Brian Billick

No one understands success better than Brian Billick. It is not because of his own achievements which include leading an NFL team to a Super Bowl victory, it is because leadership fascinates him. One of Brian’s most noted feats was leading the Baltimore Ravens to a 34-7 win over the New York Giants in the 2000 Super Bowl XXXV. Making the victory so much more rewarding was the fact that Brian took over the role as head coach for the Ravens a year earlier when they were ranked as one of the NFL’s most depressing teams. Two words are synonymous with Brian Billick – passion and accountability.Those two traits are what steers a person to success. Brian was born in Ohio but his family moved to California. He learned success early as an athlete at Redlands High School where he played both football and basketball. He etched his name into the state record books with 21 career interceptions, a record that has yet to be broken. Following high school, Brian was a freshman li nebacker at the Air Force Academy before transferring to Brigham Young University where as a tight end, Brian earned an honorable mention in the 1976 All-America honors. He also earned a Bachelors Degree in Communicationsand currently endows a communications scholarship at the university. In 1977, Brian made it to the National Football League. He was picked in the 11th round of the NFL draft by the San Francisco 49ers and then traded to the Dallas Cowboys. However, as a player, Brian never got the opportunity to hit the field. Instead, he was hired as the assistant director of public relations for San Francisco for the next two years. He spent much of the 1980s coaching college teams such as San Diego State University, Utah State University and Stanford University.â€Å"BRIAN BILLICK† Page 2 As a coach, he quickly learned there is no â€Å"I† in team and that was something he instilled in each player. To Brian, coaching is more than teaching the plays of the game, it i s teaching the values that make a team player. The success of a team is determined by working together towards a common goal. Each player must have the passion. As with any goal, reaching it requires 100 percent dedication. If a person can not commit to every aspect that comes with the territory then they lack the passionneeded to survive. The other important influence in a successful team is accountability. The task requires working together without selfishness but a person must also be willing to take responsibility for one’s actions. Brian feels it is a sign of respect for the team. Brian practices what he preaches. He joined the Ravens in 1999 and led the team into post- season playoffs every year since except twice and he takes accountability for those two years. As the team’s leader, he felt responsible but it did not discourage him from finding new ways to guide the team in the right direction.Throughout his career, Brian earned the reputation of being more than just a great leader but also a motivator. He knows the values that make a person a leader are something that can be taught. Bringing out those qualities in a person by influencing their behavior, attitude and actions are what leadership is all about. Brian began his NFL coaching career with the Minnesota Vikings in 1992 when he was first hired as the tight end coach and by the following year, he was named offensive coordinator for the Vikings. His leadership skills brought out success in the Vikings’ camp and in 1994, the teamcaptured the NFC Central title. He remained with the Vikings until the end of the 1998 season. â€Å"BRIAN BILLICK† Page 3 In 1999, he was hired as head coach of the Baltimore Ravens. Basically a new franchise founded four years earlier, the Ravens were struggling as a team. In Brian’s first year as coach, the Ravens won eight games. That was more wins than they had totaled in their first four years. The Ravens’ defense finished sec ond overall in the NFL.In his second year with the team, Baltimore finished 16-4 overall in the 2000 season. They crushed their opponents in the playoffs and became only the fourth wild card team to go on to win the Super Bowl when they blew by the New York Giants. But domination had little to do with it. That October, the Ravens were on what looked to be a downward spiral when they failed to score a touchdown in five consecutive games. It was Brian who kept the team unified and focused on the primary goal. The team returned to the Super Bowl in 2001 but fell short when they lost 27-10 against thePittsburgh Steelers. That was still a remarkable feat considering they were one of the youngest teams in the NFL with 19 rookies that season. In 2003, Brian put the young team back in the playoffs. They led the NFL in rushing and ranked third in the league in defense. The next year, the Ravens were one game away from making the playoffs. The 2005 and 2006 seasons were disappointing for the Ravens but things may turn around in 2007 since they hired five new coaches to the franchise. Brian’s leadership skills have an impact on more than just his players. In the seven years thathe has been head coach of the Ravens, three of his assistants have moved on to become NFL head coaches. In 2001, Brian’s defensive coordinator Marvin Lewis joined Cincinnati and his linebacker coach Jack Del Rio joined Jacksonville. Three years later, he lost another defensive coordinator, Mike Nolan, to San Francisco. â€Å"BRIAN BILLICK† Page 4 It was shortly after winning the Super Bowl in 2000 that Brian, along with Dr. James A. Peterson wrote the book: Competitive Leadership: Twelve Principles for Success.This book talks about the keys to being successful and being a leader, not only on the football field but in life in general. The book also talks about how leadership is not about authority. Being a strong leader is being willing to always learn more and not think you al ready have all of the answers. An important key in any leader is the ability to ask questions. It is not about being perfect, it is about being effective. Brian also spends a large majority of his time speaking to corporations about leadership skills. Brian also spends time improving the community and doing his part forcharities. NFL Hall of Fame coach Bill Walsh joined Brian and Dr. Peterson in writing the book: Finding the Winning Edge. This book focuses more on football and is a guide for developing a winning NFL team. Despite his coaching schedule, charity work and public speaking engagements, Brian still finds enjoyment in studying leadership. Whether it be from hands on experience on the field or from the history of past leaders, learning builds an effective leader. Brian values education and it is interesting to note that he was once a contestant on the game show Jeopardy and The MatchGame in 1977. At age 53, Brian continues to help others build the characteristics needed to succeed. Along with the success comes the ability to be a leader, a teacher, a coach and a mentor. All of the qualities that make a person strong enough to take on that role can be learned through motivation. Brian prides himself on passion and accountability – the two traits that make him an admired leader. SOURCES The Baltimore Ravens. â€Å"Brian Billick. † (2006). Accessed 3 March, 2007. http://www. baltimoreravens. com/includes/bio. jsp? id+=1180&personType=0The Baltimore Worldwide Speakers Bureau. â€Å"Brian Billick. † (2005). Accessed 2 March, 2007. http://www. baltimorespeakersbureau. com/BrianBillick. html Stuhlmann, E.. â€Å"Leadership Principles: From the Football Field to the Executive Suite. † Accessed 2 March, 2007. http://www. refresher. com/! enesfootball. html Washington Speakers Bureau. (2003-2007). Accessed 3 March, 2007. http://www. washingtonspeakers. com/speakers/speaker. cfm? SpeakerID=3242 Wikipedia. â€Å"Brian Billick† W ikipedia, the free encyclopedia. (2007). Accessed 2 March, 2007. http://en. wikipedia. org/wiki/Brian_Billick

Economic Activity as Reflected in Painting:

ECONOMIC ACTIVITY AS REFLECTED IN PAINTING: THE CONTRASTING VIEWS OF ECONOMISTS AND ART HISTORIANS [1] Manuel Santos-Redondo Universidad Complutense de Madrid [las diferencias con respecto al Documento de Trabajo disponible en la Web estan subrayadas] 1. Introduction The Moneychanger and his Wife is probably the picture most widely used to illustrate economic activity, and so it is (supposedly) well known by economists, managers, and accountants. The accounting book which appears in the picture is the origin of former AECA (Spanish Association of Accounting and Business Administration) logotype. It is a Flemish painting from the early 16th century. Not so many economists are, however, aware that there are two different versions of this picture: one by Quentin Massys, painted about 1514 (now in Paris, the Louvre), and another by Marinus (Claeszon) van Reymerswaele, painted in 1539 (now in Madrid, in the Prado). There are significant changes between the two versions. This being the Scholastic period and also the epoch of the commercial revolution in Europe, we would expect this picture to have some sort of economic meaning, and for the changes in the pictures to reflect these changes in economic activity and economic thought. We will argue in this paper that there does exist such a meaning; and that also the very important changes between Massys’s and Reymerswaele’s pictures have much to do with the economic changes in Europe in the beginning of the 16th century. Most art historians have seen in Massys' and Reymerswaele's paintings a satirical and moralising symbolism, The Money Changer and his Wife being the representation of greed. Others think that the picture shows economic activity in a respectable way. Flanders at that time was the centre of a flourishing industrial and commercial activity, and also was the centre of a mercantile trade in works of art. Both things led to a representation of the professional activity of moneychangers, goldsmiths, and bankers in a way that shows those activities as respectable professions. The second view is the one implicitly shared by economists when choosing this picture to illustrate many books on economics or business. Some scholars have proposed more subtle interpretations. Marjorie Grice-Hutchinson, the historian of economic thought who first aroused the interest of economists in the Spanish Scholastics of â€Å"School of Salamanca†, considers Massys' painting to be an illustration of the intention of Scholastics to make compatible the commercial customs of the time with Church doctrine on usury. According to her interpretation, Massys' painting would mean the money lender working and, at the same time, discussing with his wife the fairness of a particular commercial deal, helped by the religious book his wife is reading. It is important to notice that, 25 years on, the book in Reymerswaele’ painting is no longer a religious work but an accounting book. But art historians claim that there is still some symbolism in the painting which gives it a moralising and satirical intent. According to them, this symbolism was clear to contemporaries but not to us; or sometimes would have been intentionally difficult to notice for those contemporaries who were not in the same religious group as the painter or his client. For instance, the long, curved fingers of the bourgeois couple allegedly represented avarice. But Reymerswaele painted the fingers of Saint Jerome in the same way , so it must have an aesthetic intention and not a symbolic one. In the process of reviewing the different interpretations provided by art historians of this picture and other similar ones, we shall see that they are consistent with the views that most art historians share about the economy (as Hayek points out in his chapter of The fatal conceit, 1988, â€Å"The Mysterious World of Trade and Money†) rather than based on any objective interpretation of the painting and history. Thus, while the picture shows commercial and financial activity to be a normal, respectable occupation, most art historians see a moralizing and satirical intention. My view is that art historians’ prejudice towards commercial and financial activity leads them to a wrong interpretation of the paintings. When the painters wanted to be satirical and moralizing, they did it in a way that is clearly recognizable by us today. And that this is not the case with the The Moneychanger and his Wife, in either the version of Massys or that of Reymerswaele. 2. Quentin Massys Let us start with Quentin Massys,[2] The Moneychanger and his Wife, dated 1514. Figure 1]. It is probably derided from a lost work by Jan van Eyck, c. 1440. [3] On the table are placed coins, a set of scales, and various other tools of their trade. (â€Å"various other tokens of their wealth†, says the art historian Jean-Claude Frere, 1997, p. 186. This is our first difference in interpretation). The man is wei ghing gold coins with great care. At that time, coins with the same face value varied in the amount of gold they contained (and therefore in their real exchange value), because it was a normal practice to file them down, clip them, or to shake them together in a bag in order to collect the gold dust they produced. So, the moneychanger is simply going about his business, not counting his money as a miser would do. And, if you look at his face, it is not the face of a miser, but the face of a concentrating working man, carefully carrying out his job. His wife is looking at the coins and scales too; but she has a book in her hands. The book is a religious one, an illustrated â€Å"book of hours†. Marjorie Grice-Hutchinson, the historian of economic thought who first brought economists attention to the Spanish Scholastics of the â€Å"School of Salamanca†, considers Massys painting an illustration of the intention of the Scholastics to make compatible the commercial practices of their time with the Church's doctrine on usury. According to her interpretation, Massys painting portrays the money lender at work and, at the same time, discussing with his wife the fairness of a particular commercial deal, helped by consulting the religious book his wife is reading. [4] Many other interpretations of Massys’s work consider this picture as to be a oralizing one, in a much stronger sense than that of Grice-Hutchinson's view. The Encarta Encyclopedia says: â€Å"In The Moneychanger and his Wife, the subtly hinted conflict between avarice and prayer represented in the couple illustrates a new satirical quality in his paintings. â€Å"[5] (It is curious that the â€Å"Web Gallery of Art†, together with the Encarta article, provides this contradictory explanation: â€Å"The painting remains in the Flemish tradition of van Eyck, with the addition of a profane sense of beauty, sign of a new world†). [6] Another scholar says this about Massys: â€Å"Painters also began to treat new subjects. Men like Quentin Massys, for example, played an active role in the intellectual life of their cities and began to mirror the ethical concerns expressed by humanist thinkers with new paintings that used secular scenes to impart moralizing messages. Vivid tableaux warned against gambling, lust, and other vices. â€Å"[7] At the bottom of the painting there is a circular mirror; we can see the tiny figure of a man wearing a turban. [Figure 2] For some reason, the following is the explanation of the art historian Jean-Claude Frere: â€Å"a side window, under which we can just make out the tiny figure of a thief. He would seem to be spying on the couple as they count their gold, while they would seem to be oblivious to his presence, blinded by their greed†. [8] Let us leave aside the greed and concentrate on the tiny man. Is he a thief? I don't know. But I'm sure he is not â€Å"spying on the couple as they count their gold†: I am not an art historian, but it seems clear to me that the man is inside the room, he is reading a book and looking out of the window to the street. In think that this is not a casual mistake: it is consistent with art historians’ interpretation. Symbolism, a source of moralistic interpretation My view is that art historians explanation of The Moneychanger and his Wife as a satirical work containing symbolic allusions hidden from contemporary observers, is merely a reflection of their own prejudices concerning certain economic activities. Let us consider the serious arguments supporting the symbolic explanations of paintings of the Flemish Renaissance, in order to be able to judge when a painting has this meaning and when has not. The famous art historian Erwin Panofsky held that the Early Flemish painters had to reconcile the â€Å"new naturalism† with a thousand years of Christian tradition. Based on St. Tomas Aquinas, who thought that physical objects were â€Å"corporeal metaphors for spiritual things†, Panofsky (Early Netherlandish Painting, 1953) maintains that â€Å"in early Flemish painting the method of disguised symbolism was applied to each and every object, man made or natural†. [9] There are other historical sources that point to a symbolic meaning in the painting of Quentin Massys. In his painting Portrait of a Merchant and his Partner,[10] [Figure 3] there is a clearly legible inscription, in French: â€Å"L'avaricieux n'est jamais rempli d'argent†¦ N'ayez point souci des richesses injustes, car elles ne vous profiteront en rien au jour de la visitation et de la vengeance. Soyez donc sans avarice†. This is a paraphrase of the Gospel of St Luke, ch. XII, 15, 21-34; Saint Matthew, ch. VI, 19-21. Jean Cailleux says that the main character in the painting â€Å"est soumis a la parole evangelique. Il est vraiment fidele dans les richesses injustes. Il ne cede pas a la sollicitacion du Tentateur qui, derriere lui, le visage tordu par lavarice et la soif du lucre, lui propose des comptes fantastiques†. 11] Painting and Economic Activity at Flanders We can expect the Flemish painters to be familiar with market oriented economic activity and the money world, because of the society in which they lived. Flanders at that time was the center of a flourishing industrial and commercial world, and also was the center of a mercantile trade of works of art. Both things led to a representation of the professional activity of moneychan gers, goldsmiths, and bankers in a way that shows those activities as respectable ones. Most Flemish artists were familiar with this world because of their own craft of painting, which was indeed market oriented. Massys was the most important of Antwerp painters of his time; and this means his shop was an example of how artistic production was organized in Antwerp, and formerly in Bruges. It is not at all odd that Flemish painters should portray business people. Massys worked for religious confraternities, and also painted portraits and other profane subjects, sometimes satirical, in response to commissions from humanists and scholars. Frere says that Massys was â€Å"perfectly attuned to the new mercantile conception of art. Antwerp was already established as an active and liberal center for trade in art† (1997, p. 186). Both Antwerp and Bruges had a regulated guild system for painters at the beginning of the sixteenth century. It is important to notice not only the art of the painter, but also the evolution of the master's workshop. At the beginning of the Renaissance, training in a craft took place in workshops regulated by civic authorities: apprenticeship was followed by admission to a guild. By the end of the century, â€Å"workshops had become more like shops nowadays, turning out goods for a flourishing private market accountable to no one. And change came without a defining moment and without artists missing a beat. Workshop assistants had certain preparatory tasks, including grinding pigments, laying grounds, and the transfer of under-drawings. Experienced assistants took on subsidiary passages, including background or stock figures. Assistants also made copies to keep pace with demand, and they had access to the master's designs once they set up for themselves. Workshop copies ranged from straightforward replicas to transpositions into other media and from large commissions to private, devotional images. â€Å"[12] The conventional portrait of a rich man But this familiarity of artists with a commercial society does not lead them automatically to portray business people in their trade, as â€Å"occupational portraits†: the common way to portray a business man was in a way that showed him as a religious man, or as an intellectual in his house, surrounded by works of art and literature. The best known example is The Arnolfini Portrait by van Eyck, but there are many others. In the triptych The Last Judgement, painted in 1480 by the Flemish painter, working in Bruges, Hans Memling, we can see the portraits of Tomaso Portinari and his wife, naked inside the scales; and those of Angiolo Tani and his wife, Catarina Tanagli, kneeling on the floor at prayer. [Figure 4] Both Portinari and Tani were important business men working in Bruges branch of the Medici company. In the Italian Renaissance, Lorenzo de Medici is portrayed as one of the Magi in Gozzoli’s Journey of the Magi, 1459. 13] It was quite common to include the donors' portrait in a religious scene. Tomaso Portinari and his wife, Maria Baroncelli, were also directly portrayed by Memling, at prayer. [14] (The fact that Antwerp was a rapidly enriched city and lacked a traditional aristocracy, may well have been an important reason for the artist representing economic activity in the portraits of businessmen , instead of the traditional â€Å"rich and cultured† portrait). 3. Marinus van Reymerswaele Let us now move on to the other version of the portrait and to a different year. Marinus van Reymerswaele[15] The Moneychanger and his Wife, [Figure 5] painted in 1539, is inspired by Massys. [16] This is the explanation of the painting provided by the Spanish Association of Accounting and Business Administration, AECA, which in 1979 chose as the symbol of the association a section this painting. [Figure 6] â€Å"The painting which has inspired our logotype is internationally famous as an image of financial activity during the Renaissance: it shows a scene typical of the counting house of a banker of the period. The subject of the pair of moneychangers shows us a new profession which has appeared in the period, a profession related to the world of finance, taxes and commercial accounts. Reymerswaele adapts the subject of the banker and his wife from Massys’s painting now in the Louvre in Paris. In Reymerswaele’s painting, the bourgeois married couple are seen counting out gold and silver coins, and the husband is weighing them with great care in a small set of scales, since most of them would be clipped or scraped. The coins are probably the product of tax-collection, an exchange of foreign currency or the repaying of a loan. This would imply the use of the abacus which the banker has at his right on the table, and then the setting out of accounts in the accounts book which the wife is holding in her delicate fine hands. â€Å"[17] Compare the explanation of this picture given by the AECA with the moralistic and over-sophisticated explanations of the art historians. The changes Between 1514 and 1539, many things have changed. In particular, the accelerated growth of the economy that stemmed from the discovery and colonization of the New World, and the religious transformation known as Lutheran Reformation. Reymerswaele was himself involved in the Lutheran Reformation. (We know that in 1567, being an old man, he took part in the sack of Middelburg cathedral, and was severely punished (six years of banishment and public humiliation). Reymerswaele specialized in everyday scenes of flourishing Flanders, with great realism, which gives his works a considerable documentary interest. (Paintings by masters of Northern Renaissance realism often recorded official contracts or acts. The Lawyer's Office, 1545, by Reymerswaele, [Figure 7] is a remarkable example of this practice. Recent research has demonstrated that the documents, which form the background of the painting, refer to an actual lawsuit begun in 1526 in the town of Reymerswaele on the North Sea). [18] His subjects were businessmen: usurers, notaries, tax gatherers; but what could be seen as â€Å"occupational portraits† are always stressed as moralizing: Another art historian says â€Å"usuriers, changeurs, avocats, notaires, percepteurs d'impots, monde apre et rapace de l'argent toujours plus puissant dans le metropole enrichie. †¦ ] L'art de Marinus [Reymerswaele] presente une accentuation presque caricaturale, qui donne a l'ouvre sa portee moralisante† (Philippot, 1994, p. 173). Puyvelde considers that, in the genre painting by Marinus van Reymerswaele, the realist portrait turns into a caricature of rapacious and greedy businessmen. In Reymerswaele The Moneychanger and his Wife, he says, â€Å"l'esprit de lucre est plus nettement marque dans les physionomies et les doigts maigres† (Puyvelde, p. 13; we will turn to the fingers latter). The study of the gold coins that appear in the painting shows that â€Å"the coins are mostly Italian and are all of types minted before 1520† (Puyvelde, p. 17). This could mean that the painting is a trial effort done by Reymerswaele, before his first clearly datable painting, Saint Jerome, of 1521. The importance of Puyvelde's argument is not the exact date, which I cannot dispute, but the fact that Puyvelde considers The Money changer and his Wife closer to a portrait than to a satire, as ompared to later works by Marinus: later in his career, Reymerswaele would have abandoned portraiture and turned to satire and caricature (â€Å"pamphlet†, says Puyvelde). [19] The public appears to have had a preference for satire, and Marinus sought to satisfy the public with pleasant humorous pictures which enjoyed great popularity among collectors of the period. Other paintings contain inscriptions which refer to the taxes charged on beer, wine or fish. In one of the copies or i mitations of The Lawyer's Office, titled The Notary's Study, the document the notary is reading has been deciphered: it appears to be a parody of legal slang. Even the signature on the document in French reads â€Å"Notaire infame et faussaire†. [20] Usually museum guides reflect the views of art historians. Referring to Reymerswaele The Moneychanger and his Wife, a guide to the Prado says: â€Å"In this painting we find all the characteristics of Northern European painters: minute detail, fine quality raw material, an empirical approach to reality, and above all, the naked sordidness with which Van Reymerswaele approaches one of the principal evils of his time: usury, the greater of all possible sins in a commercial society such as Flanders. Corruption and fraud affected all levels of society, even the clergy, producing a critical reaction on the part of writers, theologians and artists. â€Å"[21] Reymerswaele was not the only painter who developed Massys portraits; several other Flemish painters did. Again, there are significant differences in their style, differences which influence the overall â€Å"tone† of the picture either as â€Å"occupational portrait† or â€Å"caricature†. My point is that a common spectator of today can spot the difference. Corneille van der Capelle painted Le Percepteur d'impots et son Garant and Le Percepteur d'impots et sa Femme,[22] [Figure 8] in which we can notice a real, kind portrait of the businessmen, quite far from any caricature. But, even given the very different styles, I find no moral satire in Reymerswaele The Moneychanger and his Wife, as compared to his other works. In Reymerswaele version, the religious book has disappeared. This is an obvious change, since Marinus was a Protestant and wouldn't have accepted any other religious book for daily reading than the bible. But there is no bible in Marinus painting. Instead, there is a hand-written book, with no illustrations, which seems to be an accounting book. The characters in Reymerswaele painting are most elegant, with luxurious clothes, and long, delicate fingers. This is also thought by some scholars to be satirical: â€Å"Long, curved fingers were, in XVI century, a sign of greed or avarice, so an apparently domestic subject can also be full of moral meaning†. [23] Long, curved fingers and noses use to represent Jews and, by extension, greed or avarice in Christian iconography. It may be important to notice that Jews played an important role in Antwerp’s economic activity. The money market was controlled by the Italian Lombards, and Jews could only act as minor money-lenders. The Jews lent mainly small amounts of money for shorter periods of time to less wealthy people such as butchers and bakers. Scarcity was an excellent situation for Jewish money-lenders. As a consequence, the y had many clients among the common people who probably had great difficulties in paying them back. This fact may have reinforced the strong anti-Semitism prevalent at that time. There were a massacre of Jews in Antwerp in 1350, and then many Spanish and Portuguese â€Å"marranos† came to settle there after 1492 and 1497, expelled from Spain and Portugal. [24] I haven’t fully explored yet the possibility of the satirical portraits being racist or anti-Semitic). But the long fingers can imply other things: they can be an esthetic technique to make people appear more mystical, unmaterialistic, attractive. We could interpret thus the fingers of Reymerswaele’ Saint Jerome, in 1521. [Figure 9] And Saint Jerome transmits you the idea of ascetic sanctity, the antithesis of greed. Although, again, some scholar says that Reymerswaele painting of Saint Jerome is â€Å"stressing the crabbedness of scholarship†. Even if that is correct, it would not be the crabbedness of greed). To me, the long, curved fingers of the moneychanger and his beautiful wife imply simply elegance. This is my personal impression. If I then look at other paintings by Reymerswaele, for instance, the two Tax Gatherers (also The Misers), described by the same scholar as â€Å"exceedingly ugly and covetous†, I don't need to be his contemporary to notice the satirical meaning. [25] After comparing their clever interpretations with what a spectator sees in these pictures, I would recommend that the meaning of a painting, as given by art historians, not be accepted uncritically: their judgments appear to be based upon certain prejudices, in this case concerning commercial and financial practices, rather than any objective analysis of the painting. 4. Other Flemish â€Å"occupational portraits† If you look at other paintings of the same school, it is easy to find examples of â€Å"good†, non critical or satirical, representation of moneychangers, goldsmiths, and bankers. Adriaen Isenbrant Man Weighing Gold (c. 1518),[26] [Figure 10] is described in this way by Jean E. Wilson: â€Å"This sensitive portrait of a banker or, perhaps, a moneychanger reveals the sitter's evident pride in his occupation. The portrait also serves as an example of the widening interest in portraiture, which had gradually extended to members of the business sector† (Wilson 1998, p. 196). But another scholar points out that â€Å"the act of weighing coins may allude both to the man's profession and to his contemplation of higher values, comparable to Saint Michael's weighing of souls on Judgment Day†. [27] In Hieronimous Bosch's The Table of the Deadly Sins,[28] 1480, [Figure 11] avarice is shown as a judge who is being bribed. This is completely different from the activity of the banker: what Bosch shows us is not a profit-seeking commercial practice which is therefore sinful, but an act of corruption which would be taken to be immoral equally in a commercially oriented society or in an ideal world described by Scholastic theologians. Another example of an â€Å"occupational portrait† is the Portrait of a Merchant [Figure 12] by Jean Gossaert (c. 1530),[29] thought to be a portrait of Jeronimus Sandelin, a real merchant from Zealand, in Flanders. There is nothing satirical about it: it is a purely â€Å"occupational portrait†. But the National Gallery of Art Brief Guide says this: â€Å"the sitter's furtive glance and prim mouth are enough to inform us of the insecurity and apprehension that haunted bankers in the 1530s, when the prevailing moral attitude was summed up by the Dutch humanist Erasmus, who asked, â€Å"When did avarice reign more largely and less punished? â€Å"[30] St. Eloy (Eligius) in His Shop, 1449, by Petrus Christus,[31] [Figure 13] is the clear representation of a goldsmith working in his shop and attending two clients: a rich, well-born bridal couple. It seems to be a representation of the goldsmith's trade, with the excuse of the portrait of a saint (hardly a subtle ploy, since St. Eloy is the patron of goldsmith's guild). The goldsmith sits behind a window sill extended to form a table, a pair of jeweler's scales in one hand, a ring in the other. Only his halo suggests that the painting deals with legend. On the right is a display of examples of the goldsmith's craft. The picture may very well have been painted for a goldsmith's guild (the one in Antwerp). St. Eligius is the Patron of metalworkers. As a maker of reliquaries he has become one of the most popular saints of the Christian West. Eligius (also known as Eloy) was born around 590 near Limoges in France. He became an extremely skillful metalsmith and was appointed master of the mint under King Clothar of the Franks. Eligius developed a close friendship with the King and his reputation as an outstanding metalsmith became widespread. It is important to notice that most prominent features in the life of St. Eligius can be seen both as indications of sanctity and the best professional characteristics of a good goldsmith. In the goldsmith's trade, skills were as important as reliability, as Adam Smith notices in Wealth of Nations: â€Å"The wages of goldsmiths and jewelers are every-where superior to those of many other workmen, not only of equal, but of much superior ingenuity; on account of the precious materials with they are intrusted†. [32] Eligius is praised for both qualities. From his biography, we can see how important this reliability of his goldsmith was, for the king to become Eligius' protector: â€Å"The king gave Eligius a great weight of gold. Eligius began the work immediately and from that which he had taken for a single piece of work, he was able to make two. Incredibly, he could do it all from the same weight for he had accomplished the work commissioned from him without any fraud or mixture of siliquae, or any other fraudulence. Not claiming fragments bitten off by the file or using the devouring flame of the furnace for an excuse. â€Å"[33] The portrait Saint Eligius by Petrus Christus is a fine example of the â€Å"occupational portrait†, describing a goldsmith's shop, the only religious connection being the halo and the fact than the saint is the patron of the guild. The true â€Å"moralizing† pictures of the Flemish School Look at the painting The Ill-Matched Lovers, c. 1520, [Figure 14] by Quentin Massys:[34] again you don't need to be a contemporary of his to notice the satirical intention. (It is important to notice that the theme of love between the old and the young was extremely popular in sixteenth century, and we can agree that both the popularity and the moral view has changed on this subject in modern times. The meaning of the painting, however, hasn't changed at all, because the artist doesn't paint the old man with tenderness and love and mature elegance, but as undignified uncontrolled, despicable desire). There are other paintings by Marinus which shows a clearly satirical approach, or at least an ugly expression which does not imply pride in the profession: see The Lawyer’s Office, 1545, and The Misers [Figure 15] (also known, in different versions, as The Tax Gatherers or The tax gatherer and his guarantor). This one shows â€Å"two tax collectors, or rather a treasurer, or an administrator with his clerk, the collector with a winking grimace†¦. The treasurer enters in a book the sums received for the taxes†¦ with his right hand counts and weighs the coins†¦ â€Å"[35] Both of them look clearly satirical for a modern observer. 5. Conclusion This paper has compared the rival interpretations provided by economists and art historians of the painting The Moneychanger and his Wife. The painting is seen as an â€Å"occupational portrait†, showing a banker in his office, carefully weighing coins simply because this is one of most prominent features of his trade. It is a clearly secular subject, much more so in Reymerwaele's version: the religious books in the woman's hands has been turned into an accounting book. We could expect Flemish painters to be familiar with market oriented economic activity and the money world, because of the society in which they lived. Flanders at that time was the center of a flourishing industrial and commercial world, and also was the center of a mercantile trade in works of art. [36] Both things led to a representation of the professional activity of moneychangers, goldsmiths, and bankers in a way that shows those activities as respectable ones. In the process of reviewing the different interpretations provided by art historians about this picture and other similar ones, we have seen that they are consistent with the views that art historians share about the economic activity, rather than based on any objective interpretation of the painting and history. Thus, while the picture shows commercial and financial activity to be a normal, respectable occupation, most art historians see a moralizing and satirical intention. This paper maintains that art historian’s prejudice towards commercial and financial activity leads them to a wrong interpretation of the paintings. LIST OF ILUSTRATIONS 1. The Moneychanger and his wife, by Quentin Matsys, 1503-1505. 2. The Last Judgement, by Hans Memling, 1480. Portrait of Angiolo Tani and his wife. 3. The Moneychanger and his wife, by Marinus van Reymerswaele, 1539. 4. Saint Jerome, by Marinus Reymerswaele. 5. Logo of the Spanish Association of Accounting and Business Administration (AECA). 6. Adriaen Isenbrant, Man Weighing Gold, fist half of the sixteenth century. 7. St. Eloy (Eligius) in His Shop, by Petrus Christus, 1449. 8. The Table of Deadly Sins, 1480, by Hieronimous Bosch. 9. Portrait of a Merchant, by Jean Gossaert, c. 1530. 10. The Ill-Matched Lovers, by Quentin Mastsys. 11. The Misers, or The moneylenders, by Marinus van Reymerswaele, 1545. 12. Marinus van Reymerswaele, Two Tax-Gatherers, 15–, National Gallery, London. [Yamey, p. 52, Plate XVI] 13. Marinus van Reymerswaele, Two Tax-Collectors, 15–, Alte Pinakotheck, Munich. [Yamey, p. 54, 29 XVI] 14. Map of Flanders and Antwerp. 15. The Lawyer's Office, by Marinus van Reymerswaele, 1545. 16. Portrait of a Merchant and his Partner, by Quentin Metsys. 17. The taxgatherer and his Wife, by Corneille van de Capelle (Corneille de Lyon? ) BIBLIOGRAPHY Ainsworth, Maryan Wynn (et al. (1994), Les Primitifs flamands et leur temps (sous la direction de Brigitte Veronee-Verhaegen et Roger Van Schoute). Louvain-la-Neuve: La Renaissance du Livre. Benezit, E. (1976), Dectionaire critique et documentaire des peintres, sculpteurs, Dessinateurs et Graveurs (nouvelle edition, entierement refondue, revue el corrigee sous la direction des heritiers de E. Benezit). Libraire Grund. Vol. 7. â€Å"Marinus Van Roejmerswaelen† Campbell, Lorne, et al. (1978) â€Å"Quentin Massys, Desiderius Erasmus, Pieter Gillis and Thomas More†. The Burlington Magazine, Vol. CXX, n? 908, november, pp. 716-724. Cassagnes, Sophie (2001), D’art et d’argent. Les artistes et leurs clients dans l’Europe du Nord (XIVe -XVe siecle), Rennes: Presses Universitaires de Rennes. Frere, Jean-Claude (1997), Early Flemish Painting, Paris: Terrail. Friedlander, Max J. (1967) [1929] Early Netherlandish painting. Vol 1, The van Eycks–Petrus Christus, Brussels: La Connaissance, and Leyden: A. W. Sijthoff. Genaille, Robert (1967), Dictionnaire des peintres flamands et hollandais, Paris: Larousse. Grice-Hutchinson, Marjorie (1993) â€Å"Santo Tomas de Aquino en la historia del pensamiento economico†, in Ensayos sobre el pensamiento economico en Espana. This essay, lectured to receive the Honoris Causa Doctorate from Universidad Complutense de Madrid, is not in the English version of the same book). Hayek, Friedrich August (1988), The fatal conceit. The errors of socialism, London: Routledge. Chapter 6, â€Å"The Misterious World of Trade and Money†. Mackor, Adri:  "Are Marinus' Tax Collectors collecting taxes? † Bulletin du Musee National de Varsovie XXXVI (1995; n? 3-4) pp. 3-13. Mackor, Adri: â€Å"Marinus van Reymerswale: Painter, Lawyer and Iconoclast†, Oud Holland 109 (1995) pp. 191-200. Mund, Helene (1994), â€Å"La copie†, in Ainsworth (et al. ) (1994), pp. 125-141. Panofsky, Erwin (1971) [1953], Early Netherlandish painting: its origins and character (2 vols. ) London: Harper and Row. Panofsky, Erwin (1993) [1955], Meaning in the visual arts, Penguin. Philippot, Paul (1994), La peinture dans les anciens Pays-Bas. XV-XVIe siecles. Paris: Flammarion. Puyvelde, Leo van (1957), â€Å"Un Portrait de Marchand par Quentin Metsys et les Percepteurs d'Impots par Marin van Reymerswale†, Revue Belgue d'Archeologie et d'Histoire de l'Art, vol. 26, pp. 3-23. Silver, Larry (1984), The paintings of Quinten Massys with catalogue raisonne, Oxford. Montclair, N. J. : Allanheld & Schram. Smith, Adam (1976) [1776], An Inquiry into the Nature and Causes of the Wealth of Nations, Comps. R. Campbell, A. S. Skinner y W. B. Todd. Oxford : Clarendon Press. Van Houdt, Toon (1999), â€Å"The Economics of Art in Early Modern Times: Some Humanist and Scholastic Approaches†, History of Political Economy, 31(0), Supplement 1999 (Economic Engagements with Art, edited by Neil De Marchi and Craufurd D. W. Goodwin, London: Duke University Press), pages 303-31. Vanhoutte, Edward (1997), â€Å"In your seed all the nations of the Earth shall be blessed. Importance and unimportance of the Jews of Belgium from the Middle Ages to the Enlightenment†,. Guest-lecture. Lancaster (UK): Lancaster University, 6 february. In . VVAA (1994), El Prado, Barcelona: Lunwerg. Wilson, Jean E. (1998), Painting in Bruges at the close of the Middle Ages. Studies in Society and Visual Culture. Pennsylvania : University Press. Yamey, Basil S. (1989), Art and Accounting, New Haven and London: Yale University Press. ———————– [1] The author wants to thank John Reeder for his useful comments. A previous version of this paper, with the title â€Å"The Moneychanger and his Wife: from Scholastics to Accounting†, is in Internet, [http://www. ucm. es/BUCM/cee/doc/00-23/0023. tm]. [2] Quentin Massys (1465/66 – 1530), also Matsys, Metsys, Metsijs, Massijs. Famous Flemish painter, the founder of the Antwerp school, he was probably born in Leuven, Belgium. He was the main painter of his epoch. [3] Yamey (1989), pp. 24, 45. [4] Grice-Hutchinson (1993), pp. 203-205. [5] â€Å"Massys, Quentinâ₠¬  Microsoft Encarta Online Encyclopedia 2000, . In the same Encarta website, Erich Lessing/Art Resource, NY, says that Massys painted â€Å"a witty commentary on greed. The banker's wife pretends piety by leafing through a religious book, while stealing a glance at her husband's gold. [6] â€Å"Web Gallery of Art†, . The pages says that â€Å"the comments were compiled from various sources†. [7] National Gallery of Art (Washington D. C. , USA), 2000, â€Å"Antwerp in the Early 1500s†, . [8] Jean-Claude Frere, Early Flemish Painting (1997, pp. 187-188). [9] Wilson (1998), p. 191; quoted from Panofsky, Early Netherlandish painting, 1953, p. 142. â€Å"Every perceptible thing, man made or natural, becomes a symbol of that which is not perceptible†, says Panofsky (â€Å"Abbot Suger of St-Denis†, 1946, in 1955, p. 161) following Dionysius the Pseudo-Areopagite. 10] Quentin Massys, Portrait of a merchant and his partner (Paris, collection M. Cailleux) . [11] Puyvelde (1957, p. 5), quoting from Jean Cailleux, Les Richesses injustes, Reforme, Paris, n? 72, 3 aout 1946. In Antwerp, a tax-collector was obliged to have a surety or guarantor, who had the right to supervise the collection of money and its recording. The tax-collector is â€Å"shown as a respectable person, accompanied by his guarantor, malicously rendered with a pronounced scowl†. Yamey (1989, p. 54), confronts this van Puyvelde’s interpretation with other art historians’ view. 12] â€Å"The Boys in the Back Room†, written by John Haber in the Website â€Å"Postmodernism and Art History: Gallery Reviews from Around New York†. The informations refers to the exhibition â€Å"From Van Eyck to Bruegel: Early Netherlandish Painting†, at The Metropolitan Museum of Art, January 1999. . [13] Benozzo Gozzoli (1420-1497), Italian painter. Procession of the Magi, 1460, Medici Riccardi Palace, Florence. [14] The Triptych The Last Judgement, now in Gdansk, Narodowe Museum, was painted by Memling (also Memlinc) in 1477. Angiolo Tani is painted in the outside of the wings. Tani had been the head of the Bruges branch of Medici Bank from 1455 to 1465. Tomaso Portinari was his successor in the position. Memling, Tommaso Portinari, 1470, tempera and oil on wood, Metropolitan Museum of Art, New York. Maria Maddalena Baroncelli (Mrs. Tomasso Portinari), 1470, tempera and oil on wood, Metropolitan Museum of Art, New York. For details, see Ainsworth et al. (1994), chapter â€Å"Hans Memlinc†, pp. 462-466. [15] Marinus (Claeszon) van Reymerswaele (also Roymerswaele) is a Flemish painter (c. 1495-1566). He received his first artistic training as an apprentice to an Antwerp glass painter named Simon van Daele in 1509. Known as a painter of genre and satire, Reymerswaele was famous enough to have been mentioned by the Florentin historian Guicciardini and the art historian and painter Vasari. [16] Reymerswaele (or his workshop) made a lot of copies of this subject. Puyvelde (1957, p. 15) claims that the two paintings in the Prado and the one in the Collection of the State of Babiera, signed in 1538 and 1539, are inspired by Massys The moneychanger and his wife. Puyvelde considers that most other copies are inspired by Massys Tax Gatherers. 17] â€Å"El cuadro inspirador del logotipo es conocido internacionalmente como una imagen de la actividad economica del Renacimiento, especialmente de la financiera, ya que en el se muestra una situacion caracteristica de lo que podria considerarse un banquero de la epoca. El tema de la pareja de cambistas pone de manifiesto el surgimiento de una nueva profesion renacentista relacionada con el mundo de las finanzas, de los impuestos y de las cuentas mercantiles. Marinus toma de Quintin Metsys el tema del banquero y su mujer, que se expone en el Louvre de Paris. En el cuadro de Marinus, el matrimonio burges recuenta las monedas de oro y plata y el pesa en una pequena balanza, con gran delicadeza, aquellas, ya que la mayoria de las mismas eran raspadas o recortadas. Posiblemente provendrian de una recaudacion de impuestos, de una cambio de monedas o de la devolucion de un prestamo, lo que implicaria despues controlar o calcular la operacion con el abaco que tiene a su derecha sobre la mesa y a efectuar anotaciones en el libro de Contabilidad que ella tiene entre su bellas y delicadas manos†. From AECA's Website, 1999. 18] â€Å"Recent research has demonstrated that the documents, which form the background of the painting, refer to an actual lawsuit begun in 1526 in the town of Reymerswaele on the North Sea. The suit arose between three heirs of Anthonius Willem Bouwensz and Cornelius vander Maere, the latter having purchased a salt refinery from the heirs of Anthonius. Difficulties began when Cornelius vander Maere refused to make the initial payment and subsequently had his goods seized. The legal transactions lasted until 1538, by which time the property under dispute had probably been ubmerged or destroyed by storms. Ironically, the court fees still had to be paid. † New Orleans Museum of Art, Information written by Joan G. Caldwell. [http://www. noma. org/MARINUS. HTM]. The Museum owns one of the many versions of the painting: â€Å"Several versions of this composition exist in Munich, Amsterdam, Cologne and Brussels. While the Museum's version is apparently the last in the series, it is painted with the greatest detail, thus clearly revealing the documents in the lawsuit†. [19] Puyvelde (1957), pp. 7-18; â€Å"le veritable portrait fait place a la caricature de l'homme de affaire rapace† (Puyvelde, 1957, p. 13; also, p. 20). [20] Puyvelde (1957), p. 23. [21] â€Å"Es esta tabla encontramos todas las caracteristicas de los pintores nordicos: el detallismo, las calidades materiales que se aprecian a la perfeccion, la aproximacion empirica a la realidad, y sobre todo, la sordidez descarnada con la que Van Reymerswaele aborda uno de los principales males de su epoca: la usura, el mayor pecado posible dentro de una sociedad comerciante como era la flamenca. La corrupcion y la estafa afectaban a las capas de la sociedad, llegando al clero y provocando la reaccion de escritores, teologos y artistas†. CD-ROM La Pintura en el Prado, 1996, Editorial Contrastes. [22] Corneille van der Capelle, Le Percepteur d'impots et sa Femme. Jadis Sigmaringen, Pince of Hohenzollern collection. [23] The illustrated book El Prado (Barcelona: Lunwerg, 1994), p. 389. [24] Vanhoutte (1997). [25] â€Å"Web Gallery of Art†, description of the painting The Tax Collectors, 1542 (Wood, 103,7 x 120 cm. Alte Pinakothek, Munich), : â€Å"The Tax Collectors by Marinus Van Roymerswaele appears to be a deliberate caricature; the painter's Calvinist background clearly comes through in his depicting the tax collector's greed with a fierse grimace and claw-like hands, whilst the administrator records the money in the ledger, maintaining his proper distance. Marinus van Reymerswaele was a painter of three themes, all more or less caricatural. He painted a numbe r of straightforward S. Jeromes, all derived from Durer's picture of 1521 (Lisbon) but stressing the crabbedness of scholarship. The other two themes are interdependent: two exceedingly ugly and covetous Tax Gatherers and a Banker and his Wife (the banker counting his profits). The Banker is closely related to Massys's picture of the same subject, and it may be that the Tax Gatherers derive from Massys's borrowings from the caricatures of Leonardo da Vinci. There are about thirty versions of the Tax Gatherers (the best is in London, National Gallery; another has the date 1552), and what nobody has so far explained is why so many people should want to own a picture of tax collectors (and excessively ugly ones at that) gloating over their imposts. There are also examples in the British Royal Collection and in Antwerp, Berlin, Ghent, Madrid, Munich and Vienna. † The Website says on the Welcome page that â€Å"the comments were compiled from various sources†. [26] Adriaen Isenbrant (? ) Man Weighing Gold, New York, Metropolitan Museum of Art, The Friedsam Collection. Adriaen Isenbrant is also known as Hysebrant or Ysenbrant. He was active in Bruges, 1510 – 1551. He was first mentioned in 1510 when he became a master in the Bruges painters' and saddlemakers' guild. He was recorded as a stranger, but his native town was not mentioned. Between 1516/1517 and 1547/1548 he was listed numerous times as a vinder or minor offical of the guild and in 1526/1527 and 1537/1538 was a gouverneur or financial officer. Because of the uncertainty, some authorities prefer to use the name Isenbrandt in inverted commas or with or with question mark. See the Website of the National Gallery of Art, Washington D. C. , [27] Bauman, G. , â€Å"Early Flemish Portraits 1425-1525†, M. M. A. Bull. XLIII, Spring 1986, pp. 46 f. On the contrary, Wehle, H. B. , and M. Salinger, M. M. A. , A Catalogue of Early Flemish, Dutch and German Paintings, 1947, pp. 100 f. , â€Å"identify the sitter as a banker or a money changer and consider the portrait to be purely secular, not a ‘donor's likeness in a religious ensemble'†. References provided by Sandra Fritz, The Metropolitan Museum of Art, Central Catalog. [28] The Table of the Deadly Sins, 1480, by Hieronimous Bosch (c. 1450-1516). Oil on panel, 120 x 150 cm. Prado Museum. Bosch is the name given to the Dutch painter Hieronimus van Aeken. [29] Jan Gossaert (c. 1478 – 1532), Portrait of a Merchant, c. 1530. Oil on panel, . 636 x . 475 m Washington, National Gallery of Art, Ailsa Mellon Bruce Fund. [30] National Gallery of Art, Washington DC, USA, Brief Guide, in . [31] Petrus Christus (fl. 1444-c. 1470), St. Eloy (Eligius) in His Shop, 1449, oil on panel, Metropolitan Museum of Art, New York. [32] Smith (1976), I. x. b. 18. [33] The Life of St. Eligius, 588-660, paragraph 5. The Life of Eligius, bishop and confessor, was written by Dado, bishop of Rouen (his friend and contemporary). Eligius lived from 588 to 660. The full text is in . [34] Quentin Massys, Ill-Matched Lovers, c. 1520/1525, oil on panel, 0'432 x 0'630 m. National Gallery of Art, Washington D. C. Ailsa Mellon Bruce Fund. [35] Marinus Van Reymerswaele, The Misers, 1531. Oil on wood. Naples, Museo Nazionale di Capodimonte, . [36] â€Å"Bruges et surtout Anvers ont donc cree les premiers marches publics consacres a l’art en Occident†, Cassagness (2001), p. 264.

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Strategic Marketing at Waitrose Case Study Example | Topics and Well Written Essays - 4000 words

Strategic Marketing at Waitrose - Case Study Example Company's main focus area is the UK. Having the backing of a strong group helps not only in the form of giving it an identity but also in the form of experience, reaching out to potential customers, clubbing the marketing decisions, planning out marketing communication strategies etc. And, the company has been able to establish itself quite well, despite squeezing of the profit margins(No author, 1998). The category leadership strategy, in particular, has provided it with more than 5% of the market share The weaknesses of the company are: still, the company is primarily is concentrated within the south of England. Despite having been in the business for so many years. The company requires to strengthen its presence in other markets as well, to take on the competitors. And, Waitrose doesn't take stock of its business on a quarterly basis(No author, 1999). The opportunities of the company are: the UK is just about 20% self-sufficient in fruits, and the demand for fruits is on the rise gradually. Though the traditionally UK is not known to be a fruit lover nation, with a growing number of consumers, better opportunities will certainly emerge. The threats of the company are: UK consumers have a lesser appetite for fruits as compared to European counterparts. If sufficient efforts are not made to widen the consumer base, this may result in a lesser intake of fruits, which will ultimately lead to less than expected sales of fruits. And, with the number of suppliers becoming less, the leveraging power of the supermarket stores may be affected as well. Also, the UK supermarket industry is fiercely competitive, with the likes of Tesco, Sainsbury, Asda, and Safeway holding the lion's share of the market's SWOT analysis is a necessary tool for decision making(No author, 2000). Still, the company is primarily is concentrated within the south of England. Despite having been in the business for so many years. The company requires to strengthen its presence in other markets as well, to take on the competitors(Hunger, 1996). If the company will set up shop in the north, east and west of England and the larger United Kingdom, then there is a strong probability that the revenues will increase by three times the current revenues generated from the South of England alone. Although the expenses will also increase by three times the current expenses, the net income will surely increase by three times under its current location in the South of England if the company will set up shop in the North, East and West part of England and the wider United Kingdom(Thompson, 1999). Waitrose is implementing a well known competitive marketing strategy. Price water house coopers stated that "Marketing strategy is the most significant planning challenge regardless of industry or size of the company. Our goal will be to re-evaluate and examine constantly our marketing position. Our emphasis will be on market strategy, technique and product innovation." When they did research on two

Importance of Colonial Newspapers during Revolutionary War Research Paper

Importance of Colonial Newspapers during Revolutionary War - Research Paper Example John Adams, the US president during late 17th century stated that mechanism such as newspaper and pamphlets drove the willingness of Americans to revolutionize and brought together the perception of people, which eventually made America an independent nation. Colonists used the newspapers as an effective tool of communication during the 17th century in order to ensure that printed and handwritten materials were exchanged among thirteen colonies. This in turn played a huge role in creating unity among the colonies, which thereby led to its national independence. In fact, the communication tool was so effective that numerous towns and cities in the US used printed materials and newspapers to declare its nation’s independence. It will be worth mentioning that, revolution in the US would not have transpired in the 17th century if newspapers, mail and other communication were not introduced by people in the US. This is because these tools were effective for colonists in exchanging views among people in various colonies that instigated mutual cooperation and understanding. Therefore, colonists through the use of newspapers increased the extent of conversation amid colonies that led to its unification1. During the colonial American period, it was a mandate for newspaper printers to be authors so that they could indulge into printing activities. Benjamin Franklin started writing articles under James Franklin’s newspaper publishing company ‘The New England Courant’. Benjamin Franklin wrote letters during night time as an imaginary widow known as ‘Silence Dogood’2 to hide his identity from his brother. In the year 1729, Benjamin Franklin purchased the ‘Pennsylvania Gazette’ and started publishing newspapers on his own. Subsequently, Franklin’s newspaper became highly successful in various colonies, which played a huge role in initiating revolution in America. Franklin was a writer as

Blood Brothers Essay Example for Free

Blood Brothers Essay You are the director of a new production of blood brothers. Give advice to the actors playing the roles of Eddie and Mickey about how to tackle the age changes. You must comment on at least two scenes in detail. If you have seen a production of Blood Brothers you may also refer to this. In the scene when you both meet for the first time you must consider your body language. You must consider how an eight year old would walk and stand. An eight year old would have fewer worries than someone who is older than them so they would walk not really paying much attention to what is around them. You would also have to think how someone who is better off would walk compared to someone who is from a less well off background. You have got to consider how to use the tone of your voice. At first they were a bit shy. But after they first met you would have to consider how an eight year old would not be shy so they would say anything so say your lines so the audience have no clue to what you will say next. Another important factor to consider is the way you deliver your lines. You should deliver your lines in a free flowing way. When they are swearing you should not feel like people might be offended. In the scene when you Mickey and Eddie meet for the first time after they have both moved to the country you should pay attention to your body language. This time Eddie and Mickey are both 16 17 years olds. So you have to think about how a 16 17 year old would act. A 16 17 year old would have more problems than a person of 8 years old but still not as many as an older person. You still have to consider how a person who is better off would act compared to a person from the ghetto. Again you would have to consider the tone of your voice. You would expect a teenager to swear more and they may speak with a slight mumble. Again you should consider the way you deliver your lines. In the scene when Mickey is trying to kill Eddie you should again pay attention to your body language. This time Eddie and Mickey are both in theyre thirtys. Mickey is depressed and he has a lot of problems an example of which was that he was put in jail for his brother shooting someone. While Eddie on the other hand has few, because he has a successful business. Mickey has just realised that Eddie is seeing his girlfriend Linda. When Mickey is pointing the gun at Eddie, Eddie has to act scared because he fears for his life. Mickey is holding the gun so that he feels in control instead of having Eddie control his life. Mickey has to act confused because Eddie made his life; he gave him a job and a nice home. You again have to consider the tone of your voice. Mickey should say his lines in a sort of stuttery way. Eddie should deliver his lines in a scared voice, while Mickey should deliver his lines in a scared and confused way.

Are diamonds taken out of context today Essay Example for Free

Are diamonds taken out of context today Essay In todays society, we [as people] take many things out of context. For example, diamonds. A diamonds, is a naturally occurring gem that has become prized for an unknown reason. They have no absolute value, except the price man delegates them to be valued. Humans discovered diamonds over four thousand years ago. Since its discovery, the diamond has been the hardest natural substance on the earth. Along with its hardness, it is also the purest and most rare of all gems, making it both functionally and culturally valuable. With this combination of qualities, it is easy to see why it has been an object of obsession, ever since its discovery. However, I have come to believe that throughout our recent history of the gem, its cultural significance out weighs its functionality. Since, their discovery, diamonds have meant many things to many people. It has always been of the same beauty as it is today, but it started out as an evolutionary tool. The supreme hardness of the diamond makes it a fundamental industrial material that affects everyday life. According to the Museum of Natural History, It has three primary roles in industry: it is used as a cutting tool, it is imbedded in another material and used as a tool or abrasive, and it is also turned to powder or paste for grinding and polishing. It is selected for such use where its hardness and resistance to abrasion its long working life and fast cutting action outweigh its cost(AMNH). For any type of stone or masonry, as well as all types of metal that requires drilling, shaping, or polishing, diamonds may perform the task. In fact, diamonds are in such demand that, four times the amount produced naturally is grown synthetically for industry alone. That amounts to over 500 million carats or 100 metric tons (AMNH). As you can see, there are many functional uses for diamonds. They have created options, never thought possible, with previous technologies. Some of these things include; shaping eyeglasses, other gems, computer chips, and even blades used in critical surgeries. Record needles have used diamonds in for producing music for about fifty years. Unfortunately, due to ruthless marketing and advertising, the diamonds path soon changed. [As I stated above] Diamonds have always contained the same beauty. However, before 1938, the value of diamonds derived primarily from their worth as a rare stone. In 1938, the New York advertising agency of N. W. Ayers(r) was hired. Their job was to change the public attitude about diamonds. A company you might have heard of, DeBeers(r) the largest controller and harvester of diamonds in the world hired the agency. These two companies wanted to transform diamonds from a financial investment, to a symbol of committed and everlasting love. Finally, in 1947, an Ayers(r) advertising copywriter came up with the slogan a diamond is forever and the rest they say, is history (IBC). DeBeers'(r) new slogan revolutionized the diamond market. With their new symbol of love and faith, the diamond came to represent many different things from earlier days. Today the diamond symbolizes wealth, durability, status, and peerless quality. Across time and cultures, diamonds have also been associated with invulnerability, lighting, magic, healing, protection, and poisoning (AMNH). In the past, this beautiful nearly flawless gem was an extraordinary technological gain. However, today the combination of their beauty and near imperfection, makes the diamond the most sought after gem in the world. Due to advertisement and DeBeers(r) new slogan, diamonds became the cultural icon that they are. You see diamonds today in many forms: Earrings, necklaces, rings, watches and any other piece of jewelry you can imagine. I have even [personally] seen diamonds on a persons teeth. With all of these new places to put diamonds and the ever-growing demand to own them, it seems the views have changed. Besides the status symbols diamonds deliver they also represent longevity. By pairing an intimate personal commitment and a gem that lasted forever, they gave the notion that this was the only gift that can symbolize commitment. The pressure for a man to buy his new bride a symbol of their eternal love and loyalty for each other is extreme. It almost seems absurd, in this day and time, that a man would not buy a diamond to offer a woman for her hand in marriage. There is even a diamond guide: The four Cs. This guide helps a person understand these things: Cut, Color, Carat and Clarity of diamonds. This guide allows magnified inspection to prove purity of the gem. This also allows retailers to increase prices on gems that reach higher standards. Well, at least they last forever! Unfortunately, although a diamond lasts forever, after time companies suggest an upgrade to larger gems that represent stronger love. With this staggering support of logic, the diamond industry will forever boom. They have helped lead our culture, as well as many others, into almost idolizing the diamond. In my opinion, human desire for diamonds shows how advertisers have done their job. We have allowed a company to decide what we think is valuable. The ads for diamonds appeal to our inner desires to have something rare and precious. It seems to be in us all, to want nice things, but diamonds have coerced us to want more. They symbolize power and success and for some, diamonds represent quality of life. They are our cultures only remaining treasures; with the help of DeBeers(r) and other diamond retailers, it will remain that way until the end of our time.

Online Technologies: Opportunities for Charities

Online Technologies: Opportunities for Charities Information Technology and developments in non profit organisations:  How online technologies offer new opportunities for growth to the charity organisations Table of Contents (Jump to) Chapter 1 Introduction 1.1 Introduction 1.2 Aims and Objectives 1.3 Overview Chapter 2 Literature Review 2.1 Introduction 2.2 Charities Chapter 1 Introduction 1.1 Introduction As Sergeant and Jay (2004, p.2) have commented, the concept of charity and their mission of raising funds to help the poor and needy has been around for centuries. However, both the numbers and complexities of charity organisations have multiplied significantly over recent decades. Sargeant and Tofallis (2000) confirmed reports from the NCVO that in the UK as of 1998, the number of NGO’s exceeded half a million, of which 40% could be designated as Charity based organisations., This group was then reported to have a collective estimated turnover of approaching  £20 billion. Both of these statistics will have grown dramatically over the past decade. The main mission of charities is to deliver practical and constructive assistance to those in need; providing information on issues such as health problems and disability or promoting the message for fairer laws. These missions can be related to human activity, preservation of the natural world environment and its wildlife or seeking justice for those that are oppressed. However, currently charities have to face up to a number of obstacles in effectively performing the task for which they have been set up, most of which arise in two particular areas. Firstly, with the increasing growth of needy causes, there is a rise in the number of charitable organisations emerging to address these issues, increasing the competition for funds proportionately. Secondly, there is little doubt from the level of research that has been undertaken, that the charity giver is becoming increasingly discerning about the impact of their donations. This concerns centres around the desire to ensure that the gi ft has the maximum impact. Therefore, it is important to the donor that the minimum amount of that gift is used for the charity’s internal administrative purposes. Despite the fact that the â€Å"mission† of a charity has in the past often been deemed more important than â€Å"economic intentions† (Hussey and Perrin 2003, p.200), the current climate within this sector is requiring them to become more efficient if they wish to sustain the objectives of their cause. This means that thy have to look for ways in which they can improve the effectiveness and the efficiency of their operations. In this regard, although somewhat belatedly when compared with the move by commercial corporations, the charity sector is increasingly studying the benefits of using information technology processes as a means of achieving the efficiencies that are required. However, as Hackler and Saxton (2007), although some charities are incorporating information within their organisations, the extent, areas of the business covered and effectiveness of these developments has not yet been perfected in a significant number of cases. In fact, in some it is considered that with some charities it can be reducing efficiency. Indeed the research conducted by Sargeant and Tofallis (2000) concluded that â€Å"the performance of many charities would appear to fall well short of the efficient frontier with no immediately obvious explanation forthcoming for why this might be so.† Indeed, they could also find no pattern to the causes of these failures either. It is the issue of information technology in particular its effective and efficient use in charity organisations that inspired this research project. Of specific interest is the intention to assess the impact that this technology has upon the duel targets of increasing financial efficiency and improving the delivery of the main services and missions of the charity. 1.2 Aims and Objectives As stated previously, the aim of this research is to identify the ways in which information technologies can be used to improve the efficiencies of charity operations. In this regard it is intended to focus the research upon the usage of IT in the online environment. Thus the research question or hypothesis that has been set for this study is as follows: â€Å"Online information technology processes can offer charities opportunities for growth and expansion in terms of the revenue and message and mission generating areas of their operations.† To assist with the achievement of this goal the research will use the following framework of objectives: Growth and maximisation of revenue It is intended to determine the extent to which a charity can make use of the IT opportunities available using the Internet to grow its revenue base and the methods by which this can be achieved. Cost reduction and efficiency Using the same premise as that included within the previous objective it is also the intention of this paper to address the issue of the appropriate IT methods that can be employed for increasing the efficiency of the charity organisation in terms of cost control and reduction where appropriate. Mission and programmes Bearing in mind the unique purpose of the charity format, which is that it has a mission to serve a specific cause, the research will also be ensure that, in addition to the financial objectives outlined above, the information processes examined are compatible with the enhancing of the message that charities need to communicate. This will be applied to both the potential and recipient of their services. The research itself will use a mixture of data to address the research question. This will include reference to the extensive range of financial statements which are available from individual charity websites or the Charities Commission (2008) online resources, although only a sample of these reports will be utilised. To address the issues and concerns of the individual charities more directly, individual interviews will be conducted with a number of representatives from this sector. 1.3 Overview The management and presentation of the research paper has followed a logical format. Chapter two presents a review of existing literature that is available and that relates to the issues being addressed by the researcher. This includes publications and comments by academics, professional observers and other interested stakeholders. Following this critical review, in chapter three it is intended to concentrate upon the methodology that has been applied to this project. It will provide an overview of the available methods and the reasons for the method that has been adopted in this instance. Chapter four provides the in-depth results of the research findings, both that which has been gathered from primary and secondary resources and these will be analysed and discussed in more detail in chapter five. Finally, the research project will reach a conclusion in chapter six and, where considered feasible and appropriate, the researcher’s recommendations will be presented and explained . Included at the end of this study, although separated from the main body of the study, will be additional information. This will include a biography of the various resources that have been referred to or used to assist with the development of the project. In addition, in attached appendices, information that is considered of further value in understanding the issues raised and the examinations undertaken, including the transcripts of interviews, have also been included. Chapter 2 Literature Review 2.1  Introduction To assess the issues of the charity use of online information technology, it is important to perform a critical review the existing literature that is available relating to various elements. In this case that will include providing a brief understanding of the charity environment. In addition, it will include a review of the information technology processes and their advantages as well as the areas where charities have been found to have deficiencies either in the usage of these technologies or the extent to which they have availed themselves of the technology itself. The chapter has been sectioned in a manner that appropriately addresses these areas. 2.2  Charities As many academics have observed, in comparison with commercial organisations, the charity is a complex organisation, not least because of its structure and mode of operations (Wenham et al 2004, Hussey and Perrin 2003 and James 1983). There are even different to the other types of non-profit organisations referred to by Hackler and Saxton (2007), such as those that are often form for regulating the decisions and objectives of various parts of nation and international political policies. An example of these would be the various organisations that have been set up in the UK to deal with the reduction of carbon emissions such as The Carbon Trust. The differences attributable to the charity organisation can be observed in many areas of the operation. For a start one of the main intentions that is needed for the organisation to qualify as a charity is for it to have a non-profit making objective (Hurray and Perrin 2003). Secondly, its mission that in the corporate sense would be classed as strategic objective is directed to the service of the external stakeholder or user (Hussey and Perrin 2003). In other words, where the purpose of the commercial organisation is to achieve financial success that will enable it to return additional value to the shareholders and potential investor, the charity’s financial aim is to utilise its funds specifically for the benefit of those whose demands and needs it is intending to address. Often, because of the break-even requirement, the charity will take on projects that are of no immediate benefit, but will have the effect of helping them to subsidise other, more highly valued activities (James 1983, p.351). Another difference in organisational processes is that the charity revenues generating activities relies heavily upon the volunteer donor (Wenham et al 2004), therefore making it difficult to predict. In addition, this places constraints upon administrative expenditure in areas such as computers and other modern equipment (Sargeanr and Jay 2004). Furthermore, because of the purpose of the charity and the need to concentrate its expenditure upon projects that are determined within its mission statement, together with the fact that funds may be limited, many charities are heavily reliant upon the efforts of voluntary employees. Many of these employees might have limited knowledge of the operational processes that are required for an efficient organisation, which can be a disadvantage (Galaskiewicz et al 2006, p.338). This is especially true if there is a sizable organisation to manage. Irrespective of these differences, to remain true to its mission statement and stated aims, every charity still has to create a strategy that allows it to address three specific operational procedures. These are the maximisation of incoming funds, minimising administrative costs to ensure the recipients of its objectives, in terms of projects and services, receive the maximum benefit and effective marketing, which is designed to attract donors and service users (Wenham et al 2004). Therefore, it is important for the charity to be organised in terms of its mission, which means having the right strategies in place (Hussey and Perrin 2003, p.215 and 218) and assessing their appropriateness. As Hackler and Saxton (2007) acknowledge, it is in these areas that the use of information technology can be considered. All charities have to be registered with the Charities Commission (2008) irrespective of their size. An integral part if this registration is the need to provide regular financial statements which Holistic Nurse Prescribing: A Case Study Holistic Nurse Prescribing: A Case Study Introduction 1 the patient and their presenting symptoms. Mr Pickles presents an interesting, complex and therapeutically challenging problem. In essence he is a gentleman with multisystem pathology who presents with an almost incidental finding which he was clearly reluctant to discuss. It is a common finding amongst experienced healthcare professionals that in any consultation it is the last 30 seconds which is the most important. As the patient stands up to go, there is the just while Im here moment when they can bring up an issue that really troubles them and may not be the real presented reason for the consultation. In this essay we shall discuss the various aspects of this situation and the measures we can take to try to help him. (Parker and Lawton 2003) 2.a holistic assessment of the pt, including any relevant medical social and psychological issues. If we start with the initial presenting symptom under discussion the impotence it is easier to work backwards from that to discuss the possible pathophysiology that can be relevant. Impotence is said to occur whenever the male fails to get an erection when it is required. This, in itself is neither unusual nor necessarily pathological. It becomes a significant symptom when the male repeatedly fails to get an erection that is sufficient for intercourse. It is quite possible to get full spontaneous erections and yet still be impotent. This is one of the major diagnostic features that distinguishes the psychogenic impotence from the purely physical. (Ackerman MD, Carey MP. 1995) There are a number of obvious physical causes of erectile dysfunction that are relevant to Mr Pickles (see on), but equally there are a number of possible psychogenic causes that may be either primary factors or possibly secondary contributory factors in the aetiology of his problems. The fact that he has recently undergone major cardiac surgery is a very relevant factor. Patients will frequently suffer from a major change in body perception when they have come to a close realisation of their own mortality. If we add to this the fact that, as the major breadwinner in the family, it is likely that Mr Pickles would have felt a major blow to his self-esteem when he was made redundant from a responsible high esteem job and forced to become a taxi driver with long working hours. This is quite apart from the anxiety and fatigue that such a job would engender.(Beck J. 1995) It is possible that the medication that Mr Pickles is taking may have a bearing on his erectile dysfunction as the male erection is dependent on the hydrostatic pressure of the blood for its maintenance. Any medication that reduces the average blood pressure, will effectively reduce the capacity to acquire and maintain an erection. In addition to this the adrenergic beta-blocker group will also selectively block the sympathetic pathways that are vital to the neurovascular control of the mechanisms of erection. Pathophysiology of diabetes and impotence Both of these topics are huge subjects, so in this essay we will restrict out considerations to those aspects which are relevant to Mr Pickles and his problems. We know that Diabetes Mellitus affects about 2% of the UK population with a specifically higher incidence in both the Asian and Afro-Caribbean communities(Nathan 1998). There is also a marked genetic component in the development of Diabetes Mellitus. Mr Pickles has Type II diabetes mellitus which is associated with a number of factors including a high BMI and increasing age. At 56 yrs. old he is currently at the peak incidence age for Type II diabetes mellitus (Gregg et al. 2003). Diabetes Mellitus is known to be associated with a number of complications. The prevalence and incidence of the complications, in general, tends to increase with the length of time that the patient has been diabetic. There is also an independent variable for complications that is directly proportional to the degree of control (as measured by the HbA1 levels). In general terms, the better the control the lower the incidence of complications (Kissebah et al. 1999) As far as Mr Pickles is concerned, there are two major complications of Type II diabetes mellitus that are directly linked with impotence and they are cardio-(macro)vascular disease and neuropathy. (Wagner et al. 1998) We can deduce that Mr Pickles has macrovascular disease by virtue of the fact that he his recovering from a CABG. And this may well be a very relevant factor in his erectile dysfunction but also there is the question of neuropathy which typically occurs in about 2.4% of the general population, but this figure rises to above 8% in the diabetic patient over the age of 60 yrs. ( Hughes 2002) Impotence tends to occur, in varying degrees, in about 10-15% of men under 40 yrs. Its incidence increases with age to the extent that 40% of men at the age of 40 yrs report a degree of impotence and this prevalence rises to 70% at the age of 70 yrs. (Gregoire 1999). If we add to this basic clinical picture the fact that there are other factors such as hypertension, smoking, cardiac neurosis, loss of self-confidence, depression and iatrogenic causes (medication etc.) all of which may well be relevant to Mr Pickles, then it can be seen that there are a plethora of potential causes of his erectile dysfunction. (Barnes, DE. 2004) Both of the first two causes (hypertension and smoking) are independent risk factors for impotence, quite apart for the fact that they are also risk factors for the development of the macrovascular complications of Diabetes Mellitus (Bowering 2001) Mr Pickles diabetic state has been recently well controlled (HbA1 of 6.5%). This is important as the incidence of development of diabetic complications is reduced by between 34-76% (depending on the particular study) for every 10% reduction in the average HbA1 reading. (Bowering 2001). In addition to all of these considerations, atherosclerosis is also a major complication of Type II diabetes mellitus, which, presumably is relevant to Mr Pickles because of his CABG, and this may be a major factor in the development of his erectile dysfunction. Management plan 3.a plan/strategy based on critical understanding of physiological and pharmaceutical issues. Any management plan must firstly be based on an accurate diagnosis. At this point in time we do not have this luxury. As we have discussed, there are anyone of a huge number of possibilities in the aetiology of Mr Pickles erectile dysfunction problem. When confronted with a problem such as this, any experienced healthcare professional may reasonably chose to manage the problem by making a rational judgement of the probabilities of any one particular cause being relevant. Implicit in such a management strategy is the fact that there are some causes that my be correctable (iatrogenic, psychological, and life style related) and there are some that may not (macrovascular damage, neuropathy and atherosclerosis). It is reasonable, in such circumstances, to discuss the situation openly with Mr Pickles and discuss with him the various treatment options. Patient empowerment and education is a vital strategy to adopt in circumstances such as this as Mr Pickles is far more likely to comply and respond if he understands the rationale behind the treatment plan.(Howe and Anderson 2003) We would suggest that an appropriate strategy would be to initially tackle the situation on two fronts. The psychological aspects of the erectile dysfunction are probably best discussed with an experienced psychologist or councillor who has expertise in this particular area. This is important because there is a considerable skill in eliciting the relevant factors from the patient. Many patients are reticent about talking openly about their imitate sexual details and there has to be a careful build up of trust and empathy on both sides. Factors such as good eye contact and a non-judgemental body stance are essential on the part of the healthcare professional if the optimal result is to be obtained Not only can the issues that are relevant be explored, but also any one of a number of psychological treatment techniques can be employed. This is a matter of considerable clinical judgement and skill and therefore probably best done by an experienced healthcare professional in that area. The pharmaceutical area can also be addressed as Atenolol is clearly not the best anti hypertensive to use as, not only will it reduce the blood pressure (which it clearly is important to do) but it also produces a counter productive beta-blockade which will not help the erectile dysfunction problem. The difficulty is that, after the CABG, Atenolol does have a degree of action on the suppression of ectopic electrophysiological foci in the myocardium which is a recognised complication of the procedure. It also is thought to have a cardioprotective effect post-myocardial infarction. It is probably a good idea to change his anti-hypertensive medication, but in the circumstances, it is probably better to seek the advice of the surgical team who performed the CABG. before making the transition. The question of Viagra has been raised by Mr Pickles. This is not as straight forward as it might initially appear. Viagra has been shown to work well in these circumstances. It has the downside that it allows sexual intercourse which is associated with increased peaks of blood pressure. As Mr Pickles is still in the postoperative recovery phase (16 weeks) it would again be sensible to consult with the surgical team as to their advice on the issue. The other problem with Viagra is that if it transpires that the long term aetiology is actually psychological rather than purely physical, then the prescription of Viagra will often breed a feeling of psychological dependence which may firstly be both inappropriate and unnecessary and secondly, very hard to break. It is probably therefore inappropriate to consider such options at this stage in the management. 4.legal and professional accountability should be discussed. The legal and professional issues are largely covered in the making of a management plan. In any area of professional competence, the best defence against criticism or censure, is the fact that a healthcare professional works from a rational evidence-based plan. It is for this reason that we have set out the rational and reasoning for the plan that we have chosen to adopt. It is actually quite permissible (legally) for a healthcare professional to be wrong on any given issue, as long as they have come to a reasoned and rational decision based on the facts that were placed before them. And behaved in a way that the majority of their professional colleagues believe is reasonable in the circumstances. It is, of course, central to these considerations, that all actions are carefully and fully recorded in the patients notes Prescribing decisions 5.a critical discussion of influences on prescribing decisions. The area of prescribing for Mr Pickles is clearly important. To some extent, we have covered the reasoning behind the change of prescription earlier in this essay. There is a common misconception amongst many members of the public (and indeed many of the less experienced healthcare professionals) that the solution to every problem comes in the form of tablets on a prescription. The whole area of patient empowerment and education is often filled with issues of lifestyle change, healthy living, self care and positive thinking which can frequently be more effective that simply giving the patient a prescription. (Boule NG et al. 2001) In the context of the NHS, it is a common observation that sometimes a prescription is given because it is the most expedient short-term measure in a given situation, (Dawes RM et al. 1974), however, time invested in an explanation to a patient as to why other measures might be equally as important is rarely time wasted., (Corrigan B. 1974) Future management 6.consider your future prescribing activity based on experience gained from this case study. In any professional area of activity, the author likes to use the mechanism of reflective practice to allow a critical assessment of a past course of action to modify future actions when faced with a similar situation. (Gibbs, G 1988) On careful reflection of this case, I believe that I may have acted rather rashly in stopping the Atenolol as a first choice. On reflection, I believe that the Atenolol did need to be changed for any one of a number of other anti-hypertensive agents but I feel that, in retrospect, I would have been wiser to take advice from the surgical team before I made that decision. Further reflection and discussion with other healthcare professionals (Marks-Moran Rose 1996), suggested that another appropriate course of action would have been to stop the antihypertensive medication altogether for a short period. This is on the grounds that his hypertension was not severe and was hitherto well controlled. If the erectile dysfunction was simply a reflection of the fact that the medication was holding his blood pressure down to a level where erection could not easily occur, a few days off the medication may allow a transient increase in his blood pressure to the point that erection could occur. As long as one was careful to monitor his blood pressure to ensure that it did not rise too far, I have been advised that this would represent a reasonable therapeutic trial to establish whether the underlying causes were mainly physical or physiological.(Wagner G et al 1998). On the face of it, this does seem reasonable but I believe that I would have to take further advice before I was fully comfortable with that decision. It follows from what has already been discussed, that I also feel that I may have been too quick to consider the pharmacological interventions before making a complete holistic assessment of the patient. There are clearly a number of lifestyle adjustments that may be relevant here such as weight loss and increasing exercise and looking for a new focus in life (to minimise any element of depression) which would be comparatively easy to achieve with appropriate empowerment and education of the patient. (Funnell R et al 2004) All in all, this is not a straight forward case. There are many elements which require careful and considered assessment. I believe that it is one of those cases that helps to point out that although there is a huge emphasis to be placed on modern scientific understanding and application of medical principles, there is also a very large element of human understanding and caring that is so very important to the successful management of patients such as Mr Pickles (Waterlow J. 1998) References Ackerman MD, Carey MP. 1995 Psychologys role in the assessment of erectile dysfunction: historical precedents, current knowledge and methods. 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