View allAll Photos Tagged ideal
Walking Under the 50's Light Line - By Van Loopen
A space that is conceptualized based on the traditional exhibition route but under a sky of lights that illuminate it as an ideal timeline between the '50s and today. The perfect geometry of the cube is in contrast with the joy of rock and roll.
Mr. Sneaky.
The venerable Fox Body Mustang had a secret. An obscure options list item, code 240A, allowed the Notchback in LX trim to be paired with the GT's 225 HP 5.0L V8. The significantly lower mass meant not only did the LX Notchback make an ideal sleeper that outperformed the GT, but because peak Fox Body performance was available at essentially a base model price point, Ford could sell them by the loads as police interceptors throughout North America. Thus a cult hero was born. The domain of unmarked precinct detectives everywhere, this sleeper was serious business and seriously quick.
I hope you enjoy!
[...] I must uphold my ideals, for perhaps the time will come when I shall be able to carry them out [...]
-- Quote by Anne Frank (German Jewish girl Author of a diary of her family's two years in hiding during World War II, 1929-1945)
Nikon D70, Tokina 28-70 f/2.8 - 52mm - f/2.8 - 1/160s
Rome, Italy (December, 2010)
To be honest, I always thought Dodi walked the thin line between cute and creepy. Originally part of the 60's era Tammy/ Pepper line, Ideal brought "young" Dodi back in 1977 as part of its [then new] Tuesday Taylor line.
My bike: IDEAL PRO-RIDER ALL TERRAIN 18-SPEED DUAL INDEX CYCLING CLUB. MADE IN GREECE (1992)
Thanassis Fournarakos - Θανάσης Φουρναράκος
Professional Photographer, Athens, Greece
(retired in 2011, born in 1946).
© ALL RIGHTS RESERVED
None of my images may be downloaded, copied, reproduced, manipulated or used on websites, blogs or other media without my explicit written permission. THANK YOU!
The Pyramid/Tesla Energy Connection
Nikola Tesla regarded the Earth as one of the plates of a capacitor, the ionosphere forming the other plate. Recent measurements have shown that the voltage gradient between the two is 400,000 volts. With this principle, he said he was able, through his invention, to provide free energy to anyone, inexhaustible in quantity, anywhere on earth. That is why he had built a first prototype, the Wardenclyffe Tower, in which was to apply his famous pyramid effect. What is it exactly?
"The lines of force of the electric charge additioned to the fields from the sun act on the walls of a pyramid.The magnetic equipotentials show a high magnetic density in the summit. The voltage of the electric field increases of 100 V per meter. The terrestrial negative field reaches its maximum value at the summit of the pyramid; at the top of the pyramid of Giza, the voltage is 14,600 V. This pyramid is itself a capacitor, it accumulates an electrical charge. If an excess load is added, a discharge occurs at the top, and, as we know currently, that top was adorned with a solid gold capstone, an excellent conductor."Tesla wanted his tower to be high to increase the voltage at the top. He wanted to create an artificial lightning in the tower. In the discharge tube of a natural flash , the temperature rises to 30 000 ° C. Tesla did not want to manage such high temperatures because it is a waste of energy. Tesla's Wardenclyffe tower would have used a transformer to produce a high voltage, which would have generated, instead of a natural lightning, a "discharge of high energetic ion abundance".To accentuate the pyramid effect, he had imagined to give the tower the octagonal shape of a pyramid topped by a half sphere. Why octogonal? Tesla does not explain, but when we read his memoirs, we understand that he sensed a scientific discipline that did not yet exist, geobiology, and the theory of waves of forms. From the perspective of traditional physics, the fact that the tower is octagonal is insignificant. It could be square or have an infinite number of faces, that is conic. "In all cases the voltage would have been the same, its shape just gave it stability." This raises two objections. The octagonal shape is not a guarantee of stability comparing to the square shape. If he was really looking for stability, a hyperbolic rise, like that of the Eiffel Tower, would have been better suited. The octagonal shape has very special wave characteristics, it is possible that this pure genius sensed it without being able to theorize it.As for the square shape of the pyramids, the engineer Gustave Eiffel has chosen it for his tower, precisely because it is a guarantee of stability, as the four legs and the widening elevation. Built in 1889, our national tower was already fairly well known to be his model. As Wardenclyffe Tower, the Eiffel Tower has a pyramid effect which makes it pick at the top, even without a storm, a DC current. Its lightning rod "makes" thus some electricity that goes down in a cable to be delivered to the earth.This waste is not limited to the Eiffel Tower. All roofs and metal frames make the same production, stupidly given to the earth. The Vril energy is free, it is its biggest flaw in a world of profit. The fact that it is completely environmentally friendly and inexhaustible has no interest for the capital. The fact that it is beneficial for both the human mind and the health of people, animals and plants thanks to the virtues of water of lightning, has even much less interest for profiteers. Unfortunately, Tesla was never able to finish his tower. He did not have the opportunity to carry out the planned experiments on Long Island that sought to bring rain in the deserts. Others before him had managed that. We know that Egypt has not always been desertic. The Greek historian Herodotus wrote that "Egypt is a gift of the Nile." But it was in the 5th century BC. Since then, its climate has not changed much, and yet it has not always been so. The predynastic Egypt was rather a gift of the pyramids... "In the pre-dynastic period, the Egyptian climate is much less arid than it is nowadays. Large areas of Egypt are covered with savanna and traversed by herds of ungulates. The foliage and wildlife then are much more prolific and the Nile region is home to large populations of waterfowl. Hunting is a common activity for the Egyptians and it is also during this period that many animals are domesticated for the first time."
www.apparentlyapparel.com/news/the-pyramid-energy-tesla-c...
"....If we could produce electric effects of the required quality, this whole planet and the conditions of existence on it could be transformed. The sun raises the water of the oceans and winds drive it to distant regions where it remains in state of most delicate balance. If it were in our power to upset it when and wherever desired, this mighty life-sustaining stream could be at will controlled. We could irrigate arid deserts, create lakes and rivers and provide motive power in unlimited amount. This would be the most efficient way of harnesing the sun to the uses of man......" ( Nikola Tesla, June 1919 )
Nikola Tesla, inventor of alternating current motors, did the basic research for constructing electromagnetic field lift-and-drive aircraft/space craft. From 1891 to 1893, he gave a set of lectures and demonstrations to groups of electrical engineers. As part of each show, Tesla stood in the middle of the stage, using his 6' 6" height, with an assistant on either side, each 7 feet away. All 3 men wore thick cork or rubber shoe soles to avoid being electrically grounded. Each assistant held a wire, part of a high voltage, low current circuit. When Tesla raised his arms to each side, violet colored electricity jumped harmlessly across the gaps between the men. At high voltage and frequency in this arrangement, electricity flows over a surface, even the skin, rather than into it. This is a basic circuit which could be used by aircraft / spacecraft.
The hull is best made double, of thin, machinable, slightly flexible ceramic. This becomes a good electrical insulator, has no fire danger, resists any damaging effects of severe heat and cold, and has the hardness of armor, besides being easy for magnetic fields to pass through.
The inner hull is covered on it's outside by wedge shaped thin metal sheets of copper or aluminum, bonded to the ceramic. Each sheet is 3 to 4 feet wide at the horizontal rim of the hull and tapers to a few inches wide at the top of the hull for the top set of metal sheets, or at the bottom for the bottom set of sheets. Each sheet is separated on either side from the next sheet by 1 or 2 inches of uncovered ceramic hull. The top set of sheets and bottom set of sheets are separated by about 6 inches of uncovered ceramic hull around the horizontal rim of the hull.
The outer hull protects these sheets from being short-circuited by wind blown metal foil (Air Force radar confusing chaff), heavy rain or concentrations of gasoline or kerosene fumes. If unshielded, fuel fumes could be electrostatically attracted to the hull sheets, burn and form carbon deposits across the insulating gaps between the sheets, causing a short-circuit. The space, the outer hull with a slight negative charge, would absorb hits from micrometeorites and cosmic rays (protons moving at near the speed of light). Any danger of this type that doesn't already have a negative electric charge would get a negative charge in hitting the outer hull, and be repelled by the metal sheets before it could hit the inner hull. This wouldn't work well on a very big meteor, I might add.
The hull can be made in a variety of shapes; sphere, football, disc, or streamlined rectangle or triangle, as long as these metal sheets, "are of considerable area and arranged along ideal enveloping surfaces of very large radii of curvature," p. 85. "My Inventions", by Nikola Tesla.
The power plant for this machine can be a nuclear fission or fusion reactor for long range and long-term use to run a steam engine, which turns the generators. A short range machine can use a hydrogen oxygen fuel cell to run a low-voltage motor to turn the generators, occasionally recharging by hovering next to high voltage power lines and using antennas mounted on the outer hull to take in the electricity. The short-range machine can also have electricity beamed to it from a generating plan on a long-range aircraft / spacecraft or on the ground.
(St. Louis Post-Dispatch, Nov. 24, 1987, Vol 109, No. 328, "The Forever Plane" by Geoffrey Rowan, p. D1, D7.)
("Popular Science", Vol 232, No. 1, Jan. 1988, "Secret of Perpetual Flight? Beam Power Plane," by Arthur Fisher, p. 62-65, 106)
One standard for the generators is to have the same number of magnets as field coils. Tesla's preferred design was a thin disc holding 480 magnets with 480 field coils wired in series surrounding it in close tolerance. At 50 revolutions per minute, it produces 19,400 cycles per second.
The electricity is fed into a number of large capacitors, one for each metal sheet. An automatic switch, adjustable in timing by the pilot, closes, and as the electricity jumps across the switch, back and forth, it raises it's own frequency; a switch being used for each capacitor.
The electricity goes into a Tesla transformer; again, one transformer for each capacitor. In an oil tank to insulate the windings and for cooling, and supported internally by wood, or plastic, pipe and fittings, each Tesla transformer looks like a short wider pipe that is moved along a longer, narrower pipe by an insulated non-electric cable handle. The short pipe, the primary, is 6 to 10 windings (loops) of wire connected in series to the long pipe. The secondary is 460 to 600 windings, at the low voltage and frequency end.
The insulated non-electric cable handle is used through a set of automatic controls to move the primary coil to various places on the secondary coil. This is the frequency control. The secondary coil has a low frequency and voltage end and a maximum voltage and frequency end. The greater the frequency the electricity, the more it pushes against the earth's electrostatic and electromagnetic fields.
The electricity comes out of the transformer at the high voltage end and goes by wire through the ceramic hull to the wide end of the metal sheet. The electricity jumps out on and flows over the metal sheet, giving off a very strong electromagnetic field, controlled by the transformer. At the narrow end of the metal sheet, most of the high-voltage push having been given off; the electricity goes back by wire through the hull to a circuit breaker box (emergency shut off), then to the other side of the generators.
In bright sunlight, the aircraft / spacecraft may seem surrounded by hot air, a slight magnetic distortion of the light. In semi-darkness and night, the metal sheets glow, even through the thin ceramic outer hull, with different colors. The visible light is a by-product of the electricity flowing over the metal sheets, according to the frequencies used.
Descending, landing or just starting to lift from the ground, the transformer primaries are near the secondary weak ends and therefore, the bottom set of sheets glow a misty red. Red may also appear at the front of the machine when it is moving forward fast, lessening resistance up front. Orange appears for slow speed. Orange-yellow is for airplane-type speeds. Green and blue are for higher speeds. With a capacitor addition, making it oversized for the circuit, the blue becomes bright white, like a searchlight, with possible risk of damaging the metal sheets involved. The highest visible frequency is violet, like Tesla's stage demonstrations, used for the highest speed along with the bright white. The colors are nearly coherent, of a single frequency, like a laser.
A machine built with a set of super conducting magnets would simplify and reduce electricity needs from a vehicle's transformer circuits to the point of flying along efficiently and hovering with little electricity.
When Tesla was developing arc lights to run on alternating current, there was a bothersome high-pitched whine, whistle, or buzz, due to the electrodes rapidly heating and cooling. Tesla put this noise in the ultrasonic range with the special transformer already mentioned. The aircraft / spacecraft gives off such noises when working at low frequencies.
Timing is important in the operation of this machine. For every 3 metal sheets, when the middle one is briefly turned off, the sheet on either side is energized, giving off the magnetic field. The next instant, the middle sheet is energized, while the sheet on either side is briefly turned off. There is a time delay in the capacitors recharging themselves, so at any time, half of all the metal sheets are energized and the other half are recharging, alternating all around the inner hull. This balances the machine, giving it very good stability. This balance is less when fewer of the circuits are in use.
Fairly close, the aircraft / spacecraft produces heating of persons and objects on the ground; but by hovering over an area at low altitude for maybe 5 or 10 minutes, the machine also produces a column of very cold air down to the ground. As air molecules get into the strong magnetic fields that the machine is transmitting out, the air molecules become polarized and from lines, or strings, of air molecules. The normal movement of the air is stopped, and there is suddenly a lot more room for air molecules in this area, so more air pours in. This expansion and the lack of normal air motion make the area intensely cold.
This is also the reason that the aircraft / spacecraft can fly at supersonic speeds without making sonic booms. As air flows over the hull, top and bottom, the air molecules form lines as they go through the magnetic fields of the metal sheet circuits. As the air molecules are left behind, they keep their line arrangements for a short time; long enough to cancel out the sonic boom shock waves.
Outside the earth's magnetic field, another propulsion system must be used, which relies on the first. You may have read of particle accelerators, or cyclotrons, or atomsmashers. A particle accelerator is a circular loop of pipe that, in cross-section, is oval. In a physics laboratory, most of the air in it is pumped out. The pipe loop is given a static electric charge; a small amount of hydrogen or other gas is given the same electric charge so the particles won't stick to the pipe. A set of electromagnets all around the pipe loop turn on and off, one after the other, pushing with one magnetic pole and pulling with the next, until those gas particles are racing around the pipe loop at nearly the speed of light. Centrifugal force makes the particles speed closer to the outside edge of the pipe loop, still within the pipe. The particles break down into electrons, or light and other wavelengths, protons or cosmic rays, and neutrons if more than hydrogen is put in the accelerator.
At least 2 particle accelerators are used to balance each other and counter each other's tendency to make the craft spin. Otherwise, the machine would tend to want to start spinning, following the direction of the force being applied to the particles. The accelerators push in opposite directions.
As the pilot and crew travel in space, outside the magnetic field of a world, water from a tank is electrically separated into oxygen and hydrogen. Waste carbon dioxide that isn't used for the onboard garden, and hydrogen (helium if the machine is using a fusion reactor) is slowly, constantly fed into the inside curves of both accelerators.
The high-speed particles go out through straight lengths of pipe, charged like the loops and in speeding out into space, push the machine along. Doors control which pips the particles leave from. This allows very long-range acceleration and later deceleration at normal (earth) gravity. This avoids the severe problems of weightlessness, including lowered physical abilities of the crew.
It is possible to use straight-line particle accelerators, even as few as one per machine, but these don't seem as able to get the best machine speed for the least amount of particles pushed out.
Using a constant acceleration of 32.2 feet per second per second provides earth normal gravity in deep space and only 2 gravities of stress in leaving the earth's gravity field. It takes, not counting air resistance, 18 minutes, 58.9521636 seconds to reach the 25,000 miles per hour speed to leave the earth's gravity field. It takes about 354 days, 12 hours, 53 minutes and 40 seconds (about) to reach the speed of light - 672,487,072.7 miles per hour. It takes the same distance to decelerate as it does to speed up, but this cuts down the time delay that one would have in conventional chemical rocketry enormously, for a long journey.
A set of super conducting magnets can be charged by metal sheet circuits, within limits, to whatever frequency is needed and will continue to transmit that magnetic field frequency almost indefinitely.
A short-wave radio can be used to find the exact frequencies that an aircraft / spacecraft is using, for each of the colors it may show whole a color television can show the same overall color frequency that the nearby, but not extremely close, craft is using This is limited, as a machine traveling at the speed of a jet airliner may broadcast in a frequency range usually used for radar sets.
The craft circuits override lower frequency, lower voltage electric circuits within and near their electromagnetic fields. One source briefly mentioned a 1941 incident, where a short-wave radio was used to override automobile ignition systems, up to 3 miles away. When the short-wave radio was turned off, the cars could work again. How many UFO encounters have been reported in which automobile ignition systems have suddenly stopped?
I figure that things would not be at all pleasant for drivers of modern cars with computer controlled engine and ignition systems. Computer circuitry is sensitive to small changes in voltage and a temporary wrong-way voltage surge may wipe the computer memory out. It could mean that a number of drivers would suddenly be stranded with their cars not working should such a craft fly low over a busy highway. Only diesel engines, already warmed up, and Stanley Steamer type steam engine cares are able to continue working in a strong electromagnetic field. In May, 1988, it was reported that the U.S. Army had lost 5 Blackhawk helicopters and 22 crewmen in crashes caused by ordinary commercial radio broadcasting overriding the computer control circuits of those helicopters. Certainly, computer circuits for this aircraft / spacecraft can and must be designed to overcome this weakness.
One construction arrangement for this craft to avoid such interference is for the metal sheet circuits to be more sharply tuned. Quartz or other crystals can be used in capacitors; in a very large number of low-powered, single frequency circuits, or as part of a frequency control for the metal sheet circuits.
The aircraft / spacecraft easily overrides lower frequency and lower voltage electric circuits up to a 6 mile wide circle around it, but the effect is usually not tuned for such a drastic show. It can be used for fire fighting: by hovering at a medium-low height at low frequency, it forms a double negative pole magnet of itself and the ground, the sides being a rotation of positive magnetic pole.
It polarizes the column of air in this field. The air becomes icy cold. If it wouldn't put the fire out, it would slow it down.
Tesla went broke in the early 1900's building a combination radio and electric power broadcasting station. The theory and experiments were correct but the financiers didn't want peace and prosperity for all.
The Japanese physicist who developed super conducting material with strong magnetism allows for a simplified construction of the aircraft / spacecraft. Blocks of this material can be used in place of the inner hull metal sheets. By putting electricity in each block, the pilot can control the strength of the magnetic field it gives off and can reduce the field strength by draining some of the electric charge. This allows the same amount of work to be done with vastly less electricity used to do it.
It is surprising that Jonathan Swift, in his "Gulliver's Travels", 1726, third book, "A Voyage to Laputa", described an imagined magnetic flying island that comes close to being what a large super conducting aircraft / spacecraft can be build as, using little or no electric power to hover and mover around.
www.thelivingmoon.com/41pegasus/02files/Tesla_Saucer.html
Before our study group, Summerville, South Carolina #2, made a trip to A.R.E headquarters in Virginia Beach, Va., in April, 2009, Jerry Ingle, set into motion an ideal that generated a monumental synchronicity. For years, Jerry, a long-time member of our group, had been interested in Nikola Tesla. He saw many parallels between his talents and those of Edgar Cayce and hoped to somehow connect them. As a psychic, Edgar Cayce had been consulted by engineers about their inventions. Cayce was willing to help as long as it would ultimately be of service to humanity. While there are suggestions that both Thomas Edison and his former associate, Nikola Tesla, consulted Cayce separately; there is no documentation in the A.R.E. archives.
Nikola Tesla was an electrical engineer who invented the alternating current Niagara power system that made Edison's direct current obsolete. He sold Westinghouse 40 patents that broke the General Electric monopoly. In 1893 he demonstrated the use of wireless radio control with a torpedo-like boat. He invented wireless transmission of electricity, an electric car that ran by tapping into the electricity of the Earth, the microwave, and the TV remote control, just to name a few. A court recently ruled that while Marconi had been given credit for the invention of the radio and made a fortune on it, Tesla was the true inventor.
Tesla was concerned with harnessing nature to meet the needs of humankind and foresaw the end of World War I as a synthesis of history, philosophy, and science,. He had the amazing ability to construct a machine in his mind and then, by operating the device in his mind, make improvements to the design. He could develop and perfect his inventions by drawing only upon the creative forces, without actually touching anything material. Just as the Cayce readings suggest, "Mind is the builder, physical is the result."
Another inventor that Edgar Cayce met was a man named Marion L. Stansell. During World War I, while stationed in France, Stansell had a near death experience with a vision. During the experience, a "spirit guide" escorted him to another dimension where he was given a formula for a mechanical device. He was told that this device would save the planet from environmental destruction in the next millennium.
On February 1, 1928, Edgar Cayce gave a reading which confirmed that Stansell was able to see the blueprints for a revolutionary type of motor in his dreams and visions. According to the readings, the motor was designed in the spirit realm by De Witt Clinton, deceased governor of New York, who in his last incarnation was the force behind the development of the Erie Canal.
Stansell needed the assistance of Edgar Cayce to relay precise technical information from Clinton in the spirit realm to Stansell and a team of like-minded entrepreneurs in the material world. The Stansell motor readings were conducted over a two-year period. One could speculate that Mr. Cayce did the same for Nikola Tesla, and that these readings were a continuation of that work, but if so, there is no record of it.
Jerry believed that there was a deep connection between the work of Cayce and Tesla and their interest in the connection between electricity and psychic phenomena. At A.R.E., Jerry found his way to the vault, where the Cayce records are kept, hoping to discover a way to get these plans into the hands of present-day inventors.
There, he and an A.R.E. volunteer named Harry talked excitedly for some time about Tesla. Suddenly, a man came to the door of the vault. "Does anybody know if there was ever a connection between Edgar Cayce and Nikola Tesla?"
"Here is the guy who can tell you," said Harry as he pointed toward Jerry. Jerry turned to face Nikola Lonchar — the President of Nikola Tesla's Inventors Club, a man who was dedicated to locating and preserving Tesla's work. The organization was made up of scientists who wanted to be sure Tesla's work was not lost! This was the first visit to A.R.E. by anyone from the Tesla organization.
Jerry was able to supply the visitor with the information he needed. The two sat in the lobby of the A.R.E. Visitor Center, oblivious to their surroundings, talking about an interest that held them both captive. Jerry was invited to speak at the next Nikola Tesla Inventors conference.
Nikola Lonchar was at A.R.E. for only one day. During this small window of time, he and Jerry had converged at the same place, at the same time, both equipped with a desire to be of service to Cayce, to Tesla, and to humanity. That's synchronicity in motion.
www.edgarcayce.org/about-us/blog/blog-posts/synchronicity...
Texture: "Rust Never Sleeps" by SkeletalMess
Quite old really this, but I guess I now know an awful lot more about Photoshop to enable me to get something decent out of it. A bit of a texture, some Gaussian Blur and you get something quite evocative. Looe is a really nice place for a break, should you ever wish to go and take a look at Cornwall. There were views there I'd happily spend the rest of my life looking at. Some way right was a house on the market at around £1m and it needed gutting from top to bottom to make it livable - what some people will pay for a harbour view.
An Ideal Husband is an 1895 comedic stage play by Oscar Wilde which revolves around blackmail and political corruption, and touches on the themes of public and private honour. The action is set in London, in "the present", and takes place over the course of twenty-four hours. "Sooner or later," Wilde notes, "we shall all have to pay for what we do." But he adds that, "No one should be entirely judged by their past." Together with The Importance of Being Earnest, it is often considered Wilde's dramatic masterpiece. After Earnest it is his most popularly produced play.[1]
Background
In the summer of 1893, Oscar Wilde began writing An Ideal Husband, and he completed it later that winter. His work began at Goring-on-Thames, after which he named the character Lord Goring, and concluded at St. James Place. He initially sent the completed play to the Garrick Theatre, where the manager rejected it, but it was soon accepted by the Haymarket Theatre, where Lewis Waller had temporarily taken control. Waller was an excellent actor and cast himself as Sir Robert Chiltern. The play gave the Haymarket the success it desperately needed.
After opening on 3 January 1895, it continued for 124 performances. In April of that year, Wilde was arrested for 'gross indecency' and his name was publicly taken off the play. On 6 April, soon after Wilde's arrest, the play moved to the Criterion Theatre where it ran from 13–27 April. The play was published in 1899, although Wilde was not listed as the author. This published version differs slightly from the performed play, for Wilde added many passages and cut others. Prominent additions included written stage directions and character descriptions. Wilde was a leader in the effort to make plays accessible to the reading public.
Themes
Many of the themes of An Ideal Husband were influenced by the situation Oscar Wilde found himself in during the early 1890s. Stressing the need to be forgiven of past sins, and the irrationality of ruining lives of great value to society because of people's hypocritical reactions to those sins, Wilde may have been speaking to his own situation, and his own fears regarding his affair (still secret).[2] Other themes include the position of women in society. In a climactic moment Gertrude Chiltern "learns her lesson" and repeats LORD GORING's advice "A man's life is of more value than a woman's." Often criticized by contemporary theatre analyzers as overt sexism, the idea being expressed in the monologue is that women, despite serving as the source of morality in Victorian era marriages, should be less judgemental of their husband's mistakes because of complexities surrounding the balance that husbands of that era had to keep between their domestic and their worldly obligations.[3][4] Further, the script plays against both sides of feminism/sexism as, for example, Lord Caversham, exclaims near the end that Mabel displays "a good deal of common sense" after concluding earlier that "Common sense is the privilege of our sex."
A third theme expresses anti-upper class sentiments. Lady Basildon, and Lady Markby are consistently portrayed as absurdly two-faced, saying one thing one moment, then turning around to say the exact opposite (to great comic effect) to someone else. The overall portrayal of the upper class in England displays an attitude of hypocrisy and strict observance of silly rules.[4]
Dramatis Personae
The Earl of Caversham, K.G.
Lord Goring, his son. His Christian name is Arthur.
Sir Robert Chiltern, Bart., Under-Secretary for Foreign Affairs
Vicomte De Nanjac, Attaché at the French Embassy In London
Mr. Montford, secretary to Sir Robert
Mason, butler to Sir Robert Chiltern
Phipps, butler to Lord Goring
James, footman to the Chilterns
Harold, footman to the Chilterns
Lady Chiltern, wife to Sir Robert Chiltern
Lady Markby, a friend of the Chilterns'
The Countess of Basildon, a friend of the Chilterns'
Mrs. Marchmont, a friend of the Chilterns'
Miss Mabel Chiltern, Sir Robert Chiltern's sister
Mrs. Cheveley, blackmailer, Lady Chiltern's former schoolmate
Plot
An Ideal Husband opens during a dinner party at the home of Sir Robert Chiltern in London's fashionable Grosvenor Square. Sir Robert, a prestigious member of the House of Commons, and his wife, Lady Chiltern, are hosting a gathering that includes his friend Lord Goring, a dandified bachelor and close friend to the Chilterns, his sister Mabel Chiltern, and other genteel guests. During the party, Mrs. Cheveley, an enemy of Lady Chiltern's from their school days, attempts to blackmail Sir Robert into supporting a fraudulent scheme to build a canal in Argentina. Apparently, Mrs. Cheveley's dead mentor and lover, the Austro-Hungarian Baron Arnheim, convinced the young Sir Robert many years ago to sell him a Cabinet secret, a secret that suggested he buy stocks in the Suez Canal three days before the British government announced its purchase. Sir Robert made his fortune with that illicit money, and Mrs. Cheveley has the letter to prove his crime. Fearing the ruin of both career and marriage, Sir Robert submits to her demands.
When Mrs. Cheveley pointedly informs Lady Chiltern of Sir Robert's change of heart regarding the canal scheme, the morally inflexible Lady Chiltern, unaware of both her husband's past and the blackmail plot, insists that Sir Robert renege on his promise. For Lady Chiltern, their marriage is predicated on her having an "ideal husband"—that is, a model spouse in both private and public life that she can worship: thus Sir Robert must remain unimpeachable in all his decisions. Sir Robert complies with the lady's wishes and apparently seals his doom. Also toward the end of Act I, Mabel and Lord Goring come upon a diamond brooch that Lord Goring gave someone many years ago. Goring takes the brooch and asks that Mabel inform him if anyone comes to retrieve it.
In the second act, which also takes place at Sir Robert's house, Lord Goring urges Sir Robert to fight Mrs. Cheveley and admit his guilt to his wife. He also reveals that he and Mrs. Cheveley were formerly engaged. After finishing his conversation with Sir Robert, Goring engages in flirtatious banter with Mabel. He also takes Lady Chiltern aside and obliquely urges her to be less morally inflexible and more forgiving. Once Goring leaves, Mrs. Cheveley appears, unexpected, in search of a brooch she lost the previous evening. Incensed at Sir Robert's reneging on his promise, she ultimately exposes Sir Robert to his wife once they are both in the room. Unable to accept a Sir Robert now unmasked, Lady Chiltern then denounces her husband and refuses to forgive him.
In the third act, set in Lord Goring's home, Goring receives a pink letter from Lady Chiltern asking for his help, a letter that might be read as a compromising love note. Just as Goring receives this note, however, his father, Lord Caversham, drops in and demands to know when his son will marry. A visit from Sir Robert, who seeks further counsel from Goring, follows. Meanwhile, Mrs. Cheveley arrives unexpectedly and, misrecognized by the butler as the woman Goring awaits, is ushered into Lord Goring's drawing room. While she waits, she finds Lady Chiltern's letter. Ultimately, Sir Robert discovers Mrs. Cheveley in the drawing room and, convinced of an affair between these two former lovers, angrily storms out of the house.
When she and Lord Goring confront each other, Mrs. Cheveley makes a proposal. Claiming to still love Goring from their early days of courtship, she offers to exchange Sir Robert's letter for her old beau's hand in marriage. Lord Goring declines, accusing her of defiling love by reducing courtship to a vulgar transaction and ruining the Chilterns' marriage. He then springs his trap. Removing the diamond brooch from his desk drawer, he binds it to Cheveley's wrist with a hidden device. Goring then reveals how the item came into her possession. Apparently Mrs. Cheveley stole it from his cousin, Mary Berkshire, years ago. To avoid arrest, Cheveley must trade the incriminating letter for her release from the bejewelled handcuff. After Goring obtains and burns the letter, however, Mrs. Cheveley steals Lady Chiltern's note from his desk. Vengefully she plans to send it to Sir Robert misconstrued as a love letter addressed to the dandified lord. Mrs. Cheveley exits the house in triumph.
The final act, which returns to Grosvenor Square, resolves the many plot complications sketched above with a decidedly happy ending. Lord Goring proposes to and is accepted by Mabel. Lord Caversham informs his son that Sir Robert has denounced the Argentine canal scheme before the House. Lady Chiltern then appears, and Lord Goring informs her that Sir Robert's letter has been destroyed but that Mrs. Cheveley has stolen her letter and plans to use it to destroy her marriage. At that moment, Sir Robert enters while reading Lady Chiltern's letter, but as the letter does not have the name of the addressee, he assumes it is meant for him, and reads it as a letter of forgiveness. The two reconcile. Lady Chiltern initially agrees to support Sir Robert's decision to renounce his career in politics, but Lord Goring dissuades her from allowing her husband to resign. When Sir Robert refuses Lord Goring his sister's hand in marriage, still believing he has taken up with Mrs. Cheveley, Lady Chiltern is forced to explain last night's events and the true nature of the letter. Sir Robert relents, and Lord Goring and Mabel are permitted to wed.
Reception
The play proved extremely popular in its original run, lasting over a hundred performances. Critics also lauded Wilde's balance of a multitude of theatrical elements within the play. George Bernard Shaw praised the play saying "Mr. Wilde is to me our only thorough Playwright. He plays with everything; with wit, with philosophy, with drama, with actors and audience, with the whole theatre."[2]
Selected Production History
An Ideal Husband was originally produced by Lewis Waller, premiering on the 3rd of January, 1895 in Haymarket Theatre. The run lasted 124 performances. The original cast of the play was:[5]
Mr. Alfred Bishop, THE EARL OF CAVERSHAM, VISCOUNT GORING, Mr. Charles H. Hawtrey, SIR ROBERT CHILTERN, Mr. Lewis Waller, VICOMTE DE NANJAC, Mr. Cosmo Stuart, MR. MONTFORD, Mr. Harry Stanford, PHIPPS, Mr. C. H. Brookfield, MASON, Mr. H. Deane, JAMES, Mr. Charles Meyrick, HAROLD, Mr. Goodhart, LADY CHILTERN, Miss Julia Neilson, LADY MARKBY, Miss Fanny Brough, COUNTESS OF BASILDON, Miss Vane Featherston, MRS. MARCHMONT, Miss Helen Forsyth, MISS MABEL CHILTERN, Miss Maud Millet, and MRS. CHEVELEY, Miss Florence West.
Oscar Wilde was arrested for "gross indecency" (homosexuality) during the run of the production. At the trial the actors involved in the production testified as witnesses against him. The production continued but credit for authorship was taken away from Wilde.[2]
An Ideal Husband was revived for a Broadway production featuring the Broadway debut of film stars Michael Denison and Dulcie Gray. Denison and Gray had earlier starred in a West End Theatre revival that had proved extremely popular for English audiences.[6]
Film, television and radio adaptations
1935 film
Main article: An Ideal Husband (1935 film)
A 1935 German film directed by Herbert Selpin and starring Brigitte Helm and Sybille Schmitz.
1947 film
Main article: An Ideal Husband (1947 film)
A lavish 1947 adaptation was produced by London Films and starred Paulette Goddard, Michael Wilding and Diana Wynyard
1998 film[edit]
Main article: An Ideal Husband (1998 film)
It was adapted for the screen in 1998. It starred James Wilby and Jonathan Firth
1999 film
Main article: An Ideal Husband (1999 film)
It was adapted once more for the screen in 1999. It starred Julianne Moore, Minnie Driver, Jeremy Northam, Cate Blanchett and Rupert Everett. The film adapts the play to some measure, the most significant departure being that the device of the diamond broach/bracelet is deleted, and instead Lord Goring defeats Mrs. Cheavley by making a wager with her: if Sir Robert capitulates and supports the scheme in his speech to the House of Commons, Goring will marry her, but if he sticks to his morals and denounces the scheme, she will give up the letter and leave England.
Television and radio
The BBC produced a version which was broadcast in 1969 as part of their Play of the Month series. It stars Jeremy Brett and Margaret Leighton and was directed by Rudolph Cartier. It is available on DVD as part of The Oscar Wilde Collection box-set.
BBC Radio 3 broadcast a full production in 2007 directed by David Timson and starring Alex Jennings, Emma Fielding, Jasper Britton, Janet McTeer and Geoffrey Palmer. This production was re-broadcast on Valentine's Day 2010.
L.A. Theatre Works produced an audio adaptation of the play starring Jacqueline Bisset, Rosalind Ayres, Martin Jarvis, Miriam Margolyes, Alfred Molina, Yeardley Smith and Robert Machray. It is available as a CD set, ISBN 1-58081-215-5.
Quotes
LORD GORING: Life is never fair, and perhaps it is a good thing for most of us that it is not.
SIR ROBERT CHILTERN: All sins except a sin against itself, love should forgive.
SIR ROBERT CHILTERN: It is not the perfect, but the imperfect, who have need of love. It is when we are wounded by our own hands, or by the hands of others, that love should come to cure us – else what use is love at all?
LORD GORING: Fashion is what one wears oneself. What is unfashionable is what other people wear. Other people are quite dreadful. The only possible society is oneself.
MRS. CHEVELEY: Morality is simply the attitude we adopt towards people whom we personally dislike.
PHIPPS: I will speak to the florist, my lord. She has had a loss in her family lately, which perhaps accounts for the lack of triviality your lordship complains of in the buttonhole.
LORD GORING: Extraordinary thing about the lower classes in England - they are always losing their relations.
PHIPPS: Yes, my lord! They are extremely fortunate in that respect.
****************************************************
This Bit comes from when the Americans were filming their version of the play “an Ideal Husband”
A couple of newspapers picked up on it at the time.
The film was shot on several sites, including an Italian waterfront.
At the end of the week it was their custom to have a “wrap” party celebrating the end of the week’s shoot.
The ball scene had been filmed that day and most of the cast attended the get-together still in costume. This included 3 of the minor actresses who had bonded during the filming.
After the revelry was dying out, these 3 decided to go it alone, leaving the stage room to hit several of the bars and a casino located on the riverfront. Making a decidedly poor decision, they opted to wear the elegant gowns and shimmering jewelry they had donned for the stylish ball act( much of which was later cut from thye movie, including their roles) .
Needless to say the young trio of pretty actresses garnered a considerable amount of male attention as they made their rounds. They left their last stop in the wee early hours of the morning only to discover they taxi they had paid to wait for them had vanished. A dapper young man with a foreign accent that made the girls swoon came upon the young ladies, and after they explained their predicament, offered some aid. He invited them to a back room off a nearby alley to wait while he brought his private car around, suggesting that it would be a place of refuge to stay warm from the cool ocean air( only one of the actresses had a wrap).
About ten minutes after he had left them a masked man burst in brandishing a wicked looking blade. He demanded their ”jools” and “perses” than after receiving their valuables, had them strip down to their silky undergarments. He then bundled the lot and ran off. They could hear tires screeching off in the night. The dapper male never returned, and it was hours before their pitiful cries of help were heard by a passing vagrant, who after making sure they had nothing more of value, disappeared, than must have had a change of heart, for he summoned a patrolman to help them.
Two of the ladies had been wearing prop gowns and rhinestones, but the third, a minor relative of the New York Cabot family, had been waering her own designer gown(worth 2000 pounds) and her family diamonds( worth 55000 pounds sterling) So it was generally regarded that the ladies were scammed by a couple of professionals who had been out on the prowl for such prey, knew where to find it, and how to acquire her valuables.
Then, two weeks later another young lady, again unescorted, had decided to do a tour of the same riverfront establishments. She did so after attending a relatives wedding reception. She had met a rather handsome man while out drinking, and the pair had set off for a second bar when a masked man mugged them of their valuables. Including a 30000 lira ring she had worn, and 10000 Lira of other jewellery. Her friend dropped her off at the bar and went for help, disappearing in the night. Her description of the pair matched the ones who had robbed the Actresses.
Courtesy of Chatwick University Archives
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
DISCLAIMER
All rights and copyrights observed by Chatwick University, Its contributors, associates and Agents
The purpose of these chronological photos and accompanying stories, articles is to educate, teach, instruct, and generally increase the awareness level of the general public as to the nature and intent of the underlying criminal elements that have historically plagued humankind.
No Part of this can reprinted, duplicated, or copied be without the express written permission and approval of Chatwick University.
These photos and stories are works of fiction. Any resemblance to people, living or deceased, is purely coincidental.
As with any work of fiction or fantasy the purpose is for entertainment and/or educational purposes only, and should never be attempted in real life.
We accept no responsibility for any events occurring outside this website.
********************************************************************************
The ideal time of year for pulpwood harvesting was winter. The ground was hard and in this land-of-many-bogs, winter was the only time that trucks could roll through the normally mushy terrain of northern Minnesota. This shot was taken behind the NP/Soo depot at Ironton, Minnesota on January 3, 1964.
Sadly, this car will only be on sale for another few months. After that, there will no longer be an Australian-made pickup (ute). The Holden Commodore VFII is the last of the line for a the Aussie ute, from the original Bandt-designed 1933 Ford Coupe Utility, through various generations of Ford and Holdens (and the occasional interloped from Chrysler or BMC).
The VF Commodore could have had a very bright future, possibly badged in the US as a Pontiac (like the G8 Sedan), or as a modern-day El Camino. Sadly the 2008 Financial Crisis, GM's bankruptcy, and uncompetitive currency positions meant that this was a Australia (and New Zealand) only proposition.
Key info included versions of Chevrolet's LS3 V8 with 408 hp, IRS, RWD and around 1,850 kg to move - making this ute and quick as some relatively recent Ferraris and Porsches.
Australia has been well-served by the ute. In our culture they hold as much macho appeal as sportscars, if not more - most of the time this would have been the only locally built car with two doors and a hot engine. Some of them were damned fast too - not necessarily a sensible idea with so little weight over the back wheels - though this in itself made them ideal for some circle work.
A relatively low period of cool-ute activity was manifest through the mid 1980s - Holden had ceased to produce a local ute in 1984, while Ford axed the V8 engine in 1982. The utes from the 1970s continued the mystique in a similar way that Musclecars in the US did, until new V8 Holden Commodores were produced from 1990.
Reacting to the market penetration of 1-tonne body-on-frame utilities from mostly Japanese brands through the 1990, the 1997 Ford AU Falcon included a ute where the rear section was a similar half-frame chassis cab, and optional sheet metal box - this increased the load carrying capacity, but not the styling purity. Holden retained the Coupe-Utility design, added IRS and high-powered V8s, and focused more on the leisure end of the market.
The VFII SS ute here shows the culmination of this effort (excluding the limited volume HSV Commodore versions) - as a Ford man I am sad to say that the Holden is a much better looking vehicle, and better resolved 'sporty car'.
This Lego miniland-scale Holden VFII Commodore SS Ute has been created for Flickr LUGNuts' 116th Build Challenge, - "Pickups and Vans", - a challenge to design pickups and vans.
Trabajo realizado para la empresa de publicidad Mater Consulting de Elche.
Fotos para el catálogo de Ideal Garden.
Port MacDonnell.
In 1856 Governor Sir Richard MacDonnell and party visited the South East to find a suitable location for a lighthouse. He chose the cliffs at Cape Northumberland for a lighthouse and he also thought a spot nearby was an ideal location for a port which the citizens of Mt Gambier desperately needed. In 1859 the lighthouse began beaming its light out to sea and in the following year the government surveyed Port MacDonnell. At the same time the Hundred of MacDonnell was declared in 1860. But the location chosen offered no shelter for shipping. Once it opened the residents of Mt Gambier districts no longer need to transport their goods to and from Portland in Victoria thus incurring duties. By the end of 1860 the new port town had 15 dwellings and a jetty was under construction. A good road was built between the port and Mt Gambier and the government presence was cemented in 1863 with the opening of the combined Customs House, police station and Courthouse. That impressive Customs House remains the major building in Port MacDonnell and signified the confidence the government had in the importance of Port MacDonnell to the SA economy. This confidence was not misplaced. The port was very busy, despite ships having to anchor a long way off shore to avoid reefs. Much cargo had to be transported in smaller boats to the shore and several South East companies had major warehouses in the town. The main exports were wool, potatoes, wheat, flour, tallow and skins and wattle bark. Some flint pebbles from Blackfellows Cave were also exported by ship. A flourmill opened in 1865 and several wool washes (fellmongery) were established in the creeks near the shore and a mill to grind wattle bark was founded in 1876 by Rudolphe Wilke. It closed in 1921. One wool wash at Cress Creek operated from around 1860 to the 1880s and the bigger one operated from 1875 to 1914. The wattle bark was used in tanneries in Adelaide and elsewhere. One of the early blacksmiths was the Stephen Milstead who established his smithshop in 1876 and operated from then until World War One. It specialised in making high class carriage wheels. In 1876 Milstead purchased the Arnold family blacksmith business and residence, which had been founded in the early 1860s. The Milstead family business was then passed down from son to son for forty years till closure. Over the years the old blacksmith shed was used for chaff cutting, shearing, hay storage etc.
The town of Port MacDonnell blossomed quickly with the MacDonnell Bay Hotel opening in 1860 (now demolished and gone) and the current Victoria Hotel opening in 1862. A short lived hotel was the Prince Albert Hotel which only operated from 1862 to 1872. Apart from stores the town had a town school built in 1863. This building still stands and is now the R.S.L. Club rooms today. The government school closed in 1953 and students were bused to the new Allendale East Area School which opened then. From the early days Port MacDonnell had an Anglican and Methodist Church and a Friendly Society Hall built in 1871.
Starting from the side of the Customs House (Charles Street) walk inland and on your right is a mural of maritime activities on the side of the public hall building. The two first rooms of this institute hall opened in 1880 with major additions in 1933. On the other corners are the Information centre and Maritime Museum in the Library and the 1863 built town school.
Turn right down Meylin Street and next to the Public Hall is the old Council Chambers with one rounded and one rectangular window. They were built in 1878 and used as Council Chambers until 1959. Next on the left side you will see the Victoria Hotel 1862 and a fine old well restored 1860s general store beyond it. Return to Charles Street and turn right. Then turn left into the narrow Church Street. On the right is the former Anglican Church built in 1897. Continue along Church Street and at the next intersection on the right hand corner is the Friendley Society Hall built in 1871 and next to it the Methodist Church, now Uniting, built in 1866. Note the fine maritime stained glass window near the entrance. Continue along Church Street and turn left at Jeffries Street. On the next corner is the relatively new Catholic Church built in limestone blocks in 1962. Continue to the coast. Turn left at the esplanade and you will go past Periwinkles café and deli which is a good spot of lunch. Further along you will be back at the Customs House.
Cape Northumberland.
Although the wreck of the SS Admella occurred in August 1859 at Cape Banks the lighthouse here played a major part in its story and rescue. The Admella was the fastest steam/sail ship on the route between Melbourne and Adelaide taking as little as 42 hours for the voyage. The Admella was expensive and the most luxurious ship on the route and her name was taken from the three cities she served – Adelaide, Melbourne and Launceston. Alas she was still not spared a disastrous shipwreck at Cape Banks near Carpenter Rocks. She hit a submerged reef at Cape Banks and split into three pieces and the lifeboats were lost. There were 113 passengers and crew on the Admella but only 24 were saved after six days and six nights on the rocks trying to survive. Imagine the horror of the trapped passengers. People clung to the rocks to eventually fade and to be swept to their deaths over the next six days. Two crew members managed to float a raft to shore to alert authorities at Cape Northumberland on the second day and it was a long difficult walk to reach there. The Cape Northumberland lighthouse keeper rode to Mt Gambier to raise help for a rescue. Two nearby ships the Corio and the Ladybird attempted to rescue people but without success in the rough seas. Eventually a lifeboat was towed from Portland and after three attempts managed to begin the rescue on day seven. The first rescue boat with three people aboard was capsized by the swell and one of them drowned. The tragedy just continued. After the rescue the crew of the Ladybird were lauded as heroes and the outcome of the disaster was the establishment of the Cape Jaffa lighthouse on a reef 8 kms out in the ocean off the coast. The Port MacDonnell Maritime Museum has a canon, the ship’s bell and a carving set from the Admella. This shipwreck led Adam Lindsay Gordon to write his poem “From the Wreck”. There is a monument to the shipwreck at Cape Banks lighthouse.
The Cape was named by Captain Grant in 1800 after the Duke of Northumberland. The rugged coast here with small offshore islands had been the scene of several shipwrecks. They included the Jane Lovett 1852; the Witness 1853; the Nene Valley 1854; and the Varoon 1856. By then the SA government was surveying the site for a lighthouse. Construction began in July 1857. In 1858 when the prism light was being transported from Port Adelaide to Northumberland in the Yalata the ship was grounded. The first lighthouse was lit on 1 January 1859 and two lighthouse keepers moved into cottages on the site when the second lighthouse was erected. The keeper’s cottages still exist but the lighthouse crumbled away years ago. The current lighthouse was built in 1882 at a cost of £3,300 and it became semi-automatic in 1934 with it finally closing in 1980. Just beyond the lighthouse is South Australia’s most southerly point near Rhino Rock. Port MacDonnell cemetery is also located near here.
Mount Barker.
At the time of European settlements Mount Barker had around 300 Aboriginal people from the Peramargk tribe living in the township area but by 1884 they were reported as being extinct. They had suffered from their loss of land, their food supplies and their cultural spiritual base as well as from European diseases. Some moved away to live on missions. The first European to sight Mount Barker was Captain Charles Sturt on his epic voyage down the Murray in February 1830. He mistook Mt Barker for Mt Lofty sighted and named in 1802 by Captain Matthew Flinders. This mistake was corrected by the explorations of Captain Collet Barker in April 1831 when he officially recorded the error in his journals. Captain Sturt changed to name of the mountain to Barker after Barker’s unfortunate death and disappearance near Encounter Bay. By 1838 herds of livestock began to arrive at Mt Barker from NSW on their way to Adelaide. Mt Barker was an ideal place for stock to recover their condition after their long walk from Sydney as there was ample grass and water there. By the end of 1838 settlers were attempting squat on the land with no legal claim to it but this was averted by the Special Surveys Act of 1838 which allowed the wealthy to pay £4,000 for a survey of 4,000 acres in a site of their choosing. Consequently the first Special Survey in SA was the Mt Barker survey of January 1839 for Dutton, Finniss and MacFarlane. These three envisaged an absentee landlord system like in England with tenant farmers on the land growing wheat. That system continued in parts of Mt Barker until around 1880. From the start wheat was a viable crop with tenant, and freehold farmers who had purchased some of the government sections, sold in 80 acre lots. By early 1840 Mt Barker township was laid out by the owners of the Special Survey and some of their 4,000 acres was also put up for sale. By 1845 Mt Barker had a Courthouse, police station, a steam flourmill run by John Dunn, an inn and some houses. By 1851 it had a second hotel, a Presbyterian and a Wesleyan church from 1850. Other churches followed in later years including the current Dunn Memorial Methodist Church in 1883, the Catholic Church from 1911( there had been an earlier one from 1850 on the other side of the railway line), and the Anglican Church from 1856 with its rectory from 1901. Robert Barr Smith of Auchendarroch had contributed to the cost of the rectory in 1901. Other significant structures in the growing town were the second Courthouse built in 1865, the original Post Office built in 1860, Daw’s Butcher Shop erected in 1884 and the early National Bank built in 1866.
In the 1850s Mt Barker established its own district council, 1853, and the Courier newspaper in 1880, a brewery, two local iron works and foundries for agricultural equipment and wrought iron lace work, and a tannery which processed skins from as far away as Broken Hill. Then after 1889 when Amos Howard discovered subterranean clover at Blakiston and a way of extracting the seeds the local agriculture shifted from wheat growing to pasture improvement for dairy cattle. Mt Barker began producing butter. Into the twentieth century the town also had smallgoods works, and a small industry round the subterranean clover seeds and machines to extract the seeds. One local “industrialists” became the social and political leader of Mt Barker and that was John Dunn the flourmill. He had his mansion the Laurels built around 1860on a rise overlooking the town. The mansion even had its own chapel plus extensive gardens and servants’ quarters. Today it is used for a retirement village. At the other end of town Robert Barr Smith of Torrens Park house bought the old Oakfield Hotel site in 1878 and created his summer retreat there which he gave a good Scottish name to - Auchendarroch. The new house cost £10,200 and was designed by architect John Grainger. Joanna Barr Smith another fortune decorating the house especially with William Morris fabrics and wallpapers. In 1922 the Trustees of the Memorial Hospital in North Adelaide purchased the house as a convalescent hospital. During World War Two the Red Cross used it for the same purpose. More recently it has been converted into a cinema complex and function centre by Wallis Cinemas. It is still a grand house in the French Empire style with many classical features and Victorian architectural exuberance.
The ideal combination, with thanks to my friend Verten [ he is also on Flickr here ..] who made this artists IMPression (sorry for the pun but I count not resist!)
A folding advertising sheet whose cover page simply states "Mr Therm's Pocket Showroom" and that when unfolded does just that - shows a wide range of gas appliances for domestic use. These include home laundry appliances that were 'plugged' into town gas supplies, refrigeration appliances, gas cookers, gas hot water geysers and gas fires - both fixed and portable. Such appliances were possibly int he day of manufactured town gas where the fumes, unlike the gas, were non-toxic and very unlike today's use of natural gas.
The leaflet mentiones that there is 'always a warm welcome in your gas showroom' and that most appliances would be available through most gas undertakings. It is unusual in that it bears no date nor does it have space for an overstamping of any participating undertaking so dating is difficult. Given the appliances, design and range of manufacturers, it feels c1950 by which date the UK town gas industry had been nationalised. The nationalised industry of Gas Council and area boards, who both manufactured and supplied town gas, still used the familiar Mr Therm figure - this had been designed in the early 1930s by artist and illustrator Eric Fraser for the old London based Gas Light & Coke Company who had allowed their creation to be successfully adopted by the wider gas industry.
Manufacturers mentioned include Cannon Iron Foundries, Parkinson Stove, R & A Main, General Gas Appliances Ltd, Ascot Water Heaters, Ewart & Sons Ltd, Ideal Boilers and Radiators Ltd, Potterton's, Thomas De La Rue, Allied Iron Founders, Flavel Ltd, Falk Stadelmann & Co Ltd, Bratt Colbran and Radiation Ltd. The latter in fact 'owned' many of the brands named above as did Allied Iron Founders.
It's 1865 and the telegraph is heading west. George Crane, wanting to keep law and order out of his territory, is out to stop the construction. The engineer on the job is Ken Mason and he is the grandson of Zorro. As Crane sends his men or Indians to stop the work, Mason repeatedly puts on the Zorro costume and rides to the rescue in this 12-chapter serial.
Clayton Moore
September 14th, 1914 — December 28th, 1999
Clayton Moore, though best remembered today as television’s Lone Ranger, had a lengthy and distinguished career in serials. Moore was a physically ideal serial lead, but his greatest strengths were his dramatic, quietly intense speaking voice and expressive face. These gifts helped Moore to convey a sincerity that could make the most unbelievable dialogue or situations seem real. The bulk of Moore’s cliffhanger work was done after World War 2, when serials’ shrinking budgets cut back on original action scenes and made the presence of skilled leading players more important than in the serial’s golden age. Moore, with his sincerity and acting skill, was just the type of actor the post-war serials needed.
Clayton Moore was born Jack Carlton Moore in Chicago. He began to train for a career as a circus acrobat at the age of eight, and joined a trapeze act called the Flying Behrs after finishing high school; as a member of the Behrs, Moore would perform for two circuses and at the 1934 World’s Fair. An injury to his left leg around 1935 forced him out of the aerialist business, and after working briefly as a male model in New York he moved to Hollywood in 1937, beginning his film career as a stuntman. He played numerous bit roles in addition to his stunt work for the next three years, among them a miniscule part in his first serial, Zorro’s Fighting Legion (Republic, 1939), as one of the members of the titular group. Edward Small, an independent producer allied with United Artists, cast Moore in his first credited parts in a pair of 1940 films, Kit Carson and The Son of Monte Cristo. The former featured Moore as a heroic young pioneer, the latter as an army officer aiding masked avenger Louis Hayward. Following these two films, Moore began to get credited speaking parts in other pictures. In 1941 he played the romantic lead in Tuxedo Junction, one of Republic Pictures’ “Weaver Brothers and Elviry” comedies, and the next year the studio signed him for his first starring serial, Perils of Nyoka (Republic, 1942).
Perils of Nyoka (Republic, 1942) was a vehicle for Republic’s new “Serial Queen,” Kay Aldridge, who played Nyoka Gordon, a girl seeking her missing scientist father in the deserts of North Africa. Moore was the heroic Dr. Larry Grayson, a member of an expedition searching for the “Tablets of Hippocrates,” an ancient list of medical cures sought by Nyoka’s father before he disappeared. Nyoka joined forces with Grayson and his expedition to locate Professor Gordon and the tablets–and to battle Arab ruler Vultura (Lorna Gray) and her band of desert cutthroats, who were after the Tablets and the treasure hidden with them. Perils of Nyoka was a highly exciting serial, with consistently imaginative and varied action sequences, and colorful characters and locales. Although Moore took second billing to Aldridge, his character received as much screen time as hers and his performance was a major part of the serial’s success. Moore, with his intense sincerity, made his nearly superhuman physician character believable; the audience never felt like questioning Dr. Grayson’s ability to perform emergency brain surgery on Nyoka’s amnesiac father in a desert cave, or his amazing powers of riding, wall-scaling, marksmanship, and sword-fighting, far beyond those of the average medical school graduate.
Moore went into the army in 1942, almost immediately after the release of Perils of Nyoka. He served throughout World War Two, and didn’t resume his film career until 1946, when he returned to Republic Pictures to appear in The Crimson Ghost. The impact of his starring turn in Perils of Nyoka was diminished by his long hiatus, and he found himself playing a supporting role in this new serial. He was cast as Ashe, the chief henchman of the mysterious Crimson Ghost, and aided that villain in his attempts to steal a counter-atomic weapon called a “Cyclotrode.” Ashe was ultimately brought to justice, along with his nefarious master, by stars Charles Quigley and Linda Stirling. The Crimson Ghost showed that Moore could play intensely mean villains as well as intensely courageous heroes. His sneering, bullying Ashe came off as thoroughly unpleasant, as he stalked through the serial doing his best to kill off hero and heroine.
Moore returned to heroic parts in his next cliffhanger, Jesse James Rides Again (Republic, 1947). The serial’s plot had Jesse, retired from outlawry, forced to go on the run because of new crimes committed in his name. Jesse and his pal Steve (John Compton) wound up in Tennessee, where, under the alias of “Mr. Howard,” Jesse came to the aid of a group of farmers victimized by an outlaw gang called the Black Raiders. The Raiders, secretly bossed by local businessman Jim Clark (Tristram Coffin), were after oil reserves beneath the local farmland, but Mr. Howard ultimately outgunned them. James’ own identity was exposed in the process, but he was allowed to escape arrest by a sympathetic marshal. Jesse James Rides Again was Republic’s best post-war Western serial, thanks in part to the unusual plot device of an ex-badman hero. Moore was able to give Jesse James a dangerous edge that most other serial leads couldn’t have pulled off; his cold, steely-eyed glare when gunning down villains seemed very much in keeping with dialogue references to Jesse’s outlaw past.
G-Men Never Forget (Republic, 1947), Moore’s next serial, cast him as Ted O’Hara, an FBI agent battling a racketeer boss named Vic Murkland (Roy Barcroft). O’Hara broke up various protection rackets organized by Murkland, but his efforts were hampered by Murkland’s impersonation of a kidnaped police commissioner (also played by Barcroft). G-Men Never Forget possessed a tough and realistic atmosphere not typical of gang-busting serials, and Moore delivered a grimly determined performance well-fitted to the serial’s mood. Moore’s acting, good supporting performances, skilled direction, and a well-written script made G-Men Never Forget a superior serial, one that could hold its own against earlier gang-busting chapterplays like the Dick Tracy outings.
Moore’s next serial was Adventures of Frank and Jesse James (Republic, 1948), in which he reprised his Jesse James role. Joined this time by Steve Darrell as Frank James, Moore tried to help a former gang member named John Powell (Stanley Andrews) develop a silver mine. Part of the mine’s proceeds were to be used to pay back victims of James Gang robberies, but the plan was derailed by a crooked mining engineer (John Crawford), who discovered the mine contained gold instead of silver and murdered Powell to keep this find secret. Crawford then used every trick in the book to keep Moore, Darrell, and Noel Neill (as Powell’s daughter) from developing the mine, but the James Boys unmasked his treachery by the end. Frank and Jesse James drew heavily on stock footage and plot elements from Republic’s earlier Adventures of Red Ryder, and was thus more predictable than its predecessor, but it was still an entertaining and well-made serial. Moore again made Jesse seem both sympathetic and (when fighting the bad guys) somewhat frightening.
By now, Moore was established as Republic’s premiere serial hero; however, his next cliffhanger would lead to his departure from the studio and change the course of his career. The last in a long line of Republic Zorro serials, Ghost of Zorro (1949) starred Moore as Ken Mason, the original Zorro’s grandson, who donned his ancestor’s mask to help a telegraph company establish a line in the wild West in the face of outlaw sabotage. Like Adventures of Frank and Jesse James, the serial was somewhat derivative of earlier outings (particularly Son of Zorro), but smoothly and professionally done. Moore delivered another strong performance, but for some odd reason Republic chose to have his voice dubbed by another actor in scenes where he was masked as Zorro. This strange production decision did not diminish Moore’s potential as a masked hero in the eyes of a group of television producers who were trying to find an actor to play the Lone Ranger on a soon-to-be-launched TV show; Moore’s turn in Ghost of Zorro landed him the part. Moore debuted as the Ranger in 1949, and played the part for two seasons on TV. During this period, he did make one apparent serial appearance in Flying Disc Man From Mars (Republic, 1950), but all his footage actually came from The Crimson Ghost.
In 1952, Moore was dropped from The Lone Ranger without any explanation from the producers, who apparently feared that Moore was becoming too identified as the Lone Ranger, and that he might become so sure of his position that he’d ask for a bigger salary. John Hart replaced Moore as the Ranger for the show’s third season, and Moore returned to freelance acting. He played numerous small roles in feature films, made multiple guest appearances (usually as a heavy) on TV shows like Range Rider and The Gene Autry Show, and also found time to make four more serials.
The first of these was Radar Men from the Moon (Republic, 1952), which featured Moore as a gangster named Graber, who was working with lunar invaders to bring the Earth under the dominion of Retik, Emperor of the Moon (Roy Barcroft). Scientist “Commando” Cody (George Wallace) opposed the planned conquest with the aid of his flying rocket suit and other handy gadgets. Moore met a fiery demise when his car plummeted off a cliff in the last chapter, and Retik came to a similarly sticky end shortly thereafter. Moore’s characterization in Radar Men from the Moon was reminiscent of his performance as “Ashe;” once again he performed deeds of villainy with swaggering relish.
Moore’s next serial, Columbia’s Son of Geronimo (1952), was his first non-Republic cliffhanger. He returned to playing a hero in this outing, an undercover cavalry officer named Jim Scott out to quell an Indian uprising led by Rodd Redwing as Porico, son of Geronimo. The uprising was being encouraged by outlaws John Crawford and Marshall Reed to serve their own ends, and Scott and Porico ultimately joined forces to defeat them. Son of Geronimo remains one of the few popular late Columbia serials, due to its strong and unusually violent action scenes and the forceful performances of Moore and his co-stars, particularly Reed and Redwing.
Moore’s last Republic serial was Jungle Drums of Africa (1952), in which he played Alan King, an American mining engineer developing a valuable uranium deposit in the African jungles. Moore was assisted by lady doctor Phyllis Coates and fellow engineer Johnny Sands and opposed by a group of Communist spies (Henry Rowland, John Cason) and their witch-doctor accomplice (Roy Glenn). While Drums drew extensively on stock shots of African animals to augment its jungle atmosphere, it relied to an unusually large extent on original footage for its action scenes and chapter endings, and the result was a modestly-budgeted but enjoyable serial that served as a good finish to Moore’s career at Republic.
Gunfighters of the Northwest (Columbia, 1953), Moore’s final serial, cast him as the second lead, a Mountie named Bram Nevin who backed up RCMP Sergeant Jock Mahoney. Moore, in his first and only “sidekick” role, played well off Mahoney; while the latter’s character was the focus of the serial’s action, Moore’s role was really more that of co-hero than of a traditional sidekick. The serial pitted the two leads against the “White Horse Rebels,” a gang of outlaws trying to overthrow the Canadian government. Though thinly-plotted, Gunfighters, with its nice location photography and good acting, was the last really interesting Columbia serial; it was also Moore’s last serial. In 1954, he returned to the Lone Ranger series, its producers having been forced to realize that Moore was firmly established as the Ranger and that audiences wouldn’t warm up to his substitute John Hart. The fourth and fifth seasons of the show featured Moore in his familiar place as the “daring and resourceful masked rider of the plains.”
After the Lone Ranger series ended in 1956, Moore reprised the role in two big-screen movies and then retired from acting. He remained in the public view, however, making personal appearances throughout the country in his Lone Ranger garb. Publicly and privately, he upheld the ideals that the Lone Ranger–and his serial heroes–had upheld on the screen: courage, charity, and a sense of justice. In 1979, he was barred by court order from making personal appearances as the Lone Ranger because the property’s owners worried that Moore’s close identification with the character would undercut a new Lone Ranger film. Moore nevertheless maintained his status as the “real” Lone Ranger in the eyes of fans, and, after the failure of the new Ranger feature, he was allowed to resume his mask in 1984. Moore died in Los Angeles in 1999, leaving behind several generations of fans that honored him not only for his TV persona, but for the kindess that characterized the off-screen man behind the mask.
Part of Clayton Moore’s success as the Lone Ranger was due to his respectful attitude towards the character. While some actors would have had a hard time taking a masked cowboy from a children’s radio show seriously, Moore’s performance was as heartfelt as if he had been playing a Shakespearian role; he gave the part all the benefit of his considerable acting talent. Moore played his cliffhanger roles, heroic and villainous, with the same respect and the same wholeheartedness. It’s no wonder that serial fans hold him in the same high regard that the Lone Ranger’s fans do.
Another cold day for photos, but it was bright and clear. However, this outfit was ideal for a day like today.
The Ideal Bar
1968 Atwood Avenue
53704
During the Covid-19 pandemic, many bars/restaurants are required by law to limit capacity limits of patrons, or utilize outdoor patio space if social distancing is not achievable inside. In spring of 2020, under Governor Tony Evers "Safer at Home" order, bars were required to shut down at the end of March through the end of May. These photos document this chapter in our city's history, some have been fortunate to make it through but for some this was the last call.
German postcard by Ross Verlag, no 9545/1, 1935-1936. Photo: Pallas-Film der Terra. Sybille Schmitz in Fährmann Maria/Ferryman Maria (Frank Wisbar, 1936).
Beautiful German actress Sybille Schmitz (1909-1955) started her career in the era of silent cinema. With her typical face and her relaxed, slightly mysterious way of playing, she became a prominent Ufa star during the Third Reich. After the war she was beset by drug abuse and depression and at 45, she committed suicide.
Sybille Maria Christina Schmitz was born in Düren, in the west of Germany, in 1909. She was the daughter of a confectioner. Schmitz attended an acting school in Köln (Cologne) and got her first engagement at Max Reinhardt's Deutsches Theater in Berlin in 1927. Reinhardt was the most famous stage director of the Weimar Republic. Only one year later, she made her film debut with the SPD party film Freie Fahrt/Free Ride (1928). Her role as a mother who dies of premature birth attracted her first attention from critics. Her other early films include Tagebuch einer Verlorenen/Diary of a Lost Girl (Georg Wilhelm Pabst, 1929) starring Louise Brooks, and Vampyr/Castle of Doom (Carl Theodor Dreyer, 1932) as the haunting beauty Leone. Her beautiful face with the shy look, enormous brooding eyes and sad mouth had a touch of strangeness and loneliness. In the following years, she often played a mysterious and unapproachable woman. She played her first leading role in the SciFi film F.P.1 antwortet nicht/F.P.1 Doesn't Answer (Karl Hartl, 1932) opposite Hans Albers. Schmitz then established herself as a prominent Ufa star with Der Herr der Welt/Master of the World (Harry Piel, 1934), Abschiedswalzer/Farewell Waltz (Géza von Bolváry, 1934), the Oscar Wilde adaptation Ein idealer Gatte/An Ideal Husband (Herbert Selpin, 1935) with Brigitte Helm, and the horror thriller Fährmann Maria/Death and the Maiden (Frank Wisbar, 1936), in which she played a ferry person attempting to save a doomed youth from Death. Schmitz and the alcoholic Wisbar lived some years together. Nazi minister of propaganda, Joseph Goebbels, disliked her and thought her "too foreign." Schmitz suffered blacklisting by the regime for a while but stage director Gustaf Gründgens persuaded Goebbels to allow her to star in Der Tanz auf dem Vulkan/Dancing on the Volcano (Hans Steinhoff, 1938), one of the many circus melodramas made during the Nazi regime. She also had roles in Die Frau ohne Vergangenheit/The Mysterious Woman (Nunzio Malasomma, 1939), Trenck, der Pandur (Herbert Selpin, 1940) with Hans Albers, and Titanic (Herbert Selpin, 1943), a technically amazing – for 1943 – film version of the sinking of the British luxury liner in 1912. According to Hans J. Wollstein at AllMovie, the film “was promptly banned by Goebbels for being too depressing and not anti-British enough. The drama survives, however, and Schmitz once again offers a standout performance.”
After World War II, Sybille Schmitz was shunned by the German film community for continuously working during the Third Reich, and it became difficult for her to land roles. She appeared in supporting roles in such films as Zwischen gestern und morgen/Between Yesterday and Tomorrow (Harald Braun, 1947) starring Hildegard Knef, Sensation im Savoy (Eduard von Borsody, 1950), and Illusion in Moll/ Illusion in a Minor Key (Rudolf Jugert, 1952), but was beset with drug abuse, depression, several suicide attempts and the committal to a psychiatric clinic. In 1940 she married author Harald G. Petersson who wrote many of her screenplays and later would write the screenplays for the Winnetou films. Schmitz was bisexual and had a relationship with acting teacher Beate von Molo. Petersson could not cope with his wife’s bisexuality and her ever-increasing consumption of alcohol, so they went their separate ways. Ironically, the last film she made less than two years before taking her own life, Das Haus an der Küste/The House on the Coast (Bosko Kosanovic, 1953, now considered a lost film), had Sybille's character committing suicide as a last act of desperation. In 1955, Sybille Schmitz took a fatal overdose of sleeping pills in Munich. She was 45 years old. Schmitz left a note, not blaming anyone in particular for her death and stating that she simply grew weary of her life. One year later, an action was brought against her doctor, Dr. Ursula Moritz, for improper medical treatment. Schmitz's tragic final years inspired Rainer Werner Fassbinder to his acclaimed film Die Sehnsucht der Veronika Voss/Veronika Voss (1982) with Rosel Zech as the tragic film star of the title.
Sources: U. Pothoff (Sybille Schmitz – Die Unbekannte), Hans J. Wollstein (AllMovie), Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
B28565
Linha: 329 - Bancários x Candelária. Linha municipal do Rio de Janeiro.
Cidade: Rio de Janeiro/RJ.
An Ideal Husband
The present possibilities for humor in the plays of Oscar Wilde seem to lie almost entirely in the humor with which they are played. Somehow, the whipped-cream witticisms of the Wilde characters sound banal today, and the chief fun to be had from his stuffed shirts is in a sly spoof of their Victorian ways. Yet, for some unaccountable reason, Sir Alexander Korda has chosen to film the ancient Wilde play, "An Ideal Husband," as though its people were the most consequential of folks and its ridiculously old-fashioned problem as vital as atomic power.
It is hard to figure this blunder, for Sir Alex is a smart and urbane man whose humor has been in working order in his previous British-made films. And he has certainly put a lot of effort into this current job, now on the Roxy's screen. Yet, with all the solemnity and pomposity that even Oscar found supremely dull, he has turned out a handsome film in color with a conspicuously antiquated plot.
Believe it or not, Sir Alex—the gentleman, mind you, who made such previous charming pictures as "Vacation From Marriage" and "The Private Life of Henry VIII"—is here concerned with the story of a painfully righteous British Under-Secretary for Foreign Affairs whose brilliant career and domestic happiness are suddenly jeopardized by a scheming woman's blackmail. And, as though this were not sufficiently trying as a subject for serious concern, he has included as an equally ponderous burden the Wildean sub-plot of a Victorian courtship between two young things.
Handled with elegant derision in both the acting and the camera's attitude, there might be some charming entertainment of a sardonic order in this old wheeze. But with Hugh Williams playing the blackmail victim in an insufferably stiff and artless way, with Diana Wynyard playing his good wife like the lady in "Cavalcade" and with Paulette Goddard playing the siren among a lot of stuffy English swells as though she were the gal who lived next to the firehouse, it fizzles with a dull, distressing plop. Michael Wilding's eccentric exercising of his elbows, his eyebrows and his jaw as the gay gent who makes most of the wisecracks is fantastic and painful, too, and Glynis Johns, Sir Aubrey Smith and Constance Collier fall in with the heavy furniture.
If Sir Alex had put into his treatment as much style as is in the costumes, as much flavor as is in the velvet settings, this film could have been—but why say more?
AN IDEAL HUSBAND, screen adaptation of the Oscar Wilde play by Lajos Biro; directed and produced by Sir Alexander Korda for London Film Productions, and release by Twentieth Century-Fox. At the Roxy.
Mrs. Cheveley . . . . . Paulette Goddard
Lord Goring . . . . . Michael Wilding
Lady Chiltern . . . . . Diana Wynyard
Mabel Chiltern . . . . . Glynis Johns
Lady Markby . . . . . Constance Collier
Lord Caversham . . . . . Sir Aubrey Smith
Sir Robert Chiltern . . . . . Hugh Williams
Lady Basildon . . . . . Harriette Johns
Mrs. Marchmont . . . . . Christine Norden
Vicomte de Nanjac . . . . . Michael Anthony
Phipps . . . . . Allan Jeayes
BOSLEY CROWTHER New York Times 15 January 1948
*******************************************************************************
****************************************************
This Bit comes from when the Americans were filming their version of the play “an Ideal Husband”
A couple of newspapers picked up on it at the time.
The film was shot on several sites, including an Italian waterfront.
At the end of the week it was their custom to have a “wrap” party celebrating the end of the week’s shoot.
The ball scene had been filmed that day and most of the cast attended the get-together still in costume. This included 3 of the minor actresses who had bonded during the filming.
After the revelry was dying out, these 3 decided to go it alone, leaving the stage room to hit several of the bars and a casino located on the riverfront. Making a decidedly poor decision, they opted to wear the elegant gowns and shimmering jewelry they had donned for the stylish ball act( much of which was later cut from thye movie, including their roles) .
Needless to say the young trio of pretty actresses garnered a considerable amount of male attention as they made their rounds. They left their last stop in the wee early hours of the morning only to discover they taxi they had paid to wait for them had vanished. A dapper young man with a foreign accent that made the girls swoon came upon the young ladies, and after they explained their predicament, offered some aid. He invited them to a back room off a nearby alley to wait while he brought his private car around, suggesting that it would be a place of refuge to stay warm from the cool ocean air( only one of the actresses had a wrap).
About ten minutes after he had left them a masked man burst in brandishing a wicked looking blade. He demanded their ”jools” and “perses” than after receiving their valuables, had them strip down to their silky undergarments. He then bundled the lot and ran off. They could hear tires screeching off in the night. The dapper male never returned, and it was hours before their pitiful cries of help were heard by a passing vagrant, who after making sure they had nothing more of value, disappeared, than must have had a change of heart, for he summoned a patrolman to help them.
Two of the ladies had been wearing prop gowns and rhinestones, but the third, a minor relative of the New York Cabot family, had been waering her own designer gown(worth 2000 pounds) and her family diamonds( worth 55000 pounds sterling) So it was generally regarded that the ladies were scammed by a couple of professionals who had been out on the prowl for such prey, knew where to find it, and how to acquire her valuables.
Then, two weeks later another young lady, again unescorted, had decided to do a tour of the same riverfront establishments. She did so after attending a relatives wedding reception. She had met a rather handsome man while out drinking, and the pair had set off for a second bar when a masked man mugged them of their valuables. Including a 30000 lira ring she had worn, and 10000 Lira of other jewellery. Her friend dropped her off at the bar and went for help, disappearing in the night. Her description of the pair matched the ones who had robbed the Actresses.
Courtesy of Chatwick University Archives
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
DISCLAIMER
All rights and copyrights observed by Chatwick University, Its contributors, associates and Agents
The purpose of these chronological photos and accompanying stories, articles is to educate, teach, instruct, and generally increase the awareness level of the general public as to the nature and intent of the underlying criminal elements that have historically plagued humankind.
No Part of this can reprinted, duplicated, or copied be without the express written permission and approval of Chatwick University.
These photos and stories are works of fiction. Any resemblance to people, living or deceased, is purely coincidental.
As with any work of fiction or fantasy the purpose is for entertainment and/or educational purposes only, and should never be attempted in real life.
We accept no responsibility for any events occurring outside this website.
********************************************************************************