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The decumanus maximus is flanked on both sides by impressive marble columns, which once formed covered porticoes or walkways for pedestrians, providing shade and shelter for shoppers and citizens.
A unique feature of Perge's main street is a narrow water channel running down the middle. Water from the northern nymphaeum (monumental fountain) flowed through this channel, supplying fresh water to the city and adding to the street's grandeur.
The street was paved with large stone slabs, and ruts worn by thousands of chariots are still visible in the original flagstones. Numerous shops and public buildings, some with mosaic floors, lined the street, making it the primary commercial and social artery of the city.
This photograph depicts three unidentified nurses on board TSS ORANJE II. On 28 June 1941, after a refitting at Cockatoo dock, Australia's Prime Minister Robert Menzies hoisted a Red Cross flag on the Dutch liner TSS ORANJE. The ceremony marked the handing over of the vessel from the Dutch Netherlands Indies Government to the Australian and New Zealand Governments to be used as a hospital ship.
This photo is part of the Australian National Maritime Museum’s Samuel J. Hood Studio collection. Sam Hood (1872-1953) was a Sydney photographer with a passion for ships. His 60-year career spanned the romantic age of sail and two world wars. The photos in the collection were taken mainly in Sydney and Newcastle during the first half of the 20th century.
The ANMM undertakes research and accepts public comments that enhance the information we hold about images in our collection. This record has been updated accordingly.
Photographer: Samuel J. Hood Studio Collection
Object no. 00021314
Being a princess of the darkness is quite different from being an ordinary one. Those of the day and of royalty, may rule the realm of light, government and official affairs of state. But we, the princesses of darkness, rule the realm of shadows and lust, the realm of secret passions.
Thus, your everyday and ordinary royalty is depicted upon a crown with a scepter in hand, a true princess of the darkness, is depicted as such we behold.
Ok ok, there is of cause always another side of the coin and today I was determined to make use of my "female charm". Smiling to the club master behind the bar, I asked in my kindest possible way (not to be underestimated) if I may have the priveledge, to be pictured sitting on the cage in club XXDark. He hesitated.. "I guess..." he said.. "If you make sure no one else is in the pictures... and you warn everybody before you start shooting.. and leave the camera here when not filming...then I guess.. it´s OK this ones." - At this time, it is very important to "close the deal" so to speak, so I looked very much like a litle girl allowed an icecream.. (which was not at all hard, as I am a true "picture whore" at heart.)
I had the most nymphomaniac T-girl ever take the picture. She is always at the club. She is.. a very special person to whom sex is like a drug. That of cause has its influence on a persons character ;o) Anyway, though she is a little crazy, she has a heart of gold. Late, just a couple of hours before closing time, 2 young guys came in, pretty hot both of them I must admit and she practically threw her self at the hottest one. Now THAT was a sight to see, I have NEVER irl seen anyone (girl or T-girl) purr so much like cat in heat, using words DROOLÌNG with undertones of propositions. It took her about 2-3 minutes ;o)
Transvestit København Danmark
East window by William Glasby 1926 depicting Christ's Ascension surrounded by angels. Glasby's style is heavily indebted to his master Henry Holiday, in fact to such a degree that their work is usually difficult to distinguish. In this case I recognised the figure of Christ from another Glasby window I'd seen in Illston church on the Gower Pennisula during my student days, it was clearly one of his more popular images and was reused several times.
Last but not least of the day's visits was Wyverstone. After four locked churches I'd given up hope of finding any more open with little intention of trying anywhere else on my ride back, it was now nearly half seven in the evening and I just wanted to get back and relax. However my journey was interrupted by road closures (not for the first time during my Suffolk excursions either) and I groaned at the thought of another diversion adding how many more miles when I was already flagging. However the diverted route would take me through Wyverstone and I recalled it was a church worth a look and right alongside my route so it'd be silly not to stop for a quick look and an evening-light snap of the exterior at least. On arrival I thought I'd at least try the door for closure's sake, only to find to my amazement it opened!
St George's is a small but attractive building, a 14th century chancel and nave (with a 15th century clerestorey adding to its height) and a fairly squat but rather charming west tower. Inside it feels surprisingly spacious for a small church and all is light with clear-glazed windows and whitewashed walls. Two items however particularly caught me eyes looking east and I was pleasantly surprised to recognise them from Simon's Suffolk churches site as features of interest on my wishlist, and here they were in front of me, which felt like a real bonus, especially considering it was now mid-evening!
The most important antiquarian feature here is the base of the 15th century rood screen, which is most unusual in Suffolk as the imagery on it is carved rather than painted (though originally would have been coloured too). Small scenes and figure groups are carved into niches along the front but are sadly heavily mutilated, some being unrecognisable or missing altogether. Still, enough remains to indicate this was something special, and while we can only regret it being reduced to this state we can also be thankful anything of it survived at all, given how many other examples have vanished without trace. The nave also has a few fine fragments of medieval glass and a handsome font at the west end.
The other feature that made my eyes light up was the east window, a beautiful early 20th century work depicting the Ascension of Christ by the artist WIlliam Glasby. I'd known it from photos and seen similar designs by the same artist elsewhere, but this one is quite special.
Wyverstone church is well worth a short visit and it was a delight to find it open and welcoming, even so late in the day!
Yet another wonderful artists’ concept of an early LEM/CSM design (ca. 1962), depicting LEM ascent stage jettison. The shading, dramatic lunar terrain and overall attention to detail are impressive.
Also, at the 1:01 mark:
www.youtube.com/watch?v=Smp9m7vcE-Q
Credit: Parka Blogs/YouTube
Kudos to Anthony T. Saporito and William A. Collopy! Mr. Źiemba appears to have taken a break...his painting hand must have been sore after his other museum-worthy works in this 'series'.
8.5" x 11".
William A. “Bill” Collopy, an unexpected WIN:
starherald.com/william-a-collopy/article_936831fc-6037-58...
Credit: Star Herald website
And since the above link is likely tenuous, its content:
“SCOTTSBLUFF - William A. 'Bill' Collopy, 78, of Scottsbluff died Friday, Jan. 27, 2006, at Regional West Medical Center comforted by his wife, Kay.
A memorial service was held Jan. 31 at the First Church of God in Scottsbluff with the Rev. Curtis Germany officiating. Abiding by Bill's wishes, cremation has taken place at the Jolliffe Funeral Home in Scottsbluff…
…Bill was born Dec. 10, 1927, in Scottsbluff, to Francis John and Maude Rutz (Amalia) Collopy. He received his education in the Scottsbluff Public School System graduating from Scottsbluff High School, and continued at the University of Nebraska in Lincoln, as well as attending the Scottsbluff Junior College in Scottsbluff.
Bill enlisted in the U. S. Army Air Corps on Dec. 18, 1945, and was honorably discharged in July of 1947, after achieving the rank of corporal.
Bill married Regina Kayleen "Kay" Germany on Aug. 13, 1950, in Scottsbluff. Bill spent his working years in Kansas, California, and Texas as a technical illustrator for Boeing, Convair, and Lockheed.
Following retirement in 1992, Bill returned to Scottsbluff, the boyhood home he loved so much. Bill enjoyed his retirement years locally as an activities bus driver for the Scottsbluff Public School System, as well as Western Nebraska Community College and especially enjoying his recent years at Twin Cities Baseball. Bill enjoyed woodworking and spending time with family.
Bill is survived by his wife: Regina Kayleen "Kay" Collopy of Scottsbluff; son: Brad Collopy and his wife Aggie in Gering; daughters: Brenda Momper of Alliance and Berni Holmes and her husband Rodney of Aurora, Colo.; 10 grandchildren; four great-grandchildren; uncle: John Rutz; and numerous nieces, nephews, and cousins.
His parents: Frank and Maude; and brother: Frank Jr., preceded Bill in death.”
Boxford is a large village in the Babergh district of Suffolk, England. Located around six miles east of Sudbury straddling the River Box and skirted by the Holbrook, in 2005 it had a population of 1,270. According to Eilert Ekwall the meaning of the village name is "the ford where box trees grow". The village was mentioned in the Domesday Book, at which time it had a population of 18. During the Middle Ages, Boxford was a wool town.
The village sign was erected in the 1990s and stands alongside the river opposite the Fleece Inn and former newsagents on Broad Street. The upper panel depicts nearby St. Mary's church and symbols of the village's agricultural past and present - sheep, ears of wheat and apples (there is a large fruit farm on the southern outskirts of the village.) The lower panels depict the watermill and one of the village's three windmills - none of which, alas, are now standing. The bottom roundel depicts George "Tornado" Smith, a 1930s "wall-of-death" rider, whose parents owned the nearby White Hart Inn. He is pictured here riding his bike with his pet lioness in the side car. The body of the lioness is now buried beneath the forecourt of the White Hart.
[HD Wallpaper — Prints best within 67 x 38 cm / 26 x 15 inches]
Artist / Illustrator, William Haskell Coffin (1878-1941)
William Coffin was born in Charleston, South Carolina in 1878. Although little is known about his early life, his education started at the Corcoran School of Art in Washington, D.C.
Coffin later spent a period of time under the guidance of Laurens where he would learn the art of oil painting and the nuance of colour and light. Coffin returned to the New York area, where he spent the formative years of his career. His covers for The Saturday Evening Post began in 1913 with the subject matter consisting of women in fairly stark scenes. He did thirty covers in all for the Post. As his work progressed, Coffin began to introduce props to embellish his fairly simple portrait technique. Coffin’s special touch was to depict women caught in a minimal action — as the woman holding her hat against a sudden wind on the March 13, 1915 cover. William Haskell Coffin, plagued by financial failure, committed suicide in St. Petersburg, Florida in 1941.
What sets this artwork of Joan of Arc apart from other Joan of Arc paintings and illustrations is that the artist, William Haskell Coffin, has depicted Joan in the fashion which women were popularly illustrated during the World War I period — the hair, the lips, the red cheeks, etc. He's taken the iconic woman of that time and made her Joan of Arc... That's what makes this art "World War I," and that's what makes it forever unique in time.
Quite possibly, the most seminal poster from the most seminal conflict in human history...
Unique forever.
Codi von Richthofen,
The Red Baron Gallery ©
Depiction of woman sitting on a stool and her maid. This grave relief carved by local sculptors, exhibits Attic influences. It dates from the Late Classic Period.d.
Marble stele
Early 4th century BC
Chalkis, Archaeological Museum of Chalkida - Inv. No. 9
Left altar: Votive altar set up by Lucius Pescennius Sedatus in honour of his friend Quintus Voltius Maximus
ILAlg 2, 3615
edh.ub.uni-heidelberg.de/edh/inschrift/HD020439
Q(uinto) Voltio / Q(uinti) fil(io) Quir(ina) / Maximo / L(ucius) Pescennius / Sedatus / amico merenti / sua pec(unia) pos(uit) / d(ecreto) d(ecurionum)
Right altar: Dedication to the Genius Populus by Q. Leptius Musteolus
ILAlg II.1, 3575
edh.ub.uni-heidelberg.de/edh/inschrift/HD020442
Genio populi / sacrum / [e]x testamento / Q(uinti) Lepti Musteoli / [---] Iulius Nampulus / M(arcus) Iulius Rogatianus / C(aius) Iulius Vitalis / [f]ratres et coheredes / et heredes Iuli / Maximi cohere/[di]s eorum super HS III mi[l(ia)] / nummum qu(a)e testamen/to fieri decrevit additis / HS num(m)is I(mille) posuerunt / idemque dedicaverunt // [L]ocus datus / Kal(endis) Mai(i)s / Mes(s)alla et Sabino / co(n)s(ulibus) / dicata isd(em) / Idibus Mai(i)s
The Tadeusz Kościuszko Monument, also known as the Tadeusz Kościuszko Memorial and the Thaddeus Kosciuszko Memorial, is an outdoor sculpture by artist Kazimierz Chodziński depicting Tadeusz Kościuszko, installed in the median of East Solidarity Drive, near Chicago's Shedd Aquarium, in the U.S. state of Illinois. The statue was created in 1904, and was originally located in Humboldt Park.
Andrzej Tadeusz Bonawentura Kościuszko (English: Andrew Thaddeus Bonaventure Kosciuszko; 4 or 12 February 1746 – 15 October 1817) was a Polish-Lithuanian military engineer, statesman, and military leader who then became a national hero in Poland, the United States, and Belarus. He fought in the Polish–Lithuanian Commonwealth's struggles against Russia and Prussia, and on the U.S. side in the American Revolutionary War. As Supreme Commander of the Polish National Armed Forces, he led the 1794 Kościuszko Uprising.
Kościuszko was born in February 1746, in a manor house on the Mereczowszczyzna estate in Brest Litovsk Voivodeship, then Grand Duchy of Lithuania, a part of the Polish–Lithuanian Commonwealth, now the Ivatsevichy District of Belarus.[8] At age 20, he graduated from the Corps of Cadets in Warsaw, Poland. After the start of the civil war in 1768, Kościuszko moved to France in 1769 to study. He returned to the Commonwealth in 1774, two years after the First Partition, and was a tutor in Józef Sylwester Sosnowski's household. In 1776, Kościuszko moved to North America, where he took part in the American Revolutionary War as a colonel in the Continental Army. An accomplished military architect, he designed and oversaw the construction of state-of-the-art fortifications, including those at West Point, New York. In 1783, in recognition of his services, the Continental Congress promoted him to brigadier general.
Upon returning to Poland in 1784, Kościuszko was commissioned as a major general in the Polish–Lithuanian Commonwealth Army in 1789. After the Polish–Russian War of 1792 resulted in the Commonwealth's Second Partition, he commanded an uprising against the Russian Empire in March 1794 until he was captured at the Battle of Maciejowice in October 1794. The defeat of the Kościuszko Uprising that November led to Poland's Third Partition in 1795, which ended the Commonwealth. In 1796, following the death of Tsaritsa Catherine II, Kościuszko was pardoned by her successor, Tsar Paul I, and he emigrated to the United States. A close friend of Thomas Jefferson, with whom he shared ideals of human rights, Kościuszko wrote a will in 1798, dedicating his U.S. assets to the education and freedom of the U.S. slaves. Kościuszko eventually returned to Europe and lived in Switzerland until his death in 1817. The execution of his testament later proved difficult, and the funds were never used for the purpose he intended.
Kazimierz Chodziński (Casimir) (1861 – 1919 or 1921) was a Polish sculptor, and a student of Jan Matejko academy in Kraków. He sculpted over a hundred different statues in partitioned Poland, as well as some other European cities, such as Vienna. Around 1903-1910 he worked in the United States, where he designed, among others, the Tadeusz Kościuszko statue in Chicago in the Humboldt Park neighborhood and the General Casimir Pulaski statue in Washington, DC.
Kazimierz Chodziński was born in 1861 in Łańcut, Austrian Empire. His father was a painter. Chodziński worked as an artist, painting and sculpting, gathering resources that allowed him to enroll in Kraków School of Fine Arts in Austrian partition of Poland and study under the sculptor Walery Gadomski and the famous painter Jan Matejko. As a student, he won an art competition, sold his first serious work ("Egyptian Woman" ), and around 1881, obtained a government scholarship to study at the Academy of Fine Arts in Vienna under Edmund von Hellmer. He received a number of other awards and scholarships, finishing his studies in 1887.
Afterward he returned to Kraków, where he opened a studio specializing in sculptures for religious and monumental buildings. Later, he moved his studio to Warsaw (capital of the Congress Poland), due to better conditions for exporting his work.
Around 1903-1910 he worked in the United States, where he designed, among others, the Tadeusz Kościuszko statue in Chicago in the Humboldt Park there and the General Casimir Pulaski statue in Washington, DC.
Chodziński died in 1919 in Lviv (Lwów), then in the newly independent Second Polish Republic.
Selected works
Some of his most famous works include: "Egyptian Woman," "Old Man," "Boy," "Dancing Faun," "Joyous Life," "Lord of the World," "Czesnik and Regent," "Boy's Head," "Girl's Head," "Readying for the Ball," "Praying Prisoner".
Chicago is the most populous city in the U.S. state of Illinois and in the Midwestern United States. With a population of 2,746,388 in the 2020 census, it is the third-most populous city in the United States after New York City and Los Angeles. As the seat of Cook County, the second-most populous county in the U.S., Chicago is the center of the Chicago metropolitan area, which is often colloquially called "Chicagoland".
Located on the shore of Lake Michigan, Chicago was incorporated as a city in 1837 near a portage between the Great Lakes and the Mississippi River watershed. It grew rapidly in the mid-19th century. In 1871, the Great Chicago Fire destroyed several square miles and left more than 100,000 homeless, but Chicago's population continued to grow. Chicago made noted contributions to urban planning and architecture, such as the Chicago School, the development of the City Beautiful Movement, and the steel-framed skyscraper.
Chicago is an international hub for finance, culture, commerce, industry, education, technology, telecommunications, and transportation. It has the largest and most diverse derivatives market in the world, generating 20% of all volume in commodities and financial futures alone. O'Hare International Airport is routinely ranked among the world's top six busiest airports by passenger traffic, and the region is also the nation's railroad hub. The Chicago area has one of the highest gross domestic products (GDP) of any urban region in the world, generating $689 billion in 2018. Chicago's economy is diverse, with no single industry employing more than 14% of the workforce.
Chicago is a major tourist destination. Chicago's culture has contributed much to the visual arts, literature, film, theater, comedy (especially improvisational comedy), food, dance, and music (particularly jazz, blues, soul, hip-hop, gospel, and electronic dance music, including house music). Chicago is home to the Chicago Symphony Orchestra and the Lyric Opera of Chicago, while the Art Institute of Chicago provides an influential visual arts museum and art school. The Chicago area also hosts the University of Chicago, Northwestern University, and the University of Illinois Chicago, among other institutions of learning. Chicago has professional sports teams in each of the major professional leagues, including two Major League Baseball teams.
In the mid-18th century, the area was inhabited by the Potawatomi, an indigenous tribe who had succeeded the Miami and Sauk and Fox peoples in this region.
The first known permanent settler in Chicago was trader Jean Baptiste Point du Sable. Du Sable was of African descent, perhaps born in the French colony of Saint-Domingue (Haiti), and established the settlement in the 1780s. He is commonly known as the "Founder of Chicago."
In 1795, following the victory of the new United States in the Northwest Indian War, an area that was to be part of Chicago was turned over to the U.S. for a military post by native tribes in accordance with the Treaty of Greenville. In 1803, the U.S. Army constructed Fort Dearborn, which was destroyed during the War of 1812 in the Battle of Fort Dearborn by the Potawatomi before being later rebuilt.
After the War of 1812, the Ottawa, Ojibwe, and Potawatomi tribes ceded additional land to the United States in the 1816 Treaty of St. Louis. The Potawatomi were forcibly removed from their land after the 1833 Treaty of Chicago and sent west of the Mississippi River as part of the federal policy of Indian removal.
On August 12, 1833, the Town of Chicago was organized with a population of about 200. Within seven years it grew to more than 6,000 people. On June 15, 1835, the first public land sales began with Edmund Dick Taylor as Receiver of Public Monies. The City of Chicago was incorporated on Saturday, March 4, 1837, and for several decades was the world's fastest-growing city.
As the site of the Chicago Portage, the city became an important transportation hub between the eastern and western United States. Chicago's first railway, Galena and Chicago Union Railroad, and the Illinois and Michigan Canal opened in 1848. The canal allowed steamboats and sailing ships on the Great Lakes to connect to the Mississippi River.
A flourishing economy brought residents from rural communities and immigrants from abroad. Manufacturing and retail and finance sectors became dominant, influencing the American economy. The Chicago Board of Trade (established 1848) listed the first-ever standardized "exchange-traded" forward contracts, which were called futures contracts.
In the 1850s, Chicago gained national political prominence as the home of Senator Stephen Douglas, the champion of the Kansas–Nebraska Act and the "popular sovereignty" approach to the issue of the spread of slavery. These issues also helped propel another Illinoisan, Abraham Lincoln, to the national stage. Lincoln was nominated in Chicago for U.S. president at the 1860 Republican National Convention, which was held in a purpose-built auditorium called the Wigwam. He defeated Douglas in the general election, and this set the stage for the American Civil War.
To accommodate rapid population growth and demand for better sanitation, the city improved its infrastructure. In February 1856, Chicago's Common Council approved Chesbrough's plan to build the United States' first comprehensive sewerage system. The project raised much of central Chicago to a new grade with the use of jackscrews for raising buildings. While elevating Chicago, and at first improving the city's health, the untreated sewage and industrial waste now flowed into the Chicago River, and subsequently into Lake Michigan, polluting the city's primary freshwater source.
The city responded by tunneling two miles (3.2 km) out into Lake Michigan to newly built water cribs. In 1900, the problem of sewage contamination was largely resolved when the city completed a major engineering feat. It reversed the flow of the Chicago River so that the water flowed away from Lake Michigan rather than into it. This project began with the construction and improvement of the Illinois and Michigan Canal, and was completed with the Chicago Sanitary and Ship Canal that connects to the Illinois River, which flows into the Mississippi River.
In 1871, the Great Chicago Fire destroyed an area about 4 miles (6.4 km) long and 1-mile (1.6 km) wide, a large section of the city at the time. Much of the city, including railroads and stockyards, survived intact, and from the ruins of the previous wooden structures arose more modern constructions of steel and stone. These set a precedent for worldwide construction. During its rebuilding period, Chicago constructed the world's first skyscraper in 1885, using steel-skeleton construction.
The city grew significantly in size and population by incorporating many neighboring townships between 1851 and 1920, with the largest annexation happening in 1889, with five townships joining the city, including the Hyde Park Township, which now comprises most of the South Side of Chicago and the far southeast of Chicago, and the Jefferson Township, which now makes up most of Chicago's Northwest Side. The desire to join the city was driven by municipal services that the city could provide its residents.
Chicago's flourishing economy attracted huge numbers of new immigrants from Europe and migrants from the Eastern United States. Of the total population in 1900, more than 77% were either foreign-born or born in the United States of foreign parentage. Germans, Irish, Poles, Swedes, and Czechs made up nearly two-thirds of the foreign-born population (by 1900, whites were 98.1% of the city's population).
Labor conflicts followed the industrial boom and the rapid expansion of the labor pool, including the Haymarket affair on May 4, 1886, and in 1894 the Pullman Strike. Anarchist and socialist groups played prominent roles in creating very large and highly organized labor actions. Concern for social problems among Chicago's immigrant poor led Jane Addams and Ellen Gates Starr to found Hull House in 1889. Programs that were developed there became a model for the new field of social work.
During the 1870s and 1880s, Chicago attained national stature as the leader in the movement to improve public health. City laws and later, state laws that upgraded standards for the medical profession and fought urban epidemics of cholera, smallpox, and yellow fever were both passed and enforced. These laws became templates for public health reform in other cities and states.
The city established many large, well-landscaped municipal parks, which also included public sanitation facilities. The chief advocate for improving public health in Chicago was John H. Rauch, M.D. Rauch established a plan for Chicago's park system in 1866. He created Lincoln Park by closing a cemetery filled with shallow graves, and in 1867, in response to an outbreak of cholera he helped establish a new Chicago Board of Health. Ten years later, he became the secretary and then the president of the first Illinois State Board of Health, which carried out most of its activities in Chicago.
In the 1800s, Chicago became the nation's railroad hub, and by 1910 over 20 railroads operated passenger service out of six different downtown terminals. In 1883, Chicago's railway managers needed a general time convention, so they developed the standardized system of North American time zones. This system for telling time spread throughout the continent.
In 1893, Chicago hosted the World's Columbian Exposition on former marshland at the present location of Jackson Park. The Exposition drew 27.5 million visitors, and is considered the most influential world's fair in history. The University of Chicago, formerly at another location, moved to the same South Side location in 1892. The term "midway" for a fair or carnival referred originally to the Midway Plaisance, a strip of park land that still runs through the University of Chicago campus and connects the Washington and Jackson Parks.
During World War I and the 1920s there was a major expansion in industry. The availability of jobs attracted African Americans from the Southern United States. Between 1910 and 1930, the African American population of Chicago increased dramatically, from 44,103 to 233,903. This Great Migration had an immense cultural impact, called the Chicago Black Renaissance, part of the New Negro Movement, in art, literature, and music. Continuing racial tensions and violence, such as the Chicago race riot of 1919, also occurred.
The ratification of the 18th amendment to the Constitution in 1919 made the production and sale (including exportation) of alcoholic beverages illegal in the United States. This ushered in the beginning of what is known as the gangster era, a time that roughly spans from 1919 until 1933 when Prohibition was repealed. The 1920s saw gangsters, including Al Capone, Dion O'Banion, Bugs Moran and Tony Accardo battle law enforcement and each other on the streets of Chicago during the Prohibition era. Chicago was the location of the infamous St. Valentine's Day Massacre in 1929, when Al Capone sent men to gun down members of a rival gang, North Side, led by Bugs Moran.
Chicago was the first American city to have a homosexual-rights organization. The organization, formed in 1924, was called the Society for Human Rights. It produced the first American publication for homosexuals, Friendship and Freedom. Police and political pressure caused the organization to disband.
The Great Depression brought unprecedented suffering to Chicago, in no small part due to the city's heavy reliance on heavy industry. Notably, industrial areas on the south side and neighborhoods lining both branches of the Chicago River were devastated; by 1933 over 50% of industrial jobs in the city had been lost, and unemployment rates amongst blacks and Mexicans in the city were over 40%. The Republican political machine in Chicago was utterly destroyed by the economic crisis, and every mayor since 1931 has been a Democrat.
From 1928 to 1933, the city witnessed a tax revolt, and the city was unable to meet payroll or provide relief efforts. The fiscal crisis was resolved by 1933, and at the same time, federal relief funding began to flow into Chicago. Chicago was also a hotbed of labor activism, with Unemployed Councils contributing heavily in the early depression to create solidarity for the poor and demand relief; these organizations were created by socialist and communist groups. By 1935 the Workers Alliance of America begun organizing the poor, workers, the unemployed. In the spring of 1937 Republic Steel Works witnessed the Memorial Day massacre of 1937 in the neighborhood of East Side.
In 1933, Chicago Mayor Anton Cermak was fatally wounded in Miami, Florida, during a failed assassination attempt on President-elect Franklin D. Roosevelt. In 1933 and 1934, the city celebrated its centennial by hosting the Century of Progress International Exposition World's Fair. The theme of the fair was technological innovation over the century since Chicago's founding.
During World War II, the city of Chicago alone produced more steel than the United Kingdom every year from 1939 – 1945, and more than Nazi Germany from 1943 – 1945.
The Great Migration, which had been on pause due to the Depression, resumed at an even faster pace in the second wave, as hundreds of thousands of blacks from the South arrived in the city to work in the steel mills, railroads, and shipping yards.
On December 2, 1942, physicist Enrico Fermi conducted the world's first controlled nuclear reaction at the University of Chicago as part of the top-secret Manhattan Project. This led to the creation of the atomic bomb by the United States, which it used in World War II in 1945.
Mayor Richard J. Daley, a Democrat, was elected in 1955, in the era of machine politics. In 1956, the city conducted its last major expansion when it annexed the land under O'Hare airport, including a small portion of DuPage County.
By the 1960s, white residents in several neighborhoods left the city for the suburban areas – in many American cities, a process known as white flight – as Blacks continued to move beyond the Black Belt. While home loan discriminatory redlining against blacks continued, the real estate industry practiced what became known as blockbusting, completely changing the racial composition of whole neighborhoods. Structural changes in industry, such as globalization and job outsourcing, caused heavy job losses for lower-skilled workers. At its peak during the 1960s, some 250,000 workers were employed in the steel industry in Chicago, but the steel crisis of the 1970s and 1980s reduced this number to just 28,000 in 2015. In 1966, Martin Luther King Jr. and Albert Raby led the Chicago Freedom Movement, which culminated in agreements between Mayor Richard J. Daley and the movement leaders.
Two years later, the city hosted the tumultuous 1968 Democratic National Convention, which featured physical confrontations both inside and outside the convention hall, with anti-war protesters, journalists and bystanders being beaten by police. Major construction projects, including the Sears Tower (now known as the Willis Tower, which in 1974 became the world's tallest building), University of Illinois at Chicago, McCormick Place, and O'Hare International Airport, were undertaken during Richard J. Daley's tenure. In 1979, Jane Byrne, the city's first female mayor, was elected. She was notable for temporarily moving into the crime-ridden Cabrini-Green housing project and for leading Chicago's school system out of a financial crisis.
In 1983, Harold Washington became the first black mayor of Chicago. Washington's first term in office directed attention to poor and previously neglected minority neighborhoods. He was re‑elected in 1987 but died of a heart attack soon after. Washington was succeeded by 6th ward alderperson Eugene Sawyer, who was elected by the Chicago City Council and served until a special election.
Richard M. Daley, son of Richard J. Daley, was elected in 1989. His accomplishments included improvements to parks and creating incentives for sustainable development, as well as closing Meigs Field in the middle of the night and destroying the runways. After successfully running for re-election five times, and becoming Chicago's longest-serving mayor, Richard M. Daley declined to run for a seventh term.
In 1992, a construction accident near the Kinzie Street Bridge produced a breach connecting the Chicago River to a tunnel below, which was part of an abandoned freight tunnel system extending throughout the downtown Loop district. The tunnels filled with 250 million US gallons (1,000,000 m3) of water, affecting buildings throughout the district and forcing a shutdown of electrical power. The area was shut down for three days and some buildings did not reopen for weeks; losses were estimated at $1.95 billion.
On February 23, 2011, Rahm Emanuel, a former White House Chief of Staff and member of the House of Representatives, won the mayoral election. Emanuel was sworn in as mayor on May 16, 2011, and won re-election in 2015. Lori Lightfoot, the city's first African American woman mayor and its first openly LGBTQ mayor, was elected to succeed Emanuel as mayor in 2019. All three city-wide elective offices were held by women (and women of color) for the first time in Chicago history: in addition to Lightfoot, the city clerk was Anna Valencia and the city treasurer was Melissa Conyears-Ervin.
On May 15, 2023, Brandon Johnson assumed office as the 57th mayor of Chicago.
Illinois is a state in the Midwestern region of the United States. It borders Great Lakes to its northeast, the Mississippi River to its west, and the Wabash and Ohio rivers to its south. Its largest metropolitan areas are Chicago and the Metro East region of Greater St. Louis. Other metropolitan areas include Peoria and Rockford, as well as Springfield, its capital, and Champaign-Urbana, home to the main campus of the state's flagship university. Of the fifty U.S. states, Illinois has the fifth-largest gross domestic product (GDP), the sixth-largest population, and the 25th-largest land area.
Illinois has a highly diverse economy, with the global city of Chicago in the northeast, major industrial and agricultural hubs in the north and center, and natural resources such as coal, timber, and petroleum in the south. Owing to its central location and favorable geography, the state is a major transportation hub: the Port of Chicago has access to the Atlantic Ocean through the Great Lakes and Saint Lawrence Seaway and to the Gulf of Mexico from the Mississippi River via the Illinois Waterway. Chicago has been the nation's railroad hub since the 1860s, and its O'Hare International Airport has been among the world's busiest airports for decades. Illinois has long been considered a microcosm of the United States and a bellwether in American culture, exemplified by the phrase Will it play in Peoria?.
Present-day Illinois was inhabited by various indigenous cultures for thousands of years, including the advanced civilization centered in the Cahokia region. The French were the first Europeans to arrive, settling near the Mississippi and Illinois River in the 17th century in the region they called Illinois Country, as part of the sprawling colony of New France. Following U.S. independence in 1783, American settlers began arriving from Kentucky via the Ohio River, and the population grew from south to north. Illinois was part of the United States' oldest territory, the Northwest Territory, and in 1818 it achieved statehood. The Erie Canal brought increased commercial activity in the Great Lakes, and the small settlement of Chicago became one of the fastest growing cities in the world, benefiting from its location as one of the few natural harbors in southwestern Lake Michigan. The invention of the self-scouring steel plow by Illinoisan John Deere turned the state's rich prairie into some of the world's most productive and valuable farmland, attracting immigrant farmers from Germany and Sweden. In the mid-19th century, the Illinois and Michigan Canal and a sprawling railroad network greatly facilitated trade, commerce, and settlement, making the state a transportation hub for the nation.
By 1900, the growth of industrial jobs in the northern cities and coal mining in the central and southern areas attracted immigrants from Eastern and Southern Europe. Illinois became one of America's most industrialized states and remains a major manufacturing center. The Great Migration from the South established a large community of African Americans, particularly in Chicago, who founded the city's famous jazz and blues cultures. Chicago became a leading cultural, economic, and population center and is today one of the world's major commercial centers; its metropolitan area, informally referred to as Chicagoland, holds about 65% of the state's 12.8 million residents.
Two World Heritage Sites are in Illinois, the ancient Cahokia Mounds, and part of the Wright architecture site. Major centers of learning include the University of Chicago, University of Illinois, and Northwestern University. A wide variety of protected areas seek to conserve Illinois' natural and cultural resources. Historically, three U.S. presidents have been elected while residents of Illinois: Abraham Lincoln, Ulysses S. Grant, and Barack Obama; additionally, Ronald Reagan was born and raised in the state. Illinois honors Lincoln with its official state slogan Land of Lincoln. The state is the site of the Abraham Lincoln Presidential Library and Museum in Springfield and the future home of the Barack Obama Presidential Center in Chicago.
Pen and ink illustration depicting an old cigar box of vacuum tubes.
Copyright © 2012 by Ian J MacDonald. Permission required for any use. All rights reserved
This piece is original design - not a drawing of a still life.
I don't know why but I love old things. I love going through old boxes of obsolete stuff and wondering what the times were like when these were relevant. I once worked in a non-profit, socially and environmentally based architectural salvage and green demolition company. I must confess I always enjoyed opening and going through old boxes of donated things and finding cans of screws or boxes of bolts or ...or cigar boxes of vacuum tubes.
With regards to vacuum tubes, they are absolutely fascinating devices. Their fascinating physics aside, I have always thought they have a wonderful artistic quality. Perhaps the amount of intricate detail encapsulated in them. It is sort of like a ship in a bottle.
I also remember going to the A&P with my dad and testing tubes from the old TV. There was a big board with dozens of sockets and a couple of analog displays showing voltages and such.
Lastly my Grandfather had a gazillion cigar boxes in his house. everything from sewing stuff to old photos was stored in them. To think how many cigars that added up to is unimaginable! Gramps was a wonderful person whom I'll always miss, and whenever I see cigar boxes they remind of Gramps.
Drawing this picture conjured all those memories and thoughts.
The Great Southern Baths are one of the largest and best-preserved bathhouses in Roman Africa. They covered a total area of approximately 4,400 m², with 225 m² dedicated to the sole frigidarium. They were converted into a fortress by the Byzantines. The walls of these baths are preserved to a height of over twelve metres. The star feature is the now-faded labyrinthine-style mosaic floor of the central hall, under its imposing arches.
The frigidarium occupies the centre of the complex, alongside the adjoining natatio pool, and is flanked by two apodyteria. In the 4th or early 5th century AD, the facilities were reduced, and the complex was transformed into a fortress during the Byzantine period, equipped with a large masonry wall.
Holy Trinity, Hildersham, Cambridgeshire
This 1880s glass by Clayton & Bell depicts the martyrdom of St Peter.
The World Turned Upside Down is an English ballad. It was first published as a broadside in 1643 as a protest against the policies of Oliver Cromwell's Parliament relating to the celebration of Christmas. It serves as a timely warning that whenever puritanism raises its ugly head again, whether it be religious or secular, we need to guard the things we love.
The title of the song also gave its name to Christopher Hill's excellent book about the madness of the Commonwealth period, with its crackpot fundamentalist sects and state control of the imagination. There are several versions of the lyrics. It is usually sung to the tune of When the King Enjoys His Own Again, another folk ballad of the time.
Listen to me and you shall hear, news hath not been this thousand year:
Since Herod, Caesar, and many more, you never heard the like before.
Holy-dayes are despis'd, new fashions are devis'd.
Old Christmas is kicked out of Town
Yet let's be content, and the times lament, you see the world turn'd upside down.
The wise men did rejoyce to see our Savior Christs Nativity:
The Angels did good tidings bring, the Sheepheards did rejoyce and sing.
Let all honest men, take example by them.
Why should we from good Laws be bound?
Yet let's be content, and the times lament, you see the world turn'd upside down.
Command is given, we must obey, and quite forget old Christmas day:
Kill a thousand men, or a Town regain, we will give thanks and praise amain.
The wine pot shall clinke, we will feast and drinke.
And then strange motions will abound.
Yet let's be content, and the times lament, you see the world turn'd upside down.
Our Lords and Knights, and Gentry too, doe mean old fashions to forgoe:
They set a porter at the gate, that none must enter in thereat.
They count it a sin, when poor people come in.
Hospitality it selfe is drown'd.
Yet let's be content, and the times lament, you see the world turn'd upside down.
To conclude, I'le tell you news that's right, Christmas was kil'd at Naseby fight:
Charity was slain at that same time, Jack Tell troth too, a friend of mine,
Likewise then did die, rost beef and shred pie,
Pig, Goose and Capon no quarter found.
Yet let's be content, and the times lament, you see the world turn'd upside down.
Hildersham has a mad church. I have never been anywhere quite like it. A lot of the churches around here are built with cobbles rather than flint, dredged from river beds rather than from fields and beaches. At Hildersham, the cobbles are exposed internally in the nave, an extraordinary effect. The proportions are odd, too. And then, tacked on to this, is the vast chancel of a 19th Century London anglo-catholic citadel, with all the walls painted with scenes of Saints and brass and silver as far as the eye can see through the locked wrought-iron chancel gates.
In the top register, five girls are engaged respectively in the wheel rotation (only the legs remain), the long jump with weights in hand, the discus throw, and the run.
In the lower register, two girls are playing ball; a girl is awarded the victory palm, and a girl with a wheel in her hand is about to be rewarded by a young girl wearing a gold cloak and holding a wreath and palm leaf.
SCENE DEPICTS A DEEP SPACE FUEL ROD RECYCLING DEPOT
(SHIP is an Alternate Build for Lego Set 60059 Lumber Truck)
-Lumber Truck evolved into Heavy Lift Maintenance Shuttle.
-Forest Logs converted into Vehicle Propulsion Fuel Rods.
The 2nd century AD was a period of extensive rebuilding following a devastating earthquake in 60 AD.
Punch and Judy is a traditional, popular puppet show featuring the characters of Mr. Punch and his wife, Judy. The performance consists of a sequence of short scenes, each depicting an interaction between two characters, most typically the anarchic Punch and one other character.
The show is performed by a single puppeteer inside the booth, known since Victorian times as a "Professor" and assisted sometimes by a "Bottler", who corrals the audience outside the booth, introduces the performance and collects the money ("the bottle"). The Bottler might also play accompanying music or sound effects on a drum or guitar and engage in back chat with the puppets. In Victorian times the drum and pan pipes were the instruments of choice. Today, the audience is also encouraged to participate, calling out to the characters on the stage to warn them of danger, or clue them into what is going on behind their backs. Also nowadays most Professors work solo since the need for a bottler became less important when busking with the show gave way to paid engagements at private parties or public events.
The Punch and Judy show has roots in the 16th-century Italian commedia dell'arte. The figure of Punch derives from the Neapolitan stock character of Pulcinella, which was anglicised to Punchinello. He is a manifestation of the Lord of Misrule and Trickster figures of deep-rooted mythologies. Punch's wife was originally called "Joan."
The figure who later became Mr. Punch made his first recorded appearance in England in May 9, 1662, which is traditionally reckoned as Punch's UK birthday. The diarist Samuel Pepys observed a marionette show featuring an early version of the Punch character in Covent Garden in London. It was performed by an Italian puppet showman, Pietro Gimonde, a.k.a. "Signor Bologna." Pepys described the event in his diary as "an Italian puppet play, that is within the rails there, which is very pretty."
In the British Punch and Judy show, Punch wears a brightly colored jester's motley and sugarloaf hat with a tassel. He is a hunchback whose hooked nose almost meets his curved, jutting chin. He carries a stick as large as himself, which he freely uses upon most of the other characters in the show. He speaks in a distinctive squawking voice, produced by a contrivance known as a swazzle or swatchel which the professor holds in his mouth, transmitting his gleeful cackle. So important is Punch's signature sound that it is a matter of some controversy within Punch and Judy circles as to whether a "non-swazzled" show can be considered a true Punch and Judy Show.
Many regional variants of Pulcinella were developed as the character spread across Europe, first as a stringed marionette, then as a glove puppet. In Germany, Punch is called Kasperle or Kaspar, while Judy is "Grete". In the Netherlands, he is Jan Klaassen (and Judy is Katrijn); in Denmark Mester Jackel; in Russia Petrushka; in Romania Vasilache; and in France he has been called Polichinelle since the mid 17th century. A specific version appeared in Lyons in the early 19th century under the name "Guignol"; it soon became a conservatory of Lyons popular language.
In the early 18th century, the marionette theatre starring Punch was at its height, with showman Martin Powell attracting sizable crowds at both Covent Garden and Bath, Somerset. In 1721, a puppet theater that would run for decades opened in Dublin. The cross-dressing actress Charlotte Charke ran the successful but short-lived Punch's Theatre in the Old Tennis Court at St. James's, Westminster, presenting adaptations of Shakespeare as well as plays by herself, her father Colley Cibber, and her friend Henry Fielding. Fielding eventually ran his own puppet theater under the pseudonym Madame de la Nash to avoid the censorship concomitant with the Theater Licensing Act of 1737.
Punch was extremely popular in Paris, and, by the end of the 18th century, he was also playing in Britain's American colonies, where even George Washington bought tickets for a show. However, marionette productions presented in empty halls, the back rooms of taverns, or within large tents at England's yearly agricultural events at Bartholomew Fair and Mayfair were expensive and cumbersome to mount and transport. In the latter half of the 18th century, marionette companies began to give way to glove-puppet shows, performed from within a narrow, lightweight booth by one puppeteer, usually with an assistant, or "bottler," to gather a crowd and collect money. These shows might travel through country towns or move from corner to corner along busy London streets, giving many performances in a single day. The character of Punch adapted to the new format, going from a stringed comedian who might say outrageous things to a more aggressive glove-puppet who could do outrageous—and often violent—things to the other characters. About this time, Punch's wife name changed from "Joan" to "Judy."
The mobile puppet booth of the late 18th- and early 19th-century Punch and Judy glove-puppet show was originally covered in checked bed ticking or whatever inexpensive cloth might come to hand. Later Victorian booths, particularly those used for Christmas parties and other indoor performances, were gaudier affairs. In the 20th century, however, red-and-white-striped puppet booths became iconic features on the beaches of many English seaside and summer holiday resorts. Such striped cloth is the most common covering today, wherever the show might be performed.
A more substantial change came over time to the show's target audience. Originally intended for adults, the show evolved into primarily a children's entertainment in the late Victorian era. Ancient members of the show's cast, like the Devil and Punch's mistress "Pretty Polly," ceased to be included when they came to be seen as inappropriate for young audiences. The term "pleased as Punch" is derived from Punch and Judy; specifically, Mr. Punch's characteristic sense of gleeful self-satisfaction.
The story changes, but some phrases remain the same for decades or even centuries: for example, Punch, after dispatching his foes each in turn, still squeaks his famous catchphrase: "That's the way to do it!!" Modern British performances of Punch and Judy are no longer exclusively the traditional seaside children's entertainments they had become. They can now be seen at carnivals, festivals, birthday parties, and other celebratory occasions.
Characters
The characters in a Punch and Judy show are not fixed as in a Shakespeare play, for instance. They are similar to the cast of a soap opera or a folk tale like Robin Hood. While the principal characters must appear, the lesser characters are included at the discretion of the performer. New characters may be added as the tradition evolves, and older characters dropped.
Along with Punch and Judy, the cast of characters usually includes their baby, a hungry crocodile, a clown, an officious policeman, and a prop string of sausages.[1] The devil and the generic hangman Jack Ketch may still make their appearances but, if so, Punch will always get the better of them. The cast of a typical Punch and Judy show today will include:
Mr. Punch
Judy
The Baby
The Constable
Joey the Clown
The Crocodile
The Ghost
The Doctor
Characters once regular but now occasional include:
Toby the Dog
Hector the Horse
Pretty Polly
The Hangman (a.k.a. Jack Ketch)
The Devil
Characters only seen in a historical re-enactment performance include:
The Beadle
Mr. Scaramouche (Toby's owner)
The Servant (or "The Minstrel")
The Blind Man
Other characters included Boxers, Chinese Plate Spinners, topical figures, a trick puppet with an extending neck (the "Courtier") and a monkey. A live Dog Toby which sat on the playboard and performed 'with' the puppets was once a regular featured novelty routine.
Story
There is no one definitive "story" of Punch and Judy. As expressed by Peter Fraser in Punch & Judy (1970), "the drama developed as a succession of incidents which the audience could join or leave at any time, and much of the show was impromptu." This was elaborated by George Speaight in his Punch & Judy: A History (1970), who explained that the plotline "is like a story compiled in a parlour game of Consequences ... the show should, indeed, not be regarded as a story at all but a succession of encounters." The most recent academic work, Punch & Judy: History, Tradition and Meaning by Robert Leach (1985), makes it clear that "the story is a conceptual entity, not a set text: the means of telling it, therefore, are always variable."
Much emphasis is often placed on the first printed script of Punch and Judy (1828). Based on a show by traveling performer Giovanni Piccini, it was illustrated by George Cruikshank and written by John Payne Collier. Collier, however, in the words of Speaight, is someone of whom "the full list of his forgeries has not yet been reckoned, and the myths he propagated are still being repeated. (His) 'Punch and Judy' is to be warmly welcomed as the first history of puppets in England, but it is also sadly to be examined as the first experiment of a literary criminal."
The tale of Punch and Judy, as previously with Punchinello and Joan, varies from puppeteer to puppeteer and has changed over time. Nonetheless, the skeletal outline is often recognizable. It typically involves Punch behaving outrageously, struggling with his wife Judy and the Baby, and then triumphing in a series of encounters with the forces of law and order (and often the supernatural), interspersed with jokes and songs.
As performed currently in the UK a typical show will start with the arrival of Mr. Punch followed by the introduction of Judy. They may well kiss and dance before Judy requests Mr. Punch to look after the baby. Punch will fail to carry this task out appropriately. It is rare for Punch to hit his baby these days, but he may well sit on it in a failed attempt to "babysit", or drop it, or even let it go through a sausage machine. In any event Judy will return, will be outraged, will fetch a stick and the knockabout will commence. A policeman will arrive in response to the mayhem and will himself be felled by Punch's slapstick. All this is carried out at breakneck farcical speed with much involvement from a gleefully shouting audience. From here on anything goes. Joey the Clown might appear and suggest it's dinner time. This will lead to the production of a string of sausages, which Mr. Punch must look after, although the audience will know this really signals the arrival of a crocodile whom Mr. Punch might not see until the audience shouts out and lets him know. Punch's subsequent comic struggle with the crocodile might then leave him in need of a Doctor who will arrive and attempt to treat Punch by walloping him with a stick until Punch turns the tables on him. Punch may next pause to count his "victims" by laying puppets on the stage only for Joey the Clown to move them about behind his back in order to frustrate him. A ghost might then appear and give Mr. Punch a fright before it too is chased off with a slapstick. In less squeamish times a hangman would arrive to punish Mr. Punch, only to himself be tricked into sticking his head in the noose. "Do you do the hanging?" is a question often asked of performers. Some will include it where circumstances warrant (such as for an adult audience) but most do not. Some will choose to include it whatever the circumstances and will face down any critics. Finally the show will often end with the Devil arriving for Mr. Punch (and possibly to threaten his audience as well). Punch — in his final gleefully triumphant moment — will win his fight with the Devil and bring the show to a rousing conclusion and earn a round of applause.
While Punch and Judy, as with the tale of Robin Hood, might follow no one fixed storyline, there are nevertheless episodes common to many recorded versions. It is these set piece encounters or "routines" which are used by performers to construct their own Punch and Judy shows. A visit to a Punch and Judy Festival at Punch's "birthplace" in London's Covent Garden will reveal a whole variety of changes that are wrung by puppeteers from this basic material and although scripts have been published at different times since the early 19th century none can be claimed as being the definitive traditional script of Punch and Judy. Each printed script reflects the era in which it was performed and the circumstances under which it was printed.
The various episodes of the show are performed in the spirit of outrageous comedy—often provoking shocked laughter—and are dominated by the anarchic clowning of Mr. Punch. While the Victorian version of the show drew on the morality of its day, the Punch & Judy College of Professors considers that the 20th- and 21st-century versions of the tale have evolved into something more akin to a primitive version of The Simpsons, in which a bizarre family is used as vehicle for grotesque visual comedy and a sideways look at contemporary society.
“
In my opinion the street Punch is one of those extravagant reliefs from the realities of life which would lose its hold upon the people if it were made moral and instructive. I regard it as quite harmless in its influence, and as an outrageous joke which no one in existence would think of regarding as an incentive to any kind of action or as a model for any kind of conduct. It is possible, I think, that one secret source of pleasure very generally derived from this performance… is the satisfaction the spectator feels in the circumstances that likenesses of men and women can be so knocked about without any pain or suffering ...
”
—Charles Dickens, The Letters of Charles Dickens Vol V, 1847 - 1849
While censorious political correctness threatened Punch and Judy performances in the UK and other English speaking countries for a time,[2] the show is having one of its cyclical recurrences[3] and can now be seen not only in England, Wales, and Ireland, but also in Canada, the United States (including Puerto Rico), Australia, New Zealand and South Africa. In 2001, the characters were honoured in the UK with a set of commemorative postage stamps, issued by the Post Office.
Published scripts
In 1828, the critic John Payne Collier published a Punch and Judy script under the title The Tragical Comedy or Comical Tragedy of Punch and Judy.[5] The script was illustrated by the well-known caricaturist George Cruikshank. Collier said his script was based on the version performed by the "professor" Giovanni Piccini in the early 19th century, and Piccini himself had begun performing in the streets of London in the late 18th century. The Collier/Cruickshank Punch has been republished in facsimile several times. Collier's later career as a literary forger has cast some doubt on the authenticity of the script, which is rather literary in style and may well have been tidied up from the rough-and-tumble street-theatre original. Punch is primarily an oral tradition, adapted by a succession of exponents from live performances rather than authentic scripts, and in constant evolution. A transcript of a typical Punch and Judy show in London of the 1840s can be found in Henry Mayhew's London Labour and the London Poor.
Allusions in other media
The Tragical Comedy or Comical Tragedy of Mr. Punch: in 1994 DC Vertigo published a graphic novel adaptation by Neil Gaiman with painted and photo art by Dave McKean with the original story and recounting a personal encounter with a puppeteer.
Punch, the former British humour magazine, was named after Mr. Punch.
In the Marx Brothers' 1931 comedy Monkey Business, Harpo joins a live Punch & Judy show (performed by an uncredited Al Flosso, a famous American Punchman) while trying to avoid capture by the crew members of the ship he has stowed away on.
Riddley Walker, a 1980 novel by Russell Hoban, utilizes Punch and Judy characters as quasi-political symbols.
The Old Curiosity Shop, an 1841 novel by Charles Dickens, features the Punch and Judy performing partners Mr. Codlin and Short Trotters.
Red Harvest, a 1929 novel by Dashiell Hammett, of the so-called "hard-boiled" genre, wherein the investigator protagonist, seeking information, uses the esoteric phrase "Hang the Punch and Judy on me." This is in reference to a freshly committed shooting murder, and seems akin to him wanting the "lowdown" or "skinny".
Punch and Judy inspired an opera of the same name by Harrison Birtwistle in 1967.
A Child Again, a short-story collection by Robert Coover, includes a story entitled Punch.
The Tragical Comedy or Comical Tragedy of Mr. Punch, a 1995 graphic novel by writer Neil Gaiman and artist Dave McKean, explores a boy's memories triggered by a Punch and Judy show.
Jasper Fforde's fantasy novel The Fourth Bear utilizes Punch and Judy, and other traditional fictitious characters.
Czech filmmaker Jan Švankmajer produced a short film, Punch and Judy (1966), on a violent theme.
Shinichiro Watanabe's Cowboy Bebop has two characters named Punch and Judy, who host the unsuccessful bounty hunter-oriented TV show "Big Shot" on a recurring basis throughout the series.
The band Marillion had a #29 hit in the UK in 1984 with a song entitled "Punch and Judy".
The band Lightning Seeds' album Jollification features a song called "Punch and Judy", that deals with issues of domestic violence.
The band Coldplay used Punch and Judy in their video "Life in Technicolor II".
Elliott Smith wrote the song "Punch and Judy", comparing the violent relationship of a friend and the puppet characters.
In the Walt Disney film The Little Mermaid, the heroine Ariel accidentally pulls a puppet off the hand of a performer uttering the words "Oh, Judy!", only to find that it is not real.
In the film Time Bandits, a Punch and Judy show is seen when the characters are transported back in time.
The Punch cigar brand was named after Mr. Punch, and features him on the label.
Ronni Ancona made a sketch about the making of Punch, the Movie starring actor Robert De Niro.
In the film Charade, Cary Grant meets Audrey Hepburn at a Punch & Judy performance.
The puppet characters appear in the Jeeves and Wooster episode, "Kidnapped!"
In the cartoon series The Batman, Punch and Judy are the names of the Joker's henchmen.
The 1963 Ingmar Bergman film The Silence (or Tystnaden) features a boy, Johan, who plays with Punch and Judy dolls.
The University of Melbourne student union's women's-oriented magazine is called Judy's Punch.
The 1987 horror film Dolls by director Stuart Gordon features a young girl named Judy, who is gifted with a Punch doll that comes to life and protects her.
In The Anubis Gates by Tim Powers, the clown-magician Horrabin is introduced performing a morbid version of the Punch story.
In the Explorers on the Moon comic featuring the eponymous character Tintin, Captain Haddock alludes to the Thompson Twins as being perfect for a Punch and Judy show near the Sea of Nectar (on the moon).
In the 1996 Disney film "The Hunchback of Notre Dame (1996 film)." During the song "Topsy Turvy," Hugo and Quasimodo appear in a Punch and Judy style booth, and Hugo hits Quasimodo over the head with a puppet resembling Judge Frollo.
In the 2011 Super Bowl Episode of Glee, one of the football plays is called a "Punch and Judy".
The DC Comics villains Punch and Jewellee, wearing greasepaint and harlequin clothing styled after Punch and Judy puppets, appeared regularly in the pages of Suicide Squad.
In the computer-set cartoon, ReBoot, in the episode, "The Crimson Binome", s puppet show is performed called "Punchcard and Qwandy", a reference to "Punch and Judy".
In the film The Santa Clause, when Tim Allen is changing and removing his trousers, Mr. Punch and Judy puppets laugh and comment.
In the Comic series Girl Genius, the main character's foster parents are named Punch and Judy.
In the 1983 Doctor Who serial Snakedance, a Punch & Judy performance is seen that ends with Punch being eaten by a snake puppet representing the Mara, the antagonist of the serial.
In Mrs. Miniver, by Jan Struther, the chapter "On Hampstead Heath" includes a Punch and Judy show attended by Mrs. Miniver and her family.
In Midnight Riot by Ben Aaronovitch the main antagonist is the ghost of Mr. Punch and murders in a style that mirrors the Punch and Judy story.[6]
Game designer John Tynes created a role-playing game called Puppetland based on the Punch and Judy shows and stories.
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There are several very fine murals on the main street of Athens, Ontario. They all depict life in 1910. This photo is of a small part of quite a large mural.
©AnvilcloudPhotography
Fresco depicting the 'Hierogamia', the divine wedding between Hera and Zeus, in the presence of Iris and amid personifications
of renewed nature.
Pompeil, House of the Tragic Poet (VI 8, 5, atrium 3).
45-79 CE
Museo Archeologico Nazionale di Napoli (MANN inv. 9559)
By the 1430s, Rome was forced to acknowledge the strength and determination of the Hussites and officially recognise the beliefs of the Utraquist Church in a treaty called the Basel Compacts.
In 1458 Bohemia elected its first native Czech king in around 150 years, Jiří z Podĕbrad, who became an extremely popular ruler. In 1462, King Jiří sent a delegation to Rome to confirm his election and the religious privileges that had been granted to the Utraquist Church in the Basel Compacts. Not only did Pope Pius II refuse to recognise the treaty; he sent one of his cardinals back to Prague to order Jiří z Podĕbrad to ban the Utraquist Church and return the kingdom of Bohemia to the rule of Rome.
In this painting, Mucha depicts Cardinal Fantin’s visit to Prague and his ensuing confrontation with King Jiři. Cardinal Fantin stands arrogantly in red robes as the king kicks over his throne in anger and defiance. His refusal to acknowledge the papal authority is met by awe and astonishment among the members of his court. A young boy in the foreground closes a book entitled Roma, indicating that the period of cooperation with Rome has come to an end.
This photo depicts a serene beach scene at sunset. The sky is painted with hues of orange and pink, casting a warm glow over the entire scene. The sun is setting over the horizon, its reflection dancing on the water's surface. The beach is lined with palm trees, their silhouettes standing tall against the vibrant sky. The sand, a light beige color, is speckled with footprints, hinting at the presence of people enjoying the tranquility of the moment. The perspective of the image is from the shore, looking out towards the water, giving a sense of vastness and depth to the scene. This photo does not provide any specific information about the landmark.
Cette maison a pris son nom grâce à la présence d’une fresque provenant du plafond représentant Dionysos sur une panthère exposée aujourd’hui au musée du Bardo.
C’est une maison à péristyle incomplet ne comportant que trois portiques. Deux d’entre eux se prolongent par deux couloirs encadrant le triclinium (la salle à manger). Toutes les salles de la maison étaient pavées de mosaïques dont certaines sont exposées aujourd’hui au musée de Sfax.
zaherkammoun.com/2017/02/23/le-site-archeologique-de-thyn...
The mosaic represents two masks leaning on a socle projecting out from two walls that meet at an angle, seen in perspective. Two flutes lean on one wall. Their shadows project onto the wall. The female mask depicts a woman with large eyes and wide-open mouth. A ribbon, knotted into a bow at the center of her brow, appears in her curly hair with long ringlets. The physiognomic features of the man are exaggerated and ridiculed. The mouth is enormous, the nose is large and squashed. The eyes bulge out, and the cheeks are wrinkled. On his head is a crown of ivy and berries, decoration associated with the cult of Dionysus, which was linked closely to the birth of the Greek theater.
en.museicapitolini.org/collezioni/percorsi_per_sale/palaz...
The Madghacen is a mausoleum (also spelled Medracen or Imedghassen) derived from the ancient Numidian type of the bazina, composed of a cylindrical base with a stepped conical covering. It is surrounded by sixty columns of the Doric building order and has a diameter of 59 metres. It is about 19 meters high. Radiocarbon dating suggests that the mausoleum was constructed in the 3rd century BC.