Proteins are not stagnant—they wiggle and fold and unfold to take on numerous shapes. We need to study not only one shape of the viral spike protein, but all the ways the protein wiggles and folds into alternative shapes in order to best understand how it interacts with the ACE2 receptor, so that an antibody can be designed. Low-resolution structures of the SARS-CoV spike protein exist and we know the mutations that differ between SARS-CoV and 2019-nCoV. Given this information, we are uniquely positioned to help model the structure of the 2019-nCoV spike protein and identify sites that can be targeted by a therapeutic antibody. We can build computational models that accomplish this goal, but it takes a lot of computing power.
Jun 13, 1862: Saw Millais’ “Carpenter’s Shop” at Ryman’s. It is certainly full of power, but hideously ugly: the faces of the Virgin and Christ being about the ugliest.
I found this quote in Lewis Carroll’s Diaries on Twitter.
You behold the interior of a carpenter’s shop. In the foreground of that carpenter’s shop is a hideous, wry-necked, blubbering, red-headed boy, in a bed-gown, who appears to have received a poke in the hand, from the stick of another boy with whom he has been playing in an adjacent gutter, and to be holding it up for the contemplation of a kneeling woman, so horrible in her ugliness, that (supposing it were possible for any human creature to exist for a moment with that dislocated throat) she would stand out from the rest of the company as a Monster, in the vilest cabaret in France, or the lowest ginshop in England.
Two almost naked carpenters, master and journeyman, worthy companions of this agreeable female, are working at their trade; a boy, with some small flavor of humanity in him, is entering with a vessel of water; and nobody is paying any attention to a snuffy old woman who seems to have mistaken that shop for the tobacconist’s next door, and to be hopelessly waiting at the counter to be served with half an ounce of her favourite mixture. Wherever it is possible to express ugliness of feature, limb, or attitude, you have it expressed. Such men as the carpenters might be undressed in any hospital where dirty drunkards, in a high state of varicose veins, are received. Their very toes have walked out of Saint Giles’s.
Perhaps Dickens initially saw the reproduction of Millais’ painting in the Illustrated London News (1850-05-11) and couldn’t forget that first impression. It seems that the engraver of the reproduction was a bit biased against Millais’ Carpenter’s Shop. (Twitter)
Whether ugly or not, Henry Holiday probably liked the painting of his teacher. He might have alluded to Millais’s Christ in the House of His Parents when he illustrated Lewis Carroll’s The Hunting of the Snark.
Category: Christ in the House of his Parents
2019-06-14, updated 2020-01-29
Source for “Alfred E. Neuman”: en.wikipedia.org/wiki/File:Mad30.jpg
After a Butcher/Jowett comparison I run into a page published by Arthur Neuendorffer. (Art perhaps is in Oxford what Alois Kabelschacht is in room 354 of the Max Planck Institute for Physics in Munich.) Art discovered a resemblance between Henry Holiday’s depiction of The Butcher in Lewis Carroll’s The Hunting of the Snark and Alfred E. Neuman. He wrote: “When Mad Magazine was sued for copyright infringement, one defense it used was that it had copied the picture from materials dating back to 1911.” Incidentially, my first copy of the The Hunting of the Snark was an American edition published in 1911.
It seems, though, that Alfred E. Neuman and the Butcher are quite distant relatives:
The Hunting of the Snark, illustrated by George Walker, ISBN13 978-0889844308, publisher: The Porcupine’s Quill, available: probably 2019-11-01
Before my Snark hunt started in 2008, I mainly focused on Henry Holiday’s illustration to the 5th fit in Lewis Carroll’s The Hunting of the Snark. Since 2005 (as a member of a works council specialized on OHS issues) I used that illustration as a depiction of improvable workplace design. I also inserted the illustration into a Wikipedia article in 2008. Probably from there it was copied into another Wikipedia article in 2012. That one again inspired a Forbes article about well-being in the workplace in 2013.
The image visualizes hypergraph properties of a part (lines 547 to 556) of Lewis Carroll’s The Hunting of the Snark. (I fixed the transposition error “Page 18” in the original image. In the 1st 1876 Snark edition it’s page 81.)
Ronald Haentjens Dekker and David J. Birnbaum.
“It’s more than just overlap: Text As Graph.”
Presented at Balisage: The Markup Conference 2017,
Washington, DC, August 1 – 4, 2017.
In Proceedings of Balisage: The Markup Conference 2017.
Balisage Series on Markup Technologies, vol. 19 (2017).
A remark which I received from David J. Birnbaum: Gijs Brouwer implemented the visualization, and Astrid Kulsdom transcribed the information based on the data model inside the application. Gijs’s animated version of the image is available at https://github.com/HuygensING/TAG/blob/master/snark-fly.mp4.
— National Churches Trust (@NatChurchTrust) February 5, 2019
More fun to be found with pigs in Lewis Carroll’s (whose dad was a resident canon at Ripon) “Hunting of the Snark” poem. Original book drawing included pigs playing musical instruments. A coincidence that they are fashioned similar to the Cathedral’s misericords? pic.twitter.com/oh7cqSuc5T
— Gail McMillan (@ww_gail) February 5, 2019
What was that? You wanted a pig sitting on a barrel playing a lyre while three of his companions dance to the music? OK, here you go… pic.twitter.com/Cey0RM08c2
— Ian Groves 🇪🇺 (@LandscapeIan) August 24, 2017
his hopeful relative joined a band in the early 13th century – what is his/her instrument of choice?
(Psalter – BL, Lansdowne MS 420, f. 12v)https://t.co/bNM4GOE0nK#PolonskyPre1200 pic.twitter.com/U4vecl8LY4
— Tuija Ainonen (@AinonenT) February 5, 2019
— JulesGirlGuiding (@JulesRPardoe) June 11, 2019
But perhaps Holiday’s ruff – and the pose of the Fit Five drawing – was inspired by the Elizabethan drama inherent in Millais’ Boyhood of Raleigh, (1869).
Louise Schweitzer, One Wild Flower (2012)
2017-09-04, updated 2019-01-05