Aivazovsky was a citizen of Imperial Russia whose name is Հովհաննես Այվազյան in Armenian and Иван Айвазовский in Russian.
Christusgleicher Kunstkönig is German for “Christ-like Art-King”, because Dürer represented himself in a way traditionally reserved for images of Christ.
Note: The title of this incendiary intervention is a blend (or mash-up, as the non-conformist maverick community might say) of Latin cornucopia, “horn of plenty”, and Greek scopos, σκόπος, “seeing”.
• Eyeway to Ell — a better paronamasia than this one…
• She-Shell — Perseus Rescuing Andromeda (1611) by Wtewael
Q. Each face of a convex polyhedron can serve as a base when the solid is placed on a horizontal plane. The center of gravity of a regular polyhedron is at the center, therefore it is stable on any face. Irregular polyhedrons are easily constructed that are unstable on certain faces; that is, when placed on a table with an unstable face as the base, they topple over. Is it possible to make a model of an irregular convex polyhedron that is unstable on every face?
A. No. If a convex polyhedron were unstable on every face, a perpetual motion machine could be built. Each time the solid toppled over onto a new base it would be unstable and would topple over again.
— From “Ridiculous Questions” in Martin Gardner’s Mathematical Magical Show (1965), chapter 10.
Joachim Wtewael (sic), Perseus Rescuing Andromeda (1611) (mirrored)
When I first came across this painting in a recent edition of Arthur Cotterell’s Classic Mythology,* it had mutated in two ways: it was mirror-reversed (as above) and Wtewael’s name (pronounced something like “EET-a-vaal”) was printed “WIEWAEL”. At least, I assume the painting was mirror-reversed, because almost all versions on the web have Andromeda on the left, which means that Perseus is holding his sword in his right hand, as you would expect.
I think I prefer the mirrored version, though I don’t know whether that’s because it was the first one I saw. In either version, it is a rich and dramatic painting, full of meaning, seething with symbolism. It’s displayed in the Louvre and if French etymology had been a little different, I could have called it La Conque d’Andromède. Here is the commoner version:
*Mythology of Greece and Rome (Southwater 2003).