Totaling 195 individual blocks,
Albrecht Durer’s Triumphal Arch (1515) is one of the largest woodcuts ever created. The Holy Roman Emperor, Maximilian I, originally commissioned three woodcuts as part of a series, but only the Triumphal Arch was completed during his lifetime.
Johann Stabius, court historian and mathematician, designed the program of images, which is explained in text below, while Durer executed the design. Large woodcuts such as these were hand colored and served as wall hangings or decoration.
Scenes from Maximilian’s life including his marriage to Mary of Burgundy and military achievements dominate the program For Maximilian, the Arch is a grand testament to his authority as an imperial ruler and German king. Roman emperors raised arches to celebrate military victories; busts of the great leaders of antiquity such as Alexander the Great and Julius Cesar can be found on the left panel. The family tree in the central panel is a blend of myth and reality, dating back to Clovis I, first king of the Franks and founder of the
Merovingian dynasty, and includes mythical representations of early Germanic kingdoms.
Um... Oh God aunt Sara told me not to tell you who she's dating; but um dating Gabriel Leroy!!!! I guess you are our Dad and I should tell you. She's dating Maximilian Giacometti-Tommy
You’re dating Gabriel Leroy? Leroy? Like Jean Jaques Leroy? Like that man? MYSONCAN’TDATEALEROYI’MGOINGTOKILLTHATMANOHGOD
And she’s dating a Giacometti? Oh God, please tell me it’s not Chris’ son. Please, tell me. I don’t want my little baby perverted, I don’t. He’s going to use her. She’s not something to play with. NONONONONONONONONONONO
Revelation of Azathoth Final, by Aladdin Collar, for Mac Smullen’s “Lord Maximilian Draak and the Third Party,” as published in American Eldritch no. 1.
“I cannot explain to you exactly what I saw and heard and felt staring into that stygian Abyss, for you are unworthy and this language lacks the words to express it regardless. But suffice it to say that I was made aware of the true God of this earthly realm…” - Mac Smullen, “Lord Maximilian Draak and the Third Party” (2015)
The pricing manipulations at the McKittrick Hotel have gotten out of hand.
It started getting ridiculous a few years ago, when they roped off the tables at the Manderley Bar. New fans may not even realize - you used to be able to sit anywhere in Manderley. Now, often all the seats are “reserved” for those who pay a 50-60% premium for “Maximilian’s List.”
These people are literally just paying for a table that used to be included with a regular ticket, and that they won’t sit at if they actually go in to watch the show that they are ostensibly attending.
One of my best friends lives a 5 minute walk from Sleep No More. Twice, I tried to take her to Manderley Bar after the show, to watch the band. I knew she’d love the aesthetic of the bar. But she has mobility issues, and can’t stand for extended periods of time. Both times, we stood in front of a velvet rope, looking at empty seats that she was not allowed to sit in, and we left because my friend was in pain. I don’t try to take her to Manderley anymore.
The latest indignity is the “Champagne table.” This comes at a 200% markup - a show where tickets are $85 has champagne tables for $255. A single guest who buys this is paying $170 for a bottle of champage. If three people attend together, they still only get one bottle - a $510 bottle of champage.
On one level, fine, let people pay an idiot tax if they want to. Presumably anyone who chooses this is rich enough to afford it. I hope (but somehow doubt) that it goes to increase the salaries of the cast and staff. Maybe they can even start paying their interns.
The real problem is that they are reducing the availability of regular priced tickets in favor of these price gouging options. Regular priced tickets now automatically convert to inflated prices once a certain theshold is reached. It seems to vary per timeslot - for example, you can usually only buy a same day ticket to a weekday show at Max’s List prices now. Saturday after 5pm all the tickets to the Saturday late show switched to Max’s List prices, even though there were plenty of regular priced tickets available at 4:45pm. If you try to buy tickets at the door, even to a show that isn’t sold out, they may offer only Max’s List prices. Right now (Sunday afternoon) if I wanted to go to the Monday show, I could only buy a $255 “champagne table.”
Other shows offer discounts for last minute tickets. Sleep No More charges a 50-200% markup.
Ironically, it’s often the most devoted fans who want to buy tickets last minute. We go to accompany friends, or because we had a bad day at work, or because we hope to catch interesting casting. (Which, because of the massive secrecy, we only find out about last minute from other fans who went to recent shows.)
There has never been any kind of program to welcome frequent visitors. Instead, we are facing a massive price increase.
Sleep No More has also never offered discount tickets. Student discounts are common at many other NYC shows, and The Drowned Man offered low priced concession tickets for students, young people, and the unemployed. If Punchdrunk really is the future of theater, shouldn’t students at least be able to attend affordably?
Even Punchdrunk’s supporters, the “Keyholders” who donate directly to Punchdrunk and were welcomed with unique experiences and events at Drowned Man, are not recognized at all at Sleep No More.
If the show is really full, I understand there is no more space for anyone to enter. But when there are tickets left, it’s awful to offer them only at inflated prices. In their pursuit of rich tourists with money to burn, the people who run Sleep No More are insulting their core audience.
I get that art has to make money to survive in a capitalist society. Still, there is something obscene about ripping off your most devoted audience, the ones who care most about the art itself, the ones who pay attention to the performances, who are polite and engaged, who create art and write thoughtful analyses, who regard the show as theater, not as a nightclub.
Moreover, it’s bad capitalism. I’ve spent tens of thousands of dollars on Sleep No More tickets, special events, and food/drinks at the bars and restaurants. I’ve brought dozens of friends. I’ve brought corporate clients and expensed meals. I spent thousands more on The Drowned Man and on direct donations to Punchdrunk via the Keyholder program.
I’m not rich. All of this has been a huge amount of money to me. I spent it because I think that Punchdrunk creates great works of art. I’ve had some of the most powerful experiences of my life inside of that building.
But I’m not going to spend an extra 60% on top of a ticket for a table I won’t sit at, or an extra 200% for champage, when I know they could sell me a regular priced ticket if they wanted to. It’s insulting to be blatantly taken advantage of.
The result will be that people like me spend less money on Sleep No More, stop visiting, stop bringing friends, and give up on the art. A lot of the early fans have already left in disgust. Perhaps the rich douchebag crowd will make up for our exodus financially. But it will hasten the decline of the show, lower the reputation of the company, and alienate the audience that is most likely to appreciate it as a work of art. It’s ugly and sad that this is happening.
Today is Holocaust Remembrance Day. I would like to specifically remember my patron saint, St Maximilian Kolbe and the other Catholics persecuted by the Nazis along with the Jews and “non-pure” people made to suffer and die.
See, the mistake the folks over at YoVideogames made was that they have pride. Y’know, self-respect. They’re the kind of good people, that when some dirtbags scream out that they’re cowards for not kicking themselves in the dick for 3 hours, they’re like, “hey man! We can’t take that! We have self-respect!” That’s the mistake. They should have just been like “Hell yeah I’m a coward, you should be a coward too when it comes to BIOFREAKS
Pat, Maximilian’s BIO F.R.E.A.K.S. Boss Rage Stream
Dear followers. For the past couple of days, Damian and I have been working our butts off on Maximilian’s nursery. We did try to go after a theme (Totoro), which Max seemed very excited about. I did have a picture in my head of how I wanted the nursery to look like, but we did let Maximilian choose colors etc, which I managed to incorporate in my plan.
Lucas Cranach the Elder (1472–1553
A Stag Hunt with the Elector Friedrich the Wise, 1529
oil on lime
Dimensions 80.2 × 114.1 cm (31.6 × 44.9 in)
Current location: Kunsthistorisches Museum
In the background there is a town and to the right a castle complex. In the centre of the foreground is the Elector Friedrich the Wise, further to the right is the Emperor Maximilian I. and on the far right Elector Johann the Steadfast. As neither the Elector Friedrich nor the Emperor Maximilian I. were still alive in 1529 it must be interpreted as a visual mementos commissioned by Johann the Steadfast to recall a hunt, which may have taken place in 1497 when both the Saxon princes were guests at Maximilian I.’s court in Innsbruck.