Sunday, 10 March 2013

Edouard Martinet


Is reincarnation for real?

I offer undeniable proof…



I recently discovered a French sculptor whose work I find so lyrical and full of recycled life as almost to be reincarnated into the world of living creatures. So impressed am I by these exquisitely assembled parts of discarded bicycles, typewriters, kitchen paraphernalia etc into astonishingly anatomically correct representations of sea life, birds, amphibians, insects that I feel compelled to share this treasure and its creator…



Edouard Martinet was born in Le Mans, France in 1963. He received a Bachelor of Fine Art from L’Ecole Superieure des Arts Graphique in 1988. After working for two years as a graphic designer he became a professional sculptor. He currently works and lives in Rennes where he also teaches art.



There is a sense of humor and wit about Eouard Martinet’s mechanical creatures as he transforms others cast off junk into beautifully finished objects whose appearance hint at their former lives of practical functionality. He mentions that friends and family contact him when about to dispose of old and antique odds and ends. These old pieces are taken to his workshop and given new life. “ I love seeing objects which have their own past and their own practical uses take on a second life in my creations.” ..he says



Reincarnating old parts is no walk in the park though. Martinet says that a design can take a month to complete to as long as 17 years as he often needs specific pieces before it can take on its new existence as a work of art. When assembling his creations nothing is soldered or welded, all the parts are screwed together.



The following are images of some of Edouard Martinet's fish, birds, insects that he has brought into being.

By Meagan Meredith














   




 





































Edouard Martinet at work in his studio. The Spider, made from bike brakes and tubes, balances on a web of plumbing chains.


Monday, 4 March 2013

Value as a currency, or the currency of value


 As an artist- or author jeweller and part-time academic I am very interested in the complex notions of value within the field of contemporary jewellery, mainly because I often find my own understanding, thinking and beliefs around value to be at odds with those who encounter and/or engage with my jewellery or contemporary jewellery in general1.

From its earliest beginnings, jewellery served multiple purposes for both the wearer and his/her bigger society. Items of personal adornment reflected personal aesthetic choices, symbolized personal and/or social status, represented ritual significance and (notably in Africa, China and the south Pacific) occasionally acted as a type of currency (Lignel, B. 2010. Now and never: the currency of contemporary jewellery, p 252). Also from its earliest existence, personal adornment manifested itself in a multitude of materials such as shells, wood, horns, teeth, bones, metals, stones and found objects. The harder it was to obtain a certain material, or the more skill and craftsmanship went into its transformation, the higher the object was prized as a result of its increased perceived value. The determining principles of ‘value’ thus not only seem to have rested on the material and quality of the object in question, but also on its diverse social, political, economic and cultural significances – a phenomenon which has not changed to this present day.

“In thinking about currency and [applied] art3 one immediately hits issues like value, price, reliability, confidence, agreement [and] verifiability. (…) What is it we rely on just at the moment the price is fixed: On fashion? On Zeitgeist? On taste? Who fixes the rate?” (Dewald, G. 2010. Currencies and valencies, p 174). Dewald raises a few pertinent questions in terms of value from the buyer’s side, but what about value as perceived by the artist? As a contemporary jeweller, for instance, I attach more value to concept, self-reflexivity5, novelty, technical skill, manual labour, emotional and physical investment, self expression and personal authenticity than I do to the market and/or perceived value of gemstones and precious metals, mass production, (brand) image and socio-commercial (aesthetic) preconceptions surrounding jewellery.

Whilst the above is a comfortable ‘justification’ for my perception of value in relation to my own work, it is not at all without its problems. Firstly, it usually puts me in opposition to the buyer’s beliefs, often translating into a fairly irrevocable lack of common ground6. Secondly, where does it leave the highly prized act of self-reflexivity?

The Oxford English Dictionary defines ‘currency’ as “the fact or quality of being current, prevalent, or generally reported and accepted among mankind” (Lignel, B. 2010. Now and never: the currency of contemporary jewellery, p 257). Whilst the value of an object supposedly grows with increasing rarity of the object in question, the latter does need to be “effective as a cultural phenomenon”, or possess some “cultural relevance” before it can be widely associated with value in the first place (Lignel, B. 2010. Now and never: the currency of contemporary jewellery, p 258). The interaction between contemporary jewellery and culture can perhaps be expressed by the following graph:





Currently, contemporary jewellery is mostly found on the extreme side of the art axis and is often understood as an insular “fringe culture”, a rather legitimate classification which stems directly (and amongst others) from the field’s practitioners’ belief systems surrounding value, including my own. Contemporary jewellers often seem to stand in their own way when it comes to gaining cultural prevalence or currency for their work, and thus when it comes to finding common ground with a wider audience when it comes to value.

One way in which the field of contemporary jewellery negates its own cultural prevalence is by forming a small, inwardly-focused, tightly-knit community of like-minded individuals. Very few “uninitiated” individuals are aware of and familiar with the concept of contemporary jewellery, not even to mention its objectives, aspirations, challenges, means, practices and thought-leaders. A second method for self-exclusion can be found in the prevalent practical outcomes of putting concept and self-expression first and foremost: contemporary jewellery pieces are often not wearable. Rather, they form a “class of objects that are non-functional yet body-related, poised between the social and the intimate” (Lignel, B. 2010. Now and never: the currency of contemporary jewellery, p 279).

Due to the limited scope of this text it will have to suffice to allude to a probable remedy for the dilemma mentioned above: Contemporary jewellers perhaps will have to find a careful balance between their own (academic) value system, and the (cultural) value system of the wider audience they ultimately wish to access. By consciously embracing the current impasse as a challenge, artist jewellers might rise to the occasion and take their field’s richness and potential into a more cultural domain without contradicting themselves, thus maybe achieving more in terms of challenging the (stifling) preconceptions, assumptions and belief systems often associated with conventional jewellery.

Gabriel Craig, a Detroit based metal smith, writer and activist suggests along similar lines that by being self-critical, and at the same time deliberately approaching and engaging a wider non-specialized audience, artist jewellers might find a way forward. Becoming increasingly frustrated with the insular nature of contemporary jewellery, Craig poignantly reacts to the field’s impasse, whilst at the same time eloquently summarizing its core constituents in a performance piece as part of his Narcissist series (http://gabrielcraigmetalsmith.com/index.php/project/narcissist/ [26/02/2013]). Perhaps this tongue-and-cheek presentation can open up new ways and means to prevent contemporary jewellery from becoming relevant only to its makers: http://vimeo.com/31733576

Embeded link:
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1. ‘Contemporary jewellery’ refers to individual, often conceptual and/or provocative pieces conceived and created by non-commercial jewellers and/or studios. Contemporary jewellery usually bears little resemblance to high-end, street- or costume jewellery and seeks to establish its own distinctive niche. In terms of looking into the question of value and currency in relation to contemporary jewellery, I also need to point out that this short text by no means offers any definitive answers, nor does it represent the full extent of the matter to be discussed.

2. In: Gaspar, M. & Dewald, G. (ed.). 2010. Currency – papers and exhibitions. Think Tank – A European initiative for the applied arts: Gmunden.

3. ’Applied art’, a term increasingly used in Europe, refers to fields such as ceramics, textile design and jewellery.

4. In: Gaspar, M. & Dewald, G. (ed.). 2010. Currency – papers and exhibitions. Think Tank – A European initiative for the applied arts: Gmunden.

5. ’Self-reflexivity’ refers to the rigorous and very critical evaluation of one’s own beliefs and actions within the creative practice, and is especially prized within the academic realm of contemporary jewellery.

6. The underlying assumptions here are twofold: Firstly, I presuppose that in most cases the wearing of jewellery is preceded by the procurement thereof. Secondly, I assume that all jewellers, author-, contemporary- or otherwise, ultimately create their pieces for another human being/body. Jewellery’s essence is fundamentally related to the body, meaning that the creation of jewellery which will not/is not/cannot be worn is ultimately a self-defeating exercise.

7. In: Gaspar, M. & Dewald, G. (ed.). 2010. Currency – papers and exhibitions. Think Tank – A European initiative for the applied arts: Gmunden.

8. In: Gaspar, M. & Dewald, G. (ed.). 2010. Currency – papers and exhibitions. Think Tank – A European initiative for the applied arts: Gmunden.

9. In: Gaspar, M. & Dewald, G. (ed.). 2010. Currency – papers and exhibitions. Think Tank – A European initiative for the applied arts: Gmunden.

Thursday, 14 February 2013

Where there is Fire, there must be a Braai...


By: Adeline Jubi


It might be the day of love and everything is heart themed… I decided however to rather post something food themed for Valentines day.

Where there is Fire, there must be a Braai Range (Adeline Joubert) and Veggie Braai I and II (Silver, Brass, Mokume Gane, hematite and Carnelian beads)

It is said that our humanity, the one thing that made us different from animals and  primitive hominid types, the deciding factor that determined that second sapiens in HOMO SAPIENS SAPIENS, was the mere fact that  fire 
could be controlled and food could be cooked.

Heating proteins  and starch make it more digestible and humans could use less energy for digestion and more for developing their brains. Cattle have something like 4 stomachs and with most animals spend the whole day grazing and digesting. Early Hominids started making tools and hunted and gathered food in organized groups, in stead. In the evenings, they came together around cooking fires. Language and stories and knowledge were shared. The early human brain developed more neurons rapidly and so became bigger and more intelligent than its other raw food munching primate cousins.
  This means that first braai was around 250 000 years ago.It must be genetically built into our psyche to find it pleasing to gather around a fire and compare the size of your stone age hammer or more recently,your Hummer?

I recently did a jewellery range titled: “Where there is Fire, there must be a Braai”. This is a tongue in the cheek way to celebrate and comment on our South African culture with making a fire and having a braai. “Daar waar ons park, daar braai ons...” directly translated as : “where we park, we have a barbeque. To some South Africans a braai is like religion and every dude is the master of his own braai. My gourmet vegetarian husband, loves to braai... only he would tan a “braaibroodjie”, veggie kebabs with Haloumi and satay sauce instead of a chop. Only in South Africa there would be a reality show called: The ultimate Braai Master and boy, were those contestants put through their paces, it looked extremely difficult to complete those challenges. Champion Boerewors and Mrs Balls would simply not make the cut. 

Braai the Beloved Country and Kaapse Braai (Silver, Copper, Hematite beads, garnets)- Adeline Joubert

Braai Broodjie Ring (Silver, mokume gane, Brass and Resin) - Adeline Joubert

I came across some fascinating and amazingly quirky and kitsch food themed jewellery. Yummy enough to make you hungry?

SouZou Creations, "Creation through Imagination"


And for Valentines Day:
Miniature Food  Art by Allartshop. Also see Miniature Food Jewelry on Etsy.

Silver and gold food jewellery by Australian Artist Jeweller, Lucky Folk. Pasta, Popcorn and Pretzels as inspiration.


Monday, 4 February 2013

inspired

2013...
                                                                                    by Adi Cloete


The new year is galloping ahead. January has disappeared in a blink and February is here!

Time to ref up the engines, gather ourselves and revive our blog, after a pause post the jewellery adventures of 2012.

Fine Ounce News
  •  Our Breath of Fire exhibition is on at Dorpstraat Galery in Stellenbosch until 15 February.
  • Be sure to visit our stand at Design Indaba starting 1 March.
  • And Fine Ounce have spread their wings a little... Frieda Luhl has relocated to Windhoek.


I've been indulging images...Here are a few current favourites.
Not always sure who the photographers are, but since I found them online I'm sharing the images in the spirit of the joy and inspiration they bring.


Japanese photographer Miyoko Ihara has been photographing her grandmother Misao,for the last 13 years. 8years ago a kitten with unusual eyes became her wonderful companion... She called him Fukumaru, which means "a circle of good fortune".




Purring on the foot of Buddha



Such happiness!
A charmer!
Incredible !
Imagine having so many feet on the ground...not to mention the water.

And the shadow show you could have :)

In the bottom of my hammock ...

Row your goats gently down the stream.

Fascinating glimpses of feminine beauty expressed; influenced through individuality and cultural backgrounds. 

Wodaabe people from southern Sahara












The flight of freedom.

And for the grande finale - a hauntingly beautiful discovery: 
the work of Gregory Colbert. 
A Canadian film-maker and photographer, best known for the movie Ashes and Snow.

"Colbert believes that there is a shared desire for all species to participate in one universal conversation. He sees nature as the greatest storyteller of all and himself as an apprentice to nature. His works are collaborations between humans and other animals that express the shared poetic sensibilities of all species."

He's work draws you in and stays with you. The images force you to pause and and be quiet. You want to listen. 






Monday, 3 December 2012

A Fairytale posted by Giselle

While wondering what to write about and when to find the time to write it I came across this fairytale which touched me. I think for this time of year especially at the end of it when most of us will be gathering and celebrating with those close to us we should maybe think of those less fortunate and privileged. Whether you are a believer or not I hope you enjoy the read and that it gives you food for the soul.


                            From The Happy Prince and Other Tales (1888) - Oscar Wilde


High above the city, on a tall column, stood the statue of the Happy Prince. He was gilded all over with thin leaves of fine gold, for eyes he had two bright sapphires, and a large red ruby glowed on his sword-hilt.
He was very much admired indeed. "He is as beautiful as a weathercock," remarked one of the Town Councillors who wished to gain a reputation for having artistic tastes; "only not quite so useful," he added, fearing lest people should think him unpractical, which he really was not.
"Why can't you be like the Happy Prince?" asked a sensible mother of her little boy who was crying for the moon. "The Happy Prince never dreams of crying for anything."
"I am glad there is some one in the world who is quite happy," muttered a disappointed man as he gazed at the wonderful statue.
"He looks just like an angel," said the Charity Children as they came out of the cathedral in their bright scarlet cloaks and their clean white pinafores.
"How do you know?" said the Mathematical Master, "you have never seen one."
"Ah! but we have, in our dreams," answered the children; and the Mathematical Master frowned and looked very severe, for he did not approve of children dreaming.
One night there flew over the city a little Swallow. His friends had gone away to Egypt six weeks before, but he had stayed behind, for he was in love with the most beautiful Reed. He had met her early in the spring as he was flying down the river after a big yellow moth, and had been so attracted by her slender waist that he had stopped to talk to her.
"Shall I love you?" said the Swallow, who liked to come to the point at once, and the Reed made him a low bow. So he flew round and round her, touching the water with his wings, and making silver ripples. This was his courtship, and it lasted all through the summer.
"It is a ridiculous attachment," twittered the other Swallows; "she has no money, and far too many relations"; and indeed the river was quite full of Reeds. Then, when the autumn came they all flew away.
After they had gone he felt lonely, and began to tire of his lady- love. "She has no conversation," he said, "and I am afraid that she is a coquette, for she is always flirting with the wind." And certainly, whenever the wind blew, the Reed made the most graceful curtseys. "I admit that she is domestic," he continued, "but I love travelling, and my wife, consequently, should love travelling also."
"Will you come away with me?" he said finally to her; but the Reed shook her head, she was so attached to her home.
"You have been trifling with me," he cried. "I am off to the Pyramids. Good-bye!" and he flew away.
All day long he flew, and at night-time he arrived at the city. "Where shall I put up?" he said; "I hope the town has made preparations."
Then he saw the statue on the tall column.
"I will put up there," he cried; "it is a fine position, with plenty of fresh air." So he alighted just between the feet of the Happy Prince.
"I have a golden bedroom," he said softly to himself as he looked round, and he prepared to go to sleep; but just as he was putting his head under his wing a large drop of water fell on him. "What a curious thing!" he cried; "there is not a single cloud in the sky, the stars are quite clear and bright, and yet it is raining. The climate in the north of Europe is really dreadful. The Reed used to like the rain, but that was merely her selfishness."
Then another drop fell.
"What is the use of a statue if it cannot keep the rain off?" he said; "I must look for a good chimney-pot," and he determined to fly away.
But before he had opened his wings, a third drop fell, and he looked up, and saw - Ah! what did he see?
The eyes of the Happy Prince were filled with tears, and tears were running down his golden cheeks. His face was so beautiful in the moonlight that the little Swallow was filled with pity.
"Who are you?" he said.
"I am the Happy Prince."
"Why are you weeping then?" asked the Swallow; "you have quite drenched me."
"When I was alive and had a human heart," answered the statue, "I did not know what tears were, for I lived in the Palace of Sans- Souci, where sorrow is not allowed to enter. In the daytime I played with my companions in the garden, and in the evening I led the dance in the Great Hall. Round the garden ran a very lofty wall, but I never cared to ask what lay beyond it, everything about me was so beautiful. My courtiers called me the Happy Prince, and happy indeed I was, if pleasure be happiness. So I lived, and so I died. And now that I am dead they have set me up here so high that I can see all the ugliness and all the misery of my city, and though my heart is made of lead yet I cannot chose but weep."
"What! is he not solid gold?" said the Swallow to himself. He was too polite to make any personal remarks out loud.
"Far away," continued the statue in a low musical voice, "far away in a little street there is a poor house. One of the windows is open, and through it I can see a woman seated at a table. Her face is thin and worn, and she has coarse, red hands, all pricked by the needle, for she is a seamstress. She is embroidering passion- flowers on a satin gown for the loveliest of the Queen's maids-of- honour to wear at the next Court-ball. In a bed in the corner of the room her little boy is lying ill. He has a fever, and is asking for oranges. His mother has nothing to give him but river water, so he is crying. Swallow, Swallow, little Swallow, will you not bring her the ruby out of my sword-hilt? My feet are fastened to this pedestal and I cannot move."
"I am waited for in Egypt," said the Swallow. "My friends are flying up and down the Nile, and talking to the large lotus- flowers. Soon they will go to sleep in the tomb of the great King. The King is there himself in his painted coffin. He is wrapped in yellow linen, and embalmed with spices. Round his neck is a chain of pale green jade, and his hands are like withered leaves."
"Swallow, Swallow, little Swallow," said the Prince, "will you not stay with me for one night, and be my messenger? The boy is so thirsty, and the mother so sad."
"I don't think I like boys," answered the Swallow. "Last summer, when I was staying on the river, there were two rude boys, the miller's sons, who were always throwing stones at me. They never hit me, of course; we swallows fly far too well for that, and besides, I come of a family famous for its agility; but still, it was a mark of disrespect."
But the Happy Prince looked so sad that the little Swallow was sorry. "It is very cold here," he said; "but I will stay with you for one night, and be your messenger."
"Thank you, little Swallow," said the Prince.
So the Swallow picked out the great ruby from the Prince's sword, and flew away with it in his beak over the roofs of the town.
He passed by the cathedral tower, where the white marble angels were sculptured. He passed by the palace and heard the sound of dancing. A beautiful girl came out on the balcony with her lover. "How wonderful the stars are," he said to her, "and how wonderful is the power of love!"
"I hope my dress will be ready in time for the State-ball," she answered; "I have ordered passion-flowers to be embroidered on it; but the seamstresses are so lazy."
He passed over the river, and saw the lanterns hanging to the masts of the ships. He passed over the Ghetto, and saw the old Jews bargaining with each other, and weighing out money in copper scales. At last he came to the poor house and looked in. The boy was tossing feverishly on his bed, and the mother had fallen asleep, she was so tired. In he hopped, and laid the great ruby on the table beside the woman's thimble. Then he flew gently round the bed, fanning the boy's forehead with his wings. "How cool I feel," said the boy, "I must be getting better"; and he sank into a delicious slumber.
Then the Swallow flew back to the Happy Prince, and told him what he had done. "It is curious," he remarked, "but I feel quite warm now, although it is so cold."
"That is because you have done a good action," said the Prince. And the little Swallow began to think, and then he fell asleep. Thinking always made him sleepy.
When day broke he flew down to the river and had a bath. "What a remarkable phenomenon," said the Professor of Ornithology as he was passing over the bridge. "A swallow in winter!" And he wrote a long letter about it to the local newspaper. Every one quoted it, it was full of so many words that they could not understand.
"To-night I go to Egypt," said the Swallow, and he was in high spirits at the prospect. He visited all the public monuments, and sat a long time on top of the church steeple. Wherever he went the Sparrows chirruped, and said to each other, "What a distinguished stranger!" so he enjoyed himself very much.
When the moon rose he flew back to the Happy Prince. "Have you any commissions for Egypt?" he cried; "I am just starting."
"Swallow, Swallow, little Swallow," said the Prince, "will you not stay with me one night longer?"
"I am waited for in Egypt," answered the Swallow. "To-morrow my friends will fly up to the Second Cataract. The river-horse couches there among the bulrushes, and on a great granite throne sits the God Memnon. All night long he watches the stars, and when the morning star shines he utters one cry of joy, and then he is silent. At noon the yellow lions come down to the water's edge to drink. They have eyes like green beryls, and their roar is louder than the roar of the cataract.
"Swallow, Swallow, little Swallow," said the Prince, "far away across the city I see a young man in a garret. He is leaning over a desk covered with papers, and in a tumbler by his side there is a bunch of withered violets. His hair is brown and crisp, and his lips are red as a pomegranate, and he has large and dreamy eyes. He is trying to finish a play for the Director of the Theatre, but he is too cold to write any more. There is no fire in the grate, and hunger has made him faint."
"I will wait with you one night longer," said the Swallow, who really had a good heart. "Shall I take him another ruby?"
"Alas! I have no ruby now," said the Prince; "my eyes are all that I have left. They are made of rare sapphires, which were brought out of India a thousand years ago. Pluck out one of them and take it to him. He will sell it to the jeweller, and buy food and firewood, and finish his play."
"Dear Prince," said the Swallow, "I cannot do that"; and he began to weep.
"Swallow, Swallow, little Swallow," said the Prince, "do as I command you."
So the Swallow plucked out the Prince's eye, and flew away to the student's garret. It was easy enough to get in, as there was a hole in the roof. Through this he darted, and came into the room. The young man had his head buried in his hands, so he did not hear the flutter of the bird's wings, and when he looked up he found the beautiful sapphire lying on the withered violets.
"I am beginning to be appreciated," he cried; "this is from some great admirer. Now I can finish my play," and he looked quite happy.
The next day the Swallow flew down to the harbour. He sat on the mast of a large vessel and watched the sailors hauling big chests out of the hold with ropes. "Heave a-hoy!" they shouted as each chest came up. "I am going to Egypt"! cried the Swallow, but nobody minded, and when the moon rose he flew back to the Happy Prince.
"I am come to bid you good-bye," he cried.
"Swallow, Swallow, little Swallow," said the Prince, "will you not stay with me one night longer?"
"It is winter," answered the Swallow, "and the chill snow will soon be here. In Egypt the sun is warm on the green palm-trees, and the crocodiles lie in the mud and look lazily about them. My companions are building a nest in the Temple of Baalbec, and the pink and white doves are watching them, and cooing to each other. Dear Prince, I must leave you, but I will never forget you, and next spring I will bring you back two beautiful jewels in place of those you have given away. The ruby shall be redder than a red rose, and the sapphire shall be as blue as the great sea."
"In the square below," said the Happy Prince, "there stands a little match-girl. She has let her matches fall in the gutter, and they are all spoiled. Her father will beat her if she does not bring home some money, and she is crying. She has no shoes or stockings, and her little head is bare. Pluck out my other eye, and give it to her, and her father will not beat her."
"I will stay with you one night longer," said the Swallow, "but I cannot pluck out your eye. You would be quite blind then."
"Swallow, Swallow, little Swallow," said the Prince, "do as I command you."
So he plucked out the Prince's other eye, and darted down with it. He swooped past the match-girl, and slipped the jewel into the palm of her hand. "What a lovely bit of glass," cried the little girl; and she ran home, laughing.
Then the Swallow came back to the Prince. "You are blind now," he said, "so I will stay with you always."
"No, little Swallow," said the poor Prince, "you must go away to Egypt."
"I will stay with you always," said the Swallow, and he slept at the Prince's feet.
All the next day he sat on the Prince's shoulder, and told him stories of what he had seen in strange lands. He told him of the red ibises, who stand in long rows on the banks of the Nile, and catch gold-fish in their beaks; of the Sphinx, who is as old as the world itself, and lives in the desert, and knows everything; of the merchants, who walk slowly by the side of their camels, and carry amber beads in their hands; of the King of the Mountains of the Moon, who is as black as ebony, and worships a large crystal; of the great green snake that sleeps in a palm-tree, and has twenty priests to feed it with honey-cakes; and of the pygmies who sail over a big lake on large flat leaves, and are always at war with the butterflies.
"Dear little Swallow," said the Prince, "you tell me of marvellous things, but more marvellous than anything is the suffering of men and of women. There is no Mystery so great as Misery. Fly over my city, little Swallow, and tell me what you see there."
So the Swallow flew over the great city, and saw the rich making merry in their beautiful houses, while the beggars were sitting at the gates. He flew into dark lanes, and saw the white faces of starving children looking out listlessly at the black streets. Under the archway of a bridge two little boys were lying in one another's arms to try and keep themselves warm. "How hungry we are!" they said. "You must not lie here," shouted the Watchman, and they wandered out into the rain.
Then he flew back and told the Prince what he had seen.
"I am covered with fine gold," said the Prince, "you must take it off, leaf by leaf, and give it to my poor; the living always think that gold can make them happy."
Leaf after leaf of the fine gold the Swallow picked off, till the Happy Prince looked quite dull and grey. Leaf after leaf of the fine gold he brought to the poor, and the children's faces grew rosier, and they laughed and played games in the street. "We have bread now!" they cried.
Then the snow came, and after the snow came the frost. The streets looked as if they were made of silver, they were so bright and glistening; long icicles like crystal daggers hung down from the eaves of the houses, everybody went about in furs, and the little boys wore scarlet caps and skated on the ice.
The poor little Swallow grew colder and colder, but he would not leave the Prince, he loved him too well. He picked up crumbs outside the baker's door when the baker was not looking and tried to keep himself warm by flapping his wings.
But at last he knew that he was going to die. He had just strength to fly up to the Prince's shoulder once more. "Good-bye, dear Prince!" he murmured, "will you let me kiss your hand?"
"I am glad that you are going to Egypt at last, little Swallow," said the Prince, "you have stayed too long here; but you must kiss me on the lips, for I love you."
"It is not to Egypt that I am going," said the Swallow. "I am going to the House of Death. Death is the brother of Sleep, is he not?"
And he kissed the Happy Prince on the lips, and fell down dead at his feet.
At that moment a curious crack sounded inside the statue, as if something had broken. The fact is that the leaden heart had snapped right in two. It certainly was a dreadfully hard frost.
Early the next morning the Mayor was walking in the square below in company with the Town Councillors. As they passed the column he looked up at the statue: "Dear me! how shabby the Happy Prince looks!" he said.
"How shabby indeed!" cried the Town Councillors, who always agreed with the Mayor; and they went up to look at it.
"The ruby has fallen out of his sword, his eyes are gone, and he is golden no longer," said the Mayor in fact, "he is litttle beter than a beggar!"
"Little better than a beggar," said the Town Councillors.
"And here is actually a dead bird at his feet!" continued the Mayor. "We must really issue a proclamation that birds are not to be allowed to die here." And the Town Clerk made a note of the suggestion.
So they pulled down the statue of the Happy Prince. "As he is no longer beautiful he is no longer useful," said the Art Professor at the University.
Then they melted the statue in a furnace, and the Mayor held a meeting of the Corporation to decide what was to be done with the metal. "We must have another statue, of course," he said, "and it shall be a statue of myself."
"Of myself," said each of the Town Councillors, and they quarrelled. When I last heard of them they were quarrelling still.
"What a strange thing!" said the overseer of the workmen at the foundry. "This broken lead heart will not melt in the furnace. We must throw it away." So they threw it on a dust-heap where the dead Swallow was also lying.
"Bring me the two most precious things in the city," said God to one of His Angels; and the Angel brought Him the leaden heart and the dead bird.
"You have rightly chosen," said God, "for in my garden of Paradise this little bird shall sing for evermore, and in my city of gold the Happy Prince shall praise me."


THE END.