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Thread: Pages 34-35 Red fox leaps flames

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    Hi Ingrid-

    You can put the image up - if it becomes a copyright issue, we'll remove it.

    Sue
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    Here are our cherub and frogs!

    I'm afraid I don't have much information about the location. This statue may have come from a cottage belonging to a J D Archbold, but I haven't yet been able to confirm this. (There is a list of cottages at Cottages of Mount Desert Island which mentions an Archbold Cottage that was built for an Ann Archbold.)
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    Nice find, Ingrid! I did a little checking around - turns out that Archbold Cottage had a fountain by sculptor Janet Scudder. The sources were both in Google books, so I can't copy and paste it here. But here is an article with a familiar sight:




    Frog Fountain, 1901; this cast, by 1906
    Janet Scudder (American, 1869–1940)
    Bronze; 37 1/2 x 26 x 19 in. (95.3 x 66 x 48.3 cm)
    Rogers Fund, 1906 (06.967)
    The first in a series of ornamental garden sculptures produced by Scudder, Frog Fountain depicts a spirited boy looking down on three open-mouthed frogs. In her autobiography, the sculptor recalled the fountain's origin: "In that moment a finished work flashed before me. I saw a little boy dancing, laughing, chuckling all to himself while a spray of water dashed over him. The idea of my Frog Fountain was born." For her "water babies," Scudder acknowledged the importance of Italian Renaissance sculpture—particularly Donatello's Cantoria (1433–39; Museo dell'Opera del Duomo, Florence) and Verrocchio's Boy and Dolphin (ca. 1465; Palazzo Vecchio, Florence)—which she studied during a trip to Italy in the winter of 1899–1900. A more direct influence is the work of her mentor Frederick MacMonnies, specifically his ebullient Boy and Duck (22.61). Scudder assisted MacMonnies in his Paris studio during the 1890s, and spent most of her career in France. She modeled Frog Fountain in Paris in 1901 and brought it to New York hoping to attract commissions from wealthy Americans constructing lavish homes and gardens. After considerable persistence, she prevailed on the architect Stanford White to recommend her garden sculptures to his clients.
    Scudder initially chose to limit Frog Fountain to an edition of four but produced a fifth example at the Museum's request. Additionally, numerous bronze reductions, intended as either parlor or fountain pieces, were cast in heights of 6, 12 1/4, and 18 1/2 inches.
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    Thanks for the picture, Ingrid. This has been taunting me for a long time. The authors have used a few actual locations on Mt Desert in the book, but are they really pertinent for the solution is the big question.

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    Oh, thanks for all the details, suelough! So nice to have that mystery sorted!

    Trainor, I know exactly what you mean. I'd be surprised if the puzzle's solution depended on knowing the exact name/location/etc. of this statue. I've been operating under the assumption that they probably won't matter, but that they're nice to know, if just for the sake of completion.

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    Thanks for that, Ingrid and Sue. Very nice background information. I'm guessing that first image from Ingrid is similar to the one Sean mentioned a while ago.

    Trainor, the book mentions that the clues needed to solve the puzzle are in the book. But, I believe the authors can incorporate these type of items into the puzzle, and keep it self-contained.

    For example, the statue could be signaling 2 and 1 (fingers), since this is the first time 2 pages were used as 1 image. Fits in nicely with the 1 2 / 34 (page number). I'm pretty sure there are other uses, too, used in working the puzzle.

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    Quote Originally Posted by rdshackleford View Post

    It is possible that the grouping of the numbers itself is important. It appears to me the spacing is MC--MXL--VII.

    So, maybe 2-3-3. Also, the cherub is showing 2-1 with his fingers.
    If taken as Roman numerals, collectively, the do produce the year of the fire, etc. ... 1947

    In the groupings indicated

    1100 = MC
    1040 = MXL
    ----7 = VII
    ====
    2147

    Using a straight numerical correspondence

    U = 21
    D = 4
    G = 7

    DUG

    and possibly B A DG. Adding the S(19) and the E(5) from the arch oval, yields BADGES, where the larger B (2) gives the initial letter.

    (Also, in the Roman numeral groups, the second numeral of each group gives CXI - compare to Chief’s leggings, previous picture - KIX)
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    Quote Originally Posted by stvwz View Post
    Why does the rhyme stress All Eyes in the Fire. Looking at the page, there are other animals (rabbit, fox, deer) that have eyes but aren't directly in the fire. There are three faces that look like lions that are in the fire. Are we supposed to do the masquerade thing and connect a line between the eyes and nose to point to a letter?

    I will have to document all of the eyes in the book, but in addition to eyes (one eye/two eyes on faces), there are eye symbols on the page 11 Keepsake page. Every chapter in the story is about "I"...
    Steve,

    I don't have the image in front of me, but if I recall - the statue is holding up 1, 2. The animals with red eyes are 1,2. The I's in the fIre and date (1947 = the fire = MCMXLVII) = 1,2.

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    ..........Go 5 X 5..........

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    the stars give SNARE - NEARS

    the creatures are showing hands and feet

    paws

    PAUSE
    Free is the best deal!

    "The Scarlet Cloud Approaches"
    "Time is of ten a one-way street"
    ..........Go 5 X 5..........

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    lost in t IM E

    roman numerals

    cherub signalling 1 2
    Last edited by astreeturover; 11-10-2009 at 03:56 PM. Reason: delete 2nd half of post
    Free is the best deal!

    "The Scarlet Cloud Approaches"
    "Time is of ten a one-way street"
    ..........Go 5 X 5..........

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