In the Community Collection there is a wonderful portrait of two sheep in the opening of a darkened barn. Both are staring at the artist, whose name we only know as Kowalski. The painting has never been shown here because it’s simply too large to fit on the scanner and my hand-held photography is too shaky. That’s odd—that it has never been pictured here—because it was that work which gave a name to the October exhibit: “Landscapes and Livestock.”

The rhythms of Agincourt are set by many activities: the standard calendar and the academic; the church year and the agricultural (sowing and harvest); the rhythms of human gestation. So I feel a story coming on concerning the sheering of sheep and its carding and spinning into wool; the weaving of thread into fabric; the sewing of fabric into garments reflecting both our modishness and our modesty.