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French postcard. Ed. M.T. & C. (Maurice Tesson). S.129/1.
Berta Nelson (?-?), originally Berta Katzenelson, was a Russian opera singer, who from 1913 onward had career as actress in Italian silent cinema at Itala Film and even had her own company Nelson Film.
In an Italian article of 1916, Nelson was told to have won beauty contests at a young age and became an acclaimed soprano, praised not only for her voice but also for her presence. She was a disciple of the famous Russian opera singer Feodor Chaliapin. Nelson interpreted Manon and Werther by Massenet, and several Puccini operas, gaining praise in Russia, the Netherlands, Germany, etc. In December 1911/ January 1912 for instance, Nelson performed with the local Italian Opera company at the Arts & Sciences building in The Hague. Performed was e.g. Verdi's Trovatore and Puccini's La Bohème and Tosca.
As occurred with many Russian stage stars, life imitated theater, so due to his passion for her, a young man from a high-placed family committed an unheard romantic deed. Dutch newspapers wrote in 1913 about a law case in which Nelson was defended against slander by Il Giornale d'Italia. The story was that of a Neapolitan impresario, madly in love with Nelson, but also a cashier, who had robbed the cash to pay for his extravagant spending to please his beloved, la Nelson. The journalist was condemned to 10 months of prison and the editor to a huge fine, but a court of appeal overruled this and settled the matter with (lower) fines.
In 1912 Nelson started at the Turinese company Itala Film, first in the aviation drama Come una sorella (Vincenzo Denizot, 1912), in which a scorned beloved (Lydia Quaranta), as a nurse, takes care of her ex, a crashed pilot (Giovanni Casaleggio), while the man's posh mistress (Nelson) dumps him. In Vittoria o morte! (Denizot, 1913), a sensational, daring spy story, Nelson had the lead. She pursues a spy who has stolen important papers from her father. Taking an airplane, she manages to get aboard the ocean liner the spy is on, but a fire breaks out on the ship and the spy binds her and flees. With the help of a wealthy American, she manages to steal back the papers and new pursuits by car and plane follow. Both films were found within the Desmet Collection of the EYE Filmmuseum and can be seen on the Desmet playlist on Youtube and on the Museo Nazionale del Cinema playlist on Vimeo.
Other films at Itala were L'ombra del male (Gino Zaccaria, 1913), Per un bacio a Ninì (1913), and Il bacio della zingara (1913). At Itala, Nelson's co-actors were Italia Almirante Manzini, Amerigo Manzini, Giovanni Casaleggio and Bonaventura Ibanez. After an intermission of two years, Nelson returned to the screen in 1916 at the Roman Cines company with two films with the ape Jack: L'impronta della piccola mano (Enrique Santos, 1916). about an ape trained to steal, and Jack cuor di leone (Santos, 1917). In 1917 Nelson acted as Elena opposite Vittoria Lepanto as Berta in the Dario Niccodemi adaptation L'Ombra by Mario Caserini, much praised by the Italian press at the time, and opposite Augusto Poggioli in L'uomo in frak (Nino Oxilia, 1917). Also, Nelson had a small part in Malombra (Carmine Gallone, 1917), starring Lyda Borelli. In 1919 Nelson moved to the Film d'Arte Italiana, where she starred in Fiamma simbolica by Eugenio Perego (released in 1920), a film about revenge symbolized by a burning flame. Ugo Gracci had the male lead. This film was also found and restored by the EYE Filmmuseum.
After La casa della felicità (Ugo Gracci, 1919) Gracci's first film as director, Fascino d'oro (Eugenio De Liguoro, 1919), and Chi l'ha ucciso? (Mario Gambardella or Alberto Sannia, 1919), Nelson founded her own film company Nelson Film. She made four films with Nelson Film: Come io vi amo (Ivo Illuminati, 1921), Sélika (Illuminati, 1921), La dama errante (Aleksandr Uralsky, 1922), a film with many Russian actors, and Ali spezzate (Luigi Maggi, 1923). La dama errante was about a a gravely ill lady who after losing her betrothed refuses to be cured and starts to get visions, but are they all dreams? Ali spezzate, about a pharmacist's daughter who flees an arranged marriage, was already filmed in 1920, and thus must have been the first Nelson Film production, but was only released in 1923. It was Nelson's last film. La dama errante and Ali spezzate were restored by the Cineteca Nazionale in Rome.
Typical houses, Ílhavo, Portugal
This houses are decorated with wooden lists painted in white and bright colors, love it!
No correspondence.
These baths were located next to Camp Möllendorf in the Hirtzenstein sector, along the Silberbach stream.
Also called Leopoldsbad, all that remains today is the remains of a fountain that marks the spot in the bend of a path.
Sans correspondance.
Ces bains étaient situés à coté du Camp Möllendorf dans le secteur du Hirtzenstein, le long du ruisseau Silberbach.
Appelé également Leopoldsbad, il ne reste aujourd'hui que les restes d'une fontaine qui marque l'endroit dans le coude d'un chemin.
French postcard. Maurice Tesson (MT&C), no. S 132/6.
Berta Nelson (?-?) was a Russian opera singer, who from 1913 onward had career as actress in Italian silent cinema at Itala Film and even had her own company Nelson Film.
He intentado aplicar un efecto de atardecer a esta foto que inicialmente las nubes me impedían. Pasando de una foto oscura a una foto más viva y con algo de color. Sé que no es perfecto pero espero que os guste.
Grande. Medida aproximada: 60x45cm. Esta vai para a Cibele, 04 bolsas em 01. INDISPONÍVEL. TECIDO ESGOTADO
French postcard, no. S 145-4.
Berta Nelson (?-?) was a Russian opera singer, who from 1913 onward had career as actress in Italian silent cinema at Itala Film and even had her own company Nelson Film.
The view from the top of the Grade I Listed Bath Abbey, in Bath, Somerset.
In 675 Osric, King of the Hwicce, granted the Abbess Berta 100 hides near Bath for the establishment of a convent. This religious house became a monastery under the patronage of the Bishop of Worcester. King Offa of Mercia successfully wrested "that most famous monastery at Bath" from the bishop in 781. William of Malmesbury tells that Offa rebuilt the monastic church, which may have occupied the site of an earlier pagan temple.
Bath was ravaged in the power struggle between the sons of William the Conqueror following his death in 1087. The victor, William II Rufus, granted the city to a royal physician, John of Tours, who became Bishop of Wells and Abbot of Bath. Shortly after his consecration John bought Bath Abbey's grounds from the king, as well as the city of Bath itself.
When this was effected in 1090, John became the first Bishop of Bath, and St Peter's was raised to cathedral status. As the roles of bishop and abbot had been combined, the monastery became a priory, run by its prior. With the elevation of the abbey to cathedral status, it was felt that a larger, more up-to-date building was required. John of Tours planned a new cathedral on a grand scale, dedicated to Saint Peter and Saint Paul, but only the ambulatory was complete when he died in December 1122.
The half-finished cathedral was devastated by fire in 1137, but work continued under Godfrey, the new bishop, until about 1156; the completed building was approximately 330 feet (101 m) long. It was consecrated while Robert of Bath was bishop. The specific date is not known however it was between 1148 and 1161.
In 1197, Reginald Fitz Jocelin's successor, Savaric FitzGeldewin, with the approval of Pope Celestine III, officially moved his seat to Glastonbury Abbey, but the monks there would not accept their new Bishop of Glastonbury and the title of Bishop of Bath and Glastonbury was used until the Glastonbury claim was abandoned in 1219. Savaric's successor, Jocelin of Wells, again moved the bishop's seat to Bath Abbey, with the title Bishop of Bath.
Joint cathedral status was awarded by Pope Innocent IV to Bath and Wells in 1245. Roger of Salisbury was appointed the first Bishop of Bath and Wells, having been Bishop of Bath for a year previously. Bath Cathedral gradually fell into disrepair. When Oliver King, Bishop of Bath and Wells 1495–1503, visited Bath in 1499 he was shocked to find this famous church in ruins. King took a year to consider what action to take, before writing to the Prior of Bath in October 1500 to explain that a large amount of the priory income would be dedicated to rebuilding the cathedral.
Robert and William Vertue, the king's masons were commissioned, promising to build the finest vault in England. The new design incorporated the surviving Norman crossing wall and arches.
Prior Holloway surrendered Bath Priory to the crown in January 1539. It was sold to Humphry Colles of Taunton. The church was stripped of lead, iron and glass and left to decay. Colles sold it to Matthew Colthurst of Wardour Castle in 1543. His son Edmund Colthurst gave the roofless remains of the building to the corporation of Bath in 1572. The corporation had difficulty finding private funds for its restoration.
In 1574, Queen Elizabeth I promoted the restoration of the church, to serve as the grand parish church of Bath. She ordered that a national fund should be set up to finance the work, and in 1583 decreed that it should become the parish church of Bath. James Montague, the Bishop of Bath and Wells from 1608–1616, paid £1,000 for a new nave roof of timber lath construction; according to the inscription on his tomb, this was prompted after seeking shelter in the roofless nave during a thunderstorm.