Podcasts about von gu

Doerksen, Katrinwww.deutschlandfunkkultur.de, LesartDirekter Link zur Audiodatei

Í Víðsjá i dag verður rætt við Arndísi S. Árnadóttur um verk Sveins Kjarvals sem með sönnu telst frumkvöðull í húsgagna- og innanhússhönnun á Íslandi, en Arndís flytur fyrirlestur um verk Sveins í kvöld í kirkju Óháða safnaðarins við Háteigsveg, í boði Hönnunarsafns Íslands.   Karl Ómarsson segir frá uppáhalds listaverkinu sínu, Silungsveiði í Ameríku eftir Richard Brautigan, og myndlistarkonan Katrín Inga Jónsdóttir Hjördísardóttir verður tekin tali um sýninguna List er okkar eina von sem nú er uppi í sýningarrýminu Midpunkt í Kópavogi.   Ennfremur verður ljósmyndarinn Guðmundur Ingólfsson tekin tali en hann blandar saman nýjum ljósmyndum og eldri klassík úr eigin ranni á ljósmyndasýningu í Safnaðarheimili Neskirkju.

Eugene von Guérard (Austria 1811 – Great Britain 1901), North-east view from the northern top of Mount Kosciusko 1863. Oil on canvas, 66.5 x 116.8 cm. Purchased 1973.

Eugene von Guérard (Austria 1811 – Great Britain 1901), Purrumbete from across the lake 1858. Oil on canvas, 51.0 x 85.5 cm.Purchased with funds from the Nerissa Johnson Bequest 1998.

'Sydney Heads', the only known Sydney subject by the artist, is a product of von Guérard's first and only excursion into New South Wales in November 1859, when he visited Sydney, the Blue Mountains and the Illawarra region. The painting was worked up in his studio in Melbourne six years later, most likely on the basis of a preparatory drawing now in the State Library of New South Wales, Sydney. Von Guérard's atmospheric rendering of this light-filled scene, together with his sensitive and precise depiction of topographical detail and human activity within a tightly controlled composition, makes 'Sydney Heads' one of his finest paintings. Von Guérard reverted to the composition of the drawing in his 1865 painting of the view - flattening the foreground slope and decreasing the North/South breadth of the Harbour and scale of the hills beyond Manly to increase a sense of space and grandeur. Addition of a tree to the left of Vaucluse Bay provided a picturesque framing device, whilst he also transformed the rough heathland of his 1860 painting to elegantly grassed slopes - perhaps to appeal to a contemporary preference for countryside of a more tamed, European appearance. Details such as the group of figures around a fire at right, added foreground interest - improving the overall balance of the composition. He bathed the scene with the rose-tinted light of late afternoon, clearly intending an altogether more luminous and poetic impression than in his painting of 1860. Von Guérard's painting, 'Sydney Heads' 1865, with its combination of elevated sentiment and remote and wild, yet partly civilised subject, relates to both homestead portraits and wilderness views in his oeuvre. As such the work takes its place within a wider international context of European artistic engagement with newly colonised lands, finding particular parallels for example with the contemporaneous work of the 'Hudson River School' artists in America. As Joan Kerr, Australian colonial art historian, comments in the catalogue to The Artist and the patron exhibition (1988), picturing the harbour 'was an almost obligatory subject for amateur and professional alike…This was not only "the most beautiful harbour in the world" it was the first sight of the new land for many arrivals and the first step towards regaining the ancestral home for many departures'. In Eugene von Guérard's 'Australian Landscapes', containing twenty four colour lithographs of landscape views (published by Hamal and Ferguson, c.1867 - 68), plate XXII 'Sydney Heads, New South Wales' is described thus; 'From the summit of a knoll on the roadside from Sydney to the narrow promontory known as the South Head, is visible the lovely prospect depicted by our artist ... The road to the South Head is deservedly a favourite drive with the inhabitants of Sydney, and the stranger passing over it for the first time experiences a succession of demands upon his admiration, as each bend in the road discloses to him some new combination of sea and shore and sky, each lovelier than the last'. The various extant versions of the painting and the lithograph which was the last work to be completed of the subject by von Guérard, offer a number of interpretations of the pencil drawing. Focusing on what has been described as one of several classic views encompassing Sydney Harbour's quintessential qualities, and painted by innumerable artists, von Guérard's 'Sydney Heads' depicts a broad sweep of landscape from Vaucluse Bay on the left to Watson's Bay and Sydney Heads at the right, with the road to the South Head in the foreground. Despite partial screening by vegetation and buildings, the accuracy of his transcription of the view may be confirmed today from the vicinity of 'Johnston's Lookout' in Vaucluse, the probable viewpoint for the artist's preparatory drawing. However, whilst clearly concerned with accurately and informatively depicting a view already well known for its 'picturesque' synthesis of grandeur and beauty, von Guérard also aimed to transcend mere topography. Von Guérard scholar Candice Bruce suggests that during the artist's training at the Kunstakademie in Dusseldorf (c.1839 - c.1846) he probably saw the work of the principal German Romantic painter Caspar David Friedrich, whose style and mood his work later evoked, and became familiar with treatises by the main exponents of German Romanticism, Carl Gustav Carus (1789-1869) and 'Novalis' [dates]. The influence of von Guérard's earlier teacher in Rome, Giovannibattista Bassi - who taught in the traditions of Salvator Rosa, Poussin and Claude - also encouraged an interest in concepts of 'the sublime' and 'the picturesque' in art. In the newly established landscape class at the Academy, von Guérard was encouraged to go on long sketching trips in pursuit of the new naturalism or 'Naturegetreue wiedergabe' (a response true to nature). For the German Romantic landscape painter, each painting was an 'Erdlebensbildnis' or painting of the life of the earth, in which a focus on the microcosmic details of nature led to an awareness of the macrocosmic presence of the soul of the world. No detail was inessential. Hence von Guérard's attention to detail, visible particularly in the painting of the foreground trees and shrubs, which was typical of his practice, and demonstrated the specific influence of the German 'Nazarene' painters with whom he had also enjoyed some contact in Rome. A key belief of the German Romantic painters was that painting should be an expression of personal insight into the divine qualities perceived in nature. In 'Sydney Heads', von Guérard celebrated with semi-religious reverence, the sublime beauty of the scene. Selecting an elevated viewpoint affording a panorama of the harbour and its surrounds, the artist aimed to inspire a sense of awe and wonder in the viewer by accentuating the vastness of the sky and by implication, suggesting the great expanses of the world beyond. [Helen Campbell, 'Eugene von Guérard - Sydney Heads 1865', Australian Collection Focus Series, AGNSW, 1999]

'Sydney Heads', the only known Sydney subject by the artist, is a product of von Guérard's first and only excursion into New South Wales in November 1859, when he visited Sydney, the Blue Mountains and the Illawarra region. The painting was worked up in his studio in Melbourne six years later, most likely on the basis of a preparatory drawing now in the State Library of New South Wales, Sydney. Von Guérard's atmospheric rendering of this light-filled scene, together with his sensitive and precise depiction of topographical detail and human activity within a tightly controlled composition, makes 'Sydney Heads' one of his finest paintings. Von Guérard reverted to the composition of the drawing in his 1865 painting of the view - flattening the foreground slope and decreasing the North/South breadth of the Harbour and scale of the hills beyond Manly to increase a sense of space and grandeur. Addition of a tree to the left of Vaucluse Bay provided a picturesque framing device, whilst he also transformed the rough heathland of his 1860 painting to elegantly grassed slopes - perhaps to appeal to a contemporary preference for countryside of a more tamed, European appearance. Details such as the group of figures around a fire at right, added foreground interest - improving the overall balance of the composition. He bathed the scene with the rose-tinted light of late afternoon, clearly intending an altogether more luminous and poetic impression than in his painting of 1860. Von Guérard's painting, 'Sydney Heads' 1865, with its combination of elevated sentiment and remote and wild, yet partly civilised subject, relates to both homestead portraits and wilderness views in his oeuvre. As such the work takes its place within a wider international context of European artistic engagement with newly colonised lands, finding particular parallels for example with the contemporaneous work of the 'Hudson River School' artists in America. As Joan Kerr, Australian colonial art historian, comments in the catalogue to The Artist and the patron exhibition (1988), picturing the harbour 'was an almost obligatory subject for amateur and professional alike…This was not only "the most beautiful harbour in the world" it was the first sight of the new land for many arrivals and the first step towards regaining the ancestral home for many departures'. In Eugene von Guérard's 'Australian Landscapes', containing twenty four colour lithographs of landscape views (published by Hamal and Ferguson, c.1867 - 68), plate XXII 'Sydney Heads, New South Wales' is described thus; 'From the summit of a knoll on the roadside from Sydney to the narrow promontory known as the South Head, is visible the lovely prospect depicted by our artist ... The road to the South Head is deservedly a favourite drive with the inhabitants of Sydney, and the stranger passing over it for the first time experiences a succession of demands upon his admiration, as each bend in the road discloses to him some new combination of sea and shore and sky, each lovelier than the last'. The various extant versions of the painting and the lithograph which was the last work to be completed of the subject by von Guérard, offer a number of interpretations of the pencil drawing. Focusing on what has been described as one of several classic views encompassing Sydney Harbour's quintessential qualities, and painted by innumerable artists, von Guérard's 'Sydney Heads' depicts a broad sweep of landscape from Vaucluse Bay on the left to Watson's Bay and Sydney Heads at the right, with the road to the South Head in the foreground. Despite partial screening by vegetation and buildings, the accuracy of his transcription of the view may be confirmed today from the vicinity of 'Johnston's Lookout' in Vaucluse, the probable viewpoint for the artist's preparatory drawing. However, whilst clearly concerned with accurately and informatively depicting a view already well known for its 'picturesque' synthesis of grandeur and beauty, von Guérard also aimed to transcend mere topography. Von Guérard scholar Candice Bruce suggests that during the artist's training at the Kunstakademie in Dusseldorf (c.1839 - c.1846) he probably saw the work of the principal German Romantic painter Caspar David Friedrich, whose style and mood his work later evoked, and became familiar with treatises by the main exponents of German Romanticism, Carl Gustav Carus (1789-1869) and 'Novalis' [dates]. The influence of von Guérard's earlier teacher in Rome, Giovannibattista Bassi - who taught in the traditions of Salvator Rosa, Poussin and Claude - also encouraged an interest in concepts of 'the sublime' and 'the picturesque' in art. In the newly established landscape class at the Academy, von Guérard was encouraged to go on long sketching trips in pursuit of the new naturalism or 'Naturegetreue wiedergabe' (a response true to nature). For the German Romantic landscape painter, each painting was an 'Erdlebensbildnis' or painting of the life of the earth, in which a focus on the microcosmic details of nature led to an awareness of the macrocosmic presence of the soul of the world. No detail was inessential. Hence von Guérard's attention to detail, visible particularly in the painting of the foreground trees and shrubs, which was typical of his practice, and demonstrated the specific influence of the German 'Nazarene' painters with whom he had also enjoyed some contact in Rome. A key belief of the German Romantic painters was that painting should be an expression of personal insight into the divine qualities perceived in nature. In 'Sydney Heads', von Guérard celebrated with semi-religious reverence, the sublime beauty of the scene. Selecting an elevated viewpoint affording a panorama of the harbour and its surrounds, the artist aimed to inspire a sense of awe and wonder in the viewer by accentuating the vastness of the sky and by implication, suggesting the great expanses of the world beyond. [Helen Campbell, 'Eugene von Guérard - Sydney Heads 1865', Australian Collection Focus Series, AGNSW, 1999]

'Sydney Heads', the only known Sydney subject by the artist, is a product of von Guérard's first and only excursion into New South Wales in November 1859, when he visited Sydney, the Blue Mountains and the Illawarra region. The painting was worked up in his studio in Melbourne six years later, most likely on the basis of a preparatory drawing now in the State Library of New South Wales, Sydney. Von Guérard's atmospheric rendering of this light-filled scene, together with his sensitive and precise depiction of topographical detail and human activity within a tightly controlled composition, makes 'Sydney Heads' one of his finest paintings. Von Guérard reverted to the composition of the drawing in his 1865 painting of the view - flattening the foreground slope and decreasing the North/South breadth of the Harbour and scale of the hills beyond Manly to increase a sense of space and grandeur. Addition of a tree to the left of Vaucluse Bay provided a picturesque framing device, whilst he also transformed the rough heathland of his 1860 painting to elegantly grassed slopes - perhaps to appeal to a contemporary preference for countryside of a more tamed, European appearance. Details such as the group of figures around a fire at right, added foreground interest - improving the overall balance of the composition. He bathed the scene with the rose-tinted light of late afternoon, clearly intending an altogether more luminous and poetic impression than in his painting of 1860. Von Guérard's painting, 'Sydney Heads' 1865, with its combination of elevated sentiment and remote and wild, yet partly civilised subject, relates to both homestead portraits and wilderness views in his oeuvre. As such the work takes its place within a wider international context of European artistic engagement with newly colonised lands, finding particular parallels for example with the contemporaneous work of the 'Hudson River School' artists in America. As Joan Kerr, Australian colonial art historian, comments in the catalogue to The Artist and the patron exhibition (1988), picturing the harbour 'was an almost obligatory subject for amateur and professional alike…This was not only "the most beautiful harbour in the world" it was the first sight of the new land for many arrivals and the first step towards regaining the ancestral home for many departures'. In Eugene von Guérard's 'Australian Landscapes', containing twenty four colour lithographs of landscape views (published by Hamal and Ferguson, c.1867 - 68), plate XXII 'Sydney Heads, New South Wales' is described thus; 'From the summit of a knoll on the roadside from Sydney to the narrow promontory known as the South Head, is visible the lovely prospect depicted by our artist ... The road to the South Head is deservedly a favourite drive with the inhabitants of Sydney, and the stranger passing over it for the first time experiences a succession of demands upon his admiration, as each bend in the road discloses to him some new combination of sea and shore and sky, each lovelier than the last'. The various extant versions of the painting and the lithograph which was the last work to be completed of the subject by von Guérard, offer a number of interpretations of the pencil drawing. Focusing on what has been described as one of several classic views encompassing Sydney Harbour's quintessential qualities, and painted by innumerable artists, von Guérard's 'Sydney Heads' depicts a broad sweep of landscape from Vaucluse Bay on the left to Watson's Bay and Sydney Heads at the right, with the road to the South Head in the foreground. Despite partial screening by vegetation and buildings, the accuracy of his transcription of the view may be confirmed today from the vicinity of 'Johnston's Lookout' in Vaucluse, the probable viewpoint for the artist's preparatory drawing. However, whilst clearly concerned with accurately and informatively depicting a view already well known for its 'picturesque' synthesis of grandeur and beauty, von Guérard also aimed to transcend mere topography. Von Guérard scholar Candice Bruce suggests that during the artist's training at the Kunstakademie in Dusseldorf (c.1839 - c.1846) he probably saw the work of the principal German Romantic painter Caspar David Friedrich, whose style and mood his work later evoked, and became familiar with treatises by the main exponents of German Romanticism, Carl Gustav Carus (1789-1869) and 'Novalis' [dates]. The influence of von Guérard's earlier teacher in Rome, Giovannibattista Bassi - who taught in the traditions of Salvator Rosa, Poussin and Claude - also encouraged an interest in concepts of 'the sublime' and 'the picturesque' in art. In the newly established landscape class at the Academy, von Guérard was encouraged to go on long sketching trips in pursuit of the new naturalism or 'Naturegetreue wiedergabe' (a response true to nature). For the German Romantic landscape painter, each painting was an 'Erdlebensbildnis' or painting of the life of the earth, in which a focus on the microcosmic details of nature led to an awareness of the macrocosmic presence of the soul of the world. No detail was inessential. Hence von Guérard's attention to detail, visible particularly in the painting of the foreground trees and shrubs, which was typical of his practice, and demonstrated the specific influence of the German 'Nazarene' painters with whom he had also enjoyed some contact in Rome. A key belief of the German Romantic painters was that painting should be an expression of personal insight into the divine qualities perceived in nature. In 'Sydney Heads', von Guérard celebrated with semi-religious reverence, the sublime beauty of the scene. Selecting an elevated viewpoint affording a panorama of the harbour and its surrounds, the artist aimed to inspire a sense of awe and wonder in the viewer by accentuating the vastness of the sky and by implication, suggesting the great expanses of the world beyond. [Helen Campbell, 'Eugene von Guérard - Sydney Heads 1865', Australian Collection Focus Series, AGNSW, 1999]

Von Guérard sailed into Milford Sound on the SS Otago on the evening of Monday 24 January 1876. The passengers on the eagerly anticipated four-and-a-half day voyage from Melbourne were not disappointed. Myriad waterfalls dashed down the steep sides of the granite peaks, following recent rain, and the clouds lifted to reveal Mitre Peak and Mt Pembroke – their towering forms reflected in the mirror-like surface of the fiord. The Otago dropped anchor by Bowen Falls at 7 pm. Von Guérard ‘at once had himself conveyed to an island’ where he executed sketches, and three drawings documented with notes on colour and vegetation, before the midsummer sun finally set.1From his chosen viewpoint he developed a panoramic composition of a series of pyramidal forms that stretch across the canvas, rising above the line of the water and reflected in it. Through the power and austerity of the composition, von Guérard communicates the monumental scale and geological age of the dark, angular rocky peaks, the depths of the fiord and the haunting silence of the Sound. His own personal experience is registered in the vignette of tiny figures seen disembarking from their rowboat. Their exhilaration at finding themselves in a place described by a journalist on the Otago as ‘unsurpassed, if equalled, by any cynosure of beauty on the earth’s surface’, is palpable.2 The intensity of von Guérard’s response to Milford Sound was informed by his scientific interest in its geology and vegetation.3 Contemporary reviewers, such as the writer for the Argus, who referred to ‘the steamer, floating like a child’s toy at the foot of one of the “awful cliffs”’, responded to Milford Sound in terms of the British Sublime.4 The Sublime played a part in von Guérard’s vision, but a more revealing context for understanding his portrayal of the subject is the scientific and specifically geological direction taken by German landscape painting in the early nineteenth century. Carus, in his Nine letters on landscape painting, argued for a new type of landscape art, one that revealed the history of the Earth’s formation through a scientifically accurate portrayal of its geology. In Milford Sound von Guérard observed and portrayed the hard, erosion-resistant character of the granite, gneiss and diorite rock formations and the vertical ridges of their foliated geological structure. The glacier at the top of Mt Pembroke – a flash of white in a predominantly dark composition – is a reminder of the glacial activity that shaped this landscape over six million years ago. Von Guérard’s New Zealand journey was the last of his many expeditions in the southern hemisphere. The two major works from this trip, Milford Sound and Lake Wakatipu with Mount Earnslaw, Middle Island, New Zealand 1877–79, were immediately acclaimed by contemporary reviewers.5Milford Sound was exhibited at the Exposition Universelle de Paris in 1878, and won a ‘First degree of Merit Special for Landscape Painting’ at the Sydney International Exhibition in 1879. Ruth Pullin 1 ‘The Otago’s Trip to Milford Sound’, Otago Witness, Issue 1262, 5 February 1876, p. 7. 2 Otago Witness, p. 7. 3 Von Guérard’s scientific accuracy is also evident in his portrayal of the plants found at Milford Sound. It is probable that the feathery flowered grasses in the foreground are the species richardii, a member of the Cortaderia genus. It is known by the Maori as toe toe. My thanks to Richard Neville, Conservation Botanist, Royal Botanic Gardens, Melbourne, for identifying this plant species. 4 Argus (Melbourne), 2 January 1877, p. 4. 5 Collection of the Auckland Art Gallery Toi o Tamaki.

The Australian Sketcher of November 1873 shows von Guérard’s grand Kosciusko painting displayed at the Vienna Exhibition with other contributions from the Australian colonies. It and another of the artist’s paintings, Cape Woolamai 1872, are surrounded by photographs and maps, produce, flora and fauna, as well as a case of mineral samples and other specimens of interest.1There is some irony here. Von Guérard detailed the lichen on rocks in North-east view from the northern top of Mount Kosciusko – most noticeably on the platform on which the cloaked figure stands – but other parts are less convincing. When von Guérard arrived in Australia in 1852 he was already an established artist, having trained in Rome and Düsseldorf. He had probably seen works by Friedrich; Carus’s published writings also circulated widely during the 1830s and 1840s, the periods of von Guérard’s study at the Staatliche Kunstakademie. In his new southern homeland the artist familiarised himself with native flora by sketching in the Melbourne Botanical Gardens, exactly the close observation of nature promoted by Carus. Von Guérard’s works are an intriguing mix of topographical accuracy and German traditions of the Sublime: we find a range of protagonists throughout his oeuvre, figures often tiny, seen at an angle or with their backs to the picture plane. As Bruce puts it, von Guérard thus synthesises active, intelligent observation with a ‘predominance of feeling over reasoning’.2 In 1862 von Guérard joined an expedition to the Australian Alps. Led by the Bavarian scientist Georg von Neumayer, the expedition was commissioned by the Government of Victoria, part of an international project to measure the Earth’s magnetic fields. As well as a geophysicist and an artist, the party comprised Neumayer’s assistant, two guides and his dog Hector – all of whom are immortalised in the painting. Von Guérard made a number of sketches during the course of the expedition. In Melbourne the following year he produced North-east view from the northern top of Mount Kosciusko.3It is a major painting, regarded as one of his finest artistically, and most accurate topographically. In North-east view from the northern top of Mount Kosciusko areas of the foreground and the mound of large boulders at right are particularly perplexing. Indeed as Bonyhady tells, the rocks were introduced by von Guérard to emphasise human insignificance. They serve to provide a link between foreground, the distant mountains and the sky, that records the passage from heavy rain to bright sunshine.4Most importantly, in aesthetic terms, the rocks echo those on the peaks at the centre of the composition, gloriously patterned by the snow that has melted to reveal the grassy slopes underneath. Mount Kosciusko, an anglicised spelling, was named by the explorer Count Paul Strzelecki in 1840 after the Polish-Lithuanian general Tadeusz Kociuszko.5 The peak was subsequently discovered to be slightly lower than its neighbour, Mount Townsend – although in order that Mount Kosciuszko retain the distinction of the highest mountain in Australia, the names were reversed. Lucina Ward 1 The Australian Sketcher engraving is reproduced in Candice Bruce, Eugene von Guérard 1811–1901: a German romantic in the Antipodes Martinborough: Alister Taylor, 1982, p. 41; the present whereabouts of Cape Woolamai1872 is not known. 2 Bruce, p. 8. 3 Studies held Mitchell and Dixson collections, State Library of NSW; the canvas is inscribed ‘Mt Kosciusko/ 19 Nov. 1862/ Eug. von Guerard’, the date of the expedition. 4 Tim Bonyhady, Australian colonial paintings in the Australian National Gallery Canberra: Australian National Gallery, 1986, pp. 188–98, 192–3. 5 In 1997 the Geographical Names Board of NSW adopted the spelling ‘Kosciuszko’; Australian pronunciation differs vastly from the Polish.

For German-born artist Eugene von Guérard the Australian landscape represented a real, lived experience and a vehicle for evoking personal and contemplative ideas. His remarkable image of a fern-tree gully in the Dandenong Ranges, some 40 kilometres east of Melbourne, conveys a sense of the landscape as a spiritual sanctuary. In this painting von Guérard showed the landscape as a rejuvenating life force, untainted by human interference. When he first visited the Dandenong Ranges the area was a dense bushland of temperate rainforests and cool fern gullies. We know from sketchbooks held in the collection of the Dixson Galleries, State Library of New South Wales, Sydney, that von Guérard visited the region twice between 1855 and 1857 and again in 1858.1 The pages of these books contain a number of drawings which document the lush and largely unexplored forests. This natural resource of high-quality timber was rapidly logged for the growing industries and settlement in Victoria. Painted on return to the artist’s Melbourne studio, Ferntree Gully in the Dandenong Ranges is a work that combines von Guérard’s meticulous observation of local plant species with his artistic interest in compositional arrangement and the creation of a ‘mood’ particular to this environment. In this case we are privy to the magical world of a bower – an enclosed gully of natural foliage created by towering tree ferns. A pool of light on the forest floor leads us to two male lyrebirds cast in shadow, one with its characteristic tail feathers raised – a natural mimic of the arch of the fern fronds. The theatrical activities of the lyrebird were one of the early drawcards for tourists to the area, who hoped to witness the singing and dancing of the male bird. Von Guérard’s painting received much positive acclaim in the Melbourne newspapers and a few years after the work was completed, ‘fern tree gully’, located close to the Fern Tree Gully Hotel, became a popular tourist destination, especially during the summer months. The residents of Melbourne sought the sanctuary of the cool green gullies and active birdlife for their leisure. The work was exhibited at the 1862 International exhibition in London where it was noted as an example of the natural beauty and scenery of the colony. 1 Tim Bonyhady, Australian colonial paintings in the Australian National Gallery, Canberra: Australian National Gallery, 1986, p. 171.