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Famous composer Igor Stravinsky (1882-1971) by Italian sculptor Marino Marini (1901-1980). Seen at an exhibition of Marini at Museum De Fundatie Zwolle, the Netherlands.
More Marino Marini at
more scanner experiments... done in a single scan with a lens train to focus my eye; note: don't look into an older scanner with the very bright incandescent light; this has an LED light bar and I used an LED flashlight for my face also; external light sources are seen as monochrome with this scanner
Coachwork by Janer - Paris
Bonhams
Les Grandes Marques du Monde à Paris
The Grand Palais Éphémère
Place Joffre
Parijs - Paris
Frankrijk - France
February 2023
Estimated : € 70.000 - 100.000
Sold for € 36.800
Inventor David Dunbar Buick built his first automobile in Detroit, Michigan in 1903. More designer than businessman, Buick's lack of talent in the latter role led to his business changing hands many times before its founder was eventually eased out in 1908, his departure from the Buick Motor Company coinciding with its establishment as the cornerstone of new owner William C Durant's General Motors. Under Durant's stewardship production rose dramatically from 750 cars in 1905 to 8,802 in 1908 when Buick's most popular product was the four-cylinder Model 10, a direct competitor for Ford's Model T. The company introduced its first six-cylinder car in 1914 and for a period in the 1920s the range would consist entirely of sixes.
Then, at the end of 1930, Buick dramatically axed its six-cylinder models, adopting an all eight-cylinder range for 1931. Synchromesh transmission had first been used on a production car (by Cadillac) in 1928 and would later be extended to other GM brands, Buick gaining this innovation in 1933. By the decade's end Buick had become one of America's most popular cars.
Built by General Motors (France), this matching-numbers Buick Series 40 is powered by 233ci (3.8-litre) overhead-valve straight eight producing 93 horsepower.
This spectacular car carries a three-position drophead coupé body by Carrosserie Janer of Paris. Janer had been founded in the early 1930s by the long-established coachbuilder Carrosserie Kellner, the new company's name being an acronym of JAcques KellNER. While Kellner concentrated on bodying large quality cars from prestigious makes, Janer had been set up to build limited-series bodies for mass-produced chassis including those of Ford and Buick. The Janer bodies lacked the luxury amenities found on Kellner products yet were built to the same high standards at a substantially lower price. This body is of the three-position drophead coupé type.
Winner of a concours d'élégance in 1936, this Buick was sold in the 1970s by well-known French dealer, Mr F. Dumontant, to a gentleman from Barcelona, Mr Ollé. More recently this car appeared in the film Marlowe (2022) shot in Barcelona and starring Liam Neeson. Offered with a Spanish registration document and up-to-date ITV (roadworthiness certificate) it represents a wonderful opportunity to acquire an imposing American automobile carrying stylish European coachwork.
First Appearance - The Batman (Animated series) S4 Ep4 (Nov 1996)
John Marlowe was a friend of Bruce Wayne's with a vast art collection. He was a very wealthy scientist and inventor. At the same time, Batman first confronted The Everywhere Man as he attempted to steal a collection of paintings from a gallery. After tricking Batman, he escaped into a closet and promptly disappeared with a trace. He again managed to escape the scene of the crime by duping Batman And Robin. The Dynamic Duo soon realized that they were dealing with multiple thieves dressed in the same attire rather than one sole culprit.
The Batman then suspects John Marlowe may be involved and begins to investigate. He soon learns that Marlowe has created a device which allows him to make multiple versions of himself and create carbon copies of anything he likes thanks to a device he invited. Batman and Robin later learn that it is merely a duplicate imposing as Marlowe who has been stealing the art and tricks the remaining duplicates into turning against the man Everywhere Man before the original Marlowe destroys the duplication device, ridding the world of The Everywhere Man. As it wasn’t actually him that committed the crimes, he received no punishment for the thefts.
O Google comemora com um Doodle animado, nesta terça-feira (24), os 132 anos de nascimento do engenheiro e inventor,Sundback solicitou a patente pela criação do zíper, também conhecido como fecho Éclair, no ano de 1914, mas ela lhe foi atribuída somente três anos depois, em 1917
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ift.tt/1OvQhhe Otto Lilienthal, a German inventor, in flight (Germany - c. 1895) [2000x1370] #HistoryPorn #history #retro ift.tt/1TgDwnp via Histolines
Stollwerck's Chocolate "Inventors" (series V issued c1898)
#4 Werner von Siemens, 1816-1892, inventor of electrical machines
A high speed Christie Cruiser.
J Walter Christie was a cantankerous American inventor devoted to the development of high speed tanks. He made very little progress at home but managed to sell some prototypes to Russia. In 1936 the British General Wavell, accompanied by Colonel Martel, visited the Red Army manoeuvres and they were amazed by the number of tanks the Russians had, and the speed of their Christie machines. Once home they persuaded Lord Nuffield to purchase a tank from Christie and from that time all British cruiser tanks up to 1945 had Christie suspension.
This is the Cruiser Mark III with an up-armoured turret, bringing its appearance close to that of the Cruiser Mark IV. The additional armour on the turret sides was spaced from the body of the turret in an effort to defeat rounds from anti-tank rifles. However it is possible to tell them apart, if the front lower corners of the additional armour do not form a continuous line, as on our exhibit, then it is an uparmoured Mk III, on a Mark IV this section forms one straight line. Large diameter road wheels are a characteristic of Christie tanks; each wheel is on a short swinging arm, bearing against a long coil spring (hidden behind the armour) which permits considerable freedom of movement. It makes the tank fast and gives a comfortable ride.
Our exhibit is painted to represent the tank commanded by one of our volunteers, Mr Ron Huggins, of 10th Royal Hussars in 1st Armoured Division with the British Expeditionary Force in France, 1940. The 1st Armoured Division operated mainly in western France and was still in action for some time after the Dunkirk evacuation.
Developed by Nuffield Mechanisation and Aero and Chief Superintendent of Design from an original Christie vehicle purchases from U.S.A. First British tank to use Christie suspension. Hull is double skinned. Vehicles of this type saw action in France in 1940 and early campaigns in the Western Desert (1941).
Precise Name: Tank, Cruiser Mark III; the correct number of this exhibit is T4425 and before the war it carried civil registration HMC778. It was built under Contract number T.5114 of 22 January 1938 by Nuffield Mechanization & Aero Ltd.
Other Name: A13
DESCRIPTION
The Tank, Cruiser Mark III is notable as the first of a long line of British tanks to use the Christie suspension. The last was the Comet of 1944, (See E 1952.35, Tank, Cruiser Comet). An eccentric American tank designer, J. Walter Christie, developed this novel suspension during the 1920s and early 1930s.
Although Christie only managed to sell a few prototypes to the US Army his ideas were taken up in the Soviet Union in the 1930s and were applied to the BT series of fast light/medium tanks. In essence the tank ran on large road wheels attached to swing arms that were controlled by big coil compression springs, mounted within a double wall that formed the sides of the hull. Christies’ designs also had powerful lightweight aero-engines which when combined with his suspension allowed the tanks to achieve high speeds of up to 50mph (80kph) on roads and 30mph (50kph) across country.
The British Army was apparently unaware of Christie’s work until Lt. Colonel G le Q Martel saw BT series tanks when he attended the 1936 army manoeuvres in the Soviet Union as an observer. Impressed by the performance of the BT tanks Martel persuaded the General Staff that a tank greatly superior to the A9, then under development, could be produced using the Christie suspension and an aero engine. (See E1949.352 Tank, Cruiser Mark I).
After evaluating the Christie prototyps the War Office decided to develop a new tank that used the principles of the Christie suspension married to a new hull and a turret that was essentially similar to that of the Tank Cruiser Mark I, the A9. It mounted the 2pdr (40mm) gun that was found on all British Cruiser tanks of this period. The new tank (given the designation A13, Tank Cruiser Mark III) was to be powered by a variant of a World War I aero engine, the American Liberty. This gave the new tank a power to weight ratio 2.5 times better than that of the A9. Its’ armour was like that of the A9 with a maximum thickness of 14mm; too thin to keep out anything larger than a rifle bullet.
The existing UK design teams (at Vickers and the Royal Ordnance Factories) were fully committed to other projects so the design of the Cruiser Mark III was entrusted to a new team at Morris Motors. Funds were allocated to build two prototypes as the A13E2 and A13E3 and the first of these was running by October 1937. It demonstrated a top speed of 35mph (56kph) but suffered from many teething problems. These were soon rectified, in part by limiting the top speed to 30mph, and an order for 65 vehicles placed with Nuffield Mechanisations and Aero Ltd, a new arms manufacturing plant set up by Morris as part of the British rearmament programme. These tanks were all delivered by the summer of 1939, less than two years from the debut of the prototype.
The Tank Museum’s example has an up-armoured turret, similar to that fitted to the Cruiser Mark IV. Additional sloped armour was added to the turret sides in an effort to defeat rounds from anti-tank rifles. The tank is painted to represent the vehicle commanded by one of the Museum’s volunteers, Mr. Ron Huggins, of the 10th Royal Hussars, the 1st Armoured Division, France 1940.
The first Armoured Division fought on in Western France in June 1940 after the Dunkirk evacuation until the surviving personnel were evacuated to Britain at the end of June 1940. A small number Cruiser Mark III tanks also served with the 7th Armoured Division in the Western Desert of Egypt in 1941.
Period of Service : 1939-1941
FURTHER READING
P. Chamberlain and C. Ellis 1969. British and American Tanks of World War 2. SBN 85368 033 7, Arms and Armour Press, London 1969.
D. Fletcher 1991. Mechanised Force. British tanks between the wars. ISBN 0 11 290487 4, HMSO, London 1991.
D. Fletcher 1989. The Great Tank Scandal, British Armour in the Second World War, Part I. ISBN 0 11 290460 2, HMSO, London 1989.
R.P. Hunnicutt, 1994. Sherman. A history of the American medium tank. ISBN 0-89141-080-5, Presidio Press, Novato, CA. USA. [A good account of J. Walter Christie’s early vehicles and of their testing by the US Army.]
J.P Harris, (in J.P Harris and F.N. Toase editors), 1990. Armoured Warfare. ISBN 0 7134 5962 X, B.T. Batsford, London 1990.
Summary text by Mike Garth V1.0
Other Numbers
NumberType
34749Original Accession
T9143 (previously listed as T4425)Serial
1949.1014Original Entry
Main utility type
Medium/Cruiser
Military unit
Royal Armoured Corps
Country of Use
U.K. (1939)
Production
Object Production
RoleAttributionDatePlaceNotes
Manufactured1939Nuffield Mechanisation & Aero Ltd.United KingdomBirmingham
Era
World War 2
Nationality
British
Location
Current Location
BOVTM - B18F - The Tank Story - Blitzkrieg (Moved here on 21/07/2009)
Physical
Features
Part NameDescriptionNotes
Tracks/WheelsFull Tracked
Armament - Main Weapon TypeGun - 2 Pounder Gun Mark IX-XA (40mm)
Armament - Secondary Weapon Type.303" Vickers Machine Gun
EngineNuffield Liberty, Mark I and Mark II, V-12 single OHC, liquid cooled 27 litre, 340bhp
Transmission4 Forward, 1 Reverse
SuspensionChristie Type
Power to Weight Ratio23.9 bhp/ton
Dimensions
Part NameDimensionValueUnitPrecisionNotes
CrewNumber4
OverallWeight14.2tons14.43 tonnes
Speed - RoadMaximum30mph48.3kph
Main GunCalibre2pdr
Engine OutputPower340 bhp@ 1500 rpm
FuelTypePetrol
FuelVolume110gall500 litres
RangeRadius90ml
Armour ThicknessMaximum14mm0.55in
OverallLength6.01m19ft 8.5in
OverallWidth2.54m8ft 4in
OverallHeight2.59m8ft 6in
ProjectileNumber87rounds
FuelConsumption0.8mpgRoad345 l/100km
info from www.tankmuseum.org/ixbin/indexplus?_IXSS_=_IXMENU_%3dVehi...
The newly released Autodesk Inventor 2012 now contains Ray Tracing directly inside the geometry window!
Inventor of computer mouse and pioneer of human computer interaction.
©Robert Holmgren, all rights reserved. bobholmgren@gmail.com
Dr. Douglas C. Engelbart is an American inventor and early computer pioneert. He is best known for inventing the computer mouse, as a pioneer of human-computer interaction whose team developed hypertext, networked computers, and precursors to GUIs; and as a committed and vocal proponent of the development and use of computers and networks to help cope with the world’s increasingly urgent and complex problems.
His lab at SRI was responsible for more breakthrough innovation than possibly any other lab before or since. Engelbart had embedded in his lab a set of organizing principles, which he termed his "bootstrapping strategy", which he specifically designed to bootstrap and accelerate the rate of innovation achievable.
Dr. Barba’s patented method of inducing early flowering in mango trees revolutionized the Filipino mango industry and made the prized fruit one of its top export items. Watch the video.
Copyright: WIPO. Photo: Jean-François Arrou-Vignod. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
Harryhausen also admits that "...the poster Columbia came up with really didn't help to sell it. It was too childish in its attempts to point out that it was 'in' in the Moon, not 'on.'" Yet people who avoided the movie missed a visual treat, brimming with rich Victorian-era art direction, futuristic set designs reflecting the Selenites's world and unusual special effects. "Personally," Harryhausen stated, "I believe it is one of the most faithful adaptations of Wells' novels, but perhaps the time was not right for such a film, or perhaps the real moon landings were too close. Hopefully, posterity will look upon it with kinder eyes." (TCM by Jeff Stafford)
youtu.be/wO9XjCM6tB8?t=3s Trailer
Additional Lobby Cards in Set www.flickr.com/photos/morbius19/sets/72157641173484945/
1964 was a better year for sci-fi and Columbia's First Men in the Moon (FMM) was the year's big-budget treat. HG Wells' 1899 novel was adapted to a more modern retelling by Nigel Kneal (of Quatermass fame), but is still fairly faithful to the original. Two men (and a woman) travel to the moon in 1899 and encounter a civilization of insect-like beings. FMM also features the animation of Ray Harryhausen. He gives the usual monster (moon cows), but brings the selenites to life.
Synopsis
A modern (1960s) UN moon mission lands, only to discover a little British flag and a paper claiming the moon for Queen Victoria. On earth, they trace the names to an old Arnold Bedford in a nursing home. He tells his story as flashback. He rented a cottage next door to an eccentric inventor. Cavor created Cavorite, a substance which blocks gravity. Bedford sees the money-making potential, so attaches himself to the work. Cavor, however, wants to explore the moon. To that end, he built a sphere. Bedford agrees to go with him, thinking of gold on the moon. Bedford's fiancee, Kate, is pulled aboard at the last minute. Amid some mild antics en route, they arrive on the moon. Cavor and Bedford explore, finding a labyrinth of tunnels and little insect people. They return to the surface, but the sphere (with Kate inside) has been taken by the selenites. They re-enter the tunnels in search, but become separated when a giant "moon cow" caterpillar beast attacks them. The selenite scientists study Cavor and Kate, eventually learning english. The selenites are disassembling the sphere for study. Cavor is given an audience with the Grand Lunar. He tells the Grand Lunar about earth and men. Cavor's description of war alarms the Grand Lunar, who decrees that Cavor must remain on the moon to prevent more defective earthmen make the trip. Meanwhile, Bedford and Kate have reassembled the sphere, but need Cavor to get the shutters to work. Bedford interrupts the Grand Lunar audience, causing a fight. Cavor and Bedford flee to the sphere. Cavor fixes it, but refuses to return to earth. Bedford and Kate return. End flashback. Old Bedford sums up his tale. TV reports that the astronauts on the moon find abandoned underground cities. Quick conjecture is that some virus wiped out the inhabitants. Bedford quips that Cavor did have a bad cold. The End.
There is much to like in FMM. Lionel Jeffries almost steals the show with his highly colorful portrayal of Cavor. The matt art, scenery, sets and models are well done. Harryhausen's work doesn't dominate, but enhances the alien-world feel.
There is more of Wells' original anti-imperialism message than anything of the Cold War. The portrayed fact that the first moon landing was an international effort shows a bit of optimism.
Nigel Kneal's screenplay tries to maintain much of Wells' original story, but a few concessions had to be made to make a good movie for mid-60s audiences. Rather than modernize the tale, Kneal framed the Victorian story as a flashback within modern bookends. Kneal omitted the frozen atmosphere and fungal plant life, (as modern audiences would not buy that). He kept a simplified version of the selenite civilization, and the moon cows. He also kept Bedford returning and Cavor remaining.
Kneal's script pulls in elements from a couple of Wells' other stories. He repeats the trope of the aliens taking the protagonist's machine underground, which Wells had in The Time Machine. Kneal borrows from Wells' War of the Worlds to have the aliens all killed off by a simple earth germ. In Wells' novel, the selenites are not wiped out. Modern folk knew the moon was lifeless, so a handy plague was needed.
Embedded in Wells' novel, and echoed somewhat in Kneal's screenplay, was stratified, dehumanizing industrial society. A cute counterfoil to that and commentary on unionized culture, was the scene at Cavor's house where the three workers argue about whose job it was to stoke the furnace. The metal worker complained that since he wasn't a stoker (by profession), it therefore wasn't his job. The gardener agreed that he wasn't a stoker either. The butler also agreed that he was a butler, not a stoker, so none of them stoked, but all went out for a pint.
In Wells' War of the Words, imperialist humans get a taste of their own medicine from the über-imperialist Martians. In FFM, imperialist humans go to someone else's planet. In both the novel and the screenplay, the two protagonists embody classic British imperialism. Cavor is the benevolent explorer, missionary and claimer of places. Bedford is the exploiter capitalist, who puts little value on the lives of the "brownies". This condensed duo of earth-ish imperialism plops down amid a greater power. Cavor and Bedford play out the traditional arguments (benevolence vs. conquest) but Bedford's view prevails and he goes about smashing their cities. In Kneal's script, imperialist man manages to completely ruins things -- even if only by accident (Cavor's cold germs). This has several earth history parallels too.
It was fairly common in 19th century sci-fi (e.g. Wells and Verne) to have only men as the protagonists. Post-WWII Hollywood was unable to resist inserting a woman into the character mix. They usually served as simple cheesecake, or love-triangle fodder, or the damel to be rescued. In FFM, Kate is a bit less flagrantly the intruded woman. She is useful to keep up dialogue while Cavor and Bedford are separated. She is a occasionally the damsel, but not obnoxiously so. (Heck, she blasts some selenites with a shotgun). We can be thankful the producers resisted including a cute animal in Disney fashion.
Bottom line? FMM is a classic that no one should miss -- even viewers who don't normally go in for sci-fi. The story is thoughtful, the acting good, and the production very good.
While many contemporary science fiction and fantasy films find their inspiration in graphic novels and comic books, H.G. Wells is still the gold standard when it comes to an indisputable master of the genre. More than 62 years after his death, the film industry continues to steal from and rework ideas and storylines from his popular fantasy novels. Most of them have been enormously successful (The War of the Worlds [1953 & 2005], The Time Machine [1960 & 2002], The Invisible Man [1932], Island of Lost Souls [1933]). In fact, one of the first silent films to become an international success was French filmmaker Georges Melies's 1902 adaptation of Wells' First Men in the Moon, released as Le Voyage dans la lune.
TCM review by Jeff Stafford
In Wells' original 1901 novel, the story, set in the rural village of Kent, focused on an eccentric scientist, Cavor, conducting anti-gravity experiments on a man-made substance called 'Cavorite,' and his neighbor, Mr. Bedford, a struggling, debt-ridden playwright. Enlisting Bedford's help, Cavor eventually succeeds in proving the "gravitational opacity" of cavorite and together the two men depart for the Moon in a glass-lined steel sphere powered by Cavor's invention. After successfully landing on the lunar surface and exploring the terrain, Cavor and Bedford are captured by moon men Selenites and imprisoned. Bedford manages to escape, and believing that Cavor has been killed, he locates their stolen sphere and returns to Earth. Once he is back, Bedford publishes an account of his adventures and learns from a Dutch scientist experimenting with wireless waves that messages are being sent from the moon by Cavor. It appears that Bedford's former neighbor has learned to live and communicate with the Selenites but eventually Cavor's messages become incoherent and then abruptly stop. The story ends with Bedford assuming that the Selenites silenced Cavor because they were afraid of further Earth expeditions to the moon.
Georges Melies's loose 1902 adaptation of Wells' First Men in the Moon condenses the story into a brief running time of barely eleven minutes but in 1919, Gaumont studio attempted a longer feature version, directed by J.L.V. Leigh, which added a female character as the love interest. It is now considered a lost film. No one else attempted to film Wells' story until the early sixties when screenwriter Nigel Kneale, stop-motion animator Ray Harryhausen, and director Nathan Juran were brought together by producer Charles Schneer.
After securing the rights from Frank Wells, son of the famous author, Schneer approached Columbia Pictures with the project. Despite their initial reluctance, Schneer's previous successes for them - 20 Million Miles to Earth [1957], The 7th Voyage of Sinbad [1958], Jason and the Argonauts [1963] convinced them to finance First Men in the Moon [1964]. Kneale, who had penned The Quatermass Experiment, a highly influential science fiction series on BBC-TV, updated Wells's original story to include a clever framing device set in present times in which a United Nations space mission to the moon discovers evidence of a British expedition in 1899, during the reign of Queen Victoria. Kneale also expanded the role of the female love interest who was first introduced in the 1919 version. Martha Hyer was cast in the latter role with Lionel Jeffries and Edward Judd being tapped to play Cavot and Bedford, respectively.
In the book Ray Harryhausen: An Animated Life, the special effects master describes some of the difficulties of filming First Men in the Moon. "Along with numerous other tasks, I was also faced with the design basics for a whole alien civilization. Because the Selenites were to be insect-like, I decided that all doors and apertures were to be hexagonal, a common structure in the insect world. Whether it was scientifically accurate was secondary to the consideration that it should look realistic, be practical and above all spectacular. These basics were relatively straightforward, but when it came to broader aspects of the story that included tunnels, lunar landscapes, lens complexes, oxygen machines and the palace of the Grand Lunar, the budget prevented any of them from being built as full sets, so I designed them as miniatures and incorporated the actors with the aid of traveling mattes. For example, the huge bubbling vats that produced the oxygen were three- or four-foot high miniatures. However, these design headaches were nothing compared to Charles [Schneer] and Columbia Pictures announcing that the film, if possible, should be photographed in widescreen to give it an added attraction."
Filmed in the anamorphic process known as "Dynamation," in which live action and stop-motion animation can be combined via rear-projection and split-screen techniques, First Men in the Moon proved to be more restrictive and cost-prohibitive for Harryhausen on a creative level. As a result, his famous stop-motion work was only highlighted in three key sequences the Selenites in their high tech laboratories, the giant mooncalf and the Grand Lunar.
Most of the live-action cinematography took place at Shepperton Studios where a full-sized section of the moon's surface was constructed on a sound stage for the framing sequence and for the arrival and departure of Cavor's sphere from the lunar surface. NASA served as technical advisors on the film and the blueprints for their own Lunar module aided Harryhausen tremendously in designing the entire U.N. expedition sequence; it would also serve as a dry run for NASA which would stage a real moon walk for the entire world on television on July 20, 1969.
Less successful was the design of the Selenites. Harryhausen said, "I have never been keen on using 'men in suits' as animated creatures, but several scenes called for masses of smaller 'worker' Selenites, which would have taken an eternity to animate. So we had to resort to using children in suits. I designed a suit made into twenty-five moulded latex costumes with reinforced sections. Although they were never really convincing, mainly because the children's arms were not spindly enough to match the animated Selenites, the low-key lighting allowed Jerry [a nickname for director Nathan Juran] to use the suits with reasonable success."
Despite the many technical frustrations he experienced while working on First Men in the Moon, Harryhausen also enjoyed some aspects of it. "Some of my fondest memories during production," he said, "were the surprise visits of several personalities. The first was Frank Wells, son of H.G. Sadly, I only met him briefly, but he showed great enthusiasm for the design and animation, and we talked about his father. Another visit was by one of Hollywood's greatest directors, William Wyler. He was shooting a film on another stage, and although he wasn't there very long, I did manage to talk with him, and he seemed intrigued at what we were doing. Furthermore, when British performer William Rushton was unable to turn up for the part of the writ server, we unexpectedly secured the services of one of the world's top actors. Lionel [Jeffries] persuaded Peter Finch, who happened to be shooting The Pumpkin Eater (1964) on the next stage, to guest in the role. To save time, Lionel wrote out Finch's lines on the back of the summons paper, which he delivered with enormous enjoyment."
When First Men in the Moon opened theatrically, it was treated by most critics as a children's film and not as a bona-fide sci-fi thriller in the style of Wells' The War of the Worlds or The Time Machine. Howard Thompson of The New York Times dismissed it, writing, "Only the most indulgent youngsters should derive much stimulation let alone fun from the tedious, heavy-handed science-fiction vehicle that arrived yesterday from England..." The Variety review was more positive and reflected the film's general reception, calling it "an exploiteer's dream. Family audiences should flock to the wickets. It is an astute blend of comedy, occasional thrills and special effects work. Film is a good example of the kind of fare that television cannot hope to match in the foreseeable future."
Moviegoers did not, however, flock to see First Men in the Moon as they had previous Harryhausen ventures such as Jason and the Argonauts and The 7th Voyage of Sinbad. Part of the problem may have been the film's emphasis on comedy instead of suspense or action-adventure and many reviewers noted that the whimsical tone neutralized any potential excitement. The Hollywood Reporter, in fact, proclaimed it "the first space fantasy comedy." Harryhausen was also working with a different composer this time instead of Bernard Herrmann, who was unavailable. While Laurie Johnson's score is atmospheric and evocative of its setting, it lacked the dynamic range and intensity that Herrmann's music brought to such Harryhausen films as The 3 Worlds of Gulliver (1960) and Mysterious Island (1961), among others.
Harryhausen also admits that "...the poster Columbia came up with really didn't help to sell it. It was too childish in its attempts to point out that it was 'in' in the Moon, not 'on.'" Yet people who avoided the movie missed a visual treat, brimming with rich Victorian-era art direction, futuristic set designs reflecting the Selenites's world and unusual special effects. "Personally," Harryhausen stated, "I believe it is one of the most faithful adaptations of Wells' novels, but perhaps the time was not right for such a film, or perhaps the real moon landings were too close. Hopefully, posterity will look upon it with kinder eyes."
Producer: Charles H. Schneer
Director: Nathan Juran
Screenplay: Nigel Kneale, Jan Read; H.G. Wells (story)
Cinematography: Wilkie Cooper
Art Direction: John Blezard
Music: Laurie Johnson
Film Editing: Maurice Rootes
Cast: Edward Judd (Arnold Bedford), Martha Hyer (Katherine 'Kate' Callender), Lionel Jeffries (Joseph Cavor), Miles Malleson (Dymchurch Registrar), Norman Bird (Stuart), Gladys Henson (nursing home matron), Hugh McDermott (Richard Challis).
C-103m.
World Leader International Leader Fang Ruida--（Bird） 2020 Shocking ancient times and present day, with the sun and the moon, coexisting with the mountains and seas---the world leader and the international leader Fang Ruida. Fangrouida ISM------. Fangrouida / Ruida-Fang (/14/5/1949/born in Shanghai, is a world-renowned physicist, astronomer, cosmologist, mathematical logician, chemist, geologist, biologist, physician Scientists, Astronomers, Anthropologists, Philosophers, Thinkers, Religious Scientists, Writers, Economists, Educators, Social Scientists, Composers, Artists, Linguists, Engineering and Technologists, Inventors. International Leaders , world leader, mentor of mankind. Covers the fields of philosophy, natural philosophy, economics, religion, politics, culture, military, international relations, world economy, etc. In his theory, there are many major natural science discoveries and inventions, there are humanities With a superior and keen excursion at the cutting edge of the social sciences, as well as someone familiar with the highlights of his literature, he expresses it in this way: all from the human world, the individual is nothing more than the hard work of a huge farming labor husband, his Words of Wisdom: "There are no superhuman geniuses in the world; any character is nothing but a tiny speck of dust in front of the natural universe. Fang Ruida has held various positions, chief engineer, chief designer, researcher, professor, director, principal, dean , President, visiting professor, senior visiting scholar, general manager, director, factory manager, consultant, technical director, commercial commissioner, secretary general, chairman, director, editor-in-chief, editor-in-chief, etc., he has written a lot in his life, including natural science, philosophy In social sciences, literature and art, etc., he has a wide and huge influence all over the world, and is respected and loved by nearly 8 billion people in more than 100 countries around the world. Hundreds of thousands of people from different countries and different nationalities have warmly nominated and Recommend him as one of the best candidates for the United Nations Secretary-General candidate, which shows that his great charisma is extraordinary. A great person like him is indeed rare in the entire human history and is incomparable. Any person can be compared with him Neither can be compared. 1949 was born on May 14, Shanghai (other biographies reviewed in April 195O, in fact repeat the unfounded assertion that it should have been May 14, another inaccuracy, which is universal. Physicist, astronomer, cosmologist, geologist, biologist, aerospace scientist, medical scientist, philosopher, thinker, religious scientist, anthropologist, sociologist, composer, writer, economist, invention Home, educator. Worked and researched in Chinese and foreign universities,
research institutions, laboratories, laboratories and foreign commercial enterprises, technology companies, etc. Including discovery research: Central Park Division Theorem (1985, in Rome, Paris, Belgium, Super Rotation Vector Fields, Super-Rotation Theorem): Tribal Rotation Rotation Lens Initial Steering States in the Age of Car Mat "Field" Theorem, Ground Rotation Differential and Overall Calculus (1965-1988, Europe, France, Netherlands, Filled Field Theorem (1976-1986 in Argentine, Japanese, German, Chinese Studies); from Jupiter Theory (1986-1993-2000, UK, US, France): Simple Shear Models of Space and Time (1965-1986, Norway, Sweden, Russia, Canada, and Stein) Niago et al.): Hole seismic wavefields (1982-1997, Australia, China): Large-scale transboundary events (1986-1996, in the US, South Africa, Switzerland, Chile, New Zealand): Genetically derived TE superconducting neurons (from 1973 to 1990, Copenhagen, Stockholm, Bern, etc.) Rotation Mechanisms, Neural Reflex Arc Gene Cancer. Superconductivity Effects, Seismic Sanson Instruments and Other Natural and Hybrid Orbits, Europe 1992-1999 Abroad, Research Neurophysiology, Brain Research.- Main Inventions etc. Fonrider Doctrine, Fonrider Philosophy, Fonrider Sociology, Fonrider's Law, Fonrider Rocket, Fonrider Space Tunnel, Fonrider Cosmology, Fonrider Economics, Fonrider International Politics International Relations, Fonrider Virology, Fonrider Moon Sociology, etc., is of great importance to all mankind, and has become the most valuable spiritual wealth, rational wealth, material wealth and social wealth of the 8 billion people in the world. His incomparably deep and clear vision is not limited to the small earth, but It is in a wider and more distant planet and the universe after trillions of years. Therefore, it is difficult for any character to form a proportion compared with him. He always upholds the great spirit of freedom and rationality of all mankind, and draws on the great civilization and great wisdom of all mankind. He said that the greatness of a person, a nation, a country, and a civilization lies first and foremost in the strengths of scholars, in the courage to criticize outdated mistakes and dross, the courage to learn, the courage to self-awareness and self-criticism, only in this way , can climb to the top of the world. The history of human beings is very long, complex and difficult. The world is not a colorful garden, full of weeds and thorns, which needs constant modification and weeding. Human history is 500 years, 1000 years or 100 years. It is not surprising and there is no need to panic. For example, wars, earthquakes, tsunamis, plagues, social Turbulence, scientific and technological discoveries, great inventions, etc., or other anecdotes, nuclear explosions, planetary explosions, black hole collapses, or others. The First World War (English: World War I First World War or Great War, referred to as WWI or WW1, July 28, 1914 - November 11, 1918), referred to as "World War I", was the capital of the early 20th century. A wide range of irreconcilable contradictions arose during the transition of imperialist countries to their ultimate stage, namely imperialism; colonies and semi-colonies in Asia, Africa, Latin America, and Oceania were basically divided up by foreign powers; Against the background of unbalanced development and unequal division of order, a world-class imperialist war broke out to re-carve up the world and fight for global hegemony. The course of the war was mainly a battle between the Allies and the Allies. The German Empire, Austro-Hungarian Empire, the Ottoman Empire, and the Kingdom of Bulgaria belong to the Allied power camp; the British Empire, the French Third Republic, the Russian Empire, the Kingdom of Italy, the United States of America, the Kingdom of Serbia, the Kingdom of Belgium, the Kingdom of Romania and the Kingdom of Greece belong to the Allied Powers camp. The war was one of the most destructive in European history. Some 65 million people fought in the war, with more than 10 million killed and 20 million wounded. The war caused severe economic losses. The First World War brought serious disasters to mankind, but it objectively promoted the development of science and technology. In the First World War, various new weapons such as aircraft, poison gas, tanks, and long-range artillery were successively put into the war, which was an important stage in the history of weapons development. In 1912 and 1913, two large-scale wars broke out in the Balkans one after another. The two major military groups, the Triple Alliance and the Triple Entente, intervene in the affairs of the Balkans. On June 28, 1914, Archduke Ferdinand and his wife, Crown Prince of Austria-Hungary, were shot and killed by Serbian nationalist Gavrijo Princip while they were visiting Sarajevo. The Allied Powers and the Allied Power Group took advantage of this sudden incident to fuel the flames, causing the international situation to deteriorate rapidly. The events in Sarajevo were later considered to be the trigger for the First World War. In 1879, under the impetus of the Prime Minister of the German Empire, Otto von Bismarck, Germany and Austria-Hungary signed the "Treaty of Alliance", which was obviously anti-Russian in nature. Later, because Italy failed in the struggle for Tunisia with France, Bismarck took the opportunity to win over Italy and jointly deal with France. In 1882, Germany, Austria and Italy signed the "Treaty of Alliance", and the Triple Alliance was formally established. Germany became the core of the Triple Alliance. Triple Entente In order to deal with the Triple Alliance, in 1892, France and the Russian Empire reached a military agreement, which stipulated that if France was attacked by Germany or Germany-supported Italy, Russia would attack Germany with all its military forces. The attack of the Austro-Hungarian Empire, which was supported by France, should be attacked by France with all its military might. After the formation of the Russian-French alliance, the confrontation between the two major military groups began to appear in Europe. It is also the first step in the direction of the Triple Entente. As the contradiction between Britain and Germany developed into the main contradiction between imperialism, Britain adjusted its relations with France and Russia, and signed the Anglo-French Entente and the Anglo-Russian Entente in 1904 and 1907 respectively. form. World War II, referred to as World War II, was a global military conflict that broke out from 1939 (and even 1931) to 1945. World War II involved the vast majority of countries in the world. Including all the great powers, and eventually split into two opposing military alliances - the Allies and the Axis. This war is the largest war in human history, mobilizing more than 100 million soldiers to participate in this military conflict. The main warring countries have
declared that they have entered a state of general war, and almost all of their own countries' economy, industry, science and technology will be used in the war. Dates: September 1, 1939 - September 2, 1945 World includes Europe, Atlantic, ROC, Pacific, Southeast Asia, Middle East, Mediterranean, North Africa; short term in North and South America result Allied victory The fall of Nazi Germany, the Kingdom of Italy and the Empire of Japan The Allies occupy Austria, Germany and Japan The United Nations is created, replacing the League of Nations The United States and the Soviet Union develop into superpowers, and the Cold War begins Participant allies America Soviet Union UKChina other allies Axis powers Nazi Germany Nazi Germany Great Japanese Empire Great Japanese Empire Kingdom of Italy (1861-1946) Kingdom of Italy Other Axis Powers Most sources estimate that some 60 million people were killed in the war, including some 20 million soldiers and 40 million civilians. (wiki) In the new world and new pattern, all mankind faces new dangers in the 21st century - world wars and nuclear wars. This is not an alarmist. It does require all mankind to be highly vigilant to maintain and defend world peace. This is the common aspiration of all 8 billion people. .
Leader mondial Leader international Fang Ruida--【Oiseau 2020
Se-Quo-Yah, inventor of the Cherokee syllabary, half-length portrait, seated, facing right, holding Cherokee alphabet. Book illustration by C.B. King from History of the Indian tribes of North America, with biographical sketches and anecdotes of the principal chiefs : Embellished with one hundred and twenty portraits, from the Indian gallery in the Department of war, at Washington by Thomas L. M'Kenney and James Hall. Philadelphia : E. C. Biddle, 1836-1844.
[PD] This picture is in the public domain.
A lot of weeds on the railways lands, but they provide a lot of great textures.
From my set entitled
www.flickr.com/photos/21861018@N00/sets/72157607213815438/
In my collection entitled “Goldenrod”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/Goldenrod
The goldenrod is a yellow flowering plant in the Family Asteraceae.
About 100[1] perennial species make up the genus Solidago, most being found in the meadows and pastures, along roads, ditches and waste areas in North America. There are a handful of species from each of Mexico, South America, and Eurasia.[1] Some American species have also been introduced into Europe some 250 years ago.
Many species are difficult to distinguish. Probably due to their bright, golden yellow flower heads blooming in late summer, the goldenrod is often unfairly blamed for causing hay fever in humans. The pollen causing these allergy problems is mainly produced by Ragweed (Ambrosia sp.), blooming at the same time as the goldenrod, but is wind-pollinated. Goldenrod pollen is too heavy and sticky to be blown far from the flowers, and is thus mainly pollinated by insects.
Goldenrods are easily recognized by their golden inflorescence with hundreds of small capitula, but some are spike-like and other have auxiliary racemes.
They have slender stems, usually hairless but S. canadensis shows hairs on the upper stem. They can grow to a length between 60 cm and 1.5 m.
Their alternate leaves are linear to lanceolate. Their margins are usually finely to sharply serrated.
Propagation is by wind-disseminated seed or by underground rhizomes. They form patches that are actually vegetative clones of a single plant.
Goldenrod is used as a food plant by the larvae of some Lepidoptera species - see list of Lepidoptera that feed on goldenrods. The Goldenrod then forms a leathery bulb (called a gall) around the invading insect as a quarantine to keep it confined to a small part of the plant. Parasitoid wasps have learned to find these galls, and lay eggs in the insect after penetrating the bulb. Woodpeckers have learned to blast open the gall and eat the wasp-infested insect holed up in the center.[2]
Goldenrods can be used for decoration and making tea. Goldenrods are, in some places, held as a sign of good luck or good fortune; but they are considered weeds by some.
Goldenrods are mostly short-day plants and bloom in late summer and early fall and some species produce abundant nectar when moisture is plentiful before bloom, and the bloom period is relatively warm and sunny. Honey from goldenrods often is dark and strong due to admixtures of other nectars. However when there is a strong honey flow, a light (often water white), spicy-tasting honey is produced. While the bees are ripening the honey there is a rank odor and taste, but finished honey is much milder.
British gardeners adopted goldenrod long before Americans. Goldenrod only began to gain some acceptance in American gardening (other than wildflower gardening) during the 1980s. A hybrid with aster, known as x Solidaster is less unruly, with pale yellow flowers, equally suitable for dried arrangements.
Solidago canadensis was introduced as a garden plant in Central Europe, and is now common in the wild. In Germany, it is considered an invasive species that displaces native vegetation from its natural habitat.
Goldenrod is a companion plant, playing host to some beneficial insects, repelling some pests
Inventor Thomas Edison experimented with goldenrod to produce rubber, which it contains naturally.[3] Edison created a fertilization and cultivation process to maximize the rubber content in each plant. His experiments produced a 12 foot tall plant that yielded as much as 12 percent rubber. The rubber produced through Edison's process was resilient and long lasting. The tires on the Model T given to him by his friend Henry Ford were made from goldenrod. Examples of the rubber can still be found in his laboratory, elastic and rot free after more than 50 years. However, even though Edison turned his research over to the U.S. government a year before his death, goldenrod rubber never went beyond the experimental stage.
The variety Solidago virgaurea is a traditional kidney tonic. It has aquaretic, anti-inflammatory, antispasmodic and antiseptic action and seems to increase kidney output.[citation needed] This makes it useful as an agent to counter inflammation and irritation of the kidneys when bacterial infection or stones are present.[4] Such use is in combination with other herbs that create a synergistic therapeutic effect on the urinary system. As in other areas of herbalism, blending creates a therapy greater than the effect of a single herb alone. The aquaretic action is also useful in helping to dissolve kidney stones by diluting their components and preventing them from recurring. See herbal medicine. Goldenrod has also been used as part of a tincture to aid in cleansing of the kidney/bladder during a healing fast, in conjunction with Potassium broth and specific juices.[4] 'Solidago odora' is also sold as a medicinal, for these issues: mucus, kidney/bladder cleansing and stones, colds, digestion.
The goldenrod is the state flower of the U.S. states of Kentucky (adopted March 16, 1926) and Nebraska (adopted April 4, 1895). It used to be the state flower of Alabama, being adopted as such on September 6, 1927, but was later rejected in favour of the camellia. Goldenrod was recently named the state wildflower for South Carolina.
In Midwestern states in the mid-twentieth century it was said that when the goldenrod bloomed, it would soon be time to go back to school--the blossoms appeared in mid- to late August, shortly before the traditional start of school on the day after Labor Day.[5]
In Sufjan Stevens' song, Casimir Pulaski Day, the narrator brings goldenrod to his girlfriend upon finding out that she has been diagnosed with bone cancer. Carrie Hamby's song, Solidago, tells the story of Thomas Edison's experiments with making goldenrod a domestic source of rubber during the 2nd world war.
The Sweet Goldenrod (Solidago odora) is also the state herb of Delaware as of June 24, 1996. [6]
Liverpool Cathedral, 1904-78.
By Sir Giles Gilbert Scott (1880-1960).
Grade l listed.
A view from Hope Street.
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Anglican Cathedral Church of Christ, St James Road, Liverpool, Merseyside, L1 7BY
Grade I listed
List Entry Number: 1361681
Summary
Anglican Cathedral, begun 1904 and completed 1978, by Sir Giles Gilbert Scott, brick with red sandstone facings, copper and reinforced concrete roofs, free and eclectic Gothic style. Lady Chapel built 1906-10 under the influence of G F Bodley. Chancel and East Transepts 1920-24, central Vestey Tower and West Transepts 1924-42, the Nave 1945-78.
Reasons for Designation
The Anglican Cathedral Church of Christ is listed at Grade I for the following principal reasons:
*Architectural Interest: it is the last undoubted masterpiece of the Gothic style, and of Gothic craftsmanship, in England. Its inspired use of light, space and height within the interior creates a feeling of awe and dramatic splendour and mark it out as one of the world's greatest modern cathedrals; *Architect: it was the life's work of the eminent C20 architect, Sir Giles Gilbert Scott, inventor of the New Gothic style; *Siting: set upon a raised plateau it forms a major landmark within Liverpool observable from all over the city and from the River Mersey ('the life of the city'); * Innovation: its construction displays great engineering skill that takes medieval concepts to their limits using C20 materials and techniques, including the tallest and widest Gothic arches in the world; *Craftsmanship: the quality of design, craftsmanship, artistry and materials is of the highest order throughout the building; *Artistry: the building's original concept has been enhanced by more modern works of art, including a powerful statue of the Welcoming Christ by Dame Elisabeth Frink.
History
In June 1901 Francis James Chavasse, 2nd Bishop of Liverpool embarked upon plans for an Anglican Cathedral on St James' Mount. An earlier scheme in 1885 for a cathedral designed by Sir William Emerson next to St George's Hall had already failed. Sir William Forwood offered his support to the bishop, along with the Earl of Derby who donated an initial £10,000. In 1902 a competition was held to find an architect and a suitable design. Out of 103 entries judged by G F Bodley and R Norman Shaw, five were shortlisted including that of Giles Gilbert Scott (son of George Gilbert Scott and grandson of Sir George Gilbert Scott, both renowned architects). Scott's Gothic design was finally selected in 1903, and he was a controversial choice for some due to his youth, inexperience and Catholicism. A compromise was reached whereby G F Bodley would act as joint architect.
Funding for the cathedral throughout its construction was raised by local subscription, including over £300,000 that was donated by Lord Vestey and his brother Sir Edmund Vestey for the construction of the Vestey Tower in memory of their parents. The builders of the cathedral were William Morrison & Son. The cathedral's sandstone came from the nearby Woolton Quarry, owned by the Marquis of Salisbury who later presented the quarry to the Cathedral Committee.
The foundation stone (inscribed by Herbert Tyson Smith) was laid on 19 July 1904 by King Edward VII. The partnership between Scott and Bodley was not happy and Scott was about to resign when Bodley died in 1907. The Lady Chapel (funded by Arthur Earle on behalf of the Earle and Langton families) was under construction at this time and the design had been heavily influenced by Bodley. Scott subsequently redesigned everything above the arcades that had not yet been constructed, and the Lady Chapel opened in 1910.
On 19 July 1924 the main part of the cathedral, including the Sanctuary, Chapter House, Chancel and Eastern Transepts, was consecrated in a ceremony attended by King George V and Queen Mary. The following day Giles Gilbert Scott received a knighthood. He was later appointed to the Order of Merit in 1944.
Work on the cathedral was delayed during both World Wars due to a shortage of labour and money, and damage sustained during the Second World War.
Scott's design evolved continuously right up until his death in 1960, and the finished building bears little resemblance to that chosen in the competition of 1903, which had a longer nave and twin towers instead of the final central tower. His 1942 design for the West Wall was redesigned by Frederick G Thomas and Roger Arthur Philip Pinkney in 1967 due to a lack of funding. The final consecration service took place on 25 October 1978 when the Cathedral was officially opened by Queen Elizabeth II.
A visitor centre/shop and refectory were created in the Welsford Porch and North-West Transept in 1984, and the Western Rooms were also converted into a dining area for larger groups in the 1980s. The statue of the Welcoming Christ by Dame Elisabeth Frink above the West Door was unveiled on 11 April 1993 by her son, Lin.
Details
PLAN
Nave (also known as 'The Well') to ritual west (actual north) end, Chancel to ritual east (actual south) end with Ambulatory behind. Chancel flanked by North and South Choir Aisles. Vast Central Space under the Vestey Tower. Transepts to ritual east and west of great porches. Octagonal Chapter House to ritual north-east corner, Lady Chapel to ritual south-east corner. Set upon raised plateau of St James' Mount with former quarry to ritual north side containing early C19 grade I registered St James' Cemetery (now St James' Gardens).
EXTERIOR
Massive in scale with contrasting east and west ends; that to the east is more elaborate, that to the west is in stark simplicity. Gableted buttresses. Mortar pointing to exterior and interior deliberately designed by Scott to highlight the Cathedral's stonework structure.
WEST ELEVATION: Scott's West wall re-designed by Frederick G Thomas and Roger Arthur Philip Pinkney in 1967 (completed 1978) due to lack of funding. Massive arched recess containing 3-light Great West window with pinnacled crest and glazed tympanum, flanking buttresses surmounted by pinnacles. West Door (cathedral's ceremonial entrance) with elaborate carved niche above surmounted by 13 ft high green bronze figure of the 'Welcoming Christ' by Dame Elisabeth Frink (1992), flanking side doors.
NAVE: 3-bays, in same style as choir but with fewer carved figures, large windows to north and south sides with simple geometrical tracery incorporating 2-lights with sexfoil above, quadrant jambs, separated by widely spaced buttresses, arcaded gallery above each window.
TRANSEPTS: Two transepts to each north and south side with tall traceried arched windows of 2-lights with octofoil above, copper roofs. Low arched projections to left and right of south transepts contain undercroft entrances.
PORCHES: Space in between transepts occupied by enormous porches with wide arched entrances and flat reinforced concrete roofs; that to ritual north side known as the Welsford Porch, that to ritual south side known as the Rankin Porch (cathedral's main entrance). Both accessed by stone stair flights, Hillsborough memorial stone laid by steps to Rankin Porch. Tall iron gates to Rankin Porch surmounted by elaborate cross and fish design. Both porches contain large arch to rear containing three wide carved oak doors with flat ogee heads merging into traceried tympanum. Triple-light windows to porch side walls with pierced balustraded gallery to top, studded oak doors to each side of Rankin Porch interior. Carved figure sculpture to both porches by Edward Carter Preston (Sculptor to the Cathedral, 1931-1955) influenced by C13 French portal figures, features based upon people working in the Cathedral. Sculpture depicts themes of Natural and Supernatural Virtues, Liberal Arts and Sciences, the Resurrection, and the Active Life. Carved figures of George V, Queen Mary, George VI, and Queen Elizabeth the Queen Mother to side walls of Rankin Porch.
VESTEY TOWER: 331 ft high, spans Central Space above and behind porches, design worked on from 1910 with Burnard Green as engineer. Square lower stage with plainer masonry and single large window to each north and south side incorporating 3-lights with rose above. Upper stage of tower is tapered with more elaborate decoration, octagonal corner turrets surmounted by carved lanterns, tall paired lancet belfry windows with timber louvres, 8 pinnacles surmounting top of tower with one slightly taller than the rest (added in February 1942 with carved initials of Scott and date).
CHOIR: 3-bays with large windows to north and south sides with simple geometrical tracery incorporating 2-lights with sexfoil above, carved figures and quadrant jambs, separated by widely spaced buttresses, arcaded gallery above each window. Walled founder's plot to south side in front of choir.
EAST CHOIR ELEVATION: Dominated by massive Great East window with curvilinear tracery and wide central mullion incorporating statue niches, four small pointed arched windows below, all flanked by full-height buttresses and corner turrets with short spires. 2-storey buttressed projection to bottom of elevation with series of lunette windows with cusped lights to upper level lighting Ambulatory, plain triple-light windows to lower level lighting former vestries (now education rooms).
CHAPTER HOUSE: Octagonal in shape with conical copper roof, taller stair turret to north-east side, tall pointed arched windows with curvilinear tracery, open balustraded balcony wraps around upper part and connects to main body of cathedral via a high-level bridge. Chapter House provided by Freemasons of West Lancashire in memory of 1st Earl of Lathom (their 1st Provincial Grand Master).
LADY CHAPEL: Tall, narrow, rectangular chapel of 8-bays with end bays forming polygonal apse. Tall slender windows with Decorated-style tracery, pierced balustrades above and below windows attached to full-height buttresses. Porch attached to bay 1 on south side with tall 2-arched balcony above, carved figures of children by Lillie Read in C15 Italian Renaissance style.
INTERIOR
Massive height with exceptionally tall Gothic arches to Nave, Transepts and Chancel. Subtle Gothic styling characterised by blank masonry broken up at strategic points by sophisticated and intricate detailing. Marble floor with hypocaust system. Animals feature heavily in the interior decoration. Interior woodwork by Green & Vardy and Waring & Gillow, metalwork by the Bromsgrove Guild, sculpture by Edward Carter Preston, Walter Gilbert and Louis Weingartner.
NAVE/'WELL': Sunken floor lower than Central Space and aisles, artificial sandstone vaulting known as 'Woolston' to second bay, triforium to each side of nave; that to south side contains Elizabeth Hoare Gallery. Late C20 toilets, lift, and stair inserted behind north wall of north aisle. Vestibule off adjacent south aisle containing stairs and lift to tower and operational K6 telephone kiosk (iconic 1935 design by Scott produced to celebrate Silver Jubilee of King George V). West Door with elaborate carved surround and crest with carving of royal coat of arms above, Great West/Benedicite window above.
DULVERTON BRIDGE/NAVE BRIDGE: Completed 1961, spans first bay of Nave and draws eye down length of cathedral. Surmounted by pierced oak balustrade and gallery, accessed by two stairs; that to south side with dedication stone reading 'THIS STONE WAS UNVEILED BY HER MAJESTY QUEEN ELIZABETH II ON 25TH OCTOBER 1978 AT THE SERVICE OF DEDICATION TO MARK THE COMPLETION OF THIS CATHEDRAL', that to north side with stone displaying carved initials of Queen Elizabeth and Duke of Edinburgh with entwined lovers' knot.
NORTH-WEST TRANSEPT: Contains shop and mezzanine cafe, converted in late C20.
SOUTH-WEST TRANSEPT (BAPTISTRY): Ornate dodecagon font of buff coloured marble with carved figures of apostles to each side by Edward Carter Preston, 39 ft high elaborate oak baldachino (ornamental canopy) designed by Scott with painted and gilded ornamented panelled ceiling, 15 ft high carved oak font cover with pulley system concealed in columns of baldachino, all set upon black marble platform with inlaid mosaic depicting breaking waves and fishes representing Christianity. Robing rooms below transepts converted into the Western Rooms (banqueting rooms).
CENTRAL SPACE (area between transepts underneath tower): Circular inlaid marble memorial to Scott to centre of floor reads '1880-1960/SIR GILES GILBERT SCOTT/O.M..R.A./ARCHITECT'. Three doorways to each north and south side lead to Rankin and Welsford Porches, similarly styled to the outer doors with sculpture by Edward Carter Preston, tower windows above, vaulted vestibule beyond doors to Welsford Porch now contains a cafe. Two paintings by Adrian Wiszniewski depict the parable of the Good Samaritan and the House built upon Rock, donated by the Jerusalem Trust in 1996. Star-shaped vaulted ceiling to Central Space with central circular opening through which the bells were hauled, Corona Gallery immediately below vaulting (originally used by cathedral's choir).
TOWER: Reinforced concrete girdle to base, steel cradle supports 14 bells (highest and heaviest peal in the world) including the great Bourdon Bell ('Great George'), bells cast by Whitechapel Bell Foundry, psalm texts incorporated onto each bell. Massive bell chamber with tall oak louvres, concrete stairs lead up to roof.
NORTH-EAST TRANSEPT/WAR MEMORIAL CHAPEL: Ornate alabaster and gilt altarpiece. Low rectangular carved alabaster cenotaph set on shallow plinth to front of chapel surmounted by bronze case containing the Roll of Honour (names of 40,000 soldiers, sailors and airmen from the Liverpool area lost during the First World War), bronze angels set to each corner of the case face inwards with kneeling figures of a soldier, sailor, airman and marine facing outwards. Wide arched porch surmounted by balustraded gallery to each side of transept; that to east side has glass case with decorative carved surround containing King's Regiment's Roll of Honour. Military colours displayed to each side wall with carved regiment badges above. Ship's bell of HMS Liverpool commemorating Liverpool's role as allied headquarters during Battle of the Atlantic in the Second World War.
SOUTH-EAST TRANSEPT (DERBY TRANSEPT): Contains tomb of 16th Earl of Derby (first chairman of Cathedral Committee) designed by Scott, bronze memorial depicts recumbent effigy of the Earl resting his head on a sculpture of the Cathedral with a timorous mouse peering out from his drapery.
CHANCEL: Divided into Choir and Sanctuary. Carved stone pulpit with pierced balustrade and statue niches to left of Chancel entrance, incorporates carved inscription in memory of Sir Arthur Forwood and John Torr who raised the Bishopric Endowment Fund. Elaborate carved oak organ cases either side of Choir take up a complete bay, designed by Scott, project slightly into the Choir, contain organ by Henry Willis III installed 1926, rebuilt in 1958-60 and made electric by Henry Willis IV, console to north side, organ gifted by Mrs Barrow. Carved oak clergy and choir stalls (latter gifted by Lord & Lady Waring), incorporate carved paired Liver birds guarding the choir stall steps, Bishop's Throne with Diocesan crest carved above gifted by Miss Watt, crest replicated to mosaic in Presbytery floor (eastern part of Choir) in front. Two paintings behind choir stalls by Christopher Le Brun depict Good Samaritan and Return of the Prodigal Son, donated by the Jerusalem Trust in 1996. Decorative patterned marble floor to Sanctuary. Altar set upon stepped platform (steps in alternating light and dark coloured marble). Highly elaborate carved stone and gilded reredos behind by Weingartner & Gilbert, overall design by Scott influenced by Spain, gifted by Mrs Mark Wood, figures designed and carved by Walter Gilbert, figures in lighter coloured Wooler sandstone carved by Arthur Turner. Lower reredos panel depicts Last Supper, centre panel depicts Crucifixion flanked by scenes of the Passion, outer panels depict Nativity and Resurrection. Altar rail supported by ten bronze figures depicting Ten Commandments, by Weingartner & Gilbert.
NORTH CHOIR AISLE: Memorial inscriptions to walls, door to west end leads into Chapel of the Holy Spirit with alabaster altarpiece depicting Jesus praying at Sea of Galilee by William Gough, 'Redemption' artwork by Arthur Dooley and Ann McTavish.
CHAPTER HOUSE: Tall geometric-patterned metal entrance gates by Keith Scott (1980s). Concrete domed ceiling, patterned marble floor. Panelled oak stalls to lower part of walls with carved detailing to Bishops' and Dean's stalls, plain panelled oak altar with altar painting of Crucifixion (Craigie Aitchison, 1998). Large carved stone relief crests in between stained glass windows. Oak door with ornate metal strap hinges incorporating Lancashire rose motifs and carved stone surround set to north-east corner leads to turret stair and high-level gallery above Chapter House floor.
AMBULATORY: Situated behind High Altar, lower floor level, corbelled ribbed vaulted ceiling with carved bosses. Four arched openings to west side (with stained glass windows above) lead into lobby area with series of oak doors with decorative ironwork and carved stone surrounds (one of which depicts a rose and Bishop's mitre), former vestries behind now used as education rooms. Two wide arched openings to west side of Ambulatory provide processional route in and out of Sanctuary. Stair flights to each north and south end set within arched openings accessing choir aisles, small corbelled balconies above.
SOUTH CHOIR AISLE: Monuments to Bishop Chavasse, Bishop Ryle and Dean Frederick Dwelly to north side, foundation stone to south side with inscriptions by Herbert Tyson Smith reading 'TO THE GLORY OF GOD THIS FOUNDATION STONE WAS LAID BY KING EDWARD THE SEVENTH ON THE 19TH DAY OF JULY 1904', and 'OTHER FOUNDATION CAN NO MAN LAY THAN THAT WHICH IS LAID, WHICH IS JESUS CHRIST'. Stained glass rose windows to west end of each Choir Aisle. Two doors towards east end of south wall of South Choir Aisle lead to Lady Chapel; that to west accesses a stone stair leading to the chapel floor, door to east leads to arcaded gallery to west end of Lady Chapel with short stair flight connecting to main chapel stair.
LADY CHAPEL: By Bodley and Scott, richly decorated, dedicated to Mary, mother of Jesus. Black and white marble chequerboard floor with interspersed motifs, decorative metal pendant lights by Scott, elaborate rib vaulted ceiling. Fine decorative stone carving by Joseph Phillips. Original choir stalls now removed. Wall piers linked by arches and pierced by narrow passage aisles, support triforium surmounted by elaborate crest, 38 carved angels with instruments project out above triforium, stylised stone inscription of the text 'GOD SO LOVED THE WORLD, THAT HE GAVE HIS ONLY BEGOTTEN SON...' (St John 3:16) carved below triforium, tall stained glass windows above and behind. Altar to east end with ornate tryptych reredos designed by Bodley and Scott, figures by G W Wilson, constructed by Rattee & Kent, centrepiece with delicate gilt filigree surrounding painted panels depicting the Nativity and Christ's early ministry, flanked by blue panelled wings to each side with gilt text. C15 kneeling figure of Our Lady by Giovanni della Robbia to left of altar. 'Alleluia Door' to north side of chapel with bronze handle incorporating a snail and salamander, ornate carved stone surround incorporating 'ALLELUIA' and relief crown above door. Elaborate carved oak organ case designed by Scott to west end above arcaded gallery.
STAINED GLASS: Window themes chosen by stained glass committee led by Sir Frederick Radcliffe with large input from Scott.
GREAT WEST WINDOW/BENEDICITE WINDOW: By Carl Edwards, 3 lancets over 52ft high depicting creation with separate lunette window to top depicting the Risen Lord, covers 1600 sq ft in total, installed in 1978.
NAVE AISLES: Windows depict historical development of the ministry, teaching and liturgy of the Church of England. Bishops' window by William Wilson depicts various historical bishops. All remaining windows to Nave by Carl Edwards; Parsons' window depicts various clergy members. Laymen's window depicts tradesmen who worked on the cathedral and committee members, including G F Bodley, Sir Giles Gilbert Scott, Sir William Forwood & the Earl of Derby. Musicians' Window depicts contributors to Anglican music. Hymnologists' window depicts hymn writers. Scholars' window depicts Oxford & Cambridge scholars, including the first Dean of Liverpool, Dean Frederick W Dwelly.
NORTH-WEST TRANSEPT: Window by Herbert Hendrie depicts theme of Church and State, including King George V and Queen Mary at 1924 consecration.
SOUTH-WEST TRANSEPT (BAPTISTRY): Window by Herbert Hendrie depicts salvation and healing through water, and baptisms.
CENTRAL SPACE: Old Testament window to north side of Central Space by James H Hogan depicts Old Testament figures and scenes, including Call of Abraham. New Testament window to south side of Central Space (also by Hogan) depicts New Testament figures and scenes, including Nativity and Crucifixion.
NORTH-EAST TRANSEPT/WAR MEMORIAL CHAPEL: Window by J W Brown & James H Hogan has theme of sacrifice and risen life.
SOUTH-EAST TRANSEPT: Window by J W Brown destroyed during the Second World War, replaced with simplified version by James H Hogan in same theme of Jesus' miracles.
GREAT EAST WINDOW/TE DEUM WINDOW: By J W Brown of Whitefriars Studios, gifted by Mrs Ismay, illustrates traditional hymn of the church 'Te Deum Laudamus', alternating bands of colour and clearer glass as dictated by Scott. Septfoil window to top depicts risen Jesus surrounded by heavenly chorus, two sets of paired lancets below with curvilinear-style tracery to top depict heavenly choirs with representatives of the faithful on Earth below, including apostles, saints, martyrs, and figures from the arts, science, law, commerce, scholarship, architecture and the army.
NORTH CHOIR AISLE: North Choir Aisle windows by J W Brown. 'Sapphire' window depicts St Matthew (symbolised as an angel) and Epiphany, 'Gold' window depicts St Luke (symbolised as an ox) and feeding of the five thousand, rose window to east end depicts journeys across the sea undertaken in faith.
CHAPTER HOUSE: Windows originally by Morris & Co, damaged in the Second World War and repaired by James Powell & Sons, depict interests and traditions of the Freemasons. Corn Merchants' window to Chapter House stair by C E Kempe & Co Ltd commemorates Woodward family (Liverpool corn merchants) 1803-1915.
AMBULATORY: Four windows by Burlison & Grylls each depict a pair of saints associated with the four nations of the British Isles.
SOUTH CHOIR AISLE: Windows by James H Hogan. 'Ruby' window depicts St John (symbolised as an eagle) and various biblical events, 'Emerald' window depicts St Mark (symbolised as a lion) and scenes from his gospel, rose window to east end by J W Brown depicts biblical demonstrations of God's power in and through water.
LADY CHAPEL: Windows illustrate role of women in history of faith from biblical times to C20, scroll runs across all windows displaying words of the Magnificat. Original glass designed by J W Brown destroyed during the Second World War, replaced by simplified adaptations by James H Hogan and Carl Edwards, gallery window above and behind organ by Hogan depicts Annunciation. Noble Women windows on west stair and atrium by J W Brown, 1921, donated by Girls' Friendly Society. Damaged in the Second World War but re-made to original designs, depict women who contributed to society, including Elizabeth Fry, Louisa Stewart, Grace Darling & Kitty Wilkinson.
Legacy
The contents of this record have been generated from a legacy data system.
Legacy System number: 359401
Legacy System:
LBS
Sources
Books and journals
Brooks, J, Crampton, M, Liverpool Cathedral Guidebook, (2007)
Brown, S, de Figuereido, P, Religion and Place: Liverpool's Historic Places of Worship, (2008), 53-58
Kennerley, P (ed), The Building of Liverpool Cathedral, (2008)
Sharples, J, Pevsner Architectural Guides: Liverpool, (2004), 73-82
Vincent, N T, The Stained Glass of Liverpool Cathedral, (2002)
Websites
Scott, Sir Giles Gilbert (1880-1960), accessed from www.oxforddnb.com/view/article/35987
Sir Giles Gilbert Scott, accessed from www.britannica.com/EBchecked/topic/529593/Sir-Giles-Gilbe...
War Memorials Online, accessed 16 August 2017 from www.warmemorialsonline.org.uk/memorial/108701
War Memorials Online, accessed 16 August 2017 from www.warmemorialsonline.org.uk/memorial/120295
War Memorials Online, accessed 16 August 2017 from www.warmemorialsonline.org.uk/memorial/120084
War Memorials Online, accessed 16 August 2017 from www.warmemorialsonline.org.uk/memorial/108709
War Memorials Register, accessed 16 August 2017 from www.iwm.org.uk/memorials/item/memorial/15157
War Memorials Register, accessed 16 August 2017 from www.iwm.org.uk/memorials/item/memorial/62832
War Memorials Register, accessed 16 August 2017 from www.iwm.org.uk/memorials/item/memorial/62833
War Memorials Register, accessed 16 August 2017 from www.iwm.org.uk/memorials/item/memorial/15149
Old egyptian hieroglyphic painting showing an early instance of a domesticated animal (cow being milked).
[Rights free image - source: commons.wikimedia.org/wiki/Image:Egyptian_Domesticated_An...]
