© Federico Rios for The New York Times
This is the second of four articles providing brief summaries and contents for this series of paintings telling myths from Ovid’s Metamorphoses, and covers parts 19-36, from Perseus’ rescue of Andromeda to Theseus killing the Minotaur.
Perseus in mid-flight over North Africa with the head of Medusa. Atlas refuses his request for lodging and transformed into a mountain. Perseus finds Andromeda chained to a rock, frees her and kills the sea-monster. Blood from Medusa’s head transformed into coral.
Perseus marries Andromeda. In his wedding speech, Perseus gives his account of killing Medusa. Medusa had been raped by Neptune and punished by Minerva in the transformation of her hair into snakes.
The wedding feast disrupted by Phineus, who claims Andromeda was stolen from him. They fight, Perseus turning them into statues using Medusa’s face. The couple return to Argos, and Minerva to Helicon, where the Muses tell her of a spring created by the hoof-print of Pegasus. The Pierides challenge the Muses to a story contest.
21 The fate of Phineus, and the Muses on Helicon
The story of Proserpine sung by Calliope the Muse. Venus uses Cupid to make Pluto fall for the young Proserpine. He abducts her to Hades. The nymph Cyan fails to stop them and melts away into a pool of tears. Ceres, Proserpine’s mother, told by Arethusa of her abduction, and appeals to Jupiter. As the girl had nibbled a pomegranate while in Hades, she can’t be freed, so spends winter with Pluto in Hades, and summer with Ceres.
Calliope tells of Arethusa’s attempted rape by Alpheus, and her transformation into a stream joined by Alpheus’ river to Diana’s island of Ortygia. Ceres visits Triptolemus to give him seed for unproductive land. Lyncus tries to kill him when he’s asleep, and transformed into a lynx.
23 Arethusa, Lyncus and the magpies
Arachne boasts that she’s a better weaver than Minerva, so they compete. Arachne shows images critical of the gods, so Minerva tears up her work and strikes her. Arachne tries to hang herself, and Minerva transforms her into a spider.
Niobe boasts she’s more worthy than Latona, who tells her children Apollo and Diana to punish the mortal. The pair slaughter Niobe’s seven sons and seven daughters. Niobe transformed into marble on a mountain peak, forming the River Achelous.
25 The slaughter of Niobe’s children
Pregnant with Apollo and Diana, Latona goes to Lycia to give birth. Afterwards she seeks water, but locals prevent her, so are turned into frogs as punishment.
26 Latona and the Lycian peasants
The satyr Marsyas challenges Apollo to a music contest judged by the Muses. The god wins, and exacts the penalty of flaying the satyr alive. Tears of satyrs and fauns create a new river.
King Tereus of Thrace rapes his sister-in-law Philomela, cuts out her tongue and abandons her in a forest cabin. She tells her story in her weaving, is rescued, and with Tereus’ wife they kill and cook the king’s son, and trick Tereus into eating his own son. The sisters transformed into swallows, and Tereus into a hoopoe.
The north wind Boreas abducts his betrothed Orithyia.
Medea falls in love with Jason and helps him in the three tasks he must perform to win the Golden Fleece. They sail home with their prize.
30 Jason, Medea and the Golden Fleece
Jason asks Medea to rejuvenate his ageing father Aeson, which she does successfully.
Medea tricks the daughters of Pelias into rejuvenating their father, but instead they boil him alive. Medea flees, is abandoned by Jason, murders her two sons, and marries King Aegeus of Athens.
King Aegeus makes Aethra pregnant and returns to Athens. His son Theseus grows up and travels to Athens to prove his paternity. Medea tries to trick the king into poisoning his son. When that fails, she flees, leaving Theseus to become a hero.
War between King Aegeus of Athens and King Minos of Crete. Juno’s reprisal against the nymph Aegina in a plague, killing the people of Aegina, then repopulated from ants transformed into warriors, the Myrmidons, who later fight in the Trojan War.
Cephalus, envoy from Athens, tells how he accidentally killed his wife Procris with his javelin. She had suspected him of infidelity with an imaginary zephyr, so was following him when he was hunting. He mistook her for a wild beast that had been eating the livestock of Thebes.
35 The tragedy of Cephalus and Procris
King Minos attacks the city of King Nisus, whose daughter Scylla betrays Nisus leading to his defeat. She fails to win the love of Minos. Nisus changed into an osprey, Scylla into a seabird. Minos returns to Crete where he can’t escape the shame of his wife’s bestiality with a bull and birth of the Minotaur. Minos gets Daedalus to build a maze to contain the Minotaur, then feeds it every nine years with young Athenians. Minos’ daughter Ariadne helps Theseus kill the Minotaur. Theseus abducts her to Naxos, where he abandons her. She meets Bacchus and marries.
The scales of justice are of ancient origin. In ancient Egypt, the heart of a dead person was weighed against the feather of truth in the judgement of their soul. That transferred to the Greek goddess of justice Dike, who judged using a set of scales, and so into the personification of justice in ancient Rome, Iustitia, and her modern descendant Lady Justice, whose statue is mounted on many courts of law.
This triple allegorical portrait of The Virtues: Justice, Charity, and Prudence (Wisdom) (1664) is one of Elisabetta Sirani’s more complex works. This shows Charity nursing children, Justice brandishing a sword and holding a set of scales, while Prudence draws attention to their own images.
Elihu Vedder’s most prominent and lasting achievements are the murals in the Lobby to the Main Reading Room of the Library of Congress in Washington, DC. Among them, Corrupt Legislation (1896) is an elaborate composition looking at the consequences of poor government. The central figure is more floozy than goddess, holding a set of scales in her left hand. At the right of the painting, and on that left hand, is a lawyer, with an open book labelled The Law. At his feet, banknotes fall out of an urn, there are small sacks of grain, and a small portable ‘safe’. At the left, apparently pleading with the central figure, is a young girl holding any empty distaff and bobbin for spinning. Behind her are shards from a broken pot, and a broken-down wall.
George Frederic Watts’ Time, Death and Judgement (1900) evolved over a series of versions first started around 1870. Surprisingly, he retained the same composition in all of them, and they differ only in small details. The figure of Time is at the left, holding the traditional scythe; unusually, Watts depicts Time as a young and muscular man, rather than the more conventional ‘Father Time’ with white hair and beard. At the right, Death is a young woman, the lap of her dress containing fading flowers. Time and Death are linked by holding hands. Behind, and towering over them, is the figure of Judgement, holding the scales of justice in her left hand, and brandishing a fiery sword.
Although justice is generally taken to be secular, the concept of weighing the souls of the dead has passed down into some paintings of Christian paradise.
This huge painting of Paradise in the Palazzo Ducale in Venice is seven metres (almost twenty-three feet) high and twenty-two metres (over seventy feet) across, and was probably designed by Jacopo Tintoretto and largely entrusted to his son Domenico and their workshop to paint. In conformity with the rules of the commission, its composition focusses on the Coronation of the Virgin, inspired by Dante’s Paradise, as shown in the detail below.
At the top, the Virgin Mary, behind whom is her traditional symbol of the white lily, stands with Jesus Christ, in their matching red and blue robes. Between them is the white dove of the Holy Ghost, and all around are cherubic heads of infant angels. To the right are the scales of justice, also for the weighing of souls.
This reappears three centuries later in Léon Frédéric’s polyptych All Things Die, But All Will Be Resurrected through God’s Love, painted over the period 1893-1918. Three panels at its right represent Heaven, a pastoral landscape densely packed with a multitude of naked mothers and children. A pair of women in priestly clothing stand at the wings. The figure on the right is holding a stone tablet on which a single word appears: LEX (law), and near her children are playing with the scales of justice. Near the woman at the left two children are swinging censers to generate the smoke of burning incense. Above them all is a double rainbow, and floating in the air the figure of Christ, his arms reaching out over still more figures of children, this time clothed in white robes.
Scales occasionally play a part in legendary history, including the siege of Rome by the Gauls. Conditions drove the Romans trapped in the Capitol to make peace with the Gauls besieged in the rest of the city. Rome was to pay the Gauls a thousand pounds of gold, but even there the Gauls cheated the Romans and tampered with the scales. While this was going on, Camillus entered Rome as its appointed leader, and told the Gauls to quit without any gold, as Rome delivered its city with iron instead.
Francesco de’ Rossi shows this in composite form in his fresco of the Attack on the Gauls who Sacked Rome. In the foreground, the Gauls and Romans are still arguing about the weight of gold, as Camillus’ forces start to take possession of the ruins of what had been Rome.
Finally, scales can appear in their everyday role for weighing out produce in shops and markets.
Léon Augustin Lhermitte’s detailed painting of an Apple Market, Landerneau, Brittany from about 1878 shows sellers ready with their scales in this quiet country town.
Since the dawn of civilisation in the cities of the Fertile Crescent in what’s now the Middle East, epidemics of infectious diseases have been a curse of those concentrations of people, as well as in armies. In classical times, both Athens and Rome were struck by epidemics of what’s likely to have been bubonic plague.
Michiel Sweerts’ painting of Plague in an Ancient City from about 1652-54 is believed to show Athens during one of these epidemics. The moribund and the dead litter the streets, and normal life has collapsed.
The pandemic known as the Black Death that started in about 1338 was different, though. Changing climate in the grasslands of Asia led to the movement of rodent populations into cities, and those rodents brought with them fleas carrying highly infectious diseases for humans, notably Yersinia pestis, the cause of bubonic plague.
Doubt has been cast that Boccaccio’s description of the Black Death in Florence was based on his personal experience, but few alive at the time could have escaped witnessing its deadly consequences. Much later, in the early nineteenth century, Luigi Sabatelli made this undated engraving to illustrate an edition of the Decameron, in The Plague of Florence in 1348.
Venice was particularly prone to outbreaks of plague, and developed procedures and establishments for coping with cases. In Tintoretto’s painting of Saint Roch Heals Plague Victims from 1559, those suffering from plague have been brought to this small chapel, where the saint is healing them. The dark room is already collecting a disarray of bodies, some seemingly close to death. Without the miraculous work of the saint, this would quickly have become the waiting room for hell. There were twenty-two outbreaks of plague recorded in Venice between 1361-1528, and a single epidemic in 1576-77 killed almost a third of its population.
Goya’s painting of a Plague Hospital from his disturbing series The Disasters of War (1808-10) shows management of an outbreak that occurred during the Peninsular War of 1808-14.
Arnold Böcklin reminds us that the spectre of death is never far away in The Plague, painted in 1898. This coincided with the late stage of a pandemic that had started in China in 1855, and in the last years of the century was circulating through different ports around the world, in Hong Kong in 1894, and Mumbai in 1896. That reached San Francisco in 1900-04.
As plague became less of a problem in the cities of Europe and North America in the nineteenth century, so other diseases took hold, including cholera, influenza and tuberculosis. Six pandemics of cholera swept cities across the world in the century from 1817. Spread largely in drinking water contaminated by human faeces, improvements in sanitation introduced by redevelopment of cities like London and Paris were decisive in bringing it under control.
Carlos Schwabe’s painting titled Crepuscule in the French original is more likely to refer to Dawn rather than dusk. This giant female figure of “dawn, shivering in her green and rose garment, was moving slowly along the deserted Seine”. This was an illustration for a 1900 edition of Les Fleurs du Mal (Flowers of Evil) by Charles Baudelaire.
Edvard Munch completed two versions of Hearse on the Potsdamer Platz in 1902. These depict a horse-drawn hearse in this famous square in the heart of Berlin. Amid its bright hues is the hearse, covered in a black pall, and drawn by a single black horse. Munch’s father was a doctor, and both his mother and older sister died of tuberculosis during the artist’s childhood in Oslo.
Finally, here’s a glimpse of one of the obsessions of the nineteenth century: the fear of being buried while still alive.
After his mother’s death, the eccentric artist Antoine Wiertz became increasingly obsessed with death. Premature Burial (1854) visits a not uncommon dread in the nineteenth century: that of being presumed dead, buried, then recovering to find yourself in a coffin.
This did happen, particularly during cholera epidemics, as indicated by the lettering on the opening coffin. The profound shock resulting from choleric dehydration could make the pulse and breathing so feeble as to escape detection; with hundreds or thousands of dead, many were dumped hurriedly into mass-produced coffins and so into mass graves. And a very few managed to survive.
Coffins were designed with bells which could be rung by a recovered person. Wiertz’s victim is left with the nightmare scenario of trying to make it back to the land of the living.
Parrots, parakeets, cockatoos and the humble budgerigar (a small parakeet) have long been popular domestic pets in Europe, and haven’t escaped the attention of artists. According to Richard Verdi, who has written a monograph on the subject, they appear in many paintings, often being symbols of the Virgin birth of Christ, or witnesses of the Fall of Man. In this week’s two articles considering the reading of paintings, I show a selection of works featuring these birds in different roles.
Parrots have been added to mythological paintings to supplement their original story.
In Tintoretto’s Leda and the Swan, from about 1578-83, there are two caged birds, a duck being taunted by a cat in the left foreground, and a parrot in the background. These allude to one of the most bizarre of Jupiter’s many rapes of mortal women, here in the form of a swan, resulting in his victim Leda laying eggs.
Tiepolo’s magnificent Death of Hyacinthus from about 1752-53 was inspired by an Italian translation of Ovid’s Metamorphoses from 1561, where the fatal discus is replaced by what looks like a tennis ball, actually taken from the popular game of pallacorda. This classical story is told in the right foreground, with the pale Hyacinthus visibly bruised on his cheek, Apollo swooning above him, and Cupid to the right. Above that group is a grinning Pan in the form of a Herm, and at the top right a brightly coloured parrot, who appears oddly out of place.
Peter Paul Rubens’ version of The Fall of Man painted in 1628-29 changes Titian’s original depiction of Adam and adds a parrot as witness to Eve taking the apple from the serpent with a child’s head and body.
Alfred Stevens was an early enthusiast for Japonisme as it swept Paris, and provided insights into his life in his Psyché or My Studio from about 1871. The French word psyché refers to the full-length mirror seen in this apparently informal view of Stevens’ studio, the name deriving from the legend of Cupid and Psyche. For this painting, Stevens doesn’t use a genuine psyché, but has mounted a large mirror on his easel, suggesting that art is a reflection of life. A Japanese silk garment is draped over the mirror to limit its view to the model, and breaks up her form in an unnatural way. At the lower right, the artist indicates his presence with a cigarette, and there’s a small parrot who might imitate his speech.
The association between parrots and beautiful women has a long history.
Tintoretto’s Summer (c 1546) poses a reclining Titianesque nude before she removed her clothes against the summer harvest ripening behind her. She is joined by three birds, one an exotic parrot, with flowers of the dog rose, and hanging bunches of grapes.
In 1858, a popular translation of tales in Persian by Ṭūṭī-nāma of Żiyā’ al-Dīn Naḫšabī, who died around 751/1350-51, was published in Britain. Valentine Cameron Prinsep’s Lady of the Tooti-Nameh, or The Legend of the Parrot (c 1865) refers to that book, and was first exhibited at the Royal Academy in 1865, where it must have caused quite a sensation with its fleshly glimpses inside the woman’s blouse. The parrot perched on her hand is a hint of the exotic, but couldn’t have anticipated the painting shown by Gustave Courbet in the Paris Salon the following year.
Courbet’s model for his erotically charged Woman with a Parrot from 1866 was Joanna Hiffernan. The structure behind and to the right is a perch and feeder for the bird. This inevitably brought scandal, but didn’t deter others from painting pretty women with parrots. Édouard Manet’s A Young Lady in 1866, nicknamed Woman with a Parrot, was shown at the Salon two years later, and Auguste Renoir’s Woman with Parakeet followed in 1871, although at least their models were decently dressed.
Henry Tonks’ early portrait of A Girl with a Parrot from about 1893 provides an intimate glimpse into the private world of a young girl.
A brilliant green parakeet with its bright red bill adds colour to John William Godward’s Dolce Far Niente from 1897.
Painted late in his career, Émile Friant’s The Birds (1921) is a brilliantly colourful and detailed erotic fantasy demonstrating his great technical skills, but has drifted far from his earlier Naturalism and social concerns.
While the use of colour to encode meaning in terms of sex/gender or devils is relatively unusual, there are other situations where colour conventions are employed in paintings. Among these are standards seen in religious paintings, such as those of the Virgin Mary.
In many paintings of the Virgin Mary, she’s shown wearing a cloak of ultramarine blue, although there are also examples of her wearing green, or a combination of red and green. In Sassoferrato’s The Virgin in Prayer, her cloak looks as if it was painted only yesterday rather than nearly four centuries ago. The choice of ultramarine may have originated from the fact that the pigment was weight-for-weight more expensive than gold, and visually even more stunning.
Dante Gabriel Rossetti’s painting of The Girlhood of Mary Virgin (1848–9) shows her embroidering with her mother Saint Anne, while her father Saint Joachim prunes a vine. Her red embroidery signifies the Passion to come, and the colour is often a symbol of Christ’s blood shed in the crucifixion. It was also adopted as the colour code for cardinals in the Roman Catholic church.
Raphael’s magnificent Portrait of a Cardinal from 1510-11 is notable not only for the lifelike modelling of flesh, but for his attention to the surface textures of the fabrics, something he had developed since his early days with Perugino. Three distinct fabrics are shown in the cardinal’s choir dress: the soft matte surface of the biretta (hat), the subtly patterned sheen of his mozzatta (cape), both in cardinal red, and the luxuriant folds of his white rochet (vestment).
With a limited range of colours available, it was inevitable that there were unfortunate conflicts, as red not only signifies the Passion and crucifixion, and cardinals, but the scarlet woman as a carnal red.
There are two origins proposed for the term scarlet woman: the earlier is the New Testament book of Revelation, in its characterisation of the Whore of Babylon in chapter 17, verses 4-5, where she’s described as being dressed in purple and scarlet, and decked with gold, precious stones and pearls. William Blake’s watercolour of The Whore of Babylon from 1809 follows this literally, although his purple has faded now.
Carolus-Duran’s Portrait of Mademoiselle de Lancey (1876) was exhibited at the Salon, and in its own way became infamous as ‘the lady with the red cushion’. Most of those who attended that Salon knew only too well that she was one of the great courtesans of the Belle Epoque, and could name many of her succession of rich lovers. The scarlets and crimsons and her direct wide-eyed gaze at the viewer left little to the imagination, and the critics were almost as merciless with Carolus-Duran as they had been in 1865 with Manet’s Olympia.
A few artists have used distinctive colour codes in other ways.
Félix Vallotton’s Andromeda Standing with Perseus (1907) shows the sea monster Cetus heading for a defenceless Andromeda, as hero Perseus charges to her aid through a cleft in the black sky. Each figure is colour coded: green for the sea monster, pink for the near-victim, and blue for the hero, against a straw-coloured sea.
Evelyn De Morgan’s Cadence of Autumn from 1905 shows five women in a frieze, against a rustic background. From the left, one holds a basket of grapes and other fruit, two are putting marrows, apples, pears and other fruit into a large net bag, held between them. The fourth crouches down from a seated position, her hands grasping leaves, and the last is stood, letting the wind blow leaves out from each hand. They wear loose robes that are coloured (from the left) lilac, gold, brown, green, and black, the sequence seen in nature.
Colour can be at its most important in multiplex narrative, to indicate each occurrence of an actor, so helping the viewer assemble each part of the story into a whole.
Masaccio’s Tribute Money (1425-8) contains three images of Saint Peter, and two of the tax gatherer, each carefully set and coherently projected into the same single view. Although each is spaced apart from the next, no pictorial device is used to separate them into frames, and they form multiplex narrative. This refers to the Gospel of Matthew, in a story in which Christ directs Peter to find a coin in the mouth of a fish so that he can pay the temple tax. In the centre, the tax collector asks Christ for the temple tax. At the far left, as indicated by Christ and Peter’s arms, Peter (for the second time) takes the coin out of the mouth of a fish. At the right, Peter (a third time) pays the tax collector (shown a second time) his due.
The use of colour to add meaning to images is longstanding practice, and can be traced back to ancient Egyptians, who tended to use it to distinguish males from females. Most probably the result of their belief system, females were often depicted with paler or even white skin, while men were more swarthy in appearance.
In this fresco of a funeral procession from the tomb of Ramose, dating from about 1353–1336 BCE, there’s a clear distinction in skin colour between the central group of women, and the men on the left and right.
This passed through into the Renaissance.
This can be most apparent in paintings of Adam and Eve, here that made by Maerten van Heemskerck in about 1550, where Eve is as white as ivory.
Annibale Carracci’s Latona and the Lycian Peasants, probably from 1590-1620, shows the near-white goddess Latona placing her curse on the swarthy-skinned locals.
After the Renaissance, this colour-coding largely disappeared, only to return at the end of the nineteenth century.
Evelyn De Morgan’s Boreas and Orithyia from about 1896 shows the darker Boreas, the north wind, bearing the paler Athenian princess Orithyia aloft.
In the early twentieth century, the former Nabi artist Félix Edouard Vallotton painted a series of narrative works, including his Perseus Killing the Dragon, from 1910, a thoroughly contemporary interpretation with a marked contrast in skin colour. This is most evident where their feet are close together at the lower edge of the painting.
Independent of that coding, paintings of hell and devils developed their own colour schemes.
This detail from Giotto’s fresco of The Last Judgment in the Scrovegni Chapel in Padua, Italy, was painted in 1306. It follows the early convention that its humanoid demons are colour-coded blue, with some in brown, in contrast to its densely-packed and near-white victims seen undergoing punishment. There’s no colour-based distinction between men and women here, though.
Luca Signorelli’s large fresco in the San Brizio Chapel in Orvieto shows the seething mass of The Damned (1499-1502). His colour-coding is richer, and there’s precious little sign of flames, fire, or even rocks, just a dense mass of people being tormented.
Bonifazio Veronese’s St Michael Vanquishing the Devil from 1530 shows a dark-skinned humanoid with draconian wings, which may have descended from older images in which the Devil (with the definite article) is shown as a straight dragon. This artist isn’t the great Paolo Veronese, but a Venetian painter whose work influenced Tintoretto.
This visual distinction extends to more recent paintings, including Henry Fuseli’s The Nightmare from 1781. The daemonic incubus seen squatting on the torso of a young woman is swarthy in colour compared to his victim’s pallor.
Ary Scheffer used clear colour coding in his Temptation of Christ, from 1854, where the fallen angel is trying to get Christ to jump from a pinnacle so that he could rely on angels to break his fall.
Most recently, some have tried to interpret this as racialism, but these codings have older origins, and only appear in skin colour, not overall appearance. It would be nonsense to suggest that any of these devils were intended to represent North Africans, for instance.
In this second of my three articles devoted to paintings of Easter, I cover the Crucifixion, from Christ’s ascent to calvary bearing his cross, to the entombment of his body.
Jacopo Tintoretto’s Ascent to Calvary (E&I 128) is unusual among paintings of this phase of the Passion for its inclusion of all three of those to be crucified bearing their crosses. Christ is naturally prominent in the upper half of a composition dominated by diagonals, formed by the winding path and the crosses themselves. He and the two thieves are each given assistants who help them with the burden of the crosses.
In the upper distance are banners declaring the oversight of the Roman authorities, in their inscriptions of SPQR. Tintoretto links this with the Crucifixion with the inclusion of the tradesmen and their tools who were shortly to be responsible for the mechanics of the executions. Here the thick ropes bind the figures together, as they are used to attach the crosses to their bearers, and to draw the three along to their deaths.
Lovis Corinth’s Christ Carrying the Cross (1909) explores Christ’s Passion in real terms. Although this contains most of the usual elements seen in traditional depictions, his language is contemporary, almost secular. Two men, one of them apparently African, are helping Christ bear his exhausting load, while a couple of soldiers are whipping him on, and threatening him with their spears. A third soldier is controlling the crowd at the upper left, and behind is a mounted soldier and one of the disciples.
Tintoretto’s Crucifixion (E&I 123) (1565) is over 5 metres (17 feet) high, and 12 metres (40 feet) across. The artist makes use of space with a narrative technique based on the traditional ‘multiplex’ form popular during the Renaissance: its single image shows events at more than a single point in time, in an ingenious and modern manner.
Naturally, the painting centres on Christ crucified, but the two thieves executed beside him are not shown, as would be traditional, already hanging from their crosses. Instead, to the right of Christ, the ‘bad’ thief is still being attached to his cross, which rests on the ground. To the left of Christ, the ‘good’ thief is just being raised to the upright position.
Spaced out around the canvas are relevant sub-stories from that whole. At the foot of Christ’s cross is his group of mourners, including the Marys. Each of the crosses has attendant workers, busy with the task of conducting the crucifixion, climbing ladders, hauling on lines, and fastening each victim to his cross. This mechanical and human detail brings the scene to life, adding to its credibility and grim process.
James Tissot’s What Our Lord Saw from the Cross is a uniquely innovative and narrative depiction of the crucifixion.
Peter Paul Rubens painted a huge panel showing the Crucifixion, although in this case it’s strictly speaking a Deposition: this centre panel, Descent from the Cross (1612-14), is from his triptych commissioned by the Confraternity of the Arquebusiers of Antwerp for the Cathedral of Our Lady in that city. This remains one of Rubens’ greatest religious paintings.
The Deposition (Descent from the Cross) (1895) was one of Lovis Corinth’s major paintings from his time in Munich, and won a gold medal when it was exhibited in the Glaspalast in Munich, in 1895. It shows the traditional station of the cross commemorating the lowering of the dead body of Christ from the cross, attended by Joseph of Arimathea and Mary Magdalene.
This work is a thoroughly modern approach to this classical theme, in its framing, composition, and the faces. Its close-in cropped view suggests the influence of photography, and the faces shown appear contemporary and not in the least historic. These combine to give it the immediacy of a current event, rather than something that happened almost two millennia ago. Corinth returned to the subject of the Deposition, and the theme of the Crucifixion, in many of his paintings.
Gustave Moreau painted several versions of the Pietà (c 1876), this one on a tiny panel. It incorporates some of the more radical imagery which was appearing in his mythological paintings, with a blue wing in the centre.
William Blake’s The Entombment (c 1805) refers to the gospel of Luke, chapter 23 verses 53 and 55:
And he took it [the body of Jesus] down, and wrapped it in linen, and laid it in a sepulchre that was hewn in stone, wherein never man before was laid.
And the women also, which came with him from Galilee, followed after, and beheld the sepulchre, and how his body was laid.
Easter is one of the two landmarks in the Christian calendar. This weekend I devote three articles to paintings of the Passion, Crucifixion and Resurrection of Jesus Christ. Although these don’t sync perfectly with the calendar, they should provide better coverage of events that are the most painted in European art. Today, on Good Friday, these cover the Passion prior to the Crucifixion; tomorrow, paintings show the Crucifixion itself, and on Easter Sunday I end with the Resurrection.
Now known almost exclusively for his fine engravings for books, Gustave Doré was in his time as well known for his paintings. This is a preparatory sketch for one of his several versions of Christ’s Entry into Jerusalem. This shows the conventional Christian account in the Gospels, of Christ entering Jerusalem in triumph, on the back of a donkey, as the start (‘Palm Sunday’ because of the palm fronds usually involved) of the series of processes leading to his Crucifixion. A popular biblical narrative in European painting, few finished works can match Doré’s at 6 by 10 metres size.
Gaetano Previati’s undated and sketchy painting of Christ Driving the Money-Changers from the Temple appears to predate his Divisionism. It shows the Cleansing of the Temple, in which Jesus expelled merchants and money-changers from the Temple of Jerusalem, as described in the Gospel of Matthew, chapter 21, verses 12-17.
William Blake’s Mary Magdalene Washing Christ’s Feet is one of the biblical series he painted for his patron Thomas Butts in about 1803-05. It shows the scene during the supper at the house of Martha and Mary, which prefigured the Last Supper in several ways. This is told in the gospel of John, chapter 12 verses 1-8:
Then Jesus six days before the passover came to Bethany, where Lazarus was, which had been dead, whom he raised from the dead. There they made him a supper; and Martha served: but Lazarus was one of them that sat at the table with him. Then took Mary a pound of ointment of spikenard, very costly, and anointed the feet of Jesus, and wiped his feet with her hair: and the house was filled with the odour of the ointment.
Then saith one of his disciples, Judas Iscariot, Simon’s son, which should betray him, “Why was not this ointment sold for three hundred pence, and given to the poor?” This he said, not that he cared for the poor; but because he was a thief, and had the bag, and bare what was put therein. Then said Jesus, “Let her alone: against the day of my burying hath she kept this. For the poor always ye have with you; but me ye have not always.”
Presumably the man sat in the centre, wearing blue, is intended to be Lazarus; Mary and Jesus look awkward together: it has been proposed that this results from meanings that Blake attached to left and right, but here it’s almost inevitable given the composition. This does, though, provide a full view of the curved and compacted figure of Mary, and her wiping of Jesus’ feet using her luxuriant hair.
The most famous painting of The Last Supper, and one of the best-known works in the European canon, is of course Leonardo da Vinci’s. Giampietrino’s copy from about 1520 gives the closest impression today of what the original must have looked like. Even this copy has been horribly mutilated: the upper third was cut off, and its width reduced, but at least what remains gives a better idea of the original’s appearance.
Leonardo’s composition wasn’t entirely revolutionary for the time. Previous paintings of The Last Supper had spread the apostles along the length of a table, with Christ at its centre. However, Judas Iscariot was usually placed alone on the near side, his back to the viewer, and sometimes with his bag of silver visible behind his back.
Leonardo shows the moment of surprise and denial when Christ announces that one of those sat around the table would betray him. In this he was perhaps the first artist to assemble the apostles into small groups, a feature that has been repeated in innumerable images following this. For not only must this be one of the greatest works of European art, it must also have spawned more copies and parodies than any other.
Jacopo Tintoretto’s version from 1563-64 is so radically informal that it still shocked John Ruskin when he saw it three centuries later. Its table is almost square and low-set, with Jesus leaning back and talking quite casually. Twelve apostles sit, lounge, slump and lean around the table, of which one at the right is even eating his meal from his lap. There’s a rough assortment of seating, with a chair resting on its side under the table, as if hurriedly abandoned, which is perhaps a reference to Judas Iscariot.
This has posed the greatest problems for paintings, in that the action in the garden took place in the dark.
William Blake’s The Agony in the Garden is an unusual moment from the popular sequence of the Passion. Although much of it is inevitably dark, Blake’s imagery is as radical as those in his watercolours. The story is a composite from the gospels of Matthew, Mark, and Luke, and shows the instant just before Christ’s betrayal by Judas and his arrest. An angel appeared from heaven, to strengthen Jesus, and “his sweat was as it were great drops of blood falling down to the ground.”
Christ’s head is tilted in the extreme to face the angel, who grasps him under the armpits. The angel has descended from a brilliant red burst at the top of the painting, while the disciples are seen asleep among the dark tree-trunks.
James Tissot’s huge series of watercolours showing the life of Christ includes the Passion in great, and sometimes graphic, detail. Jesus Before Pilate, First Interview shows the episode from Luke 23:1-4 and John 18:33-38 in which Pilate, the Roman governor at the time, questions Jesus and concludes that there is no basis for any charge against him. Technically one of the most brilliant paintings of the series, it is easy to mistake this for being painted in oils.
In Hieronymus Bosch’s The Crowning with Thorns from about 1490-1500, there are four men around the head and body of Jesus Christ. At the top left, a crossbowman dressed in a green cloak and wearing full armour on his right hand holds, in that hand, the crown of thorns, so as to place it on Christ’s head. At the top right, an older man, whose right arm rests on Christ’s right shoulder, has a more concerned expression, his brows knitted, almost as if trying to reassure Christ.
At the lower right, another older man is seen in profile, looking up at Christ, and clutching at his white robe with both hands. At the lower left, a much older man also appears in profile, looking up at Christ, his left hand holding the top of a stick, his right touching Christ’s body. Christ looks directly at the viewer, his face appearing calm and resigned. He wears a thin, white linen robe, from which his right hand protrudes.
Antonello da Messina’s Christ at the Column, painted in about 1478, is one of the masterpieces of European oil painting. The head of Christ here is almost identical to that of the artist’s pieta, to the point where he is thought to have used the same cartoon for both, but here showed the eyes open and looking up to the heavens.
Amazingly, this painting didn’t appear until 1863, when it was bought by the chief curator at the South Kensington Museum in London from a dealer in Granada, Spain. It was originally attributed to Andrea Solario, and wasn’t recognised as Antonello’s until the twentieth century. After display in the National Gallery in London, it was bought by the Louvre in 1992.
介绍VLAN的基本概念和几种场景下的应用，而OpenWrt下VLAN处理机制和一般交换机有些不同，这里做了一个对比并给出了一种两台路由器之间的单线复用的方案
计算机网络的教材对VLAN一笔带过，作业的却要用到交换机互联，之前看的VLAN的文章貌似都对应不到OpenWrt上去，也就很难有实践的机会；下面根据个人在宿舍组网上遇到的问题，一步步来探究VLAN的用法
后面又看到了N1盒子基于VLAN的单臂路由，又做了一些补充
宿舍是上床下桌，每一张桌子下面有一个百兆的网口，通过负载均衡，很早就可以把网速跑到100Mbps了，这显然不够啊，因为宿舍WiFi是共用的，自然而然想到连接相邻的两个床位的网口，这样就有300Mbps了，这也是多线拨号的第一步
上图就是将LAN3与LAN4作双线接入，通过VLAN分别对应到eth0.3和eth0.4
此时LAN4与WAN是“直通”的，效果上来说，就是LAN4也可以插网线用电脑拨号了，如果是要给路由器做双线接入的话，则需要添加VLAN，再把一个LAN口添加到新VLAN中，最后建立接口拨号即可
然而舍友还是需要网口拨号的，所以如果需要长期占用的话偶尔肯定是不太方便的，所以需要交换机来扩展一下网口，这一步已经可以通过简单的修改下OpenWrt路由器的Switch来实现，將LAN4和WAN划到同一个VLAN，两个接口就相当于在同一交换机下：
然而，仅仅通过untagged只能实现多条线路的“汇聚”，能够达到100Mbps+的只有一台路由器而已，并没有实现“互通”，即每一台路由器都可以上到100Mbps+；不仅如此，还要实现相邻床位的路由器之间只用一根线连接就可以达到同样的网速，更具体的就是在一根网线传输不同的来源（网口）的数据
而VLAN的一个重要的功能恰好就是实现交换机之间的互通
这个需求源于有一台N1，之前看过VLAN的接入网络的方法，觉得网络结构更清晰，以此可以解决主路由算力不足的问题，但之前一直没有刷上OpenWrt，刷完之后发现居然没有交换机的Switch选项，赶紧翻出了之前看到的帖子：N1做主路由，新3做AP的最正统vlan连法教程，想起之前文档刚好有部分没看懂，刚好可以补充上
首先还是OpenWrt的文档：VLAN，很早就读过，但是因为缺少具体的有解释的例子，当时没弄清楚VLAN tagged的机制
所以这里先结合华为的文档了解下基础的概念
首先需要理解VLAN标签是被添加到以太帧内部的一个4个字节的片段，其中VID也就是常说的VLAN ID
在一个VLAN交换网络中，以太网帧主要有以下两种形式：
常用设备中：
VID也就是数据帧中的12bit的VLAN ID，表示该数据帧所属VLAN的编号，而PVID（Port Default VLAN ID）又称为缺省VLAN，可以用于和VID做比较来判断Tag的情况
最主要的应用是划分广播域，这部分可以参考图文并茂VLAN详解，然而和本文的关系不是很大
为了提高处理效率，设备内部处理的数据帧一律都是Tagged帧，例如在交换机内部的，在数据帧进入交换机的时候可能会按照一定的规则被打上VLAN Tag以方便下一步的处理，OpenWrt的Old Wiki的一张图很好地体现了这一点：
以太帧进入端口后被打上VLAN Tag，之后在传输的CPU的线路内（Port5-CPU），就同时传输带两种VLAN Tag的包
另外在交换机之间，可以在一条链路上使用两个VLAN也叫做Ethernet trunking，也有人称作单线复用，常见的应用：
这里参考的是上面的华为的交换机的文档，不同交换机可能有些不一样
以收发的设备作为主体，指的是数据帧到达接口而没有完全进出交换机内部，举个例子：
配置VLAN：为了适应不同的连接和组网，设备定义了Access接口、Trunk接口和Hybrid接口3种接口类型，以及接入链路（Access Link）和干道链路（Trunk Link）两种链路类型，如下图所示
根据接口连接对象以及对收发数据帧处理的不同，以太网接口分为：
Access接口一般用于和不能识别Tag的用户终端相连，只能收发Untagged帧，且只能为Untagged帧添加唯一VLAN的Tag
Trunk接口一般用于连接交换机、路由器、AP以及可同时收发Tagged帧和Untagged帧的语音终端。它可以允许多个VLAN的帧带Tag通过，但只允许一个VLAN的帧从该类接口上发出时不带Tag（即剥除Tag）
Hybrid接口可以允许多个VLAN的帧带Tag通过，且允许从该类接口发出的帧根据需要配置某些VLAN的帧带Tag（即不剥除Tag）、某些VLAN的帧不带Tag（即剥除Tag）
Hybrid接口和Trunk接口在很多应用场景下可以通用，但在某些应用场景下，必须使用Hybrid接口。比如一个接口连接不同VLAN网段的场景（如图所示的Router连接Hub的接口）中，因为一个接口需要给多个Untagged报文添加Tag，所以必须使用Hybrid接口。
OpenWrt对VLAN Tag的处理机制见后文引用文档的加粗部分，此处暂作为理解的参考
OpenWrt的文档没怎么提及接口类型的概念，OpenWrt对VLAN设置的组织形式和普通的交换机有所不同，从机制介绍来看是比较接近Trunk端口的：发出的数据帧只有一个VLAN的数据帧不带Tag
OpenWrt文档所提到的：An untagged port can have only 1 VLAN ID 反映在：OpenWrt中的Switch设置VLAN时单个untagged Port无法再再其他VLAN上为Untagged，否则回提示：LAN 1 is untagged in multiple VLANs!
故抛开之前的端口类型，遵守VLAN的规则，兼容且实用就行
另外，不是所有OpenWrt设备都有Switch这个LuCI的配置选项，比如N1就没有，但是照样可以配置VLAN，位置在Interface的接口物理配置部分，由于无法像Switch那样有Tag之类的选项，
官方文档对Tag机制的介绍如下(散落在两处):
- Tagged on “CPU (eth0)” means that the two VLAN ID tags used in this example (1, 2) are sent to the router CPU “as tagged data”. Remember: you can only send Tagged data to VLAN-aware devices configured to deal with it properly.
- Untagged means that on these ports the switch will accept only the incoming traffic without any VLAN IDs (i.e. normal ethernet traffic). The switch will remove VLAN IDs on outgoing data in such ports. Each port can only be assigned as “untagged” to exactly one VLAN ID.
- Off: no traffic to or from the tagged ports of this VLAN ID will reach these ports.
Ports can be tagged or untagged:
- The tagged port (t is appended to the port number) is the one that forces usage of VLAN tags, i.e. when the packet is outgoing, the VLAN ID tag with vlan value is added to the packet, and when the packet is incoming, the VLAN ID tag has to be present and match the configured vlan value(s).
- The untagged port is removing the VLAN ID tag when leaving the port – this is used for communication with ordinary devices that does not have any clue about VLANs. When the untagged packet arrives to the port, the default port VLAN ID (called pvid) is assigned to the packet automatically. The pvid value can be selected by the switch_port section.
特别指出，但是一般也用不上，在LuCI界面上看不到的PVID设置，设置具体在uci network switch_port部分：
Port PVID; the VLAN tag to assign to untagged ingress packets
官方文档的位置在 Creating driver-level VLANs 一节，配置方式是通过在接口设置，选择自定义接口，在名称在做文章：如在物理网卡eth1上，通过自定义eth1.2接口的方式建立一个VLAN ID为2的接口，在使用Switch设置VLAN，如添加VLAN ID为3的VLAN之后，接口处也会出现eth0.3，逻辑上还是统一的；下面来看下文档对处理机制的描述：
If the incoming packet arrives to the interface with software VLANs (incoming packet to eth1) and has a VLAN ID tag set, it appears on the respective software-VLAN-interface instead (VLAN ID 2 tag arrives on eth1.2) – if it exists in the configuration! Otherwise the packet is dropped. Non-tagged packets are deliveded to non-VLAN interface (eth1) as usual.
即处理流入的包：接口只接收有相应Tag的包，相当于Switch中的VLAN在该接口设置为Tag
这样一来，一个物理网口可以同时收发带Untagged帧和Tagged帧，故使用VLAN来实现单臂路由也就很好理解了，配置的方式也不唯一
回到本文开头提到的问题，仿照上面的Switch内部VLAN机制的图的形式，画了一张两台OpenWrt路由器通过VLAN互通，进而实现让两台路由器可以得到宿舍三个网口合计300Mbps的接入
需要说明的是：
最后的在宿舍的书桌背后的路由器如图
还记得初见Atom的惊艳以及日久感受到的速度慢和占用高，记得VSCode刚推出时的“难用”，现已今非昔比，本文主要介绍VSCode的一些简单的应用：部分实用的插件以及调试C，Python代码的方法
最初为了写LaTeX而使用 Atom + 插件 来作为代码编辑器（积累了些经验之后转而使用TeXStudio），之后也就顺其自然的用Atom写了作业的大部分代码（装插件还要看网络环境），之后就是遇到了幽灵和熔断漏洞的影响，笔记本的性能越来越力不从心，使用Atom打开大文件特别慢，运行也并不流畅，才发现Atom的性能问题被诟病已久，有人推荐了微软的VSCode —— 和Atom的主题、插件基本通用，但是性能好太多，于是我就换下了Atom，一直用到了现在
现代代码编辑器最基本的功能：Git，多语言支持，丰富的效率插件，VSCode都是有的，而它出彩的地方还是在于开发方面（其实我就是写下作业）
安装VSCode的时候记得勾选使用VSCode打开文件夹，因为VSCode的对工作空间要求比较严格的，另外对于Atom迁移而来的，可以选择Atom主题“One Dark Pro”以实现一个“平缓的过渡”
在调试代码和使用方面，常用的插件有：
考虑到配置繁杂，重装或者有多台电脑迁移配置不便，可以用Setting Sync插件通过Github提供的服务以实现配置的同步
常规插件其实各大代码编辑器都差不多，对于VSCode来说，个人接触到的，最惊艳的插件当属Remote-SSH：
开发环境或者说代码运行的环境在远程或者其他的系统上，需要使用SSH客户端连接到远程，使用SCP或者SFTP来传输文件，这里面SSH客户端是一个重要的角色，最开始使用Atom编辑加上脚本完成“本地编辑，远程调试”的过程，后面遇到了一度让我觉得“相见恨晚”的FinalShell，解决了SSH时的一些列问题，但是作为一个独立开发者维护的闭源软件，稳定性和安全性是一般般的
而Remote-SSH相当于把VSCod搬到了服务器上，同时解决了运行环境和文件传输两个问题，尽管类似的问题可能早就有成熟的方案，但是在常用的代码编辑器中就能实现还是相当感动的，安装完成本地的客户端之后在VSCode的左下角有一个蓝色的标记，点击之后按照提示添加服务器就好（遇到SSH的config文件权限的问题，换用另外一个ssh的config文件就好），初次使用连接服务器之后会在服务器端自动下载和安装VSCode的相关组件（常用的LInux发行版没什么问题，也不需要root权限，ARM架构也支持），之后再手动把需要的插件安装下就好
初次连接时打开文件夹需要重连，直接打开另外一个文件夹也会重连，感觉不方便的话，可以在打开文件夹之后再添加另外一个文件夹到工作空间中（会重新连接），文件夹一栏会变成了工作空间，之后添加文件夹就不需要重连了，工作空间的配置可以保存以便下次使用；文件的上传下载分别是拖拽和右键菜单，体验算是很好了
如果在远程跑代码可以安装Resource Monitor用于监测CPU和内存占用，其他的细枝末节的部分搜索下就有
这里就不造轮子了，已经有人做的很好了，Dev on Windows with WSL，其中主要使用了Remote-WSL插件，虽然个人一度觉得WSL是未来，但是使用了一段时间之后还是觉得不如Docker或虚拟机来得方便，尤其是和Remote-WSL一起推出的Remote-SSH诞生之后
无意中又看到Remote插件多了一个Docker，之前的docker插件在VSCode侧边栏可以方便的查看镜像容器的情况，而Remote插件可以直接把VSCode的运行环境放到容器内，并且可以直接接入正在运行的容器（也就是不需要预先安装SSH和开放端口），尤其对编译环境下修改代码比较方便
另外还有个有趣的地方，可以让Win下的Docker支持图形化界面（勉强可用）
这里直接把IP保存为变量了：
Login
$DISPLAY=(ipconfig|findstr "IPv4")[1].split(" ")[-1]+":0.0";
docker run -it --net=host -e DISPLAY=$DISPLAY ....
VSCode全称Visual Studio Code，调试代码方面算是对得起Visual Studio之名了，权威的配置过程还是参考VSCode官方文档，本文介绍的是个人配置在Windows下的配置尝试，点几下就配置好了，故分享出来，仅供参考
有些作业要求用C语言写，最开始追求新奇，用的Visual Studio 2015以及Clang，看中的是强大的调试功能，但是对于写个简单的作业来说太费事，Clang的报错常常不理解
之后转而使用了更常见的Dev C++，基于GCC，照抄书上的代码也不会莫名报错了，在很长一段时间里都是用Atom写代码，Dev C++做运行和调试，
到了VSCode当然会想要接近Visual Studio的体验，编译器肯定不用Clang了，至于GCC，WSL里有，Win上的GCC的版本不知道用哪个好，看网上的博客配置tasks.json (build instructions)，launch.json (debugger settings)依然颇为繁琐
直到后面遇到了Scoop，安装就很简单了：scoop install gcc，查看版本后发现是MinGW的GCC，安装CodeRunner扩展后就可以运行代码了
注：代码及工作目录的路径不要有中文
调试功能则需要C/C++扩展，Debug功能在VSCode的左侧应该是自带的，对新目录来说Debug一栏的左上角绿色三角形旁边会显示”No COnfiguration”，Debug时配置gcc.exe作为代码的编译器，GDB作为代码的调试器的关键就在这里了：
Add Configuration的时候选C++(GDB/LLDB)，之后再选gcc.exe build and debug active file设置完成后会在工作目录下生成一个.vscode/launch.json的文件，文件定义了gdb作为exe的调试器，需要注意的是这里的preLaunchTask，定义了在执行调试在前需要使用gcc对代码进行编译，也就是下一步
回到C的源文件，点击Debug一栏的左上角绿色三角形开始调试，会提示Could not find the task ‘gcc.exe build active file’ ，点击Configure Task，再选gcc.exe debug active file，软件就会创建并打开.vscode/task.json，其中定义了gcc.exe编译的过程，也就是上一步的preLaunchTask
以上的文件在做了选择之后就自动生成好了，之后该文件夹内的C代码都可以透过VSCode的Debug来调试了，设置断点，查看变量体验还是比较现代的~
已知问题
自带的运行代码和调试的terminal窗口对部分编码支持的不太好，调试的时候会闪退
使用WSL GCC可以参考下面的链接（和上个链接的WSL Remote还是有些不同的）： VSCode使用WSL环境开发C语言配置
首先在VSCode窗口的左下角，可以设置当前使用的Python解释器，运行依然是CodeRunner，在代码编辑窗口右键选择各种运行方式包括交互式。重点还是调试，这个时候可以选择创建一个新文件夹了（平时把Python代码都放到一个文件夹…），在新文件夹的情况下，点击调试会提示选择Debug Configuration：包括了Python File和Module以及其他没见过的类型
显然对于只会用调试Python File的情况，每次都做一次选择显然不太方便，那么可以选择Add Configuration，工作目录下会生成一个.vscode/launch.json的文件：
{
"name": "Python: 当前文件",
"type": "python",
"request": "launch",
"program": "${file}",
"console": "integratedTerminal"
}
在Debug的选项中也就有“Python: 当前文件”的选项了，如果想要在已经有launch.json的文件夹中调试，添加这一段到其中即可
调试Python文件的时候比较慢，比如调用Python还需要先激活Conda环境（选择Python解释器）
在编辑器窗口的右键选项中还有使用Jupyter-notebook作为交互式运行的选项，需要在Conda环境中准备：
conda install ipykernel
python -m ipykernel install --user --name 环境名称 --display-name "Python (环境名称)"
有上面的Remote-SSH，加上VSCode也是基于electron的，自然会想到能不能在浏览器中使用，偶然的一次机会还真的看到了这样的一个项目：Code-Server
这样一来，只要有一台配置OK的Linux的服务器，使用iPad之类的设备也可以在VSCode中看/写代码（随着iPad逐渐强调生产力，对键鼠支持的越来越好）
Name: Vibrancy
Id: eyhn.vscode-vibrancy
Description: Vibrancy Effect for Visual Studio Code
拖动有些卡顿，打开的时候窗口大小有些异常，不过，不影响代码体验~（笔记本上可能对GPU负担太大从而影响续航）
最近发现有个网站收集了很多微软的壁纸:Wallpaper Hub
最重要的是，网站有一些Fluent Design的元素，最明显的就是Acrylic的效果了
Scoop作为Windows下的命令行包管理工具，在之前的文章里用到的非常多，最近又看了下Scoop的说明，这里简要的介绍下更新后的特性，附带一些常用的命令行工具
Github:lukesampson/scoop的README对Scoop有了大概的介绍，我初次接触到是读到了 再谈谈 Scoop 这个 Windows 下的软件包管理器
需要注意的是如果Scoop安装的软件和Powershell的命令或者别名重合，Powershell的命令依然被优先使用
可以使用管理员模式打开powershell运行
Invoke-Expression (New-Object System.Net.WebClient).DownloadString('https://get.scoop.sh')
# or shorter
iwr -useb get.scoop.sh | iex
部分软件源在Github之类的连接性不太好的地方，偶尔下载很慢而且易报错，现在Scoop推荐默认使用aria2进行多线程下载，只需要安装aira2即可开启多线程下载
scoop install aria2
参考SpencerWoo的文章添加的软件仓库基本上够用了
scoop bucket add extras
scoop bucket add java
scoop bucket add dorado https://github.com/h404bi/dorado
scoop reset，可以便捷的切换环境变量下的JDK除去上面介绍的一些，其实想得到软件都可以在Scoop中使用scoop search找下看看
$ scoop list
Installed apps:
7zip 19.00
chromedriver 76.0.3809.126
cmder-full 1.3.11
concfg 0.2019.03.09
ffmpeg 4.1.3 #编码工具
gawk 3.1.7
gcc 8.1.0
gdrive
git 2.21.0.windows.1
grep 2.5.4
innounp 0.48
iperf3 3.1.3 #网速测试工具
nodejs 12.5.0
pshazz 0.2019.04.02
R 3.6.0
sed 4.2.1
tesseract 4.1.0.20190314 #OCR工具
vim 8.1.1302
youtube-dl 2019.05.20 #偶尔下载视频
trafficmonitor #任务栏网速，CPU内存占用监测
screentogif #Gif录屏软件
ntop #类似htop的的终端下的资源监视器（但是做不到htop那么强大）
glow #终端下的Markdown Render
openjdk #添加java仓库后，默认安装最新版的openjdk
openjdk9 #java9
部分命令是无法在普通模式下运行的，一般的方法是打开一个新的管理员模式的窗口，相对来说不太方便，scoop可以安装sudo来实现对单一命令的赋权
比如设置禁用eth0接口的别名
scoop alias add ethd 'sudo netsh interface set interface eth0 disabled' 'disable eth0'
输入scoop ethd之后就会弹出用户账户控制的弹窗，提示需要管理员权限，用键盘确认就好，省去了再开一个窗口的麻烦（如果是长串命令都需要管理员权限的话还是开一个吧）
只介绍常用的简单指令
面对没有加密的m3u8直播录制，IPTV用的较多，m3u8的地址可以通过浏览器的检查工具找到
ffmpeg -i m3u8 'test.ts'
现在越来越多的网站选择把音频和视频分开，使用IDM下载两个文件可以直接用ffmpeg做快速的合并(复制)
ffmpeg -i v.mp4 -i a.mp4 -c copy output.mkv
当然如果youtube-dl支持视频网站的话使用youtube-dl更方便
常用于提取BGM，不做重编码的情况
ffmpeg -i input-video.avi -vn -acodec copy output-audio.aac
-vn没有视频 -acodec copy说使用已经存在的相同的音频流
scoop依然有许多不成熟的地方，在高可靠性要求的环境下依然是不推荐的，最经常遇到的莫非是软件安装因为网络等问题终端，安装状态会返回成功，如果需要重新安装的话需要先进行卸载
再一个就是环境变量的问题，scoop可以在安装的时候配置好一些环境变量，但是卸载却不一定会移除，这就导致一些重要的软件在Scoop卸载之后再在其他位置安装会出现环境变量错误的问题
部分高度依赖于安装目录，权限以及关联众多的软件不推荐使用scoop安装，如Chrome
Powershell的别名设置不方便，直接使用WSL的自定义别名（.bashrc）调用Windows下的程序又不能直接在Powershell中运行，直到发现Scoop可以自由的添加“环境变量”，想起来Scoop alias来设置程序运行的scoop别名
本来的用法应该是为Scoop内的操作添加别名：
# Install app
scoop alias add i 'scoop install $args[0]' 'Innstall app'
scoop alias add add 'scoop install $args[0]' 'Install app'
# Uninstall app
scoop alias add rm 'scoop uninstall $args[0]' 'Uninstall an app'
scoop alias add remove 'scoop uninstall $args[0]' 'Uninstall an app'
# List apps
scoop alias add ls 'scoop list' 'List installed apps'
# Update
scoop alias add u 'scoop update $args[0]' 'Update apps, or Scoop itself'
scoop alias add upgrade 'scoop update $args[0]' 'Update apps, or Scoop itself'
但是这个格式看起来就很自由：
比如说给WinMTRCmd添加一个scoop mtr的别名
scoop alias add mtr '~/winMTRCmd $args[0]' 'MTR tools for Win CMD'
之后使用scoop mtr [host]就可以愉快的使用mtr工具了
这里以切换Java版本为例，例如在安装了openjdk和openjdk9之后，从默认的openjdk9切换到openjdk16
$ java -version
openjdk version "9.0.4"
OpenJDK Runtime Environment (build 9.0.4+11)
OpenJDK 64-Bit Server VM (build 9.0.4+11, mixed mode)
$ scoop reset openjdk
Resetting openjdk (16.0.1-9).
Linking ~\scoop\apps\openjdk\current => ~\scoop\apps\openjdk\16.0.1-9
$ java -version
openjdk version "16.0.1" 2021-04-20
OpenJDK Runtime Environment (build 16.0.1+9-24)
OpenJDK 64-Bit Server VM (build 16.0.1+9-24, mixed mode, sharing)
以下方法经本人验证通过，环境如下：
群晖 DS918+ DSM 6.2.4
mosquitto version 2.0.11
MQTTBox Version 0.2.3
前言：MQTT(Message Queuing Telemetry Transport)是一种基于发布/订阅（publish/subscribe）模式的”轻量级”通讯协议。客户端的发布者不直接将消息传递给订阅者，而是服务端（MQTT Broker）进行分发，一个客户端既可以是发布者，也可以是订阅者，更多介绍请参看维基百科上的词条 。以智能家居的情形简单举例，人体感应器（发布者）感应到有人时发布主题为”有人“的消息到服务端，而由于摄像头订阅了该主题，因此收到消息，开始录像，此时摄像头角色为（接收者），同时摄像头也作为（发布者）发布”监控异动“消息到服务器，而我们手机订阅了此主题，作为（接收者）便可收到消息。
目前有很多机构提供MQTT Broker服务，有免费的也有收费的。作为个人用户用于智能家居服务，我决定用已有NAS服务器自己搭建一个。参考了网上的一些文章，但大都写得有些复杂，对一般小白不是很友好，因此我尝试自创了一个极简的方法来实现，并记录下来供由需要的朋友学习。
第一步：管理员账号登陆群晖，在Docker中选择 “注册表”，搜索 “eclipse-mosquitto”，搜索结果中选择第一个，点击下载，选择标签latest。此时系统开始下载，可在“映像”中查看下载进度
第二步：下载完毕后，在“映像”里选择已下载的 eclipse-mosquitto 映像 ，点击启动按钮打开创建容器窗口。点击高级设置按钮，打开高级设置页面。
在高级设置中，勾选“启动自动重新启动”
在卷中，点击添加文件夹，在docker目录下新建文件夹 “mosquitto”并选择该文件夹，装载路径填写”/mosquitto/config”
在网络中，勾选“使用与 Docker Host 相同的网络”
确认应用后点击下一步，取消”向导完成后运行此容器“，然后应用
第三步：新建一个mosquitto.conf文件，并将该文件上传到 docker目录的 “mosquitto” 文件夹内。文件内容如下：
persistence true listener 18831 allow_anonymous true
文件上传后，再docker容器中启动第二步添加的 eclipse-mosquitto 容器
第四步：测试mosquitto服务
mqtt测试工具很多，我选择的是MQTTBox ，用chrome打开下列地址，添加应用后打开
https://chrome.google.com/webstore/detail/mqttbox/kaajoficamnjijhkeomgfljpicifbkaf?hl=zh-CN
点击”Create MQTT Client”，取一个名字，Protocol 选mqtt/tcp ,Host 填写你的主机地址和 mosquitto 服务端口 ，保存后可看到显示为Connected 表示已经正确连接上我们新建的mosquitto服务端
接着，添加一个订阅，主题随便写一个，我这里填FEEUS.COM，点击”Subscribe“完成订阅
在发布端发布一个订阅端一样的主题，这里也是 FEEUS.COM ，然后输入发布的消息，点击”Publish“后完成发布，该主题的订阅者即可收到该条消息
如果您喜欢这篇文章，或者它给您带来了帮助，您可以请我们喝一杯咖啡，我们将非常感谢您的支持！
