to Berna the decoration visible in his time.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0230": {
-    "English Original": "Perhaps, even more importantly, most scholars have reached the conclusion that the mysterious Berna or Barna da Siena, for whom there is no certain documentary evidence, is 'an historical fiction' (Hourihane, 2012: 246–7).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0231": {
-    "English Original": "If Mancini's attribution is to be discounted, it nevertheless indicates that in early modern times the decoration of the base of the chamber was associated with a Trecento painter, which in its turn suggests that there may have been some knowledge that it was originally pictorial.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0232": {
-    "English Original": "This should not surprise us since tabernacles of this type were 'multimedia' monuments, and the area where a different medium is attested for earlier similar examples was precisely the base of the relic chamber: both the Veronica tabernacle in Old St Peter's (1197) and the relic tabernacle in S. Maria Maggiore (1256) employed yet another 'pictorial' medium, that is, mosaic.<sup29</sup\n\nIt is probable that, at least in part, the original choice of saints and images was repeated in the late fifteenthcentury frescoes but rendered in what was considered to be a more updated style.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0233": {
-    "English Original": "Whether or not the panels of Peter and Paul belonged originally to the tabernacle, its later frescoes are an 'anachronic' work, to use the term coined by Alexander Nagel and Christopher S. Wood for fifteenth and sixteenthcentury works that replaced earlier ones, works that 'repeated' and 'remembered', but also projected a 'future or an ideal' (Nagel and Wood, 2010: 13).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0234": {
-    "English Original": "It is worth bearing in mind such theoretical context in order to appreciate the extent to which the Renaissance is indebted to what is usually considered the dark void of Trecento Rome.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0235": {
-    "English Original": "It is interesting that, from an iconographic point of view, the images of Peter and Paul in the Vatican Treasury compare well with the statuettes of the same saints in the small Gothic ciboria at the corners of the tabernacle.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0236": {
-    "English Original": "Both figures of St Paul (Figs 1 and 15), in particular, hold the book vertically on a veiled left hand while, in the right, they clutch a similar long sword, tip downward to touch the pavement, a far less common attribute than the shorter one held tip upwards.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0237": {
-    "English Original": "Unfortunately, an Expense Register of the type extant for the Vatican has not survived for the Lateran, where building activity was buoyant after the return of Urban V and undertaken at his behest.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0238": {
-    "English Original": "The name of Giovanni di Stefano as the architect in charge of building activity in St John Lateran is known only through an occasional letter of Urban V to the Signoria of Florence (Milanesi, 1854–6, I: 269).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0239": {
-    "English Original": "Other incidental pieces of information, concerning the work of\n\n<sup28</sup Della Valle, 1785: 116: 'Veramente la conseguenza che Mancini deduce da questa premessa viene troppo di lontano: egli sarà sempre poco creduto, scrivendo così alla buona, e non curandosi di studiare gli autori nelle opere loro' ('In fact the result that Mancini deduces from this premise is based on too weak an argument: he will always be disbelieved, writing thus in\n\nsuch a simplistic way and not bothering to study the artists through their own works').",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0240": {
-    "English Original": "<sup29</sup On this type of tabernacle see Bolgia, 2013a: 114–42.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0241": {
-    "English Original": "On the tabernacle of S. Maria Maggiore, Gardner, 1970: 220–30.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0242": {
-    "English Original": "Rome, St John Lateran, high altar, tabernacle for the relics of St Peter and St Paul.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0243": {
-    "English Original": "Giovanni di Stefano da Siena and assistants, c. 1368–72, St Paul.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0244": {
-    "English Original": "Photo: © Musei Vaticani, Governatorato S.C.V.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0245": {
-    "English Original": "Giottino in 1369, for instance, come from occasional documentary survivals (Müntz, 1890: 1–11).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0246": {
-    "English Original": "As Matteo was a favourite painter of Urban, it would not be surprising if he was working both at the Lateran and the Vatican.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0247": {
-    "English Original": "This was certainly the case for Giottino in 1369.<sup30</sup After all, had not the pope commissioned the reliquaries of Peter and Paul from his favourite goldsmith, the Sienese Giovanni di Bartolo, who, like Matteo, had followed the pope from Avignon to Rome?<sup31</sup In the present frescoes (Fig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0248": {
-    "English Original": "13), Peter and Paul are not paired; instead St Peter is paired with St Andrew, and St Paul with St James.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0249": {
-    "English Original": "It is possible that Peter and Paul now in the Vatican Treasury originally formed single unities with analogous pairs and were split into single panels only at the moment of their removal from the tabernacle.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0250": {
-    "English Original": "The combinations Peter/Andrew and Paul/James allow Peter and Paul to occupy the most central position to the\n\n<sup30</sup For his activity at the Vatican, see the Register of payments in the Vatican Archives discussed by Müntz, 1890: 1–11.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0251": {
-    "English Original": "For his work at the Lateran, see Il libro di Antonio Billi, Benedettucci, 1991: 41–2.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0252": {
-    "English Original": "This Florentine source, datable to the second/third decade of the sixteenth century and comprising brief lives of artists (one of Vasari's sources), makes reference to Giottino painting in Rome 'in Santo Janni, la storia di uno papa in più quadri' ('in St John, the story of a pope in various scenes').",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0253": {
-    "English Original": "<sup31</sup On these reliquaries, see Mondini, 2011: 265–96.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0254": {
-    "English Original": "side of the Crucifixion scene.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0255": {
-    "English Original": "Once dismantled in the late fifteenth or early sixteenth century (when the extant paintings were realized), Peter and Paul, separated from Andrew and James and turned into single saints, may have been kept at the Lateran or already moved to the Vatican, only to find an appropriate — and, presumably, more prominent — location on the altar that was believed to house half of the bodies of Peter and Paul, whose memory or dedication was transferred to the newly constructed Clementine chapel in the late sixteenth century, perhaps for the Jubilee of 1600.<sup32</sup\n\nLacking any conclusive evidence, the proposal that the panels formed part of the Lateran tabernacle must remain a matter of conjecture for the moment, but the attribution of the paintings to Matteo Giovannetti is the best that can be offered.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0256": {
-    "English Original": "The head of St Paul in the Vatican Treasury should thus be seen as a missing link in a chain of artistic production that connected Avignon and Rome, and therefore as an important, albeit small, window into the pictorial world of Rome in the dynamic and vibrant years of artistic activity following the 'first' papal return.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0257": {
-    "English Original": "This reexamination of the Vatican panels also reminds us that, instead of thinking simply in terms of losses and voids (as is usual for Trecento Rome) or in the light of the alltoopresent ghost of Giotto, a different methodological approach may bear more fruit, and this is to think in terms of movement of patrons and artists.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0258": {
-    "English Original": "This is important as scholars have discussed the impact of Matteo's pictorial language on the art of Avignon between the 1340s and the 1360s, but not the impact of his language (as developed in France in those decades) on the art produced in Rome after the papal return.33 In this specific case, we may understand the lost pictorial cycles in Rome in the years 1367–9 as being profoundly informed by the leading role played by Matteo Giovannetti and his assistants, and we may attempt to grasp at least a sense of his lost enterprises in Rome by considering his earlier extant work in Avignon and VilleneuvelèsAvignon.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0259": {
-    "English Original": "<sup32</sup This altar was formerly in Old St Peter's, as we read in a Liber Indulgentiarum of 1364 (BAV, Ms Vat.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0260": {
-    "English Original": "520, published in Hülsen, [2000] 1926: 138), among various sources.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0261": {
-    "English Original": "No painted panels with images of the saints are, however, ever recorded in connection with that altar in the premodern period.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0262": {
-    "English Original": "In the Clementine chapel, the altar came to be associated with a porphyry slab bearing an inscription according to which Pope Sylvester had split the bodies of Peter and Paul on that very same slab, kept half there and sent the other half to the basilica of St Paul.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0263": {
-    "English Original": "The inscribed slab was formerly on the church's counterfaçade, near the Porta Santa.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0264": {
-    "English Original": "Amongst the many sources, see Torrigio, 1618: 43.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0265": {
-    "English Original": "It seems clear that in the Clementine chapel (dedicated to Sts Peter and Paul) pieces of different provenance (the altar, the inscription and the images) were gathered together to create a 'narrative' of the presence of half of the bodies of Peter and Paul under the altar.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0266": {
-    "English Original": "The fact that the panels with these two Apostles may be the only survivors of a much more complex panelensemble should not surprise.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0267": {
-    "English Original": "The history of medieval Rome is punctuated by similar individual survivors.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0268": {
-    "English Original": "The most outstanding case is probably Giotto's Navicella mosaic for Old St Peter's, the most famous work of the artist, much praised and copied throughout the Renaissance, of which only two marginal Angel's heads seem to have survived.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0269": {
-    "English Original": "<sup33</sup Castelnuovo, 1991, 2004.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0270": {
-    "English Original": "The valuable collection Brilli, Fenelli and Wolf, 2015, deals only\n\nwith the first half of the Trecento.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0271": {
-    "English Original": "For the impact of the circulation of patrons and artists between Rome and Avignon on tomb sculpture, see Gardner, 1992.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0272": {
-    "English Original": "208 CLAUDIA BOLGIA\n\nWe ought to remember that Matteo Giovannetti was a highly influential artist, with a reputation that lasted for a considerable time after his death.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0273": {
-    "English Original": "A letter of 4 September 1406 attests that the king of Aragon, Martin I, asked the bishop of Lerida to act as an agent in commissioning a good artist (bon maestre) to make parchment copies of the frescoes with the story of the Angels painted by Matteo Giovannetti in the chapel of St Michael in the papal palace of Avignon (Rubió y Lluch, 1921: 384; Castelnuovo, 1991: 160).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0274": {
-    "English Original": "A second letter of the following 30 October reveals that the king was most eager to receive these copies as he aimed to use them as a model for the decoration of a chapel he was building in honour of the Archangel (Rubió y Lluch, 1921: 385).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0275": {
-    "English Original": "It has hitherto not been noticed that the letters make specific reference to the frescoes\n\nas depicting the 'whole story of the Angels of all provinces' (September letter) and 'the Angels and the provinces' (October letter).<sup34</sup I would like to suggest that these expressions indicate that the frescoes depicted the Principalities, that is, the custodian Angels of nations, who inspired and directed the good rulers, according to a longstanding medieval tradition based on pseudoDionysus (De Coelestis Hierarchia, chapters 6 and 9), and embraced, amongst others, by Thomas Aquinas (Summa Theologiae, I, 108).<sup35</sup The idea that St Michael himself was a Principality is found in the work of Thomas Aquinas and is based on a passage in the book of Daniel (12:1) according to which Michael was the custodian of Israel.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0276": {
-    "English Original": "The wording of the October letter ('la ystoria dels angels et de le provincies') suggests that the Angels were indeed depicted with the provinces/nations they protected, a rare if not unique iconography.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0277": {
-    "English Original": "Thus, it was probably not only the quality of Matteo Giovannetti's work, but also its unusual content (perhaps devised in conversation with Pope Clement VI and his entourage) that was considered so original and worthy of copying by the king of Aragon, arguably for its political overtones.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0278": {
-    "English Original": "Whatever the reason, it is unquestionable that Matteo's frescoes in the chapel of St Michael, dated to 1344 by an inscription, were still seen as a model to be followed 60 years later.<sup36</sup\n\nTo attempt to form an idea of Matteo's painting in Rome by considering his earlier Avignonese work and the recovered Vatican panels is neither an idle nor\n\n<sup34</sup Rubió y Lluch, 1921: 384: '... en la qual capella es pintada tota la ystoria dels angels de totes les provincies'; 385: '... la ystoria dels angels et de le provincies'.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0279": {
-    "English Original": "Dominique Thiébaut (Laclotte and Thiébaut, 1983: 165) following Digonnet (1907), suggested that the chapel may have been decorated with a representation of the triumph of the good Angels, led by St Michael, over the fallen Angels.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0280": {
-    "English Original": "Neither the text of the letters nor the very few extant traces of sinopiae support this interpretation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0281": {
-    "English Original": "For the sinopiae, see Toracca, 2002: 77–9.",
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-  "W2999083341_s0282": {
-    "English Original": "<sup35</sup The Principalities belonged to the third Sphere (the one closest to the men) of the Angelic Hierarchy as devised by PseudoDionysus and Thomas Aquinas by drawing on passages from the New Testament.",
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-  "W2999083341_s0283": {
-    "English Original": "Such Hierarchy included three Spheres, each of three Orders or Choirs: (1) Seraphims, Cherubims and Thrones, (2) Dominions, Virtues and Powers, (3) Principalities, Archangels and Angels.",
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-  "W2999083341_s0284": {
-    "English Original": "<sup36</sup The source for the date is a note by the French erudite JosephMarie Suarès in a 1635 letter to Cardinal Francesco Barberini, cited in Castelnuovo, 1991: 164; and Castelnuovo, 2004: 170.\n\na useless exercise.",
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-  "W2999083341_s0285": {
-    "English Original": "It is, instead, extremely valuable in helping to throw light on the context in which major representatives of Quattrocento art in Rome, such as Antoniazzo Romano, grew and, therefore, to revise some commonplaces about the roots of Renaissance art.",
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-  "W2999083341_s0286": {
-    "English Original": "It has been observed — and demonstrated through a broad range of examples — that Antoniazzo Romano drew considerably on Trecento art for the iconography of his works.",
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-  "W2999083341_s0287": {
-    "English Original": "Several parallels have been drawn with Florentine fourteenthcentury artworks as possible sources of inspiration (De Simone, 2014: 99–113).",
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-  "W2999083341_s0288": {
-    "English Original": "Yet, we need to be reminded that 'Florentine' artists — Giovanni da Milano, Giovanni Gaddi and Agnolo Gaddi, in addition to Giottino, as well as other lesserknown painters — are documented as working in Rome in 1369 (Müntz, 1890: 1–11; Monciatti, 2005: 241–2).",
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-  "W2999083341_s0289": {
-    "English Original": "And, of course, Matteo Giovannetti and his workshop were active in Rome and highly influential.",
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-    "Has PaintingCLIP Embedding": true
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-  "W2999083341_s0290": {
-    "English Original": "It is therefore probable that the sources of inspiration for Antoniazzo lay also in Rome, perhaps primarily in Rome, where the artist is mainly documented and conducted almost his entire career.",
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-  "W2999083341_s0291": {
-    "English Original": "It is not only the iconography, but also the form and distinctive style of Antoniazzo — with his round figures, his sober simplicity and intense spirituality — that seems to have its roots in Trecento art, and especially the art produced by Matteo Giovannetti, rather than the Tuscan tradition.",
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-  "W2999083341_s0292": {
-    "English Original": "This is, of course, mediated and developed through the production of Antoniazzo's contemporaries, such as Melozzo da Forlì and Benozzo Gozzoli, whose formative role for Antoniazzo has long been recognized by scholarship.<sup37</sup Yet, a strong Trecento aura appears in his paintings, which makes him seem somewhat retardataire, especially in his early works, such as the cycle of the Life of S. Francesca Romana in the monastery of Tor de Specchi (1468).",
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-  "W2999083341_s0293": {
-    "English Original": "It is presumably this aura (which may have derived, amongst other sources, from his early exposure to the art produced in Rome in the last quarter of the Trecento for papal patronage) that made his style so attractive to the popes of the fifteenth century, securing him commissions in the Vatican Library (1481) and Vatican Palaces (1483).",
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-  "W2999083341_s0294": {
-    "English Original": "Amongst the artists of the time it was he who would have fitted best within the local tradition.",
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-  "W2999083341_s0295": {
-    "English Original": "Thus, the 'recovery' of the Vatican panels as a work by Matteo Giovannetti not only contributes to filling a gap in the artistic production of Rome in the immediate aftermath of the Avignon absence but also enhances our understanding of what was to be created more than a century later.",
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-  "W2999083341_s0296": {
-    "English Original": "Address for correspondence: Prof. Claudia Bolgia Dipartimento di Studi umanistici e del patrimonio culturale, Università degli Studi di Udine, Palazzo Caiselli, Vicolo Florio 2/b, 33100 Udine, Italy claudia.bolgia@uniud.it\n\n<sup37</sup On Antoniazzo, see Cavallaro, 1992; Paolucci, 1992; Rossi and Valeri, 1997; Cavallaro and Petrocchi, 2013.",
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-  "W2999083341_s0297": {
-    "English Original": "REFERENCES\n\n Primary sources\n\nASV, Camera Apostolica, Collectoriae 450.",
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-  "W2999083341_s0298": {
-    "English Original": "BAV, Archivio Capitolare di S. Pietro, Inventario 18.",
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-  "W2999083341_s0299": {
-    "English Original": "520 (Liber Indulgentiarum of 1364).",
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-    "Has PaintingCLIP Embedding": true
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-  "W2999083341_s0300": {
-    "English Original": "Benedettucci, F. (1991) (ed.)",
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-  "W2999083341_s0301": {
-    "English Original": "Il libro di Antonio Billi.",
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-    "Has PaintingCLIP Embedding": true
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-    "English Original": "Della Valle, G. (1785) Lettere Senesi sopra le belle arti II.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0303": {
-    "English Original": "Egidi, P. (1908) (ed.)",
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-  },
-  "W2999083341_s0304": {
-    "English Original": "Necrologi e libri affini della Provincia romana I (Necrologi della città di Roma).",
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-    "English Original": "Rome, Forzani e c. tipografi del Senato.",
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-    "Has PaintingCLIP Embedding": true
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-  "W2999083341_s0306": {
-    "English Original": "Hülsen, C. (2000) Le chiese di Roma nel Medio Evo.",
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-  "W2999083341_s0307": {
-    "English Original": "Rome, Quasar (first edition Florence 1926).",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0308": {
-    "English Original": "Kirsch, P. (1898) Die Rückkehr der Päpste Urban V. und Gregor XI.",
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-  "W2999083341_s0309": {
-    "English Original": "von Avignon nach Rom.",
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-    "Has PaintingCLIP Embedding": true
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-  "W2999083341_s0310": {
-    "English Original": "Auszüge aus den Kameralregistern des Vatikanischen Archivs.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0311": {
-    "English Original": "Lemmens, L. (1902) (ed.)",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0312": {
-    "English Original": "Bernardino Aquilano, Chronica fratrum minorum observantiae.",
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-    "Has PaintingCLIP Embedding": true
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-  "W2999083341_s0313": {
-    "English Original": "Martinucci, F. (1854) Intorno le reparazioni eseguite all'altare papale lateranense e suo tabernacolo.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0314": {
-    "English Original": "Giulio Mancini, Considerazioni sulla pittura, 2 vols.",
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-    "English Original": "Rome, Accademia Nazionale dei Lincei.",
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-  "W2999083341_s0316": {
-    "English Original": "Rubió y Lluch, A.",
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-    "Has PaintingCLIP Embedding": true
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-  "W2999083341_s0317": {
-    "English Original": "(1921) Documents per l'historia de la cultura catalana migeval II.",
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-    "English Original": "Barcelona, Casa de Caritat.",
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-  "W2999083341_s0319": {
-    "English Original": "(1618) Le Sacre Grotte Vaticane.",
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-    "Has PaintingCLIP Embedding": true
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-  "W2999083341_s0320": {
-    "English Original": "Viterbo, Appresso i Discepoli.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0321": {
-    "English Original": "Secondary sources\n\n Ammann, A.M. (1942) Die Ikone der Apostelfürsten in St. Peter zu Rom (Nachträge und Ergänzungen).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0322": {
-    "English Original": "Orientalia Christiana Periodica 8: 457–68.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0323": {
-    "English Original": "Bacci, M. (2000) 'Pro remedio animae'.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0324": {
-    "English Original": "Immagini sacre e pratiche devozionali in Italia centrale (secoli XIII e XIV).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0325": {
-    "English Original": "Barry, F. (2003) The late antique 'domus' on the clivus Scauri, the early history of S. Lucia in Selci, and the Cerroni altarpiece in Grenoble.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0326": {
-    "English Original": "Papers of the British School at Rome 71: 111–39.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0327": {
-    "English Original": "Bolgia, C. (2002) Cassiano's popes rediscovered: Urban V in Rome.",
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-  "W2999083341_s0328": {
-    "English Original": "Zeitschrift für Kunstgeschichte 65: 562–74.",
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-    "Has PaintingCLIP Embedding": true
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-    "English Original": "Bolgia, C. (2013a) Icons 'in the Air': new settings for the sacred in medieval Rome.",
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-  "W2999083341_s0330": {
-    "English Original": "In P. Davies, D. Howard and W. Pullan (eds), Architecture and Pilgrimage, 1000–1500: Southern Europe and Beyond: 114–42.",
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-    "Has PaintingCLIP Embedding": true
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-  "W2999083341_s0331": {
-    "English Original": "Bolgia, C. (2013b) Two enigmatic portraits of the 'blessed' Giovanna Felici, sisterinlaw of St Francesca Romana: family promotion and sanctity through images in fifteenthcentury Rome.",
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-  "W2999083341_s0332": {
-    "English Original": "In M. Israëls and L. Waldman (eds), Renaissance Studies in Honor of Joseph Connors I: 52– 60 plus plates 778–81.",
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-    "English Original": "Florence, Villa I Tatti.",
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-    "Has PaintingCLIP Embedding": true
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-  "W2999083341_s0334": {
-    "English Original": "Bolgia, C. (2016) Il XIV secolo: da Benedetto XI (1303–4) a Bonifacio IX (1389–1404).",
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-  "W2999083341_s0335": {
-    "English Original": "In M. D'Onofrio (ed.",
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-    "Has PaintingCLIP Embedding": true
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-  "W2999083341_s0336": {
-    "English Original": "), La committenza artistica dei papi a Roma nel Medioevo: 331–59.",
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-    "Has PaintingCLIP Embedding": true
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-  "W2999083341_s0337": {
-    "English Original": "Bolgia, C. (2018) The 'Tabernacles' War', c. 1367–77: civic versus papal authority in popularregime Rome.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0338": {
-    "English Original": "In H. Flora and S.S. Wilkins (eds), Art and Experience in Trecento Italy (Proceedings of the Andrew Ladis International Conference, New Orleans, 10–12 November 2016), 177–92.",
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-    "Has PaintingCLIP Embedding": true
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-  "W2999083341_s0339": {
-    "English Original": "Bolgia, C. (2019) Strategie di riaffermazione dell'autorità papale.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0340": {
-    "English Original": "Bonifacio IX e il tabernacolo per l'icona di S. Maria del Popolo.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0341": {
-    "English Original": "In S. Romano and W. Angelelli (eds), La Linea d'ombra.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0342": {
-    "English Original": "Bolgia, C. (forthcoming) The 'Tabernacles' War' II, c. 1400: new light on the competition between icons and relics in latemedieval Italy.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
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-  "W2999083341_s0343": {
-    "English Original": "In J. Luxford (ed.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0344": {
-    "English Original": "), Tributes to Paul Binski.",
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-    "Has PaintingCLIP Embedding": true
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-  "W2999083341_s0345": {
-    "English Original": "Studies in Gothic Art, Architecture and Ideas.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0346": {
-    "English Original": "Brilli, E., Fenelli, L. and Wolf, G. (2015) (eds) Images and Words in Exile.",
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-    "Has PaintingCLIP Embedding": true
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-  "W2999083341_s0347": {
-    "English Original": "Avignon and Italy during the First Half of the 14th Century.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0348": {
-    "English Original": "Florence, SISMEL — Edizioni del Galluzzo (Millennio Medievale 107, Strumenti e Studi 40).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0349": {
-    "English Original": "Cascioli, G. (1912) Il Tesoro di S. Pietro in Vaticano.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0350": {
-    "English Original": "Bessarione 9, 3rd ser., 121–2: 294–319.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0351": {
-    "English Original": "Cascioli, G. [1925] Guida illustrata al nuovo Museo di S. Pietro (Petriano).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0352": {
-    "English Original": "Rome, Tipografia Editrice Laziale.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0353": {
-    "English Original": "Castelnuovo, E. (1991) Un pittore italiano alla corte di Avignone.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0354": {
-    "English Original": "Matteo Giovannetti e la pittura in Provenza nel secolo XIV.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0355": {
-    "English Original": "Turin, Einaudi (new revised edition; first edition 1962).",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0356": {
-    "English Original": "Castelnuovo, E. (2004) Matteo Giovannetti: il pittore dei papi.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0357": {
-    "English Original": "In E. Castelnuovo (ed.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0358": {
-    "English Original": "), Artifex bonus: il mondo dell'artista medievale: 168–76.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0359": {
-    "English Original": "(1992) Antoniazzo Romano e gli antoniazzeschi.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0360": {
-    "English Original": "Una generazione di pittori nella Roma del Quattrocento.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0361": {
-    "English Original": "Cavallaro, A. and Petrocchi, S. (2013) (eds) Antoniazzo Romano, pictor Urbis 1435/40–1508, exhibition catalogue (Rome, Palazzo Barberini, 1.11.2013–2.02.2014).",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0362": {
-    "English Original": "Cinisello Balsamo (Milan), Silvana Editoriale.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0363": {
-    "English Original": "Cobianchi, R. (2009) Fashioning the imagery of a Franciscan observant preacher: early Renaissance portraiture of Bernardino da Siena in northern Italy.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0364": {
-    "English Original": "I Tatti Studies 12: 55–83.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0365": {
-    "English Original": "D'Alessandro, L. (2009) I santi Pietro e Paolo.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0366": {
-    "English Original": "In I Santi Apostoli Pietro e Paolo.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0367": {
-    "English Original": "Museo Storico Artistico del Tesoro di San Pietro: 16–23.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0368": {
-    "English Original": "Vatican City, Edizioni del Capitolo Vaticano.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0369": {
-    "English Original": "Denifle, H. (1888) Ein Quaternus Rationum des Malers Matteo Gianotti von Viterbo in Avignon.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0370": {
-    "English Original": "Archiv für Literatur und Kirchengeschichte des Mittelalters 4: 602–30.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0371": {
-    "English Original": "De Simone, G. (2014) The use of Trecento sources in Antoniazzo Romano and Lorenzo da Viterbo.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0372": {
-    "English Original": "Diggonet, F. (1907) Les Palais des papes d'Avignon.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0373": {
-    "English Original": "(1970) The Capocci Tabernacle in S. Maria Maggiore.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0374": {
-    "English Original": "Papers of the British School at Rome 38: 220–30.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0375": {
-    "English Original": "(1974) The Stefaneschi Altarpiece: a reconsideration.",
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-    "English Original": "Hourihane, C. (2012) (ed.)",
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-    "English Original": "Kempers, B. and De Blaauw, S. (1987) Jacopo Stefaneschi, patron and liturgist: a new hypothesis regarding the date, iconography, authorship and function of his altarpiece for Old St Peter's.",
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-    "English Original": "(1950) Il Tesoro di S. Pietro.",
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-    "English Original": "Le 'sacre teste' di Pietro e Paolo a S. Giovanni in Laterano a Roma.",
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-    "English Original": "Corpus VI (Apogeo e fine del Medioevo), 333–4.",
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-    "English Original": "Catalogo completo dei dipinti.",
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-    "English Original": "Queijo, K. (2012) L'icona di San Francesco a San Francesco a Ripa.",
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-    "English Original": "61 (Giotto Il polittico Stefaneschi).",
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-    "English Original": "In S. Romano (ed.",
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-    "Has PaintingCLIP Embedding": true
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-    "English Original": "), La pittura medievale a Roma.",
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-    "Has PaintingCLIP Embedding": true
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-    "English Original": "Corpus VI (Apogeo e fine del Medioevo), 281–5.",
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-    "Has PaintingCLIP Embedding": true
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-  "W2999083341_s0427": {
-    "English Original": "Rossi, S. and Valeri, S. (1997) Le due Rome del Quattrocento: Melozzo, Antoniazzo e la cultura artistica del '400 romano (Atti del Convegno internazionale di studi, Università di Roma \"La Sapienza\", Rome 21–24 February 1996).",
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-    "English Original": "), La pittura medievale a Roma.",
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-    "English Original": "Corpus VI (Apogeo e fine del Medioevo), 308–9.",
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-    "English Original": "Stocchi, M. (2009) I santi Pietro e Paolo.",
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-    "English Original": "Appunti per una storia esterna del dipinto.",
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-    "English Original": "In I Santi Apostoli Pietro e Paolo.",
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-    "English Original": "Museo Storico Artistico del Tesoro di San Pietro: 8–15.",
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-    "English Original": "Vatican City, Edizioni del Capitolo Vaticano.",
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-    "English Original": "(2009a) Giotto e bottega.",
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-    "English Original": "I santi apostoli Pietro e Paolo.",
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-    "English Original": "In A. Tomei (ed.",
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-    "English Original": "), Giotto e il Trecento.",
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-  "W2999083341_s0442": {
-    "English Original": "'Il più Sovrano Maestro stato in dipintura', exhibition catalogue (Rome, Complesso del Vittoriano, 6.03–29.06.2009), 2 vols, II: 169–70.",
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-    "English Original": "(2009b) I santi Pietro e Paolo.",
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-    "English Original": "Giotto nella Basilica Vaticana.",
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-    "Has PaintingCLIP Embedding": true
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-  "W2999083341_s0445": {
-    "English Original": "In I Santi Apostoli Pietro e Paolo.",
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-    "Has PaintingCLIP Embedding": true
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-  "W2999083341_s0446": {
-    "English Original": "Museo Storico Artistico del Tesoro di San Pietro: 4–7.",
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-    "Has PaintingCLIP Embedding": true
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-  "W2999083341_s0447": {
-    "English Original": "Vatican City, Edizioni del Capitolo Vaticano.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0448": {
-    "English Original": "Toracca, D. (2002) Sinopie et dessins de Matteo Giovannetti (1344–53).",
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-    "English Original": "In D. Vingtain and F. Baron (eds), Monument de l'histoire.",
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-  "W2999083341_s0450": {
-    "English Original": "Construire, reconstruire le Palais des Papes, XIVe–XXe siècle, exhibition catalogue (Avignon, Palais des Papes 29.06–29.09.2002): 77–9.",
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-  "W2999083341_s0451": {
-    "English Original": "Avignon, Palais des Papes.",
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-    "Has PaintingCLIP Embedding": true
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-  "W2999083341_s0452": {
-    "English Original": "(1988) La sainteté en Occident aux derniers siècles du Moyen Age: d'après les procès de canonisation et les documents hagiographiques (revised edition).",
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-    "English Original": "Vingtain, D. (1998) Avignon.",
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-    "Has PaintingCLIP Embedding": true
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-  "W2999083341_s0454": {
-    "English Original": "Le Palais de Papes (with photos by C. Sauvageot).",
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-    "English Original": "(1941) Die Ikone der Apostelfürsten in St. Peter zu Rom.",
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-    "English Original": "Orientalia Christiana Periodica 7: 480–97.",
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-    "English Original": "(1947) Tabula cum imaginibus apostolorum Petri et Pauli.",
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-    "English Original": "Orientalia Christiana Periodica 13: 369–75.",
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-  "W2999083341_s0459": {
-    "English Original": "(1979) I dipinti dal secolo X fino a Giotto.",
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-    "English Original": "Vatican City, Libreria Ed.",
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-    "English Original": "Vaticana (Monumenti, Musei e Gallerie Pontificie, 1).",
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-    "English Original": "(1996) Il cantiere di Giotto.",
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-    "Has PaintingCLIP Embedding": true
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-  "W2999083341_s0463": {
-    "English Original": "Le storie di S. Francesco d'Assisi.",
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-  "W2999083341_s0464": {
-    "English Original": "(2002) Giotto e Pietro Cavallini.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W2999083341_s0465": {
-    "English Original": "La questione di Assisi e il cantiere medievale della pittura a fresco.",
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-  "W2999083341_s0466": {
-    "English Original": "(2004) Giotto and the St Francis Cycle at Assisi.",
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-  "W2999083341_s0467": {
-    "English Original": "In A. Derbes and M. Sandona (eds), The Cambridge Companion to Giotto: 32–62.",
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-  "W2999083341_s0468": {
-    "English Original": "Cambridge, Cambridge University Press.",
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-  "W3115281151_s0001": {
-    "English Original": "IMAGINATIONS: JOURNAL OF CROSSCULTURAL IMAGE STUDIES | REVUE D'ÉTUDES INTERCULTURELLES DE L'IMAGE\n\nPublication details, including open access policy and instructions for contributors: http://imaginations.glendon.yorku.ca\n\n Visibility and Translation Guest Editor: Angela Kölling December 31, 2020\n\nImage Credit: Cia Rinne, Das Erhabene (2011)\n\nTo cite this article:\n\nPerry, Nicole.",
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-    "English Original": "\"Translating the \"Dead Indian\": Kent Monkman, Miss Chief Eagle Testickle, and the Painting of the American West.\"",
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-    "English Original": "Imaginations: Journal of CrossCultural Image Studies, vol.",
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-  "W3115281151_s0004": {
-    "English Original": "3, Dec. 2020, pp.",
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-    "English Original": "To link to this article: <http://dx.doi.org/10.17742/IMAGE.VT.11.3.4\n\n\n\nThe copyright for each article belongs to the author and has been published in this journal under a Creative Commons 4.0 International Attribution NonCommercial NoDerivatives license that allows others to share for noncommercial purposes the work with an acknowledgement of the work's authorship and initial publication in this journal.",
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-  "W3115281151_s0006": {
-    "English Original": "The content of this article represents the author's original work and any thirdparty content, either image or text, has been included under the Fair Dealing exception in the Canadian Copyright Act, or the author has provided the required publication permissions.",
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-    "English Original": "Certain works referenced herein may be separately licensed, or the author has exercised their right to fair dealing under the Canadian Copyright Act.",
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-  "W3115281151_s0008": {
-    "English Original": "TRANSLATING THE \"DEAD INDIAN\": KENT MONKMAN, MISS CHIEF EAGLE TESTICKLE, AND THE PAINTING OF THE AMERICAN WEST\n\nNICOLE PERRY\n\nThis article examines the work of Kent Monkman, an artist of Cree ancestry, and his Indigenous interventions into art of the American West.",
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-  "W3115281151_s0009": {
-    "English Original": "Known for his provocative and highly sexualized genre, Monkman, along with his gender fluid alter ego and companion, Miss Chief Eagle Testickle, have been upsetting the art world for more than a decade.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0010": {
-    "English Original": "By using Thomas King's (Cherokee) concept of the \"Dead Indian\", I examine how Monkman's work revitalises Indigenous histories and places them in the centre of the paintings by the 19thcentury GermanAmerican artist of the American West, Albert Bierstadt.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0011": {
-    "English Original": "By repurposing the scene, Monkman translates the images from anachronistic settlercolonial narratives and uses these images from the past to highlight Indigenous narratives of the American West.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0012": {
-    "English Original": "Cet article examine l'oeuvre de Kent Monkman, un artiste d'origine cri, et ses interventions indigènes dans l'art de l'Ouest américain.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0013": {
-    "English Original": "Connu pour son genre provocateur et hautement sexualisé, Monkman, accompagné de son alterego et compagnon, Miss Chief Eagle Testickles dont l'identité de genre est fluide, bouleverse le monde de l'art depuis plus d'une décennie.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0014": {
-    "English Original": "Utilisant le concept (cherokee) de \"l'Indien mort,\" j'examine comment l'oeuvre de Monkman revitalise les histoires indigènes et les place au centre des tableaux d'Albert Bierstadt, l'artiste américain d'origine allemande, peintre de l'Ouest américain.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0015": {
-    "English Original": "En changeant le message de la scène, Monkman offre une nouvelle traduction des images de narrations anachroniques des colonsimmigrants et réapproprie ces images du passé pour illustrer les narrations indigènes de l'Ouest américain.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0016": {
-    "English Original": "\"Those who wish to study the splendour of the European Male in his original state must travel far and wide to see him.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0017": {
-    "English Original": "Miss Chief Eagle Testickle, Wanderings of an Artist (2007)\n\n<span id=\"page31\"</span<span id=\"page30\"</spanC ree artist Kent Monkman is one of North America's most prolific Indigenous artists.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0018": {
-    "English Original": "He is also one of the most controversial.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0019": {
-    "English Original": "A recent painting, Hanky Panky (2020), has drawn stark commentary, both positive and negative, for his portrayal of and commentary on the missing and murdered Indigenous women and girls (MMIWG) in Canada.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0020": {
-    "English Original": "While lauded by some for its brazen approach—Prime Minister Justin Trudeau is pictured bent over with his pants around his knees awaiting a \"consensual act\"—Hanky Panky has also drawn scrutiny for its depiction of Cree women on the periphery of the painting, laughing as they watch the malecentred spectacle (Angeleti; Grabish).1 The portrayal of the women, whom he calls the okihcitâwiskwêwak, or the traditional council of Cree women law keepers, has been called disrespectful (Grabish), as has the portrayal of, and lack of clear boundaries surrounding, violent sex (Martin).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0021": {
-    "English Original": "His Indigenous critics belong to Indigenous trans communities, work with victims of sexual assault, and are relatives of women who have been murdered (Porter; Grabish), while prominent male supporters such as Senator Murray Sinclair have supported the painting as a reversal of the victims and victimizers (Porter).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0022": {
-    "English Original": "Monkman's work is polarising, it always has been, and although Hanky Panky can be considered one of his most controversial paintings, it is in keeping with the provocative, highly sexualized trajectory of his oeuvre.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0023": {
-    "English Original": "2 Monkman's artistic reputation rests on his pushing the boundaries of the acceptable, revisiting Western genres of art and using his work to tell a different story as he sexualizes, decolonizes, and Indigenizes the Western canon across a multitude of mediums, including painting, performance, installation, film, and video.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0024": {
-    "English Original": "And he works as an agent of change in the contentious political landscape surrounding the representations of North American Indigenous peoples.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0025": {
-    "English Original": "Through his heady and often polemical body of work, he inserts Indigenous histories and content into the EuroAmerican\n\ndiscourse on North America, bringing Indigenous voices to the forefront so that they can be recognized.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0026": {
-    "English Original": "<span id=\"page40\"</spanMonkman's artistic alter ego, the gender fluid Miss Chief Eagle Testickle, who has been called a \"trickster in drag\" (Amos) and a \"Postindian diva warrior\" (McIntosh 12), has been central to his project of subverting and recasting the gaze of the coloniser.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0027": {
-    "English Original": "3 As an artist, Monkman sees his responsibility as twofold: to act as both the creator and translator of his work, something that can at times have unintended results, as with Hanky Panky.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0028": {
-    "English Original": "In order to demonstrate how Monkman uses his art to translate stories of Indigenous North America so that they can be inserted into its hegemonic art discourse and provoke uncomfortable, long overdue conversations, I examine two of Monkman's (re)paintings of the American West.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0029": {
-    "English Original": "Each highlights the tension between the historical legacies of the original works and Monkman's Indigenous remasterings, and each features Miss Chief.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0030": {
-    "English Original": "In both paintings Monkman repaints landscape scenes by the GermanAmerican Albert Bierstadt.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0031": {
-    "English Original": "Canonical 19thcentury Western American painters such as Bierstadt, George Catlin, and the sculptor James Earle Fraser are known for creating a hegemonic version of the West, setting the tone in portrayals of Indigenous characters and predetermining the story of the American West from its beginning.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0032": {
-    "English Original": "Monkman's translations of Bierstadt's original scenes, which exude the serenity and vastness of the American West and showcase a EuroAmerican nostalgia for the supposedly soontobeextinct Indigenous way of life, expose the gaps in (art) history and disrupt the anachronistic image of Indigenous peoples in North America that Thomas King (Cherokee) has named the \"Dead Indian.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0033": {
-    "English Original": "After outlining King's \"Dead Indian\" argument about how canonical representations situate Indigenous subjects as neoromantic, nostalgic images in a state of victimry, I analyze The Trappers of Men (2006), Monkman's repainting of Albert Bierstadt's Among the Sierra Nevada, California (1868), and The Death of Adonis (2009), his reimagining of Bierstadt's iconic The Last of the Buffalo (1888).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0034": {
-    "English Original": "I show how Monkman updates the 19thcentury \"Dead Indian\" image for the 21st century by featuring a scenestealing, and very much alive, Miss Chief.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0035": {
-    "English Original": "As Monkman recentres the gaze in his paintings to\n\nhighlight previous erasures of Indigenous histories, I argue that he is also reflecting on North America's fascination with, and need for, the \"Dead Indian\" as one of its founding myths and legacies.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0036": {
-    "English Original": "Ultimately his work demands that audiences acknowledge contemporary Indigenous peoples, thereby giving visibility and a platform to contemporary Indigenous issues.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0037": {
-    "English Original": "THE CREATION AND MUSEALIZATION OF THE INDIAN AS IMAGE\n\nK ing explores the \"Dead Indian\" trope in his awardwinning The Inconvenient Indian: A Curious Account of Native People in North America (2012).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0038": {
-    "English Original": "In this analysis, King identifies three types of Indian: Dead, Live, and Legal.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0039": {
-    "English Original": "Legal Indians are those who are recognized as being \"Indians\" by the Canadian and US governments (68), while Dead Indians and Live Indians are distinguished as follows: \"Dead Indians are dignified, noble, silent, suitably garbed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0040": {
-    "English Original": "Live Indians are invisible, unruly, disappointing.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0041": {
-    "English Original": "One is a romantic reminder of a heroic but fictional past.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0042": {
-    "English Original": "The other is simply an unpleasant, contemporary surprise\" (66, emphasis mine).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0043": {
-    "English Original": "Through his wit and humour, King highlights two important vectors along which Indians are categorized: visibility vs. invisibility and expectations vs. reality.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0044": {
-    "English Original": "His work has a synergy with Daniel Francis's 1992 The Imaginary Indian: The Image of the Indian in Canadian Culture, which summarises the sentiment of generations of EuroAmerican writers and artists who have critically engaged with the unstable and contradictory image of North America's Indigenous peoples.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0045": {
-    "English Original": "As Francis explains, \"The Indian began as a White man's mistake, and became a White man's fantasy.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0046": {
-    "English Original": "Through the prism of White hopes, fears and prejudices, indigenous Americans would be seen to have lost contact with reality and to have become 'Indians'; that is, anything nonNatives wanted them to be\" (5).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0047": {
-    "English Original": "He highlights that \"the Indian\" is a neoromantic archetype, a flat character that reflects, first, the Enlightenment concept of Nature's gentleman and, later, in the 19th century, the ignoble savage.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0048": {
-    "English Original": "The image of \"the Indian\" thus came to embody the fatalistic view that Indigenous peoples and their way of life were not congruent with the dom\n\ninant North American society of colonial expansion and Manifest Destiny.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0049": {
-    "English Original": "While the paradigm of the noble and ignoble savage has been used to reflect, often concurrently, the hopes and fears of the dominant EuroAmerican societies, it has also focussed exclusively on EuroAmerican discourses, ignoring Indigenous worldviews, rendering Indigenous peoples as invisible by presenting an inconsistent and paradoxical notion that highlighted either the noble or the savage of the term to reflect political and societal tensions in the dominant culture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0050": {
-    "English Original": "These terms lacked, and indeed worked to prevent, Indigenous agency and content.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0051": {
-    "English Original": "King's argument situates and builds on the works of scholars such as Gerald Vizenor (Fugitive Poses; Manifest Manners; Narrative Chance; \"Trickster Discourse\"), Arnold Krupat (The Turn to the Native), and Philip Deloria (Indians in Unexpected Places; Playing Indian) and their broader arguments regarding Indigenous (in)visibilities in both historical and contemporary contexts.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0052": {
-    "English Original": "These influential arguments paved the way for a younger generation of Indigenous scholars, including Audra Simpson (Mohawk Interuptus; Theorizing Native Studies), Leanne Betasamosake Simpson (As We Have Always Done), and Daniel Heath Justice (Why Indigenous Literatures Matter), to go beyond the simplistic binaries of visible and invisible regarding Indigenous identities and to complicate and expose narratives of settler colonial legacies and Indigenous sovereignty.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0053": {
-    "English Original": "As this scholarship has also established, the \"Dead Indian\" image is anything but dead and is still capable of evoking a host of debilitating ideas and stereotypes.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0054": {
-    "English Original": "A 2019 exhibition currently ongoing at the Smithsonian National Museum of the American Indian and simply entitled Americans examines the complicated history of Indigenous (North) Americans in popular culture and the legacy of invisibility.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0055": {
-    "English Original": "The online portal poses the question: \"How is it that Indians can be so present and so absent in American life?\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0056": {
-    "English Original": "The exhibition is divided into four subsections and explores how, even though Indigenous Americans represent less than 1% of the population, Indigenous culture still permeates the United States and the legacies created that continue to function as its founding myths: from Thanksgiving and Pochahontas to the Indian Removal Act and\n\nthe Battle of Greasy Grass/ Little Big Horn (Americans).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0057": {
-    "English Original": "Rich C. King in his work redskins: Insult and Brand (2016) explores the problematic branding of sports teams such as the titular National Football League (NFL) team from Washington, and how these logos, epithets, imagery, and specifically, a single word can influence and damage a marginalized population.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0058": {
-    "English Original": "On July 13, 2020, after a review taken in the light of the racial upheaval in the United States following the murder of George Floyd by police officers in Minneapolis, Minnesota and other victims of systemic violence, the owner of the team decided to retire the derogatory name after many years of controversy and public outcry (\"Statement\").",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0059": {
-    "English Original": "The Edmonton team of the Canadian Football League (CFL) has similarly indicated that, after an internal discussion, the team will also change their name.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0060": {
-    "English Original": "Not only sports mascots, but the Western film genre, advertising, and marketing are examples of the use and function of the \"Indian\" in North American culture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0061": {
-    "English Original": "The diffuseness of these tropes exposes the racist blind spot that allows for the \"Dead Indian\" to be both present and absent in contemporary North American life.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0062": {
-    "English Original": "<span id=\"page70\"</spanThis tension continues to generate controversy.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0063": {
-    "English Original": "A plenary given at the Society for Historians of the Early American Republic (SHEAR) erupted into a twitter debate when Rebecca Goetz represented Daniel Feller as arguing that Andrew Jackson's legacy in regard to the Indian Removal Act (1830) and other acts of genocide, was not \"as bad\" as we think (Goetz).4 In relation to the art and art history of the American West, painters, sculptors, and photographers of the late19th and early20th century rushed to preserve the last remnants of the \"dying\" Indigenous cultures, a trope that that situates Indigenous peoples in the role of victim.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0064": {
-    "English Original": "Edward Curtis's photographs are a prominent and visual representation of this process.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0065": {
-    "English Original": "Typically dressed in traditional clothing and often posing for pictures in studios, the Indigenous people who sat for his photographs were consistently depicted as the cultural archetype of the \"Dead Indian,\" the defeated warrior riding his tired horse west as articulated in James Earle Frasier's sculpture End of the Trail (1918).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0066": {
-    "English Original": "Originally understood to be a tribute to Indigenous peoples, the works of both Curtis and Frasier have contributed directly to the ahistorical image of North\n\nAmerican Indigenous cultures.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0067": {
-    "English Original": "These images clearly situate Indigenous peoples as relics of the past, and settler culture made a point of \"celebrating\" Indigenous society at the very moment when it was seen to have been effaced.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0068": {
-    "English Original": "MONKMAN AND THE POSTINDIAN\n\nA s the Smithsonian's Americans exhibition proves, the romanticised, nostalgic, and loaded image of the \"Dead Indian\" remains entrenched in the American imaginary, one of \"White North America's signifiers of Indian authenticity\" (King 55).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0069": {
-    "English Original": "However, contemporary Indigenous responses have begun to reclaim the image and challenge its harmful, neoromantic elements through a variety of multimedia platforms.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0070": {
-    "English Original": "Kent Monkman is one such artist.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0071": {
-    "English Original": "In reappropriating the appropriation of Indigenous images, Monkman draws attention to the constructed nature of deeply rooted, cultural stereotypes.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0072": {
-    "English Original": "By adding his voice and creating conversations, especially controversial ones, Monkman forces his viewers to engage critically with their attitudes towards North American Indigenous peoples and contemplate how far paintings should be regarded as artefacts of history.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0073": {
-    "English Original": "In speaking of his work, Monkman expresses \"a desire to look at history as it was written by Europeans, but to look at it through an Aboriginal lens\" (qtd.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0074": {
-    "English Original": "in Gonick), something all the more necessary because \"[m]odernity espoused a willful amnesia about the past\" (Milroy 76).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0075": {
-    "English Original": "Monkman plays with King's \"Dead Indian\" trope by exposing the gaps in, and conventions associated with, the image.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0076": {
-    "English Original": "King calls the trope a simulacrum that represents something that never existed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0077": {
-    "English Original": "Here, he borrows from Anishinaabe scholar Gerald Vizenor, who, in coining the term \"native survivance,\" has noted the EuroAmerican narrative does not recognize an Indigenous presence.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0078": {
-    "English Original": "Vizenor underscores the othering that is invoked with the term Indian, as it indicates an absence of natives, whereas \"natives are a native creation\" and thus \"the stories of survivance\" (Vizenor, Fugitive Poses 27).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0079": {
-    "English Original": "The indigene is the noble savage, passive and anachronistic while the ab\n\nsence of natives represents the space between and the commodification of Indigeneity.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0080": {
-    "English Original": "This absence allows the \"Dead Indian\" to represent the needs of mainstream society, a representational void of Indigenous content.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0081": {
-    "English Original": "By using the coloniser's terms of indians and indigene, Vizenor emphasizes the tropes associated with ignoble and noble savagery, concepts both passively and deeply entrenched in 18th and 19thcentury discourses and ignorant of (contemporary) Indigenous issues.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0082": {
-    "English Original": "King's argument about the imposterlike status of \"Dead Indian\" culture in North America when juxtaposed with contemporary Indigenous cultures highlights the instability, inconsistencies, and even more importantly, the staying power of the \"Dead Indian\" image (75).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0083": {
-    "English Original": "Native survivance explains why artists like Monkman act as crucial agents of change in challenging these tropes.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0084": {
-    "English Original": "For Vizenor, the action of indicting the dominant culture is a key aspect of survivance.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0085": {
-    "English Original": "It \"is more than survival, more than endurance or mere response; the stories of survivance are an active presence… The native stories of survivance are successive and natural estates; survivance is an active repudiation of dominance, tragedy and victimry\" (Vizenor, Fugitive Poses 15).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0086": {
-    "English Original": "In connection with the active presence and agency of native survivance, Vizenor coined another term: postindian.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0087": {
-    "English Original": "The postindian is another indictment of the dominant discourse surrounding the term Indian.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0088": {
-    "English Original": "In Postindian Conversations (1999), Vizenor returns to the ideas expressed in Fugitive Poses regarding survivance and simulations, and in conversation with A. Robert Lee he argues that \"we are long past the colonial invention of the indian\" (Vizenor and Lee 84).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0089": {
-    "English Original": "Drawing on poststructural philosophy, Vizenor's postindian reflects an Indigenous presence, one that visibly acknowledges tribal identity, affiliations, and diversity among North American Indigenous peoples and resists artificial or blanket names given by the dominant society.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0090": {
-    "English Original": "Monkman's work can be understood as an act of native survivance as he reconfigures through his Indigenous lens paintings, images, and forms from varying EuroAmerican art movements, including neoclassicism, American Western art, and landscape painting, to focus explicitly on Indigenous histories.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0091": {
-    "English Original": "But Monkman puts his own spe\n\ncial \"post\" stamp on Vizenor's postindian.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0092": {
-    "English Original": "Accompanying Monkman on his journey to reframe and challenge the dominant understandings of North American history is his alterego, the dangerously beautiful, gender fluid trickster figure, Miss Chief Eagle Testickle, whose name is a play on both the words mischief and egotistical as well as the male sex organs.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0093": {
-    "English Original": "Including an homage to the singer Cher, Miss Chief's name originally included Share, Monkman highlighting the \"halfbreed\" phase of Cher's career in the 1970s (Katz 19).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0094": {
-    "English Original": "With Louis Vuitton quivers, raccoon jock straps, and an expensive taste in champagne, Miss Chief decolonizes postindian gender and sexuality with pomp and grandeur.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0095": {
-    "English Original": "In September 2017, for example, her \"creative union\" with the French fashion designer Jean Paul Gaultier was filmed as a wedding video at Montreal's Musée des Beaux Arts (Monkman \"Another Feather in her Bonnet\").",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0096": {
-    "English Original": "Miss Chief's gender fluidity \"reminds us that the making of history is a fluid and subject process that entails constant inquiry and reevaluation,\" as does Monkman's work in general (Madill 28).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0097": {
-    "English Original": "By adding Miss Chief to the narrative, Monkman destabilizes the gaze of settlercolonial viewers.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0098": {
-    "English Original": "Narratives including the settling of the West are viewed from a different perspective.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0099": {
-    "English Original": "Gerald McMaster (Cree) observes:\n\nWe don't see the rape of the (feminine) landscape by the masculine newcomer; instead we see how Monkman, via Miss Chief/the Aboriginal male, reverses the power relations.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0100": {
-    "English Original": "S/he toys with the European in a sexualized way that doesn't demasculinize him but rather plays against the historichetero discourse.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0101": {
-    "English Original": "This is how we should read Monkman's work, because he embarks on a new trajectory by forcing new readings of the socalled American landscape.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0102": {
-    "English Original": "(McMaster 96)\n\nThis nuanced reversal of power relations forces viewers to reconsider their understandings of North American history in light of the Indigenous viewpoint.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0103": {
-    "English Original": "The visibility of different narratives surrounding both North America and the idea of \"the West\" leads to a more complex and intricate reading of histories surrounding the founding myths of North America.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0104": {
-    "English Original": "REPAINTING THE MASTERS, TRANSLATING BIERSTADT\n\nM onkman's landscapepainting oeuvre is extensive, with the majority of his early work stemming from his visual retellings of the story of the 19thcentury American West.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0105": {
-    "English Original": "While for his exhibition at the Metropolitan Museum of Art he did not repaint American West landscape paintings, Monkman did reinterpret Emanuel Leutze's Washington Crossing the Delaware (1851), a seminal portraiture of US American history.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0106": {
-    "English Original": "Masterfully, if ironically, his landscapes offer narratives that with the help of Miss Chief, her followers, and lovers refigure the buffalo, deer, and the \"Dead Indian\" in the works of the 19thcentury EuroAmerican writers and artists, who, as we saw above, attempted to preserve and remember Indigenous peoples of North America.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0107": {
-    "English Original": "Among the Sierra Nevada, California.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0108": {
-    "English Original": "Monkman's 2006 The Trappers of Men is a reinterpretation of Albert Bierstadt's 1868 Among the Sierra Mountains.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0109": {
-    "English Original": "Bierstadt's painting, which is oil on canvas and hangs in the Smithsonian American Art Museum, was painted in his studio in Rome, Italy.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0110": {
-    "English Original": "Capitalizing on the European fascination with North America and the American West, Bierstadt was known for his showmanship and business acumen as\n\nwell as his work.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0111": {
-    "English Original": "Paintings such as Among the Sierra Mountains were romanticized conceptions of the American West intended to sell on the European market.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0112": {
-    "English Original": "They were also a source of inspiration for new immigrants to America, which was viewed as the land of opportunity, promise, and above all in the West: space, portrayed as wild and untamed nature, devoid of any human population.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0113": {
-    "English Original": "The painting does not include an Indigenous voice, nor was it meant to—it is a European romanticised notion of the American West targeting a EuroAmerican audience.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0114": {
-    "English Original": "The canvas is a peaceful, idealized landscape, and the foreground is replete with deer on the shore of a calm lake as ducks fly off into the air.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0115": {
-    "English Original": "To the left a large waterfall is emptying into the lake with the powerful presence of the mountains framing the background of the painting, with a smaller, secondary waterfall in the middle of the scene.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0116": {
-    "English Original": "The lighting contributes to the soft glow reflecting off the mountains at sunset and solidifies the romantic notions found in the painting.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0117": {
-    "English Original": "Monkman's acrylic on canvas version, which is part of the Montreal Museum of Fine Arts collection, resets time and substitutes the animals from Bierstadt's painting with prominent characters in North American (art) history, emphasizing the prevailing European notion of Indigenous peoples' romanticized relationship to nature and underscoring that often Indigenous peoples were used interchangeably or synonymously with animals such as buffalo and viewed as on par with them.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0118": {
-    "English Original": "Monkman's painting is set at midday, which, as Melissa Elston notes, is an obvious rejection of Bierstadt's sunset, a common motif in 19thcentury paintings used to symbolise the settling of the American West as the end of an era leading to the dawn of another (188).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0119": {
-    "English Original": "In the foreground to the right the great explorers Lewis and Clark are consulting a map, while a seminude cowboy seems to be helping them.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0120": {
-    "English Original": "The Yanktonais winter count keeper, Lone Dog, is working on the winter count that bears his name, and although not historically accurate in regard to the production of Bierstadt's painting, this winter count is from the year the Lakota defeated Custer (1876) at the battle the Lakota call of the Greasy Grass but which is more commonly known as the Battle of the Little Bighorn.5 As Monkman explains, this image displaces events deemed important\n\n<span id=\"page130\"</spanor even legendary by Europeans, which the Lakota viewed as trivial or insignificant (Timm).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0121": {
-    "English Original": "To the left of Lone Dog and the wayward explorers, we find Jackson Pollack and Piet Mondrian, both abstract artists but at opposite ends of the abstract art spectrum.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0122": {
-    "English Original": "Pollack, who was born in Cody, Wyoming, and died at the age of 44 as a result of an alcoholrelated singlecar accident, is shown holding a bottle of alcohol while he drags Mondrian away from the abstract painting he is working on.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0123": {
-    "English Original": "Or is he catching Mondrian as he faints after seeing Miss Chief?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0124": {
-    "English Original": "Alexander Mackenzie is to the right of the painters.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0125": {
-    "English Original": "Mackenzie, who completed the first crossing of America from east to west 12 years before Lewis and Clark, is trying to calm the rearing horse Whistlejacket, based on a painting by George Stubbs in 1762.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0126": {
-    "English Original": "Belonging to the Marquess of Rockingham, Whistlejacket was an aristocratic racehorse that Stubbs painted to perfection, highlighting the beauty of the Arabian thoroughbred (Rosenthal).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0127": {
-    "English Original": "By including the racehorse and the British explorer Mackenzie as he tries to control the rearing and untamed beast from the Orient, Monkman's painting calls attention to the complicated global legacies of colonialism, exoticism, and Indigeneity.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0128": {
-    "English Original": "The rest of the righthand side of the canvas consists of halfnaked cowboys, George Catlin and one of his portraits on the grass beside Lone Dog and then a Canadian moniker in the painting: a Hudson's Bay point blanket, resting between him and a halfnaked RCMP officer along with an Indigenous man smoking a pipe.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0129": {
-    "English Original": "5 Edward Curtis, located front left, is taking contrived photos of two Indigenous men, who have removed their long hair and feathers but are wearing pink lipstick, indicating a fluidity of sexuality and an indictment of the hypermasculinity associated with both the \"Dead Indian\" and Curtis' work.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0130": {
-    "English Original": "But Curtis has turned from his work to view the true spectacle of the piece, Miss Chief Eagle Testicle, as she rises out of the water in a style reminiscent of Botticelli's The Birth of Venus (14851486).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0131": {
-    "English Original": "Blonde, naked, erect, and in pink high heels, Miss Chief stares seductively at the men in the front right of the painting, all of whom have stopped what they are doing to gaze at the wonder rising from the water.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0132": {
-    "English Original": "Miss Chief is the \"Trappers of Men,\" a gender fluid figure whose reenactment of The Birth of Venus is an example of Monkman's provocative playing with canonical European\n\nart works.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0133": {
-    "English Original": "Unrivalled in her salacious beauty, she is representative of the other trappers of men, who, like Miss Chief, slip between the EuroAmerican understandings of sexuality, enticing the cowboy as he travels West.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0134": {
-    "English Original": "The Birth of Venus is widely understood as an iconic image embodying the essence of classic, virginal female beauty.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0135": {
-    "English Original": "In situating Miss Chief as the focal point of The Trappers of Men, Monkman translates the chaste, divine love the classical goddess represents into a wanton erotic appeal that departs from the heteronormative discourse traditionally found in Western art.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0136": {
-    "English Original": "Monkman's canvas is large at 213.4 cm x 365.8 cm (84\" x 144\"), but there is no second guessing the main focal point of the scene.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0137": {
-    "English Original": "Surrounded by her friends, lovers, and aspiring lovers, Miss Chief commands the setting as the mountains seem to fade into the background and every character is watching in wonder at her emergence from the lake.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0138": {
-    "English Original": "This signals the making visible of repressed histories, both Indigenous and queer, absent in the traditional genres of art, history, and the mythology of the West.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0139": {
-    "English Original": "Bierstadt's painting emphasizes the absence of (white) people, showing a serene setting, waiting to be explored and settled.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0140": {
-    "English Original": "Unlike The Last of the Buffalo, to which I turn next, Trappers of Men does not showcase the violence and atrocities that took place in the settling of the American West.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0141": {
-    "English Original": "Rather, it populates the false histories Bierstadt promulgated to fulfill the expectations of viewers on the Eastern seaboard or in Europe, far removed from the realities of the American West.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0142": {
-    "English Original": "Trappers of Men works to subvert the mythology of the West as open and empty by recasting and reversing the gaze to subvert EuroAmerican norms and expectations of art history and history.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0143": {
-    "English Original": "The Last of the Buffalo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0144": {
-    "English Original": "The second Bierstadt painting of interest here that Monkman has reworked is the 1888 oil on canvas Last of the Buffalo, a painting that I saw when at the Buffalo Bill Center of the West in Cody, Wyoming.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0145": {
-    "English Original": "Immediately, I was struck by the power of the scene: the decimation and carnage of the buffalo carcasses with the arresting landscape in the background, together with the lone warrior, his spear raised as his horse is gored by one of the remaining buffalo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0146": {
-    "English Original": "It represented to me the romanticisation of the American West, the understanding that the frontier was now closed, with the buffalo and warrior remnants of an era now firmly situated in the past.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0147": {
-    "English Original": "Called Bierstadt's \"final, great, western painting\" (National Gallery of Art), it is also one of Bierstadt's most famous, as well as an iconic example of 19thcentury art of the American West.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0148": {
-    "English Original": "The title of the painting is a clear reference to the expected extinction of the plains buffalo, together with the Indigenous peoples and their traditional way of life.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0149": {
-    "English Original": "Buffalo were essential to the survival of many Indigenous tribes, and the settler expansion of the West coupled with excessive overhunting and the intentional destruction of the buffalo as a policy to destroy them as a source of food and clothing for Indigenous populations led to the rapid decrease in buffalo numbers and left Plains Indian tribes\n\ndecimated.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0150": {
-    "English Original": "Bierstadt's painting explicitly highlights the \"Dead Indian\" trope along with the annihilation of the buffalo, from approximately 30 million at the turn of the 19th century to 1,000 by 1888.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0151": {
-    "English Original": "The foreground of the painting is littered with buffalo skulls, carcases, a dead horse, and an Indigenous warrior beside a seemingly melancholy buffalo resting with its head on its hooves after killing the hunter, while another buffalo stands alone on the left watching the main action of the painting, ready to defend itself.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0152": {
-    "English Original": "A lone warrior on a white horse with his spear raised is ready to attack a buffalo in the process of gorging the underbelly of his horse.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0153": {
-    "English Original": "To the right in the background there are other figures hunting buffalo, with the same steely resolve as the protagonist of the painting.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0154": {
-    "English Original": "The nearly extinct buffalo and the nearly extinct hunter in his traditional dress and hunting style represent the impending closing of the frontier from a hyperromanticized and nostalgic perspective.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0155": {
-    "English Original": "In the middle of the painting, buffalo are seen crossing the river, moving west away from the encroaching settler, and plentiful in number – a direct contrast to the reality of the time.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0156": {
-    "English Original": "In the background the plains give way to a river basin, and finally snowcapped peaks can be seen in the distance, implying the seemingly endless unoccupied space and freedom of the West itself.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0157": {
-    "English Original": "Monkman's 2009 Death of Adonis reenvisions this Bierstadt painting.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0158": {
-    "English Original": "Adonis' death is a wellutilized scene in art history with masters such as Peter Paul Ruebens (1614) and Benjamin West (1768) offering interpretations of the ancient Greek myth.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0159": {
-    "English Original": "Adonis was the son of Myrrha and her father, King Cinyras of Cyprus, after Aphrodite had cast a spell on Myrrha, tricking her into the liaison.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0160": {
-    "English Original": "Adonis was raised by Persephone, the Queen of the Underworld, and became a beautiful young man, which led Persephone and Aphrodite to fight over him.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0161": {
-    "English Original": "Zeus settled the matter, having Adonis spend a third of his time with Persephone, a third with Aphrodite, and the final third with whomever he pleased, which he spent with Aphrodite.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0162": {
-    "English Original": "One day while out hunting, Adonis was charged by a wild boar and died in Aphrodite's arms.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0163": {
-    "English Original": "Their tears mixed together, creating a fastgrowing flower.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0164": {
-    "English Original": "The central idea of the myth is the death and resurrection of Adonis, which, like the flower, is representative of the change of\n\nseasons.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0165": {
-    "English Original": "Monkman inserts the Greek myth into the 19thcentury romanticised painting of the American West to create a sexualized subversion of both myth and painting.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0166": {
-    "English Original": "Monkman's repainting of the Bierstadt canvas seemingly effortlessly recaptures the essence of the original.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0167": {
-    "English Original": "The buffalo carcasses and skulls remain, as do the myriad of buffalo crossing the river in the middle of the canvas and the expansive sky and snowcapped mountains in the distance.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0168": {
-    "English Original": "The warrior in Bierstadt's painting is replaced, however, by quite possibly a more accurate historical representation: that of a white cowboy on a horse being gorged by a buffalo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0169": {
-    "English Original": "The spear is also replaced with a rifle that has been fired into the far right of the canvas as the rider loses his balance while trying not to fall off the horse, arguably shooting his comrade in the middle right of the work.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0170": {
-    "English Original": "This is an interesting departure from Bierstadt's painting.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0171": {
-    "English Original": "The warrior of the original displays expert horsemanship and resolve, as he is completely concentrated on the buffalo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0172": {
-    "English Original": "Monkman's cowboys in the background seem to lack their Indigenous counterparts' skills.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0173": {
-    "English Original": "In the front right of Death of Adonis, the two main characters draw the viewer's eye: a cowboy holding a rifle in his right hand with his shirt open, displays his mortal wound as his lover, Miss Chief Eagle Testickle, dressed in a sheer pink loincloth and thighhigh pink stiletto boots, holds him and seems to stare regretfully at the buffalo behind her, perhaps at the one that gored her lover, almost as if she has to choose between the two.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0174": {
-    "English Original": "The cowboy boot laying metres from the body indicates that it was the buffalo that took his life, knocking him off his feet.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0175": {
-    "English Original": "The lone buffalo of Bierstadt's painting is depicted in the same aggressive stance in Monkman's reworking, prepared to charge if provoked, while the dead warrior is replaced by a calf, perhaps suggesting the continuity of life.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0176": {
-    "English Original": "The melancholy buffalo remains frontcentre, possibly as the perpetrator of Adonis's death.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0177": {
-    "English Original": "By replacing the warriors with cowboys and adding the lovers Miss Chief (Aphrodite) and Adonis, and Miss Chief's ambiguous stare at the melancholy buffalo, Monkman breathes life into a quintessential image that has traditionally been accepted as representing the demise of an entire species and way of life.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0178": {
-    "English Original": "Even the title Death of Adonis challenges and forces the dominant discourse to acknowledge the resilience of Indigenous peoples.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0179": {
-    "English Original": "The Last of the Buffalo is still considered an iconic piece, one which Monkman has translated in a way that privileges Indigenous ways of life and includes his genderfluid, postindian divawarrior.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0180": {
-    "English Original": "CONCLUSION\n\nW hat one sees in these two Monkman paintings is his sophisticated, playful approach to translation, recreating Indigenous experiences, stories, and cultures that contradict, indict, and deconstruct the dominant framework of canonical EuroAmerican (art) history.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0181": {
-    "English Original": "His work represents a shifting of the picture, a retelling of histories, and a reenlivening of the \"Dead Indian\" trope.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0182": {
-    "English Original": "By using European mythologies, understandings, and romanticizations of the American West, Monkman is using the colonisers' tools against them.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0183": {
-    "English Original": "As he creates different visualities regarding settlerindigenous relations in North America, Monkman shows the viewer how much still remains to be done to bring Indigenous histories to light and life.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0184": {
-    "English Original": "His work is not meant to be allencompassing of Indigenous identities but rather to encourage further retranslations in the spirit of Miss Chief holding a mirror to settlercolonial narratives of the American West.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0185": {
-    "English Original": "While Monkman may have overstepped in Hanky Panky, he was quick to acknowledge that it did \"fail in its message to address the victimisation of Indigenous women\" (Angeleti), but this is understandable as his work has not been about translating past wrongs.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0186": {
-    "English Original": "Rather, as the analysis here shows, Monkman's talent for translation involves finding adequate images from the past to repurpose for the present, and doing so has the potential to relegate King's \"Dead Indian\" image to the past, where it belongs.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0187": {
-    "English Original": "National Museum of the American Indian.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0188": {
-    "English Original": "Accessed 10 July 2020.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0189": {
-    "English Original": "\"Trickster in Drag Upends Colonial View.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0190": {
-    "English Original": "Victoria Times Colonist, 10 June 2010, https://static1.squarespace.com/static/ 5489c5f0e4b0cf16a8c043fd/t/548f03d7e4b0b33049349fc4/ 1418658775447/timescolonistjune10.pdf.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0191": {
-    "English Original": "Accessed 22 July 2020.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0192": {
-    "English Original": "\"Kent Monkman Issues Apology for Painting that Depicts the 'Sexual Assault' of Canadian Prime Minister Justin Trudeau.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0193": {
-    "English Original": "The Art Newspaper, 26 May 2020, https://www.theartnewspaper.com/ news/kentmonkmanregretsworkshowingsexualassaultofcanadianprimeministerjustintrudeau.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0194": {
-    "English Original": "Accessed 12 July 2020.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0195": {
-    "English Original": "\"Kent Monkman, Aka Miss Chief Eagle Testickle, Confronts Native American Myths.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0196": {
-    "English Original": "Huffington Post, 17 Dec. 2017, https://www.huffingtonpost.com/2014/05/21/kentmonkman\\\\n\\\\5360583.html.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0197": {
-    "English Original": "Accessed 1 January 2018.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0198": {
-    "English Original": "Indians in Unexpected Places.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0199": {
-    "English Original": "UP of Kansas, 2004.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0200": {
-    "English Original": "Elston, Melissa M. \"Subverting Visual Discourses of Gender and Geography: Kent Monkman's Revised Iconography of the American West.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0201": {
-    "English Original": "The Journal of American Culture, vol.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0202": {
-    "English Original": "2, June 2012, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0203": {
-    "English Original": "The Imaginary Indian: The Image of the Indian in Canadian Culture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0204": {
-    "English Original": "\"The Untold Story of the Hudson's Bay Company.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0205": {
-    "English Original": "Accessed 22 July 2020.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0206": {
-    "English Original": "Goetz, Rebecca Anne (@historianess).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0207": {
-    "English Original": "\"Feller opened with comments on Trump and Jackson, with the implication that attaching AJ to Trump was distorting AJ and his context.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0208": {
-    "English Original": "I was willing to go along with the premise until Feller insisted that AJ's record on Native people was not as bad as we think.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0209": {
-    "English Original": "4/\" Twitter, 18 July 2020, 8:11 am twitter.com/historianess/status/1284459556068876289.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0210": {
-    "English Original": "Accessed 22 July 2020.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0211": {
-    "English Original": "\"Contempo Abo: Two Spirit in Aboriginal Culture.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0212": {
-    "English Original": "Canadian Dimension, 30 June 2009, https://canadiandimension.com/articles/ view/contempoabo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0213": {
-    "English Original": "Accessed 1 January 2018.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0214": {
-    "English Original": "\"Artist Kent Monkman's Painting of Partially Nude Trudeau with Laughing Women Creates Uproar Online.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0215": {
-    "English Original": "Canadian Broadcast Corporation, 21 May 2020, https://www.cbc.ca/news/canada/manitoba/\n\nkentmonkmanbacklashtrudeaupainting1.5577452.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0216": {
-    "English Original": "Accessed 22 July 2020.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0217": {
-    "English Original": "Why Indigenous Literatures Matter.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0218": {
-    "English Original": "Wilfrid Laurier Press, 2018.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0219": {
-    "English Original": "Katz, Jonathan D. \"'Miss Chief is always interested in the latest European fashions.'\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0220": {
-    "English Original": "Interpellations: Three Essays on Kent Monkman, edited by Michèle Thérault, Concordia University and Leonard & Bina Ellen Art Gallery, 2012, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0221": {
-    "English Original": "Redskins: Insult and Brand.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0222": {
-    "English Original": "U of Nebraska P, 2016.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0223": {
-    "English Original": "The Inconvenient Indian: A Curious Account of Native People in North America.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0224": {
-    "English Original": "The Turn to the Native: Studies in Criticism and Culture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0225": {
-    "English Original": "U of Nebraska P, 1996.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0226": {
-    "English Original": "\"Intelligent Mischief: The Paintings of Kent Monkman.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0227": {
-    "English Original": "Kent Monkman: The Triumph of Miss Chief, edited by David Liss.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0228": {
-    "English Original": "Art Gallery of Hamilton, 2007.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0229": {
-    "English Original": "\"The Provocations of Kent Monkman.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0230": {
-    "English Original": "The New Republic, 22 May 2020, https://newrepublic.com/article/157742/provocationskentmonkman.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0231": {
-    "English Original": "Accessed 12 July 2020.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0232": {
-    "English Original": "\"Kent Monkman's Postindian Diva Warrior: From Simulacral Historian to Embodied Liberator.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0233": {
-    "English Original": "\"The Geography of Hope.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0234": {
-    "English Original": "Kent Monkman: The Triumph of Miss Chief, edited by David Liss, Art Gallery of Hamilton, 2007, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0235": {
-    "English Original": "\"Historic Drag: Kent Monkman's New Show Redresses Colonial Art.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0236": {
-    "English Original": "22 April 2014, <https://thewalrus.ca/historicdrag/.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0237": {
-    "English Original": "Accessed 14 July 2020.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0238": {
-    "English Original": "Instagram, 18 May 2020, https://www.instagram.com/p/ CAWuv6ugzVN/?igshid=1x9vb9v4jlaoc.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0239": {
-    "English Original": "Accessed 15 July 2020.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0240": {
-    "English Original": "\"Another Feather in her Bonnet.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0241": {
-    "English Original": "YouTube, 24 January 2019. https://www.youtube.com/watch?v=8gMwwf1xFpc&ab\\\\channel=KentMonkmanStudio.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0242": {
-    "English Original": "Accessed 20 July 2020.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0243": {
-    "English Original": "Spaces between Us: Queer Settler Colonialism and Indigenous Decolonization.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0244": {
-    "English Original": "U of Minnesota P, 2011.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0245": {
-    "English Original": "Artist's Latest Angers Indigenous Canadians.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0246": {
-    "English Original": "The New York Times, 28 May 2020, https://www.nytimes.com/2020/05/28/world/canada/paintingcanadamonkmantrudeauindigenous.html.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0247": {
-    "English Original": "Accessed 22 July 2020.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0248": {
-    "English Original": "\"George Stubbs, Painter, by Judy Egerton.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0249": {
-    "English Original": "The Independent, 27 November 2007, https://www.independent.co.uk/artsentertainment/books/reviews/georgestubbspainterbyjudyegerton760030.html.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0250": {
-    "English Original": "Accessed 22 July 2020.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0251": {
-    "English Original": "Mohawk Interuptus: Political Life Across the Borders of Settler States.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0252": {
-    "English Original": "Simpson, Audra, and Andrea Smith, editors.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0253": {
-    "English Original": "As We Have Always Done: Indigenous Freedom through Radical Resistance.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0254": {
-    "English Original": "U of Minnesota P, 2017.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0255": {
-    "English Original": "\"Statement from the Washington Football Team.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0256": {
-    "English Original": "Redskins, 13 July 2020, https://www.redskins.com/news/washingtonredskinsretiringnamelogofollowingreview.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0257": {
-    "English Original": "Accessed 22 July 2020.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0258": {
-    "English Original": "\"Landscape with Sexy Transvestite.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0259": {
-    "English Original": "Maclean's, 31 December 2007, https://archive.macleans.ca/article/2007/12/31/landscapewithsexytransvestite.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0260": {
-    "English Original": "Accessed 12 July 2020.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0261": {
-    "English Original": "Narrative Chance: Postmodern Discourse on Native American Literature, edited by Gerald Vizenor.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0262": {
-    "English Original": "U of Oklahoma P, 1993, pp.187212.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0263": {
-    "English Original": "Narrative Chance: Postmodern Discourse on Native American Literature.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0264": {
-    "English Original": "U of Oklahoma P, 1993.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0265": {
-    "English Original": "Manifest Manners: Postindian Warriors of Survivance.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0266": {
-    "English Original": "Fugitive Poses: Native American Indian Scenes of Absence and Presence.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0267": {
-    "English Original": "U of Nebraska P, 1998.\n and Lee, A. Robert.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0268": {
-    "English Original": "U of Nebraska P, 1999.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0269": {
-    "English Original": "Among the Sierra Nevada, California.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0270": {
-    "English Original": "Smithsonian American Art Museum, Washington, DC.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0271": {
-    "English Original": "Accessed December 21, 2020.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0272": {
-    "English Original": "The Last of the Buffalo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0273": {
-    "English Original": "National Gallery of Art, Washington, DC.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0274": {
-    "English Original": "Accessed December 21, 2020.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0275": {
-    "English Original": "Monkman issued an apology on his Instagram account, acknowledging that he did not make the elements of consent clear enough.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0276": {
-    "English Original": "He removed any reference to the okihcitâwiskwêwak from his painting (Monkman).↲\n <span id=\"page221\"</span2.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0277": {
-    "English Original": "Two of the most recent examples, aside from Hanky Panky, are from his Great Hall commission \"mistikôsiwak Wooden Boat People\" at the Metropolitan Museum of Art in New York, NY, Welcoming the Newcomers (2019) and Resurgence of the People (2019).↲\n <span id=\"page222\"</span3.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0278": {
-    "English Original": "The evolution of Miss Chief has been accompanied by multiple labels and terms such as berdache, twospirit, and most recently gender fluid to expose the inaccuracies of different Indigenous histories found in the dominant discourse.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0279": {
-    "English Original": "Berdache, for example, is a problematic term that Indigenous activists towards the end of the 1980s called \"an erroneous colonial term that represented Native peoples in primordial and generalizing terms, while projecting masculinism and sexualisation onto them\" (Morgensen 81).",
-    "Has CLIP Embedding": true,
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-  },
-  "W3115281151_s0280": {
-    "English Original": "Painters such as George Catlin often chose to ignore twospirit figures as they were in striking contrast to the heteronormative paradigm of Christian culture, and so they tried to write, or in Catlin's case, paint them out of history.↲\n <span id=\"page223\"</span4.",
-    "Has CLIP Embedding": true,
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-  },
-  "W3115281151_s0281": {
-    "English Original": "This passage has been amended from a previous version for clarification.↲\n <span id=\"page224\"</span5.",
-    "Has CLIP Embedding": true,
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-  },
-  "W3115281151_s0282": {
-    "English Original": "Yanktonais is one of three language groups that make up Sioux.↲\n 6.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0283": {
-    "English Original": "The Hudson's Bay point blanket was the Hudson's Bay Company's most traded good when it was at the height of its power in North America.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3115281151_s0284": {
-    "English Original": "As the HBC expanded west, the blankets were often traded with Indigenous communities and contributed directly to the exposure to diseases such as small pox, from which Indigenous communities were not immune (Gismondi).↲",
-    "Has CLIP Embedding": true,
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-  },
-  "W3212048450_s0001": {
-    "English Original": "Jarlath Killeen\n\n Oscar Wilde and Feminism\n\n Prolegomena<sup1</sup\n\nOscar Wilde has recently been appropriated by feminist scholars in two distinct ways.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0002": {
-    "English Original": "On the one hand he is read as a protofeminist writer, with feminist sympathies, whose editorial work publicised many women writers, and who publicly supported the causes of female education – especially to university level – female suffrage, and female participation in the workplace.",
-    "Has CLIP Embedding": true,
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-  },
-  "W3212048450_s0003": {
-    "English Original": "However, many others have pointed out that despite this, there remains a powerful and important level of extreme misogyny running throughout his work, and that this must be read back into his political and aesthetic commitments.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0004": {
-    "English Original": "This article warns that, before we peremptorily attempt to assimilate Wilde into either a feminist or a misogynist paradigm, we must engage with the interpretive model in which he understood relations between the sexes: Roman Catholicism, which, while politically conservative, contained radically subversive gender possibilities.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0005": {
-    "English Original": "In July 1876, Oscar Wilde sent his friend, Oxonian William Ward, a letter, outlining some of his religious concerns:\n\nMy dear Boy, I confess not to be a worshipper at the Temple of Reason.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0006": {
-    "English Original": "I think man's reason the most misleading and thwarting guide that the sun looks upon, except perhaps the reason of woman.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0007": {
-    "English Original": "Faith is, I think, a bright lantern for the feet, though of course an exotic plant in man's mind, and requiring continual cultivation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0008": {
-    "English Original": "My mother would probably agree with you.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0009": {
-    "English Original": "Except for the people, for whom she thinks dogma necessary, she rejects all forms of superstition and dogma, particularly any notion of priest and sacrament standing between her and God.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0010": {
-    "English Original": "She has a very strong belief in that aspect of God we call the Holy Ghost – the divine intelligence of which we on earth partake.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0011": {
-    "English Original": "Here she is very strong, though of course at times trou\n\nThe AnaChronisT 10 (2004): 46–60 ISSN 1219–2589\n\n<sup1.</sup The research upon which this paper is based was facilitated by the Government of Ireland Research Council for the Humanities and Social Sciences.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0012": {
-    "English Original": "bled by the discord and jarring of the world, when she takes a dip into pessimism.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0013": {
-    "English Original": "Her last pessimist, Schopenhauer, says that the whole human race ought on a given day, after a strong remonstrance firmly but respectfully urged on God, to walk into the sea and leave the world tenantless, but of course some skulking wretches would hide and be left behind to people the world again I am afraid.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0014": {
-    "English Original": "I wonder you don't see the beauty and necessity for the incarnation of God into man to help us grasp at the skirts of the Infinite.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0015": {
-    "English Original": "The atonement I admit is hard to grasp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0016": {
-    "English Original": "But I think since Christ the dead world has woken up from sleep.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0017": {
-    "English Original": "Since him we have lived.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0018": {
-    "English Original": ".<sup2</sup\n\nWilliam Ward was Wilde's best friend at Oxford, \"the only man in the world I am afraid of,\"3 and an ardent opponent of Anglo and Roman Catholicism.",
-    "Has CLIP Embedding": true,
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-  },
-  "W3212048450_s0019": {
-    "English Original": "This letter was written in the aftermath of the dramatic conversion of David Hunter Blair, the third member of Wilde's circle, who had \"gone over\" to the Catholic Church while in Rome in March 1875.4 Blair had set earnestly to convincing Wilde to follow him, though Wilde prudently objected that the financial threats of his father stood in the way.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0020": {
-    "English Original": "Sir William had been eager to see his son transfer to Oxford from Trinity College in Dublin as he had become concerned about Wilde's relationship with the Jesuits in St. Francis Xavier's Church on Gardiner Street.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0021": {
-    "English Original": "Writing his memories of Wilde at Oxford, Blair notes that had Wilde converted, his father would have cast him off altogether.5 That this fear was a justified one was confirmed when Wilde's halfbrother Henry Wilson died in June 1877, his bequest to Wilde being conditional on his remaining Protestant for three years.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0022": {
-    "English Original": "Richard Ellmann points out that, at the time this letter was written, \"Roman Catholicism threads its way through all of Wilde's activities\" (63).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0023": {
-    "English Original": "Ellmann's interpretation of the letter is as a statement of doubt, an intellectual means of avoiding the religious snares that Blair was setting for him (63).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0024": {
-    "English Original": "While Ellmann remains Wilde's best and most penetrating biographer, his reading of Wilde's attraction to Catholicism\n\n<sup2.</sup Merlin Holland and Rupert HartDavis eds., The Complete Letters of Oscar Wilde (London: Forth Estate, 2000), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0025": {
-    "English Original": "<sup3.</sup All parenthesised references are to this edition: Richard Ellmann, Oscar Wilde (London: Penguin, 1989), p. 43.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0026": {
-    "English Original": "<sup4.</sup Ellmann, p. 51.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0027": {
-    "English Original": "<sup5.</sup David HunterBlair, \"Oscar Wilde at Magdalene College, Oxford,\" in Oscar Wilde: Interviews and Recollections, Volume 1, ed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0028": {
-    "English Original": "E. H. Mikhail (London: Macmillan, 1979), p. 6.\n\nis one of the weak points of his study.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0029": {
-    "English Original": "Addressed to the ultraProtestant Ward, the letter reads more like an exercise in apologetics.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0030": {
-    "English Original": "It attempts to wrest Ward from the \"Temple of Reason\" to the \"bright lantern\" of Faith, synonyms for, respectively, Protestantism and Catholicism.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0031": {
-    "English Original": "Although Protestantism was founded solidly on the Lutheran claim of \"sola fide,\" the faith it was arching towards had by the eighteenth century become purely rational.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0032": {
-    "English Original": "This can be most clearly observed in the period when, as Catholic monarch, James II seemed in danger of \"reconverting\" England to Catholicism.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0033": {
-    "English Original": "The outpouring of controversial pamphlet literature that debated the issues emphasised the rational basis of the Protestant religion,6 and concomitantly lambasted Catholic dependence on a nonrational \"faith,\" and this remains the \"official\" position (although the new incumbent of Lambeth Palace may offer some interesting reflections on the role of rationalism in the \"modern\" world).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0034": {
-    "English Original": "Protestantism was faith in that which was the most rational to believe: for that reason \"faith\" became a tautology.<sup7</sup\n\nThe letter makes a curious incursion into a gendered discourse of spirituality.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0035": {
-    "English Original": "Writing to a Protestant rationalist, Wilde warns against the dangers of relying too heavily on \"man's reason\" which he labels the \"most misleading and thwarting guide that the sun looks upon,\" a direct reference to the archetypal rational philosophy, Plato's Myth of the Cave, found in the seventh book of the Republic, where the development of reason is outlined as an epistemological journey from an inadequate state of knowledge, gaping at the shadows, to a sufficient cognitive state, staring at the sun.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0036": {
-    "English Original": "The prisoners in the cave are the majority of mankind, the masses, \"the people,\" doomed to view only shadows of reality and hear echoes of the truth, distorted by \"their own passions and prejudices, and by the passions and prejudices of other people as conveyed to them by language and rhetoric.",
-    "Has CLIP Embedding": true,
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-  },
-  "W3212048450_s0037": {
-    "English Original": "\"8 They are in the prisonhouse of language.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0038": {
-    "English Original": "The philosopher has escaped, and has emerged from the cave into the sunlight, where he can observe the truth and is able to see the sun itself, which represents the Idea of the Good, the highest Form, the cause of all right thinking and beautiful things, and the ultimate source of truth – the generator of Reason.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0039": {
-    "English Original": "According to Plato, and echoed within Protestant rhetoric, this can be achieved only by activating the faculty of reason.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0040": {
-    "English Original": "One must have faith only in that which can be assented to as reasonable.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0041": {
-    "English Original": "However, this letter suggests that to Wilde, the path to the sun of philosophical rationality is the wrong course to the real sun, the metonymic Son of God, who requires a\n\n<sup6.</sup Raymond D. Tumbleson, Catholicism in the English Protestant Imagination: Nationalism, Religion, and Literature, 1660–1745 (Cambridge: Cambridge University Press, 1998).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0042": {
-    "English Original": "<sup7.</sup Keith Thomas, Religion and the Decline of Magic: Studies in Popular Beliefs in Sixteenth and Seventeenth Century England (London: Weidenfeld & Nicolson, 1991).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0043": {
-    "English Original": "<sup8.</sup R. L. Nettleship, Lectures on the Republic of Plato (London: Macmillan, 1898), p. 260.\n\nfaithjourney.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0044": {
-    "English Original": "Man's reason is termed the most disastrous instrument to use in the search for truth, \"except perhaps the reason of woman,\" and here Wilde has a particular woman in mind: \"My mother would probably agree with you.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0045": {
-    "English Original": "With this letter we are entering an especially controversial area in Wilde studies, as the issue we are forced to deal with is Wilde's 'philosophical' attitude towards women, an issue that necessarily invokes the problems associated with gender itself and the discourse of the sex war.<sup9</sup\n\nWilde has evoked two binary oppositions, Male/Female, and Reason/Emotion, dualities at the heart of feminist theory.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0046": {
-    "English Original": "French feminist Hélène Cixous has made such binary oppositions the centre of her theories,10 and under the heading \"Where is she?\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0047": {
-    "English Original": "has compiled a compendium of antitheses:\n\n Activity/Passivity Sun/Moon Culture/Nature Day/Night Father/Mother Head/Heart Intelligible/Palpable Logos/Pathos (62).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0048": {
-    "English Original": "She links these to the primary binary, the pair behind every other binary, Male/Female, and claims that all are heavily imbricated in the patriarchal value system: each opposition can be analysed as a hierarchy where the 'feminine' side is always configured as the negative, powerless instance, the lacking term.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0049": {
-    "English Original": "She powerfully argues that the biological opposition, Male/Female, is used to construct a series of negative 'feminine' values and behaviour characteristics, which are then imposed on, and always confused with, biological 'femaleness.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0050": {
-    "English Original": "Cixous claims that Western philosophical and literary\n\n<sup9.</sup For Wilde and feminism, see Victoria White, \"Women of No Importance: Misogyny in the Work of Oscar Wilde,\" in Wilde: The Irishman, ed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0051": {
-    "English Original": "Jerusha McCormack (New Haven and London: Yale University Press, 1998), 158–165; Patricia Flanagan Behrendt, Oscar Wilde: Eros and Aesthetics (London: Macmillan, 1991); Sos Eltis, Revising Wilde: Society and Subversion in the Plays of Oscar Wilde (Oxford: Clarendon Press, 1996); Melissa Knox, Oscar Wilde: A Long and Lovely Suicide (New Haven and London: Yale University Press, 1994); Gary Schmidgall, The Stranger Wilde: Interpreting Oscar (London: Abacus, 1994).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0052": {
-    "English Original": "<sup10.</sup All parenthesised references are to this edition: Hélène Cixous, \"Sorties: In and Out: Attacks/Ways Out/Forays,\" in The Newly Born Woman, eds.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0053": {
-    "English Original": "Hélène Cixous and Catherine Clement, trans.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0054": {
-    "English Original": "Sandra M. Gilbert (Manchester: Manchester University Press, 1986), 63–132.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0055": {
-    "English Original": "thought is and has always been caught up in this endless chain of hierarchical binary oppositions, which in the end can always be reduced to the fundamental couple, Male/Female, and she locates a constant death at work in the proliferation of these binaries (63).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0056": {
-    "English Original": "For the first term to acquire meaning it must destroy the latter one.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0057": {
-    "English Original": "The couple cannot be left intact: it is a battlefield where the struggle for signifying supremacy is forever reenacted.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0058": {
-    "English Original": "In the end, victory is equated with activity, and defeat with passivity.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0059": {
-    "English Original": "Under patriarchy, the male term is \"always already\" the victor.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0060": {
-    "English Original": "Cixous denounces this schema, and undoes logocentric ideology: she proclaims woman as the source of life, power and energy, and hails the advent of an écriture féminine which will highlight the negated sign of the binary as the creative force.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0061": {
-    "English Original": "This kind of thinking is the basis of Jonathan Dollimore's assimilation of Wilde into a theory of the \"transgressive aesthetic.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0062": {
-    "English Original": "\"11 He argues that Wilde recognises the binaries on which Western culture has been erected, and in a desire to undo the inherent oppressiveness of this construction configured a philosophical tactic to invert the binary and raise the previously 'dead' term to dominance:\n\n(In)subordinate inversions if at all successful, provoke reaction.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0063": {
-    "English Original": "The result is a cultural struggle between unevenly matched contenders, a struggle in which the dominant powers, which transgressive inversion fiercely disturbs, now react fiercely against it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0064": {
-    "English Original": "But the case of Wilde suggests why, as a strategy of cultural struggle, binary inversion so often provokes such a reaction .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0065": {
-    "English Original": "Because in any historical instance the binary holds in place more than it actually designates, its inversion typically has effects beyond itself: inversion may for instance give impetus to cultures denigrated by its subordinate term, and simultaneously throw into disarray the cultures officially sanctioned by its dominant term.<sup12</sup\n\nIn feminist terms, then, to privilege the 'feminine' side of the binary is to set in motion the struggle to deconstruct the idea of hierarchy itself.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0066": {
-    "English Original": "However, if we take the letter to Ward as our starting point for such an argument, Wilde does not fit comfortably into either Cixous's or Dollimore's model.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0067": {
-    "English Original": "For Cixous you can either be patriarchal or deconstructive; yet by privileging \"emotion\" over \"reason\" Wilde remains strictly within binary oppositions, though he privileges the \"negative\" term.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0068": {
-    "English Original": "Here he might seem to conform to Dollimore's interpretation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0069": {
-    "English Original": "<sup11.</sup Jonathan Dollimore, Sexual Dissidence: From Augustine to Wilde, Freud to Foucault (Oxford: Clarendon Press, 1991), p. 64.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0070": {
-    "English Original": "<sup12.</sup Dollimore, p. 66.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0071": {
-    "English Original": "Yet in consigning Reason to the dustbin of history Wilde retains another binary – God/Man – at the core of Western civilisation, even more foundational than Man/Woman.13 Wilde placidly rejects the Protestant view of creation and asserts that not only is Reason an aspect of the sinful nature of mankind rather than the means of salvation, but that it is given to both sexes.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0072": {
-    "English Original": "He claims that there is an entire Western religious system based on the privileging of Faith and Emotion over Reason, Roman Catholicism, a claim which, if true, would render both Cixous's and Dollimore's conception of Western civilisation far too unsophisticated as they fail to deal with philosophies that privilege different sides of binary opposites as they encounter them, rather than as dominated by a masculinist configuration of the cosmos.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0073": {
-    "English Original": "In suggesting that Catholicism has a monopoly on \"irrational faith\" Wilde is capitalising on the claims of his contemporaries about the \"unreasonableness\" of Catholicism.<sup14</sup\n\nWilde is being transgressive and conservative, privileging God over Man, but Faith over Reason.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0074": {
-    "English Original": "The letter's position on the opposition Male/Female is more difficult to pin down.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0075": {
-    "English Original": "Man's reason is declared the \"most misleading and thwarting guide that the sun looks upon, except perhaps the reason of woman.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0076": {
-    "English Original": "Reason is the chief culprit here.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0077": {
-    "English Original": "It is part of the fallen world.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0078": {
-    "English Original": "While the Protestant mind associates it with the divine intelligence, in Eden it was not one of the cultivated plants.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0079": {
-    "English Original": "After the Fall humanity was cursed with Reason leading eventually, to Protestantism.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0080": {
-    "English Original": "However, historically it has been men who have cultivated Reason, which is why Wilde labels faith \"an exotic plant to man's mind,\" suggesting that it has long been grown by women.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0081": {
-    "English Original": "Utilising the discourse of Culture/Nature, Wilde maintains that the association of woman with Nature has been to their benefit, as it has brought them closer to God, and proportionally been harmful to men, as it has led them away from God and drawn them towards Plato's sun, the god of Reason.15 It is not that faith is a property biologically inherent in women; it has merely been better cultivated by them.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0082": {
-    "English Original": "This exhorts\n\n<sup13.</sup The binary God/Man is the foundational philosophical opposition from at least the Pythagoreans onwards within Western metaphysics, rather than Speech/Writing, as Jacques Derrida claims (in Of Grammatology, trans.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0083": {
-    "English Original": "Gayatri Chakravorty Spivak [Baltimore and London: The Johns Hopkins University Press, 1976], 6–27), or Man/Woman as in Cixous, p. 64.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0084": {
-    "English Original": "<sup14.</sup E. G. Berryman, Is the Christian Religion in Accordance with Reason and Common Sense?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0085": {
-    "English Original": "(London: E. G. Berryman, 1884).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0086": {
-    "English Original": "To characterise Catholicism as a religion that pays little or no attention to reason would be misleading.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0087": {
-    "English Original": "In the system of Thomas Aquinas for example, reason takes a vital place.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0088": {
-    "English Original": "However, it always stays subordinate to faith.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0089": {
-    "English Original": "<sup15.</sup Some ecofeminists would agree with this.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0090": {
-    "English Original": "They argue that mainstream feminism should stop trying to break the link between woman and nature, and claim that the problem has always been men's alienation from it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0091": {
-    "English Original": "both sexes to adopt the conventionally 'feminine' quality of faith as the means of divine communion.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0092": {
-    "English Original": "Wilde assures Ward that he has misunderstood history by seeing it teleologically as the development of Reason, the movement towards a world where superstition is banished and the light of Plato's sun illuminates everything.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0093": {
-    "English Original": "This position is, however, one well out of favour with many strands of contemporary feminism and with most of the elements in arguments for women's liberation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0094": {
-    "English Original": "From its modern inception, the movement has been involved in the repudiation of any appropriation of the claims of reason by men and the assignation of emotion to women.16 The call for the use of Reason as a means of liberation is misguided to Wilde here in the sense that he believes that women are already liberated in religious terms (though not, it is clear, in material reality), and have only now, presumably through the phenomenon of the 'New Woman,' begun to trammel this freedom by trumpeting 'reason' as an attractive category.17 It is the integration of feminism with reason that Wilde is objecting to here.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0095": {
-    "English Original": "It is not that women do not possess Reason – indeed he states blandly that his mother possesses far too much of it – but that historically, they have failed to develop it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0096": {
-    "English Original": "The recent move in human history towards the deployment of Reason by women is a negative one in terms of salvation history, because it is only by subordinating Reason that one can find the keys to the kingdom.<sup18</sup\n\nThe problem with the dream of Reason is that it cannot cope with the unreasonableness of the universe.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0097": {
-    "English Original": "Its only solution to the irrational is despair.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0098": {
-    "English Original": "When his mother\n\n<sup16.</sup See Mary Wollstonecraft, A Vindication of the Rights of Woman, ed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0099": {
-    "English Original": "Miriam Brody Kramnick (Harmondsworth: Penguin, 1978); Elizabeth D. Harvey, and Kathleen Okruhlik, Women and Reason (Ann Arbor: University of Michigan Press, 1992); Genevieve Lloyd, The Man of Reason: 'Male' and 'Female' in Western Philosophy (Minneapolis: University of Minneapolis Press, 1984); Janet Radcliffe Richards, \"Why Feminist Epistemology Isn't,\" in The Flight from Science and Reason, eds.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0100": {
-    "English Original": "Paul R. Gross, Norman Levitt, and Martin W. Lewis (Baltimore and London: New York Academy of Sciences, distributed by Johns Hopkins Press, 1997), 385–412.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0101": {
-    "English Original": "<sup17.</sup For the 'New Woman' see Lyn Pykett, The 'Improper' Feminine: The Woman's Sensation Novel and the New Woman Writing (London & New York: Routledge, 1992); Sally Ledger, \"The New Woman and the Crisis of Victorianism,\" in Cultural Politics at the Fin de Siècle, eds.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0102": {
-    "English Original": "Sally Ledger and Scott McCracken (Cambridge: Cambridge University Press, 1995), 22–44.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0103": {
-    "English Original": "<sup18.</sup See Lucy Bland, \"The New Woman, the Married Woman and the Feminist: Sexual Politics in the 1890s,\" in Equal or Different, ed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0104": {
-    "English Original": "Jane Rendell (Oxford: Blackwell, 1987), 141–164; see A. R. Cunningham, \"The 'New Woman' Fiction of the 1890s,\" Victorian Studies 17 (1973) 177–186, for Reason and the New Woman.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0105": {
-    "English Original": "See also Carol McMillan, Women, Reason, and Nature: Some Philosophical Problems with Feminism (Oxford: Basil Blackwell, 1982).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0106": {
-    "English Original": "finds that intelligence does not provide reasons enough for the \"discord and jarring of the world\" she turns, not to faith but to \"pessimism,\" like Schopenhauer, whose only resolution to the problem of evil is mass suicide.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0107": {
-    "English Original": "This is why Dollimore and Cixous are both insufficient in explaining either philosophy or Wilde, as neither concedes that patriarchy more often than not allows binary opposites to operate fluidly in discourse.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0108": {
-    "English Original": "Wilde privileges the 'feminine' side of one binary (Reason/Faith), the 'masculine' side of another (God/Man), and unites another binary into one (Man/Woman becomes Humanity).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0109": {
-    "English Original": "This also pulls the plug on attempts to paint Wilde as either a feminist,19 or a misogynist,20 because neither formulation can cope with his advocation that men and women drop the claim to reason and find faith in God.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0110": {
-    "English Original": "Generalising from this inability to adequately understand Wilde suggests that the kind of a priori positions advocated by a feminist philosophy fail in analysing Wilde's formulations, because much of current feminist thinking is itself caught up in a Protestant conception of the world – with 'binary oppositions' themselves a peculiarly Protestant obsession – and refuses to examine or believe in a system that jettisons reason for theism.21 It is not, ultimately, that men have to become more like women to be saved, but rather that they must look to the faith/superstitious aspect of life that women have cultivated like a plant, and grow that same aspect within themselves.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0111": {
-    "English Original": "This letter gestures what has more recently and more controversially been called \"The Myth of Male Power,\"22 though Wilde remains on a purely spiritual plain here.<sup23</sup While it is men who are given status and hold the highest office, the potent forces governing reality – the truth behind the facts, the link with God – is out of their hands primarily because of socialisation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0112": {
-    "English Original": "It is significant that it was during this period, the height of the Victorian patriarchy, that a sizeable academic industry began to grow which pored over the evidence relating to the possibility that there once existed matriarchal societies worshipping goddess figures.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0113": {
-    "English Original": "The common view of male\n\n<sup19.</sup See Declan Kiberd, Inventing Ireland: the Literature of the Modern Nation (London: Vintage, 1996), p. 7; Flanagan, p. 7; Ruth Vanita, Sappho and the Virgin Mary: SameSex Love and the English Literary Imagination (New York: Columbia University Press, 1996), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0114": {
-    "English Original": "<sup20.</sup See White; Norbert Kohl, Oscar Wilde: The Works of a Conformist Rebel (Cambridge: Cambridge University Press, 1989), p. 221.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0115": {
-    "English Original": "<sup21.</sup Camille Paglia, Sex, Art, and American Culture: Essays (London: Viking, 1993), p. 246.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0116": {
-    "English Original": "Warren Farrell, The Myth of Male Power: Why Men are the Disposable Sex (London: Fourth Estate, 1994).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0117": {
-    "English Original": "<sup23.</sup In other words he is not suggesting that women have not been materially oppressed throughout history.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0118": {
-    "English Original": "religious leaders in the nineteenth century was that women had a greater religious instinct than men, and a greater capacity for worship.24 Such an obsession with female sites of religious power grew during the period in which a \"crisis of faith\" was besieging the established churches, a crisis extrapolated from the exhortation to rationalism and the erection of a temple of Reason based on geology and the Higher Criticism – male dominated categories of study pushing the belief in science to logical conclusions.25 While male confidence in overmasculine versions of the spiritual world began to crumble a variety of alternative alliances began to form for women.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0119": {
-    "English Original": "The interest in powerful female faithlinks to divinity exposed the inadequacies of the prevailing models of male omnipotence and omnicompetence.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0120": {
-    "English Original": "The creation of a subculture of feminine knowledge tantalisingly held the possibility of a spiritual escape route for men watching the metaphysical edifice of their world crumbling under the weight of the empirical sciences.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0121": {
-    "English Original": "While male university faculties and churches went to academic and spiritual war with their souls at stake, women seemed to be congregating and organising a spiritual counterculture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0122": {
-    "English Original": "Some sociologists have argued, controversially, that due to the historically direct role of women in childraising, they have and create a \"moral community\" that is unavailable to men except through their relationships with their wives and mothers who embody the virtues of this moral community.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0123": {
-    "English Original": "Moreover this community itself, made up as it is of mothers and wives, appears to men as a specifically female site that is available to them only through the actions of the women in their lives:\n\n.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0124": {
-    "English Original": "women, the primary carers, have much more direct experience of the moral community than do men, whose own position is mediated by a few key relationships to women.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0125": {
-    "English Original": "Men's experience of community is as sons and lovers, so to speak.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0126": {
-    "English Original": "It is their mothers and wives who consequently appear to embody the virtues .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0127": {
-    "English Original": "which community life entails.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0128": {
-    "English Original": "This is not all though.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0129": {
-    "English Original": "Not only are women closer to the heart of the caring community,\n\n<sup24.</sup Brian Heeney, The Women's Movement in the Church of England, 1850–1930 (Oxford: Clarendon Press, 1988).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0130": {
-    "English Original": "<sup25.</sup For the crisis of faith as a male obsession, see Ruth Y. Jenkins, Reclaiming Myths of Power: Women Writers and the Victorian Spiritual Crisis (Lewisburg: Bucknell University Press; London & Toronto: Associated University Presses, 1995), p. 18ff; for the Genesis and geology debate see C. C. Gillespie, Genesis and Geology (New York: Harper and Row, 1959); for the Higher Criticism see M. A. Crowther, Church Embattled: Religious Controversy in MidVictorian England (Newton Abbot: David and Charles, 1970), and John Rogerson, Old Testament Criticism in the Nineteenth Century: England and Germany (London: S.P.C.K., 1984).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0131": {
-    "English Original": "but the web of mutual obligations and services which make it up are predominantly between women .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0132": {
-    "English Original": "So the community itself does have a distinctly female character.<sup26</sup\n\nThis view corresponds to that of Emile Durkheim who believed that religion was not ultimately about hard theology, but rather a representation of social bonds and group consciousness, a symbolic statement about membership of family and community.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0133": {
-    "English Original": "Thus, while the male Protestant churches had elevated men and rationalism, women began to predominate in three other religious areas.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0134": {
-    "English Original": "The first feminised religion was that of occultism with its great Occult Mother, Madame Blavatsky.27 The evidence for female influence over mysticism in this period is overwhelming, and in novels written by men, the occurrence of the mystical female demonstrates how a masculinity in crisis sought female deities to salvage them: Ayeshavn Bulwer Lytton's A Strange Story (1862); Rider Haggard's She (1887); Arabella Donne in Hardy's Jude the Obscure (1896); the Duchess of Towers in George du Maurier's Peter Ibbetson (1892); Theodora in Disraeli's Lothair (1870); Lewis Carroll's Queen of Hearts in Alice in Wonderland.28 Wilde's letter states that the Infinite wears \"skirts,\" thus implicating him in this kind of thinking.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0135": {
-    "English Original": "Instinctual values29 were proclaimed specifically female virtues by feminists in this period, the same instincts that Wilde is professing to admire in the letter at hand.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0136": {
-    "English Original": "The distance between men and women's intellectual drives is to be regretted for him, but regretted on the side of men.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0137": {
-    "English Original": "For women to move towards the use of Reason is a disastrous turn in history because it functions to misdirect the whole community, male and female, deeper into male rational factionalism and a godless society.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0138": {
-    "English Original": "Wilde would have\n\n<sup26.</sup Geoff Dench, The Frog, the Prince, and the Problem of Men (London: Neanderthal Books, 1994), p. 129.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0139": {
-    "English Original": "<sup27.</sup See Diana Basham, The Trial of Women: Feminism and the Occult Sciences in Victorian Literature and Society (Hong Kong: Macmillan, 1992), and Alex Owen, The Darkened Room: Women, Power, and Spiritualism in Late Victorian England (London: Virago, 1989).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0140": {
-    "English Original": "<sup29.</sup Or lateral thinking as it has come to be termed: see the notorious Peggy McIntosh, Interactive Phases of Curricular Revision: A Feminist Perspective (Wellesley, Massachusetts, 1983); see also Alice Echols, \"The taming of the Id: Feminist Sexual Politics: 1968–1983,\" in Pleasure and Danger: Exploring Female Sexuality, ed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0141": {
-    "English Original": "C. S. Vance (Boston: Routledge and Kegan Paul, 1984), and Mary F. Belenky, Blythe M. Clincy, Nancy R. Goldberger, and Jill M. Tarrule, Women's Ways of Knowing: The Development of Self, Voice and Mind (New York: Basic Books, 1986).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0142": {
-    "English Original": "See also Linda Alcoff and Elizabeth Potter, eds., Feminist Epistemologies (London: Routledge, 1993).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0143": {
-    "English Original": "echoed the feminist Margaret Fuller when she argued that \"The electrical, the magnetic element in women has not been fairly brought out at any period.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0144": {
-    "English Original": "Everything might be expected from it; she has more of it than man.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0145": {
-    "English Original": "This is commonly expressed by saying that her intuitions are more rapid and more correct.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0146": {
-    "English Original": "You will often see men of high intellect absolutely stupid in regard to the atmospheric changes, the fine invisible links which connect the forms of life around them, while common women .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0147": {
-    "English Original": "will seize and delineate these with unerring discrimination.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0148": {
-    "English Original": "\"30 Wilde would have only one adjunct to this.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0149": {
-    "English Original": "It would be to warn that women do not possess these features by nature but by \"cultivation,\" hence he urges William Ward to begin to shore up this exotic plant in his psyche.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0150": {
-    "English Original": "His reference to \"the people\" is in part a reference to the feminised masses of Irish society, 'feminised' in the sense that dogma and superstition dominate their intellectual modes of conception.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0151": {
-    "English Original": "Wilde holds women up as the potential transformers of society, recognising the second area of power for women: as the angelsofthehome.31 For this concept was not only the misogynistic repression by a patriarchal society.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0152": {
-    "English Original": "It was also the desperate expression of a frightened, religiously crumbling society of its belief that women could change the world by making men better creatures through their spiritual influence, recreating the now desolated church in the home.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0153": {
-    "English Original": "As Houghton writes, \"The Victorian home was not only a peaceful, it was a sacred, place.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0154": {
-    "English Original": "When the Christian tradition .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0155": {
-    "English Original": "was losing its hold on contemporary society, and the influence of the pastorate was declining, the living church more and more became the 'temple of the hearth.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0156": {
-    "English Original": "\"32 The desperation inherent in this conception can be seen in Ruskin's argument defining the home: \"This is the true nature of home – it is the place of Peace; the shelter, not only from all injury, but from all terror, doubt, and division.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0157": {
-    "English Original": "In so far\n\n<sup30.</sup Margaret Fuller, Woman in the Nineteenth Century (Facsimile edition, University of South Carolina Press, 1980), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0158": {
-    "English Original": "<sup31.</sup Walter E. Houghton, The Victorian Frame of Mind, 1830–1870 (New Haven: Yale University Press, 1957), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0159": {
-    "English Original": "The term, 'angelinthehouse,' is of course Coventry Patmore's phrase, and was developed to its highest pitch by John Ruskin in his celebrated and attacked essay, Sesame and Lilies (1865).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0160": {
-    "English Original": "He saw the woman in the home as a quasispiritual being selflessly dispensing love and moral advice to her family, and draws an extreme division between the public and the private spheres.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0161": {
-    "English Original": "<sup32.</sup Houghton, p. 346.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0162": {
-    "English Original": "For an attack on this theory, see Kate Millett, \"The Debate over Women: Ruskin versus Mill,\" in Victorian Studies 14:1 (September, 1970) 63–82.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0163": {
-    "English Original": "See also Nancy Cott, \"Passionlessness: An Interpretation of Victorian Sexual Ideology, 1790–1850,\" Signs 4 (1978) 219–236, who interestingly argues that angelic status did give women a dignity absent in other interpretations of womanhood.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0164": {
-    "English Original": "as it is not this, it is not home; so far as the anxieties of the outer life penetrate into it, and the inconsistentlyminded, unknown, unloved, or hostile society of the outer world is allowed by either husband and wife to cross the threshold it ceases to be a home; it is then only a part of the outer world which you have roofed over and lighted fire in.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0165": {
-    "English Original": "But so far as it is a sacred place, a vestal temple, a temple of the hearth watched over by Household Gods, before whose faces none may come but those whom they can receive with love, – so far as it is this .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0166": {
-    "English Original": "so far it vindicates the name and fulfils the praise, of Home.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0167": {
-    "English Original": "\"33 Ruskin's plain desire is to prevent the crisis of faith intruding into the only sanctuary left from the pernicious influence of doubt.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0168": {
-    "English Original": "Hence his insistence that women cannot (must not) study theology.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0169": {
-    "English Original": "While Mary Daly claims that the designation of women as 'angelsofthehome,' along with the model of the Virgin Mary, left women in a quandary as they could not identify with such sacralised idealisations thus forcing them to be \"essentially identified with Eve,\"34 men, with either Jesus and God the Father as their religious models, or a besieged church, looked with envy on their 'naturally' divine wives and mother, holy by virtue of their maternal connection to Mary.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0170": {
-    "English Original": "Julia Kristeva claims that the emphasis on Mary within Catholicism had a debilitating effect on Catholic women: \".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0171": {
-    "English Original": "the blossoming of feminism in Protestant countries is due, among other things, to the greater initiative allowed women on the social and ritual plane.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0172": {
-    "English Original": "One might wonder if, in addition, such a flowering is not the result of a lack in the Protestant religious structure with respect to the Maternal.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0173": {
-    "English Original": "\"<sup35</sup If we take this letter as one possible response, Wilde appears to be worried about the direction which such feminism appears to be taking.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0174": {
-    "English Original": "Although in late modernity women increased their participation in the outer technological world, a technological world largely shaped through the imagery of a masculinist and mechanistic Protestant theology, they have been strongly pressurised to do so in traditionally masculine ways.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0175": {
-    "English Original": "'Feminine' faith has collapsed into 'masculine' reason, allowing the material world to usurp the role of the Creator, as humanity rejects its traditionally 'feminine' dependence on Him.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0176": {
-    "English Original": "Rejecting a theology of Mary may be one aspect of this thorough masculinising version of the physical and metaphysical world.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0177": {
-    "English Original": "And Mary is a key figure in the third domain of women's power in the Victorian period, and the one at the very heart of Wilde's letter, as evidenced by that cryptic reference to \"the peo\n\n<sup33.</sup John Ruskin, Sesame and Lilies (Kent: George Allen, 1887), p. 136–37.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0178": {
-    "English Original": "<sup34.</sup Mary Daly, Beyond God the Father: Towards a Philosophy of Women's Liberation (London: The Woman's Press, 1985 reprint), p. 81.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0179": {
-    "English Original": "<sup35.</sup Julia Kristeva, \"Stabat Mater,\" in The Kristeva Reader, ed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0180": {
-    "English Original": "Toril Moi (New York: Columbia University Press, 1986), p. 167–8.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0181": {
-    "English Original": "ple,\" the mass of the Irish: the Catholic Church.36 The Catholic Church and its AngloCatholic ally were excoriated as \"female movements\" by the Established Church as they both contained a disproportionate number of active female participants.37 Octavius Ellis argued in 1868 that \"The Ritual movement is a lay movement; but it is more than that; it is a female movement .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0182": {
-    "English Original": "The Ritualistic clergyman is led, or rather misled, by a few ladies who have time and taste for ornamental work, for embroidering coloured stoles, chasubles, &c., and they allow themselves no rest until they have persuaded him to wear these things.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0183": {
-    "English Original": "\"<sup38</sup\n\nThis is also audaciously hinted at in Wilde's first words: \"I confess.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0184": {
-    "English Original": "The degenerate confessional was a recurrent theme in antiCatholic polemic, site of sexual abuse and seduction of the lascivious 'celibate' and his gullible female victim.39 The confessional served to undermine the authority of fathers and husbands over their daughters and wives as it reinforced the idea that God's authority over each individual was primary.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0185": {
-    "English Original": "The fact that women went in alone was affronting.40 Charles Chiniquy drew on these fears in his breathlessly entitled The Priest, the Woman, and the Confessional:\n\nThe husband respectfully requested the friends to leave the room with him, and shut the door, that the holy confessor might be left alone with his penitent during her general confession.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0186": {
-    "English Original": "One of the most diabolical schemes, under the cover of auricular confession, had perfectly succeeded.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0187": {
-    "English Original": "The mother of harlots, the great enchantress of souls, whose seat is on \"the seven hills,\" had, there, her priest to bring shame,\n\n<sup36.</sup For the importance of Mary in the delineation of Protestants and Catholics see Andrew Greeley, The Mary Myth (New York: Seabury Press, 1977), and Stephen Benko, Protestants, Catholics, and Mary (Valley Forge: Judson Press, 1968).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0188": {
-    "English Original": "<sup37.</sup John Shelton Reed, \" 'A Female Movement': The Feminisation of NineteenthCentury AngloCatholicism,\" Anglican and Episcopal History LVII: 2 (June 1988).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0189": {
-    "English Original": "<sup38.</sup Octavius J. Ellis, Some Time Among Ritualists (London: Hatchards, 1868), p. 10–11.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0190": {
-    "English Original": "The link between women and Catholicism in England goes back to the Reformation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0191": {
-    "English Original": "See Arthur F. Marotti, \"Alienating Catholics in Early Modern England: Recusant Women, Jesuits and Ideological Fantasies,\" in Catholicism and AntiCatholicism in Early Modern English Texts, ed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0192": {
-    "English Original": "Arthur F. Marotti (London: Macmillan, 1999), 1–34.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0193": {
-    "English Original": "<sup39.</sup Robert James Klaus, The Pope, the Protestants, and the Irish: Papal Aggression and AntiCatholicism in MidNineteenth Century England (New York: Garland Publishing Incorporated, 1987), p. 288–94.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0194": {
-    "English Original": "<sup40.</sup Nigel Yates, \"Jesuits in Disguise?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0195": {
-    "English Original": "Ritualist Confessors and their Critics in the 1870s,\" Journal of Ecclesiastical History 39 (1988) 202–216.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0196": {
-    "English Original": "disgrace, and damnation, under the mask of Christianity.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0197": {
-    "English Original": "The destroyer of souls, whose masterpiece is auricular confession, had, there, for the millionth time, a fresh opportunity for insulting the God of purity through one of the most criminal actions which the dark shades of night can conceal.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0198": {
-    "English Original": "But let us draw the veil over the abominations of that hour of iniquity, and let us leave to hell its dark secrets.<sup41</sup\n\nBy placing himself in the seat of the penitent, Wilde vicariously identifies with the one coherent 'feminised' religion, which he sees as offering a holistic attitude for both sexes.42 Wilde is a 'feminist' in Kristeva's terms as one who is marginalized by the patriarchal symbolic order, Victorian Protestantism.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0199": {
-    "English Original": "As she insists, \"a feminist practice can only be negative, at odds with what already exists so that we can say 'that's not it' and 'that's still not it.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0200": {
-    "English Original": "\"43 This allows her to claim that men can be constructed as subsidiary to the symbolic order.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0201": {
-    "English Original": "However, Wilde's position in 'feminised' Catholicism is marginal in England but dominant in his native Ireland.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0202": {
-    "English Original": "Catholic Wilde is positioned in both a minority and a majority culture, a feminised and yet a patriarchal religion, associating with a set of doctrines that render one a nonbeing in one culture, irrational, absent, beyond the pale of humanity, womanlike but also in some eyes womanabusing, while at the same time is associated with the universal church, the membership of which is deconstructed and authoritarian.44 Wilde is on the edges of a patriarchal order and in the centre of it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0203": {
-    "English Original": "What Protestantism emphasises is the personal conscience, typical of which is the male scientist searching for the truth alone, while Catholicism is based on the concept of communal and intercommunity worship.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0204": {
-    "English Original": "Wilde recognises that the community is a key feature in the gendered problems he has raised.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0205": {
-    "English Original": "His mother, a Protestant, has dismissed communallyheld dogmas back to the population, \"the people\" – she does not require a confessional as she can relate to God directly.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0206": {
-    "English Original": "Wilde however, feels the\n\n<sup41.</sup Charles Chinquy, The Priest, the Woman, and the Confessional (1874; Chino, California: 1979), p. 57.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0207": {
-    "English Original": "<sup42.</sup Pusey's Eirenicon (1865) pointed out that \"the vast system as to the Blessed Virgin\" was \"the special 'crux' of the Roman Church\" blocking any chance of reunion with Anglicanism.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0208": {
-    "English Original": "<sup43.</sup Julia Kristeva, \"La femme ce n'est jamais ça,\" an Interview with psyché et po.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0209": {
-    "English Original": "Tel Quel 59 (1974), trans.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0210": {
-    "English Original": "Marilyn A. August as \"Woman Can Never Be Defined,\" in New French Feminisms: An Anthology, eds.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0211": {
-    "English Original": "Elaine Marks and Isabelle de Courtivron (Brighton: Harvester, 1981), p. 137.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0212": {
-    "English Original": "<sup44.</sup On the 'deconstructed' nature of the universal Church see Eamonn Hughes, \"Joyce and Catholicism,\" in Irish Writers and Religion, ed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0213": {
-    "English Original": "Robert Welch (Gerrards Cross, Buckinghamshire: Colin Smythe, 1992), 116–137.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0214": {
-    "English Original": "need to confess, to enter a mediation with God which involves the community, an approach which requires a faith rather than a fact.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0215": {
-    "English Original": "For him, Speranza has too many male values at the expense of God, and has rejected dogma as irrational.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0216": {
-    "English Original": "It is faith's very irrationality that attracts her son, paradoxy rather than orthodoxy.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0217": {
-    "English Original": "This issue of gender also enters into the second part of the letter where Wilde attempts to justify Christian doctrine to Ward.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0218": {
-    "English Original": "Although Ellmann presents Wilde's position on the Atonement as one of reservation, he has misunderstood the tone of the letter: \"Wilde praises the beauty, as well as the necessity, of the Incarnation, acknowledging doubts about the Atonement.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0219": {
-    "English Original": "'But I think since Christ the dead world has woke up from sleep' \" (63).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0220": {
-    "English Original": "Ellmann represents this final sentence as a statement of doubt, rather than of belief, the exact reverse of the intention of the letter itself.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0221": {
-    "English Original": "What Wilde actually claims is that, although the Atonement is \"hard to grasp\" or understand, the proof of it is that \"since Christ the dead world has woken up from sleep,\" a perfectly orthodox position to hold.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0222": {
-    "English Original": "For the debate between Catholicism and Protestantism however, these issues of Incarnation and Atonement lead to a crucial crux: the position of the Virgin Mary within the economy of salvation, a key issue that feminism itself has yet to come fully to grips with.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W3212048450_s0223": {
-    "English Original": "This article has suggested that the issue of religion and religious doctrine must be tackled by any scholar or critic interested in tracing Wilde's position in the debate on gender which characterised late nineteenth century England, and that engagement with such issues cannot afford to elide the complexities of the religious traditions involved.",
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-  "W3212048450_s0224": {
-    "English Original": "This will mean, I suspect, that the terms 'feminist' and 'misogynist' may have to be displaced, and a discourse better able to handle the genuine complexities of lived traditions and subjects possessing at least limited agency will have to emerge.",
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-  "W3212048450_s0225": {
-    "English Original": "Both Wilde and Catholicism are interesting places from which this new discourse can start to come together.",
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-  "W4206160935_s0001": {
-    "English Original": "LIFE AND LETTERS OF SIR JOHN EVERETT MIL12MS\n\nJG MIL\\AIS\n\nV9L\n\nEx Libris C. K. OGDEN\n\n\n\nDigitized by the Internet Archive in 2007 with funding from Microsoft Corporation\n\nhttp://www.archive.org/details/lifelettersofsir01milliala\n\n THE LIFE AND LETTERS OF SIR JOHN EVERETT MILLAIS\n\n\n\n\n\n\n\n THE\n\n LIFE AND LETTERS\n\nOF\n\n SIR JOHN EVERETT MILLAIS\n\n PRESIDENT OF THE ROYAL ACADEMY\n\n BY HIS SON JOHN GUILLE MILLAIS\n\nWITH <sup319</sup ILLUSTRATIONS\n\nINCLUDING NINE PHOTOGRAVURES\n\nVOL.",
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-  "W4206160935_s0002": {
-    "English Original": "I.\n\nMETHUEN & CO. <sup36</sup ESSEX STREET, W.C. LONDON\n\n1899\n\nPRINTED BY W. BRENDON AND SON PLVMOUTH\n\nAnnex Vp\n\n TO\n\n THE MEMORY OF\n\n MY DEAR FATHER AND MOTHER\n\n <supI</sup DEDICATE THESE VOLUMES\n\n\n\n PREFACE\n\n<supr</sup <supI</sup ^ H E task of selecting from such <supa</sup vast mass of material JL as has been kindly placed at my disposal by friends and relatives has been no easy one, and <supI</sup venture to hope that, so far as <supI</sup may have exceeded my duty as <supa</sup biographer, the interest of the extraneous matter may, in some measure at least, atone for its admission.",
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-  },
-  "W4206160935_s0003": {
-    "English Original": "<supI</sup cannot adequately thank the many friends who have so generously helped me with contributions, or in allowing me the free use of their pictures for these pages.",
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-  "W4206160935_s0004": {
-    "English Original": "To Messrs. Graves and Son, Thomas Agnew and Sons, Arthur Tooth and Sons, Thomas McLean and Sons, and the Fine Art Society my special thanks are due for liberty to avail myself of their copyrights ; but most of all am <supI</sup indebted to my fatherinlaw, Mr. P. G. Skipwith, for his invaluable assistance in preparing this work for the press.",
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-  "W4206160935_s0005": {
-    "English Original": "JOHN GUILLE MILLAIS\n\nMELWOOD, HORSHAM, July, 1899\n\n\n\n CONTENTS\n\n CHAPTER I.",
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-  "W4206160935_s0006": {
-    "English Original": "PAGE The birth of Millais His parents Early days in St. Heliers <supA</sup mother who educates and helps him School <supa</sup failure The Lemprieres First efforts in Art The family move to Dinan The Drummajor's portrait Return to St. Heliers Millais goes to London with his mother Sir Martin Shee's advice Millais enters Mr. Sass's school, and gains the silver medal of the Society of Arts His love of fishing Original amusement He enters the Royal Academy Early successes Anecdotes of the poet Rogers William Wordsworth Oxford's attempt on the Queen's life Millais as an Academy student General Arthur Lempriere on Millais as <supa</sup boy Poem on students' life Sergeant Thomas First visit to Oxford Mr. Wyatt Mr. Drury \" Cymon and Iphigenia\" \" Grandfather and Child\" .",
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-  "W4206160935_s0007": {
-    "English Original": "PRERAPHAELITISM : ITS MEANING AND ITS HISTORY\n\nFirst meeting of Hunt and Millais The Pedantry of Art Hunt admitted to the R.A.",
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-  "W4206160935_s0008": {
-    "English Original": "They work together in Millais' studio Reciprocal relief The birth of PreRaphaelitism The name chosen The meeting of Hunt and D. G. Rossetti First gathering of the Brotherhood The socalled influence of Rossetti Millais explains The critics at sea D. G. Rossetti Ruskin Max Nordau The aims of PreRaphaelitism Cyclographic Club Madox Brown \"The Germ\" Millais' story .",
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-  "W4206160935_s0009": {
-    "English Original": "\"Lorenzo and Isabella\" A prime joke \"Christ in the home of His parents \" The onslaught of the critics Charles Dickens unfavourable Millais at work The newspapers send him to Australia The P.R.B.",
-    "Has CLIP Embedding": true,
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-  "W4206160935_s0010": {
-    "English Original": "draw each other for Woolner The bricklayer's opinion The elusive nugget \" Ferdinand lured by Ariel\" The ultracautious dealer Millais at the theatre painting portraits His sale of \" Ferdinand\" Mr. Stephens tells of his sittings for \"Ferdinand's\" head Mr. and Mrs. Thomas Combe Their kindness to Millais Millais' letter to the Combes His life in London The Collins family Letters about \"The Woodman's Daughter\" and \"The Flood' <sup1</sup \"Mariana\" An obliging mouse \"The Woodman's Daughter\" William Millais on the picture The artist's devotion to truth Ruskin on the PreRaphaelites He champions their cause His unreliability as a critic .",
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-  "W4206160935_s0011": {
-    "English Original": "69\n\n <supx</sup CONTENTS\n\n CHAPTER IV.",
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-  "W4206160935_s0012": {
-    "English Original": "Millais commences^\" Ophelia\" Holman Hunt, Charles Collins, William and John Millais paint at Worcester Park Farm Further letters to the Combes Millais thinks of going to the East Commencement of diary and \"The Huguenot\" Hunt at work on \"The Light of the World\" and \"The Hireling Shepherd\" Collins' last picture Millais' idea for \"The Huguenot\" He argues it out with Hunt Meets an old sweetheart Returns to Gower Street Miss Siddal's sufferings as model for \"Ophelia\" Success of \"Ophelia\" Arthur Hughes and Millais Critics of <sup1852</sup Woman in Art General Lempriere on his sittings for \"The Huguenot'' Miss Ryan Miller, of Preston Letters from Gower Street <sup1</sup <sup15</sup\n\n CHAPTER V.\n\n 18521853\n\nThe Volunteer movement Reminiscences of Turner Meeting with Thackeray Millais proposes to paint \"Romeo and Juliet\" Goes to \"George Inn\" at Hayes Begins painting \"The Proscribed Royalist \" Arthur Hughes on his sittings Millais in the hunting field \"The Order of Release \" Models for this picture Funeral of the Duke of Wellington Amusing letter to Mr. Hodgkinson Millais' first expedition to Scotland With the Ruskins to Northumberland and thence to Callander Their life in the North Discussion on architecture Dr. Acland The Free Kirk in <sup1852</sup Meeting with Gambart and Rosa Bonheur Millais' comic sketchbook He is slighted by the Academy Foreboding on the election day He is made an A. R.A. .",
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-  "W4206160935_s0013": {
-    "English Original": "18531855\n\nEnd of the PreRaphaelite Brotherhood Walter Deverell His illness and death Holman Hunt in the East Letters from him \"The Scapegoat\" \"The Blind Girl\" and \" L'Enfant du Regiment\" Winchelsea Thackeray writes whilst Millais paints An eccentric vicar Success of \"The Blind Girl\" Ruskin's description of it John Luard Millais in Scotland with Halliday, Luard, and Charles Collins Paris Exhibition of <sup1855</sup The English school at last recognised How \"The Rescue\" came to be painted Letters from Dickens Models for \"The Rescue\" and criticisms on itAppreciation by Thomas Spencer Baynes Millais loses his temper and speaks out Beneficial result Firemen at work Letters from William Allingham Frederick Leighton .",
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-  "W4206160935_s0014": {
-    "English Original": "... <sup222</sup\n\n CHAPTER VII.",
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-  "W4206160935_s0015": {
-    "English Original": "LEECH, THACKERAY, WILKIE COLLINS, AND ANTHONY TROLLOPE\n\nMillais' affection for Leech His first topboots \"Mr. Tom Noddy \" Millais introduces \"Mr. Briggs\" to the delight of salmon fishing The Duke of Athol and Leech Letters from Leech The ghost of Cowdray Hall Death of Leech His funeral The pension for Leech's family Letter from Charles Dickens Thackeray The littleness of earthly fame Wilkie Collins True origin of The Woman in White Anthony Trollope Letters from him .",
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-  "W4206160935_s0016": {
-    "English Original": "... <sup261</sup\n\nPAGE\n\n CONTENTS xi\n\n CHAPTER VIII.",
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-  "W4206160935_s0017": {
-    "English Original": "Millais' marriage Life in Scotland First visitors A poaching keeper \"Peace Concluded\" \"Autumn Leaves\" Millais' life in chambers Serious war with the critics He is attacked on all sides The Times tramples upon him The public support him Marochetti Millais on Press criticism Charles Reade Birth of <supa</sup son \"Potpourri\" The advantages of being punctual \"Sir Isumbras\" received with abuse Sandys' clever skit Sale of \"Sir Isumbras\" Letters from Charles Reade \"Escape of the Heretic\" \"The Crusader's Return\" \"The Vale of Rest\" The artist's difficulties overcome Anecdotes of \"The Vale of Rest \"and \"The Love of James I.\"",
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-  "W4206160935_s0018": {
-    "English Original": "The struggle of <sup1859</sup Millais seriously feels the attacks made upon him, but determines to fight Insulted at every turn Origin of \" The Vale of Rest\" The fight for independence \"The Black Brunswicker\" Millais describes it Dickens' daughter sits for the lady Mrs. Perugini describes her sittings Faint praise from the Press Great success of the picture Holman Hunt likewise successful Millais' blackandwhite work Letters to his wife Lady Waterford .",
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-  "W4206160935_s0019": {
-    "English Original": "18611867\n\nA holiday in Sutherlandshire \"The Eve of St. Agnes\" Comfortless surroundings Death of Thackeray His funeral \" My First Sermon \" Pictures of <sup1863</sup Paints Tom Taylor's son Letter from Tom Taylor \" Esther \" Gordon's yellow jacket \" The Romans Leaving Britain \" Letter from Anne Thackeray Ritchie \"Waking\" In Scotland with Sir William Harcourt and Mr. Reginald Cholmondeley Meeting with Dr. Livingstone Livingstone in pursuit of salmon Millais goes abroad with his wife, Sir William Harcourt, and Sir Henry Layard He buys Michael Angelo's \" Leda and the Swan \" Memorable evening at \" Villa Spence\" Adelina Patti as <supa</sup dancer Makes the acquaintance of Liszt They travel with Mario \" Waking \" The Callander shootings Amusing Letter from Sir William Harcourt Letter to William Fenn A deer drive in Glen Artney .",
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-  "W4206160935_s0020": {
-    "English Original": "HOLMAN HUNT\n\nA great friendship, and <supa</sup spur to noble ambition Cairo in <sup1854</sup The donkey and the buffalo A human parallel The Jewish model, <supa</sup shy bird The difficulties and dangers of life in and around Jerusalem in 1854 Adventure at the Brook Kerith Reflections on life Millais must put forth all his strength <supA</sup final tribute .",
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-  "W4206160935_s0021": {
-    "English Original": "... <sup402</sup\n\nPAGE\n\n xii CONTENTS\n\n CHAPTER XII.",
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-  "W4206160935_s0022": {
-    "English Original": "18651880\n\n| The<brThree<brHill<brhistoric<brat<brMillais'<brStrawberry<brgatherings<brpersonal<brparties | PAGE |  |\n||||\n| and<brfrom<brLuder<brvan<brBeers<brfriends<brLetters<brBarnay,<brJan<brD'Epine\",             |      |  |\n| and<brMrs.<brRowe's<brrecollections<brof<brMillais<brO'Neil,<brJopling<brpainter<brpoet      |      |  |\n| Owen<brWalker<brFred<brRobert<bron<brProfessor<brBrowning<brthe<brBrowning                    |      |  |\n| of<brMarochetti<brart<brVisit<brto<brpoetry                                                      | 417  |  |\n\n LIST OF ILLUSTRATIONS\n\n PHOTOGRAVURES\n\n| SIR JOHN EVERETT MILLAIS, Bart., P.R.A.",
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-  "W4206160935_s0023": {
-    "English Original": "(from the autograph portrait in |                          |           |        |                                                                 |                                   |     |\n||||||||\n| the Uffizzi Gallery)                                                    | <bContract Contract</b |           |        | the contract of the contract of the contract of the contract of | Frontispiece<br<bContractor</b |     |\n| L'ENFANT DU REGIMENT                                                    |                          |           |        | the contract of the contract of the contract of the contract of | To face page 240                  |     |\n| THE VALE OF REST                                                        | $\\ddot{\\phantom{a}}$     | $\\bullet$ | ٠      | $\\bullet$                                                       | , ,                               | 332 |\n| THE KNIGHT ERRANT                                                       |                          | $\\sim$    | $\\sim$ | $\\cdot$                                                         | , ,                               | 390 |\n\n ILLUSTRATIONS\n\n|                                                    |  |  |  | PAGE                    |\n||||||\n| Captain Edward Millais.<br1760                    |  |  |  | $\\overline{\\mathbf{c}}$ |\n| John William Millais                               |  |  |  | 3                       |\n| John Evamy                                         |  |  |  | $\\overline{+}$          |\n| Mary Millais (Millais' mother)                     |  |  |  | 5                       |\n| Shakespearian Character                            |  |  |  | 8                       |\n| Hogarthian Characters in a Witnessbox             |  |  |  | 9                       |\n| Mêlée in a Banquetinghall                         |  |  |  | 10                      |\n| Scene from \"Peveril of the Peak\"                   |  |  |  | 11                      |\n| Portrait of an Old Gentleman                       |  |  |  | 13                      |\n| Millais, by John Phillip, R.A                      |  |  |  | 15                      |\n| Hunting Scene                                      |  |  |  | 17                      |\n| Lovers under a Tree                                |  |  |  | 19                      |\n| Sketches made at Lord's                            |  |  |  | 22                      |\n| The Benjamites Seizing their Brides                |  |  |  | 23                      |\n| Cupid Crowned with Flowers                         |  |  |  | $^{24}$                 |\n| Mary Hodgkinson                                    |  |  |  | 26                      |\n| Hatfield House                                     |  |  |  | 29                      |\n| View from Millais' Home, near St. Heliers          |  |  |  | 30                      |\n| Cover of Millais' Book on Armour.",
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-  "W4206160935_s0024": {
-    "English Original": "1845             |  |  |  | 31                      |\n| A Page from Millais' Book on Armour.",
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-  "W4206160935_s0025": {
-    "English Original": "|  |  |  | 3 <sup2</sup          |\n| A Page from Millais' Book on Armour.",
-    "Has CLIP Embedding": true,
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-  },
-  "W4206160935_s0026": {
-    "English Original": "|  |  |  | 33                      |\n| Photograph of the first Cheque received by Millais |  |  |  | 35                      |\n| Emily Millais (afterwards Mrs. Wallack)            |  |  |  | 36                      |\n| Titlepage of a Book of Poems                      |  |  |  | 37                      |\n| Pizarro Seizing the Inca of Peru                   |  |  |  | 39                      |\n| Mr. Drury and Millais take the Air                 |  |  |  | 41                      |\n| Study of an Actor                                  |  |  |  | 4 <sup2</sup          |\n| Childhood                                          |  |  |  | $+4$                    |\n| Youth                                              |  |  |  | $+4$                    |\n| Manhood                                            |  |  |  | $+5$                    |\n| Age                                                |  |  |  | $+5$                    |\n| Cymon and Iphigenia                                |  |  |  | $+7$                    |\n| !",
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-  "W4206160935_s0027": {
-    "English Original": "|  |  |  | $1$                    |\n\n xiv LIST OF ILLUSTRATIONS\n\n|                                     |                          |                    |                   |           |      | PAGE        |  |\n|||||||||\n| and<brMr.<brWyatt<brhis          | Grandchild               |                    |                   |           |      | <br53      |  |\n| Sketch<brPreRaphaelite            |                          |                    |                   |           |      | <br58      |  |\n| Canterbury<brPilgrims              |                          |                    |                   |           |      | 59          |  |\n| The<brDisentombment                | of<brQueen              | Matilda            |                   |           |      | <br<br63  |  |\n| The<brDrawing<brfor               | Germ                     |                    |                   |           |      | 65          |  |\n| for<brPencildrawing              | intended<brEtching,     | have<brto         | been<brused      | The<brin | Germ | 67          |  |\n| Head<brG.<brD.<brof              | Rossetti                 |                    |                   |           |      | <br70      |  |\n| and<brLorenzo<brIsabella          |                          |                    | ,                 |           |      | 71          |  |\n| for<brdesign<brOriginal           | \"<brChrist<brthe<brin | House<brof        | His<brParents\"   |           |      | 76          |  |\n| \"Christ<brfor<brDesign            | House<brthe<brin       | His<brof          | Parents\"          |           |      | 77          |  |\n| House<brChrist<brthe<brin        | His<brParents<brof     |                    |                   |           |      |             |  |\n| \"<brsketch<brfor<brFirst         | Lured<brFerdinand       | Ariel<brby        | \"                 |           |      | <br79      |  |\n| Lured<brFerdinand                  | Ariel                    |                    |                   |           |      | <br84      |  |\n| Pencil<brfor                       | by<br\"The<brWoodman's  |                    |                   |           |      | <br85      |  |\n| design<bra<brfor                  | \"The                     | Daughter\"          |                   |           |      | <br92      |  |\n| Design<brpicture,<br\"Mariana\"     | Deluge\"                  |                    |                   |           |      | <br95      |  |\n| Sketch<brfor<br\"                  | \"<br\"                   | The                |                   | \"         |      | 104         |  |\n| Mariana<brSketches<brfor          | and                      | Return             | Dove<brof<brthe |           |      | <br105     |  |\n| Mariana                             |                          |                    |                   |           |      | <br107     |  |\n| The<brWoodman's                    | Daughter                 |                    |                   |           |      | 113         |  |\n| Ophelia                             | \"                        | \"                  |                   |           |      | 117         |  |\n| a<brfor<brDesign<brpicture<br\"  | Romeo<brof              | and<brJuliet<br\" |                   |           |      | <br120     |  |\n| The<brLast<brScene,               | Romeo<brand<brJuliet   |                    |                   |           |      | 121         |  |\n| The<brHuguenot.",
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-  "W4206160935_s0028": {
-    "English Original": "| idea<brFirst            |                    |                   |           |      | <br130     |  |\n| The<brHuguenot.",
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-  "W4206160935_s0029": {
-    "English Original": "| Second<bridea           |                    |                   |           |      | <br131     |  |\n| The<brHuguenot.",
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-  "W4206160935_s0030": {
-    "English Original": "|                    |                   |           |      | 136         |  |\n| The<brHuguenot.",
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-  "W4206160935_s0031": {
-    "English Original": "| Fourth<bridea           |                    |                   |           |      | <br137     |  |\n| The<brHuguenot.",
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-  "W4206160935_s0032": {
-    "English Original": "| idea<brFifth            |                    |                   |           |      | 138         |  |\n| The<brHuguenot                     |                          |                    |                   |           |      | <br<br139 |  |\n| The<brRacemeeting                 |                          |                    |                   |           |      | 153         |  |\n| \"<brThe<brfor<brStudy            | \"<brRoyalist            |                    |                   |           |      | <br156     |  |\n| on<brthe<brway<brMillais         | \"<brThe<brto paint     | Royalist.\"",
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-  "W4206160935_s0033": {
-    "English Original": "| W.<brBy          | Millais   |      | 157         |  |\n| Millais<brat<brDinner.",
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-  "W4206160935_s0034": {
-    "English Original": "| W.<brMillais<brBy      |                    |                   |           |      | 158         |  |\n| Millais<brthe<brpainting          | of<brbackground         | \"<brThe           | \"<brRoyalist     |           |      | <br160     |  |\n| \"The<brDinner<brat                | George<brInn,\"          | By<brHayes.",
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-  "W4206160935_s0035": {
-    "English Original": "| W.<brMillais     |           |      | <br161     |  |\n| \"<brMillais'<brOak,\"              | Kent<brHayes,           |                    |                   |           |      | <br166     |  |\n| Inn<brTourists<brat<brthe        |                          |                    |                   |           |      |             |  |\n| \"<brThe<brSketch<brfor           | Order<brRelease\"<brof  |                    |                   |           |      | <br167     |  |\n| Further<brsketch<brfor            | \"<brThe<brOrder        | \"<brof<brRelease |                   |           |      | <br169     |  |\n| The                                 |                          |                    |                   |           |      | <br170     |  |\n| Royalist<brHead<bra<brof<brGirl |                          |                    |                   |           |      | <br173     |  |\n| and<brRobert<brBruce              | the                      |                    |                   |           |      | <br175     |  |\n|                                     | Spider                   |                    |                   |           |      | 176         |  |\n| Black<brAgnes<brdusting           | Dunbar<brCastle         |                    |                   |           |      | <br177     |  |\n| Imitations<brof<brVelasquez       |                          |                    |                   |           |      | <br179     |  |\n| The<brOrder<brof<brRelease       |                          |                    |                   |           |      | 181         |  |\n| Lord<brJames<brDouglas            | for<brprovides          | the<brRoyal       | Household         |           |      | <br183     |  |\n| Bruce<brat<brthe<brSiege         | Acre<brof               |                    |                   |           |      | 184         |  |\n| Lord<brand<brEnter<brLady        | Fiddledidee              |                    |                   |           |      | 185         |  |\n| Accepted                            |                          |                    |                   |           |      | <br<br187 |  |\n| Man<brThe<brBlind                 |                          |                    |                   |           |      | 193         |  |\n| the<brBorder.<brCrossing          | W.<brBy<brMillais      |                    |                   |           |      | <br195     |  |\n| Close<brQuarters                   |                          |                    |                   |           |      | 196         |  |\n| The<brTourist's<brHighland        | Reel                     |                    |                   |           |      | <br<br197 |  |\n| Loch<brin<brFishing               | Achray                   |                    |                   |           |      | 198         |  |\n|                                     |                          |                    |                   |           |      |             |  |\n\n LIST OF ILLUSTRATIONS\n\n|                                                                      |              | raue                                     |\n||||\n| The Romans Leaving Britain.",
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-  "W4206160935_s0036": {
-    "English Original": "Line and Sepia drawing                   |              | 199.",
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-  "W4206160935_s0037": {
-    "English Original": "|\n| Sir Thomas Acland.",
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-  },
-  "W4206160935_s0038": {
-    "English Original": "|              | 202                                      |\n| A Wet Day's Pastime                                                  |              | 203                                      |\n| Design for a Gothic Window.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0039": {
-    "English Original": "|              | 204<brï                                 |\n| William Millais at Work                                              |              | 20,5                                     |\n| The Idle and the Industrious Painter                                 |              | 206                                      |\n| The Dying Man                                                        |              | 207                                      |\n| Kirk                                                                 |              | 210                                      |\n| The Best Day's Sketching                                             |              | 211                                      |\n| The Countess as Barber                                               |              | 212                                      |\n| Virtue and Vice                                                      |              | 213                                      |\n| Wayside Refreshment                                                  |              | 215                                      |\n| Sir Thomas Acland assists a certain Lady                             |              | 216                                      |\n| A certain Lady Painting                                              |              | 217                                      |\n| Awayyega                                                           |              | 218                                      |\n| Euphemia Chalmers Gray                                               |              | 219                                      |\n| Waiting                                                              |              | 223                                      |\n| Retribution                                                          |              | 227                                      |\n| Prince Charlie in a Highland Farmhouse                               |              | 229                                      |\n| The Prisoner's Wife                                                  |              | 231                                      |\n| The Ghost                                                            |              | 233<br$\\overline{\\phantom{a}}$          |\n| Mike in Shirt plying his Needle                                      |              | 237                                      |\n| The Start to Aytoun                                                  |              | 238                                      |\n| Our kind Host enters in his Dressinggown                            |              | 239                                      |\n| Catastrophes during Day's Sport                                      |              | 240                                      |\n| How instantly the A.R.A.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0040": {
-    "English Original": "outwalked his Companion                     |              | 241                                      |\n| How the Representative of R.A. was embarrassed with Straps           |              | 242                                      |\n| How we took a Dogcart                                               |              | 243.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0041": {
-    "English Original": "|\n| The Newlypainted Door                                               |              | 244                                      |\n| How the Wind distressed the Two Travellers                           |              | 246.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0042": {
-    "English Original": "|\n| How C. C. gave out                                                   |              | 247                                      |\n| Long John enters into Conversation                                   |              | 248                                      |\n| How Long John makes another Long John partake of \"overproof\" Whiskey |              | $250 $                                  |\n| How C. C. forgot himself and Craves for Salmonfishing.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0043": {
-    "English Original": "|              | 251                                      |\n| How on the top of the Coach the Weather was unfavourable             |              | 252                                      |\n| How we Warmed Ourselves at the Steamer Stove                         |              |                                          |\n| St. Agnes                                                            |              | 253<br255                               |\n| Rejected                                                             |              | 258                                      |\n| John Leech.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0044": {
-    "English Original": "Pencil sketch                                            |              | 262                                      |\n| John Leech                                                           |              | 263                                      |\n| Millais Hunting.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0045": {
-    "English Original": "By Leech                                            |              | 266.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0046": {
-    "English Original": "|\n| Millais Fishing.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0047": {
-    "English Original": "By Leech                                            |              |                                          |\n| The Duke of Wellington.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0048": {
-    "English Original": "By Leech                                     |              | 267                                      |\n| Part of a Letter from Leech to Millais.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0049": {
-    "English Original": "|              | 271                                      |\n| Wilkie Collins                                                       |              | 273.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0050": {
-    "English Original": "|\n|                                                                      | Watercolour | 279<br$\\ddot{\\phantom{0}}$              |\n| Euphemia Chalmers Gray (afterwards Lady Millais).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0051": {
-    "English Original": "|\n| Bell in Winterton Church.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0052": {
-    "English Original": "By John Luard                              |              | 288                                      |\n| Winterton Church Bells.<brBy John Luard                             |              | 28q                                      |\n| Studies for \"Edward Gray\"                                            |              | 292                                      |\n| Alice Gray                                                           |              | 293                                      |\n| Study for Tennyson Illustrations                                     |              | 298                                      |\n| Study for Tennyson Illustrations                                     |              | 299                                      |\n| The Rescue                                                          |              | 20 T                                     |\n\n xvi LIST OF ILLUSTRATIONS\n\n|                                          |                     |           |   |  |      | PAGE    |\n||||||||\n| Sketch<brfor<brTennyson                | Illustrations       |           |   |  |      | 304     |\n| Sketch<brfor<brAgnes<brSt.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0053": {
-    "English Original": "|                     |           |   |  |      | 305     |\n| The<brBlind<brGirl                     |                     |           |   |  |      | 307     |\n| Roswell                                  |                     |           |   |  |      | 309     |\n| \"<brPeace<brsketch<brFirst<brfor     | \"<brConcluded      |           |  |  |      | 310     |\n| \"<brThe<brCrusaders<brSketch<brfor   | \"                   |           |   |  |      | 311     |\n| \"<brsketch<brFirst<brfor<brSir       | \"<brIsumbras       |           | , |  |      | 312     |\n| Isumbras<brSir<br.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0054": {
-    "English Original": "|                     |           |   |  |      | 315     |\n| Mother<brand<brChild                   |                     |           |   |  |      | 317     |\n| a<brChild<brof<brStudy                |                     |           |   |  |      | 318     |\n| Sketch<brfor<brTennyson                | Illustrations       |           |   |  |      | 320     |\n| \"<bron<brIsumbras.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0055": {
-    "English Original": "| Sandys    |   |  |      |         |\n| Blossoms                                 |                     |           |   |  |      | 321     |\n| Apple<br\"<br\"<brRuth<brSketch<brfor |                     |           |   |  |      | 325     |\n| Sketch<brfor<brIllustration            |                     |           |   |  |      | 327     |\n| Sketch<brfor<brIllustration            | .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0056": {
-    "English Original": "|           |   |  |      | .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0057": {
-    "English Original": "330 |\n|                                          |                     |           |   |  |      | 331     |\n| Gray<brSophia<brThe                    |                     |           |   |  |      | 334     |\n| Bride<br\"                               |                     | \"         |   |  |      | 337     |\n| The<brBlack<brSketch<brfor<br\"       | Brunswicker         | \"         |   |  |      | 339     |\n| The<brBlack<brSketch<brfor            | Brunswicker         |           |   |  |      | 341     |\n| Kate<brSketch<brMiss<brof             | Dickens             |           |   |  |      | 346     |\n| Kate<brSketch<brMiss<brof             | Dickens             |           |   |  |      | 347     |\n| The<brBlack<brBrunswicker              |                     |           |   |  |      | 351     |\n| Old<brWall<brBalhousie<brof           | Perth<brCastle,    |           |   |  |      | 361     |\n| \"The<brRansom\"<brfor<brDesign         |                     |           |   |  |      | 364     |\n| \"Swallow!<brSwallow!",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0058": {
-    "English Original": "\"<br\"              | \"                   |           |   |  |      | 369     |\n| The<brEve<brSketch<brfor              | of<brSt.<brAgnes |           |   |  |      | 373     |\n| The<brEve<brof<brSt.<brAgnes         |                     |           |   |  | <br | 375     |\n| Sermon<brMy<brSecond                   |                     |           |   |  |      | 380     |\n| Hours<brLeisure                         |                     |           |   |  |      | 381     |\n| Romans<brThe<brleaving                 | Britain             |           |   |  |      | 387     |\n| Sleeping                                 |                     |           |   |  | ,    | 393     |\n| Waking<br,                              | /                   |           |   |  |      | 399     |\n| The<brSower<brParable<brof<brthe     |                     |           |   |  |      | 403     |\n| \"<brThe<brSketch<brParable<brfor     | Good<brof<brthe   | Samaritan | \" |  | <br | 405     |\n| Good<brThe<brParable<brof<brthe      | Samaritan           |           |   |  |      | 406     |\n| One<brThe<brEvil<brSowing             | Tares               |           |   |  | <br | 407     |\n| The<brParable<brof<brthe              | Son<brProdigal     |           |   |  |      | 409     |\n| The<brParable<brof<brthe<brUnjust    | Judge               |           |   |  |      | 411     |\n| Greenwich<brPensioners                  | Tomb<brat<brthe   | of Nelson |   |  |      | 413     |\n| \"<brThe<brCrown<brSketches<brfor     | \"<brLove<brof     |           |   |  |      | 418     |\n| The<brMinuet                            |                     |           |   |  |      | 419     |\n| The<brWidow's<brMite                   |                     |           |   |  |      | 425     |\n| Studies<brof<brFrogs                   |                     |           |   |  |      | 427     |\n| The<brGambler's<brWife                 |                     |           |   |  |      | 431     |\n| Mrs.<brHeugh                            |                     |           |   |  |      |         |\n| Mrs.                                     |                     |           |   |  |      | 437     |\n| Jopling                                  |                     |           |   |  |      | 441     |\n\n THE LIFE AND LETTERS\n\n OF\n\n SIR JOHN EVERETT MILLAIS\n\n CHAPTER I.",
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-  "W4206160935_s0059": {
-    "English Original": "The birth of Millais His parents Early days in St. Heliers A mother who educates and helps him School <supa</sup failure The Lemprieres First efforts in Art The family move to Dinan The Drummajor's portrait Return to St. Heliers Millais goes to London with his mother Sir Martin Shee's advice Millais enters Mr. Sass' school, and gains the silver medal of the Society of Arts His love of fishing Original amusement He enters the Royal Academy Early successes Anecdotes of the poet Rogers William Wordsworth Oxford's attempt on the Queen's life Millais as an Academy student General Arthur Lempriere on Millais as <supa</sup boy Poem on students' life Sergeant Thomas First visit to Oxford Mr. Wyatt Mr. Drury \" Cymon and Iphigenia\" \"Grandfather and Child.\"",
-    "Has CLIP Embedding": true,
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-  },
-  "W4206160935_s0060": {
-    "English Original": "IT was at Southampton on the 8th of June, 1829, that the late Sir J. E. Millais made his first appearance in the world as the youngest son of Mr. John William Millais, the descendant of an old Norman family resident in Jersey, where for many years he held <supa</sup commission in the Island Militia.",
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-  "W4206160935_s0061": {
-    "English Original": "There, according to local tradition, John William Millais and his ancestors had been settled ever since the time of the Conquest.",
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-  },
-  "W4206160935_s0062": {
-    "English Original": "He was <supa</sup man of fine presence and undeniable talent, being not only a very fair artist but an excellent musician, with command of four or five different instruments.",
-    "Has CLIP Embedding": true,
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-  },
-  "W4206160935_s0063": {
-    "English Original": "But with all his shifts he was a man of no <z ambition save where his children were concerned, and desired nothing more than the life he led as <supa</sup quiet country gentle man.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0064": {
-    "English Original": "My uncle, William Millais, describes him as <supa</sup typical old troubadour, who won all hearts by his good looks and charming manners, and was known in his younger days as the handsomest man in the island.",
-    "Has CLIP Embedding": true,
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-  "W4206160935_s0065": {
-    "English Original": "i. i\n\nWhen quite <supa</sup young man he chanced to meet an Englishwoman of gentle birth and great natural wit and cleverness, whose maiden name was Evamy, but who was then the widow of a Mr. Hodgkinson ; and, falling in love with each\n\n\n\nCAPTAIN EDWARD MILLAIS, <sup1760</sup (MILLAIS' GRANDFATHER) From a miniature\n\nother at first sight, they soon afterwards married.",
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-  "W4206160935_s0066": {
-    "English Original": "Mrs. Hodgkinson had two sons by her first husbandHenry, who lived <supa</sup quiet life, and recently left to the nation two of my father's best works ; and Clement, who greatly distinguished himself as an explorer in the wilds of Australia.",
-    "Has CLIP Embedding": true,
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-  "W4206160935_s0067": {
-    "English Original": "In the old days Clement was the principal A.D.C.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0068": {
-    "English Original": "of Sir Thomas Mitchell, and himself discovered several goldfields in Northern Australia.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0069": {
-    "English Original": "My grandparents, John \\Yilliam and Emily Mary Millais, at first settled at \" Le Quaihouse,\" just out of St. Heliers, where their\n\ndaughter Emily Mary was born ; but later on they re moved to Southampton, where my uncle William Henry, and afterwards my father, were added to the family.",
-    "Has CLIP Embedding": true,
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-  "W4206160935_s0070": {
-    "English Original": "They presently, however, returned to Jersey, where, at the age of four years, my father's inborn love of Natural History <supa</sup love that lasted his lifetime found means of development.",
-    "Has CLIP Embedding": true,
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-  "W4206160935_s0071": {
-    "English Original": "At St. Heliers some choice sandeels offered an easy capture.",
-    "Has CLIP Embedding": true,
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-  },
-  "W4206160935_s0072": {
-    "English Original": "The rocks too abounded with novelties in the shape of \" slow, sly things with circumspective eyes \" ; and at the pierhead no end of little fish were waiting to be caught.",
-    "Has CLIP Embedding": true,
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-  "W4206160935_s0073": {
-    "English Original": "Here, then, was Elysium to the young naturalist.",
-    "Has CLIP Embedding": true,
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-  },
-  "W4206160935_s0074": {
-    "English Original": "To one or other of these places he sped away whenever he could escape from parental control, regardless of the admonitions of his mother, whose anxiety on these occasions was hardly compensated by the treasures of the beach with which he stocked all the baths and basins of the household, or by the advance in learning he displayed in naming correctly everything in his collection.",
-    "Has CLIP Embedding": true,
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-  },
-  "W4206160935_s0075": {
-    "English Original": "There too, at St. Heliers, his taste for drawing began to show itself.",
-    "Has CLIP Embedding": true,
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-  },
-  "W4206160935_s0076": {
-    "English Original": "Encouraged by his mother, who quickly\n\ndiscerned the boy's special gift, he devoted much of his time to sketching, and was never more happy than when his pencil was thus engaged.",
-    "Has CLIP Embedding": true,
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-  },
-  "W4206160935_s0077": {
-    "English Original": "Birds and butterflies proved <supa</sup great attraction, but it mattered little to him what was the object so long as he could express it on paper.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
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-  "W4206160935_s0078": {
-    "English Original": "Draw he must, and did at every spare moment.",
-    "Has CLIP Embedding": true,
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-  },
-  "W4206160935_s0079": {
-    "English Original": "In his maternal grandfather, John Evamy <supa</sup dear old man whom he greatly admired, mainly because of his skill as <supa</sup fisherman he found <supa</sup delightful companion ; and one\n\n\n\nJOHN WILLIAM MILLAIS (MILLAIS' FATHER) In fancy dress.",
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-  "W4206160935_s0080": {
-    "English Original": "1870\n\nof his earliest sketches, done in pencil at eight years of age, gives an excellent idea of this old gentleman engrossed in his favourite pursuit.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
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-  "W4206160935_s0081": {
-    "English Original": "But Millais' truest and most helpful friend was his mother, whose love and foresight did so much to advance his aims <supo</sup and ambition, putting him in the right path from the very outset.",
-    "Has CLIP Embedding": true,
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-  "W4206160935_s0082": {
-    "English Original": "She herself undertook the greater part of his education, and, being more gifted than most women, grounded him in history, poetry, literature, etc., knowledge of costume and armour, all of which was of the greatest use to him in his career ; indeed, my father used often to say to us in after years, \" <supI</sup owe everything to my mother.\"",
-    "Has CLIP Embedding": true,
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-  "W4206160935_s0083": {
-    "English Original": "One attempt was made to send him to school, but it ended in miserable iailure.",
-    "Has CLIP Embedding": true,
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-  },
-  "W4206160935_s0084": {
-    "English Original": "Throughout his life restrictions of any sort were hateful to him what he would not do for love he would not do at all so when, after two days at school, the master tried to thrash him for disobedience, the boy turned and bit his hand severely <supa</sup misdemeanour for which he was\n\n\n\nJOHN EVAMY (MILLAIS' MATERNAL UNCLE) Drawn from life at the age of eight\n\nimmediately expelled.",
-    "Has CLIP Embedding": true,
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-  "W4206160935_s0085": {
-    "English Original": "A happy day this for him, for his mother then resumed her work of tuition, and her method of teaching, in opposition to that of the old dryasdust schools, led the child to love his lessons instead of hating them.",
-    "Has CLIP Embedding": true,
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-  },
-  "W4206160935_s0086": {
-    "English Original": "My uncle William made an excellent watercolour portrait of his mother, which <supI</sup am enabled to give here.",
-    "Has CLIP Embedding": true,
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-  },
-  "W4206160935_s0087": {
-    "English Original": "The reader will see at a glance her strong resemblance to her boy John Everett, presenting the same clever, determined mouth, and\n\n\n\nMARY MILLAIS (MILLAIS' MOTHER) From <supa</sup watercolour by William Millais, executed about the year <sup1869</sup\n\n\n\nthe same observant eyes.",
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-  },
-  "W4206160935_s0088": {
-    "English Original": "Nor did the resemblance end here, for she had also the same great love of painting and music.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0089": {
-    "English Original": "Others beside his mother very soon began to see that little John Everett possessed real genius, not mere ordinary talent; and one of his uncles was so much impressed with this idea that he used frequently to say to his children, \" Mark my words, that boy will be <supa</sup very great man some day, if he lives.\"",
-    "Has CLIP Embedding": true,
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-  },
-  "W4206160935_s0090": {
-    "English Original": "My father never forgot the good friends of his early days in <supJ</supjersev, but cherished a lasting\" affection and regard for <supJ</sup O O them.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0091": {
-    "English Original": "Amongst those most anxious to help in the early cultivation of his talent was <supa</sup charming family named Lempriere, then resident in the island.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0092": {
-    "English Original": "Philip Raoul Lempriere, the head of the house and Seigneur of Roselle Manor, was <supa</sup man whose personality made itself felt by everyone with whom he came into contact, his strikingly handsome appearance being enhanced by the dignity and kindliness of his manner ; and the same might be said in degree of every member of his family.",
-    "Has CLIP Embedding": true,
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-  },
-  "W4206160935_s0093": {
-    "English Original": "To know them intimately was an education in itself; and, happily for my father, they took <supa</sup great fancy to him, making him ever welcome at the house.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0094": {
-    "English Original": "There, then, he spent much of his time, and, as <supI</sup have heard him say, learned unconsciously to appreciate the beauties of Nature and Art.",
-    "Has CLIP Embedding": true,
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-  },
-  "W4206160935_s0095": {
-    "English Original": "General Lempriere, one of the grandsons of the Seigneur, <supI</sup may add, figures as \"the Huguenot\" in the famous picture of that name, painted in 1852.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0096": {
-    "English Original": "Roselle, in a word, proved an endless source of interest and amusement to the juvenile artist.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0097": {
-    "English Original": "He could fish when he liked in ponds well stocked with perch and tench, and in the park was <supa</sup fine herd of fallow deer, in which he took great delight.",
-    "Has CLIP Embedding": true,
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-  },
-  "W4206160935_s0098": {
-    "English Original": "A drawing of his perhaps his best at that date represents the tragic end of one of those beautiful creatures that he happened to witness.",
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-  },
-  "W4206160935_s0099": {
-    "English Original": "The circumstance impressed him deeply and, as he often remarked in after life, aroused in him the spirit of the chase, even in those early days and amidst such calm surroundings.",
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-  },
-  "W4206160935_s0100": {
-    "English Original": "My father's cousin, Miss Benest <supa</sup wonderful old lady of eighty writes : \" When he was only four he was continually at work with pencil and paper, and generally lay on the floor covering sheets with all sorts of figures.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0101": {
-    "English Original": "She also mentions, as significant of the frank and open mind and the zeal for truth that he retained to the end of\n\nhis days, that \"when he did anything on <supa</sup larger scale he used to come to my father, throwing his arms round his neck in his affectionate manner, saying, Uncle, you do not always praise me as the others do ; you show me the faults!",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0102": {
-    "English Original": "His brother William was exceedingly clever, but without\n\n\n\nSHAKESPEARIAN CHARACTER Original drawing by Millais at the age of yj years\n\nthe same application and industry.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0103": {
-    "English Original": "As <supa</sup young man he possessed <supa</sup remarkably fine tenor voice, and <supa</sup good tenor being as rare in those days as it is now, Mario, after hearing him sing, urged him strongly to go on the stage, saying he would make his fortune.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0104": {
-    "English Original": "But this was far from his idea of a happy life.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0105": {
-    "English Original": "He had no ambition to walk the boards, but sang because he loved it, and painted for the same reason,\n\nbecoming ultimately well known as <supa</sup watercolour landscape artist.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0106": {
-    "English Original": "His unselfish admiration for my father knew no bounds ; he was always helping and taking care of his younger and more delicate brother, and did much by his cheery optimism and consummate tact to alleviate the hard knocks and petty worries that assailed the young painter whilst struggling to make <supa</sup name.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0107": {
-    "English Original": "In 1835 the family removed to Dinan, in Brittany, where <supa</sup new<supr</sup interest awaited the budding artist, then in his seventh\n\n\n\nHOGARTHIAN CHARACTERS IN A WITNESSBOX Original study of expression.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0108": {
-    "English Original": "The writing on the drawing is that of the artist's mother.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0109": {
-    "English Original": "The poetry of the place, as expressed in its fine mediaeval architecture and interpreted by a loving mother, took <supa</sup great hold upon his imagination, setting his pencil to work at once ; but joy of joys to the juvenile mind were the gorgeous uniforms of the French officers stationed in the neighbourhood.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0110": {
-    "English Original": "Of this period William Millais sends me some interesting notes.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0111": {
-    "English Original": "He says : \" <supI</sup well remember the time we spent together at Dinan, where our parents resided for two years.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0112": {
-    "English Original": "We were little boys and quite inseparable, he six years old and <supI</sup two years his senior.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0113": {
-    "English Original": "Our greatest delight was to watch the entry of regiments as they passed\n\nthrough the town to and from Brest, and these occasions were of frequent occurrence.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0114": {
-    "English Original": "The rollcall generally took place in the Place aux Chaines, and each soldier on being disbanded was presented with a loaf of black bread, which he stuck on the point of his bayonet and then shouldered his rifle.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0115": {
-    "English Original": "We usually sat under the tilleuls of the Place du Guesclin, on <supa</sup bench overlooking the soldiers and away from the crowd.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0116": {
-    "English Original": "On one occasion we noticed an enormous tambourmajeur, literally burnished with gold trappings, wearing <supa</sup tall bearskin and flourishing <supa</sup huge goldheaded cane,\n\n\n\nMELEE IN A BANQUETING HALL.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0117": {
-    "English Original": "1838.\n\nto the delight of a lot of little gamins.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0118": {
-    "English Original": "Jack at once produced his sketchbook and pencil, and proceeded to jot down the giant into his book.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0119": {
-    "English Original": "Whilst this was going on we were not aware that two officers were silently creeping towards us, and we were quite awed when they suddenly uttered loud ejaculations of astonishment at what they had seen, for they had evidently been witnesses of the last touch made upon the drummajor.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0120": {
-    "English Original": "They patted the little artist on the back, gave him some money, and asked me where we lived.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0121": {
-    "English Original": "Our house was only <supa</sup stone'sthrow off, so we took them up into the drawingroom, and they talked for some time with my father and mother, urging them most seriously to send the child at once to Paris, to be educated in the Arts.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0122": {
-    "English Original": "\"The officers took the sketch back to barracks with them, and showed it in the mess to their brothers in arms.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0123": {
-    "English Original": "None of them could believe that it was the work of <supa</sup boy of six, so bets were taken all round ; and one of them went to fetch little Millais, to prove their words.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0124": {
-    "English Original": "In fear and trembling he came, and soon showed that he really had done the drawing by making, then and there, <supa</sup still more excellent sketch of the colonel smoking <supa</sup cigar.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0125": {
-    "English Original": "Those who lost had to give the others a dinner.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0126": {
-    "English Original": "SCENE FROM \"PEVERIL OF THE PEAK.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0127": {
-    "English Original": "<sup1841</sup This is the most elaborate work of Millais' early years\n\nLeaving Dinan in 1837, the family again went back to St. Heliers for two or three years, where Millais received his first instructions in art from a Mr. Bessel, the best drawing master in the island.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0128": {
-    "English Original": "Art was not taught then as it is now, so the boy's originality was curbed for the while by having to copy Julien's lifesized heads.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0129": {
-    "English Original": "In a very short time, however, the drawingmaster told his parents that he could teach their boy nothing more ; the spontaneity of his work was so marked that it was a sin to restrain it, and that they ought to take him at once to London and give him the very best tuition to be had there.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0130": {
-    "English Original": "To this excellent counsel was added that of the Lemprieres and Sir HillgroveTurner,\n\nthen governor of the island.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0131": {
-    "English Original": "Next year, therefore, they started for London armed with an introduction to Sir Martin Archer Shee, P.R.A., and coaching from Southampton they fell in with Mr. Paxton (afterwards Sir Joseph Paxton), of whom William Millais writes : \"During the journey Mr. Paxton fell asleep, and Jack at once went for him and got him into his book.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0132": {
-    "English Original": "Just as he had finished the sketch Paxton awoke, and, seeing what had been done, was so astonished that he entered into conversation with my mother, which resulted in a letter of introduction to the President of the Society of Arts, Adelphi, where my brother afterwards went.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0133": {
-    "English Original": "Their first visit in London was naturally to Sir Martin Archer Shee, and this is what they heard from him the moment they explained the object of their call : \" Better make him <supa</sup chimneysweep than an artist ! \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0134": {
-    "English Original": "But Sir Martin had not then seen the boy's drawings.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0135": {
-    "English Original": "When these were produced he opened his eyes in astonishment, and could hardly believe that they were the production of so childish a hand.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0136": {
-    "English Original": "At last his doubts were set at rest by little Millais sitting down and drawing the Fight of Hector and Achilles ; and then with equal emphasis he recalled his first remark, and declared that it was the plain duty of the parents to fit the boy for the vocation for which Nature had evidently intended him.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0137": {
-    "English Original": "That settled the matter.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0138": {
-    "English Original": "To the lad's great delight leave was obtained for him to sketch in the British Museum, where for several hours <supa</sup day he diligently drew from the cast ; and in the winter of 183839 a vacancy was found for him in the best Art academy of the time a preparatory school at Bloomsbury, kept by an old gentleman named Henry Sass, <supa</sup portrait painter of repute, but whose works had failed to catch the fancy of the public.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0139": {
-    "English Original": "Several of Millais' schoolfellows there are still living, and remember him as <supa</sup small, delicatelooking boy, with a holland blouse and belt and a turndown collar.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0140": {
-    "English Original": "Here he was in his element, drawing and painting most of the day, and spending all the time he could spare in outdoor pursuits.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0141": {
-    "English Original": "At Mr. Sass', as at most of the schools of that day, <supa</sup good deal of bullying went on, and one of the students (a big, hulking, lazy fellow, whose name <supI</sup suppress for reasons which will presently appear) took <supa</sup special delight in making the boy's life a burden to him.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0142": {
-    "English Original": "This state of things reached\n\na climax when, at the age of nine, young Millais gained the silver medal of the Society of Arts, for which this youth had also competed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0143": {
-    "English Original": "The day following the presentation Millais turned up as usual at Mr. Sass', and after the morning's work was over, H. (the bully), with the help of two other small boys whom he had compelled to remain, hung him head\n\n\n\nPORTRAIT OF AN OLD GENTLEMAN Drawn at the age of nine\n\ndownwards out of the window, tying his legs up to the iron of the windowguards with scarves and strings.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0144": {
-    "English Original": "There he hung over the street in <supa</sup position which shortly made him unconscious, and the end might have been fatal had not some passersby, seeing the position of the child, rung the\n\ndoorbell and secured his immediate release.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0145": {
-    "English Original": "Almost immediately after this H. left the school possibly to avoid expulsion and failing as an artist, but being strong and of good physique, he became <supa</sup professional model, and, curiously enough, in after years sat to my father for several of his pictures.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0146": {
-    "English Original": "Eventually, however, he took to drink and came to <supa</sup miserable end, leaving <supa</sup wife and several children absolutely destitute.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0147": {
-    "English Original": "Of the occasion on which Millais received his first medal, William Millais, who was present, says : \" <supI</sup shall never forget the Prizeday at the Society of Arts when my brother had won the silver medal for <supa</sup large drawing of ' The Battle of Bannockburn.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0148": {
-    "English Original": "He was then between nine and ten years of age, and the dress the little fellow wore is vividly before me as <supI</sup write.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0149": {
-    "English Original": "He had on <supa</sup white plaid tunic, with black belt and buckle ; short white frilled trousers, showing bare legs, with white socks and patent leather shoes; <supa</sup large w <supr</sup hite\n\nfrilled collar, <supa</sup bright necktie, and his hair in golden curls.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0150": {
-    "English Original": "\"When the Secretary, Mr. Cocking, called out 'Mr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0151": {
-    "English Original": "John Everett Millais,' the little lad walked up unseen by his Royal Highness the Duke of Sussex, who was giving the prizes, and stood at his raised desk.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0152": {
-    "English Original": "After <supa</sup time the Duke observed that ' the gentleman was <supa</sup long time coming up,' to which the Secretary replied, 'He ishere, your Royal Highness.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0153": {
-    "English Original": "The Duke then stood up and saw the boy, and, giving him his stool to stand upon, the pretty little golden head appeared above the desk.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0154": {
-    "English Original": "Unfortunately the Duke, being weak as to his eyesight, could make nothing of the drawing when it was held up to him, in spite of trying various glasses ; but he was assured that it was <supa</sup marvellous performance.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0155": {
-    "English Original": "He patted my brother's head and wished him every success in his profession, at the same time kindly begging him to remember that if at any time he could be of service to him he must not hesitate to write and say so.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0156": {
-    "English Original": "It so happened that Jack did avail himself of this kind offer.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0157": {
-    "English Original": "We had been in the habit of fishing every year in the Serpentine and Round Pond by means of tickets given to us by Sir Frederick Pollock, then Chief Baron ; but <supa</sup day came when this permission was withheld from everyone, and then my brother wrote to the Duke's private secretary, and we were again allowed to fish there.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0158": {
-    "English Original": "\"In those days the Round Pond at Kensington was <supa</sup\n\n\n\n\n\n\n\n 839] HOME LIFE\n\nfavourite resort of ours.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0159": {
-    "English Original": "It was not then, as we see it now, arranged in <supa</sup circle, and tricked out with all the finery of <supa</sup London lake.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0160": {
-    "English Original": "The shores were fringed with flags and rushes, and here and there were little bays with waterlilies.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0161": {
-    "English Original": "There was plenty of honest English mud too, in which the juvenile angler could wade to his heart's content, and had to do so in order to get his line clear of the surrounding reeds.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0162": {
-    "English Original": "\\Ve used to tramp to and from the neighbourhood of Bedford Square, buying our fresh bait at the \" Golden Perch,\" in Oxford Street, on the way.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0163": {
-    "English Original": "We were keen sportsmen,\n\n\n\nHUNTING SCENE.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0164": {
-    "English Original": "and probably the pleasure we took in it was not lessened by the envy of other little boys to w <supT</sup hom the privilege was denied.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0165": {
-    "English Original": "As the result of these expeditions many fine carp, perch, and roach w <supr</sup ere captured at least they appeared so to us in those early days.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0166": {
-    "English Original": "My uncle goes on to tell of their home life and the amuse ments in which he and his brother indulged.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0167": {
-    "English Original": "They were fond of \"playing at National Galleries.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0168": {
-    "English Original": "''In 183839 we were living in Charlotte Street, Fitzroy Square.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0169": {
-    "English Original": "<supI</sup went to a private tutor in the neighbourhood, but my brother never went to school at all.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0170": {
-    "English Original": "He was very delicate as <supa</sup child, and was still being entirely educated by my mother, who was an exceptionally clever woman and <supa</sup great reader.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0171": {
-    "English Original": "2\n\n\" We were both of us mad upon Art, and we knew every picture in the National Gallery by heart.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0172": {
-    "English Original": "In our leisure moments we resolved to start <supa</sup National Gallery of our own, and we worked daily upon pictures for it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0173": {
-    "English Original": "<supI</sup generally undertook the landscape department, and coined no end of Hoppners, Ruysdaels, Turners, etc., whilst the Titians.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0174": {
-    "English Original": "Rubens, Paul Veroneses, Correggios, and Rembrandts fell to my brother's share.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0175": {
-    "English Original": "<supI</sup made all the frames out of tinsel off crackers, and we varnished our specimens to give them\n\nthe appearance of works in oil. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0176": {
-    "English Original": "The pictures varied in size from <supa</sup visitingcard to <supa</sup large envelope.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0177": {
-    "English Original": "We took off the lid of <supa</sup large deal box, and prepared the three sides to receive our precious works.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0178": {
-    "English Original": "There was a dado, a carpet, and seats, and to imitate the real Gallery a curtain ran across the opening.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0179": {
-    "English Original": "What joy it was to us when we thought we had done something wonderful !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0180": {
-    "English Original": "<supI</sup remember how we gloated over our Cuyp ; <supa</sup Rembrandt too was my brother's masterpiece, and the use of burnt lucifer matches in the darker parts was most effective, and certainly original.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0181": {
-    "English Original": "When anyone called to see us it was our greatest pride to exhibit our National Gallery.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0182": {
-    "English Original": "At the age of ten Millais was admitted <supa</sup student of the Royal Academy, the youngest student who ever found entrance within its walls, and during his six years there he carried off in turn every honour the Academy had to bestow.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0183": {
-    "English Original": "At thirteen he won <supa</sup medal for <supa</sup drawing from the antique, at fourteen he began to paint, and at seventeen, after taking the \"gold medal\" for an oil painting called \"The Benjamites Seizing their Brides,\" he contributed to the annual exhibition <supa</sup canvas which was placed by <supa</sup French critic on <supa</sup level with the best historical work of the year.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0184": {
-    "English Original": "It was the picture of \" Pizarro Seizing the Inca of Peru,\" and was exhibited some few years ago in the galleries at South Kensington, where it attracted marked attention as the production of so young an artist.\\\n\nAt the Academy, where he was well treated and became <supa</sup general favourite, they nicknamed him \" The Child,\" <supa</sup name that stuck to him for the rest of his life at the Garrick Club.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0185": {
-    "English Original": "He worked unceasingly, and was universally recognised as <supa</sup\n\n<sup\\</sup William Millais says: \"James Wallack, the celebrated comedian, whose portrait Sir Charles Eastlake, P.R.A., painted in ' The Brigand,' and who afterwards married my sister, was the model for ' Pizarro.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0186": {
-    "English Original": "My father was the priest, and also sat for other figures in the picture.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0187": {
-    "English Original": "youthful genius from whom great things were to be expected; but, as the smallest and youngest member of the community, he had to \"fag,\" for all that, and was generally told off to fetch pies and stout for his fellowstudents whilst they were at work.\\\n\nWhen he received the gold medal of the Royal Academy many famous men took notice of him, and notably Rogers, the poet, whose brilliant breakfastparties are now matters of\n\n\n\nLOVE SCENE.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0188": {
-    "English Original": "All the literary lions of the day were to be met there, and at that time things were very different from what they are now.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0189": {
-    "English Original": "Young men listened respectfully, as they were taught to do, when older and wiser men held forth.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0190": {
-    "English Original": "Rogers, <supI</sup have heard my father say, would speak learnedly on some subject for perhaps five minutes, and then, after <supa</sup pause, would say : \" Now, Mr. Macaulay, kindly favour us with\n\n\\ \" <supI</sup was told off,\" said Millais, \" by the other students to obtain their lunch for them.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0191": {
-    "English Original": "<supI</sup had to collect 40 or <sup50</sup pence from my companions, and go with that hoard to <supa</sup neighbouring baker's and purchase the same number of buns.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0192": {
-    "English Original": "It generally happened that <supI</supgot a bun myself by way of 'commission.'\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0193": {
-    "English Original": "your opinion of the subject,\" whereupon Macaulay would square up and \"orate.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0194": {
-    "English Original": "While he was talking Rogers, who was <supa</sup confirmed invalid, would gradually slip down into his chair, his servant having to pull him up by the collar when he wished to speak again.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0195": {
-    "English Original": "He was extremely kind, though pompous in manner, and with little or no sense of humour.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0196": {
-    "English Original": "If a stranger arrived he would say to his servant, \" Thomas, bring down that volume of my celebrated poems\"\n\nHe took an almost parental interest in Millais, though occasionally treating him with <supa</sup severity that bordered on the comic.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0197": {
-    "English Original": "My father hated sugar in his tea, and on more than one occasion openly expressed his dislike. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0198": {
-    "English Original": "Thomas,\" the poet would say, \"put three lumps of sugar in Mr. Millais' tea ; he ought to like sugar.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0199": {
-    "English Original": "He is too thin.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0200": {
-    "English Original": "Rogers had an MS. missal of great value, of which he was vastly proud.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0201": {
-    "English Original": "One day little Millais picked it up to show it to <supa</sup young lady. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0202": {
-    "English Original": "Boy,\" roared Rogers from the other end of the room, almost suffocating himself as he slipped down into his chair, \" can't you speak about <supa</sup book\n\nwithout fingering it?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0203": {
-    "English Original": "How dare you touch my missal ! \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0204": {
-    "English Original": "One day <supa</sup poorlooking man, apparently <supa</sup country clergyman, dressed in <supa</sup shabby tailcoat, came to thank Rogers for hospitality before leaving town.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0205": {
-    "English Original": "As the departing guest vanished through the door, after shaking hands with the little artist, the poet turned to Millais, who was standing near, and said in solemn tones, \" Boy, do you know who that was ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0206": {
-    "English Original": "Some day you will be proud to say that you once met William Wordsworth.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0207": {
-    "English Original": "In <sup1895</sup Mr. Gladstone and my father were the only sur vivors of these famous parties.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0208": {
-    "English Original": "<supA</sup singular circumstance was that though my mother, who was then <supa</sup young girl, used frequently to breakfast at Rogers' house, yet she and my father never met there.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0209": {
-    "English Original": "Referring to these early days, William Millais says : \" We were brought up as very loyal subjects, and our chief delight was to go to Buckingham Palace to see the Queen and the Prince Consort start off up Constitution Hill for their daily drive.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0210": {
-    "English Original": "On one memorable occasion, when we were the only people on the footpath, and had just taken off our caps as the Royal carriage passed, feeling proudly happy that her Majesty had actually bowed to us, <supa</sup sudden explosion was heard, and then another.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0211": {
-    "English Original": "My father, who had seen what had caused them, immediately rushed away from us and seized\n\n<supa</sup man who was just inside the railings of the park, and held him till some of the mounted escort came to his assistance.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0212": {
-    "English Original": "This man was Oxford, who had fired at the Queen, and after wards proved to be <supa</sup lunatic.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0213": {
-    "English Original": "Of course we went immediately to examine the wall, and there saw the marks of the two bullets, which in a few<supr</sup days, with the aid of sticks and umbrellas, had multiplied considerably.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0214": {
-    "English Original": "As <supa</sup boy Millais was extremely delicate, and only by slow degrees and constant attention to the laws of health did he build up the robust constitution it was his privilege to enjoy in the later years of his life.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0215": {
-    "English Original": "It was part of his creed a creed he lost no opportunity for impressing upon younger or less experienced artists that good health is the first necessity for <supa</sup man who would distinguish himself in any walk of life, and that that can only be had by periodical holidays, in which all thought of business affairs is resolutely cast aside.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0216": {
-    "English Original": "To him the breezy uplands of the North, where with rod and gun he could indulge his love of openair pursuits, offered the greatest attraction.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0217": {
-    "English Original": "Every year, therefore, as soon as he could afford it, he took a shooting or a fishing in Scotland, and (except on rare occasions) in the first week of August oft he went for <supa</sup three months' holiday, no matter how important the work then in hand, or how tempting any commission that would interfere with his plan.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0218": {
-    "English Original": "One instance of this <supI</sup well remember.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0219": {
-    "English Original": "Towards the close of <supa</sup season of exceptionally hard work he got <supa</sup letter from an American millionaire offer ing him <supa</sup small fortune if he would cross the Atlantic in August and paint the writer, his wife, and three children life size on one canvas.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0220": {
-    "English Original": "But he declined at once, remarking privately that the subjects were not interesting enough to induce him to give up his holiday.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0221": {
-    "English Original": "But to trace his history as <supa</sup sportsman <supI</sup must go back to the days of his pupilage, when during the summer holidays he and my uncle William (himself an expert fisherman) often started at daybreak and walked all the way to Hornsey and back for <supa</sup day's fishing in the New River.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0222": {
-    "English Original": "Cricket too was <supa</sup great delight, and though the latitude of Gower Street did not lend itself to progress in the art, they practised after a fashion, played when they could, and assiduously studied the game at Lord's every Saturday in the season.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0223": {
-    "English Original": "That was in the days when the tophat affliction permeated even the cricket field, as shown in <supa</sup sheet of my father's sketches made on the ground about this time.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0224": {
-    "English Original": "Lillywhite is seen\n\nthere in all his glory as the first cricketer of the day, his amazing\" headgear possibly adding to the awe and admiration\n\nwith which he was regarded by young and aspiring players.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0225": {
-    "English Original": "<supA</sup letter from William Millais is perhaps worth quoting as showing the straits to which he and his brother were put in their determination to master \" England's game,\" and how they encountered and overcame them.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0226": {
-    "English Original": "He says : \" We used to have fictitious matches under the studio in Gower Street.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0227": {
-    "English Original": "SKETCHES MADE AT LORD'S, <sup1843</sup With portraits of the famous cricketers, Lillywhite and Minns\n\nwhere there was <supa</sup sort of small fivescourt, by the light of <supa</sup feeble gasburner.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0228": {
-    "English Original": "We imitated the style of the great bowlers and batters of that day.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0229": {
-    "English Original": "If the ball hit certain parts of the wall it was <supa</sup catch, and certain other parts denoted <supa</sup number of runs.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0230": {
-    "English Original": "\\Ve kept <supa</sup perfect score, and alternately batted and bowled.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0231": {
-    "English Original": "These matches used to last three or four days; it was great fun.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0232": {
-    "English Original": "Our cricket enthusiasm took us to Lord's two or three times a week, and we knew the style of every player.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0233": {
-    "English Original": "On this period of Millais' life an old fellowstudent is good enough to send me the following note: \"The Sir John E. Millais of Presidential days was <supa</sup very different person from the lad of thirteen whom, in the autumn of 1843, <supI</sup encountered\n\n\n\nCUPID CROWNED WITH FLOWERS.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0234": {
-    "English Original": "Millais' first picture in oils\n\nat the Royal Academy, when, with a host of probationers (that is, students of the Academy on trial), <supI</sup entered the Antique School, and was greeted with shouts of ' Hallo !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0235": {
-    "English Original": "Millais ; here is another fellow in a collar.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0236": {
-    "English Original": "These cries came from the older students \"assembled and drawing from the statues, busts, and what not.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0237": {
-    "English Original": "Their occasion was myself, then just\n\nupon fifteen years old, who it was my mother's pleasure should wear on the shoulders of his short jacket <supa</sup white falling collar some four inches wide.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0238": {
-    "English Original": "It so happened that Millais' mother had <supa</sup similar fancy, and that being younger and much smaller than <supI</suphis collar had <supa</sup goffered edging, which, with his boyish features, light, long, and curling hair, made him appear even younger than he was.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0239": {
-    "English Original": "Upon the cries ceasing, there arose from the semicircle of students a lightly and elegantlymade youngster wearing such <supa</sup collar as <supI</sup have described, a jacket gathered at the waist with a cloth belt, and its clasp in front.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0240": {
-    "English Original": "With an assured air he crossed the room to where <supI</sup was standing among the arrivals.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0241": {
-    "English Original": "He walked round me, inspected me from head to foot, turned on his heel without <supa</sup word, stepped back to his seat, and went on with his drawing.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0242": {
-    "English Original": "It so happened that the everdiligent Millais, though much further advanced in the Academy, and <supa</sup student in the Life and Painting, condescended from time to time to work among the tyros from the Antique, such as <supI</supwas.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0243": {
-    "English Original": "At that time he was exceedingly like the portrait which was painted of him about the date in question, by (I think) Sir E. Landseer;\\ but there was more devil and less sentiment in the expression of his features.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0244": {
-    "English Original": "After being inspected, <supI</sup settled to my work, and forgot all about that ordeal till <supI</sup found Millais, who was then not more than five feet two inches tall, standing at my side, and, with an air of infinite superiority, looking at my drawing, which he greeted in an undertone as Not at all bad.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0245": {
-    "English Original": "With such humility as became me <supI</sup asked his advice about it, and he frankly gave me some good counsel.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0246": {
-    "English Original": "<supI</sup ought to have said that, long before this, <supI</sup had heard of his extraordinary technical skill in drawing and painting, and <supI</sup reverenced him as the winner of that silver medal which (the first of his Academical honours) had fallen to his lot not long before ; but he being a pupil in Sass's school and <supI</sup <supa</sup student in the British Museum, or Museumite,' so called, <supI</sup had not come across the P. R.A. tobe.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0247": {
-    "English Original": "Abounding in animal spirits and not without <supa</sup playful impishness, being very light and small even for his age, Millais was the lively comrade <supI</sup had almost said plaything of the bigger and older students, some of whom had, even in 184344, reached full.. manhood.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0248": {
-    "English Original": "the latter was <sup4</sup Jacx Harris,' <supa</sup burly and robust personage, a leader in all\n\n\\ The painter was John Phillip, R.A.\n\nthe feats of strength which then obtained in the schools, and the same who sat to Millais in 184849 for his exact portrait as the elder brother who kicks the dog in the picture of 'Isabella' now at Liverpool.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0249": {
-    "English Original": "Profoundly contrasted as in every respect their characters were, Millais and ' Jack Harris were comrades and playfellows of the closest order at the Academy.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0250": {
-    "English Original": "For example, <sup1</sup remember how, because some\n\n\n\nMARY HODGKIXSOX Wife of the artist's halfbrother.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0251": {
-    "English Original": "1843\n\nworkmen had left <supa</sup tall ladder against the wall of the school, nothing would do but on one occasion Harris must carry Millais, clinging round his neck, to the top of this ladder.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0252": {
-    "English Original": "It so happened that just at the moment the door of the room slowly opened, while no less a person than the keeper entered and took up his duties by teaching the student nearest the entrance.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0253": {
-    "English Original": "Discipline and respect for Mr. George Jones [the master at that time] forbade Harris to come down the ladder,\n\nand his safety forbade Millais from letting go his hold.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0254": {
-    "English Original": "Doubtless the keeper saw the dilemma, for, without noticing the culprits, he hastened his progress round the room and left it as soon as might be, but not before Millais was tired of his lofty position.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0255": {
-    "English Original": "The following lines (discovered amongst my father's papers) afford an amusing insight into the ways and doings of Academy students at that period.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0256": {
-    "English Original": "The writer's name unfortunately does not appear.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0257": {
-    "English Original": "Mr. Jones, it must be observed, delighted in aping the appearance of the Duke of Wellington as far as he possibly could.\\\n\n \" Remember you the Antique School, And eke the Academic Stool, Under the tutorship and rule Of dear old Jones, Our aged military keeper And medaldistribution weeper, For whom respect could not be deeper In human bones ;\n\n\" Whose great ambition was to look As near as might be like ' the Book,' With somewhat less of nasal hook, And doubtless brains ;\n\nWho, <supI</sup imagine, still delights To try and look the ghost, o' nights, Of him who fought <supa</sup hundred fights\n\nThe Duke's remains ?\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0258": {
-    "English Original": "But to return to go on talking Of those young days when we were walking Towards the neverending chalking From casts, or life Days of charcoal stumps, and crumbs, Double Elephant,' and ' Plumbs,' Within the sound of barrack drums And shrilly fifes ;\n\n\\ \" <supI</sup may say of Mr. Jones that he was chiefly known as <supa</sup painter of military pictures, and in dress and person he so much resembled the great Duke of Wellington that, to his extreme delight, he was often mistaken for that hero, and saluted accordingly.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0259": {
-    "English Original": "On this coming to the ears of the Duke, he said, 'Dear me !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0260": {
-    "English Original": "Mistaken for me, is he?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0261": {
-    "English Original": "That's strange, for no one ever mistakes me for Mr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0262": {
-    "English Original": "\"\n\nMy Autobiography and Reminiscences, by W. P. FRITH, R.A.\n\n\" Now in the circle gathered round To hear the learned youth expound Anatomy, the most profound Our Private Green ; Now inthe Library's retreat, Upon <supa</sup fine morocco seat, .And in <supa</sup comfortable heat, <supA</sup gent, <supI</sup ween ;\n\n\" Tracing armour, and trunk hose, Legs in tights, with pointed toes ; Meyrick, Bouner, with set chose, To parleyvoo ; Studying now and then <supa</sup print, An old Sir Joshua Mezzotint, Or portrait which affords <supa</sup hint Of something new.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0263": {
-    "English Original": "In silence let us gently sneak Towards the door devoid of creak, Which leads us back to that Antique, Where youth still plods.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0264": {
-    "English Original": "For now, behold, the gas is lit, And nigh <supa</sup hundred brows are knit, Where miserable heathens sit, Before their gods.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0265": {
-    "English Original": "There from the Premier Charley Fox That party with the greasy locks, Who vainly calls on longtongued Knox To hold his jawings Every back is archly bending, For the Silver Prize contending, This the latest night for sending In the drawings.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0266": {
-    "English Original": "\"Another minute give them ten To cut these from the boards ; and then, Past eight o'clock, please, gentlemen,' Shouts little Bob.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0267": {
-    "English Original": "And in the Folio (very cheap !)",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0268": {
-    "English Original": "The work of months isin <supa</sup heap, Not worth the wages of <supa</sup sweep For one small job.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0269": {
-    "English Original": "But now to times <supa</sup little later, When first we drew upstairs from Natur', When we were passing that equator Of days scholastic ; When we were, nightly, stew'd or fried With baldpates glistening by our side, And felt ourselves, with conscious pride,\n\nBeyond the Plastic.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0270": {
-    "English Original": "<sup1844</sup\n\n\"We saw the graceful Wild recline Exclaiming, Oh !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0271": {
-    "English Original": "by George, how fine,' And with the thumb describe <supa</sup line In aerial wave The right and proper thing to do, It mattered not whate'er we drew Her, or the sad Cymmon Meudoo, As captive slave.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0272": {
-    "English Original": "<supI</sup feel <supI</sup 'm going astray From dear old Mrs. Grundy's way ; And what her followers may say I take to heart.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0273": {
-    "English Original": "Yet, should these lines provoke <supa</sup smile <supA</sup moment of the day beguile <supI</sup '11 maybe send you, in this style, <supA</sup second part.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0274": {
-    "English Original": "With so much work to do the little artist had hardly time to make any new acquaintances outside of those whom he met daily at the Academy ; nevertheless he managed to occasionally see his two Jersey friends.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0275": {
-    "English Original": "Arthur and Harry Lempriere, for they were at school at Brighton, and fre quently visited London during their holidays.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0276": {
-    "English Original": "To Arthur now MajorGeneral Arthur Lempriere <supI</sup am indebted for the following note of his recollections of Millais as a boy :\n\n\" <supI</sup remember Sir J. E. Millais when <supI</sup was quite <supa</sup small boy at school at Brighton, where he used to write to me and my brother Harry most beautiful letters, all illustrated and the words in different coloured inks.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0277": {
-    "English Original": "One of those letters began, My little dears' ; but instead of writing the word ' dears,' a number of deer were drawn, and so on through the whole of a Christmas story, in which he introduced coloured drawings of coaches and horses, travellers, games, etc.\\\n\n\n\nVIEW FROM MILLAIS' FORMER HOME, NEAR ST. HELIERS, JERSEY Watercolour, executed during a visit in 1844\n\n\"We always called him ' Johnny,' and he constantly spent the holidays with us at our home at Ewell, Surrey.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0278": {
-    "English Original": "My father and mother and all our family were very fond of him,\n\nas well as he of us. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0279": {
-    "English Original": "He seemed always, when indoors, to have <supa</sup pen, pencil, or brush in his hand, rattling off some amusing caricature or other drawing.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0280": {
-    "English Original": "He was very active and strong, and blessed with <supa</sup most pleasing, goodtempered, and gentlemanly manner.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0281": {
-    "English Original": "During the many years <supI</sup knew him <supI</sup never once recollect his losing his temper or saying an unkind\n\n\\ This letter, illustrated with little watercolours, was exhibited in the Millais Exhibition, 1898.\n\n\n\nword to anyone, and we all really looked upon him quite as a brother.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0282": {
-    "English Original": "<supI</sup have heard my father say that my uncle, Mr. Philip Lempriere, of Royal Jersey, gave Sir J. E. Millais his first colourbox.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0283": {
-    "English Original": "It was in <sup1847</sup tnat <supI</sup remember his drawing all the Lempriere family at Ewell standing round <supa</sup table in the\n\n\n\nA PAGE FROM MILLAIS' BOOK OF ARMOUR.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0284": {
-    "English Original": "<sup1844</sup\n\ndrawingroom, and watching eagerly <supa</sup Twelfthcake being cut by my eldest sister.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0285": {
-    "English Original": "It was all so cleverly grouped, and included my father and mother, my five brothers, seven sisters, myself, and himself.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0286": {
-    "English Original": "It was <supa</sup picture we all greatly valued, as, in addition to the clever grouping, the likenesses were so excellent. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0287": {
-    "English Original": "Millais' power of observation, even when <supa</sup boy, was marvellous.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0288": {
-    "English Original": "After walking out with him and meeting people\n\n i8<sup4</sup 5] SERJEANT THOMAS <sup33</sup\n\nhe would come home and draw an exact likeness of almost anyone he happened to have met.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0289": {
-    "English Original": "He was also well up in the anatomy of <supa</sup horse, and knew exactly where every vein and bone should be, and was very fond of drawing them.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0290": {
-    "English Original": "In <sup1845</sup Millais happened to become acquainted with a certain Serjeant Thomas, a retired lawyer given to trading\n\n\n\nA LEAF FROM MILLAIS' BOOK OF ARMOUR.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0291": {
-    "English Original": "<sup1844</sup\n\nin works of art.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0292": {
-    "English Original": "Recognising his genius, and knowing that he was very poor, Thomas offered him <sup100</sup <supa</sup year to come to his house every Saturday and paint small pictures or backgrounds as might be required.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0293": {
-    "English Original": "The terms seemed fair enough, and in the end <supa</sup contract was drawn up by the lawyer and duly signed, binding Millais to serve in this way for two years.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0294": {
-    "English Original": "Little did he know or think of the galling yoke that was now hung upon his neck.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0295": {
-    "English Original": "Thomas, who as a picturedealer got about cent, per cent, profit out of his\n\n!",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0296": {
-    "English Original": "3\n\nwork, worried him beyond measure by his constant interference, his restrictive rules, and his general insolence of manner.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0297": {
-    "English Original": "At last long before the two years were overthings came to <supa</sup crisis.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0298": {
-    "English Original": "One Saturday morning not quite for the first time Millais came to his work some ten minutes late, when Thomas attacked him furiously, winding up <supa</sup long harangue with <supa</sup personal remark that stung him to the quick.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0299": {
-    "English Original": "He had just arranged his palette with fresh oil colours, and in <supa</sup moment it was sent flying at his employer's head.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0300": {
-    "English Original": "Happily for the head itwas a bad shot ; the palette struck against the wall, and then slowly descended to the floor.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0301": {
-    "English Original": "A violent slamming of the door announced Millais' departure and his determination never to enter the house again.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0302": {
-    "English Original": "They made it up, however, later on.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0303": {
-    "English Original": "Thomas agreed to increase the pay to ^150 <supa</sup year, and for <supa</sup short time longer Millais continued his work.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0304": {
-    "English Original": "Finally, however, he gave it up, though offered far higher terms as an inducement to stay.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0305": {
-    "English Original": "Some forty years passed away, and one Sunday morning, after <supa</sup long walk with Mr. Henry Wells, R.A., Millais accompanied him to his studio in Stratford Place.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0306": {
-    "English Original": "Noticing <supa</sup peculiar expression in his face, Mr. Wells said, What are you looking at?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0307": {
-    "English Original": "You seem to know the place.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0308": {
-    "English Original": "said Millais, after <supa</sup long pause, \"I should think <supI</sup do.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0309": {
-    "English Original": "Why, this is the very room in which Serjeant Thomas sweated me, and over there (pointing to one end of the studio) <supI</sup still seem to see the palette <supI</sup threw at his head, with the paintmark it left on the wall paper as it\n\nslid slowly down to the floor.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0310": {
-    "English Original": "One of the most interesting relics of this period is the first cheque that the young artist received.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0311": {
-    "English Original": "It is for ^5 (\" Pay to Master Millais for a sketch \"), and signed by Serjeant Ralph Thomas, dated February 28th, 1846.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0312": {
-    "English Original": "The recipient seems to have been so delighted with this sudden acquisition of wealth that, instead of cashing the cheque at once, he sat down and made a sketch of himself in his painting dress on the back of it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0313": {
-    "English Original": "It is now in the possession of Mr. Standen, the owner of \" Cymon and Iphigenia.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0314": {
-    "English Original": "It was in the summer of 1846 that Millais first travelled down to Oxford, where he stayed with his halfbrother, Henry Hodgkinson, who lived in that town.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0315": {
-    "English Original": "One of the people whose acquaintance he made there was <supa</sup dealer in works of art named Wyatt <supa</sup remarkable man in many\n\n 1846] MR. WYATT <sup35</sup\n\nways, and one of nature's gentlemen.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0316": {
-    "English Original": "He took an immediate fancy to \"Johnny Millais,\" and between the years <sup1846</sup and <sup1849</sup the young artist made frequent visits to Oxford as his guest.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0317": {
-    "English Original": "In <supa</sup wing of his house was <supa</sup certain room that Millais used to occupy, and on the glass window may still be seen two designs he made in oils, one representing \" The Queen of\n\n\n\n/ / \\v ^; <sup1562</sup ./,:./,.,,.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0318": {
-    "English Original": "PHOTOGRAPH OF THE FIRST CHEQUE RECEIVED BY MILLAIS The young artist was so delighted at receiving this reward that he at once sat down and made the above sketch of himself on the back of the cheque\n\nBeauty,\" and the other \" The Victorious Knight.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0319": {
-    "English Original": "At this period it seems he had quite <supa</sup mania for drawing ; even at the dinner table he could not remain idle.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0320": {
-    "English Original": "When no one was looking he would take out <supa</sup pencil and begin making sketches on whatever was nearest to his hand. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0321": {
-    "English Original": "Take a piece of paper, Johnny,\" Mr. Wyatt would say, \"take <supa</sup piece of paper.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0322": {
-    "English Original": "We cannot have the tablecloth spoiled.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0323": {
-    "English Original": "\"Johnny\" was accordingly handed paper to relieve his superfluous energy, and the number of sketches done at table, and now in the possession of Mr. Standen (who\n\nmarried Mr. Wyatt's granddaughter), bears witness to his ceaseless industry.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0324": {
-    "English Original": "Here, too, in 1846 he made the acquaintance of Mr. Drury, of Shotover, a quaint, benevolent old gentleman, who loved the fine arts and everything connected with them.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0325": {
-    "English Original": "He made <supa</sup great pet of the young artist, and insisted on his accompanying him wherever he went in his ponycart,\n\n\n\nEMILY MILLAIS (AFTERWARDS MRS. WALLACK).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0326": {
-    "English Original": "<sup1844</sup\n\nfor being <supa</sup huge man and <supa</sup martyr to gout he could not move without his \"trap.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0327": {
-    "English Original": "Nothing could exceed his kind ness to Millais.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0328": {
-    "English Original": "He gave him <supa</sup gun, and allowed him to shoot over his property and to make the place his home whenever he cared to come.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0329": {
-    "English Original": "There are several sketches by Millais of old Mr. Drury and himself taking their toddles together done just in <supa</sup few lines, but (I am told by those who saw them at the time) highly characteristic.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0330": {
-    "English Original": "William Millais tells us something of Mr. Drury and\n\nhis peculiar ways.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0331": {
-    "English Original": "He says, \" My brother often went to stay at Shotover Park, and on one occasion <supI</supwas invited there too for a fortnight.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0332": {
-    "English Original": "There was no one with Mr. Drury in the huge mansion except his niece, and we boys had the run of the place to our hearts' content, fishing and shooting wherever we liked.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0333": {
-    "English Original": "\"It is not easy to forget my first impressions there.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0334": {
-    "English Original": "<supI</sup\n\n\n\nTITLEPAGE OF A BOOK OF POEMS.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0335": {
-    "English Original": "<sup1845</sup\n\nwas informed by <supa</sup stately old butler that ' Master Millais was engaged just then with the master.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0336": {
-    "English Original": "<supI</sup entered <supa</sup darkened room, where the old invalid could just be seen sitting up in bed with <supa</sup tallow dip in one hand and <supa</sup square of glass in the other.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0337": {
-    "English Original": "He was moving the flame of the candle all over the under side of the greased surface of the glass, which was gradually becoming black with smoke ; on this sheet of glass my brother had drawn figures of angels in\n\nall positions.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0338": {
-    "English Original": "<supI</sup had evidently entered at the supreme moment, for our host, catching sight of me, cried out, 'Ah, ah!",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0339": {
-    "English Original": "we've got it ; you are just in time to see the New Jerusalem.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0340": {
-    "English Original": "Upon examination, there really was <supa</sup certain fascination about the appearance of this extraordinary Kalotype,' as he called it, but which might more appropriately have been\n\ncalled <supa</sup 'tallowtype.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0341": {
-    "English Original": "\" The dear old man was under the morbid impression that all his relatives wished him dead, so as to inherit his fortune, and for this reason he made <supa</sup large Kalotype of the subject, which was most ghastly.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0342": {
-    "English Original": "<supI</sup cannot describe it exactly, but remember that <supa</sup coffin occupied the centre of the picture, whilst <supa</sup regular scrimmage was going on all round.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0343": {
-    "English Original": "This design was carried out by mv brother under his directions.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0344": {
-    "English Original": "<supo</sup <supJ</sup \\ <supI</sup shall never forget Mr. Drury's kindness to us boys.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0345": {
-    "English Original": "He completely spoilt us.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0346": {
-    "English Original": "<supI</sup used to sing a great deal, and he expressed the greatest delight at listening whilst <supI</sup accompanied myself on the organ in the large hall, where the gruesome 'Kalotype' occupied a conspicuous place.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0347": {
-    "English Original": "In 1847, competition being invited for cartoons for the decoration of Westminster Hall, Millais sent in <supa</sup huge canvas which he called \" The Widow's Mite.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0348": {
-    "English Original": "Except \" Pizarro,\" it was the only picture that he ever executed on conventional lines, the figures in shadow being piled and grouped up to the culminating point, where Christ stands against a blaze of light, and addressing Himself to St. John, calls his attention to the woman's act of unselfishness.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0349": {
-    "English Original": "It was, however, voted \" intellectually deficient, lacking the true note of grandeur when Millais was left to himself.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0350": {
-    "English Original": "This big canvas, which monopolised all the available space in his studio and occupied the young artist the greater part of the year, had as competitors the works of older and stronger men of the day G. F. Watts, Cope, Armitage, Sir John Tenniel, and others ; and <supI</sup am told by <supa</sup distinguished artist that \" because she [the widow] holds by the hand <supa</sup little nude child, it set the critics somewhat against the work, as displaying such ' bad taste.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0351": {
-    "English Original": "For some years it was exhibited in the Pantheon in Oxford Street.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0352": {
-    "English Original": "Ten feet seven by fourteen feet three was not quite the thing for the \"show parlours \" of the day, so it was cut up and sold in bits.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0353": {
-    "English Original": "Mr. Spielmann says that one of these sections is now at Tynemouth and the other in the United States, but <supI</sup have since heard that it was distributed in still smaller pieces.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0354": {
-    "English Original": "First exhibited picture painted by Millais, executed at the age of sixteen PIZARRO SEIZING THE INCA OF PERU.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0355": {
-    "English Original": "1845\n\n\n\n\" Cymon and Iphigenia\" (painted in 1847) was purchased by Mr. Wyatt in 1848, and the dealer was so pleased with it that he asked Millais to come down in the following year and paint <supa</sup portrait of himself and his grandchild.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0356": {
-    "English Original": "This was accordingly done, and the portrait is now in the possession of Mr. James Wyatt.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0357": {
-    "English Original": "\\\n\nThe picture, \" Grandfather and Child,\" is interesting as showing the artist's transition from the technique of \"Cymon\" of the previous year to the more distinctly PreRaphaelite\n\n\n\nMR. DRURY AND MILLAIS TAKE THE AIR.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0358": {
-    "English Original": "<sup1848</sup\n\nand technically correct \" Woodman's Daughter.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0359": {
-    "English Original": "A critic says of it : \" The infinite patience and imitative skill in draughtsmanship, the brilliancy of execution, and the power of reproducing the brightness of sunlight, have manifestly been acquired before the lesson had been learned ot harmonious effect and of subordinating the parts to the whole.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0360": {
-    "English Original": "This portrait of Mr. Wyatt, the print and picture dealer and framemaker of Oxford, who died in 1853. is unflinchingly true and as matteroffact, despite its character, as the flowers in the room and in the garden, or the family china in the\n\n<sup\\</sup An excellent copy of this work, now in the possession of Mr. Standen, was made in <sup1850</sup by William Millais.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0361": {
-    "English Original": "Millais also painted Mrs. Wyatt and her child, and (in 1877) Mr. James Wyatt.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0362": {
-    "English Original": "It has all been set down with pitiless and remorseless solicitude.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0363": {
-    "English Original": "The quaint little Dutch dolllike child has received the painter's most earnest attention, and the head of Mr. Wyatt has been stippled up as carefully as that of Mr. Combe, at Oxford.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0364": {
-    "English Original": "Mr. Spielmann's account of the \" Cymon \" is not quite cor\n\n\n\nSTUDY OF AN ACTOR Executed in Sadler's Wells Theatre, 1845\n\nrect, either as to its subject or its history.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0365": {
-    "English Original": "As to its subject, it is certainly not a \" riotous dance,\" and its actual history is as follows: In the spring of 1852, when it was still in Mr. Wyatt's possession, Millais saw it and suggested some improvements, which the owner willingly allowed him to carry out.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0366": {
-    "English Original": "He took it back, therefore, to Gower Street, and having (as he says in a letter) \"repainted the sky and touched up the grass and foliage, draperies and ef fects,\" he returned it to Mr. Wyatt in the following December.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0367": {
-    "English Original": "For its subsequent history <supI</sup am indebted to a letter from Mr. Standen, the present owner, who says : \" When Mr. Wyatt died, in 1853,\n\nthe best of his pictures and effects were sold at Christie's on July 4th, 1853, your father's picture of 'Cymon' figuring' largely in the catalogue.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0368": {
-    "English Original": "the second son, bought it for himself, and gave <sup350</sup guineas for it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0369": {
-    "English Original": "The picture was then taken to Newport, Isle of Wight, where he lived, and it remained there unseen till he died, in 1892.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0370": {
-    "English Original": "He left it to me by his will, together with many other interesting works.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0371": {
-    "English Original": "PRERAPHAEL1TISM : ITS MEANING AND ITS HISTORY\n\nFirst meeting of Hunt and Millais The pedantry of Art Hunt admitted to the R.A.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0372": {
-    "English Original": "They work together in Millais' studio Reciprocal relief The birth of PreRaphaelitism The name chosen The meeting of Hunt and D. G. Rossetti First gathering of the Brotherhood The socalled influence of Rossetti Millais explains The critics at sea D. G. Rossetti Ruskin Max Nordau The aims of PreRaphaelitism Cyclographic Club Madox Brown \"The Germ \" Millais' story.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0373": {
-    "English Original": "IN this chapter <supI</sup propose to devote myself exclusively to the history and progress of the PreRaphaelite movement, with which Millais was so intimately connected in the early years of his life.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0374": {
-    "English Original": "Those therefore who are not interested in this subject will do well to pass on at once to Chapter III.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0375": {
-    "English Original": "In the art history of this century probably no movement has created so great a sensation as that which is commonly known as PreRaphaelitism.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0376": {
-    "English Original": "For years it was on everybody's tongue and in every newspaper of the day, and after the excitement it occasioned had died out numerous pens were engaged in tracing its history according to their lights ; but to this day the actual facts are known but to very few.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0377": {
-    "English Original": "<supI</sup have them from the best possible authority the originators themselves, my father and Mr. Holman Hunt.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0378": {
-    "English Original": "How these two men first came together was graphically described to me in <supa</sup long talk <supI</sup had with Mr. Hunt shortly after my father's death.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0379": {
-    "English Original": "He said, \"The first time <supI</sup saw Millais was at the prizegiving at the R.A. in 1838.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0380": {
-    "English Original": "There was much speculation amongst the students as to who would gain the gold medal for <supa</sup series of drawings from the antique, and it was generally considered that <supa</sup man, thirty years of age, named Fox, would be the successful competitor.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0381": {
-    "English Original": "All voices were hushed when Mr. Jones mounted the steps and read out the name of\n\n <sup44</sup JOHN EVERETT MILLAIS 1848\n\nJohn Everett Millais.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0382": {
-    "English Original": "Immense cheering followed, and little Millais was lifted up at the back of the auditorium and carried on the shoulders of the students to the receiving desk.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0383": {
-    "English Original": "Fox, who only got the third prize, refused to get up when his name was called ; but the\n\n\n\nYOUTH.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0384": {
-    "English Original": "<sup1845</sup\n\nstudents would not allow this : they made him go up and receive his medal.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0385": {
-    "English Original": "Later on Mr. Holman Hunt, who, though he had worked very hard, had failed to get into the Royal Academy, was drawing one day in the East Room by himself. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0386": {
-    "English Original": "Suddenly,\" said he, \"the doors opened, and <supa</sup curlyheaded lad came in and began skipping about the room ; byandby he\n\n 1852] PRERAPHAELITISM <sup45</sup\n\ndanced round until he was behind me, looked at my drawing for <supa</sup minute, and then skipped off again.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0387": {
-    "English Original": "About <supa</sup week later <supI</sup found the same boy drawing from <supa</sup cast in another room, and returned the compliment by staring at Iiis drawing.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0388": {
-    "English Original": "Millais, who of course it was, turned round\n\n\n\nsuddenly and said, 'Oh, <supI</sup say.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0389": {
-    "English Original": "you're the chap that was working in No.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0390": {
-    "English Original": "<sup12</sup the other day.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0391": {
-    "English Original": "You ought to be in the Academy.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0392": {
-    "English Original": "\"This led to <supa</sup long talk, during which Millais said that he was much struck by the drawing which he had seen me working at, and that there was not the least doubt that if <supa</sup drawing or two like that were shown for probationer\n\nship, <supI</sup should be admitted at once.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0393": {
-    "English Original": "When <supI</sup asked what he thought was the best way of doing the drawings, he replied, Oh, <supI</sup always do mine in line and stump, although it isn't conventional.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0394": {
-    "English Original": "After this the two boys fell into <supa</sup discussion on the conventionality and pedantry of art as displayed in the paintings of the day, aiid it was evident that in both their minds had sprung up <supa</sup sense of dissatisfaction and the idea of rejecting what they considered to be false and stunted.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0395": {
-    "English Original": "A year went by.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0396": {
-    "English Original": "Mr. Hunt was admitted to the Royal Academy, and then had frequent opportunities for talking to his friend Millais.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0397": {
-    "English Original": "One evening, some two years later, it came out in the course of conversation that while Millais was painting the \" Pizarro,\" already referred to, Mr. Hunt was engaged at home on <supa</sup picture for exhibition at the British Institution <supa</sup notable incident as marking the first occasion on which either artist painted <supa</sup picture for exhibition.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0398": {
-    "English Original": "Another year passed, and the young artists were in the full swing of their work, Mr. Hunt painting hard at his \"Porphyro,\" and Millais at \" Cymon and Iphigenia,\" <supa</sup picture in which he seems to have been much influenced by Etty, the only man of the old school whom he really admired.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0399": {
-    "English Original": "After one of their many talks on originality in art, or rather the absence of it at that time, Millais said to Mr. Hunt, \" It is quite impossible to get our pictures done in time for the Royal Academy, unless we sit up and work all night in the last week Let us paint together in my studio, and then we can encourage each other and talk over our ambitions.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0400": {
-    "English Original": "This was agreed upon, and from that time the two boys began to study side by side.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0401": {
-    "English Original": "How tremendously in earnest they were may be gathered from the fact that it was no un common thing for them to work on far into the night, sometimes even till four or five in the morning ; this, too, night after night till the sendingin day.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0402": {
-    "English Original": "There are always some parts of <supa</sup picture that an artist hates doing.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0403": {
-    "English Original": "After <supa</sup month or two Millais got quite sick of painting the draperies of the girls in his picture ; so one evening he turned to his companion and said, \" If you will do some of these beastly draperies for me, <supI</sup '11 paint <supa</sup head or two in your picture for you \"an offer that was at once accepted.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0404": {
-    "English Original": "In this way they relieved each other upon occasion, and it is curious to notice how alike their work was in those days; so much so, that when Hunt examined\n\n\n\n $\\begin{tabular}{ll} $\\alpha$& $X$&$D$& $I$&$HIGE}{X1A,^n$&$1847\\\\ $Bypermission$Q$&J1r, James Standard\\\\ \\end{tabular}$ \n\n\n\nthe picture in the Millais Exhibition of 1898 he could not distinguish the parts he had painted.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0405": {
-    "English Original": "It was from these evening stances, and the confidence engendered by the free interchange of thought, that sprang the determination of these youths to leave the beaten track of art and strike out <supa</sup new line for themselves.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0406": {
-    "English Original": "Raphael, the idol of the art world, they dared to think, was not altogether free from imperfections.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0407": {
-    "English Original": "His Cartoons showed this, and his \" Transfiguration \" still further betrayed the falsity of his methods.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0408": {
-    "English Original": "They must go back to earlier times for examples of sound and satisfactory work, and, rejecting the teaching of the day that blindly followed in his footsteps, must take Nature as their only guide.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0409": {
-    "English Original": "They would go to her, and her alone, for inspiration ; and, hoping that others would be tempted to join in their crusade against conventionality, they selected as their distinctive title the term \" PreRaphaelites.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0410": {
-    "English Original": "\" Each for the joy of the working, and each in his separate star, Shall draw the Thing as he sees It for the God of Things as They Are.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0411": {
-    "English Original": "\" It was in the beginning of the year 1848,\" says Mr. Holman Hunt, \"that your father and <supI</sup determined to adopt <supa</sup style of absolute independence as to artdogma and con vention : this we called ' PreRaphaelitism.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0412": {
-    "English Original": "D. G. Rossetti was already my pupil, and it seemed certain that he also, in time, would work on the same principles.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0413": {
-    "English Original": "He had declared his intention of doing so, and there was beginning to be some talk of other artists joining us, although in fact some were only in the most primitive stages of art, such as William Rossetti, who was not even a student.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0414": {
-    "English Original": "Meanwhile, D. G. Rossetti, himself <supa</sup beginner, had not got over the habit (acquired from Madox Brown) of calling our art Early Christian ; so one day, in my studio, some time after our first meeting, <supI</sup protested, saying that the term would confuse us with the German Ouattro Centists.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0415": {
-    "English Original": "<supI</sup went on to convince him that our real name was ' PreRaphaelites,' <supa</sup name which we had already so far revealed in frequent argument that we had been taunted as holding opinions abominable enough to deserve burning at the stake.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0416": {
-    "English Original": "He thereupon, with <supa</sup pet scheme of an extended cooperation still in mind, amended my previous suggestion by adding to our title of ' PreRaphaelite the word Brotherhood.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0417": {
-    "English Original": "4\n\nHunt, it should be explained, first met Rossetti in the Royal Academy schools, where as fellowstudents they occasionally talked together.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0418": {
-    "English Original": "Rossetti, however, was an intermittent attendant rather than a methodical student, and presently, wearying of the work, he gave it up and took to literature, hoping to make <supa</sup living by his pen.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0419": {
-    "English Original": "Here again he was disappointed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0420": {
-    "English Original": "His poems, charming as many of them were, did not meet with the wide acceptance he had hoped for, and in <supa</sup fit of despondency he came to Hunt and begged him to take him into his studio.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0421": {
-    "English Original": "But Holman Hunt could not do this he was far too busy working for <supa</sup livelihood, with little time to spare for the indulgence of his own taste as an artist ; but he laid down <supa</sup plan of work to be followed by Rossetti in his own home, and promised to visit him there and give him all the help he could.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0422": {
-    "English Original": "Not satisfied with this, Rossetti betook himself to Maclox Brown, whose style of painting he admired, and who, he hoped, would teach him the technicalities of his art, while allowing him free play in all his fancies.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0423": {
-    "English Original": "Madox Brown, however, had been through the mill himself, and knew there was no short cut to success.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0424": {
-    "English Original": "So, much to the disgust of Rossetti, he set him to paint studies of stilllife, such as pots, jugs, etc.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0425": {
-    "English Original": "Byandby this became intolerable to <supa</sup man of Rossetti's temperament, so he once more returned to Hunt, and begged him to take compassion on him ; and at last, moved by his appeal, Hunt consented.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0426": {
-    "English Original": "These are Hunt's words on the subject: \"When D. G. Rossetti came to me he talked about his hopes and ideals, or rather his despair, at ever being able to paint.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0427": {
-    "English Original": "I, however, encouraged him, and told him of the compact that Millais and <supI</sup had made, and the confidence others had in our system.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0428": {
-    "English Original": "Rossetti was <supa</sup man who enthusiastically took up an idea, and he went about disseminating our programme as one to be carried out by numbers.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0429": {
-    "English Original": "He offered himself first, as he knew that Millais had admired his penandink drawings.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0430": {
-    "English Original": "He then suggested as converts Collinson, his own brother William, who intended to take up art, and Woolner, the sculptor.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0431": {
-    "English Original": "Stephens should also be tried, and it struck him that others who had never done anything yet to prove their fitness for art reformation, or even for art at all, were to be taken on trust.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0432": {
-    "English Original": "Your father then invited us all to spend the evening in his studio, where he showed us engravings from the Campo Santo, and other\n\nsomewhat archaic designs.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0433": {
-    "English Original": "These being admired much by the new candidates, we agreed that it might be safe to accept the additional four members on probation ; but, in fact, it really never came to anything.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0434": {
-    "English Original": "The first meeting, at which terms of cooperation were seriously discussed, was held on <supa</sup certain night in 1848, at Millais' home in Gower Street, where the young artist exhibited, as examples of sound work,\n\nsome volumes of engravings from the frescoes of Benozzo Gozzoli, Orcagua, and others now in the Campo Santo at Pisa.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0435": {
-    "English Original": "Now, look here, said Millais, speaking for himself and Hunt, who were both jealous of others joining them without <supa</sup distinct understanding<supO</sup of their object, \" this is what the PreRaphaelite clique should follow.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0436": {
-    "English Original": "The idea was eagerly taken up, and then, or shortly afterwards, William Rossetti, Woolner, F. G. Stephens (now an Art critic), and James Collin son joined the Brotherhood the P.R.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0437": {
-    "English Original": "B., as it was now called.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0438": {
-    "English Original": "Arthur Hughes, Frederic Sandys, Noel Paton, Charles Collins, and Walter Deverell also sympathised with their aims, and were more or less working on the same lines.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0439": {
-    "English Original": "Coventry Patmore, the poet, although in close association with many of the Brotherhood, was not himself a member, as the association was strictly limited to working artists.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0440": {
-    "English Original": "Writing On this SUbjeCt in the Intended for The Germ.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0441": {
-    "English Original": "<sup1849</sup Contemporary Review of May, 1880,\n\nMr. Holman Hunt says : \" Outside of the enrolled body [the P.R.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0442": {
-    "English Original": "were several artists of real calibre and en thusiasm, who were working diligently with our views guiding them.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0443": {
-    "English Original": "W. H. Deverell, Charles Collins, and Arthur Hughes may be named.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0444": {
-    "English Original": "It was <supa</sup question whether any of them should be elected.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0445": {
-    "English Original": "It was already evident that to have authority to put the mystic monogram upon\n\nPENCIL DESIGN FOR\n\n\n\nPRERAPHAELITE ETCHING\n\ntheir paintings could confer no benefit on men striving to earn <supa</sup position.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0446": {
-    "English Original": "We ourselves even determined for <supa</sup time to discontinue the floating of this red rag before the eyes of infuriated John Bull, and we decided it was better to let our converts be known only by their works, and so nominally PreRaphaelitism ceased to be.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0447": {
-    "English Original": "We agreed to resume the open profession of it later, but the time had not yet come.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0448": {
-    "English Original": "<supI</sup often read in print that <supI</sup am now the only PreRaphaelite; yet <supI</sup can't use the distinguishing letters, for <supI</sup have no Brotherhood.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0449": {
-    "English Original": "And now perhaps <supI</sup may as well give my father's version of the matter as gathered from his own lips in 1896, the year when he was elected as President of the Royal Academy.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0450": {
-    "English Original": "At that time the papers, of course, had much to say about his art life ; and, finding that some of them referred pointedly to D. G. Rossetti's influence on the style and character of his work, <supI</sup asked him to tell me exactly what were his relations with Rossetti, and how far these comments were correct.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0451": {
-    "English Original": "\"I doubt very much,\" he said, \"whether any man ever gets the credit of being quite square and aboveboard about his life and work.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0452": {
-    "English Original": "The public are like sheep.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0453": {
-    "English Original": "They follow each other in admiring what they don't understand \\Onnie ionotuni pro magnifico\\, and rarely take <supa</sup man at what he is worth.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0454": {
-    "English Original": "If you affect <supa</sup mysterious air, and are clever enough to conceal your ignorance, you stand <supa</sup fair chance of being taken for <supa</sup wiser man than you are ; but if you talk frankly and freely of yourself and your work, as you know <supI</sup do, the odds are that any silly rumour you may fail to contradict will be accepted as true.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0455": {
-    "English Original": "That is just what has happened to me.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0456": {
-    "English Original": "The papers are good enough to speak of me as <supa</sup typical English artist ; but because in my early days <supI</sup saw <supa</sup good deal of Rossetti the mysterious and unEnglish Rossetti they assume that my PreRaphaelite impulses in pursuit of light and truth were due to him.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0457": {
-    "English Original": "My pictures would have been exactly the same if<supI</sup had never seen or heard of Rossetti.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0458": {
-    "English Original": "<supI</sup liked him very much when we first met, believing him to be (as perhaps he was) sincere in his desire to further our aims Hunt's and mine but <supI</sup always liked his brother William much better.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0459": {
-    "English Original": "D. G. Rossetti, you must understand, was a queer fellow, and impossible as a boon companion so dogmatic and so irritable when opposed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0460": {
-    "English Original": "His aims and\n\n\n\nGRANDFATHER AND CHILD By permission of Mr. James Wyatt\n\n\n\nideals in art were also widely different from ours, and itwas not long before he drifted away from us to follow his own peculiar fancies.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0461": {
-    "English Original": "What they were may be seen from his subsequent works.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0462": {
-    "English Original": "They were highly imaginative and original, and not without elements of beauty, but they were not Nature.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0463": {
-    "English Original": "At last, when he presented for our admiration the young women which have since become the type of Rossettianism, the public opened their eyes in amazement.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0464": {
-    "English Original": "'And this,' they said, 'is PreRaphaelitism !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0465": {
-    "English Original": "It was nothing of the sort.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0466": {
-    "English Original": "The PreRaphaelites had but one idea to present on canvas what they saw in Nature ; and such productions as these were absolutely foreign to the spirit of their work.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0467": {
-    "English Original": "\"The only one of my pictures that <supI</sup can think of as showing what is called the influence of Rossetti is the Isabella,' in which some of the vestments were worked out in accordance with a book of mediaeval costumes which he was kind enough to lend me.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0468": {
-    "English Original": "It was Hunt not Rossetti whom <supI</sup habitually consulted in case of doubt.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0469": {
-    "English Original": "He was my intimate friend and companion ; and though, at the time <supI</sup am speaking of, all my religious subjects were chosen and composed by myself, <supI</sup was always glad to hear what he had to say about them, and not infrequently to act upon his suggestions.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0470": {
-    "English Original": "We were working together then, and constantly criticised each other's pictures.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0471": {
-    "English Original": "The friendly intercourse between Millais and D. G. Rossetti lasted but four years, from <sup1848</sup to 1852.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0472": {
-    "English Original": "From 1852 to 1854 they met occasionally, but alter that they rarely came into contact, and in 1856 even these casual meetings came to an end.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0473": {
-    "English Original": "One reads then with <supa</sup smile such observations as this in Mr. Spielmann's Millais and his Works (1898) : \"This is no time to examine the principles and the bearings of this oftdiscussed mission of eclectics ; but it may at least be pointed out how clear <supa</sup proof of what can be done by cooperation, even in art, are the achievements of the school.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0474": {
-    "English Original": "Millais' great pictures of that period in many qualities really great are certainly the combination of the influence of others' powers besides his own.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0475": {
-    "English Original": "His is the wonderful execution, the brilliant drawing; but Dante Rossetti's perfervid imagination was on one side of him, and Holman Hunt's powerful intellect and resolution were on the other ; while, perhaps, the analytical mind of Mr. William Rossetti and the literarv outlook of Mr.\n\nF. G. Stephens were not without influence upon his work.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0476": {
-    "English Original": "In <supa</sup few short years these supports w<supr</sup ere withdrawn from Millais' art, in which we find the execution still, but where at least in tke same degree the intellect or the imagination ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0477": {
-    "English Original": "The \"supports,\" as Mr. Spielmann calls them, never existed; and as to \"intellect\" and \"imagination,\" is there nothing of these in \"Ferdinand lured by Ariel,\" \"Mariana,\" \"The Blind Girl,\" \" L'Enfant du Regiment,\" or \" The Woodman's Daughter,\" with none of which had Rossetti any concern ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0478": {
-    "English Original": "Indeed, as to the three lastnamed pictures, <supI</sup think <supI</sup am right in saying that Rossetti never saw them until they were hung on the Academy walls.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0479": {
-    "English Original": "The \" Huguenot,\" too, and the \" Ophelia \" were seen but once by him when the paintings were in process, and that was at Worcester Park Farm, when he and Madox Brown called and expressed their approval.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0480": {
-    "English Original": "And now <supI</sup leave it to my readers to say whether the \"Isabella\" (the only pure mediaeval subject) surpasses in point of design, execution, or sentiment such of Millais' later works as \" The Rescue,\" \" The Order of Release,\" \" The Proscribed Royalist,\" or fifty others that could be named.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0481": {
-    "English Original": "My father hated humbug ; and if Rossetti had been the guiding spirit of his works, as certain critics represent, he would have been the first to acknowledge it.\\ It was the poetry of Nature that appealed to him the love, hope, sweetness, and purity that he found there and itwas the passionate desire to express what he felt so deeply that\n\nspurred him on from the beginning to the end of his art life.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0482": {
-    "English Original": "The distinguishing characteristics of Pre  Raphaelite workers are well set forth by Mr. Kennedy in <supa</sup recent article in that excellent magazine The Artist.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0483": {
-    "English Original": "He says, \" The three chief members of the PreRaphaelite Brotherhood Rossetti, Millais, and Holman Hunt were men of personalities and endowments that were striking in the extreme born makers of epochs, men who, whatever the vocation that they had elected to follow, would undoubtedly\n\nhave left shaping traces of their individualities upon it. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0484": {
-    "English Original": "And, to set themselves to work in triple harness, they were <supa</sup trio of <supa</sup singular diversity of aims and of gifts ; one may add of destinies.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0485": {
-    "English Original": "Quite extraordinary was the dissimilarity between the kinds of success attained by each of them.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0486": {
-    "English Original": "Millais trod swiftly and straightly the path of popular\n\n\\ It is <supa</sup significant fact that in my fathers letters of this period (18491853), the name of D. G. Rossetti is hardly ever mentioned.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0487": {
-    "English Original": "approbation and academic honours, culminating finally in the highest dignity that the Royal Academy has to bestow.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0488": {
-    "English Original": "Rossetti and Holman Hunt, after the first, held themselves completely aloof from the Academy and all its works.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0489": {
-    "English Original": "Alike in this, how different were their fames in all else.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0490": {
-    "English Original": "During the larger portion of his working life Rossetti's achievements in painting were absolutely undreamed of by the larger public, were accessible only sparsely and with difficulty to his admirers even outside of a limited circle of patrons and private friends.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0491": {
-    "English Original": "To <supa</sup good many, <supI</sup fancy, Mr. Swinburne's Notes upon the Academy of 1865, describing, amongst others, Sandys' Medea ' and Rossetti's Lilith,' contained the first intimation that Rossetti the poet was also Rossetti the painter.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0492": {
-    "English Original": "Holman Hunt, upon the other hand, had at one time <supa</sup popular vogue at least as great as that of Millais, and his painted work excited emotions and enthusiasms of a more decided intensity.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0493": {
-    "English Original": "Those whose memories can be made to extend back to the period when ' The Finding of our Saviour in the Temple was being exhibited in the provinces, will recall the vividness of the impression that it made upon the religious public of its day.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0494": {
-    "English Original": "They found in Holman Hunt's paintings something of a revelation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0495": {
-    "English Original": "Its obvious sincerity, its intensity of conviction, its determined realisa 'tion of the scene in every minutest detail of its setting, affected profoundly all who were capable of being deeply stirred by the subject depicted.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0496": {
-    "English Original": "Millais was gifted with <supa</sup sense of sight of crystalline clear ness to which Nature made <supa</sup perpetual and brilliant appeal ; he had a hand that, even in childhood, was singularly skilful to record the impressions of the eye.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0497": {
-    "English Original": "And his hand had been severely trained, first by the prescribed academic methods, and later by the minutely elaborate labour of his PreRaphaelite work, until it set down facts almost with the facility with which the eye perceived them.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0498": {
-    "English Original": "What, then, <supw</sup <supr</sup as Millais the PreRaphaelite doing in that particular galere ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0499": {
-    "English Original": "How came this straightforward depictor of what he saw before him to link himself with idealists and dreamers of dreams ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0500": {
-    "English Original": "It was probably the earnestness and the devotion to the nature of the movement that attracted the youthful Millais, and also the scope that its conscientious minuteness of finish afforded him for the display of his even then astonishing technical powers.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0501": {
-    "English Original": "As to Rossetti, the fact is he was never <supa</sup PreRaphaelite at heart.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0502": {
-    "English Original": "Himself <supa</sup man of great originality, and <supa</sup freethinker in matters of Art, he was captivated by the independent spirit of the Brotherhood, and readily cast in his lot with them.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0503": {
-    "English Original": "But it was only for <supa</sup time.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0504": {
-    "English Original": "By degrees their methods palled upon his taste, and not caring any longer to uphold them before the public, he broke away from his old associates, determined to follow the peculiar bent of his genius, which taught him not to go to Nature for his inspirations, but to follow rather the flights of his own fancy.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0505": {
-    "English Original": "His subsequent career is sufficient evidence of that.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0506": {
-    "English Original": "Only two\n\n\n\nPRERAPHAELITE SKETCH.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0507": {
-    "English Original": "Probably the artist's first idea of \" Apple Blossoms \"\n\nyears after he first joined the Brotherhood, Mr. Hunt, who taught him all the technique he ever knew, got him to come down to Knole to paint <supa</sup background straight from Nature whilst he overlooked and helped him.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0508": {
-    "English Original": "After two days, however, Rossetti was heartily sick of Nature, and bolted back to London and its artificial life.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0509": {
-    "English Original": "In course of time the instruction he had received from Hunt began to bear fruit one sees this in his picture called \"The Girlhood of the Virgin\" and with further practice his art improved rapidly, and continued to do so as years went on.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0510": {
-    "English Original": "The great mistake that nearly all the critics make isin confounding Rossetti's later w <supr</sup ork, which is imaginative, sincere, and entirely of his own conception, with his Pre\n\n\n\nDESIGN OF A PICTURE OF \"THE CANTERBURY PILGRIMS.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0511": {
-    "English Original": "<sup1850</sup\n\n\n\nRaphaelite work, of which he really did very little.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0512": {
-    "English Original": "They call his pictures such as \"La bella mano,\" \"Proserpine,\" \"Venus Verticordia,\" \"Dante and Beatrice,\" PreRaphaelite, which they are not in the very least.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0513": {
-    "English Original": "They belong to an entirely different school, which he himself founded, and which has since had such able exponents as Mr. Strudwick and Sir Edward BurneJones.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0514": {
-    "English Original": "A common mistake that critics make is in assuming that the PreRaphaelite movement owed its origin to Mr. Ruskin.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0515": {
-    "English Original": "Amongst other writers on the subject is Max Nordau, and his statements are for the most part entirely wrong.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0516": {
-    "English Original": "He attributes the origin of the Brotherhood to the teachings of Ruskin, but Holman Hunt and Millais were PreRaphaelites before Ruskin ever wrote a line on the subject.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0517": {
-    "English Original": "At the Academy one of Mr. Ruskin's admirers lent Hunt <supa</sup copy of Modern Painters, and Hunt read it with enthusiasm, as partially embodying his own preconceived ideal of art.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0518": {
-    "English Original": "Millais, however, when asked to read the work, resolutely refused to do so, saying he had his own ideas, and, convinced of their absolute soundness, he should carry them out regardless of what any man might say.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0519": {
-    "English Original": "He would look neither to the right nor to the left, but pursue unflinchingly the course he had marked out for himself.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0520": {
-    "English Original": "And so he did.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0521": {
-    "English Original": "Besides what my father has told me over and over again, <supI</sup have itfrom Mr. Holman Hunt, his lifelong friend, that he was never for <supa</sup moment influenced by Ruskin's teachings.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0522": {
-    "English Original": "Mr. Ruskin, it is true, held Millais up as the shining light of the PreRaphaelites, and explained his pictures to the multitude according to his own ideas ; but that of course proves no more than that he admired my father's work, and approved what he believed to be the object of his aim.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0523": {
-    "English Original": "Probably no artist in England ever read less on art or on his own doings than did Millais.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0524": {
-    "English Original": "On rare occasions criticisms were forced upon his notice, and he read them ; but faith in himself and his own opinions was his only guide in determining what was good or bad in <supa</sup picture, whether his own or that of another artist.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0525": {
-    "English Original": "When his work was done he banished all thought of it as far as possible, and when by chance his friend Ur.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0526": {
-    "English Original": "Urquhart, of Perth, called his attention to Max Nordau's statement that Ruskin was the originator and moving spirit of the PreRaphaelites in their early days, he indignantly denied it ; and, after reading the passages the next day, he wrote to Mrs. Urquhart a letter in which he\n\ngave <supa</sup rough history of PreRaphaelitism, and characterised Nordau's remarks as \" twaddling rubbish on <supa</sup subject of which he knows absolutely nothing.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0527": {
-    "English Original": "Mr. Ruskin held that Art should be a great moral teacher, with religion as its basis and mainspring; but Millais, while agreeing with much of that critic's writings,\\ was never quite at one with him on this point.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0528": {
-    "English Original": "He certainly held that Art should have a great and abiding purpose, giving all its strength to the beautifying or ennoblement of whatever subject it touched, either sacred or secular ; but though himself at heart a truly religious man, he could not harp on one string alone, nor would his impulsive originality, absolutely untrammelled by the opinions of others, allow him to paint pictures in which he had no heart at the dictation of any man, however eminent.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0529": {
-    "English Original": "Holman Hunt, too, painted his religious pictures on the Ruskin lines really as the outcome of the high ideals he had set up for himself from the outset. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0530": {
-    "English Original": "Truth and the free field of unadulterated Nature\" was the motto of these originators.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0531": {
-    "English Original": "As Pope says, they \"looked through Nature up to Nature's God,\" being sincere in their art, and resolutely determined to pursue it to its highest ends.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0532": {
-    "English Original": "In saying this <supI</sup by no means lose sight of the fact that the PreRaphaelites one and all owed much to Mr. Ruskin for his championship of their cause when he came to the knowledge of what they were striving to achieve.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0533": {
-    "English Original": "With an eloquence to which probably no equal can be found in the annals of art criticism, he explained to an unsympathetic public the aim and objects of the Brotherhood, and itgoes without saying that they were highly gratified by his championship.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0534": {
-    "English Original": "When too, later on, he turned round and abused some of Millais' best works as heartily as he had praised some others, the circumstance was regarded by Millais amongst others as merely one of the inconsistencies into which genius is apt to fall.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0535": {
-    "English Original": "No one ever doubted the sincerity of his motive.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0536": {
-    "English Original": "He expressed only what he believed to be right, and in so far as he was wrong he helped rather than injured the painter's fame.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0537": {
-    "English Original": "Before the Brotherhood was formally constituted, another association, called \"The Cyclographic Club,\" came into existence, its object being to establish and circulate amongst\n\n\\ Millais knew nothing of Ruskin's writings until 1851, when <supa</sup letter of his appeared in the Times.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0538": {
-    "English Original": "By permission of Mrs. Brocklebank PreRaphaelite Drawing\n\n\n\nthe members a kind of portfolio of art and criticism.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0539": {
-    "English Original": "Each member had to contribute once a month a blackandwhite drawing, on the back of which the other members were to write critiques.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0540": {
-    "English Original": "This club, if it may be so called, was founded by N. E. Green, Burchell, and Deverell, and was afterwards joined by Millais, Hunt, Rossetti, and Arthur Hughes.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0541": {
-    "English Original": "In <supa</sup contribution to The Letttrs of D. G. Rossetti to William Allingham Mr. Hughes says, \" Millais, who was the only man amongst us who had any money, provided <supa</sup nice green portfolio with <supa</sup lock in which to keep the drawings.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0542": {
-    "English Original": "Millais did his drawing, and one or two others did theirs.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0543": {
-    "English Original": "Then the 'Folio' came to Rossetti, where it\n\n\n\nPRERAPHAELITE DRAWING FOR HIS \"GERM.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0544": {
-    "English Original": "(Not used)\n\nstuck for ever.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0545": {
-    "English Original": "It never reached me.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0546": {
-    "English Original": "According to his wont, he (Rossetti) had at first been most enthusiastic over the scheme, and had so infected Millais witk his enthusiasm that he had at once ordered the case.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0547": {
-    "English Original": "\"\\\n\nOn this subject Mr. Hughes sends me the following note : \" In connection with the circulating folio for designs, <supa</sup few members of the Brotherhood met one evening at Rossetti's rooms at Chatham Placet Rossetti, Deverell, and myself\n\n\\ Mr. Holman Hunt says his \"influence\" is purely imaginary.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0548": {
-    "English Original": "Millais had the \"enthusiasm\" for designs in penandink, and liked to see what others did.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0549": {
-    "English Original": "Some of the drawings were in colour.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0550": {
-    "English Original": "He adds, \" <supI</sup don't think we ever had any meeting, and after about four peregrinations we (Millais, Hunt, and Rossetti) seceded, because the contributions were so poor and the portfolio never arrived.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0551": {
-    "English Original": "<supt</sup This, <supI</sup think, is <supa</sup mistake, as Rossetti did not go to Chatham Place till 1853, when the Cyclographic Club had ceased to exist.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0552": {
-    "English Original": "Perhaps Mr. Hughes was thinking of the club which Lady Waterford and E. V. B. tried to organise.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0553": {
-    "English Original": "'5\n\nand one other, perhaps, but <supI</sup cannot remember.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0554": {
-    "English Original": "When Millais came in he asked if the folio had arrived from him.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0555": {
-    "English Original": "Yes, there it was.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0556": {
-    "English Original": "Then ifMadox Brown had agreed to <supo</sup join, and Rossetti told him that he resisted all persuasion, and would not.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0557": {
-    "English Original": "; What <supa</sup peevish old chap he is !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0558": {
-    "English Original": "A little later he noticed that Deverell was smoking a cigarette, and earnestly exhorted him to give it up.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0559": {
-    "English Original": "Don't, Deverell, don't take to smoking ; it is frightfully injurious, it palls the faculties.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0560": {
-    "English Original": "He himself succumbed later on ! \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0561": {
-    "English Original": "The Brotherhood, it may be mentioned, neither smoked, drank, nor swore, and that at a period when, as Thackeray has shown us, all Bohemia was saturated with tobacco, spirits, and quaint oaths.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0562": {
-    "English Original": "Millais, however, after attaining his \" artistic puberty,\" as he called it, came to regard the pipe of peace as <supa</sup friend and consoler when (as he sometimes was) wellnigh distraught with his work.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0563": {
-    "English Original": "Out of the seven PreRaphaelite Brothers five were good men with their pens, and the Brotherhood being eager to defend the position they had taken up, were only too glad when, in 1849, it was proposed to start <supa</sup magazine in support of their common creed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0564": {
-    "English Original": "In the autumn of that year they met together in Mr. Hunt's room, in Cleveland Street, to arrange preliminaries with <supa</sup view to early publication, when various plans and names for the magazine were discussed, and at last, on the suggestion of Mr. William Cave Thomas, it was decided to call it The Germ.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0565": {
-    "English Original": "Arrangements were then made with <supa</sup publisher, pens and pencils were set agoing, and in <sup1849</sup the first number of the periodical appeared in print.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0566": {
-    "English Original": "Millais' share in this seems to have been limited to two or three illustrations, which are now in my possession.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0567": {
-    "English Original": "He took, however, <supa</sup great interest in the work, and subsequently wrote a complete story for publication ; but, alas !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0568": {
-    "English Original": "before the time for this arrived the magazine came to an end for lack of funds to keep it alive.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0569": {
-    "English Original": "Only four numbers ever appeared, and these are now so scarce that at a recent sale by auction a complete set fetched 100.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0570": {
-    "English Original": "<supI</sup give here an illustration that was done by Millais for one of Rossetti's stories in this paper, but it was never published.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0571": {
-    "English Original": "In the Idler of March, 1898, Mr. Ernest Radford has some interesting notes on The Germ \" the respiratory\n\norgan of the Brethren,\"^ as he humorously calls it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0572": {
-    "English Original": "It was edited, he tells us, by Mr. W. M. Rossetti, and printed by <supa</sup Mr. G. F. Tupper, on whose suggestion the title was changed in the third number to the more commonplace one of Art and Poetry ; and, besides many valuable illustrations, it comprised contributions in prose and poetry by the Rossettis (Christina and her two brothers), Madox Brown, F. G. Stephens, Coventry Patmore, Thomas Woolner, and various smaller lights.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0573": {
-    "English Original": "Millais, he says, \"who never practised an art without mastering it .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0574": {
-    "English Original": "etched one plate in illustration of a poem by Rossetti, which\n\n\n\nDRAWING IN PENCIL\n\nIntended to illustrate a story by D. G. Rossetti in the fifth number of The Germ.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0575": {
-    "English Original": "This drawing Millais afterwards etched, and a few copies of the plate are in existence\n\nwas to have graced the fifth number,\" but both etching and poem have disappeared.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0576": {
-    "English Original": "The drawing for the etching is, <supI</sup fancy, amongst those in my possession.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0577": {
-    "English Original": "He also wrote <supa</sup story for the paper, which would have appeared in the fifth number had the periodical survived so long.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0578": {
-    "English Original": "The following is <supa</sup brief outline of the tale : A knight is in love with the daughter of <supa</sup king who lived in <supa</sup moated castle.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0579": {
-    "English Original": "His affection is returned, but the king swears to kill him if he attempts to see his ladylove.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0580": {
-    "English Original": "The lovers sigh for each other, but there is no opportunity for meeting till the winter comes and the moat is frozen over.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0581": {
-    "English Original": "\\ It was not of the \"Brethren\" only, others who were in sympathy with them also took part in the publication.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0582": {
-    "English Original": "The knight then passes over the ice, and, scaling the walls of the castle, carries off the lady.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0583": {
-    "English Original": "As they rush across the ice sounds of alarm are heard within, and at that moment the surface gives way, and they are seen no more in life.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0584": {
-    "English Original": "The old king is inconsolable.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0585": {
-    "English Original": "Years pass by, and the moat is drained ; the skeletons of the two lovers are then found locked in each other's arms, the waterworn muslin of the lady's dress still clinging to the points of the knight's armour.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0586": {
-    "English Original": "It seems from a letter of Rossetti's to W. B. Scott that, after the Cyclographic Club and The Germ had come to an end, Millais tried to found amongst the PreRaphaelite Brothers and their allies a sketching club, which would also include two ladies, namely, the beautiful Marchioness of Waterford and the Honourable Mrs. Boyle (then known as E. V.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0587": {
-    "English Original": "), both these ladies being promising artists, above the rank of amateurs ; but this scheme also fell through.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0588": {
-    "English Original": "\"Lorenzo and Isabella\" A prime joke \"Christ in the home of His parents \" The onslaught of the critics Charles Dickens unfavourable Millais at work The newspapers send him to Australia The P.R.B.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0589": {
-    "English Original": "draw each other for Woolner The bricklayer's opinion The elusive nugget ''Ferdinand lured by Ariel\" The ultracautious dealer Millais at the theatre painting portraits His sale of \"Ferdinand\" Mr. Stephens tells of his sittings for \" Ferdinand's\" head Mr. and Mrs. Thomas Combe Their kindness to Millais Millais' letters to the Combes His life in London The Collins family Letters about \"The Woodman's Daughter\" and \"The Flood\" ''Mariana\" An obliging mouse \"The Woodman's Daughter\" William Millais on the picture The artist's devotion to truth Ruskin on the PreRaphaelites He champions their cause His unreliability as a critic.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0590": {
-    "English Original": "MILLAIS' first big work in which he threw down the gauntlet to the critics, marking his picture with the hated P.R.B.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0591": {
-    "English Original": "signature, was \"Lorenzo and Isabella,\" the subject being taken from Keats' paraphrase of Boccaccio's\n\nstory : \" Fair Isabel, poor simple Isabel !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0592": {
-    "English Original": "Lorenzo, <supa</sup young palmer in Love's eye.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0593": {
-    "English Original": "They could not in the selfsame mansion dwell Without some stir of heart, some malady ; They could not sit at meals but feel how well It soothed each to be the other by ; They could not, sure, beneath the same roof sleep, But to each other dream and nightly weep.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0594": {
-    "English Original": "All the figures were painted from the artist's own friends and relations.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0595": {
-    "English Original": "Mrs. Hodgkinson (wife of Millais' half brother) sat for Isabella ; Millais' father, shorn of his beard, sat for the man wiping his lips with <supa</sup napkin ; William Rossetti sat for Lorenzo ; Mr. Hugh Fen is paring an apple ; and D. G. Rossetti is seen at the end of the table drinking from <supa</sup long glass ; whilst the brother, spitefully kicking the clog, in the foreground, was Mr. Wright, an architect ; and <supa</sup student named Harris.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0596": {
-    "English Original": "Mr. F. G. Stephens is supposed to have sat for the head which appears between the watching brother and his wineglass ; and <supa</sup student\n\nnamed Plass stood for the serving  man.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0597": {
-    "English Original": "Poor Walter Deverell is also there.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0598": {
-    "English Original": "Millais planned this work as late as November, 1848, and carried it on, as Mr. Holman Hunt says, \"at <supa</sup pace beyond all calculation,\" producing in the end \"the most wonderful picture in the world for a lad of twenty.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0599": {
-    "English Original": "DANTE GABRIEL ROSSETTI Study for \" Lorenzo and Isabella.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0600": {
-    "English Original": "1848\n\nAnd now let us see what the critics had to say about it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0601": {
-    "English Original": "Frasers Magazine of July, 1849, was.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0602": {
-    "English Original": "to say the least, encouraging; witness the following critique: \"Among the multitude of minor pictures at the Academy, nearly all of which, we are bound to say, exhibit more than an average degree of excellence, one stands out distinguished from the rest.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0603": {
-    "English Original": "It is the work of a vounor \\ <supj</sup artist named Millais.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0604": {
-    "English Original": "whose\n\n\n\n $^{\\rm o}{\\rm H}$  LORENZO AND ISABILIAA\"  $^{\\rm o}{\\rm B}$  62  $B^{\\rm o}$  fermission of the Corporation of Liverpool\n\n\n\nname we do not remember to have seen before.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0605": {
-    "English Original": "The subject is taken from Keats' quaint, charming and pathetic poem, Isabella.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0606": {
-    "English Original": "The whole family are seated at <supa</sup table ; Lorenzo is speaking with timid adoration to Isabella, the conscious ness of dependency and of the contempt in which he is held by her brothers being stamped on his countenance.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0607": {
-    "English Original": "The figures of the brothers, especially of him who sits nearest to the front, are drawn and coloured with remarkable power.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0608": {
-    "English Original": "The attitude of this brother, as his leg is stretched out to kick O Isabella's dog, is vigorous and original.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0609": {
-    "English Original": "The colour of the picture is very delicate and beautiful.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0610": {
-    "English Original": "Like Mr. [Ford Madox] Brown, however, this young artist, although exhibiting unquestionable genius, is evidently enslaved by preference for <supa</sup false style.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0611": {
-    "English Original": "There is too much mannerism in the picture ; but the talent of the artist will, we doubt not,\n\nbreak through it.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0612": {
-    "English Original": "And Mr. Stephens was still more complimentary.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0613": {
-    "English Original": "In the Grosvenor Gallery catalogue of the year <sup1886</sup he wrote : \" Every detail, tint, surface texture, and substance, all the flesh, all the minutiae of the accessories were offered to the exquisitely keen sight, indefatigable fingers, unchangeable skill, and indomitable patience of one of the most energetic of painters.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0614": {
-    "English Original": "Such tenacity and technical powers were never, since the German followers of Durer adopted Italian principles of working, exercised on <supa</sup single picture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0615": {
-    "English Original": "Van Eyck did not study details of ' the life more unflinchingly than Millais in this case.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0616": {
-    "English Original": "The flesh of some of the heads, except so far as the face of ' Ferdinand ' and some parts of Holman Hunt's contemporaneous Rienzi,' were concerned, remained beyond comparison in finish and solidity until Millais painted the hands in ' The Return of the Dove to the Ark.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0617": {
-    "English Original": "But the critics were not all of this mind ; there was considerable diversity of opinion amongst them.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0618": {
-    "English Original": "Some were simply silent ; but of those who noticed the work at all the majority spoke of it in terms of qualified approval, regarding it rather as a tentative departure from the beaten track of Art than as the fruit of long and earnest conviction.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0619": {
-    "English Original": "By the general public it was looked upon as <supa</sup prime joke, only surpassing in absurdity Mr. Holman Hunt's \" Rienzi,\" which was exhibited at the same time, and was equally beyond their comprehension.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0620": {
-    "English Original": "With <supa</sup plentiful lack of wit, they greeted it with loud laughter or supercilious smiles, and in\n\nsome instances even the proud Press descended to insults of the most personal kind.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0621": {
-    "English Original": "This, however, only stiffened Millais' resolution to proceed on his own lines, and to defend against all comers the principles on which the Brotherhood was founded.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0622": {
-    "English Original": "The picture was bought of the artist by three combined amateur dealers, who sold it to Mr. \\Yindus, of Tottenham.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0623": {
-    "English Original": "After remaining with him some ten or twelve years Gambart bought it, and again sold it to Woolner, R.A.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0624": {
-    "English Original": "It is now in the possession of the Corporation of Liverpool.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0625": {
-    "English Original": "In the following year was exhibited the picture commonly known as \"Christ in the Home of His Parents,\" but with no other title than the following quotation from Zechariah xiii.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0626": {
-    "English Original": "<sup6</sup : \" And one shall say unto Him, What are these wounds in Thine hands?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0627": {
-    "English Original": "Then He shall answer, Those with which <supI</sup was wounded in the house of My friends.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0628": {
-    "English Original": "It was painted on precisely the same principle as was that which had called forth the derision of the multitude, and as both Rossetti and Mr. Hunt exhibited at the same time important pictures of the same school, there could no longer be any doubt as to the serious meaning of the movement.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0629": {
-    "English Original": "Then, with one accord, their opponents fell upon Millais as the prime mover in the rebellion against established precedent.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0630": {
-    "English Original": "In the words of a latterday critic, \" Men who knew nothing of Art reviled Millais because he was not of the art, artistic.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0631": {
-    "English Original": "Dilettanti who could not draw <supa</sup fingertip scolded one of the most accomplished draughtsmen of the age because he delineated what he saw.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0632": {
-    "English Original": "Cognoscenti who could not paint rebuktcl the most brilliant gold medal student of the Royal Academy on account of his technical proceedings.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0633": {
-    "English Original": "Critics of the most rigid views belaboured and shrieked at an original genius, whose struggles and whose efforts they could not understand.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0634": {
-    "English Original": "Intolerant and tyrannical commentators condemned the youth of twenty because he dared to think for himself; and, to sum up the burden of the chorus of shame and false judgment, there was hardly <supa</sup whisper of faith or hope, or even of charity nay, not a sound of the commonest and poorest courtesy vouchsafed to the painter of ' The Carpenter's Shop,' as, in utter scorn, this picture was originally and contumeliously called.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0635": {
-    "English Original": "What the Academy thought of it may be gathered from the words of the late F. B. Barwell : \"I well remember Mulready, U.A., alluding to the picture some two years after its exhibition.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0636": {
-    "English Original": "He said that it had few admirers inside the\n\nRoyal Academy Council, and that he himself and Maclise alone supported its claims to a favourable consideration.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0637": {
-    "English Original": "The picture itself, devotional and symbolic in intent, is too well known to need any description.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0638": {
-    "English Original": "The child Christ is seen in His father's workshop with blood flowing from His hand, the result of a recent wound, while His mother waits upon Him with loving sympathy.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0639": {
-    "English Original": "That is the main subject.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0640": {
-    "English Original": "And now let us see how it was treated by the Press.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0641": {
-    "English Original": "Blackwoods Magazine dealt with it in this wise : \"We can hardly imagine anything more ugly, graceless, and unpleasant than Mr. Millais' picture of ' Christ in the Carpenter's Shop.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0642": {
-    "English Original": "Such <supa</sup collection of splay feet, puffed joints, and misshapen limbs was assuredly never before made within so small a compass.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0643": {
-    "English Original": "We have great difficulty in believing <supa</sup report that this unpleasing and atrociously affectel picture has found <supa</sup purchaser at a high price.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0644": {
-    "English Original": "Another specimen from the same brush inspires rather laughter than disgust.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0645": {
-    "English Original": "That was pretty strong ; but, not to be left behind in the race to accomplish the painter's ruin, a leading literary journal, whose Art critic, by the way, was <supa</sup Royal Academician, delivered itself in the following terms : \" Mr. Millais in his picture without a name.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0646": {
-    "English Original": "(518), which represents a holy family in the interior of a carpenter's shop, has been most successful in the least dignified features of his presentment, and in giving to the higher forms, characters, and meanings <supa</sup circumstantial art language from which we recoil with loathing and disgust.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0647": {
-    "English Original": "There are many to whom his work will seem <supa</sup pictorial blasphemy.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0648": {
-    "English Original": "Great imaginative talents have here been perverted to the use of an eccentricity both lamentable and revolting.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0649": {
-    "English Original": "Another critic, bent on displaying his wit at the expense of the artist, said : \" Mr. Millais' picture looks as if it had passed through a mangle. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0650": {
-    "English Original": "And even Charles Dickens, who in <supo</sup L later years was <supa</sup firm friend of Millais and a great admirer of his works, denounced the picture in <supa</sup leading article in Household Words as \"mean, odious, revolting, and repulsive.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0651": {
-    "English Original": "But perhaps the most unreasonable notice of all was the following, which appeared in the Times: \"Mr. Millais' principal picture is, to speak plainly, revolting.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0652": {
-    "English Original": "The attempt to associate the holy family with the meanest details of a carpenter's shop, with no conceivable omission of misery, of dirt, of even disease, all finished with the same loathsome minuteness, is disgusting ; and with <supa</sup surprising power of\n\nimitation, this picture serves to show how far mere imitation may fall short, by dryness and conceit, of all dignity and truth.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0653": {
-    "English Original": "From these extracts it is easy to see what criticism was <supa</sup generation ago.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0654": {
-    "English Original": "As Mr. Walter Armstrong says, \" Not the faintest attempt is made to divine the artist's standpoint, and to look at the theme from his side.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0655": {
-    "English Original": "The writer does not accept the PreRaphaelite idea even provisionally, and as <supa</sup means of testing the efficiency of the work it leads to.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0656": {
-    "English Original": "He merely lays down its creations upon his own procrustean bed, and condemns them en bloc because they cannot be made to fit.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0657": {
-    "English Original": "And this article in the Times is <supa</sup fair example\n\n\n\nORIGINAL DESIGN FOR \"CHRIST IN THE HOUSE OF HIS PARENTS.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0658": {
-    "English Original": "(Four figures only)\n\nof the general welcome the picture met with.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0659": {
-    "English Original": "Such criticism is mere scolding.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0660": {
-    "English Original": "When an artist of ability denies and contemns your canvas, to call him names is to confess their futility.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0661": {
-    "English Original": "In an interesting note on this picture Mr. Edward Benest (Millais' cousin) says, \"During the three years <supI</sup was working in London <supI</sup was <supa</sup frequent visitor to the Gower Street house.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0662": {
-    "English Original": "From the intellectual point of view this picture may be said to be the outcome of the combined brains of the Millais family.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0663": {
-    "English Original": "Every little portion of the whole canvas was discussed, considered, and settled upon by the father, mother, and Johnnie (the artist) before <supa</sup touch was placed on the canvas, although sketches had been made.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0664": {
-    "English Original": "Of course, coming frequently, <supI</sup used to criticise too ; and if <supI</sup suggested\n\n7\n\nany alteration, Johnnie used to say in his determined way, No, Ned ; that has been all settled by us, and <supI</sup shan't alter it.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0665": {
-    "English Original": "\" Everything in that house was characteristic of the great devotion of all to the young artist ; and yet he was in no way spoilt.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0666": {
-    "English Original": "Whilst he was at work his father and mother sat beside him most of the time, the mother constantly reading to him on every imaginable subject that interested\n\n\n\nSKETCH FOR \"CHRIST IN THE HOUSE OF HIS PARENTS\"\n\nthe boy, or stopping to discuss matters with him.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0667": {
-    "English Original": "The boy himself, whilst working, joined freely and cleverly in any conversation that was going on ; and once when <supI</sup asked him how he could possibly paint and talk at the same time, and throw such energy into both, he said, tapping his forehead, Oh, that 's all right.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0668": {
-    "English Original": "<supI</sup have painted every touch in my head, as it were, long ago, and have now only to transfer it to canvas.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0669": {
-    "English Original": "The father <supa</sup perfect optimist when unable to help in any other way, would occupy himself by\n\npointing all Johnnie's pencils or playing whole operas on the flute.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0670": {
-    "English Original": "This instrument he played almost as well as any professional.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0671": {
-    "English Original": "The principal point of discussion with regard to the Carpenter's Shop related to the head of the Virgin Mary.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0672": {
-    "English Original": "At first, as his sketches show, she was represented as being kissed by the child Christ ; but this idea was presently altered to the present position of the figures, and the mother is now shown embracing her Son.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0673": {
-    "English Original": "These two figures were constantly painted and repainted in various attitudes, and finished only <supa</sup short time before the picture was exhibited.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0674": {
-    "English Original": "The figure, too, of St. John carrying <supa</sup bowl of water was inserted at the last moment.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0675": {
-    "English Original": "The picture, when finished (not before), was sold for ^150 to <supa</sup dealer named Farrer, whose confidence in the young artist was amusingly displayed by pasting on the back of it all the adverse criticisms that appeared.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0676": {
-    "English Original": "The models for this picture were as follows : the Virgin Mary, Mrs. Henry Hodgkinson, the Christ, Noel Humphreys (son of an architect), John the Baptist, Edwin Everett (an adopted child of the Mr. Everett who married Millais' aunt), and the apprentice H. St.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0677": {
-    "English Original": "In painting it, Millais was so determined to be accurate in every detail, that he used to take the canvas down to <supa</sup carpenter's shop and paint the interior direct from what he saw there.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0678": {
-    "English Original": "The figure of Joseph he took from the carpenter himself, saying that it was \" the only way to get the development of the muscles right\"; but the head was painted from Millais' father.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0679": {
-    "English Original": "His great difficulty was with the sheep, for there were no flocks within miles of Gower Street.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0680": {
-    "English Original": "At last, only <supa</sup few days before the picture had to be sent in to the Royal Academy, he went to <supa</sup neighbouring butcher's, where he bought two sheep's heads with the wool on, and from these\n\nhe painted the flock.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0681": {
-    "English Original": "There is <supa</sup good story about these PreRaphaelite days that <supI</sup am tempted to introduce here in contrast with the graver portion of this chapter.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0682": {
-    "English Original": "Golddigging is hardly an adventure in which <supI</sup should have expected my father to engage ; but the papers, of course, must be right, and in <sup1886</sup one of them (an Edinburgh evening journal) announced that at a certain period in the fifties Millais was travellinoin Australia in company with Woolner, the sculptor, and the present Prime Minister of E noland, and for some time\n\n\n\nBy permission of Mr. F. Beer\n\n\n\nworked with his own hands in the Bendigo golddiggings.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0683": {
-    "English Original": "None of us at home had even heard of this before ; but there it was in print, and presently every titbitty paper in the country repeated the tale with all the rhetorical adornment at the command of the writer. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0684": {
-    "English Original": "The frenzied energy of goldseekers \" was one of the phrases that specially pleased us, and we never failed to throw it at my father's head whenever he was in <supa</sup bit of <supa</sup hurry.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0685": {
-    "English Original": "And still the tale goes on.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0686": {
-    "English Original": "Quite recently the familiar old story appeared again in an Australian paper, the writer observing that no biography of the deceased artist would be complete without an account of his experiences in the southern goldfields.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0687": {
-    "English Original": "It seems a pity to prick this pretty bubble ; but as <supa</sup matter of fact my father was never in the goldfields, and through the fifties he was hard at work at home.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0688": {
-    "English Original": "It was Woolner alone who went in search of the elusive nugget, but presently returned to his art work in England, richer rather in experience than in solid gold.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0689": {
-    "English Original": "Of one of the evening meetings in Woolner's absence Mr. Arthur Hughes obliges me with the followino note: <supO</sup <supO</sup Z3 \"\\Yhile Woolner was in Australia his PreRaphaelite Brothers agreed to draw one another and send the drawings out to him ; and one day, when two or three of them were about this at Millais' house, Alexander Munro, the sculptor, chanced to call.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0690": {
-    "English Original": "Millais, having finished his PreRaphaelite Brotherhood subject, got Munro to sit, and drew him, and afterwards accompanied him to the door with the drawing in his hand, to which Munro was making some critical objection that Millais did not agree with.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0691": {
-    "English Original": "There happened to be passing at the time a couple of rough bricklayers, fresh from their work short pipes and all.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0692": {
-    "English Original": "To them Millais suddenly reached out from the doorstep and seized one, to his great surprise, and there and then constituted them judges to decide upon the merits of the likeness, while Munro, rather disconcerted, had to stand in the street with his hat off for identification.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0693": {
-    "English Original": "A most\n\namusing scene ! \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0694": {
-    "English Original": "Mr. F. G. Stephens tells us something further about these portraits and the final PreRaphaelite Brotherhood meetings.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0695": {
-    "English Original": "He writes : \"It was in the Gower Street studio that in 1853 the variously described meeting of the PreRaphaelite Brotherhood then in London occurred in order that the artists present might send as souvenirs to Woolner, then\n\ni.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0696": {
-    "English Original": "6\n\nin Australia, their portraits, each drawn by another.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0697": {
-    "English Original": "Millais fell to me to be drawn, and to him <supI</sup fell as his subject.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0698": {
-    "English Original": "Unhappily for me, <supI</sup was so ill at that time that it was with the greatest difficulty <supI</sup could drag myself to Gower Street ; more than that, it was but the day before the entire ruin of my family, then long impending and long struggled against in vain, w <supr</sup as consummated.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0699": {
-    "English Original": "<supI</sup was utterly unable to continue the sketch <supI</sup began.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0700": {
-    "English Original": "<supI</sup gave it up, and Mr. Holman Hunt, who had had D. G. Rossetti for his visavis and sitter, took my place and drew Millais' head.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0701": {
-    "English Original": "The head which Millais drew of me is now in my possession, the gift of Woolner, to whom it was, with the others, sent to Sydney, whence he brought the whole of the portraits back to England.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0702": {
-    "English Original": "My portrait, which by the way is <supa</sup good deal out of drawing, attests painfully enough the state of health and sore trouble in which <supI</sup then was.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0703": {
-    "English Original": "This meeting was one of the latest \"functions\" of the PreRaphaelite Brotherhood in its original state.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0704": {
-    "English Original": "Collinson had seceded, and Woolner emigrated to the \" diggings \" in search of the gold he did not find.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0705": {
-    "English Original": "Up to that time the old affectionate conditions still existed among the Brothers, but their end was near.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0706": {
-    "English Original": "Millais was shooting on ahead; Mr. <supo</sup Holman Hunt was surely, though slowly, following his path towards fortune ; D. G. Rossetti had retired within himself, and made no sign before the world ; W. M. Rossetti was rising in Her Majesty's service ; and <supI</sup was being continuedly drawn towards that literary work which brought me bread.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0707": {
-    "English Original": "None of the six had, however, departed from the essentials of the PreRaphaelite faith which was in him.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0708": {
-    "English Original": "\" Ferdinand lured by Ariel,\" painted in 1849, was another important picture that warred with the prevailing sentiment of the day, its high finish in every detail and the distinctly original treatment of the subject tending only to kindle anew the animosity of the critics against Millais and the principles he represented.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0709": {
-    "English Original": "Even the dealer for whom it was painted as a commission for ^100 refused to take it, and when, later on, it was exhibited at the Academy (now the National Gallery), it was ignominiously placed low down in <supa</sup corner of one of the loner^ rooms.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0710": {
-    "English Original": "This shameless breach of contract on the part of the dealer was <supa</sup bitter disappointment to the young artist, for he could ill afford to keep his pictures long in hand.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0711": {
-    "English Original": "His parents, never well off, had given up everything for\n\n\"Jack,\" and determined that he should lack for nothing that could in anywise tend to his advancement, and for the last four years ever since he was sixteen years of age he had striven hard to requite their kindness, supplying, as he did from the profits of his work, the greater part of the household expenses at Gower Street.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0712": {
-    "English Original": "To eke out his precarious income he often went to theatres, where he could earn small sums by making sketches of the actors and actresses ; but as he seldom got more than <supa</sup couple of sovereigns for a finished portrait, this loss of ^100 was <supa</sup matter of no small moment to his family as well as himself.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0713": {
-    "English Original": "But now another chance for the sale of \" Ferdinand \" presented itself.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0714": {
-    "English Original": "Mr. Frankum, an appreciative friend, brought to the studio <supa</sup stranger who admired it greatly, and made so many encouraging remarks that Millais felt sure he would buy it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0715": {
-    "English Original": "To his disappointment, however, no offer was made.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0716": {
-    "English Original": "The visitors went away, and he dolefully took up the picture to put it back in its accustomed place, when, to his joy and amazement, he found underneath it <supa</sup cheque for ^\"150!",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0717": {
-    "English Original": "It was Mr. Richard Ellison, of Sudbrook Holme, Lincolnshire, a wellknown connoisseur, whom Mr. Frankum had brought with him, and he had quietly slipped in this cheque unperceived by the artist.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0718": {
-    "English Original": "The picture has since been successively in the hands of Mr. Wyatt, of Oxford, Mr. Woolner, K.A.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0719": {
-    "English Original": "(who made quite <supa</sup little fortune by buying and selling the PreRaphaelite pictures), and Mr. A. C. Allen, and is now in the possession of Mr. Henry Makins.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0720": {
-    "English Original": "From one of his letters to Mr. Wyatt (December, 1850) it seems that Millais made some slight alterations in, or additions to, the work after it had been sold to Mr. Ellison, for he took it again down to Oxford and worked once more upon the background, leaving it to dry the while in the possession of his friend Mr. Wyatt.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0721": {
-    "English Original": "As to its merits, <supI</sup need only quote the opinion of Mr. Stephens, who sat for \" Ferdinand.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0722": {
-    "English Original": "In <supa</sup recent notice of the work he says : \" Although the face is <supa</sup marvel of finish, and unchangeable in its technique, it was begun and completed in one sitting.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0723": {
-    "English Original": "Having made <supa</sup very careful drawing in pencil on the previous day, and transferred it to the picture, Millais, almost without stopping to exchange <supa</sup word with his sitter, worked for about five hours, put clown his brushes, and never touched the face again.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0724": {
-    "English Original": "In execution it\n\nis exhaustive and faultless.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0725": {
-    "English Original": "Sixandthirty years have not harmed it.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0726": {
-    "English Original": "In <supa</sup letter to me Mr. Stephens gives some further details about the picture and his sittings for it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0727": {
-    "English Original": "He says : \" My intimacy with Millais, of course, took a new form with this brotherly agreement [of the PreRaphaelite Brotherhood], and itwas probably in consequence of this that <supI</supsat to him for the head of the Prince in the little picture of ' Ferdinand\n\n\n\nFIRST SKETCH FOR \"FERDINAND LURED BY ARIEL.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0728": {
-    "English Original": "<sup1850</sup\n\nlured by Ariel,' which, being painted in 1849 50, was at the Academy in 1850, and is the leading example of PreRaphaelitism.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0729": {
-    "English Original": "\"According to Millais, each Brother worked according to his own lights and the general views of the Brotherhood at that time.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0730": {
-    "English Original": "Such being the case, <supI</sup may describe the manner of the artist in this particular instance.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0731": {
-    "English Original": "In the summer and autumn of 1849 he executed the whole of that wonderful background, the delightful figures of the elves and Ariel, and he sketched in the Prince himself.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0732": {
-    "English Original": "The whole was done upon a pure white ground, so as to obtain the greatest brilliancy of the pigments.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0733": {
-    "English Original": "Later on my turn came, and\n\nin one lengthy sitting Millais drew my most unFerclinandlike features with <supa</sup pencil upon white paper, making, as it was.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0734": {
-    "English Original": "<supa</sup most exquisite drawing of the highest finish and exact fidelity.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0735": {
-    "English Original": "In these respects nothing could surpass this jewel of its kind.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0736": {
-    "English Original": "Something like it, but softer and not quite so sculpturesque, exists in the similar study Millais\n\n\n\n<sup&</supquot; FERDINAND LURED BY ARIEL\" <sup18</sup By permission of Mr. Henry Makins.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0737": {
-    "English Original": "made in pencil for the head of Ophelia, which <supI</sup saw not long ago, and which Sir W. Bowman lent to the Grosvenor Gallery in 1888.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0738": {
-    "English Original": "My portrait was completely modelled in all respects of form and light and shade, so as to be a perfect study for the head thereafter to be painted.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0739": {
-    "English Original": "The day after it was executed Millais repeated the study in <supa</sup less finished manner upon the panel, and on the day following that <supI</sup went again to the studio in Gower Street, where ' Isabella and similar pictures were painted.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0740": {
-    "English Original": "From ten o'clock to nearly five the sitting continued without a stop, and with scarcely <supa</sup word between the painter and his model.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0741": {
-    "English Original": "The clicking of his brushes when they were shifted in his palette, the sliding of his foot upon the easel, and an occasional sigh marked the hours, while, strained to the utmost, Millais worked this extraordinary fine face.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0742": {
-    "English Original": "At last he said, There, old fellow, it is done !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0743": {
-    "English Original": "Thus it remains as perfectly pure and as brilliant as then fifty years ago and it now remains unchanged.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0744": {
-    "English Original": "For me, still leaning on <supa</sup stick and in the required posture, <supI</sup had become quite unable to move, rise upright, or stir <supa</sup limb till, much as if <supI</sup were <supa</sup stiffened layfigure, Millais lifted me up and carried me bodily to the diningroom, where some dinner and wine put me on my feet again.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0745": {
-    "English Original": "Later the till then unpainted parts of the figure of Ferdinand were added from the model and a layfigure.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0746": {
-    "English Original": "\"It was in the Gower Street studio that Millais was wont, when time did not allow of outdoor exercises, to perform surprising feats of agility and strength.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0747": {
-    "English Original": "He had, since we first met at Trafalgar Square, so greatly developed in tallness, bulk, and manliness that no one was surprised at his progress in these respects.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0748": {
-    "English Original": "He was great in leaping, and <supI</sup well re member how in the studio he was wont to clear my arm outstretched from the shoulder that is, about five feet from the ground at one spring.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0749": {
-    "English Original": "The studio measures nineteen feet six inches by twenty feet, thus giving him not more than fourteen feet run.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0750": {
-    "English Original": "Many similar feats attested the strength\n\nand energy of the artist.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0751": {
-    "English Original": "And now <supI</sup must introduce two old friends of my father, whose kindness and generosity to him in his younger days made <supa</sup deep and lasting impression upon his life.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0752": {
-    "English Original": "In 1848, when he first became acquainted with them, Mr. Thomas Combe was the Superintendent of the Clarendon Press at Oxford <supa</sup man of the most cultivated tastes, and highly\n\nrespected and beloved by every member of the University with whom he came into contact and his w <supr</sup ife was a very counterpart of himself.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0753": {
-    "English Original": "Millais was staying at Oxford at the time, engaged in painting the picture of Mr. Wyatt and his granddaughter referred to in an earlier portion of this chapter, and the Combes, who were among the first to recognise and encourage the efforts of the PreRaphaelite School, took him under their wing, treating him with almost parental consideration.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0754": {
-    "English Original": "In <sup1849</sup he returned to Oxford, and stayed with them while painting Mr. Combe's portrait, and from that time they became familiar friends, to whom it was always a pleasure to write.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0755": {
-    "English Original": "The following letters, kindly placed at my disposal by Mrs. Combe, serve to illustrate his life at this period.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0756": {
-    "English Original": "Mr. Combe, it must be understood, Millais commonly referred to as \"The Early Christian\"; Mrs. Combe he addressed as \" Mrs.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0757": {
-    "English Original": "To Mrs. Combe.\n\n \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0758": {
-    "English Original": "17, HANOVER TERRACE, REGENT'S PARK,\n\n \"November i^th, 1850.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0759": {
-    "English Original": "MY DEAR MRS. PAT, Our departure was so velocitous that <supI</sup had no time or spirits to express my thanks to you before leaving for your immense kindness and endurance of all whimsicalities attached to my nature.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0760": {
-    "English Original": "<supI</sup scribble this at Collins' house, being totally incapable of remaining at my own residence after the night's rest and morning's heavy blow ' of breakfast.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0761": {
-    "English Original": "The Clarendonian visit, the Bottleyonian privations, and Oxonian martyrdoms have wrought in us (Collins and myself) such a similar feeling that it is quite impracticable to separate.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0762": {
-    "English Original": "<supI</sup had to go through the exceedingly difficult task of performing the dramatic traveller's return to his home embracing ferociously and otherwise exulting in the restoration to the bosom of my family.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0763": {
-    "English Original": "<supI</sup say <supI</sup had to perform this part, because the detestation <supI</sup hold London in surpasses all expression, and prevents the possibility of my being pleased to return to anybody at such <supa</sup place.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0764": {
-    "English Original": "Mind, <supI</sup am not\n\nabusing the society, but the filth of the metropolis. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0765": {
-    "English Original": "Now for <supa</sup catalogue of words to express my thanks to you and Mr. Combe.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0766": {
-    "English Original": "<supI</sup have not got Johnson's dictionary\n\n ,8 <sup5</sup o] CORRESPONDENCE <sup89</sup\n\nnear me, so <supI</sup am at a loss.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0767": {
-    "English Original": "Your kindness has defeated the possibility of ever adequately thanking you, so <supI</sup will con clude with rendering my mother's grateful acknowledgments. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0768": {
-    "English Original": "Remember me to all my friends, and believe me,\n\n\"Yours most sincerely,\n\n\"JOHN E.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0769": {
-    "English Original": "The \" Bottleyonian privations\" refer to the hard fare on which Millais and Charles Collins subsisted at the cottage of Mrs. King, at Botley, whilst the former was painting \" The Woodman's Daughter.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0770": {
-    "English Original": "Mrs. Combe's motherly kindness to the two young artists is thus referred to by Dr. Birkbeck Hill in his book on the Rossetti letters : \" <supI</sup have heard Mrs. Combe relate <supa</sup story how Millais and Collins, when very young men, once lodged in <supa</sup cottage nearly opposite the entrance of Lord Abingdon's park close to Oxford.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0771": {
-    "English Original": "She learnt from them that they got but poor fare, so soon afterwards she drove over in her carriage, and left for them <supa</sup large meatpie.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0772": {
-    "English Original": "Millais, she added, one day said to Mr Combe, ' People had better buy my pictures now, when <supI</sup am working for fame, than <supa</sup few years later, when <supI</sup shall be married and working for <supa</sup wife and children.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0773": {
-    "English Original": "It was in these later years that old Linnell exclaimed to him, Ah, Mr. Millais, you have left your first love, you have left your first love !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0774": {
-    "English Original": "To the same.\n\n \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0775": {
-    "English Original": "GOWER STREET, BEDFORD SQUARE,\n\n\"December 2nd, 1850.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0776": {
-    "English Original": "MY DEAR MRS. PAT, First <supI</sup thank you most intensely for the Church Service.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0777": {
-    "English Original": "The night of its arrival <supI</sup read the marriage ceremony for the first time in my life, and shall look upon every espoused man with awe.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0778": {
-    "English Original": "<supI</sup am delighted to hear that you are likely to visit Mrs. Collins during the <sup1851</sup Exhibition, as you will meet with <supa</sup most welcome reception from that lady, who isall lovingkindness.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0779": {
-    "English Original": "\"My parents are likely to be out of town at that time.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0780": {
-    "English Original": "My mother, not having left London for some years, prefers visiting friends in Jersey and in familiar localities in France to remaining in the metropolis during the tumult and excite\n\nment of 1851.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0781": {
-    "English Original": "<supI</sup hope, however, on another occasion you will have the opportunity of knowing them, in case they should be gone before you are here.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0782": {
-    "English Original": "Every Sunday since <supI</sup left Oxford Collins and <supI</sup have spent together, attending Wells Street Church.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0783": {
-    "English Original": "<supI</sup think you will admit (when in town) that the service there is better performed than any other you have ever attended.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0784": {
-    "English Original": "\\\\Y met there yesterday morning <supa</sup University man of our acquaintance who admitted its superiority over Oxford or Cambridge <supI</sup am ashamed to say that late hours at night and ditto in the morning are creeping again on us.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0785": {
-    "English Original": "Now and then <supI</sup make <supa</sup desperate resolution to plunge out of bed when called, which ends in passively lying down again.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0786": {
-    "English Original": "<supA</sup late breakfast (I won't mention the hour) and my layfigure [artist's dummy] stares at me in reproving astonishment as <supI</sup enter my study.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0787": {
-    "English Original": "During all this time <supI</sup am so powerlessly cold that <sup1</sup am like <supa</sup moving automaton.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0788": {
-    "English Original": "The first impulse is to sit by my stove, which emits <supa</sup delicious, genial, unwholesome, feverish heat, and the natural course of things brings on total incapacity to work and absolute laziness.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0789": {
-    "English Original": "In spite of this <supI</sup manage to paint three hairs on the woodman's little o oirl's head or two freckles on her face ; and so lags the day till dark, by which time the room is so hot, and the glue in the furniture therein so softened by the warmth, that the chairs and tables are in peril of falling to pieces before my lace.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0790": {
-    "English Original": "But I, like the rest of the furniture, am in too delicate a state to be moved when the call for dinner awakens the last effort but one in removing my body to the table, where the last effort of all is required to eat.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0791": {
-    "English Original": "This revives just strength enough to walk to Hanover Terrace in a night so cold that horses should wear greatcoats.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0792": {
-    "English Original": "Upon arriving there <supI</sup embrace Collins, and vice versa; Mrs. Collins makes the tea, and we drink it; we then adjourn upstairs to his room and converse till about twelve, when we say goodnight, and again poor wretched 'Malay' [he was always called 'Mr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0793": {
-    "English Original": "Malay' wherever he went] risks his life in the London Polar voyage, meeting no human beings but metropolitan policemen, to whom he has an obscure intention of giving <supa</sup feast of tea and thicker bread and butter than that given by Mr. Hales, of Oxford, in acknowledgment of his high esteem of their services.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0794": {
-    "English Original": "At one o'clock in the morning it is too severely cold for anything\n\nto be out but <supa</sup lamppost, and <supI</sup am one of that body.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0795": {
-    "English Original": "[An occult reference to his slim ness.]",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0796": {
-    "English Original": "\" Respecting my promised visit at Christmas, if nothing happens to prevent me <supI</sup shall certainly be with you then.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0797": {
-    "English Original": "Shall probably come the night before, and leave the night after.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0798": {
-    "English Original": "\"I have entirely settled my composition of \"The Flood,\" and shall commence it this week.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0799": {
-    "English Original": "<supI</sup have also commenced the child's head in the wood scene.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0800": {
-    "English Original": "<supI</sup have, as usual, plenty of invitations out, all of which <supI</sup have declined, caring no more for such amusements.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0801": {
-    "English Original": "It is useless to tell you that <supI</sup am miserable, as this letter gives\n\nyou my everyday life. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0802": {
-    "English Original": "Remember me to Mr. Combe most sincerely, and to all about you, and believe me to remain,\n\n\" Ever your affectionate friend,\n\n\"JoHN EVERETT MILLAIS.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0803": {
-    "English Original": "In these days he frequently referred to and made fun of his extreme slimness, as to which William Millais writes : \" My brother, up to the a^e of twentyfour, was very slight in figure, and his height of six feet tended to exaggerate the tenuity of his appearance.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0804": {
-    "English Original": "He took pleasure in weighing himself, and was delighted with any increase of weight.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0805": {
-    "English Original": "<supI</sup remember when he went to Winchelsea in <sup1854</sup to paint the background for the ' Blind Girl/ whilst waiting for a fly at the railway station we were weighed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0806": {
-    "English Original": "<supI</sup just turned twelve stone, and when my brother went into the scales the porter was quite dumbfoundered when three stone had to be abstracted before the proper balance was arrived at.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0807": {
-    "English Original": "you may well look, my man,' said my brother ; <supI</sup ought to be going about in <supa</sup menagerie as a specimen of a living paperknife.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0808": {
-    "English Original": "We all know how that state of things was altered in after years ; he might have gone back to his menagerie as <supa</sup specimen of fine manly vigour and physique.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0809": {
-    "English Original": "7o Mr. Combe. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0810": {
-    "English Original": "83, GOWER STREET, BEDFORD SQUARE, \"December \\6th, 1850.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0811": {
-    "English Original": "DEAR EARLY CHRISTIAN, <supI</sup w<supr</sup as extremely surprised and deliohted <i?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0812": {
-    "English Original": "at your <supJ</sup letter.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0813": {
-    "English Original": "The kind wish therein that <supI</sup might <supO</sup stay <supa</sup little while at Christmas <supI</sup am afraid can never be\n\n <sup2</sup JOHN EVERETT MILLAIS 1850\n\nrealised, as <supI</supcan only come and go for that day.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0814": {
-    "English Original": "My family, as vou may imagine, were <supa</sup little astonished on hearing my <supi</sup 'm <supi</sup intention to leave them at that time.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0815": {
-    "English Original": "<sup1</sup hey are, however, reconciled now, and <supI</sup shall (all things permitting) be with you.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0816": {
-    "English Original": "<supI</sup have settled down to London life again for the present, and the quiet, pleasant time at Oxford seems like a\n\n!",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0817": {
-    "English Original": "[\n\nPENCIL DESIGN FOR \"THE WOODMAN'S DAUGHTER\" <sup1848</sup\n\ndream.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0818": {
-    "English Original": "<supI</sup wish the thought of it would take that form instead of keeping me awake almost every night up to three and four o'clock in the morning, at which time the most <supo</sup depressing of all circumstances happens the performance of 'the Waits.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0819": {
-    "English Original": "To hear <supa</sup bad band play bad music in an empty street at night is the greatest trial <supI</sup know.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0820": {
-    "English Original": "<supI</sup should not like to visit I3r.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0821": {
-    "English Original": "Leigh's asylum as a patient, so shall\n\nendeavour to forget all bygone enjoyments, together with present and future miseries that keep me from sleep.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0822": {
-    "English Original": "You will perhaps wonder what these ailments can be.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0823": {
-    "English Original": "<supI</sup will enumerate them.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0824": {
-    "English Original": "First, <supa</sup certainty of passing an unusually turbulent life (which <supI</sup clo not like) ; secondly, the inevitable enemies <supI</sup shall create if fully successful ; thirdly, the knowledge of the immense application required to complete my works for the coming exhibition, which <supI</sup feel inadequate to perform.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0825": {
-    "English Original": "<supI</sup think <supI</sup shall adopt the motto ' In ccelo quies,' and go over to Cardinal Wiseman, as all the metropolitan High Church clergymen are sending in their resignations.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0826": {
-    "English Original": "Tomorrow (Sunday) Collins and myself are going to dine with <supa</sup University man whose brother has just seceded, and afterwards to hear the Cardinal's second discourse.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0827": {
-    "English Original": "My brother went last Sunday, but could not hear <supa</sup word, as it was so crowded he could not get near enough.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0828": {
-    "English Original": "The Cardinal preaches in his mitre and full vestments, so there will be <supa</sup great display of pomp as well as knowledge\n\n''And now, my dear Mr. Combe, <supI</sup must end this 'heavy blow ' letter with most affectionate remembrances and earnest assurances to Mrs. Pat that <supI</sup do not mean to turn Roman Catholic just yet.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0829": {
-    "English Original": "Also remember me kindly to the Vicar,\n\n\" And believe me to remain,\n\n\"Yours most affectionately,\n\n\"JOHN EVERETT MALAY.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0830": {
-    "English Original": "After his Christmas visit he wrote\n\n To Mrs, Combe.\n\n \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0831": {
-    "English Original": "83, COWER STREET, BEDFORD SQUARE, \"December yth, 1850.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0832": {
-    "English Original": "MY DEAR MRS. COMBE, The last return was more hurried than the first.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0833": {
-    "English Original": "<supI</sup found my portmanteau, when at the station, unstrapped and undirected.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0834": {
-    "English Original": "We, however, got over those difficulties, and arrived safely.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0835": {
-    "English Original": "<supI</sup recollect now that we did not say <supa</sup farewell word to Mr. Hackman ; also forgot to ask you and Mr. Combe to give <supa</sup small portion of your hair for the rings, there being a place for that purpose.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0836": {
-    "English Original": "Pray send some for both.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0837": {
-    "English Original": "It is needless to say our relatives are somewhat surprised at your kind presents.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0838": {
-    "English Original": "They are universally admired.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0839": {
-    "English Original": "<supI</sup am\n\ndeep in the mystery of purchasing velvets and silk draperies for my pictures [' Mariana and ' the Woodman's Daughter The shopman simpers with astonishment at the request coming from <supa</sup male biped.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0840": {
-    "English Original": "<supI</sup begin to long for these toil some three months to pass over; <supI</sup am sure, except on Sundays, never to go out in the daylight again for that time.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0841": {
-    "English Original": "<supI</sup have seen Charley Collins every night since, and see him again tonight/ We go to <supa</sup dancing party to morrow : at least it is his desire, not mine.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0842": {
-    "English Original": "The days drawin so early now that it is insanity to stay up late at night, and get up at eleven or twelve the next morning.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0843": {
-    "English Original": "<supI</sup wish you were here to read to me.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0844": {
-    "English Original": "None of my family will do that.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0845": {
-    "English Original": "[In those days he liked being read to whilst at his work, his mother having done so for years.]",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0846": {
-    "English Original": "\"Get the Early Christian, in his idle moments, to design the monastery and draw up the rules .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0847": {
-    "English Original": "and believe me always Your affectionate friend,\n\n\"Jonx EVERETT MILLAIS.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0848": {
-    "English Original": "To the same.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0849": {
-    "English Original": "83, GOWER STREET,\n\n\"January \\\\th, 1851.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0850": {
-    "English Original": "MY DEAR MRS. PAT, <supI</sup have been so.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0851": {
-    "English Original": "much engaged since <supI</sup received your letter that <supI</sup had no time to write to you.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0852": {
-    "English Original": "... <supI</sup saw Carlo last night, who has been very lucky in persuading <supa</sup very beautiful young lady to sit for the head of ' The Nun.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0853": {
-    "English Original": "She was at his house when <supI</sup called, and <supI</sup also endeavoured to obtain a sitting, but was unfortunate, as she leaves London next Saturday.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0854": {
-    "English Original": "<supI</sup have progressed <supa</sup little with both my pictures, and completed <supa</sup very small picture of <supa</sup bridesmaid who is passing the weddingcake through the ring nine times.\\ <supI</sup have not yet commenced 'The Flood,' but shall do so this week for certain.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0855": {
-    "English Original": "Believe me, wishing <supa</sup happy new year to both of you,\n\n\" Yours most affectionately,\n\n\"JoHN EVERETT MILLAIS.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0856": {
-    "English Original": "\\ \"The Bridesmaid,\" now in the Fitzwilliam Museum, Cambridge.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0857": {
-    "English Original": "DESIGN FOR \"THE DELUGE.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0858": {
-    "English Original": "1850)\n\nThe folio winor<j letter is characteristic as showing Millais' ^ careful regard to details.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0859": {
-    "English Original": "The materials asked for were for use in painting \" The Woodman's Daughter.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0860": {
-    "English Original": "To Mr. Combe.\n\n \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0861": {
-    "English Original": "83, GOWER STREET,\n\n\"January 2%th, 1851.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0862": {
-    "English Original": "MY DEAR MR. COMBE, You have doubtless wondered at not hearing from me, but want of^ subject must be my excuse.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0863": {
-    "English Original": "<supI</sup have got <supa</sup little commission for you to execute for me.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0864": {
-    "English Original": "You recollect the lodge at the entrance of Lord Abingdon's house, where <supI</sup used to leave my picture of the Wood L,[' The Woodman's Daughter <supj</sup '].\\J Well, in the first cottage ^5 there is <supa</sup little girl named Esther ; would you ask the mother to let you have <supa</sup pair of her old walkingboots ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0865": {
-    "English Original": "<supI</sup require them sent on to me, as <supI</supwish to paint them in the wood.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0866": {
-    "English Original": "<supI</sup do not care how old they are ; they are, of course, no use without having been worn.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0867": {
-    "English Original": "Will you please supply the child with money to purchase <supa</sup new pair ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0868": {
-    "English Original": "<supI</sup shall settle with you when <supI</sup see you in the spring.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0869": {
-    "English Original": "If you should see <supa</sup countrychild with a bright lilac pinafore on, lay strong hands on the same, and send it with the boots.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0870": {
-    "English Original": "It must be long, that is, covering the whole underdress from the neck.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0871": {
-    "English Original": "<supI</sup do not wish it new, but clean, with some little pattern pink spots, or anything of that kind.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0872": {
-    "English Original": "If you have not time\n\nfor this task, do not scruple to tell me so. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0873": {
-    "English Original": "' The Flood ' subject <supI</sup have given up for this year, and have substituted a smaller composition a little larger than the Wood.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0874": {
-    "English Original": "The subject is quite new and, <supI</sup think, fortunate ; it is the dove returning to the Ark with the olivebranch.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0875": {
-    "English Original": "<supI</sup shall have three figures Noah praying, with the olivebranch in his hand, and the dove in the breast of <supa</sup young girl who is looking at Noah.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0876": {
-    "English Original": "The other figure will be kissing the bird's breast.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0877": {
-    "English Original": "The background will be very novel, as <supI</sup shall paint several birds and animals one of which now forms the prey to the other.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0878": {
-    "English Original": "It is quite impossible to explain one's intentions in a letter ; so do not raise objections in your mind till you see it finished.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0879": {
-    "English Original": "<supI</sup have a horrible influenza, which, however, has\n\n!",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0880": {
-    "English Original": "7\n\nnot deterred me from the usual % heavy blow ' walks with Fra Carlo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0881": {
-    "English Original": "... <supI</sup thought <supI</sup had forgotten something the shields which you most kindly offered to do for me.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0882": {
-    "English Original": "<supI</sup was not joking when <supI</sup hinted to you that <supI</sup should like to have them.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0883": {
-    "English Original": "If you are in earnest <supI</sup shall be only too glad to hang them round my room, for <supI</sup like them so much better than any paper, that when <supI</sup have <supa</sup house of my own you shall see every room decorated in that way.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0884": {
-    "English Original": "\"Yours devotedly,\n\n\"JOHN EVERETT MILLAIS.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0885": {
-    "English Original": "\" The Flood \" subject (a subject altogether different from that of another picture called \"A Flood,\" painted by the artist in 1870) was never completed as an oil picture, although he made <supa</sup finished drawing of it, which is now in my possession, having been given to me by my mother.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0886": {
-    "English Original": "As will be seen from his letter to Mr. Combe, \" The Return of the Dove to the Ark\" (otherwise known as \"The Daughters of Noah,\" or \"The Wives of the Sons of Noah\") had the first place in his mind, and eventually he painted it at the house in Gower Street.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0887": {
-    "English Original": "It represents two girls (supposed to be inmates of the Ark) clad in simple garments of green and white, and caressing the dove.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0888": {
-    "English Original": "The picture was shown in the Academy of 1851, along with \"The Woodman's Daughter\" and \"Mariana,\" and was next exhibited in Paris in <sup1855</sup with \"The Order of Release\" and \" Ophelia,\" when, says Mr. Stephens, \" the three works attracted much attention and sharp discussion, which greatly extended Millais' reputation.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0889": {
-    "English Original": "It was again shown in the International Exhibition of 1862, as were also \"Apple Blossoms,\" \" The Order of Release,\" and \" The Vale of Rest \" ; and by Mr. Combe's will it has now become the property of the University of Oxford.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0890": {
-    "English Original": "On this subject my uncle, William Millais, writes : \" The unbiased critic must be constrained to admit that if there is one thing to criticise in the paintings in these days of his glorious youth, it is the inelegance of one or two of the figures.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0891": {
-    "English Original": "The girls in ' The Return of the Dove ' and Mariana ' are the two most noticeable examples, and <supI</sup have heard the artist admit as much himself.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0892": {
-    "English Original": "The head of the little girl in ' The Woodman's Daughter,' which was altered after many years much for the worse, was in its original state\n\ni\n\ndistinctly charming, although rustic.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0893": {
-    "English Original": "It was only at the instance of the owner, his halfbrother Henry Hodgkinson, that he at last consented to repaint (and spoil) to a considerable extent the whole picture for <supa</sup slight inaccuracy in the drawing of one head and the arm and boots of the girl.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0894": {
-    "English Original": "It was <supa</sup very great misfortune, for the work of the two periods has not ' blended as they have done so successfully in ' Sir Isumbras.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0895": {
-    "English Original": "Millais' life in 1851, his hopes and ambitions, the pictures he painted, what was said of them and what became of them, are perhaps best related by himself in the following letters:\n\n To Mrs. Combe.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0896": {
-    "English Original": "\"83, GOWER STREET, BEDFORD SQUARE,\n\n\"February io//z, 1851.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0897": {
-    "English Original": "MY DEAR MRS. PAT, The brevity with which my troublesome request was executed astonished me, and <supI</supreturn you all the thanks due to so kind an attention.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0898": {
-    "English Original": "The pinafore will do beautifully, as also the boots.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0899": {
-    "English Original": "The ' Lyra Innocentium \" <supI</sup brought from Oxford at Christmastime.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0900": {
-    "English Original": "<supI</sup have given Collins the one directed for him.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0901": {
-    "English Original": "Tonight <supI</sup commence for the first time this year evening work which lasts till twelve, and which will continue for the next few months.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0902": {
-    "English Original": "<supI</sup am now progressing rapidly ; the ' Mariana ' is nearly completed, and, as <supI</supexpected, the gentleman to whom <supI</sup promised the first refusal has purchased it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0903": {
-    "English Original": "The Wood scene is likewise far advanced, and <supI</sup hope to commence the Noah the latter part of this week.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0904": {
-    "English Original": "<supI</sup have had lately an order to paint St. George and the Dragon for next year.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0905": {
-    "English Original": "It is a curious subject, but <supI</sup like it much, as it is the badge of this country.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0906": {
-    "English Original": "<supI</sup see Charley every night, and we dine alternate Sundays at each other's houses.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0907": {
-    "English Original": "Tonight he comes to cheer me in my solitude.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0908": {
-    "English Original": "<supI</sup give up all invitations, and scarcely ever see anybody.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0909": {
-    "English Original": "Have still got my cold, and do not expect that tenacious friend will take any notice of the lozenge warnings.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0910": {
-    "English Original": "There is at this moment such <supa</sup dreadful fog that <supI</sup cannot see to paint, so <supI</sup devote this leisure hour to you.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0911": {
-    "English Original": "Remember me affectionately to the Early Christian, and believe me most affectionately yours,\n\n\"JOHN EVERETT MILLAIS.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0912": {
-    "English Original": "To Mr. Combe.\n\n \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0913": {
-    "English Original": "83, GOWER STREET,\n\n\"April ist, 1851.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0914": {
-    "English Original": "MY DEAR MR. COMBE, <supI</sup am sure you will never have cause to regret purchasing The Dove.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0915": {
-    "English Original": "It is considered the best picture of the three by all the artists, and is preferred for the subject as well.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0916": {
-    "English Original": "It will be highly finished to the corners, and <supI</supshall design (when it returns from the Academy) <supa</sup frame suitable to the subject olive leaves, and a dove at each corner holding the branch in its mouth.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0917": {
-    "English Original": "<supI</sup have designed a frame for Charles' painting of ' Lilies,' which, <supI</sup expect, will be acknowledged to be the best frame in England.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0918": {
-    "English Original": "To get The Dove ' as good as possible, <supI</sup shall have <supa</sup frame made to my own design.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0919": {
-    "English Original": "With regard to your remark on the payment, rest assured that when itsuits you it suits me.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0920": {
-    "English Original": "If you had not got the picture <supa</sup gentleman from Birmingham had decided on having it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0921": {
-    "English Original": "One of the connoisseurs has made an offer to Mr. Farrer for the ' Mariana,' which he has declined, being determined to keep my paintings.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0922": {
-    "English Original": "This from such <supa</sup dealer as Farrer, the first judge of art in England, proves the investment on such pictures to be pretty safe.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0923": {
-    "English Original": "As soon as the pictures get into the Academy <supI</sup shall be at leisure to give an account to Mrs. Pat of my later struggles.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0924": {
-    "English Original": "Believe me, very sincerely yours,\n\n\"JoHN EVERETT MILLAIS.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0925": {
-    "English Original": "To the same.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0926": {
-    "English Original": "83, GOWER STREET,\n\n\"April \\yh, 1851.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0927": {
-    "English Original": "MY DEAR MR. COMBE, You must be prepared to see an immense literary assault on my works ; but <supI</supfancy some papers will give me all the credit the others withhold.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0928": {
-    "English Original": "To tell you the truth, artists know not what course to follow whether to acknowledge the truth of our style, or to stand out against it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0929": {
-    "English Original": "Many of the most important have already (before me) admitted themselves in the wrong men whose reputation would suffer at the mention of their names !\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0930": {
-    "English Original": "<supI</sup would not ask anything for the copyright, as the en graving will cost nearly five hundred pounds.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0931": {
-    "English Original": "That in itself is a great risk, particularly as it is the first <supI</sup shall have en graved.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0932": {
-    "English Original": "<supI</sup shall not permit it to be published unless perfectly satisfied with the capabilities of the etcher.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0933": {
-    "English Original": "It is to be done entirely in line, without mezzotint.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0934": {
-    "English Original": "<supI</sup am myself confident of its success ; but it is natural that men without the slightest knowledge should be a little shy of giving money for the copyright.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0935": {
-    "English Original": "\\\n\n\"It was very unfortunate that Charley [Collins] could not complete the second picture for the Exhibition.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0936": {
-    "English Original": "<supI</sup tried all the encouraging persuasions in my power ; but he was beaten by <supa</sup silk dress, which he had not yet finished.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0937": {
-    "English Original": "<supI</sup have ordered another canvas to begin again next week, intending to take <supa</sup holiday when the warmth conies.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0938": {
-    "English Original": "Such <supa</sup quantity of loathsome foreigners stroll about the principal streets that they incline one to take up a residence in Sweden, outside of the fumes of their tobacco.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0939": {
-    "English Original": "<supI</sup expect all respectable families will leave London after the first month of the Exhibition, it will be so crowded with the lowest rabble of all the countries in Europe.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0940": {
-    "English Original": "\"Say all the kind things from me you, as <supa</sup husband, may think fit to deliver to Mrs. Pat, and believe me,\n\n\" Ever yours affectionately,\n\n\"JOHN EVERETT MILLAIS.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0941": {
-    "English Original": "To the same.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0942": {
-    "English Original": "83, GOWER STREET,\n\n\"May gtJi, 1851.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0943": {
-    "English Original": "MY DEAR MR. COMBE, <supI</sup received the shields this morning, and hasten to thank you most heartily.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0944": {
-    "English Original": "<supI</sup hope to see them ranged round my studio next week.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0945": {
-    "English Original": "No doubt you have seen the violent abuse of my pictures in the Times, which <supI</sup believe has sold itself to destroy us.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0946": {
-    "English Original": "That, however, is quite an absurd mistake of theirs, for, in spite of their denouncing my pictures as unworthy to hang on any walls, the famous critic, Mr. Ruskin, has written offering to purchase your picture of ' The Return of the Dove to the Ark.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0947": {
-    "English Original": "<supI</sup received his letter this morning, and have this\n\n\\ The picture (\"The Dove\") was never engraved, the woodcut only appearing in The Illustrated London News.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0948": {
-    "English Original": "evening made him aware of the previous sale.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0949": {
-    "English Original": "<supI</sup have had more than one application for it, and you could, <supI</sup have little doubt, sell it for as much again as <supI</sup shall ask you.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0950": {
-    "English Original": "There are few papers that speak favourably of me, as they principally follow the Times.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0951": {
-    "English Original": "For once in <supa</sup way that great leader of public opinion will be slightly out in its conjectures.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0952": {
-    "English Original": "There are articles in the Spectator and Daily Neivs as great in praise as the others are in abuse.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0953": {
-    "English Original": "Where are you, in London or Oxford ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0954": {
-    "English Original": "Mrs. Pat's letter did not specify the locality.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0955": {
-    "English Original": "Remember me affec tionately to her, and believe me,\n\n\" Ever sincerely yours,\n\n\"JOHN EVERETT MILLAIS.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0956": {
-    "English Original": "To the same.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0957": {
-    "English Original": "83, GOWER STREET,\n\n\"May io///, 1851.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0958": {
-    "English Original": "MY DEAR MR. COMBE, <supI</sup think if your friend admires Charley's sketch he would be particularly charmed with the picture, and would never regret its purchase, as <supa</sup work so elaborately studied would always (after the present panic) command its price, ^150.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0959": {
-    "English Original": "Most men look back upon their early paintings for which they have received but poor remuneration as the principal instruments of their after wealth.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0960": {
-    "English Original": "For one great instance, see Wilkie's ' Blind Fiddler/ sold for ,20, now worth more than ^1000!",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0961": {
-    "English Original": "Early works are also generally .the standard specimens of artists, as great success blunts enthusiasm, and little by little men get into carelessness, which is construed by idiotic critics into <supa</sup nobler handling.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0962": {
-    "English Original": "Putting aside the good work of purchasing from those who require encouragement, such patrons will be respected afterwards as wise and useful men amongst knavish fools, who should be destroyed in their revolting attempts to crush us attempts so obviously malicious as to prove our rapid ascendancy.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0963": {
-    "English Original": "It is no credit to <supa</sup man to purchase from those who are opulent and acknowledged by the world, so your friend has an opportunity for becoming one of the firstnamed wise patrons who shall, if we live, be extolled as having assisted in our (I hope) final success.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0964": {
-    "English Original": "Hunt will, <supI</sup think, sell his ; there is <supa</sup man about it,\n\nand it is <supa</sup very fine picture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0965": {
-    "English Original": "My somewhat showmanlike recommendation of Collins' ' Nun ' is <supa</sup pure matter of conscience, and <supI</sup hope it will prove not altogether faulty.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0966": {
-    "English Original": "\"Very sincerely yours,\n\nJOHN E. MILLAIS.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0967": {
-    "English Original": "Hunt wants ,300 for his picture.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0968": {
-    "English Original": "To Mrs. Combe.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0969": {
-    "English Original": "83, GOWER STREET,\n\n1851.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0970": {
-    "English Original": "\"MY DEAR MRS. COMBE, <supI</sup feel it <supa</sup duty to render you my most heartfelt thanks for the noble appreciation of my dear friend Collins' work and character.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0971": {
-    "English Original": "<supI</sup include character, for <supI</sup cannot help believing, from the evident good feeling evinced in your letter, that you have thought more of the beneficial results the purchase may occasion him than of your personal gratification at possessing the picture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0972": {
-    "English Original": "\"You are not mistaken in thus believing him worthy of your kindest interests, for there are few so devotedly directed to the one thought of some day (through the medium of his art) turning the minds of men to good reflections and so heightening the profession as one of unworldly<supj</sup usefulness to mankind.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0973": {
-    "English Original": "This is our great object in painting, for the thought of simply pleasing the senses would drive us to other pursuits requiring less of that unceasing attention so neces sary to the completion of a perfect work.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0974": {
-    "English Original": "<supI</sup shall endeavour in the picture <supI</sup have in contemplation For as in the Days that were Before the Flood,' etc., etc.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0975": {
-    "English Original": "to affect those who may look on it with the awful uncertainty of life and the necessity of always being prepared for death.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0976": {
-    "English Original": "My intention is to lay the scene at the marriage feast.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0977": {
-    "English Original": "The bride, elated by her happiness, will be playfully showing her w <supr</sup eddingring to a young girl, who will be in the act of plighting her troth to <supa</sup man wholly engrossed in his love, the parents of each uniting in congratulation at the consummation of their own and their children's happiness.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0978": {
-    "English Original": "A drunkard will be railing boisterously at another, less intoxicated, for his cowardice in being some what appalled at the view the open window presents flats of glistening water, revealing but the summits of mountains\n\nand crests of poplars.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0979": {
-    "English Original": "The rain will be beating in the face of the terrified attendant who is holding out the shutter, wallstained and running down with the wet, but slightly as yet inundating the floor.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0980": {
-    "English Original": "There will also be the glutton quietly indulging in his weakness, unheeding the sagacity of his grateful dog, who, thrusting his head under his hands to attract attention, instinctively feels the coming ruin.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0981": {
-    "English Original": "Then <supa</sup woman (typical of worldly vanity) apparelled in sumptuous\n\n\n\nSKETCH FOR \"MARIANA.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0982": {
-    "English Original": "attire, withholding her robes from the contamination of his dripping hide.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0983": {
-    "English Original": "In short, all deaf to the prophecy of the Deluge which is swelling before their eyes all but one figure in their midst, who, upright with closed eyes, prays for mercy for those around her, a patient ex ample of belief standing with, but far from, them placidly awaiting God's will. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0984": {
-    "English Original": "<supI</sup hope, by this great contrast, to excite a reflection on the probable way in which sinners would meet the coming death all on shore hurrying from height to height as the sea increases ; the wretched self conoratulations of the bachelor o who, having but himself to save, believes in the prospect of escape ; the awful feelings of the husband who sees his wife\n\nand children looking in his face for support, and presently disappearing one by one in the pitiless flood as he miserably thinks of his folly in not having taught them to look to God for help in times of trouble ; the rich man who, with his boat laden with wealth and provisions, sinks in sight of his fellowcreatures with their last curse on his head for his selfishness ; the strong man's strength failing gradually as he clings to some fragment floating away on the waste of water ; and other great sufferers miserably perishing in their sins. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0985": {
-    "English Original": "<supI</sup have enlarged on this subject and the feelings that <supI</sup hope will arise from the picture, as <supI</sup know you will be interested in it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0986": {
-    "English Original": "One great encouragement to me is the certainty of its having this one advantage over a sermon, that it will be all at once put before the spectator without that trouble of realisation often lost in the effort of reading or listening.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0987": {
-    "English Original": "4< My pleasure in having indirectly assisted two friends in the disposal of their pictures is enhanced by the assurance that you estimate their merits.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0988": {
-    "English Original": "It is with extreme pleasure\n\n\n\nSKETCHES FOR \"MARIANA\" AND \"THE RETURN OF THE DOVE.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0989": {
-    "English Original": "<sup1850</sup\n\nthat <supI</sup received that letter from Mr. Combe in which he approves of his picture of ' The Return of the Dove to the Ark,' universally acknowledged to be my best work, parts of which <supI</sup feel incapable of surpassing.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0990": {
-    "English Original": "When you come to town <supI</sup will show you many letters from strangers desirous of purchasing it, which is the best proof of its value in their eyes.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0991": {
-    "English Original": "The price <supI</sup have fixed on my picture is <supa</sup hundred and fifty guineas ; and <supI</sup hope some day you will let me paint you, as <supa</sup companion, \"The Dove's First Flight,\" which would make a beautiful pendant. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0992": {
-    "English Original": "Ever yours affectionately,\n\n\"JoHN EVERETT MILLAIS.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0993": {
-    "English Original": "\" Mariana in the Moated Grange\" was exhibited this year with the following quotation from Tennyson's wellknown poem : \" She only said,\n\n My life is dreary He cometh not,' she said : She said, <supI</sup am aweary, aweary <supI</sup would that <supI</sup were dead.'\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0994": {
-    "English Original": "The picture represents Mariana rising to her full height and bending backwards, with halfclosed eyes.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0995": {
-    "English Original": "She is weary of all things, including the embroideryframe which stands before her.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0996": {
-    "English Original": "Her dress of deep rich blue contrasts with the redorange colour of the seat beside which she stands.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0997": {
-    "English Original": "In the front of the figure is <supa</sup window of stained glass, through which may be seen a sunlit garden beyond ; and in contrast with this is seen, on the right of the picture, an oratory, in the dark shadow of which <supa</sup lamp is burning.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0998": {
-    "English Original": "Spielmann's observations on this work are not quite easy to understand.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s0999": {
-    "English Original": "He says the subject is <supa</sup \" Rossettian one, without the Rossettian emotion.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1000": {
-    "English Original": "If so, the lack of emotion must be due rather to the poet than to the painter, for, referring to this picture in the Magazine of Art of September, 1896, he speaks of Millais' \"artistic expression being more keenly sensitive to the highest forms of written poetry than any other painter of his eminence who ever appeared in England.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1001": {
-    "English Original": "He thinks, too, that the colour is too strong and gay to be quite in harmony with the subject, though immediately afterwards he quotes the particular lines which Millais souofit to illustrate : o\n\n \"...",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1002": {
-    "English Original": "But most she loathed the hour When the thickmoated sunbeam lay Athwart the chambers, and the day Was sloping towards his Western bovver.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1003": {
-    "English Original": "The sun, then, was shining in all its splendour, and though poor Mariana loathed the sight, the objects it illuminated were none the less brilliant in colour.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1004": {
-    "English Original": "And so they appear in the picture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1005": {
-    "English Original": "The shadows, too, are there in happy contrast, and every object is seen in its true atmosphere, without any clashing of values.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1006": {
-    "English Original": "In the Times of May i3th, 1851, Ruskin noticed the picture in his characteristic manner.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1007": {
-    "English Original": "He was glad to see that Millais' \" Lady in blue is heartily tired of painted\n\nfr The critic, too, seems to forget that all Rossetti's emotional subjects were painted years later.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1008": {
-    "English Original": "<sup1851</sup By permission of Mr. Henry Makins\n\n\n\nwindows and idolatrous toilettable,\" but maintained generally that since the days of Albert Durer no studies of draperies and details, nothing so earnest and complete, had been achieved in art a judgment which, says Spielmann, \"as regards execution, will hardly be reversed today.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1009": {
-    "English Original": "With delightful inconsequence, Ruskin afterwards added that, had Millais \"painted Mariana at work in an unmoated grange, instead of idle in a moated one, it had been more to the\n\npurpose, whether of art or life.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1010": {
-    "English Original": "The picture was sold to Mr. Farrer, the dealer, for one hundred and fifty pounds, and after passing successively through the hands of Mr. B. Windus and Mr. J. M. Dunlop, it now rests with Mr. Henry Makins, who also owns \"Ferdinand\" and \"For the Squire.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1011": {
-    "English Original": "During the execution of this work Millais came down one day and found that things were at <supa</sup standstill owing to the want of <supa</sup model to paint from.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1012": {
-    "English Original": "He naturally disliked being stopped in his work in this way, and the only thing he could think of was to sketch in the mouse that\n\n \" Behind the mouldering wainscot shrieked, Or from the crevice peer'd about.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1013": {
-    "English Original": "But where was the mouse to paint from?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1014": {
-    "English Original": "Millais' father, who had just come in, thought of scouring the country in search of one, but at that moment an obliging mouse ran across the floor and hid behind <supa</sup portfolio.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1015": {
-    "English Original": "Quick as lightning Millais gave the portfolio <supa</sup kick, and on removing it the poor mouse was found quite dead in the best possible\n\nposition for drawing it.\\ The window in the background of \"Mariana\" was taken from one in Merton Chapel, Oxford.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1016": {
-    "English Original": "The ceiling of the chapel was being painted, and scaffolding was of course put up, and this Millais made use of whilst working.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1017": {
-    "English Original": "The scene outside was painted in the Combes' garden, just outside their windows.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1018": {
-    "English Original": "Of all the pictures ever painted, there is probably none more truly PreRaphaelite in character than one <supI</sup have already mentioned '' The Woodman's Daughter.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1019": {
-    "English Original": "It was painted in 1850 in a wood near Oxford, and was exhibited in 1851.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1020": {
-    "English Original": "Every blade of grass, every leaf and branch, and\n\n\\ A similar incident, in which the wishedfor model actually appeared at the very moment when its presence was most desired, occurred some years later, when <supa</sup collie dog suddenly turned up to serve as <supa</sup model in \" Blow, blow, thou Winter Wind.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1021": {
-    "English Original": "every shadow that they cast in the sunny wood ispresented here with unflinching realism and infinite delicacy of detail.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1022": {
-    "English Original": "Yet the figures are in no way swamped by their surroundings, every accessory taking its proper place, in subordination to the figures and the tale they have to tell.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1023": {
-    "English Original": "The contrast between the boy the personification of aristocratic refinement and the untutored child of nature is very striking, as was no doubt intended by Mr. Coventry Patmore, whose poem, \"The Tale of Poor Maud,\" daughter of Gerald the woodman, the picture was intended to illustrate.\n\n \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1024": {
-    "English Original": "Her tale is this : In the sweet age, When Heaven 's our side the lark, She used to go with Gerald where He work'd from morn to dark, For months, to thin the crowded groves Of the ancient manor park.\n\n \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1025": {
-    "English Original": "She went with him to think she help'd ; And whilst he hack'd and saw'd The rich Squire's son, <supa</sup young boy then, Whole mornings, as if awed,\n\nStood silent by, and gazed in turn At Gerald and on Maud.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1026": {
-    "English Original": "And sometimes, in <supa</sup sullen tone, He 'd offer fruits, and she Received them always with an air So unreserved and free, That shamefaced distance soon became Familiarity.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1027": {
-    "English Original": "William Millais contributes the following note on this\n\npainting : \" <supI</sup think, perhaps, the most beautiful background ever painted by my brother is to be found in his picture of ' The Woodman's Daughter' <supa</sup copse of young oaks standing in <supa</sup tangle of bracken and untrodden underwood, every plant graceful in its virgin splendour.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1028": {
-    "English Original": "Notice the exquisitely tender greys in the bark of the young oak in the foreground, against which the brilliantly clothed lordling is leaning.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1029": {
-    "English Original": "Every touch in the fretwork tracery all about it has been caressed by a true lover of his art, for in these his glorious early days one can see that not an iota was slurred over, but that every beauty in nature met with its due appreciation at his hands.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1030": {
-    "English Original": "Eye cannot follow the mysterious interlacing of all the wonderful green things that spring up all about, where every kind of woodgrowth seems to be striving to get the upper\n\nhand and to reach the sunlight first, where every leaf and tendril stands out in bold relief.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1031": {
-    "English Original": "\"This background was painted near Oxford, in <supa</sup most secluded spot, and yet my brother had <supa</sup daily visitor ' <supa</sup noble lord of high degree who used to watch him w<supr</sup ork for a minute or two, make one remark, Well, you are getting on ; you 've plenty of room yet,' and then silently disappear.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1032": {
-    "English Original": "After <supa</sup time these visits ceased, and upon their renewal my brother had in the interim almost finished the background.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1033": {
-    "English Original": "The visitor, on seeing his work, exclaimed, Why, after all, you 've not got it in !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1034": {
-    "English Original": "My brother asked what it was.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1035": {
-    "English Original": "Why, Oxford, of course !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1036": {
-    "English Original": "You should have put it in.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1037": {
-    "English Original": "Millais, who had his back to the town, explained that al though Art could do wonders, it had never yet been able to paint all round the compass.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1038": {
-    "English Original": "To be near his work on this picture Millais stayed in the cottage of a Mrs. King, at Botley, Lord Abingdon's park, where he was joined by his friend Charles Collins.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1039": {
-    "English Original": "Mr. Arthur Hughes writes : \" F. G. Stephens has described to me how he was with Millais in the country when painting The Woodman's Daughter (the subject from Coventry Patmore), and how Millais was painting <supa</sup small feather dropped from <supa</sup bird in the immediate foreground ; how he stamped and cursed over it, and then scraped it out and swore he would get it right and did.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1040": {
-    "English Original": "The strawberries which appear in the picture, as presented by the young aristocrat, were bought in Covent Garden in March. '",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1041": {
-    "English Original": "<supI</sup had to pay fiveandsixpence for the four <supa</sup vast sum for me in those days, but necessary I have heard him say, 'and Charlie Collins and <supI</sup ate them afterwards with a thankful heart.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1042": {
-    "English Original": "\"\n\nIt was in this year (1851) that Ruskin took up arms in defence of the PreRaphaelite Brotherhood, and no more earnest or more eloquent advocate could they have desired.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1043": {
-    "English Original": "In the first volume of Modern Painters he insisted that \" that only is <supa</sup complete picture which has both the general wholeness and effect of Nature and the inexhaustible perfection of Nature's details \" ; and, pointing to \" the admirable, though strange pictures of Mr. Millais and Mr. Hoi man Hunt\" as examples of progress in this direction, he added, \"they are endeavouring to paint, with the highest possible degree of completion, what they see in Nature, without refer ence to conventional or established rules ; but bv no means\n\nto imitate the style of any past epoch.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1044": {
-    "English Original": "Their works are, in finish of drawing and in splendour of colour, the best in the Royal Academy, and <supI</sup have great hope that they may become the foundation of <supa</sup more earnest and able school of Art than we have seen for centuries.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1045": {
-    "English Original": "Here was a heavy blow to the Philistines of the Press ; for at this time Ruskin was all but universally accepted as the final authority in matters of Art.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1046": {
-    "English Original": "But a heavier yet was in store for them.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1047": {
-    "English Original": "In an addendum to one of his published Lectures on Architecture and Painting lectures delivered at Edinburgh in November, 1853 he declared that \" the very faithfulness of the PreRaphaelites arises from the redundance of their imaginative power.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1048": {
-    "English Original": "Not only can all the members of the [PreRaphaelite] School compose <supa</sup thousand times better than the men who pretend to look down upon them, but <supI</sup question whether even the greatest men of old times possessed more exhaustless invention than either Millais or Rossetti.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1049": {
-    "English Original": "As <supI</sup w <supr</sup as copying this sentence <supa</sup pamphlet was put into my hand, written by <supa</sup clergyman, denouncing, Woe, woe, woe, to exceedingly young men of stubborn instincts calling themselves PreRaphaelites.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1050": {
-    "English Original": "<supI</sup thank God that the PreRaphaelites are young, and that strength is still with them, and life, with all the war of it, still in front of them.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1051": {
-    "English Original": "Yet Everett Millais, in this year, is of the exact age at which Raphael painted the ' Disputa,' his greatest work ; Rossetti and Hunt are both of them older still ; nor is there one member so young as Giotto when he was chosen from among the painters to decorate the Vaticum of Italy.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1052": {
-    "English Original": "But Italy, in her great period, knew her great men, and did not despise their youth.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1053": {
-    "English Original": "It is reserved for England to insult the strength of her noblest children, to wither their warm enthusiasm early into the bitterness of patient battle, and to leave to those whom she should have cherished and aided no hope but in resolution, no refuge but in disdain.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1054": {
-    "English Original": "Thus spoke the oracle in 1853, nor (as will presently appear) was his zeal abated in 1855, when \"The Rescue\" was exhibited, or in 1856, when \"Peace Concluded\" appeared on the Academy walls.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1055": {
-    "English Original": "But, strange to say, after that period works of Millais, executed with equal care and with the same fastidious regard for details (the lovely \" Vale of Rest \" and \" Sir Isumbras \" for instance), were condemned by him in unmeasured terms.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1056": {
-    "English Original": "Millais commences \"Ophelia\" Holman Hunt, Charles Collins, William and John Millais paint at Worcester Park Farm Further letters to the Combes Millais thinks of going to the East Commencement of diary and \"The Huguenot\" Hunt at work on \"The Light of the World\" and \"The Hireling Shepherd\" Collins' last picture Millais' idea for \"The Huguenot\" He argues it out with Hunt Meets an old sweetheart Returns to Gower Street Miss Siddal's sufferings as model for \"Ophelia\" Success of \"Ophelia\" Arthur Hughes and Millais Critics of <sup1852</sup Woman in art General Lempriere on his sittings for \"The Huguenot\" Miss Ryan Miller, of Preston Letters from Gower Street.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1057": {
-    "English Original": "OPHELIA\" and \"The Huguenot,\" both of which Millais painted during the autumn and winter of 1851, are so familiar in every English home that <supI</sup need not attempt to describe them here.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1058": {
-    "English Original": "The tragic end of \"Hamlet's\" unhappy love had long been in his mind as <supa</sup subject he should like to paint ; and now while the idea was strong upon him he determined to illustrate on canvas the lines in which she is presented as floating down the stream singing her last song :\n\n \" There on the pendent boughs her coronet of weeds Clamb'ring to hang, an envious sliver broke ; When down the weedy trophies and herself Fell in the weeping brook.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1059": {
-    "English Original": "Her clothes spread wide, And, mermaidlike, awhile they bore her up ; Which time she chanted snatches of old tunes, As one incapable of her own distress, Or like <supa</sup creature native and indued Unto that element ; but long it could not be, Till that her garments, heavy with their drink, Pull'd the poor wretch from her melodious lay To muddy death.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1060": {
-    "English Original": "\"\\\n\nNear Kingston, and close to the home of his friends the Lemprieres, is a sweet little river called the Ewell, which flows into the Thames.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1061": {
-    "English Original": "Here, under some willows by the side of <supa</sup hayfielcl, the artist found <supa</sup spot that was in every way suitable for the background of his picture, in the month of July, when the river flowers and waterweeds were in full bloom.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1062": {
-    "English Original": "Having selected his site, the next thing\" was to obtain lodgings within easy distance, and these he secured in <supa</sup cottage near Kingston, with his friend Holman Hunt as <supa</sup companion.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1063": {
-    "English Original": "They were not there very long, however, for presently came into the neighbourhood two other members of the PreRaphaelite fraternity, bent on working together ; and, uniting with them, the two moved into Worcester Park Farm, <supO</sup where an old garden wall happily served as <supa</sup background for the \" Huouenot,\" at which Millais could now work <supO</sup alternately with the \"Ophelia.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1064": {
-    "English Original": "It was <supa</sup jolly bachelor party that now assembled in the farmhouse Holman Hunt, Charlie Collins, William and John Millais all determined to work in earnest ; Holman Hunt on his famous \" Light of the World \" and \" The Hireling Shepherd,\" Charlie Collins at a background, William Millais on watercolour landscapes, and my father on the backgrounds for the two pictures he had then in hand.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1065": {
-    "English Original": "From ten in the morning till dark the artists saw little of each other, but when the evenings \" brought all things home \" they assembled to talk deeply on Art, drink strong tea, and discuss and criticise each other's pictures.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1066": {
-    "English Original": "Fortunately a record of these interesting days is preserved to us in Millais' letters to Mr. and Mrs. Combe, and his diary the only one he ever kept which was written at this time, and retained by my uncle William, who has kindly placed it at my disposal.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1067": {
-    "English Original": "Here are some of his letters the first of which <supI</sup would commend to the attention of Max Nordau, referring as it does to Ruskin, whom Millais met for the first time in the summer of this year.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1068": {
-    "English Original": "It was written from the cottage near Kingston before Millais and Hunt removed to Worcester Park Farm.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1069": {
-    "English Original": "To Mrs. Combe.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1070": {
-    "English Original": "SURBITON HILL, KINGSTON,\n\n\"July 2nd, 1851.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1071": {
-    "English Original": "MY DEAR MRS. COMBE, <supI</sup have dined and taken breakfast with Ruskin, and we are such good friends that he wishes me to accompany him to Switzerland this summer.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1072": {
-    "English Original": "We are as yet singularly at variance in our opinions upon Art.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1073": {
-    "English Original": "By permission of H. Graves and Son  $\"OPHELIA.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1074": {
-    "English Original": "One of our differences is about Turner.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1075": {
-    "English Original": "He believes that <supI</sup shall be converted on further acquaintance with his works, and <supI</sup that he will gradually slacken in his admiration.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1076": {
-    "English Original": "\"You will see that <supI</sup am writing this from Kingston, where <supI</sup am stopping, it being near to <supa</sup river that <supI</sup am painting for 'Ophelia.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1077": {
-    "English Original": "We get up (Hunt is with me) at six in the morning, and are at work by eight, returning home at seven in the evening.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1078": {
-    "English Original": "The lodgings we have are somewhat better than Mistress King's at Botley, but are, of course, horribly uncomfortable.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1079": {
-    "English Original": "We have had for dinner chops and suite of peas, potatoes, and gooseberry tart four days running.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1080": {
-    "English Original": "We spoke not about it, believing in the certainty of some change taking place ; but in private we protest against the adage that ' you can never have too much of <supa</sup good thing.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1081": {
-    "English Original": "The countryfolk here are <supa</sup shade more civil than those of Oxfordshire, but similarly given to that wondering stare, as though we were as strange <supa</sup sight as the hippopotamus.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1082": {
-    "English Original": "\\\n\n''My martyrdom is more trying than any <supI</sup have hitherto experienced.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1083": {
-    "English Original": "The flies of Surrey are more muscular, and have <supa</sup still greater propensity for probing human flesh.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1084": {
-    "English Original": "Our first difficulty was ... to acquire rooms.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1085": {
-    "English Original": "Those we now have are nearly four miles from Hunt's spot and two from mine, so we arrive jaded and slightly above that temperature necessary to make <supa</sup cool commencement.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1086": {
-    "English Original": "<supI</sup sit tailorfashion under an umbrella throwing <supa</sup shadow scarcely larger than <supa</sup halfpenny for eleven hours, with <supa</sup child's mug within reach to satisfy my thirst from the running stream beside me.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1087": {
-    "English Original": "<supI</sup am threatened with <supa</sup notice to appear before a magistrate for trespassing in <supa</sup field and destroying the hay ; likewise by the admission of <supa</sup bull in the same field after the said hay be cut ; am also in danger of being blown by the wind into the water, and becoming intimate with the feelings of Ophelia when that lady sank to muddy death, together with the (less likely) total disappearance, through the voracity of the flies.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1088": {
-    "English Original": "There are two swans who not <supa</sup little add to my misery by persisting in watching me from the exact spot <supI</sup wish to paint, occasionally destroying every waterweed within their\n\n<sup\\</sup It was in this year, 1850, that the first specimen of the hippopotamus was seen in London.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1089": {
-    "English Original": "MMlais seems to have been of the same opinion as Lord Macaulay, who says : \" <supI</sup have seen the hippopotamus, both asleep and awake ; and <supI</sup can assure you that, awake or asleep, he is the ugliest of the works of God.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1090": {
-    "English Original": "DESIGN FOR A PICTURE OF \"ROMEO AND JULIET.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1091": {
-    "English Original": "My sudden perilous evolutions on the extreme bank, to persuade them to evacuate their position, have the effect of entirely deranging my temper, my picture, brushes, and palette ; but, on the other hand, they cause those birds to look most benignly upon me with an expression that seems to advocate greater patience.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1092": {
-    "English Original": "Certainly the painting of <supa</sup picture under such circumstances would be a greater punishment to <supa</sup murderer than hanging. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1093": {
-    "English Original": "<supI</sup have read the Sheep/olds, but cannot give an opinion\n\n is <sup5</sup i] CORRESPONDENCE <sup121</sup\n\nupon it yet.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1094": {
-    "English Original": "<supI</sup feel it very lonely here.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1095": {
-    "English Original": "Please write before my next.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1096": {
-    "English Original": "My love to the Early Christian and remembrances to friends.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1097": {
-    "English Original": "Very affectionately yours,\n\n\"JOHN EVERETT MILLAIS.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1098": {
-    "English Original": "THE LAST SCENE, \"ROMEO AND JULIET.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1099": {
-    "English Original": "<sup1848</sup\n\n To Mrs. Coinbe.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1100": {
-    "English Original": "\"SuRBiTON HILL, KINGSTON,\n\n\"July, 1851.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1101": {
-    "English Original": "MY DEAR MRS. PAT, <supI</sup have taken such an aversion to sheep, from so frequently having mutton chops for dinner, that <supI</sup feel my very feet revolt at the proximity of woollen socks.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1102": {
-    "English Original": "Your letter received today was so entertaining that <supI</sup (reading and eating alternately) nearly forgot what <supI</sup was devouring.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1103": {
-    "English Original": "This statement will, <supI</sup hope, induce Mr. Combe to write to me as <supa</sup relish to the inevitable chops.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1104": {
-    "English Original": "The steaks of Surrey are tougher than Brussels carpets, so they are out of the question.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1105": {
-    "English Original": "We are getting on very soberly, but have some suspicions that the sudden decrease of our bread and butter is occasioned by the C  family (under momentary aberration) mistaking our fresh butter for their briny.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1106": {
-    "English Original": "To ascertain the truth, we intend bringing our artistic capacity to bear upon the eatables in question by taking a careful\n\ndrawing of their outline.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1107": {
-    "English Original": "Upon their reappearance we shall refer to the portraits, and thereby discover whether the steel of Sheffield has shaven their features.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1108": {
-    "English Original": "[This they did and made sketches of the butter.]",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1109": {
-    "English Original": "Hunt is writing beside me the description of (his) your picture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1110": {
-    "English Original": "He has read Ruskin's pamphlet, and with me is anxious to read Dyce's reply, which <supI</sup thank you for ordering.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1111": {
-    "English Original": "In the field where <supI</sup am painting there is haymaking going on ; so at times <supI</sup am surrounded by women and men, the latter of which remark that mine is <supa</sup tedious job, that theirs is very warm work, that it thundered somewhere yesterday, that it is likely we shall have rain, and that they feel thirsty, very thirsty.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1112": {
-    "English Original": "An uneasiness immediately comes over me ; my fingers tingle to bestow a British coin upon the honest yoemen to get rid of them ; but no, <supI</sup shall not indulge the scoundrels after their rude and greedy applications.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1113": {
-    "English Original": "Finding hints move me not, they boldly ask for money for <supa</sup drop of drink.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1114": {
-    "English Original": "In the attitude of Napoleon commanding his troops over the Alps, <supI</sup desire them to behold the river, the which <supI</sup drink.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1115": {
-    "English Original": "Then comes a shout of what some writers would call honest country laughter, and I, coarse brutality.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1116": {
-    "English Original": "Almost every morning Hunt and <supI</sup give money to children ; so all the mothers send their offspring (amounting by appearance to twelve each) in the line of our road ; and in rank and file they stand curtsying with flattened palms ready to receive the copper donation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1117": {
-    "English Original": "This <supI</sup like ; but men with arms larger round than my body hinting at money disgusts me so much that <supI</sup shall paint some day (I hope) <supa</sup picture laudatory of Free Trade.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1118": {
-    "English Original": "Goodnight to yourself and Mr. Combe ; and believe that <supI</supshall ever remain\n\n\"Most faithfully yours,\n\n\"JOHN EVERETT MILLAIS.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1119": {
-    "English Original": "To Mrs. Combe.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1120": {
-    "English Original": "KINGSTON,\n\n\"July 2Wi, 1851.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1121": {
-    "English Original": "MY DEAR MRS. COMBE, Many thanks for Dyce's answer, which <supI</sup received yesterday, and as yet have read but little, and that little imperfectly understand.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1122": {
-    "English Original": "In answer to your botanical inquiries, the flowering rush\n\ngrows most luxuriantly along the banks of the river here, and <supI</sup shall paint it in the picture ['Ophelia'].",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1123": {
-    "English Original": "The other plant named <supI</sup am not sufficiently learned in flowers to know.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1124": {
-    "English Original": "There is the dogrose, riverdaisy, forgetmenot, and <supa</sup kind of soft, strawcoloured blossom (with the word ' sweet in its name) also growing on the bank ; <supI</sup think it is called meadowsweet.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1125": {
-    "English Original": "<supI</sup am nightly working my brains for <supa</sup subject.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1126": {
-    "English Original": "Some incident to illustrate patience <supI</sup have <supa</sup desire to paint.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1127": {
-    "English Original": "When <supI</sup catch one <supI</sup shall write you the description.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1128": {
-    "English Original": ": <supI</sup enclose Hunt's key to the missionary picture, with apologies from him for not having sooner prepared it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1129": {
-    "English Original": "Begging you to receive his thanks for your kind invitation, believe me, with affectionate regards to Mr. Combe,\n\n\" Most truly yours,\n\n\"JoHN EVERETT MILLAIS.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1130": {
-    "English Original": "\"WORCESTER PARK FARM, NEAR CHEAM, SURREY.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1131": {
-    "English Original": "MY DEAR MRS. COMBE, You will see by the direction that we have changed our spot, and much for the better.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1132": {
-    "English Original": "Nothing can exceed the comfort of this new place.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1133": {
-    "English Original": "Little to write about except mishaps that have occurred to me.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1134": {
-    "English Original": "<supI</sup have broken the nail of the lefthand little finger off at the root ; the accident happened in catching a ball at cricket.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1135": {
-    "English Original": "<supI</sup thought at first the bone was broken, so <supI</sup moved off at once to <supa</sup doctor, who cut something, and said <supI</sup should lose the nail.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1136": {
-    "English Original": "<supI</sup have been also bedridden three days from <supa</sup bilious attack, from which, through many drugs, <supI</sup am recovered.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1137": {
-    "English Original": "We all three live together as happily as ancient monastic brethren.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1138": {
-    "English Original": "Charley [Collins] has immensely altered, scarcely indulging in an observation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1139": {
-    "English Original": "<supI</sup believe he inwardly thinks that carefulness of himself is better for his soul.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1140": {
-    "English Original": "Outwardly it goes far to destroy his society, which now, when it happens that <supI</sup am alone with him, is intolerably unsympathetic.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1141": {
-    "English Original": "<supI</sup wish you could see this farm, situated on one of the highest hills in this county.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1142": {
-    "English Original": "In front of the house there is one of the finest avenues of elm trees <supI</sup ever saw.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1143": {
-    "English Original": "\"We live almost entirely on the produce of the farm,\n\nwhich supplies every necessary.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1144": {
-    "English Original": "Collins scarcely ever eats pastry ; he abstains, <supI</sup fancy, on religious principles.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1145": {
-    "English Original": "Remember me affectionately to the mother who pampers him, and believe me\n\n\" Most affectionately yours,\n\n<supU</sup ]OHN MILLAIS.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1146": {
-    "English Original": "70 Mr. Combe.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1147": {
-    "English Original": "WORCESTER PARK FARM,\n\n\" October i\\$th, 1851.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1148": {
-    "English Original": "MY DEAR MR. COMBE, You must have felt sometimes quite incapable of answering <supa</sup letter.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1149": {
-    "English Original": "Such has been my state.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1150": {
-    "English Original": "<supI</sup have made two fruitless attempts, and shudder for the end of this.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1151": {
-    "English Original": "Hunt and self are both delighted by your letter, detecting in it a serious intent to behold us plant the artistic umbrella on the sands of Asia.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1152": {
-    "English Original": "He has read one of the travels you sent us, The Camp and the Caravan, and considers the obstacles as trifling and easy to be overcome by three determined men, two of whom will have the aspect of ferocity, being bearded like the pard.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1153": {
-    "English Original": "Hunt can testify to the fertility of my upper lip, which augurs well for the under soil.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1154": {
-    "English Original": "It therefore (under a tropical sun) may arrive at a Druidical excellence.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1155": {
-    "English Original": "Two of the children belonging to the house have come in and will not be turned out.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1156": {
-    "English Original": "<supI</sup play with them till dinner and resume work again afterwards.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1157": {
-    "English Original": "The weather today has prevented my painting out of doors, so <supI</supcomfortably painted from some flowers in the diningroom.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1158": {
-    "English Original": "Hunt walked to his spot, but returned disconsolate and wet through.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1159": {
-    "English Original": "Collins worked in his shed and looked most miserable ; he is at this moment cleaning his palette.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1160": {
-    "English Original": "Hunt is smoking <supa</sup vulgar pipe.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1161": {
-    "English Original": "He will have the better of us in the Holy Land, as <supa</sup hookah goes with the costume.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1162": {
-    "English Original": "<supI</sup like not the prospect of scorpions and snakes, with which <supI</sup foresee we shall get closely intimate.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1163": {
-    "English Original": "Painting on the river's bank (Nile or Jordan) as <supI</sup have done here will be next to throwing oneself into the alligators' jaws, so all watersketching is put aside.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1164": {
-    "English Original": "Forgive this nonsensible scribble.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1165": {
-    "English Original": "<supI</sup am only capable of writing my very kindest remembrances to Mrs. Pat, in which Charley and Hunt join. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1166": {
-    "English Original": "Most faithfully yours,\n\n\"JoHN EVERETT MILLAIS.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1167": {
-    "English Original": "At this time Millais had serious thoughts of going to the East with Hunt, but eventually gave up the idea.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1168": {
-    "English Original": "And now commences the diary, written closely and carefully on sheets of notepaper.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1169": {
-    "English Original": "The style savours somewhat of the conversation of Mr. Jingle ; but, as in that gentleman's short and pithy sentences, the substance is clear.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1170": {
-    "English Original": "EXTRACTS FROM DIARY.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1171": {
-    "English Original": "<supI</sup am advised by Coventry Patmore to keep <supa</sup diary.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1172": {
-    "English Original": "Today, October \\6tk, 1851, worked on my picture ['The Huguenot']; painted nasturtiums ; saw <supa</sup stoat run into <supa</sup hole in the garden wall ; went up to it and endeavoured to lure the little beast out by mimicking a rat's or mouse's squeak not particular which.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1173": {
-    "English Original": "Succeeded, to my astonishment.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1174": {
-    "English Original": "He came half out of the hole and looked in my face, within easy reach.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1175": {
-    "English Original": "Lavinia (little daughter of landlady) <supI</sup allowed to sit behind me on the box border and watch me paint, on promise of keeping excessively quiet ; she complained that her seat struck very cold.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1176": {
-    "English Original": "In the adjoining orchard, boy and family knocking down apples ; youngest sister but one screaming.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1177": {
-    "English Original": "Mother remarked, <supI</sup wish you were in Heaven, my child ; you are always crying ; and a little voice behind me chimed in, 'Heaven!",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1178": {
-    "English Original": "and (turning to me) You can't see God.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1179": {
-    "English Original": "Eldest sister, Fanny, came and looked on too.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1180": {
-    "English Original": "Told me her mother says, about <supa</sup quarter to six, 'There's Longlimbs (J. E. M.) whistling for his dinner; be quick and get it ready.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1181": {
-    "English Original": "Played with children en masse in the parlour before their bedtime.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1182": {
-    "English Original": "Hunt just come in.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1183": {
-    "English Original": "Sat up till past twelve and discovered first rate story for my present picture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1184": {
-    "English Original": "Beautiful morning: frost on the barn roofs and the green before the houses.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1185": {
-    "English Original": "Played with the children after breakfast, and began painting about nine.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1186": {
-    "English Original": "Baby screaming commenced about ten o'clock.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1187": {
-    "English Original": "Exhibition of devilish passion, from which itmore particularly occurred to me that we are born in sin.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1188": {
-    "English Original": "Family crying continually, with slight intermission to recover strength.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1189": {
-    "English Original": "Lavinia beaten and put under the garden clothespole for being naughty, to stay there until more composed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1190": {
-    "English Original": "Perceiving that to be an uncertain period, <supI</sup kissed her wet eyes and released her from her position and sat her by me.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1191": {
-    "English Original": "Quite dumb for some\n\ntime ; suddenly tremendously talkative.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1192": {
-    "English Original": "These are some of her observations : We haven't killed little Betsy (the pig) yet ; she means to have little pigs herself.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1193": {
-    "English Original": "Ann (the servant) says she is going to be your servant, and me your cook, when you get married.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1194": {
-    "English Original": "Upon asking her whether she could cook, she answered, Not like the cooks do.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1195": {
-    "English Original": "At five gave up painting.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1196": {
-    "English Original": "Children screaming again.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1197": {
-    "English Original": "Little Fanny worked at <supa</sup doll's calico petticoat on <supa</sup chair beside me.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1198": {
-    "English Original": "Driven in by drizzling weather, <supI</sup work in the parlour ; Fanny, my companion, rather troublesome.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1199": {
-    "English Original": "Roars of laughter outside the window F. flattening her nose against the pane.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1200": {
-    "English Original": "Mrs. Stapleton called, with married son and daughter, and admired my pictures ecstatically.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1201": {
-    "English Original": "Collins gone ; went home after dinner.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1202": {
-    "English Original": "Sat with Hunt in the evening ; pelted at a candle outside with little white balls that grow on a shrub.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1203": {
-    "English Original": "Composed design of ' Repentant\n\nSinner laying his head in Christ's bosom.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1204": {
-    "English Original": "<sup4</sup \" October igtk (Sunday).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1205": {
-    "English Original": "Expected Rossetti, who never came.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1206": {
-    "English Original": "Governor [his father] spent the day with us, saw Hunt's picture and mine, and was delighted with them.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1207": {
-    "English Original": "Poor Mr. Lewis felt very gloomy all the day ; supposed it to be the weather, that being dull and drizzling.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1208": {
-    "English Original": "Found two servants of Captain Shepherd both very pretty one of whom <supI</sup thought of getting to sit for my picture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1209": {
-    "English Original": "Traversing the same road home, entered into conversation with them.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1210": {
-    "English Original": "Both perfectly willing to sit, and evidently expecting it to be an affair of a moment one suggesting a pencilscratch from which the two heads in our pictures could be painted !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1211": {
-    "English Original": "Bade them goodnight, feeling certain they will come to the farm tomorrow for eggs or cream.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1212": {
-    "English Original": "Went out to meet Collins, but found we were too early, so came home and had tea.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1213": {
-    "English Original": "<supI</sup (too tired to go out again) sit down and write this, whilst Hunt sets out once more with <supa</sup large hornlantern.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1214": {
-    "English Original": "Despair of ever gaining my right position, owing to hearing this day that the Committee of Judgment of the Great Exhibition have awarded <supa</sup bronze medal in approbation of the most sickening horror ever produced, 'The Greek.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1215": {
-    "English Original": "Collins returned with his hair cut as close as a man in a House of Correction.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1216": {
-    "English Original": "\\ This sketch, now in my possession, was never transferred to canvas.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1217": {
-    "English Original": "Finished flowers after breakfast, after which went out to bottom of garden and commenced brick wall.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1218": {
-    "English Original": "Received letter from James Michael complimentary, as containing a prediction that <supI</sup shall be the greatest painter England ever produced.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1219": {
-    "English Original": "Felt languid all day.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1220": {
-    "English Original": "Finished work about five and went out to see Charley.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1221": {
-    "English Original": "Walked on afterwards to meet Hunt, and waited for him.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1222": {
-    "English Original": "In opening the gate entering the farm, met the two girls.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1223": {
-    "English Original": "Spoke further with one on the matter of sitting.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1224": {
-    "English Original": "Painted from the wall and got on <supa</sup great deal.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1225": {
-    "English Original": "Bees' nest in the planks at the side of the house, laid open by the removal of one of them for the purpose of smoking the inmates at night and getting the honey.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1226": {
-    "English Original": "Was induced by the carpenter to go up on the ladder to see what he called <supa</sup curiosity.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1227": {
-    "English Original": "Did so, and got stung on the chin.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1228": {
-    "English Original": "... <supI</sup walked on to meet Hunt with Collins.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1229": {
-    "English Original": "Met him, with two Tuppers, who dined with us off hare.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1230": {
-    "English Original": "All afterwards saw the burning of the bees, and tasted the honey.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1231": {
-    "English Original": "Read songs in the Princess.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1232": {
-    "English Original": "Have greater (if possible) veneration for Tennyson.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1233": {
-    "English Original": "Worked in the warren opposite the wall, and got on well, though teased, while painting, by little Fanny, who persisted in what she called ' tittling me.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1234": {
-    "English Original": "Hunt proposed painting, 'for <supa</sup lark,' the door of <supa</sup cupboard beside the fireplace.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1235": {
-    "English Original": "Mentioned it to the landlady, who gave permission, with the assurance that if she did not approve of it she should scrub it out.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1236": {
-    "English Original": "Completed it jointly about\n\ntwo o'clock in the morning.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1237": {
-    "English Original": "Our landlady's marriage anniversary.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1238": {
-    "English Original": "Was asked by her some days back for the loan of our apartments to celebrate the event. '",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1239": {
-    "English Original": "If we were not too high\n\nthey would be glad to see us.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1240": {
-    "English Original": "\" Painted on the wall ; the day very dull.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1241": {
-    "English Original": "<supA</sup few trees shedding leaves behind me, spiders determinedly spinning webs between my nose and chin.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1242": {
-    "English Original": "Joined the farmers and their wives.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1243": {
-    "English Original": "Two of them spoke about cattle and the new reapingmachine, complaining, between times, about the state of affairs.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1244": {
-    "English Original": "Supped with them ; derived some knowledge of carving <supa</sup chicken from watching one do so.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1245": {
-    "English Original": "Went to bed rather late, and read In Memoriam, which produced a refining melancholy.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1246": {
-    "English Original": "Landlady pleased with painting on cupboard.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1247": {
-    "English Original": "Of this painting, by the way, my uncle, William Millais,\n\nhas another and somewhat different tale to tell.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1248": {
-    "English Original": "He says : \"Our landlady, Mrs. B., held artists to be of little account, and my brother exasperated her to <supa</sup degree on one occasion.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1249": {
-    "English Original": "The day had been <supa</sup soaking wet one.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1250": {
-    "English Original": "None of us had gone out, and we were at our wits' end to know what to do.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1251": {
-    "English Original": "Jack, at Hunt's suggestion, thought it would be <supa</sup good joke to paint on one of the cupboard doors.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1252": {
-    "English Original": "There were two one on either side of the fireplace.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1253": {
-    "English Original": "Mrs. B. had gone to market.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1254": {
-    "English Original": "On coming into the room on her return, and seeing what had been done a picture painted on the cupboard door she was furious ; the door had only lately been ' so beautifully grained and varnished.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1255": {
-    "English Original": "Hunt in vain tried to appease her.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1256": {
-    "English Original": "She bounced out of the room, saying she w <supr</sup ould make them pay for it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1257": {
-    "English Original": "; It happened on the following day that the Vicar and <supa</sup lady called upon the young painters ; and on being shown into the sittingroom, Mrs. B. apologised for the ' horrid mess (as she called it) on the cupboard door.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1258": {
-    "English Original": "They inquired who had done it, and on being told that Mr. Millais was the culprit, the lady said she would give Mrs. B. in exchange for the door the lovely Indian shawl she had on ; so when the painters came in from their work, Mrs. B. came up cringingly to my brother and said the only thing he could do was to paint the other cupboard!",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1259": {
-    "English Original": "He didn't paint the other door, but <supI</sup believe Mrs. B. had the shawl.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1260": {
-    "English Original": "And now, in continuation of the \" Diary,\" we read :\n\n\" October 2^th.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1261": {
-    "English Original": "Another day, exactly similar to the previous.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1262": {
-    "English Original": "Felt disinclined to work.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1263": {
-    "English Original": "Walked with Hunt to his place, returned home about eleven, and commenced work myself, but did very little.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1264": {
-    "English Original": "Read Tennyson and Pat more.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1265": {
-    "English Original": "The spot very damp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1266": {
-    "English Original": "Walked to see Charlie about four, and part of the way to meet Hunt, feeling very depressed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1267": {
-    "English Original": "After dinner had <supa</sup good nap, after which read Coleridge some horrible sonnets.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1268": {
-    "English Original": "In his Life they speak ironically of ' Christabel,' and highly of rubbish, calling it Pantomime.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1269": {
-    "English Original": "Much like the preceding day.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1270": {
-    "English Original": "All went to Town after dinner ; called at Rossetti's and saw Madox Brown's picture Pretty Baalambs.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1271": {
-    "English Original": "which is very beautiful.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1272": {
-    "English Original": "Rossetti lowspirited ; sat with him.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1273": {
-    "English Original": "Walked out with Hunt.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1274": {
-    "English Original": "Called upon Woolner and upon Mrs. Collins to get her to come\n\nand dine with us ; unwell, so unsuccessful.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1275": {
-    "English Original": "Felt very cross and disputable.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1276": {
-    "English Original": "Charlie called in the evening ; took tea,\n\nand then all three off to the country seat. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1277": {
-    "English Original": "Rose later than the others, and had breakfast by myself.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1278": {
-    "English Original": "Painted on the wall, but not\n\nso well ; felt uncomfortable all day.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1279": {
-    "English Original": "My man, Young, brought me <supa</sup rat after breakfast.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1280": {
-    "English Original": "Began painting it swimming, when the governor made his appearance, bringing money, and sat with me whilst at work.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1281": {
-    "English Original": "After four hours rat looked exactly like <supa</sup drowned kitten.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1282": {
-    "English Original": "Walked with parent out to see Collins painting on the hill, and on, afterwards, to Young's house.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1283": {
-    "English Original": "He had just shot another rat and brought it up to the house.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1284": {
-    "English Original": "Again painted upon the head, and much improved.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1285": {
-    "English Original": "My father and myself walked on to see Hunt, whose picture looks sweet beyond mention.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1286": {
-    "English Original": "Cleaned out the rat, which looked like <supa</sup lion, and enlarged picture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1287": {
-    "English Original": "After breakfast began ivy on the wall ; very cold, and my feet wet through ; at intervals came indoors and warmed them at the kitchen fire.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1288": {
-    "English Original": "Worked till halfpast four ; brought all the traps in and read In Memoriam.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1289": {
-    "English Original": "Felt uneasy ; could not paint out of doors, so dug up <supa</sup weed in the garden path and painted it in the corner.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1290": {
-    "English Original": "Went to bed early, leaving Hunt up reading Hooker.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1291": {
-    "English Original": "Painted ivy on the wall, and got on <supa</sup great deal.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1292": {
-    "English Original": "After tea, about half past ten, went to see powdermill man (Young's) to commission him to fetch Hunt's picture home.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1293": {
-    "English Original": "Sat in their watchhouse with him and his brother, who eulogised <supa</sup cat, lying before the fire, for its uncommon predilection to fasten on dogs' backs, also great ratting qualities.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1294": {
-    "English Original": "Returned home about eleven and read In Memoriam.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1295": {
-    "English Original": "Left Hunt up reading Hooker.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1296": {
-    "English Original": "Frightfully cold morning; snowing.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1297": {
-    "English Original": "Determined to build up some kind of protection against the weather wherein to paint.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1298": {
-    "English Original": "After breakfast superintended in person the construction of my hut made of four hurdles, like <supa</sup sentrybox, covered outside with straw.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1299": {
-    "English Original": "Felt <supa</sup Robinson Crusoe inside it, and delightfully sheltered from the wind, though rather inconvenienced at first by the straw, dust, and husks flying about my picture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1300": {
-    "English Original": "Landlady came down to see\n\ni.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1301": {
-    "English Original": "9\n\nme, and brought some hot wine.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1302": {
-    "English Original": "Hunt painting obstinate sheep within call.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1303": {
-    "English Original": "This evening walked out in the orchard (beautiful moonlight night, but fearfully cold) with a lantern for Hunt to see effect before finishing background, which he intends doing by moonlight.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1304": {
-    "English Original": "Painted in my shed from ivy.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1305": {
-    "English Original": "Hunt at the sheep again.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1306": {
-    "English Original": "My man Young, who brought another\n\n\n\n\"THE HUGUENOT.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1307": {
-    "English Original": "<sup1852</sup First idea\n\nrat caught in the gin and little disfigured, was employed by Hunt to hold down a wretched sheep, whose head was very unsatisfactorily painted, after the most tantalising exhibition of obstinacy.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1308": {
-    "English Original": "Evening passed off much as others.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1309": {
-    "English Original": "Read Browning's tragedy, Blot on the Scutcheon, and was astonished at its faithfulness to Nature and Shakespearian perfectness.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1310": {
-    "English Original": "Mr. Lewis, the clergyman of the adjoining parish, called, and kindly gave us an invitation to his place when we liked.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1311": {
-    "English Original": "Had met him at dinner at our parish curate's, Mr. Stapleton.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1312": {
-    "English Original": "Beautiful morning ; much warmer than yesterday.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1313": {
-    "English Original": "Was advised by Hunt to paint the rat, but felt disinclined.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1314": {
-    "English Original": "After much inward argument took the large box\n\ncontaining Ophelia's background out beside Hunt, who again was to paint the sheep.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1315": {
-    "English Original": "By lunch time had nearly finished rat most successfully.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1316": {
-    "English Original": "Hunt employed small impudent boy to hold down sheep.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1317": {
-    "English Original": "Boy not being strong enough, required my assistance to make the animal lie down.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1318": {
-    "English Original": "Imitated Young's manner of doing so, by raising it up off the ground and dropping it suddenly down.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1319": {
-    "English Original": "Pulled an awful quantity of wool out in the operation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1320": {
-    "English Original": "Also painted ivy in the other picture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1321": {
-    "English Original": "After breakfast examined the rat [in the painting].",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1322": {
-    "English Original": "From some doubtful feeling as to its perfect portraiture determined to retouch it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1323": {
-    "English Original": "Young made his ap\n\npearance apropos, with another rat, and (for Hunt) <supa</sup new canvas from the carrier at Kingston.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1324": {
-    "English Original": "Worked very carefully at the rat, and finally succeeded to my own and everyone's taste.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1325": {
-    "English Original": "Hunt was painting in <supa</sup cattleshed from <supa</sup sheep.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1326": {
-    "English Original": "Letters came for him about three.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1327": {
-    "English Original": "In opening one we were most surprised and delighted to find the Liverpool Academy (where his ' Two Gentlemen of Verona '\n\npicture is) sensible enough to award him the annual prize of 50.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1328": {
-    "English Original": "He read the good news and painted on unruffled.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1329": {
-    "English Original": "The man Young, holding <supa</sup most amicable sheep, expressed surprising pleasure at the for tunate circumstance.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1330": {
-    "English Original": "He said he had seen robins in the spring of the year fight so fiercely that they had allowed him to take them up in his hands, hanging on to each other.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1331": {
-    "English Original": "During the day Hunt had a straw hut similar to mine built, to paint <supa</sup moonlight background to the fresh canvas.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1332": {
-    "English Original": "Have this moment left him in it, cheerfully working by a lantern from some contorted apple tree trunks, washed with the phosphor light of a perfect moon the shadows of the\n\n\n\n'THE HUGUENOT.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1333": {
-    "English Original": "<sup1852</sup Second idea\n\nbranches stained upon the sward.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1334": {
-    "English Original": "Steady sparks of moonstruck dew.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1335": {
-    "English Original": "Went to bed at two o'clock.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1336": {
-    "English Original": "Got up before Hunt, who never went to bed till after three.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1337": {
-    "English Original": "Painted in my hut, from the ivy, all day.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1338": {
-    "English Original": "After dinner Collins went off to town.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1339": {
-    "English Original": "Hunt again painting out of doors.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1340": {
-    "English Original": "Very little of moonshine for him.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1341": {
-    "English Original": "Advised H. to rub out part of background, which he did.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1342": {
-    "English Original": "Whilst dressing in the morning saw F. M. Brown and William Rossetti coming to us in the avenue.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1343": {
-    "English Original": "They spent the day with us.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1344": {
-    "English Original": "All disgusted with the Royal Academy election.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1345": {
-    "English Original": "They left us for the train,\n\nfor which they were too late, and returned to sleep here.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1346": {
-    "English Original": "Further chatted and went to bed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1347": {
-    "English Original": "Lay thinking in bed until eleven o'clock.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1348": {
-    "English Original": "Worked well ; Hunt painting in the same field ; sheep held down by Young.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1349": {
-    "English Original": "To church with Collins ; Hunt, having sat up all night painting out of doors, in bed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1350": {
-    "English Original": "After church found him still in his room ; awoke him and had breakfast with him, having gone without mine almost entirely, feeling obliged to leave it for church.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1351": {
-    "English Original": "Hunt and self went out to meet brother William, whom we expected to dinner.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1352": {
-    "English Original": "Met him in the park.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1353": {
-    "English Original": "He saw Hunt's picture for the first time, and was boundless in admiration ; also equally eulogised my ivycovered wall.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1354": {
-    "English Original": "All three walked out before dinner.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1355": {
-    "English Original": "In what they called the Roundhouse saw <supa</sup chicken clogged in a small tank of oil.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1356": {
-    "English Original": "Young extricated it, and, together with enginedriver's daughter, endeavoured (fruitlessly) to get the oil off.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1357": {
-    "English Original": "Left them washing fowl, and strolled home.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1358": {
-    "English Original": "Small stray cat found by one of the men, starved and almost frozen to death.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1359": {
-    "English Original": "Saw Mrs. Barnes nursing it and a consumptive chicken ; feeding the cat with milk.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1360": {
-    "English Original": "Painted at the ivy.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1361": {
-    "English Original": "Evening same as usual.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1362": {
-    "English Original": "Some further details are supplied in the following letter :\n\nTo Mr. Combe.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1363": {
-    "English Original": "WORCESTER PARK FARM,\n\n\"November <sup17</sup tk, 1851.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1364": {
-    "English Original": "MY DEAR COMBE, Doubtless you have been wondering whether it is my intention ever to let you have your own property [' The Dove ' picture].",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1365": {
-    "English Original": "We hope to return almost immediately, when <supI</sup shall touch that which requires <supa</sup little addition, and directly send it on to you, <supa</sup letter preceding it to let you know.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1366": {
-    "English Original": "Hunt has gained the prize at Liverpool for the best picture in the exhibition there.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1367": {
-    "English Original": "The cold has become so intense that we fear it is impossible to further paint in the open air.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1368": {
-    "English Original": "We have had little straw huts built, which protect us somewhat from the wind, and therein till today have courageously braved the weather.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1369": {
-    "English Original": "\"Carlo is still daily labouring at the shed, Hunt nightly working out of doors in an orchard painting moonlight\n\n(employed also in the daytime on another picture), and myself engaged in finishing another background (an ivycovered wall).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1370": {
-    "English Original": "There is one consolation which strengthens our powers of endurance necessary for the next week.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1371": {
-    "English Original": "It is to behold the array of cases, which are the barns of our summer harvest, standing in our entrance hall.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1372": {
-    "English Original": "Very faithfully yours,\n\n\" JOHN EVERETT MILLAIS.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1373": {
-    "English Original": "At this time Charles Collins was engaged on the background for <supa</sup picture, the subject of which he had not yet settled upon.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1374": {
-    "English Original": "He got as far as placing upon the canvas an old shed with broken roof and sides, through which the sunlight streamed ; with a peep outside at leaves glittering in the summer breeze ; and at this he worked week after week with ever varying ideas as to the subject he should ultimately select.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1375": {
-    "English Original": "At last he found <supa</sup beautiful one in the legend of <supa</sup French peasant, who, with his family, outcast and starving, had taken refuge in the ruined hut and were ministered to by <supa</sup saint.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1376": {
-    "English Original": "The picture, however, was never finished.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1377": {
-    "English Original": "Poor Collins gave up painting in despair and drifted into literature;\\ and when the end came, Holman Hunt, who was called in to make a sketch of his friend, was much touched to find this very canvas (then taken off the strainers) lying on the bed beside the dead man.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1378": {
-    "English Original": "The tragedy of vanished hopes!",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1379": {
-    "English Original": "But <supI</sup must now return to the \" Diary.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1380": {
-    "English Original": "Little cat died in the night, also chicken.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1381": {
-    "English Original": "In the afternoon walked to Ewell to procure writingpaper ; chopped wood for our fire, and found it warming exercise.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1382": {
-    "English Original": "Landscape trees upon my windowpanes.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1383": {
-    "English Original": "After breakfast chopped wood, and after that painted ivy.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1384": {
-    "English Original": "See symptoms of <supa</sup speedy finish to my background.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1385": {
-    "English Original": "After lunch pelted down some remaining apples in the orchard.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1386": {
-    "English Original": "Read Tennyson and the Thirtynine\n\nArticles.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1387": {
-    "English Original": "Worked at the wall; weather rather warmer.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1388": {
-    "English Original": "Evening much as usual.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1389": {
-    "English Original": "\\ Charles Collins was <supa</sup regular contributor to Household Words, but is chiefly known by his Cruise on Wheels, <supa</sup work which met with success.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1390": {
-    "English Original": "Change in the weather cloudy and drizzling.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1391": {
-    "English Original": "All three began work after breakfast.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1392": {
-    "English Original": "Brother William came about one o'clock.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1393": {
-    "English Original": "After lunch found something for him to paint.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1394": {
-    "English Original": "Left him to begin, and painted till four, very satisfactorily.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1395": {
-    "English Original": "All four began work early.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1396": {
-    "English Original": "William left at five, promising to come again on Monday.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1397": {
-    "English Original": "After dinner Hunt and Collins left for London, the former about some inquiries respecting an appointment to draw for Layard, the Nineveh discoverer.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1398": {
-    "English Original": "After they were gone, <supI</sup wrote <supa</sup very long letter to Mrs.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1399": {
-    "English Original": "The letter is perhaps worth insertion here, as showing the writer's attitude towards Romanism, which at that time he was supposed to favour, and as an indication of the general design of his picture, \"The Huguenot.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1400": {
-    "English Original": "It ran thus :\n\n To Mrs. Combe.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1401": {
-    "English Original": "WORCESTER PARK FARM,\n\n\" MY DEAR MRS. COMBE, My two friends have just gone to town, leaving me here all alone.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1402": {
-    "English Original": "<supI</sup dine tomorrow (Sunday) with <supa</sup very old friend of mine Colonel Lempriere resident in the neighbourhood, or else should go with them.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1403": {
-    "English Original": "Mr. Combe's letter reached me as mine left for Oxford.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1404": {
-    "English Original": "Assure him our conversation as often reverts to him as his thoughts turn to us in pacing the quad.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1405": {
-    "English Original": "The associates he derides have but little more capacity for painting than as many policemen taken promiscuously out of a division.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1406": {
-    "English Original": "<supI</sup have no Academy news to tell him, and but little for you from home.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1407": {
-    "English Original": "Layard, the wingedbull discoverer, requires an artist with him (salary two hundred <supa</sup year) and has applied for one at the School of Design, Somerset House.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1408": {
-    "English Original": "Hunt is going tonight to see about it, as, should there be intervals of time at his disposal for painting pictures, he would not dislike the notion.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1409": {
-    "English Original": "One inducement to him would be that there, as at Jerusalem, he could illustrate Biblical history.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1410": {
-    "English Original": "Should the appointment require immediate filling, he could not take it, as the work he is now about cannot be finished till March.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1411": {
-    "English Original": "My brother was with us today, and tolcl me that Dr.\n\n<sup&</supquot; November 22nd, 1851.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1412": {
-    "English Original": "Hesse, of Leyton College, understood that <supI</sup was <supa</sup Roman Catholic (having been told so), and that my picture of The Return of the Dove to the Ark ' was emblematical of the return of all of us to that religion a very convenient construction to put upon it !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1413": {
-    "English Original": "<supI</sup have no doubt that likewise they will turn the subject <supI</sup am at present about to their advantage.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1414": {
-    "English Original": "It is a scene supposed to take place (as doubtless it did) on the eve of the massacre of St. Bartholomew's Day.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1415": {
-    "English Original": "<supI</sup shall have two lovers in the act of parting, the woman <supa</sup Papist and the man <supa</sup Protestant.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1416": {
-    "English Original": "The badge worn to distinguish the former from the latter was <supa</sup white scarf on the left arm.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1417": {
-    "English Original": "Many were base enough to escape murder by wearing it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1418": {
-    "English Original": "The girl will be endeavouring to tie the handkerchief round the man's arm, so to save him ; but he, holding his faith above his greatest worldly love, will be softly preventing her.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1419": {
-    "English Original": "<supI</sup am in high spirits about the subject, as it is entirely my own, and <supI</sup think contains the highest moral.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1420": {
-    "English Original": "It will be very quiet, and but slightly suggest the horror of <supa</sup massacre.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1421": {
-    "English Original": "The figures will be talking against <supa</sup secretlooking garden wall, which <supI</sup have painted here.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1422": {
-    "English Original": "Hunt's moonlight design is from the Revelation of St. John, chapter iii., 2Oth verse, Behold, <supI</sup stand at the door and knock : if any man hear My voice, and open the door, <supI</sup will come in to him, and will sup with him, and he with Me.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1423": {
-    "English Original": "It is entirely typical, as the above.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1424": {
-    "English Original": "A figure of our Saviour in an orchard abundant in fruit, holding in one hand a light (further to illustrate the passage <supI</sup am the Light of the world '), and the other hand knocking at <supa</sup door all overgrown by vine branches and briars, which will show how rarely it has been opened.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1425": {
-    "English Original": "<supI</sup intend painting <supa</sup pendant from the latter part of the same, 'And will sup with him, and he with Me.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1426": {
-    "English Original": "It is quite impossible to describe the treatment <supI</suppurpose, so will leave you to surmise.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1427": {
-    "English Original": "Now to other topics.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1428": {
-    "English Original": "We are occasionally visited by the clergyman of the adjoining parish, <supa</sup Mr. Lewis.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1429": {
-    "English Original": "He was at Oriel, and knows Mr. Church, Marriot, and others that <supI</sup have met.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1430": {
-    "English Original": "He is <supa</sup most delightful man and <supa</sup really sound preacher, and <supa</sup great admirer and deplorer of Newman.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1431": {
-    "English Original": "\"I cannot accompany 'The Dove' to the 'Clarendon,' as <supI</sup have ungetoffably promised to spend Xmas with the family <supI</sup feast with tomorrow.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1432": {
-    "English Original": "He is from Jersey, and knew me when living there, and <supI</sup would not offend him.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1433": {
-    "English Original": "Our avenue trees snow down leaves all day long, and begin to show plainly the branches.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1434": {
-    "English Original": "Collins still fags at the shed, Hunt at the orchard, and <supI</sup at the wall.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1435": {
-    "English Original": "Right glad we shall all be when we are having our harvest home at Hanover Terrace, which we hope to do next Tuesday week. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1436": {
-    "English Original": "Yours most faithfully\n\n\"\n\n(at twelve o'clock), \"JoHN EVERETT MILLAIS.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1437": {
-    "English Original": "Please send me <supa</supletter, or else <supI</sup shall be jealous.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1438": {
-    "English Original": "<sup1852</sup Third idea\n\nMillais having in this letter stated his conception of \" The Huguenot,\" it may be as well, perhaps, to describe here its actual oenesis.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1439": {
-    "English Original": "fj\n\nAfter finishing the background for \"Ophelia,\" he began making sketches of a pair of lovers whispering by a wall, and having announced his in tention of utilising them in <supa</sup picture, he at once commenced painting the background, merely leaving spaces for the figures.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1440": {
-    "English Original": "As may be gathered from what has been already said, both he and Hunt discussed together every picture which either of them had in contemplation ; and, discoursing on the new subject one evening in September, Millais showed his pencil\n\ndrawings to Hunt, who strongly objected to his choice, saying that a simple pair of lovers without any powerful story, dramatic or historical, attaching to the meeting was not sufficiently important.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1441": {
-    "English Original": "It was hackneyed and wanting in general interest.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1442": {
-    "English Original": "\"Besides,\" he quietly added, \"it has always struck me as being the lovers' own private affair, and <supI</sup feel as if we were intruding on so delicate an occasion by even looking at the picture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1443": {
-    "English Original": "<supI</sup protest against that kind of Art.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1444": {
-    "English Original": "Millais, however, was unconvinced, and stuck to his point, saying the subject would do quite well ; at any rate, he should go on working at \"his wall.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1445": {
-    "English Original": "In the evening, when the three friends were gathered together, poor Charlie Collins came in for more \"chaff\" than his sensitive nature could stand.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1446": {
-    "English Original": "He had refused some blackberry tart which had been served at dinner, and Millais, knowing that he was very fond of this dish, ridiculed his \"mortifying the flesh\" and becoming so much of an ascetic.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1447": {
-    "English Original": "It was bad for him, he said, and his health was suffering in <supo</sup consequence ; to which he humorously added, that he thought Collins kept <supa</sup whip upstairs and indulged in private flagel\n\nlations.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1448": {
-    "English Original": "At last Collins re treated to his room, and Millais, turning to Hunt, who had been quietly sketching the while, said, \" Why didn't you back me up ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1449": {
-    "English Original": "You know these un healthy views of religion are very bad for him.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1450": {
-    "English Original": "We must try and get him out of them.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1451": {
-    "English Original": "<supI</sup intend to leave them alone,\" replied the peaceful Hunt; \"there's no necessity for us to copy him.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1452": {
-    "English Original": "\"Well,\" said Millais, \"what have you been doing all this time while <supI</sup have been pitching into Charlie ?\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1453": {
-    "English Original": "Hunt showed him some rough sketches he had been making some of them being the first ideas for his famous picture, \" The Light of the World.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1454": {
-    "English Original": "Millais was delighted with the subject, and looking at some other loose sheets on which sketches had been made, asked what they were for.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1455": {
-    "English Original": "\"Well,\" replied Hunt, producing <supa</sup drawing, \"you will see now what <supI</sup mean with regard to the lack of interest in <supa</sup <supO</sup picture that tells only of the meeting or parting of two lovers.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1456": {
-    "English Original": "This incident is supposed to have taken place during the W <supT</sup ars of the Roses.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1457": {
-    "English Original": "The lady, belonging to the Red Roses, is within her castle ; the lover, from the opposite camp, has scaled the walls, and is persuading her to fly with him.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1458": {
-    "English Original": "She is to be represented as hesitating between love and duty.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1459": {
-    "English Original": "<sup1852</sup\n\nFourth idea\n\n\n\nYou have then got an interesting subject, and <supI</sup would paint it with an evening sky as a background.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1460": {
-    "English Original": "\"Oh,\" exclaimed Millais, delighted, \"that's the very thing for me !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1461": {
-    "English Original": "<supI</sup have got the wall already painted, and need only put in the figures.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1462": {
-    "English Original": "\"But,\" said Hunt, \"this is a castle wall.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1463": {
-    "English Original": "Your background won't do.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1464": {
-    "English Original": "\" That doesn't matter,\" replied Millais, \" <supI</sup shall make one\n\n\n\n\"THE HUGUENOT.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1465": {
-    "English Original": "<sup1852</sup Fifth and final composition for the picture\n\nof the lovers belonging to the Red and the other to the White Rose faction ; or one must be a supporter of King Charles and the other a Puritan.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1466": {
-    "English Original": "After much discussion Millais suddenly remembered the opera of The Huguenots, and bethought him that <supa</sup most dramatic scene could be made from the parting of the two lovers.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1467": {
-    "English Original": "He immediately began to make small sketches for the grouping of the figures, and wrote to his mother to go at once to the British Museum to look up the costumes.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1468": {
-    "English Original": "Probably more sketches were made for this picture and for the \" Black Brunswicker\" than for any others of his works.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1469": {
-    "English Original": "<supI</sup have now a number of them in my possession, and there must have been many more.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1470": {
-    "English Original": "They show that his first idea was to place other figures in the picture two priests holding up the crucifix to the Huguenot, whose sweetheart likewise adds her persuasions.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1471": {
-    "English Original": "Again, other drawings show <supa</sup priest on either side of the lovers, holding up one of the great candles of the Roman Catholic Church, and the Protestant waving them back with <supa</sup gesture of disapproval.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1472": {
-    "English Original": "These ideas, however, were happily discarded probably as savouring too much of the wholly obvious and the artist wisely trusted to the simplicity of the pathos which marked the character of his final decision.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1473": {
-    "English Original": "<sup1852</sup By permission of H. Graves and Son\n\n\n\nIt will be seen then that the picture was not (as has been publicly stated) the outcome of <supa</sup visit to Meyerbeer's opera of The Hug2ienots ; though some time after Millais' decision he and Hunt went to the opera to study the pose and costumes of the figures.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1474": {
-    "English Original": "And now for some final extracts from the \" Diary.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1475": {
-    "English Original": "\" November 2\\$rd, Sunday.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1476": {
-    "English Original": "Went to morning church ; felt disgusted with the world, and all longing for worldly glory going fast out of me.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1477": {
-    "English Original": "Walked, miserable, to Ewell to spend the day with my old friends the Lemprieres, who were at Sir John Reid's, opposite.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1478": {
-    "English Original": "Called there, and was received most kindly.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1479": {
-    "English Original": "From there went on to afternoon church.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1480": {
-    "English Original": "On our way met Mr. and Mrs. B , my old flame.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1481": {
-    "English Original": "Wished myself anywhere but there ; all seemed so horribly changed ; the girl <sup1</sup knew so well calling me 'Mr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1482": {
-    "English Original": "Millais' instead of 'John,' and <supI</sup addressing 'Fanny' as 'Mrs.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1483": {
-    "English Original": "She married <supa</sup man old enough to be her father ; he, trying to look the young man, with <supa</sup light cane in his hand.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1484": {
-    "English Original": "Walked over his grounds (which are very beautiful) and on to the new church, wherein the captain joined us, and shook hands most cordially with me.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1485": {
-    "English Original": "A most melancholy service over, all walked home.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1486": {
-    "English Original": "Mrs. B distant, and with her mother.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1487": {
-    "English Original": "Mr. B  did not accompany us ; found him at the captain's house an apparently stupid man, plain and bald.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1488": {
-    "English Original": "Was perfectly stupefied by surprise at Mrs. <supB</sup  asking me to make <supa</sup little sketch of her ugly old husband.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1489": {
-    "English Original": "They left, she making, at parting, <supa</sup bungling expression of gladness at having met me.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1490": {
-    "English Original": "Walked over the house and gardens (Ewell), where <supI</sup had spent so many happy months.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1491": {
-    "English Original": "Had <supa</sup quiet dinner the captain, Mrs., Miss and Harry.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1492": {
-    "English Original": "In the evening drew Lifeguard on horseback [' Shaw, the Lifeguardsman,' shown at the <sup1898</sup Exhibition] for little Herbert, and something for Emily.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1493": {
-    "English Original": "Left them with <supa</sup lantern (the night being dark) to meet my companions at the station.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1494": {
-    "English Original": "Got there too early, and paced the platform, ruminating sorrowfully on the changes since <supI</sup was there last.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1495": {
-    "English Original": "Reached home wet through.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1496": {
-    "English Original": "Good fire, dry shoes, and bed.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1497": {
-    "English Original": "Painted on brick wall.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1498": {
-    "English Original": "Mr. Taylor and his son (an old acquaintance of mine at Ewell), in the army, and six feet, came to see me.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1499": {
-    "English Original": "Both he and his father got double barrels ; pheasant in son's pocket.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1500": {
-    "English Original": "They saw my pictures, expressed pleasure, and in leaving presented me with cock bird.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1501": {
-    "English Original": "The parents and Miss\n\nthought my pictures beautiful.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1502": {
-    "English Original": "<supI</sup walked with them to the gate at the bottom of the park, and there met Emma and Mrs. B out of breath.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1503": {
-    "English Original": "They had driven after the captain, also to see my landscape.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1504": {
-    "English Original": "Offered to show them again, but the father would not permit the trouble.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1505": {
-    "English Original": "Parted, promising to spend Christmas with them.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1506": {
-    "English Original": "Tried to resume painting.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1507": {
-    "English Original": "All then took usual walk.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1508": {
-    "English Original": "Hunt, during day, had <supa</sup letter containing offer for his picture of ' Proteus.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1509": {
-    "English Original": "He w <supT</sup rote accepting it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1510": {
-    "English Original": "William came and w <supr</sup orked at his sketch, and Sir John Reid called to see my pictures.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1511": {
-    "English Original": "Were both highly pleased.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1512": {
-    "English Original": "Took them to see Hunt's and Collins'.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1513": {
-    "English Original": "Mr. B  officious and revelling in snobbiness at having such distinguished persons at the farm.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1514": {
-    "English Original": "All painted after breakfast Hunt at grass ; myself, having nearly finished the wall, went on to complete stalk and lower leaves of Canterburybell in the corner.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1515": {
-    "English Original": "Young, who was with Hunt, said he heard the staghounds out ; went to discover, and came running in in <supa</sup state of frenzied excitement for us to see the hunt.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1516": {
-    "English Original": "Saw<supr</sup about fifty riders after the hounds, but missed seeing the stag, it having got some distance ahead.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1517": {
-    "English Original": "Moralised afterwards, thinking it <supa</sup savage and uncivilised sport.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1518": {
-    "English Original": "All rose early to get in time for train at Ewell, to spend the day at Waddon.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1519": {
-    "English Original": "Were too late, so walked into Epsom, expecting there to meet <supa</sup train.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1520": {
-    "English Original": "Found nothing before past one.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1521": {
-    "English Original": "Walked towards the downs, and to church at eleven, where heard very good sermon.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1522": {
-    "English Original": "Collins so pious in actions that he was watched by kindlooking man opposite.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1523": {
-    "English Original": "Walked afterwards to Mrs. Hodgkinson's, but found she was too unwell to sit with us, so dined with her husband ; capital dinner.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1524": {
-    "English Original": "Sat with Mrs. H  in her bedroom, leaving them smoking downstairs, and took leave about halfpast nine, Mr. Hodgkinson walking with us to station.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1525": {
-    "English Original": "All worked ; bitter cold.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1526": {
-    "English Original": "William left us after dinner.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1527": {
-    "English Original": "Hunt read <supa</sup letter from purchaser of his picture ; some money in advance enclosed in the same, and an abusive fragment of a note upon our abilities.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1528": {
-    "English Original": "Felt\n\nstupidly ruffled and badtempered.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1529": {
-    "English Original": "painted indoors, and from the window worked at some sheep driven opposite ; <supI</sup still at dandelions and groundsel.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1530": {
-    "English Original": "Kitten most playful about me ;\n\nlaid in my lap whilst painting, but was aroused by <supa</sup little fieldmouse rustling near the box.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1531": {
-    "English Original": "Made <supa</sup pounce upon, but failed in catching it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1532": {
-    "English Original": "A drizzling rain part of the day.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1533": {
-    "English Original": "Cut <supa</sup great deal of wood, to get warm.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1534": {
-    "English Original": "Returned, and found <supa</sup clerk from Chancery Lane lawyers in waiting upon me, who came to induce me to attend chambers and swear to my own signature upon Mr. Drury's will.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1535": {
-    "English Original": "Told him <supI</sup could not attend earlier than next week.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1536": {
-    "English Original": "Hunt expected Sir George Glynn (to see the pictures), who came, accompanied by his curate and another gentleman, about the middle of the day, and admired them much.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1537": {
-    "English Original": "Suggested curious alterations to both Collins' and Hunt's ; that C. should make the 'Two Women Grinding at the Mill' in an Arabian tent, evidently supposing that the subject was biblical instead of in futurity.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1538": {
-    "English Original": "After they were gone Hunt's uncle and aunt came, both of whom understood most gratifyingly every object except my waterrat, which the male relation (when invited to guess at it) eagerly pronounced to be a hare.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1539": {
-    "English Original": "Perceiving by our smile that he had made <supa</sup mistake, <supa</sup rabbit <supw</sup <supr</sup as next hazarded, after which <supI</sup have a faint recollection of <supa</sup dog or cat being mentioned by the spouse, who had brought with her <supa</sup spongecake and bottle of sherry, of which we partook at luncheon.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1540": {
-    "English Original": "Mutual success and unblemished happiness was whispered over the wine, soon after which they departed in a ponychaise.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1541": {
-    "English Original": "Laughed greatly over the\n\nday, H. and self.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1542": {
-    "English Original": "This clay hope to entirely finish my ivy background.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1543": {
-    "English Original": "Went down to the wall to give <supa</sup last look.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1544": {
-    "English Original": "The day mild as summer ; raining began about twelve.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1545": {
-    "English Original": "Young came with <supa</sup present of <supa</sup bottle of catsup.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1546": {
-    "English Original": "William made his appearance about the same time, and told us of the brutal murdering going on again in Paris.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1547": {
-    "English Original": "He did not paint.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1548": {
-    "English Original": "Young brought <supa</sup dead mole that was ploughed up in the field <supI</sup paint in.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1549": {
-    "English Original": "Though somewhat acquainted with the form of the animal, was much surprised at the size and strength of its forehands.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1550": {
-    "English Original": "Finished, and chopped wood.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1551": {
-    "English Original": "In the evening Will slept, H. wrote letters, C. read the Bible, and self Shakespeare ; and, later, walked out with H. in the garden, it being such <supa</sup calm, warm night.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1552": {
-    "English Original": "Requested landlady to send in bill, intending to leave to morrow.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1553": {
-    "English Original": "Had much consultation about the amount neces sary for her, in consideration of the many friends entertained\n\nby us.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1554": {
-    "English Original": "Felt, with Collins, <supa</sup desire to sink into the earth and come up with pictures in our respective London studios.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1555": {
-    "English Original": "On the following day Millais returned to Gower Street, his backgrounds being now completed ; set to work at once on the figures in the two pictures, Miss Siddal (afterwards Mrs. D. G. Rossetti) posing as the model for \" Ophelia.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1556": {
-    "English Original": "Mr. Arthur Hughes has an interesting note about this lady in The Letters of D. G. Rossetti to II illiaiu Alliughaiu.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1557": {
-    "English Original": "He says : \" Deverell accompanied his mother one day to <supa</sup milliner's.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1558": {
-    "English Original": "Through an open door he saw <supa</sup girl working with her needle : he got his mother to ask her to sit to him.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1559": {
-    "English Original": "She was the future Mrs. Rossetti.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1560": {
-    "English Original": "Millais painted her for his 'Ophelia' wonderfully like her.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1561": {
-    "English Original": "She was tall and slender, with red, coppery hair and bright consumptive complexion, though in these early years she had no striking signs of illhealth.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1562": {
-    "English Original": "She had read Tennyson, having first come to know something about him by finding one or two of his poems on <supa</sup piece of paper which she brought home to her mother wrapped round <supa</sup pat of butter.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1563": {
-    "English Original": "Rossetti taught her to draw; she used to be drawing while sitting to him.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1564": {
-    "English Original": "Her drawings were beautiful, but without force.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1565": {
-    "English Original": "They were feminine likenesses of his own.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1566": {
-    "English Original": "Miss Siddal had <supa</sup trying experience whilst acting as <supa</sup model for \"Ophelia.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1567": {
-    "English Original": "In order that the artist might get the proper set of the garments in water and the right atmosphere and aqueous effects, she had to lie in <supa</sup large bath filled with water, which was kept at an even temperature by lamps placed beneath.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1568": {
-    "English Original": "One day, just as the picture was nearly finished, the lamps went out unnoticed by the artist, who was so intenselv<supJ</sup absorbed in his work that he thought <supO</sup of nothing else, and the poor lady was kept floating in the cold water till she was quite benumbed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1569": {
-    "English Original": "She herself never complained of this, but the result was that she contracted <supa</sup severe cold, and her father (an auctioneer at Oxford) wrote to Millais, threatening him with an action for ^50 damages for his carelessness.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1570": {
-    "English Original": "Eventually the matter was satisfactorily compromised.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1571": {
-    "English Original": "Millais paid the doctor's bill; and Miss Siddal, quickly recovering, was none the worse for her cold bath.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1572": {
-    "English Original": "D. G. Rossetti had already fallen in love with her, struck with her \"unworldly simplicity and purity of aspect\" qualities which, as those who knew her bear witness, Millais succeeded in conveying to the canvas but it was not until <sup1</sup 860 that they married.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1573": {
-    "English Original": "About the year <sup1873</sup \"Ophelia\" was exhibited at South Kensington ; and Millais, going one day to have <supa</sup look at it, noticed at once that several of the colours he had used in <sup1851</sup had gone wrong notably the vivid green in the waterweed and the colouring of the face of the figure.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1574": {
-    "English Original": "He therefore had the picture back in his studio, and in <supa</sup short time made it bloom again, as we see it today, as brilliant and fresh as when first painted.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1575": {
-    "English Original": "This is one of the great triumphs of his PreRaphaelite days.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1576": {
-    "English Original": "The colour, substance, and surface of his pictures have remained as perfect as the day they were put on.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1577": {
-    "English Original": "Nothing in recent Art, <supI</sup venture to say, exceeds the richness, yet perfect harmony, of the colours of Nature in \"Ophelia\" and \" The Blind Girl\"; and the same thing may be said of \"The Proscribed Royalist,\" \"The Black Brunswicker,\" and the women's skirts in \"The Order of Release\"; whilst the man's doublet in \"The Huguenot\" and the woman's dress in \"Mariana\" are perhaps the most daring things of the kind ever attempted.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1578": {
-    "English Original": "Perhaps the greatest compliment ever paid to \" Ophelia,\" as regards its truthfulness to Nature, is the fact that a certain Professor of Botany, being unable to take his class into the country and lecture from the objects before him, took them to the Guildhall, where this work was being exhibited, and discoursed to them upon the flowers and plants before them,\n\nwhich were, he said, as instructive as Nature herself.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1579": {
-    "English Original": "Mr Spielmann is enthusiastic in his praise of the picture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1580": {
-    "English Original": "He speaks of it as \"one of the greatest of Millais' conceptions, as well as one of the most marvellously and completely accurate and elaborate studies of Nature ever made by the hand of man.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1581": {
-    "English Original": "The robin whistles on the branch, while the distraught Ophelia sings her own deathdirge, just as she sinks beneath the water with eyes wide open, unconscious of the danger and all else.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1582": {
-    "English Original": "It is one of the proofs of the greatness of this picture that, despite all elaboration, less worthy though still superb of execution, the brilliancy of colour, diligence of microscopic research, and masterly handling, it is Ophelia's face that holds the spectator, rivets his attention, and stirs his emotion.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1583": {
-    "English Original": "The picture passed successively through the hands of Mr. Farrer, Mr. B. Windus, and Mr. Fuller Maitland, before it came into the possession of Mr. Henry Tate, to whose generosity the public are indebted for its addition to the\n\nI.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1584": {
-    "English Original": "10\n\nNational Gallery of British Art.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1585": {
-    "English Original": "It was exceedingly well engraved by Mr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1586": {
-    "English Original": "I. Stevenson in 1866.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1587": {
-    "English Original": "In the <sup1852</sup Exhibition, when both the \"Ophelia\" and \"The Huguenot\" were exhibited, there was another beautiful \"Ophelia\" by Millais' friend, Arthur Hughes, who is good enough to send me the following note about the two\n\npictures : \"One of the nicest things that <supI</sup remember is connected with an Ophelia <supI</sup painted, that was exhibited in the Academy at the same time as his [Millais'] own most beautiful and wonderful picture of that subject.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1588": {
-    "English Original": "Mine met its fate high up in the little octagon room ;\\ but on the morning of the varnishing, as <supI</supwas going through the first room, before <supI</sup knew where <supI</sup was, Millais met me, saying, Aren't you he they call Cherry ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1589": {
-    "English Original": "(my name in the school).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1590": {
-    "English Original": "<supI</sup said <supI</sup was.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1591": {
-    "English Original": "Then he said he had just been up <supa</sup ladder looking at my picture, and that it gave him more pleasure than any picture there, but adding also very truly that <supI</sup had not painted the right kind of stream.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1592": {
-    "English Original": "He had just passed out of the Schools when <supI</sup beoan in them, and <supI</sup had <supa</sup most <supo</sup enormous admiration for him, and he always looked so beautiful tall, slender, but strong, crowned with an ideal head, and (as Rossetti said) 'with the face of an angel.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1593": {
-    "English Original": "He could not have done a kinder thing, for he knew <sup1</sup should be disappointed at the place my picture had.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1594": {
-    "English Original": "\"The Huguenot\" was exhibited with the following title and quotation in the catalogue : \" <supA</sup Huguenot, on St. Bartholomew's Day, refusing to shield himself from danger by wearing the Roman Catholic badge.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1595": {
-    "English Original": "(See The Protestant Reformation in France, vol.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1596": {
-    "English Original": "When the clock of the Palais de Justice shall sound upon the great bell at daybreak, then each good Catholic must bind <supa</sup strip of white linen round his arm and place <supa</sup fair white cross in his cap.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1597": {
-    "English Original": "(The Order of the Due de Guise.)",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1598": {
-    "English Original": "Mr. Stephens says: \"When 'A Huguenot' was exhibited at the Royal Academy, crowds stood before it all day long.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1599": {
-    "English Original": "Men lingered there for hours, and went away but to return.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1600": {
-    "English Original": "It had clothed the old feelings of men in <supa</sup new garment, and its pathos found almost universal acceptance.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1601": {
-    "English Original": "This was the picture which brought Millais to the height of his reputation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1602": {
-    "English Original": "Nevertheless, even A Huguenot did not silence all challengers.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1603": {
-    "English Original": "There were critics who said that\n\n\\ Commonly known to artists of the period as \" The Condemned Cell.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1604": {
-    "English Original": "the man's arm coulcl not reach so far round the lady's neck, and there were others, knowing little of the South, who carped at the presence of nasturtiums in August.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1605": {
-    "English Original": "It was on the whole, however, admitted that the artist had at last conquered his public, and must henceforth educate them.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1606": {
-    "English Original": "The picture is said to have been painted under <supa</sup commission from <supa</sup Mr. White (a dealer) for ^150; but, as <supa</sup fact, Millais received ^250 for it, which was paid to him in instalments, and in course of time the buyer gave him ^50 more, because he had profited much by the sale of the engraving.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1607": {
-    "English Original": "The dealers no doubt made immense sums out of the copyrights alone of \"The Huguenot,\" \"The Black Brunswicker,\" and \" The Order of Release \" ; while as to \"The Huguenot\" at least the poor artist had to wait many months for his money and to listen meanwhile to <supa</sup chorus of faultfinding from the pens of carping scribblers, whose criticism, as is now patent to all the world, proved only their ignorance of the subject on which they were writing.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1608": {
-    "English Original": "In turn, every detail of the picture was objected to on one score or another, even the lady herself being remarked upon as \"very plain.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1609": {
-    "English Original": "No paper, except Punch and the Spectator [William Rossetti], showed the slightest glimmering of comprehension as to its pathos and beauty, or foresaw the hold that it eventually obtained on the heart of the people.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1610": {
-    "English Original": "But Tom Taylor, the Art critic of Pimch at that time, had something more than an inkling of this, as may be seen in his boldlyexpressed critique in Punch, vol.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1611": {
-    "English Original": "i. of 1852, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1612": {
-    "English Original": "The women in \"Ophelia\" and \"The Huguenot\" were essentially characteristic of Millais' Art, showing his ideal of womankind as gentle, lovable creatures ; and, whatever Art critics may say to the contrary, this aim the portrayal of woman at her best is one distinctly of our own national school.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1613": {
-    "English Original": "As Millais himself once said, \" It is only since Watteau and Gainsborough that woman has won her right place in Art.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1614": {
-    "English Original": "The Dutch had no love for women, and the Italians were as bad.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1615": {
-    "English Original": "The women's pictures by Titian, Raphael, Rembrandt, Van Dyck, and Velasquez are magnificent as works of Art ; but who would care to kiss such women ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1616": {
-    "English Original": "Watteau, Gainsborough, and Reynolds were needed to show us how to do justice to woman and to reflect her sweetness.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1617": {
-    "English Original": "A sweeping statement like this is, of course, open to\n\nexceptions there are many notable examples in both French and Italian Art in which woman receives her due\n\nbut in the main it is undoubtedly true. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1618": {
-    "English Original": "The Huguenot\" was the first of <supa</sup series of four pictures embracing \" The Proscribed Royalist,\" \" The Order of Release,\" and \"The Black Brunswicker,\" each of which represents a more or less unfinished story of unselfish love, in which the sweetness of woman shines conspicuous.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1619": {
-    "English Original": "The figure of the Huguenot (as <supI</sup have said before) was painted for the most part from Mr. Arthur (now General) Lempriere an old friend of the family and afterwards completed with the aid of a model.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1620": {
-    "English Original": "Of his sittings to Millais during 1853, MajorGeneral Lempriere kindly sends me the following: \" It was a short time before <supI</sup got my commission in the Royal Engineers in the year <sup1853</sup (when <supI</sup was about eighteen years old) that <supI</sup had the honour of sitting for his famous picture of ' The Huguenot.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1621": {
-    "English Original": "If <supI</sup remember right, he was then living with his father and mother in Bloomsbury Square.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1622": {
-    "English Original": "<supI</sup used to go up there pretty often and occasionally stopped there.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1623": {
-    "English Original": "His father and mother were always most kind.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1624": {
-    "English Original": "After several sittings <supI</sup remember he was not satisfied with what he had put on the canvas, and he took a knife and scraped my head out of the picture, and did it all again.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1625": {
-    "English Original": "He always talked in the most cheery way all the time he was painting, and made it impossible for one to feel dull or tired.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1626": {
-    "English Original": "<supI</sup little thought what an honour was being conferred on me, and at the time did not appreciate it, as <supI</sup have always since. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1627": {
-    "English Original": "<supI</sup remember, however, so well his kindness in giving me, for having sat, a canarybird and cage, and also a watercolour drawing from his portfolio ('Attack on Kenilworth Castle '), which, with several others of his early sketches which <supI</sup have, were exhibited at the Royal Academy of Arts after his death.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1628": {
-    "English Original": "<supI</sup was abroad, off and on, for some thirty years after <supI</sup got my commission, and almost lost sight of my dear old friend.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1629": {
-    "English Original": "He, in the meantime, had risen so high in his profession that <supI</supfelt almost afraid of calling on him.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1630": {
-    "English Original": "One morning, however, being near Palace Gate, <supI</sup plucked up courage, and went to the house and gave my card to the butler, and asked him to take it in to Sir John, which he did ; and you can imagine my delight when Sir John\n\nalmost immediately came out of his studio in his shirtsleeves, straight to the front door, and greeted me most heartily.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1631": {
-    "English Original": "<supI</sup was most deeply touched, about <supa</sup fortnight before he died, at his asking to see me, and when <supI</sup went to his bedside at his putting his arms round my neck and kissing me.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1632": {
-    "English Original": "A lovely woman (Miss Ryan) sat for the lady in \"The Huguenot,\" Mrs. George Hodgkinson, the artist's cousin, taking her place upon occasion as <supa</sup model for the left arm of the figure.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1633": {
-    "English Original": "Alas for Miss Ryan !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1634": {
-    "English Original": "her beauty proved a fatal gift : she married an ostler, and her later history is a sad one.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1635": {
-    "English Original": "My father was always reluctant to speak of it, feeling perhaps that the publicity he had given to her beauty might in some small measure have helped (as the saying is) to turn her head.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1636": {
-    "English Original": "The picture was the first of many engraved by his old friend, Mr. T. O. Barlow, R.A., and exceedingly well it was done.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1637": {
-    "English Original": "It eventually became the property of Mr. Miller, of Preston, and now belongs to his son.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1638": {
-    "English Original": "As this orentleman c <supO</sup bought several of my father's works, and is so frequently mentioned hereafter, the description of him by Madox Brown in D. G. Rossetti's Letters may be of interest : \"This Miller is <supa</sup jolly, kind old man, with streaming white hair, fine features, and <supa</sup beautiful keen eye like Mulready's.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1639": {
-    "English Original": "<supA</sup rich brogue (he was Scotch, not Irish), <supa</sup pipe of Cavendish, and <supa</sup smart rejoinder, with <supa</sup pleasant word for every man, woman, and child he met, are characteristic of him.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1640": {
-    "English Original": "His house is full of pictures, even to the kitchen.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1641": {
-    "English Original": "Many pictures he has at all his friends' houses, and his house at Bute is also filled with his inferior ones.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1642": {
-    "English Original": "His hospitality is some what peculiar of its kind.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1643": {
-    "English Original": "His dinner, which is at six, is of one joint and vegetables, without pudding.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1644": {
-    "English Original": "Bottled beer for drink.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1645": {
-    "English Original": "<supI</sup never saw any wine.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1646": {
-    "English Original": "After dinner he instantly hurries you off to tea, and then back again to smoke.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1647": {
-    "English Original": "He calls it meattea, and boasts that few people who have ever dined with him come back again.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1648": {
-    "English Original": "Mr. W. M. Rossetti describes him as '\" one of the most cordial, largehearted and lovable men <supI</sup ever knew.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1649": {
-    "English Original": "He was so strong in belief as to be <supa</sup sceptic as regards the absence of belief.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1650": {
-    "English Original": "<supI</sup once heard him say, in his strong Scotch accent, 'An atheist, if such an animal ever really existed.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1651": {
-    "English Original": "What the supposititious animal would do, <supI</sup foroet.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1652": {
-    "English Original": "<j\n\nAmongst other work of Millais this year was the retouch\n\ning of \" Cymon and Iphigenia,\" <supa</sup picture done by him in his seventeenth year, and now vastly improved by <supa</sup fresh impression of colour and <supa</sup further PreRaphaelite finish of the flowers in the foreground.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1653": {
-    "English Original": "\"Memory,\" a little head of the Marchioness of Ripon, was also painted this winter.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1654": {
-    "English Original": "A more important work, however, is \"The Bridesmaid,\" for the head of which Mrs. Nassau Senior sat. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1655": {
-    "English Original": "The Return of the Dove \" was also finished and sent to its owner along with the following letter :\n\n To Mr. Combe.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1656": {
-    "English Original": "\"83, GOWER STREET, BEDFORD SQUARE,\n\n\" December gt/i, 1851.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1657": {
-    "English Original": "MY DEAR MR. COMBE, <supI</sup have touched your picture, <sup4</sup The Return of the Dove,' at last ; and hope it will arrive\n\nsafely. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1658": {
-    "English Original": "We came home on Saturday night.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1659": {
-    "English Original": "My brother brought the pictures on Monday evening, one of them not having dried completely.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1660": {
-    "English Original": "We have all fortunately escaped colds, which (considering the great exposure we have undergone) is something to be thankful for.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1661": {
-    "English Original": "My first two days of London have again occasioned that hatred for the place <supI</sup had upon returning to it last year.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1662": {
-    "English Original": "<supI</sup had <supa</sup headache yesterday, and another about to come now.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1663": {
-    "English Original": "You will perceive in some lights <supa</sup little dulness on the surface of 'The Dove's' background.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1664": {
-    "English Original": "It will all disappear when it is varnished, which must not be for some little time.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1665": {
-    "English Original": "It is almost impossible to paint <supa</sup picture without some bloom\n\ncoming on the face of it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1666": {
-    "English Original": "\"You recollect it was arranged between Charley and myself that it should hang nearest the window, beside Hunt's.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1667": {
-    "English Original": "Please let it be a little leaned forward.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1668": {
-    "English Original": "My mother istalking with Hunt approvingly of the works <supI</sup have just had home, and <supI</sup cannot write more without jumbling what they are saying in this.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1669": {
-    "English Original": "\"In great haste,\n\n\" Most sincerely yours,\n\n\" JOHN EVERETT MILLATS.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1670": {
-    "English Original": "' The Dove ' will be sent off to you tomorrow (Wednesday) by rail.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1671": {
-    "English Original": "The reason for hanging the picture nearer the light is that it is much darker than Collins' ' Nun.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1672": {
-    "English Original": "Another letter addressed to Mrs. Combe, and referring to the sale of \" Ophelia,\" carries us to the end of this year.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1673": {
-    "English Original": "70 Mrs. Combe.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1674": {
-    "English Original": "83, GOWER STREET,\n\n\" December \\ 2th, 1851.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1675": {
-    "English Original": "MY DEAR MRS. COMBE, <supI</sup enclose <supa</sup little book written by Miss Rossetti.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1676": {
-    "English Original": "<supI</sup promised to send it to you <supa</sup long while ago, but have only recollected it now.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1677": {
-    "English Original": "<supI</sup think you will greatly admire it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1678": {
-    "English Original": "My remembrance of it is but slight, not having read it for several years.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1679": {
-    "English Original": "<supI</sup was glad to hear that ' The Dove ' arrived safely, and that it gains upon acquaintance.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1680": {
-    "English Original": "\"Mr. Farrer bought the 'Ophelia' the day before yesterday for three hundred guineas.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1681": {
-    "English Original": "The day previous, <supa</sup Mr. White, a purchaser, was so delighted with it that he half closed with me.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1682": {
-    "English Original": "<supI</sup expect he will call tomorrow to say that he will have\n\nit, when he will be much disappointed to hear of its sale. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1683": {
-    "English Original": "Wilkie Collins is writing <supa</sup Christmas book for which <supI</sup have undertaken to make <supa</sup small etching.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1684": {
-    "English Original": "Hunt's prize picture of ' Proteus' is sold to <supa</sup gentleman at Belfast which sets him (H.) up in opulence for the winter.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1685": {
-    "English Original": "<supI</sup saw Charley last night.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1686": {
-    "English Original": "He is just the same as ever so provokingly quiet.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1687": {
-    "English Original": "<supI</sup fancy you have rather mistaken my feelings towards him ; not <supa</sup whit of our friendship has diminished.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1688": {
-    "English Original": "<supI</sup was with him last night, but little or nothing he said.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1689": {
-    "English Original": "<sup1</sup played backgammon with the matron. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1690": {
-    "English Original": "Let me know what you think of the ' Rivulets.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1691": {
-    "English Original": "\"In haste, yours sincerely,\n\n\" JOHN EVERETT MILLAIS.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1692": {
-    "English Original": "CHAPTER V.\n\n 18521853\n\nThe Volunteer movement Reminiscences of Turner Meeting with Thackeray Millais proposes to paint \"Romeo and Juliet \"^Goes to \"George Inn\" at Hayes Begins painting \"The Proscribed Royalist\" Arthur Hughes on his sittings Millais in the hunting field \"The Order of Release \"Models for this picture Funeral of the Duke of Wellington Amusing letter to Mr. Hodgkinson Millais' first expedition to Scotland With the Ruskins to .Northumberland and thence to Callander Their life in the North Discussion on architecture Dr. Acland The Free Kirk in <sup1852</sup Meeting with Gambart and Rosa Bonheur Millais' comic sketchbook He is slighted by the Academy Foreboding on the election day He is made an A.R.A.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1693": {
-    "English Original": "FROM the first day of <sup1852</sup down to the opening of the Royal Academy Millais continued to work away at the figures in \"The Huguenot\" and \"Ophelia,\" devoting all his spare time to pictures of smaller importance.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1694": {
-    "English Original": "His life at this period may be gathered from the following letters, in which some reference to historical events invites\n\n<supa</sup word of explanation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1695": {
-    "English Original": "<supA</sup series of revolutions in France, commencing in 1848, culminated in the famous coup cCttat of December, 1851, when for the first time universal suffrage was established, and as the result, Prince Louis Napoleon was reelected President of the Republic for ten years certain.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1696": {
-    "English Original": "He soon let them know what that meant.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1697": {
-    "English Original": "No sooner was he installed in office than he banished into exile the distinguished general officers who were opposed to him, disbanded the National Guard and appointed others in their place, dismissed eightythree members of the late legislative assembly, and finally put an end to the liberty of the Press.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1698": {
-    "English Original": "These highhanded proceedings threw all England into <supa</sup ferment.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1699": {
-    "English Original": "The newspapers raised a howl of execration against the tyrant ; and the Government, taking alarm, established the Channel Fleet and called into existence <supa</sup number of volunteer rifle corps to aid in the national defence.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1700": {
-    "English Original": "A glimpse at what followed will be found in the correspondence.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1701": {
-    "English Original": "<sup1853</sup\n\n\n\n To Mr. Combe.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1702": {
-    "English Original": "83, GOWER STREET,\n\n\"January Qth, 1852.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1703": {
-    "English Original": "DEAR MR. COMBE, Believe me, <supI</sup have made many struggles to write to you, but somehow or other <supI</sup have felt stupid and incompetent directly my hand clenched the pen.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1704": {
-    "English Original": "<supI</sup fear it is my normal state now, but feel something must be written. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1705": {
-    "English Original": "<supI</sup have been working most determinedly since Christmas, but (curiously) with little effect.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1706": {
-    "English Original": "<supI</sup have given up all visiting, so <supI</sup cannot be accused on that score of giving little evidence of progress.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1707": {
-    "English Original": "Next week <supI</sup hope to sail into <supa</sup kind of artistic tradewind, which will carry me on to the Exhibition.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1708": {
-    "English Original": "The whole of this day <supI</sup have been drawing from two living creatures embracing each other.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1709": {
-    "English Original": "\"In looking over this, <supI</sup see so many <supI</sup haves' that <supI</sup feel inclined to throw it into the fire and cab off to the Great Western rail and on to Oxford, to show you that <supI</sup have not forgotten you.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1710": {
-    "English Original": "My Christmas was <supa</sup very leisurely time.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1711": {
-    "English Original": "<supI</sup went into the country the day before, and returned the day after in <supa</sup state of great depression.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1712": {
-    "English Original": "Both Hunt and Charley have been, <supI</sup fancy, much in the same condition as myself in regard to working.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1713": {
-    "English Original": "The latter has not even yet determined upon his composition.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1714": {
-    "English Original": "<supI</sup doubt whether he will have time to complete it for the Academy.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1715": {
-    "English Original": "Hunt came back from Oxford most elaborately delighted.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1716": {
-    "English Original": "<supI</sup was astonished at the quantity of visiting he managed in the time.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1717": {
-    "English Original": "\"They say that Turner has left ,200,000 some estimate it at double that amount which <supI</sup very much doubt.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1718": {
-    "English Original": "<supI</sup hear from good authority that <supa</sup great portion of this money is going towards some houses for decayed limners, which is very creditable to Mr. T. Probably some of the worst living daubers are looking forward to the time when they are in capable of spoiling more canvases, and are lodged in the Turner Almshouses.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1719": {
-    "English Original": "C  has no chance, for they must must be oilpainters.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1720": {
-    "English Original": "<supI</sup hope my garrulous capacity will return to me soon, when <supI</sup intend writing to Mrs. Pat.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1721": {
-    "English Original": "Remember me to her, and believe me Most sincerely yours,\n\n\"JOHN E.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1722": {
-    "English Original": "My father had but <supa</sup slight acquaintance with Turner, though my mother was among the few of her sex who were ever permitted to enter the great landscape painter's house.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1723": {
-    "English Original": "She knew him well, and from her <supI</sup obtained some interesting notes, which <supI</sup give in her own words : \" <supI</sup used frequently to go and see Turner and his pictures, and though very few ladies were ever allowed to enter his doors, he was verv kind <supj</sup to young artists.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1724": {
-    "English Original": "He lived like <supa</sup hermit in <supa</sup great lonely\n\n\n\nSTUDIES FOR \"THE ROYALIST.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1725": {
-    "English Original": "<sup1853</sup\n\nhouse in Queen Anne Street ; his walls hung with many of his own pictures, which he re fused to part with.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1726": {
-    "English Original": "He would not sell these on any account whatever, and one day he showed had been sent to him to fill in to any amount he chose if he would sell one of his pictures, but he laughed at the idea and sent back the cheque immediately.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1727": {
-    "English Original": "\"The glass over many of his works was broken, and large pieces of brown paper were pasted over\n\nthe cracks, for he would not be at the expense of new ones.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1728": {
-    "English Original": "Mr. Frith rightly described the studio when he said 'the walls were almost paperless, the roof far from weatherproof, and the whole place desolate in the extreme'; whilst Munro\\ used to say that the very look of the place was enough to\n\ngive <supa</sup man <supa</sup cold. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1729": {
-    "English Original": "Withal he had <supa</sup great sense of humour, and when telling <supa</sup story would put his finger to the side of his nose, and look exactly like ' Punch.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1730": {
-    "English Original": "\"Apropos of his physiognomy, he always resisted any attempt to make <supa</sup likeness of him ; but one day after dinner\n\n<sup\\</sup Munro of Novar, who lived in Hamilton Place, possessed several of Turner's best works, for which he had paid sums not exceeding ^200.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1731": {
-    "English Original": "Amongst them was one of the artist's masterpieces, \"The Grand Canal at Venice,\" which, after Mr. Munro's death, was purchased by Lord Dudley for nearly 8oco.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1732": {
-    "English Original": "1852] REMINISCENCES OF TURNER\n\nat the house of <supa</sup friend, Count d'Orsay, <supa</sup clever artist made an excellent drawing of him drinking his coffee ; but this was done without Turner's knowledge, and is, <supI</sup believe, one of the few portraits of him now extant.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1733": {
-    "English Original": "''He disliked society, and was intimate with very few people, his principal friends being Mr. Bicknell, of Denmark Hill, and Munro, of Novar, though at times he frequented the Athenaeum Club.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1734": {
-    "English Original": "After a while he took an intense dislike to his home in Queen Anne Street, and only Munro knew where he removed\n\n\n\nMILLAIS ON THE WAY TO PAINT \"THE ROYALIST\" Sketch by William Millais\n\nto.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1735": {
-    "English Original": "Before this, however, he spent much time with Mr. Fawkes, of Farnley Hall, near Leeds, for whom he painted many pictures.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1736": {
-    "English Original": "<supI</sup have stayed there, and examined the exquisite watercolour landscapes he did there, as well as a large portfolio of birds' eggs and feathers, also in watercolours, most beautifully finished.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1737": {
-    "English Original": "Turner had <supa</sup fancy for architecture, but the lodges which he planned at Farnley are of <supa</sup sort of heavy Greek design, and not quite a success.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1738": {
-    "English Original": "His one pleasure in the days when <supI</sup knew him was driving himself about the country ; but he was evidently not accustomed to horses, as he paid no attention to them, being too much engrossed in admiring the landscape, and in conse quence, one day Mr. Fawkes' family, who were committed to\n\nhis tender mercies, found themselves sitting in the middle of the road with the trap on the top of them.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1739": {
-    "English Original": "Turner told me that the way in which he: studied clouds was by taking <supa</sup boat, which he anchored in some stream, and then lay on his back in it, gazing at the heavens for hours, and even days, till he had grasped some effect of light which he desired to transpose to canvas.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1740": {
-    "English Original": "No one was admitted to his house in Queen Anne Street unless specially invited.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1741": {
-    "English Original": "There was a sort of little iron grille in the centre of the front door, through which the old housekeeper used to look and see who was there.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1742": {
-    "English Original": "As an example of the rarity of visitors, the late Lord\n\nLansdowne, who was <supa</sup great lover of Art and a friend of Turner's, told me that after receiving no answers to his letters he resolved to beard the lion in his den.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1743": {
-    "English Original": "He therefore went and knocked at the door, when <supa</sup shock head appeared at the iron grating, and its owner called out, Cats'meat, <supI</sup suppose ? '",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1744": {
-    "English Original": "Yes, cats'meat,' answered his lordship, and squeezed himself in.\\\n\n\" After leaving Queen Anne Street, Turner seems to have\n\ntaken a fancy to a little oldfashioned inn near Cheyne Walk, Chelsea.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1745": {
-    "English Original": "It was kept by <supa</sup widow, and he asked if he might be allowed to live there.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1746": {
-    "English Original": "On her inquiring as to who he was, he said to her, What is your name ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1747": {
-    "English Original": "to which she replied, Mrs.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1748": {
-    "English Original": "' Well,' said Turner, <supI</sup 'm Mr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1749": {
-    "English Original": "In this house he remained for some years, visiting only his friend Munro and the Athenseum Club.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1750": {
-    "English Original": "At last, one day he became seriously ill, and itwas only by his constantly calling out for Lady Eastlake (the wife of the President of the Royal Academy), and on her being sent for, that his identity became known.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1751": {
-    "English Original": "\\ The Marquis of Lansdowne was <supa</sup man of great benevolence and culture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1752": {
-    "English Original": "At his table Millais and his wife constantly dined, and there they met all the literary and artistic celebrities of the day.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1753": {
-    "English Original": "He gave exquisite entertainments, and after dessert always called in the Italian cook to compliment him on the feast.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1754": {
-    "English Original": "i8 <supS</sup 2] CORRESPONDENCE <sup159</sup\n\nReturning now to the correspondence, <supI</sup find the following letter :\n\n To Mr. Combe.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1755": {
-    "English Original": "83, GOWER STREET, \"February \\$t/t, 1852.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1756": {
-    "English Original": "MY DEAR MR. COMBE, Don't be alarmed at this mighty circular, and think that the French have already landed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1757": {
-    "English Original": "They have not come here yet ; but, to guard against such an awful event, the gentlemen of London are arming themselves and forming rifle clubs ; and those who cannot give their personal assistance are aiding us by subscriptions for the purpose of furnishing rifles to those who cannot afford them, yet are willing to join in the service of their country clerks and the like.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1758": {
-    "English Original": "My governor is on the Committee, and my brother and self have joined.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1759": {
-    "English Original": "Several very in fluential men are at the head of it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1760": {
-    "English Original": "A number of ladies are getting up subscriptions, and ' the smallest contributions will be most thankfully received.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1761": {
-    "English Original": "In the City there are a thousand doublebarrelled riflemen, composed of the gentlemen of the Stock Exchanofc.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1762": {
-    "English Original": "<supI</sup am sure you will see that <supO</sup <supJ</sup such measures are stringent upon all Englishmen, and excuse my troubling you on such <supa</sup subject. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1763": {
-    "English Original": "Faithfully yours,\n\n\"JOHN MlLLAIS.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1764": {
-    "English Original": "The advertisement of our club has appeared three times in The Times, and we already muster upwards of two hundred gentlemen.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1765": {
-    "English Original": "Amongst those whom he saw much of at this period, and to whom he was greatly attached, were his cousins George Hodgkinson and his wife Emily.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1766": {
-    "English Original": "He frequently paid them SaturdaytoMonday visits, when he was working in London, during the years 185154.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1767": {
-    "English Original": "He also corresponded pretty regularly with Mrs. Hodgkinson, who has most kindly placed her letters at my disposal.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1768": {
-    "English Original": "\"83, GOWER STREET,\n\nMarch 6th, 1852.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1769": {
-    "English Original": "MY DEAR MRS. COMBE, <supI</sup promised some time back to write you <supa</sup letter.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1770": {
-    "English Original": "Pardon me, for <supI</supam <supa</sup wretched corres\n\npondent.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1771": {
-    "English Original": "<supI</sup am just now working so hard that <supI</sup am glad to escape anything like painting, but <supI</sup confess, writing is almost as difficult <supa</sup thing with me.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1772": {
-    "English Original": "\"I have very lately made the acquaintance of Mr. Thackeray, the author of Vanity Fair.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1773": {
-    "English Original": "He called un expectedly upon me not to see my picture, he said, but to know me.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1774": {
-    "English Original": "<supI</sup have returned his call, and find him a most agreeable man.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1775": {
-    "English Original": "Mr. Pollen and his brother also ^5 have paid me <supa</sup visit, accompanied by Mr. Dean.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1776": {
-    "English Original": "Pollen's\n\n\n\nSKETCH OF MILLAIS PAINTING THE BACKGROUND OF \"THE ROYALIST\" By William Millais\n\nbrother is a good judge of painting, which is <supa</sup rare thing in our days.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1777": {
-    "English Original": "<supI</sup am getting on slowly, but <supI</sup hope surely.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1778": {
-    "English Original": "Ophelia's head is finished, and the Huguenot is very nearly complete ; the Roman Catholic girl is but sketched in.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1779": {
-    "English Original": "<supI</sup am waiting for <supa</sup young lady who has promised me to sit for the face, but is going to undergo an operation on her throat, which will prevent her doing so for <supa</sup fortnight or more.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1780": {
-    "English Original": "... <supI</sup rarely see Hunt or Carlo, as they, like myself, stay at home in the evenings and go to rest early, so that they may rise likewise.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1781": {
-    "English Original": "<supI</sup believe they are progressing with their work.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1782": {
-    "English Original": "but <supI</sup daresay you know more of them than <supI</sup do.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1783": {
-    "English Original": "Yours most truly,\n\n\"JOHN EVERETT MILLAIS.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1784": {
-    "English Original": "I8 <sup5</sup 2] CORRESPONDENCE <sup161</sup\n\n To Mr. Combe.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1785": {
-    "English Original": "\"83, GOWER STREET,\n\n\"March, 1852.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1786": {
-    "English Original": "Mv DEAR MR. COMBE, Recklessly <supI</sup commence this letter, without the least knowledge of what is to follow.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1787": {
-    "English Original": "This night <supI</sup promised Hunt to spend the evening with him, but am restrained by the immensity of the distance, feeling rather tired from <supa</sup long walk we took together on Sunday, to Mr. Windus, the owner of all the celebrated pictures of the late William Turner, R.A.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1788": {
-    "English Original": "He has some\n\n\n\nDINNER AT THE \" G <supS</supEORGE INN,\" HAYES.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1789": {
-    "English Original": "Sketched by William Millais\n\nof the most valuable works in the world upwards of fifty of Turner's most excellent paintings, some of which are valued at fifteen hundred pounds, and amongst his collection he has several of mine one large and some small besides drawings.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1790": {
-    "English Original": "Some day, when you are in town, <supI</sup must take you there.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1791": {
-    "English Original": "It is really <supa</sup treat to see the house alone.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1792": {
-    "English Original": "The furniture is of the most magnificent kind, and the rooms are open to the public, <supI</sup think, twice a week.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1793": {
-    "English Original": "It is at Tottenham, about seven miles from London.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1794": {
-    "English Original": "Farrer has sent the picture of 'Mariana' to Edinburgh, to gratify the Caledonian curiosity, those people having ex pressed a wish to see some of the PreRaphaelite pictures.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1795": {
-    "English Original": "<supI</sup am continually receiving Scotch papers with frightfully long criticisms, a vast quantity of praise and, of course,\n\ni. n\n\nadvice.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1796": {
-    "English Original": "Today <supI</sup have purchased <supa</sup really splendid lady's ancient dress all flowered over in silver embroidery and <supI</sup am going to paint it for 'Ophelia.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1797": {
-    "English Original": "You may imagine it is something rather good when <supI</sup tell you it cost me, old and dirty as it is, four pounds.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1798": {
-    "English Original": "\"'The Huguenot' <supI</sup have been working at today, but not very satisfactorily, having been disturbed all the after noon.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1799": {
-    "English Original": "The Rifle Club is getting on splendidly.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1800": {
-    "English Original": "They have taken rooms in the Strand, and are increasing rapidly in numbers.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1801": {
-    "English Original": "All the country clubs are joining ; so ultimately it will become <supa</sup very prodigious assembly.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1802": {
-    "English Original": "At present the rooms they have are but offices in which they have the proposed uniform grey turned up with green.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1803": {
-    "English Original": "The costume will be drawn in the Illustrated News of next week.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1804": {
-    "English Original": "When the corps is regularly formed, it is likely (as most of the members are private gentlemen and welloff) that there will be some place for members from the country to meet and dine, and readingrooms for the accommodation of the whole body.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1805": {
-    "English Original": "<supI</sup begin to feel tired at the sight of paints, having worked without intermission for ten months.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1806": {
-    "English Original": "This year <supI</sup hope to enjoy the summer without <supa</sup millstone of <supa</sup picture hanging about my neck.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1807": {
-    "English Original": "The subject <supI</sup intend doing will not require much outofdoor painting nothing but <supa</sup sheet of water and a few trees a bit of flooded country, such as <supI</suphave seen near you at Whitham.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1808": {
-    "English Original": "\"Yours most sincerely,\n\n\"JoHN EVERETT MILLAIS.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1809": {
-    "English Original": "\"83, GOWER STREET,\n\n\"March <sup3</sup !.\\$/, 1852.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1810": {
-    "English Original": "MY DEAR MR. COMBE, Many thanks for your kind wish for my visiting you after Easter.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1811": {
-    "English Original": "<supI</sup am partly under an en gagement to accompany a friend to Paris should the weather be favourable.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1812": {
-    "English Original": "With regard to 'The Huguenot' picture, <supI</sup am happy to say <supI</sup sold it to <supa</sup gentleman, the very morning after you and Mrs. Pat called, for two hundred and fifty pounds.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1813": {
-    "English Original": "<supI</sup have finished another picture, and have only to paint the skirt of Ophelia's dress, which will not, <supI</sup think,\n\ntake me more than Saturday.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1814": {
-    "English Original": "<supI</sup have every hope of their being placed in very good positions, the principal hanger, Mr. Leslie, having called twice to see them, each time expressing great admiration.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1815": {
-    "English Original": "\"In great haste, most sincerely yours,\n\n\"JOHN E.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1816": {
-    "English Original": "To the same.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1817": {
-    "English Original": "83, GOWER STREET, \"Sunday, April i8///, 1852.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1818": {
-    "English Original": "MY DEAR MR. COMBE, Forgive my not having an swered your letter sooner.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1819": {
-    "English Original": "Ever since the sending in of the pictures <supI</sup have been running about London, calling, and taking walks into the country.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1820": {
-    "English Original": "You ask me to describe the dance of Mrs. Collins.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1821": {
-    "English Original": "<supI</sup truly wish that you had been there.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1822": {
-    "English Original": "It was <supa</sup delightful evening.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1823": {
-    "English Original": "Charlie [Collins] never got beyond <supa</sup very solemn quadrille, though he is an excellent waltzer and polka dancer.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1824": {
-    "English Original": "Poor Mrs. C. was totally dumb from <supa</sup violent influenza she unfortunately caught that very afternoon.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1825": {
-    "English Original": "She received all her guests in a whisper and <supa</sup round face of welcome.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1826": {
-    "English Original": "There were many lions amongst others the famous Dickens, who came for about half an hour and officiated as principal carver at supper.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1827": {
-    "English Original": "Altogether there were about seventy people.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1828": {
-    "English Original": "<supI</sup heard many very cheering remarks about my pictures from Academicians, one of whom went so far as to say that they were the best paintings in the Exhibition.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1829": {
-    "English Original": "<supI</sup am in great hope of finding them in capital positions after these compliments.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1830": {
-    "English Original": "<supI</sup have just returned from the Foundling Church.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1831": {
-    "English Original": "The service is exceptionally good, and the children look very pretty.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1832": {
-    "English Original": "During the Litany one of the smallest fidgeted one of her shoes off, which fell through the palisades and on to the head of some person below.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1833": {
-    "English Original": "With all the evident care that is bestowed upon their education, <supI</sup am astonished that the masters do not forbid the use of thumbs and saliva\n\nin turning over leaves. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1834": {
-    "English Original": "Next week, or rather this, <supI</sup mean to commence painting again, for <supI</sup cannot stand entire laziness.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1835": {
-    "English Original": "Romeo and Juliet' is to be my next subject not so large as either of this year's.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1836": {
-    "English Original": "It is an order from a Mr. Pocock, one of the secretaries of the Art Union.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1837": {
-    "English Original": "'The Huguenot,' which\n\nwas sold to Mr. White, a dealer, has since been sold by him to Mr. Windus, the man who has all the celebrated Turners, and has already one of my paintings Isabella,' from Keats' poem.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1838": {
-    "English Original": "<supI</sup am glad that it is in so good <supa</sup collection, but cannot understand <supa</sup man paying perhaps double the money <supI</sup should have asked him.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1839": {
-    "English Original": "With love to Mrs. Pat, believe me,\n\n\" Most truly yours,\n\n \"JOHN EVERETT MILLAIS.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1840": {
-    "English Original": "Nothing was done towards the painting of \" Romeo and Juliet \" beyond the sketch which the artist made for it in 1848, and which was shown by Mr. John Clayton at the Millais Exhibition in 1898, and an additional design of the balcony scene [1852].",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1841": {
-    "English Original": "After discussing various subjects with Mr. Pocock, Millais' suggestion of the \" The Proscribed Royalist \" was approved, and shortly afterwards the picture was painted, and passed into the possession of Mr. Pocock.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1842": {
-    "English Original": "Mr. G. D. Leslie, R.A., tells me that at this date Millais sat to his father for the head of Lord Petre, in a picture of \" The Rape of the Lock.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1843": {
-    "English Original": "\" My father,\" he says, \" painted Sir John on a small panel, just as he was, in <supa</sup black frock coat, and <supa</sup black cravat, with a little golden goose for <supa</sup pin.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1844": {
-    "English Original": "The portrait was <supa</sup very good likeness of him at that time^ and was sold at the sale of my father's pictures in 1860.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1845": {
-    "English Original": "<supI</sup\n\ndon't know who purchased it.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1846": {
-    "English Original": "\"The Rape of the Lock\" was bought by the late John Gibbons, of Hanover Terrace, who had a fine collection of pictures, and it is now in the possession of his son.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1847": {
-    "English Original": "To Mrs. Combe.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1848": {
-    "English Original": "83, GOWER STREET,\n\n\"June 9///, 1852.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1849": {
-    "English Original": "MY DEAR MRS. COMBE, With this <supI</sup send you the lace which you \\vere kind enough to procure for me.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1850": {
-    "English Original": "[It was used in 'The Huguenot,' and afterwards in 'The Proscribed Royalist.']",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1851": {
-    "English Original": "In returning it to the lady, <supI</sup hope you will express my acknowledgments for her great kindness.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1852": {
-    "English Original": "<supI</sup have <supa</sup subject that <supI</sup am mad to commence [' The Proscribed Royalist '], and yesterday took lodgings at <supa</sup delightful little inn near a spot exactly suited for the\n\nbackground.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1853": {
-    "English Original": "<supI</sup hope to begin painting on Tuesday morning, and intend working without coming to town at all till it is done.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1854": {
-    "English Original": "The village is so very far from any railway station that <supI</sup have no chance of getting to London in rainy weather.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1855": {
-    "English Original": "My brother is going to live with me part of the time, so <supI</sup\n\nshall not be entirely <supa</sup hermit.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1856": {
-    "English Original": "\"The immense success <supI</sup have met with this year has given me <supa</sup new sensation of pleasure in painting.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1857": {
-    "English Original": "<supI</sup have letters almost every day for one or other of the pictures, and only wish your guest was as lucky, that he might go off to the Holy Land as soon as possible with me.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1858": {
-    "English Original": "<supI</sup shall never go by myself.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1859": {
-    "English Original": "When <supI</sup get to my country residence <supI</sup will keep up <supa</sup proper correspondence with both of you.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1860": {
-    "English Original": "Lately <supI</sup have hated the sight of a pen, and have scarcely answered letters requiring an immediate reply.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1861": {
-    "English Original": "... <supI</sup have been paying <supa</sup longstanding visit at <supa</sup relation's near Croydon, and have become acquainted with the clergyman of the adjoining parish <supa</sup Mr. Hamilton, rector of Beddington one of the most delightful men <supI</sup ever met.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1862": {
-    "English Original": "He is <supa</sup great friend of Mr. Marriott and others whose names <supI</sup have heard you mention.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1863": {
-    "English Original": "His church and village are quite beaux ideals .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1864": {
-    "English Original": "Yours very sincerely,\n\n\"JoHN EVERETT MILLAIS.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1865": {
-    "English Original": "This is the first letter in which Millais mentions \"The Proscribed Royalist \" and his intention to paint the subject.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1866": {
-    "English Original": "Having found <supa</sup suitable background in <supa</sup little wood near Hayes, in Kent, he commenced the picture in June, 1852, and from this date till the end of the year his home seems to have been alternately at Waddon, Gower Street, and the little \"George Inn\" at Bromley, kept by <supa</sup Mr. Vidler.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1867": {
-    "English Original": "Most of this time seems to have been spent at the inn, which was within easy reach of the scene he had selected ; near also to the big trees on Coney Hall Hill, where still stands the giant oak that he painted in the foreground of the picture, and is now known as the \" Millais Oak.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1868": {
-    "English Original": "Touching this painting William Millais writes: \"An amusing incident occurred whilst we were at the \" George Inn,\" Bromley, my brother being engaged on the background for ' The Proscribed Royalist in the old oak wood, and <supI</sup (close by) on <supa</sup large oil landscape.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1869": {
-    "English Original": "Old Mr. Vidler, the landlord, was very proud of his\n\nsignboard, representing St. George killing the Dragon, and was mortally offended at our turning it into ridicule.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1870": {
-    "English Original": "One day during our stay <supa</sup violent storm carried the signboard\n\n\n\noff its hinges and smashed it to bits.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1871": {
-    "English Original": "The owner was only partly consoled on our offering to paint him a new one, and added ungraciously, But there, now, it will never\n\nbe the same thing.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1872": {
-    "English Original": "\" However, he thought differently when he saw the gorgeous thing we produced.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1873": {
-    "English Original": "My brother painted one side and <supI</supthe other.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1874": {
-    "English Original": "Many people at this time came to picnic in the neighbourhood, and it soon got abroad that the new signboard was painted by <supa</sup great artist.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1875": {
-    "English Original": "The old innkeeper was flattered by the numbers who came to see\n\nit, and made <supa</sup practice of taking the sign in at night and in rough weather.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1876": {
-    "English Original": "\"GEORGE INN, HAYES, NEAR BROMLEY,\n\n\" Tuesday Night, June, 1852.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1877": {
-    "English Original": "MY DEAR EMILY, According to promise, <supI</sup give you immediate information about our arrival.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1878": {
-    "English Original": "Upon arriving at Croydon we first drove to your mansion at Waddon, where we took in the remaining luggage and trotted on here.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1879": {
-    "English Original": "We ordered <supa</sup repast, and in the interim of preparation walked to the oak trees and down to the farm, where <supI</sup again encountered Mrs. Rutley, and expounded my views to her upon the necessity of having cover close at hand for my paintings, and how her farm exactly suited me for that purpose.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1880": {
-    "English Original": "She very graciously undertook to afford shelter for my box or myself in case of rain, storm, etc.. and after the colloquy was ended <supI</sup joined Will (who was\n\ntoo timid to make <supa</sup request to <supa</sup stranger) and walked on\n\nhere home, where we found the tea waiting us. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1881": {
-    "English Original": "The clock of the church which adjoins our premises has just struck eleven, and signals me to bed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1882": {
-    "English Original": "Another bell within me foretells an animal considerably larger than the nightmare visiting me perhaps an evening mammoth.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1883": {
-    "English Original": "<supI</sup am writing this by the light of composition candles, supposed not to require snuffing.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1884": {
-    "English Original": "The wick of one hangs gracefully over like <supa</sup hairpin, and the other has an astonishing resemblance to a juvenile cedartree, the latter prognosticating <supI</sup believe the reception of letters, which will be\n\nparticularly acceptable in the gloominess of our present retreat, more especially from our blessed little coz, E. P. H.\n\n\"Our landlady (Mrs. Vidler) has just called into action a spark of animation from the heir apparent of Gower Street.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1885": {
-    "English Original": "She broke in upon us to wish us <supa</sup very goodnight, and isgone with Vidler into the innermost recesses of the conjugal boudoir, probably to dilate upon the magnitude of our appetites.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1886": {
-    "English Original": "Yesterday <supI</sup harpooned <supa</sup most extensive whale [a patron] off the coast of Portland Place, having no less than ten footmen in attendance at dinner.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1887": {
-    "English Original": "The leviathan made most honourable\n\novertures for an increase of acquaintance with the limner sprat [himself], who conducted himself with appropriate condescension and becoming selfdenial, in defiance of the strawberries and cream.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1888": {
-    "English Original": "Somehow or other, <supI</sup believe my evil spirit takes his residence more particularly in that allsurpassing luxury, cream.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1889": {
-    "English Original": "It was my ruin at Worcester Park, and directly <supI</sup came here it invitingly stands within my reach.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1890": {
-    "English Original": "<supI</sup wish <supI</suphad courage enough to dash away that beverage, as Macbeth throws the goblet from him on\n\nthe appearance of Banquo. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1891": {
-    "English Original": "During the journey to this place we diverted ourselves with the cup and ball, catching it upon the point during the progress of cab, train, and Croydon fly.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1892": {
-    "English Original": "William is snoring so loudly that you must excuse my writing more at present.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1893": {
-    "English Original": "<supI</sup am sure he would send affectionate greetings to you had he recovered from his lethargy.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1894": {
-    "English Original": "TOURISTS AT THE INN.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1895": {
-    "English Original": "\"Now to bed, to bed. '",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1896": {
-    "English Original": "Out <supd</sup d spot !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1897": {
-    "English Original": "(a blot of ink on my finger).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1898": {
-    "English Original": "\"Affectionately your coz,\n\n\"JACK.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1899": {
-    "English Original": "<supI</sup have had <supa</sup bad night's rest.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1900": {
-    "English Original": "Awoke by the maid at six, up at nine ; breakfast off eggs and bacon.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1901": {
-    "English Original": "Very stormy aspect in the weather, the glass falling to much rain.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1902": {
-    "English Original": "If it comes, you will probably hear of all those magnificent oaks on Coney Hall Hill slipping down into the road, burying therein the most celebrated of artists !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1903": {
-    "English Original": "The landlady, unnaturally bland for a female, has already exhibited signs of maternal affection for William.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1904": {
-    "English Original": "The rain has commenced in torrents, so no painting today ; we must put up with profound meditations and cup and ball.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1905": {
-    "English Original": "The wind is so high that all the trees look as if they were making backs for a game of leapfrog.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1906": {
-    "English Original": "To the same.\n\n \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1907": {
-    "English Original": "GEORGE INN, HAYES, BROMLEY, KENT, \"Wednesday Afternoon, June, 1852.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1908": {
-    "English Original": "\"MY DEAR EMILY, <supI</sup am come in from an attempt to paint, but the weather is too cold and unsettled for any Christian to be out in, so <supI</sup mean to console myself as best <supI</sup may with writing this, and afterwards reading Uncle Toms Cabin, which is certainly interesting.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1909": {
-    "English Original": "\"Lynn has made me <supa</sup regular artist's shooting stool, shutting up and portable.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1910": {
-    "English Original": "The sun is positively shining, now that it is too late to begin again.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1911": {
-    "English Original": "Do you know <supI</sup shall not recover in a hurry from those two insults ' Tenston' six,' and being taken for the newspaper stallkeeper !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1912": {
-    "English Original": "That comes of assisting <supa</sup lady to cut books.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1913": {
-    "English Original": "The governor has sent me <supa</sup Liverpool paper with <supa</sup long criticism on my\n\npicture, 'The Hugornot.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1914": {
-    "English Original": "Next Sunday <supI</sup am going to spend at A. Mrs. Doyle has desired her husband\\ to bring me forcibly.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1915": {
-    "English Original": "<supI</sup had such <supa</sup capital letter from him, with an illustration of your convicted servant painting outofdoors, and <supa</sup bull looking over <supa</sup hedge with <supa</sup significant expression, foreboding his in tention of elevating me to the height of my profession.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1916": {
-    "English Original": "\\ Richard Doyle, the famous caricaturist.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1917": {
-    "English Original": "Take my advice, don't go out at Hastings with that new parasol, otherwise you will come back with it like this\n\n[Here follows <supa</sup sketch of Mrs. Hodgkinson being blown off <supa</sup cliff out to sea, still clinging to the new parasol.]",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1918": {
-    "English Original": "\" <supI</sup remain, your affectionate\n\n\"J. E.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1919": {
-    "English Original": "A reminiscence of this period will be found in the following\n\nnote, kindly sent to me by Mrs. Pitt : \" Perhaps you may like to know the following story in\n\nconnection with your father's life.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1920": {
-    "English Original": "When he was painting the picture 'A Proscribed Royalist,' near Hayes Common, <supI</sup was paying <supa</sup visit to my mother, and was walking with my sisters one day, when we stopped for <supa</sup minute behind an artist to look at his picture. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1921": {
-    "English Original": "' How beautiful it is,' <supI</sup\n\nsaid, half to myself, and how much our mother would like to see it.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1922": {
-    "English Original": "\" We had not the slightest notion who the artist was, but he courteously turned round to\n\nus, and said : \" ' If your mother lives near enough, <supI</sup shall be pleased to take the picture and show it to her.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1923": {
-    "English Original": "\" We thanked him, and in vited him to luncheon.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1924": {
-    "English Original": "He came, and our mother <supa</sup real lover of Art of course admired the picture immensely, though we never knew who the artist was until the picture became public.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1925": {
-    "English Original": "\"It might have been <supa</sup year or two afterwards that <supI</sup was much struck with 'The Huguenot,' and when visiting my husband's brotherinlaw (Mr. Miller) at Preston, <supI</sup discussed it with him.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1926": {
-    "English Original": "At that time he deprecated what was termed the PreRaphaelite style ; nevertheless, he went and bought it.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1927": {
-    "English Original": "Millais had been working steadily for more than <supa</sup month\n\nSKETCH FOR \"THE ORDER OF RELEASE,\"\n\n\n\nat Hayes, and was getting on well, when, to his great chagrin, he was called away from his work to attend at Oxford as witness in <supa</sup lawsuit with regard to the will of Mr. Drury, of Shotover, the testator's sanity at the date of the will being questioned, and he being one of the attesting witnesses.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1928": {
-    "English Original": "He happened to be with Mr. Drury in 1849, when the will was made, and, having spent two or three months under his roof,\n\n\n\nSKETCH FOR \"THE ORDER OF RELEASE,\" <sup1852</sup\n\nhe could speak with the utmost confidence as to the state of his mind.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1929": {
-    "English Original": "On the conclusion of Millais' evidence, Mr. Justice Williams, before whom the case was tried, complimented him in the following terms :\n\n\"Well, Mr. Millais, if you can paint as well as you can give your evidence, you will be a very successful man some day.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1930": {
-    "English Original": "In the end the validity of the will was established.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1931": {
-    "English Original": "<sup11</sup HAYES,\n\n\" August tfh, 1852.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1932": {
-    "English Original": "\"MYDEARCOZ, We have just concluded our customary game of skittles, and <supI</sup hasten, with\n\n<supa</sup shaky hand, to fulfil my promise of writing you <supa</sup letter.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1933": {
-    "English Original": "Today we were both obliged to leave off painting early, as every two minutes <supa</sup shower of rain came down, so since one o'clock we have had strong exercise in archery and the knock'emdowns.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1934": {
-    "English Original": "Yesterday we also took <supa</sup holiday, as it was wet ; so we are not getting on precisely as we could wish.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1935": {
-    "English Original": "Poor Mrs. Vidler has been bedridden for some time, owing, <supI</sup am told, to an encounter with some drunken fellow who insulted her.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1936": {
-    "English Original": "They say she doubled her mawleys in the true pugilistic style, and knocked over the inebriate vagabond, to his infinite astonishment and discomfort, so injuring his leg in the fall that he has since been at the hospital.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1937": {
-    "English Original": "<supI</sup wish <supI</sup was in <supa</sup vein for describing <supa</sup club feast that came off here <supa</sup day or two ago.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1938": {
-    "English Original": "Upwards of eighty agricultural labourers sat down to table, the stewards wearing blue and white rosettes in their buttonholes.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1939": {
-    "English Original": "Of course almost all of them were drunk in the evening, and some of the drollest scenes took place outside the house.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1940": {
-    "English Original": "About one a.m. <supa</sup fight was raging, which kept me awake for some time ; and last night <supI</sup never slept till four in the morning <supI</sup suppose from having drunk some rather strong tea at the Hasseys' so today <supI</sup feel sleepy and stupid.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1941": {
-    "English Original": "The Royal Academy conversazione <supI</sup attended alone, William being upset with rheumatics.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1942": {
-    "English Original": "The first people <supI</sup met were, of course, the Leslies, with whom <supI</sup kept the greater part of the evening.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1943": {
-    "English Original": "The Duke of Wellington made his appearance about ten, and walked through the rooms with the President, Sir Charles Eastlake.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1944": {
-    "English Original": "All went off as those and most things do.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1945": {
-    "English Original": "<supI</sup saw Mrs. Leslie (not Miss) down to her carriage, and walked home with Hunt.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1946": {
-    "English Original": "With <supa</sup gentle smoothing down of George's ambrosian.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1947": {
-    "English Original": "locks, believe me,\n\n\" Most sincerely yours,\n\n\"JOHN EVERETT MILLAIS.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1948": {
-    "English Original": "To Mr. Combe.\n\n \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1949": {
-    "English Original": "GEORGE INN, HAYES, BROMLEY,\n\n\" Tuesday Night, October, 1852.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1950": {
-    "English Original": "MY DEAR COMBE, Do not be astonished, or imagine me forgetful, in allowing so long <supa</sup time to elapse without writing. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1951": {
-    "English Original": "<supI</sup have but just returned to this place, after spending <supa</sup week (bedridden) at Gower Street, where <supI</sup went to be nursed in a tremendous rheumatic cold <supI</sup caught painting out of doors.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1952": {
-    "English Original": "<supI</sup am well again now, and worked away to day as usual at my background, w <supr</sup hich <supI</sup hope to finish in two or three days at most, when <supI</sup shall return to Town for good.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1953": {
-    "English Original": "... <supI</sup am waiting here for one more sunny day, to give <supa</sup finishing touch to the trunk of a tree which is in broad sunlight.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1954": {
-    "English Original": "Both yesterday and today <supI</sup have suffered from headache, without in the least knowing the cause.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1955": {
-    "English Original": "<supI</sup have\n\ntaken medicine enough to supply <supa</sup parish, and am particularly\n\ncareful in my diet, drinking nothing but water not even tea. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1956": {
-    "English Original": "This year <supI</sup am going to paint <supa</sup small picture of <supa</sup single figure, the subject of which you will like ; and you shall, if you like, have the first refusal of it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1957": {
-    "English Original": "The one <supI</sup am now about is the property of Mr. Pocock, and the other (of the same size) is for Mr. Wilkinson, M.P.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1958": {
-    "English Original": "for Lambeth, or Mr. Ellison, the gentleman who purchased Ferdinand.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1959": {
-    "English Original": "You recollect seeing it at Oxford.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1960": {
-    "English Original": "It is quite a lark now to see the amiable letters <supI</sup have from Liverpool and Birmingham merchants, requesting me to paint them pictures, any size, subject, and amount <supI</sup like leaving it all to me.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1961": {
-    "English Original": "<supI</sup am not likely to let them have anything, as they would probably hawk it about until they obtained their profit. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1962": {
-    "English Original": "<supI</sup hear from Mrs. Collins that they may, perhaps, spend some part of the autumn at Hanover Terrace.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1963": {
-    "English Original": "<supI</sup hope it will be so, as <supI</sup would arrange for a tour together in the spring if all goes right to Switzerland or Spain.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1964": {
-    "English Original": "Next year <supI</sup hope to paint the ' Deluge,' which will not require any outofdoor painting, so <supI</sup should be at liberty to take a holiday abroad.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1965": {
-    "English Original": "Write and let me know what you think of this ; it is <supa</sup project <supI</sup really intend.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1966": {
-    "English Original": "Remember me most affectionately to Mrs. Pat, to whom <supI</sup shall write in <supa</sup day or two.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1967": {
-    "English Original": "Most sincerely yours,\n\n\"JoiiN EVERETT MILLAIS.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1968": {
-    "English Original": "\"The Proscribed Royalist\" is one of the pictures referred to in the above letter, and this being the last mention of it in the correspondence, it may be well to introduce here the subsequent history of this painting.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1969": {
-    "English Original": "The background was not completed until November ; and to get the effect of sunshine on the brilliant satin petticoat of the female figure, Millais took the dress down to Hayes with him and rigged it up on the lay figure.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1970": {
-    "English Original": "The actual figure and face of the woman were finally taken from the beautiful Miss Ryan, the model for \"The Huguenot,\" and when that portion of the work was finished he commenced {in March) to paint the cavalier hidden in the trees.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1971": {
-    "English Original": "For this figure his friend Mr. Arthur Hughes (himself virtually one of the PreRaphaelite Brothers) sat, and to him <supI</sup am\n\nindebted for the following interesting note : \"I was in the Royal Academy Library,\" he says, \"one evening, looking at books of etchings, and had some by\n\n\n\n\"THE ROYALIST.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1972": {
-    "English Original": "<sup1853</sup By permission of H. Graves and Son\n\n\n\nTiepolo before me, when Millais came in and sat down beside me.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1973": {
-    "English Original": "Having asked for Mclan's 'Highland Clans' (presumably for the 'Order of Release'), in his leisure he looked at the Tiepolos and criticised them at once as florid, artificial.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1974": {
-    "English Original": "<supI</sup hate that kind of thing.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1975": {
-    "English Original": "Then he asked me to sit to him for <supa</sup head in his picture, The Proscribed Royalist.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1976": {
-    "English Original": "<supI</sup went, and sat five or six times.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1977": {
-    "English Original": "He painted me ina small backroom on the second floor of the Gower Street house, using it instead of the regular studio on the ground floor because he could get sunshine there to fall\n\n\n\nHEAD OF A GIRL.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1978": {
-    "English Original": "GLENFINLASS, <sup1853</sup\n\non his lay figure attired as the Puritan Girl.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1979": {
-    "English Original": "In the studio below he had taken the picture out of <supa</sup wooden case with the lid sliding in grooves to keep all dust from it, he said and after my sitting he used to slip it in again.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1980": {
-    "English Original": "When <supI</sup saw the picture <supI</sup ventured to remark that <supI</supthought the dress of the lady was quite strong enough in colour; but he said it was the fault of the sun ; that the dress itself was rather Quakery, but the sunshine on it made it like gold.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1981": {
-    "English Original": "His studio was exquisitely tidy.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1982": {
-    "English Original": "<supI</sup had been admitted by a very curlyheaded Buttons (' Mr. Pritchard, my butler,' as Millais used to call him), who received at the same time <supa</sup tremendous wigging for some slight debris left on the floor.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1983": {
-    "English Original": "After he had retired, Millais made it up to him by declaring he would undertake to make that boy paint better than <supa</sup Royal Academician in <supa</sup twelvemonth !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1984": {
-    "English Original": "Apart from my admiration of Millais, it was a very interesting episode to me, from the revelation of character in the few inhabitants of the house, and the way he ruled all, and all was ruled for him.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1985": {
-    "English Original": "The gentleness of the father and the vigorous character of the mother, the picturesque but somewhat restless individuality of William Millais, were all interesting.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1986": {
-    "English Original": "Commissions were\n\n\n\nthen beginning to pour in upon John, and in less degree on William, whose forte was watercolour landscapes, exquisitely drawn.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1987": {
-    "English Original": "The latter came in one day, saying, <supI</sup don't care, <supI</sup 'm all right for <supa</sup year.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1988": {
-    "English Original": "'And your brother for twenty,' said his mother a little sharply, <supI</sup thought.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1989": {
-    "English Original": "\"William used to work in the front room, while John painted me in the back one.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1990": {
-    "English Original": "There was but <supa</sup thin wall between the two, and we could hear William all the time, as he was very restless, singing by snatches, whistling, calling to John to know the time repeatedly, coaxingly, then imploringly, noisily, but getting no reply, John working hard and serious as grim death the while.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1991": {
-    "English Original": "But at last his patience\n\ngave out and he stopped work, and for the space of a minute he levelled such language at William as up to that time <supI</sup had not heard used by one brother to another.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1992": {
-    "English Original": "But he did not tell him the time !\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1993": {
-    "English Original": "During the sittings we talked once of the objection (among many others) the critics made to the amount of detail the PreRaphaelites gave in their pictures, and Millais said, If you do not begin by doing too much you will end by doing too little ; if you want to stop <supa</sup ball which has been thrown along the ground you must get a little beyond it.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1994": {
-    "English Original": "\"The Proscribed Royalist\" now belongs to Mr. James Opton, having been successively in the possession of Mr. Pocock, Mr. Plint, and Sir John Pender.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1995": {
-    "English Original": "The headaches of which Millais complained in several of his letters are not, <supI</sup believe, uncommon among men of his craft, long confinement in the studio unfitting them for work in the open, where they must perforce sit still for hours together, exposed to every wind that blows.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1996": {
-    "English Original": "In early life my father suffered <supa</sup good deal in this way; and it was not until his friends, John Leech and \"Mike\" Halliday, persuaded him to follow the hounds that he found relief from this complaint.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1997": {
-    "English Original": "In his next two letters he writes enthusiastically on the sport, as <supa</sup source of health and strength.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1998": {
-    "English Original": "12\n\nTo Mr. George Wyatt.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s1999": {
-    "English Original": "85, GOWER STREET,\n\n\"1853\n\n\" MY DEAR WYATT, Many thanks for your kind attention to my wishes.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2000": {
-    "English Original": "The fleet must have been <supa</sup wonderful sight.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2001": {
-    "English Original": "<supI</sup was very nearly going with Leech, the Punch draughtsman, to see its departure, but found even greater attraction in hunting, which <supI</sup have lately taken to.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2002": {
-    "English Original": "Every Saturday <supI</sup accompany him into Hertfordshire, where good horses await us, and we stay overnight at <supa</sup friend's, and set off in the morning.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2003": {
-    "English Original": "<supI</sup have been four times out, and have only had one spill, which did not hurt me in the least.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2004": {
-    "English Original": "<supI</sup should not follow the chase but that <supI</sup enjoy it above all other recreation, and find myself quite fitted for such exercise.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2005": {
-    "English Original": "The first time <supI</sup ever rode over <supa</sup fence gave me confidence from the comparatively easy way in which <supI</sup kept my seat.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2006": {
-    "English Original": "Since then <supI</sup have ridden over pretty nearly every kind of hedge and ditch.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2007": {
-    "English Original": "Leech is <supa</sup good rider, and we go together.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2008": {
-    "English Original": "With kind regards from my family, believe me,\n\n\" Yours very truly,\n\n\"JOHN EVERETT MILLAIS.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2009": {
-    "English Original": "To Mr. Combe.\n\n \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2010": {
-    "English Original": "83, GOWER STREET, BEDFORD SQUARE,\n\n\" Saturday, October 2\\$rd, 1852.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2011": {
-    "English Original": "MY DEAR MR. COMBE, <supI</sup cannot promise to pay you <supa</sup visit, as <supI</supam now going to look for another background, which <supI</sup must immediately commence.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2012": {
-    "English Original": "<supI</sup returned the day before yesterday with my picture finished, all but the figures.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2013": {
-    "English Original": "Today <supI</sup am going to the Tower of London, to look after <supa</sup gateway or prison door [for The Order of Release '].",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2014": {
-    "English Original": "<supI</sup am undecided between two subjects, one of which requires the above locality, and the other the interior of <supa</sup church.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2015": {
-    "English Original": "[The artist's first idea of the background for ' L'Enfant du Regiment,' painted in\n\n1855]. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2016": {
-    "English Original": "With regard to our proposed journey, <supI</sup shall be ready, directly after my pictures are sent to the Royal Academy, to go with you to Norway or the North Pole.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2017": {
-    "English Original": "<supI</sup look\n\nforward to this travellingtrip, as <supI</sup have had so little recreation within these last four years, and <supI</sup hope you will pay the Collins's a visit this autumn, as we could then discuss the merits of the different countries.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2018": {
-    "English Original": "<supI</sup have a curious partiality for Spain, from reading Don Quixote and Gil Bias; but, as you say, the distance is an obstacle.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2019": {
-    "English Original": "<supI</sup know nothing about Norway, but <supI</sup hope it is not colder in the summer than here.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2020": {
-    "English Original": "Do you intend coming to town to see the funeral of the\n\n\n\nIMITATIONS OF VELASQUEZ.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2021": {
-    "English Original": "<supI</sup do not generally care about such things, but <supI</supshall make <supa</sup little struggle for that.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2022": {
-    "English Original": "It will be worth seeing.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2023": {
-    "English Original": "\"Have you seen anything of Pollen\\ lately, and has Jenkins gone yet?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2024": {
-    "English Original": "Last Thursday evening <supI</sup met Tennyson and his brother Charles, <supa</sup clergyman.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2025": {
-    "English Original": "Politics were the principal topic of conversation, the Laureate believing it Louis Napoleon's secret intention to make war with and invade England.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2026": {
-    "English Original": "In this Tennyson thinks he would be\n\n<sup\\</sup Mr. Pollen, <supa</sup fellow of Merton College, and an authority on Art matters, was <supa</sup frequent visitor to the Combes, and met there Millais and Hunt, whose works he admired.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2027": {
-    "English Original": "successful, holding us in subjection for some little time, when he would be kicked over to fair France to resist the attack of almost all Europe.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2028": {
-    "English Original": "<supI</sup can see you smiling at this like a true Britisher.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2029": {
-    "English Original": "li Ever yours most truly,\n\n\"Joiix EVERETT MILLAIS.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2030": {
-    "English Original": "\" The Order of Release \" (referred to for the first time in the foregoing letter) is well described by Mr. Walter Armstrong, who begins by quoting Mr. Andrew Lang in the following notice: \"'In <sup1853</sup Millais painted <supa</sup picture in which both his dramatic power and his eye for the lovable in woman are superbly shown, and shown under some difficulties.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2031": {
-    "English Original": "This is The Order of Release,' now the property of Mr. James Renton.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2032": {
-    "English Original": "It was originally painted for Mr. Joseph Arden, who gave the commission for it through Thackeray.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2033": {
-    "English Original": "As <supa</sup piece of realistic painting, it may challenge comparison with anything else in the world.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2034": {
-    "English Original": "The scene takes place not outside <supa</sup prison, as more than once has been absurdly supposed, but in a bare waitingroom, into which the young clansman has been ushered to his wife, while his gaoler takes ' The Order of Release,' which will have to be verified by his superior before it can result in final liberty.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2035": {
-    "English Original": "The stamp of actual truth is on it; and if ever such an event happened, if ever a Highlander's wife brought <supa</sup pardon for her husband to <supa</sup reluctant turnkey, things must have occurred thus.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2036": {
-    "English Original": "The work is saved by expression and colour from the realism of <supa</sup photograph.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2037": {
-    "English Original": "The woman's shrewd, triumphant air is wonderfully caught, though the face of the pardoned man isconcealed, like that of Agamemnon in the Greek picture, but by <supa</sup subtle artifice.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2038": {
-    "English Original": "The colour of the plaid and the gaoler's scarlet jacket re inforce each other, but do not obliterate the black andtan of the collie.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2039": {
-    "English Original": "The good dog seems actually alive.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2040": {
-    "English Original": "The child in the woman's arms is uncompromisingly Hieland.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2041": {
-    "English Original": "The flesh painting, as of the child's bare legs, is wonderfully real ; the man's legs are less tanned than usually are those of the wearers of the kilt.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2042": {
-    "English Original": "Perhaps he is grown pale in prison, as <supa</sup clansman might do whose head seemed likely soon to be set on Carlisle wall.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2043": {
-    "English Original": "As <supa</sup matter of truthful detail, observe the keys in the gaoler's hand, the clear steel shining through <supa</sup touch of rust.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2044": {
-    "English Original": "The subject and the\n\n\n\n\"THE ORDER OF RELEASE.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2045": {
-    "English Original": "<sup1853</sup By permission of H. Graves and Son\n\n\n\nsentiment, no less than the treatment, made this picture <supa</sup complete success.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2046": {
-    "English Original": "\" Every word of this may be endorsed, but Mr. Lang\\ has hardly, <supI</sup think, laid sufficient stress on the mastery of expression in the woman's face.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2047": {
-    "English Original": "In it we can see the subtlest mingling of emotions ever achieved by the artist.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2048": {
-    "English Original": "There is not only shrewdness and triumph, there is love for the husband, contempt mixed with fear for the power symbolised by the turnkey's scarlet, pride in her own achievement,\n\n\n\nand the curious northern satisfaction at the safety of one's own property <supa</sup Jeanie Deans, in fact, with meekness ousted by a spice of pugnacity.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2049": {
-    "English Original": "ii/i'owMiwiH^\n\nSpielmann has also an interesting note on this picture in his recentlypublished Millais and his Works.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2050": {
-    "English Original": "He says : \" So great was Millais' passion for accuracy, that he obtained a genuine order of release, signed by Sir Hildegrave Turner, when, during the war, he was Governor of Elizabeth Castle in Jersey, and so faithfully did he copy it that the late Colonel Turner, the Governor's son, who knew nothing of the matter, recognised with surprise his father's signature\n\n\\ Mr. Andrew Lang wrote <supa</sup very excellent series of notes on the little exhibition of Millais' work exhibited by the Fine Art Society in 1881.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2051": {
-    "English Original": "From Millais' Comic Sketch Book\n\nin the picture, as he walked through the gallery in which it was exhibited.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2052": {
-    "English Original": "The head of the woman (painted from my mother) was a perfect likeness of her in 1853, except only as to the colour of her hair, <supa</sup golden auburn, which was changed to black, in order to contrast with that of the child.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2053": {
-    "English Original": "Mr. F. B. Barwell tells me that Westall, the famous model, posed for the Highlander.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2054": {
-    "English Original": "He had been in <supa</sup dragoon reoqment, from which he deserted.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2055": {
-    "English Original": "Nemesis, how <supo</sup <supo</sup ^ ever, overtook him one day in the studio of Mr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2056": {
-    "English Original": "Cope, R.A.. and he was taken back to his old regiment and tried by courtmartial.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2057": {
-    "English Original": "Some time after this his absence w <supr</supas so\n\n\n\nBRUCE AT THE SIEGE OF ACRE.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2058": {
-    "English Original": "<sup1853</sup\n\nlamented in the London studios that <supa</sup subscription was raised by artists, and he was bought out of the service.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2059": {
-    "English Original": "\"Unlike 'The Huguenot,'\" adds Mr. Barwell, \"the background of which had been severely criticised, The Order of Release' made an immense sensation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2060": {
-    "English Original": "No fault could be found with the background, even by the oldfashioned school, whilst the extraordinary realism and brilliant colouring added to the dramatic interest of the story, and the\n\nnovelty of execution astonished all.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2061": {
-    "English Original": "The picture is said to have been the first ever hung on the walls of the Academy which required the services of <supa</sup policeman to move on the crowd. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2062": {
-    "English Original": "Afterwards,\" says Mr. Barwell, \" when exhibited in Paris at the Great Exhibition of 1855, it arrested a great deal of attention, and in an article in Le Temps, by Theophile Gaultier, that gentleman expressed himself completely puzzled as to how it had been produced what the vehicle was, whether oil, wax, or tempered varnish\n\nand bestowed <supa</sup considerable amount of space in discussing its merits.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2063": {
-    "English Original": "The article was favourable on the whole, but implied that it was another instance of those curious eccentricities only to be found in Albion.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2064": {
-    "English Original": "In assessing the value of this picture it is interesting to note that it was sold\n\nby Millais to Mr. Arden, of Rickmansworth Park, for ^400; that in 1878 Mr. James Renton bought it for ^2853 ; and that at the sale of Mr. Renton's col lection, on his death, it fell to Sir Henry Tate as the purchaser, at the price of 5000 guineas.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2065": {
-    "English Original": "In a sympathetic letter Sir Henry says : \" The last time <supI</sup saw Sir John, before illness had deprived him of speech, he told me that Mr. Renton had just died, and ' The Order of Release' was likely to come into the market.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2066": {
-    "English Original": "He spoke with much interest and enthusiasm of the picture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2067": {
-    "English Original": "He had too much good feeling\n\n\n\nto even suggest that <supI</sup should buy the picture ; but we gathered that he would like it to belong to the nation, so it was <supa</sup double pleasure to me to obtain it last month for my gallery, as <supI</supfelt <supI</sup was carrying out the wish of <supa</sup greatlyvalued and muchmissed friend.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2068": {
-    "English Original": "It was beautifully engraved in <sup1856</sup by the late Samuel Cousins, the finest engraver of this century, or probably of any other ; and this, his first work on Millais' pictures, was followed by a long series of similar interpretations, all of the\n\nsame high standard of merit.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2069": {
-    "English Original": "He was more or less engaged upon them right up to 1884, when, after beginning \" Little Miss Muffet,\" he was obliged to surrender his tools to T. Atkinson, who finished the plate.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2070": {
-    "English Original": "Cousins was a quiet, plodding, and honest worker of the very best type, and his eventual election to the honour of Royal Academician was applauded by everybody as <supa</sup compliment he well deserved.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2071": {
-    "English Original": "The sufferings of an artist while painting, or rather trying to paint, a tiresome child, are amusingly described in the followinq letter : fj\n\n To Mr. Combe.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2072": {
-    "English Original": "83, GOWER STREET,\n\n\"December \\6th, 1852.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2073": {
-    "English Original": "<supu</sup MY DEAR MK.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2074": {
-    "English Original": "COMBE, Instead of going to <supa</sup musical party with my father and brother, <sup1</sup will write you something of my doings.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2075": {
-    "English Original": "<supI</sup have <supa</sup headache, and feel as tired as if <supI</sup had walked twenty miles, from the anxiety <supI</sup have undergone this last fortnight [over 'The Order of Release'].",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2076": {
-    "English Original": "All the morning <supI</sup have been drawing <supa</sup dog, w<supr</sup hich in unquietness is only to be surpassed by <supa</sup child.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2077": {
-    "English Original": "Both of these animals <supI</sup am trying to paint daily, and certainly nothing can exceed the trial of patience they occasion.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2078": {
-    "English Original": "The child screams upon entering the room, and when forcibly held in its mother's arms struggles with such successful obstinacy that <sup1</supcannot begin my work until exhaustion comes on, which generally appears when daylight disappears.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2079": {
-    "English Original": "A minute's quiet is out of the question.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2080": {
-    "English Original": "The only opportunity <supI</sup have had was one evening, when it fell asleep just in the position <supI</sup desired.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2081": {
-    "English Original": "Imagine looking forward to the day when next one of these two provoking models shall come !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2082": {
-    "English Original": "This is my only thought at night and upon waking in the morning.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2083": {
-    "English Original": "When <supI</sup suggest corporal punishment in times of extreme passion, the mother, after reminding me that <supI</sup am not <supa</sup father, breaks out into such reproofs as these : Poor dear !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2084": {
-    "English Original": "Was he bothered to sit to the gentleman?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2085": {
-    "English Original": "Is he to be tor mented ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2086": {
-    "English Original": "No, my own one ; no, my popsy, my flower, cherub,' etc., etc., dying away into kisses, when he (the baby) is placed upon his legs to run about my room and displace everything.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2087": {
-    "English Original": "Immediately he leaves off crying, remarking that he sees a geegee (pointing to a stag's head and antlers <supI</sup have hung up), and would like to have one of my brushes.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2088": {
-    "English Original": "'ACCEPTED\" (PEN DRAWING), 1853.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2089": {
-    "English Original": "This infant <supI</sup could almost murder ; but the dog <supI</sup feel for, because he is not expected to understand.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2090": {
-    "English Original": "A strong man comes with it and bends him to my will, and all the while it looks as calm as <supa</sup suffering martyr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2091": {
-    "English Original": "<supI</sup do more from this creature in a day than from the other in a week.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2092": {
-    "English Original": "This year <supI</sup hope you will come and see the produce of all this labour before the pictures go to the exhibition <supI</sup mean <supa</sup day or two previous, so that they may be quite finished.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2093": {
-    "English Original": "Wednesday evening <supI</sup went to a public dinner at Hampstead, and escaped in time to avoid returning thanks for the honour they intended doing me.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2094": {
-    "English Original": "<supI</sup expect soon to have an invitation to <supa</sup banquet at Birmingham in honour of the success of their exhibition, to which <supI</sup sent ' Ophelia.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2095": {
-    "English Original": "There <supI</sup am afraid <supI</sup must say something, as <supI</sup lost only by some few votes the prize given to Ward's ' Charlotte Corday going to Execution,' and it is customary to propose the health of the unsuccessful candidate.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2096": {
-    "English Original": "My brother will ac company Hunt in time to attend the Magdalen evening festival, and although <supI</sup shall not be with you on Christmasday, you may depend upon it that <supI</sup shall drink your and Mrs. Pat's health.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2097": {
-    "English Original": "Wishing her and yourself <supa</sup happy Christmas, believe me,\n\n\" Ever yours most sincerely,\n\n\"JoHN EVERETT MILLAIS.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2098": {
-    "English Original": "To the same.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2099": {
-    "English Original": "83, GOWER STREET,\n\n\"December, 1852.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2100": {
-    "English Original": "MY DEAR MR. COMBE, You might have called fifty times and never have found all our family out, as you did the other day.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2101": {
-    "English Original": "If you had given me an idea that you intended calling, <supI</sup should have been at home to meet you.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2102": {
-    "English Original": "As it was <supI</sup was at the Tower of London in search of <supa</sup background, in which <supI</sup was unsuccessful.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2103": {
-    "English Original": "All the stonework is too filthy with the soot of Town to make any good colour in <supa</sup background.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2104": {
-    "English Original": "Let me know if you are coming up to see the lyinginstate or the funeral of the Duke [of Wellington].",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2105": {
-    "English Original": "<supI</sup have been very lucky, having got a most excellent position from the Punch office windows, through the kindness of one of the principal writers, Tom Taylor, the man who wrote that flattering notice of my last year's pictures.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2106": {
-    "English Original": "\"This day <supI</sup have commenced the figure in my summer's work ('The Royalist'), and tonight will be drawing the group of my other subject ('The Order of Release'), so <supI</sup have begun my winter's work.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2107": {
-    "English Original": "<supI</sup saw, last night, <supa</sup friend's\\ pictures, painted this year in Spain, which would make you alter your opinion about that country.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2108": {
-    "English Original": "The people and place must be magnificent.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2109": {
-    "English Original": "<supI</sup never saw such costumes and natural taste in the manner of putting their dresses on.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2110": {
-    "English Original": "<supI</sup think we must go to Spain.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2111": {
-    "English Original": "... \" Yours most truly,\n\n\"JoHN EVERETT MILLAIS.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2112": {
-    "English Original": "\"83, GOWER STREET,\n\n\"December, 1852.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2113": {
-    "English Original": "MY DEAR MRS. COMBE, How did you like the funeral procession ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2114": {
-    "English Original": "<supI</sup expected to have heard Mr. Combe's opinion.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2115": {
-    "English Original": "In the Illustrated London News there is <supa</sup drawing of the Royal carriages passing the Punch offices, and <supa</sup likeness of me sitting in the front row between some ladies.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2116": {
-    "English Original": "You will see by that how good <supa</sup position <supI</sup had.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2117": {
-    "English Original": "<supI</sup hear from Collins that you are not coming to visit them until after Christmas.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2118": {
-    "English Original": "Do not make it long after, as <supI</supshall then be beginning hard work and unable to join you in walks, etc.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2119": {
-    "English Original": "Of course you have heard from Hunt since his return.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2120": {
-    "English Original": "Now that he has come home we have our old friendly meetings again, such as we used to have in former years.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2121": {
-    "English Original": "Charlie has so far altered as to join our evenings, which he used to look upon as almost profane.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2122": {
-    "English Original": "The evenings are so continually wet that <supI</sup seldom take my usual walk to Hanover Terrace.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2123": {
-    "English Original": "Mrs.\n\nCollins is getting quite gloomy at the infrequency of my visits. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2124": {
-    "English Original": "Wilkie's new novel, Basil, has come out.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2125": {
-    "English Original": "<supI</sup have just finished reading it, and think it very clever.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2126": {
-    "English Original": "The papers, <supI</sup understand, abuse it very much, but <supI</sup think them inconsistent in crying it down and praising Antonina, which is not nearly so good.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2127": {
-    "English Original": "Have you read Esmond, Thackeray's last book?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2128": {
-    "English Original": "<supI</sup hear from Hunt that it is splendid, but it is in so much request at the library that <supI</sup cannot get it. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2129": {
-    "English Original": "My private opinion of the Wellington car is that it looked\n\nlike a palsied locomotive.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2130": {
-    "English Original": "All the dignity of size was lost in the little trembling motion it had over the stones of the streets.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2131": {
-    "English Original": "It suggested bruises on the hero's nose from shaking\n\n\\ John Phillip, R.A.\n\nof the body in the coffin.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2132": {
-    "English Original": "<supI</sup say 'private opinion,' because a Royal Academician was mixed up in the design.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2133": {
-    "English Original": "Altogether the sight was <supa</sup most imposing one, but there is so much talk about it that <supI</sup am sick of the very name of the Duke's funeral.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2134": {
-    "English Original": "It has taken the place of the weather in conversation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2135": {
-    "English Original": "The first thing one is asked in Town, upon entering <supa</sup room, is, Did you see it ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2136": {
-    "English Original": "And what think you of it ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2137": {
-    "English Original": "Young ladies, generally dumb on the first introduction, venture upon this topic as courageously as an accustomed orator.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2138": {
-    "English Original": "Believe me, \" Most truly yours,\n\n\"JOHN EVERETT MILLAIS.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2139": {
-    "English Original": "To Mr. Combe.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2140": {
-    "English Original": "83, GOWER STREET, \"February i\\$t/t, 1853.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2141": {
-    "English Original": "\"Mv DEAR MR. COMBE, All my family are gone out to <supa</sup musical party, excepting my mother, who is ill in her room, suffering from <supa</sup cold.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2142": {
-    "English Original": "<supI</sup have but just returned from Hanover Terrace.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2143": {
-    "English Original": "Poor Mrs. Collins (also afflicted with cold) has entirely lost her voice.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2144": {
-    "English Original": "Charlie is rather desponding about the quantity of work he has got before him, doubting the possibility of finishing for the Exhibition.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2145": {
-    "English Original": "<supI</sup am progressing with my picture slowly, but of course will finish in time.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2146": {
-    "English Original": "Hunt is so hard at work that <supI</sup never see him.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2147": {
-    "English Original": "He is painting <supa</sup modern subject, which you probably know more about than <sup1</sup do.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2148": {
-    "English Original": "<supI</sup have lately become acquainted with <supa</sup very busy Roman Catholic, <supa</sup most mysteriouslooking individual, <supa</sup friend of Pollen's.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2149": {
-    "English Original": "His name is De Bammerville.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2150": {
-    "English Original": "<supI</sup dined with him last week, and he called to ask me to accompany him to Cardinal Wiseman's this evening, but <supI</supexcused myself.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2151": {
-    "English Original": "<supI</sup believe him to be <supa</sup Jesuit.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2152": {
-    "English Original": "He has <supa</sup most extraordinary appear ance an excessively dark beard and complexion, and wearing wolf's fur round his neck and wrists, with braid altogether looking very like <supa</sup stage Polish Count, who murders every one and then goes down <supa</sup trapdoor with blue light upon him.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2153": {
-    "English Original": "<supI</sup expect he looks upon me as <supa</sup promising convert.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2154": {
-    "English Original": "He smiles at the notion of my attending Wells Street Church, and, no doubt, pictures in his imagination my sitting on <supa</sup threelegged stool, painting <supa</sup Holy Family for the only church. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2155": {
-    "English Original": "Yours most truly,\n\n\"JOHN E.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2156": {
-    "English Original": "About this time Millais presented to his cousin, Mrs. George Hodgkinson, <supa</sup little picture of <supa</sup female figure, for which she herself had sat.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2157": {
-    "English Original": "It was sent to her in June, as soon as it was done ; but the husband, objecting to the position of one of the arms, wrote to the artist and begged him to take <supa</sup certain portion of the arm away.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2158": {
-    "English Original": "To this request he received the following amusing reply :\n\n To Mr. Hodgkinson.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2159": {
-    "English Original": "LONDON,\n\n \"June \\Qth.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2160": {
-    "English Original": "SIR, You desire that in your absence the young woman should have an operation performed on her left arm.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2161": {
-    "English Original": "<supI</sup have consulted her pleasure upon the subject, and have explained that her ' frame shall not be shaken, as we intend taking<supo</sup her out of it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2162": {
-    "English Original": "Mr. Robinson will be in attendance, to administer chloroform, upon which <supI</sup intend making an incision with my palette knife just below the elbow.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2163": {
-    "English Original": "Laying open the w<supr</sup ound, we shall then have exposed the two punctured bones, the ' radius and the ' ulna,' upon which an immediate solution of turps shall be plentifully applied.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2164": {
-    "English Original": "By this latter expedient we hope to eradicate the deformity and to make <supa</sup bond fide restoration.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2165": {
-    "English Original": "The only companion the patient has had during her incarceration has been her trusty Dandy, Shy,' who has put on <supa</sup very long face since he has been with her, gloomy in sympathy with his serene parent, who has been pupping and given birth to feline juveniles.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2166": {
-    "English Original": "William has been playing one or two tricks with his mawleys upon the piano, accompanying the quartette with such good effect that the governor has thrown up the sponge in token of the total defeat of that instrument.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2167": {
-    "English Original": "Time was frequently called, but none but Bill came to the scratch.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2168": {
-    "English Original": "The Lord and Master of this house is at this moment endeavouring to bring the unfortunate piano (who is upwards of forty) back to its original tone.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2169": {
-    "English Original": "My female parent is in the adjoining room, making preparations for an early dinner, which principally consist in the entire subjugation of the curlyheaded Pritchard, and a discovery of bottles, the contents of which are unknown to her ; hence a continual application of the necks of the aforesaid bottles to the aforesaid lady's nose, accompanied by an observation, That's gin,' That's vinegar,' or What's\n\n\n\n $\\begin{tabular}{ll} \\bf THE BLLNDMAN.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2170": {
-    "English Original": "\\bf1853\\\\ \\bf PenDrawing \\end{tabular}$ \n\n\n\nthat, Pritchard ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2171": {
-    "English Original": "(the boy's nose takes kindly to the odour of wines.)",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2172": {
-    "English Original": "<supI</sup believe that boy would be worth a publican's while to purchase.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2173": {
-    "English Original": "Get him an order to taste the wines at the docks, and he would bring himself out as full as a bottle.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2174": {
-    "English Original": "He has come in with the tablecloth for dinner, and mother calls for a general clearance for that meal ; so no more at present from your\n\n\" Limner,\n\n\"JACK MILLAIS.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2175": {
-    "English Original": "<sup1853</sup Sketch by William Millais\n\nAt the end of June, 1853, Millais, in company with his brother William, journeyed North for the first time, intending to take <supa</sup good holiday after prolonged work at his easel.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2176": {
-    "English Original": "The expedition was at first suggested by the Ruskins, who had agreed to meet the brothers and introduce them to some of the beauties of the Northern hills.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2177": {
-    "English Original": "After spending a delightful week with Sir Walter Trevelyan in Northumberland, which the railway had then penetrated as far as Morpeth, the two brothers met the Ruskins there and travelled with them by private coaches to the Trossachs, taking en route the picturesque old towns of Melrose and Stirling.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2178": {
-    "English Original": "To the former place their host insisted on accompanying them, taking Mrs. Ruskin and her friend, Miss McKenzie, in his dogcart.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2179": {
-    "English Original": "There then they parted, the visitors betaking themselves to a carriage and pair under the guidance of <supa</sup postillion.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2180": {
-    "English Original": "This gentleman, however, proved himself hardly equal to the occasion.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2181": {
-    "English Original": "After a brief halt at <supa</sup hostelry in the hill country, where the whisky was supremely tempting, he was taken so seriously ill that he could no longer control\n\n\n\nCLOSE QUARTERS.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2182": {
-    "English Original": "There was nothing for it, therefore, but to dispense with his services and tool the animals along as best they could.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2183": {
-    "English Original": "William Millais gallantly undertook this task, and after depositing the unhappy Jehu amidst the luggage on the top of the coach he evolved from his own inner consciousness something that served for reins, and managed to land the party safely at Callander, where rooms had been enfor them.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2184": {
-    "English Original": "Mrs. George Hodgkinson sends me a sketch of his, made at the time, showing the\n\npostboy hanging on to the collar of one of his horses, as he piteously moans, \" Aw 'm verrarr baad aw canna ride on clearr, oh dearrr ! \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2185": {
-    "English Original": "At Callander the two brothers found apartments in the \" New Trossachs Hotel,\" microscopic in size, but clean and comfortable, and took most of their meals with their friends, who were more luxuriously accommodated at the manse, at Brig o' Turk, some five hundred yards away.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2186": {
-    "English Original": "But, \" hey, oh, the wind and the rain ! \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2187": {
-    "English Original": "For nearly five long weeks it came steadily down, regardless of Mrs. Ruskin and her brave championship of the climate of this, her native land.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2188": {
-    "English Original": "Except at rare intervals, sketching was out of the\n\nquestion.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2189": {
-    "English Original": "There was nothing to see ; but health and strength were to be had by braving the elements.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2190": {
-    "English Original": "Mackintoshes had not then been invented, but the plaid of the country afforded some protection, and, thus habited, the whole party turned out day by clay, spending their lives in the pure air.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2191": {
-    "English Original": "It\n\n\n\nwas soon found, however, that the plaid was insufficient without the kilt, and as in those days sojourners in the Highlands were expected to adopt the costume of the country, not only for their own comfort, but as <supa</sup compliment to the natives, whose judgment in the matter of dress was thus endorsed, it needed no great persuasion on the part\n\nof their friends to make the two brothers array themselves accordingly.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2192": {
-    "English Original": "John Millais, however, did not take kindly to the kilt.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2193": {
-    "English Original": "Unlike his brother, who continued to wear itto the end of the season, he discarded it after one day's wear, finding perhaps more trouble with it than he did with the plaid, until after many attempts he learnt the art of adjusting it in the proper fashion.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2194": {
-    "English Original": "His first attempt in <supa</sup big stormwas about as futile as Dame Partington's struggle with her mop against the Atlantic waves when they invaded her house.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2195": {
-    "English Original": "FISHING IN LOCH ACHRAY.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2196": {
-    "English Original": "<sup1853</sup\n\nHe came out of the combat beaten and wet to the skin ; but alive, as he always was, to the humorous side of things, he made, the same evening, a sketch of the event ; and shortly afterwards there appeared in Punch <supa</sup more finished drawing of his, entitled \" How to wear <supa</sup Highland plaid.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2197": {
-    "English Original": "Every day the united parties went on some expedition together, climbing perchance Ben Ledi, or fishing in Loch Achray, famous in local tradition for salmon that never were there, and, whenever it was possible to do so, making sketches of the scenery around.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2198": {
-    "English Original": "As to Millais, his only thought was of <supa</sup pleasant holiday and rest from his usual occupations ; yet even he was caught at last by the fascina\n\n\n\nLine and Sepia drawing\n\n\n\ntion of a turn in the lovely little river Finlass.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2199": {
-    "English Original": "It suddenly occurred to him that it would make <supa</sup capital background for <supa</sup single figure if all the other part of the landscape were subdued in deep shadow ; and on Mr. Ruskin consenting to stand, he began at once <supa</sup portrait of the critic, which is now known as one of the best works he ever did.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2200": {
-    "English Original": "The picture was afterwards purchased by Dr. (afterwards Sir Thomas) Acland, whose recent visit to Callander had added greatly to the pleasure of the party.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2201": {
-    "English Original": "Millais refers to it in the following letter :\n\n To Mr. Combe.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2202": {
-    "English Original": "\"NEW TROSSACHS HOTEL, CALLANDER,\n\n\"STIRLING, August ^th, 1853.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2203": {
-    "English Original": "MY DEAR MR. COMBE, Finding all my friends writing letters, <supI</sup have just crossed the bog that separates us from them to send you <supa</sup bulletin of our health and doings.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2204": {
-    "English Original": "Our patience has been most sorely tried, and has stood proof tolerably well.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2205": {
-    "English Original": "Cannot you see us, one by one and hour by hour, with anxious faces, trying to read the sun through Scotch mist and rain ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2206": {
-    "English Original": "Cannot you hear us singly giving our decided opinion of the day, hope buoying us up to tell other than our real sentiments about the state of the weather ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2207": {
-    "English Original": "\"It's <supa</sup varry saaft dee\" has greeted me every morning for the last five weeks, uttered by <supa</sup buxom landlady, who is truly the only person <supI</sup have seen unclouded about the physiognomy.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2208": {
-    "English Original": "Dr. Acland has been staying here <supa</sup few days.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2209": {
-    "English Original": "What an amiable man he is !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2210": {
-    "English Original": "He left us on Monday, and <supI</sup have taken his room, because of the fine view its window affords.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2211": {
-    "English Original": "<supI</sup was determined to bring back something, so on the very afternoon of his departure <supI</sup began <supa</sup new picture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2212": {
-    "English Original": "Oh that <sup1</sup had tried this bait before with the sun, for <supI</sup had barely sketchedin my work before the sun, with British effulgence, burst out upon the rocky hills.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2213": {
-    "English Original": "The wet birch leaves gave back tiny images of him, and all the distant mountains\n\nchanged suddenly from David Cox to the Pre Raphael ites. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2214": {
-    "English Original": "What was <supa</sup purple wash became now <supa</sup network of grays and lilacs, with no inconsiderable amount of drawing about their rugged peaks ; in fact, such drawing as Nature always rejoices in.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2215": {
-    "English Original": "This postmeridian burst of light augured well for the morrow, and, indeed, Tuesday was <supa</sup prince of days, and we worked well.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2216": {
-    "English Original": "Wednesday and Thursday like\n\nwise, though cold latterly went far towards cramping us.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2217": {
-    "English Original": "Ruskin comes and works with us, and we dine on the rocks all together, but only on fine days ; so this course of livino ^7 \\ <sup9</sup O has been very much the exception.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2218": {
-    "English Original": "Only imagine <supa</sup paper being sent here ' that all stray dogs (during the dogdays) be shot !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2219": {
-    "English Original": "The mention of <supa</sup mad dog suggests only heat and drought.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2220": {
-    "English Original": "Do dogs ever become mad in Scotland ? \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2221": {
-    "English Original": "Ever yours sincerely,\n\n\"JoHN EVERETT MILLAIS.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2222": {
-    "English Original": "c\\o MR. STEWART, BRIDGE OF TURK, \" CALLANDER, PERTHSHIRE,\n\n\"August, 1853.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2223": {
-    "English Original": "MY DEAR MR. COMBE, My brother William has just received your letter, and as you kindly express <supa</sup wish to hear\n\n\n\nSIR THOMAS ACLAND.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2224": {
-    "English Original": "<sup1853</sup\n\nfrom me, <sup1</sup take the present opportunity of sending you <supa</sup few lines.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2225": {
-    "English Original": "\"This day (Sunday, August <sup1</sup 4th) we have been to church, and taken a delightful walk to a waterfall, following the stream till we came to <supa</sup fall of seventy feet, where we had <supa</sup bath (my brother and self), he standing under the torrent of water, which must have punished his back as severely as a soldier's cat  o'  nine  tails whipping.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2226": {
-    "English Original": "These mountain rivers afford the most delightful baths, perfectly safe, and clear as crystal.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2227": {
-    "English Original": "They are so tempting, that it is quite impossible to walk by them without undressing and jumping in.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2228": {
-    "English Original": "<supI</sup am immensely surprised to hear that Hunt is going to Syria so soon.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2229": {
-    "English Original": "<supI</sup confess <supI</sup had begun to think that his intended voyage there was a mvth, for he has not\n\nspoken to me about leaving England, although <supI</sup receive letters continually from him.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2230": {
-    "English Original": "<supI</sup suppose he thinks it would only meet with incredulity.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2231": {
-    "English Original": "<supI</sup am painting <supa</sup portrait of Ruskin, with <supa</sup background of rocks and <supa</sup waterfall, which is close here, so <supI</supget at it easily in the morning.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2232": {
-    "English Original": "This year <supI</sup am giving myself <supa</sup holiday, as <supI</sup have worked five years hard.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2233": {
-    "English Original": "If you have leisure to read, get Ruskin's two last volumes of The Stones of Venice, which surpass all he has written.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2234": {
-    "English Original": "He is an indefatigable writer'.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2235": {
-    "English Original": "We have, in fine weather, immense enjoyment, painting out on the rocks, and having our dinner brought to us there, and in the evening climbing up the steep mountains for exercise, Mrs. Ruskin accompanying us.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2236": {
-    "English Original": "Last Sunday we all walked up Ben Ledi, which was quite an achievement.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2237": {
-    "English Original": "<supI</sup am only just getting the mountaineer's certainty of step, after ex periencing some rather severe falls, having nearly broken my nose, and bruised my thumbnail so severely that <supI</sup shall lose it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2238": {
-    "English Original": "My shins are prismatic with blows against the rocks.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2239": {
-    "English Original": "Very truly yours,\n\n\"]OHN EVERETT MILLAIS.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2240": {
-    "English Original": "<sup204</sup JOHN EVERETT MILLAIS\n\n\n\nDESIGN FOR A GOTHIC WINDOW.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2241": {
-    "English Original": "<sup1853</sup Watercolour\n\nTo the same.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2242": {
-    "English Original": "f/o MR. STEWART, BRIG o' TURK,\n\n\" CALLANDER,\n\n\"August, 1853.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2243": {
-    "English Original": "MY DEAR MR. COMBE, .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2244": {
-    "English Original": "Ruskin and myself are pitching into architecture ; you will hear shortly to what purpose.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2245": {
-    "English Original": "<supI</sup think now <supI</sup was intended for <supa</sup Master Mason.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2246": {
-    "English Original": "All this day <supI</sup have been working at a window, which <supI</sup hope you will see carried out very shortly in stone.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2247": {
-    "English Original": "In my evening hours <supI</sup mean to make many designs for church and other architecture, as <supI</sup find myself quite familiar with constructions, Ruskin having given me lessons regarding foundations and the building of cathedrals, etc., etc.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2248": {
-    "English Original": "This is no loss of time rather <supa</sup real relaxation from everyday painting and itis immensely necessary that something new and good should be done in the place of the old ornamentations.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2249": {
-    "English Original": "Surely now that there seems more likelihood of <supa</sup Russian war you will not persist in travelling eastward.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2250": {
-    "English Original": "Assuredly you will all lose your heads.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2251": {
-    "English Original": "You in particular will verify your cognomen of ' Early Christian in such an event, for\n\n i8 <sup53</sup] DISCUSSION ON ARCHITECTURE <sup205</sup\n\nthat was generally their fate.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2252": {
-    "English Original": "Is there any chance of your coming to Edinburgh in October?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2253": {
-    "English Original": "Do, if you can, and hear Ruskin's lectures, and we will have a stroll over the city.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2254": {
-    "English Original": "Does your fountain still play ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2255": {
-    "English Original": "Have the goldfish been boiled again?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2256": {
-    "English Original": "Is Emma still alive?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2257": {
-    "English Original": "And have you finished your shields ?All these things <supI</sup am anxious to know.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2258": {
-    "English Original": "Yours very faithfully,\n\n\"JoHN EVERETT MILLAIS.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2259": {
-    "English Original": "WILLIAM MILLAIS AT WORK.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2260": {
-    "English Original": "<sup1853</sup\n\nBoth Ruskin and Millais felt that in modern architecture, no less than in modern painting, the lack of original composition and design was painfully evident.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2261": {
-    "English Original": "They had many talks on the subject, and as Mr. Ruskin intended to refer to this in <supa</sup lecture in Edinburgh, Millais exercised himself in the evening by sketching designs of all sorts in <supa</sup book which now lies before me.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2262": {
-    "English Original": "Figures, flowers, and animals are all grouped in every conceivable way, principally to be used in the decoration of church windows, the chief design being done on large sheets of grocery paper bought at <supa</sup neighbouring shop, and pasted on strips of canvas fixed together by himself.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2263": {
-    "English Original": "This design (a watercolour drawing for the window referred to in the foregoing letter) represented angels saluting\n\none another, the light being admitted through ovals, round which the arms of each figure clasped and met.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2264": {
-    "English Original": "It had a base line of 109 inches, and was shortly afterwards exhibited by Ruskin at his Edinburgh lecture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2265": {
-    "English Original": "Many years after that it was seen by <supa</sup noted cleric, who wished to have it carried out for a new window in one of our cathedrals.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2266": {
-    "English Original": "The ex pense, however, was found to be too great, so the idea was abandoned.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2267": {
-    "English Original": "Millais was especially keen to show his ability in this particular line, for, to his mind, a true artist should be able to design or draw anything, and he had recently been somewhat piqued by the observation of a newspaper, that \"though Millais might be successful in painting, he was in capable of making an architectural design.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2268": {
-    "English Original": "<sup11</sup NEW TROSSACHS HOTEL, BRIG o' TURK,\n\n\"September 6th, 1853.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2269": {
-    "English Original": "MY DEAR MRS. COMBE, <supI</sup am almost ashamed to write to you, after permitting so long a time to elapse without <supa</sup letter.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2270": {
-    "English Original": "<supI</sup am enjoying myself so much here that <supI</supcan scarcely find time to hold <supa</sup pen ; it is as much as <supI</sup can do to paint occasionally.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2271": {
-    "English Original": "Today <supI</sup have had <supa</sup sick headache, which has prevented me from painting the background of <supa</sup portrait of Ruskin.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2272": {
-    "English Original": "When the weather permits, we all dine out upon the rocks, Mrs. Ruskin working, her\n\n\n\nPAINTER.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2273": {
-    "English Original": "<sup1853</sup\n\nhusband drawing, and myself painting.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2274": {
-    "English Original": "There is only one drawback to this almost perfect happiness the midges.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2275": {
-    "English Original": "They bite so dreadfully that it is beyond human endur ance to sit quiet, therefore many a splendid day passes without being able to work.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2276": {
-    "English Original": "This does not grieve me much, as <supI</sup am taking <supa</sup holiday this season, and when <supI</sup return <supI</sup mean (if you will receive me) to pay you <supa</sup visit.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2277": {
-    "English Original": "Dr. Acland was stayTHE IDLE^AND THE INDUSTRIOUS ing With US <supa</sup little while\n\n\n\n\n\nback, and <supI</sup think greatly enjoyed himself.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2278": {
-    "English Original": "He is <supa</sup delightful companion, and joined us in games of battledore and shuttlecock, which we play for exercise between hours.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2279": {
-    "English Original": "Mr. Ruskin is going to lecture in Edinburgh next month, and we are busy making drawings for illustration.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2280": {
-    "English Original": "You will probably hear of me as an architect some day !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2281": {
-    "English Original": "Are you going with Hunt and the Early Christian to Syria?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2282": {
-    "English Original": "Have you heard much of Jenkins, and how is the parson ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2283": {
-    "English Original": "The service here is as unlike that at Oxford as an oyster is unlike a crow.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2284": {
-    "English Original": "The church is a beautiful little house built on the border of a lake, and the minister is a good, hardworking, sensible fellow, who lives in the same house as we do.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2285": {
-    "English Original": "The service, <supI</sup confess, <supI</sup do not like, but <supI</sup am pleased with the people, who seem all earnestly desirous of doing their duty.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2286": {
-    "English Original": "The church is supported by the visitors to the hotels, there being no rich lairds about here, nobody but poor old bodies wrapped up in plaids.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2287": {
-    "English Original": "Yours most truly,\n\n\"JOHN EVERETT MILLAIS.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2288": {
-    "English Original": "In 1853 manners and modes of life of the Scotch peasantry were somewhat different from what they are now.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2289": {
-    "English Original": "The doggies came to church, as they still do in one or two remote districts, and the music was conducted by the precentor, whose comic personality is admirably hit off in one of Millais' sketches.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2290": {
-    "English Original": "William Millais says of this visit to the North : \" How well <supI</sup remember our going to the little Free Kirk, arrayed as wellturneclout Highland men.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2291": {
-    "English Original": "The service was to us somewhat comical, and we could hardly stay it out.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2292": {
-    "English Original": "The precentor was <supa</sup little very bowleggecl old man, with the wheeziest of voices, and sang the first line of the ' paraphrase alone, whilst his little shaggy terrier, the image of his master, joined in <supa</sup piteous howl.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2293": {
-    "English Original": "The other lines were sung by the congregation, assisted by <supa</sup few collies.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2294": {
-    "English Original": "<supI</sup afterwards tackled the little precentor, and asked him why he didn't have an organ.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2295": {
-    "English Original": "Ah, man, would you have us take to the devil's band ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2296": {
-    "English Original": "was his answer.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2297": {
-    "English Original": "When the sermon came, it was most amusing to us to watch the old men passing their rams' horn snuffmulls to one another, and putting little bone spades full of the pungent material up their noses to keep them awake.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2298": {
-    "English Original": "\"In front of us were two welldressed young girls, in all i.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2299": {
-    "English Original": "14\n\nthe newest fashion, and when the shallow offertorybox was poked towards them, they put in <supa</sup farthing.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2300": {
-    "English Original": "We afterwards saw them take off their shoes and stockings and walk home barefooted.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2301": {
-    "English Original": "As the whole congregation passed out, my brother allowed that they one and all riveted their eyes on his legs, and he made up his mind then to get rid of the beastly kilt, and left me to carry out his purpose.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2302": {
-    "English Original": "Just then <supI</sup\n\n\n\nsaw <supa</sup carriage passing along the highroad, with <supa</sup man gesticulating towards me.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2303": {
-    "English Original": "<supI</sup at once recognised him as Gambart, the wellknown picturedealer.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2304": {
-    "English Original": "He stopped the vehicle, and got out and asked after my brother, and then introduced me to the lady inside ' Mdlle.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2305": {
-    "English Original": "Rosa Bonheur ' who expressed herself enthusiastically upon my appearance.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2306": {
-    "English Original": "'Ah, my dear Millais,' said Gambart, 'Mademoiselle Rosa Bonheur has been eagerly on the lookout for the Highland garb ever since we left Edinburgh, and yours is the first kilt she has seen.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2307": {
-    "English Original": "<supI</sup told them that if they had been <supa</sup little sooner they would have seen my brother in a similar garb.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2308": {
-    "English Original": "How beautiful he must look\n\nin it,' said Gambart.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2309": {
-    "English Original": "It was a pity they had not seen him.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2310": {
-    "English Original": "We lunched with them at Trossachs Hotel, but nothing would induce my brother to don the kilt again.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2311": {
-    "English Original": "Among the most interesting records of this period is <supa</sup large sketchbook of Millais'.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2312": {
-    "English Original": "The first part is filled with highlyfinished drawings, illustrating the various \" ploys \" of the party salmonfishing, sketching, and expeditions in the hills the latter half containing comical caricatures of the people who came and went.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2313": {
-    "English Original": "In the evenings, after dinner, Art was frequently discussed, and Millais would occasionally make fun of the old masters, showing in a few lines the chief materials of their stockintrade.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2314": {
-    "English Original": "Some of these sketches (given here) are interesting as showing how <supa</sup very few bare lines can be made to indicate unmistakably the characteristic styles of individual masters, such as Vandyck, Poussin, Greuze, or <supa</sup Turner.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2315": {
-    "English Original": "Mrs. Ruskin, being exceedingly learned in Scottish history, used to hold forth occasionally on the doughty deeds of the early champions of liberty and Christianity, and delighted to narrate the thrilling adventures of Robert Bruce, of the\n\nCrusaders, and of all the heroes of Highland chivalry.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2316": {
-    "English Original": "One evening Millais pretending, <supI</sup regret to say, to have been much impressed by the woes and afflictions suffered by Robert the Bruce in prison, and his subsequent adventures with <supa</sup fine specimen of Arachne vulgaris, took the sketchbook, saying that so important a subject required to be instantly fixed on paper, and he must at once make a design for future development.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2317": {
-    "English Original": "If the reader will turn\n\n\n\nto page 176, he will see how it was that this touching subject never found its way to the walls of the Academy.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2318": {
-    "English Original": "The drawing, however, was much appreciated, and led to many similar illustrations of Scottish history, such as the siege of Dunbar Castle by the English, the adventures of Lord James Douglas in the Holy Land, the siege of Acre.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2319": {
-    "English Original": "And these from the same hand that painted \" The Yak: of Rest\" and \"The NorthWest Passage!\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2320": {
-    "English Original": "To my mind, they are as characteristic of Millais as any serious work of his.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2321": {
-    "English Original": "There isforce and reason in the broadest and simplest lines, to say nothing of the genuine humour they exhibit.\\\n\n\\ Millais showed these comic sketches to Leech, who was doubtless somewhat influenced by them in his subsequent and admirable illustrations for The Comic History of England and The Comic History of R<vn<\\\n\n\n\n\"VIRTUE AND VICE.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2322": {
-    "English Original": "<sup1853</sup Line and Sepia drawing\n\n\n\nBefore parting with the Ruskin portrait, he repainted the whole of the background.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2323": {
-    "English Original": "He also finished at the same time <supa</sup little picture called \"The Highland Lass,\" now in the possession of Mr. Henry Willett.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2324": {
-    "English Original": "One of the keenest disappointments of his early life occurred in 1850, when, after being elected to the honour of an Associate of the Royal Academy, the appointment was quashed on the ground of his extreme youth.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2325": {
-    "English Original": "Since\n\n\n\nWAYSIDE REFRESHMENT\n\nthat time, as he could not but know, his works had risen year by year in the estimation of the public, but as yet no official recognition of their merit had been accorded him by the Academy, and he began to feel somewhat sore at this neglect.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2326": {
-    "English Original": "He was, therefore, more than usually interested in the coming election, which was to take place on November yth, 1853.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2327": {
-    "English Original": "Several influential Academicians had promised to vote for him, and, though himself an earnest supporter of authority when fairly exercised, he was not disposed to have his claim overlooked much longer.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2328": {
-    "English Original": "Gambart and other dealers, knowing that his pictures were always in request, had already made him tempting offers to exhibit solely with them, and from the commercial point\n\nof view it might have been to his advantage to do so ; but he steadily refused to entertain the idea so long as any doubt remained as to the attitude of the Academy.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2329": {
-    "English Original": "Another reason for this decision was that, having taken\n\n\n\nSIR THOMAS ACLAND ASSISTING A CERTAIN LADY TO PAINT ONE OF HER PICTURES.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2330": {
-    "English Original": "<sup1853</sup\n\nupon himself the championship of PreRaphaelite principles, he was determined to make the Academy ac <supj</sup knowledge his power as the chief, if not the only, ex ponent of their principles, now that Hunt was off to the East, and Rossetti had wandered away on his own exclusive line ; and if he ceased to exhibit there, some of those whose opinion he valued might perhaps think that he was afraid to continue the struggle.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2331": {
-    "English Original": "And now the eventful day approached.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2332": {
-    "English Original": "But let William Millais tell the tale in his own words : \" On the day when the result of the election of Associates at the Royal Academy of Arts was to be made known, my brother, self, Wilkie and Charlie Collins all started off to spend <supa</sup whole day in the country to alleviate our\n\nexcitement.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2333": {
-    "English Original": "Hendon was the chosen locality.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2334": {
-    "English Original": "My brother wore <supa</sup large gold goose scarfpin.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2335": {
-    "English Original": "He had designed <supa</sup goose for himself and <supa</sup wild duck for me, which were made by Messrs. Hunt and Roskell exquisite works of Art.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2336": {
-    "English Original": "We had spent <supa</sup very jolly day, the principal topic of conversation being the coming election, Wilkie Collins being confident that Jack's usual luck would attend him and that he would certainly be returned an Associate of\n\nthe Royal Academy. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2337": {
-    "English Original": "We had been walking along <supa</sup narrow, sandy lane, and, meeting <supa</sup large threehorse waggon, had stepped aside to\n\nlet it pass, when we resumed our way, and shortly afterwards Jack's pin was gone !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2338": {
-    "English Original": "Now, Wilkie,' said my brother, how about my luck ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2339": {
-    "English Original": "This is an ominous sign that <supI</supshall not get in.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2340": {
-    "English Original": "'Wait <supa</sup bit, let's go back/ said Wilkie.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2341": {
-    "English Original": "We were all quite sure that he had it on on leaving Hendon.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2342": {
-    "English Original": "Now, the fact of <supa</sup huge waggon having gone over the ground we had travelled by gave us very little hope of seeing the golden goose again.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2343": {
-    "English Original": "A stipulated distance was agreed upon, and back we all trudged, scanning the ground minutely.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2344": {
-    "English Original": "<supI</sup undertook the pacing.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2345": {
-    "English Original": "The waggon had ploughed deep furrows in the sand, and just as we had reached the end of our tether, Jack screamed out, There it is, by Jove !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2346": {
-    "English Original": "And, in truth, the great gold goose was standing perched on <supa</sup ridge of sand, glistening like the Kohinoor itself.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2347": {
-    "English Original": "We went straight to the Royal Academy, and Charles Landseer, coming out, greeted my brother with, Well, Millais, you are in this time in earnest' punning on his name, which they had entered as 'John Ernest Millais' instead of John Everett Millais.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2348": {
-    "English Original": "It was on the day following the election that D. G. Rossetti wrote to his sister Christina (Letters of D. G. Rossetti to William Allinghani] : \" Millais, <supI</sup just hear, was\n\nlast night elected an Associate ; so now the whole Round Table is dissolved\" meaning, no doubt, that Millais, having been received into the fold of the recognised authority, would cease to support the heterodox principles he had till then so strongly upheld.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2349": {
-    "English Original": "But nothing could be further from his thoughts.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2350": {
-    "English Original": "He quietly continued his work on the same lines till 1860, when his painting of minute detail became gradually merged in greater breadth of treatment.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2351": {
-    "English Original": "Look at the landscape in \"Chill October\" (1875) and \"TheWoodman's Daughter\" (1849).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2352": {
-    "English Original": "The effect is the same ; only the mode of expression is different.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2353": {
-    "English Original": "He gained the technique used in the\n\n\n\nA CERTAIN LADY PAINTING ONE OF HER RELIGIOUS PICTURES.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2354": {
-    "English Original": "1853\n\nfirstnamed picture through the scholastic and selfimposed labour of the second.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2355": {
-    "English Original": "Millais' next letter is in reply to one from Mr. Combe, inviting him to stay again at Oxford, and announcing the joyful fact that he had purchased Hunt's great picture, \" The Light of the World,\" <supa</sup picture which Millais greatly admired.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2356": {
-    "English Original": "<sup1853</sup\n\n To Mr. Combe.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2357": {
-    "English Original": "83, GOWER STREET,\n\n\" Thursday Evening, December, 1853.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2358": {
-    "English Original": "MY DEAR MR. COMBE, <supI</sup am sorry that <supI</sup cannot possibly leave town next week, as <supI</supfind <supI</sup shall be required by the Royal Academy to receive my diploma.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2359": {
-    "English Original": "After that, <supI</sup must really set about working, for <sup1</sup must get something done for the Exhibition.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2360": {
-    "English Original": "<supI</sup called today upon Sir Charles Eastlake, the President, and he told me <supI</sup must stay in London for the Committeemeeting next week, which is not fixed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2361": {
-    "English Original": "<supI</sup congratulate you on having bought 'The Light of the World.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2362": {
-    "English Original": "You are <supa</sup sensible man.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2363": {
-    "English Original": "EUPHEMIA CHALMERS GRAY (AFTERWARDS LADY MILLAIS).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2364": {
-    "English Original": "<sup1853</sup A pencil drawing made by herself from an oil painting by Millias\n\n\n\n\" <supI</sup have just returned from dining with Ruskin's father, and am <supa</sup little tired and sleepy, so <supI</sup must finish this ; for, as <supa</sup true friend, you must wish me to go to bed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2365": {
-    "English Original": "My love to Mrs. Pat.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2366": {
-    "English Original": "\"Yours very faithfully,\n\n\" JOHN EVERETT MILLAIS.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2367": {
-    "English Original": "To the same.\n\n \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2368": {
-    "English Original": "FIELDING CLUB, \" HENRIETTA STREET, COVENT GARDEN,\n\n\"Monday, December 26th, 1853.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2369": {
-    "English Original": "MY DEAR MR. COMBE, <supI</sup am ashamed of myself for not having written to you before this to explain about Hunt's likeness [drawn by himself].",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2370": {
-    "English Original": "<supI</sup am so pleased with it that, as <supI</sup have no other, <supI</sup must keep if for myself, but will copy it for you and send it in the course of <supa</sup week or two.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2371": {
-    "English Original": "<supI</sup thought you were going to accompany Hunt to Syria.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2372": {
-    "English Original": "What do you mean by neglecting your promise ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2373": {
-    "English Original": "Now that Hunt is going <supI</sup don't know what will become of me.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2374": {
-    "English Original": "<supI</sup hope you have all spent <supa</sup happy Xmas, <supa</sup more cheerful one than <supI</sup spent ; for <supI</sup had no dinner, and was strolling about London between church services.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2375": {
-    "English Original": "In the morning <supI</sup attended Wells Street, and in the evening Dr. Gumming <sups</sup the north and south poles of religious ceremony.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2376": {
-    "English Original": "Cumming is <supa</sup wonderful man, sincere and eloquent.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2377": {
-    "English Original": "The Scotch are very manly and honest.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2378": {
-    "English Original": "<supI</sup heard <supa</sup great man named Guthrie in Edinburgh the finest preacher <supI</sup ever heard.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2379": {
-    "English Original": "Ever yours,\n\n\"JoHN EVERETT MILLAIS.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2380": {
-    "English Original": "End of the PreRaphaelite Brotherhood Walter Deverell His illness and death Holman Hunt in the East Letters from him \"The Scapegoat\" \"The Blind Girl\" and \" L'Enfant du Regiment\" Winchelsea Thackeray writes whilst Millais paints An eccentric vicar Success of \"The Blind Girl\" Ruskin's description of it John Luard Millais in Scotland with Halliday, Luard, and Charles Collins Paris Exhibition of <sup1855</sup The English school at last recognised How \" The Rescue \" came to be painted Letters from Dickens Models for \"The Rescue\" and criticisms on itAppreciation by Thomas Spencer Baynes Millais loses his temper and speaks out Beneficial result Firemen at work Letters from William Allingham Frederick Leighton.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2381": {
-    "English Original": "MILLAIS, as we have seen, was now one of the elect of the Royal Academy, and his picture, \" The Huguenot,\" had added much to his reputation as an artist ; but it is quite a mistake to assume, as so many writers have done, that after this date the current of his life ran smoothly on without any serious obstruction or impediment.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2382": {
-    "English Original": "His great fight perhaps the greatest fight of all was yet to come; and as <sup1853</sup drew to a close, the elation he might otherwise have felt was restrained by circumstances and considerations of no small moment to a man of his sensitive nature.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2383": {
-    "English Original": "Leading members of the Academy were, as he well knew, prejudiced against him ; the Press continued to jeer at him as an enthusiast in <supa</sup false style of Art ; D. G. Rossetti, wounded by their carping and insulting criticism of his \"Annunciation,\" had retired from the contest; Walter Deverell, a devoted friend of Millais and an ardent supporter of the PreRaphaelite movement, was seriously ill ; and now that Hunt, his greatest and strongest ally, was about to leave for the East, he knew that upon him alone would devolve the duty of maintaining the cause to which he had devoted his life as an artist.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2384": {
-    "English Original": "Charlie Collins, it is true, was still with him, and in \" Mike \" Halliday and Leech he had found other firm and faithful friends ; but, highly\n\n '853] WALTER DEVERELL <sup223</sup\n\nskilled as these three men were, both as artists and connoisseurs, they could hardly be expected to share the enthusiasm of himself and Hunt for <supa</sup cause which they had made so peculiarly their own.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2385": {
-    "English Original": "Individual PreRaphaelites, such as Collinson, Hughes, and others, were doing good\n\n\n\n \"WAITING\"\n\nwork, and the Academy did not exclude their paintings at the annual exhibitions ; but the Brotherhood itself no longer existed in its old form as a body of associated workers.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2386": {
-    "English Original": "It had become indeed, as Hunt says in one ot\n\nhis letters, \" <supa</sup solemn mockery, and died of itself.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2387": {
-    "English Original": "<supA</sup few words about Walter Deverell may not be out of place here ; for, apart from Millais' affection for him, as\n\nevidenced by the following letters, he was <supa</sup youth of rare character and great gifts, who yet, like poor Chatterton, ended his life in the deepest depths of poverty.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2388": {
-    "English Original": "On the death of his father in 1853 he struggled hard to maintain not only himself, but his brothers and sisters by the sale of his pictures ; but, some two years before his own death, his health began to give way, and at last failed altogether under the distress of finding it impossible to keep the home together.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2389": {
-    "English Original": "Consumption set in, and early in 1854 he passed away.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2390": {
-    "English Original": "It was only <supa</sup few weeks before this that Millais discovered the dire necessity of his friend, when he hastened at once to his relief.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2391": {
-    "English Original": "Without saying <supa</sup word to him, he took steps to secure the sale of his last picture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2392": {
-    "English Original": "Two of the PreRaphaelite Brothers sent a stranger to buy it, and in ignorance of this little ruse, poor Deverell rejoiced in being able to provision his household and stave off the reaper for at least a short time longer.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2393": {
-    "English Original": "Referring to this incident, Holman Hunt says : \" Millais came to me one day and said, Deverell is in great straits.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2394": {
-    "English Original": "Let us buy his picture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2395": {
-    "English Original": "Will you give half, if <supI</sup do ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2396": {
-    "English Original": "So the picture was bought, and Deverell for the while tided over his financial difficulties.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2397": {
-    "English Original": "As to the man himself, Mr. Arthur Hughes has given us an account in The Letters of D. G. Rossetti to William Allingham.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2398": {
-    "English Original": "He describes him as \"a manly young fellow, with <supa</sup feminine beauty added to his manliness ; exquisite manners and <supa</sup most affectionate disposition.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2399": {
-    "English Original": "He died early, after painting two or three pictures.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2400": {
-    "English Original": "Had he lived he would have been a poetic painter, but not a strong one.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2401": {
-    "English Original": "Millais, hardworking and ambitious though he was, used to sit hour after hour by his bedside, reading to him.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2402": {
-    "English Original": "The following letters tell their own tale.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2403": {
-    "English Original": "Millais appealed to the Combes for help lor his friend, and they responded with characteristic kindness of heart :\n\nTo Mrs. Combe.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2404": {
-    "English Original": "83, GOWER STREET,\n\n\" December 3O//?, 1853.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2405": {
-    "English Original": "MY DEAR MRS. PAT, <supI</sup have <supa</sup young friend, an artist of the name of Deverell (maybe Hunt has spoken to you about him).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2406": {
-    "English Original": "He is very clever, but unfortunately will never have strength again sufficient to follow his profession.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2407": {
-    "English Original": "He is\n\ngiven up for lost by three doctors, but may last through the winter with great care.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2408": {
-    "English Original": "He has no mother alive, and his father died about four months ago, leaving him in destitution, with <supa</sup family of little brothers and sisters to support.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2409": {
-    "English Original": "The efforts he made to this end, <supI</sup expect, hastened on internal disease, and now he is confined to his bed.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2410": {
-    "English Original": "Besides his own melancholy illness, <supa</sup poor little girl, about eight years of age, was, soon after the father's death, struck with paralysis in the right arm, the use of which she has lost for life.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2411": {
-    "English Original": "Indeed, there seems to be a curse upon the family.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2412": {
-    "English Original": "The father was <supa</sup very learned man, but <supa</sup determined atheist, and died without altering his opinions.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2413": {
-    "English Original": "His behaviour was frightfully cruel to his now dying son.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2414": {
-    "English Original": "He would never permit his children to attend church, turning religion into ridicule upon all occasions.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2415": {
-    "English Original": "My poor friend is so careless of himself, and his eldest sister is so unfit to nurse him, that <supI</sup write to ask you whether you can assist me in any way by recommending <supa</sup good, kind person who could read to him, and see to his taking his meals punctually only bread and milk.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2416": {
-    "English Original": "Last night <supI</sup was with him, and was grieved to see the apathy of the servant and his sister, who had been out that night to <supa</sup dance, and was now gone to bed!",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2417": {
-    "English Original": "There was no fire in the room, and the invalid was hanging partly out of his bed, with his hands as cold as ice.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2418": {
-    "English Original": "... <supI</sup am going there again tonight, to amuse him.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2419": {
-    "English Original": "It is almost cruel to tell him of his danger, as lie is so alive to the distress that w <supr</sup ill come upon his family in the event of his dying ; therefore, <supI</sup have not spoken upon the subject, neither have the medical men, who seem to think he should be kept as cheerful as possible.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2420": {
-    "English Original": "Until now he has declined having a nurse, because of the expense, but <supI</sup have persuaded him, as <supI</sup would rather pay for the woman myself than let him continue to be neglected.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2421": {
-    "English Original": "... <supI</sup spoke to Ruskin about him, and he has been extremely kind, his father sending him chicken and jellies, but these he cannot touch himself, as he is obliged to live upon milk and toast.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2422": {
-    "English Original": "Next spring <supI</sup purpose leaving England for the Continent, as <supI</sup am sick of this rain and freezing climate.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2423": {
-    "English Original": "<supI</sup shall take it as a favour if you will inquire quietly for me about <supa</sup nurse for D , as he is gradually wasting away, and <supI</sup should like him to be more comfortable.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2424": {
-    "English Original": "Ever yours,\n\n\" JOHN EVERETT MILLAIS.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2425": {
-    "English Original": "To Mr. Combe.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2426": {
-    "English Original": "83, GOWER STREET,\n\n\"January, 1854.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2427": {
-    "English Original": "MY DEAR MR. COMBE, <supI</sup have made <supa</sup drawing of Hunt, which <supI</sup think you will find very like.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2428": {
-    "English Original": "It is not a copy of the one <supI</sup have, but another <supI</sup drew on Sunday evening.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2429": {
-    "English Original": "<supI</sup will get it framed for you (as it would rub, sent as it is), and forward itas soon as it is out of the framemaker's hands.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2430": {
-    "English Original": "<supI</sup shall see Deverell this evening.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2431": {
-    "English Original": "He would not see Mr. ^ Stuart when <supI</sup mentioned it to him.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2432": {
-    "English Original": "He has some relations, clergymen, whom he says he can see whenever he wishes.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2433": {
-    "English Original": "Today <supI</sup was expecting Ruskin to sit to me for his portrait, which <supI</sup was painting in the Highlands.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2434": {
-    "English Original": "Hunt goes now either tonight or tomorrow.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2435": {
-    "English Original": "<supI</sup shall not believe he is gone until Mrs. Bradshaw, his landlady, says he is not at home.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2436": {
-    "English Original": "<supI</sup never knew such a fellow ; his room looks as though it had been given over to the tender care of a dozen monkeys in his absence.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2437": {
-    "English Original": "Ever yours,\n\n\")OHN EVERETT MILLAIS.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2438": {
-    "English Original": "To Mrs. Combe.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2439": {
-    "English Original": "83, GOWER STREET,\n\n\" Febniary \\$rd, 1854. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2440": {
-    "English Original": "Mv DEAR MRS. PAT, <supI</sup have just come from inquiring after Deverell, who died whilst <supI</sup was in the house.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2441": {
-    "English Original": "<supI</sup sent (for <supI</sup could not see him) <supa</sup message urging him to see <supa</sup clergyman, but when the cousin who had been with him got to the door of his room she found it locked, and ascertained from the nurse within that all was over.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2442": {
-    "English Original": "; This same lady had often desired him to permit the visit of a clergyman, but without obtaining his consent.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2443": {
-    "English Original": "Latterly he would not, or rather could not, listen to what was said to him.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2444": {
-    "English Original": "... <supI</sup did my best to prevail, but he always declined.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2445": {
-    "English Original": "He was quite sensible, and received most calmly the news of his coming death.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2446": {
-    "English Original": "<supI</sup have had <supa</sup most amusing letter from Hunt.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2447": {
-    "English Original": "He seems to have really reached Marseilles, but of course not without disasters, one of which was the breaking of <supa</sup bottle of varnish in his portmanteau, which obliged him to unpack everything, and to wash the compartment before replacing the things.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2448": {
-    "English Original": "Ever yours most truly,\n\n\"JOHN EVERETT MILLAIS/'\n\n\n\n\n\nAfter this came <supa</sup long series of letters from Holman Hunt, elated from various parts of Egypt and Palestine, where in 1854 and <sup1856</sup he was engaged in collecting materials for his pictures, and produced, amongst other works, that magnificent painting, \"The Scapegoat.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2449": {
-    "English Original": "These letters, PreRaphaelite in detail and often admirably illus trated, are full of interest, not only as a record of his wanderings in the East and the adventures he met with,\n\n\n\nPRINCE CHARLIE IN A HIGHLAND FARMHOUSE Pencil design.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2450": {
-    "English Original": "1854\n\nbut as a reflex of his observant mind and his constant solicitude for his friends at home.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2451": {
-    "English Original": "For Millais more particularly they betray <supa</sup warmth of interest that could only exist between such congenial and affectionate friends.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2452": {
-    "English Original": "But <supI</sup must necessarily limit myself here to such of them as refer more especially to the subject of this memoir, or to matters in which they were mutually interested.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2453": {
-    "English Original": "Writing from Cairo in 1854, he says: \"I hope you will come out in the autumn.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2454": {
-    "English Original": "Seddon (an artist friend) will have gone back by then, and <supI</sup will have made some way into the language, if possible.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2455": {
-    "English Original": "<supI</sup am very likely to remain abroad for <supa</sup year or two, for it is impossible to do any good in\n\nmerely passing through <supa</sup country, particularly when one has so many prejudices to overcome as exist here.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2456": {
-    "English Original": "<supI</sup wish we could meet abroad to work and travel together for <supa</sup good while, with occasionally another or two for companions Halliday for one.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2457": {
-    "English Original": "The advantage of being away from London is that riddance from bores, personal and impersonal, one meets with there, and (with one or two intimates at hand) the possibility of keeping all wandering ones at bay might be attained.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2458": {
-    "English Original": "<supI</sup don't teel certain as to the best place to remain in.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2459": {
-    "English Original": "This may be the most convenient and practicable, but my inclination points to Beirout, or some other quarter where God's works are more prominent than those of man.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2460": {
-    "English Original": "\"Certainly cultivate <supa</sup beard.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2461": {
-    "English Original": "<supI</sup am persuaded to over come my Anglican prejudice in favour of <supa</sup clean chin.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2462": {
-    "English Original": "<supI</sup should not do so, however, if <supI</sup found it disguised my nationality, for that is worth every other protection one travels with.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2463": {
-    "English Original": "It compels cringing obedience and fear from every native, even <supa</sup dog.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2464": {
-    "English Original": "With this, indeed, and <supa</sup stick, or, in fact, with only a fist, <supI</sup would undertake to knock down any two Arabs in the Esbekir and walk away unmolested, and even with the hope that they should be well bastinadoed for having given me so much voluntary trouble.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2465": {
-    "English Original": "There would be very few artists in London if they had such difficulties in procuring models as poor Hunt had to face in 1854.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2466": {
-    "English Original": "Writing from Cairo, in March of that year, he says : \" <supI</sup wish my attempts to get models had been encouraging in the result.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2467": {
-    "English Original": "Bedouins may be hired in twenties and thirties, merely by paying them <supa</sup little more than their usually low rate of wages, and these are undoubtedly the finest men in the place ; but when one requires the men of the city, or the women, the patience of an omnibusman going up Piccadilly with two jibbing horses on an Exhibitionday is required.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2468": {
-    "English Original": "<supI</sup have made the attempt to get <supa</sup woman to sit, until, at the end of <supa</sup fortnight or three weeks, <supI</sup have realised nothing but despair, although <supI</sup have spared no pains and have prejudiced my moral reputation to achieve my purpose.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2469": {
-    "English Original": "The first chance my servant discovered, <supI</sup knew it would not do to inquire too narrowly into the character of the people ; so <supI</sup followed him without question into a house where at everv\\ door there was <supa</sup fresh investi^a O tion of myself, in such sort as to make it appear <supa</sup matter\n\n '854] HOLMAN HUNT <sup231</sup\n\nof the greatest good fortune when <supI</sup found myself at the top of the house entering the guestroom.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2470": {
-    "English Original": "This was a small chamber without much furniture, but surrounded with divan seats in front of <supa</sup latticework mushrabee, where people sit for the cool air in the heat of the day.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2471": {
-    "English Original": "No one was present, so <supI</sup had leisure to examine the objects in the room and speculate upon the beauty of the houris of the establishment, and to make some study of the manner in which <supI</sup\n\n\n\nTHE PRISONER'S WIFE\n\nwould arrange the sketch which <supI</sup should have to do that same day.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2472": {
-    "English Original": "And here <supI</supheard women's voices outside.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2473": {
-    "English Original": "With but only about twenty words of Arabic and <supa</sup great deal of impatience, <supI</sup could not afford much ceremony, so after <supI</sup had fired off the nineteen <supI</sup thought it time to walk up to the most graceful figure, utter the remaining word, 'yea bint,' and lift up her veil <supa</sup proceeding for which they were scarcely prepared.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2474": {
-    "English Original": "The shy daughter of the full moon squinted ; and on turning to others, <supI</sup\n\ndiscovered that Nature had blessed each with some such invaluable departure from the monotony of ideal perfection.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2475": {
-    "English Original": "\"'The evening star' had lost her front teeth, 'the sister of the sun had several gashes in her cheek, while ' the mother of the morning had <supa</sup face in pyramid shape.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2476": {
-    "English Original": "<supI</sup told my man to express my regret that heaven had not bestowed on me enough talent to do justice to that order of beauty, by shying some backsheesh to the old woman, while <supI</sup took one by the neck and gently hurled her on to the floor for having attempted to intercept my passage by the door.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2477": {
-    "English Original": "A fight with <supa</sup man or two in going downstairs and an encounter with several dogs in the yard, and <supI</sup found myself in the street, with my man behind me in <supa</sup state of utter bewilderment at the turn affairs had taken.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2478": {
-    "English Original": "The next day <supI</sup applied to the wife of the English missionary, who replied that it was a matter of the greatest difficulty.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2479": {
-    "English Original": "She had once induced <supa</sup girl to sit, but then it was to <supa</sup clergy man.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2480": {
-    "English Original": "Perhaps it might be possible to get her again for me, but not at present, for it was <supa</sup great fast, which was observed at home indoors, and, moreover, she herself was just setting out for Mount Sinai for two or three months, and without her presence in the room nothing could be done.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2481": {
-    "English Original": "The day after this <supI</sup persuaded my landlord to exert himself, which ended in his procuring me <supa</sup lady as ugly as <supa</sup daguerrotype, whom <sup1</sup dismissed after <supI</sup had blunted my pencil in my sketchbook.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2482": {
-    "English Original": "In the afternoon <supI</sup had another woman seized, who turned out to be uglier than any <supI</sup had seen.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2483": {
-    "English Original": "All the public women seem to be chosen to show the repulsiveness of vice at first glance <supa</sup wise system that deserves more success than it would seem to meet.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2484": {
-    "English Original": "There are beautiful women here.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2485": {
-    "English Original": "In the country the fellah girls wear no veils and but very little dress, and these in their prime are perhaps the most graceful creatures you could see anywhere.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2486": {
-    "English Original": "In prowling about the village one day <supI</sup came face to face with one of them, and could not but stop and stare at her.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2487": {
-    "English Original": "She could not pass, and when <supI</sup saw this <supI</supthought some apology was necessary.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2488": {
-    "English Original": "Seddon's Hippopotamus\\ was with me, but <supI</sup only explained my desire to him without further satisfaction than could be got by his going through his complete lesson with all its variations of ' Vare kood, ser ; yes, ser, vare kood, ser ; tiab contere quies vare kood, ser.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2489": {
-    "English Original": "Pen drawing\n\n\n\n\" Goodbye, old fellow.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2490": {
-    "English Original": "Commend my memory most kindly to your mother and father and brother, and all other friends.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2491": {
-    "English Original": "<supI</sup am afraid <supI</sup cannot write to the Collins's at once, for <supI</sup want to settle to work first.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2492": {
-    "English Original": "Remember me to them affectionately.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2493": {
-    "English Original": "<supI</sup will enclose a note to jolly old Halliday.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2494": {
-    "English Original": "<supI</sup have <supa</sup good excuse for not writing many letters, for, besides the engagements which one finds abroad, <supI</sup have the plea of great difficulty in getting them posted.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2495": {
-    "English Original": "One cannot pay postage here, and <supI</sup have to get them con veyed by hand to Alexandria for that purpose.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2496": {
-    "English Original": "God defend you always!",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2497": {
-    "English Original": "Yours, W. HOLMAN HUNT.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2498": {
-    "English Original": "All through the summer, autumn, and winter of 1854 Hunt remained in Jerusalem, encountering many difficulties and not <supa</sup little personal danger.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2499": {
-    "English Original": "Writing from there on November roth, he expresses his delight at hearing from Millais, adding : \" It may be interesting to you to know that my tent was pitched on the plain of Mamre, under <supa</sup tree still called 'Abraham's Tree,' where he entertained the three angels.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2500": {
-    "English Original": "(The tree, however, though an immense and ancient one, has no just claim to the dignity.)",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2501": {
-    "English Original": "Here <supI</sup laid down in the middle of the day, and took out your letters Halliday's and your own which <supI</sup had brought with me, and reread them again with <supa</sup delight which made every word like pure water to <supa</sup thirsty soul.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2502": {
-    "English Original": "<supI</sup could remember Winchelsea so clearly, all our walks there together, and our meal at the inn, and <supI</sup could imagine you and jolly Halliday working there within sight and sound of the sea.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2503": {
-    "English Original": "And how <supI</sup could have joyed to be with you, to talk together for a few hours !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2504": {
-    "English Original": "Some day again <supI</sup hope to see you, and not long hence.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2505": {
-    "English Original": "A few months, and <supI</sup shall look for spring and England together.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2506": {
-    "English Original": "<supI</sup am often sorry that you are no longer in Gower Street, for <supI</sup cannot picture you returned to town, in <supa</sup strange studio, and merry Halliday away from Robert Street.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2507": {
-    "English Original": "The idea is almost like losing you, for the picture of <supa</sup pretty cottage at Kingston is not drawn from Nature, and may be all wrong.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2508": {
-    "English Original": "\"After all, your letter was full of sad incidents, notably the horrible death of the landlord of the inn.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2509": {
-    "English Original": "Such things make one despair of the world.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2510": {
-    "English Original": "Six thousand years, and so much evil !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2511": {
-    "English Original": "<supI</sup think people look on and moralise too much.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2512": {
-    "English Original": "Sometimes <supI</sup have an idea of an active future, in the fall of everything decent and respectable.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2513": {
-    "English Original": "<supI</sup hope we may devise some means of serving God together.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2514": {
-    "English Original": "<supI</sup am\n\nin gloom sometimes as to the capacity of Art ; but <supI</sup have no permanent despondency on the subject.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2515": {
-    "English Original": "It must be equally strong as an instrument of either good or evil, and of the latter one cannot doubt its power.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2516": {
-    "English Original": "Halliday told me your subject ('The Blind Girl'), which <supI</sup think a very beautiful one.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2517": {
-    "English Original": "It is an incident such as makes people think and love more.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2518": {
-    "English Original": "It is wrong to doubt of the good, after one has become convinced enough to take <supa</sup subject in hand.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2519": {
-    "English Original": "<supI</sup went over all your news and your reflections ; and, to realise the idea of our being together, <supI</sup used Halliday's envelope to make cigarettes with, and\n\nfancied you through the fumes.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2520": {
-    "English Original": "For the next week or two <supI</sup shall be stationed about sixty miles from Jerusalem, and with no means of despatching letters thence or communicating with any human being above <supa</sup wild Arab.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2521": {
-    "English Original": "The prospect is sufficiently dreary, to say the least of it, but <supI</sup am tempted to it for the sake of <supa</sup serious subject that has come into my head, for the next exhibition of the Academy.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2522": {
-    "English Original": "20 you will read an account of the scapegoat sent away into the wilderness, bearing all the sins of the children of Israel, which, of course, was instituted as a type of Christ.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2523": {
-    "English Original": "My notion is to represent this accursed animal with the mark of the priest's hands on his head, and <supa</sup scarlet ribbon which was tied to him, escaped in horror and alarm to the plain of the Dead Sea, and in <supa</sup death thirst turning away from the bitterness of this sea of sin.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2524": {
-    "English Original": "If <supI</supcan contend with the difficulties and finish the picture at Usdoom, it cannot fail to be interesting, if only as <supa</sup representation of one of the most remarkable spots in the world ; and <supI</sup am sanguine that it may be further <supa</sup means of leading any reflecting Jews to see <supa</sup reference to the Messiah as He was,\n\nand not (as they understand) <supa</sup temporal king. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2525": {
-    "English Original": "My last journey was to discover an appropriate place for the scene, and this <supI</sup found only at the southern extremity of the lake where the beach is thickly encrusted with salt, and notwithstanding <supa</sup remarkable beauty, there is an air of desolation .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2526": {
-    "English Original": "exclusively belonging to it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2527": {
-    "English Original": "Usdoom is <supa</sup name applied to <supa</sup mountain standing in the plain, which from the resemblance in sound is thought to be part of Sodom.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2528": {
-    "English Original": "Its greater part is pure salt, which drips through into long pendants whenever the water descends.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2529": {
-    "English Original": "After referring to the victories of the allied troops at\n\nBalaclava and Alma, he continues : \" <supI</sup am beyond everything gratified at seeing that God has not taken away the lion hearts and the strong arms from English and Scotch.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2530": {
-    "English Original": "War is horrible, but not less justifiable, to my mind, than the slaying of animals for food, which is also revolting, when considered independent of the necessity.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2531": {
-    "English Original": "Writing again on January 24th, 1855, Hunt says: \"I wonder how you all go on in London.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2532": {
-    "English Original": "No PreRaphaelite Brotherhood meetings, of course.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2533": {
-    "English Original": "The thing was <supa</sup solemn mockery two or three years past, and died of itself.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2534": {
-    "English Original": "...\n\n<supI</sup shall be glad to leave this unholy land, beautiful and in teresting as it is.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2535": {
-    "English Original": "Never did people deserve to lose their empire so thoroughly as these Arabs.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2536": {
-    "English Original": "If they were left alone for <supa</sup few years, they would complete the work themselves.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2537": {
-    "English Original": "The concluding words of this letter are so quaintly redolent of the scriptural air he was then breathing, that it would be quite a sin to omit them : \" Remember me most kindly to your mother and father and brother of happy memory, and greet all my other friends of an inquiring turn of mind, of whom <supI</sup regard Mrs. Collins as president.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2538": {
-    "English Original": "Remember me to the secretary, also Wilkie, and salute Charley brotherly (tell\n\nhim <supI</sup hope to bring him an Arab scalp even yet), also Stephens, to whom <supI</sup cannot write this time.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2539": {
-    "English Original": "Thank him for the newspaper he sends me.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2540": {
-    "English Original": "<supI</sup hope you get on well with your pictures.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2541": {
-    "English Original": "<supI</sup am working like <supa</sup baby in the Art.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2542": {
-    "English Original": "In the spring the traveller was back in England again, and then their delightful meetings were once more resumed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2543": {
-    "English Original": "<supI</sup must now hark back to the beginning of 1854, when Millais had in mind two pictures \"The Blind Girl\" and \" L'Enfant du Regiment\" (or, as it is more commonly called, \"The Random Shot\") both of which he was anxious to commence at once, and to paint concurrently.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2544": {
-    "English Original": "The latter demanded as <supa</sup background the interior of <supa</sup\n\nchurch, and for some time during the autumn he roved about in search of one suitable to his purpose.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2545": {
-    "English Original": "At last, on the recommendation of a friend, he started for VVinchelsea, accompanied by Mike Halliday, and there he was fortunate enough to find what he wanted in the old Priory Church of Icklesham, about a mile away, and in the same neighbourhood the landscape he required for \"The Blind Girl.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2546": {
-    "English Original": "But first he must settle the point of view from which to paint the interior ; to which end he visited the church on several consecutive days.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2547": {
-    "English Original": "At length the sexton's curiosity was excited as to the object of this mysterious visitor, and\n\n\n\nAnother tale about this Winchelsea expedition is also worth repeating.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2548": {
-    "English Original": "About <supa</sup month after Millais' arrival Thackeray appeared on the scene, and the two worked together, Millais\n\npainting while Thackeray went on with Denis Duval, that fragment of <supa</sup fine novel, unhappily left unfinished, in which the principal character was drawn from Millais himself.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2549": {
-    "English Original": "\\Yhile thus engaged they were not altogether unobserved.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2550": {
-    "English Original": "To borrow <supa</sup line from one of Thackeray's most amusing ballads, \"A gent had got his <supi</sup on 'em,\" the \"gent\" being an eccentric old clergyman of the neighbourhood who looked in now and then, and one Sunday morning appeared in the pulpit when they were in church.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2551": {
-    "English Original": "They were sitting right in front of him, and this dear old divine, catching sight of Millais, directed his discourse to the comparative beauties of Nature and Art.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2552": {
-    "English Original": "There was no mistaking what he meant, for, warming up as he went along, he punctuated his remarks by personal appeals to the artist as to the inferiority of man's work to God's.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2553": {
-    "English Original": "Leaning over the pulpit with outstretched hands, and eyes fixed on Millais, he cried aloud, \"Can you paint that?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2554": {
-    "English Original": "Can you paint that ? \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2555": {
-    "English Original": "And then, turning to the congregation as he slowly drew himself upright, he added in solemn tones, \"No, my brethren, he cannot paint that\" Again and again this embarrassing scene was repeated, until at last Millais and his friend became almost hysterical in the effort to suppress their laughter.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2556": {
-    "English Original": "Coming now to the painting which led to these sensational incidents, \"The Random Shot,\"\n\n<supI</sup am glad to avail myself of Mr. F. C. Stephen's description of it in the following words : \" This small picture represents an incident in the French Revolution, where some of the populace, attacking a church which is defended by the military, have accidentally wounded a soldier's child who had been taken there for safety.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2557": {
-    "English Original": "The little one, wrapped in his father's coat, has just sobbed itself to sleep on the tomb of <supa</sup knight, where the child had been laid out of further clanger ; the tears of pain have ceased to trickle down its face, and its sobbings have found rest in sleep.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2558": {
-    "English Original": "The tomb is of alabaster, mostly of\n\n\n\npure white, but dashed and streaked with pearly fawn and grey tints, according to the nature of the material, which acquires from time an inner tint of saffron and pale gold.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2559": {
-    "English Original": "The tale of ' The Random Shot is explained by showing some soldiers firing out of a window of the church.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2560": {
-    "English Original": "The tomb on which the child is lying is that of Gervaise AHard, knight, one of the many beautiful works of art still to be seen in the old church at Icklesham.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2561": {
-    "English Original": "Dante Rossetti was probably right in saying that the artist's first idea was to depict the scene as taking place in a church besieged by Cromwell, for several of the sketches in my possession suggest more forcible and warlike movement than is to be found in the picture itself.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2562": {
-    "English Original": "The child, too, w <supr</sup as originally\n\npainted in several attitudes before that of repose was\n\nselected. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2563": {
-    "English Original": "The Blind Girl,\" <supa</sup still more pathetic subject, is described by Mr. Spielmann as \"the most luminous with bright golden light of all Millais' works, and for that reason the more deeply pathetic in relation to the subject.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2564": {
-    "English Original": "Madox Brown was right when he called it <supa</sup religious picture, and a glorious one,' for God's bow is in the sky, doubly <supa</sup sign of Divine promise specially significant to the blind.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2565": {
-    "English Original": "Rossetti called it one of the most touching and perfect things <supI</sup know,' and the Liverpool Academy endorsed his opinion by awarding to it their\n\n\n\nannual prize, although the public generally favoured Abraham Solomon's ' Waiting for the Verdict.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2566": {
-    "English Original": "Sunlight seems to issue from the picture, and bathes the blind girl blind alike to its glow, to the beauties of the symbolic butterfly that has settled upon her, and to the token in the sky.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2567": {
-    "English Original": "The main rainbow is doubtless too strong and solid.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2568": {
-    "English Original": "Millais himself told the story of how, not knowing that the second rainbow is not really <supa</sup double one, but only a reflection of the first, he did not reverse the order of its colours as he should have\n\ndone, and how, when it was pointed out to him, he put the matter right, and was duly feed for so doing.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2569": {
-    "English Original": "But the error is <supa</sup common one.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2570": {
-    "English Original": "<supI</sup have seen it in pictures by Troyon and others, students of Nature all their lives, who yet had never accurately observed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2571": {
-    "English Original": "The precision of handling is as re markable as ever, and the surrounding collection ot birds and <supO</sup beasts evinces extraordinary draughtsmanship.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2572": {
-    "English Original": "In 1898, when the picture was seen again in the midst of Millais' other PreRaphaelite works, nearly all the critics agreed that, for a general balance of qualities, it should take the first place in the collection; the Spectator remarking that : \" Nowhere else in the whole ranoe of his works did the ^5 painter produce such <supa</sup beautiful piece of landscape.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2573": {
-    "English Original": "The picture is full of truth and full of beauty, and the grass glows\n\n\n\n\n\nand sparkles in the sunlight after the storm.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2574": {
-    "English Original": "The colour throughout is as brilliant as paint can make it, but perfectly harmonious at the same time.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2575": {
-    "English Original": "Of quite equal beauty are the two figures, the blind musician and her child companion, and the pathos is so admirably kept in its proper place that it is really touching.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2576": {
-    "English Original": "There is<supa</sup true humanity about this picture as well as great artistic qualities.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2577": {
-    "English Original": "But best of all is Mr. Ruskin's refined and accurate description of the picture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2578": {
-    "English Original": "He says : \" The background is an open English common, skirted by the tidy houses of a welltodo village in the cockney rural districts.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2579": {
-    "English Original": "<supI</sup have no doubt the scene is <supa</sup real one within some twenty miles from London,\n\n\n\nand painted mostly on the spot.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2580": {
-    "English Original": "A pretty little church has its windowtraceries freshly whitewashed by order of the careful warden.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2581": {
-    "English Original": "The common is<supa</sup fairly spacious bit of ragged pasture, and at the side of the public road passing over it the blind girl has sat down to rest awhile.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2582": {
-    "English Original": "She isa simple beggar, not a poetical or vicious one a girl of eighteen or twenty, extremely plainfeatured, but healthy, and just now resting, not because she is much tired, but because the sun has but this moment come out after a shower, and the smell of the grass is pleasant.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2583": {
-    "English Original": "The shower has been heavy, and is so still in the distance, where an intensely bright double rainbow is relieved against the departing thundercloud.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2584": {
-    "English Original": "The freshly wet grass is all radiant through and through with the new sunshine ; the weeds at the girl's side as bright as <supa</sup i.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2585": {
-    "English Original": "16\n\nByzantine enamel, and inlaid with blue veronica ; her upturned face all aglow with the light which seeks its way through her wet eyelashes.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2586": {
-    "English Original": "Very quiet she is, so quiet that <supa</sup radiant butterfly has settled on her shoulder, and basks there in the warm sun.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2587": {
-    "English Original": "Against her knee, on which her poor instrument of beggary rests, leans another child, half her age her guide.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2588": {
-    "English Original": "Indifferent this one to sun or rain, only <supa</sup little tired of waiting.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2589": {
-    "English Original": "Neither the background nor the figures in this work were finished at Icklesham, the middle distance being, <supI</sup think, painted in a hayfield near the railway bridge at Barnhill, just outside of Perth.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2590": {
-    "English Original": "Perth, too, supplied the models from\n\n\n\nwhich the figures were finished.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2591": {
-    "English Original": "The rooks and domestic animals were all painted from Nature, as was also the tortoiseshell butterfly (not <supa</sup Death'shead, as Mr. Spielmann has it), which was captured for the purpose.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2592": {
-    "English Original": "Both here and in \" The Random Shot \" the backgrounds were painted with extraordinary energy and rapidity, and the work, as in most of the artist's best productions, went on without a hitch.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2593": {
-    "English Original": "<supI</sup find, amongst my father's letters, one from Professor Herkomer, dated April 5th, 1893, m which he says : \" <supI</sup cannot refrain from writing to you, to tell you of the effect your picture, 'The Blind Girl' (1856), had upon me when <supI</sup saw it in Birmingham lately.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2594": {
-    "English Original": "<supI</sup am no longer <supa</sup youngster, but <supI</supassure you that that work so fired me, so enchanted, and so altogether astonished me, that <supI</sup am prepared to begin Art all over again.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2595": {
-    "English Original": "The world of Art is your deep debtor for that work, and so am I. P.S.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2596": {
-    "English Original": "Do tell me the yellow you used for the grass.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2597": {
-    "English Original": "The first owner of \"The Blind Girl\" was Mr. T. Miller, of Preston ; the second, Mr. W. Graham ; and, after passing through other hands, it became the property of Mr. Albert Wood, of Conway.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2598": {
-    "English Original": "For its subsequent history <supI</sup am in debted to Mr. Whitworth Wallis, Curator of the City of Birmingham Art Gallery, who says : \" <supI</sup borrowed ' The Blind Girl from Mr. Albert Wood in 1891, and induced him to part with it to Mr. William Kenrick, who presented it to the Art Gallery here as a permanent record of the success\n\n\n\nof the PreRaphaelite Brotherhood Exhibition held in this ^ \" city.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2599": {
-    "English Original": "In the autumn of 1854 Millais betook himself again to Scotland, in search of health and amusement, accompanied on this occasion by his friends Charlie Collins, Mike Halliday, and John Luard, of whom <supI</sup must now say <supa</sup few words.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2600": {
-    "English Original": "John Dalbiac Luard (to give him his full name) began life as an officer in the 82nd Foot, but so devoted was he to Art, that in <sup1853</sup he left the service and took up painting as a profession.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2601": {
-    "English Original": "Sharing with Millais a studio in Langham Chambers, which they occupied together for some years in fact nearly down to the time of poor Luard's death in 1860 he gave himself up to military subjects, of which \"The Welcome Arrival\" and \" Nearing Home\" were\n\nexhibited in the Royal Academy and subsequently engraved.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2602": {
-    "English Original": "His brother, Colonel Luard, kindly sends me <supa</sup number of sketches that Millais made of himself and his companions during this tour, and assures me that the likeness of his brother is wonderfully good.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2603": {
-    "English Original": "In the first of the series re produced here we see the three men together.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2604": {
-    "English Original": "They have just arrived in Scotland, and, having made no plans beforehand, are at a loss to know what to do.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2605": {
-    "English Original": "Millais, in his impulsive way, suggests, \"Oh, we'll go over and see at Aytoun.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2606": {
-    "English Original": "He'll be simply delighted to see us and give us some shooting.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2607": {
-    "English Original": "There 's not the slightest need to give notice.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2608": {
-    "English Original": "We '11 start early and get there in time\n\n\n\nfor breakfast.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2609": {
-    "English Original": "And so they did : they started very early next morning with the consequences depicted.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2610": {
-    "English Original": "However, they got their day's shooting, marred only by a trifling accident on the part of little Mike, who bagged Luard and\n\nthe footman instead of the rabbit he was aiming at.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2611": {
-    "English Original": "Later on, when Halliday and Luard left, Charlie Collins suggested <supa</sup walking tour with Millais, and they started out together, eventually finding themselves at Banavie, near Fort William, where they seem to have come across \" Long John,\" of whiskey fame, who entertained them with samples of his wares.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2612": {
-    "English Original": "Most of the second series of sketches were made here, and in these the peculiarities of Collins' garments are not forgotten.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2613": {
-    "English Original": "In the kindness of his heart Collins looked rather to the necessities of his tailor than to his skill, with results quite appalling to worshippers of fashion.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2614": {
-    "English Original": "For similar reasons, too, he abjured fishing, <supa</sup pastime he delighted in above all others.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2615": {
-    "English Original": "An indication of this is seen in the sketch, No.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2616": {
-    "English Original": "9, where the artist and his companion appear at <supa</sup critical moment.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2617": {
-    "English Original": "The fisherman playing the salmon is Captain Heyvvood, of the 82nd, <supa</sup quondam brotherofficer of Luard's.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2618": {
-    "English Original": "The Paris Exhibition was now coming on.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2619": {
-    "English Original": "It was to be opened early in 1855, and Millais, being anxious that English Art should be well represented, addressed the following letter\n\n To Mr. Combe.\n\n \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2620": {
-    "English Original": "LANGHAM CHAMBERS, LANGHAM PLACE,\n\n\"3O//^ January, 1855.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2621": {
-    "English Original": "MY DEAR MR. COMBE, <supI</sup was dining last Saturday at a friend's Mr. Arden's and met Redgrave, one of the managers of the Art department for the Paris Exhibition.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2622": {
-    "English Original": "He mentioned that you had kindly promised them ' The Light of the World,' and asked whether it was possible to get another of Hunt's and another of mine.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2623": {
-    "English Original": "<supI</sup promised to write and ask whether you would send also either ' The Return of the Dove' or Hunt's picture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2624": {
-    "English Original": "<supI</sup know this is asking <supa</sup great deal, as you would be for some little time without seeing your property ; but if you can spare them, for the sake of showing the Frenchmen that we have <supa</sup <supO</sup school of painters in this country (which they doubt), you would be doing something towards correcting that mistake.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2625": {
-    "English Original": "Of course the pictures are fully insured by Government, so you would be risking no loss ; but you understand this, <supI</sup daresay.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2626": {
-    "English Original": "Just let me know how you look upon this request, and <supI</sup will write to Redgrave.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2627": {
-    "English Original": "<supI</sup still half reside with Mrs. C., that strongminded old lady.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2628": {
-    "English Original": "<supI</sup dined there yesterday, and met Dickens, and after wards all went to the theatre.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2629": {
-    "English Original": "<supI</sup am hard at work, and never have time for anything but painting, eating, and sleeping.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2630": {
-    "English Original": "<supI</sup suppose you hear as much from Hunt as <supI</sup do.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2631": {
-    "English Original": "There isa letter from him to a mutual friend, but none for me this post.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2632": {
-    "English Original": "He returns soon now, <supI</sup think.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2633": {
-    "English Original": "Give my best greeting to Mrs. Pat.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2634": {
-    "English Original": "<supI</sup wish you could both see my new<supr</sup rooms.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2635": {
-    "English Original": "Come up to town soon and see \" Ever yours sincerely,\n\n\"JOHN E.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2636": {
-    "English Original": "It was an important occasion this, for in the eyes of France England, as \"a nation of shopkeepers,\" had nothing to show in the way of pictorial art ; nothing, at least, that would compare for <supa</sup moment with the works of her own artists ; and now, for the first time in the history of the two nations, English painters were invited to show what they could do in open competition with their neighbours.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2637": {
-    "English Original": "Millais sent, amongst other pictures, \"The Order of Release,\" \"Ophelia,\" and \" The Return of the Dove to the Ark \" ; and other eminent artists contributed freely, sending out specimens of their finest works.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2638": {
-    "English Original": "The result was <supa</sup veritable triumph for British Art, and was freely and handsomely acknowledged\n\n\n\nas such by the French Press.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2639": {
-    "English Original": "Theophile Gautier, the great French critic of the period, betrayed some bias not altogether unnatural in favour of his own countrymen, yet even he acknowledged the sterling merits of the English exhibits as far beyond what he had anticipated ; and M. Duranty, <supa</sup later and almost equally wellknown critic, was still more complimentary.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2640": {
-    "English Original": "But perhaps the following critique, translated from one of the French papers, reflects most nearly the general opinion of the Press.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2641": {
-    "English Original": "\"The English contribution of paintings in <sup1855</sup was second in numbers only to the French, and came upon the Continental visitors to the Exhibition as a surprise.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2642": {
-    "English Original": "It was even more than <supa</sup surprise, it was <supa</sup revelation <supa</sup revelation of <supa</sup school whose existence was not even suspected ; and English painters, but little esteemed till then, obtained a very great success.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2643": {
-    "English Original": "The distribution of awards is in most\n\ncases an unsatisfactory thing, and does not necessarily prove or disprove merit ; but, of whatever value they may be thought, thirtyfour were obtained by British artists in that year.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2644": {
-    "English Original": "The reasons for this success are very lucidly explained by each of these critics.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2645": {
-    "English Original": "Novelty, the contrast with, and even the opposition to, Continental methods and ideals, the complete emancipation from tradition, the influence of the PreRaphaelites, the exceedingly strong local colour, the conscientious endeavour to reflect Nature, and the renunciation of self on the part of the artists : these, amongst\n\n\n\nother circumstances, created <supa</sup very strong impression upon the European public interested in Art, and were undoubtedly the chief features in the success achieved.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2646": {
-    "English Original": "The paintings of Messrs. Ansdell, Martin, Mulready, Millais, Hunt, Frith, Paton, Landseer, Danby, and Corbould were especially singled out for notice, Messrs. Noel Paton, Mulready, and Millais receiving the greater share.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2647": {
-    "English Original": "The school of watercolours was new, not only to Europe, but to Art, and the French were quick to see of what the new method was capable.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2648": {
-    "English Original": "\"The Rescue\" (or \"The Fireman,\" as the artist himself used to call it) was painted in 1855, and is certainly one of his finest works.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2649": {
-    "English Original": "Its origin is thus accounted for by his brother: \"Early one morning, as we were returning from <supa</sup ball in Porchester\n\nTerrace, we noticed the bright reflection of fire in the sky.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2650": {
-    "English Original": "Accordingly we told the cabby to drive in that direction, and <supa</sup fireengine dashing by at that moment increased our excitement.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2651": {
-    "English Original": "The fire was close to Meux's brewery, and we were in time to see the whole terrible show.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2652": {
-    "English Original": "On gazing upwards we noticed two firemen plying the hose as they stood on a rafter themselves two black silhouettes against ^ the mass of heaving flame and <supI</sup shall never forget the shout of horror that rent the air when the roof suddenly collapsed, carrying with it the rafter and the two brave men.\n\n\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2653": {
-    "English Original": "We went home much impressed with what we had seen, and my brother said, Soldiers and sailors have been praised on canvas <supa</sup thousand times.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2654": {
-    "English Original": "My next picture shall be of the fireman.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2655": {
-    "English Original": "\"\n\nMr. Arthur Hughes is also good enough to send me <supa</sup note on the subject.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2656": {
-    "English Original": "He says: \"One day in 1855, the moment <supI</sup saw him [Millais], he began to describe the next subject he proposed to paint to honour a set of men quietly doing <supa</sup noble work firemen ; and he poured out, and painted in words of vividness and reality, the scene he put on canvas later.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2657": {
-    "English Original": "<supI</sup never see it or think of it without seeing also the picture of himself glorified with enthusiasm as he was describing it.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2658": {
-    "English Original": "It was at <supa</sup dinner party at the Collins's on January 29th, 1855, that Millais and Charles Dickens met (I think) for the first time.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2659": {
-    "English Original": "After dinner they talked till <supa</sup late hour on pictures, and particularly on the subject of \" The Rescue,\"\n\non which Millais was then engaged.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2660": {
-    "English Original": "Dickens, it will be remembered, objected strongly to Millais' treatment of \"Christ in the House of His Parents,\" and had made no attempt to disguise his feeling in speaking of the picture in Good Words.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2661": {
-    "English Original": "He refers to this in the following letter to Millais :\n\nFrom Charles Dickens.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2662": {
-    "English Original": "TAVISTOCK HOUSE,\n\n\" Tuesday, Jamiary i\\$tk, 1855.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2663": {
-    "English Original": "MY DEAR SIR, <supI</sup send you the account of the fire brigade, which we spoke of last night.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2664": {
-    "English Original": "\"If you have in your mind any previous association with the pages in which it appears (very likely you have none) it may be a rather disagreeable one.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2665": {
-    "English Original": "In that case <supI</sup hope <supa</sup word frankly said may make it pleasanter.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2666": {
-    "English Original": "\"Objecting very strongly to what <supI</sup believe to be an unworthy use of your great powers, <supI</sup once expressed the objection in this same journal.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2667": {
-    "English Original": "My opinion on that point is not in the least changed, but it has never dashed my admiration of your progress in what <supI</sup suppose are higher and better things.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2668": {
-    "English Original": "In short, you have given me such great reasons (in your works) to separate you from uncongenial associations, that <supI</sup wish to give you in return one little reason for doing the like by me.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2669": {
-    "English Original": "And hence this note.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2670": {
-    "English Original": "Faithfully yours,\n\n\" CHARLES DICKENS.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2671": {
-    "English Original": "When \"The Rescue\" was nearly completed, Millais wrote and asked Dickens to come and see how the work had progressed, and received the following reply :\n\n\"TAVISTOCK HOUSE,\n\n''April \\oth, 1855.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2672": {
-    "English Original": "MY DEAR MR. MILLAIS, <supI</sup am very sorry that <supI</supcannot have the great pleasure of seeing your picture today, as <supI</supam obliged to go <supa</sup little way out of town.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2673": {
-    "English Original": "<supI</sup asked Wilkie Collins to let you know that there is <supa</sup curious appositeness in some lines in Gay's Trivia.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2674": {
-    "English Original": "You will find them overleaf here, to the number of four.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2675": {
-    "English Original": "The whole passage about <supa</sup fire and firemen is some fourandtwenty lines long. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2676": {
-    "English Original": "Very faithfully yours,\n\n\" CHARLES DICKENS.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2677": {
-    "English Original": "Mr. F. B. Barvvell, a friend of the artist, has kindly furnished me with the following notes on the subject of \" The Rescue \" : \" This picture was produced in my studio, and presents many interesting facts within my own knowledge.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2678": {
-    "English Original": "After several rough pencil sketches had been made, and the composition determined upon, a fullsized cartoon was drawn from nature.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2679": {
-    "English Original": "Baker, a stalwart model, was the fireman, and he had to hold three children in the proper attitudes and bear their weight as long as he could, whilst the children were encouraged and constrained to do their part to their utmost.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2680": {
-    "English Original": "The strain could never be kept up\n\n\n\nfor long, and the acrobatic feat had to be repeated over and over again for more than one sitting, till Millais had secured the action and proportion of the various figures.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2681": {
-    "English Original": "When sufficiently satisfied with the cartoon, it was traced on to <supa</sup perfectly white canvas, and the painting commenced.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2682": {
-    "English Original": "It was now no longer necessary to have the whole group posed at one time ; but Baker had to repeat his task more or less all through.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2683": {
-    "English Original": "The effect of the glare was managed by the interposition of <supa</sup sheet of coloured glass of proper hue between the group (or part of it at <supa</sup time) and the window.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2684": {
-    "English Original": "The processes employed in painting were most careful, and indeed slow, so that what Millais would have done in his later years in <supa</sup week, took months in those earlier days.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2685": {
-    "English Original": "It was his practice then to paint piecemeal, and finish parts\n\n 1855] \"THE RESCUE\" <sup251</sup\n\nof his pictures as he went on.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2686": {
-    "English Original": "White, mixed with copal,, was generally laid on where he intended to work for the day, and was painted into and finished whilst wet, the whole drying together.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2687": {
-    "English Original": "The nightdresses of the children were exe cuted in this manner.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2688": {
-    "English Original": "Strontian yellow was mixed with the white, and then rosemadder mingled with copal, floated, as it were, over the solid but wet paint a difficult process, and so ticklish that as soon as <supa</sup part was finished the canvas had to be laid on its back till the colour had dried sufficiently to render the usual position on the easel a safe one.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2689": {
-    "English Original": "By degrees the work was finished, but not till near midnight of the last day for sending into the Royal Academy.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2690": {
-    "English Original": "In those days Millais was generally behindhand with his principal picture, and so much so with this one, that he greatly curtailed his sleep during the last week ; and on the last day but one began to work as soon as it was daylight, and worked on all through the night and following day till the van arrived for the picture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2691": {
-    "English Original": "(Mr. Ruskin defended the appearance of haste, which to him seemed to betray itself in the execution of this picture, contending that it was well suited to the excitement and action of the subject.)",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2692": {
-    "English Original": "His friend Charles Collins sat up with him and painted the firehose, whilst Millais worked at other parts ; and in the end <supa</sup large piece of sheetiron was placed on the floor, upon which <supa</sup flaming brand was put and worked from, amidst suffocating smoke.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2693": {
-    "English Original": "For the head of the mother, Mrs. Nassau Senior, sister of Judge Hughes of Tom Brown fame, was good enough to sit.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2694": {
-    "English Original": "The methods here described were gradually abandoned as Millais progressed in his career.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2695": {
-    "English Original": "On the whole, this picture met with <supa</sup fair degree of approbation, but, as Mr. Spielmann says, \"its artificiality, and still more the chromatic untruth, were savagely attacked.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2696": {
-    "English Original": "It was pointed out that the flames of burning wood emit yellow and green rays in abundance.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2697": {
-    "English Original": "Blazing timber, even in candescent bricks, would not cast such <supa</sup colour, except in <supa</sup modified tint upon the clouds above ; that a fire such as this throws an orange light at most, and that therefore the children's nightdresses should have been yellow, with grey in the shadows, and the fireman's green cloth uniform yellow\n\n\n\ngrey.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2698": {
-    "English Original": "The latter part of the contention Ruskin demolished, for nearlyblack is always quiteblack in full juxtaposition with violet colour.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2699": {
-    "English Original": "But he could not meet the argument that, to accept as true the ruddy glow, one must agree that it is <supa</sup houseful of Bengalfire and nitrate of strontian that is alight.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2700": {
-    "English Original": "Seen by artificial light, the picture almost succeeds\n\nin concealing this error of fact.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2701": {
-    "English Original": "The following interesting note on \" The Rescue \" is taken from the Table Talk of Shirley, as quoted in Good Words of October, 1894: \"I knew Thomas Spencer Baynes inti mately for nearly forty years.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2702": {
-    "English Original": "For ten years thereafter Baynes was my constant correspondent.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2703": {
-    "English Original": "From London he wrote to me as follows on May 25th, 1855: 'I went in for half an hour to the Royal Academy yesterday,\n\n HANGING COMMITTEE'S INSULT 253:\n\nbut as <supI</sup was almost too tired to stand, and did not stay any time, <supI</sup shall say nothing about it, only this, that the face and form of that woman on the stairs of the burning house [\" The Rescue\"] are, if not, as <supI</sup am disposed to think, beyond all, quite equal to the best that Millais has ever done, not forgetting the look of unutterable love and life's deep yearning in \" The Huguenot.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2704": {
-    "English Original": "And those children !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2705": {
-    "English Original": "<supI</sup can hardly bear to think of it ; yet the agony is too near, too intense, too awful, for present rejoicing even at the deliver ance.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2706": {
-    "English Original": "And that smile on the young mother's face has.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2707": {
-    "English Original": "struggled up from such depths of speechless pain, and ex presses such a sudden ecstasy of utter gratitude and over\n\n\n\nmastering joy, that it quite unmans me [to look at it.fj It is the most intense and pathetic utterance of poor human\\love <supI</sup have ever met.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2708": {
-    "English Original": "Millais himself knew this to be his best work.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2709": {
-    "English Original": "When, therefore, he went to the Academy on varnishingday, 1855, and found that it had been deliberately skied, his indignation knew no bounds.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2710": {
-    "English Original": "He told the Hanging Committee to their faces what he thought of this insult, and of them as the authors of it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2711": {
-    "English Original": "But perhaps that scene is best described in the words of Dante Rossetti, who, writing to his friend W. Allingham, said : \" How is Millais' design [' The Fireside Story '], which <supI</suphave not yet seen ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2712": {
-    "English Original": "<supI</sup hope it is only as good as his picture at the Royal Academy the most wonderful thing he has done, except, perhaps, 'The Huguenot.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2713": {
-    "English Original": "He had an awful row with the Hanging Committee, who had put it above the level of the eye ; but J. E. Millais yelled for several hours, and threatened to resign till they put it right.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2714": {
-    "English Original": "Mention is also made of this incident in the Life of IV.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2715": {
-    "English Original": "B. Scott, to whom Woolner, writing in May, 1855, said : \" The Academy Committee hung Millais even Millais, their crack student in <supa</sup bad place, he being too attractive now ; but that celebrity made such an uproar, the old fellows were glad to give him a better place.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2716": {
-    "English Original": "Millais' amusement, when Woolner wrote, was to go about and rehearse the scene that took place at the Academy between him and the ancient magnates.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2717": {
-    "English Original": "Seddon also wrote on May 3rd, 1855: \"The Academy opens on Monday.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2718": {
-    "English Original": "The hangers were of the old school, and they have kicked out everything tainted with Pre Raphaelitism.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2719": {
-    "English Original": "My ' Pyramids and a head in chalk of Hunt's, and all our friends, are stuck out of sight or rejected.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2720": {
-    "English Original": "Millais' picture was put where itcould not be seen.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2721": {
-    "English Original": "He carried his point by threatening to take away his picture and resign at once unless they rehung him, which they did.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2722": {
-    "English Original": "He told them his mind very freely, and said they were jealous of all rising men, and turned out or hung their pictures where they could not be seen.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2723": {
-    "English Original": "The latest note on the picture appeared in the Daily News of January ist, 1898, in which it is said : '\" The Rescue' has <supa</sup vigour and <supa</sup courage that rivets attention.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2724": {
-    "English Original": "The immortal element (as Ruskin said at the time) is in it to the full.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2725": {
-    "English Original": "It was studied from the very life.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2726": {
-    "English Original": "Millais and <supa</sup trusty friend of those early days hurried off one night to where <supa</sup great fire was raging, plunged into the thick of the scene, and saw the effects which his memory could retain and his hand record.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2727": {
-    "English Original": "What <supa</sup grappling it is with <supa</sup difficulty which no other painter had so treated before.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2728": {
-    "English Original": "It is a situation which is dramatic ; the rest is Nature.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2729": {
-    "English Original": "In the pose of the mother, as she reaches out those long arms of hers, straight and rigid and parallel, there is an intensity of expression that recalls his PreRaphaelite days.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2730": {
-    "English Original": "The figure of the child escaping towards her from the fireman's grasp shows what mastery of his art he had gained in the interval.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2731": {
-    "English Original": "The secret of this \"mastery\" is that Millais always went to life and Nature for his inspiration.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2732": {
-    "English Original": "Touching this particular picture, <supI</sup heard him say that before he commenced the work he went to several big fires in London to study the\n\n\n\n<sup&</supquot;ST.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2733": {
-    "English Original": "$1354$ \n\n\n\ntrue light effects.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2734": {
-    "English Original": "The captain of the fire brigade was <supa</sup friend of his, and one evening, when Millais and Mike Halliday were dining with him, he said, after several alarms had been communicated, '' Now, Millais, if you want to see <supa</sup firstclass blaze, come along.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2735": {
-    "English Original": "Rushing downstairs, the guests were speedily habited in firemen's overalls and helmets, and, jumping into <supa</sup cab, were soon on the scene of action.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2736": {
-    "English Original": "Years afterwards Millais was dining one night with Captain Shaw, the then chief of the brigade, and renewed his ex perience at <supa</sup big fire ; but this time he travelled on one of the engines <supa</sup position which he found much less to his taste than the inside of <supa</sup cab.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2737": {
-    "English Original": "\"The Fireside Story,\" to which Rossetti alludes, was intended to illustrate the following stanza of \" Frost in the c Highlands,\" in the second series of Day and Night Songs, by William Allingham :\n\n \" At home are we by the merry fire, Ranged in <supa</sup ring to our heart's desire.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2738": {
-    "English Original": "And who is to tell some wondrous tale, Almost to turn the warm cheeks pale, Set chin on hands, make grave eyes stare, Draw slowly nearer each stool and chair ? \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2739": {
-    "English Original": "Of this drawing the Atlienceum of August i8th, 1855, wrote: '\"The Fireside Story,' by the lastnamed gentleman [Millais], is <supa</sup proof that he can be in earnest without being absurd, and reproduce Nature without administering on the occasion a dose of ugliness as a tonic\" a piece of criticism which called forth the following from D. G. Rossetti in one <supr</sup^^ of his letters to W. Allingham : \"That is <supa</sup stupid enough notice in the Athenaum in all conscience.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2740": {
-    "English Original": "<supI</sup wonder who did it?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2741": {
-    "English Original": "Some fearful ass evidently, from the way he speaks of Millais as well as of you.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2742": {
-    "English Original": "William Allingham also refers to this drawing in <supa</sup letter to Millais of November loth, 1855, concluding with the following words: \"As <supI</sup am not good at praising people to their faces, and as it is <supa</sup comfort, too, to express something of what one feels, pray let me assure you here of the deep respect <supI</sup have for your powers.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2743": {
-    "English Original": "The originality and truthfulness of your genius fill me with delight and wonder.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2744": {
-    "English Original": "<supI</sup wish you would master the art of etching, and make public half <supa</sup dozen designs now and again.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2745": {
-    "English Original": "Surely one picture in <supa</sup year, shown in London and then shut up, is not result\n\ni.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2746": {
-    "English Original": "17\n\nenough for such <supa</sup mine of invention and miraculous power of reproduction as you possess.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2747": {
-    "English Original": "This is the age of printing and <supa</sup countless public, and the pictorial artist may and ought to aim at exercising <supa</sup wider immediate influence.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2748": {
-    "English Original": "Be our better Hogarth.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2749": {
-    "English Original": "Don't leave us remote and wretched to the Illustrated London News and the ArtJournal'''\\\n\nActing on this advice, Millais set to work and studied\n\n\n\n\" REJECTED.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2750": {
-    "English Original": "By my mother's accountbook <supI</sup see he did etchings on copper, though what has become of them <supI</sup do not know.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2751": {
-    "English Original": "The year after its exhibition in London \"The Rescue\" was sent to the Liverpool Academy, where it is said to have lost the annual prize by <supa</sup single vote.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2752": {
-    "English Original": "Thackeray, who was now <supa</sup great admirer of Millais' works, was quite fascinated with it, and itwas due to his recommendation that the picture passed into the hands of Mr. Arden.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2753": {
-    "English Original": "Some years afterwards,\n\n\\ The woodcutting of this period was so bad that even the best examples which appeared in these journals were far from satisfactory.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2754": {
-    "English Original": "when it was put up for auction at the Arden sale, at Christie's rooms, it was noticed that the canvas was covered with spots, due to its having been kept in an uncongenial temperature.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2755": {
-    "English Original": "The artist saw this, and offered to put things right ; but, strange to say, the executors declined the offer, and it was sold, spots and all.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2756": {
-    "English Original": "The spots remained on the canvas for many years, and after seeing the picture in the Glasgow Exhibition in 1887, <supI</sup spoke to my father about it, and, with the consent of the owners, he had it back in his studio and successfully removed the blemish.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2757": {
-    "English Original": "It was in this year (1855) that Leighton (afterwards an intimate friend of Millais) made his first appearance in the Academy with an important work <supa</sup big picture of \" Cimabue,\" which was bought by her Majesty the Queen.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2758": {
-    "English Original": "Millais referred to him in the following words at the Academy banquet on May 6th, <sup1895</sup : \" <sup1</sup tne early part of the evening <supI</sup spoke of my first meeting with Fred.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2759": {
-    "English Original": "Let me tell you where and from whom <supI</sup first heard of him.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2760": {
-    "English Original": "It was in the smokingroom of the old Garrick Club, and the man who first mentioned the name to me was William Makepeace Thackeray.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2761": {
-    "English Original": "He had just returned from travelling abroad, and, amongst other places, had visited Italy.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2762": {
-    "English Original": "When he saw me enter the room he came straight up to me, and addressed me in these memorable words : Millais, my boy, you must look to your laurels.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2763": {
-    "English Original": "<supI</sup have met a wonderfully gifted young artist in Rome, about your own age, who some day will be the President of the Royal Academy before you/ How that prophecy has come to pass is now an old, old story.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2764": {
-    "English Original": "We are, as we may well be, proud of our dear President, our admirable Leighton painter, sculptor, orator, linguist, musician, soldier, and, above all, <supa</sup dear good fellow.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2765": {
-    "English Original": "That he may long continue to be our chief is not only the fervent prayer of the Academy ; it is, unless <supI</sup am much mistaken, the sincere and hearty wish of every member of the profession.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2766": {
-    "English Original": "His first meeting with the future President is also <supa</sup matter of some interest.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2767": {
-    "English Original": "Speaking of this, he said : \" The first time <supI</supmet Frederick Leighton was on the warpath.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2768": {
-    "English Original": "It was at <supa</sup meeting of four or five of the original Artist Volunteers, held in my studio in Langham Place, and, if my memory serves me, it was to consider the advisability of adopting the grey cloth which the corps now wears.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2769": {
-    "English Original": "Then was cemented <supa</sup lifelong friendship between the\n\nPresident of the day and the man who eventually succeeded him in his office.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2770": {
-    "English Original": "That the advent of Leighton was received with joy by the Royal Academicians will be seen by the following passage in one of D. G. Rossetti's letters in 1855: \"There is a big picture of ' Cimabue/ one of the works in procession by <supa</sup new man, living abroad, named Leighton <supa</sup huge thing, which the Queen has bought, and which everyone talks of.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2771": {
-    "English Original": "The Royal Academicians have been gasping for years for someone to back against Hunt and Millais, and here they have him a fact which makes some people do the picture injustice in return.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2772": {
-    "English Original": "LEECH, THACKERAY, WILKIE COLLINS, AND ANTHONY TROLLOPE\n\nMillais' affection for Leech His first topboots \"Mr. Tom Noddy\" Millais introduces \"Mr. Briggs\" to the delight of salmon fishing The Duke of Athol and Leech Letters from Leech The ghost of Cowdray Hall Death of Leech His funeral The pension for Leech's family Letter from Charles Dickens Thackeray The littleness of earthly fame Wilkie Collins True origin of The Woman in White Anthony Trollope Letters from him.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2773": {
-    "English Original": "TEECH, Thackeray, Wilkie Collins, and Anthony <supJ</sup ' Trollope : what memories these names conjure up !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2774": {
-    "English Original": "They were amongst the oldest and most intimate friends of Millais, and were so closely associated with him at various periods of his life that no biography of any of them would be complete without some record of the others.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2775": {
-    "English Original": "It may be interesting, then, to those who know them only by their works to recall here some of the many personal qualities that endeared them to all who enjoyed the privilege of their\n\nfriendship.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2776": {
-    "English Original": "And first of Leech, the famous caricaturist of Punch.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2777": {
-    "English Original": "Here was <supa</sup man of whom, if of anybody, one might say, \" <supI</sup shall not look upon his like again.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2778": {
-    "English Original": "\" The truest gentleman <supI</sup ever met,\" was what was said of him by those who knew him best by such judges of men as Thackeray, Trollope, Frith, Du Maurier, Dean Hole, and others and no words could better convey the sentiments of Millais himself.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2779": {
-    "English Original": "To speak of him alter his death was always more or less painful to my father, though now and then, when sport was uppermost in his mind, he would talk enthusiastically of the happy days when they shot or rode together or rollicked about town as gay young bachelors bent on all the amusement\n\nthey could find.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2780": {
-    "English Original": "Hear what Du Maurier says of him in Harper <sups</sup Magazine: \" He was the most sympathetic and attractive person <supI</sup ever met ; not funny at all in conversation, or ever wishing to be, except now or then for <supa</sup capital story, which he told\n\nto perfection. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2781": {
-    "English Original": "The keynote of his character, socially, seemed to be selfeffacement, highbred courtesy, neverfailing consideration for others.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2782": {
-    "English Original": "He was the most charming companion conceivable, having intimately known so many important and celebrated people, and liking to speak of them ; but one would never have guessed from\n\n\n\nJOHN LEECH.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2783": {
-    "English Original": "<sup1856</sup\n\nanything he ever looked or said that he had made a whole nation, male and female, gentle and simple, old and young, laugh as it had never laughed before or since, for <supa</sup quarter of <supa</sup century.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2784": {
-    "English Original": "\"He was tall, thin, and graceful,\n\nextremely handsome, of the higher Irish type, with dark hair and whiskers and complexion, and very light greyish  blue eyes ; but the expression of his face was habitually sad, even when he smiled.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2785": {
-    "English Original": "In dress, bearing, manner, and aspect he was the very type of the wellbred English gentleman and man of the world and good society.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2786": {
-    "English Original": "Thackeray and Sir John Millais not bad judges, and men w <supr</sup ith many friends have both said that they personally loved John Leech better than any man they ever knew.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2787": {
-    "English Original": "This, <supI</sup think, fairly sums up the character of the man whose name, as will presently be seen, figures so\n\noften and so prominently in my father's correspondence.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2788": {
-    "English Original": "It was in <sup1851</sup that they first met, and one of the first results of the intimacy that then sprang up between them was Millais' conversion to his friend's view of foxhunting as one of the finest sports in the world both for man and beast.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2789": {
-    "English Original": "Hitherto he had insisted that, unlike shooting or fishing, at both of which he was already an expert, hunting was \"a barbarous and uncivilised sport,\" and as such he would have nothing to do with it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2790": {
-    "English Original": "But Leech would not listen to this.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2791": {
-    "English Original": "As the\n\n\n\nJOHN LEECH.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2792": {
-    "English Original": "<sup1857</sup From the watercolour in the National Portrait Gallery\n\n\n\nold ostler in Punch remarked, \" The 'orses like it, the 'ounds like it, the men like it, and even the fox likes it\"; and as to health, urged Leech, it was only at the tail of the hounds that an artist could do justice to himself after the enervating influence of the studio.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2793": {
-    "English Original": "If only for the sake of health Millais would hunt ; and the following season saw him at the coverside, booted and spurred, and bent on going with the best if only his horse would let him.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2794": {
-    "English Original": "With a view to this, Leech had introduced him to a bootmaker in Oxford Street for his first \" tops \" ; and according to his own account (for he never hesitated to tell <supa</sup tale against himself), the interview was not lacking in amusement.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2795": {
-    "English Original": "Being but a stripling of twentyone or thereabouts, his calves were in the embryo state so mortifying to young manhood.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2796": {
-    "English Original": "He was delighted therefore when, on measuring him, the shopman said with an air of admiration, \"Ah, sir, what <supa</sup fine leg for <supa</sup boot ! \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2797": {
-    "English Original": "But the conclusion of the sentence was not quite so satisfactory \" Same size all the way up.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2798": {
-    "English Original": "Leech was so amused with this that he immortalised the scene in P^mck, and on more than one occasion afterwards my father sat as <supa</sup model for some of his clever drawings in that periodical.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2799": {
-    "English Original": "From this time, indeed, till the day of his death John Leech was one of his closest friends.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2800": {
-    "English Original": "They hunted together in the shires, shot, fished, and stalked together ; and all those amusing sketches in.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2801": {
-    "English Original": "Punch, to which Leech owed his fame all the deerstalking, grouseshooting, and salmonfishing adventures depicted there as incidents in the life of \" Mr. Briggs \" were but burlesque representations of Leech's own experience as <supa</sup tyro on his first visit to Scotland, principally as my father's guest.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2802": {
-    "English Original": "By the end of the first hunting season Millais had acquired a firm seat on horseback, and was known as a bold rider across country ; and except when in later years Scotland claimed his presence, he followed the hounds with ardour year by year, visiting alternately Hertfordshire, Bedfordshire, and Leicester, where he and Leech and Mike Halliday kept their hunters hired by them for the season.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2803": {
-    "English Original": "<supA</sup clever little sketch of Leech's is given here, showing Millais putting on the steam to clear a fence.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2804": {
-    "English Original": "Leech, though not quite so keen <supa</sup ricler, was <supa</sup far better horseman than his modesty would ever allow him to acknowledge ; but little Mike, though plucky enough, was always\n\ncoming to grief, to the great amusement of Leech, who duly chronicled his mishaps in Punch, under the title of \" The Adventures of Mr. Tom Noddy.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2805": {
-    "English Original": "It was at Stobhall, near Perth, in 1855, that Millais introduced his friend Leech to the wild delights of salmonfishing, and as the friend of \"Mr. Briggs\" he, too, appears in Punch.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2806": {
-    "English Original": "Leech was charmed with the prospective sport, but as <supa</sup\n\n\n\nMILLAIS HUNTING.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2807": {
-    "English Original": "<sup1854</sup By John Leech\n\nnovice in the art of casting he tried in vain to effect a capture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2808": {
-    "English Original": "The fish were there, plenty of them, and flies of the most seductive character floated before their eyes ; but either the businessend of these flies was too apparent, or their movements were suspicious, or But who shall say by what process of reasoning a fish learns to distinguish between friend and foe ?Anyhow, they could not be persuaded to rise.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2809": {
-    "English Original": "Harling was then resorted to.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2810": {
-    "English Original": "For some days Leech sat patiently in <supa</sup boat, hoping that some feebleminded fish would be tempted to come and hook itself as the fly dangled\n\ncarelessly from his rod, and at last he had his reward.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2811": {
-    "English Original": "Just below the dyke at Stanley the line suddenly straightened ; Leech snatched up the rod, and away went <supa</sup cleanrun 25pounder with the hook in his gills!",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2812": {
-    "English Original": "Then the struggle began, and great excitement for the fisherman, as this bit of Stanley water is a rough place, full of rushing streams and deep holes, in which are sharp, shelving rocks, from\n\nwhich the quarry must he would certainly cut the line.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2813": {
-    "English Original": "After allowing him one good run, Leech scrambled out amongst the rocks and stones of the Stobhall shore, and the fish making straight down stream, dragged him helterskelter over boulders .and through bushes, till he was nearly at his last gasp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2814": {
-    "English Original": "Then, luckily for him, the salmon retreated into \\' The Devil's Hole,\" and sulked there for half an hour.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2815": {
-    "English Original": "The angler then recovered breath, and ultimately, at the bottom of Stanley water, my father gaffed the fish, to the great delight of \"Mr. Briggs,\"as subsequently portrayed in Punch.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2816": {
-    "English Original": "MILLAIS FISHING AT STOBBALL Sketch by John Leech.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2817": {
-    "English Original": "1855\n\nAnother anecdote of Leech must be related here in connection with this visit of his to Perth.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2818": {
-    "English Original": "During the previous year he made the acquaintance of the Duke of Athol in <supa</sup way he did not like.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2819": {
-    "English Original": "Walking in the hills near Blair, he unfortunately got into the forest when <supa</sup deerdrive was going on, and to his dismay found himself face to face with the duke.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2820": {
-    "English Original": "Now Leech was <supa</sup very nervous man, and the duke, who in his own territory was looked upon as <supa</sup king,\n\nwaxed exceeding wroth at the sight of this trespasser, and without more ado gave him what they call in Yorkshire \" <supa</sup bit of his mind,\" interlarding his speech with such terrible terms as \" Rhoderic Dhu \" and \"Vile Sassenach.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2821": {
-    "English Original": "Leech, needless to say, beat a retreat, only too glad to escape with <supa</sup whole skin ; but he had his revenge <supa</sup few months later when the whole world was laughing at his clever skit on the situation in the pages of Punch.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2822": {
-    "English Original": "On <supa</sup second visit in 1856, he was surprised by an in vitation to come with my father to Blair and take part in the big deerdrives then going on ; but with that sketch in his mind, and fearing that the duke might have recognised it as connected with himself, he could not be prevailed upon to go until my father dragged him by main force into the coach.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2823": {
-    "English Original": "The duke had seen it, and knew what it meant, and being very goodnatured, had enjoyed the joke immensely ; and now he went out of his way to put Leech at his ease and show him the best sport he could.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2824": {
-    "English Original": "Leech had now two opportunities for caricaturing himself, and was not slow in availing himself of them.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2825": {
-    "English Original": "After a drive in which he failed to kill, he was so overcome by the heat of the day that he fell asleep in his shelter just as a splendid herd of stags was passing by.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2826": {
-    "English Original": "That is another incident in the life of \" Mr. Briggs \" ; and again another was found in a failure to kill a noble hart which had been stalked all day.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2827": {
-    "English Original": "Though the duke was in no way annoyed by Leech's skit, he could not refrain from having <supa</sup little joke at his expense.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2828": {
-    "English Original": "The two were in a \" butt \" together, waiting for the deer, when, as a humorous reminder of their first meeting, the duke suddenly produced <supa</sup pistol, and, presenting it at Leech's head, exclaimed in theatrical tones, \" Now <supI</sup am Rhoderic Dhu ' on my native heath, and you, vile Sassenach, are in my power!\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2829": {
-    "English Original": "The suddenness of the attack so upset poor Leech's nerves that he let the deer go by without <supa</sup shot.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2830": {
-    "English Original": "Eventually, however, he killed two stags by stalking, the recollection of which was <supa</sup source of happi ness to him for years afterwards.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2831": {
-    "English Original": "In this same year another shock brought another picture from the hand of the famous caricaturist.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2832": {
-    "English Original": "My father took him to shoot with his friend, James Condy, at Rohallion, and on their way to the house led him through <supa</sup corner of the home park, in which herds of bison, recently brought\n\nfrom Western America by Sir William Stuart, were confined.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2833": {
-    "English Original": "The furious aspect of the animals, and its effect upon the untrained nerves of the novice, shortly afterwards found expression in print in the usual quarter.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2834": {
-    "English Original": "Leech used to say he could never quite understand <supa</sup Scotchman.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2835": {
-    "English Original": "They were <supa</sup curious, uncongenial people, with queer ways and customs very perplexing to <supa</sup stranger, who, in his ignorance, might readily give offence where he least intended to do so.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2836": {
-    "English Original": "An instance of this occurred one day when he and Millais by chance came across <supa</sup man in <supa</sup red shirt, who was cutting down <supa</sup tree in <supa</sup way that suggested at least a passing acquaintance with the whiskey bottle.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2837": {
-    "English Original": "Recognising him as <supa</sup local laird whom they had met before, Leech shyly addressed him as \"Mr. McR .\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2838": {
-    "English Original": "\"Who the devil are you calling Mr. McR ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2839": {
-    "English Original": "<supI</sup am THE McR ,\" roared the fiery Scot, upon which Leech apolo\n\ngised and made off at once.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2840": {
-    "English Original": "And here may be fitly introduced, <supI</sup think, two characteristic letters from Leech, with the sketches enclosed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2841": {
-    "English Original": "\"32, BRUNSWICK SQUARE, \"June I4///, 1855.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2842": {
-    "English Original": "MY DEAR MILLAIS, <supI</sup return the insurance paper filled up, to the best of my belief, properly though perhaps with regard to the question, Is there any peculiarity in his configuration ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2843": {
-    "English Original": "<supI</sup ought to have been more explicit.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2844": {
-    "English Original": "However, when you go before the ' Board ' they will be able to judge of your tendency to corpulence and what may be called your general stumpy (if <supI</sup may use a vulgar but expressive word) appearance.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2845": {
-    "English Original": "<supI</sup might, too, have attended to your strikingly socratic profile ; but the answer <supI</sup have returned will, <supI</sup daresay, answer the purpose.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2846": {
-    "English Original": "<supI</sup came to town the very day you left for the North, and called at your chambers, missing you by a few hours only.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2847": {
-    "English Original": "How much <supI</sup should have liked to give you <supa</sup shake of the hand, and to wish viva voce health and happiness to you !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2848": {
-    "English Original": "<supI</sup do most cordially wish you may have both for many years.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2849": {
-    "English Original": "Last week <supI</sup went out pikefishing at a most beautiful place called Fillgate, with one Jolliffe, of whom you have, <supI</sup think, heard me speak.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2850": {
-    "English Original": "He\n\nwas in the 4th Light Dragoons and was in the evermemorable Balaclava Charge.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2851": {
-    "English Original": "He gave me <supa</sup vivid description of the dreadful business.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2852": {
-    "English Original": "Altogether <supI</sup have rarely had <supa</sup more pleasant day.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2853": {
-    "English Original": "We behaved, <supI</sup am afraid, in <supa</sup most unsportsmanlike manner, for he was anxious to thin the pond of fish, and determined to set trimmers.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2854": {
-    "English Original": "About fourandtwenty of these devices were put in all over the water, and it was exciting enough to paddle after them as the bait on each was carried off by Mr. Jack.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2855": {
-    "English Original": "You would have enjoyed it immensely, only you would have jumped out of the boat.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2856": {
-    "English Original": "And we caught <supa</sup 'bold biting Perch,' sir!",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2857": {
-    "English Original": "such <supa</sup one as <supI</sup have only seen stuffed in the fishingtackle shops, and which <supI</sup always believed to be manufactured by the carpenter or umbrella maker.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2858": {
-    "English Original": "He weighed three pounds, and not fisherman's weight.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2859": {
-    "English Original": "Let me hear from you sometimes.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2860": {
-    "English Original": "This, <supI</sup know, is asking a good deal under the circumstances, for cannot your time be much more agreeably employed than in writing to Yours always, my dear fellow,\n\n\"JOHN LEECH?\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2861": {
-    "English Original": "From, the same.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2862": {
-    "English Original": "32, BRUNSWICK SQUARE, \" October 2yd, 1855.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2863": {
-    "English Original": "MY DEAR MILLAIS, <supI</sup said <supI</sup would write to you from Folkestone, and <supI</sup didn't write to you from Folkestone and will you forgive me ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2864": {
-    "English Original": "My conscience has been pricking me so much for my neglect that <supI</sup can bear it no longer, and although <supI</sup have nothing of much interest to communicate, <supI</sup send you these few lines, hoping they will find you well, as they leave me at present.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2865": {
-    "English Original": "Luard wrote to me the other day from his ship, on his way to the Crimea.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2866": {
-    "English Original": "<supI</sup trust nothing will happen to the good little fellow.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2867": {
-    "English Original": "<supI</sup shall miss his cheery, pert face this winter.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2868": {
-    "English Original": "Am <supI</sup to miss you too, or are you coming south ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2869": {
-    "English Original": "Let us have some fine, healthful exercise with old P ,\\ always very careful, of course Old Gentleman style.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2870": {
-    "English Original": "\"You should come to town, if only to see <supa</sup collection of photographs taken in the Crimea.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2871": {
-    "English Original": "They are surprisingly good ; <supI</sup don't think anything ever affected me more.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2872": {
-    "English Original": "You\n\n\\ Millais and Leech both studied \"the noble art\" under this gentleman.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2873": {
-    "English Original": "hardly miss the colour, the truth in other respects is so wonderful.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2874": {
-    "English Original": "\"When <supI</sup was in Paris <supI</sup saw your pictures.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2875": {
-    "English Original": "Believe me, out of some thousands of pictures, large, very large, small, and very small, they stood out, as your works always do,\n\n\n\nTHE DUKK OF WELLINGTON Sketched from life by John Leech at the opening of the Great Exhibition, May ist, <sup1851</sup and enclosed in a letter to Millais\n\nmost conspicuously good.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2876": {
-    "English Original": "Apropos of pictures, <supI</sup want to ask you <supa</sup question.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2877": {
-    "English Original": "<supI</sup was with Mowbray Morris some time since, and he told me that he and his colleagues of the T^inies wished very much to have <supa</sup portrait painted of one of their most valued contributors and friends to be hung up in their 'Sanctum.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2878": {
-    "English Original": "They wish, of course, that it should be done by the best man.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2879": {
-    "English Original": "Both Morris and myself agreed that there\n\nwas only one best man, and that 'party' J. Everett What 's hisname, A.R.A.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2880": {
-    "English Original": "Well, he asked me whether you would do it, and <supI</sup said <supI</sup would ask you.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2881": {
-    "English Original": "What do you say?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2882": {
-    "English Original": "It would, <supI</sup think, be considered by them quite as much <supa</sup kindness on your part as a matter of business, although the business part of it would be according to your own views,\n\nsupposing it came to anything.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2883": {
-    "English Original": "The Newcomes is <supa</sup wonderful book, particularly the latter part of it the old colonel's ' Adsum ' !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2884": {
-    "English Original": "What genuine pathos !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2885": {
-    "English Original": "<supI</sup dined with Thackeray the day before he started for America.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2886": {
-    "English Original": "<supI</sup don't think he liked leaving England.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2887": {
-    "English Original": "<supW</sup<supf</sup ould that he were back working away at another book.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2888": {
-    "English Original": "You will be glad to hear that our little ones are thriving famously.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2889": {
-    "English Original": "Your little friend runs about, and begins to talk.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2890": {
-    "English Original": "She already has <supa</sup strong inclination to draw, which develops itself in the making of what she calls dowdows (dogs) over every sketch of mine that comes in her way ; and, <supI</sup am sorry to add, remonstrance is of no avail, for on the slightest attempt to interfere with any project she has, she dashes herself on the ground and screams awfully.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2891": {
-    "English Original": "This must be altered ; Paterfamilias must be stern.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2892": {
-    "English Original": "The boy begins \" to take notice \" ; that is, he screws his mouth up to all sorts of ridiculous shapes, and, squinting, makes <supa</sup little grunt, which is supposed to be indicative of strong filial attachment.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2893": {
-    "English Original": "Always yours,\n\n\"JOHN LEECH.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2894": {
-    "English Original": "And now we come to <supa</sup little ghost story that my father used to tell, and, as related by W <supr</sup illiam Millais, runs thus : <sup41</sup A very singular thing happened to my brother and John Leech when they were on a fishing tour, walking with knapsacks and staying at wayside inns.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2895": {
-    "English Original": "Happening to be passing near Cowdray Hall, they met the squire, whom they knew well, and he pressed them to return with him to dine and sleep, and being some distance from their next haltingplace, and tired, they accepted the kind invitation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2896": {
-    "English Original": "\"There was a terrible ghost story attached to the old house, and after dinner everyone seemed possessed with the determination to relate his or her experience of these weird goblins.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2897": {
-    "English Original": "It turned out that the hall was so full of visitors that only the quarters occupied by the local ghost were available, and they were situated in an unused wing of the hall.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2898": {
-    "English Original": "These were offered to the two fishermen, who of course\n\nlaughed and scoffed at the idea of the ghost. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2899": {
-    "English Original": "The rooms were covered with fine old tapestry and kept in beautiful order, with grand oldfashioned beds in them.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2900": {
-    "English Original": "When they retired to rest they were looked upon by the assembled company as heroes of the first magnitude.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2901": {
-    "English Original": "They were tired, however, and soon dropped into the arms of Morpheus.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2902": {
-    "English Original": "In the middle of the night my brother jumped out of bed in <supa</sup cold shiver, and trembling in every limb.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2903": {
-    "English Original": "He told\n\n\n\nPart of a letter from Leech to Millais, who has expressed his intention to cultivate a moustache.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2904": {
-    "English Original": "<sup1856</sup\n\nme that he felt as if he had been violently shaken by an invisible giant.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2905": {
-    "English Original": "They had been told that the ghost served its victims in such <supa</sup manner.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2906": {
-    "English Original": "My brother went off to see Leech, whom he found sitting in the corridor, when he declared that nothing would induce him to go into his room again ; and thus they passed the night in the corridor.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2907": {
-    "English Original": "Everyone was out cubhunting when they reached the breakfasttable, and it was only late in the day that some of the visitors began to show themselves, and of course they were asked how they had slept.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2908": {
-    "English Original": "They laughed over the matter, and confessed that they had not seen the ghost,\n\ni.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2909": {
-    "English Original": "18\n\nLater in the afternoon the squire came in in great excitement, holding in his hand the local evening paper, first edition, and said that there had been a severe earthquake in the night, that <supa</sup village quite near had suffered serious damage, and that it was <supa</sup most extraordinary/ tilingo that no one in the house had felt it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2910": {
-    "English Original": "And then the fishermen told him how they had passed the night.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2911": {
-    "English Original": "The earthquake was the ghost's understudy on this occasion, and played his part admirably.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2912": {
-    "English Original": "As Leech advanced in years his melancholy and sensitiveness, due in <supa</sup great measure to overwork, increased.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2913": {
-    "English Original": "He became so nervous that the very slightest noise disturbed him ; and living in London, as he did, he could hardly escape from barrelorgans, bands, whistling boys, and shrieking milkmen.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2914": {
-    "English Original": "At last that dread disease \"angina pectoris \" came upon him, and one evening, when Millais was painting, <supa</sup terrified domestic, whom he at once recognised as Leech's housemaid, rushed in, saying that her master had another bad attack, and was crying aloud, \" Millais!",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2915": {
-    "English Original": "The next moment Millais was off, and running through the streets of Kensington he mounted the stairs of his old friend's room, and found him lying across the bed, quite still and warm, but to all appearance dead, the belief in the house being that he expired at the moment of his friend's arrival.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2916": {
-    "English Original": "A few days later he was laid to rest, and, says Du Maurier,\\ '' <supI</sup was invited by Messrs. Bradbury and Evans, the publishers of Punch, to the funeral, which took place at Kensal Green.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2917": {
-    "English Original": "It was the most touching sight imaginable.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2918": {
-    "English Original": "The grave was near Thackeray's, who had died the year before.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2919": {
-    "English Original": "There were crowds of people, Charles Dickens among them.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2920": {
-    "English Original": "Canon Hole, <supa</sup great friend of Leech's, and who has written most affectionately about him, read the service ; and when the coffin was lowered into the grave, John Millais burst into tears and loud sobs, setting an example that was followed all round.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2921": {
-    "English Original": "We all forgot our manhood, and cried like women!",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2922": {
-    "English Original": "<supI</sup can recall no funeral in my time where simple grief and affection have been so openly and spontaneously displayed by so many strangers as well as friends not even in France, where people are more demonstrative than here.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2923": {
-    "English Original": "No burial in Westminster Abbey that <supI</sup have ever seen ever gave such an expression of universal honour, love, and regret.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2924": {
-    "English Original": "\\Vhom the gods love die young.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2925": {
-    "English Original": "He was only fortysix.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2926": {
-    "English Original": "Finding then that little or no provision was left for his\n\n\\ Harper's Magazine, February, 1896.\n\nfamily, my father took up the case, and with the aid of <supa</sup few friends (notably \" Dicky \" Doyle), organised an exhibition of Leech's drawings, which brought in a considerable sum, but not sufficient to provide for the children's education.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2927": {
-    "English Original": "A pension from the Civil List was then thought of; but it was no easy matter to obtain this, as at that time (1864) these pensions were limited almost exclusively to the families of men whose lives were devoted to literary w <supr</sup ork alone.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2928": {
-    "English Original": "An attempt, however, must be made ; and on an appeal, kindly supported by the Prince and Princess of Wales, Lord Palmerston, Lord Shaftesbury, and other influential admirers of Leech's works, <supa</sup pension of ^\"50 <supa</sup year was granted to each of the children.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2929": {
-    "English Original": "Numerous letters on this subject from His Royal Highness and other notabilities lie before me ; but perhaps the most interesting is that\n\n From Charles Dickens.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2930": {
-    "English Original": "\"GAD'S HILL PLACE, HIGHAMBYROCHESTER,\n\n\" Sunday, December <sup1</sup 8/^, <sup1</sup 864.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2931": {
-    "English Original": "MY DEAR MILLAIS, There are certain personal private circumstances which would render my writing to Lord Palmerston, separately and from myself alone, in the matter of the pension, <supa</sup proceeding in more than questionable taste.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2932": {
-    "English Original": "Besides which <supI</supfeel perfectly certain that <supa</sup re minder from me would not help the powerful case.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2933": {
-    "English Original": "<supI</sup should have been glad to sign the memorial, but <supI</sup have not the least doubt that the letter from myself singly is best avoided.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2934": {
-    "English Original": "If <supI</sup had any, <supI</sup would disregard the other considerations and send it ; but <supI</sup have none, and <supI</sup am quite convinced that <supI</sup am right.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2935": {
-    "English Original": "You are <supa</sup generous and true friend to Mrs. Leech.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2936": {
-    "English Original": "Faithfully yours ever,\n\n''CHARLES DICKENS.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2937": {
-    "English Original": "Mrs. Leech soon followed her husband.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2938": {
-    "English Original": "Leech's only son was drowned many years ago in Australian waters, and his daughter Ada, who married <supa</sup clergyman, has also joined the great majority.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2939": {
-    "English Original": "The following letter to her is characteristic of the writer, who was always keenly alive to the claims of friendship.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2940": {
-    "English Original": "To Miss Ada Leech.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2941": {
-    "English Original": "\"January loth, 1877.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2942": {
-    "English Original": "DEAR ADA, <supI</sup am much grieved to hear of the death of your good uncle, and that you should be left without his counsel and advice.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2943": {
-    "English Original": "<supI</sup shall be very happy at all times to help you to the best of my ability, and hope you will send me the name and address of his solicitor, as we were joint trustees in the Government's grant settled on you, and <supI</sup shall have to now act until some other gentleman is appointed with me.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2944": {
-    "English Original": "Moreover, any confidence you may place in me, from my affection towards your father, <supI</sup will do my best to use for your benefit.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2945": {
-    "English Original": "<supI</sup am sure your aunt, Mrs. Hayward, will be most kind to you, but <supI</sup am aware there are some positions in which <supa</sup man alone can act on your behalf.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2946": {
-    "English Original": "You have, indeed, been unfortunate, but at your age you may look for <supa</sup happy career yet.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2947": {
-    "English Original": "Just at this moment we are moving into our new house, and in mourning ourselves, otherwise <supI</sup would have you with us, if you would come.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2948": {
-    "English Original": "Tell Mrs. Hayward how truly <supI</sup sympathise with her, and believe me always\n\n\" Yours truly,\n\n\"J. E.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2949": {
-    "English Original": "As to Thackeray, my father and mother always regarded him as one of the most delightful characters they ever met.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2950": {
-    "English Original": "Though in dealing with the infirmities of human nature his works now and then show traces of cynicism, the man himself was no cynic was rather, indeed, to those who knew him best, a most sympathetic friend, and tenderhearted almost to <supa</sup fault.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2951": {
-    "English Original": "For some years he entertained and brought up as one of his family the daughter of <supa</sup deceased friend ; and so grieved was he at the thought of parting from her that on her weddingday he came for consolation to my father's studio, and spent most of the afternoon in tears.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2952": {
-    "English Original": "They met so frequently he and Millais that but little correspondence of any interest appears to have passed between them.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2953": {
-    "English Original": "The genial nature of the man, however, peeps out in the following reply to my father's invitation to stay with him at Annat Lodge, near Perth, when on his lecturing tour in 1857.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2954": {
-    "English Original": "THACKERAY <sup277</sup\n\n From Thackeray.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2955": {
-    "English Original": "\"QUEEN'S HOTEL, GLASGOW,\n\n\" March ^rd.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2956": {
-    "English Original": "MY DEAR MILLAIS, <supI</sup got the sad news at Edinburgh yesterday that there is to be no lecture at Perth, my manager not having been able to make arrangements there.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2957": {
-    "English Original": "So <supI</sup shall lose the pleasure <supI</sup had promised myself of seeing you and Mrs. Millais, and the pictures on the easel, and the little miniature Millais by Millais, which <supI</sup hope and am sure is <supa</sup charming little work by that painter.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2958": {
-    "English Original": "<supI</sup am off in a minute to Edinburgh for Kirkaldy, and have only time to say that <supI</sup am\n\n\" Very truly yours always,\n\n\"W. M.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2959": {
-    "English Original": "Of Thackeray, Millais and Carlyle, William Millais tells an interesting story illustrative of the littleness of earthly fame, however highly we may regard it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2960": {
-    "English Original": "He says : \" <supI</sup was sitting with my brother in the Cromwell Place studio when Thackeray suddenly came in all aglow with enthusiasm at my brother's fame.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2961": {
-    "English Original": "Every window in every shop that had the least pretension to Artdisplay, he said, was full of the engravings of his popular works.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2962": {
-    "English Original": "On his way he had seen innumerable ' Orders of Release,' Black Brunswickers,' and Huguenots' ; in fact, he had no hesitation in affirming that John Millais was the most famous man of the day.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2963": {
-    "English Original": "He then alluded to his own miserable failure at first, and told us how he had taken some of his works, which have since been acknowledged to be the finest specimens of English literature, to the leading publishers, and how they had one and all sneeringly hinted that no one would read his works after Dickens.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2964": {
-    "English Original": "My brother told him that, curiously enough, on the day before, an incident had occurred that proved that his fame, even amongst his own profession, was not all that Thackeray had painted it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2965": {
-    "English Original": "He had met, near Shepherd's Bush, an old fellowstudent of the Royal Academy (Mr. Frith calls him <sup4</sup Potherd '), who had taken the second prize to his first, at the age of twelve.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2966": {
-    "English Original": "The man was fullgrown then, and had stronglymarked features ; moreover, he wore the same old military cloak, with lion clasp, that he used to wear in\n\nthe old days, so my brother had no difficulty in recognising him ; and, addressing him at once, he said, Well, P , and what are you doing?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2967": {
-    "English Original": "and how are you?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2968": {
-    "English Original": "It is <supa</sup long time since we met.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2969": {
-    "English Original": "He said he was grubbing away at teaching 'slow work and worse pay 'or something to that effect.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2970": {
-    "English Original": "But who are you, pray?'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2971": {
-    "English Original": "On being told the name, he replied, 'What!",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2972": {
-    "English Original": "little Johnny Millais !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2973": {
-    "English Original": "And now may <supI</sup ask what you have done all this time?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2974": {
-    "English Original": "Have you pursued the Arts ?\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2975": {
-    "English Original": "Thackeray immediately put this down to satire, but it was not, as we found out afterwards.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2976": {
-    "English Original": "The simple fellow either could not believe that the famous man was his old schoolfellow, or was completely ignorant of his success.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2977": {
-    "English Original": "Before this, Thackeray told an amusing story of Carlyle, how that he had spent <supa</sup day in the readingroom of the British Museum and had given <supa</sup great deal of trouble to one of the officials, sending him up and down ladders in search of books to satisfy his literary tastes, and how, upon leaving the room, he had gone up to the man and told him that it might be some satisfaction to him to know that he had obliged Thomas Carlyle, and that the official had answered him, w<supr</sup ith <supa</sup bland smile and the usual washing of hands in the air, that the gentleman had the advantage of him, but that probably they might have met at some mutual friend's house.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2978": {
-    "English Original": "He had never heard of Thomas Carlyle.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2979": {
-    "English Original": "Of Wilkie Collins there is little to be said in connection with the subject of the present work, though both he and his brother Charles were for many years amongst Millais' most intimate friends, and no one more admired his brilliant talent as a novelist.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2980": {
-    "English Original": "Since his famous novel, The ]\\ <supr</supoiuan in White, appeared, many have been the tales set on foot to account for its origin, but for the most part quite inaccurate.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2981": {
-    "English Original": "The real facts, so far as <supI</sup am atliberty to disclose them, were these :\n\nOne night in the fifties Millais was returning home to Gower Street from one of the many parties held under Mrs. Collins' hospitable roof in Hanover Terrace, and, in accordance with the usual practice of the two brothers, Wilkie and Charles, they accompanied him on his homeward walk through the dimlylit, and in those days semirural, roads and lanes of North London.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2982": {
-    "English Original": "It was <supa</sup beautiful moonlight night in the summer time,\n\n\n\nWILKIE COLLINS National Portrait Gallery.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2983": {
-    "English Original": "1855\n\n\n\nand as the three friends walked along chatting gaily together, they were suddenly arrested by a piercing scream coming from the garden of <supa</sup villa close at hand.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2984": {
-    "English Original": "It was evidently the cry of <supa</sup woman in distress ; and while pausing to consider what they should do, the iron gate leading to the garden was dashed open, and from it came the figure of <supa</sup young and very beautiful woman dressed in flowing white robes that shone in the moonlight.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2985": {
-    "English Original": "She seemed to float rather than to run in their direction, and, on coming up to the three young men, she paused for <supa</sup moment in an attitude of supplication and terror.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2986": {
-    "English Original": "Then, seeming to recollect herself, she suddenly moved on and vanished in the shadows cast upon the road.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2987": {
-    "English Original": "\"What <supa</sup lovely woman!\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2988": {
-    "English Original": "was all Millais could say. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2989": {
-    "English Original": "<supI</sup must see who she is and what's the matter,\" said Wilkie Collins as, without another word, he dashed off after her.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2990": {
-    "English Original": "His two companions waited in vain for his return, and next day, when they met again, he seemed indisposed to talk of his adventure.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2991": {
-    "English Original": "They gathered from him, however, that he had come up with the lovely fugitive and had heard from her own lips the history of her life and the cause of her sudden flight.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2992": {
-    "English Original": "She was <supa</sup young lady of good birth and position, who had accidentally fallen into the hands of <supa</sup man living in <supa</sup villa in Regent's Park.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2993": {
-    "English Original": "There for many months he kept her prisoner under threats and mesmeric influence of so alarming a character that she dared not attempt to escape, until, in sheer desperation, she fled from the brute, who, with a poker in his hand, threatened to dash her brains out.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2994": {
-    "English Original": "Her subsequent history, interesting as it is, is not for these pages.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2995": {
-    "English Original": "Wilkie Collins, of whom there is an excellent likeness by Millais in the National Portrait Gallery, died in 1870.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2996": {
-    "English Original": "His last letter to my father ran thus :\n\nFrom Wilkie Collins.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2997": {
-    "English Original": "12, HARLEY STREET, \"April 6th, 1863.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2998": {
-    "English Original": "MY DEAR JACK, <supI</sup have been miserably ill with rheumatic gout ever since that pleasant dinner at your house, and <supI</sup am only now getting strong enough to leave England in <supa</sup few days and try the German baths.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s2999": {
-    "English Original": "<supI</sup hear great things of <supa</sup certain picture of yours [' The Eve of St. Agnes '], but there is no chance of my getting to see it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3000": {
-    "English Original": "If <supI</sup am alive, <supI</sup hope to be back in June and see it at the Academy.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3001": {
-    "English Original": "All the little strength <supI</sup have got is now\n\nwanted for preparations for the start.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3002": {
-    "English Original": "\"Poor dear Egg!\\ No such heavy distress as that has tried me for many and many <supa</sup year past.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3003": {
-    "English Original": "And <supI</sup know you must have felt it too.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3004": {
-    "English Original": "Pray give my kindest remembrances to Mrs. Millais, and believe me, \" Ever yours,\n\n \"WiLKiE COLLINS.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3005": {
-    "English Original": "Anthony Trollope, the famous novelist, is the last of Millais' amis du cceur whom <supI</sup need mention here.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3006": {
-    "English Original": "They met for the first time at <supa</sup dinner given by Mr. George Smith to the contributors to the Cornhill Magazine and the Pall Mall Gazette, both of which papers owed their birth to Mr. Smith ; and the friendship there formed ended only with Trollope's death in 1882.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3007": {
-    "English Original": "The lovable character of the man is seen in the autobiography published after his death, in which also is <supa</sup most touching\" record of his affection for <supO</sup Millais.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3008": {
-    "English Original": "He writes : \"\n\nIt was at that table [Mr. George Smith's] and on that day that <supI</sup first saw Thackeray, [Sir] Charles Taylor than whom inlater life <supI</sup have loved no man better Robert Bell, G. H. Lewes, and John Everett Millais.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3009": {
-    "English Original": "With all these men <sup1</sup afterwards lived on affectionate terms.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3010": {
-    "English Original": "But <supI</sup will here speak specially of the last, because from that time he was joined with me in so much of the work that <supI</sup did.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3011": {
-    "English Original": "\"Mr. Millais was engaged to illustrate Framley Parsonage,' but this was not the first work he did for the magazine.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3012": {
-    "English Original": "In the second number there is <supa</sup picture of his, accompanying Monckton Milnes' ' Unspoken Dialogue.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3013": {
-    "English Original": "The first drawing he did for ' Framley Parsonage did not appear till after the dinner of which <supI</sup have spoken, and <supI</sup do not think that <supI</sup knew at the time that he was engaged on my novel.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3014": {
-    "English Original": "\\Yhen <supI</sup did know it, it made me very proud.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3015": {
-    "English Original": "He afterwards illus trated ' Orley Farm,' 'The Small House at Allington,' 'Rachel Ray,' and ' Phineas Finn.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3016": {
-    "English Original": "Altogether he drew from my tales eightyseven drawings, and <supI</sup do not think that more conscientious work was ever done by man.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3017": {
-    "English Original": "\\ Augustus Egg, R.A., a brilliant artist and a great friend of Millais and Collins, died in this year.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3018": {
-    "English Original": "Writers of novels know well, and so ought readers of novels to have learned, that there are two modes of illustrating, either of which may be adopted equally by <supa</sup bad and by <supa</sup good artist.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3019": {
-    "English Original": "To which class Mr. Millais belongs <supI</sup need not say, but, as <supa</sup good artist, it was open to him simply to make <supa</sup pretty picture, or to study the work of the author from whose writing he was bound to take his subject.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3020": {
-    "English Original": "<supI</sup have too often found that the former alternative has been thought to be the better, as it certainly is the easier, method.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3021": {
-    "English Original": "An artist will frequently dislike to subordinate his ideas to those of an author, and will sometimes be too idle to find out what those ideas are.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3022": {
-    "English Original": "But this artist was neither proud nor idle.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3023": {
-    "English Original": "In every figure that he drew itwas his object to promote the views of the writer whose work he had undertaken to illustrate, and he never spared himself any pains in studying the work so as to enable him to do so.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3024": {
-    "English Original": "<supI</sup have carried on some of those characters from book to book, and have had my own ideas impressed indelibly on my memory by the excellence of his delineations.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3025": {
-    "English Original": "Those illustrations were commenced fifteen years ago, and from that time up to this day my affection for the man has increased.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3026": {
-    "English Original": "To see him has always been <supa</sup pleasure.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3027": {
-    "English Original": "His voice has been <supa</sup sweet sound in my ears.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3028": {
-    "English Original": "Behind his back <supI</sup have never heard him praised without joining the eulogist ; <supI</sup have never heard <supa</sup word spoken against him without opposing the censurer.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3029": {
-    "English Original": "These words, should he ever see them, will come to him from the grave, and will tell him of my regard as one living man never tells another.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3030": {
-    "English Original": "The following letters also serve to illustrate Trollope's appreciation of Millais' drawings, and the profound contempt he entertained for anything in the shape of cant :\n\n Front Anthony Trollopc. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3031": {
-    "English Original": "WALTHAM HOUSE, WALTHAM CROSS, \"June 4//z, 1863.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3032": {
-    "English Original": "MY DEAR MILLAIS, Ten thousand thanks to you, and twenty to your wife, as touching Ian.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3033": {
-    "English Original": "And now for business first and pleasure afterwards.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3034": {
-    "English Original": "(a Sunday magazine) has thrown me over.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3035": {
-    "English Original": "They write me word that <supI</sup am too wicked.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3036": {
-    "English Original": "<supI</sup tell you at once because of the projected, and now nottobeaccomplished, drawings.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3037": {
-    "English Original": "They have tried to serve God and the devil together, and finding\n\nthat goodness pays best, have thrown over me and the devil.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3038": {
-    "English Original": "<supI</sup won't try to set you against them, because you can do Parables and other fish fit for their net ; but <supI</sup am altogether <supo</sup unsuited to the regenerated!",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3039": {
-    "English Original": "It is a pity they did not find it out before, but <supI</sup think they are right now.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3040": {
-    "English Original": "<supI</sup am unfi for the regenerated, and trust <supI</sup may remain so, wishing to tpre serve <supa</sup character for honest intentions.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3041": {
-    "English Original": "And now for pleasure.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3042": {
-    "English Original": "<supI</sup get home the middle of next week, and we are full up to the consumption of all our cream and strawberries till the Monday <supI</sup believe <supI</sup may say Tuesday, i.e., Tuesday, June i6th Do, then, settle a day with the Thackerays and Collinses, and especially with Admiral Fitzroy, to come off in that week.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3043": {
-    "English Original": "<supI</sup shall be in town on Wednesday night.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3044": {
-    "English Original": "Look in at about <sup1</sup 1.30. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3045": {
-    "English Original": "Yours always,\n\n\" ANTHONY TROLLOPE.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3046": {
-    "English Original": "'\\ Why have you not put down Leighton, as you promised?\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3047": {
-    "English Original": "From the same.\n\n \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3048": {
-    "English Original": "WALTHAM HOUSE, WALTHAM CROSS,\n\n\"August 6th, 1866.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3049": {
-    "English Original": "MY DEAR MILLAIS, <supI</sup have written (nearly finished) <supa</sup story in thirtytwo numbers, which is to come out weekly.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3050": {
-    "English Original": "The first number is to appear some time in October.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3051": {
-    "English Original": "Smith publishes it, and proposes that there shall be one illustration to every number, with small vignettes to the chapter headings.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3052": {
-    "English Original": "Will you do them ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3053": {
-    "English Original": "Yoti said <supa</sup word to me tht,' other day, which was to the effect that you would perhaps lend your hand to another story of mine.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3054": {
-    "English Original": "Many of the characters (indeed, most of them) are people you already know well Mr. Crawley, Mr. Harding, Lily Dale, Crosbie, John Earns, and Lady Lufton.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3055": {
-    "English Original": "George Smith is very anxious that you should consent, and you may imagine that <supI</sup am equally so.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3056": {
-    "English Original": "If you can do it, the sheets shall be sent to you as soon as they are printed, and copies of your own illustrations should be sent to refresh your memory.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3057": {
-    "English Original": "Let me have <supa</sup line.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3058": {
-    "English Original": "Yours always,\n\n\"ANTHONY TROLLOPE.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3059": {
-    "English Original": "Millais' marriage Life in Scotland First visitors A poaching keeper \"Peace Concluded\" \"Autumn Leaves\" Millais' life in chambers Serious war with the critics He is attacked on all sides The Times tramples upon him The public support him Marochetti Millais on Press criticism Charles Reade Birth of <supa</sup son \" Potpourri \" The advantages of being punctual \" Sir Isumbras\" received with abuse Sandys' clever skit Sale of \"Sir Isumbras\" Letters from Charles Reade \"Escape of the Heretic\" \"The Crusader's Return\" \"The Vale of Rest\" The artist's difficulties overcome Anecdotes of \"The Vale of Rest\" and \"The Love of James I.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3060": {
-    "English Original": "ON July 3rd, 1855, John Everett Millais was married to Euphemia Chalmers Gray, eldest daughter of Mr. George Gray, of Bowerswell, Perth.\\ In accordance with the Scottish custom, the wedding took place in the drawingroom at Bowerswell, and immediately afterwards came the baptism of the bride's youngest brother, between whom and his eldest sister there was a difference in age of nearly twentysix years.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3061": {
-    "English Original": "And here let me say at once how much of my father's happiness in after years was due to the chief event of this day.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3062": {
-    "English Original": "During the fortyone years of their married life my mother took the keenest interest in his work, and did all in her power to contribute to his success, taking upon herself not only the care of the household and the management of the family affairs, but the great bulk of his correspondence, and saving him an infinity of trouble by personally ascertaining the objects of his callers (an ever increasing multitude) before admitting them into his presence.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3063": {
-    "English Original": "A great relief this, for business affairs and letterwriting were equally hateful in\n\n\\ Miss Gray had been previously married, but that marriage had been annulled in 1854, on grounds sanctioned equally by Church and State.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3064": {
-    "English Original": "Both good taste and feeling seem to require that no detailed reference should be made to the circumstances attending that annulment.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3065": {
-    "English Original": "But, on behalf of those who loved their mother well, it may surely be said that during the course of the judicial proceedings instituted by her, and throughout the period of the void marriage and the whole of her after years, not one word could be, or ever was, uttered impugning the correctness and purity of her life.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3066": {
-    "English Original": "his eyes ; and in spite of himself, his correspondence increased day by day.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3067": {
-    "English Original": "Possessed in <supa</sup considerable degree of the artistic sense, she was happily free from the artistic temperament, whilst her knowledge of history proved also a valuable acquisition.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3068": {
-    "English Original": "When an historical picture was in contemplation, she delighted to study anew the circumstances and the characters to be depicted, and to gather for her husband's use all particulars as to the scene and the costumes of the period.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3069": {
-    "English Original": "Study of the bell in Winterton Church made by John Luard.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3070": {
-    "English Original": "Used by Millais for Tennyson illustrations.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3071": {
-    "English Original": "1857\n\nHer musical accomplishments (for she was an excellent pianist) were also turned to good account in hours of leisure, and not infrequently as a soothing antidote to the worries that too often beset the artist in the exercise of his craft.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3072": {
-    "English Original": "The newly  married couple set out for their honeymoon to the west of Scotland ; and after a ( ; lovely fortnight in Argyleshire, Bute, and Arran, where deepsea fishing formed their principal amusement, they re turned to Perth and took possession of Annat Lodge, a typical old house with a cedared garden near Bowerswell.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3073": {
-    "English Original": "Among their first visitors was Charles Collins.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3074": {
-    "English Original": "He, however, was not bent on amusing himself; he wanted to paint, and at his request my mother\n\nsat for him every day for <supa</sup fortnight.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3075": {
-    "English Original": "Then, seeing that the picture made very slow progress, and that she was presented as looking out of the window of <supa</sup railway carriage <supa</sup setting that would have vulgarised Venus herself she refused to sit any longer, and the picture was never finished.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3076": {
-    "English Original": "After this came <supa</sup visit to Sir William Stirling Maxwell, of Keir, among whose guests was the handsome and accomplished Spaniard Guyanyos Riano, w <supr</sup ho afterwards became a firm friend of my parents.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3077": {
-    "English Original": "Sir William was devoted to\n\n 1855] FIRST VISITORS <sup289</sup\n\nliterature, and was then at work on his Life of Don John of Aiistria.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3078": {
-    "English Original": "Their next visitors at Annat Lodge were John Leech and Henry Wells (now Royal Academician), both intimate friends, and when Mr. Wells left, Leech and Millais amused themselves with fishing and shooting in various parts of Perthshire, enjoying especially <supa</sup week at Blair, where they were entertained by the Duke of Athol.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3079": {
-    "English Original": "It was here that \" Mr. Briggs,\" of Punch, originated in the fertile brain of Leech.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3080": {
-    "English Original": "In the late autumn of <sup1855</sup Millais took <supa</sup small shooting on the south bank of the Tay called Tarsappie handy of itself\n\nas being near the town, and, as he presently found, equally handy for other people who liked to poach there.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3081": {
-    "English Original": "After some ex perience of their depredations it occurred to him that his keeper might possibly be in league with these gentry.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3082": {
-    "English Original": "So one day, on the eve of a shooting party for which he had arranged, he made <supa</sup little surprise visit to the ground, when Mr. Keeper was discovered reclining under\n\ni.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3083": {
-    "English Original": "19\n\n\n\nBy John Luard\n\n<supa</sup tree with <supa</sup goodly array of hares and partridges tastefully arranged within reach.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3084": {
-    "English Original": "These Millais promptly made him gather up and carry in front of him to Annat Lodge, growling and groaning all the way under the heavy load.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3085": {
-    "English Original": "There was <supa</sup vacancy for <supa</sup keeper at Tarsappie next morning.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3086": {
-    "English Original": "But it was time now to get to work again in earnest.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3087": {
-    "English Original": "Nothing could be done during the honeymoon, and not much while guests were about ; and with pictures in hand and publishers pressing for drawings any further holiday was impossible.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3088": {
-    "English Original": "So limiting his amusements to <supa</sup day now and then at his shooting, Millais settled clown to work for the winter, taking up, first, the special edition of Tennyson published by Moxon, for which he made twelve drawings, and afterwards eighteen illustrations for the edition published by Macmilian.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3089": {
-    "English Original": "At these he worked mainly in the\n\nevenings, with the aid of <supa</sup reflector lamp, commencing immediately after dinner and seldom leaving off before midnight.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3090": {
-    "English Original": "And this after painting most of the day !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3091": {
-    "English Original": "Mr. Wells tells me that while he and Leech were there the evenings were generally spent in this way, Millais working away in the diningroom, in company with themselves and my mother ; and nothing surprised them so much as the energy and persistence with which their host worked while carrying on at the same time <supa</sup lively conversation with his wife and guests.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3092": {
-    "English Original": "The picture called \" Peace Concluded, 1856,\" but better known as \" The Return from the Crimea,\" was painted this year, the subject being <supa</sup wounded officer lying on <supa</sup couch, at the head of which is seated his wife.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3093": {
-    "English Original": "An Irish wolfhound is also lying curled up on the sofa.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3094": {
-    "English Original": "Of this picture Ruskin in his \" Notes\" wrote in terms which have seemed somewhat extravagant to other critics : \" Titian himself could hardly head him now.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3095": {
-    "English Original": "This picture is as brilliant in invention as consummate in executive power.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3096": {
-    "English Original": "Both this and ' Autumn Leaves will rank in future among the world's best masterpieces.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3097": {
-    "English Original": "Colonel \" Bob\" Malcolm sat for the man, and my mother for the lady ; the portrait of her at this period being, <sup1</sup am told, singularly lifelike.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3098": {
-    "English Original": "The Irish wolfhound, \" Roswell,\" bred in the Queen's kennels, w <supr</sup as given to my mother by <supa</sup Mr. Debas, and was the only pet animal she and my father ever possessed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3099": {
-    "English Original": "They were both much attached to him, but he became such <supa</sup terrible poacher that, to save him from being shot, they sent him out to Australia, to my uncle, George Gray, who found him most useful in hunting big kangaroos, until he came to an untimely end by eating some poisoned meat that had been put out for the dingoes.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3100": {
-    "English Original": "The picture was purchased by Mr. James Miller, of Preston.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3101": {
-    "English Original": "It is not, however, a good example of his art, though there are beautiful passages in the work.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3102": {
-    "English Original": "\"Autumn Leaves\" is too well known to need any description here.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3103": {
-    "English Original": "It was painted this year in the garden at Annat Lodge, and probably in none of Millais' works is the charm of the northern afterglow more strikingly presented.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3104": {
-    "English Original": "That it was highly appreciated by Mr. Ruskin may be gathered from the Academy Notes, 1856, in which he refers to it as \"by much the most poetical work the painter has yet con ceived ; and also, so far as <supI</sup know, the first instance of <supa</sup\n\nperfectly painted twilight.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3105": {
-    "English Original": "It is easy, as it is common, to give obscurity to twilight, but to give the glow within its darkness is another matter ; and though Giorgione might have come nearer the glow, he never gave the valley mist.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3106": {
-    "English Original": "Note also the subtle difference between the purple of the long nearer range of hills and the blue of the distant peak.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3107": {
-    "English Original": "The picture (lately the property of Mr. James Leathart) was originally sold to Mr. Eden, of Lytham, from whom it passed to Mr. Miller, the purchaser of \" Peace Concluded.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3108": {
-    "English Original": "How he came by it is amusingly told by <supa</sup writer in the Magazine of Art of November, 1896, who says: \"I should like to relate to you a circumstance connected with Autumn Leaves,' which <supI</sup heard from Mr. Eden at Lytham.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3109": {
-    "English Original": "When the picture reached him he did not like it, and he asked the great painter to take it back ; but this, Mrs. Millais said, was impossible.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3110": {
-    "English Original": "He was then told to sit opposite it when at dinner for some months, and he would learn to like it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3111": {
-    "English Original": "He tried this, but alas!",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3112": {
-    "English Original": "disliked it more and more.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3113": {
-    "English Original": "One day <supa</sup friend <supI</sup think Mr. Miller of Preston called, saw the picture, was enchanted, and said, \\ Eden, <supI</sup will give you any three of my pictures for <sup4</sup Autumn Leaves.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3114": {
-    "English Original": "'As you are <supa</sup great friend,' said Eden, you shall have it ; and so the picture changed hands.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3115": {
-    "English Original": "This is what Mr. Eden told me, and itis on its way to be amongst the world's masterpieces.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3116": {
-    "English Original": "Besides these works Millais found time to paint, in the spring of 1856, a small picture of a soldier in the 42nd Highlanders (\"News from Home\"), which he sold to Mr. Arthur Lewis, and also a little portrait of Mrs. John Leech, which he presented to her out of affection for her husband.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3117": {
-    "English Original": "And in the Academy he exhibited, in addition to \" Peace Concluded \" and \" Autumn Leaves,\" <supa</sup \" Portrait of a Gentleman,\" \" L'Enfant du Regiment,\" and \"The Blind Girl.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3118": {
-    "English Original": "To arrange for this exhibition while continuing his work in town, he left Annat Lodge at the beginning of April, and took rooms in Langham Chambers along with his friend Captain John Luard ; and here, while working with <supa</sup will, they enjoyed themselves right heartily, after the freeandeasy fashion dear to the heart of youth.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3119": {
-    "English Original": "The two painters kept open house to their friends, but generally spent their evenings at the Garrick, w <supr</sup here many of the literary and artistic celebrities of the clay delighted to congregate when their work was over.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3120": {
-    "English Original": "As to Millais, he was in no wise cowed by the combined forces of the Press and the Academy, who now put forth their strength to crush him as the leader of the new school of artists.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3121": {
-    "English Original": "Knowing that he stood on the vantageground of truth, he faced his foes in full assurance of victory in the end, whatever he might suffer in gaining it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3122": {
-    "English Original": "And that he did suffer in person, if not in purse is evident from some of his letters to his wife, in which, as will presently be seen, he complains bitterly of his treatment.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3123": {
-    "English Original": "ORIGINAL STUDIES FOR \"EDWARD GRAY' Tennyson illustrations.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3124": {
-    "English Original": "1857\n\nIn reading these letters it must be borne in mind that in those days <supa</sup great London newspaper had far more influence in, the formation of public opinion than it has today, especially in country places, where the utter ances of the great \" We \" were too often regarded as \" confirmation strong as proof of Holy Writ.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3125": {
-    "English Original": "Allowance, too, must be made for the fact that the letters were written in the hot youth of <supa</sup man keenly alive to praise or blame, and whose whole future depended on the issue of the struggle in which he was.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3126": {
-    "English Original": "Not only were the leading newspapers against him, but some of the most influential members of the Academy joined in the crusade with an animosity hardly conceivable in these\n\nliberal and more enlightened times ; and but for the audacity he displayed in his dealings with them, they would have given him no chance of showing his pictures to advantage.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3127": {
-    "English Original": "Happily all this sort of thing has long gone by.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3128": {
-    "English Original": "With a magnanimity worthy of our greatest paper, the Times has made full amends for the mistakes of former years ; and much the same thing may be said of other papers ; while as to the Academy, it is today about as pure and fair a tribunal as any on earth.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3129": {
-    "English Original": "But now to the letters themselves, from which, as <supa</sup picture of my father's life at this period, <supI</sup quote somewhat fully.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3130": {
-    "English Original": "<sup1853</sup Pencil study\n\n\n\nWriting to his wife, he says :\n\n\"April jtk, 1856.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3131": {
-    "English Original": "We have just had breakfast.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3132": {
-    "English Original": "Luard is smoking <supa</sup first pipe, and has prepared <supa</sup palette for me to paint the little child's white dress.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3133": {
-    "English Original": "<supI</sup found everything so nicely packed, my darling, that Luard has been noticing it and envying me.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3134": {
-    "English Original": "<supI</sup cannot express the success of the pictures.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3135": {
-    "English Original": "It is far beyond our most sanguine expectations.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3136": {
-    "English Original": "<supI</sup have in creased the price of all three ['Peace Concluded,' 'Autumn Leaves,' and 'The Blind Girl'], which <supI</sup shall get without any difficulty ; and my studio has been already filled with eager purchasers begging me to remember them next year.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3137": {
-    "English Original": "All other years pass into absolute insignificance compared with this.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3138": {
-    "English Original": "<supI</sup shall make <supa</sup struggle to get the little soldier finished ; but <supI</sup am to go and help <supa</sup brother artist, poor Martineau, who is in <supa</sup fix with <supa</sup picture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3139": {
-    "English Original": "\"The artists here imagine that my pictures are the work of years, instead of a few months.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3140": {
-    "English Original": "There has been a report that <supI</sup have taken to the most unfinished style, which, like many evil reports, have their good effect on me, for the pictures seem to astonish people more than ever by their finish.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3141": {
-    "English Original": "<supI</sup know how pleased you will be to hear this ; but you must not be too much elated ; for this great mercy from God isvery awful, and <supI</sup cannot help feeling <supa</sup little nervous about it, fearing <supa</sup possible turn in my fortune.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3142": {
-    "English Original": "This, however, may be unnecessary and wrong in me ; but seeing how differently He deals with many others about us, <supI</sup am surprised at the steps <supI</sup have made in advance.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3143": {
-    "English Original": "After observing how different his and his friend Holman Hunt's styles are becoming, after running so long together, he continues: \"What Ruskin and the critics are to do, <supI</sup don't know ; but it will be great fun for us.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3144": {
-    "English Original": "In another letter at this period he says : \" <supI</sup am ashamed of myself for not having been to church today.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3145": {
-    "English Original": "<supI</sup slept so sound that the bells were ringing before <supI</supwas out of bed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3146": {
-    "English Original": "Luard and Robert Malcolm get on admirably together.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3147": {
-    "English Original": "They are at this moment talking about the Crimea, and we have just been looking at L.'s sketches from Sebastopol.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3148": {
-    "English Original": "Halliday has just appeared, so <supI</supam writing this in <supa</sup howl of conversation and much smoke.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3149": {
-    "English Original": "<supI</sup dine with Leech at six.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3150": {
-    "English Original": "And on April iStk.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3151": {
-    "English Original": "\"Yesterday <supI</sup went with Luard to the Garrick, and afterwards to the Olympic Theatre, to see Still Waters Run Deep, <supa</sup most admirable play, and delight\n\nfully acted.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3152": {
-    "English Original": "This afternoon <supI</sup go with Leech and his madam to choose the bonnets.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3153": {
-    "English Original": "He says there is but one really good place not a shop so <supI</sup daresay <supI</sup shall be able to get something pretty for you.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3154": {
-    "English Original": "After sending in his pictures to the Academy he went home to Perth for <supa</sup few days, and then returning to town he hastened to the Academy, to see how his works had been hung.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3155": {
-    "English Original": "What he found there is related in the following letter :\n\n \" LANGHAM CHAMBERS, April 29^, '856.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3156": {
-    "English Original": "DEAREST COUNTESS, [a nonsensical term he often applied to my mother] Yesterday <supI</sup went to the Royal Academy, and made Luard write to you, as you would be anxious to hear how my pictures were placed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3157": {
-    "English Original": "Nothing could be better.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3158": {
-    "English Original": "The largest ('The Return from the Crimea') is next to Edwin Landseer's, in the large room.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3159": {
-    "English Original": "'Autumn Leaves' is in the middle room, beautifully seen ; and, <supI</sup think, the best appreciated. '",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3160": {
-    "English Original": "The Blind Girl is in the third room (the first going into the exhibition) on the line, but rather higher than <supI</sup like, as its finish is out of the reach of short people.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3161": {
-    "English Original": "The child on the tomb [' L'Enfant du Regiment'] is also in this room, and perfectly hung.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3162": {
-    "English Original": "<supI</sup saw Landseer there, and Grant, who was most civil ; and both expressed great admiration for my work.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3163": {
-    "English Original": "There is <supa</sup great movement just now in the matter of copyright, and <supI</sup enclose a paper distributed to the members on the subject.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3164": {
-    "English Original": "There must soon be <supa</sup better understanding between artists <supo</sup and dealers.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3165": {
-    "English Original": "Last night <supI</sup went to the theatre with Egg and Luard, and afterwards to the Garrick, where <supI</sup met Leech, who wants me to dine at Richmond with him next Sunday.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3166": {
-    "English Original": "... <supI</sup long to be back for good, and begin the trees in blossom.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3167": {
-    "English Original": "My father was very fond of going out in the evening, either to the Garrick or to a theatre, with some of his particular friends.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3168": {
-    "English Original": "On May ist, 1856. he writes: \"Last night Martineau, Halliday, and <supI</sup dined with Luard at the Garrick, after which we adjourned to the Victoria Theatre, for the fun of the thing, to see a regular outandout melodrama, and were not disappointed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3169": {
-    "English Original": "We got <supa</sup box for \\$s., and laughed so immoderately at the pathetic parts that we were nearly turned out.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3170": {
-    "English Original": "<supI</sup dine with Leech on Sunday, at\n\nthe ' Star and Garter at Richmond, and with Hunt tonight ; so <supI</sup have plenty of occupation.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3171": {
-    "English Original": "It will be seen from the following letters how the world, the critics, and the purchasers of his pictures were disposed towards him :\n\n\"May 2nd, 1856.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3172": {
-    "English Original": "The private view is going on, but <supI</sup don't go near the Royal Academy, of course.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3173": {
-    "English Original": "<supI</sup went for amusement to Christie's auctionrooms, to see Rogers' pictures sold, and there met Mr. Miller, who had just come from the exhibition, mightily pleased with his ' Peace Concluded.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3174": {
-    "English Original": "Everything is going on splendidly, and <supI</sup now wait for the verdict of the public, who are the only really disinterested critics.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3175": {
-    "English Original": "Every day <supI</sup meet with the Academicians <supI</sup perceive new horrors.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3176": {
-    "English Original": "So determined are they to insult every man who chooses to purchase my works, that this year they have done the same with Miller as they did with Arden, when he bought The Order of Release.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3177": {
-    "English Original": "For the first time they have not sent him an invitation to the dinner, at which he smiles, knowingo the reason.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3178": {
-    "English Original": "Anyhow, it is rather a triumph for us, as these wretched, ungentlemanly dealings only tend to reveal the truth.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3179": {
-    "English Original": "<supI</sup have just come from the Academy, which is open to the public this morning.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3180": {
-    "English Original": "<supI</sup saw Eden (the owner of ' Autumn Leaves '), which was my reason for j^oing, but <supI</sup didn't go into the rooms, as <supI</sup did not wish to be seen near my pictures.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3181": {
-    "English Original": "The impression of all the best men is most flattering to me, in spite of the same unjust and determined opposition.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3182": {
-    "English Original": "On the whole, the critics are rather worse than ever, but it really does not seem to matter much, beyond leading ignorant people to say very foolish things.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3183": {
-    "English Original": "<supI</sup have found out the name of the Times critic.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3184": {
-    "English Original": "It is F , an artist.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3185": {
-    "English Original": "<supI</sup don't, indeed, expect any better treat ment from the Press in my lifetime, as the critics are too inti mately mixed up with the profession.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3186": {
-    "English Original": "Of course, there are many criticisms as much in favour as some are against.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3187": {
-    "English Original": "<supI</sup would not see them, however, had not Leech made me look at some, to see how absurdly contradictory they are ; but the result is the same as in other years there is no getting near the pictures at the opening so <supI</sup am perfectly satisfied with the reception of them this year.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3188": {
-    "English Original": "The only reason for being annoyed at the continued bullying from the Press is on your account and that of your family and friends, who think more of the matter than people in London, who only laugh at it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3189": {
-    "English Original": "...\"\n\nj j s \\r is only a libel on her.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3190": {
-    "English Original": "Luard is smoking benignly, and asking me about the Royal Academy, and <supI</sup have some difficulty to write this and answer his questions about the exhibition.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3191": {
-    "English Original": "<supI</sup cannot tell you of the incivility of certain of the members and their cantankerous and jealous criticisms and ungenerosity.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3192": {
-    "English Original": "It is nothing new to me, however, for <supI</sup have seen it for some years now.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3193": {
-    "English Original": "<supI</sup dined at the Garrick yesterday, and saw David Roberts, R.A., and exchanged civilities.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3194": {
-    "English Original": "In the exhibition there is a very striking portrait of Miss Guyanjos, by John Phillip ; but Landseer and others say it Gambart [the dealer] has been\n\n\n\nhere, but <supI</supcannot get him to sign the paper.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3195": {
-    "English Original": "No one will, under the present state of the copyright law.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3196": {
-    "English Original": "If he signed it he would be responsible for the actions of others, which no man would do.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3197": {
-    "English Original": "Besides, there would always be such a drag in the sale of the picture, for men will not purchase anything with a claim still on it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3198": {
-    "English Original": "There is a great stir in the matter of copyright, and <supI</sup think something will be done.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3199": {
-    "English Original": "As it stands, <supI</sup hear itis impossible to obtain any legal hold in the matter.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3200": {
-    "English Original": "But enough of 'shop.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3201": {
-    "English Original": "<supI</sup must\n\nbe off to the Royal Academy again, to make <supa</sup sketch of the heads in ' Autumn Leaves for the Illustrated London News.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3202": {
-    "English Original": "...\"\n\nThe plot continued to thicken.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3203": {
-    "English Original": "Next day Millais writes : \" <supI</sup hope this will come to hand before you see the Times, which is more wickedly against me this year than ever.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3204": {
-    "English Original": "It is well understood here that the criticism is not above board, and that there is more than mere ignorance in the man.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3205": {
-    "English Original": "Beyond <supa</sup sudden surprise on seeing the criticism, <supI</sup was not much disturbed, as it has been my fate from the first, and probably will be to the last, to meet with ungenerous treat ment from newspapers.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3206": {
-    "English Original": "<supA</sup very young man doesn't get 900 guineas for his pictures without some attempt at detraction.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3207": {
-    "English Original": "<supI</sup am of course greatly astonished, as it is settled that <supI</sup am to paint the principal man of the paper.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3208": {
-    "English Original": "This\n\nmakes it a riddle, and will doubtless cause strange observa ij tions.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3209": {
-    "English Original": "All <supI</supbeg of you and your family is to wait and see how one young man will oblige the great British organ to alter their views.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3210": {
-    "English Original": "There is some underhand trickery which must sooner or later come to light.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3211": {
-    "English Original": "<supI</sup am not at all sure that it does not spring from the Academy itself; indeed, there is every reason to suppose it does.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3212": {
-    "English Original": "The envy and this determined cabal against me make me long to return home.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3213": {
-    "English Original": "In one word, <supI</sup have the whole of the\n\nRoyal Academy (with one or two exceptions) dead against me, which makes all intercourse with them unpleasant.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3214": {
-    "English Original": "The ' Peace Concluded ' has sold for <supa</sup great deal more than any other picture in the Royal Academy excepting Landseer's, and <supI</sup shall obtain a still better price next year.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3215": {
-    "English Original": "With this knowledge, <supI</sup think we may rest very well satisfied, as such solid success is never achieved against such powerful opposition without its having un mistakable deserts.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3216": {
-    "English Original": "This the world will see, in spite of all these shameful attempts to ruin me.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3217": {
-    "English Original": "<supI</sup hope you will not care a straw for the 7'i'mes' criticism.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3218": {
-    "English Original": "Our fathers will feel it much more than we, as they know less of the humbug of the British Press.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3219": {
-    "English Original": "People here in London soon perceive the injustice\n\nof such articles, so they go for nothing ; but of course it retards my position in the country, where people regard as gospel what they read in the newspapers.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3220": {
-    "English Original": "Now let me assure you that <supI</supam ' quite calm ' (as the French say), and you must not disturb yourself by picturing me in the act of tearing my hair for mortification.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3221": {
-    "English Original": "Nothing of the kind, my love ; <supI</sup am quite merry.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3222": {
-    "English Original": "When the Academy was opened to the public an extraordinary amount of interest was shown in his work.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3223": {
-    "English Original": "There was always <supa</sup big crowd round his pictures, but he was ttx shy to go near them himself.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3224": {
-    "English Original": "On May 8th, 1856, he writes in the following strain : \" I\n\nSTUDY FOR TENNYSON ILLUSTRATIONS Circ.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3225": {
-    "English Original": "1857\n\n\n\nnever expected such complete success as the pictures are making.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3226": {
-    "English Original": "People cannot get near the two largest.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3227": {
-    "English Original": "<supI</sup sa\\v Marochetti [the great Italian sculptor who worked in England] yesterday, and he made several attempts, but could see nothing.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3228": {
-    "English Original": "What the Baron said is sufficiently cheering.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3229": {
-    "English Original": "His coloured marble busts are magnificent beyond everything.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3230": {
-    "English Original": "<supI</sup was so delighted with the surpassing beauty of <supa</sup softcoloured head (in marble, of course) of some relation of the Princess, that <supI</sup expressed <supa</sup hope that some day <supI</sup should be rich enough to afford having yoii done in the same way ; when he jumped at the thought, and said he would consider it an understood thing& that he should make a bust of vou in return <supj</sup for any sketch <supI</sup should give him, adding that he would beg my acceptance of it if <supI</sup hesitated.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3231": {
-    "English Original": "He has seen you, and admires you immensely.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3232": {
-    "English Original": "Indeed, as he is very desirous of getting portraits of all the most beautiful persons he can get to sit, this kindness has something to do with your looks.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3233": {
-    "English Original": "<supI</sup never saw anything more shameless than the treatment by the R.A. of my work.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3234": {
-    "English Original": "Every year it is the same.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3235": {
-    "English Original": "The surest sign of <supa</sup young man's work being worthless is generosity and applause from the Academy !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3236": {
-    "English Original": "<supI</sup have seen other papers all absurdly contradicting their former selves.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3237": {
-    "English Original": "Most of them are better than any <supI</sup have ever before <supj</sup received ; and some that have tremendously abused me for years have changed their critics, and now as immoderately praise me.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3238": {
-    "English Original": "The Athenccuiu, Spectator, Chronicle, Press, Advertiser, and many others praise me up to the skies, and papers that used hitherto to applaud now hiss me!",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3239": {
-    "English Original": "It is simply ridiculous, but (as <supI</sup am happy to think) you all understand this, so <supI</sup won't say any more about it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3240": {
-    "English Original": "<supI</sup don't think there have ever been such endeavours to swamp <supa</sup man as in my case, or ever such <supa</sup complete failure.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3241": {
-    "English Original": "In these days, as will be seen, he felt keenly the shameless attacks of the critics, although personally so successful ; for the artistic temperament is not prone to bear patiently the pinpricks of constant and malignant opposition.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3242": {
-    "English Original": "His letter to my mother, dated May 8th, 1856, shows this.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3243": {
-    "English Original": "He says : \" <supI</sup thought of you yesterday.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3244": {
-    "English Original": "You may imagine how heartily <supI</sup wish you many happy returns of the day.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3245": {
-    "English Original": "<supI</sup have <supa</sup very nice letter from your father this morning, and think that his version may be the right one.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3246": {
-    "English Original": "Certainly there never were such cunningly devised machinations against my character and fortune.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3247": {
-    "English Original": "It makes me hate ' London's fine\n\n\n\n\"THE RESCUE.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3248": {
-    "English Original": "<sup1855</sup By permission of Mr. Holbrook Gaskell\n\n\n\ncity,' and feel less dependence on the things of this world.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3249": {
-    "English Original": "Poor Hunt, though well praised in the Press, has not found a purchaser for his ' Scapegoat,' in spite of the lowness of the price he asks.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3250": {
-    "English Original": "A very highly finished picture, too, and twice the size of my largest.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3251": {
-    "English Original": "\"The newspaper criticisms are by no means all against me, and <supI</sup have more confidence in the w<supr</sup eekly and monthly periodicals ; but with all against me <supI</sup could still hold my place.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3252": {
-    "English Original": "It is only a matter of time perhaps beyond our lives but ultimately right and truth must prevail.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3253": {
-    "English Original": "<supI</sup confess it is <supa</sup lesson to me all this determined opposition.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3254": {
-    "English Original": "The best art does not at first meet with general comprehension, and <supI</sup believe sincerely that the chief reason why my works are so picked to pieces is their being out of the scale of received conventionalities.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3255": {
-    "English Original": "One thing you will notice is that no criticism or reports go to say that any of the faces in the pictures are ugly, and hundreds are daily exclaiming about the beauty of the heads of the children.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3256": {
-    "English Original": "<supI</sup cease to feel any more upon the subject, as nearly every notice goes only to contradict the preceding one.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3257": {
-    "English Original": "<supI</sup see, too, everybody more or less inclined to lean favourably to Hunt, after abusing him.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3258": {
-    "English Original": "Human nature all over!",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3259": {
-    "English Original": "It has been gradually coming to this, and <supI</sup have now lost all hope of gaining just appreciation in the Press ; but, thank goodness, the proof of the pudding is in the eating,' for in that way they cannot harm me, except (as your father shrewdly remarks) in the copyright.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3260": {
-    "English Original": "Nothingcould have been more adverse than the criticism on The Huguenot} yet the engraving is now selling more rapidly than any other of recent times.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3261": {
-    "English Original": "<supI</sup have great faith in the mass of the public, although one hears now and then such grossly ignorant remarks.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3262": {
-    "English Original": "It is just the same with music and literature.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3263": {
-    "English Original": "At Gambart's last night, <supa</sup man made <supa</sup complete buffoon of himself with wretched ' comic songs, and the audience screamed with enjoyment.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3264": {
-    "English Original": "Also at the Haymarket Theatre the comedy there a farrago of old, wornout jokes, badly acted was received with enthusiasm, and parts meant for pathos were mistaken for fun and laughed at accordingly.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3265": {
-    "English Original": "After giving some details of the ways of the two largest dealers in London, one of whom always dealt fairly with him, whilst the other invariably \" made <supa</sup poor mouth \" and \" crabbed \" his pictures, but always resold greatly to his own advantage, as well as making <supa</sup small fortune out of the copyrights, he continues :\n\n\"' <supI</sup have been to Gambart's this morning to settle how he is to pay for 'The Blind Girl.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3266": {
-    "English Original": "All men have different ways of dealing, and his way is to pay me the moment the picture is in his possession.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3267": {
-    "English Original": "This is understood ; and directly the R.A. closes (three months from now) he settles.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3268": {
-    "English Original": "Now <supI</sup have to see <supX</sup (another dealer), with whom <supI</sup have had no conversation since the opening.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3269": {
-    "English Original": "<supI</sup have purposely kept away, so that he might learn the feeling of the intelligent public about the picture he has bought.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3270": {
-    "English Original": "If <supI</sup had been before, <supI</sup know he would have quoted (as he did last year) the newspaper criticisms, and their prejudicial influence,\n\n\n\netc., etc.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3271": {
-    "English Original": "But, curiously enough, whenever an engraving comes oiit from his firm there is always a favourable\n\narticle in thepapers.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3272": {
-    "English Original": "Since there is such <supa</sup demand for my works, <supI</sup can afford not to be humbugged by these people, as other poor fellows are; and <supI</sup think one great reason for the opposition this year is the sudden great in SKETCH FOR TENNYSON ILLUSTRATION.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3273": {
-    "English Original": "<sup1856</sup CTCaSC Itt my priCCS.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3274": {
-    "English Original": "The dealers, of course,.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3275": {
-    "English Original": "like to get pictures for ,200 and sell them for ^\"2000. .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3276": {
-    "English Original": "<sup1</sup am continually the object of unpleasant remarks from women as well as men, but beyond working out conscientiously a means of support for us both, <supI</sup do not care ; and this, please God, <supI</sup shall accomplish in time.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3277": {
-    "English Original": "As <supa</sup further insight into the rotten criticisms of the period, a day or two later he tells of the treatment meted out to Charles Reade, whom he mentions for the first time^ and who afterwards became <supa</sup great friend of his.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3278": {
-    "English Original": "<supI</sup have just come from the Crimean lecture of the Times correspondent, Russell [Sir William Howard Russell, afterwards <supa</sup devoted friend], on the war.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3279": {
-    "English Original": "It was odd to see the man who at the time of the war was dreaded by both the army and the navy brought before the public, to receive in his turn their criticism.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3280": {
-    "English Original": "Here follows an account of the lecture, which took place before empty seats, in spite of the eulogistic prelude of the Times ; for only the famous correspondent's personal friends mustered in force : : <supI</sup dined at the Garrick with Reade, the author of It is Never too Late to Mend.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3281": {
-    "English Original": "He isdelighted with my pictures, and regards all criticism as worthless.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3282": {
-    "English Original": "He has never been reviewed at all in the Times, although his book has passed through more editions than\n\nmost of the firstclass novels.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3283": {
-    "English Original": "White [the dealer] brought <supa</sup finished proof of ' The Huguenot this morning, and the few slight corrections Barlow [the engraver] has to make will not take him more than <supa</sup week ; so you may look for it very soon.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3284": {
-    "English Original": "On May 3oth Annat Lodge was enlivened by the birth of Millais' first child (Everett), news of which he conveyed to his cousin, Mrs. George Hodgkinson, in the following terms: \"Just a line to say that <supI</sup am the distinguished owner of <supa</sup little gentleman.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3285": {
-    "English Original": "The nurse, of course, says it is like me, adding that it is an extremely handsome production !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3286": {
-    "English Original": "But what nurse does not say the same thing ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3287": {
-    "English Original": "However, it has blue eyes and <supa</sup little downy brown on the top of its head.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3288": {
-    "English Original": "For the holiday season Millais took the manse of Brigo'Turk in Glenfinlas, and in August he and my mother went there, accompanied by her sisters, Alice and Sophie Gray.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3289": {
-    "English Original": "Here, after an interval of shooting and fishing, he painted a small portrait of the minister <supa</sup hardfeatured and by no means prepossessing Celt and then, returning to Annat Lodge, he set to work on \"Potpourri\" and \"Sir Isumbras at the Ford.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3290": {
-    "English Original": "Foreseeing that an account of her husband's pictures I.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3291": {
-    "English Original": "20\n\nSKETCH FOR ST. AGNES.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3292": {
-    "English Original": "how, when, and where they were painted, and what became of them would some day be of interest, my mother determined to keep <supa</sup record of all that he painted after their marriage, and forthwith started <supa</sup book for that purpose.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3293": {
-    "English Original": "the work was never completed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3294": {
-    "English Original": "My father made such fun of it that in 1868 she unwillingly gave it up.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3295": {
-    "English Original": "It contains, however, explicit information about several of his works.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3296": {
-    "English Original": "Of \"Potpourri\" she says: \"This little picture was painted for <supa</sup Mr. Burnett, but when completed he was unable to purchase it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3297": {
-    "English Original": "It was painted from my sister Alice and little Smythe of Methven Castle, Alice's dress of green satin and point flounces forming <supa</sup happy contrast to the rich velvet and gold trimmings in little Smythe's dress.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3298": {
-    "English Original": "The background is principally crimson, and the whole effect\n\nvery rich and brilliant. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3299": {
-    "English Original": "Mr. Millais sold this picture to Mr. White, the dealer\n\nin Madox Street, for ^150, and he in turn sold it, <supa</sup week or two afterwards, for ^\"200 to Mr. G. Windus, junior.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3300": {
-    "English Original": "\"When Mr. Burnett saw it he was most anxious to get it, and White promised it to him if he came on <supa</sup certain day not later than four p.m. Mr. Windus, however, was equally determined to have it; and, arriving early on the appointed day, he waited till the clock struck four, and then carried off the picture in <supa</sup cab, to the great disgust of Mr. Burnett, who arrived <supa</sup quarter of an hour late.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3301": {
-    "English Original": "Moral Even in business it is well to be punctual now and then.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3302": {
-    "English Original": "My mother has some interesting notes on the subject of \"Sir Isumbras,\" which she calls \"The Knight, <supa</sup dream of the past, 1857.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3303": {
-    "English Original": "\"This picture occupied Mr. Millais during the winter in conjunction with ' The Heretic.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3304": {
-    "English Original": "He was extremely expeditious in finishing the background, which did not take him more than <supa</sup fortnight.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3305": {
-    "English Original": "During the end of October and beginning of November, 1856, he went every day to the Bridge of Earn and painted the old bridge and the range of the Ochills from under the new bridge, composing the rest by adding <supa</sup medieval tower.\\ The gardener afterwards brought <supa</sup large quantity of flags from the river, and they were put in <supa</sup tub and painted in his studio.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3306": {
-    "English Original": "The horse gave him <supa</sup world of vexation from first to last.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3307": {
-    "English Original": "He always\n\n<sup\\</sup The tower was painted from old Elcho Castle, situated on the south bank of the Tay, six miles below Perth.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3308": {
-    "English Original": "An additional group of trees also aided the composition.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3309": {
-    "English Original": "<sup1856</sup By permission oj ike Corporation of Birmingham\n\n\n\nsaid he had chosen <supa</sup fine animal to paint from, but most people thought not.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3310": {
-    "English Original": "He painted it day after day in the stableyard at Annat Lodge, and had made <supa</sup very beautiful horse when Gambart, the dealer, saw the picture, and offered ;8oo for it, but said the horse was too small.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3311": {
-    "English Original": "Millais refused this price, thinking he ought to get more, and Gambart left.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3312": {
-    "English Original": "After <supa</sup little while Millais began to think the horse was too small, and most unfortunately took it out, and finished by making his animal too large.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3313": {
-    "English Original": "All the critics cried out about the huge horse, called it Romannosed, and said every kind of absurd thing about it, forgetful of the beauty of the rest of the picture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3314": {
-    "English Original": "The critics would,\n\n\n\nROSWELL.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3315": {
-    "English Original": "<sup1856</sup\n\nperhaps, not have been so illnatured had they known the sufferings the horse cost the painter, who worked out of doors in the dead of winter, sometimes in frost and snow, perched on <supa</sup ladder, and sometimes sitting in bitter east and north wind with his canvas secured by ropes to prevent it falling.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3316": {
-    "English Original": "The horse was never still for one instant, and like the painter was greatly aggravated by the intense cold.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3317": {
-    "English Original": "<supI</sup had to send down warm soups and wine every now and then and attend to things generally.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3318": {
-    "English Original": "After the Academy closed without any offer being made for the picture, Millais determined to have it back to Scotland, and once more to entirely repaint the horse.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3319": {
-    "English Original": "After some months he completed it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3320": {
-    "English Original": "The same animal came and stood day after day in our yard, the representation of the old one having been completely removed from the canvas by means of benzole,\n\nthe smell of which drove us out of the paintingroom for <supa</sup day or two.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3321": {
-    "English Original": "The new horse now appeared, to my mind, exactly like the first one.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3322": {
-    "English Original": "It was almost finished, when one day, whilst it was still wet in places, <supa</sup strong wind arose and blew over the iron chair to which the picture had been imperfectly fixed, one corner going like a nail right through the head of the knight.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3323": {
-    "English Original": "This was <supa</sup dreadful accident, and Millais was in <supa</sup terrible state of mind, vowing he would never touch or look at it again.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3324": {
-    "English Original": "However, in the course of <supa</sup day or two <supa</sup firm of London canvas makers mended\n\n\n\nFIRST SKETCH FOR \"PEACE CONCLUDED.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3325": {
-    "English Original": "<sup1855</sup\n\nit so beautifully that the rent could not be seen.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3326": {
-    "English Original": "<supI</sup thought this picture doomed to failure, for on the day it left us to go to the Liverpool Exhibition, it poured in such torrents and was so stormy, that <supI</sup became superstitious.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3327": {
-    "English Original": "However, with the new horse and the knight <sups</sup leg lengthened, it attracted considerable attention in Liverpool, and the committee did not know whether to give Millais the prize of ^50 for it or for his ' Blind Girl.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3328": {
-    "English Original": "The Blind Girl,' however, carried the day by one vote.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3329": {
-    "English Original": "Colonel Campbell, an officer quartered in Perth, sat for the figure of the knight, whilst the little boy and girl were respectively the artist's eldest son and Miss Nellie Salmon, now Mrs. Ziegler.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3330": {
-    "English Original": "Time and varnish,\" <supI</sup have heard my father say, \" are the greatest Old Masters that ever lived.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3331": {
-    "English Original": "And, in the face of recent experience, who will dare to say they are not ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3332": {
-    "English Original": "As quaint old Tusser has it, \"Time tries the troth in everything\"; tries, too, our Art critics, and their right to dogmatise as they do on works that Time has not yet touched ; and in this matter of \"Sir Isumbras\" his judgment is dead against them.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3333": {
-    "English Original": "In 1857, when the picture was exhibited in the Academy,\n\nit was greeted with howls of execration, the lion's roar of Hj^j Mr. Ruskin being heard high above the jackal's yelp of his followers.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3334": {
-    "English Original": "The great critic could see in it no single point for admiration ; only faults of fact, of sentiment, and of Art ; but now that time and varnish have done their work, we find it as universally praised as it was formerly condemned <supa</sup lesson that living painters may well take to heart for their comfort in times of depression.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3335": {
-    "English Original": "Mr. Stephens, who has written so well on Millais' works, says of this picture : \" ' Sir Isumbras at the Ford ' was the subject of the picture Millais made his leading work in the year 1857.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3336": {
-    "English Original": "It represented an ancient knight, all clad in golden armour, who had gone\n\n\n\nSKETCH FOR \"THE CRUSADERS.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3337": {
-    "English Original": "A picture never completed 1856\n\nthrough the glories of this life war honour, victory and reward, wealth and pride.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3338": {
-    "English Original": "Though he is aged and worn with war, his eye is still bright with the glory of human life, and yet he has stooped his magnificent pride so far as to help, true knight as he was, two little children, and carries them over a river ford upon the saddle of his grand warhorse, woodcutter's children as they were.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3339": {
-    "English Original": "The face of this warrior was one of those pictorial victories which can derive their success from nothing less than inspiration.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3340": {
-    "English Original": "The sun was setting beyond the forest\n\nthat gathered about the river's margin, and, in its glorious decadence, symbolised the nearly spent life of the warrior.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3341": {
-    "English Original": "In his Notes on the Grosvenor Gallery, 1885, he gives a vivid account of what followed on the exhibition of the picture in 1857.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3342": {
-    "English Original": "\"The appearance of 'Sir Isumbras/\" he says, \"produced <supa</sup tremendous sensation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3343": {
-    "English Original": "Satires, skits, jokes, deliberate analyses and criticisms most of them applied to purposes and technical aims not within the artist's intention when the picture was in hand crowded the\n\n\n\nFIRST SKEICH FOR \"SIR ISUMHRAS\"\n\ncolumns of the comic as of the more serious journals.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3344": {
-    "English Original": "Utter ruin and destruction were prophesied of the artist who, some what rashly, had followed <supa</sup technical purpose, but whose success in that respect cannot now be questioned.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3345": {
-    "English Original": "Among the most edifying of the comments published on Sir Isumbras was <supa</sup large print entitled 'A Nightmare,' and believed to be the work of Mr. F. Sandys, <supa</sup distinguished brother artist, who probably was not without grievances of his own against critics.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3346": {
-    "English Original": "It generally reproduced the work in <supa</sup ludi crous manner, and showed the painter while in the act of crossing the ford on the back of a loudbraying ass.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3347": {
-    "English Original": "Seated\n\non the front of the saddle, in the place of one of the woodcutter's children, Mr. Dante G. Rossetti is supported by the mighty hands of the steelclad knight.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3348": {
-    "English Original": "Clinging round the waist of the champion is a quaint mannikin, with <supa</sup sheaf of painter's brushes slung at his back, instead of the original figure, meant for Mr. W. Holman Hunt.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3349": {
-    "English Original": "The intention of the designer of this satire was to suggest the position of the Old Masters and the modern critics at this period.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3350": {
-    "English Original": "On the bank of the river are three different figures of M. Angelo, Titian, and Raphael.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3351": {
-    "English Original": "The first stands with his face averted and his arms folded, while Titian and Raphael kneel in front of him, looking towards the animal and his freight.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3352": {
-    "English Original": "A small scroll proceeds from the animal's mouth, with the legend, Orate pro nobis.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3353": {
-    "English Original": "This print was not without its good technical qualities, and, except so far as the ass and the smallest riders were concerned, did no very grave injustice to any of the figures.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3354": {
-    "English Original": "Instead of his sheathed sword an artist's mahlstick was suspended to the girdle of Sir John Millais, and by the side of this hung <supa</sup bunch of peacock's feathers and <supa</sup large pastepot, inscribed 'P.R.B.,' for 'PreRaphaelite Brotherhood.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3355": {
-    "English Original": "The lines relating to Sir Isumbras, which appeared in the Academy Catalogue in Old English type, were written for the occasion by Tom Taylor, who also wrote the extremely humorous verses attached to Mr. Sandys' skit.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3356": {
-    "English Original": "The former <supI</sup give here.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3357": {
-    "English Original": "The goode hors that the knyghte bestrode, <supI</sup trow his backe itwas full brode, And wighte and warie still he wode, Noght reckinge of rivere : He was so muckle and so stronge, And thereto so wonderlich longe In londe was none his peer.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3358": {
-    "English Original": "N'as hors but by him seemed smalle.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3359": {
-    "English Original": "The knyghte him ycleped Launcival ; But lords at borde and grooms in stalle Yclept him Graund Destrere.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3360": {
-    "English Original": "About the sale of this work my mother had <supa</sup good tale to tell.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3361": {
-    "English Original": "One evening in 1858, when they were living in London, she was standing outside the house, waiting for the door to be opened, when she was accosted by <supa</sup greyhaired man in shabby garments, who said he, too, wished to come in.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3362": {
-    "English Original": "The observation startled her, for she had never seen the man before ; and, mistaking him in the darkness for <supa</sup\n\ntramp, she told him to go away. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3363": {
-    "English Original": "But,\" pleaded the stranger, with a merry twinkle in his eye, \" <supI</sup want ' The Knight Crossing the Ford,' and I must have it /\" The idea now dawned upon her that he was <supa</sup harmless lunatic, to be got rid of by a little quiet persuasion.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3364": {
-    "English Original": "This, therefore, she tried, but in vain.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3365": {
-    "English Original": "The only reply she got was, \" Oh, beautiful dragon o !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3366": {
-    "English Original": "<supI</sup am Charles Reade, who wrote Never Too Late to Mend, and <supI</sup simply must have that picture, though <supI</sup am but <supa</sup poor man.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3367": {
-    "English Original": "<supI</sup would write <supa</sup whole threevolume novel on it, and then have sentiment enough to spare.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3368": {
-    "English Original": "<supI</sup only wish <supI</sup had someone like you to guard my house ! \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3369": {
-    "English Original": "And he got the picture !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3370": {
-    "English Original": "For, though <supa</sup stranger to my mother, my father knew him well, and was pleased to find on his return home that it had fallen into his hands.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3371": {
-    "English Original": "Reade was, in fact, an intimate friend of Millais, and when in town they met together almost daily at the Garrick Club.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3372": {
-    "English Original": "That he was proud of his purchase the following letter to Millais attests :\n\n From Charles Reade.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3373": {
-    "English Original": "IL MAESTRO, The picture is come, and shall be hung in the drawingroom.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3374": {
-    "English Original": "<supI</sup cannot pretend to point out exactly what you have done to it, but this <supI</sup know it looks admirably well.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3375": {
-    "English Original": "<supI</sup hope you will call on me and talk it over.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3376": {
-    "English Original": "<supI</sup am very proud to possess it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3377": {
-    "English Original": "Either <supI</sup am an idiot, or it is an immortal work. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3378": {
-    "English Original": "Yours sincerely,\n\n\"CHARLES READE.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3379": {
-    "English Original": "In another letter he says : \" It is the only picture admitted into the room, and has every justice <supI</sup can tender it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3380": {
-    "English Original": "As <supI</sup have bought to keep, and have no sordid interest in crying it up, you must allow me to write it up <supa</sup little.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3381": {
-    "English Original": "It is in famous that <supa</sup great work of Art should be libelled as this was some time ago.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3382": {
-    "English Original": "In a letter to Millais, asking for a ticket for the \"private view\" day at the Academy, he says: \"The private view, early in the morning, before <supI</supcan be bored with cackle of critics and entangled in the tails of women, is one of the things worth living for, and <supI</sup shall be truly grateful if you will remember your kind promise and secure me this pleasure.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3383": {
-    "English Original": "$l!y$  permission of Mr. R. H. Fenson  $^{\\rm 681}$  SIR ISUMBRAS.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3384": {
-    "English Original": "$^{\\rm 1857}$ \n\n\n\nOn Charles Reade's death, \"Sir Isumbras\" became the property of Mr. John Graham, and on his death Mr. Robert Benson bought it for <supa</sup large sum.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3385": {
-    "English Original": "Touching the alterations and additions it received in 1892, Mr. Benson kindly sends me the following note: \"As to The Knight <supI</sup bought it at Christie's, at the sale of the pictures of Mr. John Graham of Skelmorlie, in (I think) 1886.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3386": {
-    "English Original": "It was framed in an abom\n\ninable stucco frame, of about 1857, with rounded top corners.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3387": {
-    "English Original": "<supI</suphad a carved frame made from one of the fine models in the South Kensington Museum.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3388": {
-    "English Original": "\"I think he (Millais) was glad that we got it, and Lady Millais too.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3389": {
-    "English Original": "One day <supI</sup asked him what he thought of putting some trappings on the horse, and he jumped at the idea, saying that he should like to have the chance of improving the outline the silhouette, as you may still see it in Hollyer's photo and relieve and break the blackness of the beast.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3390": {
-    "English Original": "Thenceforward we went about, my wife and I, taking notes and studies MOTHER AND CHILD, arc.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3391": {
-    "English Original": "<sup1860</sup\n\n\n\nof horse  trappings and armour wherever we met with them.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3392": {
-    "English Original": "Our most promising finds were in the Escurial, in the armoury at Madrid.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3393": {
-    "English Original": "One day in <sup1892</sup (it was July <supi</sup ith) he wrote asking us to let him have it, and to send him our notes.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3394": {
-    "English Original": "There was to be an exhibition at the Guildhall, and he wanted it to be seen again.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3395": {
-    "English Original": "So <supI</sup sent it with the notes and <supa</sup photo, on which <supI</sup roughly pencilled what we thought it needed, viz., <supa</sup fuller throat, <supa</sup crest, <supa</sup dilated nostril, a twisted tail, a deeper girth (to give the horse strength to carry the man in armour, not to speak of the children), a broad bridle, instead of the thin green\n\nand yellow rein, and lastly the trappings.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3396": {
-    "English Original": "We also wanted the green and yellow bridle abolished, and a certain garish flower by the horse's ear.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3397": {
-    "English Original": "\\Ye particularly begged him to leave the exceptionally large, open eyes of the girl, as beingcharacteristic of <sup1857</sup and of the effect he then sought.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3398": {
-    "English Original": "He kept it <supa</sup month.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3399": {
-    "English Original": "<supI</sup confess we were nervous, knowing the difficulty he was sure to feel in matching the work of 1857, and feeling our own audacity in having ventured to suggest\n\n\n\nSTUDY OF A CHILD.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3400": {
-    "English Original": "<sup1858</sup\n\nby the pencilling on the photo just what we wanted done and no more.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3401": {
-    "English Original": "<supI</sup tried more than once to see him, and once Mrs. Holford came with me, but whether he was there or not, we could not get into the studio.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3402": {
-    "English Original": "But on August <supi</sup ith the picture came back\n\nfinished. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3403": {
-    "English Original": "We were (and are still) delighted with what he o did.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3404": {
-    "English Original": "He just removed the blot, and the picture re mained all that we loved most in his work a splendid portrait of an\n\nold man, an adorable little boy, and <supa</sup glorious landscape, <supa</sup strong but balanced scheme of colour, and <supa</sup composition which, by selecting the pictorial moment, tells <supa</sup simple story <supa</sup romance if you will that makes us all akin.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3405": {
-    "English Original": "Here is the letter he wrote me (copy enclosed) :\n\n To Mr. Benson.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3406": {
-    "English Original": "\"2, PALACE GATE, KENSINGTON,\n\n\"August <sup1</sup 1///, 1892.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3407": {
-    "English Original": "DEAR BENSON, Send for the Knight on Saturday morning, as <supI</sup have done all <supI</sup can for the picture, and very glad <supI</sup am to have had the opportunity of making it so complete.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3408": {
-    "English Original": "<supI</sup have seen many old and useful drawings at the Heralds' College, where they have the whole pageant of the Field of the Cloth of Gold meeting of Henry VIII.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3409": {
-    "English Original": "and Francis I., and some of the harness is covered with bells,\n\nwhich adds <supa</sup pleasant suggestion of jingle to the Knight's progress.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3410": {
-    "English Original": "<supI</sup have also been studying horses daily, and the stud is good enough now.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3411": {
-    "English Original": "It was most incorrect, and has necessitated a great deal of work.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3412": {
-    "English Original": "Faulty as it undoubtedly was, the poetry in the picture ought to have saved it from the savage onslaught of all the critics, notably John Ruskin, who wrote of it, 'This is not a fiasco, but a catastrophe.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3413": {
-    "English Original": "\" On the other hand, Thackeray embraced me put his arms round my neck and said, Never mind, my boy, go on painting more such pictures.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3414": {
-    "English Original": "... <supI</sup am very proud of having painted it, and delighted to know it is in the hands of one who appreciates its merits.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3415": {
-    "English Original": "\"Sincerely yours,\n\n\"J. E.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3416": {
-    "English Original": "As <supa</sup matter of fact the alterations took the artist <supa</sup very short time to complete, when he had once decided what they should be.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3417": {
-    "English Original": "After lunch he would stroll up Kensington Gardens to the \" Row,\" where he leaned over the rails, making <supa</sup few notes and rough outlines of horses as they passed along, until he got the particular movement of the animal that he wanted to express.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3418": {
-    "English Original": "But, as will be gathered from his letter, the preliminary work involved <supa</sup good deal of trouble.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3419": {
-    "English Original": "In the spring of <sup1857</sup Millais and his wife took rooms in Savile Row, London, where he chiefly occupied himself w <supr</sup ith his picture \"The Escape of <supa</sup Heretic, 1559.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3420": {
-    "English Original": "Of this work, which was intended as <supa</sup pendant to \"The Huguenot,\" my mother writes :\n\n\"The idea of making <supa</sup pendant to 'The Huguenot' occurred to him whilst we were visiting Mr. W. Stirling at Keir, in the autumn after our marriage.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3421": {
-    "English Original": "That gentleman possesses a book of fine old woodcuts of the time of the Inquisition, when persecutions in the Netherlands were carried on under the Duke of Alva.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3422": {
-    "English Original": "He also possesses <supa</sup series of Spanish pictures which had been used to illus trate his own work on The Cloister Life of the Emperor Charles V. Amongst these woodcuts were several representing burnings in Spain, the women and men being habited in the hideous dress of the ' San Benito.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3423": {
-    "English Original": "The victims were generally attended by priests exhorting them to penitence\n\nas they pursued their way to the martyrs' pile.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3424": {
-    "English Original": "The ' San Benito dress consists of an upper shirt, without sleeves, of coarse sacking painted yellow, with designs of devils roasting souls in flames.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3425": {
-    "English Original": "With the aid of some engravings of monks of the different orders, sent by Mr. Rawdon Brown, and the habit of <supa</sup Carthusian from the Papal States, lent by Mr. Dickenson, we easily made up the dresses for the models, whilst Millais drew the staircase of\n\n\n\nSKETCH FOR TENNYSON ILLUSTRATION.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3426": {
-    "English Original": "<sup1855</sup\n\nBalhousie Castle for the prison from whence the girl is escaping by aid of her lover.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3427": {
-    "English Original": "Millais worked on this picture and The Knight at the same time.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3428": {
-    "English Original": "The expression of the lover's face gave him immense trouble.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3429": {
-    "English Original": "The model was a young gamekeeper in the ser vice of Mr. Condie.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3430": {
-    "English Original": "He was handsome, very lazy, continually getting tired, and not coming when sent for.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3431": {
-    "English Original": "Millais took the face, and mouth particularly, many times completely out.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3432": {
-    "English Original": "The girl's expression was very troublesome also, and he was\n\nlong in pleasing himself with it.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3433": {
-    "English Original": "Whilst Millais waited the hanging of his pictures at the Royal Academy his wife tra velled again to their home in the North.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3434": {
-    "English Original": "His letters to her\n\nat this time are particularly interesting, as showing what he thought of the artistic outlook.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3435": {
-    "English Original": "In the first, dated May I3th, 1857, he says : \" My friends Bartle Frere and Colonel Turner dined with me at the Garrick yesterday.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3436": {
-    "English Original": "They are both old friends of mine, and we had <supa</sup very pleasant party.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3437": {
-    "English Original": "<supI</sup met Thackeray there, and he spread out his great arms and embraced me in stage fashion, in evidence of his delight at my pictures.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3438": {
-    "English Original": "He never before expressed such extreme satisfaction, and said they were magnificent.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3439": {
-    "English Original": "The Times review of the Royal Academy then came out with <supa</sup stinging critique on his pictures, and all the other\n\n\n\n\n\npapers joined in chorus.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3440": {
-    "English Original": "On this he wrote to his wife, on May i5th: \"Doubtless you have seen the Times and its criticism.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3441": {
-    "English Original": "When <supI</sup heard it was written in the same spirit as usual <supI</sup did not read it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3442": {
-    "English Original": "<supI</sup therefore only know of its import through my friends.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3443": {
-    "English Original": "The general feeling is that it is not of the slightest importance.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3444": {
-    "English Original": "Criticism has been so tampered with that what is said carries little or no weight.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3445": {
-    "English Original": "Ruskin, <supI</sup hear, has a pamphlet in the press which takes a pitying tone at my failure.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3446": {
-    "English Original": "The wickedness and envy at the bottom of all this are so apparent to me that <supI</sup disregard all the reviews (I have not read one), but <supI</supshall certainly have this kind of treatment all my life.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3447": {
-    "English Original": "The public crowd round my pictures more than ever, and this, <supI</sup think, must be the main cause of animosity <supI</sup should tell you that although my friend Tom Taylor is said to have written the first two reviews in the Times, this last is not attributed to him.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3448": {
-    "English Original": "The only good that <supI</sup can see in the criticism is its unusual length (from what <supI</sup hear it is nearly <supa</sup column).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3449": {
-    "English Original": "<supI</sup confess <supI</sup am disgusted at the tone of the thing ; indeed with everything connected with Art.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3450": {
-    "English Original": "\"Combe, of Oxford, came yesterday.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3451": {
-    "English Original": "He wants me to paint him a picture about the size of the 'Heretic' (anything larger than that size is objected to].",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3452": {
-    "English Original": "There is no en couragement for anything but cabinet pictures.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3453": {
-    "English Original": "<supI</sup should never have <supa</sup small picture on my hands for ten minutes, which is <supa</sup great temptation to do nothing else.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3454": {
-    "English Original": "<supI</sup saw Tennyson again at the Prinseps', and was most entertained at the ' petting that went on.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3455": {
-    "English Original": "[a famous beauty] was there, and asked after you.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3456": {
-    "English Original": "She has fallen off, but is still beautiful.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3457": {
-    "English Original": "In May, 1858, they went as usual to Bowerswell, where in due time the artist applied himself to \"Apple Blossoms,\" or \" Spring\" as it was latterly called, painting it in neighbouring orchards.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3458": {
-    "English Original": "Here <supI</sup must again avail myself of my mother's notebook, and her remarks on\n\n\" Spring Flowers,\" as she calls it. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3459": {
-    "English Original": "This picture, whatever its future may be, <supI</sup consider the most unfortunate of Millais' pictures.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3460": {
-    "English Original": "It was begun at Annat Lodge, Perth, in the autumn of 1856, and took nearly four years to complete.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3461": {
-    "English Original": "The first idea was to be <supa</sup study of an apple tree in full blossom, and the picture was begun with a lady sitting under the tree, whilst a knight in the background looked from the shade at her.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3462": {
-    "English Original": "This was to have <supO</sup been named ' Faint Heart Never Won Fair Ladye.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3463": {
-    "English Original": "The idea was, however, abandoned, and Millais, in the following spring, had to leave the tree from which he had made such <supa</sup careful painting, because the tenant at Annat Lodge would not let him return to paint, for she said if he came to paint in the garden it would disturb her friends walking there.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3464": {
-    "English Original": "This was ridiculous, but Millais, looking about for some other suitable trees, soon found them in the orchard of our kind neighbour Mrs. Seton (Potterhill), who paid him the greatest attention.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3465": {
-    "English Original": "Every day she sent her maid with luncheon, and had tablecloths pinned up on the trees so as to form a tent to shade him from the sun, and he painted there in great comfort for three weeks whilst the blossoms lasted.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3466": {
-    "English Original": "During that year (1857) he began to draw in the figures, and the next year he changed to some other trees in Mr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3467": {
-    "English Original": "Gentle's orchard, next door to our home.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3468": {
-    "English Original": "Here he painted in quiet comfort, and during the two springs finished all the background and some of the figures.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3469": {
-    "English Original": "The centre figure was painted from Sir Thomas Moncrieff's daughter Georgiana (afterwards Lady Dudley) ; Sophie Gray, my sister, is at the left side of the picture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3470": {
-    "English Original": "Alice is there too, in two positions, one resting on her elbow, singularly like, and the other lying on her back with <supa</sup grass stem in her mouth.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3471": {
-    "English Original": "He afterwards made an etching of this figure for the Etching Club, and called it 'A Day in the Country.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3472": {
-    "English Original": "When the picture of ' Spring Flowers was on the easel out of doors, and in broad sunlight, the bees used often to settle on the bunches of blossom, thinking them real flowers from which they might make their honey.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3473": {
-    "English Original": "In July, 1858, my mother went to St. Andrews, in Fife, and to her Millais wrote : \"\n\n<supI</sup have been working hard all day ; have finished Alice's topknot, and had that little humbug Agnes Stewart again, but <supI</sup am not sure with what success.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3474": {
-    "English Original": "<supI</sup had capital trips with the MacLarens [neighbours living at Kinfauns Castle] to Loch Flukey [Loch Freuchie, near Amulree, formerly an excellent trout loch].",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3475": {
-    "English Original": "W <supT</sup <supe</sup caught eleven dozen trout, and had great fun about settling where to sleep.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3476": {
-    "English Original": "<supI</sup slept on the diningroom table, in preference to a sofa, as the horsehair appeared <supa</sup likely harbour for fleas, etc.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3477": {
-    "English Original": "A great tub was brought in for the morning bath, and towels about the size of pockethandkerchiefs, so <supI</sup used my sheets instead.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3478": {
-    "English Original": "\"$   ${185}$   ${61859}$   ${187}$  permission of Mr. Clarke\n\n\n\n<supI</sup was up at five in the Hielands, and fished <supa</sup beautiful little river (the Braan) before breakfast.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3479": {
-    "English Original": "<supI</sup hope you will get tremendously strong.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3480": {
-    "English Original": "All that salt water ought to do wonders.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3481": {
-    "English Original": "Sophie must also come back blooming, to be painted in my picture.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3482": {
-    "English Original": "On the envelope of this letter is an amusing sketch, showing some lady bathers coming out of the sea, and men playing golf close by.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3483": {
-    "English Original": "In August Millais went South on <supa</sup visit to his parents at KingstononThames, where they had <supa</sup charming little house\n\noverlooking the river.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3484": {
-    "English Original": "He went by sea, taking with him my mother's two young sisters, Sophie and Alice, who had also been invited ; and in the following letter he gives us <supa</sup little insight into the home life of the old people : \" Here we are in William's [his brother's] room.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3485": {
-    "English Original": "The girls are sitting with me in perfect quiet, as they are still very unwell.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3486": {
-    "English Original": "Neither of them could eat any breakfast, and everything is whirling about them, as it is with me.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3487": {
-    "English Original": "Otherwise <supI</sup am perfectly comfortable, having managed my cigar after breakfast.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3488": {
-    "English Original": "We have\n\nSKETCH FOR \"RUTH.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3489": {
-    "English Original": "<sup1855</sup\n\njust been listening to my sister [Emily Millais, Mrs. Wallack] playing on the piano 'awfully well,' as the girls say.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3490": {
-    "English Original": "My father has most gorgeous peaches and nectarines ripe against the wall, and much finer than the glasshouse ones at Perth, which shows the climate to be warmer.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3491": {
-    "English Original": "Now to tell you about my sister.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3492": {
-    "English Original": "Although <supI</sup had nearly forgotten her, <supI</sup think <supI</sup would have known her again, she is so like William, and not at all American, as <supI</sup had expected.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3493": {
-    "English Original": "She isstill pretty, and her little boy is here very like her, with <supa</sup good profile, and very excitable.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3494": {
-    "English Original": "She is very strong, though not so to look at, and has the unputdownable go of William, for since breakfast she has played to me more than you could play in <supa</sup month, and is not the least tired.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3495": {
-    "English Original": "It is rather <supa</sup loss William not being here, as he would complete the group so thoroughly.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3496": {
-    "English Original": "The place is covered with pretty flowers, and really looks lovely.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3497": {
-    "English Original": "My father has just come down and shown me two most beautiful watercolour drawings of William's, both of which are sold, and <supI</sup have this minute come from looking after Alice, who isrecovering quickly.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3498": {
-    "English Original": "She isin the armchair, and my father is playing the guitar to her.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3499": {
-    "English Original": "<supI</sup can't tell you how very odd itseems to me, being amongst them here again.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3500": {
-    "English Original": "There is certainly <supa</sup dash of the French about them all, for they are all so extraordinarily happy and satisfied with themselves.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3501": {
-    "English Original": "After this visit he went off shooting and fishing, as usual, for a couple of months, and on his return to Bowerswell he nearly finished the \" Apple Blossoms,\" and commenced (in October) \" The Vale of Rest.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3502": {
-    "English Original": "Here my mother's notebook again proves helpful as an illustration of his life and work at this period ; interesting, too, as <supa</sup reflection of her own views on the only subject on which they were at variance.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3503": {
-    "English Original": "As <supa</sup strict Presbyterian she greatly disliked his working on Sundays, as he often did when the painting fever was strong upon him ; and her entries on this subject are at once quaint and characteristic.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3504": {
-    "English Original": "She writes : \" Mr. Millais exhibited no pictures in 1858.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3505": {
-    "English Original": "He began <supa</sup last picture of <supa</sup Crusader's return, and stuck, after five months' hard labour.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3506": {
-    "English Original": "<supI</sup was much averse to his painting every Sunday, and thought no good would come of it, as he took no rest, and hardly proper time for his meals.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3507": {
-    "English Original": "He made no progress, only getting into <supa</sup greater mess ; so when spring came we were thankful to pack up the picture and go to Scotland.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3508": {
-    "English Original": "Here he occupied himself on his ' Spring' apple blossoms picture, but did not set vigorously to work till the autumn.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3509": {
-    "English Original": "This winter [1858] he has achieved an immensity of work, and <supI</sup attribute his success greatly to his never working on Sunday all this year.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3510": {
-    "English Original": "<supI</sup will describe his pictures of this year in order, and begin with the Nuns (' The Vale of Rest '), which, like all his best works, was executed in a surprisingly short space of time.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3511": {
-    "English Original": "\"It had long been Millais' intention to paint <supa</sup picture with nuns in it, the idea first occurring to him on our wedding tour in 1855.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3512": {
-    "English Original": "On descending the hill by Loch Awe, from Inverary, he was extremely struck with its beauty, and the coachman told us that on one of the islands there were the\n\nruins of <supa</sup monastery.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3513": {
-    "English Original": "We imagined to ourselves the beauty of the picturesque features of the Roman Catholic religion, and transported ourselves, in idea, back to the times before the Reformation had torn down, with bigoted zeal, all that was beautiful from antiquity, or sacred from the piety or remorse of the founders of old ecclesiastical buildings in this country.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3514": {
-    "English Original": "The abbots boated and fished in the loch, the vesper bell pealed forth the ' Ave Maria ' at sundown, and the organ notes of the Virgin's hymn were carried by the water and transformed into <supa</sup sweeter melody, caught up on the hillside and dying away in the blue air.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3515": {
-    "English Original": "We pictured, too, whiterobed nuns in boats, singing on the water in the quiet summer evenings, and chanting holy songs, inspired by\n\nthe loveliness of the world around them.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3516": {
-    "English Original": "Millais said he was determined to paint nuns some day, and one night this autumn, being greatly impressed with the beauty of the sunset (it was the end ot October), he rushed for <supa</sup large canvas, and began at once upon it, taking for background the wall of our garden at Bowerswell, with the tall oaks and poplar trees behind it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3517": {
-    "English Original": "The sunsets were lovely for two or three nights, and he dashed the work in, softening it afterwards in the house, making it, <supI</sup thought, even less purple and gold than when he saw it in the sky.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3518": {
-    "English Original": "The effect lasted so short <supa</sup time that he had to paint like lightning.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3519": {
-    "English Original": "It was about the end of October, and he got on very rapidly with the trees and worked every afternoon, patiently and faithfully, at the poplar and oak trees of the background until November, when the leaves had nearly all fallen.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3520": {
-    "English Original": "He was seated very conveniently for his work just outside our front door, and, indeed, the principal part of the picture, excepting where the tombstones come, is taken from the terrace and shrubs at Bowerswell.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3521": {
-    "English Original": "The background of \" The Vale of Rest \" remains very much today what it was when Millais painted it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3522": {
-    "English Original": "A few of the old trees are gone, but there are the same green terraces, and the same sombre hedges ; there, too, is the corner of the house which, under the artist's hands, appeared as an ivycovered chapel.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3523": {
-    "English Original": "The grave itself he painted from one freshly made, in Kinnoull churchyard ; and much amused he was by the impression he made while working there.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3524": {
-    "English Original": "Close by lived two queer old bachelors who, in Perth, went by the names of \" Sin \" and \" Misery.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3525": {
-    "English Original": "They watched him\n\nintently as he painted away day by day amongst the tombs without even stopping for refreshment, and after the hrst day they came to the conclusion 'that he made his living by portraying the graves of deceased persons.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3526": {
-    "English Original": "So they goodnaturedly brought him <supa</sup glass of wine and cake every day, and said what they could by way of consolation for the hard\n\nships of his lot.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3527": {
-    "English Original": "The rest of the tale is thus told by my mother : \" The graveyard portion was painted some months later, in the very cold weather, and the wind often threatened to knock the\n\n\n\nSKETCH FOR ILLUSTRATION.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3528": {
-    "English Original": "The sexton kept him company, made <supa</sup grave for him, and then, for comfort's sake, kept <supa</sup good fire in the deadhouse.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3529": {
-    "English Original": "There Millais smoked his pipe, ate his lunch, and warmed himself.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3530": {
-    "English Original": "It is always interesting to hear from artists who have painted <supa</sup successful picture, how and under what circumstances it was done.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3531": {
-    "English Original": "One man will tell you that his work was the inspiration of <supa</sup moment, and the whole thing was dashed off in <supa</sup few days, maybe <supa</sup few hours as was Landseer's \" Sleeping Bloodhound.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3532": {
-    "English Original": "Another has, perhaps, spent months or years on some great work ; it has been painted, repainted, altered a hundred times, and then not satisfied the painter.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3533": {
-    "English Original": "Again, an unsatisfactory pose of a figure has often\n\ndriven <supa</sup conscientious artist to the verge of insanity.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3534": {
-    "English Original": "And this was the case with the figure of the woman digging in \" The Vale of Rest.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3535": {
-    "English Original": "<supI</sup have heard my mother say she never had such <supa</sup time in her life as when my father was painting that woman.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3536": {
-    "English Original": "Everything was perfect in the picture except this wretched female, and no thing would induce her to go right.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3537": {
-    "English Original": "Every day for seven weeks he painted and repainted her, with the re sult that the figure was worse than ever, and he was almost distracted.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3538": {
-    "English Original": "My mother then proceeded to hatch a plot with my grandmother to steal the picture !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3539": {
-    "English Original": "This was skilfully effected one day when he had left his work for a few hours.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3540": {
-    "English Original": "The two arch plotters took it between them and carried it into a winecellar, where it was securely locked up.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3541": {
-    "English Original": "When the painter re turned to work and found his treasure gone he was, of course, in a dreadful state of mind, and on discovering the trick that had been played him, he tried every means to make them give it up to him ; but this they steadfastly refused to do.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3542": {
-    "English Original": "i8<sup59</sup Here then was <supa</sup predica\n\nment !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3543": {
-    "English Original": "For some days he would settle to nothing, and the model, who received good payment, would insist on coming every day and sitting in the kitchen, saying that she was engaged till the picture was finished.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3544": {
-    "English Original": "The situation at last became comic Millais furious, the conspirators placid, smiling, but firm, and the model immovable.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3545": {
-    "English Original": "At last he was persuaded to set to work on some watercolour replicas of \"The Huguenot\" and \"The Heretic,\" for Mr. Gambart, and as he became interested in them he gradually calmed down.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3546": {
-    "English Original": "When the picture was eventually returned to him, he saw at <supa</sup glance where his mistake lay, and in a few hours put everything right.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3547": {
-    "English Original": "My uncle William tells an amusing story about this, which is worth repeating in his own words : \" Millais, as everyone knows, had the greatest power in the realistic rendering of all objects that came under his brush, and the veriest tyro could not fail to recognise at a glance the things that he painted.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3548": {
-    "English Original": "<supI</sup remember, however, a case in which the power was not recognised ; in fact, the objects painted failed to convey the faintest notion of what they were intended to represent.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3549": {
-    "English Original": "An old Scotchman, after looking at ' The Vale of Rest for some time, said to my brother in my hearing, <sup1</sup Well, the picture 's all well enough, but there 'ssomething <supI</sup don't like.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3550": {
-    "English Original": "My brother, who was always ready to listen to any criticism, said, What don't you like ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3551": {
-    "English Original": "Speak out, don't be afraid !\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3552": {
-    "English Original": "' Well,' said he, <supI</sup don't like the idea of water in a grave.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3553": {
-    "English Original": "Water in <supa</sup grave?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3554": {
-    "English Original": "'Well, there it is, plain enough (pointing to a mattock), pouring into the grave.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3555": {
-    "English Original": "He had actually mistaken the sheen of <supa</sup steel mattock for a jet of water, and the handle for <supa</sup bridge across the grave.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3556": {
-    "English Original": "This was too good <supa</sup story not to be passed round, and it was told on the occasion of the picture being privately exhibited at the Langham Chambers, just before being sent to the Royal Academy.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3557": {
-    "English Original": "There was <supa</sup good assemblage of people, and amongst them, though unrecognised, the old gentleman himself.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3558": {
-    "English Original": "The story was told with great gusto by John Leech (in my presence), and <supa</sup roar of laughter followed, coupled with the words, ' What an old ass he must have been !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3559": {
-    "English Original": "\\\\ hereupon the old gentleman sprang up from the sofa and said, <supI</sup 'm the verra man myselV It was honest of him, to say the least.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3560": {
-    "English Original": "Mr. M. H. Spielmann, who has carefully studied Millais' works, says of it :\" This picture <supI</sup have always felt to be one of the greatest and most impressive ever painted in England ; one in which the sentiment is not mawkish, nor the tragedy melodramatic <supa</sup picture to look at with hushed voice and bowed head ; in which the execution is not overwhelmed by the story ; in which the story is emphasised by the com\n\n\n\n\n\nposition ; and in which the composition is worthy of the handling.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3561": {
-    "English Original": "\" This is the year Mr. Millais gave forth those terrible nuns in the graveyard\": thus Mr. Punch characterised the year 1859.\\ Even Ruskin, denouncing the methods, and admitting (unjustly) the ugliness and \" frightfulness \" of the figures, was constrained to allow it nobility of horror, if horror it was, and the greatness of the touching sentiment.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3562": {
-    "English Original": "His charge of crudeness in the painting no longer holds good.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3563": {
-    "English Original": "Time that grand Old Master to which Millais did homage in act and word has done the work the artist intended him to do ; and <supI</sup venture to think that in the New Gallery of British Art there will be no more impressive, no more powerful work than that which shocked the Art world of 1859.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3564": {
-    "English Original": "In <sup1862</sup Millais saw how he could improve the face of the nun that is seated at the head of the grave, so he had the picture in his studio for a week, and repainted the head from a Miss Lane.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3565": {
-    "English Original": "During <sup1858</sup was also painted \"The Love of James the First of Scotland.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3566": {
-    "English Original": "It will be remembered that this unfortunate monarch was confined for many years in Windsor Castle.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3567": {
-    "English Original": "In the garden below his prison used to walk the beautiful Lady Jane Beaufort, and he fell in love with her ; but his only means of communicating with her was by dropping letters through the bars of the grated window.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3568": {
-    "English Original": "This is the scene represented in the picture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3569": {
-    "English Original": "The castle and wall were taken from the picturesque old ruin of Balhousie Castle, which overlooks the North Inch of Perth.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3570": {
-    "English Original": "On p. 36 <sup1</sup is given <supa</sup photo of the exact wall, with the model's hand dropping a loveletter from the window.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3571": {
-    "English Original": "Millais' model for this picture was Miss Eyre, of Kingston, whose sister, Miss Mary Eyre, he also painted the following year as ''The Bride\n\n\" <supa</sup girl with passion flowers in her hair, <supt</sup While the work was in hand, an o!d woman came for three days, and stood staring alternately at the artist and the castle, evidently without any notion of what he was about.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3572": {
-    "English Original": "Disliking the presence of observers while he was at work, he looked up suddenly and exclaimed, \" Well, what are you\n\n\\ The Times was this year favourable, and acknowledged \" The Vale of Rest\" as a work of merit.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3573": {
-    "English Original": "<supt</sup This lady was singularly like the Countess de Grey, and on this account the portrait was purchased at <supa</sup sale by Lord de Grey.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3574": {
-    "English Original": "To which she replied, \" Weel that's juist what <supa</sup was gaein tae ask ye.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3575": {
-    "English Original": "What are you glowerin at?\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3576": {
-    "English Original": "To the uninitiated <supI</sup may explain that, in the Scotch tongue, \"glowerin \" means staring rudely and intently.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3577": {
-    "English Original": "At this time (November, 1859), though work went on briskly, began <supa</sup long period of anxiety on account of my mother's health, ensuing on the birth of her eldest daughter.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3578": {
-    "English Original": "She had imprudently gone, one cold winter's day, to Murthly, to make <supa</sup drawing of some tapestry in the old castle, for one of my father's pictures ; and, sitting long at her task, she contracted a chill, which affected the optic nerves of both her eyes.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3579": {
-    "English Original": "A temporary remedy was found, but in late years the mischief again reappeared, to the permanent detriment of her eyesight.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3580": {
-    "English Original": "The struggle of <sup1859</sup Millais seriously feels the attacks made upon him, but determines to fight Insulted at every turn Origin of \"The Vale of Rest\" The fight for independence \"The Black Brunswicker \" Millais describes it Dickens' daughter sits for the lady Mrs. Perugini describes her sittings Faint praise from the Press Great success of the picture Holman Hunt likewise successful Millais' blackandwhite work Letters to his wife Lady Waterford.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3581": {
-    "English Original": "WE come now to the turningpoint in the life of the painter to the period when, with the exception of <supa</sup few strong men of independent judgment, all the powers of the Art world were set in array against him the critics, the Academy, and the Press and, under their combined influence, even the picturedealers began to look askance at his works as things of doubtful merit.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3582": {
-    "English Original": "Buyers, too, held aloof, not daring to trust their own judgment in opposition to so great an authority as Mr. Ruskin ; for by this time Ruskin had attained <supa</sup position in the land absolutely unapproached by any other critic before or since.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3583": {
-    "English Original": "With <supa</sup charm of diction unequalled in English prose, he had formulated certain theories of his own which every artist must accept or reject under peril of his severest condemnation ; and as \" Sir Isumbras \" the last of Millais' works that may be termed purely PreRaphaelite was found to sin against these re quirements, it fell under his ban as utterly unworthy of the applause it had gained from the public.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3584": {
-    "English Original": "It has been well said that \"the eye of <supa</sup critic is often like <supa</sup microscope, made so very fine and nice that it discovers the atoms, grains, and minutest particles without ever comprehending the whole, comparing the parts, or seeing all at once the harmony.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3585": {
-    "English Original": "And, as will presently be seen, that was, in Millais' view at least, the affliction from which Mr. Ruskin was suffering at this time.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3586": {
-    "English Original": "It is not given to every man to withstand such <supa</sup for midable attack as that to which my father was now exposed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3587": {
-    "English Original": "From the financial point of view the situation was critical\n\nin the extreme.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3588": {
-    "English Original": "Ruin stared him in the face ruin to himself, his wife, and family.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3589": {
-    "English Original": "One cannot therefore wonder that, under the strain and peril of the time, his letters betray not only his amazement at the crass stupidity of some of his critics, but his deep sense of injury, and <supa</sup rooted belief that envy, hatred, and malice were at the bottom of all this uproar.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3590": {
-    "English Original": "All this, together with a record of his doings during the months of April and May, 1859, will be found in the following extracts from his letters, in reading which it must be borne in mind that these letters were intended only for the eye of his wife, for whose comfort at this trying time he would naturally and rightly open his mind without any thought of egotism or empty boast.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3591": {
-    "English Original": "The letters are dated from his father's house at Kingston, to which in joyous anticipation of success at the coming Royal Academy Exhibition he betook himself with his pictures early in April.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3592": {
-    "English Original": "South Cottage, jt/i April.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3593": {
-    "English Original": "There are three or four people after my pictures, and <supI</sup have no doubt of making more than <supI</sup expected by them.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3594": {
-    "English Original": "William will write to you about what was said, but <supI</sup will simply tell you in <supa</sup word that nothing could possibly be more successful, 'The Nuns' especially.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3595": {
-    "English Original": "<supI</sup have called it\n\n The Vale of Rest, Where the weary find repose\n\nfrom one of Mendelssohn's most lovely partsongs.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3596": {
-    "English Original": "<supI</sup heard William singing it, and said it just went with the picture, whereupon he mentioned the name and words, which are equally suitable.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3597": {
-    "English Original": "Marochetti said to William, before <supa</sup number of people, that 'The Nuns' should have <supa</sup place in the national collection, between Raphael and Titian ; and Thackeray and Watts expressed nearly the same opinion.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3598": {
-    "English Original": "Indeed, the praise is quite overwhelming, and <supI</sup keep out of it as much as possible, as <supI</sup am not able to bear it, <supI</sup feel so weakened by it all.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3599": {
-    "English Original": "W'hile William was showing the two large pictures, <supI</sup was painting away at the single figure, which <supI</sup finished perfectly, having worked at it from five in the morning.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3600": {
-    "English Original": "<supI</sup felt quite inspired, and never made <supa</sup\n\nmistake.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3601": {
-    "English Original": "It is, <supI</sup think, the most beautiful of all. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3602": {
-    "English Original": "Nothing could exceed the kindness of my people about me, and only through their indefatigable assistance could\n\n\n\n\"THE BRIDE.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3603": {
-    "English Original": "<sup1858</sup By permission of Mr. A. D. Grimmond\n\n\n\n<supI</sup have finished the third.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3604": {
-    "English Original": "All were framed and sent in to the Royal Academy in good time.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3605": {
-    "English Original": "The three pictures were \"The Vale of Rest,\" \"The Love of James I. of Scotland,\" and \"Apple Blossoms.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3606": {
-    "English Original": "They had been seen and praised by hundreds of people before they were exhibited to the public, and the artist knew they were the best he had ever painted ; but no sooner did they appear on the Academy walls than they were attacked as already in\n\ndicated, the admiration of the publicwho persistently crowded in front of them, and his own knowledge of their value, being the only consolation he could lay to heart.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3607": {
-    "English Original": "His next letter betrays the revulsion of feeling caused by this cruel, not to say malignant, attack.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3608": {
-    "English Original": "In the midst of success <supI</sup am dreadfully lowspirited, and the profession is more hideous than ever in my eyes.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3609": {
-    "English Original": "Nobody seems to understand really good work, and even the best judges surprise me with their extraordinary remarks.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3610": {
-    "English Original": "Nothing can be more irritating and perplexing than the present state of things.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3611": {
-    "English Original": "There seems to be a total want\n\nSKETCH FOR \"THE BLACK BRUNSWICKER.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3612": {
-    "English Original": "of confidence in the merits of the pictures, amongst even the dealers.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3613": {
-    "English Original": "They seem quite bewildered.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3614": {
-    "English Original": "Even John Phillip said that he thought it was high time <supI</sup should come and live in London.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3615": {
-    "English Original": "As if that had anything to do with my Art ! \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3616": {
-    "English Original": "<supI</sup would write oftener to you, but really <supI</sup have nothing either pleasant or satisfactory to write about.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3617": {
-    "English Original": "<supI</sup am far from well, and everybody says they never saw such <supa</sup change in any man for the worse.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3618": {
-    "English Original": "<supI</sup could scarcely be quieter, too, as <supI</sup never stay in town or have any wish to be amongst riotous fellows ; yet the reaction of leaving off work is very trying.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3619": {
-    "English Original": "There seems to be but one opinion\n\n\n\namongst unprejudiced people as to the success of my pictures this year, but ^1000 for a picture is a very rare thing.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3620": {
-    "English Original": "It is true that that sum has been given already this year for <supa</sup picture by O  ; but you must remember that my pictures are not vulgar enough for the City merchants, who seem to be the only men who give these great prices.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3621": {
-    "English Original": "... <supI</sup am much better after yesterday's headache, and got up this morning early, and have been reading and playing chess with my mother ever since.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3622": {
-    "English Original": "It is <supa</sup fine day, so <supI</sup shall go and see the University Boat Race.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3623": {
-    "English Original": "Yesterday <supI</sup met in the Burlington Arcade an old friend from India, the brother of our old friend Grant who died.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3624": {
-    "English Original": "(I drew him in penandink, dying, surrounded by his family.)",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3625": {
-    "English Original": "The brother has grown into an enormous man, with moustaches nearly half <supa</sup yard broad <supa</sup very handsome fellow.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3626": {
-    "English Original": "Hunt and Collins dined here yesterday.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3627": {
-    "English Original": "The pain in my chest is nearly gone, so <supI</sup am no longer uneasy.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3628": {
-    "English Original": "It must have been from working too hard and leaning forward so much, but <supI</sup hope to begin my work again this week.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3629": {
-    "English Original": ".. Ruskin was talking to young Prinsep, and said he had been looking at the ' Mariana,' which <supI</sup painted years ago, and had come to the sage conclusion that <supI</sup had gone to the dogs and am hopelessly fallen.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3630": {
-    "English Original": "So there is no doubt of what view he will take of my works this year; but (as Hunt, who has <supa</sup high opinion of their excellence, says) if he abuses them he will ruin himself as <supa</sup critic.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3631": {
-    "English Original": "Already he is almost entirely disregarded.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3632": {
-    "English Original": "<supI</sup hear that Leighton has a picture in the Royal Academy, but nothing of its worth.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3633": {
-    "English Original": "This picture, whether good or bad, will be set up against mine.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3634": {
-    "English Original": "The enmity is almost over whelming, and nothing but the piiblic good sense will carry me through.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3635": {
-    "English Original": "... <supI</sup am sanguine, in spite of every drawback, though <supI</sup know there is <supa</sup possibility of my not realising my anticipations regarding the sale of the pictures ; but in that case <supI</sup am perfectly prepared to keep them.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3636": {
-    "English Original": "They must not, and shall not, be thrown away.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3637": {
-    "English Original": "William was singing at his Hanover Square Rooms last night, but <supI</sup could not be there.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3638": {
-    "English Original": "He seems to have made <supa</sup real success, as he always does in public.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3639": {
-    "English Original": "<supI</sup am wonderfully well and have quite recovered my spirits, and am now prepared to act determinedly.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3640": {
-    "English Original": "No persuasion will now induce me to sacrifice my work.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3641": {
-    "English Original": "You see, by putting <supa</sup very high price on it, the dealers are entirely slmt out,\n\nand thereby become my most inveterate enemies, which is no joke considering the powerful influence they have.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3642": {
-    "English Original": "They, added to the Royal Academy, which is always against me, make the army <supa</sup difficult one to combat.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3643": {
-    "English Original": "When <supI</sup sold my works to the dealers they were my friends, and counteracted this artistic detraction.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3644": {
-    "English Original": "There is, without doubt, an immense amount of underhand work, and <supI</sup can scarcely regard a single professional man as my friend.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3645": {
-    "English Original": "<supI</sup am quite settled, however, in my position, to stand a violent siege.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3646": {
-    "English Original": "The day after tomorrow <supI</sup shall attend the Exhibition [at the Royal Academy] privately with the members.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3647": {
-    "English Original": "<supI</sup am prepared for some disappointment ; it always happens.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3648": {
-    "English Original": "\"Tonight at <sup12</sup all the parish children sing through the village, headed by the parson, my father, William, Arthur Coleridge, and others.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3649": {
-    "English Original": "Leslie (the choirman) is here, staying with Coleridge ; he played delightfully this morning in the studio.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3650": {
-    "English Original": "<supI</sup am sure, dear, you would be charmed with the society here ; the people seem to appreciate the family very much, and are endless in their kindnesses, sending things to my\n\nmother [she was very ill at this time] and inquiring daily after her health.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3651": {
-    "English Original": "William, too, is surrounded by pretty girls.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3652": {
-    "English Original": "After his visit to the Royal Academy to see how his pictures were hung, he writes :\n\n\"April 2&th.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3653": {
-    "English Original": "It is always a melancholy thing to the painter to see his work for the first time in an empty room ;.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3654": {
-    "English Original": "and yesterday was <supa</sup most dreadful, dark, rainy day.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3655": {
-    "English Original": "The single figure is not well hung, although perfectly seen.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3656": {
-    "English Original": "All three, of course, lose in my eyes, for they are surrounded by such a perplexity of staring colour ; for instance, an officer in size of life, in a brilliant red coat, is hung next to The Nuns,' which must naturally hurt it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3657": {
-    "English Original": "'The Orchard' ['Apple Blossoms'], <supI</sup think, looks better.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3658": {
-    "English Original": "There are no less than three pictures of orchard\n\n\n\nSKETCH FOR \"THE BLACK BRUNSWICKER\"\n\nblossoms, but small, as the artist had no time to enlarge them.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3659": {
-    "English Original": "Hook's are very fine indeed, small, but lovely in colour quite as good as my own.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3660": {
-    "English Original": "He is about the only firstrate man they have.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3661": {
-    "English Original": "Boxall has some beaiitiful portraits one of an old man especially so.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3662": {
-    "English Original": "Stansfield and Roberts as usual.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3663": {
-    "English Original": "Landseer, of course, good ; but, between ourselves, not quite so much so as of yore.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3664": {
-    "English Original": "He was most kind, and said he understood the quality of my work entirely ; and when <supI</sup told him they were unsold, he laughed and said, Oh, you need not mind about that.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3665": {
-    "English Original": "<supI</sup would sell them fast enough.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3666": {
-    "English Original": "Frank Grant, too, was most cordial, and asked after you.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3667": {
-    "English Original": "He and Landseer went backwards and forwards many times between ' The Orchard ' and ' The Nuns.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3668": {
-    "English Original": "<supI</sup am told by all the Hanging Committee that they have come to the conclusion that ' The Vale of Rest would have been perfect had <supI</sup left the digging nun alone, and that The Orchard ' is spoilt by Sophie's and Alice's heads to the left of the picture.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3669": {
-    "English Original": "<supI</sup got home here [at Kingston] last night after a hard day's rubbing at the pictures, which improved them immensely.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3670": {
-    "English Original": "<supI</sup see things are creeping favourably on.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3671": {
-    "English Original": "Landseer this year is <supa</sup most energetic admirer ; he said yesterday, before many of the members, that my pictures are far beyond everything <supI</sup have ever done.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3672": {
-    "English Original": "Roberts, too, said <supI</supam sure to sell them at the private view.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3673": {
-    "English Original": "<supI</sup have <supa</sup few truly good friends in the Royal Academy, amongst the best men, in spite of the wicked clique who, of course, do their best to run me down.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3674": {
-    "English Original": "There is no great catch this year, except perhaps O 's companion picture to his last year's one.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3675": {
-    "English Original": "It is very good (well painted), but egregiously vulgar and commonplace ; but there is enough in it of a certain 'jingo' style to make it <supa</sup favourite.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3676": {
-    "English Original": "This work may at first attract, but\n\nafter <supa</sup while it will not stand with the public. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3677": {
-    "English Original": "Ruskin will be disgusted this year, for all the rubbish he has been praising bejore being sent into the Royal Academy has now bad places.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3678": {
-    "English Original": "There is <supa</sup wretched work like <supa</sup photograph of some place in Switzerland, evidently painted under his guidance, for he seems to have lauded it up skyhigh ; and that is just where it is in the miniature room !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3679": {
-    "English Original": "He does not understand my work, which is now too broad for him to appreciate, and <supI</sup think his eye is only fit to judge the portraits of insects.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3680": {
-    "English Original": "But then, <sup1</sup think he has lost all real influence as a critic.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3681": {
-    "English Original": "\"Tomorrow is the private view.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3682": {
-    "English Original": "<supI</sup have given my tickets to John Leech and his wife.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3683": {
-    "English Original": "He knows all the Press men, and is respected by all, so his opinion will be taken and carry weight.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3684": {
-    "English Original": "Did <supI</sup tell you <supI</sup rowed with my father up to Hampton Court, and met William and a large party, Miss Boothby [whom William Millais afterwards married], Miss Eyre [who sat to Millais several times], Coleridge, etc.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3685": {
-    "English Original": "Miss Boothby and <supI</sup and William and Miss Eyre had <supa</sup race home, and we beat them.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3686": {
-    "English Original": "My hands suffered in consequence, so <supI</sup cannot row again just now.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3687": {
-    "English Original": "<supI</sup have just come from the private view.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3688": {
-    "English Original": "To tell you the truth, <supI</sup think it likely <supI</sup shall not sell one of the pictures.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3689": {
-    "English Original": "The clique has been most successful against me this year, and few people look at my work.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3690": {
-    "English Original": "Ruskin was there, looking at 'The Nuns' ; and Tom Taylor, who said nothing.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3691": {
-    "English Original": "Everywhere <supI</sup hear of the infamous attempts to destroy me (the truth is these pictures are not vulgar enough for general appreciation).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3692": {
-    "English Original": "However, <supI</sup must wait, for <supI</sup don't know what the Press will say yet.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3693": {
-    "English Original": "Seeing that there is such a strong undercurrent against me, it is possible they may lift me up.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3694": {
-    "English Original": "Gambart was there, and several dealers, but none spoke to me.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3695": {
-    "English Original": "They are not anxious to look into my eyes just now, and no wonder !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3696": {
-    "English Original": "Reade is sitting beside me as <supI</sup write this.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3697": {
-    "English Original": "The fact of the matter is, <supI</sup am out of fashion.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3698": {
-    "English Original": "There will doubtless be a reaction, but the state of affairs in the Art world is at present too critical to admit of a good reward for all my labour.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3699": {
-    "English Original": "This is rather trying to me, <supI</sup confess, after all my slavery, but it will account to you for my want of belief in the profession.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3700": {
-    "English Original": "You see, nobody knows anything about Art, so one is all at sea.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3701": {
-    "English Original": "The failures are most terrible in London just now, and things look very bad.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3702": {
-    "English Original": "What will become of Art, <supI</sup don't know.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3703": {
-    "English Original": "It will not be worth following, if <supI</sup cannot sell pictures such as these.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3704": {
-    "English Original": "<supI</sup am sorry <supI</sup have no good news for you, dear, but the lookout is anything but refreshing.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3705": {
-    "English Original": "<supI</sup returned here last night and opened three letters from you all so kind and nice that they quite set me up.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3706": {
-    "English Original": "There have been no inquiries for any of my pictures ; but now they are once more crowded this time more than ever.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3707": {
-    "English Original": "You may, perhaps, laugh at it, but <supI</sup have heard itsaid that the want of purchasers is a great deal due\n\nto Ruskin having in his last pamphlet said that <supI</sup was falling off.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3708": {
-    "English Original": "Hunt and Leech, as well as the Rossettis and their clique, have expressed their admiration of my work of late, and yesterday Marochetti was kind enough to express the same sentiments.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3709": {
-    "English Original": "Landseer, who was with him, asked my address, in case he should have to write me, indicating his desire to sell them for me.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3710": {
-    "English Original": "After such opinions from such men, what is outside criticism ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3711": {
-    "English Original": "Yet, in spite of myself and my own convictions, <supI</sup feel humiliated.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3712": {
-    "English Original": "\"It has become so much the fashion to abuse me in the Press, that my best friends now occasionally talk in the same way.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3713": {
-    "English Original": "<supI</sup have lost all pleasure and hope in my profession.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3714": {
-    "English Original": "William has gone to the Exhibition, and <supI</sup made arrangements to go to Aldershot with Leech ; but all this anxiety, however much <supI</sup try to dispel it, destroys my peace of mind, and <supI</sup have <supa</sup bad headache.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3715": {
-    "English Original": "Everybody bothers me too about living in the North, and says <supI</sup have cut all my original friends, and will inevitably lose their interest.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3716": {
-    "English Original": "<supI</sup candidly confess <supI</sup never had such <supa</sup trying time in my life.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3717": {
-    "English Original": "<supI</sup would not care a farthing if <supI</sup were a bachelor, but for your sake <supI</sup cannot take such injustice calmly.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3718": {
-    "English Original": "It is a strange and unexpected end to all my labour, and <supI</sup can only hope it will not affect you overmuch.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3719": {
-    "English Original": "Many happy returns of the day, my darling.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3720": {
-    "English Original": "<supI</sup have just returned from Cambridge, where <supI</sup met Mrs. Jones, of Pantglass, the duke's enchantress.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3721": {
-    "English Original": "She made many inquiries about you, and sent her best love.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3722": {
-    "English Original": "She is most amusing, and <supI</sup talked with her all the evening.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3723": {
-    "English Original": "She is <supa</sup very handsome woman, with <supa</sup fine figure, and got up most gorgeously.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3724": {
-    "English Original": "<supI</sup was made much of by the Cambridge men.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3725": {
-    "English Original": "Ruskin's pamphlet is out, and White says it is favourable, although stating that the pictures are painted in my worst manner.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3726": {
-    "English Original": "How extraordinary the fate of these pictures has been !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3727": {
-    "English Original": "Never have pictures been more mobbed, but now the crowds mostly abuse them, following the mass of criticism ; yet the fuss they are making in <supa</sup way makes up for the abuse.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3728": {
-    "English Original": "No words can express the curious envy and hatred these works have brought to light.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3729": {
-    "English Original": "Some of the papers, <supI</sup believe, have been so violent that for two days together they have poured forth such abuse as was never equalled in the annals of criticism.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3730": {
-    "English Original": "My works are not understood by the men who set themselves up as judges.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3731": {
-    "English Original": "Only when I am dead wi// they know their worth.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3732": {
-    "English Original": "<supI</sup could not believe in such wanton cruelty as has been shown to me this year.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3733": {
-    "English Original": "There is no doubt that the critics have ruined the sale, for all who would have come forward now say that the nuns and grave are miserable to look at, and the appleblossoms full of ugliness.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3734": {
-    "English Original": "Let me, however, assure you that they must win their way to the front in time.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3735": {
-    "English Original": "The country is blooming everywhere now, and everything is happy.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3736": {
-    "English Original": "It is dreadful to be away from you so long.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3737": {
-    "English Original": "<supI</sup am so glad to hear the children are well.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3738": {
-    "English Original": "<supI</sup wish <supI</sup could embrace them all ; it would be delightful after all this vexation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3739": {
-    "English Original": "Fate seems determined to make my profession hateful to me.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3740": {
-    "English Original": "Needless to say how welcome at such <supa</sup time was the hearty support of the few members of the Academy and artist friends who refused to join in the cabal against him and his works, prominent amongst whom were Hunt, Landseer, Leech, Thackeray, Reade, and the two Rossettis.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3741": {
-    "English Original": "Amongst outsiders, too, were many sympathising friends, whose kind words and letters helped him to take heart again even in the darkest hours when oppression had wellnigh driven him to despair.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3742": {
-    "English Original": "Amongst these was his friend Mr. Lloyd, from whose letter <supI</sup venture to quote <supa</sup few memorable words.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3743": {
-    "English Original": "He says : \" <supI</sup merely wish, by writing to you, to protest on behalf of myself and many friends against the injustice of the London critics, and to assure you that whenever <supI</sup have discussed your picture ['The Vale of Rest'] with persons whose opinions are deservedly valued, <supI</sup have found them nearly as enthusiastic admirers of it as myself.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3744": {
-    "English Original": "Some, too, agree with me that it is not only your greatest work, but that it by far excels in truthfulness, in rendering, and in nobleness of conception any picture exhibited within my recollection on the Royal Academy walls by any other artist.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3745": {
-    "English Original": "That you will live to see its merits more publicly acknowledged <supI</sup have little doubt, and <supI</sup sincerely hope that the ingratitude and prejudice of those who presume to dictate to the public what to admire will not induce you to disbelieve that there are thousands to whom your paintings are <supa</sup great intellectual pleasure, and that the gradual liberation of the public mind from conventional rules will bring thousands more to the shrine hallowed by yourself and those of your brother artists who boldly and conscientiously pursue the path of truth.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3746": {
-    "English Original": "Returning now to Millais' own letters, <supI</sup find :\n\n\"May \\\\$tk.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3747": {
-    "English Original": "There is <supa</sup decided improvement in the look of things.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3748": {
-    "English Original": "Gambart writes me <supa</sup long letter, and <supI</sup have <supa</sup commission for <supa</sup picture from New York.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3749": {
-    "English Original": "<supI</sup am perfectly certain that there will be a reaction in my favour, sooner or later, as the abuse has been so violent.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3750": {
-    "English Original": "<supI</sup wish <supI</sup could afford to keep the pictures, as <supI</sup am perfectly sure they will one day fetch very large sums.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3751": {
-    "English Original": "There is no chance of my selling my pictures to gentlemen the dealers are too strong.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3752": {
-    "English Original": "SKETCH OF MISS KATE DICKENS FOR \"THE BLACK BRUNSWICKER.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3753": {
-    "English Original": "<sup1859</sup\n\nPicturebuyers can barter with them when they cannot with the artist, and my pictures have remained unsold so long that no one will believe that they are valuable.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3754": {
-    "English Original": "All the other pictures of any pretensions in the Exhibition are sold.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3755": {
-    "English Original": "This is, of course, fearfully dispiriting, and <supa</sup matter of wonder to me, as <supI</sup have <supa</sup high reputation ; but my detractors have really induced the public to believe that the faults in my pictures spoil all the beauties.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3756": {
-    "English Original": "The crowds, too, round the pictures increase, but <supI</supam too much disgusted to think more about them.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3757": {
-    "English Original": "If <sup1</sup sell them, <supI</sup will wipe the memory of them for ever from my mind, they have been such torments to me.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3758": {
-    "English Original": "At last the star of hope appeared on the horizon, in <supa</sup quarter where it was least expected.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3759": {
-    "English Original": "The picturedealers\n\nbegan to come round, making timid inquiries as to prices ; and one of them actually bought \"The Vale of Rest.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3760": {
-    "English Original": "Commissions, too, came in, and the whole aspect of affairs was suddenly changed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3761": {
-    "English Original": "The effect of all this upon Millais will be seen in the two following letters, written, it will be noticed, on two con\n\nsecutive days.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3762": {
-    "English Original": "Things are quietly coming round.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3763": {
-    "English Original": "Already there is quite another aspect of affairs.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3764": {
-    "English Original": "W. is to give me <supa</sup decided answer whether or not a client of his will have The Nuns.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3765": {
-    "English Original": "There isa demand also for the small picture, and G. wants to have the copyright, and is to let me know tomorrow morning whether he will have the picture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3766": {
-    "English Original": "Indeed, now <supI</sup haven't a doubt that <supI</sup shall sell all three.\\ So much for the brutal criticisms !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3767": {
-    "English Original": "The fact is, <supI</sup shall have my own way after all.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3768": {
-    "English Original": "If dealers give my prices they must make twenty per cent, on them.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3769": {
-    "English Original": "Last evening <supI</sup was dining at the Prinseps',\n\nSKETCH OF MISS KATE DICKENS FOR \"THE BLACK BRUNSWICKER.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3770": {
-    "English Original": "<sup1859</sup\n\nand Watts quite cheered me.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3771": {
-    "English Original": "He says they will live for ever, and will soon find their properplace.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3772": {
-    "English Original": "<sup1</sup <sup1</sup will be <supa</sup great triumph in the end.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3773": {
-    "English Original": "The curious part of it is that ' The Orchard ' is considerably more popular than ' The Nuns,' and much more crowded.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3774": {
-    "English Original": "Hunt and Rossetti are wild about the latter.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3775": {
-    "English Original": "One\n\n\n\n<sup\\</sup \"The Vale of Rest,\" bought by Mr. Windus, of Tottenham, through W. the dealer, for <sup700</sup guineas, \\vas afterwards sold to Mr. Tate for ^3000.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3776": {
-    "English Original": "It now hangs in the Tate Gallery, and is by common consent regarded as one of the artist's greatest pictures.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3777": {
-    "English Original": "sees now how abuse can create attraction !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3778": {
-    "English Original": "<supI</sup have just been to G. to sign the last forty prints of ' The Order of Release.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3779": {
-    "English Original": "He tells me that 'The Royalist' had done well for him, and you will remember how fearfully it was abused when exhibited.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3780": {
-    "English Original": "[a dealer] begs me to paint the Petrarch and Laura,' and the dealers all look rather sheepish in asking me what <supI</sup want for the pictures, being evidently afraid of one another, and yet not liking to appear too eager.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3781": {
-    "English Original": "'s letter, which you will understand.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3782": {
-    "English Original": "Whatever <supI</sup do, no matter how successful, it will always be the same story.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3783": {
-    "English Original": "Why don't you give us the Huguenot again?'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3784": {
-    "English Original": "Yet <supI</sup will be bound the cunning fellow is looking forward to engraving this very picture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3785": {
-    "English Original": "You see he says at the end of his note he will ' risque engraving it if <supI</sup like !\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3786": {
-    "English Original": "<supI</sup have now enough commissions to last me all next year, so <supI</sup am quite happy.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3787": {
-    "English Original": "<supI</sup am so glad to hear you are getting well and strong again.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3788": {
-    "English Original": "That is better than all the sales of pictures.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3789": {
-    "English Original": "On May 2ist he went to meet his wife at Birmingham, and brought her back with him to Kingston, where, after all the excitement of this year, he was glad to have a quiet time while working away at his small commissions.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3790": {
-    "English Original": "Before saying goodbye to \" The Vale of Rest,\" let me quote the words of Frances Low, who has admirably caught the spirit of its teaching: \"Who that has ever seen this picture forgets the wondrous sunset light that lingers, with a thousand evanescent hues, over the evening face of Nature, transforming and transfiguring decay, death itself, into a radiant golden vision ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3791": {
-    "English Original": "The spell of the figure is deepened by the dramatic face of the nun, whose deep, mysterious, and in scrutable eyes seem to reflect the spirit of inanimate Nature, with its unsurpassed loveliness and terror, and bid the troubled human soul seek its answer there.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3792": {
-    "English Original": "At the end of June my mother went North again, to make ready for her husband's coming to a house near Bowerswell, called Potter Hill, which they had taken for the autumn ; and there he wrote to her :\n\n\"July 2oth. '",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3793": {
-    "English Original": "The Knight [' Sir Isumbras '] leaves by carrier today, and <supI</sup go up to town with <supa</sup little sketch of it for White, and ' The Bridesmaid for Gambart.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3794": {
-    "English Original": "What do you think ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3795": {
-    "English Original": "<supI</sup have nearly finished one of the heads from Miss Eyre, and by staying another week <supI</sup shall manage to\n\ndo the other.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3796": {
-    "English Original": "<supI</sup shall love to see you again, and to get home.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3797": {
-    "English Original": "Yesterday <supI</sup dined with Colonel Challoner at the mess <supa</sup very nice old boy indeed, and rather like what poor old Captain Lempriere was.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3798": {
-    "English Original": "<supI</sup have managed everything satisfactorily.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3799": {
-    "English Original": "William is to bring The Vale of Rest and ' James' Love ' [' The Love of James I. of Scotland'] to Perth with him immediately after the close of the Royal Academy on the 3Oth, when 'The Orchard' goes to Liverpool.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3800": {
-    "English Original": "In 'The Vale' <supI</suphave just to make the nun's face <supa</sup little prettier ; must give also <supa</sup few touches to 'James' Love.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3801": {
-    "English Original": "Then William will return with the pictures, taking one to Windus and the other to Gambart.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3802": {
-    "English Original": "<supI</sup could not well touch the nun's face without a look at Mrs. Paton [the woman who sat for the figure]. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3803": {
-    "English Original": "<supI</sup am working very hard, considering the heat of the weather.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3804": {
-    "English Original": "Miss Eyre (the younger one) is waiting for me to paint her.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3805": {
-    "English Original": "She makes <supa</sup most lovely picture, and it is admired more than anything <supI</sup have ever done of the kind.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3806": {
-    "English Original": "The autumn holiday followed, and then, greatly refreshed, Millais returned to town, intent on finding <supa</sup home there for himself and his family.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3807": {
-    "English Original": "From his old quarters in Langham Chambers, to which he now went back, he wrote to my mother:\n\n\"November ijtk, 1859.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3808": {
-    "English Original": "Yesterday <supI</sup dined at the Garrick, and was with Gambart driving about all day looking for a house.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3809": {
-    "English Original": "Saw three, but all dampish and too near Mr. G and a lot of the artistic crew whom <supI</sup do not wish to know, so <supI</supwill look in healthier localities.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3810": {
-    "English Original": "Napoleon's old house, where his loves resided, is not to be let for any term under seven years, which is of course out of the question for us.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3811": {
-    "English Original": "White is delighted with the sketch, and says that ' The Orchard ' is certain to sell this winter.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3812": {
-    "English Original": "There was an election of two Royal Academicians yesterday at the Academy, the choice being the lastmade Associate, Phillip, and one Smirke, an unknown architect or sculptor, <supI</sup really don't know which.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3813": {
-    "English Original": "<supI</sup happened to be dining last night next to Roberts and Stansfield, who would not be persuaded to believe my state ment that <supI</sup was not aware that it was election night, which was perfectly true.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3814": {
-    "English Original": "Both Stansfield and Roberts voted for Phillip, and <supI</sup believe <supI</sup hadn't a vote at all.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3815": {
-    "English Original": "So you see it is pretty well as <supI</sup have always told you, but it is really a matter of entire indifference to me, as my position is as good as any except Landseer's ; and this they too well know.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3816": {
-    "English Original": "All the petty insults they can heap on me they will.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3817": {
-    "English Original": "After dining at the Garrick <supI</sup went to the Cosmopolitan, and there met Morier [Sir Robert Morier, afterwards our Minister at St. Petersburg], who was just going away to Berlin.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3818": {
-    "English Original": "He did not know me, and took me for Leighton, so <supI</sup have been taken twice for him of late.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3819": {
-    "English Original": "There must be a likeness between us.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3820": {
-    "English Original": "Charley Collins is writing <supa</sup novel, which is already advertised.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3821": {
-    "English Original": "Gambart is making strenuous efforts to get The Rescue to engrave.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3822": {
-    "English Original": "He has sold both 'James' Love' and 'The Girl on the Terrace,' so you see he does not want for immediate profit on my work.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3823": {
-    "English Original": "\"The Black Brunswicker,\" one of Millais' most successful pictures, was now in his mind.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3824": {
-    "English Original": "In his next letter he gives his first idea of the way in which the subject should be treated.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3825": {
-    "English Original": "Yesterday <supI</sup dined with Leech, who had a small dinnerparty.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3826": {
-    "English Original": "Mrs. Dickens was there, also Mr. and Mrs. Dallas, whom you remember, and Billy Russell (the Times correspondent) and his wife.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3827": {
-    "English Original": "Shirley Brooks and myself were the rest of the party.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3828": {
-    "English Original": "We had some very interesting stories and gossip from Billy Russell, which would delight you all.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3829": {
-    "English Original": "<supI</sup will keep them for you when we meet.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3830": {
-    "English Original": "Oddly enough, he touched upon the subject of the picture I am going to paint, and <supI</sup asked him to clear up for me one or two things connected with it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3831": {
-    "English Original": "He is <supa</sup capital fellow, and is going to write me <supa</sup long letter with correct information, which he can get.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3832": {
-    "English Original": "<supI</sup told him my project (as it was absolutely necessary), but he promised to keep it secret, knowing how things are pirated.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3833": {
-    "English Original": "It was very fortunate, my meeting him, as he is the very best man for military information.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3834": {
-    "English Original": "My subject appears to me, too, most fortunate, and Russell thinks it firstrate.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3835": {
-    "English Original": "It is connected with the Brunswick Cavalry at Waterloo.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3836": {
-    "English Original": "' Brunswickers ' they were called, and were composed of the best gentlemen in Germany.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3837": {
-    "English Original": "They wore <supa</sup black uniform with death's head and crossbones, and gave and received no quarter.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3838": {
-    "English Original": "They were nearly annihilated, but performed prodigies of valour.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3839": {
-    "English Original": "It is with respect to their having worn crape on their arms in token of mourning that <supI</sup require some information ; and as it will be <supa</sup perfect pendant to 'The Huguenot,' <supI</sup intend making the sweetheart of <supa</sup young soldier sewing it round his arm, and vainly supplicating him to keep from the buglecall to arms.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3840": {
-    "English Original": "/ have it all in my mind's eye, and feel confident that it will be <supa</sup\n\n\n\n\"THE BLACK BRUNSWICKER.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3841": {
-    "English Original": "<sup1860</sup By permission of H. Graves and Son\n\n\n\nprodigious success.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3842": {
-    "English Original": "The costume and incident are so powerful that <supI</sup am astonished it has never been touched upon before.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3843": {
-    "English Original": "Russell was quite struck with it, and he is the best man for knowing the public taste.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3844": {
-    "English Original": "Nothing could be kinder than his interest, and he is to set about getting all the information that is required. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3845": {
-    "English Original": "<supI</sup sat next Mrs. Dickens, who desired her best remembrances to you, and hopes you will call and bring the children to see her.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3846": {
-    "English Original": "Tomorrow <supI</sup am going shooting with Lewis in Kent.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3847": {
-    "English Original": "<supI</sup have made up my mind not to live in town, but out in the Kingston direction, as all the houses <supI</sup have seen here appear dirty and damp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3848": {
-    "English Original": "White, too, thinks it would be decidedly better for me to be out of the way of cliques.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3849": {
-    "English Original": "<supI</sup will draw in my picture [' The Black Brunswicker '] here.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3850": {
-    "English Original": "White confesses to me that, with the exception of Landseer and myself, there is not an artist whose pictures are safe to sell.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3851": {
-    "English Original": "Most men get <supa</sup fictitious value placed on their works, and ruin themselves by producing too much.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3852": {
-    "English Original": "Their pictures are for sale every month.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3853": {
-    "English Original": "<supI</sup am glad to think that when mine sell they are placed permanently.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3854": {
-    "English Original": "In the spring of 1860 they took a nice house at the corner of Bryanstone Square, where he went on with his work on \" The Black Brunswicker.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3855": {
-    "English Original": "And thereby hangs <supa</sup tale.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3856": {
-    "English Original": "Miss Kate Dickens (Charles Dickens' daughter, now Mrs. Perugini) sat for the lady a handsome girl, with <supa</sup particularly sweet expression and beautiful auburn hair that contrasted well with the sheen of her white satin dress.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3857": {
-    "English Original": "The picture had not long been finished before the figure was claimed by more than one of the celebrities of the day ; while, as to the Brunswicker, no less than five or six distinguished officers were said to have sat for it ; but the fact is that my father, wishing to obtain the handsomest model he could, went, on the invitation of his friend the Colonel of the ist Life Guards, to inspect the regiment on parade at Albany Street Barracks, and there he found the very man he wanted in <supa</sup private soldier <supa</sup splendid type of masculine beauty and having, after great difficulty, obtained the uniform of a Black Brunswicker, he dressed him in it and painted his portrait.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3858": {
-    "English Original": "The poor fellow (I forget his name) died of consumption in the following year.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3859": {
-    "English Original": "The curious in such matters may like to know how the figures posed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3860": {
-    "English Original": "<supI</sup may say, therefore, that the two models\n\nI.2 <sup3</sup\n\nnever sat together.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3861": {
-    "English Original": "\"The Black Brunswicker\" \\ clasped a layfigure to his breast, while the fair lady leant on the bosom of a man of wood.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3862": {
-    "English Original": "The work was sold to M. Gambart for one thousand guineas.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3863": {
-    "English Original": "It took <supa</sup long time to paint, and my father was so pleased with it that he afterwards did a replica in oils, which is now in the possession of the family.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3864": {
-    "English Original": "Mrs. Perugini has kindly favoured me with the following note of her experience as <supa</sup sitter for this picture : \"\n\n<supI</sup made your father's acquaintance when <supI</sup was quite <supa</sup young girl.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3865": {
-    "English Original": "Very soon after our first meeting he wrote to my father, asking him to allow me to sit to him for <supa</sup head in one of the pictures he was then painting, The Black Brunswicker.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3866": {
-    "English Original": "My father consenting, <supI</sup used to go to your mother and father's house, somewhere in the North of London, accompanied by an old lady, a friend of your family.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3867": {
-    "English Original": "<supI</sup was very shy and quiet in those days, and during the ' sittings <supI</sup was only too glad to leave the conversation to be carried on by your father and his old friend ; but <supI</sup soon grew to be interested in your father's extraordinary vivacity, and the keenness and delight he took in discussing books, plays, and music, and sometimes painting but he always spoke less of pictures than of anything else and these sittings, to which <supI</sup had looked forward with a certain amount of dread and dislike, became so pleasant to me that <supI</sup was heartily sorry when they came to an end and my presence was no more required in his studio.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3868": {
-    "English Original": "\"As <supI</sup stood upon my throne/ listening attentively to everything that passed, <supI</sup noticed one day that your father was much more silent than usual, that he was very restless, and <supa</sup little sharp in his manner when he asked me to turn my head this way or that.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3869": {
-    "English Original": "Either my face or his brush seemed to be out of order, and he could not get on.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3870": {
-    "English Original": "At last, turning impatiently to his old friend, he exclaimed, ' Come and tell me what 's wrong here, <supI</sup can't see any more, <supI</sup Ve got blind over it.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3871": {
-    "English Original": "She laughingly excused herself, saying she was no judge, and wouldn't be of any use, upon which he turned to me.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3872": {
-    "English Original": "Do you come down, my dear, and tell me,' he said.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3873": {
-    "English Original": "As he was quite grave and very impatient, there was nothing\n\n<sup\\</sup \"A gentleman came into his studio, and seeing his famous picture of the <sup4</sup Black Brunswicker,' asked, 'What uniform is that?'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3874": {
-    "English Original": "Millais, who had been at great trouble and expense to procure the exact costume, replied, 'The Black Brunswicker.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3875": {
-    "English Original": "'Oh, indeed,' said the visitor; <supI</sup knew it was one of the volunteers, but <supI</sup wasn't sure which regiment.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3876": {
-    "English Original": "The Memories of Dean Hole.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3877": {
-    "English Original": "for it but to descend from my throne and take my place beside him.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3878": {
-    "English Original": "As <supI</sup did so <supI</sup happened to notice <supa</sup slight exaggeration in something <supI</sup saw upon his canvas, and told him of it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3879": {
-    "English Original": "Instantly, and greatly to my dismay, he took up a rag and wiped out the whole of the head, turning at the same time triumphantly to his old friend. '",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3880": {
-    "English Original": "that 's what <supI</sup always say ; <supa</sup fresh eye can see everything in <supa</sup moment, and an artist should ask a stranger to come in and look at his work, every day of his life.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3881": {
-    "English Original": "get back to your place, my dear, and we '11 begin all over again !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3882": {
-    "English Original": "As the time approached for the opening of the Royal Academy Exhibition, 1860, great was the curiosity amongst those who had seen \"The Black Brunswicker \"\\ as to the view the Press would take of it, after the furious onslaught they had made on the artist's previous works.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3883": {
-    "English Original": "The remarkable success of these works, in spite of all their sneers and taunts, would hardly, it was thought, encourage them to renew the attack ; but that they would give it <supa</sup word of welcome was not to be expected, good as the picture was, and however much it might be admired.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3884": {
-    "English Original": "And now, when it appeared on the Academy walls, the public hailed it enthusiastically as one of the greatest gems of the Exhibition ; but, with few exceptions, the Press, apparently willing to wound, but yet afraid to strike, re viewed it in the most ungracious spirit.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3885": {
-    "English Original": "To Millais, however, these anonymous criticisms had ceased to be of any moment.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3886": {
-    "English Original": "Confident in his own powers, and in full assurance of success after the victory of previous years, he now found renewed pleasure in his work, and never spared himself in perfecting to the best of his ability whatever he had in hand, whether oilpaintings or blackandwhite drawings for the magazines, then in great request.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3887": {
-    "English Original": "Of this year's letters <supI</sup have few beyond those written to his wife immediately before and after the opening of the Academy.\n\n''",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3888": {
-    "English Original": "April <sup27</sup th, 1860.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3889": {
-    "English Original": "The Leslie dinner was most agreeable.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3890": {
-    "English Original": "The company there Duke of Argyle, Lord and Lady Spencer, Lady Wharncliffe, Sir E. Landseer, Mulready, and myself.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3891": {
-    "English Original": "<supI</sup went home afterwards with Sir Edwin, and spent some four hours in conversation over brandy and water.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3892": {
-    "English Original": "Yesterday Frere's dinner was delightful.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3893": {
-    "English Original": "Tomorrow\n\n<sup\\</sup The picture occupied three months in painting.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3894": {
-    "English Original": "The success caused the artist to make an exact copy of the original.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3895": {
-    "English Original": "This, however, was never quite finished, and is now in the possession of the family.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3896": {
-    "English Original": "<supI</sup go to the Royal Academy to touch up.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3897": {
-    "English Original": "Hunt's picture seems to be doing well as an exhibition.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3898": {
-    "English Original": "<supI</sup write this from Martineau's, where <supI</sup have just seen Hunt and Val Prinsep.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3899": {
-    "English Original": "All yesterday <supI</sup was at the Royal Academy, and in the evening <supI</sup had such <supa</sup bad headache that <supI</sup was obliged to return and go to bed early.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3900": {
-    "English Original": "<supI</sup am, however, all right this morning.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3901": {
-    "English Original": "<supI</sup found the woman in 'The Black Brunswicker' looking much better than <supI</sup had hoped, and <supI</sup very much improved her.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3902": {
-    "English Original": "The whole picture is by far the most satisfactory work <supI</sup ever sent there.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3903": {
-    "English Original": "Every one has expressed the same opinion ; its success is certain.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3904": {
-    "English Original": "<supI</sup met Tom Taylor at the Cosmopolitan with your father, and he said he had heard nothing but ' dead good' of it.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3905": {
-    "English Original": "After commenting on some other Academy pictures, he continues : \" The fact is, the Royal Academy is the only place for <supa</sup man to find his real level.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3906": {
-    "English Original": "All the defects come out so clearly that no private puffing is w <supr</sup orth a farthing.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3907": {
-    "English Original": "You cannot thrust pictures down people's throats.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3908": {
-    "English Original": "You seem to see much more than we do here.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3909": {
-    "English Original": "<supI</sup have seen no criticism on Hunt's picture [Holman Hunt was having <supa</sup private exhibition of his work, which was very successful], and have only heard of one in the Illustrated London News.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3910": {
-    "English Original": "The Times hasn't noticed it yet.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3911": {
-    "English Original": "<supI</sup read what it said of 'The Black Brunswicker,' which was flippant, and not at all hearty in praise ; moreover, it reads the story wrong.\\ The Athencsum is all right, but as it is written by <supa</sup friend [F. G. Stephens] it is not surprising.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3912": {
-    "English Original": "That the picture is <supa</sup great success there is no doubt. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3913": {
-    "English Original": "<supI</sup was at the Royal Academy this morning, but did not go when the public were admitted.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3914": {
-    "English Original": "Cooke (Royal Academy) asked me to dine with him at the Academy Club dinner at Greenwich, the annual feast.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3915": {
-    "English Original": "Although <supI</sup accepted, <supI</sup was obliged to excuse myself, for <supI</sup met Dalziel yesterday, and he said <supI</supmust give him the ' Framley illustration on Wednesday, so <supI</sup have returned from the Academy to design it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3916": {
-    "English Original": "Cooke was evidently much vexed, and some of the Royal Academicians seem to think <supI</supwish to avoid them, they are so suspicious of me.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3917": {
-    "English Original": "<supI</sup could not help it, however, and they must think what they like.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3918": {
-    "English Original": "Yesterday <supI</sup went to\n\n<sup\\</sup Millais meant the incident to be taking place on the eve of Waterloo or Quatre Bras, June, 1815, at which battle the leader of the Black Brunswickers, the Duke of Brunswick, was killed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3919": {
-    "English Original": "The young Prussian is supposed to be saying goodbye to an English girl.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3920": {
-    "English Original": "Arden's with Gambart, who, in my presence, offered more than once to buy from him ' The Rescue [the picture of the fireman] for ^\"2000!",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3921": {
-    "English Original": "/ received ^^Q for it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3922": {
-    "English Original": "Gambart appears to be in the best spirits, and anxious to have everything <supI</sup am doing.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3923": {
-    "English Original": "He says if <supI</sup will let him have my pictures to exhibit separately from the Royal Academy, he will give me as much again for them ; it would be worth his while.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3924": {
-    "English Original": "Arden is very anxious to have 'The Black Brunswicker,' and <supI</sup am to paint <supa</sup duplicate the same size directly it comes from the Academy. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3925": {
-    "English Original": "<supI</sup must now go and read Framley Parsonage, and try and get something out of it for my drawing.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3926": {
-    "English Original": "The dinner was very grand, and many of the blue ribbon swells were introduced to me, and asked whether the Times reading was correct.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3927": {
-    "English Original": "My picture certainly looks most satisfactory.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3928": {
-    "English Original": "There isnothing in the Exhibition to attract but Landseer's, Phillip's, and mine.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3929": {
-    "English Original": "<sup1</sup will try and leave this place on Thursday or Friday.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3930": {
-    "English Original": "This is a long letter, but <supI</sup have lots to tell you when <supI</sup come.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3931": {
-    "English Original": "So glad the children are well and your mother progressing.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3932": {
-    "English Original": "Keep yourself quite happy, for we have every reason to be thankful this year.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3933": {
-    "English Original": "<supI</sup write this from Barwell's, after having been for about two minutes at the private view.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3934": {
-    "English Original": "That sight is always so sickening to me that <supI</supcannot stand it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3935": {
-    "English Original": "<supI</sup saw Gambart, and dine with him this evening.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3936": {
-    "English Original": "<supI</sup think <supI</sup told you Windus has sold 'The Huguenot' to Miller, of Preston, for over <supa</sup thousand (White told me as much).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3937": {
-    "English Original": "Hunt's exhibition is a tremendous success, and <supI</sup believe Gambart is to give him ^5000 for his picture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3938": {
-    "English Original": "The public are much taken with the miniature like finish and the religious character of the subject.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3939": {
-    "English Original": "The Royal Academy are tre mendously jealous of the success of the picture, and his pocketing such <supa</sup sum ; but he has been seven years at it, and he says it has cost him ^2000 painting it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3940": {
-    "English Original": "He hasn't earned a farthing all that time.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3941": {
-    "English Original": "<supI</sup saw Watts' fresco in Lincoln'sinn Hall this morning, and it is magnificent by far the best thing of the kind in the kingdom.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3942": {
-    "English Original": "Tomorrow is the dinner at the Royal Academy, and next week <supI</sup hope to get to work at the blocks for the parables and the Cornhill.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3943": {
-    "English Original": "<supI</sup will come very soon, and will then get on with The Poacher's Wife ' and other work.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3944": {
-    "English Original": "<supI</sup have finished all my work except the parables, which <supI</supcan do in the North.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3945": {
-    "English Original": "Bradbury and\n\nEvans want to buy my woodcut services, and <supI</sup see them with Leech today at one.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3946": {
-    "English Original": "<supI</sup will not bind myself in anyway.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3947": {
-    "English Original": "At the same time, if they make me <supa</sup thoroughly good offer, it is worth considering.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3948": {
-    "English Original": "Leech says he thinks they would give me ^500 <supa</sup year if <supI</sup could regularly supply them ; but this has to be considered, as <supI</supcannot let illustra tion interfere with my painting.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3949": {
-    "English Original": "It is pleasant to hear of\n\nmy wood drawings rising to so much value.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3950": {
-    "English Original": "Down tothis time his blackandwhite drawings, of which <supO</sup ' he made many, principally for contemporary literature, were done on boxwood, and destroyed in the process of cuttingin.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3951": {
-    "English Original": "Happily, however, the highlyfinished illustrations, of which he did <supa</sup large number in <sup1853</sup anc^ \\he three following years, were drawn on paper in pen and ink, and finished in sepiawash or body colour ; so most of these drawings are still left in their original state, instead of being cut to pieces and ruined by the barbarians of the woodcutting art.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3952": {
-    "English Original": "Truly the woodcutters of that day had much to answer for.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3953": {
-    "English Original": "Except, perhaps, Swain, Dalziel, and John Thompson (who cut the Tennyson blocks) not one of them had the faintest conception of how<supr</sup to retain the beautiful and delicate lines of the original drawings ; and even the best work of these experts would make the hair of the engravers of Harper <sups</sup Magazine stand on end nowadays.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3954": {
-    "English Original": "The blackandwhite artists of today have their drawings reproduced by various processes, which leave little to be desired ; but if they could see, as <supI</sup have done, some of my father's wood blocks before and after the drawings had been cut upon, they would indeed feel how much their predecessors had to suffer even more, perhaps, than the old Celt of historic fame, who exclaimed, as he held his head in church on Sabbath morning, after \"a nicht wi' Burns,\" \" Puir auld Scotland, ye 're sons are sair afflicted, whiles.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3955": {
-    "English Original": "The choicest of my father's blackandwhite drawings have never been seen by any but the family.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3956": {
-    "English Original": "<supI</sup am therefore all the more glad to give some of them here, reproduced by our best modern processes.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3957": {
-    "English Original": "Very few people have any idea of the labour and care that he expended on these drawings.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3958": {
-    "English Original": "Each one of them w <supr</sup as to him a carefully thoughtout picture, worthy of the best work that he could put into it ; and <supI</sup think it will be seen from the specimens here given that he did not overestimate the value of the art.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3959": {
-    "English Original": "He maintained, indeed, that the few men quite at the top of the tree, both in line and wash,\n\nwere entitled to rank with the best exponents of oil and watercolour ; and ifhe had lived <supI</sup feel quite sure that, with his keen desire to encourage true Art, in whatever form displayed, we should in time see workers in blackandwhite admitted as freely to the honours of the Academy as are the lineengravers.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3960": {
-    "English Original": "Few and far between are those who could ever hope to achieve this distinction, but <supI</suphave no hesitation in saying that infinitely better Art is to be found in Harpers Magazine, the Cent2iry, Scribners, our Art magazines, and the best illus trated books of the day (and now and then in the Graphic and the Illustrated London News] than in onehalf the pictures that hang on the walls of the Royal Academy and other Art galleries.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3961": {
-    "English Original": "Look at the drawings of such men as Phil May, Caton Woodville, C. D. Gibson, E. A. Abbey, Alfred Parsons, Frederick Remington, E. Smedley, Reginald Cleaver, Archibald Thorburn, John Gulich, D. Hatherell, Frank Brangwyn, and half <supa</sup dozen others of similar standing.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3962": {
-    "English Original": "Many of these are supremely excellent as works of Art ; and yet they are not only unrecognised by the powers that be, but go for nothing in the market by comparison with hundreds of old engravings that have nothing but their antiquity and their rarity to recommend them.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3963": {
-    "English Original": "Simply because they are not in fashion.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3964": {
-    "English Original": "No recognised connoisseur of Art has taken up blackandwhite work with a view to <supa</sup collection ; and since few men dare to trust to their own judgment as buyers of Art works, fashion (too often but a passing phase of ignorance and vulgarity) controls the market.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3965": {
-    "English Original": "It may be said, perhaps, that as a blackandwhite artist myself <supI</sup am disposed to overrate the value of this class of work.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3966": {
-    "English Original": "My answer is that <supI</sup have said here only what <supI</sup have so often heard from my father <supa</sup man who touched every branch of the painter's art, who succeeded in all, and who knew the difficulties and relative values of each.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3967": {
-    "English Original": "In 1860 he made <supa</sup whole series of drawings for Anthony Trollope's novel Framley Parsonage drawings afterwards sold to Mr. Plint, the dealer who, years before, had bought his \"Christ in the House of His Parents\" besides illustra tions for the Cornhill Magazine, and <supa</sup considerable amount of w <supr</sup ork for Bradbury and Evans.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3968": {
-    "English Original": "And from this time onwards, down to 1869, he was chiefly engaged in blackandwhite work and watercolour drawings, under commissions from various publishers and picture dealers, including\n\nHurst and Blackett, Chapman and Hall, Bradbury and Evans, Smith and Elder, Dalziel Brothers, and Gambart.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3969": {
-    "English Original": "He also did a little work for the Illustrated London News and drawings for Punch, one of which is referred to in the last chapter, the works illustrated by him during this period including Trollope's novel, Orley Farm, and occasional numbers of the Cornhill Magazine, Good Words, London\n\nSociety, etc.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3970": {
-    "English Original": "The money he received for these drawings was but <supa</sup nominal recompense for the labour bestowed upon them ; for, unless perfectly satisfied with the finished production, he would tear it up at once, even if he had spent whole days upon it, scamped work in any shape being an abomination in his eyes.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3971": {
-    "English Original": "It was a constant source of lament to him that, under the pressure of monetary needs, even firstrate men were sometimes compelled to turn out more work than they could possibly do with credit to themselves.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3972": {
-    "English Original": "He would notice this now and then in the illustrated literature of the day, and out would come the remark, \" Another poor devil\n\ngone wrong for the sake of <supa</sup few sovereigns ! \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3973": {
-    "English Original": "He himself liked the <supw</sup<supr</sup ork as an occasional change from <supo</sup oils ; but knowing how little the pencil could make by comparison with the brush, he refused to be drawn into regular magazine work, which (not altogether without reason) Marie Corelli stigmatises as \"the slough of despond.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3974": {
-    "English Original": "His best work of this sort, and one of the best examples of woodcutting, were to be seen in the series of drawings representing \"The Parables of our Lord.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3975": {
-    "English Original": "They were engraved by the brothers Dalziel, and he made replicas of them in watercolour for <supa</sup window that he afterwards presented to Kinnoull parish church in memory of my late brother George to my mind one of the most beautiful windows in Great Britain.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3976": {
-    "English Original": "All the backgrounds to the parables were drawn from Nature at or around Bowerswell, and many of the landscapes can be easily recognised, having altered little since 1862.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3977": {
-    "English Original": "During this time, too, he seems to have done <supa</sup great number of watercolours, most of them being either copies of, or designs for, his larger works.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3978": {
-    "English Original": "For these there was <supa</sup constant demand, and the dealers worried him into painting no less than seven or eight watercolour replicas of \" The Black Brunswicker \" and \"The Huguenot.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3979": {
-    "English Original": "He also made one or more copies of \"The Ransom,\" \" My First Sermon,\" \"My Second Sermon,\" \"The Minuet,\" \"The Vale of Rest,\"\n\n\"Sir Isumbras,\" and \"Swallow, Swallow, Flying South,\" nearly all of which were bought by either Gambart or Agnew.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3980": {
-    "English Original": "Indeed, if a complete collection of his watercolour and blackandwhite works at this period could be got together, they would make, <supI</sup venture to think, almost as interesting an exhibition as that of 1897, in which scarcely one of them was included.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3981": {
-    "English Original": "In 1860 he took the shooting of Kincraig, Invernessshire,\n\n\n\nOLD WALL OF BALHOUSIE CASTLE, PERTH Used by Millais in his background of \"James\" Love\"\n\nalong with his friend Colonel Aitkin, and after some hesitation (as expressed in the following letter to his wife) he threw aside his work in the month of August, and hastened to join his friend in the North.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3982": {
-    "English Original": "<supI</sup write this amongst a great gathering of men and ladies, one of whom is at this moment singing most beautifully.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3983": {
-    "English Original": "Mr. Mitchell (the clergyman who married William) is here, and Arnold and his wife.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3984": {
-    "English Original": "Miss Power isalso here, and sings charmingly.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3985": {
-    "English Original": "Mrs. Cobb, too,\n\nand her husband, in riflecorps uniform, fresh from drill.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3986": {
-    "English Original": "The ladies are all working at needlework whilst the music is going on, and as <supI</sup cannot talk <supI</sup employ myself in writing.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3987": {
-    "English Original": "Arthur Coleridge brought his wife here this afternoon, and she o o appears to be quite charming.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3988": {
-    "English Original": "<supI</sup have just received yours, enclosing Aitkin's letter.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3989": {
-    "English Original": "<supI</sup don't know but what <supI</sup may yet come straight up to the shooting, and bring the copy <supI</sup am working at, as <supI</sup can finish it anywhere for the matter of that.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3990": {
-    "English Original": "<supI</sup don't mean to say <supI</sup would paint at the shootinglodge, but would finish it afterwards at Bowerswell.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3991": {
-    "English Original": "<supI</sup feel certain that no other man in my position would neglect his holiday ; so, instead of grinding on, <supI</sup shall have <supa</sup fling at that place.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3992": {
-    "English Original": "The house appears roomy, and you could go with me.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3993": {
-    "English Original": "<supI</sup am sick of hearing of everybody going to his shooting.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3994": {
-    "English Original": "No one would enjoy it more than I, instead of having to stick to this beastly copying [' The Black Brunswicker '].... <supI</sup feel <supa</sup good deal better today, hearing of the sport that Aitkin is having.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3995": {
-    "English Original": "Please send me the ' Framley manuscript, as <supI</supwant to get all these drawings done and out of my hands.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3996": {
-    "English Original": "He took his holiday, and then, returning to Bowerswell, he worked hard at \"The Poacher's Wife\" and \"The Ransom,\"' and in the spring of <sup1861</sup he went back to town, where he had engaged rooms at 130, Piccadilly, with <supa</sup studio attached.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3997": {
-    "English Original": "From there he wrote to my mother :\n\n\"May 2jtk, 1861.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3998": {
-    "English Original": "<supI</sup am sorry to hear that your mother is so ill. .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s3999": {
-    "English Original": "Monckton Milnes came just now with a friend.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4000": {
-    "English Original": "He was charmed with the picture [' The Ransom '], and says that Stirling, of Keir, should have it ; he himself is so enchanted with it that he will probably have it himself.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4001": {
-    "English Original": "<supI</sup had a very pleasant dinner at the Leslies', Lady Waterford, Lady Mills, and many others there.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4002": {
-    "English Original": "On Wednesday <supI</sup go to Epsom, to see the Derby, with Joseph Jopling [an\n\nartist and intimate friend]. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4003": {
-    "English Original": "On Saturday <supI</sup went to Tattersall's, to see the bettingroom and paddock, where <supI</sup saw, among others, some friends of yours.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4004": {
-    "English Original": "Young S  [a boy from Perth, who had just come into <supa</sup little money], with his bettingbook in his hand, was quite surprised to see me there and, <supI</sup thought, disconcerted, by the way he hurried off.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4005": {
-    "English Original": "Poor young fool, he will certainly bring about <supa</sup speedy smash in such society as <supI</sup saw him being with Lord S , men with millions, and the sharpest rogues in the world.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4006": {
-    "English Original": "\"Jopling is staying with friends in the country, so <supI</sup do not see much of him.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4007": {
-    "English Original": "<supI</sup am alone here all day, and only occasionally disturbed by callers.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4008": {
-    "English Original": "Yesterday <supI</sup went to Thackeray's house at Kensington, and itis beautiful ; and.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4009": {
-    "English Original": "in the evening, after the Leslies, <supI</sup went to the Cosmopolitan, and got home very, very late or rather early.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4010": {
-    "English Original": "Fortunately, with all this dining out, <supI</sup feel in the best of condition and spirits.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4011": {
-    "English Original": "He had now bought No.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4012": {
-    "English Original": "7, Cornwall Place, South Kensington, which, when remodelled under the direction of his architect, Mr. Freake, he used as the town house of himself and his family from the winter of <sup1862</sup to 1878, when they finally took possession of the large house that he built at Palace Gate.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4013": {
-    "English Original": "\"May 2&t/t, <sup1</sup 86 1.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4014": {
-    "English Original": "Sir Coutts Lindsay, Lady Somers, and Mrs. Dairymple have just been here, and were in ecstasies about the picture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4015": {
-    "English Original": "Although <supI</sup ask a big price for it, which the dealers are trying to beat down, <supI</sup shall not give way an inch, as they are certain to resell it immediately to some nobleman's collection, and make an immense profit by it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4016": {
-    "English Original": "Last evening <supI</sup dined with Lord Lansdowne.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4017": {
-    "English Original": "We had <supa</sup delightful dinner : everything most magnificent.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4018": {
-    "English Original": "The beautiful Lady Waterford was there, and <supI</sup had <supa</sup long talk with her.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4019": {
-    "English Original": "She is rather handsomer than when <supI</sup saw her seven years ago <supa</sup little stouter, and certainly the noblestlooking woman I ever saw.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4020": {
-    "English Original": "She is coming to see my picture,, but returns to her castle in Northumberland immediately.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4021": {
-    "English Original": "She asked after you.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4022": {
-    "English Original": "General Hamilton, too, who dined with us in York Terrace, was there.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4023": {
-    "English Original": "<supI</sup went afterwards to Captain Murray's, and to the Alhambra to see Leotard, <supa</sup French gymnast, who flies through the air from swinging ropes very extraordinary.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4024": {
-    "English Original": "Tomorrow is the Derby, and today <supI</sup have been working most successfullv, having nearlv finished the other illustra \\ ' o ^ tion for Hurst and Blackett one of the ' Orley Farm' ones and the fourth one for Mr. Plint.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4025": {
-    "English Original": "My model, Miss Beale, was sitting until Sir Coutts Lindsay and his party came, and held in her arms <supa</sup baby, which I had borrowed!",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4026": {
-    "English Original": "<supI</sup have heard nothing from Freake ; but the studio is progressing.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4027": {
-    "English Original": "Dalziel was here yesterday, and very anxious to get me to finish the drawings of the parables by next year for the great exhibition, and <supI</sup of course promised to do my best.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4028": {
-    "English Original": "Yesterday morning, before going to the Derby, <supI</sup called to see Lady Waterford and her drawings.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4029": {
-    "English Original": "She was so pleased, <supI</sup think, for <supI</sup found her drawings magnificent, so <supI</sup could praise honestly.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4030": {
-    "English Original": "She was very kind and nice, and begged particularly to be remembered to you.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4031": {
-    "English Original": "\"Yesterday at the Derby was the usual crowd and dust;\n\n\n\nWATERCOLOUR DESIGN FOR \"THE RANSOM.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4032": {
-    "English Original": "<sup1862</sup\n\nbut <supI</sup only got a small headache this time, and slept it off in an hour or so, after which <supI</sup got up and went to Lewis's Club, where he gave Jopling and myself something to eat.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4033": {
-    "English Original": "After that we went to Cremorne.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4034": {
-    "English Original": "One striking fact which greatly astonished me was the absence of in toxication.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4035": {
-    "English Original": "<supI</sup never saw one man or woman drunk the whole day, and must have passed thousands upon thousands of people ; nor did <supI</supsee <supa</sup single row either at the race\n\n3\n\ncourse or the gardens, to which almost the whole company came straight from the course.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4036": {
-    "English Original": "The gardens were beautifully lit up with thousands of lamps, and the night was warm and lovely.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4037": {
-    "English Original": "Then there was dancing on the greensward of course, amongst <supa</sup certain class.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4038": {
-    "English Original": "Two splendid bands of music, and eating and drinking in every direction ; yet not <supa</sup single person drunk.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4039": {
-    "English Original": "<supI</sup am very fresh this morning, and going on with the ' Orley Farm ' illustrations.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4040": {
-    "English Original": "Jopling, too, is up, and beautiful in summer array.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4041": {
-    "English Original": "Last night, of course, <supI</sup saw everybody, from every place <supI</sup know Perth men from their regiments, Stirling of Keir, Monckton Milnes, Leech, Thackeray, William, Jue (his wife), and the\n\nHoares.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4042": {
-    "English Original": "This evening <supI</sup spend quietly with Dalziel, to look over proofs and talk the parables over, and on Saturday <supI</sup have promised to go to Kingston and see my people, and perhaps row up the river, as they propose <supa</sup picnic.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4043": {
-    "English Original": "Flint has just been here and bought the picture of Mrs. Aitkin and John Lindsay, and <supI</sup have promised to paint <supa</sup small oil for him of Lucy Roberts.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4044": {
-    "English Original": "Flint gave X ^1150 for 'The Black Brunswicker,'\\ and some time ago gave him ^1000 for 'The Royalist/ So muck for X  telling me that he had lost by me!",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4045": {
-    "English Original": "Now, when he comes, <supI</sup will say nothing to lead him to suppose that <supI</sup know all about it; but it puts me on my guard for the future.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4046": {
-    "English Original": "'The Ransom,\" however (his big picture), was not sold; so he went to Bowerswell at the beginning of August, and had some pleasant days' troutfishing at Loch Leven with Leech and John Anderson, the minister of Kinnoull.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4047": {
-    "English Original": "Before closing this chapter it is necessary to say a few words about ''The Ransom\" and its subsequent history.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4048": {
-    "English Original": "Commenced with \"Trust Me\" in the autumn of 1860, the picture was not completed till the spring of 1862.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4049": {
-    "English Original": "The subject is that of the detention of two maidens who had been captured during the Middle Ages.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4050": {
-    "English Original": "The girls are seen in the act of returning to their father, <supa</sup blackbearded knight, who in turn has to present gold and gems for their release.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4051": {
-    "English Original": "The costumes in this picture were most carefully studied. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4052": {
-    "English Original": "Most of them,\" says my mother, \" were made by me, and <supI</sup designed them from <supa</sup book on costume lent by Lady Eastlake.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4053": {
-    "English Original": "She\n\n\\ When first sold to <supa</sup dealer \"The Black Brunswicker \" fetched ^816.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4054": {
-    "English Original": "In May, 1898, it was sold by the executors of the late James Renton for .2,650.\n\nthen gives a few particulars as to the background and models.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4055": {
-    "English Original": "\"The tapestry was the last part which was painted.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4056": {
-    "English Original": "It was done in the unfinished portion of the South Kensington Museum, where Mr. Smith, the decorator, hung it in position for the artist.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4057": {
-    "English Original": "Millais had great trouble with the knight.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4058": {
-    "English Original": "The head was taken from his friend Major Boothby, who gave him many sittings ; but at the last moment he con sidered the expression unsuitable, and so called in the services of <supa</sup Mr. Miller.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4059": {
-    "English Original": "The figure of the knight he drew from <supa</sup gigantic railway guard, appropriately named ' Strong,' who was afterwards crushed to death in Perth Station.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4060": {
-    "English Original": "The page was <supa</sup handsome youth named Reid, and Major McBean, <sup9</sup 2nd Highlanders, and <supa</sup labourer sat for the guards.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4061": {
-    "English Original": "Both the girls were painted from one model, Miss Helen Petrie.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4062": {
-    "English Original": "18611867\n\nA holiday in Sutherlandshire \" The Eve of St. Agnes \" Comfortless surroundings Death of Thackeray His funeral \" My First Sermon \" Pictures of <sup1863</sup Paints Tom Taylor's son Letter from Tom Taylor \" Esther \" Gordon's yellow jacket \"The Romans Leaving Britain\" Letter from Anne Thackeray Ritchie \"Waking\" In Scotland with Sir William Harcourt and Mr. Reginald Cholmondeley Meeting with Dr. Livingstone Livingstone in pursuit of salmon Millais goes abroad with his wife, Sir William Harcourt, and Sir Henry Layard He buys Michael Angelo's \" Leda and the Swan \" Memorable evening at \"Villa Spence\" Adelina Patti as <supa</sup dancer Makes the acquaintance of Liszt They travel with Mario \" Waking\" The Callander shootings Amusing letter from Sir William Harcourt Letter to William Fenn A deer drive in Glen Artney.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4063": {
-    "English Original": "rHE autumn of <sup1861</sup was spent in Sutherlandshire, where, as <supI</sup gather from his letters, Millais found great enjoyment while fishing and shooting along with his friend \" Mike\" Halliclay.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4064": {
-    "English Original": "In August of that year they were staying\n\nat Lairg, from which he writes to my mother : \" We dined on Sunday at Rose Hall, and enjoyed it immensely ; they were so kind.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4065": {
-    "English Original": "Lord and Lady Delamere were there, and he is <supa</sup capital fellow.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4066": {
-    "English Original": "In the evening, after dinner, we drew blindfolded several subjects, and the result was absurd, as you may imagine.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4067": {
-    "English Original": "We cline here again next Sunday.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4068": {
-    "English Original": "Both Holford and his wife were most kind, and expressed great regret that they could not give us beds.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4069": {
-    "English Original": "Yesterday Mike and <supI</sup shot all the day, but the ground is very inferior to Kincraig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4070": {
-    "English Original": "Poor little man, he couldn't walk the hillsides, and was done up so completely that he couldn't shoot <supa</sup bit.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4071": {
-    "English Original": "Halliday only shot three brace, which made in all seventeen brace and <supa</sup half, all of which, by Mr. Holford's orders, is left to us.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4072": {
-    "English Original": "<supI</sup send away <supa</sup box to you, and another to Kingston.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4073": {
-    "English Original": "In another letter he says : \"\n\n<supI</sup am almost sorry <supI</sup sent you the grilse yesterday, for <supI</sup killed <supa</sup fine sajmon this morning, iclbs.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4074": {
-    "English Original": "<supI</sup hooked it when far away from anyone, and had the fish on for more than half an hour without being able to make anybody hear my shouting.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4075": {
-    "English Original": "At last Mike caught sight of me waving my bonnet, and came to my assistance with the gaff, and after playing the fish until it was quite done, he succeeded in securing it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4076": {
-    "English Original": "It was a beautiful clean salmon (not grilse) just up from the salt water.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4077": {
-    "English Original": "It struggled awfully, and took me down the river in the most gallant way.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4078": {
-    "English Original": "We have just returned from diining with the Holfords, who are indefatgable in their kindness and attention.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4079": {
-    "English Original": "<supI</sup never experienced such unaffected kindness, and Mike finds the same.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4080": {
-    "English Original": "Poor little chap, he hasn't even risen a fish at all yet, except j\\ trout.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4081": {
-    "English Original": "The letter winds up with an injunction to practise croquet, which was all the rage just then.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4082": {
-    "English Original": "The later autumn days and the following winter were mainly devoted to painting \"The Woman Looking for the Lost Piece of Money \" showing <supa</sup female figure in the moonlight holding <supa</sup lighted candle, with which she searches the floor.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4083": {
-    "English Original": "The picture unhappily came to an untimely end, but an engraving of it (made before it left the artist's hands) gives some idea of the striking effects of mingled moonlight and candlelight as depicted.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4084": {
-    "English Original": "In <sup1862</sup Millais gave the picture to Baron Marochetti in exchange for <supa</sup marble bust of my mother by this famous sculptor, and one day the gas meter in the Baron's house in Onslow Square exploded, and the picture (frame and all) was shot through the window into the street, and completely destroyed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4085": {
-    "English Original": "During the spring of <sup1862</sup he was hard at work on <supa</sup portrait of Mr. Puxley, a hunting squire, and the little picture of \" The White Cockade,\" in which <supa</sup Highland lady is seen attaching the white badge of the Jacobites to her lover's cocked hat.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4086": {
-    "English Original": "My mother sat for this picture, and an excellent portrait of her at that time is preserved there.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4087": {
-    "English Original": "A Scotch friend, hearing by chance of the subject of the painting, was good enough to present her with one of the original cockades worn in the bonnets of Prince Charlie's followers <supa</sup badge\n\nnow extremely rare.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4088": {
-    "English Original": "The summer of this year was an exceedingly busy one for the artist.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4089": {
-    "English Original": "He did an immense quantity of work for London Society, Messrs. Smith, Elder, and Co., Macmillan, Chapman and Hall, Sampson Low and Co., Dalziel, and Bradbury and Evans, and something too for the Illustrated London News.\n\n\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4090": {
-    "English Original": "<sup1864</sup From the watercolour in possession of Mrs. Stibbard By permission of Sir John Kelk\n\n\n\nIn the Academy he exhibited \"The Ransom\" (sometimes called \"The Hostage\"), \"Trust Me,\" \"The Parable of the Lost Piece of Money,\" and \" Mrs. Charles Freeman.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4091": {
-    "English Original": "August was now at hand, and with <supa</sup light heart he fled away to his beloved Scotland, where he had taken care to secure beforehand what promised to afford excellent sport.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4092": {
-    "English Original": "First of all he went to the Helmsdale, the fishing of which he and his friend, Colonel Cholmondely, had taken for that month.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4093": {
-    "English Original": "There, however, the fates favoured the fish rather than the fishermen, and at the end of the month he moved on to Inveran Inn, near Tain, where Mike Halliday and he had part of the river Shin for the month of September.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4094": {
-    "English Original": "Here another disappointment awaited him as to the fishing ; but his letters show that in other respects the holiday was an enjoyable one.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4095": {
-    "English Original": "Writing to my mother on September 2nd, he says : \n\n<sup11</sup <sup1</sup arrived here yesterday morning at halfpast five, and travelled all night, never getting a wink of sleep.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4096": {
-    "English Original": "However, when <supI</sup had had a tub <supI</sup felt all right.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4097": {
-    "English Original": "There was no bed for me anyhow.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4098": {
-    "English Original": "Brandreth was here, and left this morning with his wife, who came up from Dunrobin.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4099": {
-    "English Original": "He is <supa</sup most kind fellow took me out shooting all yesterday, and the result will come to you in the shape of <supa</sup box of grouse.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4100": {
-    "English Original": "'s gun in the evening, and we got ten more brace, which made it <supa</sup good day.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4101": {
-    "English Original": "Mr. B. has given me all his part of the river to fish in, besides the right to shoot with Mike on <supa</sup moor fifteen or sixteen miles away from here ; also to take three days on the moor immediately adjoining this inn, where we killed the birds yesterday.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4102": {
-    "English Original": "It is very fortunate, as the fishing is very bad this year.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4103": {
-    "English Original": "<supI</sup went out last evening after the shooting, and only rose one fish.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4104": {
-    "English Original": "The Cholmondelys were very sorry at my leaving, and were most kind.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4105": {
-    "English Original": "You may expect to see him in Perth about the i^th.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4106": {
-    "English Original": "Brandreth also gave me <supa</sup magnificent salmonrod insisted on my taking it and supplied us with <supa</sup lot of lights and tobacco.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4107": {
-    "English Original": "Leech is not here yet.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4108": {
-    "English Original": "Have you heard of him?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4109": {
-    "English Original": "The river is too low here now, strange to say, and last year it was too\n\nTowards the end of the season he took up his quarters at Bovverswell ; and with a view to the wellknown picture,\n\n\" My First Sermon,\" my sister Effie, then <supa</sup child of five years, was selected as the model.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4110": {
-    "English Original": "She also sat two years later for the companion picture of \" My Second Sermon,\" and from that time onwards all the children in turn were enlisted as models for different pictures.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4111": {
-    "English Original": "Later on in the autumn of 1862 some lines in Keats' beautiful poem, \"The Eve of St. Agnes,\" caught the fancy of the artist, inviting him to illustrate them on canvas ; and this he determined to do at once.\n\n \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4112": {
-    "English Original": "Full on this casement shone the wintry moon, And threw warm gules on Madeline's fair breast.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4113": {
-    "English Original": "\\ \\ \\ \\ \\ Of all its wreathed pearls her hair she frees ; Unclasps her warmed jewels one by one ; Loosens her fragrant bodice ; by degrees Her rich attire creeps rustling to her knees : Halfhidden, like a mermaid in seaweed, Pensive awhile she dreams awake, and sees In fancy fair St. Agnes in her bed, But dares not look behind, or all the charm is fled.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4114": {
-    "English Original": "But where was <supa</sup suitable background to be found ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4115": {
-    "English Original": "The picture, as conceived by the artist, demanded an interior such as was not to be seen in Scotland, so far as he knew ; but in the historic mansion of Knole Park was a room well known to him, and exactly suited to his purpose.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4116": {
-    "English Original": "So, coming South rather earlier than usual this year, he and my mother betook themselves to Sevenoaks, where, at a wayside hostelry, they remained throughout December.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4117": {
-    "English Original": "Knole was close by <supa</sup large house, tenanted by an old caretaker and, except the floor (then covered with modern parquetry), this wonderful old room had undergone no change whatever since the time of James I.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4118": {
-    "English Original": "The old furniture and fittings of solid silver were still there, the same old tapestry adorned the walls, and a deathlike stillness pervaded the apartment \"a silence that might be felt\" at the midnight hour when the moonlight was streaming in through the window and no fire was burning on the hearth.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4119": {
-    "English Original": "And yet that was the time when the picture must be painted that and a few hours later otherwise the exact direction of the moonbeams falling on the figure could not be caught.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4120": {
-    "English Original": "No wonder, then, that my father, though by no means <supa</sup nervous man, was sensible of <supa</sup high state of\n\ntension while sitting at his work for three nights in succes<supi</sup ^ sion amidst such weird and comfortless surroundings.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4121": {
-    "English Original": "My mother, too for she it was who sat for the figure was similarly affected, while her discomfort during those weary hours may be readily imagined.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4122": {
-    "English Original": "Think of the slender garments in which the figure is draped, the bodice unlaced, the room unheated ; and this in the depth of winter !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4123": {
-    "English Original": "No wonder that she was accustomed to speak of it afterwards\n\nas the severest task she ever undertook.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4124": {
-    "English Original": "But the reward came at last, making amends for all it cost to win it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4125": {
-    "English Original": "The painter caught the spirit of the poet, and embodied it in his canvas.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4126": {
-    "English Original": "The finishing<supo</sup touches were done at Cromwell Place,\\ with the aid of a professional model, Miss Ford.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4127": {
-    "English Original": "My mother says in her notes : <sup11</sup This picture was marvellously quickly executed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4128": {
-    "English Original": "After three days and <supa</sup half at Knole and two days more at home, the work was complete, and highly finished.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4129": {
-    "English Original": "The magnificent bed represented was that in which King James I. slept.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4130": {
-    "English Original": "It cost ^\"3000, and the coverlet was <supa</sup mass of gold thread and silver applique gimp and lace ; the\n\nSKETCH FOR \"THE EVE OF ST. AGNES'\n\nsheets were white silk, and the mattresses of padded cotton wool.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4131": {
-    "English Original": "Millais' fingers got numb with the cold, but there was no time to be lost, as the private view day was drawing near.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4132": {
-    "English Original": "When we got back from Knole the figure of Madeline had to be altered ; and when the work was exhibited the public thought the woman ugly, thin, and stiff.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4133": {
-    "English Original": "<supI</sup cannot bear that woman with the gridiron,' said Frank Grant (Sir Francis Grant, P.R.A.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4134": {
-    "English Original": "), alluding to the vivid streams of moonlight on the floor ; and Tom Taylor said, \" Where on earth did you get that scraggy model, Millais ?'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4135": {
-    "English Original": "\\ Millais lit up his canvas with <supa</sup bull'seye lantern when painting this subject in London.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4136": {
-    "English Original": "He found that the light from even <supa</sup full moon was not strong enough to throw, through <supa</sup stained glass window, perceptible colour on any object, as Keats had supposed and described in his poem.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4137": {
-    "English Original": "The picture, after passing successively through the hands of Mr. Charles Lucas and Mr. Leyland, is now in the possession of Mr. Val Prinsep, R.A.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4138": {
-    "English Original": "It was seen by Art lovers on the walls of South Kensington, and was amongst the works in the recent \"Millais Exhibition\" at Burlington House.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4139": {
-    "English Original": "An appreciative letter from Val Prinsep is of interest as showing what artists thought of this work.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4140": {
-    "English Original": "Writing to\n\nMillais he says : \"It was <supa</sup great pleasure to me, my dear old chap, to be able to purchase your picture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4141": {
-    "English Original": "There is not an artist who has failed to urge me to do so.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4142": {
-    "English Original": "For the profession's sake <supI</sup am glad your picture is in the hands of one of the craft, for it is essentially a painter's picture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4143": {
-    "English Original": "After all, what do the public and the critics know about the matter?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4144": {
-    "English Original": "The worst is, they think they do, and hence comes the success of many <supa</sup commonplace work and the comparative neglect of what is full of genius.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4145": {
-    "English Original": "<supI</sup Ve got the genius bit, and am delighted. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4146": {
-    "English Original": "No sooner was it finished than, in execution of <supa</sup commission from Mr. Marley, of Regent's Park, the artist set to work on <supa</sup portrait of Mr. Henry Manners, now Marquis of Granby.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4147": {
-    "English Original": "Other pictures, too, followed in quick succession, notably \"Suspense,\" \"The Bridesmaid throwing the Lucky Slipper,\" and \" The Wolf's Den,\" the lastnamed showing portraits of all the artist's elder children.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4148": {
-    "English Original": "For the rest, the year (1863) was one of mingled joy and sorrow.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4149": {
-    "English Original": "In September my brother Geoffroy was born ; but <supa</sup few months later the sudden death of Thackeray, the bright and genial novelist, cast <supa</sup deep gloom over the household, both my father and mother being devotedly attached to him.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4150": {
-    "English Original": "They had noticed with distress his failing health and loss of appetite, when dining with them shortly before their annual migration to the North ; but neither of them ever dreamt that this was the last time that they and he would meet.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4151": {
-    "English Original": "In <supa</sup letter to my mother on Christmas Day my father wrote : \"\n\n<supI</sup am sure you will be dreadfully shocked, as <supI</supwas, at the loss of poor Thackeray.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4152": {
-    "English Original": "<supI</sup imagine, and hope truly, you will have heard of it before this reaches you.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4153": {
-    "English Original": "He was found dead by his servant in the morning, and of course the\n\n\n\nBy permission of Mr. Valentine Prinsep, R.A.\n\n\n\nwhole house is in <supa</sup state of the utmost confusion and pain.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4154": {
-    "English Original": "They first sent to Charlie Collins and his wife, who went immediately, and have been almost constantly there ever since.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4155": {
-    "English Original": "<supI</sup sent this morning to know how the mother and girls were, and called myself this afternoon ; and they are suffering terribly, as you might expect.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4156": {
-    "English Original": "He was found lying back, with his arms over his head, as though in great pain.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4157": {
-    "English Original": "<supI</sup shall hear more, of course.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4158": {
-    "English Original": "Everyone <supI</sup meet is affected by his death.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4159": {
-    "English Original": "Nothing else is spoken of.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4160": {
-    "English Original": "And again, three days later : \"\n\n<supI</sup go tomorrow with Walker, Prinsep, and Theodore Martin, to poor Thackeray's funeral Kensal Green Cemetery ; halfpast twelve.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4161": {
-    "English Original": "<supI</sup send every day to ask after the mother and girls.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4162": {
-    "English Original": "They are dreadfully broken by the death.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4163": {
-    "English Original": "\"My model is waiting, so <supI</sup must leave off now.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4164": {
-    "English Original": "<supI</sup made <supa</sup beautiful little drawing of Lady Edwards' baby lying in the bassinet.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4165": {
-    "English Original": "Of course <supI</sup had to idealise somewhat, as there was <supa</sup look of pain in the face. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4166": {
-    "English Original": "<supI</sup had five men dining with me last night, and the conversation was entirely about the loss we have all sustained.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4167": {
-    "English Original": "Cayley, Doyle, Prinsep, Martineau, and Jopling were the party.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4168": {
-    "English Original": "In another letter, on December 3ist, he added : \"\n\n<supI</sup went yesterday to the funeral, in Theodore Martin's carriage.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4169": {
-    "English Original": "It was <supa</sup mournful scene, and badly managed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4170": {
-    "English Original": "A crowd of women were there from curiosity, <supI</sup suppose dressed in all colours ; and round the grave scarlet and blue feathers shone out prominently !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4171": {
-    "English Original": "Indeed, the true mourners and friends could not get near, and intimate friends who were present had to be hustled into their places during the ceremony of interment.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4172": {
-    "English Original": "We all, of course, followed from the chapel, and by that time the grave was surrounded.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4173": {
-    "English Original": "There was a great lack of what is called high society,' which <supI</sup was surpriedat: None of that class, of whom he knew so many, were present.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4174": {
-    "English Original": "The painters were nearly all there more even than the literary men.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4175": {
-    "English Original": "The review of his life and works you sent me is quite beautiful just what itought to be <supI</sup suppose by Dr. John Brown, who was <supa</sup great friend.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4176": {
-    "English Original": "\" My First Sermon \" was exhibited this year in the Academy, and at the Academy banquet on May 3rd, when (according to <supa</sup newspaper report now before me) the\n\nArchbishop of Canterbury, in a graceful speech, referred to it as follows :\n\n\" Still, Art has, and ever will have, <supa</sup high and noble mission to fulfil.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4177": {
-    "English Original": "That man, <supI</sup think, is little to be envied who can pass through these rooms and go forth without being in some sense <supa</sup better and <supa</sup happier man ; if at least it be so (as <supI</sup do believe it to be) that we feel ourselves the better and the happier when our hearts are enlarged as we sympathise with the joys and the sorrows of our fellowmen, faithfully delineated on the canvas ; when our spirits are touched by the playfulness, the innocence, the purity, and may <supI</sup not add (pointing to Millais' picture of My First Sermon') the piety of childhood.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4178": {
-    "English Original": "This little picture of Efifie\\ was extremely popular.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4179": {
-    "English Original": "The artist himself was so pleased with it that, before going North in August of that year, he made an oil copy of it, doing the work from start to finish in two days !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4180": {
-    "English Original": "A truly marvellous achievement, considering that the copy displayed almost the same high finish as the original ; but in those two days he worked incessantly from morning to night, never even breaking off for lunch in the middle of the day.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4181": {
-    "English Original": "Well might he say, as he did in <supa</sup letter to my mother, \" <supI</sup never did anything in my life so well or so quickly.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4182": {
-    "English Original": "The copy was sold as soon as it was finished, and <supI</sup see from an entry in my\n\nmother's book that he received ^180 for it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4183": {
-    "English Original": "He was now, so far as <supI</sup can judge, at the summit of his powers in point of both physical strength and technical skill, the force and rapidity of his execution being simply amazing.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4184": {
-    "English Original": "Leaving my mother at Bowerswell early in January, 1864, he returned to town, where, soon after his arrival, John Leech came to see him.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4185": {
-    "English Original": "As an old and intimate friend of Thackeray.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4186": {
-    "English Original": "Leech was distressed beyond measure by his death.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4187": {
-    "English Original": "He should never get over it, he said ; and <supa</sup month or two later his words gained a painful significance by his own death from heart disease.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4188": {
-    "English Original": "My father was constantly with him during the last stage of this terrible complaint, and never ceased to lament the loss of his old friend and companion.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4189": {
-    "English Original": "This year proved to be most prolific of all in point of work.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4190": {
-    "English Original": "Writing to my mother on January i\\$th, he said : \"\n\n<supI</sup will come and look out for <supa</sup background for Moses.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4191": {
-    "English Original": "<sup\\</sup \"My First\" and \"My Second Sermon\" were both painted in the old church at KingstononThames, where Millais' parents resided.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4192": {
-    "English Original": "The old highbacked pews had not then been removed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4193": {
-    "English Original": "<supI</sup am just going to begin Effie sleeping in the pew.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4194": {
-    "English Original": "It is very dark, but enough light for drawing.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4195": {
-    "English Original": "Have done both 'Arabian Nights' drawings, and another (two since you left) illustration for Good Words.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4196": {
-    "English Original": "<supI</sup missed my train to Trollope on Sunday, and had to take <supa</sup hansom all the way to Waltham two hours there, and two back, but <supI</supgot there in time for dinner.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4197": {
-    "English Original": "Hablot Brown is illustrating his new serial.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4198": {
-    "English Original": "Chapman is publishing it, and he is not pleased with the illustrating, and proposed to me to take it off his hands, but <supI</sup declined.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4199": {
-    "English Original": "Messrs. C. and H. gave him so much more for his novel that they wished to save in the illustrations, and now Trollope is desirous of foregoing his extra price to have it done by me.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4200": {
-    "English Original": "\" Effle sleeping in the pew\" was, as indicated above, the subject of \" My Second Sermon,\" in which, the novelty of the situation having worn off, the child is seen fast asleep, being overcome by the heat of the church, and probably by the soporific influence of the pulpit.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4201": {
-    "English Original": "The Archbishop of Canterbury referred also to this work in his speech at the Academy banquet in 1865.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4202": {
-    "English Original": "According to the newspapers of the period his words were : \"\n\n<supI</sup would say for myself that <supI</sup always desire to derive profit as well as pleasure from my visits to these rooms.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4203": {
-    "English Original": "On the present occasion <supI</suphave learnt a very wholesome lesson, which may be usefully studied, not by myself alone, but by those of my right reverend brethren also who surround me.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4204": {
-    "English Original": "<supI</sup see a little lady there (pointing to Mr. Millais' picture of a child asleep in church, entitled ' My Second Sermon '), who, though all unconscious whom she has been addressing, and the homily she has been reading to us during the last three hours, has in truth, by the eloquence of her silent slumber, given us <supa</sup warning of the evil of lengtJiy sermons and drowsy discourses.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4205": {
-    "English Original": "Sorry indeed should <supI</sup be to disturb that sweet and peaceful slumber, but <supI</sup beg that when she does awake she may be informed who they are who have pointed the moral of her story, have drawn the true inference from the change that has passed over her since she has heard her 'first sermon,' and have resolved to profit by the lecture she has thus delivered to them.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4206": {
-    "English Original": "\"Leisure Hours,\" a picture combining the portraits of Mr. John Fender's two daughters, was next taken up.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4207": {
-    "English Original": "Then came \"Charlie is My Darling,\" <supa</sup picture for which Lady Pallisser sat, and to which a little romance is attached.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4208": {
-    "English Original": "Whilst\n\nMillais was at work on this picture Sir William Pallisser visited the studio, where he was much struck with the face of the lady as portrayed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4209": {
-    "English Original": "He begged for and obtained an\n\n\n\n\"MY SECOND SKKMONV <sup1863</sup By permission of H, Grai'cs and Son\n\nintroduction, and afterwards falling deeply in love with one another, she became Lady Pallisser.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4210": {
-    "English Original": "That work, too, was exhibited this year, and is now in the possession of an old friend of my father's, Mr. James Reiss.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4211": {
-    "English Original": "An illustration in\n\n\n\nBy permission of Lady des Vance  $\\cdots$  LEISURE HOURS.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4212": {
-    "English Original": "${1864}$ \n\n\n\noils of Tennyson's charming \" Swallow, Swallow, Flying South,\" was also in hand now, for which my mother's sister, Alice Gray (now Mrs. Stibbard) sat ; but the picture, though finished in time for the Academy, was not exhibited till the\n\nfollowing year.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4213": {
-    "English Original": "<supA</sup portrait of Harold, son of the Dowager Countess of Winchelsea, was also painted this year, and satisfied with the work already done, Millais went off in July to the Helmsdale to try his luck once more as <supa</sup fisherman.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4214": {
-    "English Original": "Of his life there, and the sport he met with, <supI</sup have unfortunately no record, as, my mother being with him, no letters passed between them.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4215": {
-    "English Original": "It was in the late autumn of <sup1864</sup that the artist completed an excellent portrait of Wyclif Taylor, son of his friend Tom Taylor, of P^u^ck fame <supa</sup portrait that seems to have given great satisfaction to the parents.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4216": {
-    "English Original": "\"8, RICHMOND TERRACE, WHITEHALL, S.W., \" December 2jth, 1864.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4217": {
-    "English Original": "MY DEAR MILLAIS, <supI</sup cannot allow the day to pass without thanking you for your beautiful portrait of our boy.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4218": {
-    "English Original": "It is an exquisite picture of a child, and a perfect likeness.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4219": {
-    "English Original": "Both his mother and myself feel that you have given us <supa</sup quite inimitable treasure, which, long years hence, will enable us to recall what our boy was at the age when childhood is loveliest and finest.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4220": {
-    "English Original": "Should we lose him which Heaven avert the picture will be more precious still. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4221": {
-    "English Original": "It seems to us the sweetest picture of <supa</sup child even you have painted.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4222": {
-    "English Original": "If you would like to have it exhibited, <supI</sup need not say it is at your service for the purpose.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4223": {
-    "English Original": "With renewed thanks, and all the best wishes of the season for you and yours, \" Believe me, ever gratefully yours,\n\n\" TOM TAYLOR.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4224": {
-    "English Original": "<supI</sup send you my Christmas gift in return, however inadequate.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4225": {
-    "English Original": "Ballad Book, which owes so much to your pencil.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4226": {
-    "English Original": "<supI</sup have suggested that in point of technical skill Millais attained the zenith of his power in 1864, but the fact is too plain to be overlooked, that <sup1865</sup marked <supa</sup distinct advance\n\nin the direction of larger and more important pictures, and greater breadth of treatment.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4227": {
-    "English Original": "His first picture this year was \" The Evil One Sowing Tares \" ; and then came \" Esther \" and \" The Romans Leaving Britain,\" both of which present <supa</sup fulness of power and facility of expression such as he had never before displayed, and this too without any sacrifice of the high finish that characterised his earlier works.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4228": {
-    "English Original": "In these pictures he seems to have accomplished with a single dash of the brush effects that, in former years, he attained only by hours of hard work.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4229": {
-    "English Original": "Miss Susan Ann Mackenzie, sister of Sir Alexander Mackenzie, sat for the principal figure in \" Esther.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4230": {
-    "English Original": "<supA</sup lady kindly furnishes me with the following note : \"The robe thrown over the shoulders of 'Esther' was General Gordon's 'Yellow Jacket.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4231": {
-    "English Original": "'\\ In this 'Yellow Jacket' General Gordon sat to Valentine Prinsep, R.A., for the portrait for the Royal Engineers' messroom at Chatham.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4232": {
-    "English Original": "Millais so admired this splendid piece of brocade that he dressed Miss Muir Mackenzie in it, but turning it inside out, so as to have broader masses of colour.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4233": {
-    "English Original": "With her fine hair unbound, and a royal crown in her hand, she sat for ' Queen Esther.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4234": {
-    "English Original": "The picture was bought from <supa</sup dealer by my husband, and ithas since passed to Mr. Alex.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4235": {
-    "English Original": "Henderson with the rest of his collection.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4236": {
-    "English Original": "Millais was painting Miss Mackenzie's head when the Yellow Jacket was brought in, and, as he draped it on her, he said : \" There !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4237": {
-    "English Original": "That is my idea of Queen Esther ; you must let me paint you like that.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4238": {
-    "English Original": "The subject of \" The Romans leaving Britain \" is one which had always had <supa</sup great attraction for Millais.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4239": {
-    "English Original": "We see here, as Mr. Stephens says, \" the parting between <supa</sup Roman legionary and his British mistress.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4240": {
-    "English Original": "They are placed on <supa</sup cliffpath overlooking the sea, where <supa</sup large galley is waiting for the soldier.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4241": {
-    "English Original": "He kneels at the woman's feet, with his arms clasped about her body ; his face, though unhelmeted, is hidden from us in her breast ; her hands are upon his shoulders, and she looks steadfastly, with <supa</sup passionate, eager, savage stare upon the melancholy waste of the grey and restless sea.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4242": {
-    "English Original": "\\ At che end of the Taeping Rebellion, and when Gordon gave up the command of the ' evervictorious army,' the Chinese Government tried to offer him rewards.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4243": {
-    "English Original": "He would take nothing but the rank of TiTu, or Field Marshal, and the 'rare and high dignity of the YellowJacket.'\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4244": {
-    "English Original": "Boui.GER's Life of Gordon, vol.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4245": {
-    "English Original": "The sentiment and pathos of this picture were much admired, and soon after the close of the Exhibition (1865) Millais received the following interesting letter from Miss Anne Thackeray, daughter of the novelist before referred to, written from the home of the Tennysons at Freshwater, Isle of Wight : \n\n\" <supI</sup thought of you one day last week when we took <supa</sup walk with Tennyson and came to some cliffs, <supa</sup sweep of sand, and the sea ; and <supI</sup almost expected to see poor Boadicea up on the cliff, with her passionate eyes.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4246": {
-    "English Original": "<supI</sup heard Mr. Watts and Mr. Prinsep looking for her somewhere else, but <supI</sup am sure mine was on the cliff.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4247": {
-    "English Original": "Mr. Watts has been painting Hallam and Lionel Tennyson.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4248": {
-    "English Original": "We hear him when we wake, playing his fiddle in the early morning.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4249": {
-    "English Original": "They are all so kind to us that we do not know how to be grateful enough.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4250": {
-    "English Original": "We have had all sorts of stray folk.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4251": {
-    "English Original": "Jowett and the Dean of Christchurch, and cousins without number.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4252": {
-    "English Original": "It has been very pleasant and sunshiny, and we feel as if we should like to live on here in lodgings all the rest of our lives.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4253": {
-    "English Original": "Last night King Alfred' read out ' Maude.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4254": {
-    "English Original": "It was like beautiful harmonious thunder and lightning.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4255": {
-    "English Original": "... <supI</sup cannot help longing to know the fate of ' Esther' .... after she went in through the curtains.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4256": {
-    "English Original": "The daughter of Scott Russell (the engineer of the Great Eastern} sat for the British maiden \" Boadicea,\" and the picture ultimately became the property of Sir Lowthian Bell.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4257": {
-    "English Original": "The background was painted down at Truro in Cornwall, where for <supa</sup week Millais was the guest of Bishop Phillpotts at Porthwidden.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4258": {
-    "English Original": "At this time he had some idea of painting one of the closing scenes in the life of Mary Queen of Scots, and with a view to this he exchanged several letters with Froude, the historian, who kindly gave him all the information in his power.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4259": {
-    "English Original": "His letters, however, went to prove that the incident the artist had in mind had no foundation in fact, so the idea was at once abandoned.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4260": {
-    "English Original": "In July he commenced the picture known as \"Waking\" <supa</sup portrait of my sister Mary sitting up in bed and was getting well on with it when his little model showed signs of illness that compelled him to leave off for <supa</sup time.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4261": {
-    "English Original": "It was finished, however, later on, and is now in the col lection of Mr. Holbrook Gaskell.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4262": {
-    "English Original": "A bed, with all its accessories, is not commonly <supa</sup thing of beauty, but in this\n\ncase the artist made it so, the high finish of the stilllife adding greatly to the general effect.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4263": {
-    "English Original": "Writing to my mother on the 2Qth of this month, he says : \" <supI</sup am working very hard.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4264": {
-    "English Original": "Have commenced the duplicates of ' Esther,' and commence the Romans todav. '",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4265": {
-    "English Original": "<supJ</sup <supJ</suploan of Arc' is ofone, and <supO</sup <supI</sup am hourly expecting Agnew to send for Alice [' Swallow,\n\nSwallow '].\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4266": {
-    "English Original": "On August 12th he and his friend Reginald Cholmondeley went off to the North this time to Argyle, where Sir William Harcourt had taken <supa</sup shooting called Dalhenna, amongst the lovely hills near Inverary.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4267": {
-    "English Original": "The great leader of the Liberals proved a most admirable host, and main are the good stories told of the jovial times the three friends had together.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4268": {
-    "English Original": "How Millais enjoyed it may be gathered from the following letters to his wife, all dated in August,\n\n1866.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4269": {
-    "English Original": "In the first he says : \" Harcourt and <supI</sup shot twentythree brace yesterday in <supa</sup frightful sun, and enjoyed the day very much.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4270": {
-    "English Original": "Cholmondeley is not well (knocked up by the heat), so he didn't accom pany us.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4271": {
-    "English Original": "H. is sending all the birds to England, and we don't like to have birds for ourselves.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4272": {
-    "English Original": "The cuisine is like that of a good club.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4273": {
-    "English Original": "His cook is here and manservant, and the comfort is great altogether delightful and the grapes and peaches were thoroughly appreciated.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4274": {
-    "English Original": "The Duke and Duchess of Sutherland left yesterday.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4275": {
-    "English Original": "She looked so pretty at luncheon on Sunday.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4276": {
-    "English Original": "We have <supa</sup great deal of laughing.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4277": {
-    "English Original": "Today we are going to fish in Loch Fyne for Lyt/ie, which afford good sport ; and tomorrow we shoot again.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4278": {
-    "English Original": "Cholmondeley has his keeper and dogs with him.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4279": {
-    "English Original": "H. has <supa</sup kilted keeper of his own, besides the ponies for the hill with saddlebags.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4280": {
-    "English Original": "We are going to visit the islands in a yacht, as the rivers are too dry for fishing salmon.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4281": {
-    "English Original": "<supI</sup have been unusually well since coming here, and very merry.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4282": {
-    "English Original": "Lord Lome is <supa</sup very nice pleasant fellow, and all the family are kindly, and as soon as the Duke returns we are to dine there.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4283": {
-    "English Original": "Our cottage is such <supa</sup pretty spotroses and convolvulus and honeysuckle over the porch, and <supa</sup swallow feeding her young within reach of our hands.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4284": {
-    "English Original": "Of these Dalhenna days Millais loved to recall an amusing incident, the hero being one of the three shooters, who shall be nameless.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4285": {
-    "English Original": "One evening during <supa</sup casual stroll about the domain, the sportsman spied a magnificent \"horned beast\"\n\n\n\n\n\ngrazing peacefully on their little hill.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4286": {
-    "English Original": "In the gloaming it loomed up as <supa</sup stag of fine proportions ; and without pausing to examine it through <supa</sup glass, he rushed into the house, and, seizing a rifle, advanced upon his quarry with all the stealth and cunning of an accomplished stalker.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4287": {
-    "English Original": "The crucial moment came at last.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4288": {
-    "English Original": "His finger was on the trigger, and the death of the animal <supa</sup certainty, when <supa</sup raucous Highland voice bellowed in his ear, \" Ye 're no gaen to shute the meenister's goat, are ye ? \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4289": {
-    "English Original": "In <supa</sup second letter to my mother he says : \" Harcourt is having <supa</sup new grate put into his kitchen, to soften his cook.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4290": {
-    "English Original": "We have come in the dogcart here for the day, taking boat at Cladich and leaving it almost immediately in terror, from the unsafeness of the boat in heavy waves.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4291": {
-    "English Original": "We walked on here, and H. at once let go <supa</sup storm of invective against the landlady and the waiter, both being so supremely in different about our custom, that we had great difficulty in assuaging our appetites.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4292": {
-    "English Original": "After long suffering we obtained only very tough chops and herrings.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4293": {
-    "English Original": "We return tomorrow and shoot again on Saturday.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4294": {
-    "English Original": "Today we drove through what the natives call the ' Duke's policies,' and met the great man himself, who was all smiles and politeness.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4295": {
-    "English Original": "<supI</sup will return directly the fortnight is out, but not before, as H. looks on me as his mainstay in shooting, Cholmondeley not being well and avoiding the heavy work on the moor.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4296": {
-    "English Original": "The weather has been unenclurably hot, but <supI</sup thrive in it, and would be happy but for the midges, which nearly destroy all my pleasure.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4297": {
-    "English Original": "Harcourt is going to make out <supa</sup plan for our tour abroad, as he knows all the parts we intend visiting.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4298": {
-    "English Original": "Outside has been <supa</sup dreadful boyGerman band playing for two hours, but now they have left off with ' God Save the Queen ; while just above us a duet has commenced, by two young ladies ' Masaniello.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4299": {
-    "English Original": "\" We have killed comparatively little game, but enough to make it pleasant, and <supI</sup expect plenty of black game.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4300": {
-    "English Original": "Rabbits are abundant, and no one could be more kind and jolly than Harcourt.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4301": {
-    "English Original": "\"I like to hear from some of you every day, that you are all well ; and after this fling <supI</sup will return and work like a Trojan, before going South.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4302": {
-    "English Original": "<supI</sup would like, if possible, to paint the firs at Kinnoull as a background, besides the copies.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4303": {
-    "English Original": "In his next letter he describes his meeting with Dr. Livingstone, of whom he saw <supa</sup good deal during the rest\n\nof his stay at Dalhenna.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4304": {
-    "English Original": "After this he frequently dined at the Castle, and had long and interesting talks with the famous explorer, who used in the evening to amuse the Duke's children with his wonderful tales of Africa, then a terra incognita.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4305": {
-    "English Original": "He writes: \"On Eriday we returned to Loch Aw<supr</sup e, and near Inverary found Lord Archibald Campbell and another younger brother catching salmon for the amusement of Dr. Livingstone, who is at the Castle.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4306": {
-    "English Original": "We were introduced, and <supI</sup had <supa</sup chat with the Doctor.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4307": {
-    "English Original": "They caught salmon in <supa</sup poaching way with lead and hooks attached, which sank amongst the imprisoned fish, who are in pools from which they cannot get out.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4308": {
-    "English Original": "The same afternoon the Duchess called with a carriage full of pretty children, and asked us to dine, which we did after killing twentyeight brace on the hill.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4309": {
-    "English Original": "There was no one staying at the Castle but Livingstone, but the party was large enough, as there are sons and tutors in abundance.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4310": {
-    "English Original": "In the evening we played billiards, and at tea drew out the African traveller, who is shy and not very communicative.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4311": {
-    "English Original": "Tomorrow we shoot again, and <supI</sup think of returning on Wednesday.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4312": {
-    "English Original": "The black game shooting com menced yesterday and <supI</sup killed two, and this week we shall beat the low hills for them.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4313": {
-    "English Original": "... <supI</sup am anxious to return now and get on with my work ; but having promised to stay <supa</sup fortnight, <supI</sup stay that time.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4314": {
-    "English Original": "In September he rejoined his family at Bowerswell, and after working for <supa</sup month on \"The Minuet\" (a picture for which my sister Effie posed as the principal figure, my Aunt Alice sitting at the piano in the background), he and his wife and Sir William Harcourt made a tour on the Continent, travelling through Switzerland to Florence, where they were fortunate enough to meet their friends Sir Henry Layard and Lord and Lady Arthur Russell.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4315": {
-    "English Original": "Layard, the famous archaeologist, was born in Florence, and Italy was an open book to him.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4316": {
-    "English Original": "He was, moreover, <supa</sup most charming companion, and under his guidance my father was enabled to see all the best Art collections in the city, including the treasures left by the Prince Galli, who had recently died.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4317": {
-    "English Original": "He was the last of his race, and had bequeathed all his paintings and pieces of sculpture to the hospital of Florence, including the marble statue of Leda and the Swan, by Michael Angelo, <supa</sup work of Art which had been in the possession of the Galli family for over 300 years.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4318": {
-    "English Original": "This statue Sir Henry strongly advised\n\n\n\n\n\nMillais to buy at any price, saying that, if he did not do so, he would buy it himself for his friend Lord Wimborne, although he had no commission to do so.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4319": {
-    "English Original": "It was probably the last occasion, he said, on which <supa</sup genuine work by Michael Angelo would be for sale, as the Italian Government were then about to put in force an Act prohibiting the removal from the country of great and wellknown works of Art.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4320": {
-    "English Original": "Millais, therefore, attended the sale and purchased the \" Leda,\" which was at once packed and sent off to London.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4321": {
-    "English Original": "A most fortunate thing for him, for the very next day came a missive from the Russian Government requesting the Italian Government to buy the \"Leda\" for them at any price, and the latter were not too well pleased when they heard that it was already on its way to England.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4322": {
-    "English Original": "One evening my father and mother were invited to dine with a Mr. Spence at the Villa Spence a house that formerly belonged to the Medicis, and is now one of the show places in Florence, with its exquisite gardens and wonderful underground chapel.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4323": {
-    "English Original": "They did not know whom they were to meet, but on arriving there they found amongst the guests Mario, Grisi and her three daughters, as well as Adelina and Carlotta Patti, and their brotherinlaw Strakosch altogether a dinnerparty of geniuses.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4324": {
-    "English Original": "But geniuses enjoy themselves very much like other people.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4325": {
-    "English Original": "They told each other all the best stories they could think of in connection with their public lives, and after dinner Strakosch played, and Millais danced nearly the whole evening with Adelina Patti, who proved herself almost as good <supa</sup waltzer as <supa</sup vocalist.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4326": {
-    "English Original": "They met again at some state function in London about <supa</sup year before his death, when she recalled the happy time they had spent that evening at the Villa Spence.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4327": {
-    "English Original": "From Florence, accompanied by their friends, they visited Bologna and Venice, where they stayed with Mr. Rawdon Brown in his palace on the Grand Canal.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4328": {
-    "English Original": "Then to Rome, where they had to undergo the delights of fumigation by sulphur, and were nearly suffocated ; for this was in the days of Cardinal Antonelli, when the fear of the plague was at its height.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4329": {
-    "English Original": "Here, as at Florence, Sir Henry Layard again acted as their guide to the Art treasures of the city, and Lord Arthur Russell took them into the Vatican to see the Pope, Pius IX., whom my mother used to describe as <supa</sup very nice, benevolentlooking old gentleman.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4330": {
-    "English Original": "He was dressed all in white, with <supa</sup black biretta, and acknowledged their salutations as he passed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4331": {
-    "English Original": "Almost immediately after he had passed out, the Abbe Liszt came into the room, and was presented by the British Ambassador to my father and mother.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4332": {
-    "English Original": "Liszt at once struck up a conversation with my mother, to the great mortification of her husband, who was most anxious to talk to him, but could not speak <supa</sup word of any other language than his own.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4333": {
-    "English Original": "After bidding goodbye to their friends in Rome, Millais and his wife went on alone to Pisa, to see Sir Charles Eastlake, P.R.A., who was then on his deathbed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4334": {
-    "English Original": "Leghorn was now their aim, and after visiting several other places on their way, they arrived there at midnight in a way they did not anticipate.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4335": {
-    "English Original": "About ten miles from their destination the railway engine broke down, and there w<supr</sup as nothing for it but to finish their journey as they did, in a country cart, sitting on the top of their luggage.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4336": {
-    "English Original": "There, however, they had the good luck to fall in with Mario again, who afterwards took ship with them for Genoa, where, with the aid of despatches, he helped them through the intricacies of the customhouse a very real service in those redtape days.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4337": {
-    "English Original": "The splendid Vandykes of Genoa were an immense pleasure to my father, but <supI</sup never heard him express <supa</sup wish to see any other masterpieces in the foreign galleries except the series of pictures by Velasquez in Madrid, for he already knew the Paris and Hague galleries, and loathed travelling in any form.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4338": {
-    "English Original": "And now their faces were set towards England, home, and duty ; and as there was no railway in those days along the Riviera, they took the \"diligence\" all the way to Marseilles and from there home by sea.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4339": {
-    "English Original": "\"Sleeping,\" \"Waking,\" and \"The Minuet,\" the three pictures which Millais exhibited in the Royal Academy of 1867, may certainly be classed amongst the specimens of his later PreRaphaelite manner, of which the \"Vale of Rest\" was the first example.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4340": {
-    "English Original": "It would seem, therefore, that just for this one year he returned to his old love, before the production of his broader works of \" Jephtha\" and \" Rosalind and Celia,\" both commenced in 1867.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4341": {
-    "English Original": "These three pictures were exact portraits of my sisters Carrie, Mary, and Effie, and (as <supI</sup have often heard from those who knew them from their infancy) were not idealised in the slightest degree.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4342": {
-    "English Original": "The art of the painter was exercised only in seizing upon the beauty of <supa</sup particular child at a certain moment, and transferring it to his canvas.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4343": {
-    "English Original": "That was not idealising, but simply catching the child at its very best.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4344": {
-    "English Original": "<sup1866</sup By permission of H. Graves and Son\n\n\n\nNone of the three little girls ever enjoyed sitting for their portraits.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4345": {
-    "English Original": "As one of them expressed herself at the time, '' It was so horrid, just after breakfast, to be taken upstairs and undressed again, to be put to bed in the studio.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4346": {
-    "English Original": "When tired of gazing seraphically upwards she would wait till my father was not looking, and then kick all the bedclothes off, perhaps just as he was painting <supa</sup particular fold <supa</sup trick which the artist never seemed to appreciate.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4347": {
-    "English Original": "The idea for \" Sleeping \" was suggested by seeing my sister Carrie, then <supa</sup very little girl, fast asleep the morning after <supa</sup children's party.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4348": {
-    "English Original": "Millais went to the nursery to look for the child, and found the French maid, Berthe, sewing beside the bed, waiting for her charge to wake up ; and when sitting for this picture the little model used often to go to sleep in real earnest.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4349": {
-    "English Original": "My sister Mary tells the following story about \"Waking.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4350": {
-    "English Original": "Being left alone for a few minutes during the painting of this picture, she slipped out of bed and crept up to the table where the palettes and brushes were left ; and then, taking <supa</sup good brushful of paint and reaching as high as possible, proceeded to embellish the lower part of the work with some beautiful brown streaks.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4351": {
-    "English Original": "Presently she heard her father re turning, and bolted back to bed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4352": {
-    "English Original": "Foreseeing that in another minute he would discover the mischief, she wisely hastened to explain that she had tried to help him in his work by painting for him the brown floor that she knew he intended.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4353": {
-    "English Original": "Poor Millais turned in <supa</sup desperate fright to his picture, and saw the harm that had been done, but with his characteristic sympathy with children he never said <supa</sup word of reproach to little Mary, seeing that she had really meant to help.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4354": {
-    "English Original": "During <sup1865</sup and <sup1866</sup he made watercolour copies of \"Ophelia\" and \"The Huguenot,\" \"The Black Brunswicker,\" \"The Minuet,\" \"Swallow, Swallow,\" and \"The Evil One Sowing Tares,\" and copies in oil of \"Esther\" and \"The Romans \" ; also two oil pictures, one of which was <supa</sup portrait of a Miss Davidson, and the other a small one of Effie as \" Little Red Riding Hood.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4355": {
-    "English Original": "From Sir William Cunliffe Brooks the shootings of Callander and <supa</sup small part of Glen Artney were taken in 1866.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4356": {
-    "English Original": "This was <supa</sup grouse shooting, but now and then <supa</sup stag came on to the ground.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4357": {
-    "English Original": "Millais got three, and then <supa</sup fourth made its appearance, and returned again and again to the ground one of the grandest stags ever seen in that\n\nneighbourhood.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4358": {
-    "English Original": "My father was of course keen for <supa</sup shot, but he happened to know this stag, having spied it on several occasions on the borders of the neighbouring forest rented by Sir William, and being on most friendly terms with the owner, he let it go.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4359": {
-    "English Original": "Afterwards, in the course of conversation, Sir William expressed his anxiety to shoot this particular stag, but added (as any true sportsman would), \" If he is anywhere about your march you had better kill him.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4360": {
-    "English Original": "Days went by, and the end of the season was approaching, when one evening Millais espied the great stag feeding on his ground about fifty yards from the march.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4361": {
-    "English Original": "Now was his chance his last chance of a shot at such a monarch as this.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4362": {
-    "English Original": "He was excited beyond measure, and his stalker was even more elated, for (as unfortunately sometimes happens) there was intense rivalry and bitterness between him, <supa</sup man of small pretence, and the head stalker at Glen Artney, who was a tremendous swell in his own conceit.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4363": {
-    "English Original": "Then the stalk began, and just as the quarry crossed the march <supa</sup shot from Millais' rifle laid him dead.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4364": {
-    "English Original": "At that moment, to the astonishment of my father, who had seen nobody else about, up rose Sir William and his stalker, who had been after the same game.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4365": {
-    "English Original": "The stag was therefore carted off to Glen Artney, and Sir William being satisfied with my father's explanation, the two remained as good friends as ever.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4366": {
-    "English Original": "After slaying this noble hart, he could not refrain from exulting over his success in a wild letter to his friend Sir William Harcourt, who replied as follows :\n\n From Sir W. V. Harcourt.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4367": {
-    "English Original": "STUDLEY ROYAL, RIPON,\n\n\" October \\$rd, <sup1</sup 866.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4368": {
-    "English Original": "MY DEAR MILLAIS, <supI</sup received your insane letter, from which <supI</sup gather that you are under the impression that you have killed a stag.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4369": {
-    "English Original": "Poor fellow, <supI</sup pity your delusion.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4370": {
-    "English Original": "<supI</sup hope the time is now come when <supI</sup can break to you the painful truth.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4371": {
-    "English Original": "Your wife, who (as <supI</sup have always told you) alone makes it possible for you to exist, observing how the disappointment of your repeated failures was telling on your health and on your intellect, arranged with the keepers for placing in a proper position a wooden stag constructed like that of ... You were conducted unsuspectingly to the spot and fired at the dummy.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4372": {
-    "English Original": "In the excitement of the moment\n\nyou were carried off by the gillie, so that you did not discern the cheat, and believed you had really slain <supa</sup hart of grease.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4373": {
-    "English Original": "Poor fellow, <supI</sup know better ; and indeed your portrait of the stag sitting up smiling, with <supa</sup head as big as <supa</sup church door on his shoulders, tells its own tale.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4374": {
-    "English Original": "<supI</sup give Mrs. M. great credit on this, as on all other occasions, for her management of you.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4375": {
-    "English Original": "<supI</sup am happy to hear that the result of the pious fraud has been to restore you to equanimity and comparative sanity, and <supI</sup hope by the time <supI</sup see you again you may be wholly restored.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4376": {
-    "English Original": "Pray remember me to Mrs. M.\n\n\" Yours ever,\n\n\" W. V. HARCOURT.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4377": {
-    "English Original": "<supI</sup see that, in order to keep up the delusion, puffs of your performance have been inserted in all the papers.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4378": {
-    "English Original": "There are some fortunate beings in this world who have never missed a stag, and never can or will ; but Millais was not one of these.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4379": {
-    "English Original": "In the following letter to his friend Mr. W. W. Fenn (written during his tenancy of Callander), he describes faithfully and amusingly the hardships and disappointments of deerstalking :\n\nTo Mr. W. W. Fenn.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4380": {
-    "English Original": "\"CALLANDER, N.B.,\n\n\" Sunday, October '/tk, <sup1</sup 866.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4381": {
-    "English Original": "DEAR FENN, My wife and eldest daughter have gone to the Free Kirk ; and that <supI</sup may do as good <supa</sup work, <supI</sup send you <supa</sup line, albeit <supI</sup am aching in all my limbs from having crawled over stony impediments all yesterday, in pursuit of ye suspicious stag.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4382": {
-    "English Original": "You know the position of allfours which fathers assume for the accommodation of their boys, in the privacy of domestic life, and you can conceive how unsuitecl the hands and knees are to make comfortable progress over cutting slate and knobbly flint, and will understand how my legs are like unto the pear of overripeness.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4383": {
-    "English Original": "<supI</sup had two shots, the first of which <supI</sup ought to have killed, and <supI</sup shall never forget the tailbetweenlegs dejection of that moment when the animal, instead of biting the dust, kicked it up viciously into my face.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4384": {
-    "English Original": "After more pipes and whiskey than was good for me, we toiled on again, and <supa</sup\n\nsecond time viewed some deer, and repeated the toilsome crawling <supI</sup have referred to.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4385": {
-    "English Original": "<supI</sup missed that too, and rode home on our pony, which must from my soured temper have known it too.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4386": {
-    "English Original": "<supI</sup tooled him along, heedless of the dangers of the road, until the gladdening lights of home flickered through the diningroom window.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4387": {
-    "English Original": "Mike is not <supa</sup sympathising creature under these circumstances, being thoroughly convinced that <supa</sup cockchafer's shoulder ought to be hit flying at <supa</sup thousand yards ; so, alter the neverfailing pleasure of the table, <supI</sup retired, to dream of more stomach perambulations up and down precipices of burning ploughshares, the demons of the forest laughing at my ineffectual efforts to hit the mastodon of the prairies at fifteen yards distance.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4388": {
-    "English Original": "You may depend upon it, roachfishing in <supa</sup punt is the thing after all.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4389": {
-    "English Original": "When you don't excite the pity and contempt of your keeper, what boots it if you don <supt</sup strike your roach ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4390": {
-    "English Original": "(probably naught but the float of porcupine is aware of it), but when you proclaim to the mountains, yea, even to the tow<supr</sup ns adjoining thereto, that you have fired at the monarch of the glen, how can you face the virgins and pipers who come up from the village to crown you with bogmyrtle, and exalt your stag's horn through the streets rejoicing?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4391": {
-    "English Original": "Every shot fired in the forest is known to be at <supa</sup stag, or hind,\n\n 'And the shepherd listening, kens well That the monarch of the glen, fell, Howsomever, if it ends well, As happens rarely, And the highland laddie breechless, Hears the shot, and stands quite speechless, Etc., etc., etc.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4392": {
-    "English Original": "This inspiration comes from ' The Lady of Shalott.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4393": {
-    "English Original": "<supI</sup think in my old age <supI</sup must betake myself to the chase of the gaudy butterfly with net of green, gaffing with the domestic bodkin.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4394": {
-    "English Original": "There 's the stagbeetle, anyhow, and the salmonfly; and what can exceed the danger of following the poolloving dragonfly?\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4395": {
-    "English Original": "All gone to Callander to the kirk and the wife will return presently, seriously inclined ; so will <supI</sup cast off this skin of frivolity.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4396": {
-    "English Original": "You must forgive me for being <supa</sup boy still, and <supa</sup little wild after yesterday's excitement.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4397": {
-    "English Original": "Michael returns in <supa</sup day or two, and we shall very shortly leave this for <supa</sup short stay at Perth, and then home to sit under the trophy\n\n\n\n\"WAKING.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4398": {
-    "English Original": "<sup1866</sup By permission ofH.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4399": {
-    "English Original": "Graves and Son\n\n\n\nof my own antlers.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4400": {
-    "English Original": "On the whole, the stay here has been pleasant, in spite of a nearly perpetual rain, which (distilled through peatbog) has clyed my poor feet <supa</sup sweet cinnamon\n\nbrown, like the Lascar crossingsweepers. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4401": {
-    "English Original": "You will hear from Stephen Lewis his adventures, which <supI</sup believe he will narrate to his customers seated all around\n\nhim in Turkish shawls, in the manner of the 'Arabian Nights.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4402": {
-    "English Original": "\" How Arthur is ever to hold his own after the prowess of Stephen remains to be seen ; but <supI</sup wouldn't be Arthur.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4403": {
-    "English Original": "A strong smell of roast mutton calls me away, and <supI</sup think your\n\nmother will have enough work in deciphering this. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4404": {
-    "English Original": "Remember me very kindly to her, arid tell her, tell her, that when <supI</sup return, <supI</sup come to thee !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4405": {
-    "English Original": "''Very sincerely yours,\n\n\"J. EVERETT MILLAIS.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4406": {
-    "English Original": "\" <supI</sup haven't uncorked a tube or moistened a brush, but <supI</sup hope the hand hasn't lost its cunning.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4407": {
-    "English Original": "At the end of the season my father and mother spent <supa</sup week with Sir William Cunliffe Brooks at Drummond Castle, which he rented from Lady Willoughby de Eresby, a place which, in point of situation and entourage, has no superior in Great Britain ; indeed, it would be impossible to imagine more lovely surroundings.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4408": {
-    "English Original": "The old castle stands on an eminence in <supa</sup park in which all the natural beauties of wood and lake are enhanced by floral and arboreal gems from foreign lands.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4409": {
-    "English Original": "Wild fowl of various sorts adorn the lakes, .and herds of halfwild fallowdeer roam through the park, whilst up in the great wood of Torlum may in autumn be heard the voices of the big wood stags.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4410": {
-    "English Original": "The sanctuary in Glen Artney Forest had remained un touched since the visit of the Queen and Prince Consort in 1845, and now, as the deer were becoming too numerous, Sir William decided on <supa</sup drive.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4411": {
-    "English Original": "Three rifles were posted on <supa</sup high ridge above the sanctuary, and over <supa</sup thousand deer came up by three separate passes.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4412": {
-    "English Original": "Six or seven of the best were killed, and of the survivors about seven hundred made their way into the next corrie, within ten yards of the ladies who had gathered there to see what they could of the sport.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4413": {
-    "English Original": "My mother used to describe this as the finest sight of the kind she had ever witnessed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4414": {
-    "English Original": "H <supO</sup <supL</sup M <supA</sup N HUNT\n\nA great friendship, and <supa</sup spur to noble ambition Cairo in <sup1854</sup The donkey and the buffalo A human parallel The Jewish model, <supa</sup shy bird The difficulties and dangers of life in and around Jerusalem in <sup1854</sup Adventure at the Brook Kerith Reflections on life Millais must put forth all his strength A final tribute.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4415": {
-    "English Original": "FROM what has been already said, it will be seen how close and intimate was the friendship between Holman Hunt and Millais.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4416": {
-    "English Original": "They were friends together in early youth, and together they fought and conquered the Philistines in the days when PreRaphaelitism was attacked on every side; and though for many years (from <sup1867</sup to 1880) they saw but little of each other, owing to Hunt's long residence abroad, they kept up a continuous correspondence, the fol lowing portions of which (interesting from many points of view) the writer kindly allows me to embody in these pages.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4417": {
-    "English Original": "It is not for me to sing the praises of this distinguished artist, whose works are reverenced of all who know what high Art means (I am sure he would not thank me if <supI</sup did) ; but this at least <supI</sup may say, that no man had ever <supa</sup firmer or <supa</sup truer friend than my father found in Hunt, and that his friendship was reciprocated with equal warmth of heart.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4418": {
-    "English Original": "The fame of the one was ever dear to the other, and as to Hunt, so far was he from any sense of jealousy, that he never lost an opportunity for urging his friend to put forth all his powers whenever any great exhibition was on foot either at home or abroad. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4419": {
-    "English Original": "The usual Liberal whip,\" my father would playfully remark, when one of these missives came by post ; and seldom, if ever, did he fail to respond to the appeal.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4420": {
-    "English Original": "The letters proclaim the man letters full of thought, of keen but kindly criticism, and enlivened here and there with touches of quaint humour ; but, voluminous and interesting as they are, <supI</sup must restrict my selection to the narrowest limits.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4421": {
-    "English Original": "HOLMAN HUNT <sup403</sup\n\nHere are <supa</sup few extracts from letters during his first visit to the East in 1854.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4422": {
-    "English Original": "Writing from Cairo in March of that year, he says : \" The\n\n\n\n'THE PARABLE OF THE SOWER\" Bypermission of J. S. Virtue and Co.\n\ncountry is very rich and attractive, but <supI</sup am inclined to mislike it on that account, for <supI</sup have no patience with the Fates when they tempt me to become <supa</sup paysagiste.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4423": {
-    "English Original": "The Pyramids in themselves are extremely ugly blocks, arranged\n\nwith imposing but unpicturesque taste.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4424": {
-    "English Original": "Being so close at hand, it is difficult to refuse making <supa</sup sketch of them.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4425": {
-    "English Original": "With some effect and circumstance to satisfy the spectator's expectation and the charm of past history, it might be possible to gather <supa</sup degree of poetical atmosphere to repay the patience one would expend ; but <supI</sup would rather give the time otherwise.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4426": {
-    "English Original": "Their only association that <supI</sup value is that Joseph, Moses, and Jesus must have looked upon them.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4427": {
-    "English Original": "There are palm trees which attract my passing admiration.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4428": {
-    "English Original": "Without these, in places, one might as well sketch in Hackney Marsh.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4429": {
-    "English Original": "... <supI</sup find <supa</sup good deal of difficulty in living in quiet here, for there are four or five other Englishmen in the hotel, some of them very pleasant fellows ; but <supI</supwant solitude for my work, and it is impossible to feel secluded enough even when is away.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4430": {
-    "English Original": "When he is present, serious devotion to thought is often shattered with intolerable and exasperating practical jokes, and by his own unbounded risibility at the same.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4431": {
-    "English Original": "... <supI</sup hear no news here but what hoarsethroated donkeys shout.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4432": {
-    "English Original": "These loquacious brutes are the only steeds one can get here without purchasing <supa</sup horse, so <supI</sup do not enjoy the luxury of following the hounds as you do.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4433": {
-    "English Original": "Appended you see an example of the ordinary load an ass has to carry in this country.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4434": {
-    "English Original": "They are themselves veritably one of the burdens of Cairo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4435": {
-    "English Original": "One isnever free for a second from their wanton braying.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4436": {
-    "English Original": "W <supT</sup hen you are talking with <supa</sup friend in the street, or in the bazaar making a bargain, you are moved to excusable exasperation fifty times in an hour by the spasmodic trumpeting of some donkey who lifts up his voice close to the small of your back, or in front of you.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4437": {
-    "English Original": "In face of our hotel there are several animals tied up under the trees fastened by the horns and legs.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4438": {
-    "English Original": "In <supa</sup particular pen there is a small manage of a domestic character, but unfortunately it is not a happy family, the poor buffalocow of the party being evidently exhausted with listening to her near neighbour the jackass.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4439": {
-    "English Original": "The cow's original disposition is of the utmost and most admirable patience, but even vaccine nature has its limits, and our cow, softeyed and beautiful as she is, cannot refrain from remonstrating when her neighbour's refrain has been too frequent and (apparently) too personal.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4440": {
-    "English Original": "You should have seen her the other morning.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4441": {
-    "English Original": "She had patiently listened to his complete discourse some fifty times ; but w<supr</sup hen he cleared his throat to give out the text once more, she waived her politeness so far as to indicate\n\n4\n\nthat she had heard all that before.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4442": {
-    "English Original": "The donkey on his part, however, persisted.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4443": {
-    "English Original": "He evidently thought such an excellent homily could not be heard too often.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4444": {
-    "English Original": "Buffalo turned to retire, evidently with a different conviction, but her tether checked her retreat.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4445": {
-    "English Original": "She was infuriated at this discovery, and turned round upon the braying beast with her butting head, as if\n\n\n\nSKETCH FOR \"THE PARABLE OF THE GOOD SAMARITAN.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4446": {
-    "English Original": "1857\n\nshe would make him swallow his words once for all.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4447": {
-    "English Original": "But here the trial came.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4448": {
-    "English Original": "She could not reach him, and so he could not be turned from his purpose.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4449": {
-    "English Original": "After <supa</sup moment's pause he took up his broken argument again, and in <supa</sup posture better suited to the new position of the re fractory member of his audience, until at last he wound up, triumphantly glorying in her defeat and complete resignation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4450": {
-    "English Original": "<supI</sup feel ofttimes like that poor cow, and cherish an undisguised hatred of the whole braying race.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4451": {
-    "English Original": "\"Jerusalem, September \\$lk, 1854.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4452": {
-    "English Original": "It is evident that it will be impossible to get my present picture done for next year.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4453": {
-    "English Original": "<supI</sup go every Friday and Saturday and on feast days or days of humiliation to the synagogue, to see the Jews worship.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4454": {
-    "English Original": "<supI</sup also take every opportunity to get introduced to them in their homes.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4455": {
-    "English Original": "They are polite, and <supI</sup can study their characteristic gestures and aspects; but for special attendance at my house <supI</sup can scarcely get them at all.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4456": {
-    "English Original": "When by the exercise of great interest one is brought, he looks about like <supa</sup scared bird, and ifhe sees any piece of carpentry <supa</sup window sash, or a border of a panel that looks in his suspicious eyes like <supa</sup cross, away he flies, never to come back any more.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4457": {
-    "English Original": "My landlord, <supa</sup converted Jew, who has journeymentailors under him, has brought me one or two, but even these get advised not to repeat their sittings, and thus my subjectpicture is in the most unsatisfactory, higgledypiggledy state, with many disjointed bits begun and not completed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4458": {
-    "English Original": "The Rabbis keep up the bitterness by excommunicating all who come to my house, for they suspect me to be <supa</sup missionary in disguise.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4459": {
-    "English Original": "You could not conceive the possibility of men being so\n\n <sup406</sup JOHN EVERETT MILLAIS\n\nfanatical and rancorous as the Fellahs and Arabs of this place.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4460": {
-    "English Original": "The tame men in the city are in <supa</sup degree polite to Europeans (with what degree of sincerity <supI</sup don't know), but\n\n\n\n\"THE PARABLE OF THE GOOD SAMARITAN By permission ofJ.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4461": {
-    "English Original": "S. Virtue and Co.\n\nout of the gates, away from the shadow of our firm English Consul, no Briton would be safe, but for the probability that his coat has <supa</sup good pistol or two in the pockets which he is ready to use.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4462": {
-    "English Original": "With the chance of escaping detection, they would shoot anyone for the spoil they might get.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4463": {
-    "English Original": "<sup&</supx27;THE EVIL ONE SOWING .TARES' By permission of Mr. E. M. Denny\n\n\n\n HOLMAN HUNT <sup409</sup\n\nHe had proof enough of this at the Brook Kerith, to get to which he had to descend <supa</sup steep cliff <sup500</sup feet high : 'When <supI</sup was sketching, <supa</sup shepherd, with <supa</sup boy of fifteen\n\n\n\n'THE PARABLE OF THE PRODIGAL SON\" By permission oj J. S. Virtue and Co.\n\nand three or four others <supa</sup year or two younger, came and sat down beside me.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4464": {
-    "English Original": "To show them <supI</sup intended to have my own way, <supI</sup told the man to sit further away on one side and the\n\nboy on the other.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4465": {
-    "English Original": "<supI</sup could not order them away altogether, as they greeted me civilly on first arriving, but it was difficult to attend to my work, for they required looking after.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4466": {
-    "English Original": "<supI</sup had laid aside my pistolcase on account of the heat, and in two minutes the man had got hold of it and was unfastening the button.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4467": {
-    "English Original": "<supI</sup clutched it away, and cautioned him that if he touched anything of mine again <supI</sup would send them all away, at the same time buckling the weapon round my waist.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4468": {
-    "English Original": "Then, turning my head, <supI</sup found the younger gentleman with his hand in my pocket, upon which <sup1</sup reached out, boxed his ears, and pushed him aside, and standing up ordered them all away.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4469": {
-    "English Original": "This brought on <supa</sup hubbub.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4470": {
-    "English Original": "Seeing that <supI</sup was determined in my course, the man said' they were Arab fellaheen, who would not be put off.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4471": {
-    "English Original": "Would <supI</sup give them some English gunpowder ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4472": {
-    "English Original": "No ; <supI</sup would give nothing.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4473": {
-    "English Original": "Very well,' he said, <supI</sup will bring down all the fellaheen to kill you.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4474": {
-    "English Original": "Meanwhile my friend Dr. Sim was lying asleep in <supa</sup cave at some distance, and on looking towards him <supI</sup saw another young Arab, who had crawled into the cave, engaged at the opening in examining the articles in his hand with the closest possible interest ; so <supI</sup called out lustily enough to wake Sim, and at this point the Arab boy bolted with Sim's boots.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4475": {
-    "English Original": "They all went away then, threatening dreadful things, and <supI</sup set to work again to make up for lost time.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4476": {
-    "English Original": "In <supa</sup few minutes <supI</sup heard <supa</sup furious altercation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4477": {
-    "English Original": "Sim was standing high on <supa</sup rock, while the man was crouching down aiming at him over <supa</sup ledge ; but as my companion stood unmoved with his gun under his arm while the Arab was dreadfully excited, <supI</sup was not alarmed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4478": {
-    "English Original": "It appears that the fellow had approached him on his descent, demanding powder, that Sim had called him majnoon (madman) and ordered him off.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4479": {
-    "English Original": "At last, Sim closing upon his adversary with his gun cocked, the latter moved off to safer quarters.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4480": {
-    "English Original": "The following letter relates to Hunt's third journey to the East : \" JERUSALEM,\n\n\"October \\2th, 1871.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4481": {
-    "English Original": "MY DEAR MILLAIS, <supI</sup was very glad to get yours of August 2Oth, which came here about three weeks since.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4482": {
-    "English Original": "<supI</sup should have written since my last, notwithstanding that <supI</sup had had no answer to mine, but <supI</sup was excessively occupied,\n\nand always thinking that in another few weeks <supI</sup should be on my road home to England.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4483": {
-    "English Original": "<supI</sup was truly sorry to hear of your father's death.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4484": {
-    "English Original": "\"THE PARABLE OF THE UNJUST JUDGE\" Bypermission ofJ.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4485": {
-    "English Original": "S. Virtue and Co.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4486": {
-    "English Original": "He was <supa</sup good old fellow, and associated in my mind with all manner of kind and pleasant hospitality, and true, generous friendship, and <supI</sup had hoped to spend many other\n\npleasant hours with the dear old boy for he was always a boy, and all the better for this.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4487": {
-    "English Original": "Well, our next chat must be in the Elysian Fields, where we shall have lots of things to talk about, and where (however soon itmay be) he will enact the part of old stager, as he did when <supI</sup first knew him in Gower Street !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4488": {
-    "English Original": "And what a lot of old chums there will be whom, when <supI</sup left England last, <supI</sup counted upon smoking many mundane pipes with again Halliday, Martineau, Phillips, my good brotherinlaw George, an old chum and fellowtraveller of old here, Beaumont, as well as the boring, goodnatured .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4489": {
-    "English Original": "They will coach us as to the course we are to take there, and tell us where to find people we want to see and know (when it may be allowed to such newcomers to be admitted to their society), and whether and where our own most sacred ones may be overtaken.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4490": {
-    "English Original": "Life here wants something to make it bearable.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4491": {
-    "English Original": "Having no 3ort of counterinterest, my work becomes the most frightful anxiety to me, and sometimes <supI</sup am sure <supI</suphave lost a great deal of labour from nursing all manner of fears about it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4492": {
-    "English Original": "When <supa</sup notion once gets into my head it goes on worrying me until <supI</sup see everything by its light, and <supI</sup am tempted to change back again.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4493": {
-    "English Original": "When <supI</sup began my work <supI</sup had very ambitious hopes about it, but (like Browning's man, who in infancy cried for the moon, and in old age was grateful for the crutch on which he hobbled out of the world) <sup1</sup should be glad now to find it only done in any way.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4494": {
-    "English Original": "There are peculiar difficulties in the subject <supI</sup have devoted my time to such serious ones that, had <supI</sup only foreseen them, <supI</sup would have left the subject to some future painter ; but <supI</sup tried to console myself by thinking that other pictures <supI</sup have in my mind to follow will go more easily and be <supa</sup great deal better.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4495": {
-    "English Original": "<supI</sup am like you in loving my Art very intensely now, the more it seems that <supI</sup am denied all other love ; but <supI</supam reminded of the remark of <supa</sup little child, who, talking about love to her mother, said it pained so.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4496": {
-    "English Original": "My love for Art pains me it hurts me sleeping and waking ; there is no rest from itand I, getting old in desponding service, feel (quoting Browning again) like\n\n 'Only the page that carols unseen, Crumbling your hounds their messes.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4497": {
-    "English Original": "\" If <supI</sup had my life over again (which ofttimes <supI</sup should crave God for some reasons to spare me) <supI</sup might (if fools\n\n\n\n'GREENWICH PENSIONERS AT THE TOMB OF NELSON.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4498": {
-    "English Original": "By pci mission of Mr. H. Roberts\n\n\n\ncould be kept from hindering), out of the raw materials <supI</sup started my days with, make <supa</sup satisfactory painter ; but this life is made so that wisdom and riches come too late.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4499": {
-    "English Original": "The prizes that boyhood sighs for come when toys are no longer in request ; those which youth covets are withheld till youth is flown ; and so on to the grave.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4500": {
-    "English Original": "One must continue one's journey minus the means and weapons which carelessness or overconfidence rejected at one's place of outfit the tale of the foolish virgins again, who, in going back, came at last too late.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4501": {
-    "English Original": "One must <supO</supgo on now, trusting<supO</sup that the oil will last to the journey's end, though the lamp may not be so brilliant as it should be.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4502": {
-    "English Original": "The one fact that continually perplexes me is how the confidence of .youth carried me through difficulties that now quite bring me to <supa</sup standstill.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4503": {
-    "English Original": "<supI</sup had no fear then of the distant royalty of my mistress, but bit by bit <supI</sup have learnt the width of the gap between us ; and the very sense of her greatness paralyses my hand in attempting the simplest service.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4504": {
-    "English Original": ".It is very imprudent to confess all this, for the world will .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4505": {
-    "English Original": "never believe in any one who does not have unbounded confidence in himself, and will, on the contrary, accept any humbug who declares himself infallible ; but you are not the ivorld, but an old fellowservant, who knows too well what sincere service is to be prejudiced against my work because <supI</sup confess the trouble it gives me.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4506": {
-    "English Original": "<supI</sup marvel at men who, like X , never see <supa</sup fault in anything they do, and regard with scorn any who venture to suggest an improvement.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4507": {
-    "English Original": "For the time they are enviable, yet <supI</sup believe there is <supa</sup degree of self satisfaction which limits <supa</sup man's powers woefully.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4508": {
-    "English Original": "<supI</sup am sorry for William's loss of his child.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4509": {
-    "English Original": "Give my love to him as well as to all your family, and tell Mary <supI</sup shall come and try her at her Catechism soon.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4510": {
-    "English Original": "Yours ever,\n\n\"W. HOLMAN HUNT.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4511": {
-    "English Original": "It will be seen from these letters how interesting was Hunt's life in the Holy Land, and how pregnant with thought are the graver incidents to which he calls attention.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4512": {
-    "English Original": "Some day, perhaps, he may be tempted to give to the world <supa</sup full record of his life and adventures, which judging from the vast mass of correspondence it has been my privilege to read could not fail to find acceptance with the public.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4513": {
-    "English Original": "<sup416</sup JOHN EVERETT MILLAIS\n\nOutside of our own family he was my father's sole confidant ; nothing was hidden from him, and his letter to my brother Everett, in August, 1896, expresses only what we all know to be the inmost sentiments of the writer.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4514": {
-    "English Original": "Referring to my father's death, he says : \" After fiftytwo years of unbroken friendship the earthly bond has separated.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4515": {
-    "English Original": "New generations with fresh struggles to engage in ever advance and sweep away many of the memories of individual lives, even when these have been the most eminent.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4516": {
-    "English Original": "It would be a real loss to the world if your father's manly straightforwardness and his fearless sense of honour should ever cease to be remembered.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4517": {
-    "English Original": "There are men w <supr</sup ho never challenge criticism, because they have no sense of individual independence.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4518": {
-    "English Original": "My old friend was different, and he justified all his courses by loyalty and consistency as well as courage the courage of <supa</sup true conscience.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4519": {
-    "English Original": "As <supa</sup painter of subtle perfection, while his works last they will prove the supreme character of his genius, and this will show more conspicuously when the mere superficial tricksters in Art have fallen to their proper level.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4520": {
-    "English Original": "18651880\n\nThree historic gatherings The parties at Strawberry Hill Millais' personal friends Letters from D'Epine, Luder Barnay, and Jan van Beers Mrs. Jopling Rowe's recollections of Millais O'Neil, painter and poet Fred Walker Professor Owen Robert Browning Browning on the art of poetry Visit to Marochetti.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4521": {
-    "English Original": "A DESULTORY chapter this <supa</sup thing of shreds and patches needful, however, as an introduction to in timate friends of Millais not yet noticed in these pages, and interesting perhaps as <supa</sup reminder of some historic events in the lives of others with whom during this period he came into contact.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4522": {
-    "English Original": "Three historic gatherings my mother was wont to describe as making <supa</sup great impression on her mind.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4523": {
-    "English Original": "The first at which she and my father were present was at Stafford House, where the late Duke of Sutherland gave <supa</sup grand ball in honour of General Garibaldi, who was then on a visit to this country.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4524": {
-    "English Original": "The great soldier, wearing as in Italy the red shirt ever since associated with his name, entered the ballroom with the Duchess of Sutherland on his arm, and was greeted by all present with the homage due to Royalty as he passed down the room, stopping here and there for <supa</sup moment's talk with some of the guests.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4525": {
-    "English Original": "Very striking was the expression of his face, at once so earnest and so genial ; and still more conspicuous was the contrast between his simple dress and the gorgeous array of all the rest of the company.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4526": {
-    "English Original": "Some time after that came the reception given at the Foreign Office to the grandfather of the present Czar of Russia, whom my mother described as <supa</sup very sad and dignifiedlooking man.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4527": {
-    "English Original": "They had the honour of being presented to him, and soon after his return to Russia, for which he set out on the following day, the cause of his sadness was\n\ni.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4528": {
-    "English Original": "27 4 <supi</sup 7\n\nonly too painfully manifested.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4529": {
-    "English Original": "At <supa</sup dinner party at Mr. Cyril Flower's (now Lord Battersea), at which they were present, a telegram from Miss Corrie was handed to one of the guests, Lord Rowton, announcing an attack on the life of the Czar, whose escape uninjured was little short of miraculous.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4530": {
-    "English Original": "The wouldbe assassin had placed an infernal machine under the floor of the Imperial diningroom, timed to blow up immediately after the entrance of the Czar and his suite, which always took place at the same hour.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4531": {
-    "English Original": "It happened, however,\n\n\n\nSKETCHES FOR \"THE PRINCE CARRYING THE PRINCESS UP THE HILL\"\n\nthat Prince Alexander of Bulgaria being late for dinner on this particular evening, the Imperial party waited a quarter of an hour for him, and during this time the bomb ex ploded, making <supa</sup complete wreck of the diningroom, but happily doing no further injury.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4532": {
-    "English Original": "It was <supa</sup doomed life, however, that he carried, and he knew it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4533": {
-    "English Original": "A year later the assassins returned to their ghastly work, and, sad to say, succeeded.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4534": {
-    "English Original": "The third occasion to which my mother referred was the State ball given in honour of the Shah of Persia.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4535": {
-    "English Original": "The Shah, as is well known, has a grand collection of jewels, including some of the finest the world has ever seen ; but even he must have been astonished by the wondrous display of diamonds that met his eyes that night.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4536": {
-    "English Original": "About <sup800</sup tiaras were worn by the ladies present, who were, perhaps, not\n\n\n\n\"THE MIXUKT.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4537": {
-    "English Original": "<sup1866</sup By permission o/ H. Graves and Son\n\n\n\naltogether unwilling to show him what old England could do in that way.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4538": {
-    "English Original": "Strawberry Hill, Twickenham,\\ was one of the most interesting places at which, during the seventies, my father and mother were privileged guests, and many were the pleasant days they spent there.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4539": {
-    "English Original": "It was then the seat of Frances, Countess of Waldegrave, <supa</sup woman of singular beauty and great natural talent, and as the daughter of Braham, the famous singer, very proud of her Jewish descent.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4540": {
-    "English Original": "She would say of Lord Beaconsneld, who was a constant visitor, \" We are both children of Abraham, and he will do anything for me.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4541": {
-    "English Original": "Amongst the many Art treasures there was the famous picture by Sir Joshua Reynolds of the three Ladies Waldegrave ; and the Countess, who was devoted to Art, added largely to the collection.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4542": {
-    "English Original": "She had <supa</sup long gallery built, which she filled with lifesize portraits of her most distinguished friends.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4543": {
-    "English Original": "Hers was an eventful life.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4544": {
-    "English Original": "She was little more than sixteen when she married the Earl of Waldegrave, and on his death she took for her second husband his halfbrother, Mr. Waldegrave, who had the misfortune to be arrested by mistake for <supa</sup murderer.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4545": {
-    "English Original": "He was consigned to the Fleet prison, where his wife accompanied him ; but almost immediately afterwards the real murderer was discovered, and he was set at liberty.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4546": {
-    "English Original": "On his death she married the Right Hon.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4547": {
-    "English Original": "George Vernon Harcourt, and after many years of wedlock, he too left her a widow.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4548": {
-    "English Original": "Another suitor then appeared in the person of the Right Hon.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4549": {
-    "English Original": "Chichester Fortescue (Lord Carlingford), whom she ultimately accepted as her fourth husband.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4550": {
-    "English Original": "Her SaturdaytoMonday parties were proverbially enjoyable.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4551": {
-    "English Original": "Rank and talent met and mingled there on equal terms of amity and good fellowship.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4552": {
-    "English Original": "Whoever might or might not be there, there would certainly be no dulness in that delightful house none of that horrid boredom that\n\nSociety is apparently so fond of inflicting upon itself.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4553": {
-    "English Original": "For mere rank and fashion, however, Millais cared but little.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4554": {
-    "English Original": "Talent and geniality of temperament were the \"open\n\n<sup\\</sup Strawberry Hill, one of the most beautiful estates in the vicinity of London, was for many years the residence of Horace Walpoje of historic fame.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4555": {
-    "English Original": "On the death of the Countess of Waldegrave it was bought by the late Baron de Stern, and isnow the property of his son.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4556": {
-    "English Original": "door\" to his friendship, and that he found these qualities in abundance among his personal friends may be seen from the following names of some with whom during the period covered by this chapter he was more or less intimately associated.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4557": {
-    "English Original": "Omitting the vast majority of his brother artists for the mutual affection that prevailed between him and them will be seen later on <supI</sup note amongst eminent literary men Whyte Melville, William Black, George Meredith, Gilbert,\n\n\n\nPinero, Tom Taylor, Charles Reade, Wilkie Collins, Mark Twain (Samuel Clemens), Bret Harte, Du Maurier, Archdeacon Farrar, Hamilton Aide, Rhoda Broughton, Henry James, John Forster, Matthew Arnold, and Robert Browning.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4558": {
-    "English Original": "Amongst the scientific men <supA</sup CAT.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4559": {
-    "English Original": "his principal friends w<supr</sup ere Sir\n\nHenry Thompson, Sir James Paget, Professor Blackie, and Sir Richard Owen.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4560": {
-    "English Original": "Politicians and diplomats included Lord Dufferin, Gladstone, Lord Salisbury, Lord Rosebery, Lord James, Sir William Harcourt, and Sir Clare Ford.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4561": {
-    "English Original": "Army and Navy Viscount Wolseley, Sir George Nares, and Captain Shaw.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4562": {
-    "English Original": "Musicians Madame Albani, Sainton Dolby, Madame Norman Neruda, Henry Leslie, Blumenthal, Frederic Clay, Arthur Sullivan, Corney Grain, Henschel, Duvernoy, Essipoff, Papini, and (last but not least) John Ella, from whom there is <supa</sup pile of interesting correspondence which of itself would fill one of these volumes.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4563": {
-    "English Original": "Actors Sir Henry Irving, Johnston, and Norman Forbes Robertson, Wallack, Joseph Jefferson, the Bancrofts, John Hare, and Arthur Cecil (Arthur Blunt).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4564": {
-    "English Original": "Of his intimate friends more particular notice w <supr</sup ill be found in the course of this work ; but none, <supI</sup may say, were more beloved by him than Sir John and Lady Constance Leslie, and Mr. and Mrs. Perugini.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4565": {
-    "English Original": "Nor must <supI</sup pass over here the distinguished Spanish artist Fortuny, for whom Millais had <supa</sup great regard.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4566": {
-    "English Original": "They met in Paris in 1867, and during his subsequent visits to England Fortuny was always <supa</sup w<supr</sup elcome guest at Cromwell\n\n HIS FRIENDS <sup423</sup\n\nPlace.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4567": {
-    "English Original": "In Rome, where he finally settled, his most intimate friend was D'Epine, the famous sculptor, whose pathetic letter announcing his death discloses at once the character of both the sculptor and his friend.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4568": {
-    "English Original": "From\n\n \" ROME,\n\n\" Sunday, November 22nd, 1874.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4569": {
-    "English Original": "MY DEAR MILLAIS, <supI</sup write quickly two words to tell you that our poor friend and great artist Fortuny is dead !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4570": {
-    "English Original": "It is like a brother <supI</suphave lost!",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4571": {
-    "English Original": "Since twelve years <supI</sup used to see him every day nearly.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4572": {
-    "English Original": "Last Sunday he was well.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4573": {
-    "English Original": "<supI</sup passed all the day at his studio, where he was showing to me his lovely studies from Portia, near Naples, where he spent all the summer ; and\n\ntoday he is cold !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4574": {
-    "English Original": "\"I write with tears in my eyes!",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4575": {
-    "English Original": "What <supa</sup loss for Art, for his friends, for his family, for his country!",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4576": {
-    "English Original": "It is a public mourning.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4577": {
-    "English Original": "Send <supa</sup word to Leighton to tell him this sad\n\nnews.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4578": {
-    "English Original": "<supI</sup have not the courage to tell you more.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4579": {
-    "English Original": "\"He died (in five days!)",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4580": {
-    "English Original": "from <supa</sup perniciosa fever he took, working in his garden.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4581": {
-    "English Original": "His doctor saw nothing, except yesterday morning, when only quinine was given to him.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4582": {
-    "English Original": "\"Yesterday, at three, he shook hands with me, saying, My poor D'Epine, <supI</sup feel <supI</sup am lost !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4583": {
-    "English Original": "He died two hours after !\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4584": {
-    "English Original": "Now is gone one of the most extraordinary artists of this century the chief of <supa</sup new school, <supa</sup good friend, <supa</sup man full of life and hope.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4585": {
-    "English Original": "<supI</sup tear like <supa</sup boy, writing these lines.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4586": {
-    "English Original": "<supI</sup have been happy enough to make his bust eighteen months ago !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4587": {
-    "English Original": "<supI</sup send <supa</sup photograph of it to you.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4588": {
-    "English Original": "You can send it to the Graphic or Ilhistrated London News if you wish.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4589": {
-    "English Original": "<supI</sup authorise them to publish it if they think proper.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4590": {
-    "English Original": "It is, <supI</sup think, the only portrait existing of him ! \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4591": {
-    "English Original": "Your friend, \" D'EPINE.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4592": {
-    "English Original": "Among Millais' distant friends were also Luder Barnay, the famous actor in German opera, and Jan van Beers, the celebrated French painter, from whom he received the following letters.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4593": {
-    "English Original": "Barnay's missive being the first English letter he\n\never penned, it is not surprising to find in it some reminis cence of \" English as she is spoke.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4594": {
-    "English Original": "The letter is dated June <sup1</sup 7th, 1881 :\n\n From Herr Luder Barnay.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4595": {
-    "English Original": "DEAR FRIEND AND GREAT ARTISTE, <supI</sup have promised to send our repertoire.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4596": {
-    "English Original": "| June | 23rd         |  | Cesar.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4597": {
-    "English Original": "'<br'Jules     |\n|||||\n|      | th<br2<br5 |  | Wolhlm<br'<brTell.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4598": {
-    "English Original": "|\n| M    | tn<br2<br7 |  | it                   |\n| ,,   | 3Oth         |  | '<brC^sar.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4599": {
-    "English Original": "'<brJules |\n\n\"This were the first words in English language which <supI</sup read.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4600": {
-    "English Original": "<supI</sup hope that the God of England you helpe to understand it. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4601": {
-    "English Original": "Believe me,\n\n\" Dear friend,\n\n\" Your sincereli, \" LUDER BARNAY.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4602": {
-    "English Original": "From M. Jan van Beers.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4603": {
-    "English Original": "10, RUE DELAROCHE, PASSY, PARis.fp\n\n\" MON CHER MAITRE, Je n'ai pas perdu pour attendre !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4604": {
-    "English Original": "The engraving is very fine and artistic, and the de'dicace is so kind and nice that <supI</sup feel quite proud and happy to have that sweet souvenir of you.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4605": {
-    "English Original": "There are plenty of painters, but great poets in painting are extremely rare, and <supI</sup consider you as the great poetpainter of our time.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4606": {
-    "English Original": "So you see why <supI</sup am so happy with that engraving of that Shakespearian picture, which tells the same tale as Hamlet's famous scene of the graveyard.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4607": {
-    "English Original": "When you come to Paris <supI</sup shall be delighted to expect you in my new house, which will only be entirely finished in November.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4608": {
-    "English Original": "<supI</sup hear with great pleasure your health is much better now.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4609": {
-    "English Original": "\"With many thanks and best wishes for your happiness, believe me, \" Respectfully yours,\n\n\" JAN VAN BEERS.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4610": {
-    "English Original": "<supI</sup shall send you the little smiling lady ; but as <supI</sup have only one small proof (I promised to Mr. Aird, our friend, not to have the picture reproduced) <supI</sup shall have it copied for you.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4611": {
-    "English Original": "$1869$ By permission or Thomas Agnew ana Sons\n\n\n\nAnd now to friends at home who yet remain to be introduced.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4612": {
-    "English Original": "Amongst them was <supa</sup young artist named Jopling, <supa</sup man of considerable talent, whose progress in his profession was hindered only by his habitual laissezfaire and an in ordinate love of amusement.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4613": {
-    "English Original": "He was extremely goodnatured, and blessed with <supa</sup sunny temperament that infected all with whom he came into contact.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4614": {
-    "English Original": "It was not long, therefore, after their first meeting in 1854 that Millais and he became firm friends, and when, in <sup1860</sup and 1861, they were both living in London, they saw <supa</sup good deal of each\n\n\n\nSTUDIES OF FROGS.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4615": {
-    "English Original": "Anxious to encourage him in his work, Millais com mended him to his friends, and frequently got commissionsfor him; but \"Joe\" (as he was always called) had other demands upon his time, and in his happy, careless way he attended to them rather than to the real business of his life.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4616": {
-    "English Original": "He was <supa</sup firstrate rifle shot, <supa</sup member of the English eight, and at Wimbledon in <sup1861</sup he won the Queen's Prize as the best marksman of the year.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4617": {
-    "English Original": "It was his success in this direction that Millais refers to in the following letter :\n\n To Mr. Joseph fopling.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4618": {
-    "English Original": "BOWERSWELL, PERTH,\n\n\"July 12th, <sup1</sup 86 1.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4619": {
-    "English Original": "<supI</sup feel bound to confess myself in error when <supI</sup said you would come to no good,' and that <supI</sup have not respected your wifle\\ qualities as <supI</sup should have done.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4620": {
-    "English Original": "My sincere congratulations, in which Mrs. M. begs to join.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4621": {
-    "English Original": "<supI</sup saw your chances in the competition increasing, as <supI</sup looked daily at the paper, but no more thought you would get the prize than you did yourself.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4622": {
-    "English Original": "\"All yesterday <supI</sup was out fishing with my two sistersinlaw\n\n\\ Mr. Jopling's R's were all W's.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4623": {
-    "English Original": "and <supa</sup party, but with no success, it was so terribly stormy.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4624": {
-    "English Original": "Do you think now of coming North ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4625": {
-    "English Original": "If so, come soon before <supI</sup return.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4626": {
-    "English Original": "<supI</sup am going to work at my pictures at once, and was very glad to see my children again.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4627": {
-    "English Original": "Do you get <supa</sup cup from the Queen, and <sup260</sup ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4628": {
-    "English Original": "What a handsome centrepiece for Mrs. J. to smile upon during the matrimonial dinner parties !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4629": {
-    "English Original": "Now you must get married to an heiress.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4630": {
-    "English Original": "Don <supI</sup lose time.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4631": {
-    "English Original": "Ever yours sincerely,\n\n\"J. E. MILLAIS.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4632": {
-    "English Original": "Don't forget Chapman and Hall in your prosperity.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4633": {
-    "English Original": "<supI</sup remember your hitting 'Aunt Sally' three times running at Mike's [Michael Halliday's] long range.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4634": {
-    "English Original": "If you come North we shall be very glad to see you.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4635": {
-    "English Original": "Yours truly, E. M.\"\n\nIn <sup1873</sup Joseph Jopling married the lady whose work and personality are now so well known in the Art world of London.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4636": {
-    "English Original": "Millais saw her for the first time in November of that year, and wrote at once from St. Mary's Tower : \"DEAR JOE, <supI</sup thought when <supI</sup left you you were <supa</sup 'gone coon.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4637": {
-    "English Original": "<supI</sup think she is very charming, and some people will say, <supa</sup great deal too good for you.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4638": {
-    "English Original": "...\"\n\nFor many years after that Mr. and Mrs. Jopling were constant visitors at Cromwell Place and Palace Gate, and many were the pleasant evenings we had when Joe and his clever wife dined with us en famille.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4639": {
-    "English Original": "In 1874 came another letter to Jopling, inviting him to Scotland, where Millais was then painting \"Over the Hills and Far Away.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4640": {
-    "English Original": "To the same.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4641": {
-    "English Original": "ERIGMORE, BIRNAM, PERTHSHIRE,\n\n\" September, \\ 874.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4642": {
-    "English Original": "DEAR JOE, <supI</sup am working now so hard that <supI</sup am never at home.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4643": {
-    "English Original": "My place of work is four miles away, and <supI</sup am working at other things outside.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4644": {
-    "English Original": "All the children, except George, have gone South ; but we have still plenty of young people here, as my brother is with us, and his wife, three children, and servants, Mr. and Mrs. Gray, etc., etc.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4645": {
-    "English Original": "George, who is here, caught <supa</sup beautiful clean salmon yester\n\nday, of <sup20</sup<supJ</sup Ibs.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4646": {
-    "English Original": "He is going to prepare for Cambridge, and after that the Bar.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4647": {
-    "English Original": "\"It has been very hard for me to work, with everyone about me idle, but now <supI</sup must buckle to in earnest.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4648": {
-    "English Original": "My wife manages all arrangements of visitors, so she appends directions.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4649": {
-    "English Original": "We have had Sir W. Harcourt and James here, and <supI</sup dined at Lord J.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4650": {
-    "English Original": "Manners', and met Disraeli, who is charming.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4651": {
-    "English Original": "Plenty of game here, and <supa</sup good billiardtable, which we squabble over.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4652": {
-    "English Original": "Give my regards to your wife, and kind remembrances to Sir C. and Lady Lindsay, whom <supI</sup would come over and see if it wasn't such a tiresome journey.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4653": {
-    "English Original": "Yours very sincerely,\n\n\"J. E.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4654": {
-    "English Original": "In 1879 Millais painted a portrait of Mrs. Jopling one of the finest that ever came from his brush.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4655": {
-    "English Original": "It was most favourably noticed in the Press, and to that circumstance may perhaps be attributed the following letter to the artist from <supa</sup stranger one Mr. George R. : \" SIR, May <supI</sup trouble you to tell me if you could undertake to paint two likenesses from the enclosed photographs ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4656": {
-    "English Original": "<supI</sup should like them done in oilpaint, on copper, if you recommend that style.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4657": {
-    "English Original": "<supI</sup have some others done in that way.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4658": {
-    "English Original": "<supI</sup should be glad to know your charge for the same.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4659": {
-    "English Original": "The portraits would have to be painted entirely from the photographs, as it would not be convenient for us otherwise, and <supI</sup may alsa state that having a large family to bring up, <supI</sup hope the expense will not be very great.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4660": {
-    "English Original": "What Millais thought of this may be gathered from his letter to Mr. Jopling, who, it must be added, was at that time laid up with an ailment affecting his legs.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4661": {
-    "English Original": "To Mr. Jopling. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4662": {
-    "English Original": "2, PALACE GATE, KENSINGTON, \" July 22nd, 1880.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4663": {
-    "English Original": "DEAR JOE, <supI</sup have just recommended your wife, in answer to the enclosed [the letter from Mr. George R.], so if you hear from the writer you will understand.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4664": {
-    "English Original": "What maniacs there are in the world !\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4665": {
-    "English Original": "<supI</sup hope, old boy, you will be soon about again.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4666": {
-    "English Original": "<supI</sup shall be working on here for some time yet.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4667": {
-    "English Original": "Got your letter last\n\n <sup430</sup JOHN EVERETT MILLAIS\n\nnight.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4668": {
-    "English Original": "Had already read poetry in World [some lines on Mrs. Jopling's portrait, entitled 'A Portrait by Millais'], and did not quite understand.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4669": {
-    "English Original": "Lunch is announced, so <supI</sup must 0.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4670": {
-    "English Original": "This only to show that <supI</sup am not insensible to your poor legs. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4671": {
-    "English Original": "Yours sincerely,\n\n\"J. E.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4672": {
-    "English Original": "In the following year Mr. Jopling's health unfortunately gave way so far as to incapacitate him from serious work as an artist.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4673": {
-    "English Original": "Some lighter occupation must therefore be found for him, and mainly through Millais' instrumentality this was .secured in the Fine Arts Society.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4674": {
-    "English Original": "As soon as Jopling had obtained the post he organised a small exhibition of Millais' paintings, which was held in the Bond Street rooms in 1881.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4675": {
-    "English Original": "In connection with this Millais wrote :\n\nTo Mr. Jopling.\n\n \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4676": {
-    "English Original": "2, PALACE GATE, KENSINGTON,\n\n\"March tfh, 1881.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4677": {
-    "English Original": "DEAR JOE, <supI</sup have <supa</sup great objection to the introduction of other works of mine into the exhibition, unless it is positively necessary.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4678": {
-    "English Original": "<supI</sup will write to Mr. Graham myself, rather than ' The Vale of Rest should leave ; and \\ Newlaid Eggs' must not be put into the Gallery.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4679": {
-    "English Original": "Time enough if another set of my works be shown.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4680": {
-    "English Original": "<supI</sup cannot say when <supI</sup can begin Tennyson [a portrait of Tennyson that he was commissioned to paint], <supI</sup am so fully occupied.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4681": {
-    "English Original": "<supI</sup cannot scamp work, and unless <supI</sup can do justice to the subject, <supI</sup am not going to undertake anything new.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4682": {
-    "English Original": "The public would be the first to cry out against me.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4683": {
-    "English Original": "Lord Beaconsfield comes on Tuesday and Wednesday, and <supI</sup have promised Sir H. Thompson to begin without loss of time.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4684": {
-    "English Original": "<supI</sup don't want to hear what old X says or thinks of my work.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4685": {
-    "English Original": "He has got up one unsuccessful Art Exhibition after another, and <supI</sup daresay is growling, albeit he has done good service at \n\n\" Yours sincerely,\n\n\"J. E. MILLAIS.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4686": {
-    "English Original": "\"I am very tired and want quiet.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4687": {
-    "English Original": "<sup1869</sup By permission of Thomas Agnnu and Sons\n\n\n\n HENRY O'NEIL, R.A. <sup433</sup\n\nThe following letters to Mrs. Jopling are characteristic.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4688": {
-    "English Original": "In June, 1881, she lost her eldest son, Percy Romer, and in December, 1889, her husband was also taken from her.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4689": {
-    "English Original": "To Mrs. Jopling.\n\n \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4690": {
-    "English Original": "2, PALACE GATE, KENSINGTON,\n\n\"June 5///, <sup1</sup 88 1.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4691": {
-    "English Original": "DEAR MRS. JOPLING, Sophy tells me you would like <supa</sup line from me.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4692": {
-    "English Original": "What to say, more than that you have been\n\nin my thoughts ? \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4693": {
-    "English Original": "When George [Millais' second son] died, <supI</sup felt grateful for my work.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4694": {
-    "English Original": "Get you as soon as possible to your easel, as the surest means not to forget, but to occupy your mind wholesomely and even happily.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4695": {
-    "English Original": "Yours affectionately,\n\n\" JOHN MILLAIS.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4696": {
-    "English Original": "Another artist who was frequently at Cornwall Place was Henry O'Neil, R.A., an intimate friend of both Millais and Phillip, and a painter of pictures that seldom failed to catch the fancy of the public.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4697": {
-    "English Original": "He was <supa</sup martyr to gout and some what choleric, but withal <supa</sup most kindhearted man.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4698": {
-    "English Original": "<supA</sup philanthropist, too, in his way one of the Old Club type and not without some pretension as <supa</sup poet.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4699": {
-    "English Original": "Indeed, much of his leisure time must have been spent in the writing of verses ; for he was constantly sending them to Millais or his wife with <supa</sup quaint little note, such as this : \" <supI</sup send you my latest song <supI</sup hope not the worst.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4700": {
-    "English Original": "<supI</sup get yearly the first primrose from <supa</sup maiden aged seventy, whom for thirty years <supI</sup have reverenced on account of her filial duty.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4701": {
-    "English Original": "Don't be angry with me for not calling.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4702": {
-    "English Original": "<supI</sup have not put <supa</sup shoe on for months.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4703": {
-    "English Original": "This note is dated March, 1876, and the tender sentiment of the song enclosed in it strongly appeals to me for admission.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4704": {
-    "English Original": "But <supI</sup must limit myself to but two specimens of O'Neil's muse.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4705": {
-    "English Original": "In quite another vein is the following \" Reflection,\" with which he writes : \" <supI</sup have had another note from Froude anent Mary Stuart's last words.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4706": {
-    "English Original": "He thinks <supI</sup have not made her defiant.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4707": {
-    "English Original": "<supI</sup never yet heard of defiance on the bed of\n\ndeath.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4708": {
-    "English Original": "In the picture <supI</sup am painting of Mary at Loch Leven, there shall be no want of defiance.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4709": {
-    "English Original": "In Youth, <supI</sup wandered over Westbourne Plain, And fed my eye on buttercups and daisies.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4710": {
-    "English Original": "In Age, <supI</sup wander on the path again : Daisies and buttercups are gone to blazes, And, in their stead, <supI</sup see <supa</sup beastly lot Of stucco villas built upon the spot.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4711": {
-    "English Original": "Thus marches ' Progress ever to destroy (From what is called ' Necessity ') all things That from their very nature gave us joy.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4712": {
-    "English Original": "And the said cursed ' Progress never brings The pleasure which, once felt, can come no more.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4713": {
-    "English Original": "'Tis easy to destroy.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4714": {
-    "English Original": "But how restore ? \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4715": {
-    "English Original": "O'Neil was fond of cards, in which Millais occasionally joined him at the Garrick Club.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4716": {
-    "English Original": "He refers to this in an amusing squib on sprats, from which <supI</sup subjoin a few stanzas.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4717": {
-    "English Original": "<supA</sup wealthy man prefers <supa</sup Severn Salmon ; The poor man is content with humble Sprats.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4718": {
-    "English Original": "To one, aught but Champagne is simply gammon ; The other is content with Barclay's vats.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4719": {
-    "English Original": "Except that one is cheap and t'other dear, What special virtue has Champagne o'er Beer ?\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4720": {
-    "English Original": "In my young days two guineas <supI</sup have spent On models to produce <supa</sup priceless gerri.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4721": {
-    "English Original": "To gilder's hands another guinea went.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4722": {
-    "English Original": "<supI</sup looked to connoisseurs for gain.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4723": {
-    "English Original": "For when <supI</sup 'd done the utmost <supI</sup could do, <supI</sup sold my priceless gem for two pounds two.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4724": {
-    "English Original": "That, as the Proverb says, may be as bad As baiting herring just to catch <supa</sup sprat : But in the process there was nothing bad : <supI</sup lost a guinea, and don't care for that.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4725": {
-    "English Original": "Making <supa</sup fortune has not been my forte, And men must pay <supa</sup trifle for their sport.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4726": {
-    "English Original": "Poor <supI</sup have been, and poor shall ever be, Whilst Millais plays with me at 'Fifteen two.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4727": {
-    "English Original": "Champagne and Hock have little charm for me, Nor Bass, nor Barclay can my stomach woo ; So <supI</sup rely on Leotia's whiskey dairies, And tone their potence by Apollinaris.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4728": {
-    "English Original": "St. Peter was <supa</sup fisherman, 'tis said, And no doubt fond of fish ; but yet the Sprat Judaea's lakes tried not, nor Sea called ' Dead.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4729": {
-    "English Original": "<supI</sup think there 's something to be made of that ; For when <supI</sup 'm dead, with Peter <supI</sup '11 be even, And, with a Sprat for fee, sneak into Heaven.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4730": {
-    "English Original": "Fred Walker, the famous artist (now, alas, no more), was also <supa</sup most intimate friend of Millais, and beloved by all the family ; as well he might be, for he was the very soul of goodness and human sympathy.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4731": {
-    "English Original": "Unhappily for himself, he was so sensitive that an adverse word from the critics would crush him to the ground.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4732": {
-    "English Original": "In my father's estimation he was the finest watercolour painter of the century, a genius of the highest order, intensely alive to the poetry of Nature, and supreme in his power of expressing it ; and now that he is gone the whole world seems disposed to share this sentiment.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4733": {
-    "English Original": "His favourite amusement was fishing, and during the seventies, when he was <supa</sup frequent visitor at Perth, this was his great delight.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4734": {
-    "English Original": "It was at Stobhall that, under my father's guidance, he first became acquainted with the salmon ; and <supa</sup bad time he had of it upon one occasion.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4735": {
-    "English Original": "While fishing off a rock, he got hold of <supa</sup real big one, and was so wildly excited that he fell head over ears into the water, and would probably have been drowned but for <supa</sup timely rescue.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4736": {
-    "English Original": "My aunt, Mrs. Stibbard, has <supa</sup delightful drawing by him, illustrating \"The Temptation of St. Anthony Walker.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4737": {
-    "English Original": "Again, when deepdea fishing at St. Andrews, he had <supa</sup narrow escape from drowning.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4738": {
-    "English Original": "He was in <supa</sup boat with Millais and his family, and about two miles from the shore, when <supa</sup gale suddenly sprang up and drifted them towards dangerous rocks.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4739": {
-    "English Original": "Having no sail, their only chance of escape was to pull for their lives through these two miles of raging sea ; and they did it, though the hard work took the skin off poor Walker's hands, and he was quite ex hausted when they reached the harbour.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4740": {
-    "English Original": "Habitually nervous as he was, on this occasion he never for a moment lost his selfpossession.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4741": {
-    "English Original": "Then there was Owen, simplest of men and most learned of comparative anatomists \"dear old Owen,\" as we used to call him, and rightly so, for he was <supa</sup friend of the whole family, and his kindness to the younger members could hardly have been greater if they had been his own children.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4742": {
-    "English Original": "Many <supa</sup time did he take my brothers and myself to the big museum in Bloomsbury, and discourse to us on subjects that caught our fancy, making even dry old bones live again under the spell of his marvellous revelations.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4743": {
-    "English Original": "In his own house, too, at Richmond, he made us heartily welcome whenever we chose to go.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4744": {
-    "English Original": "It was after one of our visits there that this charming letter of his was sent to my mother :\n\n From Professor Oiuen.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4745": {
-    "English Original": "\"SHEEN LODGE, RICHMOND PARK, S.\\Y.,\n\n\"December 22nd, 1869.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4746": {
-    "English Original": "DEAR MRS. MILLAIS, To whom can one open one's heart but to the young and guileless ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4747": {
-    "English Original": "At least in my den here, where <supI</sup study so many and such varieties of natures, affected by time and the battle of life.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4748": {
-    "English Original": "itwill come\n\nquite soon enough upon them, the dear lads ! \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4749": {
-    "English Original": "Well, <supI</sup 'm glad they felt that <supI</sup wanted to make their visit profitable.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4750": {
-    "English Original": "But they must be up in their ' Seven\n\nWonders' when they next put in an appearance.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4751": {
-    "English Original": "\"We have had our share of weather damage, and Caroline is now laid up with her cold ; but <supI</sup must have laid such a healthy layer of ' epithelial scales : on my bronchial tubes in Egypt that <supI</suprepelled the first attack of frost speedily.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4752": {
-    "English Original": "With every good wish to Millais and yourself and all those about your Christmas hearth,\n\n\" <supI</sup remain, always truly yours,\n\n\" RICHARD Owi.x.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4753": {
-    "English Original": "And finally Browning, musician and poet \"the most unpopular poet that ever was,\" as he describes himself in one of his letters, and yet <supa</sup singer of so high <supa</sup merit that <supa</sup special cult is now devoted to the study and dissemination of his works.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4754": {
-    "English Original": "It was early in 1862 shortly after the death of his wife (Elizabeth Barrett Browning), who, like himself, was <supa</sup distinguished poet that Millais and he first came together ; and, as might be expected of two such congenial spirits, their acquaintance speedily ripened into a firm and lasting friendship.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4755": {
-    "English Original": "<sup1872</sup By permission of Mr J. Orrock\n\n\n\nThe two following letters will, <supI</sup think, be read with interest now that both the writer and those whom he addressed have passed away for ever.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4756": {
-    "English Original": "Browning's views on the art of poetry, as expressed in the first of these letters, were called forth by <supa</sup letter from my mother, who submitted for his opinion and advice <supa</sup poem by <supa</sup young friend of hers, who had some thought of <supa</sup literary career.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4757": {
-    "English Original": "The second letter, too, demands <supa</sup word of explanation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4758": {
-    "English Original": "Browning's son, Penn, having determined to follow Art as <supa</sup profession, my father, who took great interest in the boy, gave him all the help in his power, and (I trust <supI</sup am betraying no secret in saying this) considerably improved his first picture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4759": {
-    "English Original": "From Robert Broivning.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4760": {
-    "English Original": "19, WARWICK CRESCENT, \" UPPER WESTBOURNE TERRACE,\n\n\"January \\jth, 1867.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4761": {
-    "English Original": "\"DEAR MRS. MILLAIS, <supI</sup hardly know what to advise about the poems.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4762": {
-    "English Original": "All depends on the state of development in which the writer's mind may be ; because, if these pieces were ultimates, so to speak, and the productions of maturity, one would have to say that in Poetry, by ancient prescript, only the best is bearable, and these are not best in any salient point of originality, thought, or expression.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4763": {
-    "English Original": "On the other hand, if they are the beginnings, really and truly, of the author, <supI</sup could hope for <supa</sup good deal in the end from the very imperfections of what is given here.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4764": {
-    "English Original": "There is a distinct conception in each piece something the writer had in mind to say before beginning and the workingout of the same has been <supa</sup matter of less importance.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4765": {
-    "English Original": "There is not the usual iising iip of the effect produced by a sympathy with somebody else's poetry, which people suppose to be <supa</sup spontaneous effect of their own minds, and treat accordingly.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4766": {
-    "English Original": "Above all, there is not the usual singing away till, peradventure, some thought or other turn up in the course of it ; that is, the thought suggests the tune, not the tune the thought.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4767": {
-    "English Original": "But there is hardly more than the impulse toward the right direction, <supI</sup think not any so positive excellence as to make one cry that the mark is hit, unless, perhaps, in some of the capital verses for children, The Baby House,' for instance.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4768": {
-    "English Original": "All this means only that <supI</sup am certain that the writer is too poeticallyminded <supa</sup person (let the worst come to the worst) to be consigned to any rank below that of the strivers after the best ; and those who only want to be better than this, or no worse than that of the hundreds of rhyme makers 'going,' might honestly be complimented on the prettiness of such a performance.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4769": {
-    "English Original": "But wherever there is <supa</sup chance of getting a bird of the true sort, one finds the heart to say, Don't twitter, though all the sparrows do, but sing,' since such things happen sometimes, and then we get <supa</sup lark or <supa</sup nightingale, or even an owl, which last is by no means to be despised.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4770": {
-    "English Original": "Moreover, you here have the opinion of the most unpopular poet that ever was, and so will be sure not to mind too much the sour sayings of the like of him !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4771": {
-    "English Original": "If the writer continues to feel and think as earnestly as now, and lets the feeling and thought take the words and music they immediately suggest, just as if the experiment of expression were being tried for the first time, not neglecting meanwhile the mechanical helps to this in the way of proper studies both of Nature and Art, as well as the secret of the effectiveness of whatever poetry does affect the said author (not repeating nor copying those 'effects,' but finding out, <supI</sup mean, why they prove to be effects, and so learning how to become similarly effective), <supI</sup don't see why success might not be\n\nhoped for ; and then it is success worth getting. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4772": {
-    "English Original": "There, my dear Mrs. Millais !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4773": {
-    "English Original": "Could one but help anybody never so infinitesimally !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4774": {
-    "English Original": "<supI</sup give true good wishes to the author, in any case.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4775": {
-    "English Original": "Very faithfully yours,\n\n\" ROBERT BROWNING.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4776": {
-    "English Original": "\"19, WARWICK CRESCENT,\n\n\"May iQth, 1878.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4777": {
-    "English Original": "MY BELOVED MILLAIS, You will be gladdened in the kind heart of you to learn that Penn's picture has been bought by Mr. Fielder <supa</sup perfect stranger to both of us.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4778": {
-    "English Original": "You know what your share has been in his success, and itcannot but do <supa</sup world of good to <supa</sup young fellow whose fault was never that of being insensible to an obligation. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4779": {
-    "English Original": "Ever affectionately yours,\n\n\"ROBERT BROWXIM;.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4780": {
-    "English Original": "<sup1879</sup By permission o Mrs. JotlingRowe\n\n\n\nBrowning, needless to say, was always <supa</sup welcome guest at Palace Gate, and when the occasion called for it no one enjoyed more than he any bit of nonsense that might arise.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4781": {
-    "English Original": "One evening after dinner the guests amused themselves by trying who could get the most words into <supa</sup given space with some old stumps of pens that Millais had cast aside as useless, when Browning produced the following as the re sult of his effort :\n\n \" <supI</sup sprang to the stirrup, and Joris and he ; <supI</sup galloped, Dirck galloped, we galloped all three.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4782": {
-    "English Original": "cried the gate as the gatebolts undrew, Speed !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4783": {
-    "English Original": "echoed the wall to us, galloping through.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4784": {
-    "English Original": "Then the (illegible} As into the midnight we galloped abreast.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4785": {
-    "English Original": "\"ROBERT BROWNING, June 4///, 1882.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4786": {
-    "English Original": "And here, <supI</sup think, may be fitly introduced <supa</sup paper byMrs.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4787": {
-    "English Original": "Jopling now Mrs. JoplingRowe which, with her habitual kindness and consideration, she has sent me as a contribution to this work.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4788": {
-    "English Original": "It is entitled\n\n \"RECOLLECTIONS OF SIR JOHN MILLAIS.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4789": {
-    "English Original": "\"The first time <supI</sup saw John Everett Millais was at one of the private views of the old masters at Burlington House.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4790": {
-    "English Original": "<supI</sup was walking with <supa</sup mutual friend. '",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4791": {
-    "English Original": "Here comes Millais,' he said.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4792": {
-    "English Original": "You can imagine my excitement.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4793": {
-    "English Original": "<supI</sup stared with all my eyes.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4794": {
-    "English Original": "My friend said, Good show of old masters !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4795": {
-    "English Original": "Old masters be bothered !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4796": {
-    "English Original": "<supI</sup prefer looking at the young mistresses!'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4797": {
-    "English Original": "said Millais, with <supa</sup humorous glance at me as he walked off.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4798": {
-    "English Original": "My companion roared with laughter.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4799": {
-    "English Original": "There is only Johnny Millais who would dare to make a remark like that !\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4800": {
-    "English Original": "<supI</sup remember his telling me an incident that happened to himself.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4801": {
-    "English Original": "He was dining out, and, of course, sitting next the hostess.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4802": {
-    "English Original": "On his right was <supa</sup charming Society woman, who evidently had not caught his name when he was introduced to her, for she presently, during a pause, started the usual subject of conversation in May the Academy.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4803": {
-    "English Original": "Isn't Millais too dreadful this year ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4804": {
-    "English Original": "And then, seeing the agonised contortions on her hostess's countenance, she said, Oh, do tell me what <supI</sup 've done.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4805": {
-    "English Original": "Look at Mrs.  's face <sup1</sup <supI</sup must have said or done something terrible.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4806": {
-    "English Original": "Well,' laughed Millais, 'you really have, you know.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4807": {
-    "English Original": "' Better nerve yourself to hear.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4808": {
-    "English Original": "Drink this glass of sherry first.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4809": {
-    "English Original": "Yes, yes ; now what is it ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4810": {
-    "English Original": "For answer Millais said nothing, but, looking at her, pointed solemnly to himself.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4811": {
-    "English Original": "When it dawned upon her who her neighbour was, she was spared any confusion by Millais' hearty laughter at her malapropos speech.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4812": {
-    "English Original": "\"Millais was godfather to my boy, and Sir Coutts Lindsay was the other one.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4813": {
-    "English Original": "We had registered the infant as Everett Millais Lindsay.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4814": {
-    "English Original": "<supI</sup was not present at the christening, but when he and my husband came back to the house, he said to me, Look here, Mrs. Joe, we have called the boy Lindsay Millais.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4815": {
-    "English Original": "It will be so much nicer when he is in love, for his girl to call him Lindsay.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4816": {
-    "English Original": "Lindsay is so much softer than Everett, don't you think so ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4817": {
-    "English Original": "I only thought it was like the modest delicacy of the man, who hated, even in a trifle like this, to be prominently put before\n\nanyone else. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4818": {
-    "English Original": "For many years he came every year to criticise the work we were sending in to the Academy, and no man in the world has ever given such frank, truthful, and kindly criticism. '",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4819": {
-    "English Original": "Yes, yes, very good ; but And the ' but was invaluable.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4820": {
-    "English Original": "Then it was, Haven't you got any more work ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4821": {
-    "English Original": "<supI</sup like to see lots, you know !\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4822": {
-    "English Original": "In the same way he accepted criticism on his own work frankly, heartily, and gratefully.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4823": {
-    "English Original": "<supa</sup fresh eye is the thing.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4824": {
-    "English Original": "Now, tell me, is there anything else you see ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4825": {
-    "English Original": "\"Ah, what <supa</sup genius what <supa</sup man!",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4826": {
-    "English Original": "And what delightful moments were those spent on Sunday morning in his studio, when he welcomed any artistic friend.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4827": {
-    "English Original": "After talking pictures, he would always say, Well, what's the news ?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4828": {
-    "English Original": "He loved to hear news of his friends ; and, unlike most traffickers of news, he never said or thought an illnatured thing of any living soul.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4829": {
-    "English Original": "He always recognised the good points of his friends as he would the beauties of Nature.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4830": {
-    "English Original": "When he made <supa</sup joke one saw it coming in the humorous twinkle his eye gave forth, as when he said to me when he was painting my portrait, Ah, my godson !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4831": {
-    "English Original": "<supI</sup never gave him <supa</sup cup at his christening, so <supI</sup '11 give him the \"mug\" of his mother now.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4832": {
-    "English Original": "\" He painted my portrait in the extraordinary short time of five sittings.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4833": {
-    "English Original": "In his generous way he wished to divide the credit. '",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4834": {
-    "English Original": "Ah, it takes <supa</sup good sitter to make <supa</sup good portrait.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4835": {
-    "English Original": "If you had not sat so well, <supI</sup shouldn't have made\n\nsuch a good thing of it, but then he would laugh I nearly killed you, you know !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4836": {
-    "English Original": "For the five consecutive days' standing had really knocked me up.\n\n\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4837": {
-    "English Original": "The Princess of Wales said to him once, whilst looking at several pictures in his studio, <supI</sup wonder you can bear to part with them, Mr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4838": {
-    "English Original": "'Oh, ma'am,' answered Millais, w <supr</sup hen <supI</sup finish <supa</sup picture, <supI</sup am just like <supa</sup hen having laid an egg ; <supI</sup cry, \" Come and take it away !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4839": {
-    "English Original": "come and take it away ! \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4840": {
-    "English Original": "And then <supI</sup start upon another picture.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4841": {
-    "English Original": "The Royal Family were most sympathetic to him in his last illness.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4842": {
-    "English Original": "<supI</sup remember coming away from seeing him one day, after having had <supa</sup onesided conversation with him <supI</sup talking and he responding on the slate he had to use when his voice failed him.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4843": {
-    "English Original": "A thought struck me that it seemed <supa</sup pity to erase the last sayings of so rare <supa</sup being.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4844": {
-    "English Original": "<supI</sup was due at <supa</sup sale of work at the Royal School of Art Needlework, and at Princess Christian's stall <supI</sup looked about for an appropriate notebook, which might in after days be held precious to those (and there were many) who loved John Millais.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4845": {
-    "English Original": "On making my want known to the Princess, she immediately said, Oh !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4846": {
-    "English Original": "let me give it him.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4847": {
-    "English Original": "<supI</sup should like to so much !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4848": {
-    "English Original": "<supI</sup asked her to write her name in it, which she\n\nimmediately did, and <supI</sup took it back to the dear patient. \"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4849": {
-    "English Original": "He was most true in his appreciation of other men's work, and preferred that which was very highly finished.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4850": {
-    "English Original": "<supI</sup think he bought an example of Tito Contis simply for the reason of its high finish.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4851": {
-    "English Original": "He was <supa</sup great admirer of Mr. Marcus Stone's work.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4852": {
-    "English Original": "<supI</sup never once heard him disparage another man's work.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4853": {
-    "English Original": "If he had nothing good to say about it, he said nothing.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4854": {
-    "English Original": "He was always delighted to come across anyone who had <supa</sup love of Art.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4855": {
-    "English Original": "Even young children or rank outsiders he would notice.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4856": {
-    "English Original": "After a visit from them, he would say, Ah !",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4857": {
-    "English Original": "<supI</sup noticed Soandso had quite intelligent views\n\nabout Art.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4858": {
-    "English Original": "He must be fond of pictures.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4859": {
-    "English Original": "\" His power of aptly illustrating his meaning was unsurpassed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4860": {
-    "English Original": "When <supI</sup started my School of Art <supI</sup consulted with Sir John about it, and asked his opinion as to whether it would be <supa</sup good thing to teach by 'demonstration,' i.e., to paint <supa</sup head from the model in one sitting before the pupils.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4861": {
-    "English Original": "Why of course,' said Millais, 'that is the best way.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4862": {
-    "English Original": "If <supI</sup wanted to teach <supa</sup man how to play billiards, <supI</sup wouldn't correct each stroke he made ; <supI</sup would take the cue myself and show him how to hit the ball.'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4863": {
-    "English Original": "A little reminiscence of sport <supa</sup la Fran\\$aise may fitly conclude this desultory chapter.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4864": {
-    "English Original": "In the early seventies Millais and his wife were staying with Baron Marochetti at his place, the Chateau de Vaux, near Passy a fine old castle in admirable preservation that recalled, as my mother used to say, \" Four grey walls and four grey towers overlooking <supa</sup space of flowers.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4865": {
-    "English Original": "Knowing Millais' love of sport, the Baron got up a shootingparty for him, aided by his eldest son, Maurice, now the Italian Ambassador to Russia.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4866": {
-    "English Original": "Early in the morning the whole house was awakened with the tootling of horns and the barking of dogs ; and greatly amused were the guests when, on going to the windows, they discovered the meaning of this excitement.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4867": {
-    "English Original": "It was all in honour of \" Brer Rabbit.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4868": {
-    "English Original": "Ferrets had already paid him <supa</sup visit, and now he was to be waited on by the owner of the castle and his friends, who were at that moment assembled in the courtyard, attired in gorgeous Lincolngreen coats, high boots with tassels, slouch hats with feathers, and every man of them with <supa</sup huge curly horn slung on his back, to say nothing of a cartridgebelt and a gun.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4869": {
-    "English Original": "At the appointed time, when everyone was down and had breakfasted, the party adjourned to the scene of action.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4870": {
-    "English Original": "Each sportsman was provided with <supa</sup kitchen chair at the position Javorable, and there he sat and awaited his prey.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4871": {
-    "English Original": "Then bang went the gun, and if successful the gunner proclaimed the fact by <supa</sup performance on his horn.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4872": {
-    "English Original": "Such is (or was) \"\"sport,\" as translated into French.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4873": {
-    "English Original": "I.\n\nPLYMOUTH WILLIAM BRENOON AND SON\n\nPRINTERS\n\n\n\n\n\nUniversity of California<brSOUTHERN REGIONAL LIBRARY FACILITY Return this material to the library RECEIVED it was borrowed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4206160935_s4874": {
-    "English Original": "MAY 10 1990<brQL ART LIBRARY 醚 CG1 01 1990 RECEIVED  $JUN = 2  4$ ART LIBRARY",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0001": {
-    "English Original": "SHAKESPEARE AND THE MAGIC LANTERN JUDITH BUCHANAN\n\nIn 1841/2, a magic lanternist calling himself 'Timothy Toddle' wrote down, for his own reference, the running order for his slides.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0002": {
-    "English Original": "Alongside each numbered and titled slide, he scripted an accompanying commentary.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0003": {
-    "English Original": "Toddle, it seems, wanted to ensure both the correct sequencing of his material and the fluency of his public patter.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0004": {
-    "English Original": "His show opened, as was customary, with an introductory 'Welcome' slide and closed with one reading 'Good Night' and another 'God Save the Queen'.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0005": {
-    "English Original": "Between these end points, the show consisted of approximately 180 other slides, ranging significantly in theme and tone.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0006": {
-    "English Original": "The surviving running order reveals that in the midst of slide sequences such as 'A very clever trick of clowns', 'Miss Lucy swinging from a Walnut tree', 'Punch and Judy', 'Mr Pickwick running after his hat' and 'Lord Byron – a poet of the first rate talent but of the most seductive & dangerous principles', Toddle also dropped in slides illustrating two dramatic moments from Macbeth, each accompanied by a summarized narration of the relevant section of the drama and some select Shakespearian quotation.<sup1</sup\n\nSubsequently, Toddle's script passed to another lanternlecturer who, in c.1870, made some modifications and additions to it in a discernibly different hand.<sup2</sup This later lanternist's additions included two further Shakespearean sequences, from Hamlet and Richard III respectively.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0007": {
-    "English Original": "As had been the case for the original Macbeth section, both additional Shakespearian sequences were accompanied by some scripted narration and gobbets of appropriate quotation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0008": {
-    "English Original": "The Toddle document is, as far as I am aware, unique in the insight it offers into the flavour of a nineteenthcentury magic lantern show in its totality.<sup3</sup It tells of the variety of types of slide that could be included in a single show, the extent and tenor of the commentary that might accompany them and, through its passage down the century and subsequent modification, the adaptability of such shows according to the preferences of the lanternist, the prevailing cultural climate and the current availability and modishness of particular slides.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0009": {
-    "English Original": "Later in this article, in the context of a discussion of other uses\n\n<sup1</sup This surviving handwritten lantern reading consists of six sheets of paper folded and sewn into a booklet of 24 pages.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0010": {
-    "English Original": "Topical news items mentioned in the script (the recent birth of the Prince of Wales and the imminent opening of the Thames Tunnel) help to date it to 1841 or early 1842.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0011": {
-    "English Original": "The surviving manuscript, complete with later additions, is now held by the Magic Lantern Society of Great Britain (MLS).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0012": {
-    "English Original": "A helpful transcription of it is reproduced in Dennis Crompton, David Henry and Stephen Herbert, eds., Magic Images: The Art of HandPainted and Photographic Lantern Slides (London, <sup1990</sup), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0013": {
-    "English Original": "<sup2</sup This later lanternist also had the revised manuscript booklet\n\nbound (or rebound), presumably to ensure its continued usefulness as a blueprint for entertaining lantern shows.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0014": {
-    "English Original": "Given the surviving evidence about known lanternists, it seems reasonable to assume that Toddle's successor was also male.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0015": {
-    "English Original": "I take the c.1870 date of the later handwritten modifications from Crompton, Henry and Herbert.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0016": {
-    "English Original": "The slides themselves from the Toddle collection have not, as far as we know, survived.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0017": {
-    "English Original": "<sup3</sup Many slide readings produced by slide manufacturers to\n\naccompany the sale of particular themed sequences (typically of ten to fourteen slides each) survive.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0018": {
-    "English Original": "However, the scope of Toddle's script surpasses these, designed as it was to incorporate such ministories within a script for the entire show.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0019": {
-    "English Original": "of Shakespeare within the institutional life of the magic lantern, I discuss the particular, and evolving, contribution of Shakespeare to the scripted lantern entertainment originally designed by Toddle.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0020": {
-    "English Original": "Two fundamental pieces of evidence provided by this manuscript of relevance to the current enquiry are, however, worth noting at this introductory stage: first, Shakespeare's presence within magic lantern shows at all, as one in an eclectic mix of narrative and nonnarrative subjects; and second, the augmentation of the Shakespearian aspects of the show later in the century as a greater range of such slide sequences became available and their popularity increasingly assured.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0021": {
-    "English Original": "∗∗∗\n\nThe nineteenth century witnessed a diverse range of engagements with Shakespeare, both earnest and satiric.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0022": {
-    "English Original": "Many of these forms of Shakespearian cultural expression have been well documented and discussed.<sup4</sup This is not, however, the case for Shakespeare in the magic lantern.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0023": {
-    "English Original": "On the few occasions when nineteenthcentury Shakespearian lantern sequences have been discussed, they have tended to be cited (including by me) principally to compromise the claim that 1899 (when Herbert Beerbohm Tree made his pioneering film of King John) constituted a definitive beginning for the history of 'screened Shakespeare'.<sup5</sup In this article, I treat Shakespeare and the magic lantern as a subject in its own right rather than as an introductory tool for retrospectively redefining the history of Shakespeare in another medium.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0024": {
-    "English Original": "To clarify the import and profile of Shakespeare's presence in the magic lantern, I begin with an account of the culture and operations of the lantern per se.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0025": {
-    "English Original": "I then turn to the particular, and ranging, uses to which the lantern put Shakespeare as one element within its considerable and influential repertoire of entertainment and edification.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0026": {
-    "English Original": "the lantern: mechanisms, uses, profile\n\nA technological curiosity in the latter half of the seventeenth century, through the eighteenth and nineteenth centuries the magic (or optical) lantern then became a wellestablished, and increasingly influential, part of European education and socially diverse entertainment.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0027": {
-    "English Original": "By the 1890s, it had accrued a rich technological, artistic and sociological history on both sides of the Atlantic.<sup6</sup Lanterns formed part of ghostly exhibitions, church meetings, travelling shows, variety divertissements and special lectures.<sup7</sup For those who could afford such things, the lantern also formed an increasingly regular part of domestic entertainments.<sup8</sup For present purposes, however, it is public lantern shows, and the\n\nsee David Robinson, ed., The Lantern Image (London, <sup1993</sup).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0028": {
-    "English Original": "<sup8</sup For Samuel Pepys's <sup19</sup August <sup1666</sup account of a lantern show in his home, see Robert Latham and William Matthews, eds., The Diary of Samuel Pepys, vol.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0029": {
-    "English Original": "7 '1666' (London, 1972), p. 254; for Charles Dickens's plans to host a lantern exhibition at home for his son's birthday party, see letter of 31 December, 1842, reproduced in M. House, G. Storey, K. Tillotson et al., eds., The British Academy Pilgrim Edition of the Letters of Charles Dickens, vols.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0030": {
-    "English Original": "1–12 (Oxford, 1965–2002), vol.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0031": {
-    "English Original": "3 (1974), p. 416.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0032": {
-    "English Original": "For advice to amateur lanternists on subjects suitable for a 'parlour entertainment' for 'the domestic circle', see Anon, 'The Magic Lantern: Its Construction, Illumination, Optics & Uses', The Optical Magic Lantern Journal and Photographic Enlarger, vol.1 no.1 (15 June, 1889), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0033": {
-    "English Original": "<sup4</sup See, for example, the exploration of the Victorian predilection for puncturing the cultural sanctity of Shakespeare through burlesques, comic songs, cartoon sketches and skittish poems in Richard W. Schoch, Not Shakespeare: Bardolatry\n\nand Burlesque in the Nineteenth Century (Cambridge, <sup2002</sup).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0034": {
-    "English Original": "<sup5</sup Discussions of Shakespeare lantern exhibitions as context for the story of Shakespeare on screen include John Collick, Shakespeare, Cinema and Society (Manchester, 1989), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0035": {
-    "English Original": "12–32 and Judith Buchanan, Shakespeare on Silent Film: An Excellent Dumb Discourse (Cambridge, 2009), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0036": {
-    "English Original": "The current\n\narticle subsumes and develops that section.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0037": {
-    "English Original": "<sup6</sup An estimated <sup75</sup,000–150,<sup000</sup lantern shows of varying styles were on offer in America each year in the latter half of the nineteenth century.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0038": {
-    "English Original": "See Terry Borton, Cinema before Film: Victorian Magic Lantern Shows and America's First Great Screen Artist, Joseph Boggs Beale (forthcoming).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0039": {
-    "English Original": "Prepublication excerpts posted at: www.magiclanternshows.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0040": {
-    "English Original": "com/filmhistory.htm, hereafter Borton online.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0041": {
-    "English Original": "For a history of American lantern shows, see also Charles Joseph Pecor, The Magician and the American Stage (Washington, DC, 1977) and Xenophon Theodore Barber, 'Evenings of Wonders: A History of the Magic Lantern Show in America', unpublished PhD dissertation, New York University (1993).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0042": {
-    "English Original": "<sup7</sup For an iconographic history of lantern shows and audiences,\n\nvaried audiences that attended these, that will be of interest.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0043": {
-    "English Original": "The lantern worked by projecting onto a wall or screen images drawn, painted or eventually printed onto glass slides.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0044": {
-    "English Original": "These slides were inserted in turn into a slot in the side of a box (lantern) illuminated from behind first by a candle and then, as the technology developed, by a paraffin flame, a carbon arc, a gas discharge lamp and, in time, an electric bulb.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0045": {
-    "English Original": "The projection could be in vivid colour and the projected image sharp and clear.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0046": {
-    "English Original": "The use of more than one lantern trained on the same point on the screen, or a lantern that contained multiple slideloading points (a diunial or triunial) enabled images to replace each other in rapid succession, creating the impression of movement.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0047": {
-    "English Original": "As early as 1713, Jonathan Swift had reported of a lantern show that 'I went afterwards to see a famous moving picture, and I never saw anything so pretty'<sup9</sup (my emphasis) and, by the midnineteenth century, the lantern's range of possible effects simulating movement was striking.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0048": {
-    "English Original": "It was, for example, possible to create the popular 'dissolving views' by bringing up the light on one slide while simultaneously taking it down on another, the transition from one version of a scene to another (a winter landscape transmuting 'magically' into a summer one, a dormant volcano into an erupting one, a dancing beauty into a dancing skeleton and so on) being timed to best effect by the accomplished expertise of the lanternist himself.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0049": {
-    "English Original": "Some slides ('slip' or 'slipping' slides) also included adjustable mechanical sections that could be moved or removed midprojection and/or a pulley system that enabled a section of the slide to circulate repeatedly.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0050": {
-    "English Original": "In this way, for example, a fountain could be seen spouting water continuously, a sleeping man could accidentally swallow a rat each time he opened his mouth to snore, a rosebud could open into bloom and return to bud, or bathing beauties could be seen alternately dipping into and emerging from the water.<sup10</sup By the deft manipulation of the effects levers, pulleys or turning handles on the slides and by the changing of the slides themselves, therefore, the sudden or gradual animation of a person or transformation of a scene could be implemented by the lanternist.<sup11</sup\n\nA lantern presentation would typically incorporate both a musical accompaniment (most frequently from a piano), and a vocal commentary provided by a live lecturer.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0051": {
-    "English Original": "The commentary was sometimes offered by the lanternist himself from his slideloading position behind the lantern, sometimes by a separate lecturer at the front of the hall.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0052": {
-    "English Original": "In some cases, it would have been scripted ahead of time; in others it was extemporized.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0053": {
-    "English Original": "And sometimes (as may have been the case for Toddle), a prepared script would have allowed a confident lecturer then to extemporize at will from a scripted prompt.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0054": {
-    "English Original": "Writing in 1889, Henry Cooper argued that the chief determinant of a successful lantern exhibition was the quality of the commentary:\n\nThe lecture must be the backbone of the entertainment.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0055": {
-    "English Original": "The slides may be as good as possible.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0056": {
-    "English Original": "The lenses of the best construction, but if the description of the pictures be faulty, they will avail nothing to satisfy modern taste.<sup12</sup\n\nStyles of commentary varied from the flippantly jocular to the designedly edifying and educative.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0057": {
-    "English Original": "Nevertheless, there was general agreement that the level of preparation of the spoken accompaniment, and the degree of fluency and interest with which it was delivered, was a key influence in making or marring a show:\n\np. <sup10</sup.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0058": {
-    "English Original": "<sup12</sup The Optical Magic Lantern Journal and Photographic Enlarger, vol.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0059": {
-    "English Original": "1 (15 June, 1889), p. 8.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0060": {
-    "English Original": "<sup9</sup Swift, The Journal to Stella, ed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0061": {
-    "English Original": "George A. Aitken (London, 1901), Letter 62 (March 1713), p. 530.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0062": {
-    "English Original": "Quoted in Laurent Mannoni, The Great Art of Light and Shadow: Archaeology of the Cinema (Exeter, <sup2000</sup), p. <sup121</sup.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0063": {
-    "English Original": "<sup10</sup A single, exquisitely painted, English 'wreck and rescue'\n\nslide from c.1840, for example, showed a small rowing boat moving across a troubled sea from a foundering vessel to the shore, while the waves moved up and down threateningly around it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0064": {
-    "English Original": "This effects slide combined lateral movement (of the boat) with vertical movement (of the waves) – a bravura example of the lanternist's art.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0065": {
-    "English Original": "I am grateful to Richard Manwaring Baines for showing me this delightful effects slide from his collection.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0066": {
-    "English Original": "<sup11</sup For a midnineteenthcentury description of the various\n\nways in which movement on the screen could be generated in lantern shows, see Benjamin Pike Jr., Catalogue of Optical Goods (1848), quoted in George Kleine, 'Progress in Optical Projection in the Last Fifty Years', Film Index (28 May, 1910),\n\nlet the slides of some interesting story be passed through the lantern in succession without a word of context, what is the result?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0067": {
-    "English Original": "– Weariness and yawning.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0068": {
-    "English Original": "Here is the secret, then – the story behind.<sup13</sup\n\nA lantern show working at its best, of course, allowed the linguistic elements to work in sympathetic collaboration with visually pleasing slides to create a bright and engaging composite presentation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0069": {
-    "English Original": "The stockintrade lantern sequences in need of enlivening commentary tended to fit the following broad types: phantasmagoria, morality tales warning against the dangers of drink, Bible stories, travel narratives/geography lessons/missionary reports (lantern tours of the Holy Land were a favourite), tales for children (Cinderella, Dick Whittington, Little Red Riding Hood, Aesop's Fables and Alice's Adventures in Wonderland were all popular), adventure stories (notably Robinson Crusoe, Robin Hood and Don Quixote), sentimental melodramas (tales of penury, bereavement, personal sacrifice and cold weather), comic sketches (with titles such as 'Lady on kicking donkey', 'Punch with growing nose', 'Monkey riding cat'), grand historical subjects (Wellington's battles, the death of Nelson, kings and queens of England), and pictorial accompaniment to wellknown stories, poems and songs (in addition to the ever popular Defoe, authors such as Bunyan, Milton, Swift, Dickens, Longfellow, Coleridge and Tennyson were also regularly plundered as a source for slide sequences).<sup14</sup\n\n shakespearian excerpts in the magic lantern\n\nThough not central to this stock repertoire, Shakespeare nevertheless made many appearances in the Magic Lantern and, reciprocally, enlisted the lantern in more traditional theatrical Shakespearian productions on occasion too.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0070": {
-    "English Original": "As early as 1821, for example, Edmund Kean included lantern slides in his stage King Lear at Drury Lane to augment the visual effects of the production.<sup15</sup Moreover, the memorializing of celebrated theatrical performances was sometimes aided by projecting images of famous stage actors in Shakespearean roles as part of touring, culturally edifying or more tonally varied lantern lectures.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0071": {
-    "English Original": "Slides of paintings such as 'Mrs.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0072": {
-    "English Original": "Siddons in the Character of Queen Catherine', 'Mr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0073": {
-    "English Original": "Kean in the Character of Richard the 3rd' or 'Ellen Terry, as Lady Macbeth' helped to promote and sustain the celebrity of Shakespearian players by bringing their image to larger and more diverse audiences than could have attended the performance of placespecific and timebounded theatre productions.<sup16</sup And while theatrical culture was being given a wider profile in this way, in a mutually beneficial exchange of cultural authority, the lantern was thereby acquiring kudos as a vehicle both for celebrating, and reflecting upon, artistic greatness.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0074": {
-    "English Original": "Such culturally respectable fare might even have helped provide the compensation for, or wholesome distraction from, some of the more frivolous, or slightly saucy, slides that sometimes appeared on lantern programmes.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0075": {
-    "English Original": "In the various collaborations between the lantern and Shakespeare, however, the lines of appropriation were usually more unilaterally drawn as the lantern adopted and adapted Shakespearian material for its own satirical, visually diverting or educational purposes.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0076": {
-    "English Original": "A single Shakespearian image was even occasionally used as an economical point of collective recognition to illustrate a lantern lecture about something else entirely: Lady Macbeth in nightgown bearing dagger and drugged posset could, for example, contribute to phantasmagoria horror shows as a signifier of\n\n <sup1978</sup), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0077": {
-    "English Original": "<sup16</sup Crompton, Henry and Herbert, Magic Images, p. <sup53</sup.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0078": {
-    "English Original": "The\n Ellen Terry slide is from the author's private collection.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0079": {
-    "English Original": "<sup13</sup Amy Johnson, 'Is the Lantern Played Out?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0080": {
-    "English Original": "No', The Optical Magic Lantern Journal and Photographic Enlarger, vol.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0081": {
-    "English Original": "<sup67</sup (<sup1</sup December, <sup1894</sup), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0082": {
-    "English Original": "<sup14</sup In a further article entitled 'Is the Lantern Played Out?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0083": {
-    "English Original": "–\n\nNo', Albert Tranter specifically extolled the virtues of the lantern 'as an aid in illustrating imaginative poetry', citing examples from Coleridge and Shelley: The Optical Magic Lantern Journal and Photographic Enlarger, vol.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0084": {
-    "English Original": "<sup80</sup (January, <sup1896</sup), p. <sup10</sup.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0085": {
-    "English Original": "<sup15</sup See Terence Rees, Theatre Lighting in the Age of Gas (London,\n\nnighttime terror or metaphysical torment; Lear and Poor Tom could emblematize 'delusional insanity' and 'feigned insanity' respectively as part of a lantern lecture on mental illness.<sup17</sup\n\nThe approach of Toddle and his successor, however, was less brazenly utilitarian than this.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0086": {
-    "English Original": "Rather than raiding a Shakespeare play for a tropic character to serve as passing illustration for something else, they allowed a series of Shakespearian dramatic moments a life of their own.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0087": {
-    "English Original": "In line with the comparable treatment accorded The Pickwick Papers, for example, they worked on the assumption that their audience had some prior knowledge of the source text.<sup18</sup Reference to one or two celebrated dramatic moments from a play could, therefore, through the evocative use of a few slide images, be assumed sufficient to conjure the broader drama.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0088": {
-    "English Original": "Moreover, the accompanying commentary could attach the dramatic excerpt – if in slightly perfunctory manner – to the language and narrative context of its Shakespearian origins.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0089": {
-    "English Original": "In the following extract from the Toddle manuscript (with spelling, lineation, punctuation and introductory titles retained), the sections from either side of the Shakespearian sequences are also quoted, to showcase not only the quantity and character of the scripted commentary but also the local specifics of the exhibition context:\n\n36.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0090": {
-    "English Original": "Elegant Flower call'd the Turks Cap – See how nicely they fit a Turks Hd.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0091": {
-    "English Original": "The Turks are proud of their Caps & are looking\n\nRound for Admiration.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0092": {
-    "English Original": "<sup∗</sup<sup37</sup Artificial Ice at the Colosseum Regents Park\n\n<sup∗</sup37a Scene from Hamlet – Whither will thou lead me Speak Ill go no further Mark me – I will – I am thy fathers Spirit – Now Hamlet hear 'tis given out that sleeping in mind orchard A Serpent stung me, but know thou noble youth the Serpent that did sting thy fathers life now wears his Crown.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0093": {
-    "English Original": "King Richard The King enacts more wonders than a Man – His horse is slain – but all on foot he fights seeking for Richmond in the throat of Death\n\nThe Death of Richard God & your Arms be praised victorious friends the Day is ours the Tyrant Dog is dead\n\n38.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0094": {
-    "English Original": "The Combat between McDuff & Mackbeth.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0095": {
-    "English Original": "Mackbeth had surprised McDuffs Castle during his absence & had barbarously murdered his wife and Children – Macduff exclaims Gentle Heaven – front to front bring thou this fiend of Scotland & myself – within my swords length let him, and if he scape then Heaven forgive him too\n\nAt length they meet in Battle.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0096": {
-    "English Original": "McDuff cries out Then yield ye Coward & live to be the Show & Gaze of time\n\nI will not yield & so lay on McDuff – and death to him who first cries hold enough\n\n38A Paul Pry – I hope I don't intrude – Ive just lookd in to see whats going forward and hope to have a slice of Cake bye & bye\n\n<sup17</sup The handcoloured slide of 'Lady Macbeth' is reproduced in Mervyn Heard, Phantasmagoria: The Secret Life of the Magic Lantern (Hastings, 2006), p. 290.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0097": {
-    "English Original": "The linedrawn slides of Lear and Poor Tom, drawn by 'A.J.C.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0098": {
-    "English Original": "', are held in the Archive of the Bethlem Royal Hospital, Box A07/1, inventory nos.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0099": {
-    "English Original": "LSC<sup090</sup and LSC<sup091</sup respectively.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0100": {
-    "English Original": "<sup18</sup On the prevalence of 'Shakespearean phrases, aphorisms,\n\nideas, and language' within the nineteenthcentury imagination, see Lawrence W. Levine, Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America (Cambridge, MA, 1988), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0101": {
-    "English Original": "On how well Shakespeare was known and how frequently quoted in nineteenthcentury America, see also pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0102": {
-    "English Original": "38B Hodge giving his dog a bone Well then jump & you shall have it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0103": {
-    "English Original": "38C The Escape of Mary Queen of Scotts for Lochleven Castle<sup19</sup\n\nEven where, as here, there were minor inaccuracies in a quoted script, accompanying the projection with a few choice Shakespearian quotations had the advantage of licensing the lantern lecturer to display both his erudition (real or assumed) and, in the interests of the entertainment, his declamatory power (hammed or otherwise).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0104": {
-    "English Original": "The tenor of Toddle's commentary across the manuscript as a whole suggests he was well versed in extracting maximum comic potential and dramatic excitement from his slides.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0105": {
-    "English Original": "The choice of Shakespearian sections certainly makes provision for an accompanying oratorical flair.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0106": {
-    "English Original": "The appearance of the ghost on the battlements (37a), for example, allowed for the heightened drama of some ghostly vocals in the commentary ('I am thy fathers [sic] Spirit .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0107": {
-    "English Original": "The script for the two scenes from Macbeth (the attack on Macduff's castle and the slaying of Macbeth) called both for a steeliness in delivery ('bring thou this fiend of Scotland .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0108": {
-    "English Original": "and for a resolute exchange, ideally to be conducted between differently modulated voices ('Then yield ye Coward .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0109": {
-    "English Original": "', 'I will not yield .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0110": {
-    "English Original": "Although constituting only a fraction of the play, these two Macbeth scenes, as exhibited in the lantern, constituted their own contained minidrama of action and consequence, the slaying of Macbeth coming as a focused act of revenge for the earlier slaughter of Macduff's family.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0111": {
-    "English Original": "Despite their brevity, therefore, these two scenes are allowed some narrative autonomy, implicitly standing as synecdochic reference to the play as a whole.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0112": {
-    "English Original": "The scenes labelled 'King Richard' and 'The Death of Richard', showing the horseless Richard fighting on and dying, again provided the opportunity for some exclamatory drama in the commentary ('the Day is / ours the Tyrant Dog is dead').",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0113": {
-    "English Original": "It is, perhaps, notable that the script omits the line we might think almost required in this context – 'A horse!",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0114": {
-    "English Original": "my kingdom for a horse!'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0115": {
-    "English Original": "(a line with a significantly popular profile, then as now).<sup20</sup While, however, its omission from the script may indeed mean that this line was never uttered as part of the show, it is also possible that the lanternist simply did not feel the need to script it in order to be able to produce it when the occasion demanded.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0116": {
-    "English Original": "Since the lanternist's booklet constituted, in effect, an aidememoire rather ´ than necessarily a fully prescriptive script, it would have allowed for embellishment of exactly this sort.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0117": {
-    "English Original": "Indeed, it was fundamental to the identity of a lantern show that there was always the possibility of a joyous opportunism (or hapless meandering) in the way it progressed, depending on the flippant or learned digressions the individual lecturer chose to insert, the improvisatory flourish or dragging ponderousness with which he did so, and the receptivity or otherwise of the audience at any given show.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0118": {
-    "English Original": "Since the Shakespeare slides from the Toddle lantern show have not survived, we cannot know precisely what they might have looked like.<sup21</sup Nevertheless, we can be fairly confident about their twofold function as inclusions on the programme: they both added dramatic excitement to the lineup and lent at least the semblance of cultural elevation to proceedings.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0119": {
-    "English Original": "However, sandwiching the culturally elevating material between a visual gag about the Turk's Cap (36) and a slipping slide showing a dog jumping for a bone (38B) would, presumably, also have ensured that the balance of the show as a whole did not in the process become too burdened by educational weight.<sup22</sup\n\n<sup19</sup The slide sequences numbered <sup37</sup and <sup37</supa (marked <sup∗</sup) were amongst those interpolated by the subsequent lanternist.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0120": {
-    "English Original": "Crompton, Henry and Herbert, Magic Images, p. <sup51</sup.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0121": {
-    "English Original": "<sup20</sup On the history of the pantomimic celebrity of this line, see\n\nJulie Hankey, Richard III: Plays in Performance (London and Totowa, NJ, <sup1981</sup), p. <sup15</sup.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0122": {
-    "English Original": "<sup21</sup The precedent provided by other surviving slides suggests\n\nthese would have been sparely executed, linedrawn illustrations, handcoloured prior to sale.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0123": {
-    "English Original": "Their primary purpose was to evoke the dramatic moment and clarify plot details\n\npertinent to that moment.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0124": {
-    "English Original": "<sup22</sup It was, of course, a pattern of tonal variety on an exhibition programme that the moving picture industry would in due course emulate.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0125": {
-    "English Original": "Brief excerpts from Macbeth, Hamlet and Richard III were not the only Shakespearian gobbets to be absorbed into a divertingly unfocused ragbag of lantern offerings of this kind.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0126": {
-    "English Original": "From 1850 onwards, for example, several different English versions of slidesets illustrating Jacques's 'Seven Ages of Man' speech from As You Like It became available for inclusion in variety lantern shows.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0127": {
-    "English Original": "These slidesets were each structured as sevenslide sequences, with a scripted reading from As You Like It produced by the slide producer to be read alongside the projection and the possibility of accompanying light animation effects to enliven some of the ages.<sup23</sup Such sequences provided a contained brush with Shakespeare while combining the considerable virtues of reassuring familiarity, a readymade internal structure (from first to last age) and, significantly in the context of the broader show, winning brevity.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0128": {
-    "English Original": "abridged shakespeare in the magic lantern\n\nIn the latter half of the nineteenth century, however, the engagements of slidemanufacturers with Shakespeare became more narratively ambitious as they turned their attention to representing whole Shakespearian plots in compressed form.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0129": {
-    "English Original": "Each lanternized sequence adapted from a single Shakespeare play was composed of between eight and fourteen plotevocative slide images.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0130": {
-    "English Original": "Typically, these were sequenced so that one charged dramatic moment ceded to the next without any plotretarding, or tensioneasing digressions into inconsequential business along the way.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0131": {
-    "English Original": "The chosen slide images served as the graphic hooks upon which the narration of the story could then be hung.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0132": {
-    "English Original": "Wherever possible, slide artists seem to have chosen their individual images to resonate with the pictorial version of the play that already had a profile in the public imagination.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0133": {
-    "English Original": "This existing profile drew upon wellknown Shakespearian paintings, engravings, edition illustrations and memorable tableaux from theatre productions that iconized select moments from the plays.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0134": {
-    "English Original": "Even within the constraints ofˆ the eight to fourteen slide format, it would, for example, have been unthinkable to produce a lanternized Romeo and Juliet that omitted an image of Romeo scaling Juliet's balcony, an Othello without the visual sensationalism of the murder of Desdemona, or a Hamlet that ignored the indulgent popular romantic imagery of Ophelia in the brook (a dramatic moment whose rich graphic life derived entirely from its extratheatrical expressions).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0135": {
-    "English Original": "In referencing the broadly conventionalized visual identity of 'peak moments' from the plays, slide artists were also reaffirming the summarized version of each play this came to represent.<sup24</sup Late nineteenthcentury lantern Shakespeare, therefore, both drew upon and contributed to an analogue, abbreviated visualized and narrativized version of the bestknown plays – a version of manageable proportions in which the plays could circulate easily and intelligibly in consensually recognizable form.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0136": {
-    "English Original": "In the nineteenth century, encountering Shakespeare in a partially allusive or vigorously abridged form was not an experience particular to the magic lantern.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0137": {
-    "English Original": "In fact, only a minority of people would have encountered a Shakespeare play principally either through reading an unexpurgated version or attending a full, worded production.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0138": {
-    "English Original": "In the midlate nineteenth century, this was Shakespeare for the purists and the cultural elite only.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0139": {
-    "English Original": "Others certainly met Shakespeare, but their sites\n\n<sup23</sup Multiple versions of a Seven Ages of Man 7slide sequence were issued, each with a published onepage version of the speech from As You Like It 2.7, to be read in conjunction with the exhibition of the slides.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0140": {
-    "English Original": "The MLS's Slide Readings Library holds three lantern scripts for The Seven Ages of Man: Millikin and Lawley of London's pre1872 script (serial no.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0141": {
-    "English Original": "91903); York and Sons of London's pre1887 script (serial no.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0142": {
-    "English Original": "90802); and Alfred Pumphrey of Birmingham's post1875 script (serial no.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0143": {
-    "English Original": "It has not as yet proved possible to date these slide readings precisely.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0144": {
-    "English Original": "However, the active trading years of the issuing company in each case narrows the window of possibility.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0145": {
-    "English Original": "<sup24</sup The 'peak moment' approach to literary adaptation, accord\n\ning to which only the most dramatic moments are selected for representation in another medium, is discussed in Tom Gunning, 'The Intertextuality of Early Cinema: A Prologue to Fantomas ˆ ', in Robert Stam and Alessandra Raengo, eds., A Companion to Literature and Film (Oxford, 2004), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0146": {
-    "English Original": "of encounter were less rarefied: in popular songs, through the Lambs' simplified Tales from Shakespeare or in the more roughandtumble variety theatres and vaudeville houses on both sides of the Atlantic where Shakespeare had long been offered in truncated, simplified and often skittish versions.<sup25</sup Lanternized Shakespeare therefore joined a range of other pictorialized, dramatized, distilled and otherwise reduced retellings of Shakespeare in finding a form in which the plays could connect quickly with a popular audience.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0147": {
-    "English Original": "The most popular of Shakespearean subjects for lantern treatment in the final quarter of the nineteenth century seems to have been Romeo and Juliet.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0148": {
-    "English Original": "<sup26</sup Theobald and Company of London, for example, produced a twelveslide handpainted sequence depicting a compressed version of the play with an accompanying scripted reading.<sup27</sup Another twelveslide chromolitho Romeo and Juliet slide sequence, 'splendidly coloured', is advertised by the culturally aspirational manufacturer, Robert H. Clark, in the January 1896 issue of the Optical Magic Lantern Journal and Photographic Enlarger as one in a list of slide sets for sale for four shillings each (a price suggestive of a premium product).<sup28</sup Three richly drawn Romeo and Juliet slides from a sequence produced by Newton and Company of London are in my own collection, and further versions survive in other collections, though the manufacturers in those cases have proved more difficult to trace.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0149": {
-    "English Original": "Macbeth was also considered both sufficiently dramatic and sufficiently well known to be amenable to compressing for lantern treatment.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0150": {
-    "English Original": "In one skittish English lantern version from c.1880 entitled, as its opening slide colourfully announces, 'Ye Fearful Tragedie of Macbeth' (Illustration 40), an effects slide shows the three handdrawn, handpainted witches seen in profile and pointing in a chirpy parody of Fuseli's wellknown painting.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0151": {
-    "English Original": "A superimposition lever enables these to appear as if from nowhere at the will of the lanternist.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0152": {
-    "English Original": "In a later slide from the sequence, a duelling Macduff cuts off Macbeth's head by means of a further mechanical effects lever.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0153": {
-    "English Original": "The appeal of this sequence could always then be comically enhanced by moving the lever forwards and backwards in quick succession causing Macbeth's head to be alternately severed from and returned to his neck.<sup29</sup\n\n brigg s's ' shake speare illustrated' lantern slide series\n\nIt was, however, an American family firm of slide manufacturers and slide painters, Casper W. Briggs and Company of Philadelphia, that showed the most applied commercial interest in telling Shakespearian tales through the lantern.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0154": {
-    "English Original": "Briggs released two separate series of Shakespearian painted slide sequences, the first in the early 1890s, the second in 1908.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0155": {
-    "English Original": "The earlier of these went under the series title 'Shakespeare Illustrated'.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0156": {
-    "English Original": "The plays lanternized for this series included Romeo and Juliet,\n\n relative production rates.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0157": {
-    "English Original": "<sup27</sup The MLS's Slide Readings Library holds a script for the Theobald 12slide Romeo and Juliet lantern sequence (serial no.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0158": {
-    "English Original": "On Theobald and Company's role in introducing chromolithography to English slideproduction for their 'sets of twelve slides, the subjects including topographical scenes, nursery tales, and episodes from the Scriptures', see Stephen Herbert, A History of PreCinema, vol.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0159": {
-    "English Original": "3 (London, 2000),\n p. <sup90</sup.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0160": {
-    "English Original": "<sup28</sup Wholepage advertisement, The Optical Magic Lantern Journal and Photographic Enlarger, vol.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0161": {
-    "English Original": "80 (January, 1896), p. vii.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0162": {
-    "English Original": "Other available subjects advertised in the same issue that help to identify Clark's cultural placement in the market include: 'The Pilgrim's Progress', 'Red Riding Hood', 'Pictures from the Old Testament', 'Cinderella', 'The Slaves of Drink', 'Marley's Ghost', 'Punch and Judy', 'Pictures from the New Testament', 'Discovery of America by Columbus'\n and 'Scenes from Pickwick, &c'.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0163": {
-    "English Original": "<sup29</sup I am grateful to the eminent lanternist and lantern historian Mervyn Heard for providing details about, and generously giving me access to, some of his remarkable nineteenthcentury Shakespearian slides.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0164": {
-    "English Original": "<sup25</sup See Schoch, Not Shakespeare and Levine, Highbrow/Lowbrow, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0165": {
-    "English Original": "The popularity of the Lambs' Tales from Shakespeare (1807) gave their accessible version of Shakespearian 'stories' an important place in the education of many\n\nVictorians.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0166": {
-    "English Original": "<sup26</sup The surviving slides, slide readings and other documentary records of manufacturers' slide catalogues point to the unrivalled popularity of Romeo and Juliet in this respect.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0167": {
-    "English Original": "However, the vagaries of what survives and what does not of this body of material should properly temper any absolute claim about\n\n\n\n40.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0168": {
-    "English Original": "The introductory slide to a satirical lantern version of Macbeth c.1880?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0169": {
-    "English Original": "A Midsummer Night's Dream, The Taming of the Shrew, The Merchant of Venice, As You Like It, Timon of Athens, The Merry Wives of Windsor, Twelfth Night, Hamlet, Othello, King Lear, Macbeth, Cymbeline, The Winter's Tale and The Tempest.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0170": {
-    "English Original": "<sup30</sup Each was represented by a set of (eight to fourteen) slides that, when projected in sequence with suitable narration and musical accompaniment, succinctly pictorialized the plot.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0171": {
-    "English Original": "The artist for Briggs's later 1908 Shakespearean series was one of America's most prolific and prominent lantern artists, Joseph Boggs Beale (1841–1926), employed by Briggs in the years after 1900.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0172": {
-    "English Original": "Titles from this second series included The Merry Wives of Windsor, Hamlet, Romeo and Juliet and Othello.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0173": {
-    "English Original": "<sup31</sup The slides from both series were massproduced linedrawn images, collodion\n\n <sup30</sup The 1890s dating of the 'Shakespeare Illustrated' series is not definitive, but the mahogany of the wooden frame surrounds, the weight of the glass, the collodion used to coat the slides and the dates of the reproductions of the paintings from the Art Journal on which they draw, help identify the\n decade.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0174": {
-    "English Original": "<sup31</sup I am grateful to Terry Borton, the distinguished lanternist and lantern historian of the American Magic Lantern Theater, for kindly showing me his Joseph Boggs Beale Shakespearian slides of Romeo and Juliet, Hamlet and The Merry Wives of Windsor in Baltimore, NJ.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0175": {
-    "English Original": "Each sequence is a beautifully coloured, crisply worked plot compression celebrating the iconic 'moments' of each play while omitting subplots and suppressing complexities that might detract from the energetic forward trajectory of the pictorialized account.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0176": {
-    "English Original": "Beale and Briggs together made it their project 'to make great literature, history, and religion available on [the lantern] screen' for the benefit of a wide audience.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0177": {
-    "English Original": "on glass, which were then handcoloured for those customers who could afford the premium edition.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0178": {
-    "English Original": "Appropriate lines from Shakespeare have been handwritten onto the slide frame of some of the surviving slides.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0179": {
-    "English Original": "It is not clear whether this was done by Briggs before the point of sale, or by a particular lanternist who subsequently owned them, to help prompt his memory during the exhibition of his slides.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0180": {
-    "English Original": "Though plenty of published lecture scripts were marketed alongside dramatic slide sequences in this period to guide the lanternist in preparing the show, I have found no surviving trace of any such readings to accompany these particular sequences.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0181": {
-    "English Original": "A remarkable collection of surviving Briggs Shakespearian slides is held in George Eastman House (Rochester, NY).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0182": {
-    "English Original": "By way of sample illustration of these, here I discuss the Hamlet sequence from the 1890s series and the Romeo and Juliet sequences from both the 1890s and the 1908 series.<sup32</sup After a brief descriptive introduction to the sequence as a whole in each case, I concentrate principally, for present purposes, on the striking effect of the single slide included in the run that is an artistic anomaly in the context of the rest of the sequence.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0183": {
-    "English Original": "i) Hamlet\n\nTen slides survive specifically from Briggs's Hamlet sequence from the 'Shakespeare Illustrated' series.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0184": {
-    "English Original": "However, there is also another surviving slide entitled 'Shakespeare Reading Hamlet to his Family' which comes from a contemporary Briggs series released in parallel called 'English History: 1486– 1603'.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0185": {
-    "English Original": "This slide would have formed an appealingly neat introduction (and/or conclusion) to the Hamlet sequence for any lanternist who owned both Briggs sequences.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0186": {
-    "English Original": "It shows a recognizably 'Droeshoutian' Shakespeare sitting at home in doublet and ruff recounting the story of Hamlet to his rapt and attentive family.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0187": {
-    "English Original": "The action of the Hamlet sequence itself is simply and clearly illustrated through a wellchosen series of exemplary, plotpacked cameo moments from the play: 'Hamlet – Ghost Scene', 'Hamlet's Soliloquy', 'Hamlet's advice to the players', 'Hamlet surprising the king at prayer', 'Hamlet's interview with his mother', 'Ophelia scattering flowers', 'Ophelia', 'Hamlet – a Church Yard', 'Duel between Hamlet and Laertes', 'Hamlet kills the king'.<sup33</sup In addition to these extant slides, there may also have been a couple more that have not survived: perhaps one of the playwithintheplay and/or one of Hamlet's body being borne aloft as a suitable closing image for the story.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0188": {
-    "English Original": "Whatever the missing slides depicted, sufficient numbers survive to demonstrate clearly the manner in which the story was compressed for lantern projection – a distillation of a succession of iconic moments, each one densely packed with economically encoded narrative information.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0189": {
-    "English Original": "A description of the single slide 'Hamlet's interview with his mother' (Illustration 41) can serve as sample illustration of how much plot could be inventively condensed into one 'action image'.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0190": {
-    "English Original": "In this one slide, Hamlet, in doublet, sword and cloak, though bareheaded, stands in the middle of his mother's room beneath the two giltframed portraits of King Hamlet and King Claudius respectively, which hang, squareon to our gaze, on the wall above the door.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0191": {
-    "English Original": "Hamlet points towards an arched alcove at the back right corner of the room where the translucent ghost of his father stands.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0192": {
-    "English Original": "The ghost is in armour with an erminetrimmed kingly robe draped about his shoulders – the same robe that appears in both portraits and that Claudius himself wore in the previous slide.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0193": {
-    "English Original": "Despite being set back, the ghost seems larger than Hamlet – a colossus of a man (take him for all in all).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0194": {
-    "English Original": "His ghost, in Hamlet's vision and ours, is perspectivedefyingly imposing, even from afar.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0195": {
-    "English Original": "Gertrude sits before Hamlet in right of frame, her hands clasped together and raised towards him\n\n<sup32</sup It has occasionally been necessary to make an inferential discrimination to place a particular slide as part of the 1890s or the 1908 sequence.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0196": {
-    "English Original": "Such discriminations are not failsafe but have been based on style of illustration, character of slide\n\nmount and placement of image within a run.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0197": {
-    "English Original": "<sup33</sup These titles are taken from the (unprojected) edge of the slide.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0198": {
-    "English Original": "They were probably inserted by the manufacturer prior to sale, and would also have been used to advertise the sequence in the company's catalogue of commercially available slides.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0199": {
-    "English Original": "Slide from the 'Hamlet' sequence of Briggs's 'Shakespeare Illustrated' series.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0200": {
-    "English Original": "Collodion on glass, <sup3</sup.<sup25</sup <sup×</sup <sup4</sup in.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0201": {
-    "English Original": "Title on slide: 'Act III, Scene 4 – Hamlet's interview with his mother'.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0202": {
-    "English Original": "pleading, presumably, for his sanity and her life.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0203": {
-    "English Original": "She ignores his imperiously gestured suggestion that she should look upon the ghost.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0204": {
-    "English Original": "At Hamlet's feet in the left of the image lies Polonius's body, which has evidently recently fallen through the arras that hangs there.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0205": {
-    "English Original": "In sum, therefore, this slide presents an economically organized pictorial account of the entire closet scene telescoped into one encapsulating moment, the narrative implications of which the lanternistnarrator could then embellish at will.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0206": {
-    "English Original": "For this slide, as for most in the sequence, aesthetics are clearly subservient to plot, and the aesthetics, though not crude, certainly lack nuance.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0207": {
-    "English Original": "Even the details of perspective, for example, can be compromised if this allows for greater narrative communicativeness.<sup34</sup\n\n<sup34</sup Unlike some other slides of a similar date, Briggs did not make use of an appearing/disappearing leveroperated\n\n\n\n42.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0208": {
-    "English Original": "Briggs's 'Shakespeare Illustrated' Hamlet.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0209": {
-    "English Original": "Title on slide: 'Act IV, Scene 5 – Ophelia scattering flowers'.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0210": {
-    "English Original": "Distinguished clearly from this dominant storytelling mode, however, is the slide entitled 'Ophelia' (Illustration 43).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0211": {
-    "English Original": "Rather than having been specifically drawn by one of Briggs's slide artists for inclusion in this set, it is, by contrast, a reproduction of English painter Arthur Hughes's 1852 painting Ophelia – copied onto glass directly from a photographic plate taken of the Art Journal's printed lithograph.<sup35</sup Unsurprisingly, given its provenance, the image differs decisively in style and treatment from all others included in the sequence.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0212": {
-    "English Original": "It is\n\n'effect' for their ghost.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0213": {
-    "English Original": "For a disappearing Shakespearian ghost, see the effects slide from an unidentified version of Hamlet reproduced in Crompton, Henry and Herbert, Magic Images, p. <sup51</sup.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0214": {
-    "English Original": "<sup35</sup I am grateful to the distinguished lantern historian Stephen\n\nHerbert for discussing this process with me.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0215": {
-    "English Original": "He tells me there may have been a copyright arrangement made between Briggs and the Art Journal for reproduction rights.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0216": {
-    "English Original": "Equally, however, Briggs may simply have taken copies of the images from the Art Journal without paying.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0217": {
-    "English Original": "There was precedent for both approaches.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0218": {
-    "English Original": "I have found no surviving evidence to suggest one way or the other in this case.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0219": {
-    "English Original": "Briggs's 'Shakespeare Illustrated' Hamlet.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0220": {
-    "English Original": "Title on slide: 'Ophelia – Hughes'.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0221": {
-    "English Original": "From Arthur Hughes's 1852 painting Ophelia.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0222": {
-    "English Original": "This slide shows an Ophelia markedly different in style, presentation and associations from the Ophelia who appears elsewhere in the sequence.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0223": {
-    "English Original": "conspicuously spare on narrative detail but rich in unexpected associations, technical acumen and significant whimsical charm.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0224": {
-    "English Original": "The Ophelia it presents is one who, unlike her more prosaic counterpart in the preceding slide (Illustration 42), for example, is appealingly suggestive of multiple other presences.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0225": {
-    "English Original": "Elaine Showalter has described the painting as showing:\n\na tiny waiflike creature – a sort of Tinker Bell Ophelia – in a filmy white gown, perched on a tree trunk by the stream.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0226": {
-    "English Original": "The overall effect is softened, sexless, and hazy, although the straw in her hair resembles a crown of thorns.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0227": {
-    "English Original": "Showalter sees Hughes's Ophelia as a 'juxtaposition of childlike femininity and Christian martyrdom'.<sup36</sup There is certainly a spiritual quality to the painting.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0228": {
-    "English Original": "Ophelia's face is serene, abstracted, even Madonnalike, and her waiflike fragility is emphasized by her delicately outstretched arm and by the isolation of her figure in a landscape so much bigger than herself.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0229": {
-    "English Original": "The straw in her hair is incidentally evocative of a crown of thorns, but also, perhaps, of a halo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0230": {
-    "English Original": "She is victim and saint, child and sprite, Ophelia and Madonna, and a complex anomaly as included in this pictorial sequence.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0231": {
-    "English Original": "In the context of the projected show as a whole, the effect of this anomalous insertion must have been striking.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0232": {
-    "English Original": "Hughes's preRaphaelite Ophelia\n\n<sup36</sup Elaine Showalter, The Female Malady: Women, Madness, and English Culture, 1830–1980 (London, 1987), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0233": {
-    "English Original": "inevitably differs markedly from the more pared down, na¨ıve style of the same character's other appearances in the slide run.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0234": {
-    "English Original": "It is true that Ophelia's trailing, extended right arm in the 'Ophelia scattering flowers' slide might perhaps be seen as an anticipatory mimicking of the yet more delicately extended right arm of Hughes's Ophelia, so constituting a suggestive bridge into the succeeding slide.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0235": {
-    "English Original": "In practice, however, that single echoed gesture across slides serves, if anything, simply to draw attention to the markedly different character of the two images as a whole, and of the two versions of Ophelia on offer within them.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0236": {
-    "English Original": "The daring disruption of stylistic consistency across slides robs the sequence of a sense of artistic unity, and even of character stability.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0237": {
-    "English Original": "In doing so, however, it confirms the iconic status of the character whose role in the narrative transcends any single manifestation, or even style of presentation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0238": {
-    "English Original": "Ophelia, that is, can look like this or she can look like that.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0239": {
-    "English Original": "She can inhabit this or that sort of landscape.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0240": {
-    "English Original": "She can be eroticized, infantilized or idealized.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0241": {
-    "English Original": "Throughout all such variations in interpretive emphasis, however, the mythic dimensions of the story she occupies enable her to remain incontrovertibly 'Ophelia', possessed of a range of accumulated dramatic and artistic meanings.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0242": {
-    "English Original": "The progress of the story can, therefore, accommodate the stylistic adjustments without dislocating.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0243": {
-    "English Original": "Briggs and Company made a habit of appropriating existing works of art for their slide narratives, often embedding them, as here, in broader, linedrawn sequences as an unpreparedfor visual treat to be happened upon unexpectedly in the midst of more ordinary artistic fare.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0244": {
-    "English Original": "The Hughes painterly insert is, therefore, just one of several artistic surprises to have been culled from the pages of the Art Journal and implanted in one of the 'Shakespeare Illustrated' sequences.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0245": {
-    "English Original": "The inclusion of a known work of art in such sequences may, of course, have served as a gratifying nod to the artistic cognoscenti who, having recognized its provenance, might murmur modestly to their neighbour of their familiarity with it.<sup37</sup The copying of works of art (woodcuts, engravings, halftones and coloured prints) for lantern exhibition was, at any rate, a standard part of the repertoire for the major slide manufacturers.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0246": {
-    "English Original": "By the 1890s, the Optical Magic Lantern Journal and Photographic Enlarger was even issuing advice to the private collector about how best to do this.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0247": {
-    "English Original": "Published reproductions of works of art, the journal enthused, offer the lanternist 'an inexhaustible store from which to draw if due care is taken in the selection'.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0248": {
-    "English Original": "The journal did take the precaution of issuing the selfindemnifying caveat that '[i]n the first place, it is just as well to be on the safe side and not make copies of copyright pictures'<sup38</sup – advice that was by no means, however, always followed in practice.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0249": {
-    "English Original": "I do not know, for example, whether Briggs and Company requested copyright permission for their reproduction of paintings from the Art Journal.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0250": {
-    "English Original": "It would not, however, be entirely surprising if they did not.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0251": {
-    "English Original": "ii) Romeo and Juliet\n\nAll fourteen of the slides from Briggs's 1908 Romeo and Juliet lantern sequence have survived, all drawn by slide artist Joseph Boggs Beale.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0252": {
-    "English Original": "Beale's lantern scenes have little interest in psychological depth or emotional intensity, but they do tell the story both clearly and prettily.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0253": {
-    "English Original": "They appear in the following sequence: 'The quarrel in the street', 'Romeo and others in mask', 'Juliet at the balcony', 'Romeo and Juliet at the Friar's', 'Romeo's duel with Tybalt', 'Romeo and Juliet at window', 'Juliet beseeching her father', 'Juliet drinking the sleeping draught', 'Capulet and family weeping over Juliet', 'Romeo and the Apothecary', 'Duel between Paris and Romeo', 'Romeo drinking the poison', 'Death of Juliet', 'Reconciliation of Capulets and Montagues'.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0254": {
-    "English Original": "<sup37</sup As such, it would have fulfilled a similar function to the tableaux vivants on the nineteenthcentury stage, which made recognizable artistic allusions for the gratification of those whose range of cultural reference allowed them to identify the visual quotation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0255": {
-    "English Original": "<sup38</sup Duncan Moore, 'Copying Printed Matter for the Lantern', The Optical Magic Lantern Journal and Photographic Enlarger, vol.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0256": {
-    "English Original": "67 (1 December, 1894), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0257": {
-    "English Original": "For coloured prints, the use of orthochromatic plates with a screen was recommended.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0258": {
-    "English Original": "Briggs's <sup1908</sup Romeo and Juliet.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0259": {
-    "English Original": "'Juliet at the balcony'.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0260": {
-    "English Original": "Collodion on glass with applied colour.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0261": {
-    "English Original": "<sup3</sup.<sup25</sup <sup×</sup <sup4</sup in.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0262": {
-    "English Original": "In the third slide in the sequence, 'Juliet at the balcony' (Illustration 44), Juliet stands between twisted Grecian columns in the foreground, her poised upright stance, semicoiled hair and the drapes in her white dress aligning her tonally with the classical and heroic status of the columns that frame her.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0263": {
-    "English Original": "Although her arms are outstretched before her as she apostrophizes the Romeo she believes absent, everything about her suggests a woman fully under control.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0264": {
-    "English Original": "Romeo is visible at a significant remove down the garden, too distant for any facial expression to be clearly discerned.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0265": {
-    "English Original": "His arms too are raised, but without that potentially charged gesture communicating passionate investment.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0266": {
-    "English Original": "In contrast to Romeo's remoteness and Juliet's careful restraint, however, a luscious drape hangs unchecked over the edge of the balcony in the foreground of the image.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0267": {
-    "English Original": "The slide painter – typically separate from the slide artist – has painted this drape a suggestive deep pink, distinguishing it\n\n\n\n<sup45</sup.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0268": {
-    "English Original": "Briggs's <sup1908</sup Romeo and Juliet.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0269": {
-    "English Original": "<sup3</sup.<sup25</sup <sup×</sup <sup4</sup in.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0270": {
-    "English Original": "clearly from the nighttime pale blues, pale greens and silvers of the rest of the image.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0271": {
-    "English Original": "Given Juliet's classical poise and Romeo's distance, the deeply coloured, haphazardly draped cloth invitingly suggests the potential for a passionate intensity that might otherwise be thought beyond the emotional range of these central figures.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0272": {
-    "English Original": "It is, in fact, a balcony scene of careful spatial choreography but of only symbolically displaced passion.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0273": {
-    "English Original": "Given the selfpossession of this scene and the fact that the whole sequence emerges from the designing vision of a single artist, it is perhaps no surprise that later images from the same sequence are comparably restrained.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0274": {
-    "English Original": "At Friar Laurence's cell, for example, the young lovers embrace decorously, her head leaning on his shoulder and his head inclined gently towards hers as his arm gently encircles, and his hand rests gently upon, her shoulder (Illustration 45).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0275": {
-    "English Original": "The accompanying quotation, handwritten onto the lower frame of this slide, remembers the Friar's rather breathless words: 'FRIAR: \"Come, come with me,\n\nand we will make short work, for by your leaves, you shall not stay alone till holy church incorporate two in one.\"'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0276": {
-    "English Original": "Though the lovers are fully attentive to one another in Beale's pictorialized imagining of it, nevertheless the embrace we see is considerably more chaste in character than might be supposed from the Friar's evident impatience to see them married.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0277": {
-    "English Original": "Across the entire slide sequence, in fact, Romeo and Juliet are presented as conventionally fetching figures, conducting a conventionally fetching Victorian love affair – if one with a (decorously enacted) tragic end.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0278": {
-    "English Original": "Despite the energy of the Shakespearian lines suggested as suitable accompanying quotation by the inscriptions on the frame, and despite the significant drama of the Shakespearian moment referenced in each case, the images themselves consistently temper the heightened feelings that drive the play.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0279": {
-    "English Original": "For all their narrative clarity and pretty arrangements of characters and scenery, these images are, in fact, emotionally tepid.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0280": {
-    "English Original": "Another slightly anodyne visual rehearsal of Romeo and Juliet is on offer in a late nineteenthcentury slide sequence from English slide manufacturers Theobald and Company.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0281": {
-    "English Original": "In the Theobald balcony scene, Romeo is dandified in blue hose, burgundy doublet, Victorian moustache and feathered cap as he is suspended rather stiffly on a ladder approaching Juliet's parapet, while Juliet herself is scarcely present as a character at all – just visible, if slightly hazily, in the orangeate glow from the casement window.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0282": {
-    "English Original": "It is a scene which would clearly have served its purpose to facilitate a lively accompanying narration or recitation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0283": {
-    "English Original": "However, while colour has been used with vibrant intensity on the slide, in other artistic respects it is conspicuously bland.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0284": {
-    "English Original": "Whereas emotion seems absent from the Theobald balcony scene and is only emblematically suggested in the Joseph Boggs Beale one, it is, by contrast, potently and centrally present in the balcony scene slide from Briggs's earlier Romeo and Juliet sequence (from the 1890s 'Shakespeare Illustrated' series).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0285": {
-    "English Original": "As Arthur Hughes's painting of Ophelia was invited to disrupt the pretty artistry, and stylistic consistency, of the otherwise unchallenging Hamlet sequence, so here an imported artistic insert injects some heightened emotional cadence into the story of Romeo and Juliet.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0286": {
-    "English Original": "The image 'Romeo At Balcony' (Illustration 46) is borrowed from the celebrated Viennese artist Hans Makart's remarkable 1860s painting Romeo and Juliet.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0287": {
-    "English Original": "<sup39</sup Unlike in the Theobald and the Beale balcony slides discussed above, this balcony scene depicts Romeo's reluctant departure after his night with Juliet rather than his first, less sexually expressive approach.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0288": {
-    "English Original": "But the Makart image is also stylistically clearly distinguished from the other two Romeo and Juliet balcony slides.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0289": {
-    "English Original": "Such is the strikingly realistic artistry in the portrayal of the two central figures, that – though painted by Makart – the image initially deceives the eye into believing it a photographic slide employing life models (a common device in the lanternizing of morality tales and of Dickens, for example).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0290": {
-    "English Original": "A fully engaged, and utterly believable Juliet leans over the edge of the balcony in order to embrace her departing lover.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0291": {
-    "English Original": "She steadies herself on the adjacent pillar with her left hand in order to use her right to keep her hold on his precariously balanced figure.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0292": {
-    "English Original": "He, meanwhile, appears to hang from her grasp, precariously kneeling on the rung of a rope ladder thrown over the side of the balcony parapet.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0293": {
-    "English Original": "His head is thrown sensuously and uncompromisingly back that he might gaze on Juliet.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0294": {
-    "English Original": "His physical dependence upon her seems total, and he apparently gives himself to it, and to the moment, without qualification.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0295": {
-    "English Original": "The light – presumably from the rising sun – falls transcendently upon both of their faces, locked together as they are in an exchange of desirous gazes.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0296": {
-    "English Original": "In the degree of the passion so transparently on display and in its arresting reversal of gender roles, it is a striking image.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0297": {
-    "English Original": "This Romeo is no swashbuckling antecedent to Errol Flynn scaling the walls to hop manfully into Olivia de Havilland's castle\n\n<sup39</sup At the time of writing, a photographic image of the Makart painting is available to view online at, for example: www.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0298": {
-    "English Original": "Title on slide frame: 'Romeo At Balcony – Makart'.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0299": {
-    "English Original": "Series Title: 'Shakespeare Illustrated'.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0300": {
-    "English Original": "<sup3</sup.<sup25</sup <sup×</sup <sup4</sup in.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0301": {
-    "English Original": "bedroom in Warner Brothers' Adventures of Robin Hood (Michael Curtiz, 1938), nor of any of the later agile filmic Romeos adept at displaying their effortless manhood on ivyclad walls.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0302": {
-    "English Original": "Rather, this Romeo's arched back, thrown back head, balletically languid legs and evident need of physical assistance patently feminize him.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0303": {
-    "English Original": "Correspondingly, though her own feminine grace is not thereby compromised, Juliet's physical poise and solicitous care for the physical welfare of her lover seem to cast her in the role of protector.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0304": {
-    "English Original": "As projected to lantern audiences of the late nineteenth century, it must have seemed a decisive rejection of the prettier and more decorous Shakespearian images of insipid balcony encounters being peddled elsewhere.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0305": {
-    "English Original": "In its unapologetic concentration on two young lovers whose bodies are visibly finding it tormenting to be torn from each other, the image is bodily, sensual and daring.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0306": {
-    "English Original": "As inserted into the midst of a run of plotclarifying, linedrawn Romeo and Juliet lantern slides from which it is sharply distinguished in tone, detail and emotional force, the inclusion of this Makart painting constitutes an arresting injection of passionate animation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0307": {
-    "English Original": "∗∗∗\n\nAcross the nineteenth and into the twentieth century, Shakespeare was used in magic lantern shows for a range of purposes: as a plunderable source for illustrations for lectures on other subjects; in excerpted form as part of divertingly mixed lantern shows; and in abridged form as whole Shakespeare plots were compressed into the requisite eight to fourteen slide format for pictorialized retelling.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0308": {
-    "English Original": "The lantern medium offered slide artists and painters the opportunity to produce bright, beautiful and occasionally partially animated 'actionimages' from the plays, and these decorative artistic dalliances with Shakespeare in turn gave the lanternshowmen the pretext, and illustration, for a scripted recitation from, or extemporised retelling of, a Shakespearian play to an assembled audience.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0309": {
-    "English Original": "In peddling simplified, abridged and illustrated Shakespeare in this way, the lantern collaborated with a series of other media in consolidating an implicitly agreed truncated form in which Shakespeare could circulate intelligibly and accessibly.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0310": {
-    "English Original": "The diverse range of other cultural forms upon which the lantern drew in its responses to Shakespeare, however, made of it a territory where approaches otherwise considered at odds might encounter one another in striking proximity.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0311": {
-    "English Original": "In mimicking the forms of satirical sketches, burlettas and cartoons, for example, and in embedding Shakespearian excerpts within a variety programme of selfconsciously skittish lantern sequences, the lantern was implicitly puncturing the perceived dignity of its source.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0312": {
-    "English Original": "However, by inviting reflection on the projected image of Mrs Siddons as Queen Catherine or of Mr Kean as Richard III, in absorbing paintings by Hughes or Makart into its Shakespearian sequences and in accompanying its Shakespearian images with charged poetic quotation, the lantern could also participate in sustaining and promoting the cultural elevation of the material that it was elsewhere satirizing.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0313": {
-    "English Original": "The dual tug of the reverential and the parodic in lantern approaches to Shakespeare serves well to remind us of one of the crucial conditions of lantern exhibition – namely, that no show had a fixed tonal character but was rather made, and remade, on each occasion by a lanternist's deft management of the technology (both the hardware of the lens and lamp and the software of individual slides and slide sequences), and by his rhetorical dexterity in mediating engagingly between the slides and the audience.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0314": {
-    "English Original": "Thus it was, for example, that material that might play earnestly in one show could potentially play satirically in the next, depending on the manner in which the slides were shown and the inflection given to the commentary by the lanternist (working in tune with the mood of the audience).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0315": {
-    "English Original": "A lanternized Macbeth for one audience, for example, could end with the gaspworthy effects slide by which Macbeth's head was severed from his neck, while for another that same slide could gleefully return the severed head to its neck for anarchic or comic effect; the account of Hamlet's ghost could be presented as chilling to one audience but entertainingly hyperbolic to another; Romeo and Juliet's balcony encounter could be made to inspire a sigh or a giggle.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0316": {
-    "English Original": "It was not only, therefore, in the particularity of its cultural references that the lantern found itself caught between approaches.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0317": {
-    "English Original": "It was, in itself, a medium always in the balance, always dependent upon the particularities of the lanternist's use of his slides and of his accompanying performance to determine its tonal character.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0318": {
-    "English Original": "In its weaving together of the exhibition of Shakespearian fine artistry with the retelling of Shakespeare narratives and the sampling of live Shakespearian language, the lantern's engagements with Shakespeare were unique.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0319": {
-    "English Original": "In time, however, this delicately poised, interestingly mutable medium that combined the dexterous use of technology with the unpredictable glories (and/or disappointments) of an individual performance would, as discussed elsewhere, be replaced by a different version of screened Shakespeare.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0320": {
-    "English Original": "The\n\nnew medium of cinema would forego the pretty but frequently slightly saccharine Victorian and Edwardian artistry of painted slides in favour of the weight and interest of real, and often famous, Shakespearian actors enacting grand passion and dramatic moment.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0321": {
-    "English Original": "Even in its processes of institutional displacement, however, early cinema looked to the lantern as a model for emulation in various respects – and the lantern's established popularity as a vehicle for Shakespeare confirmed its worth in this respect.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0322": {
-    "English Original": "In 1908, for example, an article in the Moving Picture World reported that Shakespearian lantern shows were attracting audiences of 'thousands'.<sup40</sup This report specifically threw down the gauntlet to the film industry in the hope of inspiring it to attract yet greater crowds for filmed Shakespeare than had been possible for lanternized Shakespeare.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0323": {
-    "English Original": "Part of the moving picture industry's response to that challenge involved appropriating some of the lantern's successful exhibition conventions.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0324": {
-    "English Original": "The lantern's legacy is, for example, particularly conspicuous in the presence of the moving picture lecturers who provided live commentary on Shakespearian (and other) moving pictures in some exhibition venues in the years between 1908 and 1914.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0325": {
-    "English Original": "<sup41</sup During that period, there was a lively and ongoing debate in the film trade press not only about the rhetorical competence or otherwise of the available speakers on the moving picture lecture circuit but, more fundamentally, about whether an accompanying commentary was needed at all in a medium such as the cinematograph.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0326": {
-    "English Original": "This was a debate that had never been pertinent in relation to lantern shows whose projected visuals, however beautifully painted, had never been expected to carry the burden of standalone meaning.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0327": {
-    "English Original": "Cuing an audience to gaze in particular ways at targeted aspects of the projected images was explicitly part of the lanternist's brief as he mediated between image and audience.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0328": {
-    "English Original": "It was against precisely this intimate codependence and mutual accommodation between words and images that the film industry, by contrast, chafed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0329": {
-    "English Original": "There, in time, the interposing presence of the lecturer became considered a cumbersome impediment to the medium's visual autonomy – a symbolic admission that the images themselves lacked sufficient clarity or eloquence to be able to communicate without linguistic supplementation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0330": {
-    "English Original": "By 1914, that debate was resolved and the style of film production had moved on so as to render the figure of the moving picture lecturer redundant – an antiquated reminder of a style of production and a mode of exhibition no longer au courant.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0331": {
-    "English Original": "At that point, the moving picture lecturer joined the host of lantern showmen who had preceded him – the dull and the charismatic alike – in being largely consigned to the historical record.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0332": {
-    "English Original": "But whereas the moving picture lecturer proved an expendable element of a medium that then had the gall to thrive without him, Timothy Toddle and his fellow lanternists had always been fully integral to what a lantern show was, a crucial part of that excitingly unpredictable triangulation of meaningmaking between twodimensional image, live commentary and audience that played its institutional part in the dissemination, promotion and sympathetic satirizing of Shakespeare for approximately a hundred years.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0333": {
-    "English Original": "<sup40</sup W. Stephen Bush, 'Shakespeare in Moving Pictures', Moving Picture World, vol.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0334": {
-    "English Original": "23 (5 December 1908), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4233138706_s0335": {
-    "English Original": "<sup41</sup On the uses of lecturers in Shakespeare moving pictures of\n\nthe early cinema period, see Buchanan, Shakespeare on Silent Film, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0001": {
-    "English Original": "Chapter 1 The Eye Versus Chemistry?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0002": {
-    "English Original": "From Twentieth to TwentyFirst Century Connoisseurship\n\n\n\n Anna Tummers and Robert G. Erdmann\n\nAbstract This essay traces the evolution of connoisseurship in the Netherlands from the early twentieth century to current and future challenges.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0003": {
-    "English Original": "In the twentieth century, the attitude of art historians towards chemistry varied from extreme distrust to extreme optimism about the possibilities of the discipline to provide conclusive evidence in authentication matters.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0004": {
-    "English Original": "While the chemical methods and technical means to research paintings have developed at an unprecedented pace in the twentyfrst century, some of the key questions crucial to classifying works of art remain largely the same (e.g.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0005": {
-    "English Original": "how much consistency to expect in an artist's brushwork, painting technique and choice of materials?).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0006": {
-    "English Original": "However, other questions are new (e.g.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0007": {
-    "English Original": "how to interpret vast amounts of new data?)",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0008": {
-    "English Original": "and call for a fundamentally different approach: for a crosspollination of (technical) art history, chemistry and data science.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0009": {
-    "English Original": "While surveying recent developments, this essay discusses the merits and drawbacks of several modern analytical techniques (including as MAXRF, HIS/ RIS, isotope analysis and GCMS) as well as the potential of digital aids (smart tools).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0010": {
-    "English Original": "The focal point of this essay is on the Netherlands since advances in the scientifc investigation of works of art have repeatedly transformed the practice of connoisseurship here.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0011": {
-    "English Original": "Keywords Connoisseurship · analytical methods · paintings · digital techniques\n\nA. Tummers (\\)\n\nR. G. Erdmann Rijksmuseum, Amsterdam, the Netherlands email: R.Erdmann@rijksmuseum.nl\n\n© The Author(s) 2022 3\n\nM. P. Colombini et al.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0012": {
-    "English Original": "), Analytical Chemistry for the Study of Paintings and the Detection of Forgeries, Cultural Heritage Science, https://doi.org/10.1007/9783030868659\\\\1\n\nLeiden University Centre for the Arts in Society, Leiden, the Netherlands email: j.c.tummers@hum.leidenuniv.nl\n\n 1.1 Connoisseurship, the Humanities and Some Recent Insights from Cognitive Psychology\n\nDetermining who painted what and when is one of the most diffcult tasks of the art historian.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0013": {
-    "English Original": "the evaluation of the characteristic qualities, the dating and the attribution of works of art) involves estimating variabilities that can be tantalizingly diffcult to determine.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0014": {
-    "English Original": "How much consistency can one expect in an artist's inventions, style and technique, choice of materials and workshop practice?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0015": {
-    "English Original": "Did the artist use one particular style that gradually developed over time or, instead, different manners at the same time?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0016": {
-    "English Original": "To what extent did he/she involve workshop assistants and was he/she consistent in doing so (or not doing so)?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0017": {
-    "English Original": "Even when secure evidence is scarce or missing, the art expert has to form a mental image –consciously or subconsciously– of what is characteristic of the artist in order to make a decision.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0018": {
-    "English Original": "Evidently, the validity of an attribution hinges on the correctness of the expert's assumptions.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0019": {
-    "English Original": "Moreover, the determination of authorship also usually involves assessing the quality of the art work.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0020": {
-    "English Original": "Although key to the artist's goals and to the reception of the art work, the question how to defne (high) quality is notoriously hard to tackle from an academic perspective.1 For old master paintings, given the guild regulations and possible workshop assistance, the question is not just what level of quality can be expected of work by the master's hand but also –and perhaps more importantly– what level of quality the master demanded in the paintings he/she deemed worthy of carrying his/her name (Tummers 2011: 81–112).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0021": {
-    "English Original": "Here again, the issue of consistency is relevant: how much variation did the master allow in paintings produced in his/her workshop?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0022": {
-    "English Original": "And did the artist –as many old masters did– consciously produce works of different quality levels, that were priced accordingly?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0023": {
-    "English Original": "In short, judging a picture is far from simple, no matter how swiftly the judgment is sometimes made.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0024": {
-    "English Original": "It involves myriad questions that touch on different academic disciplines, including art history and materials science.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0025": {
-    "English Original": "Moreover, the inherent complexity of the task entails a risk.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0026": {
-    "English Original": "As the psychologist and Nobel laureate Daniel Kahneman has shown, the human brain works with two different systems: a quick subconscious way of assessing (often referred to as 'intuitive') and a slower, conscious thoughtprocess (Kahneman 2011).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0027": {
-    "English Original": "In daily life, the brain tends to simplify, thereby delegating the mental process to a subconscious part of our brain.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0028": {
-    "English Original": "When confronted with complex questions, the brain commonly substitutes a complex question with an easier one (Kahneman 2011).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0029": {
-    "English Original": "Though in many cases effective and effcient and occasionally even better than conscious decisions our intuitive tendency to simplify can also lead to dangerous biases and oversights in the decisionmaking process (Gladwell 2005: 48ff; 263–264 (example of a racial bias); see also Dijksterhuis 2007).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0030": {
-    "English Original": "<span id=\"page10\"</span<sup1</supOne of the few scholars who attempted to answer this question is Jakob Rosenberg in his book On Quality in Art (Rosenberg 1967).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0031": {
-    "English Original": "Given these insights into the workings of the brain (Kahneman 2011; Gladwell 2005\\), it is not surprising that there have long been discussions about the nature of connoisseurship among art experts.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0032": {
-    "English Original": "Throughout the twentieth century there have been two opposing views as to what should have the most weight in the attribution process: the connoisseur's intuition, that is, the sudden insight that the connoisseur experiences without fully grasping its origin (Kahneman's 'system 1'), or rational, communicable arguments (Kahneman's 'system 2'; Tummers 2011: 30–60).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0033": {
-    "English Original": "Although both aspects can be considered part of the same decisionmaking process, their different nature has long caused tension in both theory and practice.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0034": {
-    "English Original": "The complexity of the decisionmaking process and the danger of oversimplifcations may also explain the ferce criticism connoisseurs have often received.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0035": {
-    "English Original": "Already in the eighteenth century, the French scholar and theologist l'Abbé Du Bos dismissed 'the art of predicting the author of a painting by recognizing the master's hand' as 'the most faulty of all the arts, apart from medicine' (Du Bos 1719 [ed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0036": {
-    "English Original": "In the twentieth century, the attribution of paintings was reviled as subjective and intuitive, and as tainted by the market (Chapman and Weststeijn 2019: 10–15).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0037": {
-    "English Original": "Consequently, the term 'connoisseur' has acquired negative connotations, conjuring up the image of a presumptuous, outdated and inadequate judge of pictures –an attractive target for ridicule (Fig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0038": {
-    "English Original": "As a result, academic art history repeatedly attempted to avoid connoisseurship at the start of the twentieth century, claiming it would not be quite 'theoretical' and\n\n<span id=\"page20\"</span\n\nFig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0039": {
-    "English Original": "1.1 Saul Steinberg, 'Gentlemen, it's a fake!",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0040": {
-    "English Original": "', cartoon published in The New Yorker, 6 May 1950\n\n'scholarly' enough to be worthy of serious academic attention (Muthesius 2013; Martin 1904\\).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0041": {
-    "English Original": "Avoiding connoisseurship did not solve the issue, however; it merely left academics vulnerable to the reproach that their discipline lacked a frm foundation (Pächt 1986 (ed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0042": {
-    "English Original": "For the history of art cannot be written without a basic classifcation of who created what and when.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0043": {
-    "English Original": "Therefore, other art experts chose the opposite strategy and attempted to mend the situation by creating a more 'objective' and 'scientifc' connoisseurship.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0044": {
-    "English Original": "In the Netherlands the conservator Maurits van Dantzig in particular set out to develop a concrete (verifable) method to attribute paintings based on rational arguments that could be checked (Van Dantzig 1936, 1978).2 Despite his efforts, however, art historians remained divided.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0045": {
-    "English Original": "Even the prestigious Rembrandt Research Project (the largest and most advanced research project dedicated to sorting out the oeuvre of one single painter, pioneering several advanced scientifc techniques) did not believe that the intuitive component could or should be taken out of the decision making process, as we will see (Bruyn et al., vol.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0046": {
-    "English Original": "1, 1982: XVII; see below and note 22).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0047": {
-    "English Original": "Meanwhile, another blow to the connoisseur's reputation came from the feld of philosophy.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0048": {
-    "English Original": "In the 1950s and 1960s Arthur Koestler and Alfred Lessing argued that it made no aesthetic difference whether a painting is forged or not.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0049": {
-    "English Original": "Therefore, the person who pays a large sum of money for an original but would have no interest in a reproduction or imitation which he could not tell from the original, or worse, who prefers an aesthetically inferior original over an excellent forgery, is said to be at best confused and at worst a snob (Koestler 1955; Lessing 1965\\).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0050": {
-    "English Original": "It raised the question why connoisseurs should bother to tell originals and forgeries apart at all.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0051": {
-    "English Original": "Although Koestler's and Lessing's claims were effectively refuted by the philosophers Nelson Goodman and Denis Dutton in the late 1960s and 1970s (see below), the fact that the validity of connoisseurship was questioned in this way, is telling.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0052": {
-    "English Original": "It is hard to imagine that a similar claim would be made for any other feld of study (i.e.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0053": {
-    "English Original": "that it would make no difference if an expert's analysis and appreciation is based on an authentic or a forged piece of evidence).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0054": {
-    "English Original": "For example, should one value real and counterfeit money in the same manner if one cannot tell the difference?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0055": {
-    "English Original": "Should historians interpret and appreciate real and forged historical artefacts such as Hitler's diary or pieces of the dead sea scrolls in the same way if they cannot tell these apart?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0056": {
-    "English Original": "It is the emphasis on the aesthetic properties of course that makes the difference here.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0057": {
-    "English Original": "Yet the question was if the aesthetic properties could be separated entirely from any cultural or historical context.3\n\nGoodman argued that since the exercise, training and development of our powers of discriminating among works of art are plainly aesthetic activities, the aesthetic\n\n<span id=\"page30\"</span<sup2</supThe frst one to devise concrete method to attribute paintings was the Italian art expert Giovanni Morelli.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0058": {
-    "English Original": "Although Van Dantzig did not refer back to him, his method seems indebted to his wellknown Italian predecessor.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0059": {
-    "English Original": "See Tummers 2011: 30 ff.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0060": {
-    "English Original": "<span id=\"page31\"</span<sup3</supAccording to Goodman the idea that one should strip oneself of all the vestments of knowledge and experience when encountering a work of art derives from the TingleImmersion Theory which was developed around 1800 and has since then become part of the fabric of what Goodman calls our 'common nonsense' (Goodman 1983: 102).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0061": {
-    "English Original": "properties of a picture include not only those found by looking at it but also those that determine how it is to be looked at (Goodman 1969: 111–112).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0062": {
-    "English Original": "In his view, the knowledge that a picture is an original and not a copy, imitation or forgery is a critical and valid factor in our response to it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0063": {
-    "English Original": "Indeed, the impact of such knowledge has recently been confrmed by neuroscientifc research (see Huang et al.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0064": {
-    "English Original": "[2011; Wolz and Carbon 2014\\).]",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0065": {
-    "English Original": "Denis Dutton made a similar point but arrived at it differently.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0066": {
-    "English Original": "He stated that all visual art is necessarily performative, as it represents an achievement within a certain cultural and historical context.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0067": {
-    "English Original": "It is this achievement that determines its value as an art work (and makes it relevant to art history).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0068": {
-    "English Original": "Therefore, if our understanding of this achievement alters drastically when a work of art is exposed as a forgery, in his view it is no longer the same object, in so far as its position as a work of art is concerned (Dutton 1979: 314).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0069": {
-    "English Original": "Although philosophers thus underscored the importance of connoisseurship, many academic art historians stayed clear of indepth visual analysis and moved instead towards contextual and historical approaches in the 1970s and 1980s.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0070": {
-    "English Original": "Iconography, social history and socioeconomic perspectives gained ground, causing art historians to rely heavily on verbal and contextual evidence rather than on their eyes.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0071": {
-    "English Original": "In an effort to change this, Harvard Professor and drawings expert Henri Zerner wrote an engaging essay on connoisseurship's bad reputation in 1987.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0072": {
-    "English Original": "\"Ours is a logocentric culture\", he stated: \"We trust the written document much more than our visual understanding of an image.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0073": {
-    "English Original": "This must be changed and we must attend to visual clues if we want to get something out of our visual legacy\" (Zerner 1987: 290).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0074": {
-    "English Original": "While major research projects dedicated to individual artists such as Rembrandt, Rubens and Van Gogh greatly expanded our visual understanding of these masters at the end of the twentieth century, the advances in connoisseurship hardly impacted the academic curriculum.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0075": {
-    "English Original": "In 2009, Paul Craddock sharply observed: \"the subject of authenticity does not seem to be seriously studied or taught to prospective art historians/curators, much less to materials scientists […] an honorable exception being the centre for study of forgery with its own museum at the University of Salerno\" (Craddock 2009: 6).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0076": {
-    "English Original": "This lack of academic attention is disconcerting and yet somewhat understandable.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0077": {
-    "English Original": "Connoisseurship and authentication skills require arduous practice including extensive frsthand observation and indepth study of important art works, copies and imitations, which not all universities can provide.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0078": {
-    "English Original": "Nevertheless, the twentyfrst century witnessed a renewed academic interest in connoisseurship as well as a theoretical refnement in thinking about issues of authenticity.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0079": {
-    "English Original": "Prominent academics who had not themselves dedicated their lives to sorting out the oeuvres of artists started to underscore the importance of this specifc type of visual knowledge.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0080": {
-    "English Original": "David Freedberg eloquently argued that it was not just fundamental to art history but also potentially a 'core discipline in the humanities' as connoisseurship shared its 'evidential paradigm' with other types of scholarly detective work involving the interpretation of clues, symptoms and pictorial marks (Freedberg 2006; see also Ginzburg 1980).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0081": {
-    "English Original": "Stephanie Dickey stated that the continuing value of connoisseurship could be claimed both on theoretical and practical grounds: \"Broad historical theories that build on works of art as evidence fall like a house of cards if assumptions about the authenticity of those works prove incorrect\" (Dickey 2015: 5).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0082": {
-    "English Original": "In 2019 the Dutch art historical yearbook was even dedicated entirely to connoisseurship, which is framed as the 'history of visual knowledge since the Renaissance'.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0083": {
-    "English Original": "According to Chapman and Weststeijn, connoisseurship is now widely understood as 'an essential and everevolving arthistorical method'.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0084": {
-    "English Original": "Moreover, there is an 'enhanced rigor, [an] interdisciplinary reliance on materials science and neuroscience, and [a] new theoretical awareness' that represent a departure from the past (Chapman/Weststeijn 2019: 7).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0085": {
-    "English Original": "This essay takes a closer look at the interaction between connoisseurs and chemists throughout the twentieth century, as well as at the current interdisciplinary character of authenticity research and its challenges.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0086": {
-    "English Original": "The main line of enquiry focuses on how advances in the scientifc investigation of art works have repeatedly transformed the practice of connoisseurship in the Netherlands and on what is needed to effectively face future challenges.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0087": {
-    "English Original": "<span id=\"page51\"</span1.2 The Eye Versus Chemistry: Early Interactions Between Connoisseurs and Chemists\n\nNo incident illustrates the deep distrust of an early twentieth century art expert towards chemical evidence better than a curious booklet of 89 pages with the title Real or fake?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0088": {
-    "English Original": "Eye or Chemistry?, dated 1925.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0089": {
-    "English Original": "It is written by Cornelis Hofstede de Groot, then one of the leading art historians and the author of a tenvolume survey book on Dutch seventeenthcentury painting (Hofstede de Groot 1908–1927\\).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0090": {
-    "English Original": "He published the booklet in response to the lawsuit Fred Muller & Co. vs H.A.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0091": {
-    "English Original": "de Haas, the frst court case in the Netherlands in which chemical evidence was brought to bear in an attribution matter.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0092": {
-    "English Original": "The bone of contention was the attribution of a small painting: the Laughing Cavalier (Fig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0093": {
-    "English Original": "Cornelis Hofstede de Groot had recognized it as an authentic Frans Hals (1582/83–1566) in 1923 and provided a certifcate of authenticity.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0094": {
-    "English Original": "Both the certifcate and painting had subsequently come into the possession of a certain H.A.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0095": {
-    "English Original": "de Haas, who had sold it via the auction house Fred Muller & Co. to a private collector for f. 50.000, (at the time the equivalent of fourteen years' salary for the average man4 ).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0096": {
-    "English Original": "A few months afterwards, however, the buyer demanded to be reimbursed claiming that the painting was in fact a forgery.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0097": {
-    "English Original": "The auction house looked into the matter, agreed with the buyer, reimbursed him, and subsequently asked Hofstede de Groot to cover a third of the damages suffered (circa f.16.666,).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0098": {
-    "English Original": "Hofstede de Groot refused to do so.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0099": {
-    "English Original": "He indicated that in his view he could not be held accountable for the prices fetched by paintings he had authenticated, and he offered to research the painting anew.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0100": {
-    "English Original": "After a second inspection, however, he concluded once again that in his view the painting was by Frans Hals.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0101": {
-    "English Original": "<span id=\"page50\"</span<sup4</supThe equivalent is taken from Lopez 2008: 46\n\n<span id=\"page60\"</span\n\nFig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0102": {
-    "English Original": "1.2 Anonymous, Laughing Cavalier, ca.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0103": {
-    "English Original": "1923, pastiche in the style of Frans Hals, current location unknown\n\nThe auction house then subpoenaed the seller, Mr. de Haas on the 9th of December 1923.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0104": {
-    "English Original": "Muller and Co. demanded that the purchase contract be annulled and that the purchase amount be reimbursed including interest as well as their litigation expenses.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0105": {
-    "English Original": "The burden of proof that the auction house presented was substantial.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0106": {
-    "English Original": "The painting had been researched by a team of experts who had jointly written a report: Sir Charles Holmes, director of the National Gallery in London, Prof. dr. Wilhelm Martin, director of the Royal Cabinet of Paintings, The Mauritshuis, in the Hague and Prof. dr. F.E.C.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0107": {
-    "English Original": "Scheller, chair of Inorganic Chemistry at Delft University of Technology.5 Especially the materials science part of the investigation was disconcerting.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0108": {
-    "English Original": "Only the frst test had yielded a positive result: the paint layer did not dissolve when treated with the usual 96% alcohol solution, which agrees with what one would expect of a seventeenthcentury painting.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0109": {
-    "English Original": "However, when touched lightly with a cotton ball soaked in water, the paint became soft; with a soft brush and water the paint layer could even be entirely removed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0110": {
-    "English Original": "Moreover, the researchers found artifcial ultramarine in several locations throughout the painting, a pigment that had only been discovered in 1826.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0111": {
-    "English Original": "Furthermore, the researchers observed cobalt blue (through the microscope) in several locations in the background, a pigment that was not manufactured commercially until the early nineteenth century.6 A chemical\n\n<span id=\"page61\"</span<sup5</supThe report was published in its entirety as an appendix in Hofstede de Groot 1925: 74ff.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0112": {
-    "English Original": "<span id=\"page62\"</span<sup6</supAccording to the experts consulted during the trial, cobalt blue was frst produced commercially around 1820/1830 (Hofstede de Groot 1925: 84); nowadays we believe it was somewhat earlier in 1807.\n\nanalysis of the white used in the painting identifed it as zinc white, a pigment that has only been available since 1781.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0113": {
-    "English Original": "Also, a radiography of the picture revealed two nails that had been hammered into the picture from the front; these were machinemade and could therefore not have been produced before the nineteenth century.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0114": {
-    "English Original": "The conclusion was obvious: the painting could not be by Frans Hals or a contemporary; it was made by a modern forger or imitator.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0115": {
-    "English Original": "The lawsuit received much press coverage and constituted a serious blow to the reputation of Cornelis Hofstede de Groot.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0116": {
-    "English Original": "After an impressive career as deputy director of the Royal Picture Gallery the Mauritshuis (1891–1896) and director of the Print Room at the Rijksmuseum (1896–1898) and dozens of prestigious publications, he lived as an independent art historian mostly from the certifcates of authenticity that he provided (Ekkart 1979).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0117": {
-    "English Original": "When the court case had dragged on for one and a half years, he suddenly brought it to a halt, presumably in an attempt to prevent further damage to his reputation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0118": {
-    "English Original": "Before the judge could reach a verdict, Hofstede de Groot purchased the contested painting for the full amount of f. 50.000,, which made the law suit redundant.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0119": {
-    "English Original": "He then defended his point of view in his publication Real or Fake?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0120": {
-    "English Original": "In a nutshell, he argued that his expert eye should outweigh the chemical evidence presented in court.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0121": {
-    "English Original": "It is a position one can hardly imagine taking nowadays, and therefore an interesting benchmark in our study of the development of connoisseurship.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0122": {
-    "English Original": "For what criteria did Cornelis Hofstede de Groot use to substantiate his attribution?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0123": {
-    "English Original": "And how did he come to dismiss 'chemistry' so radically?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0124": {
-    "English Original": "Although Hofstede de Groot hardly defnes criteria for assessing paintings, the way in which he attacks his opponents is revealing.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0125": {
-    "English Original": "Hofstede de Groot points his arrows mostly at Professor Wilhelm Martin, who is said to base himself too often on his 'feeling for style' (stijlgevoel).7 Interestingly, Hofstede de Groot does not dismiss such a 'feeling for style' as a valid criterium; he just did not think Professor Martin possessed it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0126": {
-    "English Original": "To Hofstede de Groot it seems to have been selfevident that an expert had a certain 'feeling' for the characteristic style of a painter, which enabled him to judge attributions better than a layman, an intuitive kind of insight that would normally not require much explanation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0127": {
-    "English Original": "Given the circumstances, however, he felt obligated to refute the claims of his adversaries.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0128": {
-    "English Original": "Therefore, he wrote his argument in the form of a negatio (a denial of the contrary), a rebuttal of the expertise that had been used against him in court.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0129": {
-    "English Original": "In doing so, he did not shy away from technical evidence.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0130": {
-    "English Original": "In particular, the discovery of modern nails in the picture and the solubility of the paint layer seem to have worried him.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0131": {
-    "English Original": "Therefore, he had confronted the painter and restorer who had asked him to assess the painting in 1923: Theo van Wijngaarden (1874–1952), nowadays better known as the mentor and business associate of master forger Han van Meegeren (1889–1947).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0132": {
-    "English Original": "Van Wijngaarden immediately admitted that he had hammered modern nails into the painting.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0133": {
-    "English Original": "These would not be situated underneath the paint layer, however; he claimed that he himself had covered their heads with tiny\n\n<span id=\"page70\"</span<sup7</supHofstede de Groot 1925: 28–29.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0134": {
-    "English Original": "He also provided an explanation for the solubility of the paint layer: he was in the possession of a product –invented by himself but kept a secret– that could render any old master painting in oil soluble in water, which he demonstrated on the spot on another seemingly old painting.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0135": {
-    "English Original": "Ignorant of the massive swindling for which van Wijngaarden would later become known, Hofstede de Groot did not raise further questions.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0136": {
-    "English Original": "He mentioned Van Wijngaarden in good faith in his publication and indicated that the restorer was willing to demonstrate his product on any old master painting (Hofstede de Groot 1925: 13).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0137": {
-    "English Original": "Having thus 'refuted' the chemical evidence, Hofstede de Groot then proceeded to counter Martin's style analysis.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0138": {
-    "English Original": "In the expert report, Martin had indicated that he recognized a certain similarity to Hals' oeuvre (notably elements that seemed to have been copied from Hals's famous Jolly Toper), but that he did not encounter the distinctive characteristics of Hals' own hand, which he had described in rather broad terms as a 'playfulness of spirit' (dartelheid van geest), a 'secure hand' (zekerheid van voordracht), a 'virtuoso manner of painting' (gave schilderwijze) and 'a lighthearted mobility in head and body' (luchtige bewegelijkheid in hoofd en lichaam) (Hofstede de Groote 1925: 82–83).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0139": {
-    "English Original": "Several elements in particular deviated from what Martin would have expected of Hals: the stockiness of the shoulder area in relation to the head, the rough indication of the left cheek and neck which did not show the underlying structure, the course defnition of the hair roots, the way in which the mouth and teeth were depicted and the light refection on the lower lip.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0140": {
-    "English Original": "According to Hofstede de Groot, however, a 'secure hand' was a rather 'subjective feeling'.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0141": {
-    "English Original": "Although this remark seems to imply that he believed that Martin's criteria were perhaps not objective or clear enough, he merely objects to Martin's application of the criteria.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0142": {
-    "English Original": "Hofstede de Groot argues that the disputed picture does in fact show 'a secure hand'.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0143": {
-    "English Original": "He also believes that 'playfulness of spirit' is a valid criterium, but he claims that it does not apply to all Hals's works.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0144": {
-    "English Original": "Hals's late regent group portraits, for example, are far from playful in his view, thereby touching indirectly on the ambivalence of the term.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0145": {
-    "English Original": "For did it allude to a certain playfulness in the subject depicted or rather in handling of the brush?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0146": {
-    "English Original": "Moreover, in Hofstede de Groot's view, the coarse brushwork was not unusual for Hals, and neither was the stockiness of the shoulder area; he provides no fewer than 20 comparative examples to substantiate his claim(s).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0147": {
-    "English Original": "Ironically, one of the reference works he uses has the same provenance as the contested Laughing Cavalier: it is picture of a boy smoking that Theo van Wijngaarden had also asked him to assess in 1923 and that Hofstede de Groot had like so much that he had purchased it for himself.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0148": {
-    "English Original": "The similarities were not coincidental: the picture appears to be a forgery by the same hand, presumably by someone from Theo van Wijngaarden's workshop, possibly Han van Meegeren (Kraaijpoel and Van Wijnen 1996: 49; Lopez 2008: 24).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0149": {
-    "English Original": "Many of Hofstede de Groot's reference works have been deattributed since then.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0150": {
-    "English Original": "He thus did not just lack clear criteria to distinguish between an authentic Hals and an imitation, but also a clear frame of reference.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0151": {
-    "English Original": "Wilhelm Valentiner's oeuvre catalogue of the artists from 1923 lists 322 paintings as by the master without (much) further explanation (which is about 25% more than today's most positive estimate, see Slive 2014).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0152": {
-    "English Original": "It brings to mind how broadly Hals's oeuvre was defned at the beginning of the twentieth century and how much the paintings ascribed to Hals's hand varied in quality.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0153": {
-    "English Original": "While this unclear frame of reference gave Hofstede de Groot some leeway for new attributions, the chemical analyses did not leave room for doubt.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0154": {
-    "English Original": "If the painting had indeed been made with modern materials, it could not possibly be by Hals.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0155": {
-    "English Original": "Like an alley cat, and perhaps against his better judgment, Hofstede de Groot opted for the frontal attack: the samples taken would not be from the original paint layer but exclusively from later retouches.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0156": {
-    "English Original": "The Professor in chemistry had not understood what exactly he had been researching.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0157": {
-    "English Original": "In the introduction he explained that his defense was directed mostly at Professor Martin, not at Prof. F.E.C.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0158": {
-    "English Original": "Scheffer \"for one cannot argue with a chemist about art.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0159": {
-    "English Original": "In painting the eye has to hold the highest authority, just like the ear does in matters of music.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0160": {
-    "English Original": "Here not the tuning fork; there not the test tube.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0161": {
-    "English Original": "(Hofstede de Groot 1925: 5)\n\nThe fact that Hofstede de Groot did not bother to have the paint layer that he believed to be original tested by a chemist, gives the impression that he must have at least suspected something was wrong.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0162": {
-    "English Original": "For the outside world, his booklet did not put an end to speculations about the status of the Laughing Cavalier.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0163": {
-    "English Original": "Shortly after its publication, a rumor spread that the picture was a forgery by Leo Nardus (1868–1955) or Han van Meegeren, a claim that Hofstede de Groot once againdenied frmly and publicly.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0164": {
-    "English Original": "In an interview with the newspaper Het Vaderland of 10th of June 1926, he exclaimed: \"they would wish they could paint like that!\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0165": {
-    "English Original": "Over the following decades, however, scientifc evidence was no longer dismissed so radically by art historians; it became something to be reckoned with.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0166": {
-    "English Original": "Two more forgery trials contributed to create a turning point in the history of connoisseurship.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0167": {
-    "English Original": "Just a few years after the trial about the Laughing Cavalier ended abruptly, a larger trial in Berlin in 1932 underscored importance of chemical evidence.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0168": {
-    "English Original": "The court case concerned 33 paintings in the style of Vincent van Gogh (Fig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0169": {
-    "English Original": "The dealer Otto Wacker stood on trial for fraud, falsifcation of documents and breach of contract (Charney 2015: 26–27; Koldehoff 2002\\).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0170": {
-    "English Original": "The paintings had been confscated when the organizers of a commercial exhibition at Paul Cassirer in 1928, Grete de Ring and Walter Feilchenfeldt, had recognized four works as forgeries and grew suspicious of the other works supplied by Wacker.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0171": {
-    "English Original": "Before the lawsuit several prominent Van Gogh experts had provided certifcates of authenticity for Wacker's Van Gogh pictures, including Jacob Baart de la Faille, Julius MeierGraefe, H.P.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0172": {
-    "English Original": "Bremmer and Hans Rosenhagen.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0173": {
-    "English Original": "In anticipation of the court case, however, their opinions started to change.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0174": {
-    "English Original": "De la Faille published a book in which he dismissed all 33 paintings as forgeries: Les Faux Van Gogh (The Van Gogh Forgeries, De la Faille 1930).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0175": {
-    "English Original": "During the trial, the experts continued to revise their opinions and were ultimately unable to reach a consensus.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0176": {
-    "English Original": "On the witness stand Baart de la Faille declared that he believed fve of the 33 paintings to be genuine after all.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0177": {
-    "English Original": "MeierGraefe, on the other hand, believed all works to be forgeries; Rosenhagen thought that fourteen works which he had previously authenticated were inferior works but nevertheless genuine; and H.P.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0178": {
-    "English Original": "Bremmer believed eight of the pictures were genuine and eight forgeries (Feilchenfeldt 1989: 294–295).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0179": {
-    "English Original": "Possibly, the fact that these same experts\n\n<span id=\"page100\"</span\n\nFig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0180": {
-    "English Original": "1.3 Otto Wacker on trial with the suspected Van Gogh forgeries in the background, 1932\n\nhad previously provided certifcates of authenticity for (some of) these works may have infuenced their judgment.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0181": {
-    "English Original": "Their behavior resembles a curious phenomenon described by Daniel Kahneman and Amos Tversky as the sunk cost fallacy: investors who have already lost money on a project several times are nevertheless likely to reinvest in the project (Kahneman and Tversky 1979).8 In any case, the court also invited a more independent expert to weigh in on the matter: Professor Ludwig Justi, director of the Nationalgalerie in Berlin, who had just exhibited Van Gogh paintings from the KröllerMüller collection in the Kronprinzenpalais in December 1928 and used the occasion to compare these with ten of the Wacker Van Gogh pictures, which were hung nearby in his study.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0182": {
-    "English Original": "His conclusions were straightforward: all the Wacker pictures were \"forgeries beyond any doubt\"; each lacked the signs of the artist's struggle with his subject and they were, moreover, of varying quality in his view (Feilchenfeldt 1989: 295).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0183": {
-    "English Original": "Furthermore, the court also consulted other specialists, including the Dutch chemist and restorer Martin de Wild, who had recently completed a PhD dissertation on the scientifc analyses of paintings (De Wild 1928), and the German restorer Kurt Wehlte.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0184": {
-    "English Original": "De Wild tested the oil paint in the contested pictures and found some unusual components: resin and lead had been mixed in with the oil, presumably to\n\n<span id=\"page101\"</span<sup8</supThe sunk cost fallacy may also explain Hofstede de Groot's perseverance in the Hals controversy described above.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0185": {
-    "English Original": "He had invested both his reputation and actual money in his attribution of the Laughing Cavalier and the Boy Smoking.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0186": {
-    "English Original": "make it dry faster.9 He had never encountered these chemicals in his analyses of securely attributed Van Gogh paintings and the chemical evidence was therefore persuasive.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0187": {
-    "English Original": "Wehlte made a close comparison of the painting technique based on xradiographs of a Wacker painting and a reference work, demonstrating how the buildup of the paint layers differed noticeably.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0188": {
-    "English Original": "Ironically, the reference work he used has been deattributed in 1970 and even labeled a forgery (De la Faille 1970: 594).10\n\nIn hindsight, Wehlte's analysis therefore underscores –once again– the necessity of a clear frame of reference.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0189": {
-    "English Original": "Chemical evidence such as a xradiographs proved very useful to study the buildup of paintings; however, without suffcient and secure reference data, no valid conclusion could be drawn.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0190": {
-    "English Original": "Likewise, De Wild's scientifc analysis was –to a large extent– a matter of interpretation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0191": {
-    "English Original": "He could prove –without a doubt– the presence of resin and lead, but these were not anachronistic materials, as in the case of the Hals forgery.11 The validity of his conclusion thus hinged on his expert knowledge of reference works (which he had researched in depth for his dissertation).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0192": {
-    "English Original": "In this respect, his analysis was rather similar to the approach of Ludwig Justi, who compared a large number of genuine Van Gogh paintings with a very secure provenance to ten contested works (see above).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0193": {
-    "English Original": "Such a side by side comparison of securely attributed works and contested pictures was quite rare at the time (and it still is – due to the limited accessibility of the high value original works); art experts usually had to rely heavily on their visual memory (Wallert and Van de Laar 2011: 70–71).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0194": {
-    "English Original": "Having secure reference material in suffcient quantity available greatly facilitated the interpretation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0195": {
-    "English Original": "Only in this manner could one begin to answer crucial questions such as: How much consistency can one expect in an artist's inventions, style and technique, choice of materials and workshop practice?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0196": {
-    "English Original": "Yet there was a sharp contrast between De Wild's observations and Justi's.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0197": {
-    "English Original": "While De Wild's data was clear and could be checked, Justi's observations remained more implicit.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0198": {
-    "English Original": "Like Hofstede de Groot and (Wilhem) Martin before him, Justi seems to have relied rather strongly on his intuitive insights, which he did not explain extensively.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0199": {
-    "English Original": "According to Justi one could recognize a genuine Van Gogh by studying the brushwork; each stroke 'has a very clear signifcance, because of its size and direction, its surface structure and colour, and also because of its relation to the surrounding brushstrokes'.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0200": {
-    "English Original": "He did not specify how exactly the brushwork deviated in the\n\n<span id=\"page110\"</span<sup9</supThese elements had already been encountered in 1929 during a chemical analysis at the Nationalgalerie (Die Kunstauktion, 10 February 1929; De Telegraaf; Tromp 2006: 58 note 40).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0201": {
-    "English Original": "Presumably, the analysis was done by E. Täubner, chemist at the German National Museums, who declared in 1932 that he had researched 5 or 6 paintings at the Nationalgalerie, half of which were genuine and the others forgeries.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0202": {
-    "English Original": "<span id=\"page111\"</span<sup10</supThe work has gone missing during the Second World War, preventing further technical research.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0203": {
-    "English Original": "It can only be researched on the basis of photographs.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0204": {
-    "English Original": "<span id=\"page112\"</span<sup11</supAlthough de Wild is usually credited with the discovery of resin and lead (Charney 2015: 27), the presence of these elements was published already in 1929, see note 11.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0205": {
-    "English Original": "Wacker paintings, stressing merely how 'obvious' it was to the eye.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0206": {
-    "English Original": "One 'had to be blind not to see it'!",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0207": {
-    "English Original": "(Justi 1929; Feilchenfeldt 1989)\n\nIt was precisely this absence of rational, communicable arguments that was a thorn in the side of the Dutch restorer Maurits van Dantzig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0208": {
-    "English Original": "In 1937 he published a book entitled Frans Hals: Echt of vals?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0209": {
-    "English Original": "(Frans Hals: Genuine or Fake?)",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0210": {
-    "English Original": "in response to the frst ever overview exhibition of paintings by Frans Hals in Haarlem (Van Dantzig 1937\\).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0211": {
-    "English Original": "In the introduction he sharply criticizes art experts 'who have the habit of answering every question relating to the value of an artwork with the Yes!",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0212": {
-    "English Original": "of their aesthetic feeling' and their refusal to make the experiences that underpin their aesthetic judgement explicit.12 In his view clear and verifable criteria were needed to determine if a painting was an original, copy, imitation, forgery or other type of work.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0213": {
-    "English Original": "He developed a new method, which he would later call 'pictology' (Van Dantzig 1947; Van Dantzig 1973\\).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0214": {
-    "English Original": "On the basis of his own observations of the welldocumented and securely attributed core oeuvre of Frans Hals, he made a list of 44 traits that he deemed characteristic of the artist.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0215": {
-    "English Original": "He subsequently applied the criteria to the 116 works on display and reached a devastating conclusion: only 33 were authentic works by Frans Hals in his view, 5 doubtful, 42 were wrongly attributed and 36 paintings were even forgeries in his opinion.13\n\nVan Dantzig's harsh conclusions initially met with a lot of resistance in Dutch art community.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0216": {
-    "English Original": "Trained as a restorer, Van Dantzig had no formal art historical training and was mocked by academic art historians.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0217": {
-    "English Original": "Tellingly, the frst Professor in Art History in the Netherlands, Wilhem Vogelzang (1875–1954), donated a copy of Van Dantzig's book to the Utrecht University library with the inscription: 'Handed over as an example of shoddy literature'.14 Indeed, Van Dantzig's conclusions were far reaching and some of the works he dismissed are nowadays seen as undisputed originals, such as Jasper Schade (National Gallery, Prague) and Laughing Boy (Mauritshuis, The Hague).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0218": {
-    "English Original": "Nevertheless, his insistence that clear rational arguments were needed, constituted an important step forward in history of connoisseurship.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0219": {
-    "English Original": "Moreover, his careful observations of the works of Frans Hals, Rembrandt and Van Gogh (for each of which he eventually compiled a list of over 100 visual characteristics) are still of great value to art historians (Van Dantzig 1978; Hendriks and Hughes 2009).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0220": {
-    "English Original": "In his lists Van Dantzig made no reference to his intuitive expertise or 'feeling for style' (contrary to predecessors such as Martin and Hofstede de Groot).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0221": {
-    "English Original": "Instead, he wrote down in great detail what he had observed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0222": {
-    "English Original": "He noted, for example, how Frans Hals had a habit of depicting his fgures in relaxed, natural poses, with limbs in angular constellations with each other and with the picture plane.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0223": {
-    "English Original": "\"That is not coincidental.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0224": {
-    "English Original": "[…] An angular position breaks through the picture plane and creates a connection with the viewer\" (Van Dantzig 1937: 7).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0225": {
-    "English Original": "He also had a sharp eye for the\n\n<span id=\"page120\"</span<sup12</supVan Dantzig 1937: 2.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0226": {
-    "English Original": "<span id=\"page121\"</span<sup13</supVan Dantzig 1937: 3.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0227": {
-    "English Original": "Van Dantzig indicates in the introduction that he had seen more exhibitions that comprised doubtful works but this particular one exceeded all the others in his view: Van Dantzig 1937: 1.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0228": {
-    "English Original": "<span id=\"page122\"</span<sup14</supStorm van Leeuwen 1977: 89, note 3.\n\npeculiarities of the brushwork: how Hals blended his fnal touches wetinwet with both foreground and background; and how he both painted and drew at the same time, indicating colours and shapes simultaneously, for example by depicting the highlight on the nose in the shape of the curvature of the nose.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0229": {
-    "English Original": "His systematic analysis of the oeuvre of Frans Hals constituted the frst step in developing his new method.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0230": {
-    "English Original": "The central idea is that attributions should be quantifed: buttressed by a large number of clearly and explicitly described characteristics, which could be checked and corrected by later scholars (Tummers 2011: 33 ff).15 Given his emphasis on objective criteria that could be checked, it is interesting that Van Dantzig does not mention the potential of chemical analyses when discussing forgeries.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0231": {
-    "English Original": "Although chemical evidence had started to play a signifcant role in court cases, it was far from usual in the regular authentication practice.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0232": {
-    "English Original": "When one of Van Dantzig's most talented pupils, Storm van Leeuwen, evaluated his master's legacy in 1977 he mentioned this oversight as an important lacuna (Storm van Leeuwen 1977\\).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0233": {
-    "English Original": "It explained some of the resistance Van Dantzig had encountered in his view; he had dismissed paintings too quickly as forgeries, ignoring the potential of chemical analyses to confrm his suspicions.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0234": {
-    "English Original": "While art experts were thus slow to incorporate chemical analyses in the authentication process, forgers were quick to use the chemical evidence presented in the different court cases to improve their skills (Wallert and Van de Laar 2011).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0235": {
-    "English Original": "They developed new techniques to make sure their paint layer would not dissolve when tested and they were more careful to select materials that were not anachronistic.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0236": {
-    "English Original": "Master forger Han van Meegeren, for example, started working with a new binding medium: he mixed fugitive oils with phenolformaldehyde, also known as 'bakelite'.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0237": {
-    "English Original": "Using an oven to speed up the drying process, he created a paint layer that was just as hard as a naturally aged oil paint.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0238": {
-    "English Original": "Moreover, it allowed him to create a convincing pattern of cracks – which constituted another notoriously diffcult challenge for forgers.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0239": {
-    "English Original": "Furthermore, he started to paint forgeries on top of actual seventeenth century canvases and made great efforts to obtain pigments that were consistent with the period (Fig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0240": {
-    "English Original": "Ironically, one of the most expensive pigments he purchased, natural lapis lazuli or ultramarine blue, later turned out to have been diluted with a cheaper modern blue (cobalt).16 It was an oversight that amused the later master art forger Eric Hebborn, who had the advantage of knowing the outcome of the Van Meegeren trial in 1945–47 (Hebborn 1991: 121–122).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0241": {
-    "English Original": "<span id=\"page130\"</span<sup15</supHis method is reminiscent of the method pioneered by his famous Italian predecessor, Giovanni Morelli (18161891), who also insisted on closely describing visual clues (although Van Dantzig never mentioned Morelli in his writings, see Storm van Leeuwen 1979).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0242": {
-    "English Original": "See also above, note 2.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0243": {
-    "English Original": "<span id=\"page131\"</span<sup16</supAccording to his own saying Van Meegeren paid 5000 guilders (current value circa 35.500 euros) for 100 grams of natural lapis lazuli, see Wallert and Van de Laar 2011: 79; see also Wallert and Van de Laar 2018.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0244": {
-    "English Original": "1.4 Tubes with pigments confscated in Van Meegeren's workshop in Nice and entered as evidence in the Van Meegeren trial, Rijksmuseum Amsterdam\n\n 1.3 The Van Meegeren Scandal: A Turning Point\n\nThe Van Meegeren trial constitutes a defnitive turning point in the history of connoisseurship.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0245": {
-    "English Original": "After having created forgeries of old master paintings with tremendous success for over a decade, Van Meegeren was arrested at the end of the Second World War.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0246": {
-    "English Original": "The charge did not concern the forgeries, however, but a far more serious crime: treason through collaboration with the Germans.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0247": {
-    "English Original": "He was accused of having sold a crucial part of the Dutch cultural heritage, a painting by Johannes Vermeer, The Adulteress, to the German marshall Herman Göring without the necessary export permission.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0248": {
-    "English Original": "Caught between a rock and a hard place, Van Meegeren decided to reveal his deceit: he defended himself by stating that he had not sold an authentic Vermeer painting but, instead, a forgery by his own hand.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0249": {
-    "English Original": "Moreover, he claimed authorship of six other paintings in the styles of Pieter de Hooch and Vermeer, including the wellknown Christ and his Disciples at Emmaus at the Boijmans Museum in Rotterdam.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0250": {
-    "English Original": "It resulted in a highly unusual court case, in which the forger was keen to prove his guilt, as it would free him of more serious accusations (Fig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0251": {
-    "English Original": "Despite an overwhelming amount of evidence, it was hard to accept the deceit for some of the art experts who had authenticated, bought or praised the paintings before.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0252": {
-    "English Original": "They had invested in the paintings in a material or immaterial way, and\n\n<span id=\"page150\"</span\n\nFig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0253": {
-    "English Original": "1.5 Court case against Han van Meegeren (lower left, on the accused bench) 29 October 1947 (featuring his forgery Christ and his Disciples at Emmaus in the background at the right)\n\ntherefore seem to have been prone to the socalled sunk cost fallacy (see above and Kahneman and Tversky 1979).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0254": {
-    "English Original": "For example, when the trial had already started Federica Bremmer still included the painting Christ and his Disciples at Emmaus in a revised edition of her survey of art history, stating: 'As my personal opinion I would like to state that it is completely unacceptable that this work, which has no equal in the expression of a deep religious emotion, could have been painted by a cowardly cheater […] If this work is indeed old, Vermeer would be the only painter who could have created it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0255": {
-    "English Original": "After serious consideration, we have therefore decided to keep the painting in its place for the time being' (Bremer 1945: foreword).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0256": {
-    "English Original": "After the trial reached a conclusion, it had become virtually impossible to deny Van Meegeren's claim.17 Not only had the police found evidence of the forgeries he had created in his workshop in France, Van Meegeren had demonstrated how he\n\n<span id=\"page151\"</span<sup17</supNevertheless, Dirk Hannema, the director of the Boijmans Museum who had purchased the painting, would continue to believe in its authenticity until his death in 1984, and so did D.G.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0257": {
-    "English Original": "van Beuningen, owner of one of the Vermeer forgeries (The Last Supper).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0258": {
-    "English Original": "Moreover, the Flemish art dealer Jean Decoen tried to disprove the chemical evidence presented in the court case by Professor Coremans in several publications and Van Beuningen repeatedly threatened to sue Coremans over the matter (Decoen 1951; Van de Brandhof 1979: 9–10).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0259": {
-    "English Original": "In 1968 Bernard Keisch published new\n\ncreated his forgeries by making a new one in prison.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0260": {
-    "English Original": "Moreover, an elaborate expert report confrmed that the pictures could not possibly date from the seventeenth century.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0261": {
-    "English Original": "It was written by seven prominent paintings experts: Prof. dr. Paul Coremans, head of the Central Laboratory of Belgian Museums, Dr. Wiebo Froentjes, a chemist working for the Dutch Ministry of Justice, Dr. Harold J. Plenderleith, Keeper of the Research Laboratory of the British Museum in London, F. Ian G. Rawlins, Assistant Keeper of the National Gallery in London, Prof. dr. I.Q.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0262": {
-    "English Original": "van RegterenAltena, Professor in art history at the University of Amsterdam, Dr. H. Schneider, former director of the National Institute for Art Historical Documentation (RKD) and Dr. Martin de Wild, the chemist and restorer who had also been consulted by the Berlin court during the Wacker trial.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0263": {
-    "English Original": "The strongest evidence concerned the new binding medium Han van Meegeren had used.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0264": {
-    "English Original": "As we have seen, Van Meegeren painted his forgeries on top of authentic seventeenth century canvases and made great efforts to obtain pigments that were consistent with the period.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0265": {
-    "English Original": "In departure from seventeenthcentury practice, however, he employed a modern binding medium, phenolformaldehyde, which allowed him to imitate the cracked and hardened surface of centuriesold oil paintings.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0266": {
-    "English Original": "With two different tests involving a sulphuric acid solution and an ammonia solution, which caused yellow and blue discolourations, the chemists were able to demonstrate its presence throughout in the contested works (Huussen 2009: 99; Tummers et al.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0267": {
-    "English Original": "Phenolformaldehyde had only been invented in 1907; thus, these paintings could not have been created before the twentieth century.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0268": {
-    "English Original": "[Furthermore, the presence of cobalt blue also pointed to a later date, see above.]",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0269": {
-    "English Original": "The stylistic analysis of the paintings written for the court emphasized many shortcomings which according to the experts did not agree with an attribution to Vermeer, such as the unclear defnition of the space and the unhealthy fesh colour of the faces (Schneider 1947).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0270": {
-    "English Original": "For the purpose of legal proof it was not necessary to delve deeply into the stylistic interpretations.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0271": {
-    "English Original": "But it was certainly curious that the paintings had been described in radically different ways before and after Van Meegeren's confession, especially Christ and his Disciples at Emmaus.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0272": {
-    "English Original": "Both before and immediately after the trial, art historians described the picture in quite generic terms strongly infused with value judgments (Weerdenburg 1988\\).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0273": {
-    "English Original": "Before the trial the painting was said to be 'Vermeer's best work' (Bredius 1937); the composition was said to be wellbalanced, the colors exquisite, the still life better than any other from the period, Christ's face was 'flled with secrecy' (Knuttel 1938) and the maid 'perhaps the most beautiful one Vermeer ever painted' (Van Thienen 1939\\).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0274": {
-    "English Original": "After the trial, the composition was seen as unbalanced and rather forced, the colors too gray, Christ's face decidedly effeminate (Kilbracken 1967), the maid crosseye and bald, and her lips too thick (Van Dantzig 1947\\).18\n\nscientifc proof confrming the status of both these Van Meegeren paintings as forgeries based on the radioactivity of the lead (Keisch 1968\\).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0275": {
-    "English Original": "<span id=\"page160\"</span<sup18</sup In attribution matters it is often striking how differently the quality of paintings is judged when their attribution changes, even when the same expert re or deattributes the work.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0276": {
-    "English Original": "Though this could be done maliciously to massage the evidence in order to convince the reader of one's judg\n\nThe mistaken attribution was perhaps somewhat understandable.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0277": {
-    "English Original": "Van Meegeren had created such a convincing pattern of cracks that even the restorer who cleaned the painting for the Boijmans Museum failed to notice that the work did not date from the seventeenth century (Van Dantzig 1947: 63).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0278": {
-    "English Original": "In arthistorical terms, the situation was not clearcut.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0279": {
-    "English Original": "Christ and his Disciples at Emmaus had been recognized as an early work by the art historian who discovered the painting, Abraham Bredius, and in his early period, Vermeer varied his style and technique considerably.19 Moreover, the reference material Bredius and others were using had been 'polluted' as similar forgeries had already been accepted as authentic (Wallert and Van der Laar 2011\\).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0280": {
-    "English Original": "Nevertheless, the Van Meegeren trial exposed a serious shortcoming in connoisseurship.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0281": {
-    "English Original": "A large number of experts had clearly been unable to distinguish between an authentic old painting and a forgery.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0282": {
-    "English Original": "Moreover, they had even celebrated a forgery as one of Vermeer's best works.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0283": {
-    "English Original": "This painful conclusion not only affected the reputation of connoisseurs in the feld of Dutch painting more than any previous error had done, it also heightened the awareness of the diffculties involved in attributing and dating paintings.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0284": {
-    "English Original": "In the aftermath of the court case, scholars became more cautious when authenticating and dating pictures.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0285": {
-    "English Original": "Attributions based on the intuition of an expert without much explanation were no longer acceptable.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0286": {
-    "English Original": "From now on arguments were needed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0287": {
-    "English Original": "As Arie Bob de Vries, then director of both the Mauritshuis and the National Institute for Art Historical Documentation (RKD), put it: 'every attribution must be supported by evidence, insofar as one can provide proof in the thorny feld of such conclusions' (De Vries 1939 [ed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0288": {
-    "English Original": "De Vries, who had published a Vermeer oeuvre catalogue just before the start of the Second World War in 1939, revised his book considerably in 1948, bringing down the number of paintings he categorized as authentic Vermeers from 43 to 35 – a selection that has hardly been debated or altered since then (Tummers 2011: 27–29).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0289": {
-    "English Original": "1.4 Excessive Optimism: The Potential and Limitations of Scientifc Techniques\n\nAfter the Van Meegeren scandal, art historians did not only specify in much greater detail what visual observations, archival and documentary evidence led to their attributions, but also gradually started to expand their visual analysis by systematically integrating scientifc techniques.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0290": {
-    "English Original": "In Belgium, a National Centre for Research of the Flemish Primitives was established in 1949, which resulted in the publication\n\nment or save one's reputation, it could also be the effect of (altered) subconscious associations and expectations, which can truly make us look differently.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0291": {
-    "English Original": "It would be a fascinating subject for further research.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0292": {
-    "English Original": "<span id=\"page170\"</span<sup19</supCompare Johannes Vermeer, Christ in the House of Martha and Mary, c. 1655, National Gallery of Scotland, Edinburgh; Johannes Vermeer, Diana and her Companions, c. 165556, Royal Picture Gallery Mauritshuis, The Hague.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0293": {
-    "English Original": "of numerous technical studies, including Prof. Coremans' technical analysis of Jan and Hubert van Eyck's famous Ghent Altarpiece in 1953 (Coremans 1953\\).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0294": {
-    "English Original": "Although early technical studies concentrated mostly on xradiography and pigment analyses of paint samples, these were soon expanded with new techniques (Ainsworth 2005\\).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0295": {
-    "English Original": "Van Asperen de Boer, a physicist in the art history department at the University of Groningen in the Netherlands, was the frst to develop infrared refectography (IRR) for the study of paintings, a technique which proved particularly useful for examining early Netherlandish pictures as it exposed detailed underdrawings in these works (Van Asperen de Boer 1969\\).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0296": {
-    "English Original": "In the feld of seventeenth century paintings, the Rembrandt Research Project, founded in 1968, constituted a major step forward.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0297": {
-    "English Original": "At the initiative of Bob Haak, curator of old masters at the Amsterdam Historical Museum, a team of fve leading Rembrandt experts set out to redefne Rembrandt's entire painted oeuvre: Josua Bruijn, Professor of art history at the University of Amsterdam, Haak himself, Simon Levie, the director of the Amsterdam Historical Museum, Pieter van Thiel, curator of old master paintings at the Rijksmuseum and Ernst van de Wetering, staff member of the Central Research Laboratory of Objects of Art and Science.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0298": {
-    "English Original": "At the start of the project, many connoisseurs were doubtful about the validity of existing attributions to Rembrandt.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0299": {
-    "English Original": "For example, Horst Gerson, professor of art history at Groningen University, noted in the introduction to his 1968 monograph on Rembrandt that he largely agreed with what British collectors tended to say about Dutch old masters, namely that 'nearly half of the old masters are wrongly attributed and the others are not old at all' (Gerson 1968: 160).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0300": {
-    "English Original": "He also pointed out that no Rembrandt scholar had ever even seen all possibly authentic Rembrandt paintings in real life (Tummers 2011: 40).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0301": {
-    "English Original": "The members of the Rembrandt Research Project were the frst to do so.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0302": {
-    "English Original": "In pairs of two they traveled the world, observed over 600 potential Rembrandt paintings in real life, described these in painstaking detail, and decided on the attributions as a group.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0303": {
-    "English Original": "Moreover, they tested a variety of scientifc techniques systematically as to their merit in sorting out Rembrandt's oeuvre.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0304": {
-    "English Original": "Whereas previous generations of art historians had been hesitant and sometimes even skeptical about incorporating chemical research, the members of the Rembrandt Research Project signaled rather an excessive optimism: a relatively widespread belief that science held the answers and could potentially replace the eye in matters of attribution (Bruyn et al.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0305": {
-    "English Original": "However, their systematic application of technical research methods proved otherwise.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0306": {
-    "English Original": "Dendrochronology proved useful in dating the oak panels Rembrandt used for his early paintings.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0307": {
-    "English Original": "By determining the approximate year in which the tree used to make the panel was felled, the technique provides a 'terminus post quem' that is, dates after which the painting had to have been made.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0308": {
-    "English Original": "Tests executed by Peter Klein and his team at the Ordinariat für Holzbiologie at the University of Hamburg provided surprising results when applied to paintings that the Rembrandt Research Project had originally considered later imitations (Bruyn et al.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0309": {
-    "English Original": "Most of these turned out to be done on authentic seventeenthcentury panels, which in combination with other observations eventually led to the conclusion that the works did date from Rembrandt's time.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0310": {
-    "English Original": "Xradiographs proved to be valuable in reconstructing Rembrandt's working process in terms of how he laid out his compositions and the order in which he executed various parts of a painting.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0311": {
-    "English Original": "Xray images show especially leadcontaining pigments very clearly, and since canvases were usually primed with a leadcontaining coating, Xradiographs also allowed the group to study the structure and density of the original canvases on which the paintings were created (Van de Wetering 1986).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0312": {
-    "English Original": "This was important information that could not be acquired with the naked eye, since the canvas of most seventeenthcentury paintings has since been covered by a second, more recent canvas.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0313": {
-    "English Original": "The Rembrandt Research Project's study of these canvases led to several striking conclusions, especially when the works had been cut down, or when the same faw was found in the weaving of more than one painting, showing that they had been painted on canvas from the same bolt.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0314": {
-    "English Original": "Findings of that kind made it seem likely that the canvases had been bought in one batch and had all been used in Rembrandt's studio.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0315": {
-    "English Original": "Ultraviolet radiation and photographs and infrared refectographs proved less informative.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0316": {
-    "English Original": "The former can be helpful in identifying later retouches, though its use depends largely on the condition of the varnish, making it a rather inconsistent source of information.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0317": {
-    "English Original": "Infrared refectography, which is mostly used to study carboncontaining underdrawings, did not yield a large amount of information, as no underlying drawing in an absorbent material was discovered in Rembrandt paintings.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0318": {
-    "English Original": "For this reason, the Rembrandt Research Project decided against investing in this technique.20\n\nNeutron activation autoradiography yielded insights about the master's working method, but was too costly to be used on a large scale.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0319": {
-    "English Original": "Most signifcant in this respect was the investigation by the Metropolitan Museum of Art in New York in the early 1980s, the results of which were also studied by the Rembrandt project (Ainsworth et al.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0320": {
-    "English Original": "By making several paintings temporarily radioactive and subsequently recording the radiation of the various pigments in a number of photographic plates, a clear picture emerged of the areas in which the different pigments had been used.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0321": {
-    "English Original": "This gave scholars information on paint layers below the surface that could barely, if at all, be detected with other techniques.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0322": {
-    "English Original": "Lastly, samples of the paint and ground layers gave mixed results.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0323": {
-    "English Original": "Rembrandt's pigments were found not to differ much from those of pupils and contemporaries, or even from those used by his followers.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0324": {
-    "English Original": "Analyses of paint samples were therefore hardly of any use when trying to identify the master's hand.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0325": {
-    "English Original": "Only in the rare instances when a pigment was found to have gone in or out of use at a certain moment did a paint sample give an indication as to when a painting was made.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0326": {
-    "English Original": "For example, the presence of leadtin yellow made it likely that a painting was made\n\n<span id=\"page190\"</span<sup20</supFurther research might still yield some interesting insights, as some information about the various paint layers can also be seen in infrared refectographs and increasingly refned cameras make it possible to recognize thin underdrawings which earlier models cannot distinguish.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0327": {
-    "English Original": "before 1750, as the pigment fell out of use at that point.21 As to the ground layer, only one component was found to be signifcant for authentication purposes: after decades of study, the chemist Karin Groen discovered that the grounds in paintings by Rembrandt and his studio contain quartz from 1642 onwards, an element she had not encountered in other grounds from the period (Groen 2005\\).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0328": {
-    "English Original": "Presumably, Rembrandt trained his studio to prepare his own grounds when he was working on the Nightwatch and his studio continued to do so afterwards.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0329": {
-    "English Original": "Gradually it became evident that technical examination seldom provided absolute certainty concerning attributions.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0330": {
-    "English Original": "While a technical or chemical analysis can prove that a work is not authentic by demonstrating, for example, that the materials used are anachronistic, a positive attribution cannot be done without a visual analysis.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0331": {
-    "English Original": "For if the materials are consistent with the period, one still needs to analyze the particular 'handwriting' of the artist in order to determine if the attribution is correct, to differentiate between different types of workshop products, contemporary copies and imitations.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0332": {
-    "English Original": "In practice, the researchers identifed only one potential forgery among the more than 600 paintings they studied (Bruyn et al.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0333": {
-    "English Original": "1982: XX, C12); the evidence was rarely conclusive.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0334": {
-    "English Original": "Furthermore, regarding their methodology, the Rembrandt Research Project concluded: 'It is a mistake to think that even the most meticulous argument for or against the authenticity of a painting covers the whole of the visual experience that led to that opinion' (Bruyn et al.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0335": {
-    "English Original": "1: XV).22 Although the team members had made great efforts to make their arguments explicit, they did not think it covered all of their implicit knowledge (in other words, they had used both Kahneman's systems 1 and 2, see above).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0336": {
-    "English Original": "Nevertheless, their elaborate, systematic approach contributed signifcantly to refning the attribution process.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0337": {
-    "English Original": "Their lengthy and very detailed descriptions made it possible to analyze and check attributions, their underlying assumptions and possible biases to a much greater extent than had been possible before.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0338": {
-    "English Original": "In the late twentieth century, technical art research came into its own as a signifcant new area of study that came to be known as 'technical art history'.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0339": {
-    "English Original": "The term was coined in the 1990s by David Bomford, senior paintings conservator at The National Gallery in London, who also called technical art history 'new school connoisseurship'.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0340": {
-    "English Original": "Bomford himself contributed signifcantly to the feld, especially through the Art in the Making series, which he wrote together with conservation scientist Ashok Roy and curator Christopher Brown.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0341": {
-    "English Original": "This type of research was done mostly in a museum context as a collaboration between conservators, conservation scientists and curators, and commonly focused on a few related works of art rather than on sorting out an entire oeuvre.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0342": {
-    "English Original": "An excellent early example is the technical study of Rembrandt paintings at the Mauritshuis in The Hague which appeared a few years before the frst Corpus volume was published (De Vries et al.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0343": {
-    "English Original": "<span id=\"page201\"</span<span id=\"page200\"</span<sup21</supWhen Van Meegeren created his forgeries, leadtin yellow had not been discovered yet, so this fnding was also useful for the identifcation of forgeries, see Wallert and Van der Laar 2011: 90 ff.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0344": {
-    "English Original": "22On the changes in the project and its methodology throughout the years, see Tummers 2011: 39–50.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0345": {
-    "English Original": "See also Van de Wetering et al.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0346": {
-    "English Original": "Bomford described the goal of this 'new school connoisseurship' as the study of all the processes for making art and the technical and documentary means which throw light on those processes.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0347": {
-    "English Original": "It is principally concerned with the physical material and structures of works of art but also charts the stages of invention, development, elaboration and revision (Bomford 2008\\).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0348": {
-    "English Original": "Like the members of the Rembrandt Research Project, Bomford was well aware of the limitations of the technical research for authentication purposes, and stated that 'new school connoisseurship is old school connoisseurship with technology'.23\n\nThe usefulness of the various techniques varied somewhat from one master to the next.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0349": {
-    "English Original": "For example, Vermeer seemed more distinct in his use of specifc pigments, particularly in the use of the expensive lapis lazuli mixed in with other pigments to create background colours (Sheldon and Costaras 2006); and infrared refectograms of works by one Rembrandt's most talented pupils, Carel Fabritius, gave some spectacular results in that these revealed the artist's signature in several darkened backgrounds (Duparc 2006\\).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0350": {
-    "English Original": "Nevertheless, many of the key questions for authenticating works of art remained the same, notably the question how much consistency one could expect in the masters technique, choice of materials and workshop practice.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0351": {
-    "English Original": "Only in the case of anachronistic materials, chemistry and other scientifc analyses could provide conclusive evidence and expose forgeries or misattributions.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0352": {
-    "English Original": "In all other cases, the authentication or attribution process remained a matter of interpretation; it rather resembled detective work, combining circumstantial evidence and probabilities.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0353": {
-    "English Original": "1.5 Paradigm Change and Myriad New Techniques\n\nIn the late twentieth and early twentyfrst century an important paradigm change took place in the humanities that has far reaching consequences for the art authentication, especially in the feld of old master paintings.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0354": {
-    "English Original": "Since the 1980s, there had been a growing concern that the twentiethcentury practice of classifying old master paintings may be at odds with early modern categories of thought.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0355": {
-    "English Original": "Ernst van de Wetering, the leader of the Rembrandt Research Project (RRP), raised the issue most poignantly in 1992, when he gave a lecture entitled 'The Search for the Master's hand: An Anachronism?'",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0356": {
-    "English Original": "at the 28th International Art History Congress in Berlin (Van de Wetering 1992).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0357": {
-    "English Original": "He wondered if the core mission of the RRP, namely to distinguish between the master's own hand and those of pupils, assistants and imitators, agreed with seventeenthcentury workshop practice.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0358": {
-    "English Original": "Would early modern viewers have expected a 'Rembrandt' to be purely autograph?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0359": {
-    "English Original": "It was indeed a crucial issue, with serious implications for attribution issues.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0360": {
-    "English Original": "For how could one recognize the master's hand by studying the brushwork in a variety of details, if that\n\n<span id=\"page210\"</span<sup23</supLecture 2013 at Bard Graduate Center in New York, 10 September 2013; cited in Chapman and Weststeijn 2019: 17.\n\nbrushwork was not necessarily executed by the master himself but possibly by a pupil or assistant?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0361": {
-    "English Original": "According to Van de Wetering, not enough research was done to draw any conclusions with certainty.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0362": {
-    "English Original": "Nevertheless, several authors believed that early modern painters, such as Rembrandt, consciously produced paintings that give the effect of individuality without necessarily painting the pictures entirely by themselves (Alpers 1990; KirbyTalley 1989; Grimm 1993\\).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0363": {
-    "English Original": "The debate highlighted the need for contextual knowledge.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0364": {
-    "English Original": "In the early twentyfrst century several larger studies yielded insights into early modern views on quality and authenticity, while raising awareness of various types of workshop collaborations (Tummers 2011; Guichard 2014\\).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0365": {
-    "English Original": "Gradually it became clear that old masters often had more than one style and working method (Gifford and Glinsman 2017).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0366": {
-    "English Original": "Their style and technique could vary considerably depending on the price of the painting, its subject, function and location.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0367": {
-    "English Original": "Furthermore, ingenious masters sometimes deliberately varied their styles to showcase their virtuosity, including notably Goltzius and Rembrandt (Van Mander 1604, fol.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0368": {
-    "English Original": "284v; Melion 1990; Leefang and Luijten (eds.)",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0369": {
-    "English Original": "2003: 210–215; Van de Wetering et al.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0370": {
-    "English Original": "Moreover, there were many different types of workshop products and quality levels.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0371": {
-    "English Original": "What exactly a master painter deemed of high enough quality to carry his/her name, varied from one painter to the next, and could also vary over the course of an artist's career.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0372": {
-    "English Original": "Rubens, for example, distinguished between fve different types of paintings produced in his workshop and prices these according to their quality, witness a letter by him dated 28 April 1618 (Rosenberg (ed.)",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0373": {
-    "English Original": "Occasionally, master painters even sold pictures that were entirely by workshop assistants as their own.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0374": {
-    "English Original": "If the quality level was suffcient, the master painter had the right to do so according to guild regulations.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0375": {
-    "English Original": "Interestingly, some masters even used different signatures to indicate different quality levels – a practice that was long forgotten but must have been quite common in early modern times (Tummers 2011: 79–111, esp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0376": {
-    "English Original": "In short, the very notion of what constituted 'authenticity' was redefned.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0377": {
-    "English Original": "As result, authentication decisions became more complex.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0378": {
-    "English Original": "In order to judge the authenticity and quality of a painting, one had to know what these terms meant at the time in which the painting was made and familiarize oneself with the then current categories of thought as well as with the specifc master's workshop practice.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0379": {
-    "English Original": "An authentic Rembrandt could not be simply judged with the same criteria as an authentic Van Gogh (which one can reasonably expect to be autograph).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0380": {
-    "English Original": "A detailed understanding of the context in which a picture was created, provides insight as to what to look for and what not to look for.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0381": {
-    "English Original": "For example, seventeenth century experts had a rather hierarchical way of looking; they made a clear distinction between key elements and socalled 'bywork' and had developed nuanced terms for identifying mastery – which are useful when assessing paintings from this period.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0382": {
-    "English Original": "When judging pictures from this period, a simple binary perspective (either by the master or not) did no longer suffce.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0383": {
-    "English Original": "While the framework for thinking about issue of authenticity within the humanities thus became increasingly nuanced, the technical means and chemical methods to research paintings developed at an unprecedented pace.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0384": {
-    "English Original": "As we have seen, early\n\ntwentieth century connoisseurs relied heavily on their visual memory when authenticating paintings (see Sect.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0385": {
-    "English Original": "Since then, photographic material has become much more readily available, and its quality and resolution have improved dramatically, especially in the last decades.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0386": {
-    "English Original": "Moreover, numerous new analytical techniques were developed for the study of paintings.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0387": {
-    "English Original": "Especially macro xrayfuorescence scanning (MAXRF) and hyperspectral imaging (HSI, also called refectance image spectroscopy or RIS) are currently revolutionizing the feld.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0388": {
-    "English Original": "Macro xrayfuorescence scanning (MAXRF) is a relatively new technique that allows for the visualisation of the distribution of elements in a fat sample, such as an easel painting, in a nondestructive manner.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0389": {
-    "English Original": "This is achieved by scanning the surface of the sample with a focused Xray beam, and analysing the emitted fuorescence radiation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0390": {
-    "English Original": "As the Xray beam scans the whole painting, it produces thousands, sometimes millions, of data points.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0391": {
-    "English Original": "These can be plotted on elemental distribution maps, which may be interpreted as pigment distribution images (Alfeld et al.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0392": {
-    "English Original": "The technique is much more precise than xradiography as it is able to distinguish between different chemical elements and therefore allows for a much more precise understanding of a painter's working process and the buildup of his pictures.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0393": {
-    "English Original": "Hyperspectral imaging (HSI/RIS) is a technique that combines twodimensional visualisation of the painting by optical imaging (such as photography) with optical spectroscopy.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0394": {
-    "English Original": "It is done in such a way that each pixel of the image is made to represent a complete spectrum of that pixel.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0395": {
-    "English Original": "Whereas a regular camera records three different wavelengths of the electromagnetic spectrum (corresponding to the colours red, blue and green), modern hyperspectral cameras can easily differentiate between hundreds of wavelengths, resulting in very precise digital images or 'data cubes' (see the article by John Delaney in this book).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0396": {
-    "English Original": "It is particularly useful for identifying the distribution of specifc paint mixtures throughout a painting, although it can also be used to identify specifc chemical elements.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0397": {
-    "English Original": "Both MAXRF and HSI proved useful to enhance our understanding of Frans Hals' hallmark techniques and materials, to give just one example (Tummers et al.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0398": {
-    "English Original": "Furthermore, the insight MAXRF provided in Hals' painting technique was also helpful for the identifcation of a potential forgery in style of Hals, rumored to be by Han van Meegeren (Tummers et al.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0399": {
-    "English Original": "In the latter case, the son of the master forger had claimed that the painting was forgery by his father, but could be proven wrong with modern analytical techniques.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0400": {
-    "English Original": "Initially, GCMS (a method of separating and identifying complex mixtures of organic molecules) seemed to prove that the binding medium did not contain phenolformaldehyde, but when the same test also gave a negative result for a welldocumented (and phenolformaldehyde containing) Van Meegeren forgery in the style of Frans Hals, the test could not be seen as conclusive.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0401": {
-    "English Original": "A lead isotope analysis by Gareth Davies and Paolo d'Imporzano of the Geochemical Laboratory for UltraLow Isotopic Analyses in Amsterdam did provide solid evidence in combination with secure reference data gathered in the context of the NWO project Frans Hals/not Frans Hals project (2016–2018).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0402": {
-    "English Original": "The analyses indicated that the lead ores in the lead white used by Van Meegeren came from a completely different location than Hals's lead white (on this technique, see also the essay by Davies and d'Imporzano's in this book).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0403": {
-    "English Original": "The lead isotopes ratios in the contested painting were consistent with those found in Hals paintings, not at all with those found in a Van Meegeren forgery: the painting could not possibly be by Van Meegeren.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0404": {
-    "English Original": "Subsequently, an indepth analysis of the style, buildup and painting materials (using observations done with the naked eye, a dinolite microscope, MAXRF scans and an occasional paint sample) strengthened the attribution to Hals and his workshop, including Hals's distinctive use of indigo blue (identifed with Raman spectroscopy).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0405": {
-    "English Original": "In short, in this particular case, documentary evidence turned out to be unreliable and a modern analytical technique provided a false negative.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0406": {
-    "English Original": "Nevertheless, the range of possibilities in the attribution issue was greatly reduced with the aid of modern analytical techniques.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0407": {
-    "English Original": "Especially when combined with a visual analysis, indepth technical research has great potential for art authentication.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0408": {
-    "English Original": "Although technical art history has expanded enormously, especially in pioneering museum studies, in practice surprisingly little technical research is used for most attributions.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0409": {
-    "English Original": "In prominent oeuvre catalogues and scholarly attributions, it is often not used at all (Dumas et al.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0410": {
-    "English Original": "On the market, wellknown auction houses use technical research only rarely to strengthen attributions (eg.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0411": {
-    "English Original": "2019\\) – although its use is increasing since auction house Sotheby's founded a scientifc department in 2016.24 By far most wellknown masters' oeuvres have not been researched yet with (all) the newest techniques and therefore the chances of discovering signifcant discrepancies between original paintings and forgeries and misattributions are currently high.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0412": {
-    "English Original": "Obviously, forgers and imitators from a different period cannot have mimicked specifc materials and techniques, if these materials and techniques were not known to them.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0413": {
-    "English Original": "In some instances, research into a specifc artist's oeuvre with the newest techniques makes the creation of new forgeries virtually impossible.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0414": {
-    "English Original": "A good example is the project REVIGO: Reassessing Vincent van Gogh (2013–2017), a collaboration between researchers from the Van Gogh Museum, Tilburg University, Delft University of Technology, the Cultural Heritage Agency of the Netherlands and the Rochester Institute for Technology in New York, funded by the Dutch Science Foundation (NWO).25 Because of the natural ageing and discoloration of Van Gogh drawings, recent forgeries are bound to fall short: either the ink contains the right pigment(s) and has the wrong colour or the ink has the right colour but not the right pigments.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0415": {
-    "English Original": "In most other cases, however, the situation is not so clearcut, and additional research, reference data and analytical tools are urgently needed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0416": {
-    "English Original": "<span id=\"page240\"</span<sup24</sup Ironically, while serious indepth technical studies for attributions are relatively rare, highly dubious paintings are often accompanied by questionable 'scientifc' reports, as every active curator in the feld knows.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0417": {
-    "English Original": "These reports are commonly presented as 'proof' for a concrete attribution on the basis of a logical fallacy: no anachronistic elements were discovered in the painting therefore it must be by the artist.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0418": {
-    "English Original": "<span id=\"page241\"</span<sup25</sup https://www.vangoghmuseum.nl/en/about/knowledgeandresearch/completedresearchprojects/revigo\n\n 1.6 The Digitally Enhanced Eye: Connoisseurship and Smart Tools\n\nWhile only a small fraction of the paintings of wellknown masters have been subject to indepth technical research, the data gathered is nevertheless substantial and increasingly rapidly.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0419": {
-    "English Original": "Especially the data collected with advanced photography and scanning methods such as MAXRF and HSI/RIS is considerable.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0420": {
-    "English Original": "We have entered a digital age that comes with entirely new challenges and potential.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0421": {
-    "English Original": "How to manage and properly interpret vast amounts of data?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0422": {
-    "English Original": "In what way and to what extent can digital techniques facilitate art authentication?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0423": {
-    "English Original": "In the early twentyfrst century, various computer scientists have been developing computer programs with the intention of facilitating the attribution process, focusing in particular on brushstroke analysis.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0424": {
-    "English Original": "For example, at the end of 2004, a team from Dartmouth College in Hannover, New Hampshire, developed a method to analyze pen lines and brushstrokes, based on an algorithm that proved useful in court for the identifcation of manipulated photographs (Lyu et al.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0425": {
-    "English Original": "With the aid of socalled 'wavelets', Siwei Lyu, Daniel Rockmore and Hany Farid were able to isolate pen and brushstrokes and analyze their direction, scale and relation to surrounding strokes.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0426": {
-    "English Original": "They assumed that every artist had a unique way of applying ink and paint to the surface, which results in a kind of virtual signature that can be analyzed by a computer without analyzing the subject matter.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0427": {
-    "English Original": "Since subject matter is however likely to affect the variability of the strokes, they only compared works with similar subjects.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0428": {
-    "English Original": "The program they developed successfully confrmed existing attributions in a training set, and so did several other programs (Johnson et al.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0429": {
-    "English Original": "2008; Hendriks and Hughes 2009; Li et al.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0430": {
-    "English Original": "2012; Van Noord et al.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0431": {
-    "English Original": "However, thus far such programs have not been used to make new attributions or to confrm or exclude attributions in court – which is related to the complexity of such decisions.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0432": {
-    "English Original": "Complicating factors include, among other things, the condition of the painting studied (for example, old master paintings virtually always include restorations and later retouches which 'muddy' the data).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0433": {
-    "English Original": "Also, as we have seen, artists sometimes deliberately varied their styles and techniques, and/or used assistants in the execution of their works, which further complicates the analysis.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0434": {
-    "English Original": "In short, computer programs that can make decisions in the connoisseur's place remain thus far elusive.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0435": {
-    "English Original": "As of yet, it is unclear if these can be realized in the near future; the need for contextual knowledge may prove too formidable a hurdle.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0436": {
-    "English Original": "However, digital techniques have shown great potential in facilitating indepth comparisons.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0437": {
-    "English Original": "Based on Erdmann's work in this area over the past ten years and the ongoing NICAS project 21st Century Connoisseurship we will discuss some of our main conclusions regarding the merits, challenges and potential of a number of digital techniques aimed to facilitate comparison below.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0438": {
-    "English Original": "These pioneering tools are currently mostly in use at the Rijksmuseum; the aim, however, is to open these up for wider use in the future.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0439": {
-    "English Original": "Given the situation in which we now fnd ourselves, with an overabundance of data coming from a variety of sources, with an emphasis on imaging data, there is a strong need to process the data in a way that promotes honest comparisons.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0440": {
-    "English Original": "These comparisons rely heavily on accuracy and consistency since fundamentally, we must ensure that when the viewer sees differences between images artworks it is because they are in fact different, and not due to differences arising in the capture or subsequent processing of the imaging data.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0441": {
-    "English Original": "Furthermore, given the importance of materiality for judging both the condition and the attribution of paintings, imaging should strive to capture as much of the materiality of the artworks as practically possible.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0442": {
-    "English Original": "The following principles, while not comprehensive, serve as prescriptive guidelines for enhancing the utility of digital tools for authentication purposes:\n\n Consistent highresolution imaging: Modern digital cameras and lens systems are capable of capturing images with extremely high spatial sampling resolutions, so that even small artworks can be captured with many overlapping tiles of highresolution photographs.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0443": {
-    "English Original": "The value of such photographs is immense since they reveal microstructural details that are hidden at normal resolutions: paint pigment particles, cracks, retouches, areas of abrasion, nuances of brushstrokes or pen lines, subtle or smallscale pentimenti (corrections) and other details of artistic technique, details of the support, and many other aspects of the materiality of the artwork.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0444": {
-    "English Original": "In the absence of an ability to physically inspect all relevant artworks sidebyside, consistent sharp, and welllighted digital photos are the best available option.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0445": {
-    "English Original": "Consistent color management and processing: Images collected by different photographers, with different light sources, or at different institutions will invariably display differences due to imaging technique.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0446": {
-    "English Original": "To the degree possible, these differences in equipment and technique should be minimized.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0447": {
-    "English Original": "Even so, differences will remain, but these variations can be minimized by performing careful color management during the processing of the raw photos.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0448": {
-    "English Original": "The variations in lighting and wavelengthdependent pixel sensitivity are minimized by always photographing a colorimetric standard (e.g., an XRite ColorChecker SG color card) as part of a standard workfow, so that a color profle can be made which will adjust the ascaptured colors to their correct values.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0449": {
-    "English Original": "Imaging guidelines such as the Metamorphoze Guidelines26 or the FADGI Guidelines27 have proven useful in defning best practices and criteria for acceptable image quality.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0450": {
-    "English Original": "Careful stateofthe art processing: The use of highresolution imaging generally leads to a collection of images spanning the artwork, and the use of additional technical imaging techniques such as radiography, infrared refectography, or refectance imaging spectroscopy further leads to multiple images describing any given point on the object.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0451": {
-    "English Original": "Among the desirable features of such a system are\n\n<span id=\"page260\"</span<sup26</sup https://www.metamorfoze.nl/sites/default/files/publicatie\\\\documenten/Metamorfoze\\\\ Preservation\\\\Imaging\\\\Guidelines\\\\1.0.pdf, accessed 20210304\n\n<span id=\"page261\"</span<sup27</sup http://www.digitizationguidelines.gov/guidelines/FADGI%20Federal%20%20Agencies%20 Digital%20Guidelines%20Initiative2016%20Final\\\\rev1.pdf, accessed 20210304.\n\nthe following: (a) it should respect the details of human color perception since naive averaging of RGB pixel values does not result in perceptually averaged colors; (b) it should avoid any tears or duplications when assembling the component tiles in a single wholeartwork image; (c) it should use highorder interpolation kernels to avoid introducing blurring or ringing artifacts when performing the inevitable resampling of the images during the stitching; and (d) it should ensure subpixel precision when performing registration among the different imaging modalities, so that data from one imaging modality is fused with the data from another modality at the same physical location on the artwork.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0452": {
-    "English Original": "Erdmann (2016a, b\\) developed such a system as part of a comprehensive campaign of imaging and study of the oeuvre of Hieronymus Bosch, and this system is now in permanent use at the Rijksmuseum.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0453": {
-    "English Original": "1.6.1 The Curtain Viewer\n\nMeaningful comparisons between artworks or between different areas of an artwork are essential to the connoisseur's judgement.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0454": {
-    "English Original": "Even with a collection of consistent colormanaged highresolution images, traditional imageediting tools such as Photoshop are illsuited to making frictionless comparisons among many works or among different imaging modalities of a single work.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0455": {
-    "English Original": "The problem is exacerbated when the images themselves are very large; 20 μm/pixel resolution (1270 ppi) 16bit color imaging consumes 15 GB/m2 , so largeformat paintings such as Hals' militia company portraits or Rembrandt's Nightwatch consume hundreds of gigabytes each.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0456": {
-    "English Original": "Sidebyside comparisons of such artworks may then be practically impossible using standard imageediting software due to memory limitations.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0457": {
-    "English Original": "Furthermore, such an approach makes it very diffcult to save a comparison for later review, and collaborative inspections are impractical.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0458": {
-    "English Original": "In response to these diffculties, in 2012 Erdmann developed an internetbased viewer for very highresolution images with an explicit design goal of enabling frictionless comparisons between images.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0459": {
-    "English Original": "As with other webbased image viewers, the viewer, which he named the Curtain Viewer, utilizes image pyramids so that a cascade of image resolutions is precomputed and stored on the server as small tiles to enable immediate ondemand zooming and panning without the need to preload large images.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0460": {
-    "English Original": "The Curtain Viewer enables comparisons using a variety of modes, several of which are shown in Fig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0461": {
-    "English Original": "1.6: A \"gallery mode\" allows the user to juxtapose an unlimited number of viewing panes, each of which is unconstrained.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0462": {
-    "English Original": "Constraints can be placed among the panes in a \"sync mode\", so that they zoom or pan the same way simultaneously.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0463": {
-    "English Original": "The way an artist depicts a detail is strongly dependent on the scale of the depiction, so this feature enables a user to zoom in to a pair of details in different artworks while ensuring that each is presented at the correct scale, and by synchronizing their scales they can zoom out to compare their contexts or zoom in to compare their details without fear of being deceived by scale differences.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0464": {
-    "English Original": "1.6 The Curtain Viewer utilized in several of its viewing modes.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0465": {
-    "English Original": "(a) Hals' Malle Babbe (Gemäldegalerie) and Van Meegeren's forged version (Rijksmuseum); (b) a study of several similar fgures appearing in the oeuvre of Bosch; (c) precisely coregistered highresolution visible photograph, transmittedlight photograph, and raking light photographs from the left and above of Rembrandt's drawing Young Woman Sitting by a Window (Saskia?)",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0466": {
-    "English Original": "(Rijksmuseum); (d) fadingmode fusion of 8 raking light images of Van Gogh's Sunfowers (F453, Van Gogh Museum) showing the texture of the artist's brush strokes around his signature; (e) curtain mode view of Bosch's John the Baptist in the Wilderness, using visiblelight photography, infrared refectography, radiography, and infrared photography, revealing a hidden fgure behind the fruit and the underdrawing for John the Baptist\n\n\n\nFig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0467": {
-    "English Original": "1.6 (continued)\n\nThe sync mode is also useful in comparing different image modalities, since it is often diffcult, for example, to associate a feature in a radiograph with the same feature in a visiblelight photograph.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0468": {
-    "English Original": "A \"fade mode\" enables an overlay of two or more panes, with relative opacities computed based on the position of the mouse.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0469": {
-    "English Original": "The fade mode has been used to create hybrid images such as those mixing visiblelight and infrared photos, and has also been used to simulate a moving light source attached to the mouse by fading among a collection of rakinglight images collected with the light source at different positions.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0470": {
-    "English Original": "The Curtain Viewer is named after the \"curtain mode\", in which a single pane is split into multiple regions at the location of the mouse cursor, with a different imaging modality or artwork shown in each region.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0471": {
-    "English Original": "The movement of the mouse pointer thus gives an impression of \"pulling back the curtain\" or of \"lifting the curtains\" as it reveals additional imaging modalities.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0472": {
-    "English Original": "The system is designed to enable the user to focus carefully on an area of interest on the artwork and to repeatedly brush over it to show the exact relation among the features revealed by different imaging modalities.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0473": {
-    "English Original": "A traditional sidebyside view has been used to make these kinds of comparisons, but it induces a kind of \"visual context switching\" in which the user is forced to change focus from one location to another, diminishing the effectiveness of the comparison due to our limited visual memory.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0474": {
-    "English Original": "In contrast, the \"curtain mode\" enables the user to remain fxed on the same location in an artwork while comparing the different modalities.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0475": {
-    "English Original": "The avoidance of visual context switching is another one of the major design goals of the Curtain Viewer system.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0476": {
-    "English Original": "Unlike other image viewers, its interface is not cluttered with visually distracting overlays such as logos, viewer control buttons, magnifcation sliders, and the like.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0477": {
-    "English Original": "The user is thus able to focus exclusively on studying the art without the visual noise of user interface elements.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0478": {
-    "English Original": "Furthermore, switching between modes is always done in a smooth way, with image panes animating their positions and opacities gradually to promote object constancy; the user is never forced to break their focus to reestablish their bearings in a new viewing confguration.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0479": {
-    "English Original": "The Curtain Viewer also features a system where every aspect of the view is encoded in the URL, enabling easy bookmarking of an exact confguration for later study or for sharing and collaboration.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0480": {
-    "English Original": "As a demonstration of the technology, every fgure from the Bosch Catalogue Raisonné (Ilsink et al.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0481": {
-    "English Original": "2016\\), is also presented online (Erdmann et al.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0482": {
-    "English Original": "2016) using the Curtain Viewer, enabling readers to understand the exact context and details of every featured detail.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0483": {
-    "English Original": "As the book fgures show, the Curtain Viewer's URL scheme allows for the design of displays that rely heavily on what Tufte \\(1990) calls \"small multiples\":\n\nAt the heart of quantitative reasoning is a single question: Compared to what?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0484": {
-    "English Original": "Small multiple designs, multivariate and data bountiful, answer directly by visually enforcing comparisons of changes, of the differences among objects, of the scope of alternatives.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0485": {
-    "English Original": "For a wide range of problems in data presentation, small multiples are the best design solution.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0486": {
-    "English Original": "These small multiple visualizations are crucial for connoisseurship since they ease and promote the fundamental act of comparison across scales, imaging modalities, and artworks.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0487": {
-    "English Original": "1.6.2 Morelli's Vision\n\nFacilitating fast and meaningful comparisons among small details from one or more artworks is the design goal of Erdmann's \"Morelli's Vision\" technique.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0488": {
-    "English Original": "It was named in honor of Giovanni Morelli, an art historian who advocated for the careful study of small habituallypainted details to discern the characteristic \"handwriting\" of an artist (see also note 2 and 15).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0489": {
-    "English Original": "It is driven by a system of user or computergenerated rectangular selections on artworks which are given a semantic tag such as \"ear\" or \"hand\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0490": {
-    "English Original": "The display is webbased and interactive: when a user clicks on a particular tag, the individual thumbnail images are dynamically sorted according to the pairwise similarity between the clicked image and all other images, placing the clicked tag frst in the list with all the others sorted in decreasing order of their similarity to the clicked one.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0491": {
-    "English Original": "The pairwise similarity is computed as a cosine similarity between image features that are computed by a convolutional neural network.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0492": {
-    "English Original": "The system can be tuned to give different weights to semantic content, palette, texture, and other elements of style by giving different emphasis to the intermediate layers of the network.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0493": {
-    "English Original": "The consequence for the connoisseur is that they can see as many comparisons in a single feld of view as possible.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0494": {
-    "English Original": "Every detail can be easily compared with every other detail.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0495": {
-    "English Original": "The system also allows the selection of a subset of interesting details (shown in the fgure outlined in blue) and to instantly launch a Curtain Viewer in \"sync mode\" to show the selected details side by side, zoomable and in high resolution.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0496": {
-    "English Original": "As an example of its use, consider its application to investigating attribution for paintings putatively by Bosch by studying the rendering of hands (Fig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0497": {
-    "English Original": "The user has selected a set of distinctive hands for further study, which they then use to launch a custom Curtain Viewer that enables studying the details in context.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0498": {
-    "English Original": "Zooming out completely from each detail reveals that they are actually all from the same painting, lending additional evidence to an argument that the picture was not painted by Bosch.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0499": {
-    "English Original": "1.6.3 Draper\n\nThe Curtain Viewer affords great freedom to confgure complex views involving multiple artworks, multiple imaging modalities, and a variety of viewer modes in terms of synchronization and display, all of which is captured in a humanreadable URL.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0500": {
-    "English Original": "However, this fexibility comes at the price of complexity.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0501": {
-    "English Original": "The solution is an additional tool to help precisely confgure a desired Curtain Viewer display, dubbed\n\n<span id=\"page320\"</span\n\n\n\nFig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0502": {
-    "English Original": "1.7 (a) The \"Morelli's Vision\" technique applied to a collection of painted hands from Bosch and followers of Bosch.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0503": {
-    "English Original": "The user has selected thumbnails of interest after using the system's dynamic sorting ability to group similar thumbnails.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0504": {
-    "English Original": "(b) a custom synchronized Curtain Viewer created automatically from the thumbnails.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0505": {
-    "English Original": "(c) zooming out of the details reveals that they all come from the same painting last images not sharp!",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0506": {
-    "English Original": "1.7 (continued)\n\nas the \"Draper\" (one who makes curtains) by the author (RE).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0507": {
-    "English Original": "The tool consults a database of technical images for a specifed artwork and fnds those which are coregistered with each other, presenting the user with a menu of different technical images.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0508": {
-    "English Original": "The resulting images can be arranged into a desired confguration via a draganddrop interface, and additional Curtain Viewer options can be specifed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0509": {
-    "English Original": "A live viewer preview at the bottom allows immediate exploration and tweaking of the viewer parameters (Fig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0510": {
-    "English Original": "The consequence for the connoisseur is that it becomes basically frictionless to quickly answer complex questions about image collections that can easily occupy several terabytes on disk.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0511": {
-    "English Original": "For example, did Hals consistently use the rather costly red pigment vermillion for all the faces and hands of the 88 militia men he portrayed in his fve prestigious largescale militia group portraits?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0512": {
-    "English Original": "It also dramatically eases the process of documenting a judgement with supporting evidence.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0513": {
-    "English Original": "1.8 The Draper applied to a Frans Hals militia company portrait as part of the NWOfunded 21st Century Connoisseurship project.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0514": {
-    "English Original": "Precisely coregistered images from a visiblelight photograph, a radiograph, an infrared refectogram, and the arsenic, cobalt, and copper lines from MAXRF scans are arranged into a desired confguration and Curtain Viewer viewing modality and previewed live in the bottom pane\n\n 1.6.4 PixelSwarm\n\nThe PixelSwarm tool is an online interactive tool to allow the user to draw insights from highdimensional data arising from multimodal imaging of artworks.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0515": {
-    "English Original": "A visiblelight photograph associates fve numbers with each pixel: the three components of the color (RGB, e.g.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0516": {
-    "English Original": "), and two coordinates of its location in the painting.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0517": {
-    "English Original": "In this framing, every pixel can be conceived of as occupying a fvedimensional space.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0518": {
-    "English Original": "A pair of pixels close to each other on the painting and with similar colors will be near each other in this fvedimensional space, and large collections of similar pixels form clusters and complex topological structures there.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0519": {
-    "English Original": "When additional coregistered images are added, such as the many element maps arising from MAXRF scanning, the dimensionality of the space grows because then every pixel has many elemental compositions, each of which corresponds to a separate axis in the highdimensional space.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0520": {
-    "English Original": "Clusters and other structures in these highdimensional elemental composition spaces form from areas of similar layer buildup, so visualizing them can help to make sense of the deluge of data.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0521": {
-    "English Original": "Our solution to this problem of overwhelming amounts of data is allow the user to explore any combination of projections and colorings of the space interactively.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0522": {
-    "English Original": "In this approach, each pixel is drawn individually, and changes to the positions of the pixels are animated.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0523": {
-    "English Original": "Elemental compositions or colors can be used to position the pixels directly, or dimensionreduction techniques such as PCA, tSNE (Van der Maaten and Hinton 2008\\), or UMAP (McInnes and Healy 2018) can be used to\n\n<span id=\"page350\"</span\n\nFig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0524": {
-    "English Original": "1.9 (a)–(f): Screen captures of a sequence from a typical session with the PixelSwarm tool applied to the upper half of Rembrandt's (?)",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0525": {
-    "English Original": "Man with a Red Cap (Boijmans Museum).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0526": {
-    "English Original": "Explanations of the sequence appear in the text.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0527": {
-    "English Original": "cluster the pixels according to their composition or other criteria.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0528": {
-    "English Original": "In any confguration, the user is able to \"lasso\" points and temporarily color them so that they can be easily tracked from one view to another.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0529": {
-    "English Original": "The iterative projectionlassocoloringreprojection sequence thus allows the user to build up an understanding of the layer buildup and painterly technique that cannot easily be obtained by inspecting the individual technical images of the painting.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0530": {
-    "English Original": "Figure 1.9 shows a sequence of states from a typical use in an investigation of the attribution of the Man with a Red Cap in the Boijmans Museum.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0531": {
-    "English Original": "In (a), the initial display shows the pixels of the upper half of the painting in their normal positions with normal colors.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0532": {
-    "English Original": "In (b) the display is animated to position the pixels according to their cobalt and arsenic concentrations on the x and yaxes, after which the user temporarily lassoes pixels in the cobaltrich branch (likely containing smalt particles) in blue and the arsenicrich branch (likely containing orpiment or realgar) in yellow.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0533": {
-    "English Original": "In (c), the swarm of pixels is animated back to their initial positions, maintaining their colored tags from step (b), thereby revealing a background rich in smalt and portions of the jacket apparently rich in orpiment or realgar.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0534": {
-    "English Original": "Also, the outlines of a smaller hat are easily visible here.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0535": {
-    "English Original": "In (d), further insight is gained by positioning the pixels according to the frst two components of a UMAP dimension reduction on the elemental compositions, where it is seen that the pixels are broadly grouped into two main lobes with a connecting isthmus.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0536": {
-    "English Original": "The compositional distinctiveness of the arsenicrich pixels is seen from their appearance as a separate island in the cluster plot.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0537": {
-    "English Original": "In (e), upon seeing that a large fraction of the right lobe is tagged with blue from step (b), the user hypothesizes that the right lobe corresponds to background pixels, the left lobe corresponds to foreground pixels, and the isthmus corresponds to pixels that have components typical of both, possibly due to overpainting of a painted background that was not originally held out.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0538": {
-    "English Original": "They then reset the tagging and freshly lasso the right lobe in blue, the isthmus in green, and the island in yellow.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0539": {
-    "English Original": "Additionally, the left lobe appears to have a distinctive clustered structure around the lightcolored pixels, so the user tags those pixels in white.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0540": {
-    "English Original": "Finally, in step (f) the user again positions the pixels according to their original positions.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0541": {
-    "English Original": "There, it is seen that the lightcolored foreground of the man's face is compositionally similar to the man's shirt, and that a large triangle in his jacket is compositionally distinct and contains orpiment or realgar.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0542": {
-    "English Original": "The visualization reveals that the widening of the hat corresponds to areas that are compositionally both foreground and backgroundlike, suggesting that they may be latestage changes to the composition, made at the same time as changes to the pose of the man.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0543": {
-    "English Original": "Thus, the PixelSwarm tools allows the connoisseur to understand the materiality of the painting as it relates to painterly technique and to subsequently use this understanding in making judgements on attribution.28\n\n 1.7 Concluding Remarks: Challenges and Opportunities\n\nThroughout the twentieth century, connoisseurship of old master and modern paintings evolved greatly in the Netherlands.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0544": {
-    "English Original": "From the implicit knowledge (or intuitive insight) of one specialist it became a predominantly evidencebased practice building on specialist insights of many different experts.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0545": {
-    "English Original": "Although implicit knowledge still plays a signifcant role in the authentication process, it is no longer accepted at face value; instead, the rational arguments underpinning authentication decisions have taken centre stage.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0546": {
-    "English Original": "Chemical evidence was frst introduced in court in 1925 to help settle a forgery dispute.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0547": {
-    "English Original": "Since then, chemical analyses have become increasingly integrated in the decisionmaking process.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0548": {
-    "English Original": "Having triggered both distrust and excessive optimism, chemical analyses and their potential in authentication issues were systematically assessed in several largescale research projects aimed at sorting out the oeuvre of a specifc artist, notably Rembrandt and Van Gogh.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0549": {
-    "English Original": "In the late twentieth century, it gradually became clear that chemical evidence seldom yielded conclusive evidence concerning attributions.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0550": {
-    "English Original": "Only in the case of anachronistic materials, analytical chemistry could provide conclusive evidence and expose forgeries or misattributions.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0551": {
-    "English Original": "In all other cases, the authentication or\n\n<span id=\"page360\"</span<sup28</supThe attribution of this particular painting is complicated by the fact that a previous owner of the work, the painter Joshua Reynolds (1723–1792) may have partially overpainted the work (which highlights the need for an indepth assessment of the condition of the work and possible early overpaintings).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0552": {
-    "English Original": "With thanks to Katja Kleinert and Claudia LaurenzeLandsberg for this observation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0553": {
-    "English Original": "attribution process remained a matter of interpretation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0554": {
-    "English Original": "Like detectives, art experts combine circumstantial evidence and probabilities.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0555": {
-    "English Original": "Signifcantly, no positive attribution (i.e.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0556": {
-    "English Original": "an attribution to a certain painter) can be done without a visual analysis.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0557": {
-    "English Original": "For even if the materials are consistent with the period and the specifc painter's workshop practice, one still needs to analyze the particular 'handwriting' of the artist in order to determine if the attribution is correct, to differentiate between different types of workshop products, contemporary copies and imitations.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0558": {
-    "English Original": "This latter task, the visual analysis, has become both more challenging and easier in the early twentyfrst century, due to a paradigm shift in the humanities, myriad new technical possibilities and advanced digital tools.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0559": {
-    "English Original": "Within the humanities, the very notion of what constituted 'authenticity' was redefned, especially in the feld of old master painting.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0560": {
-    "English Original": "As result, art experts moved away from a simple binary perspective (either by the master or not), became more aware of the complex range of possibilities, and started introducing more nuanced categories of thought.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0561": {
-    "English Original": "With the aid of new analytical techniques, in particular MAXRF scanning and HSI/RIS, pioneering teams of experts (often including conservators, conservations scientists and curators) have gained a deeper understanding of the art works they studied.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0562": {
-    "English Original": "Although their projects commonly focus on just a few works of art, the (digital) data thus generated is nevertheless substantial, and (increasingly) require digital tools to aid with the interpretation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0563": {
-    "English Original": "The knowledge thus gained often helps to signifcantly reduces the number of possible attributions and occasionally yields unique insights that make the creation of new forgeries virtually impossible (as in the case of Van Gogh drawings).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0564": {
-    "English Original": "Moreover, there is currently a relatively high chance of discovering discrepancies when closely comparing originals with forgeries or imitations from a different time period.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0565": {
-    "English Original": "Most painters' oeuvres have not been researched yet with (all) the newest techniques, and it is unlikely that forgers and imitators mimicked specifc materials and techniques, if these materials and techniques were not known to them.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0566": {
-    "English Original": "Given the quantity of data already generated and the new data that will be generated in the near future, one of the main challenges of twentyfrst century connoisseurship is to manage and process all the information and to effectively select the most relevant parts.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0567": {
-    "English Original": "While early twentiethcentury connoisseurs heavily relied on their visual memory when judging attributions, their twentyfrstcentury equivalents face a different reality.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0568": {
-    "English Original": "Digital tools are increasingly facilitating one of their core tasks: making effective comparisons.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0569": {
-    "English Original": "Although various computer programs have been developed with more ambitious goals, namely to substitute the connoisseur's analysis of brushstrokes or overall visual assessment, these have not proven to be effective (yet) in practice (which must be due to the complexity of such decisions).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0570": {
-    "English Original": "By contrast, algorithms with more modest goals (namely simply facilitating comparisons) have a powerful impact on the feld.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0571": {
-    "English Original": "For the frst time, these tools make it possible to make precise indepth comparison not just of the visible surface of paintings but also of the chemical properties of deeper layers in a heartbeat, zooming in and out from an overall view of a largesize painting to microscopic observation in less than a second, changing seamlessly from visible light to different\n\nwavelengths, xradiography, IRR and various elemental maps, while juxtaposing comparable elements in shape and size and material composition.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0572": {
-    "English Original": "Although there is a relatively wide gap between pioneering authentication studies (using the newest techniques and tools) and the everyday attribution practice in the feld, it is to be expected that connoisseurship will be become increasingly sophisticated as the techniques, tools and gathered data will become more widely available, and new techniques and tools will be developed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0573": {
-    "English Original": "As in the past, the correct interpretation of both visual clues and chemical evidence will continue to require suffcient and secure reference data.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0574": {
-    "English Original": "For a positive attribution to a painter, an indepth understanding of both the period in which a painting was made, and the specifc master's characteristic habits and workshop practice, will undoubtedly remain indispensable (to best estimate of the amount of consistency one can expect in a master painter's style, technique and use of materials).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0575": {
-    "English Original": "For the detection of forgeries, a more widespread use of technical analyses is likely to make a signifcant difference, while the development of increasingly advanced methods is likely to facilitate the identifcation of anachronistic materials and other relevant discrepancies.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0576": {
-    "English Original": "As materiality tends to be harder to forge than it is to analyze nowadays, this might well tip the balance in favour of connoisseurs in the continuous arms race between forgers and art experts.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0577": {
-    "English Original": "Acknowledgements The authors wish to thank Robert van Langh for his encouragement to write this chapter and his thoughtful comments on an earlier version of this text, Carlijn Vos for her copy editing and the Leiden University Centre for the Arts in Society for their generous support for writing this article.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0578": {
-    "English Original": "A substantial part of the research used in this article was done in the context of the NICAS Seed Money Project 21st Century Connoisseurship (20182022) led by the authors and funded by the Dutch Science Foundation (NWO).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0579": {
-    "English Original": "The authors wish to thank the Frans Hals Museum, Haarlem and the Rijksmuseum, Amsterdam for supporting this project.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0580": {
-    "English Original": "References\n\n <span id=\"page380\"</spanAinsworth, M.W.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0581": {
-    "English Original": ": From connoisseurship to technical art history: the evolution of the interdisciplinary study of art.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0582": {
-    "English Original": "20(1), 4–10 (2005)\n <span id=\"page382\"</spanAinsworth, M.W., HaverkampBegemann, E., Brealev, J., Meyers, P., et al.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0583": {
-    "English Original": ": Art and Autoradiography: Insights into the Genesis of Paintings by Rembrandt, Van Dyck, and Vermeer.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0584": {
-    "English Original": "Metropolitan Museum of Art, New York (1982)\n <span id=\"page384\"</spanAlfeld, M., Janssens, K., Dik, J., de Nolf, W., van der Snickt, G.: Optimization of mobile scanning macroXRF systems for the insitu investigation of historical paintings.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0585": {
-    "English Original": "26, 899–909 (2011)\n <span id=\"page385\"</spanAlfeld, M., Pedroso, J.V., van Eikema Hommes, M., Van der Snickt, G., Tauber, G., Blaas, J., et al.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0586": {
-    "English Original": ": A mobile instrument for in situ scanning macroXRF investigation of historical paintings.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0587": {
-    "English Original": "28, 760–767 (2013)\n <span id=\"page383\"</spanAlpers, S.: Rembrandt's Enterprise: The Studio and the Market.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0588": {
-    "English Original": "University of Chicago Press, Chicago (1990)\n <span id=\"page381\"</spanAsperen de Boer, van J.R.J.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0589": {
-    "English Original": ": Refectography of Paintings using an infrared vidicon television system.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0590": {
-    "English Original": "14, 96–118 (1969)\n\n <span id=\"page3922\"</spanBomford, D.: Forbes Prize Lecture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
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-    "English Original": "International Institute for Conservation of Historic and Artistic Works annual congress, London (2008)\n <span id=\"page3918\"</spanBrandhof, M.: van de.",
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-    "English Original": "Een vroege Vermeer uit 1937: achtergronden van leven en werken van de schilder:vervalser Han van Meegeren.",
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-  "W4297699373_s0593": {
-    "English Original": "Het Spectrum, Utrecht/Antwerp (1979)\n <span id=\"page3919\"</spanBredius, A.: A New Vermeer.",
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-    "Has PaintingCLIP Embedding": true
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-  "W4297699373_s0594": {
-    "English Original": "71, 210–211 (1937)\n <span id=\"page3916\"</spanBremer, F.: Inleiding tot de kunstgeschiedenis, 5th edn.",
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-    "Has PaintingCLIP Embedding": true
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-  "W4297699373_s0595": {
-    "English Original": "Elsevier, Amsterdam/Brussels (1945)\n <span id=\"page393\"</spanBruyn, J., et al.",
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-  "W4297699373_s0596": {
-    "English Original": ": A Corpus of Rembrandt Paintings (vols.",
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-  "W4297699373_s0597": {
-    "English Original": "Springer, The Hague/Boston (1982, 1986, 1989)\n <span id=\"page392\"</spanChapman, H.P., Weststeijn, T.: Connoisseurship as knowledge: an introduction.",
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-    "English Original": "In: Chapman, H.P., Weststeijn, T., Meijers, D.",
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-    "English Original": "Connoisseurship and the Knowledge of Art, pp.",
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-  "W4297699373_s0600": {
-    "English Original": "Brill Academic Publishers (2019)\n <span id=\"page399\"</spanCharney, N.: The Art of Forgery: The Minds, Motives and Methods of Master Forgers.",
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-  "W4297699373_s0601": {
-    "English Original": "Phaidon Press, New York/London (2015)\n <span id=\"page3920\"</spanCoremans, P.: L'Agneau Mystique au laboratoire: Examen et traitement.",
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-    "Has PaintingCLIP Embedding": true
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-  "W4297699373_s0602": {
-    "English Original": "De Sikkel, Antwerp (1953)\n <span id=\"page3913\"</span<span id=\"page395\"</spanCraddock, P.: Scientifc Investigation of Copies, Fakes and Forgeries.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0603": {
-    "English Original": "Elsevier Ltd, Oxford (2009) Dantzig, van M.: Frans Hals: echt of onecht.",
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-  "W4297699373_s0604": {
-    "English Original": "Amsterdam/Paris (1937)\n <span id=\"page3914\"</spanDantzig, van M.: Johannes Vermeer, de Emmausgangers en de Critici.",
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-  "W4297699373_s0605": {
-    "English Original": "Sijthof, Leiden (1947)\n <span id=\"page3915\"</spanDantzig, van M.: Pictology: An Analytical Method for Attribution and Evaluation of Pictures.",
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-  "W4297699373_s0606": {
-    "English Original": "Brill, Leiden (1973)\n <span id=\"page3917\"</spanDecoen, J.: Terug naar de waarheid, twee authentieke schilderijen van Vermeer.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0607": {
-    "English Original": "Donker, Rotterdam (1951)\n <span id=\"page397\"</spanDickey, S.: The art of connoisseurship.",
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-    "Has PaintingCLIP Embedding": true
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-  "W4297699373_s0608": {
-    "English Original": "In: Podedworny, C., et al.",
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-    "Has PaintingCLIP Embedding": true
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-  "W4297699373_s0609": {
-    "English Original": "Exploring the Material History of Paintings.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0610": {
-    "English Original": "McMaster University Museum of Art (2015).",
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-  },
-  "W4297699373_s0611": {
-    "English Original": "Accessed 1 Mar 2021\n <span id=\"page390\"</spanDijksterhuis, A.P.",
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-    "English Original": ": Het slimme onbewuste.",
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-  "W4297699373_s0613": {
-    "English Original": "Prometheus, Leiden (2007)\n <span id=\"page391\"</spanDu Bos, A.: Réfexions critiques sur la poésie et la painture.",
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-  "W4297699373_s0614": {
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-  "W4297699373_s0615": {
-    "English Original": "Paris: énsba (1993)\n <span id=\"page3925\"</spanDumas, C., Ekkart, R., van de Puttelaar, C.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0616": {
-    "English Original": "): Connoisseurship: Essays in Honour of Fred F. Meijer.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0617": {
-    "English Original": "Primavera Press, Leiden (2020)\n <span id=\"page3923\"</spanDuparc, F.: Results of the recent arthistorical and technical research on Carel Fabritius's early works.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0618": {
-    "English Original": "119(23), 76–89 (2006)\n <span id=\"page394\"</spanDutton, D.: Artistic Crimes: The Problem of Forgery in the Arts.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0619": {
-    "English Original": "19(4), 302–314 (1979)\n <span id=\"page398\"</spanEkkart, R.: Hofstede de Groot, Cornelis (1863–1930).",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0620": {
-    "English Original": "In: Biografsche Woordenboek van Nederland, pp.",
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-  },
-  "W4297699373_s0621": {
-    "English Original": "Martinus Nijhoff, The Hague (1979)\n <span id=\"page3926\"</spanErdmann, R.G.",
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-  "W4297699373_s0622": {
-    "English Original": ": Image processing for the Bosch research and conservation project.",
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-    "Has PaintingCLIP Embedding": true
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-  "W4297699373_s0623": {
-    "English Original": "In: Hoogstede, L., Spronk, R., Erdmann, R.G., Klein Gotink, R., Ilsink, M., Koldeweij, J., Nap, H., Veldhuizen, D.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0624": {
-    "English Original": "Hieronymus Bosch, Painter and Draughtsman, Technical Studies, pp.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0625": {
-    "English Original": "Yale University Press, Brussels (2016a)\n <span id=\"page3927\"</spanErdmann, R.G.",
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-  },
-  "W4297699373_s0626": {
-    "English Original": ": Bosch project (2016b).<http://boschproject.org//book/.",
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-  "W4297699373_s0627": {
-    "English Original": "Accessed 4 Mar 2021\n <span id=\"page3910\"</spanFaille, de la J.B.: Les faux Van Gogh.",
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-  },
-  "W4297699373_s0628": {
-    "English Original": "Arrault et Cie, Paris/Brussels (1930)\n <span id=\"page3912\"</spanFaille, de la J.B.: The Works of Vincent van Gogh: His Paintings and Drawings.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0629": {
-    "English Original": "Reynal and Company, Amsterdam (1970)\n <span id=\"page3911\"</spanFeilchenfeldt, W.V.",
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-  },
-  "W4297699373_s0630": {
-    "English Original": ": Gogh fakes: the Wacker affair, with an illustrated catalogue of the forgeries.",
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-  },
-  "W4297699373_s0631": {
-    "English Original": "19(4), 289–316 (1989)\n <span id=\"page396\"</spanFreedberg, D.: Why Connoisseurship matters.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0632": {
-    "English Original": "In: van der Stigghelen, K.",
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-  "W4297699373_s0633": {
-    "English Original": "Minuscula Amicorum: Contributions on Rubens and his colleagues in honour of Hans Vlieghe, pp.",
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-  },
-  "W4297699373_s0634": {
-    "English Original": "Brepols, Turnhout (2006)\n <span id=\"page3921\"</spanGerson, H.: Rembrandt Paintings.",
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-  "W4297699373_s0635": {
-    "English Original": "Translated from the German by Heinz Norden and edited by Gary Schwartz.",
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-  "W4297699373_s0636": {
-    "English Original": "Harrison House, New York (1968)\n <span id=\"page3924\"</spanGifford, M., Glinsman, L.D.",
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-  },
-  "W4297699373_s0637": {
-    "English Original": ": Collective style and personal manner: materials and techniques of high life genre painting.",
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-  },
-  "W4297699373_s0638": {
-    "English Original": "In: Waiboer, A., et al.",
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-    "Has PaintingCLIP Embedding": true
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-  "W4297699373_s0639": {
-    "English Original": "Vermeer and the Masters of Genre Paintings, pp.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0640": {
-    "English Original": "Yale University Press, Paris/Dublin/Washington, DC (2017)\n\n <span id=\"page4021\"</spanGinsburgh, V., Radermecker, A., Tommasi, D.: The effect of experts' opinion on prices of art works: the case of Peter Brueghel the Younger.",
-    "Has CLIP Embedding": true,
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-  },
-  "W4297699373_s0641": {
-    "English Original": "<https://doi.org/10.1016/j.jebo.2018.09.002\n <span id=\"page406\"</spanGinzburg, C.: Morelli, Freud and Sherlock Holmes: Clues and scientifc method.",
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-  },
-  "W4297699373_s0642": {
-    "English Original": "9, 5–36 (1980)\n <span id=\"page401\"</spanGladwell, M.: Blink: The Power of Thinking without Thinking.",
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-  },
-  "W4297699373_s0643": {
-    "English Original": "Little, Brown and Company, New York (2005)\n <span id=\"page404\"</spanGoodman, N.: Languages of Art.",
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-  },
-  "W4297699373_s0644": {
-    "English Original": "Oxford University Press, Oxford (1969)\n <span id=\"page403\"</spanGoodman, N.: Art and authenticity.",
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-  },
-  "W4297699373_s0645": {
-    "English Original": "The Forger's Art: Forgery and the Philosophy of Art, pp.",
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-  },
-  "W4297699373_s0646": {
-    "English Original": "University of California Press, Berkerley/Los Angeles/London (1983)\n <span id=\"page4019\"</spanGrimm, C.D.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0647": {
-    "English Original": ": Frage nach der Eigenhändigkeit und die Praxis der Zuschreibung.",
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-  "W4297699373_s0648": {
-    "English Original": "Künstlerische Austausch/Artistic Exchange: Akten des XXVIII.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0649": {
-    "English Original": "Internationalen Kongresses für Kunstgeschichte, Berlin, 15–20 juli 1992.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0650": {
-    "English Original": "https:// doi.org/10.11588/artdok.00004294\n <span id=\"page4017\"</spanGroen, K.: Grounds in Rembrandt's workshop and in paintings by his contemporaries.",
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-  },
-  "W4297699373_s0651": {
-    "English Original": "In: van de Wetering, E.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0652": {
-    "English Original": "A Corpus of Rembrandt Paintings (IV).",
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-  },
-  "W4297699373_s0653": {
-    "English Original": "318–334, 660–667, Dordrecht (2005)\n <span id=\"page4020\"</spanGuichard, C.",
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-  },
-  "W4297699373_s0654": {
-    "English Original": "): De l'authenticité: Une histoire des valeurs de l'art (XVIeXXe siècle).",
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-  },
-  "W4297699373_s0655": {
-    "English Original": "Publications de la Sorbonne, Paris (2014)\n <span id=\"page4013\"</spanHebborn, E.: Drawn to Trouble: The Forging of an Artist.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0656": {
-    "English Original": "Mainstream Publishing Projects, Edinburgh (1991)\n <span id=\"page407\"</spanHofstede de Groot, C.: Beschreibendes und kritisches Verzeichnis der Werke der hervorragendsten holländischen Maler des XVII.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0657": {
-    "English Original": "Kleinberger/ MacMillan & Co, Esslingen/Paris/London (1908–1927)\n <span id=\"page408\"</spanHofstede de Groot, C.: Echt of Onecht?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0658": {
-    "English Original": "van Stockum, The Hague (1925)\n <span id=\"page405\"</spanHuang, M., Bridge, H., Martin, J., Kemp, M.J., Parker, A.J.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0659": {
-    "English Original": ": Human cortical activity evoked by the assignment of authenticity when viewing works of art.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0660": {
-    "English Original": "In: Frontiers in Human Neuroscience (2011).",
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-  },
-  "W4297699373_s0661": {
-    "English Original": "<https://doi.org/10.3389/fnhum.2011.00134\n Hughes, H., Hughes, E., Hughes, S.: Van Gogh's Brushstrokes: Marks of Authenticity?",
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-  },
-  "W4297699373_s0662": {
-    "English Original": "In: Proceedings of \"Art, Conservation, and Authenticities: Material, Concept, Context\", pp.",
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-  },
-  "W4297699373_s0663": {
-    "English Original": "Archetype Publications, Scotland (2009)\n <span id=\"page4014\"</spanHuussen, A.H.",
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-  },
-  "W4297699373_s0664": {
-    "English Original": "): Cahiers uit het Noorden XX: Henricus (Han) Antonius van Meegeren (1889– [1945]): documenten betreffende zijn leven en strafproces.",
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-  },
-  "W4297699373_s0665": {
-    "English Original": "Huussen, Zoetermeer (2009)\n <span id=\"page4023\"</spanIlsink, M., Koldeweij, J., Spronk, R., Hoogstede, L., Erdmann, R.G., Klein Gotink, R., Nap, H., Veldhuizen, D.: Hieronymus Bosch, Painter and Draughtsman, Catalogue Raisonné.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0666": {
-    "English Original": "Mercatorfonds, Brussels (2016) ISBN 9789462301139\n Jia, L., Yao, L., Hendriks, E., Wang, J.Z.",
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-  },
-  "W4297699373_s0667": {
-    "English Original": ": Rhythmic Brushstrokes distinguish van Gogh from his contemporaries: fndings via automated Brushstroke extraction.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0668": {
-    "English Original": "<https://doi.org/10.1109/TPAMI.2011.203\n <span id=\"page4022\"</spanJohnson, C.R., Hendriks, E., Berezhnoy, I., et al.",
-    "Has CLIP Embedding": true,
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-  },
-  "W4297699373_s0669": {
-    "English Original": ": Image processing for artist identifcation.",
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-  },
-  "W4297699373_s0670": {
-    "English Original": "25(4), 37–48 (2008)\n <span id=\"page4012\"</spanJusti, L.: Van Gogh, die Kenner und Schriftsteller.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0671": {
-    "English Original": "Vossische Zeitung (1929)\n <span id=\"page400\"</spanKahneman, D.: Thinking Fast and Slow.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0672": {
-    "English Original": "Farrar, Straus and Giroux, New York (2011)\n <span id=\"page4011\"</spanKahneman, D., Tversky, A.: Prospect theory: an analysis of decision under risk.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0673": {
-    "English Original": "47, 263–291 (1979)\n <span id=\"page4016\"</spanKeisch, B.: Dating works of art through their natural radioactivity: improvements and applications.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0674": {
-    "English Original": "160, 413–415 (1968)\n <span id=\"page4018\"</spanKirbyTalley, M.: Connoisseurship and the rembrandt research project.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0675": {
-    "English Original": "8, 175–214 (1989)\n <span id=\"page4015\"</span<span id=\"page402\"</spanKnuttel, D.G.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0676": {
-    "English Original": ": Nederlandsche Schilderkunst van Van Eyck tot Van Gogh.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0677": {
-    "English Original": "Becht, Amsterdam (1938) Koestler, A.: The Anatomy of Snobbery.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0678": {
-    "English Original": "1, 1–25 (1955)\n <span id=\"page4010\"</spanKoldehoff, S.: The Wacker forgeries: a catalogue.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0679": {
-    "English Original": "20, 138–149 (2002)\n <span id=\"page409\"</spanKraaijpoel, D., van Wijnen, H.: Han van Meegeren.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0680": {
-    "English Original": "Waanders Uitgevers, Zwolle (1996)\n\n <span id=\"page4115\"</spanLeefang, H., Luijten, G.",
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-    "English Original": "Waanders, Amsterdam/London (2003)\n <span id=\"page415\"</spanLessing, A.: What is wrong with a forgery?",
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-  "W4297699373_s0683": {
-    "English Original": "https:// doi.org/10.2307/427668\n <span id=\"page416\"</spanLopez, J.: The Man Who Made Vermeers: Unvarnishing the Legend of Master Forger Han van Meegeren.",
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-    "English Original": "Harcourt, Inc., Orlando/Austin/New York/San Diego/London (2008)\n <span id=\"page4111\"</spanLord Kilbracken, J.G.",
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-  "W4297699373_s0686": {
-    "English Original": "Scribner, London/Bristol (1967)\n Lyu, S., Rockmore, D., Farid, H.: A digital technique for art authentication.",
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-  "W4297699373_s0687": {
-    "English Original": "101(49), 17006–17010 (2004)\n <span id=\"page4119\"</spanMaaten, van der L.J.P., Hinton, G.E.",
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-    "English Original": "9, 2579–2605 (2008)\n <span id=\"page4113\"</spanMander, van K.: Het Schilderboeck.",
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-  "W4297699373_s0690": {
-    "English Original": "Paschier van Wesbusch, Haarlem (1604)\n <span id=\"page413\"</spanMartin, W.: Kunstwetenschap in theorie en practijk.",
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-    "English Original": "Martinus Nijhoff, The Hague (1904)\n <span id=\"page4120\"</spanMcInnes, L., Healy, J.: UMAP: uniform manifold approximation and projection for dimension reduction.",
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-  "W4297699373_s0694": {
-    "English Original": "13(4), 458–487 (1990)\n <span id=\"page412\"</spanMuthesius, S.: Towards an 'exakte Kunstwissenschaft'(?",
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-    "English Original": "), Part II: the new German Art history in the nineteenth century: a summary of some problems.",
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-    "English Original": "9, 1–16 (2013)\n <span id=\"page4117\"</spanNoord, van N., Hendriks, E., Postma, E.: Toward discovery of the artist's style: learning to recognize artists by their artworks.",
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-    "English Original": "32(4), 46–54 (2015)\n <span id=\"page414\"</spanPächt, O.T.",
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-    "English Original": ": Practice of Art History: Refections on Method (1986).",
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-  "W4297699373_s0699": {
-    "English Original": "Translated by Britt D. Harvey Miller Publishers, London (1999)\n <span id=\"page411\"</spanRosenberg, J.: On Quality in Art: Criteria of Excellence in Past and Present (The A.W.",
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-    "English Original": "Mellon Lectures in the Fine Arts 1964).",
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-    "English Original": "Princeton University Press, Princeton (1967)\n <span id=\"page419\"</spanSchneider, H., RegterenAltena, J.Q.",
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-  "W4297699373_s0702": {
-    "English Original": ": Rapport van het stilistisch/aesthetisch onderzoek van zeven schilderijen welke een Vermeersignatuur dragen of aan Jan Vermeer van Delft zijn toegeschreven en twee schilderijen die op den naam van Pieter de Hoogh staan en het merk PDH 1658 vertonen.",
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-    "English Original": "Amsterdamse Rechtbank, Amsterdam (1947)\n Seymour, S.: Frans Hals.",
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-  "W4297699373_s0704": {
-    "English Original": "Phaidon Press, London (2014)\n <span id=\"page4112\"</spanSheldon, L., Costaras, N.: Johannes Vermeer's 'Young Woman Seated at a Virginal'.",
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-  "W4297699373_s0705": {
-    "English Original": "148, 89–97 (2006)\n <span id=\"page417\"</spanStorm van Leeuwen, J.: The Concept of Pictology and its Application to Works by Frans Hals.",
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-    "English Original": "In: Authentication in the Visual Arts: A MultiDisciplinary Symposium, Amsterdam, 12th of March 1977, pp.",
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-    "English Original": "Israël, Amsterdam (1977)\n <span id=\"page4110\"</spanThienen, van F.: Vermeer.",
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-    "English Original": "Paletserie, Amsterdam (1939)\n Tromp, H.: De Strijd om de Echte Vincent van Gogh: De kunstexpert als brenger van een onwelkome boodschap 1900–1970.",
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-  "W4297699373_s0709": {
-    "English Original": "Dissertation, Mets & Schilt, Amsterdam (2006)\n <span id=\"page4118\"</spanTufte, E.: Envisioning Information.",
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-  "W4297699373_s0710": {
-    "English Original": "Graphics Press, Cheshire (1990) ISBN 9780961392116\n <span id=\"page410\"</spanTummers, A.: The Eye of the Connoisseur, Authenticating Paintings by Rembrandt and His Contemporaries.",
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-  "W4297699373_s0711": {
-    "English Original": "Amsterdam University Press/Getty Publications, Amsterdam/Los Angeles (2011)\n Tummers, A.: Connoisseurship in the Western World, developments since 1980.",
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-    "English Original": "In: Grove Dictionary of Art, Oxford Art Online (2018).",
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-    "English Original": "Tummers, A., Jonckheere, K.",
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-    "English Original": "): Art Market and Connoisseurship: A Closer Look at Paintings by Rembrandt, Rubens and Their Contemporaries.",
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-    "English Original": "Amsterdam University Press, Amsterdam (2008)\n <span id=\"page4116\"</spanTummers, A., Wallert, A., Kleinert, K., Hartwieg, B., LaurenzeLandsberg, C., Dik, J., Groves, R., Anisimov, A., Papadakis, V., Erdmann, R.: Supplementing the eye: the technical analysis of Frans Hals's Paintings – I. Burlingt.",
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-  "W4297699373_s0716": {
-    "English Original": "161, 934–941 (2019a)\n <span id=\"page418\"</spanTummers, A., Wallert, A., de Keyser, N.: Supplementing the eye: the technical analysis of Frans Hals's Paintings – II.",
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-  "W4297699373_s0717": {
-    "English Original": "161, 996–1003 (2019b)\n\n <span id=\"page427\"</spanVries, de A.B., Frountjes, W., TóthUbbens, M.: Rembrandt in the Mauritshuis: An Interdisciplinary Study.",
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-  "W4297699373_s0718": {
-    "English Original": "Sijthoff & Noordhoff, The Hague (1978)\n <span id=\"page423\"</spanWallert, A., van de Laar, M.: Werkwijzen, trucs, materialen en technieken: vervalsingen op het hoogste niveau.",
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-    "English Original": "In: Lammertse, F., Garthoff, N., van de Laar, M., Wallert, A., van Es, J.",
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-    "English Original": "De Vermeers van Van Meegeren, Kennerschap en de techniek van het vervalsen, pp.",
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-  "W4297699373_s0721": {
-    "English Original": "Boijmans studies, Rotterdam (2011)\n <span id=\"page424\"</spanWallert, A., van de Laar, M.: Expertise in the Van Meegeren case: the contributions by Coremans, Froentjes and De Wild.",
-    "Has CLIP Embedding": true,
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-  "W4297699373_s0722": {
-    "English Original": "In Proceedings of the Coremans Symposium.",
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-  "W4297699373_s0723": {
-    "English Original": "202–214 (2018)\n <span id=\"page425\"</spanWeerdenbrug, S.: De Emmausgangers: een omslag in Waardering.",
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-  "W4297699373_s0724": {
-    "English Original": "University of Utrecht (1988)\n <span id=\"page426\"</spanWetering, van de E.: The canvas support.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0725": {
-    "English Original": "In: Bruijn, J., et al.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0726": {
-    "English Original": "A Corpus of Rembrandt Paintings, vol.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0727": {
-    "English Original": "Springer, The Hague/Boston (1986)\n <span id=\"page429\"</spanWetering, van de E.: The search for the master's hand: an anachronism?",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W4297699373_s0728": {
-    "English Original": "Künstlerische Austausch / Artistic Exchange: Akten des XXVIII.",
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-    "English Original": "Internationalen Kongresses für Kunstgeschichte, Berlin, 15–20 juli 1992.",
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-  "W4297699373_s0730": {
-    "English Original": "627–630 (1993)\n <span id=\"page428\"</spanWetering, van de E., et al.",
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-  "W4297699373_s0731": {
-    "English Original": ": A Corpus of Rembrandt Paintings (vols IV–VI).",
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-  "W4297699373_s0732": {
-    "English Original": "Dordrecht: Springer (2005, 2010, 2014)\n <span id=\"page422\"</spanWild, de M.: Het natuurwetenschappelijk onderzoek naar schilderijen.",
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-    "English Original": "TH Delft (1928)\n <span id=\"page420\"</spanWolz, S.H., Carbon, C.: What's wrong with an art fake?",
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-  "W4297699373_s0734": {
-    "English Original": "Cognitive and emotional variables infuenced by authenticity status of artworks.",
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-  "W4297699373_s0735": {
-    "English Original": "47(5), 467–473 (2014)\n <span id=\"page421\"</spanZerner, H.: What gave connoisseurship its bad name?",
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-    "English Original": "In: Strauss, W., Felker, T.",
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-    "English Original": "Abaris Books, New York (1987)\n\nOpen Access This chapter is licensed under the terms of the Creative Commons Attribution 4.0 International License (<http://creativecommons.org/licenses/by/4.0/), which permits use, sharing, adaptation, distribution and reproduction in any medium or format, as long as you give appropriate credit to the original author(s) and the source, provide a link to the Creative Commons licence and indicate if changes were made.",
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-    "English Original": "Alma Mater Studiorum Università di Bologna Archivio istituzionale della ricerca\n\nDeepCreativity: measuring creativity with deep learning techniques\n\nThis is the final peerreviewed author's accepted manuscript (postprint) of the following publication:\n\nFranceschelli, G., Musolesi, M. (2022).",
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-    "English Original": "DeepCreativity: measuring creativity with deep learning techniques.",
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-    "English Original": "INTELLIGENZA ARTIFICIALE, 16(2), 151163 [10.3233/IA220136].",
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-    "English Original": "(Article begins on next page)\n\n This is the final peerreviewed accepted manuscript of:\n\nFranceschelli, Giorgio and Musolesi, Mirco.",
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-    "English Original": "'DeepCreativity: Measuring Creativity with Deep Learning Techniques'.",
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-  "W4312206769_s0011": {
-    "English Original": "1 Jan. 2022 : 151 – 163.",
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-  "W4312206769_s0016": {
-    "English Original": "DeepCreativity: Measuring Creativity with Deep Learning Techniques\n\nGiorgio Franceschelli <supa</sup,<sup∗</sup and Mirco Musolesi <supb</sup\n\n<supa</sup Alma Mater Studiorum Università di Bologna, Italy Email: giorgio.franceschelli@unibo.it <supb</sup University College London, United Kingdom, The Alan Turing Institute, United Kingdom, Alma Mater Studiorum Università di Bologna, Italy Email: m.musolesi@ucl.ac.uk\n\nAbstract.",
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-    "English Original": "Measuring machine creativity is one of the most fascinating challenges in Artificial Intelligence.",
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-  "W4312206769_s0018": {
-    "English Original": "This paper explores the possibility of using generative learning techniques for automatic assessment of creativity.",
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-    "English Original": "The proposed solution does not involve human judgement, it is modular and of general applicability.",
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-  "W4312206769_s0020": {
-    "English Original": "We introduce a new measure, namely DeepCreativity, based on Margaret Boden's definition of creativity as composed by value, novelty and surprise.",
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-  "W4312206769_s0021": {
-    "English Original": "We evaluate our methodology (and related measure) considering a case study, i.e., the generation of 19th century American poetry, showing its effectiveness and expressiveness.",
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-  "W4312206769_s0022": {
-    "English Original": "Keywords: Computational Creativity, Deep Learning, Creativity Measure, American Poetry\n\n 1.",
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-  "W4312206769_s0023": {
-    "English Original": "Introduction\n\nEvaluation is a crucial concern in Artificial Intelligence and in science more in general.",
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-  "W4312206769_s0024": {
-    "English Original": "Measures and metrics are fundamental not only to check the validity of a hypothesis, but also to understand if it is possible to use some given results with confidence as a starting point for future research.",
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-    "English Original": "An example is Shannon's entropy, which plays a central role as a measure of information, choice and uncertainty [20] and underpins many results in Information Theory [39].",
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-    "English Original": "The role of measures is even more crucial in machine learning, where models need to be evaluated during and after training.",
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-    "English Original": "For example, most of the machine learning algorithms are evaluated using metrics like accuracy.",
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-  "W4312206769_s0028": {
-    "English Original": "Excellent progress has been made in benchmark tasks coupled with metrics used to estimate the performance of algorithms [34]: examples include [32] for machine translation or [36] for image generation.",
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-  "W4312206769_s0029": {
-    "English Original": "At the same time, there is also a need to derive new metrics for examining the behavior of algorithms in different environments and in relation with society [34].",
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-  },
-  "W4312206769_s0030": {
-    "English Original": "Among the spectrum of behaviors that could be exhibited by a machine, creativity is certainly one of the most interesting [30].",
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-  },
-  "W4312206769_s0031": {
-    "English Original": "In fact, we have witnessed the emergence of an entire new field of research, namely Computational Creativity, with a focus on the study of the behaviors exhibited by artificial systems that would be deemed as creative [7,48].",
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-  "W4312206769_s0032": {
-    "English Original": "Indeed, one of the key goals of this field is the definition of computational techniques for measuring creativity.",
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-  },
-  "W4312206769_s0033": {
-    "English Original": "In this paper, we present a novel methodology (and related measure) as a way to assess the creativity of an artifact.",
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-  },
-  "W4312206769_s0034": {
-    "English Original": "In particular, DeepCreativity is based on the very famous definition of creativity provided by Margaret Boden: \"creativity is the ability to come up with ideas or artifacts that are new, surprising and valuable\" [5].",
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-  },
-  "W4312206769_s0035": {
-    "English Original": "Although it is not the only definition of creativity available (over one hundred of definitions have been proposed over the years [1,42]), it is central in the field of computational creativity.",
-    "Has CLIP Embedding": true,
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-  },
-  "W4312206769_s0036": {
-    "English Original": "The three aspects that are\n\n<sup\\</supCorresponding author.",
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-  },
-  "W4312206769_s0037": {
-    "English Original": "at the basis of this metric have played a prominent role in the scholarly discourse around the definition of machine creativity.",
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-  },
-  "W4312206769_s0038": {
-    "English Original": "Our proposed measure uses deep learning techniques, avoiding the need of a human in the process, to measure how much an artifact is valuable, novel and surprising with respect to a given context, and, therefore, to quantify the ability of an agent to come up with creative results.",
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-  },
-  "W4312206769_s0039": {
-    "English Original": "To the best of our knowledge, this is one of the first attempts to define an evaluation method for assessing the overall creativity of an artifact that is automatic and of general applicability.",
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-  },
-  "W4312206769_s0040": {
-    "English Original": "This work is structured as follows: a review of the literature about automatic methods to assess creativity is presented in Section 2; then, in Section 3 we discuss the proposed creativity measure.",
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-  },
-  "W4312206769_s0041": {
-    "English Original": "An evaluation of DeepCreativity is presented in Section 4, considering a case study of text generation in the context of 19th century American poetry; finally, we discuss limitations of the proposed approach and potential future work in Section 5.",
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-  "W4312206769_s0042": {
-    "English Original": "Related Work\n\nOver the years, several computational approaches have been proposed to automatically assess the creativity in products made by (human or artificial) agents, differing in the scope of evaluation or in the method.",
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-  },
-  "W4312206769_s0043": {
-    "English Original": "A complete survey can be found in [14].",
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-  "W4312206769_s0044": {
-    "English Original": "All of them consider value and novelty as aspects of creativity, while only some of them also include surprise.",
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-  "W4312206769_s0045": {
-    "English Original": "In the following, we will consider the three factors separately.",
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-  },
-  "W4312206769_s0046": {
-    "English Original": "Value\n\nValue, sometimes referred as quality, expresses how an artifact compares to others in its class in terms of utility, performance or attractiveness.",
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-  "W4312206769_s0047": {
-    "English Original": "It is typically defined as a weighted sum of performance attributes or as a reflection of the acceptance of the artifact by society [25].",
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-  "W4312206769_s0048": {
-    "English Original": "The authors of [11] follow the latter definition, which suggests to compute creativity by using an art graph where each vertex represents an artwork and each arc connecting an older to a newer work is labeled with the similarity between the two calculated by means of an appropriate similarity function.",
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-  "W4312206769_s0049": {
-    "English Original": "The higher the similarity with subsequent works, the higher the value (and the higher the creativity).",
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-  "W4312206769_s0050": {
-    "English Original": "However, this method does not allow to compute value for the most recent works, but only for the older ones.",
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-  "W4312206769_s0051": {
-    "English Original": "The former definition is more common in the literature.",
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-  "W4312206769_s0052": {
-    "English Original": "For instance, in [25] the authors suggest to derive value as the weighted sum of predefined performance variables.",
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-  "W4312206769_s0053": {
-    "English Original": "In [26], value is defined using clusters of artifacts built on a performance space  with artifacts expressed as sets of attributevalue pairs.",
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-  "W4312206769_s0054": {
-    "English Original": "The authors of [15] define it as the synergy [8] between artifacts, expressed following the regentdependent model.",
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-  "W4312206769_s0055": {
-    "English Original": "Also several domainspecific methods follow the definition of value as the sum of performance attributes or performance measures: for example, for poetry generation, the authors of [50] consider topic distribution (through LDA), fluency (through a neural language model) and coherence (through mutual information and TFIDF) as components of value.",
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-  "W4312206769_s0056": {
-    "English Original": "In [52] coherence is used (through BLEU, originally proposed for machine translation in [32]) with quality (through perplexity), while the authors of [51] uses BLEU only.",
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-  "W4312206769_s0057": {
-    "English Original": "However, the definition of value as the weighted sum of subcomponents has the limitation of requiring the correct identification of all the relevant factors and their relative weights, which is a complex and timeconsuming task.",
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-  "W4312206769_s0058": {
-    "English Original": "Novelty\n\nNovelty is commonly defined as the measure of how much an artifact differs from known artifacts in its class [25].",
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-  "W4312206769_s0059": {
-    "English Original": "For this reason, a classic technique to measure novelty consists in the calculation of the distance between a given artifact and the other artifacts on a descriptive space, as discussed in [25] and [26].",
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-  "W4312206769_s0060": {
-    "English Original": "The descriptive space is usually identified by the attributes used to define the artifacts.",
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-  },
-  "W4312206769_s0061": {
-    "English Original": "Similarly, domainspecific methods consider novelty in terms of distance or dissimilarity: for instance, in case of text generation, the authors of [21] consider novelty as the average semantic distance between the dominant terms included in the textual representation of the story, compared to the average semantic distance of the dominant terms in all stories.",
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-  "W4312206769_s0062": {
-    "English Original": "In [50] diversity and innovation in poetry generation are measured by means of bigrambased average Jaccard similarity.",
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-  "W4312206769_s0063": {
-    "English Original": "As for value methods, the requirement of defining artifacts in terms of attributes appears to be as a rather strong limitation.",
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-  "W4312206769_s0064": {
-    "English Original": "A different definition of novelty has been proposed in [3], namely as the degree an input differs from what an observer has experienced before.",
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-  "W4312206769_s0065": {
-    "English Original": "In [11] novelty is defined by considering the time dimension of personal experience: the lower the degree of similarity between an artifact and the previous works, the higher the novelty contribution of creativity.",
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-  "W4312206769_s0066": {
-    "English Original": "Even if not exactly used as an evaluation technique, in [10] a novelty score is proposed to guide the training of the generative part of the Creative Adversarial Network.",
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-  "W4312206769_s0067": {
-    "English Original": "This can be considered as a creativeoriented variant of Generative Adversarial Networks (GANs) [16].",
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-  "W4312206769_s0068": {
-    "English Original": "In addition to the classic adversarial loss provided by the discriminative model, the generator is trained to maximize a novelty loss that represents how much the generated artifact differs from previous works in terms of style.",
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-  "W4312206769_s0069": {
-    "English Original": "Although considering novelty as the deviation from style norms is somehow simplistic, it only requires a style classifier, automatically capturing an important aspect of novelty at the same time.",
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-  },
-  "W4312206769_s0070": {
-    "English Original": "Surprise\n\nIn [3], surprise is defined as the degree of disagreement between the real input and what it was expected in its place.",
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-  },
-  "W4312206769_s0071": {
-    "English Original": "This classic definition of surprise based on unexpectedness is typically also referred to as surprisal [43].",
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-  },
-  "W4312206769_s0072": {
-    "English Original": "In [25], unexpectedness is calculated considering whether or not the artifact follows the expected next artifact in the pattern recognized on recent artifacts.",
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-  },
-  "W4312206769_s0073": {
-    "English Original": "In [17], surprise is measured as the unlikelihood of observing a particular artifact according to the predictions about relationships between its attributes.",
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-  },
-  "W4312206769_s0074": {
-    "English Original": "In the specific domain of text generation, in [21], surprise is defined as the average semantic distance between consecutive fragments of each story.",
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-  },
-  "W4312206769_s0075": {
-    "English Original": "For sequential artifacts like texts or sounds, the authors of [6] adopt the expected maximum surprise as measure (as one minus the probability of the most unexpected token of the artifact) and the expected count of ψsurprise (as the count of all the tokens for which predictability is lower than a given threshold <supψ</sup K ), where the expectations are provided by an audience neural network.",
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-  },
-  "W4312206769_s0076": {
-    "English Original": "In a similar way, [24] proposes to quantify surprise considering both the probability of the event X of interest and the probability of the most probable event Y , since the surprise of an event X also depends on the certainty of Y (e.g., ten equiprobable events have a very high unexpectedness, but they should have a very low surprise, since we are not surprised to see one of them occurring).",
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-  "W4312206769_s0077": {
-    "English Original": "A quite different approach is adopted in [26], where the authors consider a new artifact as surprising if it creates a new cluster in the conceptual space (instead of perfectly fitting into an existing one).",
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-  },
-  "W4312206769_s0078": {
-    "English Original": "The idea of surprise as related with the difference between prior and posterior models is at the basis of Bayesian Surprise [2], used in [15] and [46].",
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-  },
-  "W4312206769_s0079": {
-    "English Original": "It is a measure of surprise in terms of the impact of a data point that changes a prior distribution into a posterior distribution, calculated applying Bayes' theorem (considering artifacts as a composition of attributes); here, surprise is the postobservation change rather than the prediction error.",
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-  },
-  "W4312206769_s0080": {
-    "English Original": "Measuring Creativity using Deep Learning\n\nWe now present DeepCreativity, a new Deep Learning creativity measure.",
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-  },
-  "W4312206769_s0081": {
-    "English Original": "The goal is to define a measure of more general applicability.",
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-  },
-  "W4312206769_s0082": {
-    "English Original": "Deep Learning is used for avoiding the need of identifying the required attributes to describe the artifacts or the components of creativity [14].",
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-  },
-  "W4312206769_s0083": {
-    "English Original": "This leads to a measure that allows for automatic evaluation of artifacts.",
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-  },
-  "W4312206769_s0084": {
-    "English Original": "As discussed in Section 1, DeepCreativity is based on the definition of creativity proposed by [5].",
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-  },
-  "W4312206769_s0085": {
-    "English Original": "Therefore, the measure is based on three main factors, which will be explored in the next subsections separately: value (Subsection 3.1), novelty (Subsection 3.2) and surprise (Subsection 3.3).",
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-  "W4312206769_s0086": {
-    "English Original": "Finally, in Subsection 3.4, we will put everything together by providing a unified definition of creativity.",
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-  },
-  "W4312206769_s0087": {
-    "English Original": "Value\n\nWe measure value by means of the discriminative part of a Generative Adversarial Network [16].",
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-  },
-  "W4312206769_s0088": {
-    "English Original": "The GAN is trained by considering the real artifacts as the true ones; in this way, the discriminative model should learn a representation of real (and valuable) data, and its evaluation of a new artifact provides insights of its value in that context.",
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-  },
-  "W4312206769_s0089": {
-    "English Original": "Therefore, the value of an artifact a over the value discriminator D<supv</sup can be expressed as:\n\n$$\nV(a, Dv) = Dv(a), \\qquad (1)\n$$\n\nwith V (a, Dv) naturally constrained between 0 (not valuable at all) and 1 (highly valuable), since a sigmoid activation is applied to the output layer of Dv.",
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-  },
-  "W4312206769_s0090": {
-    "English Original": "The choice of the real artifacts influence the value measure proposed above (acting as an Inspiring Set [35]).",
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-  },
-  "W4312206769_s0091": {
-    "English Original": "While it can be seen as a limitation of the approach, it is highly coherent with the nature of creativity itself.",
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-  },
-  "W4312206769_s0092": {
-    "English Original": "Creativity, and in particular value, are deeply contextdependent: the same work, proposed in two different moments of history or to two different social groups may be evaluated differently [5].",
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-  },
-  "W4312206769_s0093": {
-    "English Original": "Under this lens, the need of real artifacts conceals the opportunity of representing, within the measure, a fundamental aspect of creativity.",
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-  },
-  "W4312206769_s0094": {
-    "English Original": "The real data used during GAN's training will therefore represent a specific context, welldefined in temporal and cultural terms.",
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-  },
-  "W4312206769_s0095": {
-    "English Original": "To train the GAN, it is important to distinguish between continuous tasks (like image generation) and sequential tasks (like text or sound generation).",
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-  },
-  "W4312206769_s0096": {
-    "English Original": "With respect to continuous applications, a GAN can be trained using the following loss function [16]:\n\n$$\nL = \\min{G} \\max{D} V(D, G) = \\mathbb{E}{x \\sim p{data}(x)} [\\log D(x)]\n$$\n  \n+  $\\mathbb{E}{z \\sim pz(z)} [\\log (1  D(G(z)))],$  (2)\n\nwith pdata as the real data distribution (representing the desired context), p<supz</sup as the input noise variable, and with discriminator D and generator G trained alternately; notice that several refinements have been proposed in the recent years (see [18] for potential variations).",
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-  "W4312206769_s0097": {
-    "English Original": "As far as sequential applications are concerned, the impossibility of directly applying GAN to these tasks is a wellknown problem [19].",
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-  },
-  "W4312206769_s0098": {
-    "English Original": "A common way to solve it is by using SeqGAN [51].",
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-  },
-  "W4312206769_s0099": {
-    "English Original": "SeqGAN considers the sequence generation process as a sequential decision making process, defining a reinforcement learning framework in which the generative model G<supθ</sup is the agent, the actual state (y1, ..., yt−1) is composed by the generated tokens so far, the next action y<supt</sup is the next token to be generated, and the reward is the evaluation provided by the discriminative model Dϕ.",
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-  },
-  "W4312206769_s0100": {
-    "English Original": "The generative model is then seen as a stochastic parametrized policy; Monte Carlo search is used to approximate the stateaction value and directly train the policy via policy gradient [51].",
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-  },
-  "W4312206769_s0101": {
-    "English Original": "More specifically, the REINFORCE algorithm [49] for learning the policy (but other methods can be used as well [12]), which leads to the following update rule:\n\n$$\n\\boldsymbol{\\theta} \\leftarrow \\boldsymbol{\\theta} + \\alpha Q{D{\\phi}}^{G{\\boldsymbol{\\theta}}}(Y{1:t1}, yt) \\nabla{\\boldsymbol{\\theta}} \\ln G{\\boldsymbol{\\theta}}(yt | y{1:t1}), (3)\n$$\n\nwhere Q is the expected return obtained by the Ntime Monte Carlo search.",
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-  },
-  "W4312206769_s0102": {
-    "English Original": "Novelty\n\nWith respect to novelty, our definition is inspired by CAN [10] although the deviation from style norms cannot be used directly to measure the difference between artifacts.",
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-  },
-  "W4312206769_s0103": {
-    "English Original": "Therefore, as additionally done by the CAN discriminator, a neural network D<supn</sup is trained to correctly recognize the style of real artifacts (from the given context).",
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-  },
-  "W4312206769_s0104": {
-    "English Original": "The neural network can just be a simple classifier (as in [31] for music or in [40] for paintings), outputting a probability vector of length N equal to the number of possible classes.",
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-  },
-  "W4312206769_s0105": {
-    "English Original": "Consequently, a novelty measure can be defined as:\n\n$$\nN(a, Dn) = 1  \\frac{\\sqrt{\\sum{i=1}^{N} \\left(\\frac{1}{N}  yi\\right)^2}}{UB}\n$$\n\\nwith\n\n\\n\n$$\nUB = \\frac{\\sqrt{N \\left(N  1\\right)}}{N},\n$$\n\\n(4)\n\nwhere y is the output vector (of length N and sum 1) of D<supn</sup given in input artifact a.",
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-  },
-  "W4312206769_s0106": {
-    "English Original": "The formula computes the Euclidean Distance between y and the desired target vector of equiprobable values; in addition, it is constrained between 0 and 1, where it is equal to 1 when the distance is minimum (i.e., when the two vectors are equal) and it is equal to 0 when the distance is maximum (i.e., when a onehot vector is considered).",
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-  },
-  "W4312206769_s0107": {
-    "English Original": "Please refer to Appendix A for the proof of this property.",
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-  },
-  "W4312206769_s0108": {
-    "English Original": "Surprise\n\nWith respect to surprise, we follow the conceptual framework presented in [2].",
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-  },
-  "W4312206769_s0109": {
-    "English Original": "Starting from a sequential generative model G<sups</sup trained to predict the next token given the previous ones on an appropriate training set (temporally and culturally defined, as stated for value), this allows for considering the impact of an artifact a over Gs.",
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-  },
-  "W4312206769_s0110": {
-    "English Original": "Its influence is calculated using a weight correction applied over G<sups</sup if G<sups</sup is trained to correctly predict a.",
-    "Has CLIP Embedding": true,
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-  },
-  "W4312206769_s0111": {
-    "English Original": "In analogy with the Bayesian Surprise, surprise is measured as the distance between prior G<sups</sup (before training) and posterior G<sups</sup (after training on a).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0112": {
-    "English Original": "The difference is in how the posterior distribution is obtained, namely not by means of Bayes' theorem, but through backpropagation and gradient descent.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0113": {
-    "English Original": "Notice that this idea is very close to the intrinsic reward presented in [37], where a measure of surprise is derived by maximizing a distance function between prior and posterior distribution of a predictive model.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0114": {
-    "English Original": "At inference time, only measuring surprise is relevant, while the model update is not actually required.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0115": {
-    "English Original": "It is only used to compute the weight correction ∆wji, which expresses how much the posterior distribution will differ from the prior.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0116": {
-    "English Original": "Given an artifact a = {a1, a2, ..., a<supN</sup }, the minibatch (of size N) gradient descent formula for ∆wji can be used:\n\n$$\n\\Delta w{ji} = \\eta \\frac{1}{N} \\sum{k=1}^{N} \\frac{\\partial Jk}{\\partial w{ji}},\n$$\n\\n(5)\n\nwhere η is the learning rate and J<supk</sup is the loss function considering token k 1 .",
-    "Has CLIP Embedding": true,
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-  },
-  "W4312206769_s0117": {
-    "English Original": "We can now define the surprise measure more formally.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0118": {
-    "English Original": "Given a sequential generative model Gs, an artifact a has a surprise over G<sups</sup equal to:\n\n$$\nS(a, Gs) = avg{j,i} \\left| \\frac{\\Delta w{ji}}{w{ji}} \\right|.",
-    "Has CLIP Embedding": true,
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-  },
-  "W4312206769_s0119": {
-    "English Original": "$$\n (6)\n\nWe note that the correction is divided by the weight to represent the degree of correction, i.e., the influence of the artifact.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0120": {
-    "English Original": "Then, the learning rate in Eq.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0121": {
-    "English Original": "(5) is not the learning rate used during training, but a parameter to adjust the magnitude of correction for the surprise measure.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0122": {
-    "English Original": "Even a value of 1 can be reasonable in certain problems.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0123": {
-    "English Original": "Finally, this approach requires G<sups</sup in order to consider artifacts as sequential data, even if they are continuous.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0124": {
-    "English Original": "In case of image, G<sups</sup may be, for instance, an autoregressive model [33,44,45].",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0125": {
-    "English Original": "Putting All Together\n\nGiven the definition of V (a, Dv), N(a, Dn), S(a, Gs) in the previous subsections, the DeepCreativity measure (indicated with DC) is obtained by computing the creativity of a generative agent producing artifact a over a temporal and cultural context T CC as:\n\nDC(a, T CC) = α1V (a, Dv) + α2N(a, Dn) + α3S(a, Gs), (7)\n\nwhere α1, α2, α<sup3</sup ∈ [0, 1] and α<sup1</sup + α<sup2</sup + α<sup3</sup = 1.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0126": {
-    "English Original": "Dv, D<supn</sup and G<sups</sup are trained over T CC, which is a set of examples (x1, y1), ...,(xn, yn) where x1, ..., x<supn</sup are the real artifacts, and y1, ..., y<supn</sup are their labels representing the class (assuming N different values).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0127": {
-    "English Original": "α1, α2, α<sup3</sup weight the three single components of creativity; the immediate setting is to consider them as equal, as we will do in the following experiments.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0128": {
-    "English Original": "Nonetheless, it is possible to change them according to the specific domain, if some of the properties are found as more relevant in creativity assessment.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0129": {
-    "English Original": "Experiments\n\nThere is no common agreement about how to evaluate creativity measures.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0130": {
-    "English Original": "All the methodologies discussed in Section 2 have not been evaluated against a ground truth; on the contrary, they have just been tested over a generative system, in comparison with human judgements (always considering the products of a generative system) or they have not been tested at all.",
-    "Has CLIP Embedding": true,
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-  },
-  "W4312206769_s0131": {
-    "English Original": "This can be attributed to the difficulty of finding a common definition of creativity, which is reflected in the lack of correct evaluation of creative productions.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0132": {
-    "English Original": "However, a ground truth about this creativity process exists in this case: art history.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0133": {
-    "English Original": "The fact that in a certain moment of history, in a certain place, an artwork was appreciated or at least considered of sufficient quality to be \"printable\" may be used as useful information for evaluating a creative agent.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0134": {
-    "English Original": "Inspired by considerations done in [30] about CAN and its ability of intercepting the historical trajectory of art, a metaevaluation test is defined, based on historical trajectories, to study if and how the proposed measure is able to correctly capture the changes of creativity over time in a fixed culture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0135": {
-    "English Original": "In particular, the following experiment will concern the context of American Poetry.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0136": {
-    "English Original": "American poetry has been chosen because of the importance of this artistic production and its heterogeneity in terms of movements and styles, while still referring to a specific cultural context.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0137": {
-    "English Original": "Other cultures or artistic fields could have been selected as well; while the study presented in this work aims at demonstrating the effectiveness of DeepCreativity in principle, we are aware that further work is necessary to demonstrate its generality (see Section 5).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0138": {
-    "English Original": "The goal of this experiment is to measure the creativity of poems from different moments of history, but training the neural networks for the computation of DeepCreativity on a specific historical context.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0139": {
-    "English Original": "DeepCreativity can therefore be considered an appropriate creativity measure if the resulting creativity is\n\n<sup1</sup It is worth noting that the loss function represents in a way the expectation error, i.e., the surprisal.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0140": {
-    "English Original": "higher for the artworks which really come after the context, because these are the ones been considered as highly creative in that moment.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0141": {
-    "English Original": "Consequently, it should also recognize the other works as less creative: later works should be judged more novel and surprising, but less valuable and understandable; while contemporary works should be judged more valuable but less novel and surprising.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0142": {
-    "English Original": "Two separated experiments are conducted to verify if the measure is able to capture creativity for a certain period of time.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0143": {
-    "English Original": "Both of them involve poems from the 19th century (i.e., from American Renaissance (Brahmins and Romantics), Local Color, Naturalism, and Neogothic (or Protodecadentism)) as the context.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0144": {
-    "English Original": "The first experiment involves poems from the 20th century (i.e., a selection of poems from Imagism, Harlem Renaissance, Objectivism, Beat Generation, and Confessional Movement).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0145": {
-    "English Original": "The second one also considers poems from the 17th and the 18th century (i.e., a selection of poems from Puritanism, AfricanAmerican Poetry, and American Revolution).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0146": {
-    "English Original": "A sample of poems from the training set is always considered for a complete comparison; full details are reported in Appendix C. As far as details about the implementation are concerned, two types of NNs have been used: a LSTMbased RNN for the generative models, and a CNN for the discriminative models.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0147": {
-    "English Original": "Full details about architectures and training processes can be found in Appendix B.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0148": {
-    "English Original": "The average of value, novelty, surprise and creativity computed on a sample from the training set and on 20th century American poems.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0149": {
-    "English Original": "With respect to the first experiment, Figure 1 shows the average of the creativity components during movements and the final creativity measure.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0150": {
-    "English Original": "It is interesting to note that the higher the novelty the further from the training set.",
-    "Has CLIP Embedding": true,
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-  },
-  "W4312206769_s0151": {
-    "English Original": "This correctly captures the fact that a movement, which immediately follows a certain period has to be novel with respect to it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0152": {
-    "English Original": "Moreover, the next movement has to be novel with respect to both the works produced in that period and the first one.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0153": {
-    "English Original": "The surprise curve generally also shows a similar behavior: temporally distant artifacts are the result of different contexts and different situations and they are more difficult to be predicted only considering a past version of the same culture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0154": {
-    "English Original": "The last movement, the Confessional one, could be considered as an exception.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0155": {
-    "English Original": "This can be explained by considering how surprise is measured: it is calculated as the degree of change that the work causes over a 19th century American poems model, which is strictly related to a semantic view of the context, because it is based on the content.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0156": {
-    "English Original": "Indeed, temporally far movements might have a lower surprise measure if their themes (e.g., love) are semantically closer to those in the training set.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0157": {
-    "English Original": "The same consideration can be done to explain the value curve.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0158": {
-    "English Original": "For the first four movements, it tends to decrease with time, as expected.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0159": {
-    "English Original": "On the other side, Confessional Movement has a higher value; since its semantic content is closer to the one from the context, it results in a more similar and therefore comprehensible and admirable style, with a higher value.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0160": {
-    "English Original": "In general, it is possible to observe that creativity tends to decrease further in time from the period of reference of the training set, while it is higher for the central movement, which is able to conciliate a high degree of surprise without a consistent loss in value.",
-    "Has CLIP Embedding": true,
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-  },
-  "W4312206769_s0161": {
-    "English Original": "With respect to the second experiment, Figure 2 shows the three components also considering previous movements.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0162": {
-    "English Original": "This should help study the appropriateness of the three measures over the time dimension.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0163": {
-    "English Original": "It is therefore interesting to note that two over three curves follow the same trends observed for the subsequent century.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0164": {
-    "English Original": "Novelty is the only one behaving differently, since the closest movement has more or less the same novelty than the furthest.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0165": {
-    "English Original": "On the contrary, value decreases further away from the period of reference of the training set, as desirable; in the same way, surprise increases.",
-    "Has CLIP Embedding": true,
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-  },
-  "W4312206769_s0166": {
-    "English Original": "In addition, it is interesting to note that surprise is smaller than for the 20th century on average.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0167": {
-    "English Original": "This can be explained by observing that the 19th century poems include some knowledge about the previous poems, making them more predictable.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0168": {
-    "English Original": "The average of value, novelty, surprise and creativity computed on a sample from the training set and on both 18th and 20th century American poems.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0169": {
-    "English Original": "Conclusion and Future Work\n\nIn this work, we have introduced DeepCreativity, a new creativity measure based on three components with the objective of measuring the value, novelty and surprise of a generative process or algorithm, in terms of their products.",
-    "Has CLIP Embedding": true,
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-  },
-  "W4312206769_s0170": {
-    "English Original": "This general approach overcomes the limits of having measures applicable only to certain domains; in addition, the use of deep learning techniques overcomes the limits of having to manually define the attributes or the components which characterize creativity.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0171": {
-    "English Original": "Moreover, the automation of evaluation allows for embedding DeepCreativity in the creative generation itself; for instance, a generative model can be trained to learn to maximize such a measure [4] or it can be used inside a generateandtest iterative process [41].",
-    "Has CLIP Embedding": true,
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-  },
-  "W4312206769_s0172": {
-    "English Original": "Finally, the need of a training set allows for the definition of a specific context of evaluation, which has been found to be a fundamental constraint of creativity.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0173": {
-    "English Original": "However, few limitations can also be found: novelty only considers the style or the genre, while it might lie in other traits of a work; surprise requires a sequential generator, which could be not optimal for (supposedly simpler) continuous tasks.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0174": {
-    "English Original": "The experiments conducted in the context of generative learning of 19th century American poetry have demonstrated that the measure is able to capture the historic trajectory of creativity over time, either only considering future poems or also previous ones, showing its effectiveness.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0175": {
-    "English Original": "Additional tests should be carried out in order to confirm the correctness and the general applicability of the measure, ideally in different domains; contemporary contexts should be considered too, in order to have the evaluation of DeepCreativity validated against human judges (as in [10]).",
-    "Has CLIP Embedding": true,
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-  },
-  "W4312206769_s0176": {
-    "English Original": "This is part of our future research agenda.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0177": {
-    "English Original": "References\n\n [1] A. G. Aleinikov, S. Kackmeister, and R. Koenig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0178": {
-    "English Original": "Creating Creativity: 101 Definitions (what Webster Never Told You).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0179": {
-    "English Original": "Alden B. Dow Creativity Center Press, 2000.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0180": {
-    "English Original": "[2] P. Baldi and L. Itti.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0181": {
-    "English Original": "Of Bits and Wows: A Bayesian Theory of Surprise with Applications to Attention.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0182": {
-    "English Original": "Neural networks: the official journal of the International Neural Network Society, 23:649–666, 2010.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0183": {
-    "English Original": "[3] D. E. Berlyne.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0184": {
-    "English Original": "[4] S. Berns and S. Colton.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0185": {
-    "English Original": "Bridging Generative Deep Learning and Computational Creativity.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0186": {
-    "English Original": "In ICCC 2020, pages 406–409, 2020.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0187": {
-    "English Original": "[5] M. A. Boden.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0188": {
-    "English Original": "The Creative Mind: Myths and Mechanisms.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0189": {
-    "English Original": "[6] R. C. Bunescu and O. O. Uduehi.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0190": {
-    "English Original": "Learning to Surprise: A ComposerAudience Architecture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0191": {
-    "English Original": "In ICCC 2019, pages 41– 48.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0192": {
-    "English Original": "Association for Computational Creativity (ACC), 2019.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0193": {
-    "English Original": "[7] S. Colton and G. A. Wiggins.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0194": {
-    "English Original": "Computational Creativity: The Final Frontier?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0195": {
-    "English Original": "In ECAI 2012, 2012.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0196": {
-    "English Original": "Nature's Magic: Synergy in Evolution and the Fate of Humankind.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0197": {
-    "English Original": "Cambridge University Press, 2003.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0198": {
-    "English Original": "[9] J. Duchi, E. Hazan, and Y.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0199": {
-    "English Original": "Adaptive Subgradient Methods for Online Learning and Stochastic Optimization.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0200": {
-    "English Original": "Journal of Machine Learning Research, 12:2121–2159, 2011.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0201": {
-    "English Original": "[10] A. Elgammal, B. Liu, M. Elhoseiny, and M. Mazzone.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
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-  "W4312206769_s0307": {
-    "English Original": "In EMNLP 2018, pages 3143–3153.",
-    "Has CLIP Embedding": true,
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-  },
-  "W4312206769_s0308": {
-    "English Original": "Association for Computational Linguistics, 2018.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0309": {
-    "English Original": "[51] L. Yu, W. Zhang, J. Wang, and Y. Yu.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0310": {
-    "English Original": "SeqGAN: Sequence Generative Adversarial Nets with Policy Gradient.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0311": {
-    "English Original": "In AAAI 2017, page 2852–2858.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0312": {
-    "English Original": "[52] X. Zhang and M. Lapata.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0313": {
-    "English Original": "Chinese Poetry Generation with Recurrent Neural Networks.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0314": {
-    "English Original": "In EMNLP 2014, pages 670–680.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0315": {
-    "English Original": "Association for Computational Linguistics, 2014.",
-    "Has CLIP Embedding": true,
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-  },
-  "W4312206769_s0316": {
-    "English Original": "Appendix\n\n A. Euclidean Distance Bounds with Proof\n\nThe advantage of using Euclidean Distance is that it is bounded  both an upper and a lower bound can be derived.",
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-  },
-  "W4312206769_s0317": {
-    "English Original": "More formally:\n\n$$\n\\sqrt{\\sum{i=1}^{N} \\left(\\frac{1}{N}  yi\\right)^2} \\ge 0,\n$$\n\\n(8)\n\nwhere\n\n$$\n\\sqrt{\\sum{i=1}^{N} \\left(\\frac{1}{N}  yi\\right)^2} = 0\n$$\n\\n(9)\n\nwith \n$$\nyi = \\frac{1}{N}, i = 1, ..., N,\n$$\n\nand\n\n$$\n\\sqrt{\\sum{i=1}^{N} \\left(\\frac{1}{N}  yi\\right)^2} \\le \\frac{\\sqrt{N\\left(N1\\right)}}{N},\\tag{10}\n$$\n\nwhere\n\n$$\n\\sqrt{\\sum{i=1}^{N} \\left(\\frac{1}{N}  yi\\right)^2} = \\frac{\\sqrt{N(N1)}}{N}\n$$\n\\n(11)\n\nwith \n$$\nyi = \\begin{cases} 0, & \\text{if } i = 1, ..., N, i \\neq j \\\\ 1, & \\text{if } i = j.",
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-  },
-  "W4312206769_s0318": {
-    "English Original": "\\end{cases}\n$$\n\nThe derivation of Equation (9) is trivial: the lower bound of Euclidean Distance is 0.",
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-  },
-  "W4312206769_s0319": {
-    "English Original": "It is reached if and only if the two vectors are equal.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0320": {
-    "English Original": "In the following we present the derivation of Equations (10) and (11).",
-    "Has CLIP Embedding": true,
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-  },
-  "W4312206769_s0321": {
-    "English Original": "The squared sum of the difference can be decomposed as:\n\n$$\n\\sum (x  y)^2 = \\sum x^2 + \\sum y^2  2 \\sum xy.",
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-  },
-  "W4312206769_s0322": {
-    "English Original": "\\tag{12}\n$$\n\nHere, x is a constant vector of N values, each of them equal to <sup1</sup N ; for this reason,\n\n$$\n\\sum x^{2} = \\sum{i=1}^{N} \\left(\\frac{1}{N}\\right)^{2} = \\left(\\frac{1}{N}\\right)^{2} \\sum{i=1}^{N} 1\n$$\n$$\n= \\frac{1}{N^{2}} N = \\frac{1}{N}.",
-    "Has CLIP Embedding": true,
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-  },
-  "W4312206769_s0323": {
-    "English Original": "$$\n(13)\n\nSince x is constant, it is possible to say that:\n\n$$\n2\\sum xy = 2\\sum{i=1}^{N} \\frac{1}{N}y = \\frac{2}{N}\\sum{i=1}^{N} y,\\tag{14}\n$$\n\nbut y is a vector of probabilities, therefore Py = 1, so:\n\n$$\n2\\sum xy = \\frac{2}{N}\\sum{i=1}^{N}y = \\frac{2}{N}.",
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-  },
-  "W4312206769_s0324": {
-    "English Original": "$$\n (15)\n\nTwo of the three terms are constant; the last one depends on the variables of y.",
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-  },
-  "W4312206769_s0325": {
-    "English Original": "For a vector y that has the property of P P y = 1, the theoretical maximum of y 2 is attained when all its entries are 0 except one, which is 1, obtaining that:\n\n$$\n\\sum y^2 = \\sum{i=1}^N yi^2 \\le 1,\\tag{16}\n$$\n\nwhere\n\n$$\n\\sum{i=1}^{N} yi^2 = 1\n$$\n\\nwith  $yi = \\begin{cases} 0, & \\text{if } i = 1, ..., N, i \\neq j \\\\ 1, & \\text{if } i = j.",
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-  },
-  "W4312206769_s0326": {
-    "English Original": "\\end{cases}$ \\n(17)\n\nThe upper bound of the Euclidean Distance can be found rewriting:\n\n$$\n\\sqrt{\\sum (x  y)^2} = \\sqrt{\\sum x^2 + \\sum y^2  2 \\sum xy}\n$$\n$$\n= \\sqrt{\\frac{1}{N} + 1  \\frac{2}{N}} = \\sqrt{1  \\frac{1}{N}}\n$$\n$$\n= \\sqrt{\\frac{N  1}{N}} = \\frac{\\sqrt{N (N  1)}}{N},\n$$\n(18)  \nwith  $yi = \\begin{cases} 0, & \\text{if } i = 1, ..., N, i \\neq j \\\\ 1, & \\text{if } i = j.",
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-  },
-  "W4312206769_s0327": {
-    "English Original": "\\end{cases}$ \n\nEquation (4) can be finally obtained by setting N = N−Nmin Nmax−Nmin and then N = 1 − N, which ensures that the measure is bounded between 0 and 1 and satisfies the desired properties listed in Subsection 3.2.",
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-  },
-  "W4312206769_s0328": {
-    "English Original": "Details about Training Process and Implementation\n\nG<supv</sup and G<sups</sup are LSTMbased RNNs composed of an embedding layer of size 300 (with input length of 20), a LSTM layer with 256 units and a dropout of 0.2 rate, a dense layer with softmax activation [13].",
-    "Has CLIP Embedding": true,
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-  },
-  "W4312206769_s0329": {
-    "English Original": "Following [38], Adagrad [9] with a learning rate equal to 0.01 has been used as optimiser.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0330": {
-    "English Original": "D<supv</sup and D<supn</sup are CNNs, implemented using an embedding layer of size 300 (with input length equal to the maximum poem length), three convolutional layers of 1 dimension (with tanh activation) with kernel sizes of, respectively, 3, 4 and 5, a max pooling over each output of the last convolutional layer, a dropout of 0.5 rate and finally a dense layer with softmax activation for D<supn</sup and sigmoid activation for D<supv</sup [22].",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0331": {
-    "English Original": "In this case, Adam [23] with a learning rate equal to 0.0001 has been adopted as optimiser.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0332": {
-    "English Original": "Word2Vec [29] has been used for the embedding, pretrained on Google News, and then finetuned for 100 epochs on the specific dataset.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0333": {
-    "English Original": "G<supv</sup and D<supv</sup have been trained following the SeqGAN algorithm [51] except for the update rule followed, where REINFORCE with Baseline [47] has been used in place of REINFORCE (with only positive rewards, it avoids to remain stuck in poor situations); G<supv</sup has been pretrained for 50 epochs on T CC, and D<supv</sup for 5 epochs on batches of 32 outputs of Gv, with N = 1 in the computation of the expected return of the Monte Carlo search, with gsteps = 8 and dsteps = 4, with a discriminator batch size of 32, and in total 550 epochs (with more, the discriminator becomes overfitted).",
-    "Has CLIP Embedding": true,
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-  },
-  "W4312206769_s0334": {
-    "English Original": "D<supn</sup has been trained for 56 epochs using Categorical CrossEntropy; G<sups</sup has been trained for 136 epochs using Sparse Categorical CrossEntropy.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0335": {
-    "English Original": "In both cases, the number of epochs has been found as the one which minimizes the validation loss.",
-    "Has CLIP Embedding": true,
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-  },
-  "W4312206769_s0336": {
-    "English Original": "Finally, outofvocabulary (OOV) words of test set poems have been treated by substituting each OOV word with the one that has the most similar embedding to the one predicted by a sequence generator [28]  here, Gs.",
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-  },
-  "W4312206769_s0337": {
-    "English Original": "C. American Poetry Dataset\n\nThe training set is composed by 2676 poems from the 19th century, divided into five groups: American Renaissance (Brahmins and Romantics); Local Color; Naturalism; Neogothic (or Protodecadentism).",
-    "Has CLIP Embedding": true,
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-  },
-  "W4312206769_s0338": {
-    "English Original": "For Brahmins, we included poems written by Henry Wadsworth Longfellow (extracted by The complete poetical works of Henry Wadsworth Longfellow), Oliver Wendell Holmes (extracted by Songs in many keys), James Russell Lowell (extracted by Poems) and John Greenleaf Whittier (extracted by Poems of nature plus poems subjective and reminiscent and religious poems, Antislavery poems and songs of labor and reform, Personal poems).",
-    "Has CLIP Embedding": true,
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-  },
-  "W4312206769_s0339": {
-    "English Original": "For Romantics, we included poems written by Emily Dickinson (extracted by Poems), Walt Whitman (extracted by Leaves of grass) and Ralph Waldo Emerson (extracted by Poems).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0340": {
-    "English Original": "For Local Color, we included poems written by Bret Harte (extracted by East and west: poems), Frances Harper (extracted by Poems) and Rose Terry Cooke (extracted by Poems).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0341": {
-    "English Original": "For Naturalism, we included poems written by Stephen Crane (extracted by The black riders and other lines and War is kind) and Hamlin Garland (extracted by Prairie songs).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0342": {
-    "English Original": "For the last group, we included poems written by Edgar Allan Poe (extracted by The complete poetical works of Edgar Allan Poe).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0343": {
-    "English Original": "Since all of these works are in public domain, we downloaded them from Project Gutenberg<sup2</sup without any risk of copyright infringement.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0344": {
-    "English Original": "The first test set, instead, is divided into five poetical movements of the 20th century.",
-    "Has CLIP Embedding": true,
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-  },
-  "W4312206769_s0345": {
-    "English Original": "These movements are temporally consecutive, and they model a sort of timeline of American poetry.",
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-  },
-  "W4312206769_s0346": {
-    "English Original": "Of course, many other movements could be considered beside the five presented here, but they overlap the chosen five in time, making it difficult to interpret the results; in addition, no representativeness has been lost in our opinion, since the goal is not to retrace every single historically relevant moment in American poetry.",
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-  },
-  "W4312206769_s0347": {
-    "English Original": "Instead, the goal is to check if the defined measure is able to capture the concept of creativity for a certain period of time.",
-    "Has CLIP Embedding": true,
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-  },
-  "W4312206769_s0348": {
-    "English Original": "We took into consideration a timeline covering the following movements: Imagism; Harlem Renaissance; Objectivism; Beat Generation; and Confessional Movement.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0349": {
-    "English Original": "For each movement, 23 poems were considered.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0350": {
-    "English Original": "For Imagism, the poems are Autumn, The embankment, Above the dock, Conversion (by T.E.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0351": {
-    "English Original": "Hulme); Comraderie, Piazza San Marco, Ballad for gloom, A song of the virgin mother, Grace before song (by Ezra Pound); Leda, Pursuit, Gift, The shepherd, All mountains (by Hilda Doolittle); Sex and trust, Furniture, Censors, After school, Autumn sunshine (by D.H. Lawrence); After all, A night piece, Modern love, The feather (by Ford Madox Ford).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0352": {
-    "English Original": "For Harlem Renaissance, the poems are Living earth, Skyline, Words for a hymn to the sun, Banking coal, Men, Peers (by Jean Toomer); God, I look at the world, Madam and the movies, Silly animals, Blues fantasy, God to hungry child (by Langston Hughes); The expulsion of hagar, In memory of Arthur Clement Williams, An offering, Judith, Ode to the sun, Early spring (by Eloise A. Bibb); Idolatry, My heart has known its winter, A note of humility, Nocturne of the wharves, Miracles (by Arna Wendell Bontemps).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0353": {
-    "English Original": "For Objectivism, the poems are Brilliant sad sun, The aftermath, The dish of fruit, Spring, Flowers by the sea, A goodnight (by William Carlos Williams); A clerk tiptoeing the office floor, Death of an insect, Episode in Iceland, The doctor's wife, Lesson of job, Hardly a breath of wind (by Charles Reznikoff); Ode to the commonplace, Aubade, In the first circle of limbo, Museum, Eye to eye, Ode on arrival (by Carl Rakosi); I'm the worse for drinking again, Poor soul!",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0354": {
-    "English Original": "softly, whisperer, Gin the goodwife stint, Darling of gods and men, Isn't it poetical a chap's mind?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0355": {
-    "English Original": "For the Beat Generation movement, the poems are Homeless compleynt, Ego confession, G.S.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0356": {
-    "English Original": "reading poesy at Princeton (by Allen Ginsberg); The leaves danced to Mozart, Roma, I saw great neptune, So much depends upon, I saw two lovers (by Lawrence Ferlinghetti); Doctors will be protected, Vows, Out west, Why California will never be like Tuscany, Lodgepole (by Gary Snyder); Storm at low tide, The gash, No sound, Good morning, The sacred distillate (by William Everson); Getting to the poem, Inter and outer rhyme, Daydream, Destiny, Sunrise (by Gregory Corso).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0357": {
-    "English Original": "For the Confessional Movement, the poems are Stopped dead, The night dances, A secret, Cut, Amnesiac, You're, The moon and the yew tree (by Sylvia Plath); Buying the whore, The red dance, Old, Not so, not so, The fury of jewels and coal, The fallen angels, June bug (by Anne Sexton); The moth chorale, Parents, Phone message, Lasting, Cherry saplings, Leavings (by W.D.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0358": {
-    "English Original": "Snodgrass); The cage, Letter to his brother, Rockstudy with wanderer (by John Berryman).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0359": {
-    "English Original": "Hulme's poems, which are in the public domain, the others are retrieved through ProQuest's Literature Online database, by means of the license agreement of the University of\n\n<sup2</suphttps://www.gutenberg.org/\n\nBologna.",
-    "Has CLIP Embedding": true,
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-  },
-  "W4312206769_s0360": {
-    "English Original": "The poems were copied only for the amount of time required for their use in the experiments, and then deleted; in this way, their usage is in compliance with the current legislation, as explained in [27].",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0361": {
-    "English Original": "The second test set is divided into four periods: Puritanism (Colonial age), in the 17th century; Metaphisical Poetry, at the beginning of the 18th century; the birth of AfricanAmerican Poetry, at the half of the 18th century; and the American Revolution, at the end of the 18th century.",
-    "Has CLIP Embedding": true,
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-  },
-  "W4312206769_s0362": {
-    "English Original": "For each period, one poet is considered: for the first one, Anne Bradstreet with the poems In memory of my dear grandchild Elizabeth Bradstreet, In thankful remembrance, For deliverance from a feaver, Davids lamentation for Saul and Jonathan, What God is like to him I serve, In my solitary hours in my dear husband his absence, An apology, Upon some distemper of body, Spirit, The vanity of all wordly things, Deliverance from another sore fit, Meditations divine and moral, Upon a fit of sickness, My thankfull heart with glorying tongue, As spring the winter doth succeed, The author to her book, As weary pilgrim, now at rest, Another, To my dear children, The four elements, Here follows some verses upon the burning of our house, The flesh and the spirit, We may live together; for the second one, Edward Taylor, with the poems 1, 6, 29, 32, 38 and 39 from Preparatory Meditations  First Series, 7, 12, 62, 143 and 146 from Preparatory Meditations  Second Series, The experience, The Souls Groan to Christ for Succour, Upon wedlock, and death of children, Head of a white woman winking, The wrong way home, Upon a wasp chilled with cold, Ebb and flow, The joy of church fellowship rightly attended, Huswifery, Upon a spider catching a fly, The souls admiration hereupon, The souls address to Christ against these assaults; for the third one, Phillis Wheatley, with the poems On virtue, To the University of Cambridge, in NewEngland, On the death of a young lady of five years of age, On the death of a young gentleman, To a lady on the death of her husband, Thoughts on the works of Providence, To a lady on the death of three relations, To a clergyman on the death of his lady, An hymn to the morning, An hymn to the evening, On recollection, On imagination, To a lady on her coming to NorthAmerica with her son, for the recovery of her health, To a lady on her remarkable preservation in an hurricane in NorthCarolina, To a lady and her children, on the death of her son and their brother, On the death of J. C. an infant, To S. M. a young African painter, on seeing his works, A farewell to America, On the death of Dr. Samuel Marshall, To a gentleman and lady on the death of the lady's brother and sister, and a child of the name of Avis, aged one year, A funeral poem on the death of C. E. an infant of twelve months, On the death of the Rev.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0363": {
-    "English Original": "Dr. Sewell, On being brought from Africa to America; for the fourth one, Philip Freneau, with the poems A NewYork tory, To lord Cornwallis, The vanity of existence, To the memory of the brave americans, The royal adventurer, A speech  that should have been spoken by the King of the Island of Britain to his Parliament, Lines  occasioned by Mr. Rivington's new titular types to his Royal Gazette, A prophecy, The argonaut  or, lost adventurer, Barney's invitation, Sir Guy Carleton's address to the americans, Scandinavian war song, The projectors, A picture of the times, Satan's remonstrance, The refugee's petition to Sir Guy Carleton, To a concealed royalist, The prophecy of king Tammany, Stanzas  occasioned by the departure of the British from Charleston, On the british king's speech, Manhattan city, A newsman's address, The happy prospect.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4312206769_s0364": {
-    "English Original": "Since all of these works are in public domain without risks of copyright infringement, they were downloaded from Project Gutenberg.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0001": {
-    "English Original": "'Normans' vs. 'Saxons': Cinematic Imaginaries of Race and Nation in Angevin England, 1938–1964\n\nEsther Liberman Cuenca, Department of Criminal Justice, Political Science, and History, University of HoustonVictoria, USA, and School of Historical Studies, Institute for Advanced Study, Princeton, NJ, USA, CuencaE@uhv.edu\n\nBuilding on Benedict Anderson's idea about the nation being a fictive construct—an imagined community of people who see themselves as sovereign, exclusive, and one with a shared history this article examines how the racebased opposition between 'Saxons' and 'Normans' in histories about the Angevin period was popularized in the 19th century, and how this idea was integrated into the stories of three popular films in the following century: The Adventures of Robin Hood (1938), Ivanhoe (1952), and Becket (1964).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0002": {
-    "English Original": "To better understand this phenomenon, this article uses the term 'cinematic imaginary' to convey how the shared institutions, values, and histories that constituted 'medieval' nationhood were depicted in film.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0003": {
-    "English Original": "This article argues that, much like how historians and novelists of the 19th century imagined how people of certain races in medieval England—particularly during the period of the Angevin Empire (c. 1154–1216)—operated according to set of values and embodied certain attributes, so too did filmmakers in midcentury Hollywood bend the categories of 'Saxon' and 'Norman' to align with their conceptions of race, nation, and class conflict in the 20th century.",
-    "Has CLIP Embedding": true,
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-  },
-  "W4317425469_s0004": {
-    "English Original": "Through an examination of these imaginaries in popular cinema, this article illuminates how 20thcentury interpretations of history were presented to audiences to convey a set of ideas about a medieval past in light of modern class struggle, imperialism, racism, and nationalism.",
-    "Has CLIP Embedding": true,
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-  },
-  "W4317425469_s0005": {
-    "English Original": "Open Library of Humanities is a peerreviewed open access journal published by the Open Library of Humanities.",
-    "Has CLIP Embedding": true,
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-  },
-  "W4317425469_s0006": {
-    "English Original": "© 2023 The Author(s).",
-    "Has CLIP Embedding": true,
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-  },
-  "W4317425469_s0007": {
-    "English Original": "This is an openaccess article distributed under the terms of the Creative Commons Attribution 4.0 International License (CCBY 4.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited.",
-    "Has CLIP Embedding": true,
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-  },
-  "W4317425469_s0008": {
-    "English Original": "OPEN ACCESS\n\n Introduction\n\nStudents enrolled in my Medieval Hollywood course \\(https://medievalhollywood.ace.",
-    "Has CLIP Embedding": true,
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-  },
-  "W4317425469_s0009": {
-    "English Original": "fordham.edu/) at Fordham University several years ago raised an intriguing question: Were the seemingly violent and racist clashes between 'Normans' and 'Saxons', as shown in popular movies made in the 20th century, grounded in any historical truth?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0010": {
-    "English Original": "My first instinct was to say, 'No—not in the way they are seen in film', but could not adequately expand further.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0011": {
-    "English Original": "My students were responding to the films that popularized the 'Norman' and 'Saxon' opposition—namely, The Adventures of Robin Hood (1938), Ivanhoe (1952), and Becket (1964)—that were produced in the middle of the 20th century by American studios for primarily American audiences.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0012": {
-    "English Original": "These films were huge boxoffice hits in their respective years, and dramatized, however loosely, the period of the Angevin kings (1154–1216).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0013": {
-    "English Original": "Why did these films present the Normans and Saxons (short for 'AngloSaxons') as distinct racial categories in the 20th century, and to what extent did filmmakers interpret medieval sources that referred to Normans and Saxons as rival groups with their own distinct identities?",
-    "Has CLIP Embedding": true,
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-  },
-  "W4317425469_s0014": {
-    "English Original": "The driving inquiry of this essay was spurred by the lively discussions and incisive critiques of 'medieval' film that my students engaged in when I taught the course, but it also builds on my broader scholarly interests in medievalism, or how artists, writers, filmmakers, and historians (among others) have recreated the medieval in modern media.",
-    "Has CLIP Embedding": true,
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-  },
-  "W4317425469_s0015": {
-    "English Original": "Because of the way the discipline of history is arbitrarily demarcated within the academy as either 'modern' or 'premodern', this essay also demonstrates how an examination of modern popular culture through the lens of critical race studies can connect histories that otherwise would not intersect.",
-    "Has CLIP Embedding": true,
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-  },
-  "W4317425469_s0016": {
-    "English Original": "The professionalization of the historical discipline in the 19th century was coincident with historians' tendency to examine past societies in terms of contemporary ideas about nation and race.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0017": {
-    "English Original": "Historians looked to the Middle Ages for the origins of burgeoning nationstates and national identities that supposedly had long histories, in some cases going far back into the period of the 'barbarians' of the early Middle Ages.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0018": {
-    "English Original": "In so doing, scholars connected a seemingly primitive heritage to fully articulated (and modern) notions about being, for example, a German, French, or English citizen (Geary, 2002: 1–14).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0019": {
-    "English Original": "Taking this view, historians of this period also assumed that categories of race and nation remained relatively stable over time.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0020": {
-    "English Original": "When nationalism became a dominant movement in the 19th century, the thinking was that the boundaries of national communities would tighten once again around classifications of race that were considered to be very old and, in some cases, 'medieval'.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0021": {
-    "English Original": "The 'nation' became one of the chief organizing principles through which people and governments came to be identified.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0022": {
-    "English Original": "When scholars and politicians sought to justify the existence of modern nationstates, the historical examination of a people's national 'origin' dovetailed neatly with the contemporary enthusiasm for scientific racism, which sought to categorize people according to certain traits believed to be observable, immutable, and hereditary (Barczewski, 2000: 179–207).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0023": {
-    "English Original": "The essentialization of people based on race, 'to demarcate human beings through differences [in order] … to distribute positions and powers differentially to human groups', as Geraldine Heng (2018: 27) has defined it, was often entangled in the violent project of nationbuilding in the 19th century.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0024": {
-    "English Original": "Adapting Benedict Anderson's idea (1983) about the nation being a fictive construct—an imagined community of people who see themselves as sovereign, exclusive, and one with a shared history—this essay analyzes how modern scholars and literary luminaries popularized the Saxon and Norman dichotomy in histories about the Angevin period, and how this antagonism filtered into midcentury film.",
-    "Has CLIP Embedding": true,
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-  },
-  "W4317425469_s0025": {
-    "English Original": "Anderson's definition of a nation was concerned with the material aspects that gave modern communities the tools, such as museums and print capitalism, with which to imagine their shared, national heritage across time and space.1 Though Anderson was not the first social theorist to put forward the concept of the 'social imaginary', he did give it currency as a critical framework to understand how people imagined their institutions, values, and histories as constituting the foundational building blocks of their national communities (Calhoun, 2016: 12).2\n\nEchoing the 'social imaginary', I use the term 'cinematic imaginary' to describe the depiction of nationhood within the narrative medium of cinema.3 Here, I am particularly interested in the instrumentalization of the medieval past in cinema—how filmmakers framed certain histories as belonging to certain people through plotting, dialogue, and characters.4 The 20thcentury cinematic interpretations of Angevin history were rooted in modern ideas about class struggle, imperialism, racism, and\n\n<sup1</sup For a critique of Anderson's paradigm from a medievalist's perspective, see Lesley Johnson's 'Imagining communities: medieval and modern' in Concepts of national identity in the Middle Ages (1995).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0026": {
-    "English Original": "<sup2</sup Anderson and several of his contemporaries, however, did not believe that there existed the concept of nationhood prior to the Enlightenment.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0027": {
-    "English Original": "See Kathy Lavezzo's 'Introduction' in Imagining a medieval English nation (2004: vii–xxxiv).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0028": {
-    "English Original": "<sup3</sup This is to differentiate it from Nickolas Haydock's 'medieval imaginary', a theoretical concept to examine more broadly the alterity of the Middle Ages and its particular manifestation in historical or fantasy film that may speak to audiences' assumptions about this period.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0029": {
-    "English Original": "Haydock also discusses the relationship between nationalism and the 'medieval imaginary' as one of these manifestations.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0030": {
-    "English Original": "See Nickolas Haydock's Movie medievalism: the imaginary Middle Ages (2008: 5–35, at 18–19).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0031": {
-    "English Original": "<sup4</sup The only recent instance that I can find of the term 'cinematic imaginary' being used is in Wouter van Gent and Rivke Jaffe's 'Normalizing urban inequality: cinematic imaginaries of difference in postcolonial Amsterdam' (2017: 553–572).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0032": {
-    "English Original": "The term, however, is not concretely defined, though van Gent and Jaffe's article is one of many that covers nationalism and history in film, and much of this scholarship alludes to 'historical imaginaries' in the context of filming historical nationalisms.",
-    "Has CLIP Embedding": true,
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-  },
-  "W4317425469_s0033": {
-    "English Original": "nationalist movements that had crystallized in the 19th century.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0034": {
-    "English Original": "In this essay I argue that, just as historians and artists of the 19th century imagined the people of medieval England were grouped into 'nations' defined in terms of racial difference, so too did filmmakers bend the categories of 'Saxon' and 'Norman' to fit their understandings of race and nation in the 20th century.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0035": {
-    "English Original": "Normans and Saxons in Medieval and Modern Literature\n\nThe period of the Angevin rulers—covering the reigns of Henry II and his sons Richard and John—provides a rich, archetypal setting for the artistic and literary themes that have come to define the English Middle Ages in popular culture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0036": {
-    "English Original": "Henry II (r. 1154– 1189) as the lawgiver and mercurial politician represented two sides of one archetype, as did Richard I (r. 1189–1199) as the 'noble' Crusader and bloodthirsty knight, and John (r. 1199–1216) as a calculating prince and feckless king.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0037": {
-    "English Original": "Henry II's wife Eleanor of Aquitaine (1122–1204), imperious and rebellious as queen but maternal and jealous as a woman, was also an important forerunner to how novelists and historians framed the wielding and consequences of female power (Evans, 2016: 1–18; 125–148).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0038": {
-    "English Original": "And as historian Kay Slocum (2018) has shown, the shifting perceptions throughout history of Henry II's chancellorturnedarchbishop Thomas Becket (d. 1170) as overly prideful and partisan to saintly and persecuted reveal the elasticity of these archetypes, able to be molded to new perspectives over time.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0039": {
-    "English Original": "The Angevin period was the time of tyrannical forest laws as well as that of the Magna Carta and its gestures towards a particular vision of English liberty (Blackburn, 2015).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0040": {
-    "English Original": "The period of Henry II, his family, and his contemporaries was a crucial historical setting that allowed white audiences, especially those who claimed AngloAmerican ancestry, to see it as a formative time of racemaking in England.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0041": {
-    "English Original": "Beginning in the 19th century, particularly with the work of historian Augustin Thierry (1795–1856) and Sir Walter Scott's (1771–1832) novel Ivanhoe (1820), the opposition between Normans and Saxons came to define stories that were told about postConquest England, including the Angevin period.5 It is not difficult to see why.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0042": {
-    "English Original": "The historical record—medieval chronicles and the Domesday Book, for example—at least superficially supported the racial and class divisions that existed between these groups.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0043": {
-    "English Original": "Scholars of England usually divide the history of the realm in the medieval period at the Conquest of 1066, when William, the Duke of Normandy, who later became King William I (r. 1066–1087), defeated two rival claimants to the throne after he successfully invaded the island with his French (Norman) army.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0044": {
-    "English Original": "Though crowned\n\n<sup5</sup Ivanhoe was released in late 1819 but published in 1820.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0045": {
-    "English Original": "As such, most scholars date it to 1819.\n\nin December 1066 after his victory at the Battle of Hastings, William the Conqueror's subjugation of England took many years, though he began to immediately reward his Norman vassals at the expense of the defeated English.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0046": {
-    "English Original": "Evidence from the Domesday Book, a type of census of the English realm compiled late in William's reign, shows that the English landowning aristocracy had been replaced by William's Norman vassals (Faith, 1999: 178–223; Thomas, 2008: 93–118).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0047": {
-    "English Original": "Peasants, of course, continued to work and pay taxes as an exploited underclass.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0048": {
-    "English Original": "Whether in bondage or free, most of these peasants, who eked out harsh livings on the land, had English names.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0049": {
-    "English Original": "In the anonymous AngloSaxon Chronicle, written in early English until the 12th century, there were clear distinctions made between the peoples who populated the realm, whether Danish, English, or French.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0050": {
-    "English Original": "Depending on the context, the differences between these groups were predicated on a mixture of custom, points of origin, language, and military allegiances.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0051": {
-    "English Original": "These were less 'imagined' communities—that is to say, a people connected across vast distances by the shared idea of national sovereignty than groups at war for territory.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0052": {
-    "English Original": "In differentiating between the English and Normans after the Conquest, chroniclers were most interested in the telltale markers of social status: whom the King favored, which man was consecrated Archbishop of Canterbury, and who held the titles of the great landed estates (Foot, 1996: 28–9).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0053": {
-    "English Original": "Beginning in the 12th century, medieval chroniclers writing about the Conquest were more direct in their assessments of the divisions that existed between the English and their new overlords, a phenomenon in chroniclewriting that Elisabeth van Houts has attributed to the trauma of the Norman Conquest subsiding in the English consciousness a few generations after the invasion (1996: 9–15).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0054": {
-    "English Original": "How did English authors at the time write about the Conquest in terms of race and nation?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0055": {
-    "English Original": "In his description of the Normans and the English at the time of the Battle of Hastings, for example, the English chronicler William of Malmesbury, author of the 12thcentury Gesta Regum Anglorum [Deeds of the English Kings], spoke of a deep divide characterized by differences in custom, appearance, learning, and culture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0056": {
-    "English Original": "The English were physically distinct as well tattooed, shaven, and bedecked in gold jewelry.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0057": {
-    "English Original": "The Normans, on the other hand, were a people or 'race inured to war [gens militiae assueta], and [could] hardly live without it', while also being loyal and particular in their dress and consumption of food; the use of 'race' here being a common translation for the Latin gens in the 19th century (Giles, 1847: 280; Malmesbury, 1596: 57v).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0058": {
-    "English Original": "Though they were a people with definable characteristics, Malmesbury noted that the English began to adopt Norman customs over time, implying that at least some cultural assimilation had occurred by the time he sat down to write his chronicle in the 12th century.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0059": {
-    "English Original": "Moreover, Malmesbury credited the devout Normans with revitalizing church building and religious life in England, which had, according to his estimation, fallen by the wayside under English rule—though he was quick to point out that he did not intend to impute this irreligiosity to all English people (Giles, 1847: 279–80).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0060": {
-    "English Original": "The subject of Norman piety, according to English chronicler William of Newburgh's 12thcentury history, also characterized the violent transition of power that occurred at Hastings.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0061": {
-    "English Original": "Newburgh paints a penitential picture of how Normans came to spiritually resolve their crimes against the English, writing that:\n\nIn the place where the vanquished English were slain, a noble monastery, called St. Martin of Battle, was built by the victors, to be a lasting monument, at once to man as a memorial of the Norman conquest, and also to God as a propitiation for the effusion of so much Christian blood.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0062": {
-    "English Original": "[T]he spot where the greatest slaughter of the English was made … exudes real, and as it were recent, blood, as though it were evidently proclaiming by this circumstance, that the voice of so much Christian gore still cries to the Lord from the ground … (Stevenson, 1861: 403–4).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0063": {
-    "English Original": "The Normans may have been Christian brethren of the English, but they were ultimately foreigners, interlopers, and invaders of their lands.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0064": {
-    "English Original": "The difference, as it appears to me, between the medieval chroniclers' descriptions of the Norman and Saxon conflict, and how that hostility manifested in Sir Walter Scott's Ivanhoe, is based on 19thcentury ideas about race and national identities remaining unchanged over time.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0065": {
-    "English Original": "This meant that the military campaigns and aristocratic landgrabs which characterized the Norman Conquest reverberated somehow in the 'racial' memories of the descendants who lived afterwards in the Angevin period.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0066": {
-    "English Original": "In the opening pages of Ivanhoe, Scott describes vividly the unbreachable divide between Saxon and Norman:\n\nFour generations had not sufficed to blend the hostile blood of the Normans and the AngloSaxons, or to unite, by common language or mutual interests, two hostile races, one of which still felt the elation of triumph, while the other groaned under all the consequences of defeat (1820, vol.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0067": {
-    "English Original": "In Scott's version of history, this was akin to a blood feud, a conflict that pitted Saxons described as an oppressed underclass—against the Normans, regal and out of touch with their new subjects.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0068": {
-    "English Original": "According to historian John Gillingham (2000: 4), the Norman Conquest did initiate an age of social division, though Gillingham contended that the Norman rule over the English was no longer a source of ethnic tension by the 1140s.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0069": {
-    "English Original": "Of course, Scott's Ivanhoe is fiction, but that does not mean the novel was any less influential on historians of this period.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0070": {
-    "English Original": "As historian Nicholas Vincent has said, Ivanhoe was the 'foundation charter of Victorian medievalism', and the novel's influence on histories, literature, and neomedieval art produced during the 19th century was widely apparent (2016: 100).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0071": {
-    "English Original": "What Scott popularized in Ivanhoe was the 'Norman Yoke': the idea that the Saxons, prior to the Conquest of 1066, enjoyed the fruits of equal citizenship and benefited from institutions that represented their interests (Brownlie, 2013: 111–130).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0072": {
-    "English Original": "The Conquest not only replaced Saxon leaders with a FrenchNorman aristocracy, but also imposed a tyrannical government that destroyed the Saxons' protodemocratic institutions, thereby yoking them to the rule of their Norman lords (Hill, 1997: 57).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0073": {
-    "English Original": "According to this view of history, the signing of the Magna Carta in 1215 represented a progressive push towards the restoration of civil rights that the Saxons once had before the Norman invasion.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0074": {
-    "English Original": "Traces of the Norman Yoke were found in the works of some medieval chroniclers but eventually the concept itself transformed into a rich metaphor for royal despotism during the English Civil War in the 17th century, and then further propagated in historical and literary works of the 19th century, such as in Ivanhoe (Slocum, 2018: 247–8; Simmons, 2020: 69–70; Jenkins, 1999: 320–5).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0075": {
-    "English Original": "Even the American 'founding fathers', no strangers to looking backwards into the premodern past to promote their vision of a new American republic, argued that the 1763 Proclamation of their former King George III (r. 1760–1820) exemplified the Norman Yoke.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0076": {
-    "English Original": "This royal Proclamation was deemed an unacceptable overreach that had prohibited BritishAmerican colonial efforts to settle violently on westward Indigenous lands (Williams, 1987: 165–94; Vernon, 2018: 4).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0077": {
-    "English Original": "As one might imagine, the Norman Yoke was a powerful metaphor with multiple, interpretive possibilities.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0078": {
-    "English Original": "It was a paradigm that could center binary difference in various ways—freedom and bondage, native and foreigner, or peasantry and lordship similar to how medieval ideas about Blackness were framed as oppositional to various conceptions of whiteness, as Cord Whitaker has shown in his book Black Metaphors (Whitaker, 2019: 6–7).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0079": {
-    "English Original": "According to Scott and some of his contemporaries, it was not just that the Normans had been ruthless victors and the Saxons the unfortunate victims of their national sovereignty being violated: it was that, as different racial groups who were inherently at odds, the clash between the Normans and Saxons was as inevitable as England going to war with France for imperial control, and also a precursor to the type of domination the British Empire would later exert over the peoples it subjugated.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0080": {
-    "English Original": "In his 1883 memoir, American novelist and humorist Mark Twain noted Scott's unseemly influence on the antebellum South and Ivanhoe's brand of romantic chivalry in particular—the 'Sir Walter Scott disease', as Twain called it, that inflated Southerners' misplaced sense of gentlemanly honor that led to the American Civil War (Leonard, 1993: 667; Twain, 1917: 375).",
-    "Has CLIP Embedding": true,
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-  },
-  "W4317425469_s0081": {
-    "English Original": "Ivanhoe was an international bestseller, but exceptionally so in the American South, where reenactments of the novel's tourneys and popular theatrical performances that adapted the story, which expunged the Jewish heroine from the narrative, occurred after the Civil War (Rigney, 2012: 106–126).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0082": {
-    "English Original": "In addition to having a hand in causing the war, Twain blamed Scott for imbuing Southern culture with an excessive silliness; the admiration for 'MiddleAge sham civilization' and its 'bogus decorations' was acutely distressing (1917: 376).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0083": {
-    "English Original": "Furthermore, Scott's works perpetuated pride in a premodern 'rank and caste' system that held back progress in the South even after the Confederacy lost the war.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0084": {
-    "English Original": "Admittedly, this was a lot of criticism to lay at the feet of one dead novelist, as Twain himself confessed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0085": {
-    "English Original": "Yet even Peter Schmidt's postcolonial critique (2003: 545–54) of Scott's works has argued for his outsized influence on Southerners and their voracious appetite for Scott's nostalgic vision of a bygone world.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0086": {
-    "English Original": "This world was populated by haughty Normans (embodying Northerners), unpretentious Saxons (standing in for Southerners), and the 'dangerous but necessary' Jews (559), who become African Americans in this analogy.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0087": {
-    "English Original": "Conversely, Matthew Vernon has noted in his book The Black Middle Ages that Scott's Ivanhoe 'cast a long shadow' on African American medievalism and how Black writers reinterpreted medieval romance on their own terms (Vernon, 2018: 136).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0088": {
-    "English Original": "Even so, Scott's medievalisms gave shape to Southern ideas of chivalry, from the white supremacist violence of the 'knights' of the Ku Klux Klan to the melodramatic clichés found in Thomas Dixon's racist trilogy of antiReconstruction novels in the early 20th century (Schmidt, 2003: 549–50).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0089": {
-    "English Original": "In fact, as Ritchie Watson has argued (2008: xxvi), the Southern admiration for the romance of a chivalric age extended past the Middle Ages to the 17thcentury English Civil War, with King Charles I's (r. 1625– 1649) very own 'lost cause' of aristocratic Cavaliers mirroring the Confederacy's 'lost cause' that was the American Civil War.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0090": {
-    "English Original": "To Southerners, the English Cavaliers were the ancestors of their 'noble' culture, and the romantic historicization of this culture helped legitimize their honor and thus their status as slavers (Cobb, 2005: 22).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0091": {
-    "English Original": "The medieval, as the imagined time and place for the origins of groups segregated along racial lines and split by competing class interests, has a storied tradition in American culture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0092": {
-    "English Original": "Clearly, if Ivanhoe was the foundational text of 19thcentury conceptions of the medieval, then it stands to reason that the novel's ideas about Normans and Saxons persisted into the next century in cinematic treatments that either adapted Ivanhoe or took inspiration from it indirectly.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0093": {
-    "English Original": "The Adventures of Robin Hood (1938) and Ivanhoe (1952)\n\nIf the Norman Conquest was the event that cracked the foundations of a homogenous Saxon England, then the ascension of the Angevins represented the colossal stone castles built atop these ruins, integrating them as part of a larger foreign empire that included most of France and parts of Ireland.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0094": {
-    "English Original": "For this reason, the Angevin period was as an important time for artists, historians and, later, filmmakers in defining an authentic 'Englishness' that emerged from this perceived colonial oppression.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0095": {
-    "English Original": "The cinematic adaptations of Robin Hood and Ivanhoe began early in the silent era, but it was the colorful midcentury, Americanmade adaptations of these stories that allowed filmmakers to visualize these histories in response to political concerns that resonated with their times.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0096": {
-    "English Original": "Arguably the definitive Robin Hood picture of the 20th century, The Adventures of Robin Hood, leaned heavily onto the Norman and Saxon binary as it did the 17thcentury garlands and Elizabethan retellings of the famous outlaw.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0097": {
-    "English Original": "The Robin Hood character also appeared in the opening scene of 1952's Ivanhoe, seemingly bridging the world of these two films with one iconic character.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0098": {
-    "English Original": "Much has been written about Adventures asa positive commentary on the Depressionera politics that favored the New Deal programs of President Roosevelt's administration (Aberth, 2003: 167–170).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0099": {
-    "English Original": "Less, however, has been said about the film's appropriation of the Norman and Saxon categories, which shaped the cinematic imaginary of medieval class antagonism along racial lines.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0100": {
-    "English Original": "This version of Robin Hood in effect supplanted its most prominent predecessor, the smash hit of 1922, Douglas Fairbanks in Robin Hood (also titled Robin Hood), which was heavily influenced by Ivanhoe, 19thcentury versions of the Robin Hood story, and 1920s slapstick and romantic comedies (Nollen, 2015: 93–96).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0101": {
-    "English Original": "In this silent film, Douglas Fairbanks as Robin Hood is the aristocratic Earl of Huntington, who fights alongside King Richard (Wallace Beery) and is mainly concerned with wooing Lady Marian (Enid Bennett) and defeating his rival, Guy of Gisbourne (Paul Dickey).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0102": {
-    "English Original": "Though the Earl eventually becomes Robin Hood and steals from the rich to give to the poor, the main story plays out like a contemporary romance, largely unconcerned with the oppressed peasantry.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0103": {
-    "English Original": "The Robin Hood in Adventures is also highborn, though this film's Sir Robin of Locksley (Errol Flynn) is different from the other nobles because Locksley himself is a Saxon and thus shares a racial, though not the same class, identity with his fellow Saxons.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0104": {
-    "English Original": "In Adventures, the class divide between Robin of Locksley and his fellow Saxons is reconciled when Robin assumes the life of a forest brigand, an act that eliminates the markers of his elevated status and fosters racial solidarity with his compatriots (Harty, 2000: 92–93).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0105": {
-    "English Original": "Stealing from the rich to give to the poor also takes on new meaning within the context of Depressionera America, when the distribution of New Deal benefits disproportionately went to white people.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0106": {
-    "English Original": "Adventures, in its subtle way, promoted the idea of the redistribution of wealth in troubled times, but reinforced the largely accepted view that this type of aid mattered only to the white working classes, who are in essence represented by the Saxons in the film.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0107": {
-    "English Original": "Though some prominent African Americans praised the New Deal for providing muchneeded relief to Black communities, and the program boosted African American membership in the Democratic party during the 1930s, many New Deal administrators—especially in the South—favored white relief over economic justice (Sklaroff, 2009: 19–20).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0108": {
-    "English Original": "There are other references in Adventures to the Norman and Saxon feud that hint at the history of American racial politics and the oppression of African Americans.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0109": {
-    "English Original": "One of the opening sequences of the film is a montage of various injustices committed against hapless Saxons by Norman soldiers under the command of the evil Prince John (Claude Rains), who had been plotting with his Norman barons to take over England while his brother, the good (and Norman) King Richard (Ian Hunter), is being held captive by Duke Leopold of Austria.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0110": {
-    "English Original": "In one scene, a friar comes to the defense of a Saxon who is being held down by Norman soldiers, saying: 'This man is freeborn!",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0111": {
-    "English Original": "You can't make a slave of him!'.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0112": {
-    "English Original": "The audience, immediately familiarized via the opening title cards with the racial hierarchies in the film, begins to associate the Saxons not only with medieval England's underclass but also with an embattled race in danger of being enslaved.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0113": {
-    "English Original": "In the famous banquet scene where Prince John ends up meeting Robin of Locksley for the first time, John asks his Norman barons if there were any objections to the tax imposed on Saxons to raise money for King Richard's ransom.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0114": {
-    "English Original": "One of the Norman barons responds, with a laugh: 'Objections, your Highness?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0115": {
-    "English Original": "With a Saxon dangling from every gallows tree between here and Charnwood?'.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0116": {
-    "English Original": "American audiences would have picked up on the cruel injustices of a Norman system working against the Saxons, but one wonders how African American audiences may have interpreted that line, given its ability to conjure images of extrajudicial lynching?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0117": {
-    "English Original": "Adventures was released a year before Billie Holliday's rendition of 'Strange Fruit' (1939), which at the time was a controversial protest song about antiBlack lynching in the United States that some consider to be the inaugural anthem of the civil rights movement (Margolick, 2001: 4).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0118": {
-    "English Original": "The Saxons, standing in for the American working classes who had been crushed for decades under the economic injustices of Robber Baron decadence and Gilded Age politics, could also have represented the struggles of African American liberation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0119": {
-    "English Original": "The United States in the 1930s was an apartheid state, racially segregated by Jim Crow laws in the South and largely by custom everywhere else.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0120": {
-    "English Original": "The Norman and Saxon divide was likely compelling because it was legible to some, if not many, Americans, and commensurate with their experiences of race in the 1930s.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0121": {
-    "English Original": "Robin of Locksley's eventual union with Maid Marian Fitzwalter (Olivia de Havilland), the Norman ward of Prince John, represents the union of two peoples which could occur under the restoration of the rightful (and democratically minded) King Richard, following the defeat of the fascist Prince John.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0122": {
-    "English Original": "Though the film can be seen as an allegory commenting on Roosevelt's New Deal policies, the coming of war in Europe also influenced the filmmakers when they made the picture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0123": {
-    "English Original": "If the Normans, then, looked like Nazis, that is because they were.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0124": {
-    "English Original": "In an interview given years after the release of Adventures, de Havilland spoke of the political climate when making the film, only a year or so before the invasion of Poland that started World War II: '… I suppose, unconsciously, we were preparing for another terrible conflict, because there really were the good guys and there really was a bad guy—and that was Hitler…and anyone who fought him became a kind of Errol Flynn' (Hark, 1976: 4).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0125": {
-    "English Original": "The Normans, in this framing, were the fascists who subjugated the protodemocratic Saxons, enslaved them, and went to war with them—fears that were made palpable in the film's narrative (Brownlie, 2013: 124–5).",
-    "Has CLIP Embedding": true,
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-  },
-  "W4317425469_s0126": {
-    "English Original": "But we must keep in mind that, in the Angevin world of Robin Hood, the Normans had already won.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0127": {
-    "English Original": "The fight here was akin to resistance and for continued survival until 'Normans and Saxons alike will share the rights of Englishmen', as said in the film by a newly returned King Richard the LionHeart.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0128": {
-    "English Original": "The release of Ivanhoe almost 15 years later, in a postwar period that saw an economic boom in the United States and a lurching recovery in Europe, took many of the elements that made Adventures a successful film: Olivia de Havilland's sister, Joan Fontaine, played one of Ivanhoe's main love interests, the Saxon heroine Rowena.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0129": {
-    "English Original": "Though there is a character called Robin Hood in the film (as well as in the novel), the titular Ivanhoe (Robert Taylor) is a Robin Hoodlike figure as well; a Saxon noble resisting the rule of his Norman lords.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0130": {
-    "English Original": "The element of difference in Ivanhoe, of course, is the presence of Jews, whom Scott had included in his novel but in the 1952 film adaptation occupy a far less ambivalent space, given that Jewish producer Pandro Berman wanted to enhance the roles of the Jewish characters to draw attention to their oppression in the postwar period.",
-    "Has CLIP Embedding": true,
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-  },
-  "W4317425469_s0131": {
-    "English Original": "Felice Lifshitz has emphasized the significance of the 1952 adaptation in carving out a cinematic space for medieval Jewry, who were absent in medieval film and mostly nonexistent in previous Ivanhoe adaptations from the early 20th century (2019: 375– 97).",
-    "Has CLIP Embedding": true,
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-  },
-  "W4317425469_s0132": {
-    "English Original": "In 1952, the producers and filmmakers wanted to make a compelling statement about religious intolerance and the outsider status that Jews occupied, both in the medieval and modern periods, but also, as Lifshitz has noted, on Jewish assimilation that occurred through interfaith marriage in midcentury America (2019: 378–9; 389).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0133": {
-    "English Original": "If the movie Ivanhoe was supposed to be a positive appraisal of the possibilities of interfaith marriage, then the actual story that plays out is one that ultimately undermines that message.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0134": {
-    "English Original": "Rebecca, played by a young Elizabeth Taylor, is quite clearly an object of desire; she is both exoticized and eroticized, a darkhaired beauty in formfitting dresses adorned with a large Star of David, a picture of womanhood in stark contrast to the gentile and fairhaired Rowena.",
-    "Has CLIP Embedding": true,
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-  },
-  "W4317425469_s0135": {
-    "English Original": "Rebecca falls desperately in love with Ivanhoe, who returns her attraction but not a commitment to marriage.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0136": {
-    "English Original": "The daughter of a prominent and respected Jew, the film depicts Rebecca (and, by extension, the rest of the Jewish community) as having some wealth and the ability to exert political influence through it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0137": {
-    "English Original": "But the Jews remain cultural outsiders, impervious to assimilation into a larger society split among the Normans and Saxons who see them as sexually tempting or useful because of their wealth.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0138": {
-    "English Original": "Michael Ragussis has observed that, in Ivanhoe, Scott positioned medieval Jews as prominent minorities, which reflected their status in English society at the time he wrote the novel.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0139": {
-    "English Original": "In so doing, Scott highlighted the boundaries of an English nation that excluded Jews, a notion that would have been familiar to most of his readers (1993: 478).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0140": {
-    "English Original": "One can see this same impulse at play in the 1952 film, which draws attention to how Jews occupied a liminal space between the Normans and Saxons in the same way they did as minorities with conditional acceptance in American society.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0141": {
-    "English Original": "The intention of the filmmakers, especially those of producer Berman, may have been to eliminate the more antiSemitic elements from Scott's novel and adapt the source material that resonated with how Jews were beginning to assimilate more fully in postwar America, but the film also perpetuated the insidious stereotype of excessive Jewish wealth and influence—a stereotype that can be traced back to the Middle Ages (Stubbs, 2009: 6–19; Lipton, 2014: 66–71).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0142": {
-    "English Original": "The overwhelming consensus about the depiction of Rebecca's witchcraft trial that leads to the final duel—a trial by battle between Ivanhoe, fighting as Rebecca's champion, and BoisGuilbert (George Sanders), who lusts for Rebecca but must fight on behalf of Prince John (Guy Rolfe)—was that it commented on the House UnAmerican Activities Committee (HUAC)'s political persecution of suspected communists (Stubbs, 2009: 407–14).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0143": {
-    "English Original": "In fact, one of Ivanhoe's screenwriters, Marguerite Roberts, was blacklisted in 1951 and was forced to take her name off the film's credits.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0144": {
-    "English Original": "The prosecution of the film's most prominent Jewish character for witchcraft, if anything, spoke to the challenges that Jewish people faced in a postwar America that often rejected the idea that Jews could be fully American or successfully assimilated into American society.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0145": {
-    "English Original": "As scholars of JewishAmerican history have noted, HUAC and Senator Joseph McCarthy's Permanent Subcommittee on Investigations (PSI) targeted wellknown Jewish writers and artists for being unAmerican.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0146": {
-    "English Original": "Six of the famous Hollywood Ten, the name given to those who refused to testify before HUAC in 1947, were Jewish.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0147": {
-    "English Original": "According to Joseph Litvak, the Jews called before HUAC were not only suspect because of their politics and religion but were also valuable counterexamples to the 1950s model citizen—raced, in that sense, as gentile, patriotic, and white (2009: 107).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0148": {
-    "English Original": "The antiSemitic accusation that Jews in postwar America held 'dual' loyalties—split between their 'adopted' homeland, America, and to a global Jewish community that ultimately undermines it—was addressed in the film itself: Rebecca's father, Isaac (Felix Aylmer), is shown as dedicated to Ivanhoe's patriotic cause and contributes funds to King Richard's ransom.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0149": {
-    "English Original": "Jews are outsiders, the film shows, but that does not mean they do not deserve to be considered full citizens or suspected of harboring dual loyalties.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0150": {
-    "English Original": "Becket (1964)\n\nThe dramatic tension that could arise from harboring dual loyalties was also a major thematic element in Becket (1964), though this film framed Thomas Becket (Richard Burton's) divided loyalties as a problem of Becket's Saxon identity coming into conflict with the interests of his Norman king, Henry II (Peter O'Toole).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0151": {
-    "English Original": "When Becket was released, it no doubt built on the popularity of medieval films that had come before it, such as The Adventures of Robin Hood and Ivanhoe.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0152": {
-    "English Original": "The significance of the Angevin period to the plotting of Adventures and Ivanhoe demonstrated this historical setting's vitality in foregrounding larger conversations about race and nation in pre and postwar America.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0153": {
-    "English Original": "The Norman and Saxon division not only represented class struggle and economic inequality, but also how these issues intersected with anxieties about cultural assimilation and racial integration.",
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-  "W4317425469_s0154": {
-    "English Original": "Becket, in many respects, dramatized all these themes.",
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-  "W4317425469_s0155": {
-    "English Original": "Becket was based on Jean Anouilh's French play Becket ou l'honneur de Dieu, which was first performed in Paris in October 1959 and made its Broadway debut, in English, as Becket, or the Honor of God, the following year with Laurence Olivier and Anthony Quinn in the lead roles (Anouilh, 1960: 9).",
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-  "W4317425469_s0156": {
-    "English Original": "In the foreword to his play, translated by Lucienne Hill, Anouilh mentions that his interest in the Henry and Becket drama came initially from reading the prolific historian Augustin Thierry's work Histoire de la Conquête de l'Angleterre par les Normands [History of the Conquest of England by the Normans], which had been published in several volumes beginning in 1825 (1960: 3).",
-    "Has CLIP Embedding": true,
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-  },
-  "W4317425469_s0157": {
-    "English Original": "Thierry's scholarly priorities were born from 19thcentury French liberalism, which embraced historiographies of social progress, ones that mapped out narratives arching towards representative governments that embraced and protected civil liberties.",
-    "Has CLIP Embedding": true,
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-  "W4317425469_s0158": {
-    "English Original": "Thierry's historical interpretation of medieval England involved many of the tropes that were common in the Norman Yoke paradigm, including the destabilizing effect the Norman Conquest had on burgeoning Saxon institutions that promised protections of Saxon freedoms.",
-    "Has CLIP Embedding": true,
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-  "W4317425469_s0159": {
-    "English Original": "One crucial element that Thierry added, inspired from his reading of Romantic literature (such as Ivanhoe), was racializing Becket as a Saxon (Becket was likely born in London to parents of Norman descent c. 1120).",
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-  "W4317425469_s0160": {
-    "English Original": "When the film adaptation was released in 1964, almost 20 years after the war but only four years after the play debuted on Broadway, its depiction of the Norman and Saxon conflict took on new significance.",
-    "Has CLIP Embedding": true,
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-  "W4317425469_s0161": {
-    "English Original": "For Anouilh, his reading of Thierry's history of the Normans echoed a more personal and painful history.",
-    "Has CLIP Embedding": true,
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-  "W4317425469_s0162": {
-    "English Original": "The Nazi occupation of France was a mere 15 years earlier, and the collaboration of the Vichy government with the Nazis as a puppet regime was still a fresh wound.",
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-  "W4317425469_s0163": {
-    "English Original": "The dramatic themes that Anouilh explored throughout his career as a playwright were almost singularly focused on how people navigated their way through moral quandaries in politically dangerous times.",
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-  "W4317425469_s0164": {
-    "English Original": "His characters often contemplate the extent to which they can compromise their values and still retain their sense of morality.",
-    "Has CLIP Embedding": true,
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-  },
-  "W4317425469_s0165": {
-    "English Original": "With much success, Anouilh had already wrestled with this premise in his adaptation of Sophocles' Antigone, which was performed in Paris in 1944 (and then, after the war, in Washington D.C. and London in 1946 and 1949, respectively).",
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-  "W4317425469_s0166": {
-    "English Original": "Anouilh adapted the classic Greek play by modernizing the dialogue and highlighting how, within the bounds of Nazi censorship at the time, Antigone's rejection of Creon's authority in Thebes mirrored the French Resistance's actions during the Vichy regime (Lifshitz, 2014: 217–8; Sams, 2002).",
-    "Has CLIP Embedding": true,
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-  "W4317425469_s0167": {
-    "English Original": "He further elaborated on the theme of political compromise in his play Becket, though the central dilemma here was in the Saxon Becket's eventual resistance to the Norman King Henry's demands that Becket should compromise the 'honor of God' in service of the King's more temporal needs.",
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-    "Has PaintingCLIP Embedding": true
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-  "W4317425469_s0168": {
-    "English Original": "The play was adapted by screenwriter Edward Anhalt, who had a knack for cutting down the longer scenes in the play to fit the relatively brisker pace of a feature film.",
-    "Has CLIP Embedding": true,
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-  },
-  "W4317425469_s0169": {
-    "English Original": "Anhalt was also responsible for writing one of Henry II's most famous lines in popular culture, 'Will no one rid me of this meddlesome priest?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
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-  "W4317425469_s0170": {
-    "English Original": "', which neither was said in the original play nor in histories of the conflict (Guerry, 2021).",
-    "Has CLIP Embedding": true,
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-  },
-  "W4317425469_s0171": {
-    "English Original": "Although Anhalt and director Peter Glenville kept Anouilh's depiction of the disagreement between Becket and Henry as philosophical, the screen adaptation also suggested, in stronger terms than in the play, that the historical enmity between the Saxons and Normans as members of different races and nations was ultimately unresolvable.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
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-  "W4317425469_s0172": {
-    "English Original": "Here, race and nation in the cinematic imaginary of Becket were one and the same—fused together as a uniform Saxon identity not necessarily marked by physical difference from the Normans, but one characterized by wideranging tribal and class loyalties in postConquest England.",
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-  "W4317425469_s0173": {
-    "English Original": "An expository scene at the beginning of Becket, latent with homoerotic subtext, is crucial to establishing the King's friendship with Becket as well as the racial and class hierarchies that inform the relationship between subject and ruler.",
-    "Has CLIP Embedding": true,
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-  },
-  "W4317425469_s0174": {
-    "English Original": "Becket rubs down the King after a bath, taking over from a servant who is coded as Saxon and whom the king calls a 'pig'; this shows the intimacy between the two men in these formative years of friendship.",
-    "Has CLIP Embedding": true,
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-  },
-  "W4317425469_s0175": {
-    "English Original": "Their bond transcends the barriers of race and status, and they proceed to have a conversation about Becket's willingness to 'collaborate' with the Normans:\n\nKing: I made you a nobleman, why do you play at being my valet?",
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-  },
-  "W4317425469_s0176": {
-    "English Original": "Becket: I am your servant, in the council chamber or here in the bath.",
-    "Has CLIP Embedding": true,
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-  },
-  "W4317425469_s0177": {
-    "English Original": "King: My Norman barons resent it; they feel it's your Saxon way of mocking their nobility.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0178": {
-    "English Original": "Becket: Nobility lies in the man, my prince, not in the towel.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0179": {
-    "English Original": "This exchange establishes not only Becket's identity (a Saxon and trusted friend of the king), but also that the King and his fellow nobles are Norman, they rule over Saxons, and Becket has found a way to ingratiate himself in a world where the rules of racial segregation do not apply to him.",
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-  },
-  "W4317425469_s0180": {
-    "English Original": "At this point in the film, he does not care whether nobility truly lies in the towel or the man, but rather that he is the man holding the towel and able to exert his influence over the King.",
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-  },
-  "W4317425469_s0181": {
-    "English Original": "In recounting the fraught history between their people, Becket lays out for the audience a picture of medieval England torn apart by racial violence: 'When you Normans invaded England you seized our Saxon lands, burned our Saxon homes, raped our Saxon sisters.",
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-  },
-  "W4317425469_s0182": {
-    "English Original": "Naturally, you hate Saxons'.",
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-  },
-  "W4317425469_s0183": {
-    "English Original": "Despite the King's protests that he is an 'old resident' of the country he now rules, and that the perpetrator of these crimes was his 'great grandfather William, called the Conqueror', even the Normans being 'old residents' of England has not sufficiently blended the two societies.",
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-  },
-  "W4317425469_s0184": {
-    "English Original": "This cinematic imaginary of nationalist division reflects a pessimistic perspective, no doubt informed by the effects of modern imperialism: these groups remain stubbornly at odds with each other, a race of conquerors against the race that was conquered, their differences too vast to ever be reconciled.",
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-  "W4317425469_s0185": {
-    "English Original": "The scene ends with an establishment of the dramatic stakes for the rest of the film, with the King earnestly asking Becket how he reconciles his identity as a Saxon with his role in a Norman court.",
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-  "W4317425469_s0186": {
-    "English Original": "Becket, the King observes, would have to combine two opposing forces—his honor and his collaboration.",
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-  "W4317425469_s0187": {
-    "English Original": "Becket responds:\n\nI don't try.",
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-  },
-  "W4317425469_s0188": {
-    "English Original": "I love good living and good living is Norman.",
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-  },
-  "W4317425469_s0189": {
-    "English Original": "And the Saxon's only birthright is to be slaughtered.",
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-  },
-  "W4317425469_s0190": {
-    "English Original": "One collaborates to live.",
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-  },
-  "W4317425469_s0191": {
-    "English Original": "This is perhaps the sharpest comparison that the film draws between medieval history and recent trauma.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0192": {
-    "English Original": "In this equation, the Normans stand in for Nazis, the Saxons for the occupied French, and Becket a Vichy collaborator.",
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-  },
-  "W4317425469_s0193": {
-    "English Original": "Becket's reference at the beginning of the film to the Normans' historic rape of 'our Saxon sisters' foreshadows the attempted sexual assault of the film's two Saxon women, whom Becket fails to protect from Henry's rapacious tendencies.",
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-  },
-  "W4317425469_s0194": {
-    "English Original": "Besides Becket, the other notable Saxon characters are these two women—the aristocratic Gwendolyn (Siân Phillips) and a disheveled peasant woman (Jennifer Hilary)—as well as the wouldbe assassin Brother John (David Weston), a Saxon monk who tries to take Becket's life before becoming his faithful acolyte.",
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-  },
-  "W4317425469_s0195": {
-    "English Original": "Though Becket's spiritual realignment towards the Church and the protection of the 'honor of God' occurs when he is anointed Archbishop, the King's attempted rape of both Saxon women also dramatizes a turning point for his character.",
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-  "W4317425469_s0196": {
-    "English Original": "The King's crimes against these women lay bare the mental toll of his unflinching loyalty to his Norman lord.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0197": {
-    "English Original": "Violence against women is used frequently in cinema and literature to motivate men to embark on their heroic journeys and, in this regard, Becket is no stranger to this trope.",
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-  },
-  "W4317425469_s0198": {
-    "English Original": "Historically, the rape of women—considered to be part of an inferior racial group—served to enact a type of national humiliation that denigrated the masculinity of the men belonging to a conquered or colonized group.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0199": {
-    "English Original": "Despite the eugenicist streak in Nazi policy and antimiscegenation laws, Nazi soldiers and officials regularly engaged in the sexual assault of women whose communities they destroyed (Flaschka, 2020: 469–85).",
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-  },
-  "W4317425469_s0200": {
-    "English Original": "Becket thus fuses a cinematic cliché with historical reality, highlighting how anxieties about both the violation of women's bodies and a community's national borders became refracted in the mirror of Angevin England that Anouilh and the filmmakers held up to a postwar audience.",
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-  },
-  "W4317425469_s0201": {
-    "English Original": "The humiliation of the Saxons eventually returns to Henry, who appears as a penitent before Becket's tomb at the beginning of the film to reveal the film's other bookend: it concludes with Henry, at the same tomb, stripped of his shirt, being beaten by Saxon monks as part of his penance for Becket's assassination.",
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-  },
-  "W4317425469_s0202": {
-    "English Original": "That Becket's monks at Canterbury are raced Saxon like Becket himself also suggests the film's particular medievalism that imagines a racial hierarchy within the Church.",
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-  },
-  "W4317425469_s0203": {
-    "English Original": "The Saxon monks are part of the rebellious underclass and Norman bishops, like Foliot and others in the film, occupy positions at the top.",
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-  },
-  "W4317425469_s0204": {
-    "English Original": "This social organization seems necessary to introduce the film's other prominent Saxon character: the monk Brother John, who dies a martyr trying to protect Becket's life, personifying the French Resistance during World War II.",
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-  },
-  "W4317425469_s0205": {
-    "English Original": "The Saxon monks, as Henry observes in the film, delight a little too much in his downfall and take pleasure in administering their harsh penance.",
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-  },
-  "W4317425469_s0206": {
-    "English Original": "Even after Becket's death, the King has been defeated and humiliated by Becket's honor—a nod to the fate of the Nazis at the conclusion of the war.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0207": {
-    "English Original": "In the end, the French Resistance persisted and was able to see the downfall of the Vichy government.",
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-  },
-  "W4317425469_s0208": {
-    "English Original": "Conclusion\n\nMidcentury cinema such as The Adventures of Robin Hood, Ivanhoe, and Becket were prestige pictures that presented a type of historical realism to its audience, built entirely on modern interpretations of Angevin history, consequently popularized in literature and film.",
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-  },
-  "W4317425469_s0209": {
-    "English Original": "The categories of 'Norman' and 'Saxon' could bend to fit certain ideas about race and nation in the modern period.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0210": {
-    "English Original": "The fascination with the NormanSaxon division in the modern period stemmed from Sir Walter Scott's novel Ivanhoe, which told of the historic enmity that existed between these groups.",
-    "Has CLIP Embedding": true,
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-  },
-  "W4317425469_s0211": {
-    "English Original": "The tension between Normans and Saxons, born from war and economic subjugation, was also imagined as being part of a long history of colonialism that predicted modern British imperialism.",
-    "Has CLIP Embedding": true,
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-  },
-  "W4317425469_s0212": {
-    "English Original": "Certainly, some medieval chronicles suggested these dynamics even though the Norman occupation of England is not entirely analogous to modern imperialism.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0213": {
-    "English Original": "The Angevin Empire was, indeed, a vast territory that encompassed England, parts of Ireland, and almost all of France.",
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-  },
-  "W4317425469_s0214": {
-    "English Original": "The Normans (though not the Angevins) also conquered Sicily, the southern Italian Peninsula, and Antioch in the Levant.",
-    "Has CLIP Embedding": true,
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-  },
-  "W4317425469_s0215": {
-    "English Original": "But the Angevin domination looked like something quite familiar; their subjugation of the Saxons reflected the violence of modern imperialism, which destroyed Indigenous cultures, devoured local economies, and dismantled social bonds.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0216": {
-    "English Original": "Although the transference of one kind of lordship to another in the Middle Ages was simply not the same, that did not make this comparison any less powerful.",
-    "Has CLIP Embedding": true,
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-  },
-  "W4317425469_s0217": {
-    "English Original": "The Middle Ages is not just a historical period, but a conceptual space in which artists, writers and filmmakers have projected their own fantasies about the past and their anxieties about the challenges of modernity.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0218": {
-    "English Original": "The AngloAmerican heritage in particular—in stories about Robin Hood, in fantasies about legal equality enshrined in the Magna Carta, in modern histories about Saxon origins that eventually 'transformed' into a recognizable English identity—was based on beliefs about racial classifications being natural to the human condition, because imagining a world without such hierarchies seemed impossible.",
-    "Has CLIP Embedding": true,
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-  },
-  "W4317425469_s0219": {
-    "English Original": "In midcentury cinema, modern race relations, nationalism, and contemporary politics were believed to have been natural outgrowths of very old conflicts that originated in the Angevin period.",
-    "Has CLIP Embedding": true,
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-  "W4317425469_s0220": {
-    "English Original": "As such, Angevin history was still relevant, and its cinematic imaginaries influential on modern understandings of the medieval past.",
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-  },
-  "W4317425469_s0221": {
-    "English Original": "Acknowledgements\n\nFor their feedback, the author thanks Christina Bruno, Christine Caccipuoti, Asif Siddiqi, and the participants of the 2021 meeting of the International Society for the Study of Medievalism, where a version of this article was first presented.",
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-  "W4317425469_s0222": {
-    "English Original": "She also thanks her Fordham University students for their lively discussions about 'medieval' film.",
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-  "W4317425469_s0223": {
-    "English Original": "Competing Interests\n\nEsther Liberman Cuenca is the editor of this Special Collection and has been kept entirely separate from the peer review process for this article.",
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-  "W4317425469_s0224": {
-    "English Original": "References\n\nAberth, J 2003 A knight at the movies: medieval history on film.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0225": {
-    "English Original": "Anderson, B 1983 Imagined communities: reflections on the origin and spread of nationalism.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0226": {
-    "English Original": "London and New York: Verso.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0227": {
-    "English Original": "Anouilh, J 1960 Becket, or the Honor of God.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0228": {
-    "English Original": "Barczewski, S 2000 Myth and national identity in nineteenthcentury Britain: the legends of King Arthur and Robin Hood.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0229": {
-    "English Original": "Oxford: Oxford University Press.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0230": {
-    "English Original": "DOI: https://doi.org/10.1093/acprof: oso/9780198207283.001.0001\n\nBlackburn, R 2015 Britain's unwritten constitution.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0231": {
-    "English Original": "https://www.bl.uk/magnacarta/articles/ britainsunwrittenconstitution [Last accessed 13 July 2022].",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0232": {
-    "English Original": "Brownlie, S 2013 Memory and myths of the Norman conquest.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0233": {
-    "English Original": "Calhoun, C 2016 The importance of Imagined Communities—and Benedict Anderson.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0234": {
-    "English Original": "Journal on Culture, Power and Society, 1: 11–16.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0235": {
-    "English Original": "DOI: https://doi.org/10.28939/iam.debatsen.2 0161\n\nCobb, J C 2005 Away down South: a history of southern identity.",
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-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0236": {
-    "English Original": "Oxford: Oxford University Press.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0237": {
-    "English Original": "Evans, M R 2016 Inventing Eleanor: the medieval and postmedieval image of Eleanor of Aquitaine.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4317425469_s0238": {
-    "English Original": "Faith, R 1999 The English peasantry and the growth of lordship.",
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-    "English Original": "Ca' Rezzonico in the 19th Century\n\n The Dispersal of its Collections and the New Uses of the Palace\n\n Valeria Paruzzo\n\nValeria Paruzzo, PhD, University of Trento, Department of Humanities, Via Tommaso Gar 14, 38122 Trento, valeria.paruzzo@unitn.it, ORCID ID: 0000000284545168\n\n Abstract: Ca' Rezzonico in the 19th Century: The Dispersal of its Collections and the New Uses of the Palace\n\n 1.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0008": {
-    "English Original": "01 Original scientific article\n\nIn the wider phenomenon of the reception and readaptation of aristocratic architectural heritage in postrevolutionary Europe, the repurposing of former aristocratic palaces in Venice after the Fall of the Serenissima in 1797 constitutes a preeminent example.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0009": {
-    "English Original": "The paper takes as a case study Ca' Rezzonico, one of the most splendid palaces along the Grand Canal, which has housed, since 1936, the illustrious Museum of 18thcentury Venice (Museo del Settecento veneziano).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0010": {
-    "English Original": "After the Rezzonico family died out in 1810, the palace was gradually stripped of its art historical treasures and has served the most diverse purposes.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0011": {
-    "English Original": "From being the seat of the Austrian Tobacco Administration to housing dealers' galleries, from hosting the ateliers of stage designers and international painters to being the home of renowned intellectuals and aesthetes, Ca' Rezzonico's rooms and walls have witnessed the profound changes in art, taste, and culture that rang through Europe during the long 19th century.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0012": {
-    "English Original": "The paper offers a comprehensive reconstruction of the palace's 19thcentury history, drawing from both published and unpublished sources.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0013": {
-    "English Original": "Keywords: nobility, bourgeoisie, architectural heritage, collecting, display, art market, Venice, Ca' Rezzonico, 19th century, artists' ateliers\n\n Izvleček: Ca' Rezzonico v 19. stoletju.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0014": {
-    "English Original": "Usoda zbirke in nove namembnosti palače\n\n 1.01 Izvirni znanstveni članek\n\nPrenove in nove ureditve opreme plemiških palač v Benetkah po padcu Beneške republike leta 1797 predstavljajo poseben vidik raziskav recepcije in novih funkcij plemiške arhitekturne dediščine v postrevolucionarni Evropi.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0015": {
-    "English Original": "V prispevku je kot študija primera analizirana usoda Ca' Rezzonica, ene najlepših palač ob Velikem kanalu, v kateri so leta 1936 uredili znameniti Muzej beneške umetnosti 18. stoletja (Museo del Settecento veneziano).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0016": {
-    "English Original": "Na podlagi analize arhivskih virov in literature je podrobno rekonstruiran historiat preureditev in sprememb njene namembnosti.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0017": {
-    "English Original": "Po izumrtju rodbine Rezzonico leta 1810 so iz palače odpeljali domala vse umetnine in opremo, njene namembnosti pa so bile zelo raznolike, med drugim je bila sedež avstroogrske tobačne uprave, v njej so uredili prostore trgovcev z umetninami in ateljeje tujih slikarjev in oblikovalcev gledaliških kulis ter domovanja intelektualcev.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0018": {
-    "English Original": "Palača Ca' Rezzonico je izkusila izrazite spremembe v umetnostni opremi, okusu in meščanski bivalni kulturi dolgega 19. stoletja.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0019": {
-    "English Original": "Ključne besede: plemstvo, meščanstvo, arhitekturna dediščina, zbirateljstvo, razstavljanje, umetnostni trg, Benetke, Ca Rezzonico, 19. stoletje, umetniški ateljeji\n\n The Early History of the Palace and the Rise of the Rezzonico Family\n\nAround 1662 the architect Baldassare Longhena (1597–1682), the leading proponent of the Baroque architectural style in Venice, received the commission to design and build a monumental palace for the Bon family on the grounds of two preexisting properties situated where the Rio di San Barnaba meets the Canal Grande.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0020": {
-    "English Original": "Longhena's design for the Bon Palace—in which he reemployed the monumental style of the new Procuratie in Piazza San Marco—foresaw a threestorey edifice with two piani nobili of similar height, a water façade punctuated by a continuum of arched windows, and an attic with elliptical openings (fig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0021": {
-    "English Original": "To the more traditional structure of the Venetian 16thcentury palazzo, grouped around the portego (the longitudinal room overlooking the Canal Grande), Longhena added a courtyard and a mainland entrance through a grand staircase.1 However, the architect's death in 1682 and the precarious financial situation of the Bon family impeded the completion of the palace, which remained incomplete for seven decades, as depicted in Canaletto's View of the Grand Canal from Palazzo Rezzonico to palazzo Balbi (Woburn Abbey) from the early 1730s.2\n\nOnly in 1751 did the Bon family manage to sell the unfinished palace to Giovanbattista Rezzonico (1671–1756), a member of a wealthy family originally from Como, ennobled in the Venetian patriziato in 1687 by virtue of its immense financial fortune.3 Carlo Rezzonico (1693–1769), Giovanbattista's second eldest son, had been named Cardinal and Bishop of Padua, and the family, striving for social recognition as new members of the nobility, needed a more representative property in the city in addition to the palazzi (Fontana and Sagredo) they were renting.4 Thus, Giovanbattista commissioned architect Giorgio Massari (1687–1766), who had restored the family's villa in Bassano del Grappa,5 to finish Longhena's project.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0022": {
-    "English Original": "Massari kept the original design, but substantially changed the orientation of the palazzo: he demolished the ceiling in the west wing and redesigned the palace's monumental staircase, so that it would lead into a new, twostorey high ballroom (figs.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0023": {
-    "English Original": "2–3).6 The sumptuous hall, a rarity in Venice, replaced the more traditional portego as the representative space of the palace—in line with the gradual functional and structural changes that Venetian palaces had experienced since the second half of the 17th century.7 The ballroom also stands out for the quality of\n\n<sup2</sup The palace had been elevated up until the first floor and covered by means of a temporary wooden roof.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0024": {
-    "English Original": "The same construction state is visible in a later view by Bernardo Bellotto, painted ca.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0025": {
-    "English Original": "1736–1740 (Musée des BeauxArts, Lyon), based upon his uncle's original, as well as in further contemporary paintings and etchings.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0026": {
-    "English Original": "<sup3</sup Because the literature on the Rezzonico family history is extensive, see (with further bibliography) the proceedings in Nante, Cavalli, and Gios, Carlo Rezzonico, and the accurate reconstruction in Goldhahn, Von der Kunst, who also explored the members' activity as collectors and maecenases.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0027": {
-    "English Original": "<sup1</sup The palace's history and the museum display have been the subject of several studies, all subsequently reedited: Lorenzetti, Ca' Rezzonico; Pignatti, Tesori di Ca' Rezzonico; Mariacher, Ca' Rezzonico; Romanelli, Ca' Rezzonico; more recently: Pedrocco, Ca' Rezzonico.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0028": {
-    "English Original": "For the architecture of the palace, see Bassi, Palazzi di Venezia, 114–22, and the additions in Goldhahn, Von der Kunst, 136–60.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0029": {
-    "English Original": "For Longhena's design for Palazzo Bon, see Frank, Baldassarre Longhena, 242–49; Hopkins, Baldassare Longhena 1597–1682, 208–19; Hopkins, Baldassare Longhena, 192–204.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0030": {
-    "English Original": "<sup4</sup Goldhahn, Von der Kunst, 145.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0031": {
-    "English Original": "<sup5</sup For the Villa Rezzonico in Bassano, see Noè, \"Rezzonicorum cineres,\" 192–201, 222–32; Goldhahn, Von der Kunst, 88–113.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0032": {
-    "English Original": "<sup6</sup For a detailed discussion of Massari's additions, see Massari, Giorgio Massari, 100–07, and the addendae by Goldhahn, Von der Kunst, 153–57.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0033": {
-    "English Original": "<sup7</sup For a discussion of this progressive shift in architecture and interior decoration, and for further examples, see Fontana, \"Dal portego al salone,\" 115–23; Fontana, \"Scaloni e sale,\" 103–22; Frank, \"From Ephemeral to Permanent,\" 119–38; Frank, \"Der Funktionswandel,\" 74–78.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0034": {
-    "English Original": "Ca' Rezzonico, water façade on the Canal Grande (photo: © Didier Descouens)\n\nits fresco decoration, executed by Giambattista Crosato and the quadraturista Girolamo Mengozzi Colonna.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0035": {
-    "English Original": "The wedding of Ludovico Rezzonico (1726–1787) to Faustina Savorgnan in 1757 presented an occasion to commission further exquisite fresco decorations for the ceilings of the piano nobile facing south, executed by the most acclaimed frescanti at the time: Gaspare Diziani, Jacopo Guarana with Piero Visconti, and, of course, Giambattista Tiepolo with Crosato.8\n\nCarlo Rezzonico's election to the papal throne as Clement XIII in 1758 sealed the incredibly rapid economic, social and political rise of the family.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0036": {
-    "English Original": "Seven years later, in 1765, his nephew Abbondio Rezzonico (1742–1810) was appointed to the princely office of Senator of Rome.9 Although both of them resided in Rome, the opulent palazzo in the lagoon city became the physical representation of the family's power, where the aforementioned Ludovico (now Procuratore di San Marco) and Faustina welcomed members of European aristocratic and royal families for celebrations, banquets and concerts.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0037": {
-    "English Original": "Over the years, the family enriched the palace with paintings, statues, and refined furniture, although we have access to little information concerning their display.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0038": {
-    "English Original": "The first art collection had been assembled in the second half of the 17th century by Aurelio (1609–1682), the first Rezzonico in the lagoon, in Palazzo Sagredo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0039": {
-    "English Original": "This gallery, consisting in particular of contemporary, 17thcentury pictures, had been further expanded by Aurelio's nephew Quintiliano (1651–1727).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0040": {
-    "English Original": "After the acquisition and renovation of Palazzo Bon (later Rezzonico), the paintings were relocated there; however, after Senator Abbondio's appointment in Rome, many of them, along with drawings, jewels\n\n<sup8</sup On the palace's fresco decorations, see, among others, Gemin and Pedrocco, Giambattista Tiepolo, 179, 451; Ton, Giambattista Crosato, 113–17, 341–54; Goldhahn, Von der Kunst, 161–74.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0041": {
-    "English Original": "<sup9</sup Carlo Rezzonico was repeatedly portrayed by Anton Raphael Mengs, while Abbondio is depicted an exquisite portrait by Pompeo Batoni, acquired in 2016 by the Italian State for the Gallerie Nazionali di Arte Antica (Palazzo Barberini) in Rome.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0042": {
-    "English Original": "Ca' Rezzonico, monumental staircase (photo: © Derbrauni)\n\n\n\n3.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0043": {
-    "English Original": "Ca' Rezzonico, ballroom (photo: © Eliana Intruglio)\n\nand other precious objects, were transferred to his lodgings in Campidoglio.10 Ludovico was left with few works from the original nucleus of the collection, as evidenced by the inventory compiled after his death—although there are notable exceptions, as we will see shortly.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0044": {
-    "English Original": "The Dispersal of the Collections: The Widmann and Pindemonte Families\n\nAs quickly as the success of the Rezzonico family had escalated over the course of relatively few generations, just as rapidly came its disappearance.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0045": {
-    "English Original": "In 1810, Abbondio Rezzonico passed away childless, and the family died out.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0046": {
-    "English Original": "His brotherinlaw Ludovico Widmann, husband of his sister Quintilia (1722–1784), and later their son Antonio Widmann Rezzonico inherited his estate, which included the Venetian palace.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0047": {
-    "English Original": "The transfer of ownership from the Rezzonico to the WidmannRezzonico took place during the profound crisis that hit the Venetian patriziato after 1797.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0048": {
-    "English Original": "The Fall of the Serenissima and the Napoleonic and Habsburg rules over Venice (1797–1866) disrupted the—already precarious—status of the old Venetian nobility.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0049": {
-    "English Original": "After Napoleon, and later the Austrian Emperors, abolished the privileges of the old patriziato, their widespread decline took different forms: political, due to their gradual, de facto exclusion from political life (whereas previously they were the only ones who could access it); social, with their equalization to the mainland nobility; economic, mainly due to the longstanding indebtedness of numerous families and the rulers' harsh fiscal policies.11 Napoleon's definitive abolition of the fideicommissum, while allowing some families to remedy a situation of indebtedness through the division of assets, caused, in many cases, the dispersion of important estates and art collections formed in Venice through centuries of meticulous assemblage.12 This was also the case for the Widmanns, who split their collection of paintings from 1808 onwards.13\n\nTherefore, it is reasonable to assume that, when Antonio Widmann Rezzonico inherited the large palace in 1810, the family's dire need for liquidity, along with the ownership of other properties, induced them to rent out the palace rather than inhabit it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0050": {
-    "English Original": "During the Serenissima, it was not uncommon for patrizi to rent out or lease for themselves palaces or individual floors therein;14 the Rezzonico themselves had done it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0051": {
-    "English Original": "Also the French and Austrian administrations consigned several secularized buildings to administrative purposes, but were also well aware that more than a few palaces on the Canal Grande were slowly falling into disrepair and could be rented, or even bought, for little sums.15 Hence, it is not surprising that, as early as September 30, 1814, Widmann\n\n<sup10</sup It is not possible to retrace here the entire history of the family collections and commissions.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0052": {
-    "English Original": "For an overview, see Noè, \"Rezzonicorum cineres;\" Pavanello, \"I Rezzonico,\" 86–111; Cecchini, \"Aurelio Rezzonico,\" 308; Goldhahn, Von der Kunst.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0053": {
-    "English Original": "<sup11</sup On this matter, see Davis, The Decline; Derosas, \"Dal patriziato,\" 333–63; Derosas, \"Aspetti economici,\" 80–132; Hunecke, Il patriziato veneziano; more recently Dal Cin, Il mondo nuovo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0054": {
-    "English Original": "<sup12</sup On the abolition of the fideicommissum, see Derosas, \"Aspetti economici.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0055": {
-    "English Original": "On the fideicommissum during the Serenissima, see Lanaro, \"Fidecommesso\" (with bibliography); Lanaro, \"Les stratégies patrimoniales;\" Woolf, \"L'Ottocento,\" 11.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0056": {
-    "English Original": "<sup13</sup Magani, \"Il collezionismo;\" Pavanello, Gli inventari, 166–67.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0057": {
-    "English Original": "<sup14</sup See Megna, \"Comportamenti abitativi.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0058": {
-    "English Original": "<sup15</sup For example, in 1818, searching for extra storehouses for the paintings from the newly opened Pinacoteca Accademica, the Viennese administration described Venice as a city in which \"über 4000 Häuser Eigenthum des Staats sind, und wo die prächtigsten Paläste um eine weit geringere Summe erkauft werden können\" quoted from: Baumgartner, \"Riflessioni,\" 70, n. 11.\n\nleased the palace to Johann Baron Waldstätten, counsellor to the Austrian emperor Francis I, as a seat for the General Tobacco Revenue Administration (Amministrazione Generale della Finanza Tabacchi).16 This can be deduced from a contract in the PindemonteRezzonico family archival fond, which preserves numerous rental agreements for the Rezzonico Palace, stipulated between 1814 and 1857.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0059": {
-    "English Original": "Such contracts are useful not only because they provide information about the palace's tenants, but also by virtue of the attached consignment states (stati di consegna), which often describe in great detail the appearance of the palace's rooms, as well as the furniture and artworks within.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0060": {
-    "English Original": "For instance, the abovementioned contract from 1814 specifies that the rooms could be freely repurposed as offices, but that the owner planned to gather and collect \"tutti i mobili […], quadri, spec[c]hi, statue, fornimenti, tappezzerie\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0061": {
-    "English Original": "To this end the \"sala grande\"—possibly the ballroom— remained for Widmann's private use, in order to \"ponervi dentro tutti quei mobili che credesse opportuno di raccogliere, e custodire.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0062": {
-    "English Original": "\"17 This suggests that Ca' Rezzonico was still completely furnished at that point.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0063": {
-    "English Original": "A few months later, Waldstätten issued a public notice that on February 1, 1815, an auction selling Albanian tobacco would be taking place in the palace.18 Although a duration of twenty years had been proposed, the lease with the Amministrazione Generale della Finanza Tabacchi only lasted one year, as per the decision of the administration in Vienna.19\n\nAfter Antonio's passing in 1816, an inventory of the palace was drawn up in 1817.20 While it still describes a number of valuable furnishings in the rooms (mirrors, tables, armchairs, etc.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0064": {
-    "English Original": "), only very few paintings are listed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0065": {
-    "English Original": "However, the inventory does not include a description of the ballroom, where, as we have seen, Antonio intended to gather all the \"precious things.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0066": {
-    "English Original": "After the death of his brother Francesco Widmann Rezzonico (1753–1825) in 1825, the Rezzonico assets passed onto their nephew Carlo Pindemonte Rezzonico (1790–1834), son of Vittoria Maria Widmann Rezzonico and Giovanni Pindemonte.21 Carlo, who lived in Verona, must have had precise intentions for the inherited estate: it does not seem accidental that, in September 1825, a sale of the Rezzonico painting collection is reported.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0067": {
-    "English Original": "It is mentioned in two letters written by Giovanni Querci della Rovere, an art dealer active in Venice at the time, whom we will meet again later.22 Querci della Rovere was wellinformed on the matter, not only thanks to his profession, but possibly also because he had been in contact in his youth with a branch of the Widmann Rezzonico family in Verona.23 In an hitherto unpublished letter from October 1825, Querci della Rovere, outraged, described to\n\n<sup16</sup The lease contract between Antonio Widmann Rezzonico and Johann Waldstätten, September 30, 1814, fond PindemonteRezzonico, b.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0068": {
-    "English Original": "11, Archivio di Stato di Verona (ASVr).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0069": {
-    "English Original": "The archival collection is wellknown to the studies, although the 19thcentury documents have received somewhat less scholarly attention than the older ones.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0070": {
-    "English Original": "<sup17</sup The contract between Antonio Widmann Rezzonico and Johann Waldstätten, September 30, 1814, fond PindemonteRezzonico, b.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0071": {
-    "English Original": "<sup18</sup Collezione di leggi, 1: 18.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0072": {
-    "English Original": "<sup19</sup See the note by Baron Waldstätten, January 15, 1815, fond PindemonteRezzonico, b.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0073": {
-    "English Original": "<sup20</sup The inventory was published and transcribed, along with two undated inventories of paintings from the villa in Bassano, in Foscari Widmann Rezzonico, \"Beni mobili.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0074": {
-    "English Original": "<sup21</sup See Pavanello, \"I Rezzonico,\" 104, n. 70.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0075": {
-    "English Original": "<sup22</sup For Querci della Rovere, see Paruzzo, \"Giovanni Querci della Rovere;\" Paruzzo, \"Tra Venezia e Brescia.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0076": {
-    "English Original": "<sup23</sup Some twenty years later, in 1841, Querci della Rovere wrote to Marquise Lucrezia Giovanelli, wife of Carlo Pindemonte Rezzonico, from whom he rented the second floor of the palace, that \"sono 40 e più anni che frequentavo costì in Verona la sua famiglia,\" reminding her that when he moved to Venice, countess Vittoria Widmann Rezzonico (1763–1823) introduced him to her sisterinlaw Elisabetta Duodo Widmann, wife of her brother Giovanni (1748–1805).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0077": {
-    "English Original": "See letter of Giovanni Querci della Rovere to Lucrezia Giovanelli, July 23, 1841, fond PindemonteRezzonico, b.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0078": {
-    "English Original": "collector Paolo Tosio the picture gallery's alienation a month prior by Carlo—who, according to him, \"did not need the daily lunch\"—as a \"solemn bestiality:\"\n\nUn mese fa certo Sig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0079": {
-    "English Original": "Marchese Pindemonte di Verona erede della Galleria Rezzonico, senza aver bisogno del pranzo giornaliero, fece la solenne bestialità di vendere la sua galleria copiosa, che dei soli scarti, qui in parte venduti a dei negozianti hanno ricavato la somma dei 12000 franchi che importò la totalità di detta vendita.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0080": {
-    "English Original": "Le restano dodici capi d'opera, che a conti fatti verificheranno centomila franchi almeno.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0081": {
-    "English Original": "Fu acquistata da certo Monsieur Scevrin [Sivry] qui di Venezia, e da Antonio Sanquirico di Milano.24\n\nThe description as \"galleria copiosa\" does not seem to coincide with the picture of the halfempty palace inventoried in 1817.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0082": {
-    "English Original": "Either the paintings were really stored in the ballroom, or they had been moved out of the palazzo to another property of the Widmann family.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0083": {
-    "English Original": "Either way, according to the dealer, not all pictures were sold on this occasion.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0084": {
-    "English Original": "Among the \"twelve masterpieces\" kept by the family there might have been the handsome Portrait of Nikolaus Körbler by Paris Bordon (Liechtenstein Princely Collections, ViennaVaduz), one of the few artworks that belonged with certainty to Aurelio Rezzonico's original collection and that, as late as 1872, was bought from Countess Adriana Widmann Rezzonico by Prince Johann II of Liechtenstein.25 The two dealers mentioned, \"Monsieur Scevrin\", that is, AugusteLouis de Sivry, and Antonio Sanquirico, were two of the most successful dealers in the lagoon at that time.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0085": {
-    "English Original": "The formulation seems to suggest that the sale of the pictures had been handled privately, not as a public auction.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0086": {
-    "English Original": "This seems to be confirmed by the fact that, one year later, an uninformed Giovanni Widmann Rezzonico wrote to Querci della Rovere, inquiring about the collection of his ancestors: the merchant, after judging the sale prices to be too low, provided further names of the fellow art dealers involved, informing the count that some of the paintings had been sent for sale to Milan and London:\n\n[…] sono a confermar Le quanto L'espressi a voce sulla vendila dei quadri del fu Principe Rezzonico e d'altri oggetti preziosissimi di mosaici, etc., venduti al più vil prezzo del mondo, tanto gli uni che gli altri.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0087": {
-    "English Original": "Avendo inteso che cinque dei più distinti quadri furono spediti da certo signor Alvise Albrizzi a Londra che furono colà venduti per tremila Zecchini.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0088": {
-    "English Original": "Altri simili quadri furono venduti a Milano per grosse somme, ed uno solo del celebre Sasso Ferrato di cinque figure che fu venduto da certo Monsieur Luigi di Scevrin [Sivry] ai due fratelli Barbini negozianti di quadri per quattromila svanziche, come è noto a tutta Venezia, ricercando al presente il prezzo di mille zecchini del anzi detto quadro.26\n\nThe dispersion of the galleria after the sale in September 1825, or perhaps even Alvise Albrizzi's shipping to the British capital, might be related to the subsequent sale at Williams in London, in June 1827, of a group of paintings, among which six were described as \"formerly the property of Cardinal Rezzonico\": a small landscape on copper by Paul Bril, a pair by Michiel Sweerts (an Interior and a Painter's Study), a David Pointing to Goliath's Head attributed to Guercino, and two small landscapes by Salvator Rosa.27\n\n<sup24</sup Letter from Giovanni Querci della Rovere to Paolo Tosio, October 4, 1825, b.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0089": {
-    "English Original": "9, fond Avogadro del GiglioTosio, Archivio di Stato di Brescia (ASBs).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0090": {
-    "English Original": "<sup25</sup See Noè, \"Rezzonicorum cineres,\" 181.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0091": {
-    "English Original": "<sup26</sup The letter dated December 10, 1826, was published in Rezzonico, \"Beni mobili e quadri,\" 75–76.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0092": {
-    "English Original": "<sup27</sup See Collection of Capital Pictures, lots.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0093": {
-    "English Original": "5, 7, 9, 16, 21–22.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0094": {
-    "English Original": "Sweert's Artist's Studio (Detroit Institute of Arts) and\n\nSeven years later, on June 4, 1832, the PindemonteRezzonico organized a voluntary public auction to sell off, it seems, all the furnishings that remained in the palace (fig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0095": {
-    "English Original": "4).28 The lots included antiquities, sculptures, and, notably, eight basreliefs by Antonio Canova, 27 drawings by Giovanni Battista Piranesi for the new choir in the Basilica of San Giovanni in Laterano (commissioned by pope Rezzonico), and 42 drawings by the architect Giacomo Quarenghi.29 Indeed, the aforementioned Abbondio Rezzonico had been a collector, art enthusiast, and patron in Rome of various Italian and foreign artists, such as Piranesi, from whom he commissioned drawings and designs for interiors and furniture, and was, in turn, also deeply influenced by the artist's taste.30 In 1777 Abbondio asked Quarenghi to design a Sala della Musica in Campidoglio, inaugurated in 1779, and some years later, when the architect was already in Saint Petersburg, the Senator invited him to present designs (never executed) for a city theatre in Bassano.31 Abbondio's closest relationship was with Antonio Canova, whom he had met and befriended in 1778, and to whom, along with his brothers, he had entrusted\n\n\n\n4.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0096": {
-    "English Original": "Public notice for a voluntary auction of artworks in Palazzo Rezzonico, May 1832, Archivio di Stato di Verona (© Ministero della Cultura, Archivio di Stato di Verona)\n\nthe execution of the funerary monument (1787–1792) for his uncle Clemens XIII in Saint Peter's Basilica.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0097": {
-    "English Original": "Possibly during this commission, the sculptor began to work for Abbondio on a series of thirteen plaster basreliefs, depicting personified allegories, and episodes inspired from the Iliad, the Odyssey, Socrates' Phaedo, as well as two scenes of Mercy (today Fondazione Cariplo) (fig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0098": {
-    "English Original": "5).32 They all entered the villa in Bassano between 1793 and 1795, and, as already mentioned, at least\n\nthe Interior (now titled Old Man and Boy by a Brazier or Allegory of Winter, private collection) were recorded in an 1808 inventory of paintings belonging to Antonio Widmann, see Detroit Institute of Arts, accessed January 15, 2023, https://dia.org/collection/studio63102 (with bibliography).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0099": {
-    "English Original": "It is not possible to determine at present whether the Guercino is the one now in the collections of the Museum Boijmans Van Beuningen in Rotterdam.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0100": {
-    "English Original": "<sup28</sup See Noè, \"Rezzonicorum Cineres,\" 288–89.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0101": {
-    "English Original": "<sup29</sup For Quarenghi's drawings see Noè, \"Rezzonicorum cineres,\" 285.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0102": {
-    "English Original": "<sup30</sup See Noè, \"Rezzonicorum cineres,\" 241–48; Pasquali, \"Roma veneziana?\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0103": {
-    "English Original": "<sup31</sup See Corradini, \"Giacomo Quarenghi.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0104": {
-    "English Original": "<sup32</sup For the series, today displayed in Milan, Gallerie d'ItaliaPiazza Scala, see Pavanello, \"Antonio Canova;\" Mazzocca, Antonio Canova.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0105": {
-    "English Original": "Antonio Canova: The Dance of the Sons of Alcinous, 1790/92, Gallerie d᾿Italia, Milan (© Archivio Patrimonio Artistico Intesa Sanpaolo)\n\neight of them were listed as lots in the 1832 auction held in Venice.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0106": {
-    "English Original": "We know that in 1836 all thirteen reliefs were in the possession of a Paduan collector, the lawyer Antonio Piazza,33 so it is possible that he, or an intermediary, acquired them at this auction.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0107": {
-    "English Original": "A newspaper article from 1931 by the art critic Ugo Ojetti, on the occasion of the acquisition of the Rezzonico Palace by the municipality, recalls also a previous auction, supposedly held in 1831 in San Teodoro.34 It was not possible, however, to glean any further information on this first sale.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0108": {
-    "English Original": "It may have taken place at the former Scuola Grande di San Teodoro, which at that time housed the commercial enterprise of the art dealer Antonio Sanquirico, who, as we have seen, had already been involved in the acquisition of the paintings from the Rezzonico gallery in 1825 and whose catalogue of lithographs illustrated, among others, also ancient Roman busts pertaining to the Museo Rezzonico in Venice.35\n\nNot incidentally, from 1834 onwards, when—after Carlo Pindemonte Rezzonico's death, the administration of the family's estate passed onto his wife, Marquise Lucrezia Giovanelli Pindemonte—we find an uninterrupted sequence of lease contracts between the marchesa and various individuals, who mostly rented one floor of the building.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0109": {
-    "English Original": "From 1834 to 1836, perhaps even later, the piano nobile and the mezzanino were leased to the British Colonel and architect Robert Smith (1787–1873), who had spent many years in India in the employ of the East India Company, before returning to Europe and settling for a time in Venice.36 From the accurate description of the\n\n<sup35</sup See Perry, \"Antonio Sanquirico,\" 72–73.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0110": {
-    "English Original": "<sup33</sup After being in the possession of Piazza (1772–1844), who displayed them in his home, the basreliefs passed onto the counts of San Bonifacio, before entering the collection of the Cassa di Risparmio delle Provincie Lombarde in 1991.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0111": {
-    "English Original": "<sup34</sup Ojetti, \"Il palazzo Rezzonico,\" 3.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0112": {
-    "English Original": "<sup36</sup See the lease contract between Lucrezia Giovanelli Pindemonte and Robert Smith, November 6, 1834, and the additional contract for the mezzanino from October 20, 1836, fond PindemonteRezzonico, b.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0113": {
-    "English Original": "Not\n\nfurnishings in the consignment state, one infers that various artworks were still in the palace.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0114": {
-    "English Original": "Besides a few unspecified paintings in the \"small room\" of the first floor, for which Giovanelli reserved the right to have inspected and to take measures for their preservation37 or the two Telamoni by Alessandro Vittoria (still in the palace today), particularly noteworthy are four oil paintings attributed to Luca Giordano in the portego of the first floor.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0115": {
-    "English Original": "The subjects are described as: \"1.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0116": {
-    "English Original": "S. Andrea in croce  2.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0117": {
-    "English Original": "La Morte di Archimede  3.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0118": {
-    "English Original": "Teseo che scuopre la Testa di Medusa  4.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0119": {
-    "English Original": "Centauro ferito in atto di rapire una donzella.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0120": {
-    "English Original": "The first and second painting measured, after conversion, ca.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0121": {
-    "English Original": "255 x 301 cm, whereas the third and fourth painting ca.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0122": {
-    "English Original": "255 x 356 cm.38\n\nIt should be noted that two paintings attributed to Luca Giordano hung in 1682 in the portego of Palazzo Sagredo after Aurelio Rezzonico's death, whose testament registers a \"Sant'Andrea morto levato di Croce da Manigoldi\" and an \"Archimede ucciso da Soldati.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0123": {
-    "English Original": "\"39 In the inventory recently uncovered by Almut Goldhahn from 1686, we know that Quintiliano enriched the uncle's quadreria and hung in the same portego two further paintings by Giordano, possibly even commissioned by himself: a \"Guerra de Lapeti\" and a \"Testa di Medusa con Perseo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0124": {
-    "English Original": "\"40 We find the same four paintings described in the portego of Palazzo Rezzonico (probably transferred from Palazzo Sagredo once the new residence was completed) in the inventory of 1767 (1766 more veneto), drawn up after Abbondio's move to Rome,41 and also in the one from 1786, after Ludovico Rezzonico's death.42 Indeed, as noted by Pavanello, the Giordano were not among the paintings chosen by Abbondio to be moved to Rome because they were framed in the portego walls by plaster moldings.43 It is meaningful that, possibly for the same reason—and in spite of the transfers, auctions and sales—we find them still in the portego in 1834, at least until 1853, when the legal representative of the Marquise Giovanelli Pindemonte in Venice wrote to her about an offer made for the acquisition of the four paintings.44\n\nThe subjects of the first two are to be understood as the Deposition of Saint Andrew From the Cross and Archimedes' Death.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0125": {
-    "English Original": "Their identical measurements, as well as the common death theme,\n\nmuch was known about Robert Smith's time in Venice.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0126": {
-    "English Original": "See James, \"A Fairy Palace,\" 286.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0127": {
-    "English Original": "Smith and his wife must have remained in the lagoon for about a decade because in the Seminario Patriarcale, in the second cloister on the left, Contarini, Lapidi sepolcrali, 269, listed a tombstone with a commemorative inscription for the tragic death of their three children in 1843: \"A memoria di Giovanni – Edoardo – Maria Smith vaghi e graziosi bambini che di soli pochi mesi morte ne rapì all'amore degli affettuosi genitori Roberto Smith Colonnello di S. M. Brittanica Cav.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0128": {
-    "English Original": "Ordine del Bagno d'Inghilterra, ecc.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0129": {
-    "English Original": "Vitton dolenti i congiunti questa posero il V. maggio MDCCCXLIII.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0130": {
-    "English Original": "<sup37</sup See the lease contract cited above, n. 36.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0131": {
-    "English Original": "<sup38</sup The measurements in Venetian piedi and once for the first two are 7 feet and 4 inches high x 8 feet and 8 inches wide; the other two were 7 feet and 4 inches high x 10 feet and 3 inches wide.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0132": {
-    "English Original": "<sup39</sup See Noè, \"Rezzonicorum cineres,\" 176.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0133": {
-    "English Original": "<sup40</sup See Goldhahn, Von der Kunst, 61.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0134": {
-    "English Original": "<sup41</sup In 1766 they are described in the first Portico: \"Quattro quadri grandi incassati con stucchi nel muro formano quattro facciate, uno rapresenta la morte di Archimede in Siracusa; l'altro la morte di S. Andrea Appostolo; il terzo la Favola di Perseo con la testa di Medusa; il quarto un rato di Cintauri: tutti quattro di Luca Giordano.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0135": {
-    "English Original": "See Pavanello, \"I Rezzonico,\" Doc.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0136": {
-    "English Original": "<sup42</sup In 1786 they are listed, along with a few other paintings from Aurelio's original collection, once again in the portego of the first floor as \"Quattro quadri grandi incassati nelli stucchi di Luca Giordano.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0137": {
-    "English Original": "See Noè, \"Rezzonicorum cineres,\" 257.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0138": {
-    "English Original": "<sup43</sup Pavanello, \"I Rezzonico,\" 96, n. 19.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0139": {
-    "English Original": "<sup44</sup See the letter of Marco Pellini to Lucrezia Giovanelli Pindemonte, October 5, 1853, fond PindemonteRezzonico, b.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0140": {
-    "English Original": "do speak for their conception as pendants.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0141": {
-    "English Original": "The same could be said for the third and the fourth painting, considering the subjects derived from Greek mythology: Perseus Beheading Medusa, and the Battle Between the Lapiths and Centaurs (indeed, the \"wounded centaur\" could be Eurytion, and the \"damsel\" the abducted Hippodamia).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0142": {
-    "English Original": "Hence, the tradition according to which Luca Giordano's four paintings in Ca' Rezzonico in the 19th century were of religious subject45 is only partly correct, since one depicted a historic subject and two of them mythological ones.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0143": {
-    "English Original": "Also, even though they bear the same authorship in the inventories, they were two distinct pairs, and entered the collection at different times.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0144": {
-    "English Original": "Although these themes are present in Giordano's oeuvre, 46 no certain association can be drawn with known paintings by the Neapolitan master, nor painters of similar style.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0145": {
-    "English Original": "Nevertheless, the newly found measurements in the contract's consignment state—which were not specified in any of the collections' inventories—along with their presence in the palace until 1853 offer valuable indications for possible future identifications and may rule out some of the suggestions proposed so far.47\n\nMeanwhile, in the same period, from 1836 onwards, Lucrezia Giovanelli was renting out the third (and last) floor of the palace (the socalled camerini) and two rooms on the second floor to the young Giuseppe Bertoja (1803–1873).48 A student of Francesco Bagnara, Bertoja would go on to become, along with his son Pietro, one of the most celebrated set designers in Venice.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0146": {
-    "English Original": "He mainly worked for the Fenice and for other Venetian theatres—notably designing the sets for the premieres of several operas by Giuseppe Verdi—but produced designs also for the Royal Theatre in Turin and the Scala in Milan.49 Because the Venetian Guida Commerciale of 1846 lists his studio in \"Palazzo Rezzonico,\"50 he must have resided there for at least a decade.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0147": {
-    "English Original": "Thus, Bertoja was surely acquainted with another tenant in Ca' Rezzonico: Giovanni Querci della Rovere (1770–1865), the art dealer, who, as we have already seen, some fifteen years prior was wellinformed about the sale of the Rezzonico collection.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0148": {
-    "English Original": "In 1841, he managed to persuade Lucrezia Giovanelli, not without difficulty, to let him rent the second floor of the palace.51 Intending to remain in Venice permanently—after years of travelling from Venice to royal courts, museums, fairs and collectors' houses throughout Europe—the art dealer, probably making use of the capital he had accumulated and helped by his firstborn Federico, was looking for the right location for his commercial gallery, as well as for a new house for his large family.52 In the splendid setting of the portego of the second floor,\n\n<sup45</sup See, for example, Pedrocco, Ca' Rezzonico, 42.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0149": {
-    "English Original": "<sup46</sup See Ferrari and Scavizzi, Luca Giordano.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0150": {
-    "English Original": "<sup47</sup For instance, the longstanding identification of one of the four pictures with the Death of Archimedes by Giovan Battista Langetti (private collection), first suggested by Giuseppe Fiocco (see Noè, \"Rezzonicorum cineres,\" 184– 85), seems less convincing.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0151": {
-    "English Original": "Not only do the measurements not seem to coincide, but, even though Langetti's painting bears a provenance from Palazzo Widmann Foscari, the four canvasses, as mentioned earlier, remained until 1854—and perhaps even later—in the Rezzonico Palace, at a time when it was no longer owned by the Widmanns, but had already passed onto the Pindemonte.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0152": {
-    "English Original": "<sup48</sup See the lease contract between Lucrezia Giovanelli Pindemonte and Giuseppe Bertoja, September 10, 1836, fond PindemonteRezzonico, b.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0153": {
-    "English Original": "<sup49</sup For Bertoja, see Muraro and Biggi, Giuseppe e Pietro Bertoja.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0154": {
-    "English Original": "<sup50</sup Guida Commerciale, 304.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0155": {
-    "English Original": "<sup51</sup See lease contracts between Lucrezia Giovanelli Pindemonte and Giovanni Querci della Rovere, September 14, 1841, and August 24, 1843, in b.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0156": {
-    "English Original": "11, as well as their extensive correspondence in b.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0157": {
-    "English Original": "59, fond PindemonteRezzonico, ASVr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0158": {
-    "English Original": "<sup52</sup See Paruzzo, \"Giovanni Querci della Rovere,\" 28–29.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0159": {
-    "English Original": "Ca' Rezzonico, Venice, the portego on the second floor where Querci della Rovere displayed his commercial gallery from 1841 (photo: © Sailko)\n\noverlooking the Grand Canal, Giovanni and Federico displayed their paintings, just like in a true aristocratic gallery (fig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0160": {
-    "English Original": "The Della Rovere collection was acclaimed in several guidebooks and newspaper articles described the numerous, precious paintings displayed.53 One could try to trace his Guercino, Caravaggio, Carracci, Tiepolo, Canaletto, Veronese and Titian, but it is impossible, for example, he owned the paintings Gianjacopo Fontana described as coming from the Magistrato del Sale or the Chiesa dei Servi.54 The provenance information and the attributions, in all probability relayed to the authors by the dealer himself, should thus be taken cum grano salis.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0161": {
-    "English Original": "According to Fontana, Giovanni and Federico's gallery also contained paintings that were once in the Rezzonico villa in Bassano.55 Again, there is no data to substantiate this claim.56\n\nThe dealers' desire to embellish the provenance of their paintings goes hand in hand with the popular custom, in Austrian Venice, of renting palaces floors to display commercial galleries.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0162": {
-    "English Original": "Such venues were probably aimed at ennobling the antiquarians' collections.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0163": {
-    "English Original": "Socially, politically, and culturally characterized places, which had once been the physical representation of the social prestige and political power of their former aristocratic owners (such as the Rezzonico) and of the lost Serenissima, the settings were able to legitimize the collections of the tenants on a par with the many, scattered collections of the patriziato.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0164": {
-    "English Original": "57\n\nWhatever Querci della Rovere's intentions might have been, the presence of his gallery, along with Giuseppe Bertoja's studio, anticipated the type of artistic settings Ca' Rezzonico would host in the second half of the century particularly.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0165": {
-    "English Original": "But the ateliers needed to wait.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0166": {
-    "English Original": "In fact, all tenants, not long after, had to leave the palace.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0167": {
-    "English Original": "From 1847 until 1858, Marquise Giovanelli rented the building to Duke Francesco V of Modena (1819–1875) through the intermediation of Taddeo Wiel, the Estense\n\n<sup53</sup See, among others, Lecomte, Venise, 293; Binzer, Venedig, 366; Pulissi, \"Pinacoteca,\" 181–82.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0168": {
-    "English Original": "<sup54</sup As rightly pointed out by the editor in Fontana, Venezia monumentale, 36, n. 7.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0169": {
-    "English Original": "Fontana's original edition was written in the 1840s.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0170": {
-    "English Original": "<sup55</sup Fontana, Venezia monumentale, 33–36.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0171": {
-    "English Original": "<sup56</sup There seems to be no overlapping so far between the paintings described or recorded in their possession with the ones registered in the Bassano inventories of 1817.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0172": {
-    "English Original": "<sup57</sup On the subject, see Paruzzo, \"Antiquari e gallerie\" (forthcoming).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0173": {
-    "English Original": "Consul in the lagoon city.58 Over the years, in the Rezzonico Palace—though sporadically—his sister Maria Beatrice d'AustriaEste (1824–1906) resided, with her husband Juan Carlos de Borbon (1822–1887), and their son Carlos.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0174": {
-    "English Original": "The Sale to Zieliński in 1857 and the Artists' Studios\n\nIn 1857 (not 1837),59 Lucrezia Giovanelli Pindemonte sold the palace to \"Ladislao Zelenski,\" probably to identify with the Polish nobleman Władysław Zieliński (1836–1895).60 A native of Lviv, Zieliński, after a youth spent in the army, dedicated himself to the study of literature, historiography and heraldry.61 According to his autobiography, which tellingly opens with the exclamation \"Wenecya!\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0175": {
-    "English Original": "\"), Zieliński visited the lagoon city for the first time in 1853, at the age of 17, and instantly fell in love with it.62 When he volunteered to fight as a cadet in the Imperial army, he took part in the Italian campaigns in the 1850s and the acquisition of the palace might date back to this period, though one must note the relatively young age of the count in 1857.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0176": {
-    "English Original": "Equally puzzling is how Zieliński seems to have never lived in the palace: he travelled to the lagoon city more than once during his life, but in the long and detailed descriptions of Venice, its attractions (churches, palaces, Piazza San Marco), its history, and traditions, contained in his memoirs Ze wspomnień żołnierza (\"Memories of a Soldier\"), Ca' Rezzonico is never once mentioned, nor does he ever recount even seeing it or being there.63 Nevertheless, we know by now it was not uncommon to rent out a palace and never reside there, as the Widmann and Pindemonte families' habits have shown.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0177": {
-    "English Original": "After Zieliński's acquisition, the rooms of Palazzo Rezzonico seem to have been leased to several artists to be employed as ateliers.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0178": {
-    "English Original": "Indeed, it was not uncommon for artists in Venice during Austrian rule to buy or rent floors or rooms of former aristocratic palaces to host their studios for both short and long periods of time.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0179": {
-    "English Original": "Many examples could be mentioned: Francesco Hayez' and Ludovico Lipparini's studios in Palazzo Moro Lin, Natale and Felice Schiavoni's in Palazzo Giustiniani dei Vescovi, or Friedrich Nerly's, among many others, in Palazzo Pisani in Santo Stefano, which, after the tragic suicide of the painter Léopold Robert in 1835, had become a sort of \"Romantic pilgrimage site\" in Venice.64 This phenomenon seems to have increased after Venice's annexation to the newly founded Kingdom of Italy in 1866, which coincided with an increased presence of foreign—especially American—artists, travellers, collectors, and residents in the city.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0180": {
-    "English Original": "While not all rooms in Venetian palaces were particularly luminous, as one still sees today, they probably provided more light than the ground floors in the maze of narrow calli, and the much needed physical\n\n<sup63</sup See Zieliński, Ze wspomnień żołnierza.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0181": {
-    "English Original": "<sup58</sup See the lease contract between Lucrezia Giovanelli Pindemonte and Taddeo Wiel, April 11, 1847, fond PindemonteRezzonico, b.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0182": {
-    "English Original": "<sup59</sup A mistake probably caused by a lapsus calami at some point, but still repeated in much literature concerning Ca' Rezzonico.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0183": {
-    "English Original": "<sup60</sup On April 22, 1857; see papers in fond PindemonteRezzonico, b.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0184": {
-    "English Original": "Zieliński first had to provide a settlement of 75.000 Austrian lire to the Jesuits, so they would renounce their rights over the palace conceded to them by Antonio Widmann Rezzonico's will of 1816.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0185": {
-    "English Original": "<sup61</sup See Buonocore, \"Witold Władysław Kornelius Zieliński,\" 162–65.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0186": {
-    "English Original": "<sup62</sup See Zieliński, Ze wspomnień żołnierza.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0187": {
-    "English Original": "<sup64</sup The definition is by Myssok, \"Friedrich Nerly\", 55 (with bibliography).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0188": {
-    "English Original": "For Schiavoni's studio, see Stringa, \"Un palazzo.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0189": {
-    "English Original": "John Singer Sargent: Venetian Women in the Palazzo Rezzonico, ca.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0190": {
-    "English Original": "1880/81, private collection (© private collection)\n\n\n\n8.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0191": {
-    "English Original": "Noè Bordignon: A model, 1883, private collection (© private collection)\n\nspace and room height that artists needed and which were somewhat scarce in Venice.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0192": {
-    "English Original": "Particularly, Ca' Rezzonico offered the advantage of a courtyard that illuminated the portego from the west side as well, so that the windows on the Canal Grande were not its only source of light.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0193": {
-    "English Original": "In a recent essay, Vittorio Pajusco has excellently reconstructed Ca' Rezzonico's history of tenancy in the 1870s–1880s, discussing the presence of ateliers of international and Italian painters, and publishing known, as well as previously unpublished, paintings and historic photographs reproducing its interiors.65 As early as the 1870s, the German painters Anselm Feuerbach and Leopold Carl Müller's ateliers are documented in the palace.66 From 1879 to 1882 also James Abbott McNeill Whistler, Giovanni Boldini, and John Singer Sargent rented rooms to host their studios.67 Particularly, Sargent's Venetian Women in the Palazzo Rezzonico (ca.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0194": {
-    "English Original": "1880/81), depicting the women modelling for the artists during a break, offers a view of the portego on the second floor (fig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0195": {
-    "English Original": "As Pajusco rightly noted, the hall looks completely stripped of its furnishings at this point.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0196": {
-    "English Original": "On the contrary, the room north of the portego (today's \"Sala del Parlatorio\"), in which the painter Noè Bordignon a couple of years later sets another depiction of a model (fig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0197": {
-    "English Original": "8),68 stands out for its warmth: the flowers, the carpet, the furniture, the drapes hanging by a thread on the background wall, and the girl sprawled limply in an armchair convey an air of bohemian tranquillity.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0198": {
-    "English Original": "Her fan and light dress, the windows opened to let the bright, warm light enter the room, convey how a serene spring or summer day in the ateliers of Ca' Rezzonico may have felt.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0199": {
-    "English Original": "Bordignon established his studio in the palace in 1883, followed shortly after by Pietro Fragiacomo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0200": {
-    "English Original": "In the following years, during the 1880s, Emanuele Brugnoli, Luigi Cima, Vittorio Tessari, Paul Tilton and Fausto Zonaro also joined them, establishing somewhat of a small serene colony in the palace, around which gravitated painters who also resided in the vicinity.69\n\n The Sale to Barrett Browning (1888) and Hierschel de Minerbi (1906)\n\nIn 1888 the palace was acquired and restored by Robert Barrett Browning (son of the poets Robert Browning and Elizabeth Barrett) and his wife, the American Fannie Coddington, heir to a large fortune.70 Italy had been a lifelong source of inspiration for his parents and Barrett Browning, himself a painter, was probably fascinated with the atelierlike setting of the Venetian palace at that time.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0201": {
-    "English Original": "So much so, that some of the furnishings remained the same: as Pajusco pointed out, in a previously unpublished photograph we see the same sofa (and even carpet!)",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0202": {
-    "English Original": "that Bordignon had painted a few years prior (fig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0203": {
-    "English Original": "9).71 The spacious room featured artworks and mixed furniture from various eras, but still retained some surviving pieces of the palace's original 18thcentury decor,\n\n <sup65</sup Pajusco, \"Bordignon a Venezia,\" 30–32, 35.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0204": {
-    "English Original": "<sup66</sup See Pajusco, \"Bordignon a Venezia,\" 43, n. 6.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0205": {
-    "English Original": "<sup67</sup Pajusco, \"Bordignon a Venezia,\" 30 (with the bibliography cited in n. 8–10).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0206": {
-    "English Original": "<sup68</sup This painting is also published and discussed in Pajusco, \"Bordignon a Venezia,\" 30–31.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0207": {
-    "English Original": "<sup69</sup Pajusco, \"Bordignon a Venezia,\" 32, and n. 16–18.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0208": {
-    "English Original": "<sup70</sup See, for example, Pedrocco, Ca'Rezzonico, 11.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0209": {
-    "English Original": "The bibliography on the Barrett Brownings is, again, too extensive.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0210": {
-    "English Original": "It will suffice to refer to the welldocumented Ryals, \"Robert Browning.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0211": {
-    "English Original": "<sup71</sup Pajusco, \"Bordignon a Venezia,\" 30.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0212": {
-    "English Original": "The photograph is kept by Wellesley College Library, Special Collections, MS Browning H231, portfolio donated by Fannie Coddington Browning, ca.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0213": {
-    "English Original": "I wish to thank Mariana Oller, associate curator of special collections at Wellesley College, for her kind assistance.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0214": {
-    "English Original": "Interior of today's \"Sala del Parlatorio\", ca.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0215": {
-    "English Original": "1888, Wellesley College Library, Wellesley (© Reproduction courtesy of Wellesley College Library, Special Collections)\n\n\n\n10.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0216": {
-    "English Original": "Interior view of today's \"Sala del Trono\", ca.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0217": {
-    "English Original": "1888, Wellesley College Library, Wellesley (© Reproduction courtesy of Wellesley College Library, Special Collections)\n\nparticularly the handsome and imposing flap dresser with mirrored, twodoor riser on the left.72 Similarly, another photograph from the same portfolio shows the late 19thcentury appearance of today's \"Sala del Trono\" on the first floor (fig.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0218": {
-    "English Original": "Here, too, we can see how, under Tiepolo's fresco, the Barrett Brownings had juxtaposed to the exquisite 18thcentury carved tables, the flap bureaus with riser, and the fine chinoiserie laquered door (one of the four which originally separated the rooms of Ludovico Rezzonico and Faustina Savorgnan's apartment on the first floor73) also 19thcentury pieces, chief among them a portrait by Robert Barrett Browning of his famous father, executed in May 1889 and now displayed in the Armstrong Browning Library & Museum at Baylor University in Texas.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0219": {
-    "English Original": "Indeed, Robert Browning, who visited his son and daughterinlaw in Venice repeatedly, died in the palace in December 1889, shortly after composing his last work, Asolando.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0220": {
-    "English Original": "Ignoring Emperor Wilhelm II of Germany's offer to purchase the palace, Barrett Browning, having settled in Asolo on the mainland, sold the palace in 1906 to count Lionello von Hierschel de Minerbi.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0221": {
-    "English Original": "A nobleman of Jewish origins, Minerbi was an eclectic character: tennis and soccer champion, majored in engineering, he was also a real estate and agriculture entrepreneur, a Member of Parliament in Rome from 1909 to 1919, and an art dealer.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0222": {
-    "English Original": "During his thirtyyearlong stay at Ca' Rezzonico, he refurbished the palace, in line with his unique taste, holding masquerade parties, nocturnal receptions, and belle époque serenades by torchlight; \"signorilità elegante e sfarzo opulento e grossier si scontravano violentemente sotto i celebri affreschi di Giambattista Tiepolo\", as noted by Filippo Pedrocco.74 I do not believe, however, Hierschel de Minerbi's activity, especially as a marchandamateur, has received sufficient scholarly attention, and it is hoped this will one day be remedied.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0223": {
-    "English Original": "Along with the palace, it should be noted that he also owned pieces of furniture, as well as a few artworks from the original Rezzonico collection.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0224": {
-    "English Original": "For instance, The Consecration of Cardinal Rezzonico in the Church of S.S. Apostoli, a large canvas attributed to Giovanni Paolo Panini, was still in the palace in 1929, but later somehow came onto the art market.75 Research on Hierschel de Minerbi's activity may thus provide further insight into the last phase of the dispersion of the Rezzonico art treasures.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0225": {
-    "English Original": "In the early 1930s, Minerbi, due to financial difficulties and the harsh political climate, began to discuss the sale of the palace with the Venetian municipality.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0226": {
-    "English Original": "After fiveyearlong negotiations, in 1935 Ca' Rezzonico was acquired by the Municipality, in order to exhibit its illustrious and large 18thcentury collection of paintings, detached frescoes, sculptures, furniture, and objects of applied\n\n<sup72</sup The dresser (ca.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0227": {
-    "English Original": "1740/60) is still in the collection of the Musei Civici, see Fondazione Musei Civici, accessed August 3, 2023, https://www.archiviodellacomunicazione.it/sicap/OpereArte/7533/?WEB=MuseiVE.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0228": {
-    "English Original": "<sup73</sup The refined doors—possibly designed by Giambattista or Giandomenico Tiepolo in the late 1750s in connection with the apartment's fresco decoration—were evidently still in situ in the 1880s.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0229": {
-    "English Original": "They were sold by Hierschel de Minerbi (see below) to Adolph Loewi before the palace was transferred to the Municipality in 1935.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0230": {
-    "English Original": "Loewi donated one to the Gallerie dell'Accademia, today exhibited in Ca' Rezzonico.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0231": {
-    "English Original": "See Santini, Mille mobili veneti, 3: 320–23 (with bibliography).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0232": {
-    "English Original": "The three remaining doors are scattered today in various international collections.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0233": {
-    "English Original": "The one shown in this photograph was split by Loewi, who sold the shutter visible here—featuring a European rider in the upper panel and a Chinese gentleman below—to the architect and collector John Yeon.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0234": {
-    "English Original": "It was lastly exhibited at Quest for Beauty: The Architecture, Landscapes, and Collections of John Yeon, Portland Art Museum, May 13 – September 3, 2017.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0235": {
-    "English Original": "Loewi offered the other shutter to The Art Institute of Chicago (inv.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0236": {
-    "English Original": "I thank Mairead Horton for her fundamental help in retracing the object's history.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0237": {
-    "English Original": "<sup74</sup Pedrocco, Ca' Rezzonico, 11.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0238": {
-    "English Original": "<sup75</sup For the painting, first published by Vittorio Moschini in 1929, see now Finocchi Ghersi's catalogue entry in Nante, Cavalli, and Pasquali, Clemente XIII Rezzonico, 79–81 (with bibliography).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0239": {
-    "English Original": "also the annotations in scheda nr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0240": {
-    "English Original": "62811, Fototeca Federico Zeri, Università di Bologna.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0241": {
-    "English Original": "The canvas was in London with Chaucer Fine Arts by 2003, was auctioned at Sotheby's in 2021 (Old Masters Day Sale, July 8, 2021, lot 186), and is currently (2023) with the Cesare Lampronti Art Gallery.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0242": {
-    "English Original": "Barbantini and Lorenzetti's display in the portego of the first floor of Ca' Rezzonico after the inauguration of the Museo del Settecento, 1936 (© Archivio fotografico del Comune di Venezia)\n\n12.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0243": {
-    "English Original": "Barbantini and Lorenzetti's display in the \"Sala dei Pastelli\" of Ca' Rezzonico, 1935 (© Archivio fotografico del Comune di Venezia)\n\narts originally pertaining to Ca' Rezzonico, as well as to other Venetian palaces.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0244": {
-    "English Original": "The Museo del Settecento veneziano, with a display curated by Nino Barbantini and Giulio Lorenzetti, opened to the public in July 1936.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0245": {
-    "English Original": "Various historic photographs by the Giacomelli agency document the duo's original museographic concept (figs.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0246": {
-    "English Original": "11–14).76 The museum's opening took place in the context of the critical revaluation of 18thcentury art and culture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0247": {
-    "English Original": "Indeed, a few years prior, Barbantini and Lorenzetti had jointly set up the influential exhibition Il Settecento italiano (1929) in the Biennale's premises and would go on to organize in Ca' Rezzonico, between 1936 and 1939, a series of yearly exhibitions dedicated to Venetian 18thcentury applied arts.77\n\n<sup76</sup The Fondo Archivio Fotografico Giacomelli, which consists of photographic material belonging to Reale Fotografia Giacomelli, one of the most important Italian photographic agencies of the 20th century, is owned by the Municipality of Venice.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0248": {
-    "English Original": "<sup77</sup See Tomasella, \"Venezia 1929.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0249": {
-    "English Original": "Barbantini and Lorenzetti's display in the \"Sala del Trono\" of Ca' Rezzonico, 1935 (© Archivio fotografico del Comune di Venezia)\n\n\n\n\n\n14.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0250": {
-    "English Original": "Barbantini and Lorenzetti's display in the \"Portego dei Dipinti\" on the second floor of Ca' Rezzonico, 1936 (© Archivio fotografico del Comune di Venezia)\n\n• ․ •\n\nToday, Ca' Rezzonico contains rare ensembles (such as Giandomenico Tiepolo's frescoes for the villa in Zianigo) and has been enriched by subsequent donations, among which Ferruccio Mestrovich's and Egidio Martini's art collections are displayed in the palace in especially dedicated rooms.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0251": {
-    "English Original": "Due to the municipality's careful refurbishment, the building bears few signs of its tumultuous 19thcentury vicissitudes, but instead offers today a glimpse into the life of aristocratic Venice in the 18thcentury and the splendour of the epoch in which the Rezzonico family once flourished.78\n\n<sup78</sup The author wishes to thank the conference organizers for providing a fruitful opportunity to encounter and exchange views in Ljubljana, as well as Vittorio Pajusco and the anonymous reviewers for their insightful comments on an earlier draft of this article.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0252": {
-    "English Original": "Palazzi di Venezia: Admiranda urbis Venetae.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0253": {
-    "English Original": "Venezia: La stamperia di Venezia, 1976.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0254": {
-    "English Original": "\"Riflessioni sulle vicende conservative di opere d'arte a Venezia durante la seconda dominazione austriaca.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0255": {
-    "English Original": "In La cultura del restauro: Modelli di ricezione per la museologia e la storia dell'arte, edted by Maria Beatrice Failla, Susanna Adina Meyer, Chira Piva, and Stefania Ventra, 61–72.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0256": {
-    "English Original": "Venedig im Jahre 1844.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0257": {
-    "English Original": "\"Witold Władysław Kornelius Zieliński (1836–1895) e Francesco Foucalt di Daugnon (1836–1920): In margine alle relazioni italopolacche di fine Ottocento.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0258": {
-    "English Original": "In Un intellettuale polacco sulle strade d'Europa: Studi in onore di Jan Władysław Woś, edited by Antonello Biagini and Francesco Dante, 147–65.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0259": {
-    "English Original": "Roma: Edizioni Nuova Cultura, 2010.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0260": {
-    "English Original": "In Il collezionismo d'arte a Venezia: Il Seicento, edited by Linda Borean and Stefania Mason, 308.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0261": {
-    "English Original": "Collection of Capital Pictures: The Genuine Property of a Gentleman Going Abroad.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0262": {
-    "English Original": "Collezione di leggi, avvisi, sentenze, notificazioni, vendite, acquisti, offerte, progetti, aste e di tutte le altre carte derivanti dalle autorità di questa centrale e suo dipartimento cominciante dal primo gennajo di quest'anno 1815.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0263": {
-    "English Original": "Lapidi sepolcrali erette nel nostro secolo a' morti.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0264": {
-    "English Original": "\"Giacomo Quarenghi: La Sala della musica in Campidoglio.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0265": {
-    "English Original": "Studi romani 3–4 (2004): 463–74.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0266": {
-    "English Original": "The Decline of the Venetian Nobility as a Ruling Class.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0267": {
-    "English Original": "Baltimore: Johns Hopkins Press, 1962.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0268": {
-    "English Original": "Il mondo nuovo: L'élite veneta fra rivoluzione e restaurazione (1797–1815).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0269": {
-    "English Original": "Venezia: Edizioni Ca' Foscari – Digital Publishing, 2019. http://doi.org/10.30687/978886969 3137.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0270": {
-    "English Original": "\"Aspetti economici della crisi del patriziato veneziano tra fine Settecento e primo Ottocento.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0271": {
-    "English Original": "In Veneto e Lombardia tra rivoluzione giacobina ed età napoleonica: Economia, territorio, istituzioni, edited by Giovanni Luigi Fontana and Antonio Lazzarini, 80–132.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0272": {
-    "English Original": "\"Dal patriziato alla nobiltà: Aspetti della crisi dell'aristocrazia veneziana nell'Ottocento.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0273": {
-    "English Original": "In Les noblesses européennes aux XIXe siècle: Actes du colloque de Rome; 21–23 novembre 1985, edited by Gérard Delille, 333–63.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0274": {
-    "English Original": "Rome: École Française de Rome, 1988.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0275": {
-    "English Original": "Ferrari, Oreste, and Giuseppe Scavizzi.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0276": {
-    "English Original": "Luca Giordano: L'opera completa.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0277": {
-    "English Original": "Venezia monumentale: I palazzi.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0278": {
-    "English Original": "\"Dal portego al salone: Proporzioni e armonie dell'architettura civile veneziana fra Sei e Settecento.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0279": {
-    "English Original": "In Giambattista Tiepolo nel terzo centenario dalla nascita: Atti del convegno internazionale di studi; Venezia, Vicenza, Udine, Parigi, 1996, edited by Lionello Puppi, vol.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0280": {
-    "English Original": "Padova: Il Poligrafo, 1998.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0281": {
-    "English Original": "\"Scaloni e sale da musica, alcove e ridotti: Il rinnovamento dei palazzi veneziani fra il Sei e il Settecento.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0282": {
-    "English Original": "In Atlante tematico del Barocco in Italia: Il sistema delle residenze nobiliary; Italia settentrionale, edited by Marcello Fagiolo, 103–22.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0283": {
-    "English Original": "Roma: De Luca, 2009.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0284": {
-    "English Original": "Foscari Widmann Rezzonico, Antonio.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0285": {
-    "English Original": "\"Beni mobili e quadri delle raccolte Rezzonico pervenuti per successione nelle raccolte Widmann.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0286": {
-    "English Original": "Notiziario degli amici dei musei e dei monumenti di Bassano del Grappa 22–23 (2000): 70–84.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0287": {
-    "English Original": "Venezia: Istituto Veneto di Scienze, Lettere ed Arti, 2004.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0288": {
-    "English Original": "\"Der Funktionswandel venezianischer Palazzi um 1700.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0289": {
-    "English Original": "In Deckenmalerei um 1700 in Europa: Höfe und Residenzen, edited by Stephan Hoppe, Heiko Lass, and Herbert Karner, 68–81.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0290": {
-    "English Original": "\"From Ephemeral to Permanent Architecture: The Venetian Palazzo in the Second Half of the Seventeenth Century.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0291": {
-    "English Original": "In Architectures of Festival in Early Modern Europe: Fashioning and Refashioning Urban and Courtly Space, edited by J. Ronnie Mulryne, Krista De Jonge, Pieter Martens, and Richard L. M. Morris, 119–38.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0292": {
-    "English Original": "Gemin, Massimo, and Filippo Pedrocco.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0293": {
-    "English Original": "Giambattista Tiepolo: I dipinti; Opera completa.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0294": {
-    "English Original": "Von der Kunst des sozialen Aufstiegs: Statusaffirmation und Kunstpatronage der venezianischen Papstfamilie Rezzonico.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0295": {
-    "English Original": "Guida Commerciale di Venezia per l'anno 1846.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0296": {
-    "English Original": "Venezia: Coi Tipi di Francesco Andreola, 1846.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0297": {
-    "English Original": "Baldassare Longhena and Venetian Baroque Architecture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0298": {
-    "English Original": "New Haven: Yale University Press, 2012.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0299": {
-    "English Original": "Il patriziato veneziano alla fine della Repubblica: 1646–1797; Demografia, famiglia, ménage.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0300": {
-    "English Original": "\"A Fairy Palace in Devon: Redcliffe Towers Built by Colonel Robert Smith (1787–1873), Bengal Engineers.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0301": {
-    "English Original": "In The East India Company at Home: 1757–1857, edited by Margot Finn and Kate Smith, 277–97.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0302": {
-    "English Original": "London: UCL Press, 2018. https://doi.org/10.2307/j.ctt21c4tfn.23.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0303": {
-    "English Original": "\"Fidecommesso, doti, famiglia: La trasmissione della ricchezza nella Repubblica di Venezia (XV–XVIII secolo); Un approccio economico.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0304": {
-    "English Original": "Mélanges de l'École française de Rome: Italie et Méditerranée 124 (2012): 519–31.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0305": {
-    "English Original": "\"Les stratégies patrimoniales familiales de l'élite vénitienne au XVIIIe siècle.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0306": {
-    "English Original": "Annales de démographie historique 134, no.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0307": {
-    "English Original": "Paris: Hippolyte Souverain, 1844.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0308": {
-    "English Original": "Il collezionismo e la committenza artistica della famiglia Widmann, patrizi veneziani, dal Seicento all'Ottocento.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0309": {
-    "English Original": "Venezia: Istituto Veneto di Scienze, Lettere ed Arti, 1989.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0310": {
-    "English Original": "Ca' Rezzonico: Guida illustrata.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0311": {
-    "English Original": "Giorgio Massari architetto veneziano del Settecento.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0312": {
-    "English Original": "Vicenza: Neri Pozza, 1971.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0313": {
-    "English Original": "Antonio Canova e i bassorilievi della collezione Rezzonico.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0314": {
-    "English Original": "\"Comportamenti abitativi del patriziato veneziano (1582–1740).\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0315": {
-    "English Original": "Studi Veneziani 22 (1992): 253–324.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0316": {
-    "English Original": "Muraro, Maria Teresa, and Maria Ida Biggi.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0317": {
-    "English Original": "Giuseppe e Pietro Bertoja scenografi alla Fenice, 1840–1902: L᾿immagine e la scena.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0318": {
-    "English Original": "\"Friedrich Nerly in Venedig.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0319": {
-    "English Original": "MDCCC 1800 1 (2012): 55–66.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0320": {
-    "English Original": "Nante, Andrea, Carlo Cavalli, and Pierantonio Gios, eds.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0321": {
-    "English Original": "Carlo Rezzonico: La famiglia, l᾿episcopato padovano, il pontificato; Atti della giornata di studi.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0322": {
-    "English Original": "Padova: Istituto per la Storia Ecclesiastica Padovana, 2013.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0323": {
-    "English Original": "Nante, Andrea, Carlo Cavalli, and Susanna Pasquali, eds.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0324": {
-    "English Original": "Clemente XIII Rezzonico: Un papa veneto nella Roma di metà Settecento.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0325": {
-    "English Original": "Cinisello Balsamo: Silvana Editoriale, 2008.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0326": {
-    "English Original": "\"Rezzonicorum cineres: Ricerche sulla collezione Rezzonico.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0327": {
-    "English Original": "Rivista dell'Istituto Nazionale di Archeologia e Storia dell'Arte 3 (1980): 173–306.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0328": {
-    "English Original": "\"Il palazzo Rezzonico è del Comune di Venezia.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0329": {
-    "English Original": "Corriere della Sera, November 14, 1931.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0330": {
-    "English Original": "\"Bordignon a Venezia: Da Ca᾿ Rezzonico alle prime Biennali (barbaramente respinto).\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0331": {
-    "English Original": "In Noè Bordignon 1841–1920: Dal Realismo al Simbolismo, edited by Fernando Mazzocca, Elena Catra, and Vittorio Pajusco, 30–45.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0332": {
-    "English Original": "\"Antiquari e gallerie commerciali nella Venezia asburgica.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0333": {
-    "English Original": "Predella: Journal of Visual Arts 54 (2023, forthcoming).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0334": {
-    "English Original": "\"Giovanni Querci della Rovere (1770–1865): Dealer of Old Masters in and beyond Austrian Venice.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0335": {
-    "English Original": "In Beyond Borders: The Key for Art Market Power, edited by Vera Mariz and Léa SaintRaymond, 13–34.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0336": {
-    "English Original": "\"Tra Venezia e Brescia: Questioni di gusto e collezionismo nella corrispondenza tra Giovanni Querci della Rovere e Paolo Tosio.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0337": {
-    "English Original": "In Arte e carte nella Brescia dell'Ottocento: Fonti per il collezionismo e il mecenatismo, edited by Sara Tonni, 57–90.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0338": {
-    "English Original": "Brescia: Archivio di Stato di Brescia, 2022.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0339": {
-    "English Original": "La città, il pontificato Rezzonico e Giovanni Battista Piranesi.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0340": {
-    "English Original": "In Clemente XIII Rezzonico: Un papa veneto nella Roma di metà Settecento, edited by Andrea Nante, Carlo Cavalli, and Susanna Pasquali, 53–59.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0341": {
-    "English Original": "Cinisello Balsamo: Silvana Editoriale, 2008.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0342": {
-    "English Original": "\"Antonio Canova: I gessi ῾Rezzonico᾿.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0343": {
-    "English Original": "Bollettino del Museo Civico di Padova 73 (1984): 145–62.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0344": {
-    "English Original": "\"I Rezzonico: Committenza e collezionismo fra Venezia e Roma.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0345": {
-    "English Original": "Arte Veneta 52 (1998): 86–111.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0346": {
-    "English Original": "Gli inventari di Pietro Edwards nella Biblioteca del Seminario Patriarcale di Venezia.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0347": {
-    "English Original": "Ca' Rezzonico: Museo del Settecento veneziano.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0348": {
-    "English Original": "\"Antonio Sanquirico, Art Merchant of Venice.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0349": {
-    "English Original": "Labyrinthos 1–2 (1982): 67–111.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0350": {
-    "English Original": "Tesori di Ca' Rezzonico.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0351": {
-    "English Original": "Milano: Martello Editore, 1965.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0352": {
-    "English Original": "\"Pinacoteca Querci della Rovere.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0353": {
-    "English Original": "Il Vaglio, June 8, 1844, 181–82.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0354": {
-    "English Original": "Ryals, Clyde de L. \"Robert Browning (1812–1889).\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0355": {
-    "English Original": "In Oxford Dictionary of National Biography, 2004.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0356": {
-    "English Original": "Accessed October 3, 2022, https://doi.org/10.1093/ref:odnb/3714.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0357": {
-    "English Original": "Mille mobili veneti: L'arredo domestico in Veneto dal sec.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0358": {
-    "English Original": "\"Un palazzo per artisti nella Venezia dell'Ottocento: Natale e Felice Schiavoni a Ca' Giustinian dei Vescovi.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0359": {
-    "English Original": "In Ca' Foscari: Palazzo Giustinian; Uno sguardo sul cortile, edited by Francesca Bisutti and Guido Biscontin, 47–59.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0360": {
-    "English Original": "Crocetta del Montello: Terra Ferma, 2012.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0361": {
-    "English Original": "\"Venezia 1929: La Mostra del Settecento italiano.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0362": {
-    "English Original": "In Il cielo, o qualcosa di più: Scritti per Adriano Mariuz, edited by Elisabetta Saccomani, 220–28.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0363": {
-    "English Original": "Padova: Bertoncello Artigrafiche, 2007.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0364": {
-    "English Original": "Giambattista Crosato: Pittore del Rococò europeo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0365": {
-    "English Original": "Venezia: Fondazione Giorgio Cini; Verona: Scripta, 2012.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0366": {
-    "English Original": "In Storia di Venezia: L'Ottocento e il Novecento, edited by Mario Isnenghi and Stuart Woolf, 1–41.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0367": {
-    "English Original": "Roma: Istituto della Enciclopedia Italiana, 2002.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0368": {
-    "English Original": "Zieliński, Władysław K. Ze wspomnień żołnierza.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0369": {
-    "English Original": "Warszawa: Naklad Filipa Sulimierskiego, 1880.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0370": {
-    "English Original": "Ca' Rezzonico v 19. stoletju Usoda zbirke in nove namembnosti palače\n\n Povzetek\n\nPrispevek na podlagi objavljenih in arhivskih virov analizira historiat zbirke v Ca' Rezzonico, eni najimpozantnejših palač ob beneškem Velikem kanalu.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0371": {
-    "English Original": "Spremembe v namembnosti historičnih palač starejšega plemstva v Benetkah po padcu Serenissime leta 1797 predstavljajo poseben vidik pri raziskavah recepcije in novih funkcij plemiške arhitekturne dediščine v postrevolucionarni Evropi.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0372": {
-    "English Original": "Rezzonico, ena najuglednejših beneških plemiških rodbin, je z izvolitvijo Carla Rezzonica na papeški prestol kot Klemna XIII, je – čeprav so bili poplemeniteni relativno pozno – prišla do izjemnega političnega vpliva tako v Benetkah kot v Rimu.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0373": {
-    "English Original": "Njihovo palačo na obrežju Velikega kanala je zasnoval arhitekt Baldassare Longhena, dokončal pa jo je Giorgio Massari.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0374": {
-    "English Original": "Z impozantno, s freskami okrašeno slavnostno dvorano in izbrano razkošno opremo je bila utelešenje rodbinskega uspeha in moči.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0375": {
-    "English Original": "Po izumrtju rodbine Rezzonico leta 1810, je Ca' Rezzonico podedovala rodbina WidmannRezzonico, za njo pa RezzonicoPindemonte, ki sta stavbo postopoma izpraznili, prostore pa oddali različnim najemnikom.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0376": {
-    "English Original": "Leta 1857 je palačo kupil poljski grof Władysław Zieliński, leta 1888 slikar Robert Barret Browning, 1906 pa je njen lastnik postal podjetnik Lionello Hierschel De Minerbi.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0377": {
-    "English Original": "Stavba je v tem obdobju služila različnim namenom; bila je sedež Avstrijske tobačne uprave, v njej so bili urejeni umetniški ateljeji in prodajne galerije umetnin, ateljeji scenografov, pa tudi stanovanja uglednih intelektualcev in estetov.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0378": {
-    "English Original": "Sobane in stene Ca Rezzonico so bile priča korenitim transformacijam evropske umetnosti, okusa in kulture v dolgem 19. stoletju.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0379": {
-    "English Original": "Leta 1935 je palačo od Minerbija kupila beneške mestna občina, v njem uredila muzej beneške umetnosti 18. stoletja (Museo del Settecento veneziano) in razstavila zbirko umetnin, umetnoobrtnih izdelkov in pohištva 18. stoletja, katerih historiat je povezan konkretno s Ca Rezzonicom in z drugimi beneškimi plemiškimi palačami.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4387537791_s0380": {
-    "English Original": "S skrbno prenovo stavbe je občina uspešno izbrisala sledove sekundarnih posegov v burnem 19. stoletju in poskrbela za rekonstrukcijo njene podobe v poznobaročnem obdobju, v času vrhunca moči in blišča rodbine Rezzonico.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0001": {
-    "English Original": "Jacopo Paganelli Il soggiorno di Caterina da Siena a Pisa nel 1375\n\nAlcune riflessioni\n\nAbstract: This essay aims to shed light on the period spent by Catherine of Siena in Pisa during the year 1375.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0002": {
-    "English Original": "Catherine was not only a woman of faith and devotion, but also a leading political player in late 14thcentury Tuscany, in direct contact with the Apostolic See through the members of her clique.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0003": {
-    "English Original": "Why did the lord of Pisa, Pietro Gambacorta, summon her to his city?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0004": {
-    "English Original": "What networks of relations did Catherine's arrival fit into?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0005": {
-    "English Original": "What were the tangible consequences of her stay in Pisa?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0006": {
-    "English Original": "Introduzione\n\nDall'inizio del 1375, santa Caterina da Siena si stabilì a Pisa, dov'era giunta su invito del signore cittadino, Pietro Gambacorta, e dove rimase sino agli ultimi giorni dell'anno.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0007": {
-    "English Original": "Quella pisana fu una tappa particolarmente significativa per la mantellata, che sanzionò il suo \"ruolo sempre più importante nella vita religiosa, ma anche politica del tempo\": a Pisa, 1° di aprile (terza domenica prima di Pasqua), la virgo ricevette le stimmate nella chiesa di S. Cristina, nel quartiere di Chinzica.1 La venuta di Caterina toccò nell'intimo\n\nKontakt: Jacopo Paganelli, jacopo.paganelli@unipi.it\n\nQFIAB 103 (2023) DOI 10.1515/qufiab20230012\n\n<sup1</sup Sylvie Duval, Caterina da Siena e la vita religiosa a Pisa, 1362–1430, in: Pierantonio Piatti (a cura di), Caterina da Siena e la vita religiosa femminile.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0008": {
-    "English Original": "Un percorso domenicano, Roma 2020 (Quaderni del CISC 3), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0009": {
-    "English Original": "Ma per un profilo biografico di Caterina si vedano anche Eugenio Duprè Theseider, Caterina da Siena, santa, in: Dizionario Biografico Italiano (= DBI), vol.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0010": {
-    "English Original": "22, Roma 1979 (URL: https://www.treccani.it/enciclopedia/caterinadasienasanta\\\\%28DizionarioBiografico%29/; 9.2.2023); Robert Fawtier, Sainte Catherine de Sienne.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0011": {
-    "English Original": "Essai de critique des sources, II: Les œuvres de\n\nNota: Lista delle abbreviazioni impiegate di seguito: Archivio Storico Diocesano di Pisa, Fondo arcivescovile (= AAPi); Archivio Storico Comunale di Volterra (= ASCV); Archivio Storico Diocesano di Volterra, Fondo vescovile (= ASDVVesc); Archivio di Stato di Firenze (= ASFi); Archivio di Stato di Lucca (= ASLu); Archivio di Stato di Pisa, Comune, Divisione A (= ASPiA); Archivio di Stato di Siena (= ASSi); ISIME = Istituto Storico Italiano per il Medioevo, Archivio storico, Fondo Eugenio Dupré Theseider.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0012": {
-    "English Original": "Questo studio nasce dalle riflessioni condotte nell'ambito del progetto di riedizione dell'epistolario di santa Caterina da Siena, promosso dall'Istituto Storico Italiano per il Medioevo e coordinato da Antonella Dejure.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0013": {
-    "English Original": "Ringraziamo Alma Poloni e Mauro Ronzani per i preziosi consigli forniti.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0014": {
-    "English Original": "Dove non altrimenti specificato, il riferimento per i toponimi citati nel testo è costituito da Emanuele Repetti, Dizionario geografico, fisico, storico della Toscana (URL: http://stats1.archeogr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0015": {
-    "English Original": "© 2023 bei den Autorinnen und Autoren, publiziert von De Gruyter.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0016": {
-    "English Original": "Dieses Werk ist lizenziert unter der Creative Commons Namensnennung – Nichtkommerziell – Keine Bearbeitungen 4.0 International Lizenz.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0017": {
-    "English Original": "una larga fetta della popolazione della città sull'Arno: come ha sottolineato Sylvie Duval, non solo l'influsso esercitato dalla mistica senese gettò le basi per l'esperienza monacale di Chiara Gambacorta (figlia di Pietro), ma, più in generale, la società pisana fu attraversata da una stagione di rinnovato slancio devozionale, tanto che da Pisa giunse uno stimolo decisivo alla costituzione dei movimenti dell'osservanza domenicana.2\n\nIn riva all'Arno v'era un terreno reso fertile, per usare le parole di Mauro Ronzani, dalla \"perdurante consonanza\" tra i frati del convento di S. Caterina d'Alessandria, \"il mondo del clero secolare e i palazzi del comune e del popolo\".3 È un tema ben noto.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0018": {
-    "English Original": "Meno approfondite risultano, invece, le conseguenze dell'intreccio fra la sosta pisana di Caterina e l'esperienza signorile di Pietro Gambacorta.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0019": {
-    "English Original": "Gli studiosi che hanno indagato la scena politica pisana nel secondo Trecento, soprattutto Cecilia Iannella e Alma Poloni, non solo hanno messo in risalto la sagacia e l'abilità del Gambacorta, ma ne hanno anche sottolineato la costante \"ricerca di peculiarità simbolica\": nel corso della sua parabola politica, Pietro si dimostrò particolarmente attento ai risvolti immateriali e figurativi della sua potestas, e basterà qui richiamare il ridimensionamento del ricorso alla rappresentazione dell'aquila imperiale negli stemmi civici, in favore della croce bianca in campo rosso, a significare il tramonto della pregiudiziale antifiorentina che aveva caratterizzato i precedenti regimi politici.4 Cosa implicò, per un signore così inte\n\n4 Per gli studi più recenti sul Gambacorta si vedano Alma Poloni, Putting Pressure on the Lord.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0020": {
-    "English Original": "The Fiscal Reforms of Pietro Gambacorta, signore of Pisa (1370–1392), in: Fabrizio Titone (a cura di), Disciplined Dissent in Western Europe, 1200–1600, Turnhout 2022 (Late Medieval and Early Modern Studies 29), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0021": {
-    "English Original": "75–105; ead., Un lungo Trecento.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0022": {
-    "English Original": "Economia e mobilità sociale a Pisa nel XIV secolo, in: Simone Maria Collavini/Giuseppe Petralia (a cura di), La mobilità sociale nel Medioevo italiano.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0023": {
-    "English Original": "Cambiamento economico e dinamiche sociali (secoli XI–XIII), Roma 2019, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0024": {
-    "English Original": "163–206; ead., Pisa negli ultimi decenni del Trecento.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0025": {
-    "English Original": "I mercantibanchieri e i ritagliatori, in: Mélanges de l'École française de Rome.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0026": {
-    "English Original": "MoyenÂge 129 (2017), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0027": {
-    "English Original": "47–60; Cecilia Iannella, Cultura di popolo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0028": {
-    "English Original": "L'iconografia politica a Pisa nel XIV secolo, Pisa 2018 (Studi Medioevali 3), p. 70; ead., Pietro Gambacorta and the City of Pisa (1369–92), in: Daniel Bornstein/Laura Gaffuri/Brian Jeffrey Maxson (a cura di), Languages of Power in Italy (1300–1600), Turnhout 2017, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0029": {
-    "English Original": "161–176; ead., Le diverse esperienze signorili a Pisa nel Trecento.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0030": {
-    "English Original": "I Donoratico della Gherardesca, Giovanni dell'Agnello, Pietro Gambacorta, in: Andrea Zorzi (a cura di), Le signorie cittadine in Toscana.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0031": {
-    "English Original": "Esperienze di potere e forme di governo personale (secoli XIII–XV), Roma 2013, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0032": {
-    "English Original": "Ma si vedano anche Pietro Silva, Il governo di Pietro Gambacorta in Pisa e le sue relazioni col resto della Toscana e coi Visconti, in: Annali della R. Scuola Normale Superiore di Pisa.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0033": {
-    "English Original": "Filosofia e Filologia 23 (1912), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0034": {
-    "English Original": "I, III–V, 1–35, 37–133, 135–219, 221–261, 263–291, 293, 295–343,\n\nsainte Catherine de Sienne, Roma 1930; André Vauchez, Catherine de Sienne.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0035": {
-    "English Original": "Vie et passions, Paris 2015, p. 75.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0036": {
-    "English Original": "<sup2</sup Sylvie Duval, \"La beata Chiara conduttrice\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0037": {
-    "English Original": "Le vite di Chiara Gambacorta e Maria Mancini e i testi dell'Osservanza domenicana pisana, Roma 2006 (Temi e testi 150).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0038": {
-    "English Original": "<sup3</sup Mauro Ronzani,\"Figli del Comune\" o fuoriusciti?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0039": {
-    "English Original": "Gli arcivescovi di Pisa di fronte alla cittàstato fra la fine del Duecento e il 1406, in: Giuseppina De Sandre Gasparini et al.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0040": {
-    "English Original": "(a cura di), Vescovi e diocesi in Italia dal XIV alla metà del XVI secolo, Atti del convegno, Brescia, settembre 1987, Roma 1990 (Italia sacra.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0041": {
-    "English Original": "Studi e documenti di storia ecclesiastica 43–44), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0042": {
-    "English Original": "Di questa \"consonanza\" sono spia anche le elemosine deliberate dal comune di Pisa per l'ottobre 1374: infatti, i religiosi più sovvenzionati furono i domenicani, i francescani e gli agostiniani (ASPiA 152, c. 77r).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0043": {
-    "English Original": "ressato, come Pietro, agli aspetti simbolici del proprio potere, la venuta della virgo nella città che egli governava?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0044": {
-    "English Original": "Quest'interrogativo nasce perché il filone di studi che ha lumeggiato la signoria gambacortiana non ha incrociato, per così dire, quello più propriamente 'cateriniano': il soggiorno della santa a Pisa è stato analizzato solo attraverso il filtro delle scelte di natura religiosa e devozionale dei fedeli e non è stato posto in relazione con lo scacchiere cittadino, toscano e italiano.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0045": {
-    "English Original": "Che le azioni e le parole della mantellata assumessero un significato intrinsecamente politico lo ha puntualizzato Thomas Luongo, il quale, sulla scia dei lavori di Noële DenisBoulet e di Franco Cardini, ha chiarito che il corpus delle lettere della mantellata è ricco di \"political meanings\", al punto che \"her assertion of spiritual goals can also be read as political rethoric\".5 L'agire, il pensiero e la produzione epistolare della virgo (per quanto filtrata dai segretari di cui si serviva) appaiono tre aspetti quasi inscindibili: seguendo la messa a punto di Agostino Paravicini Bagliani, possiamo inquadrare le esortazioni di Caterina per convincere Gregorio XI a spostarsi a Roma in un preciso programma politico che, grazie al ritorno della Sede apostolica al di qua delle Alpi, si prefiggeva la pacificazione dell'Italia e l'allestimento di una spedizione super infideles.6\n\nÈ del tutto evidente che la mantellata considerava Pisa una realtà urbana per tradizione votata alle imprese marittime, reputandola un luogo ideale dal quale promuovere la formazione di un fronte crociato.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0046": {
-    "English Original": "Dal punto di vista del Gambacorta, la presenza di Caterina in riva all'Arno garantiva al signore un enorme capitale evocativo, soprattutto se si considera che, poco prima di giungere presso di lui, la virgo era stata legittimata dal capitolo dei frati predicatori tenutosi a Firenze nel 1374, durante il quale, probabilmente per interessamento di Alfonso di Vadaterra (già confessore di Brigida di Svezia), ella\n\n<sup345–347, 349–352;</sup e Franca Ragone, Gambacorta, Pietro, in: DBI, vol.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0047": {
-    "English Original": "52, Roma 1999 (URL: https://www.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0048": {
-    "English Original": "Sulla rappresentazione dell'aquila si veda anche Vittoria Camelliti, Artisti e committenti a Pisa, XIII–XV secolo, Pisa 2020, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0049": {
-    "English Original": "<sup5</sup Thomas Luongo, The Saintly Politics of Catherine of Siena, IthacaLondon 2006, p. 6; NoëleR.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0050": {
-    "English Original": "DenisBoulet, La carrière politique de Sainte Catherine de Sienne.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0051": {
-    "English Original": "Étude historique, Paris 1939; Franco Cardini, Caterina da Siena, la repubblica di Firenze e la lega antipontificia.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0052": {
-    "English Original": "Schede per una riconsiderazione, in: Bullettino Senese di Storia Patria 79 (1982), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0053": {
-    "English Original": "300–325; id., L'idea di Crociata in Santa Caterina da Siena, in: Domenico Maffei/Paolo Nardi (a cura di), Atti del simposio internazionale caterinianobernardiniano, Atti del convegno, Siena, aprile 1980, Siena 1982, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0054": {
-    "English Original": "<sup6</sup Agostino Paravicini Bagliani, Caterina da Siena e il Papato, in: Antonio Bartolomei Romagnoli/ Luciano Cinelli/Pierantonio Piatti (a cura di), Virgo digna coelo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0055": {
-    "English Original": "Caterina e la sua eredità.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0056": {
-    "English Original": "Raccolta di studi in occasione del 550° anniversario della canonizzazione di santa Caterina da Siena (1461–2011), Città del Vaticano 2013, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0057": {
-    "English Original": "67–76; Guillaume Mollat, Les papes d'Avignon (1305–1378), Paris 1912, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0058": {
-    "English Original": "; Ada Alessandrini, Il ritorno dei papi da Avignone e S. Caterina da Siena, Roma 1933; ma cfr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0059": {
-    "English Original": "anche il recente Angelo Belloni, Caterina da Siena ad Avignone.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0060": {
-    "English Original": "Il ritorno del papa a Roma tra venti di guerra, crociate e impulsi riformatori, Venezia 2021.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0061": {
-    "English Original": "Su Gregorio XI si veda Paul R. Thibault, Pope Gregory XI.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0062": {
-    "English Original": "The Failure of Tradition, Lanham 1986; Michel Hayez, Gregorio XI, papa, in: DBI, vol.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0063": {
-    "English Original": "59, Roma 2002 (URL: https://www.treccani.it/enciclopedia/papagregorioxi\\\\%28DizionarioBiografico%29/; 9.2.2023).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0064": {
-    "English Original": "era stata \"esaminata su problemi teologici\".7 I domenicani affiancarono a Caterina l'influente frate Raimondo da Capua in qualità di suo direttore spirituale e, soprattutto, ne riconobbero la bontà, nonostante le voci che la dipingevano come una donna degna di poco credito.8 A Firenze, ella ebbe anche l'opportunità di legarsi ad alcuni esponenti di spicco della Parte guelfa, in primis i Soderini.9 Infine, la solenne approvazione del capitolo domenicano rafforzò l'impressione dell'esistenza di un filo rosso tra la mantellata e Gregorio XI, garantito dall'autorevole Raimondo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0065": {
-    "English Original": "Quali vantaggi sperava di conseguire il signore di Pisa dall'arrivo di Caterina nella sua città?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0066": {
-    "English Original": "Dall'inizio degli anni Settanta, soprattutto dopo la (ri)presa di Perugia a opera dei contingenti papali, l'insediamento di un vicario pontificio nella città umbra e l'annuncio del ritorno di Gregorio XI in Italia, il clima di fiducia fra il comune di Firenze e il papa si era progressivamente degradato, proprio in concomitanza del rilancio della lotta antiviscontea da parte della Sede apostolica: per dirla con le parole del prete pistoiese Sozomeno, la conquista di Perugia \"summe displicuit Florentinis\" poiché \"potentia Ecclesiae sic eis appropinquaret\".10 Viziate dai timori per l'espansionismo pontificio, le relazioni tra Gregorio XI e la città gigliata scivolarono verso una reciproca diffidenza, fino al picco di minimo raggiunto in occasione della guerra degli Otto Santi (1375–1378).11\n\n<sup7</sup Daniele Penone, I domenicani nei secoli.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0067": {
-    "English Original": "Panorama storico dell'Ordine dei Frati Predicatori, Bologna 1998, p. 180.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0068": {
-    "English Original": "La presenza di Caterina al capitolo domenicano si desume da Francesco Valli, I miracoli di Caterina di Jacopo di Siena di Anonimo Fiorentino, in: Studi Cateriniani 13 (1935), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0069": {
-    "English Original": "anche Vauchez, Catherine (vedi nota 1), p. 59.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0070": {
-    "English Original": "<sup8</sup Alvaro Grion, Santa Caterina da Siena.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0071": {
-    "English Original": "Dottrina e Fonti, Brescia 1953, p. 291–296; su Raimondo cfr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0072": {
-    "English Original": "Katherina Walsh, Della Vigna, Raimondo, in: DBI, vol.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0073": {
-    "English Original": "37, Roma 1989 (URL: https://www.treccani.it/ enciclopedia/raimondodellavigna\\\\\\(DizionarioBiografico\\)/, 9.2.2023).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0074": {
-    "English Original": "<sup9</sup Per l'avvicinamento di Caterina ai membri notabiliores della Parte guelfa in occasione del capitolo del 1374 cfr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0075": {
-    "English Original": "Thomas Luongo, The Evidence of Catherine's Experience.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0076": {
-    "English Original": "Niccolò di Toldo and the Erotics of Political Engagement, in: Mario Ascheri (a cura di), Siena e il suo territorio nel rinascimento, Siena 2000, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0077": {
-    "English Original": "<sup10</sup Sozomeno da Pistoia, Specimen historiae Sozomeni presbyteri Pistoriensis ab anno Christi MCCCLXII usque ad MCCCCX, a cura di Ludovico Antonio Muratori, in: Rerum Italicarum Scriptores 17, Mediolani 1730, coll.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0078": {
-    "English Original": "Per il contesto politico degli anni Settanta del Trecento si veda Léon Mirot, La politique pontificale et le retour du SaintSiège à Rome en 1376, Paris 1899; Guillaume Mollat, Préliminaires de la guerre des Otto Santi (1371–1375), in: Comptes rendus des séances de l'Académie des Inscriptions et BellesLettres 99 (1955), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0079": {
-    "English Original": "113–117; id., Relations politiques de Grégoire XI avec les Siennois et les Florentins, in: Mélanges d'archéologie et d'histoire 58 (1956), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0080": {
-    "English Original": "335–376; Gene A. Brucker, Florentine Politics and Society (1343–1378), Princeton 1962, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0081": {
-    "English Original": "244–296; Richard Trexler, The Spiritual Power.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0082": {
-    "English Original": "Republican Power Under Interdict, Leiden 1974, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0083": {
-    "English Original": "29–36; Michele Luzzati, Firenze e l'area toscana nel Medioevo, in: Giuseppe Galasso (a cura di), Storia d'Italia, vol.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0084": {
-    "English Original": "7/1, Torino 1987, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0085": {
-    "English Original": "298–300; Franek Sznura, La guerra tra Firenze e papa Gregorio XI, in: Roberto Cardini/Paolo Viti (a cura di), Coluccio Salutati e Firenze.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0086": {
-    "English Original": "Ideologia e formazione dello Stato.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0087": {
-    "English Original": "Catalogo della mostra, Firenze, ottobre 2008–marzo 2009, Firenze 2009, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0088": {
-    "English Original": "<sup11</sup Il contesto politico della Tuscia, come gli Anziani di Lucca rilevarono in un dispaccio del 17 aprile 1375, appariva \"tucto in commotione\": ASLu, Anziani al tempo della libertà 530, c. 23r, regesto in Luigi Fumi (a cura di), Regio Archivio di Stato in Lucca, regesti, II: Carteggio degli Anziani, 1/2, Lucca 1903, nr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0089": {
-    "English Original": "Alla metà del decennio v'era in Toscana un'atmosfera che non si esagera a definire di forte agitazione: acuita dai sospetti di coinvolgimento degli agenti papali nella ribellione dei Salimbeni contro l'autorità del comune senese ed esacerbata dalle incursioni delle bande armate dai Visconti che, attraverso la Lunigiana e la Garfagnana, rischiavano di travolgere Lucca.12 Come s'inquadrano i mesi che Caterina passò a Pisa all'interno di questo quadro frastagliato?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0090": {
-    "English Original": "Proveremo a interrogarci sulle dinamiche del soggiorno pisano della virgo almeno fino alla primavera del 1375, quando la minaccia della stipula di una lega a trazione fiorentina tra i comuni della Tuscia costrinse la mantellata a spendersi per tenere Lucca e Pisa fuori dall'alleanza antipapale.13 Preliminarmente, però, è bene soffermarsi su un aspetto e che lascia lo storico \"dans l'embarras\", per riprendere una sensazione esternata da Jacques Chiffoleau: quello della scarsità di ricadute documentarie dei viaggi della santa.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0091": {
-    "English Original": "Le \"traces du passage de Catherine\" sono pochissime anche relativamente al suo soggiorno avignonese, ma in quel caso ve n'è 'almeno' una, cioè uno stanziamento di 100 fiorini erogati dalla Camera apostolica per ospitare la brigata cateriniana.14 A Pisa, invece, queste tracce mancano del tutto.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0092": {
-    "English Original": "Che la virgo sia 'davvero' stata nella città tirrenica è indubitabile: non solo in virtù delle ricostruzioni agiografiche di Raimondo da Capua e Tommaso Caffarini, ma anche in grazia dei deposti resi davanti al vescovo di Castello – quando quest'ultimo, a inizio Quattrocento, volle indagare sull'uso di commemorare la data della morte di Caterina – e delle datationes topiche di alcune lettere 'pisane', nonché delle rubriche ad esse apposte.15 Come ha precisato Eugenio Duprè The\n\n<sup12</sup Per la rivolta dei Salimbeni contro il comune di Siena alcune notizie in Roberta Mucciarelli, Salimbeni, in: DBI, vol.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0093": {
-    "English Original": "89, Roma 2017 (URL: https://www.treccani.it/enciclopedia/salimbeni\\\\%28DizionarioBiografico%29/; 9.2.2023), oltre che in Alessandra Carniani, I Salimbeni, quasi una signoria.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0094": {
-    "English Original": "Tentativi di affermazione politica nella Siena del 1300, Siena 1995; un efficace quadro di sintesi è in Mario Ascheri, Un'intesa impossibile.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0095": {
-    "English Original": "Caterina e la cultura politicoistituzionale \"popolare\" di Siena, in: Con l'occhio e col lume.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0096": {
-    "English Original": "Atti del corso seminariale di Studi su S. Caterina, Siena 1999, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0097": {
-    "English Original": "Per Lucca si parta da Raoul Manselli, La repubblica di Lucca, in: Galasso (a cura di), Storia d'Italia (vedi nota 10), vol.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0098": {
-    "English Original": "<sup13</sup Su quest'aspetto ci permettiamo di rimandare a Jacopo Paganelli, Gregorio XI, s. Caterina e la Toscana.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0099": {
-    "English Original": "Qualche riflessione sulla lega antipapale del marzo 1376, in: Nuova Rivista Storica 106,3 (2022), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0100": {
-    "English Original": "<sup14</sup Jacques Chiffoleau, La rencontre.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0101": {
-    "English Original": "Catherine et l'institution, in: Catherine de Sienne.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0102": {
-    "English Original": "Catalogo della mostra, Avignon 1992, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0103": {
-    "English Original": "<sup15</sup Raimondo da Capua, Legenda maior sive Legenda admirabilis virginis Catherine de Senis, a cura di Silvia Nocentini, Firenze 2013; Tommaso Caffarini, Libellus de Supplemento legende prolixe virginis beate Catherine de Senis, a cura di Giuliana Cavallini/Imelda Foralosso, Roma 1974; Il processo castellano, con appendice di documenti sul culto e la canonizzazione di S. Caterina da Siena, a cura di MarieHyacinthe Laurent, Siena 1942.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0104": {
-    "English Original": "Per le indicazioni 'pisane' fornite dalle lettere si vedano, a titolo di esempio, la missiva a Pietro marchese del Monte (edita in Epistolario di Santa Caterina da Siena, a cura di Eugenio Duprè Theseider, Roma 1940, nr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0105": {
-    "English Original": "170–172, datatio topica e chronica in calce alla missiva: \"fatta in Pisa el secondo dì di settembre\") e quella a Sano di Maco (nr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0106": {
-    "English Original": "26, p. 108, rubrica sul manoscritto: \"mentre ch'ella era a Pisa la prima volta\").",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0107": {
-    "English Original": "seider (il più fine conoscitore dell'epistolario cateriniano), \"le lettere di Caterina sono fonti storiche esse stesse, e di un valore non piccolo\": \"dove non troviamo la riprova documentaria ai fatti che in esse sono rammentati ci converrà sempre accettarli come autentici\".16\n\nTuttavia, anche se si presta fede alle testimonianze 'cateriniane' e ci si allinea alle indicazioni di Duprè Theseider, resta da precisare la ragione per la quale i principali cronisti pisani del secondo Trecento (Ranieri Sardo e l'Anonimo) non menzionano mai la mantellata.17 La risposta che si può fornire giunge dalla constatazione che alla santa non allude neppure la cronachistica senese del secondo Trecento.18 Caterina non interessava ai cronisti perché questi ultimi non l'avvertivano – secondo i loro canoni, e a differenza di quanto non si farebbe al giorno d'oggi – come una figura che aveva a che fare con la vita politica cittadina e municipale (cui essi erano primariamente interessati).19 A riprova del ragionamento v'è il fatto che l'unico cronista che abbozza un ritratto della virgo senese, il fiorentino Marchionne di Coppo Stefani, lo fa nel momento in cui ella assunse i contorni di un fattore perturbatore e divisivo entro l'agone urbano: nel momento, cioè, in cui Caterina, nella fase clou del confronto fra Firenze e il papa, fu nettamente percepita come un attore della scena politica fiorentina.20\n\n<sup16</sup ISIME, Materiale di lavoro, nr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0108": {
-    "English Original": "<sup17</sup Ranieri Sardo, Cronaca di Pisa, a cura di Ottavio Banti, Roma 1963 (FSI 99); e Cronica di Pisa.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0109": {
-    "English Original": "Dal ms. Roncioni 338 dell'Archivio di Stato di Pisa.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0110": {
-    "English Original": "Edizione e commento, a cura di Cecilia Iannella, Roma 2005 (Antiquitates 22).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0111": {
-    "English Original": "<sup18</sup Cronaca senese di Donato di Neri e di suo figlio Neri, in: Alessandro Lisini/Fabio Iacometti (a cura di), Cronache senesi, Bologna 1931–1939, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0112": {
-    "English Original": "<sup19</sup Per la cronachistica pisana bassomedievale si veda Cecilia Iannella, Pisa, secoli XIII–XIV.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0113": {
-    "English Original": "Autori, modelli, testi, testimoni, in: Fulvio Delle Donne/Fulvio Garbini/Marino Zabbia (a cura di), Scrivere storia nel medioevo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0114": {
-    "English Original": "Regolamentazione delle forme e delle pratiche nei secoli XII–XV, Roma 2021, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0115": {
-    "English Original": "<sup20</sup Sull'entrata di Caterina nel gioco politico fiorentino si veda Vieri Mazzoni, Accusare e proscrivere il nemico politico.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0116": {
-    "English Original": "Legislazione antighibellina e persecuzione giudiziaria a Firenze (1347–1378), Pisa 2010, p. 217.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0117": {
-    "English Original": "Il racconto di Marchionne di Coppo è in Marchionne di Coppo Stefani, Cronica fiorentina, a cura di Niccolò Rodolico, Città di Castello 1903, p. 306: \"addivenne che in Firenze avea una femmina, la quale avea nome Caterina …, ed essendo stata tenuta di santissima, netta e buona vita ed onesta, cominciò a biasimare la brigata contro alla Chiesa … fu costei condotta, o per sua voglia, o con malizia introdotta per stimolo di costoro molte volte alla Parte a dire ch'era buono l'ammonire, acciocché alla Parte si provedesse di levare la guerra; di che era costei quasi una profetessa tenuta da quelli della Parte e dagli altri ipocrita e mala femmina\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0118": {
-    "English Original": "Alle stesse conclusioni è giunto Eugenio Duprè Theseider, I papi di Avignone e la questione romana, Firenze 1939, p. 219: \"l'attività di Caterina da Siena era così squisitamente spirituale che sfugge attraverso le trame, troppo rade, della testimonianza del cronista\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0119": {
-    "English Original": "La signoria gambacortiana: simboli, legami, provenienze\n\nRientrato a Pisa nel febbraio 1369 dopo un esilio di alcuni anni, Pietro Gambacorta si trovò a fronteggiare una situazione assai complicata: all'inimicizia dei sostenitori del precedente signore urbano (il doge Giovanni dell'Agnello) si aggiungeva infatti l'ostilità dimostratagli dall'imperatore Carlo IV.21 La situazione si normalizzò solo all'inizio del maggio 1369, quando il sovrano, che aveva tolto Lucca ai Pisani (affidandola al cardinale di Boulogne), accettò, mediante un trattato, di riconoscere il predominio della pars bergolina guidata dal Gambacorta.22 Gli oppositori di Pietro, comunque, non si diedero per vinti: nel maggio 1370, Bernabò Visconti siglò un'intesa con Giovanni dell'Agnello, attraverso la quale il primo doveva fornire al secondo gli aiuti militari necessari a rimpadronirsi di Pisa e di Lucca.23 S'ingenerò, così, un vero e proprio clima da accerchiamento, durato sino al 1375 e acuito dalla sottrazione di Sarzana ai Pisani da parte delle forze viscontee: quell'atmosfera era il combinato disposto tra la pressione esercitata dalle bande mercenarie al soldo dei Visconti, che periodicamente irrompevano in Tuscia, e la minaccia rappresentata dai partigiani del Dell'Agnello.24\n\nNonostante gli ostacoli il potere del Gambacorta resse, sostenuto – anche – da una serie di atti evocativi e simbolici che dovette imprimersi nell'immaginario collettivo cittadino.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0120": {
-    "English Original": "Ad esempio, il suo rientro a Pisa, nel febbraio 1369, si svolse entro una cornice altamente scenografica: dopo aver accolto dei fanciulli andatigli incontro con l'ulivo in mano, Pietro pose un fiorino d'oro sull'altar maggiore di S. Michele e prestò un solenne giuramento sul messale, che palesò la sua alleanza con la compagnia di S. Michele (un'importante e influente associazione di artigiani).25 Nella primavera 1370, invece, un\n\n<sup21</sup Questi eventi sono efficacemente narrati in Ranieri Sardo, Cronica di Pisa (vedi nota 17), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0121": {
-    "English Original": "171– 174; ma si veda anche Natale Caturegli, La signoria di Giovanni dell'Agnello in Pisa e in Lucca e le sue relazioni con Firenze e Milano (11 agosto 1364–6 settembre 1368), Pisa 1921, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0122": {
-    "English Original": "191–193, e Roland Pauler, La Signoria dell'Imperatore.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0123": {
-    "English Original": "Pisa e l'Impero al tempo di Carlo IV.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0124": {
-    "English Original": "1354–1369, Pisa 1995, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0125": {
-    "English Original": "<sup22</sup Pauler, La Signoria (vedi nota 21), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0126": {
-    "English Original": "e Ottavio Banti, Un anno di storia lucchese (1369–1370).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0127": {
-    "English Original": "Dalla dominazione pisana alla restaurazione della libertà, in: La \"libertas Lucensis\" del 1369.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0128": {
-    "English Original": "Carlo IV e la fine della dominazione pisana, Lucca 1970, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0129": {
-    "English Original": "<sup23</sup Il trattato è edito in Caturegli, La signoria (vedi nota 21), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0130": {
-    "English Original": "anche Jacopo Paganelli, La politìca di Bernabò Visconti e una lettera di Caterina da Siena.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0131": {
-    "English Original": "Alcune note, in: Bullettino dell'Istituto storico italiano per il medio evo 125 (2023), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0132": {
-    "English Original": "Per il trattato tra Bernabò Visconti e il Dell'Agnello cfr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0133": {
-    "English Original": "Andrea Gamberini, Bernabò e i suoi vassalli.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0134": {
-    "English Original": "Note sull'espansionismo visconteo nel secondo Trecento, in: Carlo Bazzani et al.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0135": {
-    "English Original": "(a cura di), Ludus litterarum.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0136": {
-    "English Original": "Studi umanistici in onore di Angelo Brumana, MilanoTorino 2020, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0137": {
-    "English Original": "26–35 (nello specifico pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0138": {
-    "English Original": "<sup24</sup Per le \"continue scorrerie ad opera delle compagnie di ventura assoldate dai protagonisti della lotta per il predominio sul territorio dell'Italia centrosettentrionale\" si veda Cronica di Pisa (vedi nota 17), p. 253, nota nr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0139": {
-    "English Original": "369; ma anche Ranieri Sardo, Cronaca di Pisa (vedi nota 17), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0140": {
-    "English Original": "<sup25</sup Il rientro di Pietro è descritto in Cronica di Pisa (vedi nota 17), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0141": {
-    "English Original": "220–222; ma si veda anche Banti, Un anno di storia lucchese (vedi nota 22), p. 43.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0142": {
-    "English Original": "Sulla compagnia di S. Michele si veda Alma Poloni, La\n\nfallito assalto alle mura a opera dei sostenitori del Dell'Agnello diede al Gambacorta l'occasione per istituire una nuova festa civica: ogni 21 maggio (giorno in cui l'aggressione era stata respinta, nonché festa di S. Restituta), una delegazione degli Anziani si sarebbe recata con 4 torci presso la chiesa di S. Clemente, dove si sarebbe perpetuato il ricordo dello scampato pericolo.26 Ne emerge una vera e propria rifunzionalizzazione dello spazio sacro in chiave politica, a fini propagandistici: una strategia che Pietro seppe impiegare in modo più oculato e discreto rispetto al suo predecessore, che invece giunse a realizzare un trono di marmo dentro la cattedrale, a manifestare la sua concezione personale e autoreferenziale del potere.27\n\nSi situa qui un'altra peculiarità dell'esperienza politica del Gambacorta: egli mantenne quasi intatta – almeno formalmente – l'architettura istituzionale del comune, arrogandosi 'soltanto' le qualifiche di capitaneus di guerra, capitano delle masnade e difensore del Popolo, e lasciando gli Anziani al vertice della cosa pubblica.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0143": {
-    "English Original": "Benché si trattasse di una diarchia in cui uno dei componenti sovrastava l'altro in termini di potere effettivo, visto che gli Anziani erano giocoforza selezionati fra le famiglie sostenitrici del regime gambacortiano, Pietro non assunse mai la guida esclusiva del comune.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0144": {
-    "English Original": "Lo si vede nitidamente da uno stanziamento di spesa deliberato dal comune di Siena per pagare l'ambasciatore che, l'11 marzo 1371, si recò \"al comune e al signore di Pisa\".28 E anche da una relazione inviata al Concistoro di Siena, l'11 novembre 1374, da un paio di ambasciatori.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0145": {
-    "English Original": "Arrivati a Pisa, essi furono accolti dagli Anziani, che dunque restavano il supremo organo in fatto di politica estera; solo in un secondo momento furono ricevuti dal Gambacorta.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0146": {
-    "English Original": "L'indomani mattina, prima di recarsi nel palazzo degli Anziani e di esporre la loro ambasciata davanti al Consiglio, gli emissari senesi stettero \"per grande spacio di tempo aspittando co' messer Piero ne la loro capella\": quest'ultimo provò a convincerli della natura plurale e policentrica del reggimento politico pisano, spiegando loro che l'idea che ciò che \"per lui si vole per gli anziani si mette\" era, appunto, nient'altro che un'idea.29\n\nNonostante che gli ambasciatori senesi fossero ben informati su chi teneva davvero le redini del potere a Pisa, la loro relazione al Concistoro getta luce sul tentativo del Gambacorta di preservare accuratamente il cerimoniale istituzionale: benché Pietro fosse il signore della città, il compito di accogliere per primi le delegazioni dei comuni vicini spettava agli Anziani (il Gambacorta fece persino anticamera nella cappella del\n\n29 ASSi, Concistoro 1785, nr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0147": {
-    "English Original": "mobilità sociale nelle città comunali del Trecento, in: Maria Teresa Caciorgna/Sandro Carocci/Andrea Zorzi (a cura di), I comuni di JeanClaude Maire Vigueur, Roma 2014, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0148": {
-    "English Original": "282–304, specialmente p. 296.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0149": {
-    "English Original": "26 Cronica di Pisa (vedi nota 17), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0150": {
-    "English Original": "<sup27</sup Alma Poloni, Il trono del doge.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0151": {
-    "English Original": "Giovanni dell'Agnello signore di Pisa e di Lucca (1364–1368), in: Paolo Grillo (a cura di), Signorie italiane e modelli monarchici, Roma 2013, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0152": {
-    "English Original": "<sup28</sup ASSi, Concistoro 2303, c. 175r.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0153": {
-    "English Original": "C'è anche da sottolineare che una gestione eccessivamente personale del potere da parte di Pietro avrebbe potuto essere interpretata contraria a una delle clausole della pace stipulata nel maggio 1370 tra Carlo IV e il comune di Pisa, edita in Pauler, La Signoria (vedi nota 21), doc.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0154": {
-    "English Original": "5, p. 188: \"quod numquam [Pisani] recipiant aliquem tirampnum nomine vel factum\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0155": {
-    "English Original": ").30 Quello dell'impressione che si voleva veicolare circa l'assetto della scena politica pisana è un tema che ben si lega agli afflati 'corali' con cui sono narrati, da parte del cronista Ranieri Sardo, l'assunzione della qualifica capitaneale da parte del Gambacorta e il riconoscimento del ruolo vicariale per suo figlio Benedetto (avvenuti rispettivamente il 22 settembre e il 13 ottobre 1370).31 Di entrambi questi avvenimenti cruciali, il primum movens è individuato nei membri delle principali casate solidali coi Gambacorta (come i Bonconti, i Lanfranchi e i Gualandi): furono loro che – in una sorta di gioco degli specchi abilmente inscenato dal signore pisano – condussero Pietro e il figlio dagli Anziani, e che ottennero dai supremi magistrati cittadini il conferimento dei poteri capitaneali per Pietro e quelli vicariali per Benedetto.32\n\nLa rete dei sostenitori dei Gambacorta comprendeva taluni componenti dell'ecclesia pisana e del clero regolare, in quanto parenti del signore o membri delle famiglie a lui legate.33 Vediamo alcuni esempi 'emblematici'.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0156": {
-    "English Original": "Innanzitutto, almeno dal 2 maggio 1375, Lotto di Andrea Gambacorta (nipote ex fratre di Pietro) era canonico del duomo.34 Insieme a Lotto, dal 1370 dimorava nella canonica pisana anche Pietro, consobrinus del cancelliere del signore di Pisa.35 Il 26 ottobre 1376, toccò a Francesco Bonconti essere designato per ricevere uno stallo in cattedrale (ancorché effettivamente ottenuto alcuni anni dopo); almeno dall'aprile 1377, inoltre, Andrea di Ugolino Bonconti era priore del convento domenicano di S. Caterina.36 Andrea di Gianni Bonconti, che nell'estate 1376\n\n<sup30</sup La stessa, chiara idea di chi desse davvero la linea politica al comune pisano ce l'aveva Gregorio XI: il 26 ottobre 1371 il pontefice inviò due lettere a Pisa, una diretta agli Anziani, l'altra a Pietro; con quest'ultima, il papa chiedeva al Gambacorta di fare in modo \"ut dicti anziani sub fida custodia teneant\" i ribelli perugini da poco catturati: cfr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0157": {
-    "English Original": "Lettres secrètes et curiales du pape Grégoire XI (1370–1378) intéressant les pays autres que la France, a cura di Guillaume Mollat, Roma 1965, I, p. 53, nr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0158": {
-    "English Original": "<sup31</sup Ranieri Sardo, Cronaca di Pisa (vedi nota 17), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0159": {
-    "English Original": "<sup32</sup Sulle più importanti famiglie pisane cfr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0160": {
-    "English Original": "Emilio Cristiani, Nobiltà e popolo nel comune di Pisa.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0161": {
-    "English Original": "Dalle origini del podestariato alla signoria del Donoratico, Napoli 1962.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0162": {
-    "English Original": "Una figlia di Pietro andò in moglie a un Gualandi, mentre un'altra sposò un da San Casciano: cfr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0163": {
-    "English Original": "Andrea Barsacchi, La formazione del patrimonio della Certosa di Calci (secc.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0164": {
-    "English Original": "Donazioni, eredità, compravendite, tesi di dottorato in Storia Medievale presso l'Università di Pisa, XXXIII ciclo, 2021, tutore Alma Poloni, p. 108.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0165": {
-    "English Original": "<sup33</sup Per un quadro sulla Chiesa pisana del secondo Trecento cfr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0166": {
-    "English Original": "Luigina Carratori Scolaro, Il Capitolo della Cattedrale nelle vicende pisane della fine del Trecento e degli inizi del Quattrocento, in: Bollettino Storico Pisano 56 (1987), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0167": {
-    "English Original": "1–68; Ronzani, \"Figli del Comune\" (vedi nota 3), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0168": {
-    "English Original": "<sup34</sup Lotto canonico in ASFi, Notarile antecosimiano 12395, c. 6v; il 21 marzo 1377, i Fiorentini chiesero al re d'Ungheria di favorire il domenicano Tommaso da Vico, che Lotto aveva designato come procuratore per prendere possesso di un beneficio ecclesiastico nella diocesi di Zagabria (ASFi, Signori, Missive I Cancelleria 17, c. 99r); i Fiorentini dichiararono di considerare Pietro e il nipote \"paterno ac singularissimo … affectu\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0169": {
-    "English Original": "Per fra Tommaso da Vico si veda Cronica conventus antiqua Sancte Katerine de Pisis, a cura di Emilio Panella (URL: www.etheca.net/emiliopanella/pisa/cronica.htm; 9.2.2023), paragrafo nr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0170": {
-    "English Original": "35 Ronzani, \"Figli del Comune\" (vedi nota 3), p. 824.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0171": {
-    "English Original": "<sup36</sup Francesco Bonconti designato canonico del duomo in ASFi, Notarile antecosimiano 12395, c. 30r; su di lui cfr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0172": {
-    "English Original": "Carratori Scolaro, Il Capitolo (vedi nota 33), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0173": {
-    "English Original": "; Andrea di Ugolino Bonconti in ASFi, Notarile antecosimiano 12395, c. 158r, menzionato in Cronica conventus (vedi nota 34), paragrafo nr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0174": {
-    "English Original": "275.\n\nera fra i savi del quartiere di Chinzica, nel giugno 1375 fu emissario del comune di Pisa a Firenze, nel maggio 1378 fu ambasciatore al papa e, nello stesso anno, fu autorizzato a comprare alcune terre dell'Opera del duomo in Valdiserchio.37\n\nI rapporti fra il Gambacorta e l'arcivescovo Francesco Moricotti (pastore della città tirrenica dal 1362 al 1378) erano ottimi: nel settembre 1374, il procedimento intentato dal capitano di Calci contro Giordano di Parente \"familiaris et castaldius\" del Moricotti fu sospeso \"usque ad aventum et redditum\" del prelato, che si era recato in pellegrinaggio in Terrasanta.38 Nel marzo 1375, invece, Stefano priore di S. Pietro in Vincoli, che in quel momento agiva in qualità di procuratore arcivescovile, ottenne dalle autorità comunali il permesso di far murare una casa disabitata \"apta ad agendum in ea turpia\".39 L'ingranaggio della collaborazione fu, per così dire, oliato dall'infeudazione al Gambacorta dei beni imolesi che appartenevano alla Chiesa di Pisa.40 Inoltre, alcuni membri delle famiglie di spicco della scena politica pisana, come i Gualandi, furono nominati dal presule castellani del suo fortilizio di Lorenzana; e uno degli scribae del prelato, ser Pietro da Cevoli, fu ambasciatore del comune pisano al condottiero Giovanni Acuto (luglio 1375) e ai reggitori di Firenze (dicembre 1375).41 Infine, il vicario generale del Moricotti, il doctor decretorum Paolo da Peccioli, era fratello del ser Giovanni giurisperito che, nella primavera 1369, prestò servizio come \"notarius et scriba publicus cancellerie Pisani comunis\", e che nell'autunno 1374 era cancellarius \"ad licteras\" del comune (Paolo e Giovanni, infatti, erano figli di Iacopo iudex).42\n\n<sup37</sup Si veda ASPiA 67, c. 2r; ASSi, Concistoro 1786, 59; Cronica di Pisa (vedi nota 17), p. 285; ASFi, Notarile antecosimiano 12395, c. 68v.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0175": {
-    "English Original": "<sup38</sup ASPiA 152, c. 67r.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0176": {
-    "English Original": "Sul Moricotti si veda, nello specifico, Maria Grazia Blasio, Francesco di ser Puccio di Vicopisano, in: DBI, vol.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0177": {
-    "English Original": "76, Roma 2012 (URL: https://www.treccani.it/enciclopedia/francescodiserpucciodivicopisanomoricotti\\\\\\(DizionarioBiografico)/; 9.2.2023).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0178": {
-    "English Original": "Il pontefice accordò al prelato il permesso di andare in pellegrinaggio in Terrasanta nel corso del 1371 (doc.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0179": {
-    "English Original": "edito in Antonio Felice Mattei, Ecclesiae Pisanae Historia, Lucae 1768, II, Appendice, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0180": {
-    "English Original": "<sup39</sup ASPiA 154, c. 8r.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0181": {
-    "English Original": "Su Stefano priore e camerario, sindicus e procurator di Francesco arcivescovo cfr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0182": {
-    "English Original": "anche AAPi, Mensa, Diritti di giurisdizione temporale 4, c. 19r.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0183": {
-    "English Original": "<sup40</sup ASFi, Notarile antecosimiano 12395, c. 17r.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0184": {
-    "English Original": "<sup41</sup Per la designazione dei castellani di Lorenzana cfr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0185": {
-    "English Original": "AAPi, Mensa, Diritti di giurisdizione temporale 4, cc.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0186": {
-    "English Original": "8r (Iacopo del fu Betto dei Gualandi, luglio 1372), 10r (Bartolomeo Bellacera dei Gaetani di Pisa, gennaio 1373), 15v (ancora Iacopo di Bettino dei Gualandi, dicembre 1373).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0187": {
-    "English Original": "I Gualandi sono annoverati in Ranieri Sardo, Cronaca di Pisa (vedi nota 17), p. 204, tra le schiatte protagoniste del conferimento a Pietro delle prerogative di comando su Pisa da parte degli Anziani.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0188": {
-    "English Original": "Per i riferimenti a ser Pietro da Cevoli cfr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0189": {
-    "English Original": "ASPiA 208, c. 3r; ASPiA 155, c. 10v; AAPi, Mensa, Contratti 15, c. 1r.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0190": {
-    "English Original": "Su Giovanni Acuto si veda William Caferro, John Hawkwood.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0191": {
-    "English Original": "An English Mercenary in FourteenthCentury Italy, Baltimore 2006.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0192": {
-    "English Original": "42 Per il vicario Paolo da Peccioli cfr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0193": {
-    "English Original": "ASPi, Opera del Duomo 34, c. 109v (\"venerabili viro domino Paulo de Peccioli decretorum doctore generali vicario\"); AAPi, Curia, Atti straordinari 10, cc.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0194": {
-    "English Original": "210r, 327r, 375r; ASFi, Notarile antecosimiano 12395, c. 12v; ASFi, Notarile antecosimiano 11386, c. 26r; ASPi, Diplomatico Olivetani, 1375 aprile 4; ASPi, Spedali Riuniti di S. Chiara 39, c. 8v.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0195": {
-    "English Original": "Per il fratello Giovanni, invece, cfr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0196": {
-    "English Original": "ASFi, Notarile antecosimiano 452, c. 14v (da qui la qualifica di giurisperito); ASPi, Diplomatico Riformagioni Atti Pubblici, 1370 maggio 12 (da qui la citazione nel testo); ASFi, Diplomatico Riformagioni Atti Pubblici,\n\nDal castello di Peccioli giunge un'altra tessera per il mosaico che stiamo provando a comporre: un elemento che, fuor di metafora, permette d'indovinare perché Caterina alloggiò proprio in casa di Gherardo di Niccolò Bonconti.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0197": {
-    "English Original": "Anche la schiatta di uno dei più autorevoli esponenti del convento domenicano di Pisa, fra Domenico \"solempnis magister et egregius predicator\", nonché \"familiaris\" della santa, veniva dal castello della Valdera.43 Qui i domenicani pisani gestivano un ospedale e, si badi, qui andò ad abitare lo stesso Gherardo dopo aver ospitato la virgo senese nella propria dimora cittadina.44 Da alcuni decenni, la casata di Gherardo nutriva alcuni interessi in quella parte di comitato pisano, e si serviva dello stesso notaio, ser Andrea di Pupo da Peccioli, cui ricorrevano anche molti pecciolesi inurbati (e, almeno prima della peste, anche alcuni Gambacorta): non di rado ser Andrea rogava sotto il campanile di S. Cristina, la chiesa urbana – nella quale la mantellata senese ricevette le stimmate – nel cui territorio risiedevano sia i Bonconti sia i Gambacorta.45 Ma la dizione \"da Peccioli\" era usata anche per\n\n<sup1370</sup maggio 12; ASPiA 152, cc.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0198": {
-    "English Original": "53r e seguenti (\"ser Iohannes domini Iacobi de Peccioli notarius et cancellarius Pisani comunis ad licteras\").",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0199": {
-    "English Original": "Alcuni cenni ai vicari generali nel Trecento in Toscana in Jacopo Paganelli, Sui vicari generali nelle diocesi toscane alla metà del Trecento.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0200": {
-    "English Original": "Alcuni spunti a partire dai casi di Volterra, Pisa e Firenze, in: Rivista di Storia della Chiesa in Italia 74 (2020), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0201": {
-    "English Original": "<sup43</sup La citazione nel testo è tratta dalla testimonianza di Baronto di ser Dato edita in Il processo Castellano (vedi nota 15), p. 451.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0202": {
-    "English Original": "Frate Domenico era priore del convento di S. Caterina d'Alessandria nel luglio 1372 (AAPi, Diplomatico S. Caterina 271) e nei primi mesi del 1373 (ASPi, Bonaini 4, 1373 febbraio 12); invece, nell'autunno 1382 fra Domenico, \"sacre pagine professor\", ricopriva la mansione di \"vicarius generalis dicti conventus in absentia prioris\" (ASPi, Diplomatico Olivetani, 1383 ottobre 30).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0203": {
-    "English Original": "Su di lui cfr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0204": {
-    "English Original": "Duval, Santa Caterina (vedi nota 1), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0205": {
-    "English Original": "<sup44</sup Lo si desume da una citazione effettuata dal nunzio del vicario vescovile di Volterra nel luglio 1377, quando il rettore della pieve di Pava fu convocato dalla curia volterrana (in ragione di una controversia le cui motivazioni sono, al momento, ignote) \"ad petitionem et instantiam Gherardi Nicolai Boncontis de Pisis habitatoris Peccioli\" (ASDVVesc, Processi civili 21, c. 4r).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0206": {
-    "English Original": "Per l'ospitalità offerta da Gherardo a Caterina cfr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0207": {
-    "English Original": "Il processo Castellano (vedi nota 15), p. 452: \"hoc tempore erat Pisis in domo Gherardi de Boncontibus iuxta capellam S. Christine\"; e Raimondo da Capua, Legenda maior (vedi nota 15), p. 305: \"Pisas pervenimus et ipsa fuisset in domo recepta cuiusdam civis, qui Gerardus de Boncontibus dicebatur\"; e Epistolario di Santa Caterina (vedi nota 15), nr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0208": {
-    "English Original": "103–106, p. 106: \"noi none uscimmo mai di casa di Gherardo\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0209": {
-    "English Original": "Per l'ospedale domenicano di Peccioli cfr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0210": {
-    "English Original": "Elisabetta Salvadori, I frati Domenicani del convento pisano di Santa Caterina e la loro chiesa (1220–1350) attraverso le fonti documentarie e la Chronica di fra Domenico da Peccioli, tesi di dottorato in Storia Medievale presso l'Università di Pisa, XXVII ciclo, 2015, tutore Mauro Ronzani, III, p. 11 e passim.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0211": {
-    "English Original": "<sup45</sup I registri di ser Andrea da Peccioli in ASFi, Notarile antecosimiano 450–452; essi si estendono dal 1330 al 1362.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0212": {
-    "English Original": "Nel settembre 1336, Iacopo del fu Vanni di Bonduccio Bonconti nominò un paio di procuratori trovandosi davanti alla pieve di Peccioli (450, c. 182v).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0213": {
-    "English Original": "Per alcune occorrenze di uomini originari di Peccioli, di appartenenti alla schiatta dei Bonconti e di membri della casata dei Gambacorta cfr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0214": {
-    "English Original": "1v (Gano notaio del fu Dino da Peccioli), 4v (Matteo notaio del fu ser Enrico da Peccioli procuratore di Marco di Serra familiaris di Andrea Gambacorta), 11r (un familiaris di Colo Bonconti), 17r (Piero del fu Vanni Bonconti), 29v (Gianni del fu Lapo Bonconti), 31v (Mellino di Bonduccio Bonconti), 50v (Vanni di Dino da Peccioli e Netto notaio del fu Pupo da Peccioli), 60v (Lapuccio del fu Puccio da Peccioli), 79v (Andrea Gambacorta), 132v (Francesco del fu ser Bonaccorso Gambacorta), 147r (Andrea Gambacorta), 153r (Francesco, Lotto, Niccolò e Bartolomeo del fu Bonaccorso Gambacorta) 162r (ser Peroncio notaio\n\nidentificare prete Iacopo, rettore della chiesa di Camugliano, vicario generale del capitolo in sede vacante nel 1350, cappellano in duomo e vicario in spiritualibus dell'arcivescovo Moricotti nel 1373.46 Da Peccioli proveniva, infine, anche la famiglia di Bartolomeo del fu Cecco, notaio degli Anziani di Pisa nel 1369.47 In attesa di studi ulteriori, da quanto si è detto si può supporre che fra Domenico e il Bonconti si conoscessero grazie al canale 'pecciolese', che Gherardo mettesse a disposizione di Caterina la sua dimora pisana su sollecitazione del religioso domenicano, e che ciò avvenisse col beneplacito del Gambacorta (del quale i Bonconti erano partigiani) e del vicario generale del Moricotti, a sua volta legato a fra Domenico da una comune ascendenza pecciolese.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0215": {
-    "English Original": "del fu Mannello da Peccioli), 203r (Lotto Gambacorta), 203v (Bartolomeo del fu Marzucco dei Bonconti), 257v (Bartolomeo del fu Bonaccorso Gambacorta e Niccolò di Vanni Bonconti che testimoniano al matrimonio di Mellino di Bonduccio dei Bonconti), 266v (Tinga vedova del notaio Galgano del fu Dino, Enrico di Matteo notaio del fu Enrico e Giovanni notaio del fu Inghiramo, tutti da Peccioli), 316v (Andrea Gambacorta e la moglie Vannuccia), 344r (Lapuccio candelaio del fu Puccio da Peccioli); 451, cc.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0216": {
-    "English Original": "11r (Donato del fu Binduccio di Schiattino da Peccioli), 16r (Mariano Bonconte del fu Ugolino dei Bonconti), 25r (Manetto notaio del fu Pupo da Peccioli), 59r (Bartolomeo del fu Benino da Peccioli), 70v (Bartolomeo notaio del fu ser Ceo da Peccioli), 97v (Teccia vedova di Tomeo di Mazzino da Peccioli), 113r (Andrea del fu Simone, Tano del fu Puccio e Frediano di Marino, tutti da Peccioli); 452, cc.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0217": {
-    "English Original": "5r (Dina del fu Pannocchia da Peccioli).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0218": {
-    "English Original": "Come si vede, le occorrenze sono molto più numerose nel periodo precedente alla peste: forse l'epidemia del 1348 ingenerò un cambiamento nel bacino di utenza di ser Andrea, che comunque mantenne forti legami col milieu dei pecciolesi inurbati.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0219": {
-    "English Original": "Si trattava perlopiù di persone che, se anche non erano caratterizzate da una \"condotta ambigua\", giacché si erano nettamente orientate verso la civitas, mantenevano comunque saldi legami col castello avito (l'espressione in Sergio Tognetti, Da Figline a Firenze.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0220": {
-    "English Original": "Ascesa economica e politica della famiglia Serristori [secoli XIV–XVI], Firenze 2003, p. 20).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0221": {
-    "English Original": "Si noti anche che la chiesa di S. Cristina possedeva alcuni terreni a Peccioli: si veda AAPi, Diplomatico S. Caterina 47, aprile 1303.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0222": {
-    "English Original": "<sup46</sup Si vedano, nell'ordine: ASPi, Diplomatico Roncioni, 1350 marzo 2; ASFi, Notarile antecosimiano 12395, c. 17r; AAPi, Curia, Atti straordinari 10, c. 201r.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0223": {
-    "English Original": "Nel 1372, prete Iacopo risiedeva nella parrocchia pisana di S. Biagio in Ponte (ASPi, Opera del Duomo 34, c. 54r); egli è menzionato anche in Ricordi di cose familiari di Meliadus Baldiccione de' Casalberti dal 1339 al 1382, a cura di Francesco Bonaini, in: Archivio Storico Italiano 8 (1850), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0224": {
-    "English Original": "<sup47</sup Per l'incarico di notaio degli Anziani ricoperto da ser Bartolomeo da Peccioli cfr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0225": {
-    "English Original": "Ricordi di cose familiari (vedi nota 46), p. 49.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0226": {
-    "English Original": "Ser Bartolomeo è forse da identificare con il notaio Bartolomeo del fu ser Ceo da Peccioli menzionato supra.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0227": {
-    "English Original": "A Peccioli nutrivano alcuni interessi anche i Lanfranchi, altra famiglia di sostenitori del Gambacorta: cfr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0228": {
-    "English Original": "ASPi, Diplomatico Cappelli, 1355 marzo 13 (terra di Giovanni del Pellaio dei Lanfranchi situata a Peccioli); ASPi, Diplomatico Roncioni, 1358 agosto 28 (presenza di Betto del fu Bettino dei Lanfranchi presso la pieve del castello); ASFi, Notarile antecosimiano 8110, alla data 1376 gennaio 12 (mutuo di 50 fiorini contratto da Coscio del fu ser Ranieri notaio da Peccioli, cittadino pisano, con Giovanni di Betto dei Lanfranchi).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0229": {
-    "English Original": "I Lanfranchi menzionati fra le famiglie sostenitrici del Gambacorta in Ranieri Sardo, Cronaca di Pisa (vedi nota 17), p. 204.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0230": {
-    "English Original": "Un invito declinato\n\nSe non è dunque da escludere che la rete che univa gli esponenti del milieu laico ed ecclesiastico pisano in qualche modo legati a Peccioli fungesse da prima cinghia di trasmissione della fama di Caterina in città, resta da precisare il legame tra frate Domenico e la santa senese.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0231": {
-    "English Original": "Esso doveva esser passato da due domenicani che si trovavano in S. Caterina d'Alessandria, cioè Bartolomeo Dominici e Tommaso Caffarini, e che facevano parte della brigata cateriniana.48 Così, inizialmente grazie al canale 'pecciolese', sempre più cives pisani rivolsero la loro attenzione alla mantellata.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0232": {
-    "English Original": "Fu su consiglio di una cerchia di pie donne, ossia le penitenti rintracciate da Sylvie Duval, che il Gambacorta pregò la santa di raggiungere Pisa.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0233": {
-    "English Original": "La vicenda è nota grazie alla risposta di Caterina, che declinò l'invito sia per motivi di salute, sia per ragioni di opportunità (\"anco veggo che per ora io sarei materia di scandolo\"): se il soggiorno di costei nella città tirrenica cominciò agli inizi del 1375, si può ragionevolmente ascrivere agli ultimi mesi del 1374 la sua risposta al primo invito di Pietro.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0234": {
-    "English Original": "Secondo Duprè Theseider, la santa intendeva evitare d'incorrere in maldicenze simili a quelle sollevate dai detrattori intervenuti nel capitolo fiorentino del 1374; la sensazione, però, è che il quadro sia più sfrangiato di quello che il testo della missiva presenta a una prima lettura.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0235": {
-    "English Original": "Caterina era in prima battuta una mistica, e non possiamo escludere che l'invito del signore pisano scaturisse da una sua inquietudine individuale.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0236": {
-    "English Original": "Nel luglio 1374, infatti, egli perse Matteo \"dulcissimus filius\", benché non vi sia alcun accenno a quest'avvenimento nella lettera della mantellata.49 In essa c'è, invece, un riferimento chiaro alla vera \"signoria\", intesa come il dominio su di sé e sulle proprie pulsioni: quel tipo di potestas, l'unico duraturo e destinato a dar frutto, era il preambolo necessario alla capacità di governare tanto l'individualità dell'io, quanto la molteplicità della civitas pisana.50\n\nNessuno più di Pietro doveva essere in grado di recepire le parole della virgo, considerati i rivolgimenti politici di cui egli era stato il protagonista, e che l'avevano condotto al vertice del comune, dopo l'esilio di Giovanni dell'Agnello.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0237": {
-    "English Original": "L'opposizione dei partigiani del doge incombeva sul Gambacorta, ingenerando un clima di costante pericolo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0238": {
-    "English Original": "Il 20 febbraio 1374, ad esempio, gli Anziani di Lucca avvertirono i Fiorentini che \"gentes domini Bernabovis velle intrare territorium nostrum versus partes Garfagnane\".51 Né la minaccia incalzava solo da fuori, poiché anche all'interno del comitato pisano v'era una forte opposizione alla politica gambacortiana, da molti considerata troppo filofiorentina a\n\n<sup48</sup Per il ruolo di costoro come diffusori della fama di Caterina a Pisa cfr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0239": {
-    "English Original": "ISIME, Materiale di lavoro 31, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0240": {
-    "English Original": "; e Duval, Caterina da Siena (vedi nota 1), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0241": {
-    "English Original": "Per un profilo del Dominici cfr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0242": {
-    "English Original": "Innocenzo Taurisano, Santa Caterina da Siena nei ricordi dei discepoli, Roma 1957, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0243": {
-    "English Original": "<sup49</sup Per la morte di Matteo Gambacorta cfr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0244": {
-    "English Original": "Iannella, Cultura di popolo (vedi nota 4), p. 194.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0245": {
-    "English Original": "<sup50</sup Si veda Piero Pajardi, Caterina da Siena.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0246": {
-    "English Original": "La santa e il pensiero politico, Milano 1993, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0247": {
-    "English Original": "<sup51</sup ASLu, Anziani al tempo della libertà 529, c. 136r, regesto in Carteggio degli Anziani (vedi nota 11), nr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0248": {
-    "English Original": "413.\n\ncausa del regime di favore di cui godevano gli operatori economici della città gigliata sin dal 1369.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0249": {
-    "English Original": "Benché queste franchigie si spieghino col fatto che Porto Pisano giocava un ruolo strategico per l'economia toscana, al punto che i sistemi economici delle due città sull'Arno, secondo una felice interpretazione di Alma Poloni, erano ormai integrati, la percezione dell'eccessiva arrendevolezza di Pietro nei confronti dei Fiorentini doveva essere diffusa.52 Il 24 maggio 1372, parlando in rappresentanza dell'ufficio del gonfaloniere di giustizia di Firenze, Tommaso di Marco propose di agire riguardo alle \"questiones orte inter quosdam Pisanos et Florentinos in civitate Pisana\" inviando ser Francesco Mazzei a informarsi \"de omnibus novitatibus que inter Florentiam et Pisa sorte sunt\".53\n\nIl risentimento nei confronti dei mercatores fiorentini coinvolgeva persino esponenti di spicco dell'élite filogambacortiana, come Andrea Bonconti, il quale, all'inizio del 1374, rimase coinvolto in un \"litigium\"; intervenendo in una consulta del comune di Firenze tenutasi il 12 gennaio di quell'anno, Leonardo Beccanugi suggerì che i Fiorentini inviassero ser Francesco di Vanni a informarsi \"de quibusdam noviter ibidem factis nostris civibus mercatoribus\".54 Si trattava, con tutta evidenza, di fiammate d'odio che divampavano trasversalmente alle due fazioni pisane dei bergolini e dei raspanti, e che traevano origine dall'orgoglio civico così ben espresso dai cronisti pisani (i quali infatti rimproveravano il Gambacorta \"di essere spropositamente compiacente nei confronti di Firenze e delle città guelfe\").55 La venuta di Caterina a Pisa in qualità di voce autorevole e legittima dell'ecclesia dopo il capitolo fiorentino del maggio 1374, poteva rappresentare un potente strumento di \"'propaganda' signorile\" e aiutare a stemperare il clima di opposizione interna alla politica gambacortiana.56\n\nQuel risentimento era tanto più pericoloso quanto più minacciava di collegarsi al dissenso espresso dai partigiani del doge: il 2 luglio 1372, il fiorentino Giovanni del Bene sostenne che i reggitori della città gigliata avrebbero dovuto render noto al signore pisano \"de hiis que sentiuntur hic contra eum\".57 Analogamente, il 2 aprile 1373, il senese Marco di Meo si recò a Pisa, per conto del Concistoro di Siena, ad approfondire le \"novelle di certo trattato\", certamente una congiura ai danni di Pietro.58 Lo stesso\n\n<sup52</sup Poloni, Un lungo Trecento (vedi nota 4).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0250": {
-    "English Original": "Quanto fosse importante Porto Pisano per Firenze – anche per l'approvvigionamento cerealicolo – lo dimostra una missiva al Concistoro del 25 marzo 1375 (ASSi, Concistoro 1786, 1): \"multa navigia onerata grano empto per mercatores Florentinos in Burgundia debent pervenisse Pisis\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0251": {
-    "English Original": "<sup53</sup ASFi, Consulte e Pratiche 12, c. 32r.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0252": {
-    "English Original": "<sup54</sup Ibid., c. 153r.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0253": {
-    "English Original": "<sup55</sup Iannella, Cultura di popolo (vedi nota 4), p. 70.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0254": {
-    "English Original": "Per il sentimento antifiorentino dei cronisti pisani cfr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0255": {
-    "English Original": "il giudizio del cronista in Cronica di Pisa (vedi nota 17), p. 254: \"vedete buoni vicini e amici sono li fiorentini!\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0256": {
-    "English Original": "<sup56</sup Cecilia Iannella, Il ciclo pittorico di san Ranieri in Camposanto nel contesto storico pisano, in: Patrizia Castelli/Maria Luisa Ceccarelli Lemut, Intercessor Rainerius ad Patrem.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0257": {
-    "English Original": "Il santo di una città marinara del XII secolo, Pisa 2011 (Biblioteca del Bollettino Storico Pisano 57), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0258": {
-    "English Original": "<sup57</sup ASFi, Consulte e Pratiche 12, c. 56v: cfr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0259": {
-    "English Original": "Silva, Il governo di Pietro (vedi nota 4), p. 173, nota 3.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0260": {
-    "English Original": "<sup58</sup ASSi, Concistoro 2303, c. 212r.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0261": {
-    "English Original": "avvenne nel giugno 1375, quando il gonfaloniere di giustizia del comune di Firenze rivelò a un emissario pisano \"alcuno tractato el quale esso sentiva che era in Pisa\".59 A un governante attento ai simboli come Pietro non sfuggiva che la presenza della virgo  in città avrebbe conferito lustro alla sua signoria e, soprattutto, l'avrebbe potenziata in termini di legittimità e di prestigio, grazie al carisma della mantellata e all'ascendente di costei nelle reti devozionali che attraversavano la società pisana.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0262": {
-    "English Original": "Ai fattori d'instabilità appena citati si aggiungeva la situazione critica della parte meridionale del comitato di Pisa (la cosiddetta Maritima), raggiunta con più difficoltà dalla potestas urbana.60 Narrando le vicende dell'assalto di S. Restituta nel maggio 1370, l'Anonimo pisano racconta che, dopo essere stati scoperti, \"li nimici si partitteno\" in direzione della \"Maremma di Pisa\".61 È, questo, un dato che va letto contestualmente agli eventi del marzo 1374, quando Benedetto Gambacorta (figlio di Pietro) fu inviato a Piombino – il principale castello della Maritima – per sedare una rivolta cui presero parte i membri \"della parte delli Raspanti che prima reggeano Pisa\".62 Non è da escludere che le forze del doge si coordinassero con Bernabò Visconti (al quale il Dell'Agnello era legato, come sappiamo, da un patto d'alleanza), ma il sostegno agli avversari del Gambacorta veniva forse da più vicino.63 Giunge in soccorso la relazione degli ambasciatori senesi a Pisa di cui abbiamo parlato sopra, risalente al novembre 1374 e incentrata sui movimenti di truppe nella Maremma pisana.64 Soffermiamoci un istante sul documento.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0263": {
-    "English Original": "I due emissari arrivati da Siena erano venuti a conoscenza dei nomi di coloro che, plausibilmente per conto dei Salimbeni, si erano recati ad arruolare uomini nelle aree boscose della Maritima (circa 200 fanti e 25 cavalieri).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0264": {
-    "English Original": "Era, quella, una fase delicatissima per i destini della città della Balzana, giacché i Salimbeni si erano da poco impadroniti di Montemassi, sbaragliando l'esercito dei Senesi.65 Ma l'ostilità della schiatta era ben\n\n<sup59</sup ASSi, Concistoro 1786, 79.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0265": {
-    "English Original": "anche ASFi, Consulte e Pratiche 12, c. 187v, gennaio 1375: \"ortetur dominus Petrus quod provideat circa statum suum et que sentit rescribat\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0266": {
-    "English Original": "<sup60</sup Ottavio Banti, Iacopo d'Appiano.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0267": {
-    "English Original": "Economia, società e politica del comune di Pisa al suo tramonto (1392–1399), Pisa 1971, p. 118, ha sottolineato l'\"impressione di abbandono\" e \"di rinuncia a far valere l'autorità statale\" del comune di Pisa nella seconda metà del Trecento.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0268": {
-    "English Original": "Per l'estensione e l'articolazione del comitato pisano si veda il classico Franca Leverotti, Sulle circoscrizioni amministrative del contado pisano nel tardo medioevo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0269": {
-    "English Original": "Spunti di ricerca, in: Bollettino Storico Pisano 60 (1991), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0270": {
-    "English Original": "209–216; ead., L'organizzazione amministrativa del contado pisano dalla fine del '200 alla dominazione fiorentina.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0271": {
-    "English Original": "Spunti di ricerca, in: Bollettino Storico Pisano 61 (1992), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0272": {
-    "English Original": "<sup61</sup Cronica di Pisa (vedi nota 17), p. 241.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0273": {
-    "English Original": "<sup63</sup Il pontefice, come comunicò in una lettera dell'aprile 1374, credeva che il Visconti potesse contare sul \"favore aliquorum officialium civitatis Pisane\", e che potesse così reclutare nuove forze: cfr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0274": {
-    "English Original": "Lettres secrètes (vedi nota 30), I, p. 237, nr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0275": {
-    "English Original": "<sup64</sup ASSi, Concistoro 1785, 21 (si veda l'Appendice).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0276": {
-    "English Original": "<sup65</sup Questi eventi sono narrati in Cronaca senese (vedi nota 18), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0277": {
-    "English Original": "Alcune notizie su Montemassi in Roberto Farinelli, I castelli nella Toscana delle \"città deboli\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0278": {
-    "English Original": "Dinamiche del popolamento e del\n\npercepibile sin dal 1372, quando i pareri espressi nelle consulte fiorentine rivelano che a Firenze si temeva che alcuni pezzi del comitato sfuggissero al controllo della civitas e che non vi fosse più modo di farvi rispettare la iustitia: intervenendo in una consulta tenutasi il 24 ottobre, Tommaso Strozzi propose che si dovesse in ogni modo favorire lo \"status Senensium\", inviando a Siena alcuni cives della città gigliata \"ad confortandum eos de iustitia facienda, de conservatione eorum status\".66\n\nL'assoluta gravità della situazione aveva consigliato ai reggitori di Siena, durante la seconda metà del 1374, di fare pressione sui vicini per impedire che i Salimbeni ricevessero rinforzi, e a rivolgersi \"in più parti di Toscana per aiuto e consiglio\".67 Come trapela dalla relazione dei due ambasciatori senesi a Pisa, il signore pisano reagì alle richieste tentando di nascondersi dietro l'autonomia decisionale degli Anziani, così che le sue \"parole asai miste\" (cioè fraudolente e artificiali) non fecero che acuire l'impressione della sua malafede.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0279": {
-    "English Original": "Il Gambacorta provò a convincere i due nunzi senesi che le loro informazioni erano errate, perché gli uomini assoldati nella Maritima non avrebbero potuto essere così tanti: in quella terra di porto, coperta da foreste \"rie\", i reclutati all'insaputa degli Anziani (i quali, altrimenti, avrebbero preso gli opportuni provvedimenti) avrebbero potuto essere al massimo una cinquantina.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0280": {
-    "English Original": "I due ambasciatori non credettero neppure per un istante alla buona fede del Gambacorta, e anzi proposero al Concistoro di considerare che quelle \"schuse sono magre e male verifichate\", invitando contestualmente i reggitori di Siena a informare i priori di Firenze di tutta la faccenda.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0281": {
-    "English Original": "Ma perché Pietro assunse un atteggiamento che ai due ambasciatori parve a dir poco ambiguo, non si diede da fare per soddisfare le loro richieste e non s'impegnò a fare in modo che dal territorio pisano non giungessero aiuti ai Salimbeni?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0282": {
-    "English Original": "La risposta più convincente viene se si pone mente a quanto accadde nel ventennio successivo, quando nel 1396 i conti di Montescudaio – titolari di una solida e robusta placca signorile in Maremma, chiamata Gherardesca, intersecata con i domini dei conti di Castagneto e di\n\npotere rurale nella Toscana meridionale, secoli VII–XIV, Firenze 2007, nr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0283": {
-    "English Original": "37.05 del repertorio digitale allegato.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0284": {
-    "English Original": "Nel febbraio 1374, i Lucchesi comunicarono ai Fiorentini che i Senesi richiedevano aiuti per contrastare l'occupazione di Montemassi \"facta ab eorum emulis\", \"ac etiam gentes armorum a nobis in eorum subsidium postulabant\": ASLu, Anziani al tempo della libertà 530, c. 6v; regesto in Carteggio degli Anziani (vedi nota 11), nr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0285": {
-    "English Original": "Si noti che da Bigozzo veniva uno dei 'reclutatori' delle forze ostili a Siena nella Maritima pisana; notizie su questo castello in Vincenzo Passeri, Documenti per la storia delle località della provincia di Siena, Siena 2002, p. 29.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0286": {
-    "English Original": "<sup66</sup ASFi, Consulte e pratiche 12, c. 63r.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0287": {
-    "English Original": "Nel gennaio 1375, invece, Andrea di Feo, intervenendo in una consulta del comune di Firenze, propose di rispondere agli ambasciatori senesi che chiedevano aiuti che \"quando indigerent, eis solveretur de possibili\" (c. 187r).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0288": {
-    "English Original": "I Fiorentini trasmisero spesso aiuti militari agli alleati senesi: nell'ottobre 1374 destinarono un contingente di 60 lance in favore di Siena (ASSi, Concistoro 1785, 14).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0289": {
-    "English Original": "Sul funzionamento delle consulte cfr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0290": {
-    "English Original": "Vanna Arrighi, I compiti del cancelliere, scheda nr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0291": {
-    "English Original": "23, in: Coluccio Salutati e Firenze (vedi nota 10), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0292": {
-    "English Original": "Cronaca senese (vedi nota 18), p. 657: \"le genti de' Fiorentini che erano in aiuto de' Sanesi che furo a Bochegiano e ora a Montemassi, el comuno di Siena lo' pagava tutti li stallagi, quando stavano in Siena\" (da qui anche la citazione nel testo).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0293": {
-    "English Original": "Donoratico (tutti discendenti dai conti Gherardeschi) – si ribellarono al coordinamento politico esercitato da Pisa e fecero guerra al comune tirrenico, riuscendo a impadronirsi dei castelli di Bibbona e Rosignano.68 Gli avvenimenti degli anni Novanta mostrano chiaramente che i conti, qualora fossero entrati in conflitto coi reggitori cittadini, sarebbero stati in grado di sottrarre alla civitas la sezione meridionale del suo distretto.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0294": {
-    "English Original": "Anche se si tratta, al momento, di una serie d'indizi, essa basta comunque a suggerire che il Gambacorta intendesse evitare al comitato di Pisa un collasso simile a quello che, all'inizio degli anni Settanta, si verificò nel territorio di Siena a opera dei Salimbeni.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0295": {
-    "English Original": "Proprio a questi ultimi, i conti di Montescudaio erano legati per via parentale attraverso i Belforti di Volterra; molti membri della schiatta volterrana, a loro volta, si erano spostati nel Senese, da dove compivano, forse con l'appoggio degli stessi Salimbeni, delle scorrerie nel Volterrano.69 Benché fosse a conoscenza del fatto che i conti Gherardeschi\n\n69 I Belforti favorirono i conti di Montescudaio, avversari dei Bergolini nello scacchiere politico pisano, durante la prima metà degli anni Cinquanta: cfr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0296": {
-    "English Original": "Jacopo Paganelli, \"Comune Pisanum habere in fratrem precipuum maiorem\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0297": {
-    "English Original": "Alcune note sulle relazioni fra Filippo vescovo di Volterra (1348–1356) e il comune di Pisa, in: Archivio Storico Italiano 178 (2020), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0298": {
-    "English Original": "Nel marzo 1372, il conte di Montescudaio rivendicò il possesso della rocca Montevoltraio (finitima a Volterra) in grazia dei diritti vantati dalla moglie, una Belforti (ASFi, Consulte e pratiche 12, c. 9v): doveva trattarsi del conte Ugo di Giovanni da Montescudaio, che aveva sposato Masina di Belforte di Dino: cfr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0299": {
-    "English Original": "Luigi Passerini, Conti della Gherardesca di Pisa, in: Pompeo Litta (a cura di), Le famiglie celebri italiane, Milano 1860, LXXVIII/138, tav.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0300": {
-    "English Original": "V. Il fratello Niccolò di Giovanni (che avrebbe guidato la ribellione antipisana del 1396), invece, andò ambasciatore all'Acuto per conto dei Pisani nell'estate 1375, guidando anche l'esercito comunale: cfr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0301": {
-    "English Original": "Silva, Il governo di Pietro Gambacorta (vedi nota 4), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0302": {
-    "English Original": "58 e 67); nel gennaio 1377, il vescovo di Volterra designò il pievano della pieve di Casale Marittimo \"ad vota nobilis et egregii viri comitis Nicolai de Montescudario\" (ASDVVesc, Notarile rossa 19, c. 47v).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0303": {
-    "English Original": "I Belforti erano legati ai Salimbeni per il tramite di Pietro di Ottaviano Belforti, marito di Angela di Benuccio di Sozzo dei Salimbeni, ossia uno degli esponenti principali della schiatta: cfr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0304": {
-    "English Original": "Carniani, I Salimbeni (vedi nota 12), ad indicem: da quell'unione nacque un figlio di nome Benuccio (ASFi, Notarile antecosimiano 11264, alla data 2 febbraio 1360).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0305": {
-    "English Original": "\"Nonnulli Belfortes\" dimoravano nel Senese (con la copertura dei Salimbeni?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0306": {
-    "English Original": "), da dove compivano incursioni sul territorio volterrano: cfr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0307": {
-    "English Original": "la lettera del 31 gennaio 1376 in ASSi, Concistoro 1787, 90.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0308": {
-    "English Original": "Nel 1316, Caterina del fu Giovanni dei Salimbeni aveva impalmato le nozze con Simone di Bonafidanza dei Belforti: cfr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0309": {
-    "English Original": "Jacopo Paganelli, Rainuccio e gli Allegretti nella Volterra del primo Trecento, in: id.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0310": {
-    "English Original": "(a cura di), Il vescovo Rainuccio Allegretti e la sua visita pastorale.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0311": {
-    "English Original": "Chiesa, istituzioni e società nella diocesi di Volterra agli inizi del XIV secolo, Volterra 2019, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0312": {
-    "English Original": "Il ruolo dei Belforti nelle vicende maremmane e negli attriti fra Siena e Pisa alla metà degli anni Settanta s'intuisce da un'inquisitio condotta dal podestà di Volterra nella primavera 1374 (ASCV, R Rossa 98, c. 95r): alcuni banditi dediti ai furti di bestiame avevano trovato rifugio nella curia di Caselli \"districtus Vulterrani\", \"in quadam silva … que est domini Uberti et Actaviani domini Belfortis de Vulterris\" (si noti che Caselli si trova alle spalle della Gherardesca, verso l'entroterra).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0313": {
-    "English Original": "<sup68</sup Banti, Iacopo d'Appiano (vedi nota 60), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0314": {
-    "English Original": "Notizie sulla schiatta dei conti di Montescudaio in Maria Luisa Ceccarelli Lemut, Medioevo Pisano.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0315": {
-    "English Original": "Chiesa, famiglie, territorio, Pisa 2005, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0316": {
-    "English Original": "300–349; ead., Un castello e la sua storia.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0317": {
-    "English Original": "Montescudaio nel Medioevo, in: Romano Paolo Coppini (a cura di), Storia di Montescudaio, Pisa 2009, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0318": {
-    "English Original": "Riguardo all'ambiguità e alla fluidità con cui i castelli della Gherardesca erano inquadrati entro il comitato pisano cfr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0319": {
-    "English Original": "ASCV, T Rossa 66, c. 14v: \"territorium castri Burgari distriptus comitis Nicolay de Montescudario\" (1384); e T Rossa 68, c. 28r: \"de Castagneto territorio comitum de Gherardescha\" (1386).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0320": {
-    "English Original": "aiutavano i Salimbeni e che dai loro castelli giungevano aiuti ai partigiani del doge, il Gambacorta preferì un approccio, pour ainsi dire, piuttosto morbido alla questione: al fine di non mettere a repentaglio la tenuta della sua signoria, evitando di rompere con la schiatta comitale e cercando, piuttosto, d'integrarla nella rete del suo governo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0321": {
-    "English Original": "Non è certamente un caso che, nel febbraio 1371, il conte Gualando di Castagneto ricoprisse la mansione di vicario del comune pisano nella Maritima.70 E che, nell'ottobre 1372, gli Anziani di Pisa fossero indotti a rassicurare i Senesi di aver ordinato ad alcuni castelli della parte meridionale del distretto, fra cui Montescudaio, di non accogliere i ribelli del comune di Siena.71 Due dati da collocare nella medesima cornice, insieme all'atteggiamento equivoco ed evasivo dimostrato dal Gambacorta nei confronti gli emissari di Siena alla fine del 1374.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0322": {
-    "English Original": "Sotto questa luce, assumono una forma più nitida sia la missione svolta, nell'agosto 1371, dal senese Guglielmo di Conte, il quale si recò \"a Pisa e per lo contado a spiare se ragunata si faceva di gente\",72 sia il diniego espresso da Caterina al primo invito del Gambacorta alla fine del 1374: l'imbarazzo che le impediva di recarsi a Pisa aveva a che fare con gli attriti tra quest'ultima città e il comune di Siena, i cui reggitori non avrebbero accettato il soggiorno pisano della mantellata in un'atmosfera di forte sospetto e ostilità latente.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0323": {
-    "English Original": "Per converso, Pietro doveva sperare che l'arrivo della santa rappresentasse un'occasione di pacificazione con i vicini, e che costituisse il mezzo più appropriato – in virtù dei solidi legami fra la virgo e la Sede apostolica – per convincere il papa a lasciare a Pisa il possesso di Sarzana, dei cui destini si discuteva proprio alla fine del novembre 1374.73\n\n<sup70</sup Sul ruolo vicariale di Gualando cfr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0324": {
-    "English Original": "Andrea Giorgi, Il Carteggio del Concistoro della repubblica di Siena.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0325": {
-    "English Original": "Spogli delle lettere: 1251–1374, in: Bullettino Senese di Storia Patria 97 (1990), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0326": {
-    "English Original": "193–573, p. 409, nr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0327": {
-    "English Original": "Anche i conti di Castagneto erano imparentati con i Belforti: Ludovico del fu Nino conte di Castagneto aveva sposato Ghinga del fu Bernardo Belforti (ASFi, Della Gherardesca, A 1, c. 343r, e Pergamene 199).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0328": {
-    "English Original": "Nel 1369, il conte Gualando di Castagneto fece parte dell'ambasciata inviata a Carlo IV dal comune di Pisa: cfr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0329": {
-    "English Original": "Cronica di Pisa (vedi nota 17), p. 225.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0330": {
-    "English Original": "<sup71</sup Giorgi, Il Carteggio (vedi nota 70), p. 437, nr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0331": {
-    "English Original": "<sup72</sup ASSi, Concistoro 2303, c. 181v.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0332": {
-    "English Original": "<sup73</sup Il \"Catherine's status as representative of Papal interests in Italy\" è sottolineato da Luongo, The Evidence (vedi nota 9), p. 69.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0333": {
-    "English Original": "Per la vicenda di Sarzana, che dal maggio 1369 era controllata dalle forze viscontee, cfr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0334": {
-    "English Original": "Ranieri Sardo, Cronaca di Pisa (vedi nota 17), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0335": {
-    "English Original": "188 sg., si vedano le istruzioni fornite dai Lucchesi al loro ambasciatore presso il papa il 24 novembre 1374 in ASLu, Anziani al tempo della libertà 530, c. 8r, regesto in Carteggio degli Anziani (vedi nota 11), nr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0336": {
-    "English Original": "460: \"Pisani cum Sanrzanensibus tractant quod terra Sarzane custodie Pisanorum commictatur, cui rei nullo modo sua sanctitas debet assentire.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0337": {
-    "English Original": "I Lucchesi speravano che la custodia di quella cittadina fosse tenuta dalla Sede apostolica: \"nam noti sunt Pisani et notissima est amicitia quam servant cum Lombardis\" (un chiaro riferimento ai patti fra il doge Dell'Agnello e Bernabò Visconti).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0338": {
-    "English Original": "Caterina a Pisa\n\nNelle pagine precedenti si è ipotizzato che l'invito alla mantellata da parte del Gambacorta e il successivo diniego di lei possano essere inquadrati nello specchio delle tensioni che caratterizzavano i rapporti tra Siena e Pisa alla fine del 1374, e che erano esacerbate dagli aiuti che giungevano ai Salimbeni dalla Maritima pisana.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0339": {
-    "English Original": "Ma che cosa, allora, indusse Caterina a superare l'iniziale rifiuto?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0340": {
-    "English Original": "E quando giunse, di preciso, nella città tirrenica?",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0341": {
-    "English Original": "Il primo elemento su cui porre l'attenzione è il ritorno dall'oriente, proprio all'inizio del 1375, dell'arcivescovo Francesco Moricotti, partito per la Terrasanta nell'agosto 1373 e ancora \"in itinere sepulcri Domini\" il 18 giugno 1374.74 Il presule sbarcò a Venezia il 2 dicembre 1374, come indica lo stanziamento per rimborsare i corrieri che avevano portato in Toscana le lettere \"de adventu domini archiepiscopi Venetiis existentis missas per ipsum dominum archiepiscopum\".75\n\nSe si segue il filo che abbiamo addipanato sopra, non è illogico ritenere che il Moricotti sentisse parlare della virgo dal suo vicario generale (dominus Paolo), pecciolese come frate Domenico.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0342": {
-    "English Original": "Tanto più, che l'arcivescovo era particolarmente legato a Siena, non solo perché Massa, sottoposta al controllo politico della città della Balzana, ricadeva entro i confini della metropoli pisana, ma anche perché Giovanni dei Panicci, vicario generale del vescovo massetano Antonio da Ripaia (1361–1380), era anche camerario arcivescovile.76 Il ritorno del Moricotti presso la sua cattedra può essere considerato il terminus ad quem per l'inizio del soggiorno di Caterina a Pisa: all'arcivescovo – forse su impulso dell'influente e autorevole Vadaterra, come riteneva il DenisBoulet – spettava il compito di fare da alleato per la promozione del santo passaggio da parte di Caterina, in vista della bolla con cui Gregorio XI proclamò la crociata il 1° luglio 1375.77\n\nIn quella temperie, Pietro diede avvio al ciclo delle \"Storie di San Ranieri\"in Camposanto, incentrato sulla vita del santo pisano fattosi eremita in Terrasanta, e cominciato dal pittore fiorentino Andrea di Bonaiuto.78 A muovere quella grandiosa operazione\n\n<sup74</sup Per la citazione nel testo cfr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0343": {
-    "English Original": "AAPi, Mensa, Diritti di giurisdizione temporale 4, c. 17r.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0344": {
-    "English Original": "Per la partenza del Moricotti cfr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0345": {
-    "English Original": "Cronica di Pisa (vedi nota 17), p. 259: \"del mese d'agosto milletrecentosettantaquattro l'arcivescovo di Pisa andò al Sepolcro Santo in Gerusalem\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0346": {
-    "English Original": "<sup75</sup ASPiA 153, c. 7r.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0347": {
-    "English Original": "Ad accogliere l'arcivescovo partirono da Pisa due ambasciatori mandati dal comune (c. 10r).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0348": {
-    "English Original": "<sup76</sup Lo si apprende da Giorgi, Il Carteggio (vedi nota 70), p. 426, nr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0349": {
-    "English Original": "Giovanni dei Panicci rimase camerario anche dopo che il Moricotti fu nominato cardinale: cfr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0350": {
-    "English Original": "AAPi, Mensa, Iuramenta fidelitatis 2, c. 19v, 14 maggio 1381.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0351": {
-    "English Original": "Alcune notizie su Antonio da Ripaia in Antonio Cesaretti, Memorie sacre e profane dell'antica diocesi di Populonia, al presente di Massa Marittima, Firenze 1784, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0352": {
-    "English Original": "<sup77</sup Si vedano DenisBoulet, La carrière politique (vedi nota 5), p. 82 (\"bref, si Catherine eut l'inspiration de se dévouer à la croisade, cette inspiration fut appuyée par la volonté de ceux qui l'avaient eue avant elle, et en particulier par la volonté du pape Grégoire XI, qui avait … chargé Alphonse de Vadaterra de le répandre en Italie\").",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0353": {
-    "English Original": "<sup78</sup Iannella, Il ciclo pittorico (vedi nota 56); Lorenzo Carletti, Il Trecento, in: Caterina Bay/Lorenzo Carletti/Franco Paliaga (a cura di), Storia illustrata della pittura a Pisa.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0354": {
-    "English Original": "Dalle origini al Cinquecento, Pisa 2015, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0355": {
-    "English Original": "63–93, p. 90.\n\nnon fu soltanto l'intenzione di \"richiamare il glorioso passato cittadino, proponendo un'immagine di Pisa più vicina alla potente e industriosa civitas pienomedievale che non a quella trecentesca\", ma anche, e forse soprattutto, la volontà di rendere manifesta l'adesione del signore pisano ai disegni di crociata espressi dalla virgo e dalla Sede apostolica, cui mostrò pieno appoggio, fra gli altri, anche Ugone III giudice d'Arborea.79 Né è da escludere che il Gambacorta si fosse recato in prima persona al Santo Sepolcro, dove forse ebbe modo di conoscere il Vadaterra e Brigida di Svezia nel corso del loro pellegrinaggio in oriente durante il 1372: se così fosse, l'idea di una solida unità d'intenti fra l'ex confessore di Brigida, il signore di Pisa e la virgo senese ne uscirebbe ulteriormente rafforzata, perché si troverebbe fondata su un consolidato rapporto di fiducia personale tra il Vadaterra e Pietro.80\n\nOltre alla volontà espressa da quest'ultimo di supportare, almeno sul piano delle immagini, i propositi crociati di Caterina, un altro elemento che conviene prendere in considerazione per meglio caratterizzare l'arrivo della mantellata a Pisa riguarda la missione di Berengario abate di Lézat: \"unus abbas ordinis Sancti Benedicti habitus nigri\" – come lo descrissero, il 5 febbraio 1375, gli ambasciatori senesi a Perugia – che Gregorio XI delegò per fugare i sospetti circa la condotta dei rettori pontifici e per aiutare a sciogliere i nodi politici ancora insoluti in Toscana (primo fra tutti, la contesa fra i Senesi e i Salimbeni).81 L'abate fu incaricato insieme al letterato fiorentino Francesco Bruni, secretarius del papa e \"conseiller pour les affaires de Toscane\" di quest'ultimo.82 Le lettere di credenza per il religioso furono trasmesse alle città toscane il 15 febbraio 1375; il suo arrivo, invece, si può collocare all'inizio del maggio, quando Giovanni di Piero Bandini, intervenendo in una consulta del comune di Firenze, suggerì che\n\n<sup79</sup La citazione nel testo da Iannella, Cultura di popolo (vedi nota 4), p. 181.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0356": {
-    "English Original": "L'adesione di Ugone III al progetto crociato di Caterina si desume da Epistolario di Santa Caterina (vedi nota 15), nr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0357": {
-    "English Original": "144–148, p. 147: \"elli m'à risposto gratiosamente che vuole venire con la sua persona, e fornire per due anni diece galee e mille cavalieri e tremila pedoni e seicento balestrieri\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0358": {
-    "English Original": "Su Ugone III si veda Pinuccia Simbula, Ugone III d'Arborea, in: DBI, vol.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0359": {
-    "English Original": "97, Roma 2020 (URL: https://www.treccani.it/enciclopedia/ugoneiiidarborea\\\\%28DizionarioBiografico%29/; 9.2.2023).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0360": {
-    "English Original": "<sup80</sup Per il probabile viaggio di Pietro Gambacorta in Terrasanta cfr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0361": {
-    "English Original": "Iannella, Cultura di popolo (vedi nota 4), p. 184; per il pellegrinaggio del Vadaterra e di Brigida si veda Sonia Porzi, \"Io non sono per fare ora altro passaggio, però che il passaggio è qui\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0362": {
-    "English Original": "Du projet du saint Passage à Jérusalem au passage à la Jérusalem céleste chez Catherine de Sienne, in: Atlante 12 (2020), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0363": {
-    "English Original": "Il Gambacorta poteva contare su un consolidato rapporto di collaborazione con la Sede apostolica sin dal tempo di Urbano V, rispetto al quale \"il modo di agire del governo di Pisa è improntato del più vivo ossequio e della massima sommissione\": cfr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0364": {
-    "English Original": "Silva, Il governo di Pietro Gambacorta (vedi nota 4), p. 69.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0365": {
-    "English Original": "<sup81</sup ASSi, Concistoro 1785, 74.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0366": {
-    "English Original": "<sup82</sup Jean Favier, Les papes d'Avignon, Paris 2006, p. 341; Eugenio Ragni, Bruni, Francesco, in: DBI, vol.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0367": {
-    "English Original": "14, Roma 1972 \\(https://www.treccani.it/enciclopedia/francescobruni\\\\%28DizionarioBiografico%29/; 9.2.2023); Paolo Nardi, Caterina Benincasa e i \"Caterinati\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0368": {
-    "English Original": "Studi storici, Roma 2018 (Quaderni del CISC 3), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0369": {
-    "English Original": "\"eius adventus\" fosse annunciato \"communibus circumstantibus\".83 Il 13 maggio, come si apprende da un'informativa ai Lucchesi, l'inviato pontificio aveva già avuto colloqui coi reggitori della città gigliata; successivamente, il 18 maggio, l'abate raggiunse Siena.84\n\nLa missione pacificatrice di Berengario fungeva da puntello per il disegno politico che, come si è detto sopra, teneva insieme la ricomposizione delle principali discordie nello scacchiere italiano, il ritorno del pontefice presso la tomba di Pietro e l'allestimento della spedizione super infideles.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0370": {
-    "English Original": "A tale riguardo, il soggiorno pisano di Caterina e la legazione toscana dell'abate di Lézat sembrano due valve della stessa conchiglia: due eventi la cui realizzazione fu orchestrata dalla Sede apostolica, in un momento in cui le attività della virgo \"as a public figure were connected directly to her role as an agent of the church party\".85 Non è un caso che, proprio a Pisa, nella primavera 1375, la mantellata incontrasse l'abate benedettino, al quale ebbe poi modo di riferire, in risposta a una lettera di lui, i suoi auspici di riforma della Chiesa.86 La complementarietà del soggiorno pisano della terziaria con la missione del religioso di Lézat spiega anche perché la promozione della crociata da parte di costei avvenne a Pisa e non, ad esempio, a Genova: Pisa rappresentava, infatti, non solo la bocca della Toscana, ma soprattutto il passaggio obbligato che chiunque, arrivando da Avignone, avesse dovuto attraversare per raggiungere la Tuscia.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0371": {
-    "English Original": "In altri termini, Berengario e Caterina costituivano due (decisive) maglie della rete politica tessuta dal pontefice, in una fase in cui, a causa del montare della tensione fra Firenze e Gregorio XI, le attenzioni di quest'ultimo erano concentrate sui comuni toscani.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0372": {
-    "English Original": "Verso la fine di aprile, s'intravidero i frutti del lavorio diplomatico del religioso d'Oltralpe, il quale, per appianare il contenzioso fra Siena e i Salimbeni, agiva di concerto con i Fiorentini: il 26 aprile 1375, i reggitori del comune di Firenze potevano annunciare che \"hodie declaravimus atque pronuntiavimus pacem inter partes predictas\".87 Il Gambacorta, da parte sua, si adoperò per assecondare i desideri di pace espressi dalla mantellata.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0373": {
-    "English Original": "Se l'armonia in Tuscia era il corollario dell'allestimento della crociata, il passadium avrebbe contribuito a smorzare il clima di tensione che permeava l'agone politico italiano, allontanando anche la minaccia costituita dai mercenari smobilitati\n\n<sup83</sup Cfr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0374": {
-    "English Original": "Lettres secrètes (vedi nota 30), II, p. 106, nr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0375": {
-    "English Original": "3177: \"super certis negotiis statum pacificum et tranquillum provincie Tuscie concernentibus\"; e ASFi, Consulte e pratiche 13, c. 53bis–r.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0376": {
-    "English Original": "<sup84</sup L'annuncio dei Fiorentini ai Lucchesi di aver avuto colloqui col religioso, datato al 13 maggio, in ASLu, Anziani al tempo della libertà 530, c. 32r; regesto in Carteggio degli Anziani (vedi nota 11), nr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0377": {
-    "English Original": "Per l'arrivo dell'abate di Lézat a Siena il 18 maggio cfr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0378": {
-    "English Original": "ASSi, ms. C7, c. 83r.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0379": {
-    "English Original": "<sup85</sup Luongo, The Evidence (vedi nota 9), p. 69.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0380": {
-    "English Original": "<sup86</sup Si veda Epistolario di Santa Caterina (vedi nota 15), nr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0381": {
-    "English Original": "194–201, p. 198: \"ricevetti, dolce padre mio, la lettara vostra con grande consolatione e letitia\"; e p. 200: \"quand'io vi dissi che v'afadigaste nella Chiesa santa\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0382": {
-    "English Original": "<sup87</sup ASSi, Concistoro 1786, 23.\n\nin seguito alla pace fra i Visconti e la Chiesa.88 La lettera che Caterina inviò a Giovanni Acuto tramite Raimondo da Capua pare intrisa di questa logica: il mercenario inglese avrebbe dovuto promettere \"d'andare sopra gl'infedeli\", smettendo di combattere contro i fratres cristiani.89 Né è inverosimile che Raimondo fosse stato incaricato da Caterina anche di agevolare la stipula di un accordo (3 luglio) fra il Gambacorta e lo stesso Acuto, con il quale quest'ultimo s'impegnò – dietro la corresponsione di una grossa somma di denaro – a non attaccare Pisa.90\n\nAll'inizio del 1375, il comune di Lucca accettò di affidarsi al Gambacorta per trovare un'intesa con i marchesi Azzolino e Niccolò dei Malaspina del ramo di Fosdinovo, entrati in urto con la città del Volto Santo per alcuni possedimenti situati in Lunigiana.91 Il signore pisano rappresentava un mediatore ideale anche in grazia dei legami fra la sua casata, la città di Pisa e la schiatta marchionale, che affiorano sia dal matrimonio fra Francesco Gambacorta (figlio di Pietro) e Lagia del fu Opizzino Malaspina, sia, soprattutto, dalla promozione di Bernabò di Azzolino Malaspina ad arcivescovo di Pisa (Bernabò fu pastore della città tirrenica dal 1378 al 1380), avvenuta quando il papa elevò Francesco Moricotti al rango di cardinale.92\n\nNon conosciamo l'esito della vertenza fra i marchesi e il comune di Lucca; è comunque certo che la presenza di Caterina a Pisa agevolò la ricomposizione dei dissidi fra i Senesi e i Pisani, nella stessa temperie in cui il comune di Firenze stava componendo una pace fra i Senesi e i Salimbeni.93 Il 13 gennaio 1375 gli Anziani di Pisa, intendendo rimuovere tutti gli \"scandala\", annunciarono al Concistoro di aver inviato a Castiglion della Pescaia (castello pisano) il miles Ranieri da Ripafratta \"cum expedienti mandato\":\n\n<sup88</sup Da quella tregua, come disse Biagio dei Guasconi intervenendo in una consulta del comune di Firenze tenutasi all'inizio del maggio 1375, \"sequentur gentium congregationes\" (ASFi, Consulte e pratiche 13, c. 51v).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0383": {
-    "English Original": "<sup89</sup Per la lettera all'Acuto si veda Caferro, John Hawkwood (vedi nota 41), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0384": {
-    "English Original": "; la lettera è edita in Epistolario di Santa Caterina (vedi nota 15), nr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0385": {
-    "English Original": "Caterina santa di Siena aveva incaricato frate Raimondo \"di dire di sua parte a messere Giovanni Agut che andasse al santo passaggio con questa gente\", cioè coi soldati mercenari (ASSi, Concistoro 1786, 83; il documento è edito in MarieHyacinthe Laurent [a cura di], Documenti, Siena 1936, nr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0386": {
-    "English Original": "anche Luongo, The Saintly Politics [vedi nota 5], pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0387": {
-    "English Original": "<sup90</sup \"Notificamus vobis qualiter ista die facta est concordia inter Pisanos et compagniam Anglicorum\": lettera del 3 luglio 1375 in ASSi, Concistoro 1786, 85.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0388": {
-    "English Original": "<sup91</sup Il 4 gennaio 1375, i reggitori della città di Lucca dichiararono di essere disposti a seguire le indicazioni del Gambacorta \"in agendis cum dominis Azolino et Nicolao marchionibus Malaspine\": cfr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0389": {
-    "English Original": "ASLu, Anziani al tempo della libertà 530, c. 12r; regesto in Carteggio degli Anziani (vedi nota 11), nr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0390": {
-    "English Original": "Per le ragioni della contesa cfr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0391": {
-    "English Original": "Landogna, La politica dei Visconti (vedi nota 23), p. 26.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0392": {
-    "English Original": "<sup92</sup Per il matrimonio fra Lagia e Francesco Gambacorta cfr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0393": {
-    "English Original": "Barsacchi, La formazione del patrimonio (vedi nota 32), p. 110.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0394": {
-    "English Original": "Alcune notizie sui Malaspina di Fosdinovo (cui apparteneva Bernabò) in Patrizia Meli, Gabriele Malaspina, marchese di Fosdinovo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0395": {
-    "English Original": "Condotte, politica e diplomazia nella Lunigiana del Rinascimento, Firenze 2009.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0396": {
-    "English Original": "Su Bernabò arcivescovo pisano si parta da Ronzani, \"Figli del Comune\" (vedi nota 3), p. 824.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0397": {
-    "English Original": "<sup93</sup ASSi, ms. C7, c. 79r.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0398": {
-    "English Original": "esso riguardava la facoltà di siglare un'intesa con i Senesi sia relativamente ad alcune controversie fra privati, sia, soprattutto, in relazione alla \"palata\" di Castiglione, forse un'opera idraulica realizzata dai Pisani al confine del territorio controllato da Siena.94\n\nNon è questa la sede per ripercorrere puntualmente i colloqui e le iniziative intrapresi per appianare i dissidi costieri fra Pisa e Siena.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0399": {
-    "English Original": "Basterà segnalare che, dopo l'ambasciata di ser Angelo da Montefoscoli nella città della Balzana nel marzo 1375, disposta dal Gambacorta, il 12 aprile gli Anziani pisani annunciarono al Concistoro il ritorno in Maremma di Ranieri da Ripafratta.95 Poi, le fibrillazioni seguite alla stipula della tregua (siglata all'inizio di giugno) fra i Visconti e la Sede apostolica, la minaccia delle incursioni delle bande mercenarie rese disoccupate dalla pacificazione e il progetto dei Fiorentini di dar vita a una lega antipapale nella seconda metà dell'anno resero le trattative per la definizione delle questioni ancora aperte in Maremma sempre più impervie.96\n\n Qualche conclusione\n\nArrivati a questo punto, è giunto il momento di tirare le fila del discorso, mettendone in luce i punti salienti.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0400": {
-    "English Original": "Appurata la stretta collaborazione tra la mantellata e il pontefice per il tramite di Alfonso Vadaterra e di Raimondo da Capua, abbiamo ipotizzato che Caterina si sia recata a Pisa non solo perché, grazie al suo passato crociato, essa rappresentava un luogo ideale dal quale promuovere il santo passaggio, ma soprattutto perché la città tirrenica era il porto al quale avrebbe attraccato chiunque avesse voluto arrivare in Tuscia da Avignone.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0401": {
-    "English Original": "Ciò si lega al fatto che il soggiorno di Caterina va letto contestualmente all'attenzione che Gregorio XI tributò alla Toscana all'inizio degli anni Settanta, e che si sostanziò, come si è visto, nella missione pacificatrice all'abate di Lézat.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0402": {
-    "English Original": "Il ristabilimento della concordia in questa regione e la spedizione super infideles erano, per così dire, voci di uno stesso coro di cui faceva parte anche il rientro del pontefice a Roma.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0403": {
-    "English Original": "Una così forte interrelazione spiega la necessità che la virgo si trovasse a Pisa al momento in cui il religioso inviato dal papa raggiungeva le coste italiane.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0404": {
-    "English Original": "<sup94</sup ASSi, Concistoro 1785, 59.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0405": {
-    "English Original": "Poiché, tuttavia, il rappresentante senese si era presentato senza un'adeguata \"commissione\", la stesura di un compromesso fu rinviata.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0406": {
-    "English Original": "Ranieri da Ripafratta aveva ricoperto l'incarico di podestà di Piombino alcuni anni avanti: cfr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0407": {
-    "English Original": "Cronica di Pisa (vedi nota 17), p. 260, nota 381.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0408": {
-    "English Original": "95 ASSi, Concistoro 1785, 91, e 1786, 5.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0409": {
-    "English Original": "ASSi, Concistoro 1787, 14 (lettera di Ranieri da Ripafratta ai Senesi, 10 agosto); ASPiA 208, c. 11r, e ASSi, Concistoro 1787, 30 (lettera degli Anziani di Pisa che annunciano il rientro in Maremma di Ranieri da Ripafratta, 28 agosto); ASPiA 208, c. 15r, e ASSi, Concistoro 1787, 38 (annuncio del ritardo nell'invio del commissario pisano in Maremma, 10 settembre); ASPiA 208, c. 21r, e ASSi, Concistoro 1787, 50 (nuovi rinvii dell'andata di Ranieri in Maremma, del 29 settembre e del 4 ottobre, a causa del \"gravis huius societatis adventus\", cioè del transito di Giovanni Acuto); ASPiA 208, c. 26r, e ASSi, Concistoro 1787, 61 (annunciato l'arrivo del commissario pisano \"pro sedandis Massetanorum et Scharlinensium differentiis una cum vestro commissario\", 2 novembre).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0410": {
-    "English Original": "Non da ultimo, se a Caterina si riconosce il ruolo d'interprete di primo piano dell'azione politica papale in Italia e in Toscana (almeno a partire dal capitolo domenicano del 1374), la venuta di costei a Pisa dovette sanzionare, una volta per tutte, la fine della fase in cui la città tirrenica fu soggetta, per usare un'espressione coniata da Roland Pauler, alla signoria dell'imperatore.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0411": {
-    "English Original": "Ossia a quella tutela (financo ipoteca) esercitata da Carlo IV e dai suoi dignitari sul comune pisano sin dal 1355, e che si era, per così dire, rinnovata grazie al riconoscimento che il reggimento bergolino aveva ottenuto dal sovrano (ancorché ex post) all'inizio del maggio 1369.97 La sosta della mantellata in riva all'Arno schiudeva a Pietro la possibilità di un filo diretto con Gregorio XI, e – per così dire – di un vero e proprio patronato papale sulla città.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0412": {
-    "English Original": "La sosta pisana di Caterina servì, insomma, a riposizionare il regime gambacortiano nel gioco degli equilibri politici internazionali.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0413": {
-    "English Original": "A tale riguardo, non fu probabilmente un caso che la santa ricevette le stimmate nella stessa chiesa in cui Giovanni dell'Agnello, predecessore e tenace oppositore di Pietro Gambacorta, fu \"fatto Dogio di Pisa\" nell'agosto 1364.98 Alla stregua della fine del ricorso all'iconografia dell'aquila che abbiamo richiamato, quell'evento favorì il processo dell'obliterazione dei simboli e dei rituali che avevano caratterizzato il precedente regime politico, in quanto le stimmate della santa senese in S. Cristina contribuirono a rimuovere dalla memoria collettiva la cerimonia di cui il Dell'Agnello era stato protagonista nel 1364.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0414": {
-    "English Original": "Delineate le ragioni 'alte' dell'arrivo della santa, si è cercato di ricostruire le dinamiche della formazione di un addentellato con la città.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0415": {
-    "English Original": "Si è individuato un fascio di personaggi, collocati ai massimi livelli delle istituzioni urbane (il vicario generale dell'arcivescovo Moricotti, fra Domenico del convento di S. Caterina d'Alessandria, il notaio degli Anziani nel 1369, ecc.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0416": {
-    "English Original": "), accumunati dal discendere da avi pecciolesi.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0417": {
-    "English Original": "A costoro era collegato Gherardo Bonconti, esponente di primo piano del regime gambacortiano, che ospitò Caterina nella sua dimora pisana, e che proprio a Peccioli doveva nutrire alcuni interessi patrimoniali; a Peccioli v'era anche, come si è visto, un ospedale controllato e gestito dai religiosi del convento pisano.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0418": {
-    "English Original": "Abbiamo supposto che fosse fra Domenico a diffondere in città – una volta che l'apprese dai confratelli Caffarini e Dominici – la fama della virgo di Siena, e che essa abbia inizialmente circolato attraverso la trama delle sue relazioni 'pecciolesi', prima di raggiungere il resto della società pisana.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0419": {
-    "English Original": "Si potrebbe, quindi, arrivare a ipotizzare che sia stato proprio fra Domenico a gestire e organizzare l'insediamento di Caterina a Pisa.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0420": {
-    "English Original": "L'attenzione rivolta dai cives pisani alla santa fu senz'altro accresciuta dall'ascendente che, da decenni, i fratres di S. Caterina d'Alessandria esercitavano sulla società urbana: si pensi agli affreschi di Buffalmacco al Camposanto, ispirati proprio dai motivi\n\n<sup97</sup Pauler, La Signoria (vedi nota 21).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0421": {
-    "English Original": "<sup98</sup Cronica di Pisa (vedi nota 17), p. 206.\n\ndella predicazione domenicana.99 Pietro Gambacorta fu, così, 'naturalmente' indotto a chiamare Caterina nella sua città.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0422": {
-    "English Original": "Ma i motivi che lo spinsero, come sappiamo, erano anche ben più 'profani': la mantellata disponeva di contatti di alto livello presso la Sede apostolica, che il Gambacorta intendeva presumibilmente sfruttare per riacquistare a Pisa il dominio sulla cittadina di Sarzana.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0423": {
-    "English Original": "Inoltre, la mantellata era una figura dotata di un ascendente fuori dal comune, che poteva rinforzare la legittimità del suo governo, tanto più preziosa sia per parare i colpi di mano dei sostenitori del doge, sia per stemperare il clima di opposizione alla politica gambacortiana, da molti giudicata eccessivamente filofiorentina.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0424": {
-    "English Original": "Abbiamo anche riflettuto sulla cronologia dell'invito a Caterina, e sulle motivazioni dell'iniziale diniego di lei: alla fine del 1374, infatti, i Senesi recriminarono sugli aiuti militari che, dalla Maritima pisana, giungevano ai ribelli Salimbeni.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0425": {
-    "English Original": "Abbiamo supposto che il coordinamento di quei movimenti ostili a Siena avvenisse dai castelli che, posti formalmente sotto il coordinamento politico di Pisa, erano controllati dai discendenti dei conti Gherardeschi, i quali, attuando una politica a dir poco spregiudicata, potrebbero aver aiutato anche i partigiani del Dell'Agnello.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0426": {
-    "English Original": "Il Gambacorta, nonostante le rimostranze dei vicini senesi, non volle mettere a repentaglio la tenuta del comitato della città tirrenica, né costringere i Gherardeschi a giocare, nel Pisano, la stessa parte dei Salimbeni nel Senese: ossia, di ostilità aperta alla civitas.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0427": {
-    "English Original": "Le frizioni tra i Senesi e i Pisani spiegano il primo rifiuto posto da Caterina all'invito del Gambacorta, forse indotto dagli stessi reggitori del comune di Siena.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0428": {
-    "English Original": "Poi, quando la Sede apostolica ritenne d'inviare in Italia l'abate di Lézat per appianare i contrasti tra le potestates della Tuscia, le cose mutarono, e Pietro s'impegnò a rispondere alle istanze di pace avanzate dalla santa, cercando il dialogo con Siena e ponendosi in qualità di mediatore nelle contese fra il comune di Lucca e i Malaspina di Fosdinovo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0429": {
-    "English Original": "D'altro canto Pisa, grazie al santo passaggio e alla collaborazione offerta dal suo arcivescovo, poteva ritrovare la proiezione mediterranea che aveva avuto al tempo di san Ranieri: era questo il messaggio profondo espresso nelle \"Storie di San Ranieri\" affrescate da Andrea di Bonaiuto, che stavano a simboleggiare anche l'adesione della città agli intenti crociati di Gregorio XI.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0430": {
-    "English Original": "Se si fosse realizzata la spedizione super infideles, gran parte delle bande mercenarie che incombevano sulla Toscana si sarebbe diretta verso oriente, allentando la pressione sulla signoria gambacortiana.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0431": {
-    "English Original": "La fine della primavera 1375 portò con sé il naufragio di tutti quei propositi, così che le possibilità di pacificare la Tuscia e di approntare una crociata tramontarono.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0432": {
-    "English Original": "Contestualmente Pisa – cui la tregua fra i Visconti e il papa fece scivolare di mano il possesso della cittadina di Sarzana – perse la primazia nella griglia degli interessi cateriniani: essa non era più la città da mettere alla testa della\n\n<sup99</sup Sugli affreschi di Buffalmacco si parta dal classico Luciano Bellosi, Buffalmacco e il Trionfo della Morte, Torino 1974.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0433": {
-    "English Original": "Sul Camposanto, invece, cfr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0434": {
-    "English Original": "Mauro Ronzani, Un'idea trecentesca di cimitero.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0435": {
-    "English Original": "La costruzione e l'uso del Camposanto nella Pisa del secolo XIV, Pisa 2005.\n\ncrociata verso la Terrasanta, ma un comune da tenere fuori (insieme a Lucca) dalla lega antipapale promossa da Firenze.100\n\nL'impronta di Caterina a Pisa rimane visibile nell'impulso dato, durante e appena dopo il suo soggiorno pisano, ai lavori di completamento della certosa di Calci, beneficiata da un vero e proprio ciclo di donazioni da parte degli esponenti della famiglia Gambacorta: il primo passo fu, nel 1375, la conclusione della cella del priore e del relativo porticato; poi, nel 1377, Giovanna di Pietro realizzò una cella monastica, e un'altra ne fece fare Benedetto di Pietro nel 1378.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0436": {
-    "English Original": "Era, quello, il portato della predilezione accordata ai certosini dalla virgo senese, recepita e messa a frutto dai Gambacorta.101 Ulteriori ricerche potranno meglio delineare il contributo dato dai mesi che la mantellata passò a Pisa alla vis pastorale dell'arcivescovo Lotto Gambacorta (1381–1394), che per vicario generale scelse proprio un confratello di frate Domenico, come lui proveniente dal convento di S. Caterina d'Alessandria: Simone da Cascina.102\n\n<sup100</sup La tregua del 4 giugno 1375 fra il papa e i Visconti prevedeva che questi ultimi lasciassero i castelli della Chiesa lunense nelle mani del papa, eccetto Sarzana (\"fortalicia Ecclesiae et Episcopatus Lunensis, in quibus non intelligatur Sarzana\": doc.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0437": {
-    "English Original": "edito in Johann Christian Lünig, Codex Italiae diplomaticus, Francofurti et Lipsiae 1732, III, p. 255, nr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0438": {
-    "English Original": "<sup101</sup Si veda Barsacchi, La formazione del patrimonio (vedi nota 32), p. 197; e Giorgio Picasso, Santa Caterina e il mondo monastico del suo tempo, in: Atti del simposio internazionale (vedi nota 5), pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0439": {
-    "English Original": "271– 278, in particolare p. 274.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0440": {
-    "English Original": "<sup102</sup Su Lotto si parta da Franca Ragone, Gambacorta, Lorenzo, in: DBI, vol.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0441": {
-    "English Original": "52, Roma 1999 (URL: https:// www.treccani.it/enciclopedia/lorenzogambacorta\\\\\\(DizionarioBiografico)/; 9.2.2023).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0442": {
-    "English Original": "Un recente lavoro dedicato a Simone da Cascina è Simone da Cascina, Actus scolastici, a cura di Marina Soriani Innocenti, Firenze 2021, con la bibliografia qui citata.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0443": {
-    "English Original": "Appendice\n\nASSi, Concistoro 1785, nr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0444": {
-    "English Original": "Relazione degli ambasciatori senesi sui colloqui avuti con gli Anziani pisani e con Pietro Gambacorta.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0445": {
-    "English Original": "Sul verso: \"mangnifici e potenti singnioria | difensori e capitano di popolo de|la città di Siena singniori loro\".",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0446": {
-    "English Original": "1374 novembre 11\n\nSingniori nostri.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0447": {
-    "English Original": "Chome per altra da Fiorenza vi scrivemo, partimo di là martedì passato e per lo maltempo che ave|mo <non giongniemmo qui mezedì ma a sera al tardi.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0448": {
-    "English Original": "El giovedì a mane fumo agli anziani; esponemo l'anbasciata la qua|le c'inponeste.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0449": {
-    "English Original": "Risposono ale solite diciendo che a l'altre parti ne sarebono insieme e l'altra volta | ne farebono risposta.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0450": {
-    "English Original": "Poi di presente fumo a misser Piero e similemente gli naramo questo che per voi | ci fu inposto.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0451": {
-    "English Original": "Esso mostrò di vederci volontieri e ale solite rispose graziosamente, usando molte paro|le dimostrative, non esere abile a questo chomune potervi al presente servire: è perché a voi pare (ed è | chosì la verità)b ch'esso sia in questa tera el tutto, e ciò che<supc</sup per lui si vole per | gli anziani si mette.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0452": {
-    "English Original": "A seghizione e con ogn'istanza che sapemo reprichamo le ragioni già dette | e, ronpendo ogn'ischusa ch'esso ne facieva, diliberamo più oltre non seghire per infino a tanto che | l'anbasciadore da Firenze non venisse; el quale gionse qua venardì su le XX ore. E solito | fomo cho' lui, avisandolo quello che per noi s'era fatto e operato.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0453": {
-    "English Original": "Esso ci fecie grande schuse del tanto | essare penato a venire, aleghando el tenpo che l'aveva stropiato; e di presente chon grande amore | e solicitudine si mosse, e fo agli anziani trovando ine misser Piero; e ne la presenza di tutti chon grande | efichacia spose sua inbasciata sichondo che noi sentimo.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0454": {
-    "English Original": "E chosì fatto solito fomo agli anziani, ricorda|ndolo el vostro spacio.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0455": {
-    "English Original": "Seghitò poi che questa matina, tra la terza e la nona, mandaro per noi, e per grande | spazio di tenpo aspettando cho' misser Piero ne la loro capella; ci feciono poi chiamare e insieme chon | misser Piero andamo in conciestoro eine, aleghando le schuse che per loro vi furo scritte, cho' molte | altre chonforme a quelle ne risposono non essare a loro abile a potervi di niente servirvi, | dolendosi molto che tale risposta lo chonveniva dare.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0456": {
-    "English Original": "E nel prendere da loro chonmiato, usa|ndo quelle parole a vostr'onore da parte ci chiamò misser Piero usando molte parole asai | miste e prendendo in afetto ischusa di tale risposta, diciendo che né per lui né per loro altra<supd</sup risposta | non si poteva fare.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0457": {
-    "English Original": "È vero che nel prendere chomiato da loro e da misser Piero lo richordamo, sì chome altre | volte l'avamo detto,\n\na Segue, ripetuto: singniori.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0458": {
-    "English Original": "b Segue rip. . . . .",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0459": {
-    "English Original": "c Segue, espunto: per gli anziani si vole.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0460": {
-    "English Original": "d Segue un per espunto.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0461": {
-    "English Original": "che a loro piacesse che cone afetto dessono operazioni chee de la tera e distretto | loro none uscisse né giente d'arme né vetovaglia la quale andasse in servigio de' vostri | nemici; e narandolo che noi avavamo sentito, poi che noi fumo in questa tera, chome da molti den|gni di fede avevamo sentito che di qui s'erano partiti intorno di CC fanti e di XXV cavagli e' quagli | erano andati nel servigio de' vostri nemici; ale quagli parole risposono che queste chose erano a lo|ro nuove e che forte se ne dolevano, diciendo che per innanzi provedarebeno per forma che neuno | pensarebe né andarebe a tagli servigi chon bandi e altri modi che in tagli servigi sono tenuti di faref | e diciendo misser Piero che tanta giente non poteva essare, però che tanto numero non | si potrebe fare che non si sentisse, aleghando che questa è tera di porto dove usa molta foresta | ria e che potrebono bene esare stati da quaranta fanti e quagli si potriebono<supg</sup esare partiti a IIII° | o VI: che se né gli anziani non arebono sentito nienteh ma che se di veuno avesono sentito arebero | a ciò riparato.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0462": {
-    "English Original": "E tutte loro parole e schuse sono magre e male verifichate e per tanto crediamo ricor|dando chon ongni riverenzia che sia bene che voi vi ridoliate cho' singniori priori di Firenze de' modi che qua | si tenghono.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0463": {
-    "English Original": "|\n\nOra vi faciamo manifesto<supi</sup chome<supj</sup abiamo sentito da più persone dengni di fede chome già più | dì, cioè pocho innanzi che Montemassi si perdesse, fu qua el Fonda e Nanni di ser Vanni, quello ch'essi | fecieno e adoperaro non potiamo sapere; poi che voi perdeste Montemassi è stato qua Neri da | Bigozo, el quale chondusse e menò una grande parte di questi fanti, fra' quagli fu Ciecho padellaio; e di | giovedì ci fu Lonto da Sticiano, el quale chondusse e menò parte di questa gente a cavallo, la qual | giente è ita per la spesa di loro e de' chavagli, perché qua non avevano soldo e stavano a grande disagio | faciendolo veduta che sul vostro tereno farebono grande ghuadagino.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0464": {
-    "English Original": "Non v'abiamo più tosto scritto per|ché non vedevamo di potervi scrivere neuna chosa sustanziale.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0465": {
-    "English Original": "Domatina di buona ora partiremo | di qui insieme cho' l'anbasciadore fiorentino e andarene a Lucha a traere a fine quello che per voi | ci fu inposto.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0466": {
-    "English Original": "Idio vi chonservi in grande e pacificho stato.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0467": {
-    "English Original": "| E' vostri servidori misser Ghino di Nicho Forteguerri e Nicholaio Verini per voi inbasciadori in Pisa | a dì xi di novenbre 1374 | vi si racomandano.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0468": {
-    "English Original": "e Segue, espunto: de.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0469": {
-    "English Original": "f Segue, espunto e al rigo successivo: tenere.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0470": {
-    "English Original": "g Segue un paio di lettere espunte.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0471": {
-    "English Original": "h Segue una parola di 7 lettere espunta.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0472": {
-    "English Original": "i Segue, espunto: chogr.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4388661114_s0473": {
-    "English Original": "j Segue una parola di 4 lettere espunta.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0001": {
-    "English Original": "Uhuru Torch Images in Selected Sukuma Praise Songs\n\nTungu Masanja Mayombo Department of Languages and Communication Studies Mzumbe University, Tanzania tungu.mayombo@mu.ac.tz\n\n Abstract\n\nThis article examines Uhuru (Independence)Torch images in selected Sukuma praise songs, highlighting their significance and the images they embody.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0002": {
-    "English Original": "The analysis of these songs attempted to capture the Sukuma imagination of the Torch—an independence symbol—in terms of sociocultural, political and economic dimensions.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0003": {
-    "English Original": "The purposively selected Sukuma praise songs contain Uhuru Torch attributes reinforced through the evocation of praise tones.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0004": {
-    "English Original": "The Torch is the focal point of these songs since the praising they imbue significantly extrapolate its significance to the society.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0005": {
-    "English Original": "The qualitative study explored indepth the Sukuma sociocultural, political and economic practices embedded in the images of these Sukuma praise songs to assess their significance in capturing the Uhuru essence and what it represents.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0006": {
-    "English Original": "It analyses the Uhuru Torch images in Sukuma praise songs from two angles: the angle of bodily/physical sensation (images of fire and smoke of Uhuru Torch) and the association/comparison perspective (Uhuru Torch in the image of man and the mythological images of the Torch).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0007": {
-    "English Original": "At the centre of analysis of selected Sukuma praise songs are images interpreted in partnership with Uhuru Torch observable in diverse artistic contexts and perceptions of the Sukuma lore.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0008": {
-    "English Original": "The study found that these images are primarily a product of the human mind, which is machinery for digesting images for consumption and awareness of the society.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0009": {
-    "English Original": "Keywords:\n\nUhuru Torch, Sukuma Praise Songs, Uhuru Imagery <https://dx.doi.org/10.56279/ummaj.v10i2.6\n\n Introduction\n\nhuru Torch is one of the national symbols of the United Republic of Tanzania.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0010": {
-    "English Original": "In the history of Tanzania, Uhuru Torch was first lit in 1961 on top of the Kilimanjaro, the highest mountain in Africa, on the eve of the country's independence as a symbol of light, hope, respect, and love (Ned 2015).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0011": {
-    "English Original": "In the context of this article, the term 'Uhuru Torch' refers to a phenomenon depicted in Sukuma praise songs that U\n\n© Creative Commons, 2023\n\nappeals to various imaginations among the Sukuma.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0012": {
-    "English Original": "The images discussed in this paper reflect the Sukuma's pointofview pertaining to Uhuru Torch visàvis their lives.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0013": {
-    "English Original": "The article argues that imagining the Uhuru Torch among the Sukuma also implies an understanding of situations and ideas that associate with it from within and outside Sukuma society.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0014": {
-    "English Original": "The article addresses these situations and ideas as accompaniments that shape the images the indigenous Sukuma create.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0015": {
-    "English Original": "The Sukuma praise songs serve as texts used to formulate and transfer meaning to the community.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0016": {
-    "English Original": "They are the machinery of expressing images of Uhuru Torch in the framework of how the Torch associates and moves with government developmental goals.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0017": {
-    "English Original": "Okumba (1994) reports that \"it is kind of imperative that effective literature uses figures of speechimages.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0018": {
-    "English Original": "The images conjure up, in the mind, pictures that reinforce the clarity of the subjects.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0019": {
-    "English Original": "Imagery is thus the oral graphics of literature\" (p. 70).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0020": {
-    "English Original": "Examining the Uhuru Torch images, the article also observes that praising the Uhuru Torch, through the selected Sukuma songs, motivates people's imagination about its significance.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0021": {
-    "English Original": "Theoretical Orientation\n\nThis study employed the Cognitive Metaphor Theory to examine Uhuru Torch images in the selected Sukuma praise songs.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0022": {
-    "English Original": "This theory facilitated the understanding of how Uhuru Torch is reimagined in the Sukuma local context and lore, particularly in considering how song artists use metaphorical images in conveying messages.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0023": {
-    "English Original": "George Philip Lakoff and Mark Johnson developed the Cognitive Metaphor Theory in 1980 to describe metaphorical expressions.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0024": {
-    "English Original": "According to Lakoff and Johnson, metaphorical language expressions convey underlying conceptual metaphors in which the metaphor topic serves as the vehicle of experience.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0025": {
-    "English Original": "For Lakoff and Johnson (1980), \"Our ordinary conceptual system, in terms of which we both think and act, is fundamentally metaphorical in nature\" (p. 3) with the \"essence of metaphor [being] understanding and experiencing one kind of thing in terms of another\" (p. 5).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0026": {
-    "English Original": "Moreover, images in literature activate these mappings and help people to understand abstract or complex concepts in terms of more familiar or concrete ones (Lakoff & Johnson 1980, p. 12).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0027": {
-    "English Original": "Depending on\n\nwhether an image reflects the true or accepted meaning of the words or symbols that conjure it, the meaning can be either literal or metaphorical.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0028": {
-    "English Original": "Metaphorical pictures are derivable from the imagination or inference, whereas literal images are based on a direct sense or recollection (Ureña & Faber 2010, pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0029": {
-    "English Original": "Harliani (2014) contends that an image in literature is a term that conjures up a clear mental picture in the reader's mind while expressing concepts, emotions, and descriptions.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0030": {
-    "English Original": "It happens when people use their thoughts to understand different kinds of experiences.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0031": {
-    "English Original": "Depending on the sense they appeal to, images can be tactile, abstract, simple, or complex, and they can also be categorised as personifications, metaphors, similes, symbols, tactile, visual, auditory, or olfactory (Okumba 1994).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0032": {
-    "English Original": "As a matter of fact, over the past several years, the notion of pictures has enjoyed scholarly prominence both inside and beyond the literary community.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0033": {
-    "English Original": "Because of how intricately it relates to global issues, it has proven to be one of the most captivating and perplexing concepts.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0034": {
-    "English Original": "Creative expressions, after all, are not amenable to a single interpretation or construction.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0035": {
-    "English Original": "Since imagery involves subjectivity in language for the creation of objective realities that are shared by society, it is socially produced and naturally institutionalises (Berger & Luckmann 2002; Denize et al.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0036": {
-    "English Original": "It therefore finds expression in the social structure of language, as expressed by an individual and shared (as a commodity) for collective social use.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0037": {
-    "English Original": "Indubitably, the human mind can be triggered to perception by the art of the imagery—whether by way of words, drawings, or other forms of art.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0038": {
-    "English Original": "In this regards, Crystal (1987) states that in literature \"there are large numbers of words where it is not possible to see what 'thing' the word refers to [...] Some words do have meanings that are relatively easy to conceptualise, but we certainly do not have neat visual images corresponding to every word we say\" (p. 101).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0039": {
-    "English Original": "Images in literature occupy spaces that force texts to talk about several topics at once, inspiring readers' or audiences' imaginations in general.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0040": {
-    "English Original": "Llorens (2015) further contends that it is challenging to conceptually define \"image\" and \"imagery\" since imagery appears both everywhere and nowhere in a\n\nliterary work.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0041": {
-    "English Original": "It is frequently seen to have hazy borders, much like other widely used terms like metaphor, symbolism, and figurative language.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0042": {
-    "English Original": "Following the same line of reasoning, Llorens (2015) first highlights the similarity in meaning between \"image\" and \"imagery,\" emphasising that both relate to the entirety of linguistic figures and literary methods.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0043": {
-    "English Original": "Second, he describes the scope of the two ideas in terms of their significance and impact on the composition and operation of literature generally (in this instance, Uhuru Torch extols the songs of the Sukuma).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0044": {
-    "English Original": "Since pictures are fluid, slick, and flexible in their operations, many text consumers do not fully understand the concepts of \"image\" and \"imagery,\" even though these terms have a crucial role and place in literary works.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0045": {
-    "English Original": "Impliedly, there is not just one context, which is typically interpreted as the exact angle between an image's position and purpose.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0046": {
-    "English Original": "Overall, all the accounts tied to their presence and usages in the literary works are not set on grounds of certain systematic approaches, and thus, readers normally attend to them in person without caring about critics.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0047": {
-    "English Original": "Despite the absence of one universal outlook regarding meaning of 'image' and 'imagery' Preminger and Brogan (1993) in The Princeton Encyclopaedia of Poetry and Poetics, describe \"imagery\" in terms of images produced in the mind by language, whose words may refer either to experiences which could produce physical perceptions\" (p. 560).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0048": {
-    "English Original": "Stated differently, the nature of images aims to articulate certain degrees of mental images in the human mind that result from linguistic forces interacting or clashing with human thoughts.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0049": {
-    "English Original": "This is quite like the figurative act that occurs in literary discourse when the listener is asked to sketch pictures or portraits of the potential meanings and connections between metaphors, similes, symbols, and a host of other similar devices.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0050": {
-    "English Original": "Similarly, Neman (1980) claims that imagery is vital because our language does not have the words or phrases to express all our ideas and feelings directly.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0051": {
-    "English Original": "Impliedly, ordinary speech contains little power to bring out man's internal agenda in its entirety.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0052": {
-    "English Original": "By the same token, Edgar (1987) reports that giving the reader an exact experience in reading one's literary works, the author uses imagery to present the experiences so the readers will \"feel the right responses.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0053": {
-    "English Original": "In this regard, the Uhuru Torch constitutes\n\nan image that draws on different senses.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0054": {
-    "English Original": "Every attempt in form of singing takes a component of the senses about the Torch.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0055": {
-    "English Original": "Treating Uhuru Torch and Sukuma songs thusly concurs with Jonathan Culler's (1997) claim that \"…New Criticism treats [literature] as aesthetic object…and examines the interactions of [its] verbal features and the ensuring complications of meaning…\" (p. 122) mainly because the torch is imagined as a powerful object as it is capable of fixing itself in every practice of the society.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0056": {
-    "English Original": "When the Sukuma talk of Uhuru Torch, they are symbolically referring to a multitude of subjects and imagery, including a person, symbol, life, visibility, supernatural power, discipline, hope, remembrance, nature, and power, among many other things.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0057": {
-    "English Original": "In contrast to Nyerere's understanding of the torch as a symbol of illuminating the world with love, hope, and peace, the Sukuma view views the torch as having a variety of creative meanings that it is just and appropriate for it to symbolise.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0058": {
-    "English Original": "The Sukuma's discernment of images in their songs is also discussed by Masele (2017) in her study on gender and power relations, contends that \"the patterns of language which were considered when analysing the discourse of Sukuma songs were the images, repetitions, language techniques such as repetitions, key indigenous terms, keywords in context, linguistic features, such as metaphors, hyperbole, litotes and others\" (p. 7374).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0059": {
-    "English Original": "Generally, these images are extracts crafted from both the overall physical shape of the Torch and relationship with its independent constituents/accompaniments.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0060": {
-    "English Original": "These constituents include names of places, objects, people actions or situations which also express some significance under the cover of Uhuru Torch.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0061": {
-    "English Original": "The sections addressed in this paper include fire and smoke of the Torch images, mythological images of the Torch, and Uhuru Torch in the images of man.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0062": {
-    "English Original": "Images of Fire and Smoke of Uhuru Torch\n\nLiterary imagination of the concept of fire is common among communities in Africa and beyond because fire has the deepest roots in most of human sociocultural, political and economic business.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0063": {
-    "English Original": "In fact, every society has a way or two of imagining about fire in different contexts of life.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0064": {
-    "English Original": "According\n\nto Pyne (2004) \"in simplest terms, fire exists because the Earth holds life [of animals, humans and plants]\" (p. 10).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0065": {
-    "English Original": "The image of fire is frequently associated with the customs of a community, and it is derived from a variety of situations in which people use fire to enhance their performance.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0066": {
-    "English Original": "However, depending on each community's cultural norms or worldview, it is possible to find disparities in remarks concerning the picture of fire.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0067": {
-    "English Original": "Individuals within the same community may have varied life experiences with fire.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0068": {
-    "English Original": "The enjoyment of one's experiences with fire in life is the most significant aspect of the theme of fire as a picture.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0069": {
-    "English Original": "Gaston (1938) in The Psychoanalysis of Fire proffered: \"among all phenomena, fire is really the only one to which there can be so definitely attributed the opposing values of good and evil.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0070": {
-    "English Original": "It shines in Paradise.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0071": {
-    "English Original": "It burns in Hell.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0072": {
-    "English Original": "It is gentleness and torture…\" (p. 13).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0073": {
-    "English Original": "The Sukuma, for instance, treat fire as a weapon against fierce animals and insects.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0074": {
-    "English Original": "To them, fire is a dangerous weapon that can destroy grotesque enemies of the society.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0075": {
-    "English Original": "At the family level, the Sukuma believe that there shall always be fire or fire source around.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0076": {
-    "English Original": "Numerous activities both during the day and at night will require an end to them.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0077": {
-    "English Original": "The Sukuma employ fire in oral literature not just as a symbol of life and presence but also as a source of illumination.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0078": {
-    "English Original": "It is a greeting message for a storytelling event that takes place at night.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0079": {
-    "English Original": "The family's hope for survival is renewed when there is a fire at night.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0080": {
-    "English Original": "Speaking of the fireplace at night in the context of the Sukuma, Masanja (2016) notes:\n\n Contextually, the fireplace (shikome in Kisukuma language) symbolizes unity and compromise in the family.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0081": {
-    "English Original": "It also portrays a sense of order, system and harmony.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0082": {
-    "English Original": "The Wasukuma's perception of the fireplace extends to the measures of discipline, a point of correcting any sort of deviance and a teaching ground.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0083": {
-    "English Original": "The fireplace among the Wasukuma signals presence of life.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0084": {
-    "English Original": "It is a peace making locale and every time one sees fire outside the neighbour's home ground, he or she feels welcomed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0085": {
-    "English Original": "To Wasukuma, the fireplace is a centre for negotiation, in which mismatching feelings of interest are harmonized for good (p. 53).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0086": {
-    "English Original": "The fireplace serves as a symbol for teamwork against rivals and the willingness of a particular group of individuals to engage in competition and battle for the team's triumph while singing and dancing are also\n\ntaking place.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0087": {
-    "English Original": "It fosters peace within the group by introducing a sense of unity, particularly when team members are compelled to gather around the fireplace at night.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0088": {
-    "English Original": "Fire is the catalyst that turns darkness into light and establishes a regular pattern of waiting for the following day.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0089": {
-    "English Original": "The \"chenge,\" a traditional torch used by the Sukuma, is mainly used to shed light in their surroundings.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0090": {
-    "English Original": "As a result, the Uhuru Torch concept is not new to the Sukuma in terms of custom.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0091": {
-    "English Original": "On the other hand, the Sukuma appear concerned about the description, in contrast to the conventional understanding of the torch.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0092": {
-    "English Original": "They do not perceive Uhuru Torch as traditional because of its extended engagement into human matters.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0093": {
-    "English Original": "They believe that Uhuru Torch has extraordinary power because of the fire it produces—as reflected in songs such as \"Tubhinagi\" (Let's Dance) and \"Ku Bhanhu Bhose\" (To All People).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0094": {
-    "English Original": "Among the Sukuma, the fire of the Torch is everlasting and comes all the way from days of independence as the persona articulates in [verse 33] of the song \"Ku Bhanhu Bhose\" (To All People).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0095": {
-    "English Original": "The songs under review cultivate Sukuma people's experience and interpretation of fire as a reality around them.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0096": {
-    "English Original": "In this regard, Nketia (1974) contends: \"[T]he treatment of oral songs as a form of speech utterance, arises not only from stylistic consideration, consciousness of the analogous feature of speech and music, but also by the importance of song as an avenue for creative communication and as a medium for creative verbal expression which reflects both personal and social experiences\" (p. 46).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0097": {
-    "English Original": "The Sukuma redefines the fire as a nucleus of the whole idea of Uhuru Torch.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0098": {
-    "English Original": "Other aspects that make up the Torch are identified as complements of its fire.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0099": {
-    "English Original": "Moreover, among the Sukuma even the great defence that go towards protecting the Torch is principally organised for the fire of the Torch.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0100": {
-    "English Original": "A number of situations expressed in Uhuru Torch praise songs of the Sukuma reveal people's perception of the fire associated with the Torch.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0101": {
-    "English Original": "The song \"Tubhinagi\" (Let's Dance) in stanza two and three stipulates: \"Jimyagi itala jing'we jose,/ Elelo ung'wenge gukubhacha eshi jiji shoes…,\" (Switch all your lamps off,/ The Torch will lamp your village\n\ntoday…) to announce for the strength of the Torch's fire.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0102": {
-    "English Original": "The persona's imagination on the ability of Uhuru Torch through its fire exaggerates the coverage of the Torch's light.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0103": {
-    "English Original": "The song/verse compares the Torch's light fashioned by its fire with the lamps found in people's homesteads.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0104": {
-    "English Original": "The difference is in the power of lighting, and that caring about the lamps in the face/presence of Uhuru Torch is counted as waste of time.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0105": {
-    "English Original": "Also, the artist signals a need to embrace the light of the Torch and withdrawing investment on lamps.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0106": {
-    "English Original": "Since every house needs its own lamp for lighting purposes, there appears to exist matured traits of disunity between families of the same society against Per Brandstrom's (2022) argument that \"the very start [of] Busalama in [Sukuma] village[s] was the unity of ng'wano\" (p. 61).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0107": {
-    "English Original": "Ng'wano represents people's commitment to fully responding to and offer all the necessary support/help to the one troubled by something.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0108": {
-    "English Original": "The Torch represents all the individual lamps to suggest oneness.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0109": {
-    "English Original": "It appears the Torch's fire makes a universal level of bringing light to the society.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0110": {
-    "English Original": "Also, it outwits the traditionally marked division by upholding lamps possessed and meant for individual households.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0111": {
-    "English Original": "The singer is assured of what is marked ahead of the Torch's fire and its assumed responsibility of checking into the affairs of the village without help of lamps' lights.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0112": {
-    "English Original": "The first verse of the same stanza declares a day on which Uhuru Torch's celebration is occasioned in the village as \"…the big day in (the people's) history.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0113": {
-    "English Original": "The singer's tone alerts on the privilege that has befallen his village to have on the ground.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0114": {
-    "English Original": "He notices the day's bigness in observance of the Torch's bigness through the strength of its fire.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0115": {
-    "English Original": "In the understanding of the Sukuma, Uhuru Torch is not only a daybreak event but also a mission of plotting a historic action for the society.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0116": {
-    "English Original": "Thus, the Torch is for drawing a long lasting mark in the lives of people and the society at large.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0117": {
-    "English Original": "This feeling further explains the gravity of value committed to the fire of the Torch among the Sukuma.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0118": {
-    "English Original": "The fire also advances the overall notion of Uhuru Torch in terms of reputation among the people resulting in an indigenous definition of the Uhuru Torch and its flame.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0119": {
-    "English Original": "Masanja (2016) clarifies how the Sukuma original conception of fire with reference to the fireplace thusly:\n\n…, the fireplace, among the Sukuma, is a responsibility of everybody in the family.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0120": {
-    "English Original": "The adults are liable of reminding and organizing the youth for firewood collection, igniting the fire after sun set and cleaning the area around the place.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0121": {
-    "English Original": "The youth, on the other hand, are set to respond actively to the duties assigned to them and develop strong attitude of respect towards the fireplace.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0122": {
-    "English Original": "They are tuned to see, believe and agree that the fireplace is a character of love, hospitality, life, worth and power (pp.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0123": {
-    "English Original": "Although the extract clarifies a fire context practical in oral narratives, it still offers clues on how fire impacts on the Sukuma's understanding of Uhuru Torch's fire as expressed in the praise songs.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0124": {
-    "English Original": "In other words, fire is a reason behind social mobility since it invites readiness to seat in common grounds.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0125": {
-    "English Original": "It addresses and sorts out social divisions and performs for commissioning benefits of the society.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0126": {
-    "English Original": "This idea tallies with the Torch's fire mission of enlivening social growth, bringing awareness to the people and rescuing dwarfism in fulfilling developmental purposes in all sectors of the Sukuma society.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0127": {
-    "English Original": "\"Nguzu ja Ng'wenge\" (The Torch's Power) conveys the Torch to imply a responsive reaction of people's conscience aimed to cause peace in the land.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0128": {
-    "English Original": "Here, the persona's perception of the Torch benefits from the Sukuma's indigenous discernment of what 'fire' stands for in different social context.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0129": {
-    "English Original": "The song describes the Torch at the expense of power produced as it lights.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0130": {
-    "English Original": "This representation of Uhuru Torch clarifies its meaning at the level of the depth of its power to uncover the hidden misconducts going on in the society.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0131": {
-    "English Original": "As novelist John (1984) once argued, \"true art clarifies life establishing modes of human action, casts nets towards the future, carefully judges our right and wrong directions…\" (p. 67).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0132": {
-    "English Original": "Similarly, the persona in \"Nguzu ja Ng'wenge\" (The Torch's Power) admits that the society is uncomfortable with the existing inequity characterised by corruption, theft and insubordination, and similarly regenerates the spirit of victory by means of the Torch.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0133": {
-    "English Original": "Verse three of the first stanza is an inquiry by the persona to understand if other Tanzanians are taking note\n\nof the fire on to the Torch.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0134": {
-    "English Original": "What follows in the subset verses is a commentary statement about the function of the Torch's fire that it comes to cancel lineage for infertile actions such as corruption and drug abuse businesses.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0135": {
-    "English Original": "Consequently, the Torch serves as an opportunity for eliminating injustice in the society.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0136": {
-    "English Original": "The source of the Torch's mandate is the burning flame/fire which categorically consumes all the causes of afflictions.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0137": {
-    "English Original": "In the confidence/course of the Torch's presence the artist finds no space which is excused from the power of elimination of evils.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0138": {
-    "English Original": "Outlining to the public that the whole country is brought under the light of the Torch, the practitioners of transgression become fenced within the Torch's arena; they lack the hiding place in the whole society in response of people's tiredness to live amongst the rivals.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0139": {
-    "English Original": "In this regard, Rudolf (1969) believes that \"[the interface between light as good and dark as bad] probably goes as far back as the history of man….Day and night become the visual image of the conflict between good and evil\" (p. 313).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0140": {
-    "English Original": "Thus,\"…U Ng'wenge guli sehemu jose ja nsi,/ Na gulina nguzu ya kubhayabhula abha mashetile mabhi…,\" (…The Torch is everywhere,/ And it has the power to reveal the wicked…,) [verses 9 and 10] are sung by the artist to allude to every sociocultural, political and economic inconsistency pertaining to the Torch for judgment through light.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0141": {
-    "English Original": "In this case, the verses exhibit the singer's determination to handle over the task of dealing with the wicked to the Torch, and the reason behind this confidence is the power which is contained within its fire.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0142": {
-    "English Original": "In line with the Torch's flame, some of Sukuma praise songs present the image of the Torch's smoke as a depiction of wealth in life.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0143": {
-    "English Original": "As Abrahams and Harpham (2005) have noted, \"literature as inescapably conditioned in the choice and development of its subject, the ways of thinking it incorporates, its evaluations of the modes of life political and economic organization and forces of its age\" (p. 298).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0144": {
-    "English Original": "Among the Sukuma, 'smoke' is normally allied to the composition of clouds.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0145": {
-    "English Original": "The Sukuma society believe that any fire smoke has a space in the universe and is responsible for the next rain season.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0146": {
-    "English Original": "The song titled \"Lyochi lya Ng'wenge\" (The Torch's Smoke) identifies the Uhuru Torch's 'smoke' as special because of the reputation accredited to the Torch itself, hence the recitation: \"Nilyochi lya Ng'wenge go Bhuhulu isoga,/ Lyochi lya kubheja malunde ga mbula,/ Lyochi lya bhuponi\" (…Even the smoke of the Uhuru Torch is good,/ The 'smoke' that makes the rain clouds,/ The 'smoke' of plentiful harvest…) [verse 79].",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0147": {
-    "English Original": "In these lines, the persona highlights peculiar qualities of the Torch's flame in terms of life empowerment and livelihood.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0148": {
-    "English Original": "On derivative basis, the persona is convinced by the flow and recreation of the Torch's meaning.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0149": {
-    "English Original": "The relationship between the Torch creating fire and the fire producing smoke leads him to conclude that the torch's flame is beneficial to the community.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0150": {
-    "English Original": "Consequently, everything that is a part of the Torch naturally stays under the same umbrella of respect since it is seen as something that commands respect from others.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0151": {
-    "English Original": "Mythological Images of the Torch\n\nAnything mythological \"serves to explain (in terms of the intentions and actions of deities and other supernatural beings) why the world is as it is and things happen as they do…\" (Abrahams and Harpham 2005, p. 178).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0152": {
-    "English Original": "The myth surrounding the Uhuru Torch centres on the question of whether it is an extraordinary idea that endures and is supported by supernatural power(s) or whether it is just a genuine item and everything about it is nothing more than an extract from people's knowledge of its physical shape.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0153": {
-    "English Original": "Among the Sukuma, Uhuru Torch's imagery comes from both the ground of reality and idealism.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0154": {
-    "English Original": "As a reality, the Uhuru Torch stands for an ordinary object whose meaning and power are normal except when professed across the borders of human exaggeration.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0155": {
-    "English Original": "This worldview stems from the belief that the materiality of the Torch comprising an iron container as its outward cover.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0156": {
-    "English Original": "In this regard, Kabira (1988) contended, \"man wants to understand his environment.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0157": {
-    "English Original": "If he cannot understand it, he will try to create myths for himself so that he can cope with the reality around him\" (p. 95).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0158": {
-    "English Original": "To the Sukuma, Kabira claims, the Uhuru Torch is a kerosene flame composed of a piece of clothlike thing on its top on which fire is lit in completion of the concept of fire.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0159": {
-    "English Original": "This\n\noutset of the Torch presents it as a naturally respected object by virtue of the meaning arbitrarily attached to it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0160": {
-    "English Original": "Therefore, the Sukuma's attribution of full honour to the Torch is a way of obeying the national order of treating national symbols with high discipline.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0161": {
-    "English Original": "The persona in \"Ung'wenge Gobhita\" (The Torch has Passed) says \"……Ningaeshi kado kado,/ Ensi yikazinije,/ Ensi yigeshimile,/ Kalina nguzu u munsi….",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0162": {
-    "English Original": "(…Althopugh it (the Torch) looks small,/ The country accepts it,/ The country respects it, It has power in the country…) [verse 8 to 11].",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0163": {
-    "English Original": "Implicitly, the persona in the song is aware of the magnitude of the Torch, and how people might judge it by analysing its size and shape.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0164": {
-    "English Original": "This imaginary expression of the Torch exposes the slippery nature of literary language in interpretation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0165": {
-    "English Original": "According to Strunk and White (2000), \"the shape of […] language is not rigid; in questions of usage; we have no lawgiver whose word is final\" (p. 39).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0166": {
-    "English Original": "In other words, the description of the Uhuru Torch in terms of size benefits from the flexibility of literary speech in Sukuma songs.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0167": {
-    "English Original": "The words \"…Ningaeshi kado kado,…\" (…Although (the Torch) looks small…) [verse 8] confirm that people are not only sensitive to the meaning of the Torch but also attentive to what it embodies physically.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0168": {
-    "English Original": "The word \"small\" in the verse represents people's worldview regarding the Torch—that it matches an ordinary phenomenon whose shape and size do not necessarily present any threat.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0169": {
-    "English Original": "In the culture of the Sukuma, shape and size matter in influencing people's attitude over a particular phenomenon.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0170": {
-    "English Original": "For example, wealth is associated with one's rotund or gigantism.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0171": {
-    "English Original": "Therefore, in an ordinary sense, the Torch expresses an original/flesh meaning about itself.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0172": {
-    "English Original": "Its appearance presents very limited conceptual definition on itself, meaning that it explains the Torch in terms of the reality of its shape, or the components that comprise and give it a structure.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0173": {
-    "English Original": "The worldview of idealism, on the other hand, is also associated with the images drawn from the existence and meaning of Uhuru Torch among the Sukuma.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0174": {
-    "English Original": "Stubbs (1968), for instance, recognises the statement which Copley gives on Drown's work that, \"it is as ideal as an antique statue, and yet as real as any lovely woman at a fire side or in the street\" (p.\n\n1440).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0175": {
-    "English Original": "The meaning of the Torch in this regard extends beyond common reasoning as articulated in \"Ng'wenge gwi Lagilo\" (Th Guide Torch) through the following verses: \"…When he took the country,/ Nyerere was told by God, that go/ and make a Torch and light it…\" [verse 5 to 7].",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0176": {
-    "English Original": "As pointed out in \"Welelo Ntale\" (God is Great), \"Women, Stand Up\" and \"Ung'wenge Gobhita\" (The Torch has Passed), there is an attribution of knowledge beyond human's natural grasp to the understanding of the Uhuru Torch.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0177": {
-    "English Original": "The review of the songs highlights what, according to the Sukuma's belief, has to do with the Torch's supernatural connections, which support it in possessing significant influence in its operation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0178": {
-    "English Original": "This ground of looking at the Torch results from the view that it was not for funny that Nyerere opted to have the Torch in place.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0179": {
-    "English Original": "Firstly, people's explanation of the Torch as supernatural bases on how it is allied to power(s) which are not natural.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0180": {
-    "English Original": "The Sukuma generally believe that the Uhuru Torch's existence is a Godly instruction given to Nyerere for the Day of Independence.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0181": {
-    "English Original": "Therefore, all the forms of submission that people demonstrate upon it and in the presence of the Torch are driven by the supernatural circumstance tied to the Torch.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0182": {
-    "English Original": "The belief is that it was spiritually imperative for the beginning of the journey of independence to be encapsulated within the light of the Torch.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0183": {
-    "English Original": "Tanzanians generally and the Sukuma particularly tend to hold the view that the country's footsteps towards the realization of the appointed goals are covered and surrounded by the light from God (produced) through the Torch.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0184": {
-    "English Original": "Leaders of the country, the Sukuma generally believe, have the divine information about the Torch, its origin, position in the country and the supernatural commitment attached to its existence.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0185": {
-    "English Original": "In \"Welelo Ntale\" (God is Great), the persona expounds that, \"…Aho u Nyelele akabhinja abha Zungu,/ Akabheja u Ng'wenge kulanja lushikun lo bhuhulu,/ Akagubheja u Ng'wenge ku nzila ya ng'wa Sebha,/ U Ng'enge go Bhuhulu gukalanjaga bhutogwi bho ng'wa Sebha ku Tanzania…(…When Nyerere chased the Whites,/ He made the Uhuru Torch to light the Independence day,/ He designed the Torch by the help of God,/ Uhuru Torch\n\nshows the love of God to Tanzania,…) [verse….to……].",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0186": {
-    "English Original": "The life of Uhuru Torch appears to be guaranteed by the supernatural forces, which cannot be opposed or unreasonably be questioned by the common knowledge of man.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0187": {
-    "English Original": "As a result, any human intervention that targets blacklisting Uhuru Torch attracts censure reprimanded by the society.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0188": {
-    "English Original": "The Sukuma admit that when one fearlessly opts to challenge the Torch's practice, his or her survival is on the losing side.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0189": {
-    "English Original": "The general belief is that such a person can face direct confrontation from God who is daily watching after it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0190": {
-    "English Original": "The Sukuma treat the Supreme Being (Liwelelo/Sebha) to have powers to oversee and guide other spirits.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0191": {
-    "English Original": "Maganda (2002) writes: \"they (the Sukuma) view the universe as existing in levels: The Supreme Being (Liwelelo), the spirits of ancestors (bakulugenji), man himself, and in the last category are animals, plants and minerals…[They believe that their] God does not in any way change from good to evil like man\" (p. 3).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0192": {
-    "English Original": "Therefore, the Uhuru Torch's position in the country is not natural in nature.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0193": {
-    "English Original": "It is a supernaturally engineered opportunity that suggests God's will to take note on the country's practices by ensuring that light is available throughout the year.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0194": {
-    "English Original": "Moreover, regarding the relationship between man and Uhuru Torch, the Sukuma normally compare man's influence, response and consideration of what it stands for.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0195": {
-    "English Original": "Among the Sukuma, the arrival of the Uhuru Torch in the village entails suspending other commitments and wait for the Torch's departure from the area.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0196": {
-    "English Original": "This mythological outlook reflects what Wilfred et al.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0197": {
-    "English Original": "(2013) call \"the motives that underlie human behaviour….shaped by manifestations of mythological elements such as [the Uhuru Torch]\" (p. 82).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0198": {
-    "English Original": "Although there is no clearly defined punishment for any perceived defiance during Uhuru Torch occasion, people conventionally and arbitrarily strive to avoid landing into trouble for mischievousness during the Uhuru Torch's operation.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0199": {
-    "English Original": "In \"Bhamayu Tujagi\" (Women, Let's Go), the persona begins with an instance of pleading everybody in the village to stop tampering with other assignments in the presence: He says: \"Bhamayo, nzugi hanze,/ Ili liti ikanza lya kuzuga,/ Gwingelega u Ng'wenge umchalo,/ Bhose ditanagwa ku mbokelelo,… (Women come outside,/ This is not time for cooking,/\n\nThe Torch is already in the village,/ We are all asked to be at the receiving point,) [verse 1 to 4].",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0200": {
-    "English Original": "The Sukuma's idea of the Torch is traditionally associated with what they use in their indigenous knowledge to make light in darkness.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0201": {
-    "English Original": "The mobile light source like the Torch is normally a piece of burning wood or a collection of dry burning grass and is active for only a short time before flickering out because the source(s) gets consumed.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0202": {
-    "English Original": "The By contrasting the Uhuru Torch with the Sukuma's conventional light source, one can see why the Uhuru Torch is considered more durable and takes precedence over the Sukuma.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0203": {
-    "English Original": "Because the Uhuru Torch race outshine the local torch (transient) like the burning piece of wood to become a national torch that outperforms all other mobile sources of light in the nation, the Sukuma see the Uhuru Torch race as authoritative.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0204": {
-    "English Original": "In the song titled \"Ng'wenge\" (The Torch), the persona recites these words: \"Laisi wisee bhabha ng'wana Nyerere,/ Akabheja Ng'wenge dwikale mhola…\" (Our president, the father and the son of Nyerere,/…He created the Torch to make us safe) [verses 4 and 5] to compose a statement of appreciation to the power which accompanies the Torch.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0205": {
-    "English Original": "In the common belief of the Sukuma, as the persona insists, the Torch carries some divine instructions.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0206": {
-    "English Original": "In this regard, the Uhuru Torch represents divine strategies and powers in its existence.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0207": {
-    "English Original": "Thus, the fundamental concept of the Torch among the Sukuma connects to superhuman engagement.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0208": {
-    "English Original": "Kabira (1988) presents a similar outlook in relation to the Gikuyu society that, \"among the Agikuyu you will note that God gave the Agikuyu land and cattle.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0209": {
-    "English Original": "He also gave Gikuyu a wife and He gave daughters husbands.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0210": {
-    "English Original": "Supernatural powers provide for man….\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0211": {
-    "English Original": "The Sukuma generally believe that it was not just for funny or simply for decorating purposes that J. K. Nyerere decided to design the Uhuru Torch for the Independence Day, which was famously placed at the peak of Mount Kilimanjaro on the eve of independence in 19by Brigadier Alexander Nyirenda.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0212": {
-    "English Original": "The belief associated with the torch is that it was rather out of spiritual inspiration that guided Nyerere as a leader of the new country to come up with the Torch.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0213": {
-    "English Original": "In fact, something else, that is probably more realistic than the Torch, as an object, would be introduced for the independence occasion.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0214": {
-    "English Original": "The Torch, as a symbol of love, peace and hope; the Torch's size and the energy of light it produces do not, in real sense, capture the said meaning and power of the Torch.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0215": {
-    "English Original": "In the last stanza of the same song, for instance, the persona underlines how no mortal has the power to remove the Torch from its operation, and that the day they will attempt to, they will perish, according to that belief.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0216": {
-    "English Original": "This stanza illustrates the community's endearing confidence in the Torch's existence.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0217": {
-    "English Original": "The persona alerts the entire society by pointing at every individual that trying to act against the Torch's operation/existence is, in simple terms, dangerous.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0218": {
-    "English Original": "The question here would be \"where does the danger come from?\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0219": {
-    "English Original": "The answer is associated with both the hand of the government and the supernatural power that the Sukuma believe protects the Torch.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0220": {
-    "English Original": "Thus, any individual intending to draw distractive commissions upon the Uhuru Torch can encounter trouble.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0221": {
-    "English Original": "However, the community, at the same time, seems to belong to the Torch's life and that it harbours confidence that the Torch's mission must be the leading one.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0222": {
-    "English Original": "It also means that the Torch's life, according to the perception of the Sukuma, is such an authoritative phenomenon that the level of having a say in the lives of the people.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0223": {
-    "English Original": "In one of Uhuru Torch occasions, The BritainTanzania Society (2012) quotes President Kikwete explanation that \"the colonial had no intention of developing the country but just wanted to exploit its resources…But Mwalimu Julius Nyerere and his colleagues vowed to fight for our independence and Tanzanians climb out of poverty\" (p. 6).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0224": {
-    "English Original": "In other words, the Torch's supernatural energy cannot also affect individual's lives, based on this belief.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0225": {
-    "English Original": "Implicitly, survival can also believe to rely on what the Torch will officially approve, in one occasion or so, to be used for a certain purpose in the society.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0226": {
-    "English Original": "The society is forced to shape every member to abide by the principle of being respective and submissive to the Torch.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0227": {
-    "English Original": "Uhuru Torch in the Image of Man\n\nOf the numerous Uhuru Torch images, human traits have taken a peculiar position.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0228": {
-    "English Original": "Many a time, the Uhuru Torch is idealised to assume human qualities in varied sociocultural, economic and political circumstances.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0229": {
-    "English Original": "This case happens in a way that posits the Torch in the responsibilities and powers of a person.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0230": {
-    "English Original": "According to Walters and Bart (2016), this is called a rhetorical figure by which a nonhuman entity assumes a human identity of 'face' recognisable in the figure's cognitive form and function (p. 1).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0231": {
-    "English Original": "Within the selected Uhuru Torch praise songs, there are images of a person in the face of the Torch, speaking or acting to accomplish certain duties in life.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0232": {
-    "English Original": "\"Sensa ya Numba\" (Household's Census) presents the Torch in an image of a teacher who takes measures to coach the society on the benefit of partaking in the National Census: \"…Ungwenge go Bhuhulu, Gwizaga kulanga mhayo go Sensa…\" (The Uhuru Torch has come to teach us about the Census…), claims the persona [verses 7 and 8] to insist on what the Torch evokes I accordance with the themes of awareness on the importance of census countrywide.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0233": {
-    "English Original": "This personification demonstrates that there are contexts in which the Torch can operate, act and decide beyond its level of a nonhuman object by assuming human attributes.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0234": {
-    "English Original": "Lakoff and Johnson (1980) refer to this phenomenon \"as an ontological metaphor involving a crossdomain mapping where an object or entity is further specified as being a person\" (p. 3).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0235": {
-    "English Original": "The definition of the Torch as a teacher with human traits has to do with power to change attitude and opinions the Torch embodies.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0236": {
-    "English Original": "In fact, the bards among the Sukuma normally sing about the Torch by revealing the trust people have invested in it because it reflects values of human instructive capacity, which allow the Torch to direct, guide, demonstrate, lead, protect or correct people for societal benefit.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0237": {
-    "English Original": "Basically, the personification of the Torch is a literary commitment that composers of songs succeed to cultivate subconsciously but has due effects in the text as in the \"Household's Census\" song.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0238": {
-    "English Original": "Personification makes one of the prominent literary devices which give the text the qualities of the literary family.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0239": {
-    "English Original": "Songs of the Sukuma exhibit a significant tradition of addressing people and the matters concerning them (whether they are positive or negative).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0240": {
-    "English Original": "As Ojaide (1981) pointed out, \"[…] songs strongly attack what the society regards as vices, laziness,\n\nvanity, wretchedness, miserliness, be watching, flirtation, adultery, wickedness and greed\" (p. 32).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0241": {
-    "English Original": "\"Ng'wenge gwa bhuhuru tuliho, /Tuliho umshijiji shise…,\" (We welcome you Uhuru Torch,/ We welcome you in our home village…) [verses 1 and 2] from \"Ng'wenge go Bhuhulu\" (Uhuru Torch) indicates that the persona is talking to the Torch as he welcomes it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0242": {
-    "English Original": "The Torch is addressed as \"you\" because of the human traits the Sukuma attribute to it based on what it represents in society.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0243": {
-    "English Original": "In full confidence, the persona submits his expectation to the authority of the Torch immediately after the welcoming note that the Torch should \"…light everywhere to expose the thieves (Yelaga utime bhafisadi bhose na bhalya rushwa) … and …move around to see the corrupt beings…\" (Yelaga ubhone..,) [verse 34].",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0244": {
-    "English Original": "In the selected Sukuma praise songs, the Torch is represented as providing directives, orders, and instructions to members of the community.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0245": {
-    "English Original": "The Uhuru Torch is associated with individuals receiving governmental directives to influence societal norms and development.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0246": {
-    "English Original": "During the Uhuru Torch race, the leaders, who wish to disseminate information on surmounting obstacles facing the community, hold the Torch aloft to drive home the message.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0247": {
-    "English Original": "In this context, such directions also provide viable options on how to approach certain societal problems.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0248": {
-    "English Original": "Similarly, \"Nidegelekagi\" (Listen to Me) highlights the Torch's instructions, as the persona recites: \"…Tushitunze inzvyilo shaminzi bhatanzania,/ Gohayaga shene uNg'wenge go Bhuhulu…\" (And let's keep the water sources, Tanzanians,/ Says the Uhuru Torch…) [verse 67].",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0249": {
-    "English Original": "Alongside guiding and showing proper location worth following, the Uhuru Torch is also depicted to represent a person whose duty is to protect the society.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0250": {
-    "English Original": "As Akivaga and Odaga (1982) explicates:\n\n Oral literature explains man's relationship to his world.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0251": {
-    "English Original": "Through oral literature man expresses his relation to the world he knows and understands and to the world beyond.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0252": {
-    "English Original": "Using oral literature, man tries to come to terms with the social world of his fellow men, but also with world of faith and beliefs, the world of religion (p. 125).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0253": {
-    "English Original": "Indeed, from the time of independence many Tanzanians have believed that the Torch safeguards—even at a symbolic level— social welfare.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0254": {
-    "English Original": "The beginning of Tanganyika, as the country was known before its union with Zanzibar in 1964 to forge the United Republic of Tanzania, was marked by the installation of the Uhuru Torch on the eve of independence, which also at a symbolic level makes it a protective force designed to secure the rest of Tanzania's life.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0255": {
-    "English Original": "In the song \"Ng'wenge go Bhuhulu\" (Uhuru Torch), the persona alerts the youth and the community at large to the need to secure harmony by employing sensitivity against HIV/AIDS when he says: \"…Mhola ya welelo yawiza,/ Tuyibhike yitubhike.\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0256": {
-    "English Original": "(Peace of the country is important, let's protect it so that it protects us.)",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0257": {
-    "English Original": "[verses 13 and 14].",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0258": {
-    "English Original": "Peacemaking and hopedrawing are crucial tasks for protecting social values amidst divided interests and thoughts in society.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0259": {
-    "English Original": "Uhuru Torch is a symbol of social accord and cultivating peace and love through light.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0260": {
-    "English Original": "It presents protection of community vision, people, and natural resources as possible upon possession, portraying Uhuru Torch as in charge of the country.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0261": {
-    "English Original": "The songs aim to cultivate a spirit of peace and love.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0262": {
-    "English Original": "The songs also integrate the Uhuru Torch in various social missions, hence signalling the act of committing power to the Torch and what embodies it in terms of meaning and significance.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0263": {
-    "English Original": "The persona in \"Bhupina Munholo Yane\" (Solitude in my Heart) cries out to the community that has turned against itself.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0264": {
-    "English Original": "In the midst of time for cultivating shared success, the persona finds an upsurge of ideological hatred in religions and politics.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0265": {
-    "English Original": "He, however, finds hope in the Torch's existence, and immediately rebukes the society with a question \"Ni bhuli ng'olemile ukwigwa ama hano ga Ng'wenge go Bhuhulu?\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0266": {
-    "English Original": "(…Why have you refused to consider the warning from the Uhuru Torch?...)",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0267": {
-    "English Original": "The Uhuru Torch, in this context, assumes a role belying the aesthetics of being an overseer of social responsibility among individuals.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0268": {
-    "English Original": "Okombo and Nandwa (1992), similarly comment:\n\n When […] principles and elements, which are used to judge an art object are fixed into cultural conventions, they become symbols signifying economic and social values.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0269": {
-    "English Original": "In such a situation, art objects are not mediators of aesthetics but of ritual processes and institutional laws that define and maintain relationships of the sexes, age groups, clans and with neighbouring ethnic groups.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0270": {
-    "English Original": "(p. 49)\n\nThe persona's disappointment with the failure to heed the Torch's warnings aligns with Okombo and Nandwa's (1992) claim, indicating a decline in personal urge to follow the Torch's guidelines.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0271": {
-    "English Original": "The persona is aware of the consequences of acting against the Torch's warnings, and the Torch's position (as the assumed) owner of businesses suggests it aims to rectify wrongdoings and pursue protective measures for society.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0272": {
-    "English Original": "The Torch's human qualities are also evident in its presence for supervisory purposes, as it is believed to check on the running of projects in society, with leaders taking this opportune moment to reprimand those derailing such initiatives.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0273": {
-    "English Original": "In \"Bhabhyaji Tohubhile\" (We Parents Have Mistaken), the verses \"Izukagi giki, Abhana bhalelindwa na selikali bhize bhazenge nsi yise,/ Hiyo ikahayiwa nu Ng'wenge go bhuhulu x 2,\" (…Remember the government is waiting for the children to build our country, that is what was said by Uhuru Torch last year x 2) [verses 10 and 11] personify the Torch as the father.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0274": {
-    "English Original": "In this regard, the Torch can avail to tasks and situations by applying reasonable forms of behaviour such as redirecting the society to embracing taking children to school.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0275": {
-    "English Original": "Walters and Bart (2016) acknowledge this characteristic as the strength attributable to personifying objects: \"personifications, in giving voice to arguments, convince us by speaking eloquently and movingly more than this, their eloquence confers on them an evidentiary value, persuading us…\" (p. 16).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0276": {
-    "English Original": "Significantly, the personal projects the Torch as an image of carefulness in running, governing and controlling societal issues.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0277": {
-    "English Original": "The persona recalls a lesson from the Torch about the government's desire to safeguard the future of children, including establishing the foundation of education.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0278": {
-    "English Original": "The persona finds it necessary to overcome laziness, ignorance, and irresponsibility of some parents rooted in mistaken beliefs by reviewing the Torch's voice.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0279": {
-    "English Original": "This image of the Torch submits knowledge on its influence in monitoring and revising actions meant for a particular code of conduct.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0280": {
-    "English Original": "In natural life, it is common for the Sukuma to make sense of the world by interrogating their habits so that the action taken does not compromise common goals of the society.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0281": {
-    "English Original": "Commenting on the significance of every legible member of society checking in for the country's New Constitution, the persona in the song \"New Constitution\"\n\nsays: \"…Kuyichagula ikatibha mhya,/ Ni lelo denhelwa Ng'wenge go bhuhulu,/ Nago gohaya chene… (…To choose the new constitution,/ And today we have the Uhuru Torch,/ It is also telling us so…) [verses 14 and 15].",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0282": {
-    "English Original": "Thus, the Torch succeeds to impart knowledge among community members on the value of selfdetermination in examining the conduct of parents in society.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0283": {
-    "English Original": "In the selected Sukuma praise songs, personification, as a literary technique, covers a long list of human attributes.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0284": {
-    "English Original": "One significant scenario in which this form of imagery occurs is the enlivening of an item and ultimately shifting it to the human level.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0285": {
-    "English Original": "Because of the reputation the people, and the artist, place on the object it morphs into a messenger who exaggerates such a social image to reinforce the intended message, which according to Quintilians (2020), constitutes \"a device which lends wonderful variety and animation to oratory,\" and gives us the ability to \"display the inner thoughts of our adversaries as though they were talking with themselves\" (p. 4).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0286": {
-    "English Original": "The Uhuru Torch in the praise songs of the Sukuma, for instance, warn individuals of the society and to those who seem to oppose the Torch and its spirit by violating the accepted societal norms and values.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0287": {
-    "English Original": "By doing so, the Torch—through the praise songs points out certain impediments of social progress, and singles them out as enemies that the society should be aware of in a bid to root them out.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0288": {
-    "English Original": "To solve the problems threatening sociocultural, political and economic sectors, the Torch is deliberately invested with the power of victory for the benefit of society.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0289": {
-    "English Original": "The statement \"Ung'wenge… Gwizaga kumala bhali bha lushwa!...\"",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0290": {
-    "English Original": "(,…The Torch… has come to eliminate the corrupt!…) [verses 1 and 2] in the song titled \"Nguzu ja Ng'wenge\" (The Torch's Power) states the role of the Torch in the position of restoring justice by legally dealing with corrupt people and the likes.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0291": {
-    "English Original": "The community's trust in the power of the Torch against the cabals of evil is built on its ability \"…to expose the wicked\" [verse 10] is linked to the fire—the power— it produces.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0292": {
-    "English Original": "The persona laments that the wicked continue to multiply in the country because the of the limited agenda or blunt follow up due to lack of fierce fire like that of the Torch.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0293": {
-    "English Original": "For example, the Torch cautions\n\nthe youth on the dangers of HIV/AIDS.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0294": {
-    "English Original": "Disease, in this context, signals something eventual and can produce collective embarrassment in the society.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0295": {
-    "English Original": "Masele (2017), for instance, reports that, \"Kishapu faces challenges like any other district.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0296": {
-    "English Original": "Among the big challenges it faces are high spread of HIV/AIDS, killing of elderly persons associated with the belief in witchcraft, and severe drought\" (p. 54).",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0297": {
-    "English Original": "The citing of Kishapu, as part of Sukumaland, exemplifies and reflects the persona's opinion in the song that HIV/AIDS can strike families and rob them of the youth in the absence of serious measures.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0298": {
-    "English Original": "The Torch also declares that worry is prone to creep into families due to the repeated deaths of important individuals.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0299": {
-    "English Original": "This message is delivered on the assumption that the path to secure society stems from increased sensitivity to the challenges the still incurable ailment cause.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0300": {
-    "English Original": "Conclusion\n\nThe essential theme of the imagery depicting the Uhuru Torch in the chosen Sukuma praise songs has to do with the interaction between people—in this case, the Sukuma—and the Torch.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0301": {
-    "English Original": "The Sukuma attempt to use the songs and Uhuru Torch events as platforms for communicating how they perceive the Torch in connection to their lives.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0302": {
-    "English Original": "The images of the Uhuru Torch discussed in this article imply that people's perceptions of the Torch are shaped by its characteristics, particularly its flame and the smoke it emits—and significantly what it embodies, and the multiple meanings associated with it.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0303": {
-    "English Original": "Like the Uhuru Torch's portrayal of man and its mythological imagery, they also understand it in connection to their beliefs and people's attributes.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0304": {
-    "English Original": "From both perspectives, the study found that the images illustrate how the indigenous Sukuma view Uhuru Torch in their lives and explain the significance of praise songs for Uhuru Torch among the Sukuma.",
-    "Has CLIP Embedding": true,
-    "Has PaintingCLIP Embedding": true
-  },
-  "W4393037755_s0305": {
-    "English Original": "References\n\nAbrahams, M. H. and Harpham, G. G., 2005, A Glossary of Literary Terms, Thomson Wadsworth, Boston MA.",
-    "Has CLIP Embedding": true,
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-  },
-  "W4393037755_s0306": {
-    "English Original": "Akivaga, K. & Odaga B., 1982, Oral literature: A School Certificate Course, Eastern African Educational Publishers, Nairobi.",
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-  },
-  "W4393037755_s0307": {
-    "English Original": "Arnheim, R. 1969, Art and Visual Perception, Faber and Faber, London.",
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-    "English Original": "Berger, P. & Luckmann, T. 2002, The Social Construction of Reality (22nd ed.",
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-    "English Original": "Crystal, D. 1987, The Cambridge Encyclopaedia of Language, Cambridge University Press, Cambridge\n\nCuller, J.",
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-    "English Original": "Grzybovski, D. et al.",
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-}
\ No newline at end of file