In this famous picture of nak twenty-four Year old David Casi, Annie Levit capttes the elation of narisistie boyhood atthe height of its beauty, Davi Casity Iecame the fave rae of whole generation of ile firlsina TV soup opera: a the age of twenty-one he was the highest paid in the wok Issue 108 of Raling Stone ln which tchowit's tue originally appeated is sil the most demanded back umber of the magaine or sexdeyo The Female Gaze | In 1620 or thereabouts Giovanni Lanfranco painted an oddly suggestive picture of a young man, naked except for a strip of cloth throven lightly over his loins, Iying propped up on his eft elbow on a rumpled bed, smiling at the viewer over his right shoulder a his ight hand stretches back over his body to caress an adoring black and whit cat The boy is beard- less, his body slim, lightly muscled and hairless. The concealing of his genitals suggests that they are Unfit to be shown, tumescent perhaps, while the effect of intimacy is heightened by the perspective, ‘which is that of someone looking down into the bed. The boy's knees are slightly drawn up and his back tense and twisted, ina version ofthe pose of St Laurence reacting to the heat ofthe gridiron in paintings of his martyrdom, but inthis case only cool white sheets lie under the boy’ body and all the heat sin his ees. Padward Lucie-Smith, writing of this picture in 1972, assumed that the painter was painting someone like himself to be viewed by someone lke himself, “Equally narcissistic in feeling isthe painting ofaYoung Boy on a Bed, by Lanfranco .. the boy himself appears tobe a self-portrait of the artist, not only because the face resembles other known portraits, but because the picture was fatty ‘obviously painted with the help ofa mirror, something which gives rather different complexion to ‘what might first seem an unusually candid example of a homosexual representation’ The painting certainly suggests a sexual context but, just as Lucie-Smith’s hypothetical narcissism depended on a (mistaken) assumption about the painter, the homosexuality hypothesis depends upon an assump- tion about the viewer. Lucie Smith may not have known that within thirty years of ts being painted this picture was acquired by Christina of Sweden. In 1656 when Christina took up her abode in the Palazzo Farnese in Rome she chose as her private apartment one that opened off the great gallery, The Female Gaze 219— al called Endimione that was Pt Suidi on an Italian verse pas franc lished after her death as by ‘Ero ( ee i as and deliberate campaign '0 art and parcel of Christina's consciow 1 and ambiguou Teclaim female desire. She also acquired Rubens’ opulen Tenition ofthe dying Adonis. Nicodemus Tessin the Younge who 51" Ruby Christina's residence there, as ens in situ in the Palazzo Riario durin ss and Cupid was Noticed a Ganymede. Michelangelo's famous cartoon of Ver hats E igwith the painting rom many years displayed in the Farnese, along i podimonte : now in Capo Wow in Capodimonte, Garofalo’s Saint Sebast have been t0 jsof Adamand Iristina’s taste. Christina also owned the Durer pane natu Apt epe inde Tie mans Co i it un are likely to be at le 1 be said to clinch the argument that won ee por Jharms of boys as men ares’ Ant to remember that Christina was one of the very few wormes sory. What he ‘ould do openly other women may have done privately E h the nineteenth cent Margaret Walters says in The Nude Male that" —_ sonse to male beat ie took it for granted that women have sens = eauty has captured my heart? 5298 certainly did. “Your my yes delight in Phaedra to her husband's son, Hippolytus."To say no m0" e py desire at the very 518 : pt for li Helen man who saw h oes not doubt that any woman When Phaedra woos her obdurate stepson, she Femins al Who were seduced nt of a boy's beauty of AUN duced by the sight of Venus pantin yy Cephalt husband Tithonus to lie with the shepherd-bey C&P =r 9 to see Narcissus and \donis. The nymph Echo had oF oe Bs resent nothing 0 aled. It could be argued that these examples rt - ; <4 women had not male fantasies about female arousal, if both men am 223224 The Female Gaze There are examples to from Holy Writ; Potiphar’s wife had but to cast her eyes upon seventeen-year-old Joseph, who ‘was a goodly person, and well favoured; to desire him so ardently that she importuned him daily and ulti imately grabbed his garment and tried to drag him into her bed. The hellfire preacher Savonarola persuaded his fifteenth-century Florentine followers that‘in houses where there were young girs it was not right to keep painted figures of naked men and women’ Among the penitents who followed him was the painter Fra Bartolommeo, who brought all his nude studies and paintings to be publicly burned. When it was said of Fra Bartolommeo later that he could not paint the naked human figure, he took up the challenge: he did a picture of St Sebastian, naked, very realistic in the colouring of his flesh, who has an air of great charm, and whose body was likewise executed with corresponding beauty. This won im endless praise among the crafts- ‘men. [tis sad that when this painting was put on show in the church, after the friars had found women in confession who on looking at it had sinned through the captivating and sensuous resemblance of living figure given tot by Fra Bartolommeo's talent, they removed it from the church..." In 1657 ot so the nuns of the Church of Saint Sebastian in Naples commissioned Sebastian from Mattia Preti only to reject it, ostensibly because the figure was ithout that nobility and beauty that are appropriate to a noble body, and that the face was more like that ofa street porter than of a captain of so as Saint Sebastian was: Insights into women’s patronage of the arts tend tobe fitful and misleading. “The fact that Isabela d'Fste, the sixteen-year-old bride of Francesco Gon had no sooner taken possession of her private apartment in the ralazz0 Ducale in Mantua in 1490, than she set about commissioning large-scale alle ‘gorical paintings by Perugino, Mantegna, Lorenzo Costa and Cor exgio. all of which showed nudes of both sexes, is usually interpreted as evidence of the influence of her humanist tutors. Yet Isabella was the daughter of one female connoisseur, Eleanora of Aragon, and sister-in-law of another, the Duchess of Urbino, both of whom commissioned secular works from the best painters of their generation for their private apartments. Certainly Isabella was under stood to be capable of sophisticated visual pleasure. By the 1620s when Elizabeth de Bourbon wished to visit her husband Philip IV in his summer apartments where the famous Titian poesie were hung, she would ask that these fabulously sensual paintings be co od up in advance of her arrival Catherine the Great accumulated the greatest art collection of any Europeanmonarch, but most of it was bought in bulk by agents who had no opportu- nity to determine her preference. Legend has it that the boudoirs in her palaces were decorated with images of young men that were not so much erotic as pornographic. “More reliable evidence of female response to the beauties of boys may be derived from women’s writing. Sylvia, the‘sister'in Aphra Behn’s novel Love- Letters Between a Nobleman and his Sister, tellsher brother-in-law... you are itself ean render you, a shape exactly formed, not too low beautiful as He nor too tall, but made to beget soft desire and everlasting wishes in all that Jook on yous but your face! your lovely face! inclining to round, lage, piercing black eyes, delicate proportioned nose, charming dimpled mouth, plump red lips, inviting and swelling, white teeth, small and even, fine complexion anda beautiful tur! all which you had an art to onder in so engaging a manner that it charmed all the beholders, both sexes were undone with looking on you, When Sylvia decides to consummate her affair with Philander her justifica- tion is that her forces are too weak to withstand his'shock of beauties, that he haas‘charms enough to justify her yielding, that she isa ‘virgin quite disarmed by two faireyes, an ange!’s voice and form, Behn’s women are not simply aware of male beauty but actively seek it. Their gaze will lock on to the charms of young men even when they are hidden. Miranda, the anti-heroine of Behn's story The Fair Jilt, loses her heart in church when a young Franciscan friar offers her the collection box. She beheld him steadfastly, and saw in his face all the charms of youth, wit and beauty; he wanted no one grace that could form him for love, he appeared all that is adorable to the fair sex, nor could the misshapen habit hide from her the lovely shape it endeavoured to cover, nor those delicate hands that approached her too near with the box.... She gazed upon him, while he bowed before her, and waited for her charity, till she perceived the lovely friar to blush, and cast his eyes on the ground ... she gave him a pistole; but that with so much deliberation and leisure, as easily betrayed the satisfaction she took in looking on him...” Sleepless in bed she fantasizes that the young friar puts off religion and exchanges his habit for a thousand dalliances for which his youth was made; for love, for tender embraces, and all the happiness of life. Every day her passion takes ‘new fire from his eyes. She tries to seduce him, begging, ‘Do that which thy youth and beauty were ordained to do’ All ends, as you might expect, in tears ‘The Fomale Gaze 228226 Only he looked more absolute and ‘nd then they heave a deep communal sigh of envy ashe leads one of them on 10 the dance-floor the household. A daughter who was found to be masturba would have been considered in need of medical treatment. If she fantasized about mal odies, nobody was interested in finding out what those fantasies were count, Mill giels were suspecte of sexual predatoriness and were apparenth ready to accosta good-looking young man as ever girls were, but their sexu In 1978 Margaret Walters argued that women were still estranged fr their own visual pleasure:‘But even today, a woman is expected to take a nar cissistic pleasure in fulfilling male fantasies rather than in exploring and and the sex that is looked at. The dichotomy is bo h sexes, in the man voyeurism, hostility and envy, and in the woman masochism, exhibitionism jay, Both men and women are deprived and impoverished? Elvis P ied the year before, after more than but also by pouting and shaking his hips in a manner beyond suggestive who imitated Presley’ pelvic thrusts in a more than convincing manner, was‘Opposite fan Sen, The Drawing Lesion, 1668. Steen's _moralzng gee painting afl of cst the covert swasin which erotica is expressed. The Figure that the il students studying so iatnaly has been identified as 4 cat ofa bozzetto of St Sebastian by Alewandeo Vitoria The git ascnation is observe bythe mater oy tude ‘aly the master appears unmoved, at thn ihe eho has tthe sujet for the young woman to dra 228 Tho Female Gare how Jimi Hendrix used to rub his guitar against his groin, partly as protest and partly because women were watching. Since those days we have got used to girls wetting the seats at boy-band concerts and grown women throwing their knickers at Tom Jones or tucking banknotes in the G-strings of male strippers. Women have now claimed the right to look and to derive pleasure from looking, but the people who capitulate ar not men but boys. A recent television commercial featured a group of female office workers crowding together to get the bes sight of the window-cleaner’s virile loins in low-slung jeans. The women were salaried employees: the object of their gaze was an inferior, junior to them in age, below them in the social hierarchy, and safely separated from them by the glass wal ofthe office. “The boy is the missing term in the discussions ofthe possibility ofa female gaze. Women may not frankly evaluate a man’s physical attractiveness but a boy isin no position to object. As a junior the boy must defer to his male elders and superiors and may not legitimately assert mastery over anyone. ‘Asa subordinate he might be thought tobe feminized, if we continue to insist con passivity as a feminine characteristic. To put it another way, biological imaleness only takes to itself phallic activity and mastery when it assumes patriarchal power. The boy, being debarred from phallic power, is endowed simply with a responsive penis rather than a dominating phallus and can be sexualized with impunity. Discussions of visual pleasure sit relates to the depiction of human beings almost invariably assume that the viewer is males histories of the male nude are all histories of homosexuality in the visual arts. The gaze itself is charac sual Pleasure and Narrative Cinema’ argues that though the spectator may not be terized as male, Laura Mulvey’ ‘Afterthoughts’ to her seminal essay " male in every case, the act of viewing is masculine. The male is the looker-at, and female the to-be-looked-at. The viewer is masterful and empowered: the viewee mastered. Mulvey even describes the woman who views males as objects of erotic interest as a transvestite who has temporarily adopted a masculine habit, oF regressed to pre-Ocdipal life If tis legitimate to assume that the male painter paints the male nude because the maleis the object of his desire, we ought surely to be able to inter pret the predilection of women painters for female subjects in the same ways but to do so would be absurd, We must consider then whether the initial hypothesis may be wrong. The relationship between artist and model is assumed to be at one level erotic: the luscious female nudes of Picasso atof an earlier era who in any case had no models. Their male nudes are sexier and m their female figures, not for the most part because the the were drawn from life. The female figure was more than an inert idealized shape, drawn to a patter a portrait | Naked Maja. When women begin to paint the figure, they int women, usually dressed, and children nak clothed, Even the great Artemisia Gentileschi, who properly trained and had access to models of both sex preferred her nudes female, painting a series of la Susannah and Lucrece, No figure of a nude or semi raped male has ever been attributed 10 her. A 2s we know she never attempted a Sebastian or a St John oran Apollo, A few years after Artemisia’ death, the Venetian painte Giambattista Piazzetta took as his pupil his cousin, Giulia Lama, who did not shrink from portraying nude figures, usually contorted and so dramatically li by her own version of Piazzetta’ flickering chiaroscuro that they seem burned after-images rather than solid objects. Christs bod! hanging on the Crucifix inthe altarpiece that may still be seen in the Chiesa d San Vidal in Venice quivers like a reflection on water. Drap ground of her judith and Holofernes in the Venice Accademia lies the man's shoulder has not lifted off the bed, Holofernes is usually shown bearded and bullish but Lama's version is boyish and passive, with slightly tumesce nipples. To her is now attributed a Martirio di San Giovanni Evangelist which shows the saint stripped to the waist and gazing upwards towards the his approaching death. Elisabeth Vigée Le Brun painted very few nudes and never a male one until untered the young Prince Lubomirsky. At the Salon of 1789 Le Brun exhibited a painting of the enchantingly pretty boy naked but fora red drapebedecked with white wings and holding up laurel wreath, The picture isvar- Below Angelika Kaufman iously called Prince Lubomirsky as the Genius of Fame and Py nis and sekom painted a mud abject oct Fuse was noth rh f athe mina o her td male gure, Fr once perhaps that love has been given up forthe pursuit of foe Another, Allegory Alexander I, seeming to show him slightly ‘older, once more winged and partially draped, looking back over his shoulder as he inscribes on a shield balanced on his knees, was eventually presented by A year of two later Le xloring gaze of two naiads, one of whom was modelled by her daughter Julie the other by the young duchesse de Guiche. Prince Lubomirsky also sat more than once to Le Brun’s great rival, Angelika Kauffmann; a haf-length showing him winged and naked testing the tip of an arrow appeared on the art market in 1923. Better known isthe full: h portrait of ‘Prince Lubomirski as Cupid’ showin, her more of his naked body than Le Brun y; recorded in the possession the Lubomirski family until after 1900 contemporary copy hangs in the bathroom the Zamoyski Palace at Kozlowka, The holehearted response of two women artists laced in context by a comparison with the jall-ength sculpture by Canova of Prince Lubomirsky as Eros which shows him entirely naked, free-standing and full-frontal As a history painter Kauffmann often painted male figures, usually decently draped and torso that may be seen in her women, In 1 tondo at Burghley House in Lincolnshire lard Presents Hy of Hymen, naked except for a filmy stole draped over the right arm and held decently plump and hippy and white, By contrast the ° taze 231232 Thy Gazeen's tel Jemie Julian in c. 1881, The women stu Ten wned and hatted, and apparently crowded up per, have a wie i model a woe-begone child partially draped in the skins of t John and holdin The male nude was feminized appar a prelude to its disappearin 3 ae altogether when the female nude final be Imost none of her male contemporaries Tamar q lowing terms; ‘... the play-acting of the model ption of the ethereal abstracted expression of the St nally constructed in representation as a feminised maleOpposite the child in Mary Casts Mosher amd Child ‘OF 1901 some of very ew male igures eer tempted by ‘he ants In er many studies of mothers with chien, ‘hough the children are ote aud, thee almost hes obscured not only bythe pose but als by the tile ‘ofthe work the rea subjecting not so much the individual ‘mothe wth an individual cla the mater codon 236 The Female Gaze contortions, his upturned eyes his open mouth, suggests the small dea ongasm, Auber’ story has a plot typical of trivial soft porn: the model tends tobe bind, the artist permits herself to shed part of her clothing 8 she inadvertently reveals a nipple whereupon her model betrays wise” B his erection. The story does not deny that there isa desirous female gazes ts faints the fst time she ses her model’ naked body but thercaftet contemplates it unmoved, until the erection calls islf to her atent” Consistency is too much to expect from such writing but itis of apiece *” 1 beco™® the anxiety of the authorities who feared that the male model might aroused by the intent scrutiny of so many young women. It seems to FS ‘occurred to no one thatthe ladies might have thrown their knickers a i Very few of the women artists who came through the system in the 9" teenth century painted the nude and that only occasionally. One, Henri"? Rac, had commercial success a a painter of female nudes, probably because = and lifesize female figures have no more vitality than shop -window dummies their genital area is left similarly blank. To the best of my knowledge Rae | painted but one undraped male figure a slender boy crowned with roses and equip? with nacreous moth-wings to impersonate Zephyrus courting Floraexhibit®! at the Royal Academy in London in 1888, Zephyrus’s lean and handso®™® young body is larly drawn from lfebut when G.F: Watts saw the unfinsh Painting in Rae's studio he“drew on the canvas, over the male figure, the €2"” o plete foreshortened skeleton’ so that she could correct the pose. The pain «id not find a buyer and remained hanging in Rac’s studio until her death Racs contemporary, Dorothy Tennant, learned to paint boys in the studio Jean-Jacques Hennet: The Death of Love (1888) is a small-scale adaptation & Henner's Joseph Bara, Jeune Héros de la Revolution. In the Cupid and Psy painted by Annie Swynnerton in 1891 (sce p. 87) the front of stage is helt PY the luminous adolescent body of Psyche, as usual bereft of genitals, while Cupid's are decently hidden by plumes from his purple wing, Anna Lea Meritt ‘was s aware of the ways in which her famous picture Lave Locked Out (1889) might be interpreted that she refused tallow i tobe reproduced as an eng ing. Ther female contemporaries felt ess pressure to leave the world of female imagery men painted women and women painted women too, often them selves. Mary Cassatt, Gwen John, Suzanne Valadon all produced series after series oFimages of females, Valadon's three-way portrait af her much young? hhusband André Utter naked, as Les Lanceurs de Filets, could hardly be described asa success. We will look in vain for images of the male among theWith the 238242 The FemThe development of photography was of immense importance to women artists for whom the role of dominating artist over submissive model was already alien. The degree of control exerted by the camera is hardly less, but itis of a different kind, Nan Goldin photographs her fiends behaving spontaneously, without directorial interference, nether lighting the scene nor modifying the image once she has framed it. Most of her subjects are female ot it would appear that straight men are loath to co-operate with even this modest assumption of power by a female image-maker In Goldin’s work we may trace survivals of the classic trends in treating the subject of boys; French Chris on Carhood, NYC (see pp. classic example of the sleeping boy motif, Another trend in w nis treat ‘ment of the boy is to depersonalize him by portraying him in sections Sarah Kent said of her Male Nude: California (1982) tha it was a depiction ‘ofa well-loved body, a well-loved body that has still under sone the mutilation of circumcision, as none of the male bodies ofthe earlier tradition have. When Sally Mann published ravishing nude photographs of her own children in 1987, there was an immediate outcry; absurdly enough, her appreciation cof her children’s physical beauty was seen as both paedophilic and incestuous, as if any mother could be unaware of the tragic loveliness of the bodies she has made within her own and must reconcile herself to losing to time and distance Below Artwork featuring the enti nly is sully to the female pubis, Origine ds Monde, has not been acpi ‘bvious is thar this the ony image ofa circumcised penis inthis book and one of very few in Western ar alogsterNotes Fine ar eo Nase ces Sie ‘Nac amas toe etry eb eat cate fn oa do ‘hemi fabs oem s al Poe tn ccs ei on Rae npc pos aren pi Pedi ‘Sahai get sechig mettre athe ‘Sporty ca rin Hae Thr ‘iatrrtrstetem gue oon rr nae x = tmp tea che he Londo oy dey in 8. ‘linc ema ‘Ree heuer ft eo oe Ponte cae tafe ‘cpa e anepe perc ty ae of vem st Vriona e (Scape ach ‘renal Sh ty nn one oy i (cai fonticr S hiee ‘tam noe he ee Sey Sera nse ari tite han ef gn eS es Gea sr aot tt nn cp peat te loon Sane nnn hm inp Ra Dd ge ‘ncn eo on a ad ‘tg inane pe “lama ene on ee fisher ge iat pt hn tt ‘Se inte enn na Chace Rom ener mt Bas a re ‘Sopa ap hls nt Seto an ek Wm as (Cte ye 9 in nnn ef i eh Eeptvom Stace af te apa a in ‘enya tenn es an tue ecu aN) 1.27 Yn apr 4 Va ani ‘ne ame a dh ‘cpt heat Mant es ‘twat henna 246 Notes 1.2904 ram mea mace Nain Conor Janne oh Mari Ty Seni nd ade ‘fan ne ‘Gre de Pon Momael sas, Roca Go Site Roar de Mn Lane ig The Nar ‘hoe Wr Eons tee ly Th Cryin Fo me (Gi Noe? ome wt 1531-2 (mw kn ‘er A aly ae 97 adr Dal Spy Na Adie rt ale South tl pdanau egret male Sees Long ‘anny Cab some ed Ear din lo ‘nC Moe ing C80 8s Ego ‘ee Soeln he io he Carr 1c ‘rte pst New Cs Hide (Ger He Cnrds of Fes ef Chia Pres 1999) ayond Key. 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Sonar resin 1: Eaton ter ot eg em ren Lange 8 egreed by yon Er a,b Woe 3 “Aan of Lamon, an oi 91, ot intake Cy At Calley He ain are ob, Mars Sm Seon, erg {Rts Gn Fd Wate 173 (Gene Calton Foun Canons Caley ain Her Hp Ape 80 Thsitn is 195-7 hin, at Sern ip ee 8% day ba it nw Bp ok Sy on Land Rot nd an a 159908 feller Resa 4 Sand 2.4 S73 el ym an Notes 247Seca mer aco etonn cetners Peet acts rete emer ean ea et pectin aanans Sees Sere renner, eee reece oe eon eee: Cerra epeinlaivlpree poe ee eee Leer eae Serenata mamta reson eee pacact od Beer ieaeata me ‘Sarr Gat pe se aes The Goe re og een Mz apt lnman Dod rin, eh omen Seer oaee Rooe era ies acca rae ee eee ee Pree cee pears bs eee srg i 1137-8 now bes Rec iae eaee tec ineriet eee Peay cee oe cma rt tas {12 cy et Rabe er The Cn Mos {iments Regi 18511018 {ptember ia rh, Titus Te Cope Cet ge Dd re stm Lat Cag Cae Chap rs 1c nc a ert Tne Tondo er on arg, 11 15 {Them bey ale Po Say Tes Handa fr aan ol Centon cheng Bas enc ‘Sie rn fra oma Porat Wise nr The ne per aes pop ga at rtm a the Bp Maram Norns rin the Herma pe sHmes not thee pipes at rns Tec Samant Re. 5 SoS patent popes nan Das of ean Ov kanes 712 Dap ‘hana Sa 8 Sven ing gies 3. ne Aa tr Pu Ow rn rhe ean. gee 63 Spey, Dor Seah, owe 25 4-2 ‘Gon 355 Ova, mon Hp ‘crm Arman Opn 248 Notws ai ont Tas eg Basi. Cee eee 12 Se Onsen The Memeo of se tn pt eae A Fee Citas mon 7 Optus ead on son MT np Ping er ro ‘Sos nn tf Opn en Di San Ets ree ea rome ptm Sant 012,180 SOLE" nya sane: Mat 8-74 Mito, marmot 15) (or ee gern ser od Fes mma chide Foe, Coee {Toyama Opn ping en [i rege hee Cals rp ih Sc ne raping oe (Cr Cnet hac es One isn Se oe many sen) ts ers [edn te dl Pa Paonia eee hae ter Ansan cues in es ee (eed oes ane sac ling Ps Pai ‘recent ee 15 sig Pe ae Ton cormt Dede Gener aol (Seman al, ha ‘re a ley a Somer Ore eo ome Ofori caida Oe ants honed of wmpsr ining, Pe ‘Campin Lbnene Sans ops, ea Hebe ines apr a at ‘Reo ren Cat Dr on tert it Te Pre Der Pen tayo Fae {har espn em i pete Ws 0 Feary 4h lr Nw rp Cao pm node 1 sre i Mth Cnt phe rh 28 La Dew ‘Tomine boas 4 Cpa ping mr {open Ann Meng ort he ep pin oi ‘Liha ee win re ot Sect Na pe sn a mf ‘moc Manas Camere Sen Sa Tgp oy dpi dea atin diosa: hal tn ane siberian ‘etlaman ib Tey Cream a basa Se pealy bled ne we ying ith i bon Home Cay 0-6: Prann, Deipin of (Gene tha Ha fe Piphnn ‘Se bas Aptian i Salt pete Beer re 40-4: pi Far 3.0 hgh te ab of mse es by ‘lode Dba, Artur Sore Chats Wes, Pascal de i tar Hoge on iim et ng Band Sci fp 14s change ater dapat oe Foe win, Smeg ec eta Sas cran Cong leer tens are andes wih ar 6 al ern ese, Scam ed ie fete Perr as Fins oes Pc {rei Wer The acer for Slay Les Ni Tah Calon te Ril Corea Pope Sc serent Bey (er pe elie lth i Gs Rares eee {sere tbo Wat Darya Rag ad Ses ming Se {SEW Tit ame hen tes ace) i dn bnew ay cp eta ven sich Dba ay Pes So Later ei econ Shen ‘Os seh an (Copel lc Cara ais Tp “paren bandon deg by Rah bow hbo the rete etna opel ws il yong ‘Simtongered onthe ick of acpi Rose tun Xenon Crop Wie Ml, Tp Sees Wr Lin Ceca A ‘epee sur Prin of Orang a Mary Star Imrie 2 Ma eH he Cpe anal ot hich Robert Carr DNR, White Kent Compleat Hey of Egle! BrunmvedtFeshrns tos Pag ie ures of tc Higa Mai Nomar Pre Chr {tambo snes 4 Wil Doo Soneee ices ie: (teciect gen tonerienerrioe Sects ace np tay ee halite oranme tees tan are ce mew ei SCS en a saat cgea arora met mts deanna Fekete spa thet pet 1 Hom Sad per necertt fc ciara ey pan. Tis Laue Dian al he Origin the Mi of Simatpuneramiaaaatee toe Thess cece hci ws see Cnc ti Fa eae Nin pee ete ears Scpicmtcocrusetirn ant Seder tein Paria cs Sages encanto a none hey nd went ot Neon sono np cece aca ieusieaaeett a oa Seoistoereesinces cay Senet rcp eigen Maan aeanian a weoieatea Seer Bore 1.16 Tynes at Toma Camp [tthe med of end aso Nana (erst hay 8 apn Te Bs Pa ‘Tan na Cage nthe Tne Can hy Faring wa Gon A Rene (174 Pomp wall iting the met reappears in a wall fling ett oe ft ahr at og ‘iets asec Mod fA had Soares Harnges (17 lark Car a an ra Spe, Man rules cle ete ptr Rl and mide Ai Carr 108 ie ss Neon {£Cipotinn, Mann Pans Ta sri a aa Nn o ‘nets br Hahn ain eet thu fr uc dept te ek ape 74 (Pa Les a tre hae rr mS Dd Som, Denali hie Sanaa ‘Grog a Humondtth Regs {21% Madang pin 125s age) {18 Corgi D5 oe Calors ghn ‘Gases sel rec erence a, Deen, ager Mh Ae stan Vem Huh Mas ‘rane agg sn [ns nee Pron Meplin Mase of ‘rc Aon Rat Meng rans oe 777 {Ste Mma gs Ail Ring he ‘Anand of Agee 6 Pr ae ate ‘Speer boa Aa dA er ‘rads, Marrs pr, ans roms The ‘hye Wily Se or el mr ye mar Som Behe Cryo” Rr ea ie Nbr Cn ta 1 3835 ht Cogn ph arp Dry 3d 3, Tanga tn Rte Hap ry he (Gs acon Aad peda ets ag Sey ata rt Wa ikea he enh ‘Goran Dupe 4 Pa our) Woking, a of Caan 0a now ‘etree anasto thea del Ga oman Rn Vac Farce Fo: pen Bry Sa at an ox tei 0 (Lag cea 6 1a amour tn Caley fn an (Gece Ch ican At ie Mog ‘Ree Rn abhor Gayo lpia hes a pera oe ‘ute nd Apes Germanic Tar ka The of mana 8h male et for barh era Rr Dn ee pees ee vi: ea es ue Hp aed Ba Spee 9, 1-1 Heae Sh nH de erat Del Phage Date ‘rpm teAge. (p10 ph A i aM Va ho Pa Inc NC 2842368 Sender et of Tach pen ba eed oer Sng Rem geal 113 164 “ein e a?The Dry fy ry ei f.i92 bn onan Carine he eat iro on ha, “Team of ae ri bes apt Derr Sn Sra eV Fog hx Piven Vie ‘aang 18 Toran out ote map Toi pe up of Par aching Dp eran Ran a at ae Seif of So ann Here ile, {Sti och Sper Hg, Fable an Arn I Pach, ‘So 8 As Ov ner 70 ar (aL hme 528 pn pene Henn a Mg a pins ‘each Sar Se, pn On Hee ‘Noung Pon The eat Ou ‘Sen rp. 13 ae pg, oar eas etc 15: AMO ut 21 Servs igen St on Pas Opn ‘dn ey Cha His ala 12San st Enis ip 17 Alli has [of ac Dpr oft al O80 Semi 34k fg an [itn Dag of Cd pts iota St Pana rpm re 0 Raf potas Ho a 39-0 Lc Dine Sen chp Poms ato hen Ot wmf «95 ae tetanic A om Haar [R19 Spa Dies Rt Gene he Gre Mrs {hamndiras Rep,139) 1-14so don Ps oe hm rt Jn De nd eB 3, 24 hal Get Gres Tt ‘trent gs 9,518 gene tant een up 85 hi 78 Frm Matra orang he Br of Pe ago, pes TCs agent 0 Oph Fame 19 Adoptee 3-4 Hg ene ‘anonym ah 80451 Pati, ‘pa eather on Ve win ym ly Pte pon 2 ‘toe Mendon, de loin © 198, ‘inl ns ae Ae wen e557 (Gynt ha deh Ronan on pid a tees dee ms oa a 5) lar aa db 86 de ae ‘ae he pan he Bubs cl {atte 170 hd etapa. Sapo, Venn ds pd o Adonai re ote Thayne ssc arr ache Landon tory The Dah doi pint yo Ge (Gene Ve Pan Wi Blane Pow ISH ha de Propet te ames ‘Sst oo ets Oe ine 316, Prato rN eae 1555 ete Cae Ba enon yt Forni 0 he ‘Frm rn a es (Sect Naini 4), Henk ain, sh are, mn i 8 i de ‘ato frm Lo Sains owe Giles Bore ‘Giger 521), Gordan, RE es, Psa crepe rm Ragan Ue A alr Gop 171 (auch pecans ary 175 (Dein ia tay fan 98 Tee ne? PS rat ath onthe Dh ef eis fmt Sl rt ha Notes 24920 Leaner ig ni 296-283 tae Tse va rc en a a ed, STE ge enna nar Lan coir ‘itn a5, Bn deg Te Somat ttt Led es. 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Pr Bl (4-176, Shi eke elon a Ne fh Pe alr. ees Tend by Ae oot Olen ond 38 D9 13 error erring psa trae Kava 800), The Det ofA Monat Pa aris pte oe aba Sai 6 Sonera 033xhz4 ores © Tee ied ee acme Olean WS fe bch hr 10-18 The Med of Fumane at Ob cpn axe aera ‘ett, Herman ft ey ine Ann ce eC 197 eatin ‘ier ane eho (Cont soph. cele ted ri in A Ma Bsc Ca 5 i of Cr te Dt of ara a 2 a ‘eh yh nd fra Ag 769, af i sina Sa 57, ioc 364 215{sb+4 0, Woe Caley ae pata Pan 7 ana Red and {Razr tran ot J rin Lie weeny eae {aKa 4-8) Ha Tiki Cpl nO oncom 489 Une ice Cay ant ay 101 Ans Kadi 10-1 ped nt Py Fan oan ats 8 i090, age eee ft 91-186) 5 neon eri oncamon nantes bee Tc qa Cte 200 Hein hen ak ‘pao Mae halt (-t Cl t Sele Ren Gurl Gary Cod 1. Dy (55190 The ‘Bisncimabon shox) he Cha 28 nL ei 4-199, oa Oo 18 ‘Btenconac itera e290, Lode 7 ay Cina i 98 Men il 0, Bltncons ties? aa350 Mpa em sot che in mmr a ste Flin, 1099 Oeics cnn Vena {ven a ps he ‘Bktncorn asain © ANC ane CS fz Dur Law Unie 97 emperon n Maseins stew eoy ote oat 230 ih lh 901 Pedi. fas om ear 0 Bon SSS eh La eB eda So cree pn 031 2h ar Sb ory ge Ha ae New ok 2 etn er Nd i a ‘ear Chetan Wr Coe Picture Credits 253Index ‘aa 215.2 Sn Ly a nts 82 wou 9.31392, 7%8 1 2156 ‘ay Le ery Cote 203 ‘band Cail 00 ‘ison mf id 16. ‘me an Bown 08 ‘ge 384,96 130 14 ea 910,18 15, vw Dod 19 snr 691 Spc, 11119124 98 tn 698 96 40-4 2 1. etn fd 12,98 ‘poco ‘ee 1,96 ‘och Mid 71, 9, 96 98.95 ‘chanel Rap 38 949.97 ‘nm es 0-3, 172,09,29 abr cha 23-5 ‘opine pe 92 ‘ch hoe Sian 14 264 Index a Mr 28 ‘oui la Mca ‘eo ey hed De 31 cen nian de ‘then Del 5 edi Dao 10 ‘sean 17.10 ch Wyman 1515-4 Ss gee poe? ai apd 30 ett Gs Ane 206 ure tS Bouche Fran 16,120, Src, lp ia 8,86, 88 lege ean de 23 Sdn sb ey Gea. fine ge Gee 67 onan mie 646667136 wig neh ares 8 ge Heir 98.20 ching Gene Ys Dake of are an 125,125 yo, Geng a 1, (Ca, re Hwa af 6 788 (Cat Mary 236207 cng Dt {Cp 990230205 ‘Gorman Gwe 282 «ig 88 Gate V.tme ie ‘ce i Spams {Cp 38 ‘Gk enn ‘Geer op 12 ‘Cepata 290 mgm 20 tear ping ‘yt 8 baghne Paps 8 Peon 135125 eg erp 2 ec Hey rye a 8 ahead Prine of Wien Fa ee pence 195 fom tr 1(al dy tig 55 8 965% ‘aii Ane 1 no: ric Ma Mata }77 Fonte Dae Mart Fed Sem 0 {aimberough The 9 enh aarn alng on #123 25 Gok Pip. 202202 onto Kan Ope de nu fomay geo gn jamin Rabe 5 amet gue 28 ew ra ce 18 pean im ane Fgh eat yah, 969 ti 500,39 meno 98,201 "pooh Ingo am Auge Dain 16 ahs ig 17 ee. aa 16 Ise a2, 225 Fema 8 ‘eno Brn 5 ee ‘un Rope 283 ue ape ters tan Amp 48,294.21, 2-2 ep aps 7 eer Theme 6 ig Thor 51 Sil iden ap a {ean Gna 1.29 202,23 echt ed py 2627 ese ame tee a Legon lord dee 12, 24 Laser eee ie ai oy oy Hei | Sac pate ao 4 ee en ine Capi on me i Lenny) Pe Ha de peetenetcy {ety a apie yeu be ‘hehe popes at 9.20 ee angi ‘mecha Maton ane 139 Mani ari 7.71207 ina sa 20.34 ange Anes 142430224 Mua ai se Che ‘Maron ai 157 ny rar Mam on Vigne ar een a enn 88 Nite hn as 10 aia Nek Cana Se nee Sic on rn de ens tna 1 ccna Merit Hr in Neuer Se Roig 9 Nobdmgoa shock Non ie 232 Se er 8 Nemo Wy | Noten a Neto Ang 8 Nene ern in en) 927.27 ate a8 Seton ange 0.130 ‘cP 16 19% 29 athe thr 2 ine 616518 Nercxna 057 jin 1 | ove a Gog 17 ce 1018-2 Sr, het 2 Se ei Snort pat Index 255padi 9 10296.205 igen 28 eo 7 posrny 30 neu a 98 atch 13 ap Snot 9-503-417 pate peroranesy hi ing 1.204 och Poe ss yhoo 1? loco Guin 0 Phewo30 Fem Cin S29 Pent ter pat? tS! oer cht ow mon 12-5178 ei nn Poa Ge Cre 12,212 Prostar Tes 17 Pr B57 17,12 rae 1 2.5181 P7948 256 Index eri gp de 22 Sao Cann 5 ee Rat aa a4o, Rept nn Ao Pe Ag at eye hn 31.4627 iho nh 15 Stic Hie 0) Sone 6 Sefton 20.29 Seam 1 Sh gi 68,10, tier 6 Soa 1 sumac 5101 ‘Spr aaah 72 Seat Singer Sayed | ‘She Rat 207 Sieg ic 6 ‘Soyer 9.2.72 taste Sto Fry Bre 33-1 Seer a Sipe Seg hn Scent Spurn a Sore er ata rn Red tras? ce hy 82 SrA 286 sem Tend 312 Tec Dai Top Gamat 57 Te Hy St 108148 Tamer ML Wott Tae 12 a Aap 11 Vat inet A 1 Vat ts Ze ep 82115296