Offer Gallery Event L$10

including hourglass

Taxi: maps.secondlife.com/secondlife/Atlantis%20World%206/48/96...

Offered the lead in the movie "Gigi" (1958), Hepburn turned it down to star in "Funny Face" (1957) instead. Thrilled that she would be putting all those years of dance training to good use, she asked for - and got - famed hoofer Fred Astaire.

And eloquently spoke

Of Gods

In languages of rainbows

Perfumes

And secret silence...

~Phillip Pulfrey

 

© ALL RIGHTS RESERVED. Use without permission is illegal.

 

My yellow hibiscus blooming again..

 

Have a wonderful Sunday !

LCROSS and LRO are heading back to the moon, but this picture offers some nice historical perspective.

 

Date of original image: August 1, 1969

 

Close-up view of an astronaut's footprint in the lunar soil photographed with a 70mm lunar surface camera during the Apollo 11 extravehicular acitivty on the moon.

 

Image credit: NASA

 

There are plenty of amazing photos on NASA's Image Exchange site:

nix.nasa.gov

 

Learn more about the Lunar Reconnaissance Orbiter (LRO) :

www.nasa.gov/mission_pages/LRO/main/index.html

 

Learn more about the Lunar Reconnaissance Orbiter and Lunar Crater Observation and Sensing Satellite (LCROSS):

www.nasa.gov/mission_pages/LCROSS/main/index.html

 

Follow the "New Moon Missions" blog from NASA:

blogs.nasa.gov/cm/blog/moon_missions/

 

All images available for licensing via me. I offer commercial and editorial pet photography on a commissioned basis. And with a pet picture database with thousands of hand-picked images of dogs, cats, as well as horses, I might already have what you are looking for. All pictures here can be licensed.

For licensing and commission requests: info{at}elkevogelsang.com -

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© Elke Vogelsang

 

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Size 8.5

Offer or these will probably be leaving to a teammate tomorrow

size 8 fs/t. Offer

Stagecoach offer a number of differing services between Nuneaton and Coventry, two such services illustrated here.

 

A) 26218 is a relatively new addition to the fleet which runs on the 48 every 10 minutes pretty direct via Bedworth and Foleshill Road.

 

B) 39693 is on the twice hourly 56. Interestingly, the service isn't evenly spaced, with gaps of 24 and 36 minutes each hour!! The service runs a slightly longer way round, running via Attleborough and Bulkington between Nuneaton and Bedworth, and then via Ash Green between Bedworth and Coventry.

Tomorrow kicks off a new month, but you can start by getting your PRIMA body today!

 

Join the PRIMA VIP group and enjoy an exclusive 20% OFF on all bodies! Grab your favorite PRIMA body at a discount, and you can still gift the same body to a friend with our extended Buy One, Give One offer, now available until September 30th. This deal is valid everywhere, including our main store. Don’t miss out—save, share, and be part of the VIP experience! And while you’re there, join the VIP group and enter the giveaway!

 

🚕 maps.secondlife.com/secondlife/Radiant%20Wonder/168/102/24

Bonhams : Den Hartogh Sale

Ford Museum

Hillegom

Netherlands

June 2018

 

Estimated : € 8.000 - 12.000

Sold for € 18.400

 

The resumption of civilian production following WWII was effectively a continuation of the models offered just prior to the start of hostilities in 1942. That was by no means a bad thing, Ford's truck lineup had received a fresh look in '42 but civilian production was cut short by the war and all future production was directed toward building materiel.

 

This Model 69T, is the 1½-ton truck powered by the 100bhp version of the flathead V-8. Fitted with a 5th-wheel semi-tractor trailer body, it is finished in Glade Green with Tucson Tan accents and striping. Inside the cab is a period correct heater abutted by several more modern gauges under the dash, including a pressure gauge for its air-brake system that is a modern retrofit from its original brake system.

 

According to its Modern Dutch Registration, it was delivered new to Europe (a point reinforced by its metric gauges), entered the Netherlands a decade later in 1956 and joined the Hartogh Collection in 2014. Displayed in the collection with the 1938 TTA 9½-Ton Flatbed Trailer, its 5th wheel and modern air brakes can allow it to tow just about anything you'd like.

All images available for licensing via me. I offer commercial and editorial pet photography on a commissioned basis. And with a pet picture database with thousands of hand-picked images of dogs, cats, as well as horses, I might already have what you are looking for. All pictures here can be licensed.

For licensing and commission requests: info{at}elkevogelsang.com -

FACEBOOK | INSTAGRAM | WEBSITE

© Elke Vogelsang

 

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The photo offers a beautiful contrast between tradition and modernism. In the foreground, cabarets where traditional millet beer, like that found in every market in Burkina Faso, is consumed. In the background, private investors built the modern BRAFASO factory in the late 2000s to compete with the Pierre Castel Group. The company operated from 2002 to 2008, without truly exploiting the factory to its full capacity. A resumption of operations is planned in the short term, with work scheduled to begin in 2025 to resume production at the infrastructure level.

 

La photo offre un beau contraste entre tradition et modernisme. Au premier plan, des cabarets dans lesquels se consomme la bière de mil traditionnelle comme on en rencontre dans tous les marchés au Burkina Faso. À l'arrière-plan, l'usine moderne BRAFASO construite à la fin des années 2000 par des investisseurs privés pour concurrencer le Groupe Pierre Castel. La société a fonctionné de 2002 à 2008, mais sans réellement exploiter l'usine au maximum de sa capacité. La relance des activités est prévue à court terme avec le constat en 2025 de travaux pour une reprise de la production au niveau de l'infrastructure.

Ronan: I have a counter-offer. Why not spend some time here? Observe me?

I mean, you're a tenet, you must be hunting razers, right? (gives a

small flourish of one hand) I happen to be in-the-know about local

nefarious types.

 

Caly: You associate with razers?

 

Ronan: If I say yes, will you kill me?

 

Caly: (shrugs) It's not specifically against our code of ethics.

 

Ronan: Be an absolute dear and get me a copy of those, would you? (holds

up a hand when she looks annoyed) All I'm saying is, I can be an asset

to you. I don't like razers, and I don't mind pointing them out.

 

Caly: I'm a tenet.

 

Ronan: Oh, that solitary crusader schtick is certainly titillating, but

even knights on a quest were known to bring along bards to amuse them.

 

Caly: (skeptical) Did they?

 

Ronan: According to the historian, Monty Python.

 

Caly: Hm.

 

(At that moment, Dir. Wilson bursts through the front doors, spotting

them through the pass through.)

 

Dir. Wilson: You! Both of you! Come outside and help!

 

Ronan: Director Wilson! You look positively frantic!

 

(Cut to main eating area, Ronan and Caly go out to meet Dir. Wilson.)

 

Dir. Wilson: It's the girl they found, it's terrible! She used to be a

camp employee! Guests are making assumptions, it's just chaos out there.

All hands on deck, people! We need cool heads out there! (motions

vigorously at them and they leave the lodge.)

 

(Cut to the dark hallway leading from the rear offices to the kitchen.

Mateo steps into the kitchen with a dismayed expression. He looks from

the stove, to the lodge doors, to the stunner in his hand.)

 

(Cut to the RV park. Dir. Wilson is jogging toward the lake which is a

hive of activity with police, aid units, and a throng of onlookers.

Ronan and Caly are lagging a little behind him.)

 

Ronan: I need to talk to you.

 

Caly: I thought we did.

 

Ronan: Just need to spill a little tea.

 

(He abruptly draws her behind an RV, speaking low and earnestly.)

 

Ronan: There's a lot of them, here. Razers, I mean.

 

Caly: Here? (she looks toward the lake)

 

Ronan: No, Mother Energy, not here, this area. And it's been building. I

get the feeling that they're planning something.

 

Caly: I'm going to blame your odd melding with a human for your lack of

concise reporting.

 

Ronan: (sighs) I'm not a detective, and I'm not exactly "on the inside"

of things, but more and more razers have been settling in the area.

Medina and Hunts Point is almost exclusively razers, now.

 

Caly: Hunts Point was why I came here.

 

Ronan: I'm not arguing the intimidating vibes you project, but I don't

suppose you have a small army of tenets on standby?

 

Caly: Tenets are solitary because we don't require armies.

 

Ronan: Fan me before I faint, but I am being serious. We're talking

about hundreds of razers, and you might not need an army, but I think

they're creating one.

 

Caly: So, it will be as it was when we arrived on this planet.

Conquerors against colonists.

 

Ronan: Oh, no. We need a new tagline, Kubla Calm. Colonialism is frowned

upon.

 

Caly: But our people were colonists seeking new, unpopulated worlds on

which to live.

 

Ronan: So was everyone else.

 

Caly: We were stranded. Conquest was not our mission.

 

Ronan: That table was flipped over 5,000 years ago. Baddies decided to

rule, goodies decided to protect the dominant lifeform that evolved

here, and I'll work on a tagline that's less problematic.

 

Caly: I will defeat the razers.

 

(Cut to view above the RV park, showing Ronan and Caly joining the mass

of activity from one direction while Mateo joins from another direction.

Camera soars higher, focusing on a point of land jutting into the Sound,

moving toward it. Cut to above golf course. Cut to ornate entrance sign,

"Golden Lake Country Club." Cut to interior, ballroom filled with

attractive people of varying ages, all dressed casually (for wealthy

folk), their attention focused on the dais where a handsome 30-something

man, Trajan August, is speaking.)

 

Trajan: Our time has truly come! We will tear this world asunder, and

take our rightful place as rulers! She has risen again! And tonight, she

is with us, here! Lilitus!

 

(Lights flash around the dais and the crowd rises to their feet,

chanting the name, "Lilitus.")

 

(To be continued in Part 3!)

Special thanks to cast!

Ronan: Seth

Mateo: BSM

Caly: TB

anaglyph stereo red/cyan

“Bundalohn House” is a splendid late Victorian mansion built opposite the St Kilda Botanic Gardens on Tennyson Street in the Melbourne suburb of St. Kilda.

 

Designed by architectural firm Reed Henderson and Smart in Gothic Renaissance style for Mr. Henry Gyles Turner and his wife Helen, “Bundalohn House” was constructed between 1884 and 1887 as a permanent residence for the childless pair after Henry’s mother’s death. Henry had decided that the lifestyle and amusements that Melbourne had to offer were far superior to that offered in London, so he acquired land in what was then St Kilda’s most prestigious residential addresses. Constructed of red brick and originally with a slate roof, “Bundalohn House” was considered architecturally advanced at its time of construction, as it took the style of large houses and mansions that would be built in the 1890s. The use of red face brickwork, the design of the window glazing bar patterns, architraves and skirtings are all advanced. Key elements of the facade are the tower and the projecting hallway with its deep windows beneath the gable. The design is dominated by a central feature in the main body of the house by incorporating two long, tall lancet windows extending across the first and second floor levels. Below are two dwarf windows. Across the rest of the house, the windows are paired between the ground and upper storeys. There have been comparisons drawn between “Bundalohn House” and “Marymeade” built in 1887 by Hyndman and Bates for merchant Mr. Harold R. Carter in the Grace Park subdivision in Hawthorn. Hyndman and Bates did extensions to the back of “Bundalohn House” in 1888 and 1889. Although rather severe today, when “Bundalohn House” was built it featured an open balcony on the second floor to the right of the tower entrance, and a conservatory below. Both were painted in white. Sadly, these have been removed in subsequent years.

 

The principal rooms and front door of “Bundalohn House” all open off a large central vestibule, which contains a grand staircase and the showcase pair of beautiful stained glass windows containing birds and boughs of flowers. The vestibule is largely intact more than a century after its construction and still contains its original stencilled decoration, elaborate balustrades and beneath the gallery is an elaborate fireplace with a tapered chimney breast.

 

The name “Bundalohn” means “white man’s camp” in the language spoken by the Moorabbin tribe. The couple also owned a property by this name in Dandenong. After the widowed Henry died in 1920, with no children to whom to leave “Bundalohn House” to, the property was sold and sub-divided. The sub-division created Bundalohn Court, named after the house. The house itself was converted into five flats. The new owner, William Darbyshire, also lived in one of the flats. This meant the division of some of the grander rooms, the removal of original features and the introduction of cooking and bathing facilities. The property was further added to over the years during a period when St. Kilda became a seedy mecca for rooming houses, of which “Bundalohn House” was one.

 

For many years, barely any of “Bundalohn House” could be seen from the street after the City Gate Travel Flats were built on the former front garden and driveway in the 1960s, and for a very brief period the façade of the grand mansion could be seen from Tennyson Street, dominating the streetscape proudly as it must once have done when it overlooked the St Kilda Botanic Gardens from within its own landscaped gardens. I was fortunate enough to see and photograph it during that brief period. Sadly, it has since been hidden from the world again as a new construction of low-cost public housing and a refuge have been built on the former City Gate Travel Flats site.

 

Henry Gyles Turner was born in Kensington, England in 1831. In 1854, he left England, and travelled to Melbourne where he worked for the Bank of Australasia. His fiancée Helen Ramsay, also from London, followed him to Australia, and they were married at Prahran in 1855. In 1870, he became the general manager of Commercial Bank of Australia. In 1887, Henry and Helen bought land in Tennyson Street and built “Bundalohn House”. In his lifetime, Henry Turner also held the position of president of the Melbourne Chamber of Commerce, trusteeship of the Melbourne Public Library, the National Gallery of Victoria, and the St Kilda Cemetery Trust. He also wrote a number of books. His wife Helen was involved with various charities, such as the St Kilda Benevolent Society. She died in May 1914. Henry died at his beloved “Bundalohn House” in November 1920 and was buried in the St. Kilda Cemetery alongside his wife.

 

Bates Smart is an architectural firm with studios in Melbourne and Sydney, Australia. Founded in 1853 by Joseph Reed it is known as one of Australia's oldest architectural firms, and has been responsible for numerous landmark buildings including the Royal Exhibition Buildings, the Melbourne Town Hall, the Wesleyan Church in Lonsdale Street, St Paul’s Cathedral on Flinders Street, the Ormond College clock tower, St. Michael’s Church on Collins Street, the Sate Library of Victoria, Holy Trinity Church in Balaclava, the former Metropolitan Gas Company buildings on Flinders Street, Sacred heart Church in St Kilda, Melba Hall and Scots Church on Collins Street. When “Bundalohn House” was built, it was known as Reed Henderson and Smart. Joseph Reed established his firm on arrival in Melbourne in 1853 and immediately won important commissions such as the Public Library. In 1863 he joined with Frederick Barnes to become Reed and Barnes. In 1883 Barnes retired, and A. Henderson and F. Smart joined Joseph Reed as partners to create Reed, Henderson and Smart.

Last week, two of my friends offered to take me on a tour of the jewels of Norfolk churches. Despite having lived in either north Suffolk or Norfolk most of my life, back in those days I had no idea about churches, nor half the villages where these jewels can be found, even existed.

 

First on the list was Salle.

 

It was a grim, wet and misty morning when Sarah and Richard picked me up at the Catholic Cathedral, and so we made our way against the rush hour traffic whilst Richard tried to keep the windscreen clear as my clothes dried out causing a slight fog in the car.

 

Ss Peter and Paul seems to be in the middle of nowhere, with just two other buildings keeping it company. Salle was clearly a rich parish back in the day, as it is a huge church, serving the village and the large country house, lost to view behind trees nearby.

 

It is a church that has something for everyone: font and cover, support arm for font cover, good glass, fine memorials, two hidden chapels, painted screens and carved bosses. And so much more beside.

 

Here is what my friend Simon has to say. He likes it too.

 

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

 

During their awesome reign over the other great teams of Europe in the 1970s and 1980s, Liverpool football club placed a huge sign in the changing room corridor, so that it was the last thing visiting teams saw before they walked out on to the pitch: This is ANFIELD, it warned. The name alone was enough to impress. Similarly, the cover of the guidebook here proclaims, in a single word, SALLE. Again, it suffices; the word, pronounced to rhyme with call, stands for the building. Perhaps only the name Blythburgh has the same power in all East Anglia.

 

St Peter and St Paul is big. This is accentuated by the way in which it stands almost alone in the barley fields, with only a couple of Victorian buildings and a cricket pitch for company. What an idyllic spot! And yet there is an urban quality to the building, as if this was some great city church in the middle of Norwich or Bristol. It went up in the course of the 15th century, a replacement for an earlier building on the same site, broadly contemporary with neighbouring Cawston. While Cawston was largely the work of a single family, here the building benefited from an accident of history; several very wealthy families owned manors and halls in the parish at the same time, and it so happened that the time was the greatest era of rural church building.

Among them were the Boleyns, the Brewes, the Mautebys, the Briggs, the Morleys, the Luces and the Kerdistons, and some of their shields appear above the great west door, along with two mighty censing angels, characteristic of late medieval piety. A steady stream of hefty bequests meant that no expense needed to be spared, and the mighty tower with its vast bell openings was topped with battlements and pinnacles on the very eve of the Reformation.

 

As at Blythburgh, St Peter and St Paul benefited from the restraint of a late restoration, and the building as we see it now has no external Victorian additions. It is all of a piece. The porches either side are huge affairs, matching the transepts, and give the effect of a vast animal, a dragon perhaps, sprawling with erect head in the Norfolk countryside. Its tail is the chancel, in itself longer and higher than many Norfolk churches. The aisles are tall, austere, parapeted, the Perpendicular windows arcades of glass. In the porches, the vaulted ceilings are studded with bosses; the central one in the north porch depicts Christ in Majesty, sitting on a rainbow in judgement.

 

You enter the building from the west, an unusual experience in East Anglia, and your first sight is of the seven sacraments font with its tall 15th century canopy, similar to the cover at Cawston. This one is so big it is supported by a crane attached to the ringing gallery under the tower.

 

The font below is interesting because each panel is supported by an angel holding a symbol of the sacrament above - a pot of chrism oil beneath Baptism, for example. The panels themselves are simply done, and are not particularly characterful, apart from the way that Mary turns away and is comforted at the Crucifixion. This panel faces west, and then anticlockwise are the Mass (viewed sideways, as at nearby Great Witchingham), Ordination (the candidate kneeling), Baptism (a server holds the book up for the Priest to read), Confirmation (the candidate obviously a child), Penance (perhaps the most interesting panel - the penitent kneels in a shriving pew), Matrimony (the couples' hands joined by a stole, she in late 15th century dress) and finally Last Rites (the dying man on the floor under blankets as at Great Witchingham).

You can see all these panels below - click on them to enlarge them. The font step has a dedicatory inscription to John and Agnes Luce, asking for prayers for their souls. We know that John died in 1489. Perhaps the actual fabric of the building was complete by this date.

 

Beyond the font stretches the vastness of the building, the arcades gathering the eyes and leading them forward to the great east window. The chancel arch is barely there at all, just a simple high opening; but as MR James pointed out, it was never intended to be seen.The sheer bulk of the rood screen dado tells us quite how vast the rood apparatus must have been here, and the arch would have been pretty well hidden. Everything is built to scale; although everything has been cut off above the panels, probably in the late 1540s, the panels themselves are enormous, almost six feet high. As at Cawston, St Gregory, St Jerome, St Ambrose and St Augustine, the four Doctors of the Church, are on the doors. Either side are just two surviving paintings; to the north are Thomas and James, to the south are Philip and Bartholomew. The empty panels are a mystery; the screen stood here for a century before its destruction, so it must have been finished; and the dado seems too high to have been hidden by nave altars. And yet, it has all the appearance of never having been painted.

 

Because the building is so vast, the surviving medieval glass seems scattered, but there is actually a lot of it and some of it is very significant. Some was moved during the restoration of the early 20th century, when the hideous modern glass in the north transept was installed, and the yellow galley lozenges were thankfully replaced with clear glass in the 1970s. The images in the east window are mainly figures; old kings kneel before young princes, there are armoured men and angels, the remains of a scaly dragon. In the centre at the bottom is a perfect Trinity shield, displayed by an angel looking askance.

 

Some of the panels are now in the south transept. These include fragments of a set of the orders of angels. A kneeling figure is Thomas Brigg, donor of the transept; the scroll behind him begins Benedicat Virgo, 'Blessed Virgin'. The mother of God sits surrounded by red glory, and two women holding croziers, one of them crowned, may be St Etheldreda and St Hilda. Certainly, the crowned figure holding a cross is St Helena. You can see all these above.

 

Despite the wonders of the font, the screen and the glass, the great glory of the building for me is the set of bosses that line the roof of the chancel. They are easily missed, being very high, and need a good lens; a couple of my photos did not come out as well as I'd hoped, and so I must go back, as if I needed an excuse. There are nine altogether, the first and last set against the walls at the ends of the roof ridge, and they form a kind of rosary sequence of joyful and glorious mysteries. They start with the Annunciation in the west (see left) and then continue with the Adoration of the Shepherds, the Adoration of the Magi, the Presentation in the Temple, the Entry into Jerusalem, the Last Supper, the Crucifixion, the Resurrection , and the Ascension into Heaven. You can see these last eight in John Salmon's splendid photographs below.

 

There is a fine set of return stalls in the chancel. Although Salle probably never had a college of Priests, all those Masses for the dead must have provided plenty of employment, because we know that there were seven Priests here at a time when the population of the parish was barely 200. Bench ends include heads, a dragon tied up in a knot, a restored pelican in her piety, and a monkey. The misericord seats feature faces, including one that is quite extraordinary.

 

Although the roof isn't up to the glory of neighbouring Cawston, it includes lots of original angels and paintwork, including sacred monograms, and around the wallplate part of the Te Deum Laudamus and psalm 150. These particular texts seem to have provided the inspiration for many late 15th century interiors; the angels in the roof, the animals on the bench ends, the Saints on the rood screen all in harmony: Let everything that has breath Praise ye the Lord! The benches are mostly renewed now, but the pulpit is an elegant example of the 15th century, from the time when a priority began to be placed on preaching.

Curiously, it has been rather awkwardly converted into a three-decker arrangement, probably in the 18th century, with the addition of a platform and desk from a set of box pews. A large sounding board has been placed overhead. The box pews suggest that the medieval furnishings were replaced at an early date, although the replacements too have gone now.

 

Salle is one of those churches full of intriguing little details that might easily pass you by, so great is the wonder of everything around. Those two little corbel heads above the south door, for instance - what were they for? Perhaps they supported an image that could be seen from the north doorway as people entered, although not a St Christopher as the guidebook suggests, I think. There is a pretty piscina in the unfortunate north transept that has been outlined in wood, a memorial and helm above, a tall image bracket in the corner of the wall of the south transept, a floreated piscina nearby.

 

There are many brasses and brass inlays in the nave floor; one of the most interesting is a chalice brass (although the chalice is now gone) to Simon Boleyn, a Priest, who died in 1489, and to the east of it a pair of brasses to Geoffrey and Alice Boleyn, great-grandparents to Anne Boleyn, second wife of Henry VIII. Another pair of brasses are to Thomas and Katherine Rose and their eight children. Unlike many churches, Salle actually retains some of the 'missing' brasses, now locked away for safety. It would be nice to think they could eventually be reset in the floor.

One part of the building that many visitors must miss is the chapel above the north porch. There is no sign indicating it; but the doorway, at the west end of the north aisle, is always open. Inside, the vaulted roof is punctuated by spectacularly pretty bosses which you can view at close quarters. The colour is a bit fanciful, but they are fascinating, particularly the central boss of the Coronation of the Queen of Heaven - how on earth did that survive the Reformation?

 

This is a tremendous building, a box of fascinating delights. What purpose does it serve now? As I said in the introduction, its size was not in response to the needs of a congregation, and as far as worship is concerned it will never be full. It remains constantly in use, however; for regular services in the chancel, sometimes for concerts and recordings, but also of course for the poshest sort of wedding, the kind only the Church of England can provide, and no doubt other elements of the core business of CofE PLC. It is easy to be cynical, but if they ensure the survival of the building, then so be it.

  

Simon Knott, June 2004

 

www.norfolkchurches.co.uk/salle/salle.htm

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Enniscrone is renowned for its breathtaking coastal beauty and offers a wealth of amenities for a multitude of interests. Whether a walk along the scenic shores of Killala Bay or you seek a challenging round of golf, or replenish yourself with a soak in its famous seaweed baths, Enniscrone must be sampled to be appreciated.

 

Enniscrone is a small seaside village and is situated along the Atlantic Ocean in county Sligo on the Northwest coast of Ireland only 7km from Ballina , Co Mayo and 64 km from Sligo town it is ideally located for touring the north west scenic routes. It is one of Ireland's most beautiful and inspiring seaside towns, and is one of the best-known holiday centres in the Northwest.

 

French postcard by Editions P.I., Paris, offered by Corvisart, Epinal, no. 1080. Photo: Ektochrome Anders.

 

From 1961 until 1963 Helen Shapiro (1946) was England's teenage pop music queen, at one point selling 40,000 copies daily of her biggest single, 'Walkin' Back to Happiness', during a 19-week chart run. The singer and actress was only 14 when she was discovered. Shapiro had a rich, expressive voice properly sounding like the property of someone twice as old, and she matured into a seasoned professional very quickly.

 

Helen Kate Shapiro was born in Bethnal Green, London in 1946. She is the granddaughter of Russian Jewish immigrants, and her parents, who were piece-workers in the garment industry, attended Lea Bridge Road Synagogue. They were too poor to own a record player but encouraged music in their home. At age 9, Helen performed with a ukulele in the school group Susie & the Hula Hoops, whose members included also a young Mark Feld aka Marc Bolan). Reportedly, they performed their own versions of Elvis Presley and Buddy Holly songs. She subsequently sang with her brother Ron Shapiro's trad jazz turned skiffle outfit at local clubs before enrolling in classes at Maurice Burman's music school in London. Shapiro had a deep timbre to her voice, unusual in a girl not yet in her teens. School friends gave her the nickname ‘Foghorn’. Maurice Burman was so enamoured of Helen’s talent that he waived the fees to keep her as a student. He wrote to several record labels to promote interest in his students. EMI Records sent producer John Schroeder, who heard her at one of the classes and was impressed enough to record her and play it back for top EMI producer Norrie Paramor , who had signed Cliff Richard & the Shadows. Helen Shapiro's voice on the rape was so mature that Paramor refused to believe that it belonged to a 14-year-old girl. So, Helen came to his office in her school uniform and sang St. Louis Blues. Only a few weeks later, she cut her first single, Please Don't Treat Me Like a Child, composed by John Schroeder and Mike Hawker. It made number three in the UK charts in May 1961, and the record company’s publicity department made great play on the novelty value of her age. Shapiro’s second release, the ballad You don’t know, was issued three months later. In August 1961, it made 14-year-old Helen the youngest female artist to reach number one. The song stayed at the top of the charts for two weeks and eventually sold over a million copies. In September that year she turned 15 and left school to pursue her career in earnest. Live appearances showcased Helen’s assuredness as a performer. She even headlined at the legendary London Palladium, virtually unheard of for such a young, inexperienced entertainer.

 

Helen Shapiro had her second number one hit in the UK with Walkin' Back to Happiness. It is now her signature song. Her mature voice made her an overnight sensation. The song also became a hit in the rest of Europe and inspired an attempt to crack the American market. However, despite an appearance on the legendary Ed Sullivan Show, the record only reached # 100 in the US charts. In 1962 she made her debut feature film, It's Trad, Dad!/Ring-A-Ding Rhythm (1962, Richard Lester). This musical comedy was one of the first films put out by predominantly horror company Amicus Productions, and director Richard Lester's feature debut. Shapiro and singer Craig Douglas play two teenagers who, along with their friends enjoy the latest trend of traditional jazz. However, the mayor as well as a group of adults dislike the trend and move to have a coffee shop jukebox taken away. Helen and Craig decide to organize a music festival in their small town, and the film comprises musical numbers by Chubby Checker, Del Shannon, and Gene Vincent. Jeff Stafford at TCM: "Any Richard Lester fan can look at It's Trad, Dad and see the fresh and distinctive techniques that would fully emerge in Lester's A Hard Day's Night. For one thing, Lester's playful editing style keeps the viewer constantly engaged while also paying tribute to the musicians on display. (...) Douglas is a pleasant but unremarkable light pop vocalist but Shapiro is a little dynamo with a powerful voice comparable to Brenda Lee." Shapiro then starred in another teenage musical, Play It Cool (1962, Michael Winner) featuring Billy Fury and the Satellites and Bobby Vee. Before she was sixteen years old, Shapiro had been voted Britain's 'Top Female Singer', and when The Beatles had their first national tour (The Helen Shapiro Tour) in 1963, it was as her supporting act. During the tour The Beatles hit big and replaced Helen as top of the bill. Helen later found out that it was around this time that Lennon and McCartney penned Misery for her, but Paramor declined the offer without informing her. He preferred to release Queen for tonight, a firm fan favourite and a much-requested song, but slightly out of step with current trends. It reached a disappointing 33 in the UK charts. In early 1964, her cover of Fever proved her last top 40 hit.

 

By the time Helen Shapiro was in her late teens, her career as a pop singer was on the wane. Undaunted, she branched out as a performer in stage musicals, a jazz singer (jazz being her first love musically), and more recently a gospel singer. She also began to concentrate more on stage work. In the early 1980’s she played the role of Nancy in Lionel Bart's musical, Oliver! in London's West End. Various other musicals, pantomimes and revival concerts followed. She also continued to tour, especially in mainland Europe and the Far East, where she remained in demand. Throughout the 1980’s she made guest appearances on many TV variety shows, either singing her old songs or promoting the odd new release. Shapiro also appeared in British television soap operas; in particular Albion Market (1985) where she played one of the main characters up to the time it was taken off-air in August 1986. In August 1987 Shapiro became a committed Christian (Messianic believer). She has issued four Messianic albums since then, as well as appearing in a number of special Gospel Outreach evenings, singing and telling of how she found Jesus (Yeshua) as her Messiah. Shapiro retired from showbusiness at the end of 2002 to concentrate on her Gospel Outreach evenings. In 1993, she published her autobiography, Walking Back to Happiness. She was married three times: Duncan C. Weldon (1967-1971), Morris Gundlash (1972-1977) and John Judd (1988-), an actor with numerous roles in British television and cinema. The couple lives in Kent.

 

Sources: Jeff Stafford (TCM), Graham Welch (Ready Steady Girls), Bruce Eder (AllMusic), Wikipedia and IMDb.

 

And, please check out our blog European Film Star Postcards.

Cavendish Mews is a smart set of flats in Mayfair where flapper and modern woman, the Honourable Lettice Chetwynd has set up home after coming of age and gaining her allowance. To supplement her already generous allowance, and to break away from dependence upon her family, Lettice has established herself as a society interior designer, so her flat is decorated with a mixture of elegant antique Georgian pieces and modern Art Deco furnishings, using it as a showroom for what she can offer to her well heeled clients.

 

Today however we are northwest of Lettice’s flat, in the working-class London suburb of Harlesden where Edith, Lettice’s maid, grew up. Edith’s father, George, works at the McVitie and Price biscuit factory in Harlesden as a Line Manager, and her mother, Ada, takes in laundry occasionally at home. They live in a small, two storey brick terrace house which opens out directly onto the street, and is far removed from the grandeur of Lettice’s Mayfair flat, but has always been a cosy and welcoming home for Edith.

 

It’s Sunday, a free day for Edith until four in the afternoon, and usually a day kept sacrosanct for Edith to spend it doing something pleasurable after church with fiancée, Mayfair grocer’s delivery boy Frank Leadbetter. However, today we find ourselves in Action Lane, just opposite All Souls Parish Church* at the Arts and Crafts style Parish Hall** associated with the church, where Edith and Ada have come to attend a jumble sale*** organised by the Vicar of All Saints, Mr. Dunn**** and his wife to raise funds for the Welsh coal miners*****. As the pair approach the open black painted doors, they can hear the vociferous chatter of mostly female voices coming from within the hall and watch as several pairs, groups and singular women ahead of them, dressed in their Sunday best clothes and smart hats, step across the threshold. The sound of chattering only intensifies as they draw closer, the noise echoing off the cathedral ceiling inside. A sandwich board****** just outside the door advertises the jumble sale.

 

“Well! Good morning, Mrs. Watsford, Edith!” Vicar Dunn says in greeting with a broad smile on his full, yet careworn face as Ada and Edith walk through the door and into the hall, a cup of tea in a plain white china teacup in his right hand. “Welcome to our jumble sale. I knew I could rely on you to be here, Mrs. Watsford.”

 

“It looks like we are by no means alone, Vicar.” Ada says with arched eyebrows, shifting her blue beaded handbag further towards the crook in her arm as she waves her right hand expansively around her at the tables spaced throughout the capacious hall around which women cluster, rummaging through piles of clothes and other goods set out on various tables.

 

“Well, it is for a good cause, Mrs. Watsford.” the Vicar eludes. “The Vicars of our Welsh parishes are doing all they can, but due to the appalling wage cuts and reductions in working hours, coal miners and their families are living in the most deplorable and precarious of circumstances.” He shakes his head and tuts sadly. “We hear stories of moonlit flits******* and whole families being turned out of doors into the snow because they can’t afford to pay the rent.”

 

Ada holds up her hands in protest, having heard enough. “Vicar, please.”

 

“Oh I’m sorry, Mrs. Watsford.” Vicar Dunn apologises. “I just feel so strongly about the injustices in this world.”

 

“You sound just like my fiancée, Vicar.” Edith says with a sad smile. “He’s been telling me what he hears from his friends at the trade unions about how some miners’ wages are even less than the unemployment benefit********.”

 

“Indeed it’s true, Edith.” the Vicar shakes his head sadly. He is about to go on again about the plight of the miners when he catches a dark and warning look from Ada out of the corner of his eye, so with an awkward clearing of his throat, he changes the topic of conversation quickly. “I… I don’t believe I’ve had the pleasure of wishing you every happiness********* on your impeding nuptials********** Edith.”

 

“Thank you Vicar.” Edith blushes. “That’s very kind of you.”

 

“It’s high time some young man swept you up off your feet.” Vicar Dunn says with a smile. “You’re what now? Twenty three?”

 

“Yes, that’s right, Vicar.” Edith beams. “You remember.”

 

“But the head on her shoulders is far older and wiser than that.” Ada interjects.

 

“Well, then I must congratulate you and Mr. Watsford on raising such a fine young lady, Mrs. Watsford.”

 

Edith blushes more deeply at the Vicar’s compliment.

 

“Well, you certainly look every bit the smart young lady now,” the Vicar goes on, giving Edith an appraising glance up and down, admiring her three-quarter black winter coat and black straw cloche hat decorated with purple satin roses and black feathers.

 

“You’d be proud of my frugality, Vicar.” Edith admits. “My coat came from a Petticoat Lane*********** second-hand clothes stall. I picked it up dead cheap and remodelled it myself. And my hat I decorated myself too.”

 

“You are a clever girl then, Edith. Taking after your mother, I see.” the Vicar replies, nodding approvingly firstly at Edith and then at Ada.

 

“Yes Vicar.” Edith nods. “Mum taught me well.”

 

“Frugality is a valuable skill to have you’ll find, when you are balancing your own household books after you’re married, Edith. And your young man is an assistant grocer, I believe.”

 

“Well,” Edith replies in a doubtful tone. “He’s a delivery boy for our local grocers in Mayfair, but he’s building up his skills when Mr. Willison allows him to step up and do other jobs.”

 

“He has good prospects, Vicar.” Ada adds. “He’s a smart lad, and Edith could do far worse than young Frank Leadbetter. In fact that’s one of the reasons why we are here today,” Ada coughs. “Besides to support such a valuable cause.”

 

“Of course, Mrs. Watsford.” Vicar Dunn agrees.

 

“We’ve come to see if we can add a few nice bits and pieces to Edith’s glory box************.”

 

“And your own shelves, I hope, Mrs. Watsford.” the Vicar adds.

 

“Well,” Ada screws up her face and adds doubtfully. “We’ll see, Vicar.”

 

“Remember, Mrs. Watsford, charity begins at home, and every shilling or penny you spend here today will go to help keep families out of the workhouse*************. You’ll be fossicking*************** for a good cause.”

 

“I’m aware of that, thank you Vicar.” Ada folds her rangy arms akimbo. “We’ll see.”

 

“Well, you’ll find my wife, Mrs. Dunn, and my daughter Alice************** running the white elephant stall**************** today.” He stands on tiptoes in his hard wearing black boots and indicates with his free hand with an open gesture to a far corner of the parish hall, over the bobbing hatted heads of the local ladies busily looking through piles of winter coats and summer frocks. “Just over there, beneath the portraits of Their Majesties. There is a stall next to it where a budding seamstress like you, Edith, might find some nice fabric to make up a new frock too.”

 

“Oh, thank you, Vicar!” Edith exclaims, clasping her hands together enthusiastically.

 

“And don’t forget to see Mrs. Lovegrove at the refreshments table if you are feeling parched,” he points to his teacup. “Or hungry. There are some wonderful cakes and slices to buy.”

 

“Thank you, Vicar Dunn.” Ada says politely.

 

“All money goes to an excellent cause, Mrs. Watsford and Edith.”

 

The two ladies then bid Vicar Dunn a polite goodbye before commencing their journey, wending their way slowly between the clusters of women and young children noisily clambering around tables, looking for that perfect, or elusive bargain for themselves or their families, avoiding elbows jarring into their ribs and boot clad feet trodding on their own toes as they move across the worn wooden floorboards. At length, they reach the white elephant stall, which thankfully is a bit emptier than some of the clothing stalls, with only a few women politely milling about, picking up and depositing various objects back, a few items being purchased, the money gratefully collected by Vicar Dunn’s wife and daughter.

 

“Oh! Hullo Edith! Hullo Mrs. Watsford!” Alice, Vicar Dunn’s daughter, pipes up with delight from behind the old wooden table covered in an array of odd and unusual bric-à-brac as she sees them appear through the crowd.

 

“Hullo Alice!” Edith says cheerfully, smiling back at the young girl of her own age, dressed in the outfit she wore at church just a short while ago, where she played the organ, her mousy brown waves held in place by a sky blue ribbon bandeau***************** framing her fresh and pretty face.

 

“Hullo Alice.” Ada parrots her daughter, greeting Alice before turning her attention to Mrs. Dunn. “Hullo Evelyn.”

 

“Oh, hullo Ada.” Mrs. Dunn says. “I won’t be a moment.” She turns her attention back to an older woman dressed all in black with her white hair braided around her ears in the style of her youth****************** beneath a frothy lace cap who pays for a small and dainty Victorian era floral vase. “That will be tuppence, Mrs. Bairstow.”

 

As the old woman walks slowly away with her purchase, Mrs. Dunn comes and joins her daughter opposite Edith and Ada on the other side of the table.

 

“Hullo Mrs. Dunn.” Edith says politely.

 

“Hullo Edith!” Mrs. Dunn acknowledges her. “How are you Ada?” she turns her attention to Edith’s mother and smiles.

 

“Very well thank you, Evelyn.” Ada replies.

 

“I knew I could rely on your magpie******************* traits, Ada.” Mrs. Dunn sighs with relief. “It’s been a bit quiet up here at the white elephant stall this morning.”

 

Ada looks critically at the odd mixture of items arranged on the table over a pretty lace table runner********************: tall vases and jugs of glass in shades of midnight blue and ruby red, some tarnished old tankards - one missing it’s lid - a crate of some dull looking old leatherbound books, a brass egg timer, a lovely, but battered and tarnished EPNS********************* tea set, some candlesticks, a brass bust of Mark Antony, a rather heavy looking and ornate dark stained rosewood cottage clock**********************.

 

“I know,” Mrs. Dunn says in an apologetic tone. “It’s not the best show this year, but, I have held back a few things which I thought you’d like, Ada.”

 

“Well,” Ada replies. “I’ve really come looking for some things for Edith’s glory box, now she’s officially engaged, Evelyn.”

 

“Oh!” Mrs. Dunn exclaims as she ducks behind the cottage clock and begins rummaging in a box full of noisy, crackling newspaper. “I think some of the things I have been saving for you might suit Edith.” She pauses and looks up and across at Edith, who is chatting quietly with her daughter their two heads lowered together somewhat conspiratorially over a large gilt flower decorated Sunderland pink lustreware*********************** bowl. “Have you and your young man set a date yet, Edith?” she calls out.

 

Edith stops mid conversation with Alice and answers the Vicar’s wife politely. “No. Not yet, Mrs. Dunn. Frank and I are holding off getting married for a little while yet, until we’ve saved a bit more money to set up house together properly.”

 

“Wise girl.” Mrs. Dunn opines, giving her own daughter an accusational look. “You will be getting married at All Souls, won’t you?”

 

“Oh yes, Mrs. Dunn!” Edith affirms assuredly. “Even though Frank’s people are from around Upton Park, he doesn’t have much in the way of family here in London, and his grandmother is very happy for us to get married at All Souls.”

 

“Well,” Mrs. Dunn wags her finger at Edith. “Just don’t forget to let the Vicar know when you do settle on a date, so he can announce the wedding banns************************.”

 

“Don’t worry, Evelyn,” Ada assures the vicar’s wife. “I’ll be sure to make sure Edith and Frank let him know.”

 

“Good!” Mrs. Dunn says before she delves back into the boxes stacked behind the table, the sound of crockery and glass clinking against one another joining the rustle of newsprint.

 

“What was that nasty look from your mother for?” Edith whispers to Alice, glancing in alarm at the now bent over figure of Mrs. Dunn, before returning her attention to her friend.

 

“Oh, Mother is just being Mother!” Alice grumbles.

 

“Which means?” Edith persists, looking seriously at Alice.

 

“Well, she doesn’t like the fact that I’m stepping out more seriously with Conlin Campbell.

 

Conlin Campbell grew up in Harlesden with both Edith and her brother Bert, and he went to sea with Bert when he took his first seafaring job and now works the same line that sails between Britain and Australia as Bert does. Edith remembers the party at her parents’ home on New Year’s Eve 1924 when she saw Alice and Conlin together for the first time.

 

“What’s wrong with Conlin?” Edith protests.

 

“Ssshhh!” Alice hushes her. “Not so loud, Edith! I don’t want Mother to hear us.” She glances over at her mother who is still busy fossicking around in a stack of boxes, now with several plates held in her left hand as she delves through newsprint with her right hand. “She doesn’t like that he goes to sea.” Alice continues.

 

“But it’s a good job, Alice. He’s not a first-class saloon steward like Bert is, but second-class is nothing to sneeze at. The work is regular, and the pay is virtually the same.”

 

“I know, but both Mother and Father think I should be setting my sights higher than the likes of Conlin.”

 

“Why?”

 

“Well, they think that because Father is a member of the clergy, I should be aiming for someone more,” She screws up her nose distastefully. “More, middle-class, and in a profession, like a teacher or a solicitor. And nasty old Widow Hounslow sniffing around and sharing her opinions doesn’t help.”

 

“What’s that old biddy, Widow Hounslow, got to do with it?” Edith spits bitterly, referring to the mean and miserly wealthy local widow whom she used to work for as a maid when she first entered domestic service, who also happens to be her parents’ penny-pinching landlady.

 

“Her grandson, Marmaduke, is a solicitor,” Alice begins.

 

“Marmaduke?” Edith giggles, raising her hand to her mouth to muffle her chuckle. “What a stuffy and preposterous name.”

 

“And he’s every bit as much of a preposterous stuffed shirt************************* as his name implies. Old Widow Hounslow has invited Mother and I over to tea on occasions when he’s been visiting her, so that we might become better acquainted.”

 

“Oh, that sounds ghastly.” Edith shudders.

 

“It is.” Alice agrees. “All he drones on about are his important clients, who all sound drearily dull to me. His only interests, other than his deadly boring clients and making more money are playing golf, which I detest, and I’m sure he only does to make himself appear more superior and elite************************** than he is, and playing Contract bridge***************************, which he does for the same reasons, and because his mother and grandmother play it to prove their superior intellect.” She rolls her eyes. “Mother and Father think he’s wonderful, and when you look at his profession as a solicitor, compared to Conlin’s as a steward aboard a ship that sails to the farthest flung parts of the Empire, they think he is far more suitable a match for me.”

 

“Suitable?” Edith splutters. “He sounds like the most incredibly unsuitable candidate to me.”

 

Alice sighs. “I wish I had parents like yours.”

 

“Like mine?” Edith queries.

 

“Yes! They like Frank well enough to give their permission for him to marry you, in spite of the fact that he’s a grocer’s boy and has socialist leanings.”

 

“Well, Mum hasn’t been always been as understanding of Frank as she is now, Alice. It took her a while to warm to him, and for us to convince her that he wasn’t going to run off to Russia with me, or do something equally reckless with the trades unions.” Edith glances across at her mother who is now being shown some crockery by Mrs. Dunn, the pair engaged in enthusiastic conversation. She glances back at Alice and quietly adds, “In fact, I’m not entirely sure that Mum doesn’t still harbour some of those fears.”

 

“Well, at least they didn’t try and foist you onto the most unsuitable man to walk England’s green and pleasant lands****************************.” Alice sighs again. “I wish I had the courage to elope.”

 

“Elope?” Edith gasps.

 

“Ssshhh!” Alice hisses again, glancing quickly at her mother, who is thankfully too busy showing Ada a glass mug with a crest on it to pay attention to anything she or Edith are saying.

 

“What are you talking about, Alice?” Edith queries with anxious eyes.

 

“Well, the last time Conlin was on shore leave, he said we could. I’m twenty three now, so we don’t need my parent’s permission to marry*****************************. Conlin suggested that we could buy a one way crossing to Australia aboard the Demosthenes****************************** for when he was next due to sail, I could pack a bag, sneak out of the vicarage and join him. My parents wouldn’t know where I’d gone, and Australia would be the most unlikely place anyone would ever look.”

 

“You wouldn’t?” Edith exclaims in disbelief. “Would you?

 

“No,” Alice replies, snorting derisively and shaking her head. “I’m too much of a coward, or too much of a pragmatist. I couldn’t do that to Mother and Father. They’d be heartbroken, and I’d be equally heartbroken if I could never see them again, and reasonably, what skills do I have that would be suitable for me to live somewhere as remote as Australia. Conlin says its very civilised, especially in the rich cities like Sydney and Melbourne, but I don’t know.” She shakes her head as doubt creeps into her voice. “It just wouldn’t be Britain. It wouldn’t be home. I…”

 

“Edith!” Ada’s voice interrupts the girls’ conversation. “Edith love, stop gossiping with Alice and come and look at this.”

 

Silently glad that she no longer has to be privy to the plans that Conlin Campbell has suggested to Alice about eloping, Edith replies, “What is it Mum?”

 

“Come and see what nice things Mrs. Dunn has found for us!” Ada enthuses.

 

Edith leaves her friend’s side and steps alongside her mother. On the lace table runner stand a number of things that hadn’t been on display before: a tureen and matching jug featuring a transfer pattern******************************* of a hunting scene with riders on horses dressed in their best hunting pinks********************************, surrounded by their pack of dogs, and several pieces of commemorative royalty ware********************************* featuring Queen Victoria and King Edward VII.

 

“Where did these come from, Mum?” Edith asks, picking up the jug and admiring the smart colours in the pattern and its gilded rim.

 

“I was just telling your mother,” Mrs. Dunn says. “Do you remember old Miss Whitely who lived in Ranelagh Road?”

 

“Yes.” Edith remarks. “She used to be amongst the ladies who used to do the flower arrangements for the church. She gave Bert and I Barley Sugars and Pear Drops when we were little whenever she saw us.”

 

“Yes, Miss White always loved children, but was never blessed with a husband to bring forth any of her own.” Mrs. Dunn says with a sad smile. “She died, and not having any family as such, she bequeathed everything she had to All Souls, so when we were clearing out her house, we found some rather lovely old china amongst her possessions. I know she’d be pleased to see them go to good homes.” She looks hopefully at Ada first, and then Edith. “And all the money does go to a good cause, helping the poor, struggling Welsh coal miners and their families.” she adds with gravitas.

 

“Oh Mum!” Edith enthuses. “You have to have those plates of Queen Victoria. You don’t have them at home, and look,” She picks up a beautifully coloured transfer ware plate celebrating Queen Victoria’s Diamand Jubilee in 1897. “This is a Royal Doulton one. You don’t have any Royal Doulton china at home. It’s beautiful.”

 

“Well…” Ada errs, her voice quivering.

 

“How much are they, Mrs. Dunn?” Edith asks.

 

“Well, I thought that since it’s your mother, Edith, that I’d sell her all the commemorative wear for a shilling, and the jug and tureen, which are Royal Doulton hunting scene series ware*********************************** for a shilling as well, if you’d like them. Your mother thought you might.”

 

Edith looks first at her mother and then at the fine porcelain on display. “Oh, go on, Mum!” she encourages her mother, squeezing her forearm as she speaks. “You have to buy them! You can buy the commemorative wear, and I’ll happily take the tureen and jug. We’ll never get Royal Doulton at that price anywhere else: not even at the Caledonian Markets************************************. You know we won’t.”

 

“I know, but a shilling, Edith!” Ada protests. “I could buy half a pound of good British beef from the butchers for that*************************************, and,” She cautions with a wagging finger. “You’re supposed to be saving money, love.”

 

“Only to set up house, Mum,” Edith counters. “And what better way of doing it than buying some beautiful Royal Doulton tableware. Frank and I will be very fancy with this.” She runs her hand almost reverently over the colourful pattern on the lid of the tureen.

 

“Won’t it offend Frank’s Socialist ideals to eat or drink out of something so fancy, Edith love?” Ada asks with cocked eyebrows as she looks at her daughter.

 

“Frank isn’t really a Socialist, Mum,” Edith assures her mother. “He just believes in worker’s rights, and I think he’d be proud to eat off these, knowing that we both bought things that helped support coal miners and their families in their time of need, as they try to negotiate better pay from the mine owners. He’s very passionate about the miners’ plight.”

 

“It all goes to an excellent cause, Ada.” Mrs. Dunn says again, hope filling each syllable as she speaks. “Helping the starving families of the Welsh coal miners.”

 

“You wouldn’t want to see kiddies starve, would you Mum?” Edith asks.

 

“No, of course not, Edith love!” Ada protests hotly. “How can you even suggest such a thing?”

 

“And we both work hard for the money we earn. Let’s treat ourselves, Mum. Besides,” she adds with a smirk. “If I don’t spend my shilling on these pieces, I will simply buy more fabric from that stall there.” She points to the stall adjacent to the white elephant stall where a fine lace tablecloth featuring dogs is draped along the front of a table covered in lace doilies and stacks of fabric and haberdashery notions. “There is some lovely floral fabric there that will make a lovely frock, and some lace for trimmings.”

 

“Well, what did the Vicar say? Fossicking for a good cause?” Ada relents as she slides her handbag down her arm and opens it to withdraw her coin purse.

 

“Exactly, Mum.” Edith purrs as she fetches her own purse out of her green leather handbag. “Fossicking for a very good cause.”

 

*The parish of All Souls, Harlesden, was formed in 1875 from Willesden, Acton, St John\'s, Kensal Green, and Hammersmith. Mission services had been held by the curate of St Mary\'s, Willesden, at Harlesden institute from 1858. The parish church at Station Road, Harlesden, was built and consecrated in 1879. The town centre church is a remarkable brick octagon designed by E.J. Tarver. Originally there was a nave which was extended in 1890 but demolished in 1970.

 

**In 1923, a large Parish Hall was built for All Souls Church in Acton Lane. With dwindling numbers in the congregation and the general decline of traditional religious organisations after the Second World War, the hall was demolished and replaced by the County Court in 1965.

 

***A jumble sale is a British community event, often held in church or village halls, where donated second-hand goods are sold to raise funds for charity or local organisations. Common items sold include used clothes, books, toys, and bric-a-brac at very low prices.

 

****The vicar of All Souls Parish Church in Harlesden between 1918 and 1927 was Ernest Arnold Dunn.

 

*****Following a post-war slump, market downturns, and the government’s return to the Gold Standard, coal mine owners demanded substantial wage cuts in 1925, threatening to remove the national minimum wage. In some cases, proposed wages were lower than unemployment benefits. Owners sought to increase the working day as well, which would have meant more time in hazardous conditions for less pay for the miners. Mining was fraught with danger, with over one thousand two hundred miners killed annually across Britain and many more suffering life-altering injuries and industrial diseases. When mine owners, backed by the British government, threatened to terminate the 1924 wage agreement in July 1925 (known as Red Friday) a nine month government subsidy was paid to keep mines open. This was not a victory for the miners, but rather a temporary delay that allowed the government to stockpile coal and prepare for the inevitable showdown. The fear of the workhouse or absolute destitution was a constant pressure on mining families in the Valleys. Employers were already implementing harsh conditions, forcing miners into a position where they felt they had no choice but to fight for the right to work. These conditions, compounded by the eventual withdrawal of the subsidy and the subsequent lockout in May 1926, created a deeply entrenched, desperate situation for Welsh communities before the General Strike of 1926 occurred.

 

******A sandwich board is a type of portable, double-sided signage used for outdoor advertising, consisting of two boards joined at the top and placed on the ground (A-frame) or hung over a person\'s shoulders. Commonly used by businesses to attract foot traffic, they display menus, sales, or promotions.

 

*******A moonlight flit is a hurried, secretive, and often dishonest departure, usually made to avoid paying debts, rent, or other obligations.

 

********The first modern, national unemployment benefit system in the UK was introduced via the National Insurance Act 1911, under the Liberal government of H.H. Asquith. This contributory scheme, driven by David Lloyd George and Winston Churchill, initially provided limited coverage for specific industries, like shipbuilding and construction. A second Act in 1920 significantly expanded the scheme to cover almost all manual workers and many non-manual workers, creating a more widespread "dole" system. Originally the scheme required workers to have made National Insurance contributions ("the stamp"), but the system was further modified by the Unemployment Insurance Act of 1921 (introducing a "seeking work" test) and subsequent acts. Before 1911, assistance for the unemployed was primarily handled through local Poor Laws (dating from 1834) or, for some skilled workers, through trade unions.

 

*********In more socially conscious times it was traditional to wish the bride-to-be happiness, rather than saying congratulations as we do today. Saying congratulations to a bride in past times would have implied that she had won something – her groom. The groom on the other hand was to be congratulated for getting the lady to accept his marriage proposal.

 

**********Nuptials is an alternative word for marriage. The term “nuptials” emphasizes the ceremonial and legal aspects of a marriage, lending a more formal tone to wedding communications and documentation.

 

***********Petticoat Lane Market is a fashion and clothing market in Spitalfields, London. It consists of two adjacent street markets. Wentworth Street Market and Middlesex Street Market. Originally populated by Huguenots fleeing persecution in France, Spitalfields became a center for weaving, embroidery and dying. From 1882, a wave of Jewish immigrants fleeing persecution in eastern Europe settled in the area and Spitalfields then became the true heart of the clothing manufacturing district of London. \'The Lane\' was always renowned for the \'patter\' and showmanship of the market traders. It was also known for being a haven for the unsavoury characters of London’s underworld and was rife with prostitutes during the late Victorian era. Unpopular with the authorities, as it was largely unregulated and in some sense illegal, as recently as the 1930s, police cars and fire engines were driven down ‘The Lane’, with alarm bells ringing, to disrupt the market.

 

************A glory box, also known as a hope chest or trousseau chest, is a traditional box where young women collected household items like linens, towels, crockery, and clothing in preparation for marriage and setting up their first home, symbolizing hopes for their future married life. Popular in countries like Australia and the United Kingdom, it eased the initial costs of starting a household and involved passing down skills and traditions, though it\'s less common now due to changing social norms.

 

*************Made famous, or rather infamous, by Charles Dickens in his book, Oliver Twist, the workhouse was a harsh, state-run institution in Britain and Ireland, peaking in the Nineteenth Century, designed to provide accommodation and employment for the poor and destitute. Under the 1834 Poor Law, workhouses were intended to manage pauperism by providing relief only in exchange for strenuous work, aiming to make life inside less desirable than outside. Residents faced long hours of hard labour, like breaking stones or picking oakum, strict rules, and meagre rations that barely kept someone from starving. Families were separated upon entry (husbands from wives, children from parents). The institutions often housed the elderly, sick, mentally ill, and homeless, with over five million people dying in them by 1948. Workhouses were feared, often called "prisons for the poor". They existed until 1948, when the modern welfare state replaced them.

 

**************Whilst I cannot find any details about his family life, I’d like to think that Vicar Dunn of the All Saints Parish was a happily married man of god and could well have had a daughter named Alice who no doubt played the organ in church on Sundays.

 

***************Whilst it is a term that I grew up with, and use to describe many of my activities, I am aware that to “fossick” is a rather archaic term. To fossick, if you have never heard it used before, is an informal way to describe a search about or rummage for things.

 

****************A white elephant stall is a popular, often charitable, second-hand market stand found at fetes, fairs, or church bazaars, selling donated, used, or unwanted household items, books, toys, and bric-à-brac. Based on the idea that "one person\'s trash is another\'s treasure," these stalls function as fundraisers where people buy low-cost, pre-loved goods.

 

*****************A bandeau is a narrow band of ribbon, velvet, or similar, worn round the head. They were often accessorised with jewels, imitation flowers, feathers and other trimmings in the 1920s when they were at the height of their popularity.

 

******************It was not uncommon in the 1920s and earlier for elderly women to retain the hairstyle fashionable in their youths, even if they were highly unfashionable. Therefore, it would not be unusual to see an older woman with a sharp central parting and wound plaits pinned to the side of their heads around their ears wearing petite lace caps atop their hairdos as was fashionable in the 1870s and 1880s.

 

*******************A magpie is an informal term used to describe someone who collects shiny, miscellaneous, or unrelated objects.

 

********************A table runner is a long, narrow strip of cloth or lace placed lengthwise down the centre of a table to add decoration, texture, and colour while protecting the surface from scratches, heat, and spills. Serving as a versatile alternative or addition to a tablecloth, they are used for dining, on buffets, or as coffee table accents.

 

*********************EPNS stands for Electro-Plated Nickel Silver, a type of silver-plated cutlery and decorative ware popular from the 1840s onward. It consists of a base metal alloy (typically copper, nickel, and zinc) that is electrolytically coated with a thin layer of pure silver, providing a durable, silvery appearance. It is not, however, solid sterling silver.

 

**********************A cottage clock is a small, typically Nineteenth Century, budget-friendly mantel clock designed for smaller homes. These durable wood-cased, often rosewood, timepieces feature thirty-hour or eight-day movements, frequently with painted or reverse-painted glass dials. They are recognised by their compact size, generally measuring around ten inches tall.

 

***********************Lustreware is a type of pottery or porcelain characterized by a metallic, iridescent glaze, created by applying metallic oxides (such as copper, silver, or platinum) in an overglaze finish and firing them at low temperatures in a reduction kiln. Originating in Ninth Century Mesopotamia, this technique creates a shiny, reflective surface that imitates precious metals. Silver/Platinum Lustre: Often called "poor man\'s silver," this was popular during the Napoleonic Wars when silver was scarce. Copper/Gold Lustre: Popular in the 19th century, particularly in England, for creating a warm, metallic sheen. Sunderland/Pink Lustre: A popular English type, known for its splashy, mottled pink, or purple finish, often featuring transfer-printed scenes.

 

************************Wedding banns are public announcements, traditionally read in a Christian church (or sometimes a town hall/consulate) on three consecutive Sundays, declaring a couple\'s intention to marry, allowing anyone with a legal impediment to come forward and object before the wedding can proceed. This ancient practice ensures marriages aren\'t invalid, often required for Church of England, Catholic, and other denominations, and remain valid for three months after publication.

 

*************************A stuffed shirt is a term used to describe a bore who is extremely formal, pompous, and old-fashioned.

 

**************************In the 1920s, playing golf signified high social status, wealth, and sophisticated leisure, acting as a premier marker of respectability for the upper-middle class and business elite. In many regions, particularly the United States and Britain, golf was considered an elite sport synonymous with honour, good birth, and, in some cases, a way to display wealth. This idea was enhanced by Edward, Prince of Wales (later King Edward VIII and the Duke of Windsor), who was a very keen and accomplished golfer who passionately enjoyed the sport. He was a proficient player with a reported handicap of 4, acted as Club Captain of Walton Heath in 1936, and was a major patron of the sport. By the 1920s, the business world had adopted golf, with executives and managers using the links to conduct business in a relaxed environment. The sport was a key component of a "modern" 1920s lifestyle. It brought about specific, fashionable attire like knickerbockers for men and shorter, pleated skirts for women.

 

***************************In the 1920s, playing bridge — specifically Auction bridge and, increasingly, Contract bridge — signified a blend of intellectual sophistication, modern social status, and, for women, a new form of independent leisure. It was the dominant, fashionable card game of the era, transcending mere pastime to become a staple of upper-class and suburban home entertainment.

 

****************************“England\'s green and pleasant land” is a phrase by the poet William Blake and the words of the well-known English hymn “Jerusalem”, used as a quintessential description of the British landscape that people still feel is as relevant today as it was in Blake\'s time.

 

*****************************Under the law governing marriage in the 1920s (prior to the Age of Marriage Act 1929), anyone under the age of 21 was considered a minor and required parental consent to marry.

 

******************************The SS Demosthenes was a British steam ocean liner and refrigerated cargo ship which ran scheduled services between London and Australia via Cape Town. It stopped at ports including those in Sydney and Melbourne. She was launched in 1911 in Ireland for the Aberdeen Line and scrapped in 1931 in England. In the First World War she was an Allied troop ship.

 

*******************************A transfer pattern on porcelain (often called transferware) is a decorative design applied by transferring a monochrome print from an engraved copper or steel plate onto the ceramic surface using specially sized tissue paper. Developed in England in the 1750s, this method allowed for the mass production of consistent, detailed, and often intricate, patterns, such as the famous blue willow design.

 

********************************Bright red coats known as “hunting pinks” were traditionally worn by English gentlemen hunting on horseback. The name implies that they should be pink, but it is alleged the frock coat was named for English tailor Thomas Pinque (Pink).

  

*********************************"Royalty ware" or "commemorative ware," generally refers to commemorative ceramics, pottery, and souvenirs produced to mark significant events in the lives of the British Royal Family, and serve as historical markers for major, joyous, or monumental royal occasions.

 

**********************************Boiled sweets like Pear Drops, Everton Mints, and Barley Sugar were immensely popular before the Great War, and were often sold by weight in "pick \'n\' mix" style. These treats, driven by industrial advancements, were accessible to all, with boiled sweets, toffee, and chocolate becoming staples of daily life in Twentieth Century Britain.

 

***********************************Royal Doulton hunting scene series ware was prominent from the 1900s through to the 1930s. It features iconic fox hunting, riding, and hound scenes, often designed by Charles Noke. Common patterns include Fox Hunting (D5104), John Peel (E3804), and The Quorn Hunt, applied to various items like jugs, plates, and mugs in stoneware or fine bone china. These were often brightly coloured, transfer-printed hunting scenes.

 

************************************The original Caledonian Market, renown for antiques, buried treasure and junk, was situated in in a wide cobblestoned area just off the Caledonian Road in Islington in 1926 when this story is set. Opened in 1855 by Prince Albert, and originally called the Metropolitan Meat Markets, it was supplementary to the Smithfield Meat Market. Arranged in a rectangle, the market was dominated by a forty-six metre central clock tower. By the early Twentieth Century, with the diminishing trade in live animals, a bric-a-brac market developed and flourished there until after the Second World War when it moved to Bermondsey, south of the Thames, where it flourishes today. The Islington site was developed in 1967 into the Market Estate and an open green space called Caledonian Park. All that remains of the original Caledonian Markets is the wonderful Victorian clock tower.

 

*************************************In 1920s Britain, meat prices were high following World War I, with beef often costing around one shilling and ten pence per pound and pork up to two shillings and sixpence per pound by 1920. Prices fluctuated heavily following the decontrol of meat in July 1920. By 1922, British beef was roughly two shillings per pound, mutton twelve pence, and pork fifteen pence.

 

Whilst this charming jumble sale scene with its white elephant stall may appear real to you, it is in fact made up of pieces from my 1:12 miniatures collection, including items from my own childhood.

 

Fun things to look for in this tableau include:

 

The white elephant stall is cluttered with a wonderful array of assortments. The two Queen Victoria plates you can see (one standing up in russet with a green and gilt edging, and one lying down which is an authentic copy of the design used by Royal Doulton to celebrate the 1897 Diamond Jubilee of Queen Victoria) were created by the English miniature ceramic artist, Rachael Munday, whose work is always of high quality and highly sought after by miniature collectors around the world. The Royal Doulton hunting scene series tureen and jug are also made by Rachael Munday, as are the lustreware bowls to the right of the image, and the small King Charles Spaniel plate behind the Royal Doulton style jug. The three dimensional pottery plate standing to the right of the standing Queen Victoria Plate was handmade and painted by Welsh miniature ceramist Rachel Williams who has her own studio, V&R Miniatures, in Powys. The tin plate commemorating the coronation of Edward VII and Queen Alexandra just to the right of the books is a tin plate that I acquired through an online auction that was selling a large miniatures collection from a deceased estate. The tiny glass condiments set comes from M.W. Reutter Porzellanfabrik in Germany, who specialise in making high quality porcelain and glass miniatures. The brass egg timer (where the sand really does flow through the hourglass), the two silver tankards, the silver three piece tea set, the silver porringer and the glass royalty ware mug come from Kathleen Knight’s Doll’s House Shop in the United Kingdom. The tall blue glass jug and vase come from an online seller on eBay, as does the cottage clock. The two hand painted candlesticks standing just behind the smaller of the Rachael Munday bowls were hand painted with wonderful detail by British miniature artisan Victoria Fasken. The ruby glass comport and gilded classical bust of Mark Anthony I have had since I was a young teenager. I bought them from a high street shop that specialised in dolls and doll house furnishings. The comport is spun from real glass. The books are all leather bound, and have also been mine since I was a teenager.

 

The frames sitting beneath the table and all but one of the paintings come from Kathleen Knight’s Doll’s House Shop. The picture of the country scene with the fence just in front of the cricket bat is a real and original oil on canvas board painting by miniature British painter Irene Stilgoe, and even comes with its own certificate of authenticity. The guitar and cricket bat are both 1:12 artisan pieces that came from Kathleen Knight’s Doll’s House Shop.

 

The shirtwaister dummy, complete with lace blouse, tweed skirt and Art Nouveau belt attached to a lacquered wooden base, is an artisan miniature as well, once again by an unknown person. It came from Kathleen Knight’s Doll House Shop.

 

The fine piece of lace hanging in front of the fabric table was a Christmas gift from my friend Kim BKHagar *Kim* who shares a love of 1:12 miniatures with me. The basket on the table comes from Beautifully Handmade Miniatures in Kettering. The spools of embroidery threads, tape measure and buttons on cards (which are really miniature beads) I acquired from Kathleen Knight’s Dolls’ House shop. The lace sitting underneath the floral fabric also comes from Kathleen Knight’s Dolls’ House shop. The floral fabric and unfurled lace draped over the top of it come from my vintage haberdashery collection. The basket of rolled fabrics comes from Beautifully Handmade Miniatures in Kettering.

 

1:12 size miniature hats made to such exacting standards of quality and realism such as these are often far more expensive than real hats are. When you think that it would sit comfortably on the tip of your index finger, yet it could cost in excess of $150.00 or £100.00, it is an extravagance. American artists seem to have the monopoly on this skill and some of the hats that I have seen or acquired over the years are remarkable. The natural straw hat with white lace ribbon trim and faux flower garlands on top of the shirtwaister dummy was made by an unknown artisan in the United Kingdom and was sold through Doreen Jeffrey’s Small Wonders miniatures shop.

 

The ladderback chair sitting behind the white elephant stall, I have had since I was a young child.

 

The wooden boxes in the background with their Edwardian advertising labels have been purposely aged and came from The Dolls’ House Supplier in the United Kingdom.

 

The Portrait of King George V and Queen Mary in the gilt frames in the background were created by me using official portraits of them done just before the Great War of 1914 – 1918. I also created the Union Jack bunting that is draped across the wall in the background.

Belgian postcard offered by Korès Carboplane, no. 101. Photo: Universal International.

 

Rita Gam (1927-2016) was an American film and television actress and documentary filmmaker. She was nominated for a Golden Globe and won the Silver Bear for Best Actress.

 

Rita Gam was born in 1927. Her acting career began on Broadway and in television, after which she moved on to films. She first appeared in the film noir The Thief (Russell Rouse. 1952), which starred Ray Milland. She was nominated for a Golden Globe as Most Promising Newcomer. Another interesting film noir was Night People (Nunnally Johnson, 1954) with Gregory Peck. She was a bridesmaid at her good friend Grace Kelly's wedding to Prince Rainier of Monaco. In Italy, she starred opposite Alberto Sordi in the comedy Costa Azzurra (Vittorio Sala, 1959) and she was the leading lady of the Peplum Annibale/Hannibal (Carlo Ludovico Bragaglia, Edgar G. Ulmer, 1959) featuring Victor Mature.

 

Rita Gam had another notable role as Herodias in King of Kings (Nicholas Ray, 1961) about the life of Christ. She shared the Silver Bear for Best Actress award with Viveca Lindfors at the 1962 Berlin Film Festival, for their performances in No Exit (Tad Danielewski, Orson Welles (uncredited), 1962), based on the play by Jean-Paul Sartre. Later she appeared in small parts in films like Klute (Alan J. Pakula, 1971), before taking up documentary filmmaking. She was married to Thomas Henry Guinzburg, Jr. and director Sidney Lumet. Rita Gam died in 2016 of respiratory failure at Cedars-Sinai Medical Center in Los Angeles. She was married to director Sidney Lumet and to Thomas Henry Guinzburg, Jr., the first managing editor of The Paris Review and president of Viking Press. Survivors include her daughter, film producer Kate Guinzburg, her son, novelist Michael Guinzburg; and granddaughters Michelle, Olivia and Louisa. Rita Gam was 88.

 

Sources: The Hollywood Reporter, Wikipedia and IMDb.

 

And, please check out our blog European Film Star Postcards.

Offers during Hatsumōde (初詣) a festival on the first day of new year. It is commotie offer food, drinks or like here arrows.

c/n AW.5773

Built in 1954 as an NF.14 night fighter but later converted to a NF(T)14 navigation trainer. She then served with both No.1 ANS (Air Navigation School) at Stradishall and No.2 ANS at Thorney Island. Retired from active service in June 1967, she was allocated maintenance serial 7959M and used for ground instruction at RAF Upwood. By 1971 she had been moved to the RAF Hospital at Ely for display. Offered for sale by tender during 1992, she moved to Fearn in Scotland by November that year but came back South in April 1996 and settled at Quedgeley in Gloucestershire. After ten years of restoration by private individuals, during which she was returned to original Air Navigation School colours, she was donated to the Malta Aviation Museum. She arrived in Malta during December 2006 and is now on display in the Museum’s Main hangar.

Ta’ Qali, Malta

27th July 2020

Bishop Dr Augustus Short of South Australia.

Anglican Bishop Short arrived in Port Adelaide in late 1847. At the time that he was created the Bishop of South Australia and Western Australia bishoprics were simultaneously created in Melbourne and Newcastle. In 1847 the Anglican Church (then known as the Church of England) had two bishops - Bishop Broughton, the Bishop of Australia (installed in 1836 when New South Wales was separated from the Diocese of Calcutta) based in Sydney and Bishop Nixon in Tasmania (installed in 1842.) After a round of social introductions and receptions Augustus Short was installed as Bishop in Trinity Church North Terrace Adelaide on the first of January 1848. He identified Trinity Church as his pro cathedral. Trinity Church had been built in 1838 as the first Anglican Church in the colony. There were few other Anglican churches in the colony in 1848 but those that existed included St John in the Wilderness, Halifax Street Adelaide (1841), St Marys at St Mary’s (1841 replaced with the current stone church in 1846), Port Adelaide (1841 a small wooden church which was replaced by a stone church in 1851), Blakiston (1846) and St George’s at Magill (1847). In 1848 St George’s at Gawler opened as did the first Anglican Church at Willunga where Bishop Short laid the foundation stone and the Walkerville church also opened in 1848.

 

So Bishop Short arrived on the other side of the world from his native England with few churches and even fewer clergy to be part of his empire except for the Colonial Chaplain Reverend James Farrell. But Augustus Short arrived in South Australia with a small retinue. Apart from his wife Millicent and children there was Reverend Hale, his first Archdeacon, Reverend Wilson the tutor of Short’s children who later became the first headmaster of Saint Peter’s Boys College, Canon Reverend Burnett and Reverend Bagshaw. Bishop Short was 45 years old when he arrived in Adelaide and he had first been ordained as a priest in 1827. He served as a curate for several years and received his first appointment as a vicar in 1835 aged 33 years. He remained in his Northampton vicarage until he was offered either Adelaide or Newcastle Bishopric in 1845.He chose Adelaide and was consecrated as Bishop in Westminster Cathedral in June 1847 and he arrived in Port Adelaide on December 28th 1847. He was to remain Bishop of Adelaide until the end of December 1881 upon which he returned to England. He died there in 1883. When he arrived he had three existing clergy (one was in the Swan River colony- Albany) and 6 churches but he left 91 churches and he oversaw the construction of 33 rectories, 13 schools including St Peters Boys College, the grand St Peters’ Cathedral, St Barnabas Seminary College which he dedicated in December 1881 and a group of about 50 clergymen. He was instrumental in the establishment of the University of Adelaide and he developed the Poonindie Aboriginal Mission settlement and he left consecrated Anglican cemeteries across the state and city. In addition to these religious achievements he left behind a range of prominent heritage buildings in South Australia ranging from his first private home, now Beaumont House, Bishops Court and rectory in North Adelaide, his pro cathedral Christ Church in North Adelaide and many of the historic buildings of St Peters Boys College. Part of the legacy of Trinity Church, now Holy Trinity Church and the Anglican movement in this state was the creation of the suburb of Trinity Gardens. In 1840 Trinity Church was granted by a local resident about one half section of land (about 40 acres) east of the city as a glebe lands with a frontage to Magill Road. The trust deed did not allow the lands to be sold so an act of parliament was necessary to change that. These lands were eventually sold in 1920 to create the suburb of Trinity Gardens.

 

Bishop Short also left a legacy to the state through his children. His wife Millicent had had ten children by 1851 but only three boys and three girls survived infancy. Daughter Millecent married George Glen of Mayura pastoral run. When a town was created out of the lands of the run in 1871 it was named Millicent (with changed spelling) after Bishop Short’s daughter. One of his sons Henry Short (born 1843) took over Buttamuck station near Black Rock in the lower north in 1858. Bishop Short leased the land from Philip Levi and Henry Short managed the sheep run. Eventually Henry Short returned to Adelaide on a property called Bickham Grange near Paradise where he was a market gardener and local councillor for Highercombe. He died in 1903 and was buried in the Short family plot at Magill Anglican cemetery. His descendants are still to be found in South Australia as he had seven children and three were boys. In the family plot are the graves of two of Henry Short’s sisters. When baby Caroline died in February 1848 just after Bishop short’s arrival in South Australia there was no consecrated Anglican cemetery in the state. The cemetery at Magill church was thus consecrated by the Bishop for the burial of Caroline who was just 12 months old. Two years later baby Alice was buried in the same plot. Several of Augustus Short’s daughters returned early to live in England. Surprisingly daughter Albinia Wilson (nee Short) who lived most of her life in England had one of her sons serve in the Second Australian Light Horse at Gallipoli where he was killed in 1915.

 

Hindmarsh All Saints Anglican Church.

This early Anglican Church has several associations with Bishop Augustus Short. Firstly it is a very early South Australian Anglican church and secondly he laid the foundation stone of this church (not the church hall) near the rectory in November 1849. He was assisted by Lady Augusta Young the wife of the Governor. It was part of Bishop Short’s move to have as many Anglican churches as possible erected and established. Thirdly this church is important as it was designed by the architect Henry Stuckey whom Bishop Short got to design or possibly redesign Bishops Court in North Adelaide and Christ Church and its rectory. It is one of just six known Anglican churches designed by Stuckey and of those six only four remain standing. Bishop Short brought architectural plans with him from England for Christ Church, the rectory and Bishops Court but he employed architect Henry Stuckey to supervise the construction of all buildings and to make alterations as needed. In the end it is not clear how much the English designs were altered and changed by Stuckey but certainly the local limestone and bricks gave all of the Stuckey supervised buildings a very South Australian appearance. This Hindmarsh Church is an excellent example of Stuckey’s work with the use of local limestone (even for the foundations) and red brick quoins and Romanesque windows. The rear part of the church, the chancel and vestry was added in 1872. Look and you will see that bluestone was then being used for foundations although the design of Stuckey was replicated beautifully for this addition. The same cannot be said for the slightly ugly red brick porch added in 1925. Next to the church is the early rectory with later additions half sunk into the ground for cooler rooms in the summer and the church hall built in 1883.The church hall was designed by architect Daniel Garlick. Both the hall and the church are now used as theatres. Henry Stuckey was the architect of several other early Anglican churches in South Australia before his death in 1851. They include St Marks at Penwortham, St Barnabas at Clare, St Thomas at Port Lincoln, St Pauls at Port Adelaide, the original St Peters at Glenelg and several Anglican rectories. He also designed the first Pirie Street Wesleyan Methodist Church.

 

Claremont House now Beaumont House.

When the Shorts first arrived in the colony they stayed at Government House with Governor Robe who was single and had sufficient room for this. They later rented a house at Kensington whilst they had a cottage built at Beaumont overlooking the plains and the gulf. Bishop Short bought the land from Samuel Davenport who had developed the village of Beaumont in 1848. The Bishop then set to work designing the house himself hoping that with verandas it would avoid the summer sun and catch the breezes from the hills. It was a single storey house with a flat roof hidden behind a battlement. The design was unusual as the focus was a living room with bedrooms opening off it from each side. There were steps between various sections of the house and the kitchens and staff quarters were in separate structures at the rear. In all the house contained three bedrooms, a servant’s hall and maid’s bedroom and outbuildings and stables. Work began on Claremont Cottage as Bishop Short named it in 1849. The Shorts did not move into the house until 1851. Around the time that the Shorts moved into Claremont Cottage young Henry Short had laid the foundation stone of Bishops Court in North Adelaide (1851). When that became the home of Bishop Short in 1856 he sold his residence at Beaumont to Samuel Davenport for £2,100. Davenport immediately renamed it Beaumont House. The Davenports resided there until the death of Sir Samuel Davenport in 1906. His nephew then sold the house and it had several owners until it was donated to the National Trust in 1968. A later owner added the arcaded veranda across the front of the house around 1911.

 

Christ Church the Pro Cathedral.

The residents of North Adelaide wanted an Anglican church of their own rather than having to travel south across the Torrens River to one of the two city of Adelaide churches in the 1840s( Trinity on North Terrace and St Johns in Halifax Street). Women started raising funds from 1841 but no attempt at building a church was started until 1847 just before Bishop Short arrived in Adelaide. Bishop Short early in 1848 purchased one acre in North Adelaide for a pro cathedral and a further plot from George Morphett for a bishop’s residence. Bishop Short laid the foundation stone of his pro cathedral, to be known as Christ Church, in June 1848 and the opening services were held in December 1849. An indication that this church was to be the pro cathedral was the size, grandeur, the two transepts and the porches that were unusual in the colony in 1848. Minor additions have been made since such as the organ chamber designed by Daniel Garlick an architect and worshipper at Christ Church and the replacement of the original slate roof which was also done by Daniel Garlick. The Bishop donated £120 of his own money to the church building fund. The plans for Christ Church, Bishops Court and the Rectory were all brought from England by Bishop Short on his voyage to South Australia. A local architect Henry Stuckey supervised the constructions and made some alterations until Edmund Wright took over after Stuckey’s death. (Wright then married Stuckey’s widow!) The limestone was quarried from Palmer Place and was used for the main construction with red brick quoins. The style was relatively simple in Norman style with rounded windows and a round apse over the altar. This ceiling is painted blue and studded with gold stars with side inscriptions of the Lord’s Prayer and the Ten Commandments. The original Bishops Throne remains in Christ Church and can be seen in the south transept. The original pipe organ was installed in 1855 until replaced with a new one in 1873. Ornamental pipes were added in 1899 and the organ was gradually enlarged and improved. It was totally rebuilt in 1955.

 

Opposite the Christ Church is the Christ Church Day School building. This opened in 1849 in North Adelaide. In 1866 funds were raised for a new school building in Jeffcott Street opposite the church. The new Gothic style building opened in 1869. Stables were added in 1872. The school closed with declining enrolments in 1963 and the buildings were leased to tenants. The mitre of the Bishop of Adelaide still adorns the front wall of the old school.

 

Bishops Court and the Christ Church Rectory.

Within weeks of his arrival in South Australia Bishop Short purchased a two acre block at North Adelaide from George Morphett adjoining the Christ Church land. Augustus Short saw this as the future Bishop’s Court residence next door to his pro cathedral. His eldest son the eight year old Henry Augustus Short laid the foundation stone of Bishops Court in January 1851. Work began on the Tudor Gothic residence in local limestone and red brick but workers disappeared in late 1851 and 1852 when news of the Victorian gold rushes reached the colony. So work was delayed. Bishop Short commissioned Henry Stuckey to design Bishops Court, its stables and the Rectory for Christ Church in 1850. Stuckey set up his architectural practice in 1848 and lived in Palmer Place very close to where Bishops Court is located. Stuckey received other commissions from Bishop Short for the early buildings of St Peters Boys College (The Old School House and the Big School Room) and the several Anglican churches in Clare, Penwortham, Hindmarsh, Port Adelaide, Port Lincoln and Glenelg. Stuckey died in 1851 so all of these churches were built around 1850 to 1852. Curiously after Stuckey died in 1851 his widow married Edmund Wright in 1852 and he was one of the great 19th century architects of South Australia. Edmund Wright advertised that he would supervise the completion all work started by Henry Stuckey. This included both Bishops Court in Palmer Place and Christ Church Rectory also in Palmer Place. The Christ Church Rectory was finished first and occupied around 1851 or 1852 and although Bishops Court was occupied in 1856 by Bishop Short when he started sometimes using Bishops Court for an overnight stay the final completion was later. Once a bedroom and library were finished he would stay there overnight to save the trip back to Claremont House at Beaumont. In October 1855 he held a reception for about 200 people including the Governor of South Australia at a luncheon at Bishops Court surrounded by builders and plasters. The house is a rather rustic example of a Tudor Gothic mansion with a steeply pitched roof, ornamental shaped chimneys, gables, shuttered windows, Gothic arches and a veranda.

 

Bishops Court has been little altered since its completion except for the addition of a chapel by Bishop Thomas in 1912. The architect for this addition was George Soward. On the north facing wall of this chapel there is one recent addition which is a huge wall sun dial in memory of Bishop Short. It was unveiled in 1996. Wall sun dials are not common in South Australia and this fine example is made of stainless steel on a north facing wall of course. It is three metres tall and designed around a Celtic Cross. Unfortunately the high stone wall and trees and shrubs of Bishops Court masks it from public view. A small plaque on the street wall indicates that it exists. The best views of it are available from a little private mews alley behind Bishops Court. The Anglican Rectory for Christ Church is also in Palmer Place and is similar to the design of Bishops Court reflecting the fact that Henry Stuckey designed or redesigned both buildings to complement each other.

  

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Prof. John Pollini working with STUDENTS AT OSTIA

John Pollini in my opinion is the number 1 authority on Julio Claudian Portrait study. I have had much correspondence with Prof. Pollini and he is passionate about Roman Art. Here is his curriculum Vitae:

 

Education

B.A. Classics, University of Washington, 1/1968

M.A. Ancient History and Mediterranean Archaeology, UC Berkeley, 1/1973

Ph.D. Ancient History and Mediterranean Archaeology, UC Berkeley, 1/1978

 

Academic Appointment, Affiliation, and Employment History

Professor, Department of Art History (Adjunct Professor for Department of Classics and Department of History), University of Southern California, 1991-

Dean of the School of Fine Arts, University of Southern California, 1993-1996

Chairman of the Department of Art History, University of Southern California, 1990-1993

Associate Professor, Department of Art History and Department of Classics (adjunct appointment), University of Southern California, 1987-1991

Assistant Professor, Department of Classics, Johns Hopkins University, 1980-1987

Curator, Johns Hopkins University Archaeological Museum, 1980-1987

Visiting Assistant Professor, Department of Classics, Johns Hopkins University, 1979-1980

Mellon Postdoctoral Fellow, Department of Classics, Case Western Reserve University, 1978-1979

 

Description of Research

Summary Statement of Research Interests

Professor Pollini's research is concerned with methodologies of classical art and archaeology, ancient history, classical philology, epigraphy and numismatics. His other scholarly research interests include ancient religion, mythology, narratology, rhetoric and propaganda. Over the years Professor Pollini has excavated at the Greco-Roman site of Aphrodisias, Turkey, and the Etruscan site of Ghiaccio Forte, Italy, and participated in the underwater survey of the port of Tarquinia (Gravisca), Italy. Trained in the methodologies of classical art & archaeology, ancient history, classical philology, epigraphy, and numismatics, Professor Pollini is committed to interdisciplinary teaching and research. Professor Pollini has lectured widely both in the United States and abroad. He has published numerous articles and authored several books.

 

Research Specialties

Classical Art and Archaeology

 

Honors and Awards

Elected Life Member, German Archaeological Association, 2000-

American Council of Learned Societies Fellowship, awarded for second time, 2006-2007

Guggenheim Fellowship, deferred until 2007-2008, 2006-2007

Whitehead Professor at the American School of Classical Studies at Athens (Honorific Appointment), 9/1/2006-6/1/2007

Departmental Nominee for University Associates Award for Excellence in Teaching 2002, 2002-2005

Mellon Foundation Award for Excellence in Mentoring, 2004-2005

Departmental Nominee for University Associates Award for Excellence in Teaching 1998, 1998-2001

National Endowment for the Humanities Fellowship, awarded for second time, 1995-1996

American Council of Learned Societies Fellowship, 1987-1988

National Endowment for the Humanities Fellowship, 1983-1984

Mellon Postdoctoral Fellowship, 1978-1979

Fulbright Award, Fellowship to Italy, 1975-1976

   

CURRICULUM VITAE

 

JOHN POLLINI

 

Department of Art History

Von Kleinsmid Center 351 University of Southern California

Los Angeles, CA 90089-0047

  

Professor of Classical Art and Archaeology, Department of Art History

Joint Professor, Department of History

Adjunct Professor, Department of Classics

 

President, Classical Archaeological Association of Southern California (CAASC)

  

DEGREES

 

Ph. D. Ancient History and Mediterranean Archaeology, University of California at

Berkeley (1978) (interdisciplinary program involving the Departments of Art History,

Classics, and History; major field: Etruscan and Roman Art and Archaeology; minor

fields: Greek Art and Archaeology and Roman History; Ph.D. equivalency exams in

ancient Greek and Latin) [Diss.: Studies in Augustan “Historical” Reliefs]

 

M.A. Ancient History and Mediterranean Archaeology, University of California at

Berkeley (l973) [MA Thesis: Two Marble Portrait Statues of Pugilists from Carian

Aphrodisias: Iconography and Third Century A.D. Sculptural Traditions in the Roman

East]

 

B.A. magna cum laude, Classics, University of Washington (1968)

 

POSTDOCTORAL ACADEMIC APPOINTMENTS

 

Dean of the School of Fine Arts, University of Southern California, with administrative,

budgetary, and fund-raising responsibilities (1993-1996)

 

Chairman of the Department of Art History, University of Southern California

(1990-1993)

 

Full Professor, University of Southern California, Department of Art History

(1991-present), with joint appointment in the Department of History and adjunct

appointment in the Department of Classics

 

Associate Professor, University of Southern California, Department of Art History, with

adjunct appointment in the Department of Classics (1987-1991)

 

Assistant Professor, Johns Hopkins University, Department of Classics (1980-1987) and

 

Curator of the Johns Hopkins University Archaeological Museum (1980-1987)

 

Visiting Assistant Professor, Johns Hopkins University, Department of Classics

(1979-1980)

 

Mellon Postdoctoral Fellow, Case Western Reserve University, Department of Classics

(1978-1979)

 

INTERNATIONAL AND NATIONAL FELLOWSHIPS, GRANTS,

AWARDS, HONORS

 

William E. Metcalf Lectureship (2008)

 

John Simon Guggenheim Memorial Foundation Fellowship (2006-2007, deferred to

2007-2008)

 

Whitehead Professor of Archaeology, American School of Classical Studies at

Athens (2006-2007)

 

American Council of Learned Societies Fellowship (2006-2007)

 

Kress Foundation Travel Grant (Summer 2006)

 

Mellon Foundation Award for Excellence in Mentoring (2005)

 

Taggart Foundation Grant: Campus Martius Virtual Reality Project (2005)

 

Distinguished Lecturer, Biblical Archaeological Society and Center for Classical

Archaeology, University of Oklahoma, Norman (2005): Series of three lectures on

Roman and Christian Religion, Art, and Ideology

 

Kress Foundation Travel Grant (2003)

 

Senior Humboldt Research Prize (nominated) to Berlin, Germany, for 2000-2001

 

Elected Member (for life) of the German Archaeological Institute (Berlin) (2000)

 

National Endowment for the Humanities Fellowship for Independent Study and

Research (1995-1996)

 

Kress Foundation Travel Grant (Summer 1988)

 

American Council of Learned Societies Fellowship (1987-1988)

 

Kress Foundation Travel Grant (1987)

 

National Endowment for the Humanities Fellowship for Independent Study and

Research (1983-1984)

 

Mellon Postdoctoral Fellowship, Case Western Reserve University (1978-1979)

 

Mabelle McLeod Lewis Memorial Fund Fellowship to Italy (1975-1976)

 

Fulbright Fellowship, Università di Roma, Rome, Italy (1975-1976)

 

UNIVERSITY FELLOWSHIPS, GRANTS, AWARDS, HONORS

 

Departmental Nominee for University Associates Award for Excellence in Teaching

(2002-2005)

 

College Faculty Research Development Award (consecutive years: 2000-2007)

 

University of Southern California Grant for Innovative Undergraduate Teaching

(with Lynn Swartz Dodd and Nicholas Cipolla) for a virtual reality project “Imaging

Antiquity: Creating Context through Virtual Reconstructions, Digital Resources, and

Traditional Media” (2003-2004)

 

Grant for the “College Initiative for the Study of Political Violence” (2002)

 

University of Southern California Grant for Innovative Undergraduate Teaching

(with Bruce Zuckermann and Lynn Swartz Dodd) to develop a new interdisciplinary and

interdepartmental course entitled “Accessing Antiquity: Actual Objects in Virtual Space”

(2000-2001)

 

University of Southern California Senior Nominee for National Endowment for the

Humanities Summer Stipend for Faculty Research (1998-1999)

 

Departmental Nominee for University Associates Award for Excellence in Teaching

(1998-2001)

 

College Awards and Grants for Research Excellence (consecutive years: 1997-2000)

 

Hewlett Foundation Award and Grant for General Education Course Development

(1997-1998)

 

Faculty Research and Innovation Fund Grant, University of Southern California (1988)

 

University of California Traveling Fellowship (1976-1977)

 

Dean’s Fellowship, U.C. Berkeley (1973-1975)

 

Phi Beta Kappa (1968), University of Washington

 

ADDITIONAL EDUCATIONAL PREPARATION

 

Field trips sponsored by the American Academy in Rome, German Archaeological

Institute, and Comune di Roma (1975-1978)

 

Research in Rome, Italy for dissertation (1975-1978), as well as further study of Greek

and Roman art and architecture in Italy and elsewhere in Europe during this period

 

Supervised study of Greek and Roman sculpture at the J. Paul Getty Museum, with

J. Frel (1973-1975)

 

Course in Greek art and archaeology at the Universität München, Munich, Germany

with E. Homann-Wedeking (1971)

 

Study of the German language at the Goethe Institute, Grafing (Munich), Germany (1971)

 

Course work in Roman, Etruscan, and Italic art and architecture, Università di Roma,

with G. Becatti, M. Pallottino, F. Castagnoli, and M. Squarciapino (1970-1971)

 

ARCHAEOLOGICAL FIELD WORK

 

Underwater survey of port of Tarquinia (Gravisca), Italy (1977): Consultant

 

Excavation of Etruscan site of Ghiaccio Forte, Italy (1973)

 

Excavation of Greco-Roman site of Aphrodisias, Turkey (1970-1972)

 

Excavation of Spanish/Indian Mission, Guavave, Arizona (1965-1966)

 

LANGUAGES

 

Ancient: Latin and Greek

Modern: German, Italian, French, modern Greek, some Turkish

 

BOOKS

 

PUBLISHED:

 

I) The Portraiture of Gaius and Lucius Caesar (Fordham University Press, New York

1987) (with a book subvention from the National Endowment for the Humanities).

 

II) Roman Portraiture: Images of Character and Virtue, with graduate student

participation (Fisher Gallery, Los Angeles 1990).

 

III) Gallo-Roman Bronzes and the Process of Romanization:The Cobannus Hoard

(Monumenta Graeca et Romana IX) (Brill, Leiden 2002).

 

IV) The de Nion Head: A Masterpiece of Archaic Greek Sculpture (Philipp von

Zabern, Mainz 2003).

 

V) Terra Marique: Studies in Art History and Marine Archaeology in Honor of Anna

Marguerite McCann on the Receipt of the Gold Medal of the Archaeological Institute

of America (editor, designer, and contributor of introduction, publication list, and

one of 19 essays) (Oxbow Publications, Oxford 2005).

 

SUBMITTED:

 

VI) From Republic to Empire: Rhetoric, Religion, and Power in the Visual Culture of

Ancient Rome (University of Oklahoma Press), comprising eight chapters:

CHAPTER I: The Leader and the Divine: Diverse Modes of Representation in Roman Numismatics

CHAPTER II: The Cult Image of Julius Caesar: Conflicts in Religious Theology and Ideology in

Augustus’ Representational Program

CHAPTER III: From Warrior to Statesman in Augustan Art and Ideology: Augustus and the Image of

Alexander

CHAPTER IV: The Ideology of “Peace through Victory” and the Ara Pacis: Visual Rhetoric and the

Creation of a Dynastic Narrative [revised and updated essay originally published in

German]

CHAPTER V: The Acanthus of the Ara Pacis as an Apolline and Dionysiac Symbol of

Anamorphosis, Anakyklosis and Numen Mixtum [revised and updated publication].

CHAPTER VI: Divine Providence in Early Imperial Ideology: The Smaller Cancelleria Relief and

the Ara Providentiae Augustae

CHAPTER VII: The “Insanity” of Caligula or the “Insanity” of the Jews? Differences in Perception

and Religious Beliefs

CHAPTER VIII: “Star Power” in Imperial Rome: Astral Theology, Castorian Imagery, and the Dual

Heirs in the Transmission of the Leadership of the State

 

IN PROGRESS:

 

VII) Christian Destruction and Desecration of Images of Classical Antiquity: A Study

in Religious Intolerance in the Ancient World

 

VIII) Dynastic Narratives in Augustan Art and Thought: The Rhetoric and Poetry of

Visual Imagery [with DVD Virtual Reality Program of the Monuments]

 

IX) The Image of Augustus: Art, Ideology, and the Rhetoric of Leadership

 

X) Social, Sexual, and Religious Intercourse: Sacrificial Ministrants and Sex-Slaves

in Roman Art -- 3rd Century B.C. - 4th Century A.D.

  

ARTICLES

 

PUBLISHED:

 

1) “A Flavian Relief Portrait in the J. Paul Getty Museum,” in Getty Museum Journal

5 (1977) 63-66.

 

2) “Gnaeus Domitius Ahenobarbus and the Ravenna Relief,” in Römische Mitteilungen

88 (1981) 117-40.

 

3) “A Pre-Principate Portrait of Gaius (Caligula)?” in Journal of the Walters Art

Gallery 40 (1982) 1-12.

 

4) “Damnatio Memoriae in Stone: Two Portraits of Nero Recut to Vespasian in

American Museums,” in American Journal of Archaeology 88 (1984) 547-55.

 

5) “The Meaning and Date of the Reverse Type of Gaius Caesar on Horseback,” in

American Numismatic Society Museum Notes 30 (1985) 113-17.

 

6) “Response to E. Judge’s ‘On Judging the Merits of Augustus,’” in Center for

Hermeneutical Studies: Colloquy 49 (1985) 44-46.

 

7) “Ahenobarbi, Appuleii and Some Others on the Ara Pacis,” in American Journal of

Archaeology 90 (1986) 453-60.

 

8) “The Findspot of the Statue of Augustus from Prima Porta,” in Bullettino della

Commissione Archeologica Comunale di Roma 92 (1987/88) 103-108.

 

9) “Two Acrolithic or Pseudo-Acrolithic Sculptures of the Mature Classical Period in

the Archaeological Museum of the Johns Hopkins University,” in Classical Marble:

Geochemistry,Technology, Trade (NATO ASI Series E vol. 153), edd. N. Herz and

M. Waelkens (Dordrecht 1988) 207-17.

 

10) “Man or God: Divine Assimilation and Imitation in the Late Republic and Early

Principate,” in Between Republic and Empire: Interpretations of Augustus and His

Principate, edd. K.A. Raaflaub and M. Toher (Berkeley 1990) 333-63.

 

11) “The Marble Type of the Augustus from Prima Porta: An Isotopic Analysis,” in

Journal of Roman Archaeology 5 (1992) 203-208.

 

12) “The Tazza Farnese: Principe Augusto ‘Redeunt Saturnia Regna’!” in American

Journal of Archaeology 96 (1992) 249-55, 283-300.

 

13) “The Cartoceto Bronzes: Portraits of a Roman Aristocratic Family of the Late First

Century B.C.,” in American Journal of Archaeology 97 (1993) 423-46.

 

14) “The Gemma Augustea: Ideology, Rhetorical Imagery, and the Construction of a

Dynastic Narrative,” in Narrative and Event in Ancient Art, ed. P. Holliday

(Cambridge 1993) 258-98.

 

15) “The Acanthus of the Ara Pacis as an Apolline and Dionysiac Symbol of

Anamorphosis, Anakyklosis and Numen Mixtum,” in Von der Bauforschung zur

Denkmalpflege, Festschrift für Alois Machatschek (Vienna 1993) 181-217.

 

16) “The ‘Trojan Column’ at USC: Reality or Myth?” in Trojan Family (May, 1994)

30-31.

 

17) “The Augustus from Prima Porta and the Transformation of the Polykleitan Heroic

Ideal,” in Polykleitos, the Doryphoros, and Tradition, ed. W. Moon (Madison 1995)

262-82.

 

18) “The ‘Dart Aphrodite’: A New Replica of the ‘Arles Aphrodite Type,’ the Cult Image

of Venus Victrix in Pompey’s Theater at Rome, and Venusian Ideology and Politics

in the Late Republic - Early Principate,” in Latomus 55 (1997) 757-85.

 

19) “Parian Lychnites and the Prima Porta Statue: New Scientific Tests and the Symbolic

Value of the Marble” (with N. Herz, K. Polikreti, and Y. Maniatis), in Journal of

Roman Archaeology 11 (1998) 275-84.

 

20) “The Warren Cup: Homoerotic Love and Symposial Rhetoric in Silver,” in The Art

Bulletin 81 (1999) 21-52.

 

21) “Ein mit Inschriften versehener Legionärshelm von der pannonisch-dakischen Grenze

des römischen Reiches: Besitzverhältnisse an Waffen in der römischen Armee,” in

M. Junkelmann, Römische Helme VIII Sammlung Axel Guttmann, ed. H. Born

(Mainz 2000) 169-88.

 

22) “The Marble Type of the Statue of Augustus from Prima Porta: Facts and Fallacies,

Lithic Power and Ideology, and Color Symbolism in Roman Art,” in Paria Lithos:

Parian Quarries, Marble and Workshops of Sculpture (Proceedings of the First

International Conference on the Archaeology of Paros and the Cyclades, Paros, 2-5

October 1997), edd. D.U. Schilardi and D. Katsonopoulou (Athens 2000) 237-52.

 

23) “The Riace Bronzes: New Observations,” in Acten des 14. Internationalen

Kongresses für Antike Bronzen, Kölner Jahrbuch 33 (2000) 37-56.

 

24) “Two Bronze Portrait Busts of Slave-Boys from a Shrine of Cobannus in Roman

Gaul,” in Studia Varia II: Occasional Papers on Antiquities of The J. Paul Getty

Museum 10 (2001) 115-52.

 

25) “A New Portrait of Octavian/Augustus Caesar,” in Roman Sculpture in the

Art Museum, Princeton University (Princeton 2001) 6-11.

 

26) “Two Gallo-Roman Bronze Portraits of Sacrificial Ministrants in the J. Paul Getty

Museum,” in From the Parts to the Whole 2: Acta of the 13th International Bronze

Congress, Cambridge, Massachusetts, May 28 - June 1, 1996, edd. C.C.

Mattusch, A. Brauer, and S.E. Knudsen (Portsmouth, Rhode Island 2002) 89-91.

 

27) “‘Frieden-durch-Sieg’ Ideologie und die Ara Pacis Augustae: Bildrhetorik und

die Schöpfung einer dynastischen Erzählweise,” in Krieg und Sieg: Narrative

Wanddarstellungen von Altägypten bis ins Mittelalter (Internationales

Kolloquium 23. - 30. Juli 1997 im Schloss Heindorf, Langenlois; Österreichischen

Akademie der Wissenschaften XXIV), edd. M. Bietak und M. Schwarz (Vienna

2002) 137-59.

 

28) “A New Portrait of Octavia and the Iconography of Octavia Minor and Julia Maior,”

Römische Mitteilungen 109 (2002) 11-42.

 

29) “Slave-Boys for Sexual and Religious Service: Images of Pleasure and Devotion,” in

Flavian Rome: Culture, Image, Text, edd. A.J. Boyle and W.J. Dominik (Leiden

2003) 149-66.

 

30) “The Caelian Hill Sacrificial Minister: A Marble Head of an Imperial Slave-Boy from

the Antiquarium Comunale on the Caelian Hill in Rome,” in Römische Mitteilungen

111 (2004) 1-28.

 

31) “A New Head of Augustus from Herculaneum: A Marble Survivor of a Pyroclastic

Surge,” in Römische Mitteilungen 111 (2004) 283-98.

 

32) “The Armstrong and Nuffler Heads and the Portraiture of Julius Caesar, Livia, and

Antonia Minor in Terra Marique: Studies in Honor of Anna Marguerite McCann

on the Receipt of the Gold Medal of the Archaeological Institute of America, ed.

J. Pollini (Oxbow Publications, Oxford 2005) 89-122.

 

33) “A New Marble Portrait of Tiberius: Portrait Typology and Ideology,” in Antike Kunst

48 (2005) 57-72.

 

34) “A North African Portrait of Caracalla from the Mellerio Collection and the

Iconography of Caracalla and Geta,” in Revue Archéologique (2005) 55-77.

 

35) “A Bronze Gorgon Handle Ornament of the Ripe Archaic Greek Period,” in Annuario

della Scuola Archeologica Italiana di Atene e delle Missioni Italiani in Oriente 83

(2005) 235-47.

 

36) “Ritualizing Death in Republican Rome: Memory, Religion, Class Struggle, and the

Wax Ancestral Mask Tradition’s Origin and Influence on Veristic Portraiture” in

Performing Death: Social Analyses of Funerary Ritual in the Ancient Near East

and Mediterranean (Oriental Institute Seminars 3, University of

Chicago), ed. N. Laneri (Chicago 2007) 237-85.

 

37) “A New Bronze Portrait Bust of Augustus,” in Latomus 66 (2007) 270-73.

 

FORTHCOMING:

 

38) “Gods and Emperors in the East: Images of Power and the Power of Intolerance,”

in the proceedings of an international conference on “‘Sculptural Environment’ of the

Roman Near East: Reflections on Culture, Ideology, and Power” (University of

Michigan), in Interdisciplinary Studies in Ancient Culture and Religion,

edd. E.A. Friedland, S.C. Herbert, and Y.Z. Eliav (Peeters Publ.: Leuven).

 

39) “A New Portrait Bust of Tiberius in the Collection of Michael Bianco,” in Bulletin

Antieke Beschaving 83 (2008) 133-38.

 

40) “The Desecration and Mutilation of the Parthenon Frieze by Christians and Others,” in

Athenische Mitteilungen 122 (2007).

 

41) “Problematics of Making Ambiguity Explicit in Virtual Reconstructions:

A Case Study of the Mausoleum of Augustus,” for the proceedings of an international

conference, “Computer Technology and the Arts: Theory and Practice,” sponsored by

the British Academy and the University of London.

 

42) “A Winged Goat Table Leg Support from the House of Numerius Popidius Priscus at

Pompeii,” in Pompei, Regio VII, Insula 2, pars occidentalis. Indagini, Studi,

Materiali (la Soprintendenza Archeologica di Pompei), ed. L. Pedroni.

 

43) “Augustus: Portraits of Augustus,” in Oxford Encyclopedia of Ancient Greece and

Rome (2008).

 

44) “A New Bronze Lar and the Role of the Lares in the Domestic and Civic Religion of the Romans,” in Latomus (2008).

  

IN PROGRESS:

 

45) “The ‘Colville Athena’ Head and Its Typology.”

 

46) “Idealplastik and Idealtheorie: Paradeigmatic Systems, Homosexual Desire, and the

Rhetoric of Identity in Polykleitos’ Doryphoros and Diadoumenos.”

 

REVIEW ARTICLES

 

PUBLISHED:

 

D. Boschung, Die Bildnisse des Augustus (Das römische Herrscherbild I.2) (Berlin 1993),

in Art Bulletin 81 (1999) 723-35.

 

E. Varner, Mutilation and Transformation: Damnatio Memoriae and Roman Imperial

Portraiture (Monumenta Graeca et Romana 10) (Leiden 2004), in Art Bulletin 88

(2006) 591-98.

  

BOOK REVIEWS

 

PUBLISHED:

 

M. Torelli, Typology and Structure of Roman Historical Reliefs, in American Journal of

Archaeology 87 (1983) 572-73.

 

J. Ganzert, Das Kenotaph für Gaius Caesar in Limyra, in American Journal of

Archaeology 90 (1986) 134-36.

 

R. Brilliant, Visual Narratives. Storytelling in Etruscan and Roman Art in American

Journal of Philology 107 (1986) 523-27.

 

PUBLISHED IN CHOICE:

 

E. Bartman, Portraits of Livia: Imaging the Imperial Woman in Augustan Rome, in

vol. 37 (1999) 126.

 

B.S. Ridgway, Prayers in Stone: Greek Architectural Sculpture (Ca. 600 - 100 B.C.),

in vol. 37 (2000) 1095.

 

W.E. Mierse, Temples and Towns in Roman Iberia: The Social and Architectural

Dynamics of Sanctuary Designs from the Third Century B.C. to the Third Century A.D.

in vol. 37 (2000) 1458.

 

V. Karageorgis, Ancient Art from Cyprus: The Cesnola Collection in The Metropolitan

Museum of Art (New York 2000)in vol. 38 (2000) 1953.

 

Z. Hawass, Valley of the Golden Mummies (New York 2000) in vol. 38 (2001)

4036.

 

M.W. Jones, Principles of Roman Architecture (New Haven 2000) in vol. 38 (2001)

5409.

 

F. Salmon, Building on Ruins: The Rediscovery of Rome and English Architecture

(Ashgate 2000) in vol. 39 (2001) 106.

 

J. Boardman, The History of Greek Vases: Potters, Painters and Pictures (New York

2001) in vol. 39 (2002) 3755.

 

Roman Sculpture in the Art Museum, Princeton University, ed. J. M. Padgett (Princeton

2001) in vol. 39 (2002) 6218.

 

G. Hedreen, Capturing Troy: The Narrative Function of Landscape in Archaic and Early

Classical Greek Art (Ann Arbor, 2001) in vol. 40 (2002) 73.

 

A. J. Clark, M. Elston, and M.L. Hart, Understanding Greek Vases: A Guide to Terms,

Styles, and Techniques (Los Angeles 2002) in vol. 40 (2003) 3185.

 

S. Woodford, Images of Myths in Classical Antiquity (Cambridge 2003) in vol. 41

(2003) 89.

 

J. Aruz with R. Wallenfels (edd.), Art of the First Cities: The Third Millennium B.C. from

the Mediterranean to the Indus (The Metropolitan Museum of Art, New York) (New

Haven 2003) in vol. 41 (2004) 2584.

 

G. Curtis, Disarmed: The Story of the Venus de Milo (New York 2003) in vol. 41 (2004)

5083.

 

Games for the Gods: The Greek Athlete and the Olympic Spirit, edd. J.J. Herrmann and C.

Kondoleon (Boston Museum of Fine Arts) in vol. 42 (2004) 646.

 

E.W. Leach, The Social Life of Painting in Ancient Rome and on the Bay of Naples

(Cambridge 2004) in vol. 42 (2004) 1215-16.

 

D. Mazzoleni, Domus: Wall Painting in the Roman House (Los Angeles 2004) in vol. 42

(2005) 1809.

 

S. Fine, Art and Judaism in the Greco-Roman World: Toward a New Jewish Archaeology

(Cambridge 2005) in vol. 43 (2006) 1586-87.

 

C.H. Hallett, The Roman Nude: Heroic Portrait Statuary 200 B.C. -- A.D. 300 (Oxford

2005) in vol. 44 (2006).

 

Constantine the Great: York’s Roman Emperor, edd. E. Hartley, J. Hawkes, M. Henig, and

F. Mee (York 2006) in vol. 44 (2006).

 

M.D. Stansbury-O’Donnell, Vase Painting, Gender, and Social Identity in Archaic Athens

(Cambridge 2006) in vol. 44 (2006).

 

PRINCIPAL INSTRUCTIONAL MATERIALS (Hard Copy and Online):

 

Greek Art and Archaeology: Course Manual (113 pages, 23 plates) and online version of

this Course Manual with digitized images

 

Roman Art and Archaeology: Course Manual (158 pages, 58 plates) and online version

of this Course Manual with digitized images

 

Digging into the Past: Material Culture and the Civilizations of the Ancient

Mediterranean: Course Manual (43 pages)

 

Proseminar Guide to General and Specific Works on Greek and Roman Art and

Archaeology and Related Disciplines (50 pages) and online version

 

Website for AHIS 425, “Introduction to Interdisciplinary Research and Methodology

in Classical Art and Archaeology and Related Disciplines” with links to other important

websites in the fields of Art, Archaeology, Classics, and Ancient History

 

Website for AHIS 201g: “Digging into the Past: Material Culture and the

Civilizations of the Ancient Mediterranean” (with digitized images)

 

PAPERS GIVEN AT INTERNATIONAL AND NATIONAL

CONFERENCES AND SYMPOSIA

 

On Judging the Merits of Augustus: Center for Hermeneutical Studies: Colloquy,

Berkeley (April, 1985)

 

Investigating Hellenistic Sculpture: Center for Advanced Study in the Visual Arts,

National Gallery of Art (October, 1986)

 

Augustus: Monuments, Arts, and Religion: Brown University (March, 1987)

 

Aspects of Ancient Religion: University of California at Berkeley (April, 1987)

 

Marble and Ancient Greece and Rome: International conference sponsored by

NATO at Il Ciocco (Tuscany), Italy (May, 1988)

 

Polykleitos, the Doryphoros and Its Influence: University of Wisconsin, Madison

(October, 1989)

 

UCLA-USC Seminar in Roman Studies: UCLA, Los Angeles (December, 1992)

 

XIIIth International Bronze Congress: Harvard University (May 28 - June 1, 1996)

 

UCLA-USC Seminar in Roman Studies: Roman Representations: Subjectivity, Power

and Space: USC, Los Angeles (March, 1997)

 

International Symposium at Cuma (Naples): Flavian Poets, Artists, Architects and

Engineers in the Campi Flegrei (July, 1997)

 

International Symposium at the University of Vienna: Interdisziplinäres Kolloquium

Historische Architekturreliefs vom Alten Ägypten bis zum Mittelalter (July, 1997)

 

First International Conference on the Archaeology of Paros and the Cyclades: Paros,

Greece (October, 1997)

 

Getty Research Institute Colloquium: Work in Progress (November, 1997)

 

Annual Meetings of the Art Historians of Southern California at California State

University, Northridge, California (November, 1998)

 

XIV. Internationaler Kongress für Antike Bronzen: Werkstattkreise, Figuren und Geräte

(Sponsored by Das Römisch-Germanisches Museum der Stadt Köln und das

Archäologisches Institut der Universität zu Köln [September 1999]): Besides giving paper,

chaired the session “Bronzestatuen und -statuetten: Fundkomplexen, Fundgruppen,

Einzelstücke, und Typen”

 

First International Symposium on Roman Imperial Ideology: Politics, Art, and

Numismatics at the Villa Vergiliana, Cuma (Naples) -- keynote speaker and chaired

session on “Ideology, Historiography, and the Imperial Family” (May, 2000)

 

International Symposium at Emory University, Atlanta: Tyranny and Transformation

(October, 2000)

 

Annual Meeting of the Art Historians of Southern California at the Getty Center,

Los Angeles, California (November, 2000)

Getty Research Institute Colloquium: Work in Progress (December, 2000)

 

Second International Symposium on Roman Imperial Ideology: Politics, Art, and

Numismatics at the Villa Vergiliana, Cuma (Naples) -- chaired session on “The Image of

the Princeps and the Ruler Cult” (May, 2001)

 

UCLA-USC Seminar in Roman Studies: UCLA, Los Angeles (April, 2002)

 

Third International Symposium on Roman Imperial Ideology: Politics, Art, and

Numismatics at the Villa Vergiliana, Cuma (Naples) -- chaired session on “Roman History

and Ideology” (May, 2002)

 

Symposium on the Age of Augustus at UCLA -- (Feb., 2003)

 

Fourth International Symposium on Roman Imperial Ideology: Politics, Art, and

Numismatics at the Villa Vergiliana, Cuma (Naples) -- keynote speaker and

chaired session (May, 2003)

 

International Archaeological Congress, Harvard University (Aug. 2003): Besides giving a

paper, chaired session on “Ancient Society”

 

VIIth International ASMOSIA Conference, Thasos, Greece (Sept. 2003)

 

International Conference in the Arts and the Humanities, Honolulu, Hawaii (Jan. 2004)

 

Symposium on Roman Sculpture, Minneapolis Museum of Art (organized by Richard

Brilliant) (April, 2004)

 

International Symposium on Interaction of Indigenous and Foreign Cults in Italy at Cuma

(Naples) (May, 2004): Besides giving a paper, chaired session

 

International Conference at University of Michigan: “‘Sculptural Environment’ of the

Roman Near East: Reflections on Culture, Ideology, and Power (November 2004)

 

International Conference at Stanford University: “Seeing the Past” (February 2005)

 

International Conference at the University of London: “Computer Technology and the Arts:

Theory and Practice” (November 2005)

 

International Conference at the University of Chicago: “Performing Death: Social Analyses

of Funerary Ritual in the Mediterranean” (February 2006)

  

VIIIth International ASMOSIA Conference, Aix-en-Provence, France (June 2006)

 

Symposium “Art of Warfare”: Michael C. Carlos Museum, Emory University (January

2007)

 

PAPERS PRESENTED AT ANNUAL CONVENTIONS OF THE

ARCHAEOLOGICAL INSTITUTE OF ARCHAEOLOGY AND THE

COLLEGE ART ASSOCIATION

 

Boston (AIA, December, 1979)

 

New Orleans (AIA, December, 1980)

 

San Francisco (AIA, December, 1981)

 

Philadelphia (AIA, December, 1982)

 

Cincinnati (AIA, December, 1983)

 

Toronto (AIA, December, 1984)

 

Washington, D.C. (AIA, December, 1985) -- invited paper, “The Promulgation of the

Image of the Leader in Roman Art,” in a special AIA plenary session on Politics and

Art

 

San Antonio (AIA, December, 1986) -- invited paper, “Time, Narrativity, and Dynastic

Constructs in Augustan Art and Thought,” at a joint AIA-APA session on topics

illustrating connections between Roman art and philology

 

Houston (CAA, February, 1988) -- invited paper, “The Gemma Augustea and the

Construction of a Dynastic Narrative,” for a CAA session on Narrative and Event in

Greek and Roman Art

 

Atlanta (AIA, December, 1994) -- discussant for a joint AIA-APA session on “Rethinking

Nero’s Legacy: New Perspectives on Neronian Art, Literature, and History”

 

New York (AIA, December, 1996) -- special poster session: “The Marble Type of the

Statue of Augustus from Prima Porta: New Scientific Tests” (prepared in collaboration

with Norman Herz, Director of Programs, Center for Archaeological Sciences, University

of Georgia)

 

Chicago (AIA, December, 1997)

 

Washington, D.C. (AIA, December, 1998) -- invited paper, “A Portrait of a Sex-Slave

‘Stud’ (?) in the Metropolitan Museum of Art in New York,” for a special colloquium in

honor of Anna Marguerite McCann on the receipt of the “Gold Medal” of the

Archaeological Institute of America

 

San Francisco (AIA, January, 2004) -- joint paper with N.Cipolla and L. Swartz Dodd

 

OTHER ACADEMIC AND PUBLIC LECTURES/TALKS

 

American Academy, Rome, Italy (March, 1976)

 

Cleveland Society AIA, Cleveland, Ohio (April, 1979)

 

Johns Hopkins University, Baltimore, Md. (September, 1980)

 

Institute of Fine Arts, New York, N.Y. (October, 1980)

 

Metropolitan Museum of Art, New York, N.Y. (January, 1983)

 

New York Society AIA, New York, N.Y. (January, 1983)

 

Baltimore Society AIA, Baltimore, Md. (February, 1983)

 

University of Toronto, Toronto, Canada (March, 1987)

 

University of Southern California, Los Angeles, Ca. (March, 1987)

 

Columbia University, New York, N.Y. (April, 1987)

 

Classical Archaeological Society of Southern California, UCLA, Ca. (November 1989)

 

Tulane University, New Orleans, La. (February, 1990)

 

Classical Archaeological Society of Southern California, USC, Ca. (February 1990)

 

Los Angeles Society AIA, Los Angeles, Ca. (March, 1990)

 

Fisher Gallery and School of Fine Arts, University of Southern California, Los Angeles,

Ca. (March, 1990)

 

Institute of Fine Arts, New York, N.Y. (April, 1990)

 

American Academy, Rome, Italy (May, 1990)

 

University of Vienna and Kunsthistorisches Museum, Vienna, Austria (June, 1990)

 

San Diego Society AIA, San Diego, Ca. (September, 1990)

 

Classical Archaeological Society of Southern California, Getty Museum, Malibu, Ca.

(November, 1990).

 

University of Pennsylvania, Philadelphia, Pa. (December, 1990)

 

Classical Archaeological Society of Southern California, Gamble House, Pasadena, Ca.

(March 1991)

 

Henry T. Rowell Lecturer: Baltimore Society AIA, Baltimore, Md. (November, 1991)

 

Villanova University, Villanova, Pa. (November, 1991)

 

Royal-Athena Galleries, Los Angeles, Ca. (October, 1992)

 

Center for Advanced Study in the Visual Arts (CASVA), National Gallery of Art,

Washington D.C. (November, 1992)

 

University of North Carolina, Chapel Hill, N.C. (November, 1992)

 

Duke University, Durham, N.C. (November, 1992)

 

University of California, Los Angeles: UCLA/USC Seminar in Roman Studies, Los

Angeles, Ca. (December, 1992)

 

University of Southern California, Los Angeles, Ca. (January, 1993)

 

J. Paul Getty Museum and Center for the History of Art and the Humanities, Malibu,

Ca. (February, 1993)

 

Classical Archaeological Society of Southern California, UCLA, Ca. (March 1993)

 

California State University, Long Beach, Ca. (March, 1993)

 

Stanford University, Palo Alto, Ca. (April, 1993)

 

University of California, Berkeley, Ca. (April, 1993)

 

California State University, Northridge, Ca. (April, 1993)

 

University of Arizona, Tucson, Az. (April, 1993)

 

American Academy, Rome, Italy (June, 1994)

 

Getty Center for the History of Art and the Humanities (Director’s Series) (Dec., 1994)

 

University of California, Irvine (May, 1997)

 

American Academy, Rome, Italy (July, 1997)

 

American School of Classical Studies, Athens (October, 1997)

 

Los Angeles County Museum of Art, Los Angeles (March, 1998)

 

British School at Rome (June, 1998)

 

University of California, Berkeley (November, 1998)

 

Classical Archaeological Society of Southern California, University of California,

Santa Barbara (March, 1999)

 

Work in Progress: Getty Research Institute, Brentwood, California (December, 2000)

 

Classical Archaeological Society of Southern California, Getty Research Institute,

Brentwood, Ca. (April, 2001)

 

American Academy, Rome, Italy (May, 2001)

 

Loyola Marymount, Los Angeles (March, 2002)

 

Southern California Institute of Architecture (February, 2003)

 

Columbia University, New York (April, 2003)

 

University of Amsterdam, the Netherlands (May, 2003)

 

University of Nijmegen, the Netherlands (May, 2003)

 

American School of Classical Studies, Athens (September, 2003)

 

University of Oklahoma, Norman (March, 2005)

 

Cambridge University, Cambridge, England (November, 2005)

 

American School of Classical Studies at Athens, Greece (March, 2007)

 

University of Athens, Greece (May, 2007)

 

Los Angeles Society of the AIA, Los Angeles (December, 2007)

 

College of William and Mary (January, 2008)

 

Duke University, Durham (February, 2008)

 

Dickinson College, Carlisle, PA (March, 2008)

 

University of Nebraska, Lincoln (April, 2008)

 

AMERICAN SCHOOL OF CLASSICAL STUDIES AT ATHENS as Whitehead Professor of Archaeology (2006-2007)

 

Participated in all Fall trips of the School to various parts of Greece, giving

presentations on each of the trips.

 

Participated in the School’s Spring trip to Central Anatolia, giving several presentations.

 

Offered a seminar in the Winter Quarter: “Christian Destruction and Desecration of

Images and Shrines of Classical Antiquity.”

  

MISCELLANEOUS TALKS AND PRESENTATIONS

 

Lectures and talks on site regarding the architecture and topography of Rome, Ostia,

and Hadrian’s Villa for members of the Technische Universität für Architektur und

Denkmalpflege, Vienna, Austria; the Summer School of the American Academy in

Rome; St. Olaf College’s Junior Year Abroad Program; and M.A. students of

architecture in a joint summer program of the University of Southern California and the

University of Illinois; and the Intercollegiate Center for Classical Studies in Rome.

 

Talks on various aspects of Classical art and archaeology at meetings of the

Archaeological Society of the Mid-Atlantic States (1980-1987)

 

Gallery talks on the ancient collections of the Archaeological Museum of the Johns

Hopkins University (in capacity as curator) and of the Walters Art Gallery (1979-1987)

 

Gallery talks on the ancient collections of the J. Paul Getty Museum and the Los Angeles

County Museum of Art (1987-present)

 

Talk for USC graduate students in the Dept. of Classics at the Ara Pacis and Mausoleum of

Augustus in Rome (May 26, 2006), organized by Prof. Claudia Moatti, Dept. of Classics

 

SPECIAL TALKS AND LECTURES AT USC

 

Seminar for Professor Claudia Moatti, Department of Classics: “Problems in Ancient Art”

(March, 2005)

 

Seminar for Dr. Daniela Bleichmar, Department of Art History: Rediscovering the

Classical Past: The Relationship of Art History, Archaeology, and Visual Culture (March,

2005)

 

University of Southern California’s 125th Celebration: For Symposium on “Trojan

Legends” presented paper: “USC's Trojan Column: An Ancient and Modern Myth”

(October, 2005)

 

MEDIA INTERVIEWS AND CONSULTATION

 

New York Times, International Herald Tribune, Los Angeles Times, The New Yorker, The

History Channel, Arts and Entertainment Channel, KPCC Radio Los Angeles, NBC, Fox

 

Featured piece on my innovative work on the marble type of the statue of Augustus from

Prima Porta: A. Elders, “Tracing the Stones of Classical Brilliance,” in Hermes -- Greece

Today 35 (1999) 20-24.

 

ORGANIZER AND LEADER OF TOURS OF MUSEUMS AND SITES

 

Turkey (for Board of Councilors and donors of the School of Fine Arts, USC, 1995; for

university students and the general public, 1998)

 

Greece (Attica and the Peloponnese) (for university students and the general public, 1999)

 

Central Italy (for university students and the general public, 2000, 2002, 2003)

 

PARTICIPATION IN OTHER COLLOQUIA AND SYMPOSIA

 

Roman Sculpture and Architecture: German Archaeological Institute, Rome

(January, 1978)

 

Roman Architecture: Center for Advanced Study in the Visual Arts, National Gallery

of Art (January, 1981)

 

The Age of Augustus. The Rise of Imperial Ideology: Brown University (April, 1982)

 

Pictorial Narratives in Antiquity and the Middle Ages: The Johns Hopkins University and

the Center for Advanced Study in the Visual Arts, National Gallery of Art (March, 1984)

 

Villa Gardens of the Roman Empire: Dumbarton Oaks (May, 1984)

 

Retaining the Original -- Multiple Originals, Copies, and Reproductions: Center for

Advanced Study in the Visual Arts, National Gallery of Art (March, 1985)

 

Investigating Hellenistic Sculpture: Center for Advanced Study in the Visual Arts,

National Gallery of Art (October, 1986)

 

Marble -- Art Historical and Sculptural Perspectives on Ancient Sculpture: J. Paul Getty

Museum (April, 1988)

 

International Conference on Roman Archaeology and Latin Epigraphy: University of

Rome and the French School of Rome (May, 1988)

 

Roman Portraits in Context: Emory University (January, 1989)

 

Small Bronze Sculpture from the Ancient World: J. Paul Getty Museum (March, 1989)

 

Alexandria and Alexandrianism: J. Paul Getty Museum (April, 1993)

 

International Symposium: “Rome Reborn” Visual Reality Program at UCLA (December,

1996)

 

History of Restoration of Ancient Stone Sculptures, J. Paul Getty Museum (October, 2001)

 

Re-Restoring Ancient Stone Sculpture, J. Paul Getty Museum (March, 2003)

 

Marble Conference on Thasos, Liman, Thasos (Sept. 2003)

 

OTHER PROFESSIONAL ACTIVITIES

 

Editorial Assistant (1968-1969) and Associate Editor (1969-1970), AGON: Journal of

Classical Studies

 

Editorial Board, American Journal of Philology (January, 1982-January, 1987)

 

Delegate from Baltimore Society AIA to National Convention (1984-1986)

 

Vice-President, Baltimore Society of the AIA (1985-1987)

 

Co-Director, Exhibition on Roman Portraiture, Fisher Gallery (1989)

 

Co-Founder (with Dr. Diana Buitron) of the Classical Archaeological Society of the Mid-

Atlantic States (1978-87)

 

Founder and President of the Classical Archaeological Society of Southern California

(1987-present)

 

Member of the Ancient Art Council of the Los Angeles County Museum of Art (1987-

present)

 

Oversaw the publication and helped edit the newsletter “ARTFACTS” of the

School of Fine Arts (1993-1996) during my tenure as Dean of the School of Fine Arts

 

USC Representative to Advisory Council of the American Academy in Rome

(1993-present)

 

Comitato di Collaborazione Culturale to the Consul General of Italy at Los Angeles

(1995-1998)

 

Advisory Committee for the Virtual Reality Project for Ancient Rome (“Rome Reborn”)

(1996-1998)

 

Delegate from Los Angeles Society AIA to National Convention (Chicago, Dec., 1997)

 

Reviewer for the Getty Grant Program (1999)

 

Reviewer for the MacArthur Foundation Grant (2000, 2003)

 

Planning Committee for a Four-Year International Conference on “Roman Imperial

Ideology” at the Villa Vergiliana at Cuma (Naples), organized by J. Rufus Fears (2000-

2003)

 

Consultant for the Forum of Augustus Project: Sovrintendenza Archeologica Comunale,

Direzione al Foro di Augusto (2004-present)

 

Editor of the newsletter “Musings” for the Department of Art History, USC (2005)

 

Planning Committee for the Internation Bronze Congress in Athens, Greece (2006-2007)

 

Chaired two sessions -- “Roman Sculpture” and “Augustan Art” -- at the Annual Meeting

of the Archaeological Institute of America (San Diego 2007)

  

UNIVERSITY COMMITTEES AND OTHER SERVICE

 

Faculty Senate (1988-1991)

 

Advisory Committee to the Dean of the School of Fine Arts (1990-1991, 1992-1993)

 

Chairman, Personnel Committee of the School of Fine Arts (1988-1990)

 

Library Liaison Officer for Art and Architecture Library (1987-present)

 

Search Committee for Reference Librarian of the Art and Architecture Library

(1989-1990 and 2000)

University Library Committee (1989-1990, 1998-2001)

 

Recruitment Committee for the School of Fine Arts (1989-1995)

 

Space Allocation Committee, School of Fine Arts (1989-1990)

 

University Research Committee (1990-1991)

 

Promotion Committee, School of Fine Arts (1990-1995)

 

University Ad Hoc Committee on Revenue Center Management (1990-1995)

 

Committee for University Development, School of Fine Arts (1993-1995)

 

Development Task Force, the School of Fine Arts (1993-1995)

 

Consultative Committee to the Provost (Spring 1993-1995)

 

University Galleries Advisory Committee (1993-1995)

 

University Committee on Transnational and Multicultural Affairs (1993-1995)

 

Provost’s Council at USC (formerly Council of Deans) (1993-1995)

 

USC Representative to the Advisory Council of the American Academy in Rome

(1993-present)

 

Founder and Member of the Board of Councilors for the School of Fine Arts (1994-1995)

 

Consortium Council of Deans for Development at USC (1995)

 

Tenure and Promotion Committee, Department of Art History (1995-to present)

 

Recruitment Committee for Department of Art History in the College of

Letters, Arts, and Sciences (1996-2005)

 

Program Proposer for the Establishment of an Interdepartmental and Interdisciplinary

Ancient Mediterranean Studies Program (1997-1999)

 

Chinese Search Committee, Department of Art History (1998-1999)

 

Japanese Search Committee, Department of Art History (1998-1999)

 

Professor-In-Charge, USC-Getty Lecture Series, Seminar, and Faculty Dinner (honoring

Salvatore Settis) (1998-1999)

 

Curriculum Committee (Co-Chair) (1998-1999)

 

Chair, Committee for Selection of Departmental Chair (1999-2000)

 

Chair, Merit Review Committee (1999-2000)

 

Committee for the Establishment of an Undergraduate Major in Archaeology

(2002-present)

 

Greek Art Search Committee, Department of Art History and Classics (2001-2004)

 

Faculty Search Committee, Department of Art History: Senior Hiring Initiative (2003-

present)

 

Junior Faculty Review Committee, Department of Art History (2003)

 

USC’s Arts and Humanities Committee (2003-2004)

 

Chair of Oversight Committee for the Interdisciplinary Archaeology Major (Spring 2006)

  

MEMBERSHIPS IN NATIONAL AND INTERNATIONAL PROFESSIONAL ORGANIZATIONS

 

NATIONAL:

 

Archaeological Institute of America

 

College Art Association

 

American Philological Association

 

Association of Ancient Historians

 

Vergilian Society

 

INTERNATIONAL:

 

Deutsches Archäologisches Institut

 

Associazione Internazionale di Archeologia Classica

 

Association for the Study of Marble and Other Stones in Antiquity (AMOSIA)

 

Society for the Promotion of Roman Studies

 

If you are interested in Julio Claudian Iconography and portrait study you may enjoy these two links:

 

Julio Claudian Iconographic Association- Joe Geranio- Administrator at groups.yahoo.com/group/julioclaudian/

 

The Portraiture of Caligula- Joe Geranio- Administrator- at

portraitsofcaligula.com/

 

Both are non-profit sites and for educational use only.

 

The sun setting over the jagged shoreline of #FortWilliamsPark and the #PortlandHeadLighthouse in Maine. Make sure to experience all the natural beauty and Treasures Of Traveling this park has to offer!

 

treasuresoftraveling.com/portland-head-light/

 

#TreasuresOfTraveling #Portland #Maine #NewEngland #TravelBlog #WorldTravel #WorldTraveler #TravelBlogger #TravelPics #TravelPhotos #LukeKeelerTravels #TravelUSA #GlobeTrotter #PassportStamps #TravelTheWorld #TourThePlanet #TheGlobeWanderer #Wanderlust #DiscoverEarth #AwesomeGlobe #FantasticEarth #TravelGram #OptOutside #NaturalBeauty #GayTraveler #Coastline #Sunset #GuysWhoTravel

Baker Beach offers one of San Francisco's most iconic views of the Golden Gate Bridge, where natural beauty meets architectural marvel in perfect harmony. This mile-long stretch of coastline, situated within the Presidio, provides photographers and visitors with a stunning perspective of the bridge's southern span against the backdrop of the Marin Headlands.

The beach, which was historically part of the Presidio military base, now serves as a popular recreational destination within the Golden Gate National Recreation Area. The image captures the classic postcard view, featuring the rust-colored suspension bridge rising majestically above the San Francisco Bay's steel-blue waters.

In the foreground, a rustic fence line traces the coastal trail, while native cypress trees frame the scene, providing a characteristic touch of Northern California's coastal landscape. The sandy beach shows evidence of the typical wave action that shapes this dynamic shoreline, with white surf creating a natural leading line toward the bridge.

The Marin Headlands rise dramatically across the Golden Gate strait, their slopes showcasing the natural topography that makes the Bay Area's geography so distinctive. The weather conditions captured in the image display the characteristic marine layer, with high clouds creating depth in the sky while maintaining excellent visibility of the landmark bridge.

The path visible in the image is part of the California Coastal Trail, which offers hikers and nature enthusiasts access to this spectacular viewpoint. The beach's position, facing north, makes it particularly popular for photography during golden hour and sunset, though this daytime shot demonstrates how the location maintains its grandeur throughout the day.