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Statue of George Washington at Washington College in Chestertown, MD. Washington College is the 10th oldest college in the US. GW also supported the founding of the college.
Minister of finance George Papaconstantinou in parliament with the vice president of the goverment Theodoros Pangalos
I first met George six months ago, in May 2014. He hopes to get to Florida before the bitter cold sets in.
By the Gentleman's conveniences in St James Barton underpass (aka the Bearpit). Bristol.
Bit weird....
The Seventh Letter and Known Gallery proudly present:
GEORGE THOMPSON - REVISIONIST HISTORY featuring new works by DAVID CHOE
Opening reception Saturday February 19th, 2011 at 8-11pm
Show runs: February 19th - March 12th, 2011
Known Gallery
441 North Fairfax Avenue
Los Angeles, CA 90036
310-860-6263
info@knowngallery.com
One for Sunday morning. Sorry I haven't commented much lately - busy, busy, busy, but will catch up. Thanks for all your views and comments recently.
St George Wharf Tower, also known as the Vauxhall Tower or The Tower, is a residential skyscraper under construction in Vauxhall, London, as part of the St George Wharf development. At 181 metres (594 ft) tall with 50 storeys, when completed it will be the tallest solely residential building in the UK.
The building's construction crane was hit by a helicopter in January 2013, causing two deaths.
George Clair Tooker (August 5, 1920 - March 27, 2011) was an American figurative painter. He was raised in Brooklyn Heights and Bellport, New York, along with his sister, Mary Fancher Tooker. Tooker wanted to attend art school rather than college, but ultimately abided by his parents' wishes and majored in English literature at Harvard University, while still devoting much of his time to painting. Tooker died on March 27, 2011, due to kidney failure.
gandalfsgallery.blogspot.com/2012/03/george-tooker-coney-...
A statue of King George towers over George Square in Glasgow, Scotland.
Jon Reid | Portfolio | Blog | Tumblr
George Square is the principal civic square in the city of Glasgow, Scotland. It is named after King George III. Laid out in 1781, George Square is today home to the headquarters of Glasgow City Council.
A George V postbox, which the internet tells me will be from 1910-35. I uploaded a later one (George VI) elsewhere.
This is in Elie, Fife. (Near the corner of Park Place and Woodside Road).
Fuji RDP100 35mm slide film, Olympus OM2SP.
Standard consumer E6 chemicals, processed at home.
Digitized using a Nikon D7000 dslr, Nikkor 40mm lens, JJC ES-2 adapter.
RAW file edited in Photoshop Elements 11.
Homemade George Washington doll wearing a black wool suit, crocheted jacket, cuffs. The hands are crocheted also and the shoes have metal buckles and are stiffened with wax. He also wears a white kid masonic apron, breeches, and silk hose. A sculpted face is crocheted over composition, with fine blonde hair, eyes, eyebrows and mouth.
In the collection of the Hingham Historical Society [DOLL14].
The Church of the Assumption is a Roman Catholic church within George Town in the Malaysian state of Penang. Established following the founding of George Town in 1786, it is the third oldest Catholic church in Malaysia. The church was also the seat of the bishop of Penang from 1955 to 2003. Source: Wikipedia
The present building was erected in 1860, under the leadership of Father Manissol.
For stealing a watch, George Bell was sentenced to 2 months in Newcastle City Gaol in 1873.
Age (on discharge): 24
Height: 5.4½
Hair: Brown
Eyes: Grey
Place of Birth: Hexham
Status: Single
Occupation: Striker
These photographs are of convicted criminals in Newcastle between 1871 - 1873.
Reference:TWAS: PR.NC/6/1/1137
(Copyright) We're happy for you to share this digital image within the spirit of The Commons. Please cite 'Tyne & Wear Archives & Museums' when reusing. Certain restrictions on high quality reproductions and commercial use of the original physical version apply though; if you're unsure please email archives@twmuseums.org.uk.
To purchase a hi-res copy please email archives@twmuseums.org.uk quoting the title and reference number.
Bain News Service,, publisher.
Fred I. Thompson
[between ca. 1920 and ca. 1925]
1 negative : glass ; 5 x 7 in. or smaller.
Notes:
Title from unverified data provided by the Bain News Service on the negatives or caption cards.
Forms part of: George Grantham Bain Collection (Library of Congress).
Format: Glass negatives.
Rights Info: No known restrictions on publication. For more information, see George Grantham Bain Collection - Rights and Restrictions Information www.loc.gov/rr/print/res/274_bain.html
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
Part Of: Bain News Service photograph collection (DLC) 2005682517
General information about the George Grantham Bain Collection is available at hdl.loc.gov/loc.pnp/pp.ggbain
Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/ggbain.34763
Call Number: LC-B2- 5806-10
French postcard by Editions du Globe, no. 238. Photo: Studio Harcourt.
Singer-songwriter and poet Georges Brassens (1921-1981) is an iconic figure in France. He wrote and sang, with his guitar, more than a hundred of his poems, as well as texts from many others such as Victor Hugo, Paul Verlaine, or Louis Aragon. Between 1952 and 1976, he recorded fourteen albums that include several popular French Chansons. Most of his texts are black humour-tinged and often anarchist-minded. His most famous film is Porte des Lilas/Gates of Paris (René Clair, 1957).
Georges Charles Brassens was born in 1921 in the town of Sète, a town in southern France near Montpellier. Brassens grew up in the family home in Sète with his mother, Elvira Dagrosa, father, Jean-Louis, half-sister, Simone, and paternal grandfather, Jules. His mother was a devout Roman Catholic, while his father was an easy-going, generous, openminded, anticlerical man. Brassens grew up between these two starkly contrasting personalities, who nonetheless shared a love for music. His mother, Simone and Jules, were always singing. This environment imparted to Brassens a passion for singing that would come to define his life. A poor student, Brassens performed badly in school. Alphonse Bonnafé, his literature teacher strongly encouraged the 15-years-old Braassens’s apparent gift for poetry and creativity. Bonnafé would later write the first Brassens biography in 1963. Georges listened constantly to his early idols: Charles Trenet, Tino Rossi, and Ray Ventura. At age seventeen, Georges and his gang started to steal from their families and others. Georges stole a ring and a bracelet from his sister. The police found and caught him, which caused a scandal. The young men were publicly characterized as ‘voyous’ (high school scum). Brassens was expelled from school. Following a short trial as an apprentice mason in his father's business, he moved to Paris in 1940 to live with his aunt and work at the Renault car factory. In the meantime, he learned piano and wrote some of his first original compositions. He stayed there after World War II had broken out while he felt that this was where his future lay and wrote his first collection of poems. Brassens published two short poetry collections in 1942, thanks to the money of his family and friends. In 1943, he was forced by the Germans to work in a labor camp at a BMW aircraft engine plant in Basdorf near Berlin in Germany. Here Brassens met some of his future friends, such as Pierre Onténiente, whom he called Gibraltar because he was "steady as a rock." Onténiente later became his right-hand man and his private secretary. After being given ten days' leave in France, he took refuge in a small cul-de-sac called "Impasse Florimont," in the 14th arrondissement of Paris. Without much else to occupy him, Brassens spent his days composing songs and writing music, eventually teaching himself the guitar based on his prior experience with the mandolin. There he lived for several years with its owner, Jeanne Planche and her husband Marcel in relative poverty: without gas, running water, or electricity. Brassens remained hidden there until the end of the war five months later, but ended up staying for 22 years. Planche was the inspiration for Brassens's song Jeanne.
In 1946, after the war had ended, Georges Brassens published the first of a series of virulent, black humour-tinged articles in the anarchist journal Le Libertaire. The following year, he also published his first novel, La Lune Écoute Aux Portes, and met Joha Heiman, the woman he would love -- and write about -- for the remainder of his life. His friends who heard and liked his songs urged him to go and try them out in a cabaret, café or concert hall. He was shy and had difficulty performing in front of people. At first, he wanted to sell his songs to well-known singers such as "les frères Jacques". In 1952 he met the singer Patachou, owner of a very well known cafe, Les Trois Baudets. Though Brassens had never considered himself a singer, Patachou convinced him to try his hand at performing himself. A bass player present at the audition, Pierre Nicolas, quickly joined Brassens in support, and would serve in that capacity for the remainder of the singer's career. Jacques Brel and Léo Ferré came also into the music industry with the help of Patachou. With her help, Brassens met Polydor exec Jacques Canetti, and landed a record deal. His first single, Le Gorille, was released later in 1952, and stirred up controversy with its strong anti-death penalty stance; in fact, it was banned from French radio until 1955. In these years, Brassens achieved fame with his elegant songs with their harmonically complex music for voice and guitar and articulate, diverse lyrics. He won the prestigious Grand Prix du Disque de l'Academie Charles Cros in 1954 for his EP Le Parapluie, and spent much of the year touring Europe and northern Africa. In 1957, he made his film debut in Porte des Lilas/Gates of Paris (René Clair, 1957). An old bum (Pierre Brassens) becomes infatuated with a pretty young girl (Dany Carrel) who gets entangled with a young gangster (Henri Vidal). Brassens played an important part as an the bum’s friend, L'Artiste, a taciturn, solitary bard, whose character seems to have been based on Brassens himself. Peter Beagle at IMDb: “The film turned out to be a delightful, warmhearted work, holding up remarkably well on repeated viewings, and Brassens makes an excellent deadpan foil for the great Pierre Brasseur. And the songs he wrote for the film remain among the best of his classic repertoire.” Brassens performed his songs in several other films, but his main focus was live performing. He later on made several appearances at the Paris Olympia and at the Bobino music hall theater. He toured with Pierre Louki, who wrote a book of recollections entitled Avec Brassens. During these performances he accompanied himself on acoustic guitar. Most of the time the only other accompaniment came from his friend Pierre Nicolas with a double bass, and sometimes a second guitar (Barthélémy Rosso, Joël Favreau). He released several more LPs over the remainder of the 1950s, during which time chronic kidney ailments began to affect his health, resulting in periodic hospitalizations. In the following decades he continued to tour. His songs often decry hypocrisy and self-righteousness in the conservative French society of the time, especially among the religious, the well-to-do, and those in law enforcement. The criticism is often indirect, focusing on the good deeds or innocence of others in contrast. His elegant use of florid language and dark humor, along with bouncy rhythms, often give a rather jocular feel to even the grimmest lyrics. Brassens’s lyrics are difficult to translate, though his work is translated in more than 20 languages. Georges Brassens died of cancer in 1981, in Saint-Gély-du-Fesc, having suffered health problems for many years. He was 60. Brassens rests at the Cimetière le Py in Sète.Steve Huey at AllMusic: “Along with Jacques Brel, he became one of the most unique voices on the French cabaret circuit, and exerted a tremendous influence on many other singers and songwriters of the postwar era. His poetry and lyrics are still studied as part of France's standard educational curriculum.”
Sources: Peter Beagle (IMDb), Steve Huey (AllMusic), Wikipedia and IMDb.
French postcard.
Handsome and athletic Georges Marchal (1920-1997) was one of the main lead actors in the French cinema of the 1950s, together with Jean Marais. He starred in several costume dramas and Swashbucklers and later appeared in films of Luis Buñuel.
Georges Marchal was born as Georges Louis Lucot in Nancy, France, in 1920. In Paris, he followed secondary school, and then took classes in ballet and acrobatics. Many odd jobs followed, like courier, docker at the Les Halles market, and assistant at the Medrano circus. He enrolled in the course of Ms. Calvi, and was hired at the Théâtre du Palais-Royal for the play 'Permission de détente' (Permission to relax) by Yves Mirande. At 20, he joined the Comédie-Française to play in 'Iphigénie et Psyché' (Iphigenia and Psyche). He soon also played in boulevard comedies. His film career started with the comedy Fausse alerte/The French Way (Jacques de Baroncelli, Bernard Dalban, 1940) starring Josephine Baker, which was only released in 1945. During the Occupation days, he was noted in Lumière d'été/Summer Light (Jean Grémillon, 1943) opposite Madeleine Renaud, Vautrin/Vautrin The Thief (Pierre Billon, 1943) with Michel Simon, and after the war, in Au grand balcon/The Grand Terrace (Henri Decoin, 1949) with Pierre Fresnay, about the heroic pilots who struggled, suffered and often died to carry the mail. He became the typical Jeune Premier of the French post-war cinema and posed as a rival of Jean Marais although he didn’t reach the same level. In 1951, he assumed the title role in Il naufrago del Pacifico/Robinson Crusoe (Jeff Musso, 1951), and for Sacha Guitry, he played the young Louis XIV in the star-studded Si Versailles m'était conté/Affairs of Versailles (Sacha Guitry, 1953). In 1951, he married actress Dany Robin. They were both young, beautiful, adored, and preserved their privacy in a house of Montfort l'Amaury. They made six films together, including La Voyageuse Inattendue/The Unexpected Voyager (Jean Stelli, 1949), based on an old script by Billy Wilder, and the comedy Jupiter (Gilles Grangier, 1952). Georges’ talent as a stuntman did wonders for his parts in costume films and swashbucklers such as Messalina (Carmine Gallone, 1952) with Maria Félix, Teodora, imperatrice di Bisanzio/Theodora, Slave Empress (Riccardo Freda, 1954) with Gianna Maria Cannale, and Les trois mousquetaires/The Three Musketeers (André Hunebelle, 1953) in which he featured as D'Artagnan.
The arrival of the Nouvelle Vague (New Wave) sounded like the death knell for Georges Marchal. He moved to Italy to continue his career. With his muscular body, he was an ideal hero for the Peplum films (the Italian sword and sandal epics). He appeared in a dozen of them, including Nel Segno Di Roma/Sheba and the Gladiator (Guido Brignone - and uncredited Riccardo Freda and Michelangelo Antonioni, 1958) with Anita Ekberg, Le Legioni di Cleopatra/Legions of the Nile (Vittorio Cottafavi, 1959) with Linda Cristal, and Sergio Leone's first solo directorial effort, Il colosso di Rodi/The Colossus of Rhodes (Sergio Leone, 1961) with Rory Calhoun. Marchal was a close friend of Luis Buñuel and also one of his preferred actors. Marchal starred in four of his films: Cela s'appelle l'aurore/That is the Dawn (1955) with Lucia Bosé, La mort en ce jardin/Death in the Garden (1956) with Simone Signoret, Belle de jour/Beauty of the Day (1967) with Catherine Deneuve, and La voie lactee/The Milky Way (1969) with Laurent Terzieff. Other interesting films he appeared in were the anthology film Guerre secrète/The Dirty Game (Terence Young, Christian Jaque, Carlo Lizzani, Werner Klinger, 1965) with Robert Ryan, the Romanian historical epic Dacii/The Dacians (Sergiu Nicolaescu, 1967) with Pierre Brice, Faustine et le bel été/Faustine and the Beautiful Summer (Nina Companeez, 1972) and Les Enfants du placard/The Closet Children (Benoît Jacquot, 1977) with Lou Castel. During the 1970s, he focussed on television and appeared in Quentin Durward (Gilles Grangier, 1971), as Philip IV the Fair in Les Rois maudits/The Accursed Kings (Claude Barma, 1972), Gaston Phébus (Bernard Borderie, 1977), and Les grandes familles/The Great Families (Edouard Molinaro, 1988) with Michel Piccoli. He played a seductive older man in three TV-films based on the legendary Claudine novels by Colette, Claudine à Paris/Claudine in Paris (1978), Claudine en ménage/Pauline Engaged (1978) and Claudine s'en va/Claudine Goes (1978), all starring Marie-Hélène Breillat and directed by Edouard Molinaro. He also played Claude Jade's father in the fine TV Mini-series L'Île aux trente cercueils/The Island of Thirty Coffins (Marcel Cravenne, 1979). He retired in 1989. His last film appearance had been as General Keller in L'Honneur d'un capitaine/A Captain’s Honour (Pierre Schoendoerffer, 1982) about the French army's behaviour in Algeria. Georges Marchal died in 1997 in Maurens, France, following a long illness. He was married to Dany Robin from 1951 till their much-publicised divorce in 1969. He remarried in 1983 to Michele Heyberger.
Sources: Hal Erickson (AllMovie), Pablo Montoya (IMDb), Ciné-Ressources, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Evening sun on the Glasgow City Chambers. The column is the memorial to author Walter Scott, who had a house on George Square.
George Thorogood and the Delaware Destroyers have released sixteen studio albums, including two that were certified Platinum, six that have been certified Gold, and have sold 15 million albums worldwide.
Camilla George
Brussels Jazz Festival 2025, Day 6
in collaboration with Jazz re:freshed
15-Jan-2025
Flagey Brussels, studio 1
Camilla George - saxophone
Renato Paris - Keys, vocal
Jihad Darwish - Bass
Rod Youngs - Drums
© Photography Patrick Van Vlerken 2025
The King of Selene, a city in Libya, had one daughter, named Cleodolinda.
Cleodolinda was a sweet maid, moving gently, and thinking gentle thoughts. Her form was fair, her eyes were clear and lustrous, and her heart was pure. She was as sweet as a summer morning, and as brave as a winter sun. Wherever she went she was welcome, for she carried joy with her. It seemed as if the earth were fairer where her shadow fell.
The King loved this Princess with a love that filled his whole heart with gladness. He knew her thoughts, felt her emotions, and shared her griefs. She was dearer to him than aught else in the world.
When Cleodolinda was fourteen years of age, the King thought he had never seen anything more beautiful than she. On that day he said to one of his courtiers: "Of all men on earth I am most happy. My country is at peace, the Queen my consort is amiable, and my daughter is as fair as she is good. I have nothing left to desire."
The courtier replied: "Sire, so gracious a monarch deserves only happiness."
But as the words were spoken a shadow fell, none knew whence, and encircled the King. And looking upon it, he replied, though fearing nothing: "There is none so gracious that grief may not fall upon him, and I know not why I have been more blest than other men."
That night, as the watchman went round the walls of Selene, he felt upon the air a most poisonous vapour that came from without the walls. And even as he wondered, the fumes of the poison became too much for him, and he fell over, and in a little time expired.
Now he had not long been lying there when a knight passed that way, and he had gone but a short distance beyond the spot where the body of the watchman lay, when he felt upon the air an odour most subtle and unpleasant. And it seemed to him that it came from without the city walls, where lay bogs and marshes and damp grounds. But even as the thought passed through his brain, the poisonous fumes became too much for him, and he, too, fell to the ground.
And in the morning another watchman, making his round, found his fellow dead beside the city wall, and, a little distance from him, the dead knight. And upon the air was a faint odour that was unpleasant to the nostrils.
Then the watchman scaled the wall, and, having glanced over, he perceived a huge beast which crawled away from the city and toward the marshes. As it crawled it flapped two great black wings, and from its nostrils belched out a black flame which contained those poisonous fumes of which the watchman felt the trace. Its body was covered with scales, so strong and smooth that they were like a knight's armour; and in shape it was half crawling beast, half loathsome bird. As the watchman observed it, the dragon crawled into the farther part of the marshes, and lay still.
Then the watchman hurried him to those in authority to report this affair; and when the matter came to the King's ears, he was greatly disturbed, for he remembered the shadow that had fallen upon him, and, despite himself, he was filled with fears. Yet the fears were not for his own safety.
And he roused himself to give orders that none should go outside the city walls till the dragon had gone back whence it came.
So the long day through no man went outside the city walls, but many adventurous persons, having gained a perch upon the walls, observed the dragon, which had come into the sunlight, and could be seen lying there.
These saw when, in the evening, the dragon roused itself, and rolling over its loathsome body, started to crawl toward the city. It crawled on four twisted feet, and pushed itself with its wings; and its eyes shone like red flames. As this vile creature approached, the people were afraid, and retreated into the city, for they knew not for what purpose the dragon came.
When it had reached the gates of the city, it took up a position close to them; and from its nostrils it poured terrible fumes, so that the people were like to die.
Then the King called together his knights, and one, who was braver than any other, declared that he would discover from the dragon its purpose in so haunting the city. And having entreated the dragon to cease casting out its poison while he spake with it, he approached and asked for what purpose it had come to the gates of Selene.
The dragon replied, by signs and hoarse noises, that it would only depart from the city gates and cease troubling the people of Selene with its poison, if it were granted a meal of two sheep a day.
When the King heard of this reply, he ordered that two sheep should be set aside every day for the dragon, and put without the city walls.
And when the dragon had on that day received two sheep, it devoured them, and crawled back to its lair.
But it remained in the marshes, and not far from the city, so that none might enter the city or come out of it for fear of the dragon. And every day it roused itself, and crawled to the gates to receive its meal of two sheep.
But after a time the sheep became few in number, so that there would not long be enough to feed the dragon; and the people were possessed with fear.
Then came to the King the bravest knights of Selene, praying him that he would allow them to go out and do battle with the dragon.
"For the sheep are few in number," said they; "and what is to be the fate of the people of Selene when they have nothing with which to feed the dragon?"
The King replied: "My brave knights, I fear me that ye go to your deaths. Yet can I neither forbid nor dissuade ye, for the fate of my people lies heavy on my heart."
Having so spoken he became silent, for the foreboding was upon him that darker trouble was to come upon the people of Selene.
Then went out the knights to do battle with the dragon. And when it perceived them issue from the city gates, it forsook its lair and ran toward them with a most incredible speed, resting partly upon its body, and partly upon its wings. And, having come near, it fell upon them, breathing out its terrible poison, and lashing them with its wings. And, since the knights could neither pierce the scales with which its body was covered, nor stun the creature with the hardest blow, they were speedily overcome by the fumes that emanated from it. And they perished, one and all.
Then there was weeping in Selene for the fate of the bravest of her knights. And while the people wept, they trembled, for the sheep that remained were few.
When there was no longer one left to offer to the dragon, it lay again by the city gates, and threw its poison into the city.
And the King, moving as one moves in an evil dream, facing a horror only half understood, went to the gates of the city, and called upon the dragon to cease its poison for a time since he would talk with it.
And he asked of it why it had come to torment the people of Selene. But to that the dragon would answer nothing.
Then said the King: "Our sheep are all finished, and indeed there is little food of any kind in Selene. Since this be so, wilt not thou leave our gates, and return to thine own place?"
But the dragon, lifting its loathly head, made answer, by signs and noises: "I will not return to it. Let me be granted one child a day for my meal, and I will not molest the people of Selene." And it would say no more.
Then the King went back the way he had come, and he walked heavily, for in his breast his heart was turned to stone. And he was filled with one great fear.
Cried the people of Selene: "We care no longer to live, since our children are to be taken from us!"
Nevertheless, because the poison from the dragon was reaching everywhere, so that none could escape, they promised, with bitter weeping, to offer up one child a day, hoping that the dragon would return to its home ere all the children were devoured.
And every day lots were cast. And upon whom fell the lot, a child of his was delivered to the dragon. And any child was sacrificed who was not yet fifteen years of age.
The Princess Cleodolinda was aged fourteen. Every day her eyes were dim with tears for the child who was that day sacrificed. But her father, the King, never wept. His eyes were dry, and his face pale. For his heart contained but one fear.
Then came a day when the lot fell upon the Princess Cleodolinda, and she must be delivered to the dragon.
The King's fear was fulfilled, yet he could not weep. And flinging out his hands he cried: "The Princess shall not be sacrificed! I will yield to ye everything, my wealth, my possessions, myself – but not my daughter."
But the people replied, yet without anger: "Have not we yielded our children, whom we loved; and shalt thou do less than we, O King?"And the King could not answer.
But after a while he said: "Ye will grant to me eight days to mourn for her, and to learn by heart her beauty, for I have loved her passing well."
The people replied: "We will sacrifice our own children for eight days."
Thus for eight days the King mourned his daughter Cleodolinda, whom he loved beyond aught else in the world; and the people mourned with him, for she was well beloved. But the Princess would not weep. For she said: "I am ashamed to weep for myself, I who am a King's daughter; and I die gladly for the people of Selene."
When the eight days were over, women clad the Princess in white garments, and she was placed outside the city wall to await the coming of the dragon.
Then, to still her heart's loud beating, she crossed her hands upon her breast; and to keep her eyes from wavering, she bent them upon the ground; and she thought of the people of Selene, for whom she was to die.
Now she had been standing thus but a short time, when she heard upon the ground the noise of a horse's hoofs, and looked up to see who it was that approached so near to the city of Selene.
And, having looked, her heart was filled with fear, for she beheld a knight of a fairer presence than any she had seen, and of a wondrous gentleness; and she perceived that he knew not of the dragon.
This knight was a soldier of the Emperor Diocletian, one who had risen to high honour in the army, and who was passing through Libya to join his men. When he perceived the Princess, standing pale and trembling outside the walls of the city, he paused on his way, to ask what was her distress.
But the Princess, in a great agitation, replied: "Ah, sir, do not wait to question me, but press on thy way! For know, in yon marshes lurks a fearful dragon who has been the death of many a noble knight. Press on, I beseech thee, ere it issue from its lair."
But the knight replied: "I cannot press on and leave thee unprotected against the dragon."
And at that moment the dragon bestirred itself, and began to crawl from its hiding-place.
"Alas," cried Cleodolinda, "the dragon is upon us! I beseech thee, Sir Knight, leave me before it be too late!"
But the knight, turning him about, bade her remain where she was, and went out to meet the dragon.
When it observed him approach, the beast was struck with amazement, and, having paused for but a moment, it ran toward the knight with a great swiftness, and beating its dark wings upon the ground as it ran.
When it drew near to him, it puffed out from its nostrils a smoke so dense that the knight was enveloped in it as in a cloud; and darted hot flames from its eyes. Rearing its horrid body, it beat against the knight, dealing him fearful blows; but he, bending, thrust his spear against it, and caught the blows upon his shield.
And having cast all his strength into it, he dealt the dragon a deadly thrust; but the spear glanced aside, for the scales of the beast were like steel plates, and withstood the blow. Then the dragon, infuriated by the thrust, lashed itself against the knight and his horse, and threw out a vapour deadlier than before, and cast lightnings upon him from its eyes. And it writhed, an evil thing, about him, so that one would have said he must have been crushed; and wherever he thrust at it, that part was as if it had been clad in mail.
The fight lasted a long time, and the knight grew weary, though he fought with as great an ardour as at first. Through the deadly fumes that issued from the dragon the Princess could see his face shine out, and she saw that it was pale, yet lighted up by some radiance that shone from within. As he thrust at the dragon, this radiance grew greater, so that at last it was like the light of the sun.
But the dragon looped itself about the knight, and its poison was heavy upon him, so that to breathe was almost more pain than he could bear. Then he perceived that, no matter how the dragon writhed, it sought always to protect one place in its body – that place which lay beneath its left wing. And, nerving himself for a great blow, the knight bent himself downward, and thrust his spear with a turn into that place.
So great was the strength required for the thrust that the knight left the spear in the wound for weariness; and as he raised himself he felt the dragon's clasp upon him loosen. Then the smoke ceased to belch from its nostrils, and the great beast fell to the ground.
Perceiving that the dragon was now helpless, though not dead, the knight called joyfully to the Princess; and he bade her that she should loosen her girdle, and give it to him. When this was done, the knight bound it about the neck of the dragon, and gave the girdle-ends into the hand of the Princess that she might lead the dragon toward the city.
Thereafter, when they had reached the city gates, these were opened to them with great joy by the people of Selene, who had watched from the city this great fight; and all were astonished to behold the loathsome dragon so guided by the Princess.
With his sword, and in the presence of all people, the knight despatched the dragon; and when this was done, he would have gone on his way.
But the King said: "What shall be given to this brave knight, who hath so rid us of our enemy, and hath restored to us the Princess Cleodolinda, and saved our children?"
And the people cried of honours, and wealth, that should be given to the knight.
But he, when all had finished, thus replied: "I desire only that ye believe in the God who strengthened my hand to gain this victory, and be baptised."
And when he had baptised the city into the Christian faith, he went on his way.
Another fine example of Comper's work in Southwark Cathedral: this time a war memorial c.1921-3 featuring St George, located in the retro-choir.
Two young members of the Sabatka family: Joseph and George from Platsmouth, Nebraska. I have another photo of two more Sabatka boys with the same chair and possibly the same rug from a different studio in the same town. Perhaps the name changed or it was a time share studio? I also have a large family photo which includes Joseph at a younger age, however, it might be awhile before I can post it as it's too big for my scanner and I have yet to figure out how to upload pictures from my camera to my computer.
I love George's little hat. it looks as if it might have been hand-knitted. Perhaps for his brother before him (it doesn't quite look brand new to me). My favorite thing about this photo however, is the strong resemblance between the two of them. George looks just like a younger version of his older brother. I wish I had more pictures of the two of them to see if the resemblance lasted.
French postcard by Cinémagazine-Edition, Paris, no. 769. Sent by mail in 1931.
Burly, beefy and tall George Bancroft (1882-1956) was an American film and stage actor who played many ill-tempered tough guys. He received an Oscar nomination for his part as Thunderbolt Jim Lang in Josef von Sternberg's gangster film Thunderbolt (1929). Bancroft is also well remembered as Marshal Curly Wilcox in John Ford's Western Stagecoach (1939).
George Bancroft was born in 1882 in Philadelphia, Pennsylvania. He attended high school at Tomes Institute in Port Deposit, Maryland. After working on merchant marine vessels at age 14, Bancroft was an apprentice on the USS Constellation and later served on the USS Essex and the West Indies. Additionally, during the Battle of Manila Bay (1898), he was a gunner on the USS Baltimore. During his days in the Navy, he staged plays aboard ship. In 1900, he swam underneath the hull of the battleship USS Oregon to check the extent of the damage after it struck a rock off the coast of China. For this, he won an impressive appointment to the United States Naval Academy at Annapolis. He graduated as a commissioned officer, and served in the Navy for the prescribed period of required service but no more. He decided to turn to show business, first as a theatre manager. In 1901, Bancroft began acting in earnest, as he toured in plays and had juvenile leads in musical comedies. In vaudeville, he did blackface routines and impersonated celebrities. By 1923, he was good enough for Broadway and spent about a year there doing two plays, the musical comedies Cinders (1923) and The Rise of Rosie O'Reilly (1923). Two years earlier, he had already made his first appearance in the silent film The Journey's End (1921). Being a big man with dark features, he was a natural for heavies. And it seemed that early Westerns were an easy fit as well after his first four films. Through 1924 and into 1925, he did four, culminating with pay dirt in his appealing performance as rogue Jack Slade in the silent Western The Pony Express (James Cruze, 1925). With him was another up-and-coming character actor, Wallace Beery. Bancroft's acting made Paramount Pictures take a look at him as star material. He played an important supporting role in a cast including Wallace Beery and Charles Farrell in the period naval widescreen epic Old Ironsides (James Cruze, 1926). His roles as tough guy took on more flesh in his association with director Josef von Sternberg and his well-honed gangster films. The first of these was Underworld (Josef von Sternberg, 1927) with Clive Brook and Evelyn Brent. Journalist and screenwriter Ben Hecht won an Academy Award for Best Original Story. He next appeared in von Sternberg's The Docks of New York (Josef von Sternberg, 1928) with Betty Compson and Olga Baclanova, and their work culminated with Thunderbolt (Josef von Sternberg, 1929) for which Bancroft received an Oscar nomination. He was tops at the box office.
George Bancroft played the title role in The Wolf of Wall Street (Rowland V. Lee, 1929), released just prior to the Wall Street Crash. It was Bancroft's first talkie. He appeared in Paramount's all-star revue Paramount on Parade (Elsie Hanis, a.o., 1930) and the crime film Blood Money (Rowland Brown, 1933) with Frances Dee and Judith Anderson. His various on-screen personas as bigger-than-life strong man was not far from his off-screen character as Hollywood notability got to him. It was recalled that he became more difficult to deal with as his ego grew. William McPeak at IMDb: "At one point, he refused to obey a director's order that he fall down after being shot by the villain. Bancroft declared, 'One bullet can't kill Bancroft!'" He stayed busy through the 1930s as older and stouter featured characters. Bancroft was getting competition from younger character actors. In the early 1930s, his roles continued to typecast him as lead heavies, but increasingly, he was cast as second tier in later roles. He was paper editor MacWade in Mr. Deeds Goes to Town (Frank Capra, 1936), starring Gary Cooper and Jean Arthur, a doctor in A Doctor's Diary (Charles Vidor, 1937), a contracter in Angels with Dirty Faces (Michael Curtiz, 1938) with James Cagney and Humphrey Bogart, and a warden in Each Dawn I Die (William Keighley, 1939) with Cagney and George Raft. Most memorably is his Marshal Curly Wilcox in the classic Western Stagecoach (John Ford, 1939), opposite John Wayne. Here he is particularly engaging as a tough lawman with a big heart. Into the 1940s, he only did a handful of films. But he again had a rogue's spotlight with another name director, Cecil B. DeMille, in one of his epics. He played a Texas Ranger chasing a murderer over the Canadian border in North West Mounted Police (Cecil B. DeMille, 1940) with a stellar cast including Gary Cooper, Madeleine Carroll, and Paulette Goddard as fleeing criminal, Jacques Corbeau's (Bancroft) daughter. By 1942, Bancroft had decided to move on, retiring with the intention of becoming a Southern California rancher. He quietly assumed this new role for a long run of 14 years before his passing. George Bancroft passed away in 1956 in Santa Monica, California. He was married twice, first to Edna Brothers, and after their divorce to silent film actress Octavia Broske. They had a daughter Georgette.
Sources: William McPeak (IMDb), Wikipedia and IMDb.
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George Benson. Escenario Puerta del Ángel (Madrid), 06/07/09. Veranos de la Villa 2009
Esta fotografía ilustra la entrada de George Benson en la Wikipedia