Ballpoint on paper

GB Railfreight Class 56 No. 56098 stands at Euston before working the 5Z71 10:59 Euston to Leicester L.I.P. movement of translator wagons Nos. ADB975978 'Perpetiel', ADB975974 'Paschar', 6377 and 6376

Su patrimonio histórico y monumental, así como diversas celebraciones que tienen lugar a lo largo del año, la convierten en una ciudad receptora de turismo nacional e internacional. Destacan los Sanfermines, de fama internacional, llenándose sus calles de miles de forasteros venidos de todas las partes del mundo. Los festejos comienzan con el lanzamiento del chupinazo (cohete) desde el balcón del ayuntamiento a las doce del mediodía del 6 de julio, y terminan a las doce de la noche del 14 de julio con el Pobre de mí, una canción de despedida. Su fama mundial es un fenómeno reciente, vinculado también a la difusión que les dio Ernest Hemingway con su novela Fiesta.

Entre sus monumentos más representativos se encuentran la catedral de Santa María, la iglesia de San Saturnino, la iglesia de San Nicolás, la Ciudadela o la Cámara de Comptos, todos ellos declarados Bien de Interés Cultural

 

es.wikipedia.org/wiki/Pamplona

 

Its historical and monumental heritage, as well as the various celebrations that take place throughout the year, make it a city that receives both national and international tourism. The Sanfermines, of international fame, stand out, filling its streets with thousands of foreigners from all over the world. The festivities begin with the launching of the chupinazo (rocket) from the balcony of the town hall at midday on 6 July, and end at midnight on 14 July with the Pobre de mí, a farewell song. Their worldwide fame is a recent phenomenon, also linked to the publicity given to them by Ernest Hemingway with his novel Fiesta.

Among its most representative monuments are the cathedral of Santa María, the church of San Saturnino, the church of San Nicolás, the Citadel and the Chamber of Comptos, all of which have been declared Sites of Cultural Interest.

 

Translated with www.DeepL.com/Translator (free version)

 

Schwalbennester über dem Pferdestall

Swallow's nests about the horse stable

 

Haupt- und Landgestüt Marbach

Über 500 Jahre Tradition im ältesten staatlichen Gestüt Deutschlands.

Das Haupt- und Landgestüt liegt Im Tal der Großen Lauter auf der Schwäbischen Alb in Süddeutschland, im Herzen des UNESCO-Biosphärengebietes. Knapp 1.000 Hektar Fläche verteilen sich auf die drei Gestütshöfe Marbach, Offenhausen und St. Johann und bieten Platz für rund 550 Pferde.

 

Marbach stud

More than 500 years of tradition in the oldest state stud farm in Germany.

The State Stud Farm is located in the valley of the Great Lauter in the Swabian Alb in southern Germany, in the heart of the UNESCO biosphere area. Nearly 1 000 hectares distributed among the three stud farms Marbach, Offenhausen and St. Johann and can accommodate around 550 horses.

>Translation with Translator<

 

5E17 05:17 Leciester LIP to Holbeck Loco Sidings

 

Samurai (侍?) were the military-nobility and officer-caste of medieval and early-modern Japan.

 

In Japanese, they are usually referred to as bushi (武士?, [bu.ɕi]) or buke (武家?). According to translator William Scott Wilson: "In Chinese, the character 侍 was originally a verb meaning "to wait upon" or "accompany persons" in the upper ranks of society, and this is also true of the original term in Japanese, saburau. In both countries the terms were nominalized to mean "those who serve in close attendance to the nobility", the pronunciation in Japanese changing to saburai. According to Wilson, an early reference to the word "samurai" appears in the Kokin Wakashū (905–914), the first imperial anthology of poems, completed in the first part of the 10th century.[1]

 

By the end of the 12th century, samurai became almost entirely synonymous with bushi, and the word was closely associated with the middle and upper echelons of the warrior class. The samurai were usually associated with a clan and their lord, were trained as officers in military tactics and grand strategy, and they followed a set of rules that later came to be known as the bushidō. While the samurai numbered less than 10% of then Japan's population,[2] their teachings can still be found today in both everyday life and in modern Japanese martial arts.

THE TYNDALE MONUMENT IS A TOWER BUILT ON A HILL AT NORTH NIBLEY, GLOUCESTERSHIRE, ENGLAND. IT WAS BUILT IN HONOUR OF WILLIAM TYNDALE, A TRANSLATOR OF THE NEW TESTAMENT, WHO IS BELIEVED TO HAVE BEEN BORN AT NORTH NIBLEY. THE TOWER WAS CONSTRUCTED IN 1866, 26FT 6IN SQUARE AT THE BASE AND IS 111 FT (34 M) TALL. IT IS POSSIBLE TO ENTER AND CLIMB TO THE TOP OF THE TOWER, UP A SPIRAL STAIRCASE OF ABOUT 120 STEPS. THE HILL IT IS ON ALLOWS A WIDE RANGE OF VIEWS, ESPECIALLY LOOKING DOWN TO THE RIVER SEVERN. THE HILL ON WHICH THE MONUMENT STANDS IS QUITE STEEP. THERE ARE TWO MAIN PATHS, ONE WHICH GOES UP STEEP STEPS, OR ONE THAT FOLLOWS A ROUGH SLOPE. THE TOWER ITSELF IS SURROUNDED BY FENCING AND HAS FLOODLIGHTS THAT LIGHT UP THE TOWER ON SPECIAL OCCASIONS.THE DOOR TO THE TOWER IS NORMALLY UNLOCKED.

FORBIDDEN TO WORK IN ENGLAND, TYNDALE TRANSLATED AND PRINTED IN ENGLISH THE NEW TESTAMENT AND HALF THE OLD TESTAMENT BETWEEN 1525 AND 1535 IN GERMANY AND THE LOW COUNTRIES. HE WORKED FROM THE GREEK AND HEBREW ORIGINAL TEXTS WHEN KNOWLEDGE OF THOSE LANGUAGES IN ENGLAND WAS RARE. HIS POCKET-SIZED BIBLE TRANSLATIONS WERE SMUGGLED INTO ENGLAND, AND THEN RUTHLESSLY SOUGHT OUT BY THE CHURCH, CONFISCATED AND DESTROYED. CONDEMNED AS A HERETIC, TYNDALE WAS STRANGLED AND BURNED OUTSIDE BRUSSELS IN 1536.

TYNDALE'S ENGLISH TRANSLATION OF THE NEW TESTAMENT WAS TAKEN ALMOST WORD FOR WORD INTO THE MUCH PRAISED AUTHORISED VERSION (KING JAMES BIBLE) OF 1611, WHICH ALSO REPRODUCES A GREAT DEAL OF HIS OLD TESTAMENT. FROM THERE HIS WORDS PASSED INTO OUR COMMON UNDERSTANDING. PEOPLE ACROSS THE WORLD HONOUR HIM AS A GREAT ENGLISHMAN, UNJUSTLY CONDEMNED AND STILL UNFAIRLY NEGLECTED. HIS SOLITARY COURAGE AND HIS SKILL WITH LANGUAGES - INCLUDING, SUPREMELY, HIS OWN - ENRICHED ENGLISH HISTORY IN WAYS STILL NOT PROPERLY EXAMINED, AND THEN REACHED OUT TO AFFECT ALL ENGLISH-SPEAKING NATIONS.

 

Design Challenge entry: 'And I don't feel well either, by Su_G': detail of design (part only). My entry in Spoonflower's Summer Cookout Design Challenge.

Chalk & airgun on paper.

© Su Schaefer 2018

 

Newton's dead, Einstein's dead, and I don't feel well either... Something very like this saying is attributed to Mark Twain, but this is my husband's version of it; as a good Bavarian he knows all about sausages (Würste) but maybe only in German could there be a term for ‘sausage poisoning’ (Wurstvergiftung - my source being the wonderful LEO, translator out of Munich Technical University).

 

See 'And I don't feel well either, by Su_G' as fabric @ Spoonflower.

 

[Design Challenge entry_'And I don't feel well either, by Su_G'_detail]

graef-fotografie.de

Casa das Rosas ("House of the Roses"), one of the last mansions from the early 20th century still standing on skyscraper-lined Avenida Paulista, is now a poetry and arts center.

 

Named for Haroldo de Campos (1929-2003), one of Brazil's greatest poets and translators, the center hosts exhibits, courses, plays, performances, and other cultural and artistic events, several of which are free.

 

The house is a great attraction in itself. It was designed and built between 1928 and 1935 by the office of São Paulo architect Francisco de Paula Ramos de Azevedo (1851-1929), responsible for dozens of projects which helped define São Paulo as a metropolis. Casa das Rosas was designed for his daughter Lúcia Ramos de Azevedo and her husband, engineer Ernesto Dias de Castro.

 

The construction, a blend of styles with Art Déco, Renaissance, neoclassical and English elements (such as Chippendale and Hepplewhite), has 30 rooms and a garden where roses still grow. It was listed by Condephaat, the São Paulo State historic, archaeological, artistic and tourism council, in 1985.

Sao Paulo. Brazil.

Most passengers do not even give passing trains so much as a cursory glance. But an immaculate Brush 4 in two tone green with two blue translator coaches certainly did.

GBRf 66703 'Doncaster PSB 1981 - 2002' on the fast at Potbridge this morning with ex Class 508 driving cars, now barrier / translator vehicles, 64707 Labezerin & 64664 Liwet working 5Q13 Eastleigh Works to Old Dalby (although it stopped short at Peterborough). South Western Railway 450043 & 450048 pass in the other direction working 2L25, the 10.12 London Waterloo to Basingstoke stopping service.

Vladimir Semyonovich Vysotsky (Russian: Владимир Семёнович Высоцкий, IPA: [vlɐˈdʲimʲɪr sʲɪˈmʲɵnəvʲɪtɕ vɨˈsotskʲɪj]; 25 January 1938 – 25 July 1980), was a Soviet singer-songwriter, poet, and actor who had an immense and enduring effect on Soviet culture. He became widely known for his unique singing style and for his lyrics, which featured social and political commentary in often humorous street-jargon. He was also a prominent stage- and screen-actor. Though the official Soviet cultural establishment largely ignored his work, he was remarkably popular during his lifetime, and to this day exerts significant influence on many of Russia's musicians and actors.

 

Vysotsky was born in Moscow at the 3rd Meshchanskaya St. (61/2) maternity hospital. His father, Semyon Volfovich (Vladimirovich) (1915–1997), was a colonel in the Soviet army, originally from Kiev. Vladimir's mother, Nina Maksimovna, (née Seryogina, 1912–2003) was Russian, and worked as a German language translator.[3] Vysotsky's family lived in a Moscow communal flat in harsh conditions, and had serious financial difficulties. When Vladimir was 10 months old, Nina had to return to her office in the Transcript bureau of the Soviet Ministry of Geodesy and Cartography (engaged in making German maps available for the Soviet military) so as to help her husband earn their family's living.

 

Vladimir's theatrical inclinations became obvious at an early age, and were supported by his paternal grandmother Dora Bronshteyn, a theater fan. The boy used to recite poems, standing on a chair and "flinging hair backwards, like a real poet," often using in his public speeches expressions he could hardly have heard at home. Once, at the age of two, when he had tired of the family's guests' poetry requests, he, according to his mother, sat himself under the New-year tree with a frustrated air about him and sighed: "You silly tossers! Give a child some respite!" His sense of humor was extraordinary, but often baffling for people around him. A three-year-old could jeer his father in a bathroom with unexpected poetic improvisation ("Now look what's here before us / Our goat's to shave himself!") or appall unwanted guests with some street folk song, promptly steering them away. Vysotsky remembered those first three years of his life in the autobiographical Ballad of Childhood (Баллада о детстве, 1975), one of his best-known songs.

 

As World War II broke out, Semyon Vysotsky, a military reserve officer, joined the Soviet army and went to fight the Nazis. Nina and Vladimir were evacuated to the village of Vorontsovka, in Orenburg Oblast where the boy had to spend six days a week in a kindergarten and his mother worked for twelve hours a day in a chemical factory. In 1943, both returned to their Moscow apartment at 1st Meschanskaya St., 126. In September 1945, Vladimir joined the 1st class of the 273rd Moscow Rostokino region School.

 

In December 1946, Vysotsky's parents divorced. From 1947 to 1949, Vladimir lived with Semyon Vladimirovich (then an army Major) and his Armenian wife, Yevgenya Stepanovna Liholatova, whom the boy called "aunt Zhenya", at a military base in Eberswalde in the Soviet-occupied zone of Germany (later East Germany). "We decided that our son would stay with me. Vladimir came to stay with me in January 1947, and my second wife, Yevgenia, became Vladimir's second mother for many years to come. They had much in common and liked each other, which made me really happy," Semyon Vysotsky later remembered. Here living conditions, compared to those of Nina's communal Moscow flat, were infinitely better; the family occupied the whole floor of a two-storeyed house, and the boy had a room to himself for the first time in his life. In 1949 along with his stepmother Vladimir returned to Moscow. There he joined the 5th class of the Moscow 128th School and settled at Bolshoy Karetny [ru], 15 (where they had to themselves two rooms of a four-roomed flat), with "auntie Zhenya" (who was just 28 at the time), a woman of great kindness and warmth whom he later remembered as his second mother. In 1953 Vysotsky, now much interested in theater and cinema, joined the Drama courses led by Vladimir Bogomolov.[7] "No one in my family has had anything to do with arts, no actors or directors were there among them. But my mother admired theater and from the earliest age... each and every Saturday I've been taken up with her to watch one play or the other. And all of this, it probably stayed with me," he later reminisced. The same year he received his first ever guitar, a birthday present from Nina Maksimovna; a close friend, bard and a future well-known Soviet pop lyricist Igor Kokhanovsky taught him basic chords. In 1955 Vladimir re-settled into his mother's new home at 1st Meshchanskaya, 76. In June of the same year he graduated from school with five A's.

 

In 1955, Vladimir enrolled into the Moscow State University of Civil Engineering, but dropped out after just one semester to pursue an acting career. In June 1956 he joined Boris Vershilov's class at the Moscow Art Theatre Studio-Institute. It was there that he met the 3rd course student Iza Zhukova who four years later became his wife; soon the two lovers settled at the 1st Meschanskaya flat, in a common room, shielded off by a folding screen. It was also in the Studio that Vysotsky met Bulat Okudzhava for the first time, an already popular underground bard. He was even more impressed by his Russian literature teacher Andrey Sinyavsky who along with his wife often invited students to his home to stage improvised disputes and concerts. In 1958 Vysotsky's got his first Moscow Art Theatre role: that of Porfiry Petrovich in Dostoyevsky's Crime and Punishment. In 1959 he was cast in his first cinema role, that of student Petya in Vasily Ordynsky's The Yearlings (Сверстницы). On 20 June 1960, Vysotsky graduated from the MAT theater institute and joined the Moscow Pushkin Drama Theatre (led by Boris Ravenskikh at the time) where he spent (with intervals) almost three troubled years. These were marred by numerous administrative sanctions, due to "lack of discipline" and occasional drunken sprees which were a reaction, mainly, to the lack of serious roles and his inability to realise his artistic potential. A short stint in 1962 at the Moscow Theater of Miniatures (administered at the time by Vladimir Polyakov) ended with him being fired, officially "for a total lack of sense of humour."

 

Vysotsky's second and third films, Dima Gorin's Career and 713 Requests Permission to Land, were interesting only for the fact that in both he had to be beaten up (in the first case by Aleksandr Demyanenko). "That was the way cinema greeted me," he later jokingly remarked. In 1961, Vysotsky wrote his first ever proper song, called "Tattoo" (Татуировка), which started a long and colourful cycle of artfully stylized criminal underworld romantic stories, full of undercurrents and witty social comments. In June 1963, while shooting Penalty Kick (directed by Veniamin Dorman and starring Mikhail Pugovkin), Vysotsky used the Gorky Film Studio to record an hour-long reel-to-reel cassette of his own songs; copies of it quickly spread and the author's name became known in Moscow and elsewhere (although many of these songs were often being referred to as either "traditional" or "anonymous"). Just several months later Riga-based chess grandmaster Mikhail Tal was heard praising the author of "Bolshoy Karetny" (Большой Каретный) and Anna Akhmatova (in a conversation with Joseph Brodsky) was quoting Vysotsky's number "I was the soul of a bad company..." taking it apparently for some brilliant piece of anonymous street folklore. In October 1964 Vysotsky recorded in chronological order 48 of his own songs, his first self-made Complete works of... compilation, which boosted his popularity as a new Moscow folk underground star.

 

In 1964, director Yuri Lyubimov invited Vysotsky to join the newly created Taganka Theatre. "'I've written some songs of my own. Won't you listen?' – he asked. I agreed to listen to just one of them, expecting our meeting to last for no more than five minutes. Instead I ended up listening to him for an entire 1.5 hours," Lyubimov remembered years later of this first audition. On 19 September 1964, Vysotsky debuted in Bertolt Brecht's The Good Person of Szechwan as the Second God (not to count two minor roles). A month later he came on stage as a dragoon captain (Bela's father) in Lermontov's A Hero of Our Time. It was in Taganka that Vysotsky started to sing on stage; the War theme becoming prominent in his musical repertoire. In 1965 Vysotsky appeared in the experimental Poet and Theater (Поэт и Театр, February) show, based on Andrey Voznesensky's work and then Ten Days that Shook the World (after John Reed's book, April) and was commissioned by Lyubimov to write songs exclusively for Taganka's new World War II play. The Fallen and the Living (Павшие и Живые), premiered in October 1965, featured Vysotsky's "Stars" (Звёзды), "The Soldiers of Heeresgruppe Mitte" (Солдаты группы "Центр") and "Penal Battalions" (Штрафные батальоны), the striking examples of a completely new kind of a war song, never heard in his country before. As veteran screenwriter Nikolay Erdman put it (in conversation with Lyubimov), "Professionally, I can well understand how Mayakovsky or Seryozha Yesenin were doing it. How Volodya Vysotsky does it is totally beyond me." With his songs – in effect, miniature theatrical dramatizations (usually with a protagonist and full of dialogues), Vysotsky instantly achieved such level of credibility that real life former prisoners, war veterans, boxers, footballers refused to believe that the author himself had never served his time in prisons and labor camps, or fought in the War, or been a boxing/football professional. After the second of the two concerts at the Leningrad Molecular Physics institute (that was his actual debut as a solo musical performer) Vysotsky left a note for his fans in a journal which ended with words: "Now that you've heard all these songs, please, don't you make a mistake of mixing me with my characters, I am not like them at all. With love, Vysotsky, 20 April 1965, XX c." Excuses of this kind he had to make throughout his performing career. At least one of Vysotsky's song themes – that of alcoholic abuse – was worryingly autobiographical, though. By the time his breakthrough came in 1967, he'd suffered several physical breakdowns and once was sent (by Taganka's boss) to a rehabilitation clinic, a visit he on several occasions repeated since.

 

Brecht's Life of Galileo (premiered on 17 May 1966), transformed by Lyubimov into a powerful allegory of Soviet intelligentsia's set of moral and intellectual dilemmas, brought Vysotsky his first leading theater role (along with some fitness lessons: he had to perform numerous acrobatic tricks on stage). Press reaction was mixed, some reviewers disliked the actor's overt emotionalism, but it was for the first time ever that Vysotsky's name appeared in Soviet papers. Film directors now were treating him with respect. Viktor Turov's war film I Come from the Childhood where Vysotsky got his first ever "serious" (neither comical, nor villainous) role in cinema, featured two of his songs: a spontaneous piece called "When It's Cold" (Холода) and a dark, Unknown soldier theme-inspired classic "Common Graves" (На братских могилах), sung behind the screen by the legendary Mark Bernes.

 

Stanislav Govorukhin and Boris Durov's The Vertical (1967), a mountain climbing drama, starring Vysotsky (as Volodya the radioman), brought him all-round recognition and fame. Four of the numbers used in the film (including "Song of a Friend [fi]" (Песня о друге), released in 1968 by the Soviet recording industry monopolist Melodiya disc to become an unofficial hit) were written literally on the spot, nearby Elbrus, inspired by professional climbers' tales and one curious hotel bar conversation with a German guest who 25 years ago happened to climb these very mountains in a capacity of an Edelweiss division fighter. Another 1967 film, Kira Muratova's Brief Encounters featured Vysotsky as the geologist Maxim (paste-bearded again) with a now trademark off-the-cuff musical piece, a melancholy improvisation called "Things to Do" (Дела). All the while Vysotsky continued working hard at Taganka, with another important role under his belt (that of Mayakovsky or, rather one of the latter character's five different versions) in the experimental piece called Listen! (Послушайте!), and now regularly gave semi-official concerts where audiences greeted him as a cult hero.

 

In the end of 1967 Vysotsky got another pivotal theater role, that of Khlopusha [ru] in Pugachov (a play based on a poem by Sergei Yesenin), often described as one of Taganka's finest. "He put into his performance all the things that he excelled at and, on the other hand, it was Pugachyov that made him discover his own potential," – Soviet critic Natalya Krymova wrote years later. Several weeks after the premiere, infuriated by the actor's increasing unreliability triggered by worsening drinking problems, Lyubimov fired him – only to let him back again several months later (and thus begin the humiliating sacked-then-pardoned routine which continued for years). In June 1968 a Vysotsky-slagging campaign was launched in the Soviet press. First Sovetskaya Rossiya commented on the "epidemic spread of immoral, smutty songs," allegedly promoting "criminal world values, alcoholism, vice and immorality" and condemned their author for "sowing seeds of evil." Then Komsomolskaya Pravda linked Vysotsky with black market dealers selling his tapes somewhere in Siberia. Composer Dmitry Kabalevsky speaking from the Union of Soviet Composers' Committee tribune criticised the Soviet radio for giving an ideologically dubious, "low-life product" like "Song of a Friend" (Песня о друге) an unwarranted airplay. Playwright Alexander Stein who in his Last Parade play used several of Vysotsky's songs, was chastised by a Ministry of Culture official for "providing a tribune for this anti-Soviet scum." The phraseology prompted commentators in the West to make parallels between Vysotsky and Mikhail Zoschenko, another Soviet author who'd been officially labeled "scum" some 20 years ago.

 

Two of Vysotsky's 1968 films, Gennady Poloka's Intervention (premiered in May 1987) where he was cast as Brodsky, a dodgy even if highly artistic character, and Yevgeny Karelov's Two Comrades Were Serving (a gun-toting White Army officer Brusentsov who in the course of the film shoots his friend, his horse, Oleg Yankovsky's good guy character and, finally himself) – were severely censored, first of them shelved for twenty years. At least four of Vysotsky's 1968 songs, "Save Our Souls" (Спасите наши души), "The Wolfhunt" (Охота на волков), "Gypsy Variations" (Моя цыганская) and "The Steam-bath in White" (Банька по-белому), were hailed later as masterpieces. It was at this point that 'proper' love songs started to appear in Vysotsky's repertoire, documenting the beginning of his passionate love affair with French actress Marina Vlady.

 

In 1969 Vysotsky starred in two films: The Master of Taiga where he played a villainous Siberian timber-floating brigadier, and more entertaining Dangerous Tour. The latter was criticized in the Soviet press for taking a farcical approach to the subject of the Bolshevik underground activities but for a wider Soviet audience this was an important opportunity to enjoy the charismatic actor's presence on big screen. In 1970, after visiting the dislodged Soviet leader Nikita Khrushchev at his dacha and having a lengthy conversation with him, Vysotsky embarked on a massive and by Soviet standards dangerously commercial concert tour in Soviet Central Asia and then brought Marina Vlady to director Viktor Turov's place so as to investigate her Belarusian roots. The pair finally wed on 1 December 1970 (causing furore among the Moscow cultural and political elite) and spent a honeymoon in Georgia. This was the highly productive period for Vysotsky, resulting in numerous new songs, including the anthemic "I Hate" (Я не люблю), sentimental "Lyricale" (Лирическая) and dramatic war epics "He Didn't Return from the Battle" (Он не вернулся из боя) and "The Earth Song" (Песня о Земле) among many others.

 

In 1971 a drinking spree-related nervous breakdown brought Vysotsky to the Moscow Kashchenko clinic [ru]. By this time he has been suffering from alcoholism. Many of his songs from this period deal, either directly or metaphorically, with alcoholism and insanity. Partially recovered (due to the encouraging presence of Marina Vladi), Vysotsky embarked on a successful Ukrainian concert tour and wrote a cluster of new songs. On 29 November 1971 Taganka's Hamlet premiered, a groundbreaking Lyubimov's production with Vysotsky in the leading role, that of a lone intellectual rebel, rising to fight the cruel state machine.

 

Also in 1971 Vysotsky was invited to play the lead in The Sannikov Land, the screen adaptation of Vladimir Obruchev's science fiction,[47] which he wrote several songs for, but was suddenly dropped for the reason of his face "being too scandalously recognisable" as a state official put it. One of the songs written for the film, a doom-laden epic allegory "Capricious Horses" (Кони привередливые), became one of the singer's signature tunes. Two of Vysotsky's 1972 film roles were somewhat meditative: an anonymous American journalist in The Fourth One and the "righteous guy" von Koren in The Bad Good Man (based on Anton Chekov's Duel). The latter brought Vysotsky the Best Male Role prize at the V Taormina Film Fest. This philosophical slant rubbed off onto some of his new works of the time: "A Singer at the Microphone" (Певец у микрофона), "The Tightrope Walker" (Канатоходец), two new war songs ("We Spin the Earth", "Black Pea-Coats") and "The Grief" (Беда), a folkish girl's lament, later recorded by Marina Vladi and subsequently covered by several female performers. Popular proved to be his 1972 humorous songs: "Mishka Shifman" (Мишка Шифман), satirizing the leaving-for-Israel routine, "Victim of the Television" which ridiculed the concept of "political consciousness," and "The Honour of the Chess Crown" (Честь шахматной короны) about an ever-fearless "simple Soviet man" challenging the much feared American champion Bobby Fischer to a match.

 

In 1972 he stepped up in Soviet Estonian TV where he presented his songs and gave an interview. The name of the show was "Young Man from Taganka" (Noormees Tagankalt).

 

In April 1973 Vysotsky visited Poland and France. Predictable problems concerning the official permission were sorted after the French Communist Party leader Georges Marchais made a personal phone call to Leonid Brezhnev who, according to Marina Vlady's memoirs, rather sympathized with the stellar couple. Having found on return a potentially dangerous lawsuit brought against him (concerning some unsanctioned concerts in Siberia the year before), Vysotsky wrote a defiant letter to the Minister of Culture Pyotr Demichev. As a result, he was granted the status of a philharmonic artist, 11.5 roubles per concert now guaranteed. Still the 900 rubles fine had to be paid according to the court verdict, which was a substantial sum, considering his monthly salary at the theater was 110 rubles. That year Vysotsky wrote some thirty songs for "Alice in Wonderland," an audioplay where he himself has been given several minor roles. His best known songs of 1973 included "The Others' Track" (Чужая колея), "The Flight Interrupted" (Прерванный полёт) and "The Monument", all pondering on his achievements and legacy.

 

In 1974 Melodiya released the 7" EP, featuring four of Vysotsky's war songs ("He Never Returned From the Battle", "The New Times Song", "Common Graves", and "The Earth Song") which represented a tiny portion of his creative work, owned by millions on tape. In September of that year Vysotsky received his first state award, the Honorary Diploma of the Uzbek SSR following a tour with fellow actors from the Taganka Theatre in Uzbekistan. A year later he was granted the USSR Union of Cinematographers' membership. This meant he was not an "anti-Soviet scum" now, rather an unlikely link between the official Soviet cinema elite and the "progressive-thinking artists of the West." More films followed, among them The Only Road (a Soviet-Yugoslav joint venture, premiered on 10 January 1975 in Belgrade) and a science fiction movie The Flight of Mr. McKinley (1975). Out of nine ballads that he wrote for the latter only two have made it into the soundtrack. This was the height of his popularity, when, as described in Vlady's book about her husband, walking down the street on a summer night, one could hear Vysotsky's recognizable voice coming literally from every open window. Among the songs written at the time, were humorous "The Instruction before the Trip Abroad", lyrical "Of the Dead Pilot" and philosophical "The Strange House". In 1975 Vysotsky made his third trip to France where he rather riskily visited his former tutor (and now a celebrated dissident emigre) Andrey Sinyavsky. Artist Mikhail Shemyakin, his new Paris friend (or a "bottle-sharer", in Vladi's terms), recorded Vysotsky in his home studio. After a brief stay in England Vysotsky crossed the ocean and made his first Mexican concerts in April. Back in Moscow, there were changes at Taganka: Lyubimov went to Milan's La Scala on a contract and Anatoly Efros has been brought in, a director of radically different approach. His project, Chekhov's The Cherry Orchard, caused a sensation. Critics praised Alla Demidova (as Ranevskaya) and Vysotsky (as Lopakhin) powerful interplay, some describing it as one of the most dazzling in the history of the Soviet theater. Lyubimov, who disliked the piece, accused Efros of giving his actors "the stardom malaise." The 1976 Taganka's visit to Bulgaria resulted in Vysotskys's interview there being filmed and 15 songs recorded by Balkanton record label. On return Lyubimov made a move which many thought outrageous: declaring himself "unable to work with this Mr. Vysotsky anymore" he gave the role of Hamlet to Valery Zolotukhin, the latter's best friend. That was the time, reportedly, when stressed out Vysotsky started taking amphetamines.

 

Another Belorussian voyage completed, Marina and Vladimir went for France and from there (without any official permission given, or asked for) flew to the North America. In New York Vysotsky met, among other people, Mikhail Baryshnikov and Joseph Brodsky. In a televised one-hour interview with Dan Rather he stressed he was "not a dissident, just an artist, who's never had any intentions to leave his country where people loved him and his songs." At home this unauthorized venture into the Western world bore no repercussions: by this time Soviet authorities were divided as regards the "Vysotsky controversy" up to the highest level; while Mikhail Suslov detested the bard, Brezhnev loved him to such an extent that once, while in hospital, asked him to perform live in his daughter Galina's home, listening to this concert on the telephone. In 1976 appeared "The Domes", "The Rope" and the "Medieval" cycle, including "The Ballad of Love".

 

In September Vysotsky with Taganka made a trip to Yugoslavia where Hamlet won the annual BITEF festival's first prize, and then to Hungary for a two-week concert tour. Back in Moscow Lyubimov's production of The Master & Margarita featured Vysotsky as Ivan Bezdomny; a modest role, somewhat recompensed by an important Svidrigailov slot in Yury Karyakin's take on Dostoevsky's Crime and Punishment. Vysotsky's new songs of this period include "The History of Illness" cycle concerning his health problems, humorous "Why Did the Savages Eat Captain Cook", the metaphorical "Ballad of the Truth and the Lie", as well as "Two Fates", the chilling story of a self-absorbed alcoholic hunted by two malevolent witches, his two-faced destiny. In 1977 Vysotsky's health deteriorated (heart, kidneys, liver failures, jaw infection and nervous breakdown) to such an extent that in April he found himself in Moscow clinic's reanimation center in the state of physical and mental collapse.

 

In 1977 Vysotsky made an unlikely appearance in New York City on the American television show 60 Minutes, which falsely stated that Vysotsky had spent time in the Soviet prison system, the Gulag. That year saw the release of three Vysotsky's LPs in France (including the one that had been recorded by RCA in Canada the previous year); arranged and accompanied by guitarist Kostya Kazansky, the singer for the first time ever enjoyed the relatively sophisticated musical background. In August he performed in Hollywood before members of New York City film cast and (according to Vladi) was greeted warmly by the likes of Liza Minnelli and Robert De Niro. Some more concerts in Los Angeles were followed by the appearance at the French Communist paper L’Humanité annual event. In December Taganka left for France, its Hamlet (Vysotsky back in the lead) gaining fine reviews.

 

1978 started with the March–April series of concerts in Moscow and Ukraine. In May Vysotsky embarked upon a new major film project: The Meeting Place Cannot Be Changed (Место встречи изменить нельзя) about two detectives fighting crime in late 1940s Russia, directed by Stanislav Govorukhin. The film (premiered on 11 November 1978 on the Soviet Central TV) presented Vysotsky as Zheglov, a ruthless and charismatic cop teaching his milder partner Sharapov (actor Vladimir Konkin) his art of crime-solving. Vysotsky also became engaged in Taganka's Genre-seeking show (performing some of his own songs) and played Aleksander Blok in Anatoly Efros' The Lady Stranger (Незнакомка) radio play (premiered on air on 10 July 1979 and later released as a double LP).

 

In November 1978 Vysotsky took part in the underground censorship-defying literary project Metropolis, inspired and organized by Vasily Aksenov. In January 1979 Vysotsky again visited America with highly successful series of concerts. That was the point (according to biographer Vladimir Novikov) when a glimpse of new, clean life of a respectable international actor and performer all but made Vysotsky seriously reconsider his priorities. What followed though, was a return to the self-destructive theater and concert tours schedule, personal doctor Anatoly Fedotov now not only his companion, but part of Taganka's crew. "Who was this Anatoly? Just a man who in every possible situation would try to provide drugs. And he did provide. In such moments Volodya trusted him totally," Oksana Afanasyeva, Vysotsky's Moscow girlfriend (who was near him for most of the last year of his life and, on occasion, herself served as a drug courier) remembered. In July 1979, after a series of Central Asia concerts, Vysotsky collapsed, experienced clinical death and was resuscitated by Fedotov (who injected caffeine into the heart directly), colleague and close friend Vsevolod Abdulov helping with heart massage. In January 1980 Vysotsky asked Lyubimov for a year's leave. "Up to you, but on condition that Hamlet is yours," was the answer. The songwriting showed signs of slowing down, as Vysotsky began switching from songs to more conventional poetry. Still, of nearly 800 poems by Vysotsky only one has been published in the Soviet Union while he was alive. Not a single performance or interview was broadcast by the Soviet television in his lifetime.

 

In May 1979, being in a practice studio of the MSU Faculty of Journalism, Vysotsky recorded a video letter to American actor and film producer Warren Beatty, looking for both a personal meeting with Beatty and an opportunity to get a role in Reds film, to be produced and directed by the latter. While recording, Vysotsky made a few attempts to speak English, trying to overcome the language barrier. This video letter never reached Beatty. It was broadcast for the first time more than three decades later, on the night of 24 January 2013 (local time) by Rossiya 1 channel, along with records of TV channels of Italy, Mexico, Poland, USA and from private collections, in Vladimir Vysotsky. A letter to Warren Beatty film by Alexander Kovanovsky and Igor Rakhmanov. While recording this video, Vysotsky had a rare opportunity to perform for a camera, being still unable to do it with Soviet television.

 

On 22 January 1980, Vysotsky entered the Moscow Ostankino TV Center to record his one and only studio concert for the Soviet television. What proved to be an exhausting affair (his concentration lacking, he had to plod through several takes for each song) was premiered on the Soviet TV eight years later. The last six months of his life saw Vysotsky appearing on stage sporadically, fueled by heavy dosages of drugs and alcohol. His performances were often erratic. Occasionally Vysotsky paid visits to Sklifosofsky [ru] institute's ER unit, but would not hear of Marina Vlady's suggestions for him to take long-term rehabilitation course in a Western clinic. Yet he kept writing, mostly poetry and even prose, but songs as well. The last song he performed was the agonizing "My Sorrow, My Anguish" and his final poem, written one week prior to his death was "A Letter to Marina": "I'm less than fifty, but the time is short / By you and God protected, life and limb / I have a song or two to sing before the Lord / I have a way to make my peace with him."

 

Although several theories of the ultimate cause of the singer's death persist to this day, given what is now known about cardiovascular disease, it seems likely that by the time of his death Vysotsky had an advanced coronary condition brought about by years of tobacco, alcohol and drug abuse, as well as his grueling work schedule and the stress of the constant harassment by the government. Towards the end, most of Vysotsky's closest friends had become aware of the ominous signs and were convinced that his demise was only a matter of time. Clear evidence of this can be seen in a video ostensibly shot by the Japanese NHK channel only months before Vysotsky's death, where he appears visibly unwell, breathing heavily and slurring his speech. Accounts by Vysotsky's close friends and colleagues concerning his last hours were compiled in the book by V. Perevozchikov.

 

Vysotsky suffered from alcoholism for most of his life. Sometime around 1977, he started using amphetamines and other prescription narcotics in an attempt to counteract the debilitating hangovers and eventually to rid himself of alcohol addiction. While these attempts were partially successful, he ended up trading alcoholism for a severe drug dependency that was fast spiralling out of control. He was reduced to begging some of his close friends in the medical profession for supplies of drugs, often using his acting skills to collapse in a medical office and imitate a seizure or some other condition requiring a painkiller injection. On 25 July 1979 (a year to the day before his death) he suffered a cardiac arrest and was clinically dead for several minutes during a concert tour of Soviet Uzbekistan, after injecting himself with a wrong kind of painkiller he had previously obtained from a dentist's office.

 

Fully aware of the dangers of his condition, Vysotsky made several attempts to cure himself of his addiction. He underwent an experimental (and ultimately discredited) blood purification procedure offered by a leading drug rehabilitation specialist in Moscow. He also went to an isolated retreat in France with his wife Marina in the spring of 1980 as a way of forcefully depriving himself of any access to drugs. After these attempts failed, Vysotsky returned to Moscow to find his life in an increasingly stressful state of disarray. He had been a defendant in two criminal trials, one for a car wreck he had caused some months earlier, and one for an alleged conspiracy to sell unauthorized concert tickets (he eventually received a suspended sentence and a probation in the first case, and the charges in the second were dismissed, although several of his co-defendants were found guilty). He also unsuccessfully fought the film studio authorities for the rights to direct a movie called The Green Phaeton. Relations with his wife Marina were deteriorating, and he was torn between his loyalty to her and his love for his mistress Oksana Afanasyeva. He had also developed severe inflammation in one of his legs, making his concert performances extremely challenging.

 

In a final desperate attempt to overcome his drug addiction, partially prompted by his inability to obtain drugs through his usual channels (the authorities had imposed a strict monitoring of the medical institutions to prevent illicit drug distribution during the 1980 Olympics), he relapsed into alcohol and went on a prolonged drinking binge (apparently consuming copious amounts of champagne due to a prevalent misconception at the time that it was better than vodka at countering the effects of drug withdrawal).

 

On 3 July 1980, Vysotsky gave a performance at a suburban Moscow concert hall. One of the stage managers recalls that he looked visibly unhealthy ("gray-faced", as she puts it) and complained of not feeling too good, while another says she was surprised by his request for champagne before the start of the show, as he had always been known for completely abstaining from drink before his concerts. On 16 July Vysotsky gave his last public concert in Kaliningrad. On 18 July, Vysotsky played Hamlet for the last time at the Taganka Theatre. From around 21 July, several of his close friends were on a round-the-clock watch at his apartment, carefully monitoring his alcohol intake and hoping against all odds that his drug dependency would soon be overcome and they would then be able to bring him back from the brink. The effects of drug withdrawal were clearly getting the better of him, as he got increasingly restless, moaned and screamed in pain, and at times fell into memory lapses, failing to recognize at first some of his visitors, including his son Arkadiy. At one point, Vysotsky's personal physician A. Fedotov (the same doctor who had brought him back from clinical death a year earlier in Uzbekistan) attempted to sedate him, inadvertently causing asphyxiation from which he was barely saved. On 24 July, Vysotsky told his mother that he thought he was going to die that day, and then made similar remarks to a few of the friends present at the apartment, who begged him to stop such talk and keep his spirits up. But soon thereafter, Oksana Afanasyeva saw him clench his chest several times, which led her to suspect that he was genuinely suffering from a cardiovascular condition. She informed Fedotov of this but was told not to worry, as he was going to monitor Vysotsky's condition all night. In the evening, after drinking relatively small amounts of alcohol, the moaning and groaning Vysotsky was sedated by Fedotov, who then sat down on the couch next to him but fell asleep. Fedotov awoke in the early hours of 25 July to an unusual silence and found Vysotsky dead in his bed with his eyes wide open, apparently of a myocardial infarction, as he later certified. This was contradicted by Fedotov's colleagues, Sklifosovsky Emergency Medical Institute physicians L. Sul'povar and S. Scherbakov (who had demanded the actor's immediate hospitalization on 23 July but were allegedly rebuffed by Fedotov), who insisted that Fedotov's incompetent sedation combined with alcohol was what killed Vysotsky. An autopsy was prevented by Vysotsky's parents (who were eager to have their son's drug addiction remain secret), so the true cause of death remains unknown.

 

No official announcement of the actor's death was made, only a brief obituary appeared in the Moscow newspaper Vechernyaya Moskva, and a note informing of Vysotsky's death and cancellation of the Hamlet performance was put out at the entrance to the Taganka Theatre (the story goes that not a single ticket holder took advantage of the refund offer). Despite this, by the end of the day, millions had learned of Vysotsky's death. On 28 July, he lay in state at the Taganka Theatre. After a mourning ceremony involving an unauthorized mass gathering of unprecedented scale, Vysotsky was buried at the Vagankovskoye Cemetery in Moscow. The attendance at the Olympic events dropped noticeably on that day, as scores of spectators left to attend the funeral. Tens of thousands of people lined the streets to catch a glimpse of his coffin.

 

According to author Valery Perevozchikov part of the blame for his death lay with the group of associates who surrounded him in the last years of his life. This inner circle were all people under the influence of his strong character, combined with a material interest in the large sums of money his concerts earned. This list included Valerii Yankelovich, manager of the Taganka Theatre and prime organiser of his non-sanctioned concerts; Anatoly Fedotov, his personal doctor; Vadim Tumanov, gold prospector (and personal friend) from Siberia; Oksana Afanasyeva (later Yarmolnik), his mistress the last three years of his life; Ivan Bortnik, a fellow actor; and Leonid Sul'povar, a department head at the Sklifosovski hospital who was responsible for much of the supply of drugs.

 

Vysotsky's associates had all put in efforts to supply his drug habit, which kept him going in the last years of his life. Under their influence, he was able to continue to perform all over the country, up to a week before his death. Due to illegal (i.e. non-state-sanctioned) sales of tickets and other underground methods, these concerts pulled in sums of money unimaginable in Soviet times, when almost everyone received nearly the same small salary. The payouts and gathering of money were a constant source of danger, and Yankelovich and others were needed to organise them.

 

Some money went to Vysotsky, the rest was distributed amongst this circle. At first this was a reasonable return on their efforts; however, as his addiction progressed and his body developed resistance, the frequency and amount of drugs needed to keep Vysotsky going became unmanageable. This culminated at the time of the Moscow Olympics which coincided with the last days of his life, when supplies of drugs were monitored more strictly than usual, and some of the doctors involved in supplying Vysotsky were already behind bars (normally the doctors had to account for every ampule, thus drugs were transferred to an empty container, while the patients received a substitute or placebo instead). In the last few days Vysotsky became uncontrollable, his shouting could be heard all over the apartment building on Malaya Gruzinskaya St. where he lived amongst VIP's. Several days before his death, in a state of stupor he went on a high speed drive around Moscow in an attempt to obtain drugs and alcohol – when many high-ranking people saw him. This increased the likelihood of him being forcibly admitted to the hospital, and the consequent danger to the circle supplying his habit. As his state of health declined, and it became obvious that he might die, his associates gathered to decide what to do with him. They came up with no firm decision. They did not want him admitted officially, as his drug addiction would become public and they would fall under suspicion, although some of them admitted that any ordinary person in his condition would have been admitted immediately.

 

On Vysotsky's death his associates and relatives put in much effort to prevent a post-mortem being carried out. This despite the fairly unusual circumstances: he died aged 42 under heavy sedation with an improvised cocktail of sedatives and stimulants, including the toxic chloral hydrate, provided by his personal doctor who had been supplying him with narcotics the previous three years. This doctor, being the only one present at his side when death occurred, had a few days earlier been seen to display elementary negligence in treating the sedated Vysotsky. On the night of his death, Arkadii Vysotsky (his son), who tried to visit his father in his apartment, was rudely refused entry by Yankelovich, even though there was a lack of people able to care for him. Subsequently, the Soviet police commenced a manslaughter investigation which was dropped due to the absence of evidence taken at the time of death.

 

Vysotsky's first wife was Iza Zhukova. They met in 1956, being both MAT theater institute students, lived for some time at Vysotsky's mother's flat in Moscow, after her graduation (Iza was 2 years older) spent months in different cities (her – in Kiev, then Rostov) and finally married on 25 April 1960.

 

He met his second wife Lyudmila Abramova in 1961, while shooting the film 713 Requests Permission to Land. They married in 1965 and had two sons, Arkady (born 1962) and Nikita (born 1964).

 

While still married to Lyudmila Abramova, Vysotsky began a romantic relationship with Tatyana Ivanenko, a Taganka actress, then, in 1967 fell in love with Marina Vlady, a French actress of Russian descent, who was working at Mosfilm on a joint Soviet-French production at that time. Marina had been married before and had three children, while Vladimir had two. They were married in 1969. For 10 years the two maintained a long-distance relationship as Marina compromised her career in France to spend more time in Moscow, and Vladimir's friends pulled strings for him to be allowed to travel abroad to stay with his wife. Marina eventually joined the Communist Party of France, which essentially gave her an unlimited-entry visa into the Soviet Union, and provided Vladimir with some immunity against prosecution by the government, which was becoming weary of his covertly anti-Soviet lyrics and his odds-defying popularity with the masses. The problems of his long-distance relationship with Vlady inspired several of Vysotsky's songs.

 

In the autumn of 1981 Vysotsky's first collection of poetry was officially published in the USSR, called The Nerve (Нерв). Its first edition (25,000 copies) was sold out instantly. In 1982 the second one followed (100,000), then the 3rd (1988, 200,000), followed in the 1990s by several more. The material for it was compiled by Robert Rozhdestvensky, an officially laurelled Soviet poet. Also in 1981 Yuri Lyubimov staged at Taganka a new music and poetry production called Vladimir Vysotsky which was promptly banned and officially premiered on 25 January 1989.

 

In 1982 the motion picture The Ballad of the Valiant Knight Ivanhoe was produced in the Soviet Union and in 1983 the movie was released to the public. Four songs by Vysotsky were featured in the film.

 

In 1986 the official Vysotsky poetic heritage committee was formed (with Robert Rozhdestvensky at the helm, theater critic Natalya Krymova being both the instigator and the organizer). Despite some opposition from the conservatives (Yegor Ligachev was the latter's political leader, Stanislav Kunyaev of Nash Sovremennik represented its literary flank) Vysotsky was rewarded posthumously with the USSR State Prize. The official formula – "for creating the character of Zheglov and artistic achievements as a singer-songwriter" was much derided from both the left and the right. In 1988 the Selected Works of... (edited by N. Krymova) compilation was published, preceded by I Will Surely Return... (Я, конечно, вернусь...) book of fellow actors' memoirs and Vysotsky's verses, some published for the first time. In 1990 two volumes of extensive The Works of... were published, financed by the late poet's father Semyon Vysotsky. Even more ambitious publication series, self-proclaimed "the first ever academical edition" (the latter assertion being dismissed by sceptics) compiled and edited by Sergey Zhiltsov, were published in Tula (1994–1998, 5 volumes), Germany (1994, 7 volumes) and Moscow (1997, 4 volumes).

 

In 1989 the official Vysotsky Museum opened in Moscow, with the magazine of its own called Vagant (edited by Sergey Zaitsev) devoted entirely to Vysotsky's legacy. In 1996 it became an independent publication and was closed in 2002.

 

In the years to come, Vysotsky's grave became a site of pilgrimage for several generations of his fans, the youngest of whom were born after his death. His tombstone also became the subject of controversy, as his widow had wished for a simple abstract slab, while his parents insisted on a realistic gilded statue. Although probably too solemn to have inspired Vysotsky himself, the statue is believed by some to be full of metaphors and symbols reminiscent of the singer's life.

 

In 1995 in Moscow the Vysotsky monument was officially opened at Strastnoy Boulevard, by the Petrovsky Gates. Among those present were the bard's parents, two of his sons, first wife Iza, renown poets Yevtushenko and Voznesensky. "Vysotsky had always been telling the truth. Only once he was wrong when he sang in one of his songs: 'They will never erect me a monument in a square like that by Petrovskye Vorota'", Mayor of Moscow Yuri Luzhkov said in his speech.[95] A further monument to Vysotsky was erected in 2014 at Rostov-on-Don.

 

In October 2004, a monument to Vysotsky was erected in the Montenegrin capital of Podgorica, near the Millennium Bridge. His son, Nikita Vysotsky, attended the unveiling. The statue was designed by Russian sculptor Alexander Taratinov, who also designed a monument to Alexander Pushkin in Podgorica. The bronze statue shows Vysotsky standing on a pedestal, with his one hand raised and the other holding a guitar. Next to the figure lies a bronze skull – a reference to Vysotsky's monumental lead performances in Shakespeare's Hamlet. On the pedestal the last lines from a poem of Vysotsky's, dedicated to Montenegro, are carved.

 

The Vysotsky business center & semi-skyscraper was officially opened in Yekaterinburg, in 2011. It is the tallest building in Russia outside of Moscow, has 54 floors, total height: 188.3 m (618 ft). On the third floor of the business center is the Vysotsky Museum. Behind the building is a bronze sculpture of Vladimir Vysotsky and his third wife, a French actress Marina Vlady.

 

In 2011 a controversial movie Vysotsky. Thank You For Being Alive was released, script written by his son, Nikita Vysotsky. The actor Sergey Bezrukov portrayed Vysotsky, using a combination of a mask and CGI effects. The film tells about Vysotsky's illegal underground performances, problems with KGB and drugs, and subsequent clinical death in 1979.

 

Shortly after Vysotsky's death, many Russian bards started writing songs and poems about his life and death. The best known are Yuri Vizbor's "Letter to Vysotsky" (1982) and Bulat Okudzhava's "About Volodya Vysotsky" (1980). In Poland, Jacek Kaczmarski based some of his songs on those of Vysotsky, such as his first song (1977) was based on "The Wolfhunt", and dedicated to his memory the song "Epitafium dla Włodzimierza Wysockiego" ("Epitaph for Vladimir Vysotsky").

 

Every year on Vysotsky's birthday festivals are held throughout Russia and in many communities throughout the world, especially in Europe. Vysotsky's impact in Russia is often compared to that of Wolf Biermann in Germany, Bob Dylan in America, or Georges Brassens and Jacques Brel in France.

 

The asteroid 2374 Vladvysotskij, discovered by Lyudmila Zhuravleva, was named after Vysotsky.

 

During the Annual Q&A Event Direct Line with Vladimir Putin, Alexey Venediktov asked Putin to name a street in Moscow after the singer Vladimir Vysotsky, who, though considered one of the greatest Russian artists, has no street named after him in Moscow almost 30 years after his death. Venediktov stated a Russian law that allowed the President to do so and promote a law suggestion to name a street by decree. Putin answered that he would talk to Mayor of Moscow and would solve this problem. In July 2015 former Upper and Lower Tagansky Dead-ends (Верхний и Нижний Таганские тупики) in Moscow were reorganized into Vladimir Vysotsky Street.

 

The Sata Kieli Cultural Association, [Finland], organizes the annual International Vladimir Vysotsky Festival (Vysotski Fest), where Vysotsky's singers from different countries perform in Helsinki and other Finnish cities. They sing Vysotsky in different languages and in different arrangements.

 

Two brothers and singers from Finland, Mika and Turkka Mali, over the course of their more than 30-year musical career, have translated into Finnish, recorded and on numerous occasions publicly performed songs of Vladimir Vysotsky.

 

Throughout his lengthy musical career, Jaromír Nohavica, a famed Czech singer, translated and performed numerous songs of Vladimir Vysotsky, most notably Песня о друге (Píseň o příteli – Song about a friend).

 

The Museum of Vladimir Vysotsky in Koszalin dedicated to Vladimir Vysotsky was founded by Marlena Zimna (1969–2016) in May 1994, in her apartment, in the city of Koszalin, in Poland. Since then the museum has collected over 19,500 exhibits from different countries and currently holds Vladimir Vysotsky' personal items, autographs, drawings, letters, photographs and a large library containing unique film footage, vinyl records, CDs and DVDs. A special place in the collection holds a Vladimir Vysotsky's guitar, on which he played at a concert in Casablanca in April 1976. Vladimir Vysotsky presented this guitar to Moroccan journalist Hassan El-Sayed together with an autograph (an extract from Vladimir Vysotsky's song "What Happened in Africa"), written in Russian right on the guitar.

 

In January 2023, a monument to the outstanding actor, singer and poet Vladimir Vysotsky was unveiled in Yuzhno-Sakhalinsk, in the square near the Rodina House of Culture. Author Vladimir Chebotarev.

 

After her husband's death, urged by her friend Simone Signoret, Marina Vlady wrote a book called The Aborted Flight about her years together with Vysotsky. The book paid tribute to Vladimir's talent and rich persona, yet was uncompromising in its depiction of his addictions and the problems that they caused in their marriage. Written in French (and published in France in 1987), it was translated into Russian in tandem by Vlady and a professional translator and came out in 1989 in the USSR. Totally credible from the specialists' point of view, the book caused controversy, among other things, by shocking revelations about the difficult father-and-son relationship (or rather, the lack of any), implying that Vysotsky-senior (while his son was alive) was deeply ashamed of him and his songs which he deemed "anti-Soviet" and reported his own son to the KGB. Also in 1989 another important book of memoirs was published in the USSR, providing a bulk of priceless material for the host of future biographers, Alla Demidova's Vladimir Vysotsky, the One I Know and Love. Among other publications of note were Valery Zolotukhin's Vysotsky's Secret (2000), a series of Valery Perevozchikov's books (His Dying Hour, The Unknown Vysotsky and others) containing detailed accounts and interviews dealing with the bard's life's major controversies (the mystery surrounding his death, the truth behind Vysotsky Sr.'s alleged KGB reports, the true nature of Vladimir Vysotsky's relations with his mother Nina's second husband Georgy Bartosh etc.), Iza Zhukova's Short Happiness for a Lifetime and the late bard's sister-in-law Irena Vysotskaya's My Brother Vysotsky. The Beginnings (both 2005).

 

A group of enthusiasts has created a non-profit project – the mobile application "Vysotsky"

 

The multifaceted talent of Vysotsky is often described by the term "bard" (бард) that Vysotsky has never been enthusiastic about. He thought of himself mainly as an actor and poet rather than a singer, and once remarked, "I do not belong to what people call bards or minstrels or whatever." With the advent of portable tape-recorders in the Soviet Union, Vysotsky's music became available to the masses in the form of home-made reel-to-reel audio tape recordings (later on cassette tapes).

 

Vysotsky accompanied himself on a Russian seven-string guitar, with a raspy voice singing ballads of love, peace, war, everyday Soviet life and of the human condition. He was largely perceived as the voice of honesty, at times sarcastically jabbing at the Soviet government, which made him a target for surveillance and threats. In France, he has been compared with Georges Brassens; in Russia, however, he was more frequently compared with Joe Dassin, partly because they were the same age and died in the same year, although their ideologies, biographies, and musical styles are very different. Vysotsky's lyrics and style greatly influenced Jacek Kaczmarski, a Polish songwriter and singer who touched on similar themes.

 

The songs – over 600 of them – were written about almost any imaginable theme. The earliest were blatnaya pesnya ("outlaw songs"). These songs were based either on the life of the common people in Moscow or on life in the crime people, sometimes in Gulag. Vysotsky slowly grew out of this phase and started singing more serious, though often satirical, songs. Many of these songs were about war. These war songs were not written to glorify war, but rather to expose the listener to the emotions of those in extreme, life-threatening situations. Most Soviet veterans would say that Vysotsky's war songs described the truth of war far more accurately than more official "patriotic" songs.

 

Nearly all of Vysotsky's songs are in the first person, although he is almost never the narrator. When singing his criminal songs, he would adopt the accent and intonation of a Moscow thief, and when singing war songs, he would sing from the point of view of a soldier. In many of his philosophical songs, he adopted the role of inanimate objects. This created some confusion about Vysotsky's background, especially during the early years when information could not be passed around very easily. Using his acting talent, the poet played his role so well that until told otherwise, many of his fans believed that he was, indeed, a criminal or war veteran. Vysotsky's father said that "War veterans thought the author of the songs to be one of them, as if he had participated in the war together with them." The same could be said about mountain climbers; on multiple occasions, Vysotsky was sent pictures of mountain climbers' graves with quotes from his lyrics etched on the tombstones.

 

Not being officially recognized as a poet and singer, Vysotsky performed wherever and whenever he could – in the theater (where he worked), at universities, in private apartments, village clubs, and in the open air. It was not unusual for him to give several concerts in one day. He used to sleep little, using the night hours to write. With few exceptions, he wasn't allowed to publish his recordings with "Melodiya", which held a monopoly on the Soviet music industry. His songs were passed on through amateur, fairly low quality recordings on vinyl discs and magnetic tape, resulting in his immense popularity. Cosmonauts even took his music on cassette into orbit.

 

Musically, virtually all of Vysotsky's songs were written in a minor key, and tended to employ from three to seven chords. Vysotsky composed his songs and played them exclusively on the Russian seven string guitar, often tuned a tone or a tone-and-a-half below the traditional Russian "Open G major" tuning. This guitar, with its specific Russian tuning, makes a slight yet notable difference in chord voicings than the standard tuned six string Spanish (classical) guitar, and it became a staple of his sound. Because Vysotsky tuned down a tone and a half, his strings had less tension, which also colored the sound.

 

His earliest songs were usually written in C minor (with the guitar tuned a tone down from DGBDGBD to CFACFAC)

 

Songs written in this key include "Stars" (Zvyozdy), "My friend left for Magadan" (Moy drug uyekhal v Magadan), and most of his "outlaw songs".

 

At around 1970, Vysotsky began writing and playing exclusively in A minor (guitar tuned to CFACFAC), which he continued doing until his death.

 

Vysotsky used his fingers instead of a pick to pluck and strum, as was the tradition with Russian guitar playing. He used a variety of finger picking and strumming techniques. One of his favorite was to play an alternating bass with his thumb as he plucked or strummed with his other fingers.

 

Often, Vysotsky would neglect to check the tuning of his guitar, which is particularly noticeable on earlier recordings. According to some accounts, Vysotsky would get upset when friends would attempt to tune his guitar, leading some to believe that he preferred to play slightly out of tune as a stylistic choice. Much of this is also attributable to the fact that a guitar that is tuned down more than 1 whole step (Vysotsky would sometimes tune as much as 2 and a half steps down) is prone to intonation problems.

 

Vysotsky had a unique singing style. He had an unusual habit of elongating consonants instead of vowels in his songs. So when a syllable is sung for a prolonged period of time, he would elongate the consonant instead of the vowel in that syllable.

Thomas Carlyle (4 December 1795 â 5 February 1881) was a Scottish philosopher, satirical writer, essayist, translator, historian, mathematician, and teacher. Considered one of the most important social commentators of his time, he presented many lectures during his lifetime with certain acclaim in the Victorian era. One of those conferences resulted in his famous work On Heroes, Hero-Worship, and The Heroic in History where he explains that the key role in history lies in the actions of the "Great Man", claiming that "the history of the world is but the biography of great men".

 

A respected historian, his 1837 book The French Revolution: A History was the inspiration for Charles Dickens' 1859 novel A Tale of Two Cities, and remains popular today. Carlyle's 1836 Sartor Resartus is a notable philosophical novel.

 

A great polemicist, Carlyle coined the term "the dismal science" for economics. He also wrote articles for the Edinburgh Encyclopædia, and his Occasional Discourse on the Negro Question (1849) remains controversial. Once a Christian, Carlyle lost his faith while attending the University of Edinburgh, later adopting a form of deism.

 

In mathematics, he is known for the Carlyle circle, a method used in quadratic equations and for developing ruler-and-compass constructions of regular polygons.

 

Carlyle was born in Ecclefechan in Dumfriesshire. His parents determinedly afforded him an education at Annan Academy, Annan, where he was bullied and tormented so much that he left after three years. His father was a member of the Burgher secession church. In early life, his family's (and nation's) strong Calvinist beliefs powerfully influenced the young man.

 

After attending the University of Edinburgh, Carlyle became a mathematics teacher, first in Annan and then in Kirkcaldy, where he became close friends with the mystic Edward Irving. (Confusingly, there is another Scottish Thomas Carlyle, born a few years later, connected to Irving via work with the Catholic Apostolic Church.)

 

In 1819â1821, Carlyle returned to the University of Edinburgh, where he suffered an intense crisis of faith and a conversion, which provided the material for Sartor Resartus ("The Tailor Retailored"), which first brought him to the public's notice.

 

Carlyle developed a painful stomach ailment, possibly gastric ulcers, that remained throughout his life and likely contributed to his reputation as a crotchety, argumentative, somewhat disagreeable personality. His prose style, famously cranky and occasionally savage, helped cement an air of irascibility.

  

Carlyle's home at 4 (now 33) Ampton Street, London, marked with a plaque by the London County Council

Carlyle's thinking became heavily influenced by German idealism, in particular the work of Johann Gottlieb Fichte. He established himself as an expert on German literature in a series of essays for Fraser's Magazine, and by translating German works, notably Goethe's novel Wilhelm Meisters Lehrjahre. He also wrote a Life of Schiller (1825).

 

In 1826, Thomas Carlyle married fellow intellectual Jane Baillie Welsh, whom he had met through Edward Irving during his period of German studies. In 1827, he applied for the Chair of Moral Philosophy at St Andrews University but was not appointed. A residence provided by Jane's estate was a house on Craigenputtock, a farm in Dumfrieshire, Scotland. He often wrote about his life at Craigenputtock â in particular: "It is certain that for living and thinking in I have never since found in the world a place so favourable." Here Carlyle wrote some of his most distinguished essays, and began a lifelong friendship with the American essayist Ralph Waldo Emerson.

 

In 1831, the Carlyles moved to London, settling initially in lodgings at 4 (now 33) Ampton Street, Kings Cross. In 1834, they moved to 5 (now 24) Cheyne Row, Chelsea, which has since been preserved as a museum to Carlyle's memory. He became known as the "Sage of Chelsea", and a member of a literary circle which included the essayists Leigh Hunt and John Stuart Mill.

 

Here Carlyle wrote The French Revolution: A History (3 volumes, 1837), a historical study concentrating both on the oppression of the poor of France and on the horrors of the mob unleashed. The book was immediately successful.

In an effort to capture an illusive Rebel Outlaw for Palpatine, Boba Fett has come up with an idea he thinks will work, but for once needs Stormtrooper Bruce's assistance.

 

STB: Well here is it, but I still don't see how this will help.

 

Fett: I told you half a dozen times already. He's a Mon Calamari with a passion for all kinds of vehicles, especially primitive ones.

 

STB: And I keep telling you this isn't a primitive vehicle.

 

Fett: It is has wheels and gets you from point A to point B then it's a vehicle. He's from Mon Cala, so he's never seen or heard of a skateboard. I checked the universal translator and there’s not even a word for it in their vocabulary.

 

STB: And you promise I'll get this back.

 

Fett: I told you already.

 

STB: So tell me again. I'll get this back.

 

Fett: Of course.

 

STB: Without any scratches, dings, dents, mars, bullet holes or scorched areas.

 

Fett: What do you think I am?

 

STB I know what you are - which is why I'm asking. So say it.

 

Fett: It.

 

STB: For the love of the Emperor stop messing with me or you can’t borrow it.

 

Fett: But if I don’t mess with you, who will?

 

STB: Just promise I’ll get it back in one piece, not pieces, not one piece as in just the rear axle, the entire board intact, a solid unit and not glued together.

 

Fett: You drive a hard bargain. Once the P pays out the reward money, double credits, maybe and I mean maybe, I’ll treat us to another weekend at the Mos. I’m sure everyone has forgotten what happened last time we were there. Except for …

 

STB: Don’t say it. Stop right there or the board stays with me.

 

Fett: Dude. Chillax! I’m still messing with you.

 

______________________________________________

Viewing Large is always fun. Just click on the image.

GB Railfreight Class 92, 92023 prepares to leave Crewe with an usual consist in tow on 5Z92 14:40 Crewe ETD to Wembley Yard.

 

The 92 had been at the ETD for a repair and was returning to Wembley to resume Caledonian Sleeper duties.

 

The two Porterbrook translators, 6377 and 6376, had also been at the ETD for tyre-turning and needed returning to Leicester Depot. 92023 therefore took the trucks to Wembley from where the 47s could collect them the following day on their way back to Leicester from a unit delivery to Ilford.

I just love this expressive translator!

We spoke different languages; the camera became the ultimate translator.

GB Railfreight class 73 no. 73119 'Borough of Eastleigh' inside Colas Railfreight class 47 no. 47739 'Robin of Templecombe' at Horsted Keynes translating the brakes of the 13.00 East Grinstead-> Sheffield Park service during the GBRf take over of the Bluebell railway on 17th April 2016.

Ihr kennt ja bereits die Straßenbahn, jetzt folgt auch die Echtbahn. Viel Ahnung von finnischen Zügen hab ich nicht, aber ich denke, die Baureihe 3000 dürfte in etwa so "wertvoll" sein wie die deutschen Einheitsloks.

Wir sehen hier am Bahnsteig 9/10 auf der rechten Seite besagte Lok 3000 075-4, die auf der Front verkürzt 3075 genannt wird, mit 3000 029 (3029) dahinter. es scheint sich um einen Fernzug zu handeln, dafür spricht der luxuriös anmutende erste Wagen sowie die Doppeldecker, die üblicherweise Fernzüge fahren. Auf der linken Seite fährt ein mir nicht näher bekannter Nahverkehrszug aus, und ganz rechts versteckt sich eine Vorortbahn.

 

P 263 nach Kolari

Ich nehme mal an, dass der Zug pünktlich war.

 

VR 3000 075-4, lyhenne 3075 edestä, ja 3000 029 (3029) ovat valmiita lähtemään illalla junalla P263 Kolariin Helsingin rautatieasemalle. (Google Translator)

Vladimir Semyonovich Vysotsky (Russian: Владимир Семёнович Высоцкий, IPA: [vlɐˈdʲimʲɪr sʲɪˈmʲɵnəvʲɪtɕ vɨˈsotskʲɪj]; 25 January 1938 – 25 July 1980), was a Soviet singer-songwriter, poet, and actor who had an immense and enduring effect on Soviet culture. He became widely known for his unique singing style and for his lyrics, which featured social and political commentary in often humorous street-jargon. He was also a prominent stage- and screen-actor. Though the official Soviet cultural establishment largely ignored his work, he was remarkably popular during his lifetime, and to this day exerts significant influence on many of Russia's musicians and actors.

 

Vysotsky was born in Moscow at the 3rd Meshchanskaya St. (61/2) maternity hospital. His father, Semyon Volfovich (Vladimirovich) (1915–1997), was a colonel in the Soviet army, originally from Kiev. Vladimir's mother, Nina Maksimovna, (née Seryogina, 1912–2003) was Russian, and worked as a German language translator.[3] Vysotsky's family lived in a Moscow communal flat in harsh conditions, and had serious financial difficulties. When Vladimir was 10 months old, Nina had to return to her office in the Transcript bureau of the Soviet Ministry of Geodesy and Cartography (engaged in making German maps available for the Soviet military) so as to help her husband earn their family's living.

 

Vladimir's theatrical inclinations became obvious at an early age, and were supported by his paternal grandmother Dora Bronshteyn, a theater fan. The boy used to recite poems, standing on a chair and "flinging hair backwards, like a real poet," often using in his public speeches expressions he could hardly have heard at home. Once, at the age of two, when he had tired of the family's guests' poetry requests, he, according to his mother, sat himself under the New-year tree with a frustrated air about him and sighed: "You silly tossers! Give a child some respite!" His sense of humor was extraordinary, but often baffling for people around him. A three-year-old could jeer his father in a bathroom with unexpected poetic improvisation ("Now look what's here before us / Our goat's to shave himself!") or appall unwanted guests with some street folk song, promptly steering them away. Vysotsky remembered those first three years of his life in the autobiographical Ballad of Childhood (Баллада о детстве, 1975), one of his best-known songs.

 

As World War II broke out, Semyon Vysotsky, a military reserve officer, joined the Soviet army and went to fight the Nazis. Nina and Vladimir were evacuated to the village of Vorontsovka, in Orenburg Oblast where the boy had to spend six days a week in a kindergarten and his mother worked for twelve hours a day in a chemical factory. In 1943, both returned to their Moscow apartment at 1st Meschanskaya St., 126. In September 1945, Vladimir joined the 1st class of the 273rd Moscow Rostokino region School.

 

In December 1946, Vysotsky's parents divorced. From 1947 to 1949, Vladimir lived with Semyon Vladimirovich (then an army Major) and his Armenian wife, Yevgenya Stepanovna Liholatova, whom the boy called "aunt Zhenya", at a military base in Eberswalde in the Soviet-occupied zone of Germany (later East Germany). "We decided that our son would stay with me. Vladimir came to stay with me in January 1947, and my second wife, Yevgenia, became Vladimir's second mother for many years to come. They had much in common and liked each other, which made me really happy," Semyon Vysotsky later remembered. Here living conditions, compared to those of Nina's communal Moscow flat, were infinitely better; the family occupied the whole floor of a two-storeyed house, and the boy had a room to himself for the first time in his life. In 1949 along with his stepmother Vladimir returned to Moscow. There he joined the 5th class of the Moscow 128th School and settled at Bolshoy Karetny [ru], 15 (where they had to themselves two rooms of a four-roomed flat), with "auntie Zhenya" (who was just 28 at the time), a woman of great kindness and warmth whom he later remembered as his second mother. In 1953 Vysotsky, now much interested in theater and cinema, joined the Drama courses led by Vladimir Bogomolov.[7] "No one in my family has had anything to do with arts, no actors or directors were there among them. But my mother admired theater and from the earliest age... each and every Saturday I've been taken up with her to watch one play or the other. And all of this, it probably stayed with me," he later reminisced. The same year he received his first ever guitar, a birthday present from Nina Maksimovna; a close friend, bard and a future well-known Soviet pop lyricist Igor Kokhanovsky taught him basic chords. In 1955 Vladimir re-settled into his mother's new home at 1st Meshchanskaya, 76. In June of the same year he graduated from school with five A's.

 

In 1955, Vladimir enrolled into the Moscow State University of Civil Engineering, but dropped out after just one semester to pursue an acting career. In June 1956 he joined Boris Vershilov's class at the Moscow Art Theatre Studio-Institute. It was there that he met the 3rd course student Iza Zhukova who four years later became his wife; soon the two lovers settled at the 1st Meschanskaya flat, in a common room, shielded off by a folding screen. It was also in the Studio that Vysotsky met Bulat Okudzhava for the first time, an already popular underground bard. He was even more impressed by his Russian literature teacher Andrey Sinyavsky who along with his wife often invited students to his home to stage improvised disputes and concerts. In 1958 Vysotsky's got his first Moscow Art Theatre role: that of Porfiry Petrovich in Dostoyevsky's Crime and Punishment. In 1959 he was cast in his first cinema role, that of student Petya in Vasily Ordynsky's The Yearlings (Сверстницы). On 20 June 1960, Vysotsky graduated from the MAT theater institute and joined the Moscow Pushkin Drama Theatre (led by Boris Ravenskikh at the time) where he spent (with intervals) almost three troubled years. These were marred by numerous administrative sanctions, due to "lack of discipline" and occasional drunken sprees which were a reaction, mainly, to the lack of serious roles and his inability to realise his artistic potential. A short stint in 1962 at the Moscow Theater of Miniatures (administered at the time by Vladimir Polyakov) ended with him being fired, officially "for a total lack of sense of humour."

 

Vysotsky's second and third films, Dima Gorin's Career and 713 Requests Permission to Land, were interesting only for the fact that in both he had to be beaten up (in the first case by Aleksandr Demyanenko). "That was the way cinema greeted me," he later jokingly remarked. In 1961, Vysotsky wrote his first ever proper song, called "Tattoo" (Татуировка), which started a long and colourful cycle of artfully stylized criminal underworld romantic stories, full of undercurrents and witty social comments. In June 1963, while shooting Penalty Kick (directed by Veniamin Dorman and starring Mikhail Pugovkin), Vysotsky used the Gorky Film Studio to record an hour-long reel-to-reel cassette of his own songs; copies of it quickly spread and the author's name became known in Moscow and elsewhere (although many of these songs were often being referred to as either "traditional" or "anonymous"). Just several months later Riga-based chess grandmaster Mikhail Tal was heard praising the author of "Bolshoy Karetny" (Большой Каретный) and Anna Akhmatova (in a conversation with Joseph Brodsky) was quoting Vysotsky's number "I was the soul of a bad company..." taking it apparently for some brilliant piece of anonymous street folklore. In October 1964 Vysotsky recorded in chronological order 48 of his own songs, his first self-made Complete works of... compilation, which boosted his popularity as a new Moscow folk underground star.

 

In 1964, director Yuri Lyubimov invited Vysotsky to join the newly created Taganka Theatre. "'I've written some songs of my own. Won't you listen?' – he asked. I agreed to listen to just one of them, expecting our meeting to last for no more than five minutes. Instead I ended up listening to him for an entire 1.5 hours," Lyubimov remembered years later of this first audition. On 19 September 1964, Vysotsky debuted in Bertolt Brecht's The Good Person of Szechwan as the Second God (not to count two minor roles). A month later he came on stage as a dragoon captain (Bela's father) in Lermontov's A Hero of Our Time. It was in Taganka that Vysotsky started to sing on stage; the War theme becoming prominent in his musical repertoire. In 1965 Vysotsky appeared in the experimental Poet and Theater (Поэт и Театр, February) show, based on Andrey Voznesensky's work and then Ten Days that Shook the World (after John Reed's book, April) and was commissioned by Lyubimov to write songs exclusively for Taganka's new World War II play. The Fallen and the Living (Павшие и Живые), premiered in October 1965, featured Vysotsky's "Stars" (Звёзды), "The Soldiers of Heeresgruppe Mitte" (Солдаты группы "Центр") and "Penal Battalions" (Штрафные батальоны), the striking examples of a completely new kind of a war song, never heard in his country before. As veteran screenwriter Nikolay Erdman put it (in conversation with Lyubimov), "Professionally, I can well understand how Mayakovsky or Seryozha Yesenin were doing it. How Volodya Vysotsky does it is totally beyond me." With his songs – in effect, miniature theatrical dramatizations (usually with a protagonist and full of dialogues), Vysotsky instantly achieved such level of credibility that real life former prisoners, war veterans, boxers, footballers refused to believe that the author himself had never served his time in prisons and labor camps, or fought in the War, or been a boxing/football professional. After the second of the two concerts at the Leningrad Molecular Physics institute (that was his actual debut as a solo musical performer) Vysotsky left a note for his fans in a journal which ended with words: "Now that you've heard all these songs, please, don't you make a mistake of mixing me with my characters, I am not like them at all. With love, Vysotsky, 20 April 1965, XX c." Excuses of this kind he had to make throughout his performing career. At least one of Vysotsky's song themes – that of alcoholic abuse – was worryingly autobiographical, though. By the time his breakthrough came in 1967, he'd suffered several physical breakdowns and once was sent (by Taganka's boss) to a rehabilitation clinic, a visit he on several occasions repeated since.

 

Brecht's Life of Galileo (premiered on 17 May 1966), transformed by Lyubimov into a powerful allegory of Soviet intelligentsia's set of moral and intellectual dilemmas, brought Vysotsky his first leading theater role (along with some fitness lessons: he had to perform numerous acrobatic tricks on stage). Press reaction was mixed, some reviewers disliked the actor's overt emotionalism, but it was for the first time ever that Vysotsky's name appeared in Soviet papers. Film directors now were treating him with respect. Viktor Turov's war film I Come from the Childhood where Vysotsky got his first ever "serious" (neither comical, nor villainous) role in cinema, featured two of his songs: a spontaneous piece called "When It's Cold" (Холода) and a dark, Unknown soldier theme-inspired classic "Common Graves" (На братских могилах), sung behind the screen by the legendary Mark Bernes.

 

Stanislav Govorukhin and Boris Durov's The Vertical (1967), a mountain climbing drama, starring Vysotsky (as Volodya the radioman), brought him all-round recognition and fame. Four of the numbers used in the film (including "Song of a Friend [fi]" (Песня о друге), released in 1968 by the Soviet recording industry monopolist Melodiya disc to become an unofficial hit) were written literally on the spot, nearby Elbrus, inspired by professional climbers' tales and one curious hotel bar conversation with a German guest who 25 years ago happened to climb these very mountains in a capacity of an Edelweiss division fighter. Another 1967 film, Kira Muratova's Brief Encounters featured Vysotsky as the geologist Maxim (paste-bearded again) with a now trademark off-the-cuff musical piece, a melancholy improvisation called "Things to Do" (Дела). All the while Vysotsky continued working hard at Taganka, with another important role under his belt (that of Mayakovsky or, rather one of the latter character's five different versions) in the experimental piece called Listen! (Послушайте!), and now regularly gave semi-official concerts where audiences greeted him as a cult hero.

 

In the end of 1967 Vysotsky got another pivotal theater role, that of Khlopusha [ru] in Pugachov (a play based on a poem by Sergei Yesenin), often described as one of Taganka's finest. "He put into his performance all the things that he excelled at and, on the other hand, it was Pugachyov that made him discover his own potential," – Soviet critic Natalya Krymova wrote years later. Several weeks after the premiere, infuriated by the actor's increasing unreliability triggered by worsening drinking problems, Lyubimov fired him – only to let him back again several months later (and thus begin the humiliating sacked-then-pardoned routine which continued for years). In June 1968 a Vysotsky-slagging campaign was launched in the Soviet press. First Sovetskaya Rossiya commented on the "epidemic spread of immoral, smutty songs," allegedly promoting "criminal world values, alcoholism, vice and immorality" and condemned their author for "sowing seeds of evil." Then Komsomolskaya Pravda linked Vysotsky with black market dealers selling his tapes somewhere in Siberia. Composer Dmitry Kabalevsky speaking from the Union of Soviet Composers' Committee tribune criticised the Soviet radio for giving an ideologically dubious, "low-life product" like "Song of a Friend" (Песня о друге) an unwarranted airplay. Playwright Alexander Stein who in his Last Parade play used several of Vysotsky's songs, was chastised by a Ministry of Culture official for "providing a tribune for this anti-Soviet scum." The phraseology prompted commentators in the West to make parallels between Vysotsky and Mikhail Zoschenko, another Soviet author who'd been officially labeled "scum" some 20 years ago.

 

Two of Vysotsky's 1968 films, Gennady Poloka's Intervention (premiered in May 1987) where he was cast as Brodsky, a dodgy even if highly artistic character, and Yevgeny Karelov's Two Comrades Were Serving (a gun-toting White Army officer Brusentsov who in the course of the film shoots his friend, his horse, Oleg Yankovsky's good guy character and, finally himself) – were severely censored, first of them shelved for twenty years. At least four of Vysotsky's 1968 songs, "Save Our Souls" (Спасите наши души), "The Wolfhunt" (Охота на волков), "Gypsy Variations" (Моя цыганская) and "The Steam-bath in White" (Банька по-белому), were hailed later as masterpieces. It was at this point that 'proper' love songs started to appear in Vysotsky's repertoire, documenting the beginning of his passionate love affair with French actress Marina Vlady.

 

In 1969 Vysotsky starred in two films: The Master of Taiga where he played a villainous Siberian timber-floating brigadier, and more entertaining Dangerous Tour. The latter was criticized in the Soviet press for taking a farcical approach to the subject of the Bolshevik underground activities but for a wider Soviet audience this was an important opportunity to enjoy the charismatic actor's presence on big screen. In 1970, after visiting the dislodged Soviet leader Nikita Khrushchev at his dacha and having a lengthy conversation with him, Vysotsky embarked on a massive and by Soviet standards dangerously commercial concert tour in Soviet Central Asia and then brought Marina Vlady to director Viktor Turov's place so as to investigate her Belarusian roots. The pair finally wed on 1 December 1970 (causing furore among the Moscow cultural and political elite) and spent a honeymoon in Georgia. This was the highly productive period for Vysotsky, resulting in numerous new songs, including the anthemic "I Hate" (Я не люблю), sentimental "Lyricale" (Лирическая) and dramatic war epics "He Didn't Return from the Battle" (Он не вернулся из боя) and "The Earth Song" (Песня о Земле) among many others.

 

In 1971 a drinking spree-related nervous breakdown brought Vysotsky to the Moscow Kashchenko clinic [ru]. By this time he has been suffering from alcoholism. Many of his songs from this period deal, either directly or metaphorically, with alcoholism and insanity. Partially recovered (due to the encouraging presence of Marina Vladi), Vysotsky embarked on a successful Ukrainian concert tour and wrote a cluster of new songs. On 29 November 1971 Taganka's Hamlet premiered, a groundbreaking Lyubimov's production with Vysotsky in the leading role, that of a lone intellectual rebel, rising to fight the cruel state machine.

 

Also in 1971 Vysotsky was invited to play the lead in The Sannikov Land, the screen adaptation of Vladimir Obruchev's science fiction,[47] which he wrote several songs for, but was suddenly dropped for the reason of his face "being too scandalously recognisable" as a state official put it. One of the songs written for the film, a doom-laden epic allegory "Capricious Horses" (Кони привередливые), became one of the singer's signature tunes. Two of Vysotsky's 1972 film roles were somewhat meditative: an anonymous American journalist in The Fourth One and the "righteous guy" von Koren in The Bad Good Man (based on Anton Chekov's Duel). The latter brought Vysotsky the Best Male Role prize at the V Taormina Film Fest. This philosophical slant rubbed off onto some of his new works of the time: "A Singer at the Microphone" (Певец у микрофона), "The Tightrope Walker" (Канатоходец), two new war songs ("We Spin the Earth", "Black Pea-Coats") and "The Grief" (Беда), a folkish girl's lament, later recorded by Marina Vladi and subsequently covered by several female performers. Popular proved to be his 1972 humorous songs: "Mishka Shifman" (Мишка Шифман), satirizing the leaving-for-Israel routine, "Victim of the Television" which ridiculed the concept of "political consciousness," and "The Honour of the Chess Crown" (Честь шахматной короны) about an ever-fearless "simple Soviet man" challenging the much feared American champion Bobby Fischer to a match.

 

In 1972 he stepped up in Soviet Estonian TV where he presented his songs and gave an interview. The name of the show was "Young Man from Taganka" (Noormees Tagankalt).

 

In April 1973 Vysotsky visited Poland and France. Predictable problems concerning the official permission were sorted after the French Communist Party leader Georges Marchais made a personal phone call to Leonid Brezhnev who, according to Marina Vlady's memoirs, rather sympathized with the stellar couple. Having found on return a potentially dangerous lawsuit brought against him (concerning some unsanctioned concerts in Siberia the year before), Vysotsky wrote a defiant letter to the Minister of Culture Pyotr Demichev. As a result, he was granted the status of a philharmonic artist, 11.5 roubles per concert now guaranteed. Still the 900 rubles fine had to be paid according to the court verdict, which was a substantial sum, considering his monthly salary at the theater was 110 rubles. That year Vysotsky wrote some thirty songs for "Alice in Wonderland," an audioplay where he himself has been given several minor roles. His best known songs of 1973 included "The Others' Track" (Чужая колея), "The Flight Interrupted" (Прерванный полёт) and "The Monument", all pondering on his achievements and legacy.

 

In 1974 Melodiya released the 7" EP, featuring four of Vysotsky's war songs ("He Never Returned From the Battle", "The New Times Song", "Common Graves", and "The Earth Song") which represented a tiny portion of his creative work, owned by millions on tape. In September of that year Vysotsky received his first state award, the Honorary Diploma of the Uzbek SSR following a tour with fellow actors from the Taganka Theatre in Uzbekistan. A year later he was granted the USSR Union of Cinematographers' membership. This meant he was not an "anti-Soviet scum" now, rather an unlikely link between the official Soviet cinema elite and the "progressive-thinking artists of the West." More films followed, among them The Only Road (a Soviet-Yugoslav joint venture, premiered on 10 January 1975 in Belgrade) and a science fiction movie The Flight of Mr. McKinley (1975). Out of nine ballads that he wrote for the latter only two have made it into the soundtrack. This was the height of his popularity, when, as described in Vlady's book about her husband, walking down the street on a summer night, one could hear Vysotsky's recognizable voice coming literally from every open window. Among the songs written at the time, were humorous "The Instruction before the Trip Abroad", lyrical "Of the Dead Pilot" and philosophical "The Strange House". In 1975 Vysotsky made his third trip to France where he rather riskily visited his former tutor (and now a celebrated dissident emigre) Andrey Sinyavsky. Artist Mikhail Shemyakin, his new Paris friend (or a "bottle-sharer", in Vladi's terms), recorded Vysotsky in his home studio. After a brief stay in England Vysotsky crossed the ocean and made his first Mexican concerts in April. Back in Moscow, there were changes at Taganka: Lyubimov went to Milan's La Scala on a contract and Anatoly Efros has been brought in, a director of radically different approach. His project, Chekhov's The Cherry Orchard, caused a sensation. Critics praised Alla Demidova (as Ranevskaya) and Vysotsky (as Lopakhin) powerful interplay, some describing it as one of the most dazzling in the history of the Soviet theater. Lyubimov, who disliked the piece, accused Efros of giving his actors "the stardom malaise." The 1976 Taganka's visit to Bulgaria resulted in Vysotskys's interview there being filmed and 15 songs recorded by Balkanton record label. On return Lyubimov made a move which many thought outrageous: declaring himself "unable to work with this Mr. Vysotsky anymore" he gave the role of Hamlet to Valery Zolotukhin, the latter's best friend. That was the time, reportedly, when stressed out Vysotsky started taking amphetamines.

 

Another Belorussian voyage completed, Marina and Vladimir went for France and from there (without any official permission given, or asked for) flew to the North America. In New York Vysotsky met, among other people, Mikhail Baryshnikov and Joseph Brodsky. In a televised one-hour interview with Dan Rather he stressed he was "not a dissident, just an artist, who's never had any intentions to leave his country where people loved him and his songs." At home this unauthorized venture into the Western world bore no repercussions: by this time Soviet authorities were divided as regards the "Vysotsky controversy" up to the highest level; while Mikhail Suslov detested the bard, Brezhnev loved him to such an extent that once, while in hospital, asked him to perform live in his daughter Galina's home, listening to this concert on the telephone. In 1976 appeared "The Domes", "The Rope" and the "Medieval" cycle, including "The Ballad of Love".

 

In September Vysotsky with Taganka made a trip to Yugoslavia where Hamlet won the annual BITEF festival's first prize, and then to Hungary for a two-week concert tour. Back in Moscow Lyubimov's production of The Master & Margarita featured Vysotsky as Ivan Bezdomny; a modest role, somewhat recompensed by an important Svidrigailov slot in Yury Karyakin's take on Dostoevsky's Crime and Punishment. Vysotsky's new songs of this period include "The History of Illness" cycle concerning his health problems, humorous "Why Did the Savages Eat Captain Cook", the metaphorical "Ballad of the Truth and the Lie", as well as "Two Fates", the chilling story of a self-absorbed alcoholic hunted by two malevolent witches, his two-faced destiny. In 1977 Vysotsky's health deteriorated (heart, kidneys, liver failures, jaw infection and nervous breakdown) to such an extent that in April he found himself in Moscow clinic's reanimation center in the state of physical and mental collapse.

 

In 1977 Vysotsky made an unlikely appearance in New York City on the American television show 60 Minutes, which falsely stated that Vysotsky had spent time in the Soviet prison system, the Gulag. That year saw the release of three Vysotsky's LPs in France (including the one that had been recorded by RCA in Canada the previous year); arranged and accompanied by guitarist Kostya Kazansky, the singer for the first time ever enjoyed the relatively sophisticated musical background. In August he performed in Hollywood before members of New York City film cast and (according to Vladi) was greeted warmly by the likes of Liza Minnelli and Robert De Niro. Some more concerts in Los Angeles were followed by the appearance at the French Communist paper L’Humanité annual event. In December Taganka left for France, its Hamlet (Vysotsky back in the lead) gaining fine reviews.

 

1978 started with the March–April series of concerts in Moscow and Ukraine. In May Vysotsky embarked upon a new major film project: The Meeting Place Cannot Be Changed (Место встречи изменить нельзя) about two detectives fighting crime in late 1940s Russia, directed by Stanislav Govorukhin. The film (premiered on 11 November 1978 on the Soviet Central TV) presented Vysotsky as Zheglov, a ruthless and charismatic cop teaching his milder partner Sharapov (actor Vladimir Konkin) his art of crime-solving. Vysotsky also became engaged in Taganka's Genre-seeking show (performing some of his own songs) and played Aleksander Blok in Anatoly Efros' The Lady Stranger (Незнакомка) radio play (premiered on air on 10 July 1979 and later released as a double LP).

 

In November 1978 Vysotsky took part in the underground censorship-defying literary project Metropolis, inspired and organized by Vasily Aksenov. In January 1979 Vysotsky again visited America with highly successful series of concerts. That was the point (according to biographer Vladimir Novikov) when a glimpse of new, clean life of a respectable international actor and performer all but made Vysotsky seriously reconsider his priorities. What followed though, was a return to the self-destructive theater and concert tours schedule, personal doctor Anatoly Fedotov now not only his companion, but part of Taganka's crew. "Who was this Anatoly? Just a man who in every possible situation would try to provide drugs. And he did provide. In such moments Volodya trusted him totally," Oksana Afanasyeva, Vysotsky's Moscow girlfriend (who was near him for most of the last year of his life and, on occasion, herself served as a drug courier) remembered. In July 1979, after a series of Central Asia concerts, Vysotsky collapsed, experienced clinical death and was resuscitated by Fedotov (who injected caffeine into the heart directly), colleague and close friend Vsevolod Abdulov helping with heart massage. In January 1980 Vysotsky asked Lyubimov for a year's leave. "Up to you, but on condition that Hamlet is yours," was the answer. The songwriting showed signs of slowing down, as Vysotsky began switching from songs to more conventional poetry. Still, of nearly 800 poems by Vysotsky only one has been published in the Soviet Union while he was alive. Not a single performance or interview was broadcast by the Soviet television in his lifetime.

 

In May 1979, being in a practice studio of the MSU Faculty of Journalism, Vysotsky recorded a video letter to American actor and film producer Warren Beatty, looking for both a personal meeting with Beatty and an opportunity to get a role in Reds film, to be produced and directed by the latter. While recording, Vysotsky made a few attempts to speak English, trying to overcome the language barrier. This video letter never reached Beatty. It was broadcast for the first time more than three decades later, on the night of 24 January 2013 (local time) by Rossiya 1 channel, along with records of TV channels of Italy, Mexico, Poland, USA and from private collections, in Vladimir Vysotsky. A letter to Warren Beatty film by Alexander Kovanovsky and Igor Rakhmanov. While recording this video, Vysotsky had a rare opportunity to perform for a camera, being still unable to do it with Soviet television.

 

On 22 January 1980, Vysotsky entered the Moscow Ostankino TV Center to record his one and only studio concert for the Soviet television. What proved to be an exhausting affair (his concentration lacking, he had to plod through several takes for each song) was premiered on the Soviet TV eight years later. The last six months of his life saw Vysotsky appearing on stage sporadically, fueled by heavy dosages of drugs and alcohol. His performances were often erratic. Occasionally Vysotsky paid visits to Sklifosofsky [ru] institute's ER unit, but would not hear of Marina Vlady's suggestions for him to take long-term rehabilitation course in a Western clinic. Yet he kept writing, mostly poetry and even prose, but songs as well. The last song he performed was the agonizing "My Sorrow, My Anguish" and his final poem, written one week prior to his death was "A Letter to Marina": "I'm less than fifty, but the time is short / By you and God protected, life and limb / I have a song or two to sing before the Lord / I have a way to make my peace with him."

 

Although several theories of the ultimate cause of the singer's death persist to this day, given what is now known about cardiovascular disease, it seems likely that by the time of his death Vysotsky had an advanced coronary condition brought about by years of tobacco, alcohol and drug abuse, as well as his grueling work schedule and the stress of the constant harassment by the government. Towards the end, most of Vysotsky's closest friends had become aware of the ominous signs and were convinced that his demise was only a matter of time. Clear evidence of this can be seen in a video ostensibly shot by the Japanese NHK channel only months before Vysotsky's death, where he appears visibly unwell, breathing heavily and slurring his speech. Accounts by Vysotsky's close friends and colleagues concerning his last hours were compiled in the book by V. Perevozchikov.

 

Vysotsky suffered from alcoholism for most of his life. Sometime around 1977, he started using amphetamines and other prescription narcotics in an attempt to counteract the debilitating hangovers and eventually to rid himself of alcohol addiction. While these attempts were partially successful, he ended up trading alcoholism for a severe drug dependency that was fast spiralling out of control. He was reduced to begging some of his close friends in the medical profession for supplies of drugs, often using his acting skills to collapse in a medical office and imitate a seizure or some other condition requiring a painkiller injection. On 25 July 1979 (a year to the day before his death) he suffered a cardiac arrest and was clinically dead for several minutes during a concert tour of Soviet Uzbekistan, after injecting himself with a wrong kind of painkiller he had previously obtained from a dentist's office.

 

Fully aware of the dangers of his condition, Vysotsky made several attempts to cure himself of his addiction. He underwent an experimental (and ultimately discredited) blood purification procedure offered by a leading drug rehabilitation specialist in Moscow. He also went to an isolated retreat in France with his wife Marina in the spring of 1980 as a way of forcefully depriving himself of any access to drugs. After these attempts failed, Vysotsky returned to Moscow to find his life in an increasingly stressful state of disarray. He had been a defendant in two criminal trials, one for a car wreck he had caused some months earlier, and one for an alleged conspiracy to sell unauthorized concert tickets (he eventually received a suspended sentence and a probation in the first case, and the charges in the second were dismissed, although several of his co-defendants were found guilty). He also unsuccessfully fought the film studio authorities for the rights to direct a movie called The Green Phaeton. Relations with his wife Marina were deteriorating, and he was torn between his loyalty to her and his love for his mistress Oksana Afanasyeva. He had also developed severe inflammation in one of his legs, making his concert performances extremely challenging.

 

In a final desperate attempt to overcome his drug addiction, partially prompted by his inability to obtain drugs through his usual channels (the authorities had imposed a strict monitoring of the medical institutions to prevent illicit drug distribution during the 1980 Olympics), he relapsed into alcohol and went on a prolonged drinking binge (apparently consuming copious amounts of champagne due to a prevalent misconception at the time that it was better than vodka at countering the effects of drug withdrawal).

 

On 3 July 1980, Vysotsky gave a performance at a suburban Moscow concert hall. One of the stage managers recalls that he looked visibly unhealthy ("gray-faced", as she puts it) and complained of not feeling too good, while another says she was surprised by his request for champagne before the start of the show, as he had always been known for completely abstaining from drink before his concerts. On 16 July Vysotsky gave his last public concert in Kaliningrad. On 18 July, Vysotsky played Hamlet for the last time at the Taganka Theatre. From around 21 July, several of his close friends were on a round-the-clock watch at his apartment, carefully monitoring his alcohol intake and hoping against all odds that his drug dependency would soon be overcome and they would then be able to bring him back from the brink. The effects of drug withdrawal were clearly getting the better of him, as he got increasingly restless, moaned and screamed in pain, and at times fell into memory lapses, failing to recognize at first some of his visitors, including his son Arkadiy. At one point, Vysotsky's personal physician A. Fedotov (the same doctor who had brought him back from clinical death a year earlier in Uzbekistan) attempted to sedate him, inadvertently causing asphyxiation from which he was barely saved. On 24 July, Vysotsky told his mother that he thought he was going to die that day, and then made similar remarks to a few of the friends present at the apartment, who begged him to stop such talk and keep his spirits up. But soon thereafter, Oksana Afanasyeva saw him clench his chest several times, which led her to suspect that he was genuinely suffering from a cardiovascular condition. She informed Fedotov of this but was told not to worry, as he was going to monitor Vysotsky's condition all night. In the evening, after drinking relatively small amounts of alcohol, the moaning and groaning Vysotsky was sedated by Fedotov, who then sat down on the couch next to him but fell asleep. Fedotov awoke in the early hours of 25 July to an unusual silence and found Vysotsky dead in his bed with his eyes wide open, apparently of a myocardial infarction, as he later certified. This was contradicted by Fedotov's colleagues, Sklifosovsky Emergency Medical Institute physicians L. Sul'povar and S. Scherbakov (who had demanded the actor's immediate hospitalization on 23 July but were allegedly rebuffed by Fedotov), who insisted that Fedotov's incompetent sedation combined with alcohol was what killed Vysotsky. An autopsy was prevented by Vysotsky's parents (who were eager to have their son's drug addiction remain secret), so the true cause of death remains unknown.

 

No official announcement of the actor's death was made, only a brief obituary appeared in the Moscow newspaper Vechernyaya Moskva, and a note informing of Vysotsky's death and cancellation of the Hamlet performance was put out at the entrance to the Taganka Theatre (the story goes that not a single ticket holder took advantage of the refund offer). Despite this, by the end of the day, millions had learned of Vysotsky's death. On 28 July, he lay in state at the Taganka Theatre. After a mourning ceremony involving an unauthorized mass gathering of unprecedented scale, Vysotsky was buried at the Vagankovskoye Cemetery in Moscow. The attendance at the Olympic events dropped noticeably on that day, as scores of spectators left to attend the funeral. Tens of thousands of people lined the streets to catch a glimpse of his coffin.

 

According to author Valery Perevozchikov part of the blame for his death lay with the group of associates who surrounded him in the last years of his life. This inner circle were all people under the influence of his strong character, combined with a material interest in the large sums of money his concerts earned. This list included Valerii Yankelovich, manager of the Taganka Theatre and prime organiser of his non-sanctioned concerts; Anatoly Fedotov, his personal doctor; Vadim Tumanov, gold prospector (and personal friend) from Siberia; Oksana Afanasyeva (later Yarmolnik), his mistress the last three years of his life; Ivan Bortnik, a fellow actor; and Leonid Sul'povar, a department head at the Sklifosovski hospital who was responsible for much of the supply of drugs.

 

Vysotsky's associates had all put in efforts to supply his drug habit, which kept him going in the last years of his life. Under their influence, he was able to continue to perform all over the country, up to a week before his death. Due to illegal (i.e. non-state-sanctioned) sales of tickets and other underground methods, these concerts pulled in sums of money unimaginable in Soviet times, when almost everyone received nearly the same small salary. The payouts and gathering of money were a constant source of danger, and Yankelovich and others were needed to organise them.

 

Some money went to Vysotsky, the rest was distributed amongst this circle. At first this was a reasonable return on their efforts; however, as his addiction progressed and his body developed resistance, the frequency and amount of drugs needed to keep Vysotsky going became unmanageable. This culminated at the time of the Moscow Olympics which coincided with the last days of his life, when supplies of drugs were monitored more strictly than usual, and some of the doctors involved in supplying Vysotsky were already behind bars (normally the doctors had to account for every ampule, thus drugs were transferred to an empty container, while the patients received a substitute or placebo instead). In the last few days Vysotsky became uncontrollable, his shouting could be heard all over the apartment building on Malaya Gruzinskaya St. where he lived amongst VIP's. Several days before his death, in a state of stupor he went on a high speed drive around Moscow in an attempt to obtain drugs and alcohol – when many high-ranking people saw him. This increased the likelihood of him being forcibly admitted to the hospital, and the consequent danger to the circle supplying his habit. As his state of health declined, and it became obvious that he might die, his associates gathered to decide what to do with him. They came up with no firm decision. They did not want him admitted officially, as his drug addiction would become public and they would fall under suspicion, although some of them admitted that any ordinary person in his condition would have been admitted immediately.

 

On Vysotsky's death his associates and relatives put in much effort to prevent a post-mortem being carried out. This despite the fairly unusual circumstances: he died aged 42 under heavy sedation with an improvised cocktail of sedatives and stimulants, including the toxic chloral hydrate, provided by his personal doctor who had been supplying him with narcotics the previous three years. This doctor, being the only one present at his side when death occurred, had a few days earlier been seen to display elementary negligence in treating the sedated Vysotsky. On the night of his death, Arkadii Vysotsky (his son), who tried to visit his father in his apartment, was rudely refused entry by Yankelovich, even though there was a lack of people able to care for him. Subsequently, the Soviet police commenced a manslaughter investigation which was dropped due to the absence of evidence taken at the time of death.

 

Vysotsky's first wife was Iza Zhukova. They met in 1956, being both MAT theater institute students, lived for some time at Vysotsky's mother's flat in Moscow, after her graduation (Iza was 2 years older) spent months in different cities (her – in Kiev, then Rostov) and finally married on 25 April 1960.

 

He met his second wife Lyudmila Abramova in 1961, while shooting the film 713 Requests Permission to Land. They married in 1965 and had two sons, Arkady (born 1962) and Nikita (born 1964).

 

While still married to Lyudmila Abramova, Vysotsky began a romantic relationship with Tatyana Ivanenko, a Taganka actress, then, in 1967 fell in love with Marina Vlady, a French actress of Russian descent, who was working at Mosfilm on a joint Soviet-French production at that time. Marina had been married before and had three children, while Vladimir had two. They were married in 1969. For 10 years the two maintained a long-distance relationship as Marina compromised her career in France to spend more time in Moscow, and Vladimir's friends pulled strings for him to be allowed to travel abroad to stay with his wife. Marina eventually joined the Communist Party of France, which essentially gave her an unlimited-entry visa into the Soviet Union, and provided Vladimir with some immunity against prosecution by the government, which was becoming weary of his covertly anti-Soviet lyrics and his odds-defying popularity with the masses. The problems of his long-distance relationship with Vlady inspired several of Vysotsky's songs.

 

In the autumn of 1981 Vysotsky's first collection of poetry was officially published in the USSR, called The Nerve (Нерв). Its first edition (25,000 copies) was sold out instantly. In 1982 the second one followed (100,000), then the 3rd (1988, 200,000), followed in the 1990s by several more. The material for it was compiled by Robert Rozhdestvensky, an officially laurelled Soviet poet. Also in 1981 Yuri Lyubimov staged at Taganka a new music and poetry production called Vladimir Vysotsky which was promptly banned and officially premiered on 25 January 1989.

 

In 1982 the motion picture The Ballad of the Valiant Knight Ivanhoe was produced in the Soviet Union and in 1983 the movie was released to the public. Four songs by Vysotsky were featured in the film.

 

In 1986 the official Vysotsky poetic heritage committee was formed (with Robert Rozhdestvensky at the helm, theater critic Natalya Krymova being both the instigator and the organizer). Despite some opposition from the conservatives (Yegor Ligachev was the latter's political leader, Stanislav Kunyaev of Nash Sovremennik represented its literary flank) Vysotsky was rewarded posthumously with the USSR State Prize. The official formula – "for creating the character of Zheglov and artistic achievements as a singer-songwriter" was much derided from both the left and the right. In 1988 the Selected Works of... (edited by N. Krymova) compilation was published, preceded by I Will Surely Return... (Я, конечно, вернусь...) book of fellow actors' memoirs and Vysotsky's verses, some published for the first time. In 1990 two volumes of extensive The Works of... were published, financed by the late poet's father Semyon Vysotsky. Even more ambitious publication series, self-proclaimed "the first ever academical edition" (the latter assertion being dismissed by sceptics) compiled and edited by Sergey Zhiltsov, were published in Tula (1994–1998, 5 volumes), Germany (1994, 7 volumes) and Moscow (1997, 4 volumes).

 

In 1989 the official Vysotsky Museum opened in Moscow, with the magazine of its own called Vagant (edited by Sergey Zaitsev) devoted entirely to Vysotsky's legacy. In 1996 it became an independent publication and was closed in 2002.

 

In the years to come, Vysotsky's grave became a site of pilgrimage for several generations of his fans, the youngest of whom were born after his death. His tombstone also became the subject of controversy, as his widow had wished for a simple abstract slab, while his parents insisted on a realistic gilded statue. Although probably too solemn to have inspired Vysotsky himself, the statue is believed by some to be full of metaphors and symbols reminiscent of the singer's life.

 

In 1995 in Moscow the Vysotsky monument was officially opened at Strastnoy Boulevard, by the Petrovsky Gates. Among those present were the bard's parents, two of his sons, first wife Iza, renown poets Yevtushenko and Voznesensky. "Vysotsky had always been telling the truth. Only once he was wrong when he sang in one of his songs: 'They will never erect me a monument in a square like that by Petrovskye Vorota'", Mayor of Moscow Yuri Luzhkov said in his speech.[95] A further monument to Vysotsky was erected in 2014 at Rostov-on-Don.

 

In October 2004, a monument to Vysotsky was erected in the Montenegrin capital of Podgorica, near the Millennium Bridge. His son, Nikita Vysotsky, attended the unveiling. The statue was designed by Russian sculptor Alexander Taratinov, who also designed a monument to Alexander Pushkin in Podgorica. The bronze statue shows Vysotsky standing on a pedestal, with his one hand raised and the other holding a guitar. Next to the figure lies a bronze skull – a reference to Vysotsky's monumental lead performances in Shakespeare's Hamlet. On the pedestal the last lines from a poem of Vysotsky's, dedicated to Montenegro, are carved.

 

The Vysotsky business center & semi-skyscraper was officially opened in Yekaterinburg, in 2011. It is the tallest building in Russia outside of Moscow, has 54 floors, total height: 188.3 m (618 ft). On the third floor of the business center is the Vysotsky Museum. Behind the building is a bronze sculpture of Vladimir Vysotsky and his third wife, a French actress Marina Vlady.

 

In 2011 a controversial movie Vysotsky. Thank You For Being Alive was released, script written by his son, Nikita Vysotsky. The actor Sergey Bezrukov portrayed Vysotsky, using a combination of a mask and CGI effects. The film tells about Vysotsky's illegal underground performances, problems with KGB and drugs, and subsequent clinical death in 1979.

 

Shortly after Vysotsky's death, many Russian bards started writing songs and poems about his life and death. The best known are Yuri Vizbor's "Letter to Vysotsky" (1982) and Bulat Okudzhava's "About Volodya Vysotsky" (1980). In Poland, Jacek Kaczmarski based some of his songs on those of Vysotsky, such as his first song (1977) was based on "The Wolfhunt", and dedicated to his memory the song "Epitafium dla Włodzimierza Wysockiego" ("Epitaph for Vladimir Vysotsky").

 

Every year on Vysotsky's birthday festivals are held throughout Russia and in many communities throughout the world, especially in Europe. Vysotsky's impact in Russia is often compared to that of Wolf Biermann in Germany, Bob Dylan in America, or Georges Brassens and Jacques Brel in France.

 

The asteroid 2374 Vladvysotskij, discovered by Lyudmila Zhuravleva, was named after Vysotsky.

 

During the Annual Q&A Event Direct Line with Vladimir Putin, Alexey Venediktov asked Putin to name a street in Moscow after the singer Vladimir Vysotsky, who, though considered one of the greatest Russian artists, has no street named after him in Moscow almost 30 years after his death. Venediktov stated a Russian law that allowed the President to do so and promote a law suggestion to name a street by decree. Putin answered that he would talk to Mayor of Moscow and would solve this problem. In July 2015 former Upper and Lower Tagansky Dead-ends (Верхний и Нижний Таганские тупики) in Moscow were reorganized into Vladimir Vysotsky Street.

 

The Sata Kieli Cultural Association, [Finland], organizes the annual International Vladimir Vysotsky Festival (Vysotski Fest), where Vysotsky's singers from different countries perform in Helsinki and other Finnish cities. They sing Vysotsky in different languages and in different arrangements.

 

Two brothers and singers from Finland, Mika and Turkka Mali, over the course of their more than 30-year musical career, have translated into Finnish, recorded and on numerous occasions publicly performed songs of Vladimir Vysotsky.

 

Throughout his lengthy musical career, Jaromír Nohavica, a famed Czech singer, translated and performed numerous songs of Vladimir Vysotsky, most notably Песня о друге (Píseň o příteli – Song about a friend).

 

The Museum of Vladimir Vysotsky in Koszalin dedicated to Vladimir Vysotsky was founded by Marlena Zimna (1969–2016) in May 1994, in her apartment, in the city of Koszalin, in Poland. Since then the museum has collected over 19,500 exhibits from different countries and currently holds Vladimir Vysotsky' personal items, autographs, drawings, letters, photographs and a large library containing unique film footage, vinyl records, CDs and DVDs. A special place in the collection holds a Vladimir Vysotsky's guitar, on which he played at a concert in Casablanca in April 1976. Vladimir Vysotsky presented this guitar to Moroccan journalist Hassan El-Sayed together with an autograph (an extract from Vladimir Vysotsky's song "What Happened in Africa"), written in Russian right on the guitar.

 

In January 2023, a monument to the outstanding actor, singer and poet Vladimir Vysotsky was unveiled in Yuzhno-Sakhalinsk, in the square near the Rodina House of Culture. Author Vladimir Chebotarev.

 

After her husband's death, urged by her friend Simone Signoret, Marina Vlady wrote a book called The Aborted Flight about her years together with Vysotsky. The book paid tribute to Vladimir's talent and rich persona, yet was uncompromising in its depiction of his addictions and the problems that they caused in their marriage. Written in French (and published in France in 1987), it was translated into Russian in tandem by Vlady and a professional translator and came out in 1989 in the USSR. Totally credible from the specialists' point of view, the book caused controversy, among other things, by shocking revelations about the difficult father-and-son relationship (or rather, the lack of any), implying that Vysotsky-senior (while his son was alive) was deeply ashamed of him and his songs which he deemed "anti-Soviet" and reported his own son to the KGB. Also in 1989 another important book of memoirs was published in the USSR, providing a bulk of priceless material for the host of future biographers, Alla Demidova's Vladimir Vysotsky, the One I Know and Love. Among other publications of note were Valery Zolotukhin's Vysotsky's Secret (2000), a series of Valery Perevozchikov's books (His Dying Hour, The Unknown Vysotsky and others) containing detailed accounts and interviews dealing with the bard's life's major controversies (the mystery surrounding his death, the truth behind Vysotsky Sr.'s alleged KGB reports, the true nature of Vladimir Vysotsky's relations with his mother Nina's second husband Georgy Bartosh etc.), Iza Zhukova's Short Happiness for a Lifetime and the late bard's sister-in-law Irena Vysotskaya's My Brother Vysotsky. The Beginnings (both 2005).

 

A group of enthusiasts has created a non-profit project – the mobile application "Vysotsky"

 

The multifaceted talent of Vysotsky is often described by the term "bard" (бард) that Vysotsky has never been enthusiastic about. He thought of himself mainly as an actor and poet rather than a singer, and once remarked, "I do not belong to what people call bards or minstrels or whatever." With the advent of portable tape-recorders in the Soviet Union, Vysotsky's music became available to the masses in the form of home-made reel-to-reel audio tape recordings (later on cassette tapes).

 

Vysotsky accompanied himself on a Russian seven-string guitar, with a raspy voice singing ballads of love, peace, war, everyday Soviet life and of the human condition. He was largely perceived as the voice of honesty, at times sarcastically jabbing at the Soviet government, which made him a target for surveillance and threats. In France, he has been compared with Georges Brassens; in Russia, however, he was more frequently compared with Joe Dassin, partly because they were the same age and died in the same year, although their ideologies, biographies, and musical styles are very different. Vysotsky's lyrics and style greatly influenced Jacek Kaczmarski, a Polish songwriter and singer who touched on similar themes.

 

The songs – over 600 of them – were written about almost any imaginable theme. The earliest were blatnaya pesnya ("outlaw songs"). These songs were based either on the life of the common people in Moscow or on life in the crime people, sometimes in Gulag. Vysotsky slowly grew out of this phase and started singing more serious, though often satirical, songs. Many of these songs were about war. These war songs were not written to glorify war, but rather to expose the listener to the emotions of those in extreme, life-threatening situations. Most Soviet veterans would say that Vysotsky's war songs described the truth of war far more accurately than more official "patriotic" songs.

 

Nearly all of Vysotsky's songs are in the first person, although he is almost never the narrator. When singing his criminal songs, he would adopt the accent and intonation of a Moscow thief, and when singing war songs, he would sing from the point of view of a soldier. In many of his philosophical songs, he adopted the role of inanimate objects. This created some confusion about Vysotsky's background, especially during the early years when information could not be passed around very easily. Using his acting talent, the poet played his role so well that until told otherwise, many of his fans believed that he was, indeed, a criminal or war veteran. Vysotsky's father said that "War veterans thought the author of the songs to be one of them, as if he had participated in the war together with them." The same could be said about mountain climbers; on multiple occasions, Vysotsky was sent pictures of mountain climbers' graves with quotes from his lyrics etched on the tombstones.

 

Not being officially recognized as a poet and singer, Vysotsky performed wherever and whenever he could – in the theater (where he worked), at universities, in private apartments, village clubs, and in the open air. It was not unusual for him to give several concerts in one day. He used to sleep little, using the night hours to write. With few exceptions, he wasn't allowed to publish his recordings with "Melodiya", which held a monopoly on the Soviet music industry. His songs were passed on through amateur, fairly low quality recordings on vinyl discs and magnetic tape, resulting in his immense popularity. Cosmonauts even took his music on cassette into orbit.

 

Musically, virtually all of Vysotsky's songs were written in a minor key, and tended to employ from three to seven chords. Vysotsky composed his songs and played them exclusively on the Russian seven string guitar, often tuned a tone or a tone-and-a-half below the traditional Russian "Open G major" tuning. This guitar, with its specific Russian tuning, makes a slight yet notable difference in chord voicings than the standard tuned six string Spanish (classical) guitar, and it became a staple of his sound. Because Vysotsky tuned down a tone and a half, his strings had less tension, which also colored the sound.

 

His earliest songs were usually written in C minor (with the guitar tuned a tone down from DGBDGBD to CFACFAC)

 

Songs written in this key include "Stars" (Zvyozdy), "My friend left for Magadan" (Moy drug uyekhal v Magadan), and most of his "outlaw songs".

 

At around 1970, Vysotsky began writing and playing exclusively in A minor (guitar tuned to CFACFAC), which he continued doing until his death.

 

Vysotsky used his fingers instead of a pick to pluck and strum, as was the tradition with Russian guitar playing. He used a variety of finger picking and strumming techniques. One of his favorite was to play an alternating bass with his thumb as he plucked or strummed with his other fingers.

 

Often, Vysotsky would neglect to check the tuning of his guitar, which is particularly noticeable on earlier recordings. According to some accounts, Vysotsky would get upset when friends would attempt to tune his guitar, leading some to believe that he preferred to play slightly out of tune as a stylistic choice. Much of this is also attributable to the fact that a guitar that is tuned down more than 1 whole step (Vysotsky would sometimes tune as much as 2 and a half steps down) is prone to intonation problems.

 

Vysotsky had a unique singing style. He had an unusual habit of elongating consonants instead of vowels in his songs. So when a syllable is sung for a prolonged period of time, he would elongate the consonant instead of the vowel in that syllable.

Paloma.

THE TYNDALE MONUMENT IS A TOWER BUILT ON A HILL AT NORTH NIBLEY, GLOUCESTERSHIRE, ENGLAND. IT WAS BUILT IN HONOUR OF WILLIAM TYNDALE, A TRANSLATOR OF THE NEW TESTAMENT, WHO IS BELIEVED TO HAVE BEEN BORN AT NORTH NIBLEY. THE TOWER WAS CONSTRUCTED IN 1866, 26FT 6IN SQUARE AT THE BASE AND IS 111 FT (34 M) TALL. IT IS POSSIBLE TO ENTER AND CLIMB TO THE TOP OF THE TOWER, UP A SPIRAL STAIRCASE OF ABOUT 120 STEPS. THE HILL IT IS ON ALLOWS A WIDE RANGE OF VIEWS, ESPECIALLY LOOKING DOWN TO THE RIVER SEVERN. THE HILL ON WHICH THE MONUMENT STANDS IS QUITE STEEP. THERE ARE TWO MAIN PATHS, ONE WHICH GOES UP STEEP STEPS, OR ONE THAT FOLLOWS A ROUGH SLOPE. THE TOWER ITSELF IS SURROUNDED BY FENCING AND HAS FLOODLIGHTS THAT LIGHT UP THE TOWER ON SPECIAL OCCASIONS.THE DOOR TO THE TOWER IS NORMALLY UNLOCKED.

FORBIDDEN TO WORK IN ENGLAND, TYNDALE TRANSLATED AND PRINTED IN ENGLISH THE NEW TESTAMENT AND HALF THE OLD TESTAMENT BETWEEN 1525 AND 1535 IN GERMANY AND THE LOW COUNTRIES. HE WORKED FROM THE GREEK AND HEBREW ORIGINAL TEXTS WHEN KNOWLEDGE OF THOSE LANGUAGES IN ENGLAND WAS RARE. HIS POCKET-SIZED BIBLE TRANSLATIONS WERE SMUGGLED INTO ENGLAND, AND THEN RUTHLESSLY SOUGHT OUT BY THE CHURCH, CONFISCATED AND DESTROYED. CONDEMNED AS A HERETIC, TYNDALE WAS STRANGLED AND BURNED OUTSIDE BRUSSELS IN 1536.THE TYNDALE SOCIETY.

TYNDALE'S ENGLISH TRANSLATION OF THE NEW TESTAMENT WAS TAKEN ALMOST WORD FOR WORD INTO THE MUCH PRAISED AUTHORISED VERSION (KING JAMES BIBLE) OF 1611, WHICH ALSO REPRODUCES A GREAT DEAL OF HIS OLD TESTAMENT. FROM THERE HIS WORDS PASSED INTO OUR COMMON UNDERSTANDING. PEOPLE ACROSS THE WORLD HONOUR HIM AS A GREAT ENGLISHMAN, UNJUSTLY CONDEMNED AND STILL UNFAIRLY NEGLECTED. HIS SOLITARY COURAGE AND HIS SKILL WITH LANGUAGES - INCLUDING, SUPREMELY, HIS OWN - ENRICHED ENGLISH HISTORY IN WAYS STILL NOT PROPERLY EXAMINED, AND THEN REACHED OUT TO AFFECT ALL ENGLISH-SPEAKING NATIONS.

 

Dynamic Science Fiction / Magazin-Reihe

- Charles Dye / Translator's Error

art: H. W. Kiemle

Editor: Robert W. Lowndes

Columbia Publications, Inc. / USA (December 1952)

Reprint / Comic-Club NK 2010

ex libris MTP

www.isfdb.org/cgi-bin/pl.cgi?102351

  

Extract from;

http:www.blouseroumaine.com

 

Marie Ana Dràgescu is the sole survivor into the 21st century of the all-female air force squadron, the ‘Escadrila albà’, which was active in WWII.

Marie Ana was born in Craiova, the capital of Oltenia, in Southern Romania, the daughter of an army officer and of a music teacher. She graduated from the aviation school in 1935, enrolled immediately thereafter in military manoeuvres and by 1940, aged 28, she became a member of a medical squadron. In 1942, Dràgescu was a member of the 108 light transports squadron of the Military Air Transport Group. At the end of the war, she was a pilot of the 113th squadron. During these operations Dràgescu managed to recover from the war zone over 1,500 wounded soldiers and secure their hospital treatment, behind the front lines.

Dràgescu’s feats brought her several of the highest orders of decoration - the ‘Virtutea Aeronauticà’ decoration, first class with clasp, as well as the ‘Crucea Regina Maria’ and the German Eagle decoration, third class. Yet, in spite of all military honours, Marie Ana Dràgescu remained a woman of an extraordinary modesty and wisdom.

After the war Dràgescu worked for the civil aviation, but the Stalinist purges at the time of Gheorghiu-Dej caught up with her and in spite of her experience and ability she was fired in 1954 for political reasons: it was a miracle that she did not to end up in a prison camp. She found a secretarial job instead, which allowed her to survive until her retirement in 1966.

In 1990, aged 90, once she had witnessed the fall of Ceausescu, Marie Ana Dràgescu’s feats could, at long last, be recorded, and made public. Her military credentials have at long last been restored, being made a Lieutenant (r) of the Romanian Airforce and been awarded the Order of the ‘Star of Romania’, with the grade of Commander. Her feats of arms made the subject of a recent movie, ‘Escadrila albà’, directed by Serban Creangà.

---------------------

LINK: www.blouseroumaine.com/orderthebook_p1.html

 

"Blouse Roumaine - the Unsung Voices of Romanian Women"

 

Presented and Selected by Constantin ROMAN

 

Anthology E-BOOK (11BM)

 

DISTRIBUTION: Online with credit card

 

COST: $ 54.99, £34.99 (ca Euros 35.50)

 

LINK: www.blouseroumaine.com/orderthebook_p1.html

 

CONTENTS:

 

2,250,000 words,

 

over 1,000 pages,

 

ca 160 illustrations in text

 

160 critical biographies,

 

58 social categories/professions,

 

600 quotations (mostly translated into English for the first time),

 

circa 3,000 bibliographical references (including URLs and credits)

 

6 Indexes (alphabetical, by profession, timeline, quotation Index, place

 

index and name index)

 

AUTHOR: Constantin Roman is a Scholar with a Doctorate from Cambridge and a Member of the Society of Authors (London). He is an International Adviser, Guest Speaker, Professor Honoris Causa and Commander of the Order of Merit.

  

INDEX BY PROSFESSION: 58 CATEGORIES by Call, Profession or Social Status

 

Academics (22), Actresses (9), Anti-Communist Fighters (14), Architects/Interior Designers (2), Art Critics (9), Artist Book Binders (1), Ballerinas (6), Charity Workers/Benefactors (20), Communist Public Figures (2), Courtesans (3), Designers (2), Diplomats (4), Essayists (11), Ethnographers (6), Exiles & First-generation Romanians born abroad (87), Explorers (1), Feminists (12), Folk Singers (1), Gymnasts, Dressage Riders (2), Historians (5), Honorary Romanian Women (15), Illustrators (3), Journalists (13), Lawyers (4), Librarians (3), Linguists (2), Literary Critics (1), Media (15), Medical Doctors/Nurses (5), Memoir Writers (16), Missionaries and Nuns (4), Mountainéers (2), Museographers (1), Musical Instruments Makers (1), Novelists (24), Opera Singers (16), Painters (14), Peasant Farmers (6), Philosophers and Philosophy Graduates (4), Pianists (6), Pilots (4), Playwrights (5), Poets (29), Political Prisoners (30), Politicians (5), Revolutionaries (2), Royals and Aristocrats (34), Scientists (8), Sculptors (4), Slave (1), Socialites/Hostesses (20), Spouses/Relations of Public Figures (51), Spies (2), Tapestry Weavers (4), Translators (25), Unknown Illustrious (6), Violinists (4), Workers (3)

 

NOTE:

Most of the above 160 Romanian women, in the best tradition of versatility, are true polymaths and therefore nearly each one of them falls in more than just one category, often three or more. This explains why adding the numbers of the 57 individual categories bears no relation to the actual total of the above 160 women included in Blouse Roumaine.

-----------------------------------------------------------------------------------------------------------

LIST OF 160 CRITICAL BIOGRAPHIES (each supported by Quotations and Bibliography)

 

AA *Gabriela Adamesteanu *Florenta Albu *Nina Arbore *Elena Arnàutoiu *Ioana Raluca Voicu-Arnàutoiu, *Laurentia Arnàutoiu *Mariea Plop - Arnàutoiu *Ana Aslan *Lady Elizabeth Asquith Bibescu

 

BB *Lauren Bacall *Lady Florence Baker *Zoe Bàlàceanu *Ecaterina Bàlàcioiu-Lovinescu *Victorine de Bellio *Pss. Marta Bibescu *Adriana Bittel *Maria Prodan Bjørnson *Ana Blandiana *Yvonne Blondel *Lola Bobescu *Smaranda Bràescu *Elena Bràtianu *Élise Bràtianu *Ioana Bràtianu *Elena Bràtianu- Racottà *Letitzia Bucur

 

CC *Anne-Marie Callimachi *Georgeta Cancicov *Madeleine Cancicov *Pss. Alexandra Cantacuzino *Pss.Maria Cantacuzino (Madame Puvis de Chavannes) *Pss. Maruca Cantacuzino-Enesco* Pss. Catherine Caradja *Elena Caragiani-Stoenescu *Marta Caraion-Blanc, *Nina Cassian, *Otilia Cazimir *Elena Ceausescu *Maria Cebotari *Ioana Celibidache *Hélène Chrissoveloni (Mme Paul Morand)*Alice Cocea *Irina Codreanu *Lizica Codreanu *Alina Cojocaru *Nadia Comàneci *Denisa Comànescu *Lena Constante *Silvia Constantinescu *Doina Cornea *Hortense Cornu *Viorica Cortez*Otilia Cosmutzà *Sandra Cotovu *Ileana Cotrubas *Carmen-Daniela Cràsnaru *Mioara Cremene *Florica Cristoforeanu *Pss. Elena Cuza

 

DD *Hariclea Darclée *Cella Delavrancea *Alina Diaconú *Varinca Diaconú *Anca Diamandy *Marie Ana Dràgescu *Rodica Dràghincescu *Bucura Dumbravà *Natalia Dumitrescu

 

EE *Micaela Eleutheriade *Queen Elisabeth of Romania (‘Carmen Sylva’) *Alexandra Enescu *Mica Ertegün

 

FF *Lizi Florescu, *Maria Forescu *Nicoleta Franck *Aurora Fúlgida

 

GG *Angela Gheorghiu *Pss Grigore Ghica *Pss. Georges Ghika (Liane de Pougy) *Veturia Goga *Maria Golescu *Nadia Gray *Olga Greceanu *Pss. Helen of Greece *Nicole Valéry-Grossu *Carmen Groza

 

HH *Virginia Andreescu Haret *Clara Haskil *Lucia Hossu-Longin

 

II *Pss. Ileana of Romania *Ana Ipàtescu *Marie-France Ionesco *Dora d’Istria *Rodica Iulian

 

JJ *Doina Jela *Lucretia Jurj

 

KK *Mite Kremnitz

 

LL *Marie-Jeanne Lecca *Madeleine Lipatti *Monica Lovinescu *Elena Lupescu

 

MM *Maria Mailat *Ileana Màlàncioiu *Ionela Manolesco *Lilly Marcou *Silvia Marcovici *Queen Marie of Romania *Ioana A. Marin *Ioana Meitani *Gabriela Melinescu *Veronica Micle *Nelly Miricioiu *Herta Müller *Alina Mungiu-Pippidi *Agnes Kelly Murgoci

 

NN *Mabel Nandris *Anita Nandris-Cudla *Lucia Negoità *Mariana Nicolesco *Countess Anna de Noailles *Ana Novac

 

OO *Helen O’Brien *Oana Orlea

 

PP *Hortensia Papadat-Bengescu *Milita Pàtrascu *Ana Pauker *Marta Petreu *Cornelia Pillat *Magdalena Popa *Elvira Popescu

 

RR *Ruxandra Racovitzà *Elisabeta Rizea *Eugenia Roman *Stella Roman *Queen Ana de România, *Pss. Margarita de România *Maria Rosetti *Elisabeth Roudinesco

 

SS *Annie Samuelli *Sylvia Sidney *Henriette-Yvonne Stahl *Countess Leopold Starszensky *Elena Stefoi *Pss. Marina Stirbey *Sanda Stolojan *Cecilia Cutzescu-Storck

 

TT *Maria Tànase *Aretia Tàtàrescu *Monica Theodorescu *Elena Theodorini

 

UU *Viorica Ursuleac

 

VV *Elena Vàcàrescu *Leontina Vàduva *Ana Velescu *Marioara Ventura *Anca Visdei *Wanda Sachelarie Vladimirescu *Alice Steriade Voinescu

 

WW *Sabina Wurmbrand

 

ZZ *Virginia Zeani

   

After arriving in the loop at Wolerton, 37884 detaches and awaits the return to base whilst Gronk 08754 now assumes control of the trip from the mainline sidings into the works with reversal manoeuvres along the way. The pilot of the gronk is cautious with the safety of the traversing, but also acceptable for us to be nearby to grab the photo's of this move, thankyou

THE TYNDALE MONUMENT IS A TOWER BUILT ON A HILL AT NORTH NIBLEY, GLOUCESTERSHIRE, ENGLAND. IT WAS BUILT IN HONOUR OF WILLIAM TYNDALE, A TRANSLATOR OF THE NEW TESTAMENT, WHO IS BELIEVED TO HAVE BEEN BORN AT NORTH NIBLEY. THE TOWER WAS CONSTRUCTED IN 1866, 26FT 6IN SQUARE AT THE BASE AND IS 111 FT (34 M) TALL. IT IS POSSIBLE TO ENTER AND CLIMB TO THE TOP OF THE TOWER, UP A SPIRAL STAIRCASE OF ABOUT 120 STEPS. THE HILL IT IS ON ALLOWS A WIDE RANGE OF VIEWS, ESPECIALLY LOOKING DOWN TO THE RIVER SEVERN. THE HILL ON WHICH THE MONUMENT STANDS IS QUITE STEEP. THERE ARE TWO MAIN PATHS, ONE WHICH GOES UP STEEP STEPS, OR ONE THAT FOLLOWS A ROUGH SLOPE. THE TOWER ITSELF IS SURROUNDED BY FENCING AND HAS FLOODLIGHTS THAT LIGHT UP THE TOWER ON SPECIAL OCCASIONS.THE DOOR TO THE TOWER IS NORMALLY UNLOCKED.

FORBIDDEN TO WORK IN ENGLAND, TYNDALE TRANSLATED AND PRINTED IN ENGLISH THE NEW TESTAMENT AND HALF THE OLD TESTAMENT BETWEEN 1525 AND 1535 IN GERMANY AND THE LOW COUNTRIES. HE WORKED FROM THE GREEK AND HEBREW ORIGINAL TEXTS WHEN KNOWLEDGE OF THOSE LANGUAGES IN ENGLAND WAS RARE. HIS POCKET-SIZED BIBLE TRANSLATIONS WERE SMUGGLED INTO ENGLAND, AND THEN RUTHLESSLY SOUGHT OUT BY THE CHURCH, CONFISCATED AND DESTROYED. CONDEMNED AS A HERETIC, TYNDALE WAS STRANGLED AND BURNED OUTSIDE BRUSSELS IN 1536.

TYNDALE'S ENGLISH TRANSLATION OF THE NEW TESTAMENT WAS TAKEN ALMOST WORD FOR WORD INTO THE MUCH PRAISED AUTHORISED VERSION (KING JAMES BIBLE) OF 1611, WHICH ALSO REPRODUCES A GREAT DEAL OF HIS OLD TESTAMENT. FROM THERE HIS WORDS PASSED INTO OUR COMMON UNDERSTANDING. PEOPLE ACROSS THE WORLD HONOUR HIM AS A GREAT ENGLISHMAN, UNJUSTLY CONDEMNED AND STILL UNFAIRLY NEGLECTED. HIS SOLITARY COURAGE AND HIS SKILL WITH LANGUAGES - INCLUDING, SUPREMELY, HIS OWN - ENRICHED ENGLISH HISTORY IN WAYS STILL NOT PROPERLY EXAMINED, AND THEN REACHED OUT TO AFFECT ALL ENGLISH-SPEAKING NATIONS.

 

Rail Operations Group hire Freightliners Two Tone Green Class 47 locomotive number 47830 and two translator coaches for another class 375 drag. Here is is photographed displaying the "Rail Operations Group" headboard hauling southeastern class 375/3 Electrostar number 375310 working 5Q57 from Ramsgate E.M.U.D to Derby Litchurch Lane on 19th September 2015.

 

It was also photographed earlier in the day by Wayne Walsh at Newington, by Lewis Smith at Gillingham and by Ian Cuthbertson at Swanley.

 

According to Realtime Trains the route and timings were;

Ramsgate E.M.U.D. [XRE]........1610............................1604.........................6E

Rm Mk Ext Dept Mgate End...1617/1617....................NoRep/1605.........12E

Margate [MAR] 3.......................1625...........................1613 3/4...................11E

Herne Bay [HNB] 1....................1635...........................1631 1/4....................3E

Faversham [FAV] 2...................1645 1/2/1645 1/2....1653/1654 1/4.........8L

Sittingbourne [SIT] 1.................1652 1/2.....................1710.........................17L

Gillingham [GLM] 2...................1702............................1719 1/2..................17L

Rochester [RTR] 2.....................1709............................1723 1/2..................14L

Rochester Bridge Jn................1711..............................1725........................14L

Sole Street [SOR] 1....................1719 1/2......................1732........................12L

Fawkham Junction ..................1726............................1737.........................11L

Swanley [SAY] 3........................1732............................1743 1/4...................11L

St Mary Cray Junction.............1736............................1804 3/4...............28L

Bickley Junction[XLY]..............1737............................1806......................29L

Shortlands Junction.................1740............................1811 1/4...................31L

Bellingham [BGM].....................1745............................1813 3/4................28L

Nunhead [NHD] 1......................1751.............................1820 3/4...............29L

Crofton Road Junction............1755............................1824 1/4................29L

Denmark Hill [DMK] 1...............1756............................1824 1/2................28L

Voltaire Road Junction............1800...........................1829.......................29L

Clapham Junction 6.................1812............................1853........................41L

Barnes [BNS] 4...........................1816 1/2......................1859 1/2...............43L

New Kew Junction...................1821............................1908.......................47L

Kew East Junction....................1824...........................1909......................45L

Acton Wells Junction...............1829...........................1916 1/2..................47L

Acton Canal Wharf...................1831.............................1918 1/2.................47L

Dudding Hill Junction..............1836 1/2.....................1924.......................47L

Brent Curve Junction...............1839 1/2....................1927 1/4..................47L

Hendon [HEN] DH....................1843 1/2.....................1929 1/2................46L

Silkstream Junction..................1848 1/2.....................1934 1/2................46L

Radlett Junction........................1855 1/2.....................1941 3/4...............46L

St Albans [SAC] 2......................1859 1/2.....................1949 1/2................50L

Luton [LUT] 3..............................1913.............................2001 1/2...............48L

Leagrave Junction....................1918 1/2......................2004 3/4..............46L

Flitwick [FLT] 2...........................1928...........................2010 3/4...............42L

Bedford South Junction..........1934 1/2.....................2020 3/4..............46L

Bedford [BDM] 2.......................1938...........................2024 1/2...............46L

Bedford North Junction..........1938 1/2.....................2026 1/4...............47L

Sharnbrook Junction...............1946...........................2034......................48L

Wellingborough [WEL] 3.........2003..........................2044 1/4................41L

Harrowden Junction................2006..........................2047 3/4...............41L

Kettering SouthJunction.........2009..........................2051 1/4................42L

Kettering [KET] 4.......................2011............................2052 1/4................41L

Kettering North Junction........2013...........................2053 3/4..............40L

Market Harborough 1...............2021 1/2.....................2101......................39L

Kilby Bridge Junction...............2029 1/2....................2109 1/2..............40L

Wigston South Junction.........2032 1/2/2032 1/2..NoRep/2112 3/4..40L

Wigston North Junction.........2034 1/2....................2113 1/2.................39L

Leicester [LEI] UDS...................2037 1/2....................2120 1/4...............42L

Syston South Junction............2044 1/2....................2127 3/4...............43L

Sileby Junction..........................2048 1/2....................2131.......................42L

Loughborough 3.......................2054..........................2136 3/4...............42L

Trent South Junction...............2059..........................2146 1/2.................47L

Sheet Stores Junction.............2100...........................2146 3/4...............46L

Spondon [SPO] 2......................2105...........................2152 1/4................47L

Derby [DBY]................................2110/2125..................2159/2205..........40L

Derby Adtranz Litchurch Ln...2130...........................2209.....................39L

 

66769 fresh off maintenance stands at the former Brush works at Loughborough with 5Z07 returning the translator vehicles back to UKRLs other site at Leicester. One of GBRf new 66s from abroad stands alongside part way through its conversion.

THE TYNDALE MONUMENT IS A TOWER BUILT ON A HILL AT NORTH NIBLEY, GLOUCESTERSHIRE, ENGLAND. IT WAS BUILT IN HONOUR OF WILLIAM TYNDALE, A TRANSLATOR OF THE NEW TESTAMENT, WHO IS BELIEVED TO HAVE BEEN BORN AT NORTH NIBLEY. THE TOWER WAS CONSTRUCTED IN 1866, 26FT 6IN SQUARE AT THE BASE AND IS 111 FT (34 M) TALL. IT IS POSSIBLE TO ENTER AND CLIMB TO THE TOP OF THE TOWER, UP A SPIRAL STAIRCASE OF ABOUT 120 STEPS. THE HILL IT IS ON ALLOWS A WIDE RANGE OF VIEWS, ESPECIALLY LOOKING DOWN TO THE RIVER SEVERN. THE HILL ON WHICH THE MONUMENT STANDS IS QUITE STEEP. THERE ARE TWO MAIN PATHS, ONE WHICH GOES UP STEEP STEPS, OR ONE THAT FOLLOWS A ROUGH SLOPE. THE TOWER ITSELF IS SURROUNDED BY FENCING AND HAS FLOODLIGHTS THAT LIGHT UP THE TOWER ON SPECIAL OCCASIONS.THE DOOR TO THE TOWER IS NORMALLY UNLOCKED.

FORBIDDEN TO WORK IN ENGLAND, TYNDALE TRANSLATED AND PRINTED IN ENGLISH THE NEW TESTAMENT AND HALF THE OLD TESTAMENT BETWEEN 1525 AND 1535 IN GERMANY AND THE LOW COUNTRIES. HE WORKED FROM THE GREEK AND HEBREW ORIGINAL TEXTS WHEN KNOWLEDGE OF THOSE LANGUAGES IN ENGLAND WAS RARE. HIS POCKET-SIZED BIBLE TRANSLATIONS WERE SMUGGLED INTO ENGLAND, AND THEN RUTHLESSLY SOUGHT OUT BY THE CHURCH, CONFISCATED AND DESTROYED. CONDEMNED AS A HERETIC, TYNDALE WAS STRANGLED AND BURNED OUTSIDE BRUSSELS IN 1536.

TYNDALE'S ENGLISH TRANSLATION OF THE NEW TESTAMENT WAS TAKEN ALMOST WORD FOR WORD INTO THE MUCH PRAISED AUTHORISED VERSION (KING JAMES BIBLE) OF 1611, WHICH ALSO REPRODUCES A GREAT DEAL OF HIS OLD TESTAMENT. FROM THERE HIS WORDS PASSED INTO OUR COMMON UNDERSTANDING. PEOPLE ACROSS THE WORLD HONOUR HIM AS A GREAT ENGLISHMAN, UNJUSTLY CONDEMNED AND STILL UNFAIRLY NEGLECTED. HIS SOLITARY COURAGE AND HIS SKILL WITH LANGUAGES - INCLUDING, SUPREMELY, HIS OWN - ENRICHED ENGLISH HISTORY IN WAYS STILL NOT PROPERLY EXAMINED, AND THEN REACHED OUT TO AFFECT ALL ENGLISH-SPEAKING NATIONS.

  

THE TYNDALE MONUMENT IS A TOWER BUILT ON A HILL AT NORTH NIBLEY, GLOUCESTERSHIRE, ENGLAND. IT WAS BUILT IN HONOUR OF WILLIAM TYNDALE, A TRANSLATOR OF THE NEW TESTAMENT, WHO IS BELIEVED TO HAVE BEEN BORN AT NORTH NIBLEY. THE TOWER WAS CONSTRUCTED IN 1866, 26FT 6IN SQUARE AT THE BASE AND IS 111 FT (34 M) TALL. IT IS POSSIBLE TO ENTER AND CLIMB TO THE TOP OF THE TOWER, UP A SPIRAL STAIRCASE OF ABOUT 120 STEPS. THE HILL IT IS ON ALLOWS A WIDE RANGE OF VIEWS, ESPECIALLY LOOKING DOWN TO THE RIVER SEVERN. THE HILL ON WHICH THE MONUMENT STANDS IS QUITE STEEP. THERE ARE TWO MAIN PATHS, ONE WHICH GOES UP STEEP STEPS, OR ONE THAT FOLLOWS A ROUGH SLOPE. THE TOWER ITSELF IS SURROUNDED BY FENCING AND HAS FLOODLIGHTS THAT LIGHT UP THE TOWER ON SPECIAL OCCASIONS.THE DOOR TO THE TOWER IS NORMALLY UNLOCKED.

FORBIDDEN TO WORK IN ENGLAND, TYNDALE TRANSLATED AND PRINTED IN ENGLISH THE NEW TESTAMENT AND HALF THE OLD TESTAMENT BETWEEN 1525 AND 1535 IN GERMANY AND THE LOW COUNTRIES. HE WORKED FROM THE GREEK AND HEBREW ORIGINAL TEXTS WHEN KNOWLEDGE OF THOSE LANGUAGES IN ENGLAND WAS RARE. HIS POCKET-SIZED BIBLE TRANSLATIONS WERE SMUGGLED INTO ENGLAND, AND THEN RUTHLESSLY SOUGHT OUT BY THE CHURCH, CONFISCATED AND DESTROYED. CONDEMNED AS A HERETIC, TYNDALE WAS STRANGLED AND BURNED OUTSIDE BRUSSELS IN 1536.THE TYNDALE SOCIETY.

TYNDALE'S ENGLISH TRANSLATION OF THE NEW TESTAMENT WAS TAKEN ALMOST WORD FOR WORD INTO THE MUCH PRAISED AUTHORISED VERSION (KING JAMES BIBLE) OF 1611, WHICH ALSO REPRODUCES A GREAT DEAL OF HIS OLD TESTAMENT. FROM THERE HIS WORDS PASSED INTO OUR COMMON UNDERSTANDING. PEOPLE ACROSS THE WORLD HONOUR HIM AS A GREAT ENGLISHMAN, UNJUSTLY CONDEMNED AND STILL UNFAIRLY NEGLECTED. HIS SOLITARY COURAGE AND HIS SKILL WITH LANGUAGES - INCLUDING, SUPREMELY, HIS OWN - ENRICHED ENGLISH HISTORY IN WAYS STILL NOT PROPERLY EXAMINED, AND THEN REACHED OUT TO AFFECT ALL ENGLISH-SPEAKING NATIONS.

 

The Translator was having trouble with the Director's lavish spending habits. , lomics.co/l/66CIGQN9OQ

Download Lomics:

IOS - m.onelink.me/de143c61

Android - m.onelink.me/5301f4f0

Otavio Good shows off his new iPhone app, Word Lens, that translates Spanish to English in real time. Get it at questvisual.com

The Universal Translator will inexpensively give a hard sync terminal to any hot shoe flash or any hot shoe camera. The flash can then be hardwire sync'd via a male-to-male PC cord, or a male-to-male 1/8" mono cord.

 

Lighting: Lumiquest SB-III, handheld about 6 inches over the adapter.

(Trasllated by google translator )

 

A man woke up early to the dog licked li his face. A man talking to dog them these when it set out to explore the beach. Man does through the river water, and lattoi of dry twigs fire. The water, he added the right amount of coffee and scanned the hazy opposite shore believing the distance and the strength of the current.

 

They had left the day before the journey is intended to apply for supplies and to sell the skins. Tomorrow they are aware of a familiar toyed celebrate the day and would go back home in the middle of the desert.

  

...

Again, there was a need to make a reduction of some parts of photographs, some are drawn using the mouse model. Several surfaces have been created in Photoshop. such as sky mountain, part of the water, etc.

 

Canoe, reflection, river, mountain, sky, and the moon are in their own layer.

It's great to see ScotRail use Gaelic on their new "Highland Explorer" class 153 units on the West Highland Line - but they should have used a professional translator - it should be "Siubhlaiche na Gàidhealtachd" or maybe "An Siubhlaiche Gàidhealach". This is so wrong it just hurts Gaelic speakers' eyes!

 

A professional translator would have charged about £15 for a minimum-charge job like this. Peanuts compared to the hundreds of thousands of pounds spent on the conversion and artwork on the class 153s.

Evil Chinese Translator gives me great joy. After all, a smile is usually all I get out of imitation products sold at the local dollar store.

 

I have run out of "Pussy" fragrance incense sticks. I gave one pack to the 1st floor programing team at Cossette after they complained that their bathroom reeked. I gave the other pack to a couple of girlfriends who moved to Ottawa. I figured lesbians might be the intended customer for a pack of incense with a errrr.. cat on it and thus spread the joy of Evil Chinese Translator to as many people as possible.

 

Until Quality Assurance in Copy Editing is introduced to China, Evil Chinese Translator will surely continue to delight us with entertaining product names and instructions. This mop promises to be so easy to use, a stupid child could figure it out. This is the only way I can make sense of it. This mop also has sexist instructions on the back.

 

Here my Brilliant Child poses with the Stupid Child High Efficiency Mop. CAD 10.99 @ D.D.O's Dollar ou Plus on Sources Boulevard (Montreal, Canada)

 

NOT a Photoshopped April Fool joke.

Ex-Class 508 driving coach and now translator vehicle No. 64664 'Liwet' passes Kensington (Olympia) at the rear of the 5Q55 10:33 Stewarts Lane T&R.S.M.D to Newport Docks stock movement Southern Class 455 units Nos. 455825 and 455810 for storage, hauled by GB Railfreight Class 66 No. 66701

This service consists of 47749 "CITY OF TRURO" + 56081 + 810001 + 6 Translator Vehicles "Top n' Tail" working 5Q47 the 08:28 service from Merchant Park Sidings - Old Dalby

 

Taken and Edited: 14th July 2023

www.metmuseum.org/art/collection/search/435728

 

The Last Communion of Saint Jerome

  

Artist:Botticelli (Alessandro di Mariano Filipepi) (Italian, Florence 1444/45–1510 Florence)

Date:early 1490s

Medium:Tempera and gold on wood

Dimensions:13 1/2 x 10 in. (34.3 x 25.4 cm)

Classification:Paintings

Credit Line:Bequest of Benjamin Altman, 1913

Accession Number:14.40.642

On view at The Met Fifth Avenue in Gallery 640

The great fourth-century scholar and translator of the Bible into Latin is shown in his cell near Bethlehem, supported by his brethren as he receives Last Communion. Famous in its day, the picture was painted for the Florentine wool merchant Francesco del Pugliese, a supporter of the radical preacher Savonarola. An opponent of the Medici, Pugliese may have been attracted to the subject for its deeply devotional content. The period frame was carved in the workshop of Giuliano da Maiano; the lunette is by Bartolomeo di Giovanni, who sometimes collaborated with Botticelli.

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Catalogue Entry

  

The painting was identified by Horne (1915) with a picture described in the 1502 inventory of Francesco del Pugliese as "unaltro quadro dipintouj eltransito di sa[n] girolamo dimano didecto sandro" (another work in which is shown the death of Saint Jerome by the hand of Sandro [Botticelli] ). Its fame may be gauged by the citations in two early guidebooks to Florence. The Anonimo Magliabecchiano (Gaddiano 1542–56) lists it among Botticelli’s "small, extremely beautiful works." The picture is, indeed, among the most exquisite of the artist’s small devotional paintings. It has been dated as early as about 1490 but is more frequently placed between 1495 and 1500 (see, most recently, Cecchi 2005 and Zöllner 2005). Horne (1915) gives the most thorough account of the iconography and detailed information on Pugliese, a wealthy wool merchant and a notable patron of the arts. (He may have commissioned Piero di Cosimo’s paintings of primitive man in the MMA: 75.7.1, 75.7.2.) Pugliese was a staunch supporter of Savonarola and an opponent of the Medici (he was in the convent of San Marco the night Savonarola was arrested and in 1513 was exiled for having referred to Lorenzo de’ Medici as "il magnifico merda"). The subject of the picture has been related to Pugliese’s deep religious convictions (the most popular image of Saint Jerome in the fifteenth century shows him either as a scholar in his study or as an ascetic in the wilderness).

  

The subject is based on a letter addressed to Pope Damasus (366–384) describing Jerome’s death in 420 A.D. In the fifteenth century the letter was ascribed to Eusebius of Caesarea, but it dates, instead, from the twelfth century (the Pseudo-Eusebius of Cremona). Jerome is shown in his hermit’s cell near Bethlehem, kneeling in front of a bed covered with a coarse coverlet. On the back wall of the wattle cell hang palm branches, a crucifix, and a cardinal’s hat (although a doctor of the church, Jerome was not, in fact, a cardinal but was often shown as one). The arrangement is suggestive of a church altar. The saint receives communion from fellow monks, the two youngest of whom serve as acolytes holding candles. He is supported by another monk. All are tonsured. "And as soon as the priest who held the eucharist came near to him, the glorious man, with our aid, raised himself on his knees, and lifted his head, and with many tears and sighs, beating his breast many times, he said: 'Thou art my God and my Lord, who suffered Death and the Passion for me, and none other!’" [. . . And when the saint had made an end of these words, he] "received the most holy body of Christ, and cast himself again upon the ground, with his hands crossed upon his breast, singing the canticle of Simeon, the prophet, ‘Nunc dimittis servum tuum’" (Horne 1908).

  

Since 1989 the picture has been displayed in an exceptionally fine Florentine frame of the period almost certainly carved in the workshop of Giuliano da Majano (it should be compared to the frame of a terracotta relief in the Victoria and Albert Museum, London; see John Pope-Hennessy, Catalogue of Italian Sculpture in the Victoria and Albert Museum, London, 1964, vol. 1, pp. 161–62, no. 136, fig. 158). The painting in the lunette of the frame shows the Trinity flanked by angels and has been attributed by Everett Fahy to Bartolomeo di Giovanni. Both Giuliano da Majano and Bartolomeo di Giovanni are known to have worked with Botticelli; the latter made a copy of this picture (Galleria Pallavicini, Rome). Another fine copy, evidently from Botticelli’s workshop, was formerly in the Balbi collection, Genoa, and is now in a private collection in New York. A contemporary drawing after this composition is in the Robert Lehman Collection (The Met, 1975.1.280).

  

Keith Christiansen 2011

Provenance

Francesco di Filippo del Pugliese, Florence (by 1502–d. 1519); Niccolò di Piero del Pugliese, Florence (1519–before 1553); marchese Gino Capponi, Palazzo Capponi, Florence (by 1841–d. 1876; as by Castagno); his daughter, marchesa Farinola, Palazzo Capponi, Florence (1876–1912); [Duveen, New York, 1912]; Benjamin Altman, New York (1912–d. 1913)

Exhibition History

New York. The Metropolitan Museum of Art. "Art Treasures of the Metropolitan," November 7, 1952–September 7, 1953, no. 88.

  

New York. The Metropolitan Museum of Art. "Masterpieces of Fifty Centuries," November 15, 1970–February 15, 1971, no. 185.

  

New York. The Metropolitan Museum of Art. "Florentine Paintings in the Metropolitan Museum," June 15–August 15, 1971, no catalogue.

  

THIS WORK MAY NOT BE LENT, BY TERMS OF ITS ACQUISITION BY THE METROPOLITAN MUSEUM OF ART.

  

References

Francesco di Filippo del Pugliese. Will of Francesco del Pugliese. February 28, 1502 [Archivio di Stato, Florence, Rogiti di Ser Lorenzo di Zanobi Violi, Protocollo dal 14 Giugno, 1500, al 20 Maryo, 1503–4. Segnato, V. 356; published in Horne 1915, Burlington Magazine], lists it as by Botticelli.

  

Antonio Billi. Il libro. [ca. 1516–30], unpaginated [two copies in the Biblioteca Nazionale Centrale di Firenze: MS. Magl. XIII, 89 and MS. Magl. XXV, 636; published in Carl Frey, ed., "Il libro di Antonio Billi," Berlin, 1892, p. 29], mentions a picture of Saint Jerome among "quadri di cose pichole" by Botticelli.

  

Anonimo Gaddiano. Manuscript. [ca. 1542–56], fol. 85 recto [Biblioteca Nazionale Centrale di Firenze, MS. Magl. XVII, 17; published in Carl Frey, ed., "Il codice Magliabechiano," Berlin, 1892, p. 105], mentions it.

  

Federigo Fantozzi. Nuova guida ovvero descrizione storico, artistico, critica della città e contorni di Firenze. Florence, 1842, p. 399, mentions it as a work by Castagno.

  

Otto Mündler. Zeitschrift für bildende Kunst 2 (1867), p. 279, recognizes it as probably the original of a copy in the Balbi collection, Genoa, but ascribes it to Filippino Lippi.

  

Jacob Burckhardt. Der Cicerone: Eine Anleitung zum Genuss der Kunstwerke Italiens. Ed. A. von Zahn. Vol. 3, Malerei. 3rd ed. Leipzig, 1874, p. 878, calls it probably the original of the copy in the Balbi collection, there ascribed to Filippino Lippi.

  

Giovanni Morelli. Letter to Niccolò Antinori. July 24, 1879 [published in G. Agosti, "Giovanni Morelli corrispondente di Niccolò Antinori," in Studi e ricerche di collezionismo e museografia Firenze 1820–1920, Pisa, 1985, pp. 72–73], lists it as by Botticelli among works that Giulia Ridolfi is interested in acquiring, giving the price as 10,000 lire.

  

Ivan Lermolieff [Giovanni Morelli]. Kunstkritische Studien über italienische Malerei. Vol. 1, Die Galerien Borghese und Doria Panfili in Rom. Leipzig, 1890, p. 146 n. 1, calls it the original of the Balbi copy and ascribes it to Botticelli.

  

Giovanni Morelli. Letter. 1891 [published in "Italienische Malerei der Renaissance im Briefwechsel von Giovanni Morelli und Jean Paul Richter," 1960, p. 580], attributes it to Botticelli.

  

Hermann Ulmann. Sandro Botticelli. Munich, [1893?], p. 72, attributes it to Botticelli and dates it to the time of the Saint Augustine in the Galleria degli Uffizi, Florence (1485–95).

  

Count Plunkett. Sandro Botticelli. London, 1900, pp. 59–60, 116, calls it a work from the school of Botticelli.

  

A. Streeter. Botticelli. London, 1903, p. 157, lists it as a work of Botticelli.

  

Bernhard Berenson. The Drawings of the Florentine Painters. London, 1903, vol. 1, p. 62, attributes it to Botticelli.

  

Julia Cartwright. The Life and Art of Sandro Botticelli. London, 1904, pp. 136–37, 190, lists it as a work of Botticelli and notes that critics have identified it with the painting mentioned by Antonio Billi [see Ref. 1516–30] and Anonimo Gaddiano [see Ref. 1542–56].

  

Roger Fry. Letter to Helen Fry. January 11, 1905 [published in Ref. Sutton 1972, vol. 1, letter no. 149, p. 230], describes a meeting with J. P. Morgan and states "he wants to buy Farinola's Botticelli".

  

Charles Diehl. Botticelli. Paris, [1906], p. 165, lists it as a work by Botticelli.

  

Herbert P. Horne. Alessandro Filipepi commonly called Sandro Botticelli, Painter of Florence. London, 1908, pp. 174–77, ill., attributes it to Botticelli and refers to "an apocryphal letter of the Blessed Eusebius," first printed in Florence in 1490, as the source of the subject.

  

Bernhard Berenson. The Florentine Painters of the Renaissance. 3rd ed. New York, 1909, p. 117, attributes it to Botticelli.

  

Carlo Gamba in Allgemeines Lexikon der bildenden Künstler. Ed. Ulrich Thieme and Felix Becker. Vol. 4, Leipzig, 1910, p. 419, lists it as a late work by Botticelli.

  

Langton Douglas, ed. A History of Painting in Italy: Umbria, Florence and Siena from the Second to the Sixteenth Century.. By Joseph Archer Crowe and Giovanni Battista Cavalcaselle. Vol. 4, Florentine Masters of the Fifteenth Century. London, 1911, p. 270 n. 4, attributes it to Botticelli and calls it the original of the copies in the Balbi collection, Genoa, and Abdy collection, Paris (later Benson collection, London).

  

Adolfo Venturi. Storia dell'arte italiana. Vol. 7, part 1, La pittura del quattrocento. Milan, 1911, p. 642 n. 1, assigns it to Botticelli's latest period.

  

Joseph Archer Crowe and Giovanni Battista Cavalcaselle. A History of Painting in Italy: Umbria, Florence and Siena from the Second to the Sixteenth Century. Ed. Langton Douglas. Vol. 4, Florentine Masters of the Fifteenth Century. London, 1911, p. 290, call it a replica of the Balbi version, attributed to Filippino Lippi.

  

Mary Logan Berenson. Draft of a letter to Louis Duveen. March 15, 1912 [published in "Mary Berenson: A Self-Portrait from her Letters & Diaries," ed. B. Strachey and J. Samuels, New York, 1983, p. 177], states that at her husband's request she went to see the picture at Volpi's, where she was told that the owner would not consider anything less than 200,000 francs.

  

Mary Logan Berenson. Letter to her sister, Alys Russell. March 19, 1912 [published in "Mary Berenson: A Self-Portrait from her Letters & Diaries," ed. B. Strachey and J. Samuels, New York, 1983, p. 177], writes that she has "just had a wire buying a small Botticelli for £8400 (sterling)," probably this painting.

  

Bernard Berenson. Letter to Duveen. March 28, 1912, attributes it to Botticelli.

  

M[aurice]. W. B[rockwell]. "Famous Botticelli for America: What the Nation Lost." Morning Post (December 28, 1912) [reprinted in Ref. Horne 1986], reports that it was offered for sale to the National Gallery, London, but rejected [see Ref. Horne 1986].

  

Catalogue of Italian Pictures at 16, South Street, Park Lane, London and Buckhurst in Sussex collected by Robert and Evelyn Benson. London, 1914, p. 48, under no. 25.

  

Herbert P. Horne. "The Last Communion of Saint Jerome by Sandro Botticelli." Metropolitan Museum of Art Bulletin 10 (March 1915), pp. 52, 54–56, ill. p. 39 (cover), gives an extensive account of the Pugliese family, identifying the patron for whom Botticelli painted this picture as Francesco del Pugliese.

  

Herbert P. Horne. "Botticelli's "Last Communion of S. Jerome"." Burlington Magazine 28 (November 1915), pp. 45–46, ill. p. 44, publishes Pugliese's will of 1502 that bequeaths the picture to the church of Sant' Andrea da Sommaia; notes that in 1519 this will was replaced by another that makes no mention of the work.

  

Herbert P. Horne. "The Last Communion of Saint Jerome by Sandro Botticelli." Metropolitan Museum of Art Bulletin 10 (April 1915), pp. 72–75, ill. (detail), details the history of the Pugliese family in the fifteenth century.

  

Herbert P. Horne. "The Last Communion of Saint Jerome by Sandro Botticelli." Metropolitan Museum of Art Bulletin 10 (May 1915), pp. 101–5, ill. (detail), discusses the life of Francesco del Pugliese.

  

Wilhelm von Bode. Sandro Botticelli. Berlin, 1921, pp. 157–58, ill. p. 156, attributes it to Botticelli and considers it the original of the Balbi and ex-Abdy copies.

  

François Monod. "La galerie Altman au Metropolitan Museum de New-York (1er article)." Gazette des beaux-arts, 5th ser., 8 (September–October 1923), pp. 183–84, ill. p. 185, attributes it to Botticelli and dates it between 1490 and 1502.

  

Yukio Yashiro. Sandro Botticelli. London, 1925, vol. 1, pp. 186, 210–11, 230, 243; vol. 3, pl. CCXXXIX, calls it a very late work by Botticelli, dating it 1498.

  

Adolfo Venturi. Botticelli. Paris, 1926, pp. 55, 98, pl. CXXVII, dates it to about the time of the portrait of Lorenzo Lorenzano in the Philadelphia Museum of Art (Johnson Collection).

  

Wilhelm von Bode. Botticelli: des Meisters Werke. Berlin, 1926, ill. p. 73, attributes it to Botticelli and dates it about 1490.

  

Handbook of the Benjamin Altman Collection. 2nd ed. New York, 1928, pp. 53–55, no. 26, ill.

  

Raimond van Marle. The Development of the Italian Schools of Painting. Vol. 12, The Renaissance Painters of Florence in the 15th Century: The Third Generation. The Hague, 1931, p. 160, fig. 98, ascribes it to Botticelli and dates it slightly later than the Uffizi Saint Augustine.

  

Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 104.

  

Lionello Venturi. Italian Paintings in America. Vol. 2, Fifteenth Century Renaissance. New York, 1933, unpaginated, pl. 254, ascribes it to Botticelli and dates it about 1500.

  

Hans Tietze. Meisterwerke europäischer Malerei in Amerika. Vienna, 1935, p. 327, pl. 52 [English ed., "Masterpieces of European Painting in America," New York, 1939, p. 311, pl. 52], attributes it to Botticelli and dates it about 1490.

  

Alfred Scharf. Filippino Lippi. Vienna, 1935, p. 117, under no. 142, calls it a replica of the Balbi painting, which he lists as a work by Filippino Lippi.

  

Richard Offner. Lecture. March 9, 1935, attributes it to Botticelli.

  

Bernhard Berenson. Pitture italiane del rinascimento. Milan, 1936, p. 90.

  

Carlo Gamba. Botticelli. Milan, [1936], p. 169, fig. 148 [French ed., (1937), pp. 177–78, fig. 148], dates it in the first half of the 1490s and hesitantly accepts it as the one mentioned in Pugliese's will [see Ref. 1502]; mentions the picture of Saint Jerome referred to by the Anonimo Gaddiano [see Ref. 1542–56], notes that another such work by an anonymous artist was in the collection of Lorenzo de' Medici, and states that several copies of the composition exist.

  

Lionello Venturi. Botticelli. New York, 1937, ill. p. 22, dates it about 1490.

  

Jacques Mesnil. Botticelli. Paris, 1938, pp. 158–59, pl. LXXXVII, accepts it as the one mentioned in Pugliese's will.

  

Alan Burroughs. Art Criticism from a Laboratory. Boston, 1938, p. 81.

  

Harry B. Wehle. The Metropolitan Museum of Art: A Catalogue of Italian, Spanish, and Byzantine Paintings. New York, 1940, pp. 46–47, ill.

  

Duveen Pictures in Public Collections of America. New York, 1941, unpaginated, no. 104, ill., dates it about 1490-1500.

  

Sergio Bettini. Botticelli. Bergamo, 1942, pp. 40, 45, pl. 142 A, attributes it to Botticelli and tentatively dates it about 1503.

  

Art Treasures of the Metropolitan: A Selection from the European and Asiatic Collections of The Metropolitan Museum of Art. Exh. cat., The Metropolitan Museum of Art. New York, 1952, p. 225, no. 88, colorpl. 88.

  

George Kaftal. Iconography of the Saints in Tuscan Painting. Florence, 1952, col. 529, fig. 607, attributes it to Botticelli.

  

Josephine L. Allen and Elizabeth E. Gardner. A Concise Catalogue of the European Paintings in The Metropolitan Museum of Art. New York, 1954, p. 11.

  

Giulio Carlo Argan. Botticelli. New York, 1957, p. 124, ill. p. 118 (color), attributes it to Botticelli, dating it about 1490.

  

Roberto Salvini. Tutta la pittura del Botticelli. Milan, 1958, vol. 2, p. 53, pl. 69, attributes it to Botticelli, dating it shortly after 1490.

  

Federico Zeri. La Galleria Pallavicini in Roma, catalogo dei dipinti. Florence, 1959, pp. 33–34, under no. 18, publishes a copy by Bartolomeo di Giovanni, identifying the MMA picture as the one painted by Botticelli for Francesco del Pugliese.

  

Bernard Berenson. I disegni dei pittori fiorentini. Milan, 1961, vol. 2, p. 111, under no. 580 A, vol. 3, fig. 200, considers a Lehman drawing a contemporary copy after our picture.

  

Bernard Berenson. Italian Pictures of the Renaissance: Florentine School. London, 1963, vol. 1, p. 37; vol. 2, pl. 1087.

  

Franco Russoli. "La Galleria Pallavicini a Roma." Tesori d'arte delle grandi famiglie. Ed. Douglas Cooper. Milan, 1966, p. 142.

  

Federico Zeri with the assistance of Elizabeth E. Gardner. Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, Florentine School. New York, 1971, pp. 159–63, ill., list four roughly contemporary copies of the composition and a drawing after it in the Robert Lehman Collection, indicating that the work, though made for a private patron, was well known.

  

Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 34, 408, 606.

  

Denys Sutton, ed. Letters of Roger Fry. New York, 1972, vol. 1, p. 230 n. 2 to letter 149 (January 11, 1905).

  

Bernard Berenson. Looking at Pictures with Bernard Berenson. Ed. Hanna Kiel. New York, 1974, pp. 186–87, ill., Kiel states that it is mentioned in Pugliese's "final testament of 1519" [but see Ref. Horne 1915, Burlington Magazine], and dates it not earlier than 1490, when Buonacorsi's "Life of Saint Jerome" was published.

  

Roberta Jeanne Marie Olson. "Studies in the Later Works of Sandro Botticelli." PhD diss., Princeton University, 1975, vol. 1, pp. 60–61, 79 n. 22, p. 80 n. 29, pp. 322, 331–32, 372 n. 113, p. 375 n. 137, pp. 399–402, 430–31, 450–51 nn. 22, 23; vol. 2, fig. 34, dates it to about 1491–92, suggesting that the color scheme looks back to Fra Angelico and that the painting may show the influence of contemporary Florentine woodcuts; supplies a list of copies and variations.

  

Federico Zeri. Italian Paintings in the Walters Art Gallery. Baltimore, 1976, vol. 1, p. 102, under no. 65, mentions it as the source for the Bartolomeo di Giovanni predella panel in the Walters Art Museum (37.428 A), and dates it 1490–95.

  

Edward Fowles. Memories of Duveen Brothers. London, 1976, pp. 66, 78.

  

Martin Kemp. "Botticelli's Glasgow 'Annunciation': Patterns of Instability." Burlington Magazine 119 (March 1977), p. 183, lists it among late works.

  

L. D. Ettlinger and Helen S. Ettlinger. Botticelli. New York, 1977, pp. 89–90, fig. 58.

  

Alison Luchs. Cestello, a Cistercian Church of the Florentine Renaissance. PhD diss., Johns Hopkins University. New York, 1977, p. 67.

  

Ronald Lightbown. Sandro Botticelli. Berkeley, 1978, vol. 1, pp. 120–22, pl. 45; vol. 2, pp. 86–87, no. B78, considers it identical with the picture of Saint Jerome owned by Francesco del Pugliese in 1503, notes that its literary source was an epistle of Eusebius, and dates it about 1494–95.

  

Howard Hibbard. The Metropolitan Museum of Art. New York, 1980, p. 237, fig. 422.

  

Everett Fahy. "Babbott's Choices." Apollo, n.s., 115 (April 1982), p. 238.

  

Keith Christiansen. "Early Renaissance Narrative Painting in Italy." Metropolitan Museum of Art Bulletin 41 (Fall 1983), pp. 12–14, fig. 8 (color, overall and detail), dates it probably 1495.

  

C[hristopher]. L[loyd]. Piero di Cosimo's The Forest Fire. Oxford, 1984, unpaginated, pl. 34.

  

Caterina Caneva in Herbert P. Horne. Alessandro Filipepi commonly called Sandro Botticelli, Painter of Florence. reprint of 1908 ed. Florence, 1986, vol. 1, pp. 402–4, reprints Ref. Brockwell 1912 with Horne's annotations.

  

Colin Simpson. Artful Partners: Bernard Berenson and Joseph Duveen. New York, 1986, pp. 135–37, 293 [British ed., "The Partnership: The Secret Association of Bernard Berenson and Joseph Duveen," London, 1987].

  

Nicoletta Pons. Botticelli: catalogo completo. Milan, 1989, p. 86, no. 118, ill.

  

Milton Esterow. "Masterpiece Theater." Art News 89 (Summer 1990), pp. 135–36, ill.

  

Anna Forlani Tempesti. The Robert Lehman Collection. Vol. 5, Italian Fifteenth- to Seventeenth-Century Drawings. New York, 1991, pp. 230–32, fig. 78.1, dates it to "the Savonarolan phase of the artist's later years," between 1491 and 1503, and calls the Lehman drawing (MMA 1975.1.280) a contemporary copy.

  

Richard Stapleford. "Vasari and Botticelli." Mitteilungen des Kunsthistorischen Institutes in Florenz 39 (1995), pp. 399, 401, 402–3 n. 14, p. 408, suggest that Vasari omitted it from his biography of Botticelli because he had not seen it.

  

Katharine Baetjer. European Paintings in The Metropolitan Museum of Art by Artists Born Before 1865: A Summary Catalogue. New York, 1995, p. 24, ill.

  

Alessandro Cecchi in L'officina della maniera: Varietà e fierezza nell'arte fiorentina del Cinquecento fra le due repubbliche 1494–1530. Ed. Alessandro Cecchi and Antonio Natali. Exh. cat., Galleria degli Uffizi, Florence. Venice, 1996, p. 8.

  

Maria Grazia Ciardi Dupré Dal Poggetto. "I dipinti di palazzo Medici nell'inventario di Simone di Stagio delle Pozze: problemi di committenza e di arredo." La Toscana al tempo di Lorenzo Il Magnifico: politica, economia, cultura, arte, convegno di studi promosso dalle Università di Firenze, Pisa e Siena. Pisa, 1996, vol. 1, pp. 138–39, pl. 85, identifies it with a picture listed in the 1492 Medici inventory as "San Girolamo quando si comunica," rather than with the one mentioned in Pugliese's will, though acknowledges that Botticelli could have made at least two versions of the subject.

  

Old Master Pictures. Christie's, London. April 25, 2001, p. 138, under no. 106, cites Everett Fahy for observing that it is based on the same cartoon as the version formerly in the Benson and Abdy collections.

  

David G. Wilkins. "Opening the Doors to Devotion: Trecento Triptychs and Suggestions Concerning Images and Domestic Practice in Florence." Italian Panel Painting of the Duecento and Trecento. Ed. Victor M. Schmidt. Washington, 2002, pp. 383, 392 n. 73.

  

Meryle Secrest. Duveen: A Life in Art. New York, 2004, pp. 114, 416.

  

Alessandro Cecchi. Botticelli. Milan, 2005, pp. 318, 329, 363 n. 81, ill. p. 330 (color), dates it probably 1496–97 and believes it was likely commissioned by Francesco di Filippo Pugliese.

  

Frank Zöllner. Sandro Botticelli. Munich, 2005, pp. 172, 175, 262–63, no. 80, ill. (color), dates it about 1495–1500 based on similarities in the handling of the drapery to that in the Transfiguration triptych (Galleria Pallavicini, Rome) of about 1500.

  

Davide Gasparotto in Il tondo di Botticelli a Piacenza. Ed. Davide Gasparotto and Antonella Gigli. Milan, 2006, pp. 15–16, fig. 1 (color).

  

Hans Körner. Botticelli. Cologne, 2006, pp. 368, 402 nn. 899–900, fig. 297, ill. p. 192 (color).

  

Dennis Geronimus. Piero di Cosimo: Visions Beautiful and Strange. New Haven, 2006, p. 316 n. 13.

  

Andrea Bayer in Art and Love in Renaissance Italy. Ed. Andrea Bayer. Exh. cat., The Metropolitan Museum of Art. New York, 2008, p. 303.

  

Kathryn Calley Galitz. The Metropolitan Museum of Art: Masterpiece Paintings. New York, 2016, p. 271, no. 158, ill. pp. 165, 271 (color).

  

Lionello Venturi. Botticelli. London, 2016, p. 44, colorpl. 93.

  

Frame

The frame is from Florence and dates to about 1480–1500 (see figs. 2–4 above). This small, exquisite tabernacle frame is made of poplar and is water gilded and distinctively carved. The pearl-and-rosette ornament is continued on the arch above the lunette painting. Rosettes with palmettes adorn its crest and sides. The base is carved depicting a water-leaf ornament while the cornice is an acanthus. Further description as well as an attribution to the carver, Giuliano da Majano (1432–1490), can be found in Italian Renaissance Frames (exh. cat., The Metropolitan Museum of Art, New York, 1990, p. 43, no. 11). The frame was put on the picture in 1989.

  

Timothy Newbery with Cynthia Moyer 2015; further information on this frame can be found in the Department of European Paintings files

  

The frame is catalogued separately: 1989.132.

Timeline of Art History

MetPublications

One Met. Many Worlds.

The Metropolitan Museum of Art. Vol. 4, The Renaissance in Italy and Spain

The Metropolitan Museum of Art: Masterpiece Paintings

The Metropolitan Museum of Art Guide (Spanish)

The Metropolitan Museum of Art Guide (Russian)

The Metropolitan Museum of Art Guide (Portuguese)

The Metropolitan Museum of Art Guide (Korean)

The Metropolitan Museum of Art Guide (Japanese)

The Metropolitan Museum of Art Guide (Italian)

The Metropolitan Museum of Art Guide (German)

The Metropolitan Museum of Art Guide (French)

The Metropolitan Museum of Art Guide (Chinese)

The Metropolitan Museum of Art Guide (Arabic)

The Metropolitan Museum of Art Guide

The Metropolitan Museum of Art Guide

The Metropolitan Museum of Art Bulletin, v. 29, no. 10, Part I (June, 1971)

Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. Vol. 1, Florentine School

Guide to The Metropolitan Museum of Art

European Paintings in The Metropolitan Museum of Art by Artists Born before 1865: A Summary Catalogue

"Early Renaissance Narrative Painting in Italy": The Metropolitan Museum of Art Bulletin, v. 41, no. 2 (Fall, 1983)

A Concise Catalogue of the European Paintings in the Metropolitan Museum of Art

"The Benjamin Altman Bequest": Metropolitan Museum Journal, v. 3 (1970)

 

www.metmuseum.org/art/collection/search/435728

the Translator coupling arrangements between a class 47 and a class 720 unit

the brakes on the unit are controlled by the electrical signal which is translated by equipment installed on the loco then to the units computers via a electrical connection not by a brake pipe traditionally used only a main res air connected to release the parking brakes

The complete title in Latin is: "Publii Virgilii Maronis Opera per Johannem Ogilvium edita et sculpturis aeneis adornata," which, roughly translated, means "Virgil's Works by John Ogilby issued and adorned with copper engravings."

 

John Ogilby (1600 – 1676) produced the first outstanding translation of Virgil in England and this folio edition of Virgil’s works is based on one of Ogilby’s earliest translations. Ogilby, a Scottish translator, impresario and cartographer, is best known for publishing the first British road atlas. His career as a translator began in 1649 with a version of Virgil. An Aesop followed two years later, then more Virgil (1654 and 1658), the Iliad (1660), and the Odyssey (1665).

 

Thomas Roycroft, printer and publisher in England from about 1650 - 1690, was known for very beautiful books. His books are now sought after by book lovers and collectors around the world. The splendid illustrated folio edition of Virgil’s Works contains numerous fine full page copper-plate engravings and a double page map. The engravings are based upon the elaborate designs of German artist Franz Cleyn (1590? – 1658) and are a high point in seventeenth-century book illustration in England. According to many bibliophiles, this edition is “a true landmark in Virgil iconography and in the history of English book illustration.”

 

The Block Translator poster (and Steve).

THE TYNDALE MONUMENT IS A TOWER BUILT ON A HILL AT NORTH NIBLEY, GLOUCESTERSHIRE, ENGLAND. IT WAS BUILT IN HONOUR OF WILLIAM TYNDALE, A TRANSLATOR OF THE NEW TESTAMENT, WHO IS BELIEVED TO HAVE BEEN BORN AT NORTH NIBLEY. THE TOWER WAS CONSTRUCTED IN 1866, 26FT 6IN SQUARE AT THE BASE AND IS 111 FT (34 M) TALL. IT IS POSSIBLE TO ENTER AND CLIMB TO THE TOP OF THE TOWER, UP A SPIRAL STAIRCASE OF ABOUT 120 STEPS. THE HILL IT IS ON ALLOWS A WIDE RANGE OF VIEWS, ESPECIALLY LOOKING DOWN TO THE RIVER SEVERN. THE HILL ON WHICH THE MONUMENT STANDS IS QUITE STEEP. THERE ARE TWO MAIN PATHS, ONE WHICH GOES UP STEEP STEPS, OR ONE THAT FOLLOWS A ROUGH SLOPE. THE TOWER ITSELF IS SURROUNDED BY FENCING AND HAS FLOODLIGHTS THAT LIGHT UP THE TOWER ON SPECIAL OCCASIONS.THE DOOR TO THE TOWER IS NORMALLY UNLOCKED.

FORBIDDEN TO WORK IN ENGLAND, TYNDALE TRANSLATED AND PRINTED IN ENGLISH THE NEW TESTAMENT AND HALF THE OLD TESTAMENT BETWEEN 1525 AND 1535 IN GERMANY AND THE LOW COUNTRIES. HE WORKED FROM THE GREEK AND HEBREW ORIGINAL TEXTS WHEN KNOWLEDGE OF THOSE LANGUAGES IN ENGLAND WAS RARE. HIS POCKET-SIZED BIBLE TRANSLATIONS WERE SMUGGLED INTO ENGLAND, AND THEN RUTHLESSLY SOUGHT OUT BY THE CHURCH, CONFISCATED AND DESTROYED. CONDEMNED AS A HERETIC, TYNDALE WAS STRANGLED AND BURNED OUTSIDE BRUSSELS IN 1536.THE TYNDALE SOCIETY.

TYNDALE'S ENGLISH TRANSLATION OF THE NEW TESTAMENT WAS TAKEN ALMOST WORD FOR WORD INTO THE MUCH PRAISED AUTHORISED VERSION (KING JAMES BIBLE) OF 1611, WHICH ALSO REPRODUCES A GREAT DEAL OF HIS OLD TESTAMENT. FROM THERE HIS WORDS PASSED INTO OUR COMMON UNDERSTANDING. PEOPLE ACROSS THE WORLD HONOUR HIM AS A GREAT ENGLISHMAN, UNJUSTLY CONDEMNED AND STILL UNFAIRLY NEGLECTED. HIS SOLITARY COURAGE AND HIS SKILL WITH LANGUAGES - INCLUDING, SUPREMELY, HIS OWN - ENRICHED ENGLISH HISTORY IN WAYS STILL NOT PROPERLY EXAMINED, AND THEN REACHED OUT TO AFFECT ALL ENGLISH-SPEAKING NATIONS.

 

THE TYNDALE MONUMENT IS A TOWER BUILT ON A HILL AT NORTH NIBLEY, GLOUCESTERSHIRE, ENGLAND. IT WAS BUILT IN HONOUR OF WILLIAM TYNDALE, A TRANSLATOR OF THE NEW TESTAMENT, WHO IS BELIEVED TO HAVE BEEN BORN AT NORTH NIBLEY. THE TOWER WAS CONSTRUCTED IN 1866, 26FT 6IN SQUARE AT THE BASE AND IS 111 FT (34 M) TALL. IT IS POSSIBLE TO ENTER AND CLIMB TO THE TOP OF THE TOWER, UP A SPIRAL STAIRCASE OF ABOUT 120 STEPS. THE HILL IT IS ON ALLOWS A WIDE RANGE OF VIEWS, ESPECIALLY LOOKING DOWN TO THE RIVER SEVERN. THE HILL ON WHICH THE MONUMENT STANDS IS QUITE STEEP. THERE ARE TWO MAIN PATHS, ONE WHICH GOES UP STEEP STEPS, OR ONE THAT FOLLOWS A ROUGH SLOPE. THE TOWER ITSELF IS SURROUNDED BY FENCING AND HAS FLOODLIGHTS THAT LIGHT UP THE TOWER ON SPECIAL OCCASIONS.THE DOOR TO THE TOWER IS NORMALLY UNLOCKED.

FORBIDDEN TO WORK IN ENGLAND, TYNDALE TRANSLATED AND PRINTED IN ENGLISH THE NEW TESTAMENT AND HALF THE OLD TESTAMENT BETWEEN 1525 AND 1535 IN GERMANY AND THE LOW COUNTRIES. HE WORKED FROM THE GREEK AND HEBREW ORIGINAL TEXTS WHEN KNOWLEDGE OF THOSE LANGUAGES IN ENGLAND WAS RARE. HIS POCKET-SIZED BIBLE TRANSLATIONS WERE SMUGGLED INTO ENGLAND, AND THEN RUTHLESSLY SOUGHT OUT BY THE CHURCH, CONFISCATED AND DESTROYED. CONDEMNED AS A HERETIC, TYNDALE WAS STRANGLED AND BURNED OUTSIDE BRUSSELS IN 1536.

TYNDALE'S ENGLISH TRANSLATION OF THE NEW TESTAMENT WAS TAKEN ALMOST WORD FOR WORD INTO THE MUCH PRAISED AUTHORISED VERSION (KING JAMES BIBLE) OF 1611, WHICH ALSO REPRODUCES A GREAT DEAL OF HIS OLD TESTAMENT. FROM THERE HIS WORDS PASSED INTO OUR COMMON UNDERSTANDING. PEOPLE ACROSS THE WORLD HONOUR HIM AS A GREAT ENGLISHMAN, UNJUSTLY CONDEMNED AND STILL UNFAIRLY NEGLECTED. HIS SOLITARY COURAGE AND HIS SKILL WITH LANGUAGES - INCLUDING, SUPREMELY, HIS OWN - ENRICHED ENGLISH HISTORY IN WAYS STILL NOT PROPERLY EXAMINED, AND THEN REACHED OUT TO AFFECT ALL ENGLISH-SPEAKING NATIONS.