Filing Taxes For Students

The first on the list of deductions is the Student Loan Interest Deduction; which allows an individual to deduct any interest actually paid on a student loan during the calendar year. Certain conditions must be met in order for this to apply; one of those being that the maximum deduction must be ,500.

This is actually an "above the line" adjustment, which means you do not need to itemize your other deductions to get it. In other words, you can take the standard deduction and still deduct your interest.

The actual amount requires the use of a more complex formula, but the basic premise is simple. Basically, you can only deduct the portion of each payment that represents interest.

Any fees that have to be paid up front to receive the loan, such as origination fees, may also be deducted over the life of the credit. Certain types of credits do not qualify for the Student Loan Interest Deduction.

These may include a credit taken from a qualified plan such as a 401k, 403b, 457, etc. In addition, it cannot include loans made between related parties, such as a grandparent to their grandchild.

As a stipulation, the money received for the loan must be used only for tuition, room, board, books, or fees. In order for the interest accrued to be deductible, your filing status cannot be "Married Filing Separately."

No one else can claim you as an exemption on his or her tax return and you are legally obligated to pay the interest on the student loan. You must have actually paid the interest; which means that any accumulation of interest on your balance by itself is not deductible.

One of the most common misunderstandings about the Student Loan Interest Deduction is that a parent can claim it for helping make payments on their child's loan. The truth is that a parent can only take the deduction if they are personally liable for that account.

This means that Stafford, Perkins, and PLUS Graduate loans will not be deductible to a parent since the student is the borrower. The Student Loan Interest Deduction is reduced or phased-out for taxpayers with certain levels of Modified Adjusted Gross Income (MAGI).

Since there is no rule to the contrary, the Student Loan Interest Deduction can be taken in the same year as the Hope Scholarship and Lifetime Learning Tax Credits. There is a "double dipping" rule however, that prohibits deducting the accrual twice if it qualifies for a separate type of deduction.

There is even more confusion when it comes to paying for college and the annual gift tax exclusion. To start off, anyone is allowed to pay unlimited educational or medical bills of any other person without having to worry about the annual gift limit.

This rule applies whether or not the student is related to them or not. The only requirement is that the payment be made directly to the institution and not to the individual.

In other words, your Grandma can pay ,000 in tuition directly to their grandchild's school and it is completely outside of the gift and estate tax rules. Grandma's ,000 annual gift -paid directly to the individual - exclusion has not been used by this transaction.

In fact, Grandma could still give ,000 directly to the child without worrying about going over the gifting limit. The place that the annual gift exclusion limit does matter is in the funding of Section 529 plans.

If someone puts more than the annual gift limit into a Section 529 account, it may reduce his or her estate tax exemption. However, the IRS currently allows an exception in which someone can put five years worth of their annual gift exemption into a plan in one shot.

Remember also, that this is per donor; so grandma could put in five years' worth for a child and Grandpa could also put in five years' worth of annual gift tax exclusions. Keep in mind; however, they could not give any additional gifts to that child within the following five years.

History as Seen through the Dutch Still-Life

Still-life painting rose to new popularity in the 17^th century, as the Protestant Netherlands broke away from the Catholic Church the use of religious subject matter was coming to an end in Dutch art.  At that time minor categories of painting such as still-life were explored more fully. 

Still-lives tell us a lot about history without the standard elements of a narrative painting.  They provide a context for seeing the influence that specific historical events had on culture.  For the contemporary Dutch artist “Still-Life” was too broad a term, instead each sub-genre had its own name, let’s look at four of these.

Floral Still-Life, Rachel Ruysch, 1704

Floral Still-Lives

The Dutch East India Company was founded in 1602 and Amsterdam  had a 21 year monopoly on trade with Asia.  New flowers were brought to Holland and these were a symbol of Dutch pride as they were obtained through the power of trade.  Every flower had its own symbolic meaning, flowers in painting were chosen for their symbols and not their appearance.  Look carefully, no two flowers are the same as they would be in a bouquet, in fact such arrangements would be impossible as the flowers were in bloom at different times of the year.

Floral still-lives were still popular a century after the Dutch East India Company was founded as can be seen in this work by Rachel Ruysch.  Ruysch worked in a dramatic and dynamic way and painted with startling realism.  Bees and butterflies had a significance which tied into a theme symbolizing Christianity.  The bee represented the Passion, its stinger referencing Christ’s crown of thorns.  The butterfly represented the resurrection and also the soul.  Flowers themselves embodied the fleeting nature of life, from buds and blooms to those that drooped and withered.

Breakfast Painting

Another sub-genre of still-life consisted of simple fare typical of a Dutch meal, known as breakfast paintings.  Food was shown on a table with a dark background and a monochromatic color scheme, such as this work by Clara Peeters. This particular type of painting became very popular in Haarlem.  Foods shown in breakfast paintings were Dutch staples and reminded viewers to follow moderation in all things. 

Breakfast Still-life with Bread, Cheese and Cherries, Clara Peeters

In the early 17^th century many foreign foods weren’t available, unlike the beer, bread, butter and cheeses that the Netherlands was famous for.  Herring and seafood were readily accessible and it was herring that the Dutch founded their trading companies on.  These local foods also signified patriotism and Dutch Pride.

Contemporary audiences would have seen countless symbolic messages . For example in this Still Life by Pieter Claesz there is a religious meaning, the fish was a symbol for Christ and the bread and wine for the Eucharist.  

Breakfast Still-Life, Pieter Claesz 

The Vanitas Painting

In Latin Vanitas means vanity and the Vanitas painting uses symbols to reflect on mortality.  The message for the viewer was a reminder that while earthly life is fleeting, your soul is eternal. 

While variations of the Vanitas had been used for centuries, its rise in Dutch art coincided after troubling times.  The Twelve Years Truce with Spain ended in 1621 and much of the next decade was spent under siege.  In 1624 a plague swept through Holland claiming nearly 10,000 lives, it returned in 1635 and struck most heavily in Leiden where 14,000 people died.  Possibly due to this Leiden become the center of this sub-genre.  

Vanitas, Pieter Claesz

The Vanitas became increasing popular in the 1620’s and went from metaphorical to an allegory of death.  Symbols of mortality included: skulls, bones, extinguished candles, timepieces, doused oil lamps and empty hourglasses. Pieter Claesz specialized in the Vanitas genre.

Independence of the Netherlands and the Banquet Still-Life

In the 2^nd half of the 17^th century there was a clear transformation in style as still-lives moved to elaborate banquet paintings.  1648 marked the year when the Peace of Westphalia treaty was enacted and peace was restored.  The Netherlands were finally recognized after eighty years of war with Spain as an independent country.  This time of prosperity was reflected through the still-life, and objects went from simple to exotic and luxurious.  The banquet painting replaced the Vanitas in popularity and demand, especially in Amsterdam. 

Still-Life with Lobster and Nautilus Shell, De Heem

The Dutch West India Company was founded and given a trade monopoly with the Americas in 1621.  In the 17^th century Amsterdam became the largest trading port in the world.  In general the Dutch enjoyed a higher standard of living and owning a still-life which represented the source of this wealth was desirable.  

In the 21st century we have such a wide array of goods at our fingertips that the scarcity of these objects in the 17th century Netherlands isn’t instantly recognizable.  The following is a list of where these goods came from-

From the Mediterranean: salt, wine, lemons, grapes and almonds.  From Asia: oranges, pepper, spices and tea.  From the Americas: tobacco, sugar, coffee and tropical fruit and birds.  In addition there was an incredible array of commodities: silver from France, glassware from Venice and from Asia porcelain, carpets and silk.

During each year more of these goods became available and thanks to the Dutch they were brought all over Europe.  This successful story of trade has been told in countless still-life paintings painted in the Dutch Golden Age.

Still life with fruit, roast, silver and glassware, porcelain and columbine cup, van Beyeren

Note: This blog is an excerpt from the paper I presented in October 2010 at the 7th Annual 

Northwest World History Association Conference, Objects and Their Meanings: 400 Years of 

History As Seen Through the Still-Life.

Another excerpt from this paper can be found in another blog post-
The Still-Lives of Meléndez and Goya

Suggested further reading on this subject:

Berger Hochstrasser, Julie. Still Life and Trade in the Dutch Golden Age. New Haven, CT and London, UK: Yale  University Press, 2007.

Ebert-Schifferer, Sybille. Still Life: A History. Translated by Russell Stockman. New York: Harry N. Abrams, 1999.

Herzog, Hans-Michael. ed. The Art of the Flower: The Floral Still Life from the 17^th to the 20^thCentury. Bielefeld, Germany: Kunsthalle Bielefeld press, 1996.

Sander, Jochen. ed. The Magic of Things: Still Life Painting 1500-1800. Frankfurt am Main, Germany: Stadel Museum, 2008.

Female Painters of the Italian Renaissance

Due to a variety of factors there were far fewer female artists than male in Italy during the Renaissance, but there were definitely several important women painters.  As most artists in the Renaissance were trained as part of an apprenticeship living with the master, it wouldn't have been a suitable atmosphere for a very young woman to live and train in.  Most young artist began an apprenticeship between the ages of 12-14 and typically female artists were trained by their fathers, husbands or other family members.

Unfortunately today their names aren’t often well known and I would like to briefly introduce the work and lives of three such important Italian female painters to my blog readers, we will look at them in chronological order.

The Chess Game, Sofonisba Anguissola, 1555, Museum Navrodwe, Poznan, Poland

Sofonisba Anguissola (1532–1625) was born and raised in the Lombardy region and was predominantly a portrait painter, during her life she lived at the court in Spain.  Anguissola was unusual in that she wasn't trained by a family member.  Instead her wealthy and well educated father wanted each of his seven children to be fully educated.  They were trained in painting, music, foreign language and literature and Anguissola was recognized right away to have a natural talent for painting.  Her father even had some correspondence with Michelangelo regarding her art.

She traveled to Sicily (both Lombardy and Sicily were under Spanish rule at the time) before being appointed to the Spanish Royal Court.  Anguissola appears to be the first artist who created a group portrait (such as the one above) where the sitters were shown immersed in daily activity.  Observe her clever take on the self-portrait (below) called Bernardino Campi Painting Sofonisba Anguissola from the late 1550's.  This both showed her own self-portrait and showed the fact that a well known artist had painted her.

Sofonisba Anguissola lived to the age of 97.

Bernardino Campi Painting Sofonisba Anguissola, Anguissola, late 1550's, 

Portrait of a Noblewoman, Lavinia Fontana, 1580, National Museum of Women in the Arts,

Lavinia Fontana (1552–1614) was a Bolognese painter, and the city of Bologna provided unique opportunities for women.  The University of Bologna was one of the first in Europe and women were able to study a variety of subjects there.  Lavinia Fontana trained with her father, Prospero Fontana, among his other students was the famous Ludovico Caracci.  Later the Caracci family opened the Accademia degli Incamminati in 1580, which was one of the first art schools and helped secure a new fame for Bolognese artists.  Fontana married and had many children, however in a reversal of typical roles her husband became her studio assistant and was the main caretaker for their children.  

Fontana was a successful and highly sought after painter in Bologna and her art supported the family with numerous commissions.  After a prominent Cardinal from Bologna was made Pope, she and her family moved to Rome and she continued a successful painting practice there.

As a painter Fontana was known for her use of  Venetian coloring, and dramatic and naturalistic subjects, she painted both portraits and large-scale religious scenes. 

Still-Life with Apples and Peaches, Fede Galizia, 1607, Metropolitan Museum of Art

Fede Galizia (1578–1630) was a Milanese still-life painter.  After the Reformation of the church, many painters in Northern, Protestant countries turned away from religious painting and some of the less important subcategories of painting such as still-live and landscape became more popular.  This then had an effect on all painting as Catholic countries such as Italy and Spain also developed a tradition of still-life painting.  Moving away from narrative and figurative work gave women more of a chance to practice art.  As it was, women would not be permitted to practice drawing from a male nude model in a life drawing class, thus making it much harder to paint accurate looking figures.


 Galizia's father was a well known miniaturist painter, and from him Galizia learned to paint a variety of subjects and genres, including also painting miniatures and portraits.  However Galizia was best known for her extremely realistic still-lives which are composed using a very strong light source and vibrant coloring such as the two examples seen here.

White Ceramic Bowl with Peaches and Red and Blue Plums, Fede Galizia, 1610

Silvano Lodi Collection, Campione, Italy

School Of Law Class

This school has a pupil faculty ratio of 4 with students from every state and lots of countries across the world. The ratio of men to women within the pupil body structure is 50:50, with 38% being in the minority status. In this student body, there is a reported 35 varied overseas languages may just be spoken fluently. The twenty fifth to seventy fifth percentile of the scholar system GPA is 96 to forty eight with the LSAT results between 153 and


The center has fifty full time professors with over 33% ladies and 20% from your minority race. The programs they teach are Moot Courtroom Honors Program, Negotiations Honors Program, and Trial Advocacy Honors Program. They also aid clinical packages that include the Kid's Rights Clinic, Immigration and Human Rights Clinic, Road Law, and Youth in Transition to name a few.


This is what type the primary yr of law school is like. At University of Baltimore, should you take day classes, you may be divided into one of four sections. You will find about eighty pupils in every section. Whichever section you may be in, you will have all of your courses with these people. By the top of the first semester, you'll know all of their names, first and last. You will know who's courting who, what type they do in their spare time, who comes in late, who is smart, etc. When you have anything going on in your life you don't need these eighty individuals to know about, bury it, and bury it deep.

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John Everett Millais and the Pre-Raphaelite Ophelia

Ophelia was the tragic heroine in Shakespeare’s play Hamlet and a popular subject 19^th in century painting.  Typically Ophelia is shown sitting by the brook where she drowned wearing a long white dress.  Ophelia had gone mad after her potential husband, King Hamlet of Denmark, killed her beloved father Polonius.  In the play it is unknown whether she accidentally fell in the brook or purposely drowned herself.

Ophelia, John Everett Millais, 1852, Tate Britain

In the 1852 version by John Everett Millais she has already died. Millais was one of the founding members of the short lived but influential group of 19th century painters known as the “Pre-Raphaelite Brotherhood” which also included Dante Gabriel Rossetti and William Holman Hunt.  The group was revolutionary in its time (it was founded in 1848) as they always painted each exact detail from life and nature, unlike many painters they did not seek to idealize their subjects.  The group sought inspiration from Medieval and early Renaissance sources and emulated those artists up until the time of Raphael (around 1520). 

One reason that Ophelia was a popular theme is that it fit in with the aims of the group and-

"embodied the Brotherhood's initial aims in their keen observation of the natural world and depiction of subjects that lead the viewer to contemplate moral issues of justice, piety, familial relationships, and the struggle of purity against corruption."**

The Pre-Raphaelites have always intrigued me, I admire their work but their personal lives were even more interesting; the lives of the artists, their families, models and patrons are woven together and then unfold like an epic soap opera.  Part of this story can be told in one of the most impressive paintings, Ophelia.

Millais painstakingly made studies of all the components of the painting before pulling them together into one work.  He spent hours sketching and painting outdoors to capture each detail of the plants, trees and water.  Millais worked on this painting for nearly a year and for Ophelia he used a professional model named Elizabeth “Lizzie” Siddal who was a frequent muse of the Pre-Raphaelites. 

Ophelia, (detail) John Everett Millais, 1852, Tate Britain

Millais had Siddal pose in a tub of water to correctly capture how her hair and dress would have floated.  Each time she posed he kept the tub of water warm with many oil lamps, and on one instance failed to notice when they went out as he was so immersed in his painting.  She didn’t tell him when the water cooled so as not to break her pose but ended up getting pneumonia.  Her father was enraged to hear of this but Millais paid for a doctor.  Siddal continued to model for the group, eventually marrying Rossetti in 1860.

This painting was critically acclaimed but earlier Pre-Raphaelite paintings were ridiculed.  The prominent British art critic, art historian and author, John Ruskin was among those that praised the naturalism of the group from the start.  The same naturalism was used in a portrait of Ruskin also painted by Millais (below).  Millais was invited along on the family's vacation in Scotland so that he could paint Ruskin's full length portrait in the Pre-Raphaelite manner.  Millais spent hours outside sketching and painting the rocks and the water, and when they returned to London he had Ruskin continue his pose by placing him at the top of a staircase.

However one strange twist in the Pre-Raphaelite story took place on the very trip to Scotland where this portrait was painted.  The artist Millais noticed that the relationship between Ruskin and his wife seemed tense and strained.  At that time Ruskin’s young wife Euphemia “Effie” Ruskin, who had been married to him for over 5 years confided in Millais that her marriage had never been consummated.  She and Millais had become good friends over the years and she even modeled for him on occasion.  Her disclosure led to their eventual annulment in 1854 and in 1855 she married Millais.

John Ruskin, John Everett Millais, 1853-54, Private collection

Especially in Victorian England this caused a huge scandal and also a great deal of embarrassment to all parties.  Ruskin was looked on with pity, Effie was looked at as an unfaithful spouse and Millais was seen as breaking up a marriage.  However it does seem that they were both relieved to get an annulment, Effie and John Everett Millais went on to have a long happy marriage with eight children.  Ruskin did not remarry but after this incident he continued to have a successful and influential career as a writer and art critic.  

Ruskin's friendship with another of the Pre-Raphaelite painters, Dante Gabriel Rossetti, led to his great interest in the work of Rossetti’s fiancé, who was Lizzie Siddal (the model for Ophelia).  Siddal had been working in a millinery shop when a friend of the Pre-Raphaelites met her and asked her to model.  After working as an artist's model for a few years Siddal had started to become interested in pursuing art.  After she became engaged to Rossetti, he taught and encouraged her and she made dozens of paintings.  Ruskin was so impressed with her work that he bought all of it and paid for her expenses for the next few years.  Ruskin’s patronage allowed her to stop modeling and support herself so that she would be free to continue to paint full time.

Beata Beatrix, Dante Gabriel Rossetti, 1864-1870, Tate Britain

Ruskin also paid for her to travel to Paris and then to the south of France to benefit her health as she was often ill.  Her doctor had prescribed the very addictive and potentially fatal tonic of laudanum, which was a narcotic drug.  After Siddal and Rossetti married in 1860 she quickly became pregnant.  However she didn’t realize how dangerous it was to take laudanum throughout the pregnancy.  

This had extremely tragic results, she gave birth to a still born child and several months later she was found dead in their home due to a laudanum overdose in 1862.  In a heartbreaking case of life imitating art, (as the heroine Ophelia that she is so often associated with) it is unknown whether she accidentally overdosed on the drug or purposely killed herself due to her grief. Rossetti was beside himself with anguish and painted this memorial to his wife Lizzie, Beata Beatrix, a title which referenced Beatrice Portinari, the beloved of the Renaissance poet after whom he was named, Dante Alighieri. 

**Source of quote: The Pre-Raphaelites | Thematic Essay | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art

Further reading:

Hawksley, Lucinda. Lizzie Siddal: Face of the Pre-Raphaelites. New York: Walker & Co., 2004.

Marsh, Jan. Pre-Raphaelite Sisterhood. London: The Cromwell Press, 1985.

Leonardo, Michelangelo and the Renaissance Cartoon

In Italian the word for paper is carta and the suffix "–one" means large, the “cartone” was a very large sheet of paper.  These cartone or cartoons as we have come to call them were specifically: large and very detailed drawings used to create paintings and frescoes.  These differed from sketches or studies in that they were the same size as the intended painting and were created to transfer the image.

The drawings were made to transfer the images to the painting surface in one of two ways.  In the first the cartoon acted as a type of stencil, thousands of small holes pricked the edges of each line and a bag of charcoal dust was “pounced” upon the cartoon.  In the second the cartoon acted as carbon paper, the back of the image was coated with charcoal dust and the image was carefully traced.  Since either process was messy and damaged the original paper, very few of these survive.  Those that remain were typically created for paintings that weren’t executed.

Virgin and Child with Saint Anne and John the Baptist, Leonardo da Vinci, 1499-1500,

The National Gallery (London) 

charcoal and white chalk on paper, perhaps with a brown wash, 4’6” x 3’4” (141.5 x 104.6 cm)

Leonardo did paint a version of his Virgin and Child with St Anne and John the Baptist, which today is in the Louvre, but it does differ from this drawing.  This particular cartoon has survived remarkably intact and is an astonishingly beautiful work of art.  Today this is at The National Gallery in London and it may be one of the most incredible works of art I have seen in person.  I have always felt that the few paintings that Leonardo made simply glow and outshine every other work which is in their presence in a museum setting, even if those works are masterpieces as well.  His cartoon may even outshine his paintings, using only charcoal and white chalk on paper (perhaps with a brown ink wash) he manages to create an illusion of depth and convey emotion.  Look at the image closely and you can see that he used very few lines and used the combination of charcoal and chalk to bring his method of chiaroscuro (modeling form with lights and darks) to the drawing.  When it was seen by other artists, they were amazed that he was able to fit several life-size figures in a cartoon which was only 4'5" x 3'4'.  This was due to the fact that the figures were all sitting, it provided inspiration for generations of artists.

The 16^th century artist and writer, Giorgio Vasari wrote a book, The Lives of the Artists (called originally The Lives of the Most Excellent Painters, Sculptors, and Architects) which was published in 1550 and updated several years later.  This book included a biography and historical account for dozens of Renaissance artists.  His book is still used as an important source for art historical research today and in his chapter on Leonardo he writes of this cartoon when it was on public display in Florence in 1501:

“Once completed and set up in a room, brought men, women, young and old to see it for two days as if they were going to a solemn festival in order to gaze upon the marvels of Leonardo which stupefied the entire populace.”*

Epifania, Michelangelo Buonarroti,1550-53,

The British Museum, black chalk on twenty-six sheets of paper, 7’6” x 5’4”

Michelangelo sadly burned many of his preparatory drawings and sketches so that he wouldn’t share his techniques and process with others and also so that people would think he was divinely inspired and not see any work that didn’t measure up to his standards.  However Michelangelo had extremely high and probably unrealistic expectations for his work, even his small sketches show his artistic genius. There are only two surviving cartoons from him and the Epifania is one of them.  This work, done on a large scale is over seven feet high and was created on twenty six sheets of paper.  Cartoons were often done on separate sheets of paper or the originals were cut up to make the transfer process easier. The Epifania was drawn for a project that was never created and the actual subject of the cartoon is unknown.

Let’s compare and contrast the two cartoons: Michelangelo’s cartoon has a greater level of detail in the drawing but he doesn’t use the same level of chiaroscuro that Leonardo’s cartoon had.  Unlike Leonardo's cartoon he has focused less on the emotion between the figures and more on anatomy.

After the fresco lost its popularity in the 16^th century and painters frequently drew directly on their canvases this style of Renaissance cartoon fell out of use.  Over the next century the word cartoon took on its modern meaning of another type of drawing, frequently used in political satire and later as illustrations.

*Vasari, Giorgio. The Lives of the Artists. Translated from Italian by Julia Conaway Bondanella and Peter Bondanella. Oxford: Oxford University Press, 1991.

Pest Control North London

 

Choosing a reputable and trustworthy pest control company can be almost as difficult as it is getting rid of your pests in the first place. Who do you choose, how do you know if they are any good, are their technicians fully trained and qualified. Where do you start to look for a company, Yellow pages, the internet, Google, Bing, Yell.com, Thomson Local, Newspapers. It can all be so confusing and then you have got to contend with prices and number of treatments. Triumph pest control North London (pest control) company work as a pest controls professional service agency from the beginning and have pests control with proficiency.

Here goes

I will use the internet as an example here as it seems that more and more people are using the internet in finding a professional pest control company. It is always better to use a company who is based in or near the area you live or run your business in, as they can respond to your call quicker if they are already in the area. The most searched for keywords for London pest control companies is pest control North London, pest control East London, pest control South London, pest control West London and pest control Central London. Other searches that may bring up better results are keyword searches with the actual specific area you live in like pest control Islington. On the internet some companies have got wise to this tactic and have been manipulating google so they come up on the first page all the time when you search for a keyword with your area in it, some companies will even pay google adwords to appear on the top of the first page. An easy way to weed out these guys is to go onto their site and look for their address and as a lot of them don't have their address on their websites you can disregard these companies. Another reason for choosing a local company is that they will have a good working knowledge of the area and the pests associated with it.

No address means we don't want you to know where we are based, stay away from these companies because if things go wrong you have no contact details apart from an 0800 number that keeps changing. Check their name, is it their trading name, are they a limited company, are they listed on the companies house register. If they are a member of the British Pest Control Association you can check their name against the register on the BPCA website. Its been a busy year at Millennium pest control North London with a huge increase in bed bug enquiries.

Once you have identified a company you feel looks genuine its time to call them and get a quote for your pest. Always get 2 or 3 quotes so that you can compare not only price but the number of treatments and the type of service you will be getting, for example one company may charge you £80 to treat bedbugs and another will charge you £210 but you need to know what you are getting for that money. One treatment seems cheap now but if they cant get rid of your problem and you need more treatments then its not so cheap. pest control North London has dealt with endless counts of flea infestations and we advise that you call the professionals as they are difficult to control without the right chemical treatments.

For starters one treatment is not enough for bedbugs and for most pests and usually these companies will charge small amounts and work on quantity rather than quality - which is getting rid of the pests. Beware of companies who appear to be too cheap, always ask if there are any additional charges before you book them. I had an experience with one client who called a cowboy pest control company out who quoted her only £45 to treat mice in her house. When they arrived they looked around and told her that it will cost an additional £250 as she needed lots of extra work and materials that were not included in the quote she received over the phone – so please be careful. pest control North London have helped many people reclaim their kitchens, dining rooms and conservatories and enable them to enjoy the summer months with the safe knowledge that their ants have been controlled.

When you call the company if they answer just with “hello pest control” ask which pest control company you have called as any reputable company would normally answer the phone quoting the name of their company why wouldn't they. If they are not the name of the company you saw on the internet and if they start to tell you that they are trading as this company or they are a sister company then be wary again if something goes wrong you don't know who to come back to. pest control North London can advise, treat and put into place eradication programmes so these particular insects need not bother you anymore!

Always make sure you know how much they will be charging you and for how many treatments and make sure that any prices quoted are including Vat as this is another little tactic the cowboys like to use. Normal run of the mill treatments like mice in a residential property can be quoted for over the phone so don't let them send a salesman round to pressure you into a costly treatment program. Some companies can give you a pest control quote online. We offer guaranteed 24hr response and treatment and a service tailored to pest control in London with specialist bed bug control and rat control teams operating across London.

Never pay for any treatments over the phone unless the company have arrived and they are carrying out the work in your house. Again I have personal experience with a client who called a company from the yellow pages and was charged £2500 and they never turned up – you have been warned. If you want to pay by credit card make sure you pay when they arrive again if you don't have a local address and something goes wrong you are left in the lurch.

Always ask questions on how the treatment will be carried out, any professional company will have trained staff who can explain how they will treat your premises and would be happy to answer any questions you may have. Get a written quote by email its quick and easy and again any decent reputable company would be glad to give you a written quotation. I usually email a company I am looking to use and if they do not reply within the same working day I don't use them, if they cannot be bothered to answer a prospective customers email during the same working day how will they respond to a complaint.

Another question to ask if whether they are insured or not. All professional pest control companies must have some sort of public liability insurance and again any professional company should be able to email you a copy in a few seconds.

APPOINT A BPCA PROFESIONAL

The British Pest Control Association (BPCA) is the premier trade association for Professional Pest Control Companies in the UK. By choosing a BPCA assessed member you cannot be assured that the services you receive are from a trained and trusted company that meets out strict membership criteria but there is a big likelihood that they are more professional than the other cowboys. The BPCA logo is earned by members, ensure your contractor has it.

A professional service from A BPCA member will:

· Adhere to their Industry Codes of Practice

· Include detailed advice on Pest Prevention measures

· Provide comprehensive reporting systems covering all treatment aspects

· Meet legal and ‘due diligence’ requirements, complying with legislation and avoid possible prosecution

· Be safe, ensuring staff, customers and members of the public are protected through RISK and COSHH assessment

· Be carried out by a suitably trained and qualified expert committed to Continual Professional Development (CPD)

So lets recap on the guidelines again :-

Choose a company who advertises their address

Did they answer using their name

Get a fixed price over the phone and make sure they stick to it

Ask a lot of questions the honest company will be happy to answer them

Get a written quotation

Ask how many treatments you will be getting

Is the price including Vat

Are they insured

Pay by credit card only when the technician arrives

Get a receipt for any payments you have made

By law every company has to provide a written report on what they have used

I have tried be as clear as possible with these helpful guidelines and I hope that you find them useful in finding a professional pest control company and getting rid of your pest problem. If you have any questions on this article or any questions on pest control you can contact me on my email and via our website

Good Luck

Tony King

info@thepiedpiper.uk.com 

www.thepiedpiper.uk.com

 

Origins of the Art Museum

It is hard for me to imagine a world without art museums, but they are in fact a fairly modern concept.  Most art collections were either owned by royalty or the extremely wealthy and were not available to the general public.  July 14 is Bastille Day, the day that the French Revolution began in 1789.  The enormous Louvre palace, which was only one of King Louis XVI's palaces, contained a vast royal art collection: thousands of paintings, drawings, sculptures and decorative arts from across the globe and dating back centuries.  This was turned into a public art museum less than one month after the French Revolution began, making it one of the earliest art museums.  However the Art Academy had been located in the Louvre for approximately a century prior and displayed art publicly at the annual Salons.  Today the Louvre is one of the largest art museums in the world. 

View of the Grand Gallery of the Louvre, Hubert Robert, 1796, Louvre

However the Louvre wasn’t the first art museum that was open to the public. There were at least two in the 17^th century, the Kunstmuseum Basel in Switzerland, originally a private collection, opened to the public in 1671 and the Ashmolean Museum at Oxford University opened in 1683 as the first university art museum, though both were considerably smaller in size than the Louvre. 

Before the 20th century art museums looked quite different then today's museums.  Notice the cluttered layouts of art in the two paintings, museums walls were absolutely packed with art hung in what is today known as the "salon style" layout, hung in several horizontal rows.  Some items would have been identified for the viewer but not all, and it was much harder for the viewer to appreciate an individual painting.

The Tribuna of the Uffizi, Johann Zoffany, 1772-78, Royal Collection,Windsor Castle

In Florence, Italy the administrative offices of the ruling Medici family in would later become the Uffizi (the word for offices in Italian) which contained their large private art collection.

In the 16^th century the artist and architect Buontalenti designed the first gallery in the building, the Tribuna of the Uffizi.  The gallery had been open to visitors by request  and was considered a highlight of the Grand Tour, the trip taken by aristocrats through continental Europe.  This contained many famous Renaissance paintings and ancient sculptures.  The well known painting by Zoffany, The Tribuna of the Uffizi (above) shows how the gallery looked at the time and included portraits of the actual visitors.  He painted this work for the King and Queen of England since they were unable to visit and see it for themselves.  It is an interesting work which contains paintings within a painting.  In 1765 after the Medici family was no longer in power, the entire building was opened to the public as a state art museum, the Uffizi Gallery.

Laocoön, Roman copy from 1st c. AD after 2nd c. BC Hellenistic original, Vatican Museums

Another prototype of an art museum which was visited on the Grand Tour was the Pio-Clementino Vatican museum which opened in 1771.  This was the joint project of two Popes: Clement XIV and Pius VI (which is why it was named Pio-Clementino).  The work housed in this museum had been collected since Pope Julius II first purchased the Laocoön sculpture after it was uncovered in 1506 (I discussed that sculpture in a post last week).  The Pio-Clementino also housed several other famous Greco-Roman sculptures including Apollo Belvedere and Sleeping Ariadne as well as many Renaissance paintings.  Later the Pio-Clementino expanded to the current Vatican Museums (follow the link to learn more of the history on their website).

Another important early museum was the British Museum in London, which opened to the public in 1759. This was the personal collection of archaeological artifacts of Sir Hans Sloane.  When it opened it was both an art museum and a library and also contained many important items pertaining to science, history and anthropology. All of these museums still exist today, and along with thousands of others they continue to enrich our lives with art.

Brunelleschi, Ghiberti and the Beginnings of the Renaissance

The story of the rivalry between Filippo Brunelleschi and Lorenzo Ghiberti and the creation of the Gates of Paradise is also the story of the beginning of the Renaissance in Florence and it unfolded in an interesting way.  Each of the works here are among my favorites and will be discussed in more detail in future posts.

In the 1300’s or “Trecento” the artist Giotto had introduced ideas of humanism and realism to painting.  He was also appointed head architect for the Santa Maria del Fiori, the main cathedral of the city.  Giotto designed and began work on the campanile (bell tower), which is a separate building.

"Il Duomo" Santa Maria del Fiore, dome by Brunelleschi, 1420-1436

However Giotto died in 1337 and was replaced by his assistant, Andrea Pisano.  Due to war in Europe, an uprising in Florence and plagues there were far fewer artistic works being created in the city.  The main cathedral “Il Duomo” was left without the dome that was envisioned for it.

Florence was a republic and ruled by its guilds, the most prestigious guild was the Calimala (wool merchants).  In a building separate from the duomo is the Baptistery, which had great significance for Florence as St. John is the city’s patron saint.  The Calimala were in charge of all artistic decoration for the Baptistery.  Andrea Pisano had constructed a set of doors with 28 small bronze panels which was considered a masterpiece.  The doors were hung on the east side of the building which faced the duomo.

Abraham's Sacrifice of Isaac, competition panel, Lorenzo Ghiberti 1401 (Bargello)

In 1401 the Calimala decided to commission a 2^nd set of doors for the north side of the building and held a competition.  Artists had to create one bronze panel with the theme of the Sacrifice of Isaac.  Lorenzo Ghiberti won the contest and began work on the doors which lasted for the over twenty years.

Last Supper, panel from north baptistery doors, Ghiberti, 1425-52

Filippo Brunelleschi was another participant in the contest, it is unclear whether he was not chosen or was chosen to work as a partner with his rival Ghiberti.  Their two entries alone were saved and remain on display to this day, over 600 years later at the Bargello Museum in Florence.  Either way Brunelleschi was upset that he wasn’t chosen as the clear winner and decided to go to Rome and take his friend the sculptor Donatello with him.  They studied classical Roman architecture and sculpture for several years in Rome.

Brunelleschi returned to Florence and entered another competition, to build the dome of the duomo and this time he won, however Ghiberti was also given roles to assist with this task.  Brunelleschi had studied the dome of the Pantheon and was influenced by it.  He designed a structure that used a dome within a dome to support its massive weight.  Constructing the dome was an arduous task but his plans worked and the dome was constructed fairly quickly.

The Tribute Money, Masaccio, 1425 (Santa Maria del Carmine)

Brunelleschi also did several studies in drawing to determine the method of perspective in painting that the ancients used.  He made a painting of the Baptistery using perspective and put a small hole in the center.  If a person stood behind the painting with their back to the Baptistery and looked through the hole, Brunelleschi would hold up a mirror and the viewer would see reflected how the actual building matched the painted one.  This was written about but sadly the painting has been lost.

The effect this had on artwork was immediate as can be seen in Masaccio’s fresco cycle of the life of St. Peter.  Artists now used a single vanishing point that all lines in the painting could be followed to for an extremely realistic depiction of three dimensional space.

Joseph, panel from east baptistery doors, Ghiberti, 1425-52 (Museo Opera di S. Maria del Fiore)

Even Brunelleschi’s rival Ghiberti began to use perspective in his work.  He was commissioned by the Calimala to create one final set of doors and he proposed his own design with 10 large bronze panels instead of 28 small ones.  The Calimala accepted his proposal and in creating sculptural reliefs in a new larger format began to use a new artistic style.

Compare the panel of Jospeh to the earlier Last Supper, the new larger panels are very shallow bronze reliefs but due to the artist’s use of perspective they give the illusion of great depth. These doors took over 25 years to construct but the effect is astounding, the artist Michelangelo later dubbed them “The Gates of Paradise.”  They were widely praised and were moved to the east side of the building so they would now face the cathedral (note- the originals are now in a museum and have been replaced by copies).

Gates of Paradise, East baptistery doors, Ghiberti, 1425-52

The artistic rivalry that had sprung forth from Lorenzo Ghiberti and Filippo Brunelleschi had produced two sets of bronze doors, a completed dome for the cathedral and a new method of architecture in the dome.  It also brought a strong influence of Classical art to Florentine art in the 15th century (or Quatrecento), a rediscovery of perspective in painting and last but not least a return to the style of ancient sculpture now being created by Donatello who had gone to Rome with Brunelleschi.  The former spark of the Renaissance in Florence had been reignited.

Il Zuccone (prophet Habakkuk),Donatello, 1427-36 (Museo Opera di S. Maria del Fiore)

Suggested reading:

-Hartt, Frederick. History of Italian Renaissance Art: Painting, Sculpture, Architecture.

-King, Ross. Brunelleschi’s Dome: How a Renaissance Genius Reinvented Architecture. 

-Radke, Gary M.The Gates of Paradise: Lorenzo Ghiberti’s Renaissance Masterpiece.

-Walker, Paul Robert. The Feud That Sparked the Renaissance: How Brunelleschi and Ghiberti Changed the Art World.