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A view of the Château Fontainebleau from across the lake. In the foreground is a small lake house in the middle of the lake. You can just imagine rowing out there in a boat with your paramour...well some can imagine that.
The Palaces of Nevsky Prospekt
Belosselsky-Belozersky Palace illuminated at night
On the southern corner of Nevsky Prospekt and the Fontanka river at No.41 is the faded dark red Belosselsky-Belozersky Palace seen here. This was the last private palace constructed on this multi-palatial street and was completed in stages between 1840 and 1848. The prime riverside site having been purchased by Prince Alexander Mikhailovich B-B in 1800.
This unique eye catching elegant rococo building with muscular Atlantes supporting Corinthian columns was the concept of the architect Andrei Stakenschneider, who was born in the nearby city of Gatchina and the son of a German miller.
The pseudo-baroque exterior has two front facing façades, west to the Fontanka river, and north to the street. Like many prominent buildings in the city, this palace has recently undergone extensive restoration in preparation for the tricentennial celebrations.
The interior is as dramatic and elegant as the exterior. In the main rooms the architect used an extensive blend of composite materials for the baroque decor. Many of the walls are carved and all of the doors are decorated. Especially interesting are the front stairs in the entrance hall, the large and small Golden sitting rooms, the Purple, the Green and the White Halls and the Great Mirror Hall which is used for concerts.
Extravagant imperial courts reigned here well into the 20th century, when the palace was the residence of Grand Duke Sergei Alexandrovich (Alexander III's brutal brother - assassinated in 1905). In 1905, Grand Princess Elizaveta Fedorovna, having just become a num, willed the palace toher nephew, Grand Prince Dmitry Pavlovich, who sold it in 1917. During the Soviet period the grand palace was used as the party headquarters for the Kuibyshev district of Leningrad, but its interiors were preserved almost intact. Nowadays the palace houses the Wax Museum, an art gallery and a concert hall, which holds regular performances of the folk group Petersburg Mozaik, The Wax Museum collection contains 80+ wax figures, including models of many prominent figures in Russian history such as Tolstoy, Dostoyevsky, Kutuzov, Alexei, Speransky, Kerensky, various tsars and other members of the Romanov Dynasty. On the wall inside the entrance hall of the former Belosselsky-Belozersky Palace there is a plaque which indicates that during World War I the palace housed the Anglo-Russian Hospital.
On the other side of the Fontanka and separated by Quarenghi's Stalls, is the Anichkov Palace at No.39 Nevsky Prospekt. In the 18th century this was a suburban area and the broad Fontanka river was lined with palaces for the elite that were usually accessed by boat. Which explains why the main entrance to this great building faces the river rather than Nevsky. The palace was named for Colonel Mikhail Anichkov who set up his camp on this site at the time of the founding of the city and whose regiment built the original wooden bridge over the Fontanka, now known as the Anichkov Most.
This palace was commissioned by Tsarina Elizabeth as a gift for her lover, Alexei Razumovsky, between the years 1741 and 1750. In continuing with this tradition after Razumovsky's death, Catherine the Great gave this palace to her paramour, Prince Grigory Potemkin. As an able statesman and military officer Potemkin is famous in his own right for his attempts to deceive Catherine about the squalid conditions of the Russian south. He had fake villages built for Catherine's area tour of 1787. The term "Potemkin village" has come to mean any impressive façade that hides an ugly impoverished interior. Not so the Anichkov Palace, which was originally designed by Mikhail Zemtsov and completed by Rastrelli. Little remains of those early Baroque designs as the building has undergone a number of changes and in the early 19th century, Neoclassical details were added by Carlo Rossi.
After Rossi's alterations the palace became the winter residence of the heir to the throne. However when Alexander III became tsar in 1881, he continued to live there, rather than the customary Winter Palace. After his death, his widow Maria Fyodorovna remained there until the revolution.
Many young princes grew up in this palace and in 1935 the premises were returned to children and it was known as the Leningrad Palace of Pioneers. Today is is still occupied by a children's organization and the Anichkov Lyceum. Exhibitions of their works are regularly held in the palace or grounds, where there is a modern theater and concert hall.
The elegant colonnaded (Quarenghi's Stalls) building overlooking the Fontanka to the east had been another addition to the palace, by Giancomo Quarenghi in 1803-05. Initially this was built as a trading arcade where imperial goods destined for the palaces were stored prior to their delivery. This extension was later converted into government offices and was known as the Cabinet.
A summer stroll with my wonderful girlfriend Gorgeous Gillian – what could be nicer? As you may know, the river in London is tidal, and this shot was taken at low tide!!
...Along the shore of silver-streaming Thames,
Whose rutty bank, the which his river hems,
Was painted all with variable flowers,
And all the meads adorn'd with dainty gems
Fit to deck maidens' bowers,
And crown their paramours
Against the bridal day, which is not long:
Sweet Thames! run softly, till I end my song.
[Edmund Spenser, 'Prothalamion']
Lots more to come soon, but bye bye for now! Kisses to all my wonderful friends!
xxxxxxx
Rebecca
More pics in blog <3
Skin: [MUDSKIN] - Minju Skin [Icy]
Head: LeLUTKA - Avalon Head
Body: eBODY - Reborn
Boobs: eBODY REBORN - Waifu Boobs
Rolls: eBODY REBORN - Juicy Rolls
Hair: [monso] Lucy Hair [@ Fameshed] NEW!!!
Eyeshadow: YINN. Paramour Eyeshadow [@ Sabbath Event] NEW!!!
Outfit: Normandy - Ripley [@ Sabbath Event] NEW!!!
Leg Tattoo: DAPPA - Lucipurr Tattoo [@ Sabbath Event] NEW!!!
Heels: ~Lavu - Shereka heels [@ Sabbath Event] NEW!!!
Poses: dovely - Yandere [@ Hentai Fair] NEW!!!
German postcard by Filmbilder-Vertrieb Ernst Freihoff, Essen, no. AX 6510.
Singer Mary Wilson (1944), who co-founded the Supremes as a 15-year-old in a Detroit housing project and stayed with the fabled, hitmaking Motown Records trio until its dissolution in 1977, died on Monday night at her home in Las Vegas. She was 76. The Supremes were always known as the ‘sweethearts of Motown.’ Mary, along with Diana Ross and Florence Ballard, came to Motown in the early 1960s. After an unprecedented string of No. 1 hits, television and nightclub bookings, they opened doors for themselves, the other Motown acts, and many, many others. Just two days prior to her death, Wilson put up a video on her YouTube announcing that she was working with Universal Music on releasing solo material.
The Supremes is still the most iconic female singing trio of all time. With lead vocalist Diana Ross and founding member Florence Ballard (and with Ballard’s replacement Cindy Birdsong), Mary Wilson appeared on all 12 of the Supremes’ No. 1 pop hits from 1964-69; during that period, the act – the biggest of Motown’s vocal groups' thanks to their silken sound – charted a total of 16 top-10 pop singles and 19 top-10 R&B 45s (six of them chart-toppers). If Ross became renowned as the group’s international superstar and Ballard, who died prematurely at the age of 32 in 1976, came to be memorialized as its tragic figure, Wilson was its steady, omnipresent, and outspoken driving force — though many views her as little more than a supplier of the backup hooks that supported Ross’ lead work. After Ross departed the group in 1970 for solo stardom, Wilson remained its linchpin, and dutifully backed up a succession of front women. Though the Supremes never recaptured their dominance of the ‘60s, they still managed to collect a 1970 R&B No. 1, “Stoned Love,” and returned to the pop-top 20 five times. The act’s image of glamour and offstage sisterhood that was carefully crafted by Motown was belied by Wilson’s scathing depiction of bandmate Ross in a bestselling 1986 memoir, “Dreamgirl: My Life As a Supreme,” the first tell-all tome by a member of the so-called “Motown Family.” In the book, Ross – referred to pointedly throughout by her birth name of Diane – was portrayed as an attention-seeking and backstabbing diva who used her relationship with Motown founder-chairman Berry Gordy to get what she wanted professionally and personally. Opening the book with an episode in which Ross literally shoved her aside onstage during a taping of the 1983 taping of the NBC anniversary special “Motown 25,” Wilson wrote, with some mixed emotion, “She has done many things to hurt, humiliate, and upset me, but, strangely enough, I still over her and am proud of her.” Wilson, who released two solo albums and toured successfully with a solo act that combined cabaret with renditions of her old Supremes hits, was inducted into the Rock and Roll Hall of Fame as a member of the group in 1988.
Mary Wilson was born in 1944, in Greenville, MS. After moving to St. Louis and then Chicago with her parents, she was sent at the age of three to live with her aunt and uncle in Detroit, and she grew up believing she was their daughter. She only learned who her real parents were at the age of six when her mother came to Detroit to live with the family. She moved with her mother several times until she settled in at the Brewster-Douglass Housing Project at 12. Wilson had already briefly sung in a group led by Aretha Franklin’s younger sister Carolyn when she was approached by Ballard, a charismatic neighbor in the Brewster projects, to form a new group that would serve as a “sister act” to the Primes, a male quintet that included Paul Williams and Eddie Kendricks, both future members of the Motown unit the Temptations. The two girls were soon joined by Ross (who would only take the professional name “Diana” after the group’s first hits). With fourth member Betty McGlown and her successor Barbara Martin, they would perform as the Primettes until they rechristened themselves as the Supremes in early 1961. After auditioning unsuccessfully for the rising Detroit label Motown, the group cut a pair of tracks for another hometown imprint, LuPine; Wilson sang lead on the single B-side “Pretty Baby,” but, like Ballard, she was soon displaced in front by Ross. Finally brought on board at Motown, they struggled to find their musical niche, recording songs (by Smokey Robinson and others) that either languished on the charts or sat in the vault. In 1963, fourth member Martin exited the unit. The trio finally began to hit pay dirt when the songwriting team of brothers Brian and Eddie Holland and Lamont Dozier became their principal cleffers. After reaching No. 2 on the R&B side with the writers’ “When The Lovelight Starts Shining Through His Eyes” in late 1963, the Supremes simultaneously climbed to the pinnacle of both the pop and R&B lists with the foot-stomping “Where Did Our Love Go” during the summer of 1964. With Ross now installed as the lead vocalist, the trio rivaled the Beatles for radio and chart ubiquity over the course of the next three years. Their pop No. 1’s of 1964-67 included “Baby Love,” “Come See About Me,” “Stop! In the Name of Love,” “Back in My Arms Again,” “I Hear a Symphony,” “You Can’t Hurry Love,” “You Keep Me Hanging On” and “Reflections.” In mid-1967, the increasingly unreliable Flo Ballard, wracked by alcoholism, drug abuse, and depression, was expelled from the Supremes and replaced by Birdsong. Gordy – who already envisioned a career in Las Vegas, TV, and films for Ross, with whom he was now involved romantically – established his paramour’s supremacy by rebranding the group as Diana Ross & the Supremes that year.
The writing was truly on the wall for the Supremes after Ross began recording as a soloist in 1968, and late the following year it was announced that she would be departing the group. The act’s swan song with its founding lead singer, “Some Day We’ll Be Together,” topped the pop and R&B charts in December 1969, and Ross made her exit after a heavily stage-managed farewell show at Las Vegas’ Frontier Hotel in January 1970. The single marked the act’s last visit to the top of the U.S. pop chart. The Vegas show introduced Jean Terrell – sister of heavyweight prizefighter Ernie Terrell, and a singer in his group the Knockouts – as the Supremes’ new lead vocalist. Astonishingly, Berry Gordy swiftly tried to replace Terrell with Stevie Wonder’s wife Syreeta Wright, but, according to Mark Ribowsky’s tart, dishy 2009 history of the group, Wilson intervened; while Terrell remained, the Supremes never enjoyed the kind of budgets or promotion they had with Ross in the fold. With Terrell taking the lead, the Supremes maintained some momentum: Beyond “Stoned Love,” they reached the R&B Top 10 with “River Deep, Mountain High,” “Nathan Jones” and “Floy Joy. But Wilson remained the lone constant in an ever-shifting lineup after 1972, and by the late ‘70s the trio was mired in lightweight disco material – some of it supplied by the returning Holland-Dozier-Holland team. The Supremes folded their tents with a London farewell show in June 1977. Wilson’s self-titled solo LP for Motown (which Marvin Gaye had planned to produce before his divorce wrangle with Gordy’s sister Anna scuttled it) failed to scratch the national album chart, and its lone single peaked at No. 95. Except for her appearance on the ’83 Motown special, Wilson was little heard from until her eyebrow-raising memoir was published. (She would go on to write two more books about the Supremes, in 1990 and 2019.) The title of “Dreamgirl” was inspired by the hit 1981 Broadway musical, which the singer claimed was a largely accurate depiction of the tumult within the Supremes during Ross’ tenure. Defending herself in a 1986 interview in Jet magazine against potential charges of serving up sour grapes, she said, “I’m sure people will have their own opinions about that, but I really don’t care. My main thing is that when I was in the group I maintained my position and I didn’t step into Diane’s position. I’m no longer in the group now. I have my own position to uphold and it’s not in the background.” An attempt to reunite Wilson with Ross and the other surviving members of the Supremes for a 2000 tour came to a naught after a protracted and public wrangle over Wilson’s fee for the trek. Mary Wilson’s album “Walk the Line” was released on the CEO label in 1992; she issued a pair of live DVDs in the new millennium. In 2015, she released what was to be her last single, “Time to Move On,” which reached No. 23 on the Billboard dance chart. Her publicist said that she had been working on trying to get a U.S. postage stamp designated for Ballard. Wilson’s activism included traveling to Washington, D.C. to lobby for the Music Modernization Act, which was passed into law in 2018. She is survived by her daughter Turkessa and grandchildren (Mia, Marcanthony, Marina); her son, Pedro Antonio Jr, and grandchildren (Isaiah, Ilah, Alexander, Alexandria). Both children are from her marriage to the Dominican businessman and former Supremes manager Pedro Ferrer, whom she divorced in 1981. In 1994, the couple’s 14-year-old son Rafael was killed and Wilson was injured when her Jeep flipped on the road between Las Vegas and Los Angeles. Wilson is also survived by her sister Kathryn; her brother, Roosevelt; her adopted son/cousin Willie and grandchildren (Erica (great-granddaughter, Lori), Vanessa, Angela).
Source: Chris Morris (Variety).
And, please check out our blog European Film Star Postcards.
they have been dancing for a long time, sharing their own music, on a stretch of embankment - quite oblivious to the rest of us ---
no graphical GROUP ICONS, INVITES, or AWARDS please (they will be [sadly] deleted) - just comments and critiques ---
please click here: www.flickr.com/photos/qmusaget/?details=1" to see HOW our streams should be preferably [or at least optionally] viewed ---
.
.
The stranger
I would like to become your stranger,
be done with your politeness,
withdraw from your ABC,
emigrate from our moments of intimacy.
Beyond the solid core
I will sail in other waters
unfamiliar and far away.
I would like to become your stranger
and shock an inexistent time.
Unpublished letters,
dated, beaten,
from the heart to the quill.
Washed out words,
of generous spirit
living warmth lived.
... unfamiliar and far away
from everything, far away from you,
far from there and beautiful!
I would like to become your stranger,
from the heart to the quill.
I would like to become your stranger...
I would like to become your stranger,
from the heart to the quill...
your stranger...
Cryptic towards your idioms,
towards your precarious paramours,
I would like to become a stranger
to your humour and
your singular whims.
Equestrienne in exile,
embedded in two thousand flowers,
here or preferably elsewhere.
... unfamiliar and far away from you
far from me and far from everything,
and beautiful...!
I would like to become your stranger,
from the heart to the quill...
© 17 Hippies, Hipster-Records 2011
M / T: Max Manila (Christopher, Kiki)
translation: Matthew Partridge
Album: PHANTOM SONGS
Lifestyle Dominatrix, sybarite, sensualist and joyful kinky paramour to the submissive and curious – I’m Seattle Mistress, Victoria Rage. Email; Officialvictoriarage@gmail.com
Text me::206 234-4295
British postcard by GB Posters, no. PC 0006. Photo: Channel 4 Film Production / Figment Films / Underworld Merchandising. Ewan McGregor in Trainspotting (Danny Boyle, 1996). Caption: "I'm cleaning up and I'm moving on, going straight and choosing life". Renton Denim shirt Trainspotting.
Scottish actor Ewan McGregor (1971) first received worldwide acclaim with his role as heroin addict Mark Renton in Trainspotting (1996). Later, he played the young Obi-Wan in the Star Wars prequel trilogy, and poet Christian in the musical Moulin Rouge! (2001).
Ewan Gordan McGregor was born in 1971 in Crieff, Scotland, just a few miles north of Edinburgh. His parents were the schoolteachers James Charles Stuart McGregor and Carole Diane Lawson. His uncle is actor Denis Lawson. He also has a brother Colin, who became a RAF pilot. As a child, Ewan did little acting, but enjoyed singing, and became a soloist for his school's orchestra and choir. At age 16, he left Morrison Academy in Crieff to join the Perth Repertory Theatre. His parents encouraged him to leave school and pursue his acting goals rather than be unhappy. Ewan worked as a stagehand and had small roles in the productions of the Perth Repertory Theatre. Then, he studied three years at the Guildhall School of Music and Drama in London. Six months prior to his graduation from Guildhall, he landed a major role as Private Mick Hopper in the excellent TV series Lipstick on Your Collar (Renny Rye, 1993), written by Dennis Potter. McGregor then starred in the miniseries The Scarlet & The Black (Ben Bolt, 1993), an adaptation of Henri Beyle Stendhal's 1830 novel. In that same year, McGregor made his film debut with a bit part in the American drama Being Human (Bill Forsyth, 1993), which starred Robin Williams. The film undeservedly flopped and closed almost as soon as it opened, which limited McGregor's exposure. He continued to make television appearances in the United States and Britain, including Family Style (Justin Chadwick, 1993), Doggin' Around (Desmond Davis, 1994) and an episode of the crime series Kavanagh QC (Colin Gregg, 1995). He got his first major film role in the Noir Shallow Grave (Danny Boyle, 1994), which was received well by the critics. Samuli Launonen at IMDb: “A great modern thriller containing all the necessary ingredients of a decent suspense story: constantly growing tension, sly humor, and genuinely surprising plot twists. (…) The three leads are all great, but there's no question about who the movie belongs to: Ewan McGregor is energetic, powerful and photogenic in his portrayal of a young journalist.” In 1995, McGregor married, French production designer Eve Mavrakis. He continued to work in British films as the surfing parable Blue Juice (Carl Prechezer, 1995) with Catherine Zeta-Jones, and Peter Greenaway's The Pillow Book (1996). Then he had his big break with Trainspotting (1996), his second film with director Danny Boyle. McGregor shaved his head and lost 30 lbs to play the main character and heroin addict Mark Renton. The film, an adaptation of Irvine Welsh's novel, and McGregor's role received worldwide critical acclaim. Following this success, he took a completely different role as Frank Churchill in the Jane Austen adaptation Emma (Douglas McGrath, 1996), starring Gwyneth Palthrow. His next films included Brassed Off (Mark Herman, 1996), The Serpent's Kiss (Philippe Rousselot, 1997), A Life Less Ordinary (Danny Boyle, 1997), and Nightwatch (Ole Bornedal, 1998). He also acted opposite Jonathan Rhys Meyers and Christian Bale in Velvet Goldmine (Todd Haynes, 1999), as a 1970s-era glam rocker in the mode of Iggy Pop. Ewan McGregor landed the largest role of his career when he signed on in 1998 as Obi-Wan Kenobi in the Star Wars prequel trilogy. McGregor already had a connection with the iconic movie series as his uncle, Denis Lawson, appeared as Wedge Antilles in the original three films. He studied Alec Guinness' films in preparation for his role as Obi-Wan Kenobi to ensure accuracy in everything from his accent to the pacing of his words. Star Wars: Episode I–The Phantom Menace (George Lucas, 1999) was a box-office blockbuster, which launched the then 28-year-old actor into megastardom. The next two instalments of the trilogy would follow years later.
In the early 21st century, Ewan McGregor started his own production company called Natural Nylon. He founded it with fellow actors Jude Law, Sadie Frost, Jonny Lee Miller and Sean Pertwee. The group's first film was the biopic Nora (Pat Murphy, 2000), which dramatized the real-life relationship between Irish author James Joyce and Nora Barnacle. McGregor starred as Joyce opposite Susan Lynch as Barnacle. McGregor took on another challenging role in the musical Moulin Rouge! (Baz Luhrmann, 2000), set in Paris in 1899. McGregor starred as the young poet Christian, who falls in love with the terminally-ill courtesan Satine, played by Nicole Kidman. Perry Seibert at AllMovie: “A bold artistic statement, Moulin Rouge is Baz Luhrmann's first masterpiece. Frantically edited, paced, and photographed, the film is not an easy undertaking; it forces the viewer to accept it on its terms. The sets, costumes, and sound are stylish in the extreme. The greatest risk the film takes is having the characters speak predominantly in song lyrics. The young writer Christian (Ewan McGregor) and the doomed performer Satine (Nicole Kidman) argue about whether they will fall in love while telling each other, "Love lifts us up where we belong" and "I will always love you." When they aren't speaking in song lyrics, they sing to each other, with McGregor doing a better than credible job with Elton John's "Your Song".” McGregor was nominated for a Golden Globe Award for Best Actor for his part and a Screen Actors Guild Award for Outstanding Performance by a Cast. Later that same year, the war film Black Hawk Down (Ridley Scott, 2001) was released with McGregor among an ensemble cast. He continued his role as Obi-Wan Kenobi in the second film of the trilogy, Star Wars: Episode II–Attack of the Clone (George Lucas, 2002), which was another commercial success. McGregor was able to parlay his popularity into many more films. When Tim Burton was looking for someone in McGregor's age range to play Albert Finney as a young man in the fantasy film Big Fish (2003), he was given the part. The film was a critical and commercial success as well. McGregor also starred in the drama Young Adam, (David Mackenzie, 2003). He played Joe Taylor, one of two barge workers who pull up the corpse of a young woman from a river. Also that year, McGregor and Renée Zellweger starred in Down With Love (Peyton Reed, 2003), a homage to 1960s romantic comedies. During 2004, McGregor and his best friend Charley Boorman created a documentary about riding their motorcycles from London to New York. The pair travelled east through Europe and Asia, and then flew to Alaska to finish the journey to New York. The entire journey, entitled Long Way Round, covered over 19,000 miles and 12 countries. The project was conceived partly to raise awareness of the worldwide efforts of UNICEF. McGregor reprised his role as Obi-Wan Kenobi for the final time for Star Wars: Episode III–Revenge of the Sith (George Lucas, 2005). He also lent his voice to the animated family film Robots (Chris Wedge, Carlos Saldanha, 2005), starred with Scarlett Johansson in the big-budget Sci-Fi actioner The Island (Michael Bay, 2005), and filmed the psychological thriller Stay (Marc Forster, 2005).
After multiple commercial and critical successes, Ewan McGregor tried his hand at two arthouse films in 2006. His first was Scenes of a Sexual Nature, Ed Blum's directorial debut about a day in the life of seven British couples. The second was Miss Potter (Chris Noonan, 2007), a biopic on the life of popular author Beatrix Potter (Renée Zellweger). McGregor portrays Norman, her editor and paramour. He also tried his hand at stage acting. From 2005 till 2007 he played Sky Masterson in the revival of Guys & Dolls at London's Piccadilly Theatre, and for this part, he was nominated for a Laurence Olivier Award for Best Actor in a Musical in 2007. He also appeared on stage as Iago in Othello (2007–2008). In between, McGregor and Boorman created a follow-up documentary to their 2004 trip. For Long Way Down (2007), they rode their motorcycles from John o' Groats in northern Scotland to Cape Town, South Africa. Next he appeared in the films Cassandra's Dream (Woody Allen, 2007) with Colin Farrell, Incendiary (Sharon Maguire, 2008) and Deception (Marcel Langenegger, 2008) with Hugh Jackman. McGregor starred with Jim Carrey as a gay couple in I Love You Phillip Morris (Glenn Ficarra, John Requa, 2009), and appeared in the blockbuster Angels & Demons (Ron Howard, 2009), the sequel to the popular Dan Brown novel and film, The DaVinci Code. For the title role in Roman Polanski's The Ghost Writer (2010), he won the Best Actor award at the 23rd European Film Awards. Bruce Eder at AllMovie: “McGregor is amazingly good in a role that gives him relatively little to work with -- his is a character that not only has no name, but no past to speak of and no family entanglements, so his experience shouldn't resonate much with the audience. But what should become a cipher that few can penetrate instead becomes a kind of big-screen everyman for audience members to relate to -- up to a point. This is a very cold movie at its center, very distant, despite McGregor's success at fleshing out a character that is hardly more than a skeleton, in terms of what he brings to us. He's just vulnerable enough, and surprised and skeptical enough -- about what he's been asked to do, and the world of politics to which he's been asked to enter -- to give us something to grab on to.” His later films include Beginners (Mike Mills, 2010), Perfect Sense (David Mackenzie, 2011) opposite Eva Green, the British romantic comedy-drama Salmon Fishing in the Yemen (Lasse Hallström, 2011), Lo imposible (J.A. Bayona, 2012), and August: Osage County (John Wells, 2013). He was awarded the OBE (Officer of the Order of the British Empire) in the 2013 Queen's New Years Honours List for his services to drama and charity. Ewan McGregor and his wife have three daughters: Clara Mathilde (1996), Esther Rose (2001), and 4-year-old Jamiyan adopted from Mongolia in 2006. His recent films include the Miles Davis biopic Miles Ahead (Don Cheadle, 2015) and the British thriller Our Kind of Traitor (Susanna White, 2016). For 2017 is scheduled T2: Trainspotting, in which he will return as Mark Renton, again under the direction of Danny Boyle. On TV he will star in the third season of the hit series Fargo, now set in 2010.
Sources: Samuli Launonen (IMDb), Perry Seibert (AllMovie), Bruce Eder (AllMovie), Biography.com, AllMovie, Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
On March 31, 2018 at least three male osprey was chasing Esperanza relentlessly, not letting her rest and after two hours of chasing, they disappeared and didn't return.
Zorro began to defend his nest, and later in the evening a new female osprey showed up. Behaving submissively, Zorro courted her and finally sealed the deal.
The next two days the situation is still tenuous with Zorro and his new love. She's uncertain about moving in and Zorro seems a bit uncommitted. Only time will tell as to what will occur at the Manor for the 2018 Osprey season.
Upon review of the first images taken of this season, the female markings is different than the Esperanza we know. So Zorro is living up to his name and being an Osprey paramour.
From the Collection of Mycenaean Antiquities (1600-1100 BCE):
16th-century BC Gold death mask that Schliemann incorrectly identified as the mask of Agamemnon.
On display in the National Archaeological Museum of Athens in Greece.
Description in the museum:
Finds from Grave V, Grave Circle A, Mycenae. 16th century BC
Gold death-mask, known as the ‘mask of Agamemnon’. This mask depicts the imposing face of a bearded man. It is made of a gold sheet with repoussé details. Two holes near the ears indicate that the mask was held in place over the deceased’s face with twine (624)
The Telegram from Heinrich Schliemann to King George I
November 16/28, 1876
Your Majesty, it is with great pleasure that l inform you that I have discovered the tombs which, according to Pausanias’ account, belong to Agamemnon, Cassandra and their comrades who were murdered by Clytaemnestra and her paramour, Aegisthus, during a feast. The tombs are enclosed within a double stone circle, something which would only have been erected in honour of exalted personages. Inside the tombs, I have discovered fabulous treasures and ancient objects of solid gold. These treasures alone are enough to fill a large museum which will become the most famous in the world and will attract myriads of foreigners to Greece from every land. Since I work out of sheer love of science, I naturally make no claim on these treasures and enthusiastically make them over, in their entirety, to Greece. May these treasures be the foundation of immeasurable national wealth.
→ The National Archaeological Museum in Athens, Greece, has a wonderful sculpture collection with around a thousand of the museum's 16,000 sculptures on permanent display. Exceptional highlights include the korai and kouroi sculptures from the archaic period and the rare large bronze sculptures from the classical and Hellenistic periods.
On March 31, 2018 at least three male osprey was chasing Esperanza relentlessly, not letting her rest and after two hours of chasing, they disappeared and didn't return.
Zorro began to defend his nest, and later in the evening a new female osprey showed up. Behaving submissively, Zorro courted her and finally sealed the deal.
The next two days the situation is still tenuous with Zorro and his new love. She's uncertain about moving in and Zorro seems a bit uncommitted. Only time will tell as to what will occur at the Manor for the 2018 Osprey season.
Upon review of the first images taken of this season, the female markings is different than the Esperanza we know. So Zorro is living up to his name and being an Osprey paramour.
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 not at Cavendish Mews. We are not even in London. Instead, we are north of the capital, in the quiet little Essex farming village of Belchamp St Paul*. Lettice met the world famous British concert pianist, Sylvia Fordyce at a private audience after a performance at the Royal Albert Hall**. Sylvia is the long-time friend of Lettice’s fiancée, Sir John Nettleford-Hughes and his widowed sister Clementine (known preferably now by the more cosmopolitan Clemance) Pontefract, the latter of whom Sylvia has known since they were both eighteen. Lettice, Sir John and Clemance were invited to join Sylvia in her dressing room after her Schumann and Brahms concert. After a brief chat with Sir John (whom she refers to as Nettie, using the nickname only his closest friends use) and Clemance, Sylvia had her personal secretary, Atlanta, show them out so that she could discuss “business” with Lettice. Anxious that like so many others, Sylvia would try to talk Lettice out of marrying Sir John, who is old enough to be her father and known for his dalliances with pretty chorus girls of Lettice’s age and younger, Lettice was surprised when Sylvia admitted that when she said that she wanted to discuss business, that was what she genuinely meant. Sylvia owns a small country property just outside of Belchamp St Paul on which she had a secluded little house she calls ‘The Nest’ built not so long ago: a house she had decorated by society interior designer Syrie Maugham***. However, unhappy with Mrs. Maugham’s passion for shades of white, Sylvia wanted Lettice to inject some colour into her drawing room by painting a feature wall for her. Thus, she invited Lettice to motor up to Essex with her for an overnight stay at the conclusion of her concert series at The Hall to see the room for herself, and perhaps get some ideas as to what and how she might paint it. Lettice agreed to Sylvia’s commission, and originally had the idea of painting flowers on the wall, reflecting the newly planted cottage garden outside the large drawing room windows of ‘The Nest’. However, after hearing the story of Sylvia’s life – a sad story throughout which, up until more recent years, she had felt like a bird trapped in a cage, Lettice has opted to paint the wall with stylised feathers, expressing the freedom to fly and soar that Sylvia’s later life has given her the ability to do.
Thrilled with her new feature wall, Sylvia is throwing an intimate weekend house party to which she has invited Lettice and Sir John, Lettice’s oldest childhood chum, Gerald Bruton, whom she met up in London by lucky happenstance when paying Lettice’s bill, Gerald’s young and fey homosexual partner, Cyril, who is an oboist, and a smattering of other musically inclined guests. Lastly, Sylvia has also invited the West End theatre actress Paul Young, the current paramour of Sir John. So, this evening we find ourselves in the drawing room of ‘The Nest’, which has been restored to rights with Sylvia’s elegant furnishings and collection of blue and white porcelain on display against the backdrop of Lettice’s hand painted feather covered feature wall. Designed in the prevailingly fashionable Arts and Crafts country style, the spacious room dominated by Sylvia’s walnut grand piano, is illuminated by the soft golden glow of lamps, and the guests stand around in small clutches.
The gentlemen present are smartly turned out in stiff black tie, or in the case of Gerald, the more modern, modish and daring tuxedo, a style influenced by the more relaxed American culture from across the Atlantic. The ladies on the other hand are in a range of beautifully coloured beaded evening dresses. Our hostess’s black dyed sharp bob sits neatly about her angular face. She wears no earrings or necklace, and her skin is caked with its customary thick layer of white makeup, her red painted lips the only colour afforded her face. Wearing her usual large aquamarine and diamond cluster ring on her left middle finger on her elegant pianist’s hands, tonight Sylvia has dressed unusually in something other than black or white and is wrapped in a column of sparkling, bead encrusted gold lamé. Sylvia’s sharp appearance is in total contrast to Lettice who stands at her side, arrayed in one of Gerald’s new creations for her: a gown of silverly powder blue tule that wafts around her like a cloud when she moves, accessorised with a beaded belt and pearls cascading down her front. Her blonde hair is Marcelled**** into soft waves around her lightly painted face.
The guests applaud as Cyril finishes playing a piece of music he knows by heart on his oboe as a party piece.
“Oh Gerald, darling!” Sylvia purrs. “Your Cyril is an accomplished oboist, as well as a charming character. I can see how easily he must have charmed his way into your heart.”
“If music be the fruit of love,” Gerald replies wistfully, looking dew eyed at his lover as he basks in the adulation of the other guests at Sylvia’s intimate gathering. “Play on.”
“Shakespeare!” Sylvia exclaims. “A classical education then, Gerald darling.”
“Thanks to Lettice’s father, Miss Fordyce.” Gerald nods and smiles gratefully towards Lettice, who stands opposite him at Sylvia’s left.
“Oh, Sylvia, please, Gerald darling!” Sylvia insists. She smiles before drawing deeply on her Craven “A”***** through her amber and gold holder, making the butt glow and the paper crackle. “We’re all friends here.” She blows out a plume of silvery grey smoke elegantly.
“Sylvia.” Gerald confirms.
“So how is our lovely Lettice’s father connected to your classical education, then?” Sylvia goes on, glancing between her two companions.
“Well, Gerald and I are the same age, Sylvia, and being neighbours to the Brutons, Gerald spent a lot of time at Glynes with me, just the same as the children of the Tyrwhitt family on the estate neighbouring ours on the other side. It was like we were all extensions of one another’s families, really: always in and out of one another’s houses and gardens.”
‘And my father,” Gerald continues with a slight air of bitterness. “Well, he was only ever really interested in lavishing money on my older brother, Roland, as his heir, but Viscount Wrexham saw something in me that he felt was worth nurturing from an academic perspective.”
“As he did in me, Sylvia.” Lettice adds. “My father believes in a good education for women as well as men, to equip them for a life beyond the drawing room, the likes of which my mother would happily have me bound to: embroidery and idly chit-chat about county affairs.”
“A very forward thinking man.” Sylvia muses with a curt nod. “I approve wholeheartedly.”
“So, because Gerald and I are the same age, my father asked Gerald’s father if he would mind if Gerald were to join me in the Glynes schoolroom for classes.”
“And since my father had no desire to spend money on my education, and Viscount Wexham was paying for the tutelage, he agreed.” Gerald concludes.
“Well, jolly good show, Viscount Wrexham!” Sylvia says, exhaling another cloud of roiling smoke after drawing on her cigarette and giving Gerald’s left forearm a gentle squeeze of comfort with her right hand. “He did well, seeing you as a prodigy, Gerald darling. And now, here you are, an up-and-coming couturier with a beautiful and talented lover.” She nods at Cyril across the room.
Gerald blushes red with a mixture of embarrassment at Sylvia’s compliment, and her acknowledgement of his lover. “I say,” he says. “It really is most kind of you to have Cyril and I here, together, for the weekend, Miss Fordi… err… Sylvia.”
“Oh, it’s my pleasure, Gerald darling.” Sylvia assures him. “Besides, this weekend treat doesn’t come for free.” Her dark eyes widen and sparkle in the light cast by the lamps around the room. “I’m not that altruistic. I will hold you to your promise of a pair of beach pyjamas******. I want nothing more than to scandalise and shock people when I sit on the beach at Blackpool, or parade down the pier!”
“Oh Sylvia!” Lettice laughs.
“What?” Sylvia asks, feigning innocence.
“You are incorrigible!”
“It will help keep my name in the papers, and people coming to my concerts. Heaven save me from the boredom of middle-aged mediocrity.”
“I promise I will make them for you, Mi… Sylvia.” Gerald replies. “In Nile green******* satin with black piping. It’s the least I can do for you being so… ahem!” He clears his throat awkwardly. “Understanding of Cyril’s and my...”
“Arrangement?” Sylvia prompts.
“Ahem!” Gerald clears his throat again. “Err… yes.”
Sylvia smiles sadly. “I know we don’t know each other well yet, my dear Gerald, but I do hope we will. Please take it on good authority from me, that I have known many inverts******** in my life.” She draws on her cigarette thoughtfully. “The moment you walked into Lettice’s drawing room the day she and I were settling my account for this wonderful feature wall,” She turns and glances at Lettice who blushes at Sylvia’s compliment directed towards her, then turns her attention back to Gerald. “I knew who you were from the articles I have perused about your rising star in the fashion magazines I read. Now, please pardon me for being so direct, but I knew what you were the moment you moved towards us and opened your pretty mouth, and those things are not to be found on the glossy pages of magazines, you’ll be pleased to know.”
“Oh dear!” Gerald gasps. “Is it really that… am I…” He stammers. “Is it really that obvious? I do try and keep my… my true self… well concealed.”
“Not at all, Gerald darling!” Sylvia reassures him. Cyril on the other hand,” She raises her expertly plucked and shaped eyebrows into two deep arches. “Well, he’s easily pinned, being more fey and obvious than you, my dear. However, there is no need for any awkwardness or embarrassment here, Gerald darling.” Sylvia squeezes his arm comfortingly again. “I just told you that I’ve known men like you for many years. When you are exposed to such acquaintances and friendships, it give one a sixth sense, as it were. And,” She drags the last of her cigarette before stumping the but out in the ashtray of the chrome smoker’s stand in front of her, blowing out more acrid smoke as she does. “As I said, we are all friends here. Your secret is perfectly safe with me,” She pauses for a heartbeat. “As is, Nettie’s.”
Sylvia nods across at Sir John who stands, talking with Cyril animatedly about music, along with striking Hungarian violinist sisters, Jelly d'Aranyi********* and Adila Fachiri**********. The young West End actress, Paula Young hangs on Sir John’s arm. Cyril glances up too and catches Gerald’s eye, indicating with a gentle narrowing of his own bright blue eyes that he wants his lover to join him.
“I think I had better go and rescue Cyril from such musically elite company before it goes to his head,” Gerald says, making his excuses. “Or he shall be insufferable for weeks to come.”
As Gerald joins the small clutch, slipping in beside Cyril and lovingly wrapping his arms around his lover’s waist and resting his head comfortably on his shoulder, Lettice remarks with a deep sigh, “How content he looks.”
“Does Gerald not often look content, Lettice darling?” Sylvia asks as she fishes in her packet for another cigarette before screwing it into her holder.
“Gerald is my oldest and best chum, Sylvia darling.” Lettice takes a sip of her Parisian*********** cocktail from the wide lip of her Marie Antoinette glass************. “I’ve known him all my life, and I can confirm with my hand firmly placed over my heart that I have seen him more unhappy than happy over those years. It was only after he met Cyril, that he finally seems content in life.”
“Well,” Sylvia lights her cigarette with her silver table lighter, exhaling another billow of acrid smoke. “We all deserve some happiness in life, don’t we?”
“It seems to me, Sylvia, that after what you disclosed to me about your life, you haven’t exactly been blessed with a great deal of happiness romantically.” Lettice opines. “And pardon me for saying this, but there seems to be a noticeable absence from this evening’s little soirée of a certain gentleman from Chippenham*************.”
“Gentleman! Ha!” Sylvia snorts derisively, sending smoke plumes from both her nostrils like an angry bull. “My little soirée tonight, is no place for the Lieutenant-Colonel to be attending, Lettice darling!”
“Well, why not, Sylvia darling?”
The older woman chuckles bitterly. “For someone with a wise and shrewd head for business, you can be so naïve sometimes, Lettice darling.” She shakes her head.
Lettice blushes at Sylvia’s rebuke but remains silently sipping her drink.
“I told you the first time I brought you to ‘The Nest’, the Lieutenant-Colonel is married, a brute and a boor: which is why I’m attracted to him.” She takes up her own cocktail glass and drains in in three large gulps, arching her neck upwards and screwing her eyes up as she does. Placing the empty vessel back on the surface of the black japanned coffee table she goes on. “And those are the exact same reasons why he shouldn’t be here. Our distinguished and enlightened company,” she wafts her hand around the room at her guests happily chattering away. “Would only take offence after he managed to insult every single one of them with his thoughtless remarks, assuming they had not already fled to the sanctity of their rooms, crying off about a feigned headache, in an effort to escape the boredom of his dull small talk. No, he and Mrs. Lieutenant-Colonel will be cosily tucked up together in their own Chippenham drawing room tonight, completely and utterly bored and disaffected in one another’s company, whilst I enjoy the pleasures of the scintillating company I have gathered here tonight, yourself included Lettice my darling, to christen and celebrate your feature wall – which is how it should be.”
“I’m so pleased you like the feature wall, Sylvia darling.” Lettice enthuses, steering the conversation away from awkward and dangerous ground to something safer. “As I said to you at Cavendish Mews, I really wasn’t sure about it, but now, with all the furnishings restored in here, I can see my vision was right.”
“Of course it was, Lettice darling!” Sylvia replies through gritted teeth as she holds her cigarette holder in her mouth whilst she fixes herself another cocktail. “I needed someone with vision, and someone for whom white was not the only colour she was happy to use.”
Sylvia busies herself, bending over the coffee table, making a boulevardier************** for herself, combining bourbon, bitter Campari and red vermouth over ice. Standing back up again with a groan from having stretched her back awkwardly, she goes on, “Anyway, stop being naughty, Lettice darling, trying to change the subject. We were talking about relationships and contentedness.”
“Well yes,” Lettice says with an awkward intake of breath. “As I was saying, Gerald seems very content with Cyril.”
However, not to be dissuaded, Sylvia cuts Lettice off. “And you, Lettice darling?”
“Me?”
“You! Are you content?” Sylvia asks as she looks meaningfully over at Sir John with Paula Young still hanging off his arm as he chuckles at something witty that Jelly d'Aranyi has just said.
Lettice follows Sylvia’s gaze.
Paula looks beautiful with her dark hair bobbed and slicked down fashionably in an Eaton crop***************, her pale, almost flawless skin, highlighted by her dark, kohl**************** lined eyes and a streak of bright red gloss across her lips. She clings to Sir John in an almost predatory fashion as she occasionally glances up at her hostess flanked by Lettice, her gaze growing hostile as Lettice catches her eye.
“Oh that?” Lettice remarks with a half-hearted a laissez-faire attitude. “Oh, I knew about her even before I agreed to marry John.” She sighs heavily. “Of course, Mater and Pater don’t know. John’s very discreet.”
“Are you sure of that, Lettice darling?” Sylvia eyes her companion over the top of her glass. “You did tell me that neither of your parents seem overly enthused about your engagement to our Nettie.”
“Oh yes!” Lettice assures Sylvia, shaking her head as if trying to rid herself of an irritating insect buzzing around her. “I’m sure they don’t. They’d never allow me to marry a man whom they knew was a philanderer.”
“Well, a gentle word of warning, Lettice darling. Nettie is his own worst enemy when it comes to women. He may be discreet, but he’s not as discreet as he should be sometimes, especially when the infatuation is new, and goodness knows, Paula’s not at the best of times.” Sylvia cautions. “So just make sure they don’t find out, lest your engagement all comes to naught.”
“Well,” Lettice says, taking another sip of her Parisian. “John tells me he’s tiring of Paula anyway as she is getting too clingy and demanding for his liking.” It is her turn to snort derisively. “Just look at how she tightens her grip on him, every time she and I catch one another’s eyes.” She sighs, betraying her true concerns about Paula to her hostess. “I’m hardly a threat to her.”
Sylvia considers her younger companion thoughtfully for a moment, taking the measure of her not so steely gaze as she looks across Sylvia’s drawing room to the clutch of guests standing in a circle. “You do know that there will be others after she’s gone, don’t you Lettice?”
“Of course I know, Sylvia. John was very disclosing when he proposed to me. He made things perfectly clear. I know the lay of the land. It’s why I agreed to her coming to your little weekend soirée.”
“So he did ask you, then?”
“Oh yes, he did.” Lettice replies rather flatly.
“That’s good,” Sylvia lets out a pent-up sigh of relief. “Because when Nettie asked me if he could invite her here for the weekend since Clemance cried off with a bad head cold, I said that if he was being truly honest with you, he had to ask your permission first. I have no issue with bed hopping, as you know, Lettice darling, but not at the expense of, the happiness of, or the comfort of any of my guests.”
“You are the consummate hostess, Sylvia darling.” Lettice responds as she sips her drink again. “You think of everything.”
“I didn’t do wrong by agreeing to Paula coming, did I Lettice darling?” Sylvia asks cautiously, concern think in her voice. “I mean, I do want us to be friends, especially if you are going to marry Nettie. You are still going to become Lady Nettleford-Hughes, aren’t you?”
“Yes, of course I am Sylvia.” Lettice turns and reaches out a hand to her hostess, smiling reassuringly as she does. When Sylvia takes it in her own thin and elegant white hand, Lettice goes on. “And we are friends already, no matter what I may or may not have decided. You said yourself, more than once, that we have certain things in common, and I’m inclined to agree with you. Anyway, going back to John and his request, could I have refused him any more than you could? John has told me outright that he despises jealousy, and if I really am going to make this marriage to him work, I have to be accepting of Paula and whomever follows in her footsteps, and most importantly, I cannot be a jealous wife.”
“Can you be content with that, Lettice darling?” Sylvia asks carefully.
Lettice is about to answer her when Adila Fachiri suddenly breaks from the circle of chatting guests and scurries up to her hostess, her dark eyes illuminated with excitement. “Sylvia! Sylvia darling!” she says in her heavily smoky and dark Hungarian accented voice. “You simply must come. Come with me now!” She reaches out her hands and takes Sylvia’s glass and lit cigarette from her, discarding them on the table.
“Adila, what on earth?” Sylvia asks in surprise.
“Our clever little oboist has had the most wonderful idea! You, he, Jelly and I are going to perform a quartet for our less musically gifted guests!” Adila laughs gaily. “Please excuse us, Miss Chetwynd. Come, Sylvia! Come along!”
And without further ado, Adila drags Sylvia away from Lettice’s side.
Lettice watches as Sylvia is cajoled, without too much difficulty, to her place at the grand piano whilst Jelly fetches hers and Adila’s violins. Sir John turns around and catches Lettice’s eye, waving at her with his right hand in which he holds his own half-drunk cocktail, gesticulating for her to join he and Paula. She releases her own pent-up sigh as she wonders how her marriage is going to be. Sylvia’s unanswered question dances through her head as she watches Paula’s arm wind around Sir John’s waist rather like a serpent. Can Lettice really be content with this marriage to Sir John? He has been very disclosing and open with her about his philandering. He hasn’t promised her love, but has offered her security and the ability to have more independence than most married women of her class. There are pros and cons to the bargain she has made. However, the question Lettice is asking herself more and more is, do the pros outweigh the cons?
“Shall I be tempted by the Devil thus?” she quietly asks herself, quoting Shakespeare’s Richard III.
*Belchamp St Paul is a village and civil parish in the Braintree district of Essex, England. The village is five miles west of Sudbury, Suffolk, and 23 miles northeast of the county town, Chelmsford.
**The Royal Albert Hall is a concert hall on the northern edge of South Kensington in London, built in the style of an ancient amphitheatre. Since the hall's opening by Queen Victoria in 1871, the world's leading artists from many performance genres have appeared on its stage. It is the venue for the BBC Proms concerts, which have been held there every summer since 1941.
***Syrie Maugham was a leading British interior decorator of the 1920s and 1930s and best known for popularizing rooms decorated entirely in shades of white. She was the wife of English playwright and novelist William Somerset Maugham.
****Marcelling is a hair styling technique in which hot curling tongs are used to induce a curl into the hair. Its appearance was similar to that of a finger wave but it is created using a different method. Marcelled hair was a popular style for women's hair in the 1920s, often in conjunction with a bob cut. For those women who had longer hair, it was common to tie the hair at the nape of the neck and pin it above the ear with a stylish hair pin or flower.
*****Craven A (stylized as Craven "A") is a British brand of cigarettes, currently manufactured by British American Tobacco. Originally founded and produced by the Carreras Tobacco Company in 1921 until merging with Rothmans International in 1972, who then produced the brand until Rothmans was acquired by British American Tobacco in 1999. The cigarette brand is named after the third Earl of Craven, after the "Craven Mixture", a tobacco blend formulated for the 3rd Earl in the 1860s by tobacconist Don José Joaquin Carreras.
******Beach Pyjamas, made of silk, linen, or cotton, often in bright, cubist-inspired prints, were the height of summer and resort fashion in the 1920s and 1930s. They were worn from the afternoon to the evening as a fashionable summer style. They generally consisted of wide-legged trousers and a jacket of matching fabric.
*******Nile green is defined as a “pale bluish-green colour” and was very popular in the 1920s, fashionably named so for the Tut-Mania that took the world by storm after Howard Carter discovered Tutankhamun’s tomb in 1922.
********Sexual inversion is a theory of homosexuality popular primarily in the late Nineteenth and early Twentieth Century. Sexual inversion was believed to be an inborn reversal of gender traits: male inverts were, to a greater or lesser degree, inclined to traditionally female pursuits and dress and vice versa.
*********Jelly d'Aranyi, fully Jelly Aranyi de Hunyadvár was a Hungarian violinist who made her home in London. She was born in Budapest, the great-niece of Joseph Joachim and sister of the violinist Adila Fachiri, with whom she often played duets. She was an excellent interpreter of Classical, Romantic and modern music. After d'Aranyi had, at his request, played "gypsy" violin music to him one evening, Maurice Ravel dedicated his popular violin-and-piano composition Tzigane to her. Again at his request, she gave the first British performance of the Sonata for Violin and Cello in 1922. Ralph Vaughan Williams dedicated his Concerto Accademico to her. Gustav Holst's Double Concerto for Two Violins was written for Jelly and Adila.
**********Adila Fachiri. Adila Fachiri was a Hungarian violinist who had an international career but made her home in England. She was the sister of the violinist Jelly d'Arányi, with whom she often played duets. She first went to England in 1909, and in 1915, she married Alexander Fachiri, an English barrister living in London. By 1924, she had played in public in Hungary, Austria, Germany, Italy, France and the Netherlands, as well as appearing regularly at London concerts. One of her preferred accompanists was the pianist Julie Lasdun, mother of architect Denys Lasdun.
***********The Parisian cocktail dates from the 1920s and consists of one third French Vermouth, one third Crème de Cassis and one third gin, shaken well and strained into wide cocktail glass. It falls into a category of drinks that often feature French ingredients or have Parisian connections. Several notable cocktails have gained recognition for their ties to Paris or French culture.
************A "Marie Antoinette glass" typically refers to a champagne coupe, a shallow, bowl-shaped glass with a short stem. While the shape has been linked to Marie Antoinette's breast in popular culture, historical records debunk this claim. The coupe was popular during Marie Antoinette's reign due to the sweeter champagne produced at the time, and its shape was also favoured for its ability to dip cakes in the beverage.
*************Chippenham is a market town in north-west Wiltshire, England. It lies thirteen miles north-east of Bath, eighty-six miles west of London and is near the Cotswolds Area of Outstanding Natural Beauty.
**************The boulevardier cocktail is an alcoholic drink composed of whiskey, sweet vermouth, and Campari. It originated as an obscure cocktail in 1920s Paris, and was largely forgotten for eighty years, before being rediscovered in the late 2000s as part of the craft cocktail movement, rapidly rising in popularity in the 2010s as a variant of the negroni, and becoming an IBA official cocktail in 2020.
***************The Eton crop is a very short, slicked-down hairstyle for women, often seen as a masculine-leaning style. It was popularized in the 1920s and 30s and was worn by figures like Josephine Baker. The Eton crop emphasizes the shape of the head and focuses attention on the face.
***************Kohl is a cosmetic product, specifically an eyeliner, traditionally made from crushed stibnite (antimony sulfide). Modern formulations often include galena (lead sulfide) or other pigments like charcoal. Kohl is known for its ability to darken the edges of the eyelids, creating a striking, eye-enhancing effect. Kohl has a long history, with ancient Egyptians using it to define their eyes and protect them from the sun and dust, however there was a resurgence in its use in the 1920s and 1930s. In the 1920s, kohl eyeliner was a popular makeup trend, particularly among women embracing the "flapper" aesthetic. It was used to create a dramatic, "smoky eye" look by smudging it onto the lash line and even the inner and outer corners of the eyes. This contrasted with the more demure, natural looks favoured in the pre-war era.
This 1920s upper-class drawing room is different to what you may think at first glance, for it is made up entirely of 1:12 size dollhouse miniatures, including pieces from my teenage years.
Fun things to look for in this tableau include:
The wonderful hand painted wall behind the fireplace is the work of artis Emma Jennings www.emmajennings.com.au/artgallery who is inspired by the natural surrounds of her home in the Dandenong Ranges to the East of Melbourne. The panel is a limited edition print of her work, and was given to me, with Emma’s permission, to use as a wallpaper in one of my miniature tableaus.
Sylvia’s roomy Art Deco cream satin armchairs are made by Jai Yi Miniatures who specialise in high end miniature furniture. The black japanned coffee table and round occasional table with their gilded patterns are vintage pieces I acquired from Kathleen Knight’s Doll’s House Shop in the United Kingdom.
The chrome Art Deco smoker’s stand is a Shackman miniature from the 1970s and is quite rare. I bought it from a dealer in America via E-Bay.
The three toned marble fireplace is genuinely made from marble and is remarkably heavy for its size. It, the two brass fire dogs and filagree fireplace fender come from Kathleen Knight’s Doll’s House Shop, as do the two blue and white vases and the two blue and white gilt ginger jars on the mantle. Also on the mantle stands a little green and gold Art Deco clock, which is a 1:12 artisan miniature made by Hall’s Miniature Clocks, supplied through Doreen Jeffries Small Wonders Miniatures in England.
The two large blue and white urns flanking the fireplace are Eighteenth Century Chinese jars that I bought as part of a large job lot of small oriental pieces of porcelain, pottery and glass from an auction house many years ago.
The bottle of Gordon’s Dry Gin, the bottles of Cinzano, Campari and Martini are also 1:12 artisan miniatures, made of real glass, and came from a specialist stockist in Sydney. The soda syphon and gilt ice bucket with silver tongs sticking out of it were made by M.W. Reutter Porzellanfabrik in Germany, who specialise in making high quality porcelain miniatures. The packet of Craven “A” cigarettes and the Swan Vestas matchbox beneath it were made by Little Things Dollhouse Miniatures in Lancashire, with extreme attention paid to the packaging. The wine glasses and water carafe I have had since I was a teenager. I bought them from a high street stockist that specialised in dolls’ houses and doll house miniatures. Each glass is hand blown using real glass. The cigarette lighter is made of sterling silver and was made by the Little Green Workshop in England who specialise in high end, high quality miniatures. The Swan Vesta’s matches sitting in the holder on the smoker’s stand also come from Little Things Dollhouse Miniatures.
The painting above the mantlepiece is a 1:12 artisan piece made by Amber’s Miniatures in the United States.
The blue and white carpet interwoven with gold I acquired through an online stockist of 1;12 miniatures on E-Bay.
By Boston Portrait Photographer Steven Erat (© 2010 Please do not use without permission)
This is not a composite, but was shot on location at a mill in Maine.
Strobist Info
2 speed lights left and right, slightly behind model, each set to 1/4 power
Overhead softbox (the Doug Box box) with single speed light set to 1/2 power, just out of frame
Shot at F11 and 1/80th to let ambient in. 24mm on Canon 30D (1.6 crop factor = ~37mm)
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Model: Jezabel
The Hill of the Citadel (Jabal al-Qal'a) in the middle of Amman was occupied as early as the Neolithic period, and fortified during the Bronze Age (1800 BC). The ruins on the hill today are Roman through early Islamic. The name "Amman" comes from "Rabbath Ammon," or "Great City of the Ammonites," who settled in the region some time after 1200 BC. The Bible records that King David captured the city in the early 10th century BC; Uriah the Hittite, husband of King David's paramour Bathsheba, was killed here after the king ordered him to the front line of battle.
Location : The Citadel hill of Amman, Amman, Jordan.
Device : Panasonic DMC-FX520
Note :Best viewed in the large format better view
More about The Citadel hill of Amman : en.wikipedia.org/wiki/Jabal_al-Qal'a
© 2010 Saad Al-Enezi
Big East-German card by VEB Lied der Zeit, Berlin, 1969. Photo: Helmut Raddatz.
French actress and chanson singer Juliette Gréco has passed away today, 23 September 2020. She was the muse of the existentialists such as Jean-Paul Sartre. Later she became the protégée of film mogul Darryl F. Zanuck, who cast her in his films. She was 93.
Juliette Gréco was born in Montpellier, in the south of France in 1927. Juliette's father, who was born in Corsica, worked as a policeman on the Côte d'Azur. She rarely saw him in her childhood as she and her elder sister Charlotte were raised by their maternal grandparents who lived in Bordeaux. Juliette's mother had joined the resistance and Gestapo officers had arrested her in 1943. Charlotte and Juliette were also caught but the 16-years-old Juliette was not deported because of her young age. In 1946, she moved to Saint-Germain-des-Prés at the left bank in Paris. Juliette soon became part of the post-war art scene, hanging out with poets, jazz musicians, writers, and painters in the cafés of Saint-Germain, among them Jean-Paul Sartre, Simone de Beauvoir, Albert Camus, Raymond Queneau, Boris Vian, Jean Cocteau, and Miles Davis. She dressed generally in black and let her long, black hair hang free. Thanks to the combination of intelligence, looks and attitude, Juliette soon became a major figure on the Saint Germain scene She became a muse not only for Sartre and Camus but also for Jacques Brel and Serge Gainsbourg. Cocteau gave her a role in his film Orphée/Orpheus (Jean Cocteau, 1950) starring Jean Marais. Other films in which she appeared were Au royaume des cieux/The Sinners (Julien Duvivier, 1949) with Serge Reggiani, the comedy ...Sans laisser d'adresse/Without Leaving An Address (Jean-Paul Le Chanois, 1951), Quand tu liras cette lettre/When You Read This Letter (Jean-Pierre Melville, 1953), and Elena et les hommes/Elena and the Men (Jean Renoir, 1956), starring Ingrid Bergman.
In 1949 Julliette Gréco also began a singing career. Si tu t'imagines (1950), with lyrics by Raymond Queneau, was one of her earliest songs to become popular. In 1951 she went into the studio to record her début single Je suis comme je suis (I Am What I Am). This song, written by Jacques Prévert and set to music by Joseph Kosma, would go on to become an absolute classic of the Gréco repertoire. Other famous songs are Les Dames de la poste (1952) and Déshabillez-moi (1967). In 1956, during the shooting of the film The Sun Also Rises (Henry King, 1957) starring Tyrone Power and Ava Gardner, she became the paramour of American film producer and 20th Century-Fox studio head Darryl F. Zanuck. He cast his protégee in films like The Naked Earth (Vincent Sherman, 1958), The Roots of Heaven (John Huston, 1958) with Errol Flynn, and Crack in the Mirror (Richard Fleischer, 1960) with Orson Welles. She also prospered after parting company with 20th Century-Fox in the early 1960s, continuing to play choice club dates and to co-star in such internationally financed films as The Night of the Generals (Anatole Litvak, 1967) with Peter O’Toole and Omar Sharif. By the mid-1960s Juliette Gréco had become one of the best-known faces in French showbiz, thanks to her role in the famous French television series Belphégor (which she began filming in 1965). In later years, she appeared in Lily, aime-moi/Lily, Love Me (Maurice Dugowson, 1975) with Patrick Dewaere, the fantasy film and remake Belphégor - Le fantôme du Louvre/Belphegor, Phantom of the Louvre (Jean-Paul Salomé, 2001) with Sophie Marceau, and Jedermanns Fest/Everyman's Feast (Fritz Lehner, 2002) opposite Klaus Maria Brandauer. In 1982 she published her autobiography, Jujube. She suffered a heart attack on stage in her hometown Montpellier in 2001, but she recovered. Juliette Gréco has been married three times: to actor Philippe Lemaire (1953-1956); actor Michel Piccoli (1966-1977), and pianist Gérard Jouannest (since 1988). Her daughter, Laurence-Marie Lemaire, is an actress too. In 2009 Juliette Gréco´s newest album, Je Me Souviens De Tout (I Remember Everything), was released. To mark the occasion, Gréco, accompanied by her husband Gérard Jouannest on the piano, and Jean-Louis Matinier on the accordion gave four concerts at the Théâtre des Champs-Élysées in early June. In 2015, she presented a new album, Merci, and started her farewell tour. Since then, despite some health problems, she continued to tour around the globe. Juliette Greco passed away in Ramatuelle, France, in 2020.
Sources: Hal Erickson (AllMovie), Glyn Brown (The Independent), RFIMusique, Europopmusic, Wikipedia (English and French), and IMDb.
And, please check out our blog European Film Star Postcards.
German postcard by Krüger, nr. 902/412.
Stunning Swiss sex symbol, starlet and jet-setter Ursula Andress (1936) will always be remembered as the first and quintessential Bond girl. In Dr. No (1962). She made film history when she spectacularly rises out of the Caribbean Sea in a white bikini. Though she won a Golden Globe Ursula's looks generally outweighed her acting talent and she never took her film career very seriously.
Ursula Andress was born in 1936, in Ostermundigen, in the Swiss canton Bern, as one of seven children in a German Protestant family. Her father Rolf Andress was a German diplomat who disappeared during World War II, and her Swiss mother, Anna, was a gardener. Although often seeming icily aloof, a restless streak early demonstrated itself in her personality, and she had a desire from an early age to explore the world outside Switzerland. At 17, she ran away with an Italian actor, then returned home after her mother intervened. She studied painting, sculpture and dance in Paris. Andress started her career as an art model in Rome, which led to her first roles in the Italian film industry. (Some sources claim that she was on a holiday to Rome at the time). She played small roles in the Italian farces Un americano a Roma/An American in Rome (1954, Steno), La catena dell'odio/The Chain of Hate (1955, Renato Baldini) and Le avventure di Giacomo Casanova/Adventures of Giacomo Casanova (1955, Steno), which focused on her impressive physical attributes. Eventually, due in part to the patronage of paramour Marlon Brando, she signed a contract with Columbia Pictures and went to Hollywood heralded as the New Marlene Dietrich. Actually the only things she had in common with Dietrich were her (partly) German heritage and magnificent legs. In Hollywood she had a troubled relationship with James Dean. One tabloid reported at the time that Dean was learning German so they could "argue in another language". On the day of his death (30 September 1955), Dean asked her to go with him to San Francisco in his Porsche 550 Spyder, but he left Los Angeles without her. She had met actor and pretty-boy John Derek and had fallen in love with him. They married in 1957, and Ursula dropped out of film-making for several years thereafter.
The year 1962 saw Ursula Andress back on the set, co-starring as Honey Ryder with Sean Connery in the first film version of Ian Fleming's fanciful James Bond espionage novels, Dr. No (1962, Terence Young). On a trip to Greece, John Derek had taken photographs of his wife, and one had been published in a magazine. The photograph was seen by Harry Saltzman, co-producer of the first James Bond film, which was scheduled to start shooting within a few weeks even though the female lead had not yet been cast. One glance at the picture was enough. Ursula was offered the part. Her Swiss/German accent was so strong that her voice had to dubbed, but Ursula Andress' smoldering-yet-aloof screen presence immediately established her as one of the most desired women in the world. Her performance helped to start the James Bond franchise and set the Bond Girl standard beside which all future Bond actresses would be judged. In 1964 Andress won a Golden Globe award for New Star of the Year for her role. The success of Dr. No established her as a spectacular ornament to put on-screen alongside the most bankable talent of the 1960’s, and she was cast in Hollywood vehicles for such icons as the king of rock 'n' roll Elvis Presley in Fun in Acapulco (1963, Richard Thorpe), and Frank Sinatra in 4 for Texas (1963, Robert Aldrich). In Europe she starred with Jean-Paul Belmondo in the Jules Verne adventure Les tribulations d'un chinois en Chine/Up to His Ears (1965, Philippe de Broca) and with Marcello Mastroianni in the SciFi thriller La decima vittima/The 10th Victim (1965, Elio Petri), in which she wears a famously ballistic bra. She also featured as ‘Ayesha - She who must be obeyed’ in Hammer's fantasy film She (1965, Robert Day) with Peter Cushing and Christopher Lee. In 1965, she also posed nude for Playboy - the photos were taken by her husband John Derek. In The Blue Max (1966, John Guillermin) she was aptly cast as the sultry, sexually insatiable wife of an aristocratic World War I German general played by James Mason. She also appeared in the Bond satire Casino Royale (1967, John Huston a.o.) as Vesper Lynd, an occasional spy who persuades Evelyn Tremble (Peter Sellers) to carry out a mission. And she was one of several European starlets to co-star in What's New Pussycat (1965, Clive Donner, Richard Talmadge) - a film that perhaps sums up mid-1960’s pop culture best - written by Woody Allen, starring Allen and Peter Sellers, with music by Burt Bacharach, a title song performed by Tom Jones and much on-screen sexual romping.
Her charms seemed not to diminish by age. At 40 Ursula Andress could still easily play a bombshell nurse hired to titillate a doddering millionaire to death in the slight Italian sex comedy L'infermiera/The Sensuous Nurse (1975, Nello Rossati) and three years later she even appeared naked on a stake being rubbed with blood in the ‘horror in the jungle’ exploitation film La montagna del dio cannibale/Slave of the Cannibal God (1978, Sergio Martino). Having been divorced by Derek in 1966 so he could pursue younger lookalike Linda Evans, Andress played the field for years, reportedly involved at various times with Jean-Paul Belmondo, Ryan O'Neal, Warren Beatty and Fabio Testi. In 1979 she began what would be a long-term romance with Harry Hamlin, her handsome young co-star from Clash of the Titans (1981, Desmond Davis) in which she was cast, predictably, as Aphrodite. She and Hamlin have a son, born in 1980, Dimitri Hamlin. After the her son's birth, Andress scaled back her career, which now focused mostly on European TV and films, as she was raising Dimitri in Rome. Among her later films were Krasnye kolokola/Mexico in Flames (1982, Sergei Bondarchuk) with Franco Nero, Liberté, égalité, choucroute/Liberty, Equality, Sauerkrauten (1985, Jean Yanne) as Queen Marie Antoinette, and the artfilm Cremaster 5 (1997, Matthew Barney). On television she appeared in the mini-series Peter the Great (1986, Marvin J. Chomsky, Lawrence Schiller) and in the series Facon Crest (1988). She last worked on a film in her homecountry Switzerland. In the satire Die Vogelpredigt/The Bird Preachers (2005, Clemens Klopfenstein) she appeared as the Virgin Mary. Her relationship with Harry Hamlin having ended in 1982, she has lived with Lorenzo Rispoli since 1983. In 2001 the white bikini from Dr. No sold for £35,000 at an auction, in a 2003 Survey by Channel 4 her rise from the sea was voted #1 in ‘the 100 Greatest Sexy Moments, and in 2008 the readers of the British newspaper Daily Mail voted her ‘Best Bond Girl of All Time’. Ursula Andress’ performance as Honey Rider has clearly made her an icon of the 20th Century.
Sources: Larry-115 (IMDb), Hal Erickson (All Movie Guide), Wikipedia, Love Goddess and IMDb.
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For the first time since the pandemic (except maybe the slumber party with the Poppy Parker Loves Mystery Date reveal) we had a real collection revealed yesterday ... what a joy ! For me Poppy Parker is always synonym to pleasure and fun ...
What an excitement to see at last the reveal of the long awaited 'Poppy Parker in Palm Spring' collection since it was announced during the 2020 virtual convention ...
As we don't have a friend to join Poppy in this collection, I'm really happy that Sergio appears for the second time ... he has a mini gift set with a white polo, a pink shirt, a swimming suit and shoes added to his beautiful suit and luxurious white shoes ... he is the perfect companion for any occasion during this vacation ...
De Sant Llorenç D'Hortons. Gose. Aigua, maltes (d'ordi, blat i civada), llúpol (Tettnang), llevat, fruita de la passió, llavors de coriandre i sal de mar. 5 IBUs. 4,5%. Impressionant de bona. Àcida, seca, molt carbonatada, gust a maracujà molt marcat, també cítric. #fruity #sour #sourbeer #blackberries #cranberries #NEIPA #IPA #IndianPaleAle #indiaPaleAle #localbeer #craftbeer #cervesaartesana #cervesaartesanal #beer #pivo #birra #cervesa #cerveza #olut #øl #пиво #bière #beerporn #beergeek #beernerd #craftbeerlive #hophead #craftbeernotcrapbeer #craftbeerporn #craftbeerlover #beerstagram #beerpic #olut #starkol #piwo #chelas #bierre #chela #instabeer
Thanks for treating me to breakfast, Simon! He runs my favorite DFS market: maps.secondlife.com/secondlife/Alkaia%20Paramour/54/36/2001
Detail of the Hammurabi Stele Replica in the Iran 'Bastan' National Museum.
* This photo was blogged here
Translation of the Hammurabi Codex (by L.W. King):
When Anu the Sublime, King of the Anunaki, and Bel, the lord of Heaven and earth, who decreed the fate of the land, assigned to Marduk, the over-ruling son of Ea, God of righteousness, dominion over earthly man, and made him great among the Igigi, they called Babylon by his illustrious name, made it great on earth, and founded an everlasting kingdom in it, whose foundations are laid so solidly as those of heaven and earth; then Anu and Bel called by name me, Hammurabi, the exalted prince, who feared God, to bring about the rule of righteousness in the land, to destroy the wicked and the evil-doers; so that the strong should not harm the weak; so that I should rule over the black-headed people like Shamash, and enlighten the land, to further the well-being of mankind.
Hammurabi, the prince, called of Bel am I, making riches and increase, enriching Nippur and Dur-ilu beyond compare, sublime patron of E-kur; who reestablished Eridu and purified the worship of E-apsu; who conquered the four quarters of the world, made great the name of Babylon, rejoiced the heart of Marduk, his lord who daily pays his devotions in Saggil; the royal scion whom Sin made; who enriched Ur; the humble, the reverent, who brings wealth to Gish-shir-gal; the white king, heard of Shamash, the mighty, who again laid the foundations of Sippara; who clothed the gravestones of Malkat with green; who made E-babbar great, which is like the heavens, the warrior who guarded Larsa and renewed E-babbar, with Shamash as his helper; the lord who granted new life to Uruk, who brought plenteous water to its inhabitants, raised the head of E-anna, and perfected the beauty of Anu and Nana; shield of the land, who reunited the scattered inhabitants of Isin; who richly endowed E-gal-mach; the protecting king of the city, brother of the god Zamama; who firmly founded the farms of Kish, crowned E-me-te-ursag with glory, redoubled the great holy treasures of Nana, managed the temple of Harsag-kalama; the grave of the enemy, whose help brought about the victory; who increased the power of Cuthah; made all glorious in E-shidlam, the black steer, who gored the enemy; beloved of the god Nebo, who rejoiced the inhabitants of Borsippa, the Sublime; who is indefatigable for E-zida; the divine king of the city; the White, Wise; who broadened the fields of Dilbat, who heaped up the harvests for Urash; the Mighty, the lord to whom come scepter and crown, with which he clothes himself; the Elect of Ma-ma; who fixed the temple bounds of Kesh, who made rich the holy feasts of Nin-tu; the provident, solicitous, who provided food and drink for Lagash and Girsu, who provided large sacrificial offerings for the temple of Ningirsu; who captured the enemy, the Elect of the oracle who fulfilled the prediction of Hallab, who rejoiced the heart of Anunit; the pure prince, whose prayer is accepted by Adad; who satisfied the heart of Adad, the warrior, in Karkar, who restored the vessels for worship in E-ud-gal-gal; the king who granted life to the city of Adab; the guide of E-mach; the princely king of the city, the irresistible warrior, who granted life to the inhabitants of Mashkanshabri, and brought abundance to the temple of Shidlam; the White, Potent, who penetrated the secret cave of the bandits, saved the inhabitants of Malka from misfortune, and fixed their home fast in wealth; who established pure sacrificial gifts for Ea and Dam-gal-nun-na, who made his kingdom everlastingly great; the princely king of the city, who subjected the districts on the Ud-kib-nun-na Canal to the sway of Dagon, his Creator; who spared the inhabitants of Mera and Tutul; the sublime prince, who makes the face of Ninni shine; who presents holy meals to the divinity of Nin-a-zu, who cared for its inhabitants in their need, provided a portion for them in Babylon in peace; the shepherd of the oppressed and of the slaves; whose deeds find favor before Anunit, who provided for Anunit in the temple of Dumash in the suburb of Agade; who recognizes the right, who rules by law; who gave back to the city of Ashur its protecting god; who let the name of Ishtar of Nineveh remain in E-mish-mish; the Sublime, who humbles himself before the great gods; successor of Sumula-il; the mighty son of Sin-muballit; the royal scion of Eternity; the mighty monarch, the sun of Babylon, whose rays shed light over the land of Sumer and Akkad; the king, obeyed by the four quarters of the world; Beloved of Ninni, am I.
When Marduk sent me to rule over men, to give the protection of right to the land, I did right and righteousness in ..., and brought about the well-being of the oppressed.
The Code of Laws
1. If any one ensnare another, putting a ban upon him, but he can not prove it, then he that ensnared him shall be put to death.
2. If any one bring an accusation against a man, and the accused go to the river and leap into the river, if he sink in the river his accuser shall take possession of his house. But if the river prove that the accused is not guilty, and he escape unhurt, then he who had brought the accusation shall be put to death, while he who leaped into the river shall take possession of the house that had belonged to his accuser.
3. If any one bring an accusation of any crime before the elders, and does not prove what he has charged, he shall, if it be a capital offense charged, be put to death.
4. If he satisfy the elders to impose a fine of grain or money, he shall receive the fine that the action produces.
5. If a judge try a case, reach a decision, and present his judgment in writing; if later error shall appear in his decision, and it be through his own fault, then he shall pay twelve times the fine set by him in the case, and he shall be publicly removed from the judge's bench, and never again shall he sit there to render judgement.
6. If any one steal the property of a temple or of the court, he shall be put to death, and also the one who receives the stolen thing from him shall be put to death.
7. If any one buy from the son or the slave of another man, without witnesses or a contract, silver or gold, a male or female slave, an ox or a sheep, an ass or anything, or if he take it in charge, he is considered a thief and shall be put to death.
8. If any one steal cattle or sheep, or an ass, or a pig or a goat, if it belong to a god or to the court, the thief shall pay thirtyfold therefor; if they belonged to a freed man of the king he shall pay tenfold; if the thief has nothing with which to pay he shall be put to death.
9. If any one lose an article, and find it in the possession of another: if the person in whose possession the thing is found say "A merchant sold it to me, I paid for it before witnesses," and if the owner of the thing say, "I will bring witnesses who know my property," then shall the purchaser bring the merchant who sold it to him, and the witnesses before whom he bought it, and the owner shall bring witnesses who can identify his property. The judge shall examine their testimony -- both of the witnesses before whom the price was paid, and of the witnesses who identify the lost article on oath. The merchant is then proved to be a thief and shall be put to death. The owner of the lost article receives his property, and he who bought it receives the money he paid from the estate of the merchant.
10. If the purchaser does not bring the merchant and the witnesses before whom he bought the article, but its owner bring witnesses who identify it, then the buyer is the thief and shall be put to death, and the owner receives the lost article.
11. If the owner do not bring witnesses to identify the lost article, he is an evil-doer, he has traduced, and shall be put to death.
12. If the witnesses be not at hand, then shall the judge set a limit, at the expiration of six months. If his witnesses have not appeared within the six months, he is an evil-doer, and shall bear the fine of the pending case.
14. If any one steal the minor son of another, he shall be put to death.
15. If any one take a male or female slave of the court, or a male or female slave of a freed man, outside the city gates, he shall be put to death.
16. If any one receive into his house a runaway male or female slave of the court, or of a freedman, and does not bring it out at the public proclamation of the major domus, the master of the house shall be put to death.
17. If any one find runaway male or female slaves in the open country and bring them to their masters, the master of the slaves shall pay him two shekels of silver.
18. If the slave will not give the name of the master, the finder shall bring him to the palace; a further investigation must follow, and the slave shall be returned to his master.
19. If he hold the slaves in his house, and they are caught there, he shall be put to death.
20. If the slave that he caught run away from him, then shall he swear to the owners of the slave, and he is free of all blame.
21. If any one break a hole into a house (break in to steal), he shall be put to death before that hole and be buried.
22. If any one is committing a robbery and is caught, then he shall be put to death.
23. If the robber is not caught, then shall he who was robbed claim under oath the amount of his loss; then shall the community, and ... on whose ground and territory and in whose domain it was compensate him for the goods stolen.
24. If persons are stolen, then shall the community and ... pay one mina of silver to their relatives.
25. If fire break out in a house, and some one who comes to put it out cast his eye upon the property of the owner of the house, and take the property of the master of the house, he shall be thrown into that self-same fire.
26. If a chieftain or a man (common soldier), who has been ordered to go upon the king's highway for war does not go, but hires a mercenary, if he withholds the compensation, then shall this officer or man be put to death, and he who represented him shall take possession of his house.
27. If a chieftain or man be caught in the misfortune of the king (captured in battle), and if his fields and garden be given to another and he take possession, if he return and reaches his place, his field and garden shall be returned to him, he shall take it over again.
28. If a chieftain or a man be caught in the misfortune of a king, if his son is able to enter into possession, then the field and garden shall be given to him, he shall take over the fee of his father.
29. If his son is still young, and can not take possession, a third of the field and garden shall be given to his mother, and she shall bring him up.
30. If a chieftain or a man leave his house, garden, and field and hires it out, and some one else takes possession of his house, garden, and field and uses it for three years: if the first owner return and claims his house, garden, and field, it shall not be given to him, but he who has taken possession of it and used it shall continue to use it.
31. If he hire it out for one year and then return, the house, garden, and field shall be given back to him, and he shall take it over again.
32. If a chieftain or a man is captured on the "Way of the King" (in war), and a merchant buy him free, and bring him back to his place; if he have the means in his house to buy his freedom, he shall buy himself free: if he have nothing in his house with which to buy himself free, he shall be bought free by the temple of his community; if there be nothing in the temple with which to buy him free, the court shall buy his freedom. His field, garden, and house shall not be given for the purchase of his freedom.
33. If a ... or a ... enter himself as withdrawn from the "Way of the King," and send a mercenary as substitute, but withdraw him, then the ... or ... shall be put to death.
34. If a ... or a ... harm the property of a captain, injure the captain, or take away from the captain a gift presented to him by the king, then the ... or ... shall be put to death.
35. If any one buy the cattle or sheep which the king has given to chieftains from him, he loses his money.
36. The field, garden, and house of a chieftain, of a man, or of one subject to quit-rent, can not be sold.
37. If any one buy the field, garden, and house of a chieftain, man, or one subject to quit-rent, his contract tablet of sale shall be broken (declared invalid) and he loses his money. The field, garden, and house return to their owners.
38. A chieftain, man, or one subject to quit-rent can not assign his tenure of field, house, and garden to his wife or daughter, nor can he assign it for a debt.
39. He may, however, assign a field, garden, or house which he has bought, and holds as property, to his wife or daughter or give it for debt.
40. He may sell field, garden, and house to a merchant (royal agents) or to any other public official, the buyer holding field, house, and garden for its usufruct.
41. If any one fence in the field, garden, and house of a chieftain, man, or one subject to quit-rent, furnishing the palings therefor; if the chieftain, man, or one subject to quit-rent return to field, garden, and house, the palings which were given to him become his property.
42. If any one take over a field to till it, and obtain no harvest therefrom, it must be proved that he did no work on the field, and he must deliver grain, just as his neighbor raised, to the owner of the field.
43. If he do not till the field, but let it lie fallow, he shall give grain like his neighbor's to the owner of the field, and the field which he let lie fallow he must plow and sow and return to its owner.
44. If any one take over a waste-lying field to make it arable, but is lazy, and does not make it arable, he shall plow the fallow field in the fourth year, harrow it and till it, and give it back to its owner, and for each ten gan (a measure of area) ten gur of grain shall be paid.
45. If a man rent his field for tillage for a fixed rental, and receive the rent of his field, but bad weather come and destroy the harvest, the injury falls upon the tiller of the soil.
46. If he do not receive a fixed rental for his field, but lets it on half or third shares of the harvest, the grain on the field shall be divided proportionately between the tiller and the owner.
47. If the tiller, because he did not succeed in the first year, has had the soil tilled by others, the owner may raise no objection; the field has been cultivated and he receives the harvest according to agreement.
48. If any one owe a debt for a loan, and a storm prostrates the grain, or the harvest fail, or the grain does not grow for lack of water; in that year he need not give his creditor any grain, he washes his debt-tablet in water and pays no rent for this year.
49. If any one take money from a merchant, and give the merchant a field tillable for corn or sesame and order him to plant corn or sesame in the field, and to harvest the crop; if the cultivator plant corn or sesame in the field, at the harvest the corn or sesame that is in the field shall belong to the owner of the field and he shall pay corn as rent, for the money he received from the merchant, and the livelihood of the cultivator shall he give to the merchant.
50. If he give a cultivated corn-field or a cultivated sesame-field, the corn or sesame in the field shall belong to the owner of the field, and he shall return the money to the merchant as rent.
51. If he have no money to repay, then he shall pay in corn or sesame in place of the money as rent for what he received from the merchant, according to the royal tariff.
52. If the cultivator do not plant corn or sesame in the field, the debtor's contract is not weakened.
53. If any one be too lazy to keep his dam in proper condition, and does not so keep it; if then the dam break and all the fields be flooded, then shall he in whose dam the break occurred be sold for money, and the money shall replace the corn which he has caused to be ruined.
54. If he be not able to replace the corn, then he and his possessions shall be divided among the farmers whose corn he has flooded.
55. If any one open his ditches to water his crop, but is careless, and the water flood the field of his neighbor, then he shall pay his neighbor corn for his loss.
56. If a man let in the water, and the water overflow the plantation of his neighbor, he shall pay ten gur of corn for every ten gan of land.
57. If a shepherd, without the permission of the owner of the field, and without the knowledge of the owner of the sheep, lets the sheep into a field to graze, then the owner of the field shall harvest his crop, and the shepherd, who had pastured his flock there without permission of the owner of the field, shall pay to the owner twenty gur of corn for every ten gan.
58. If after the flocks have left the pasture and been shut up in the common fold at the city gate, any shepherd let them into a field and they graze there, this shepherd shall take possession of the field which he has allowed to be grazed on, and at the harvest he must pay sixty gur of corn for every ten gan.
59. If any man, without the knowledge of the owner of a garden, fell a tree in a garden he shall pay half a mina in money.
60. If any one give over a field to a gardener, for him to plant it as a garden, if he work at it, and care for it for four years, in the fifth year the owner and the gardener shall divide it, the owner taking his part in charge.
61. If the gardener has not completed the planting of the field, leaving one part unused, this shall be assigned to him as his.
62. If he do not plant the field that was given over to him as a garden, if it be arable land (for corn or sesame) the gardener shall pay the owner the produce of the field for the years that he let it lie fallow, according to the product of neighboring fields, put the field in arable condition and return it to its owner.
63. If he transform waste land into arable fields and return it to its owner, the latter shall pay him for one year ten gur for ten gan.
64. If any one hand over his garden to a gardener to work, the gardener shall pay to its owner two-thirds of the produce of the garden, for so long as he has it in possession, and the other third shall he keep.
65. If the gardener do not work in the garden and the product fall off, the gardener shall pay in proportion to other neighboring gardens.
[The text for laws 66 through 99 is missing]
100. ... interest for the money, as much as he has received, he shall give a note therefor, and on the day, when they settle, pay to the merchant.
101. If there are no mercantile arrangements in the place whither he went, he shall leave the entire amount of money which he received with the broker to give to the merchant.
102. If a merchant entrust money to an agent (broker) for some investment, and the broker suffer a loss in the place to which he goes, he shall make good the capital to the merchant.
103. If, while on the journey, an enemy take away from him anything that he had, the broker shall swear by God and be free of obligation.
104. If a merchant give an agent corn, wool, oil, or any other goods to transport, the agent shall give a receipt for the amount, and compensate the merchant therefor. Then he shall obtain a receipt form the merchant for the money that he gives the merchant.
105. If the agent is careless, and does not take a receipt for the money which he gave the merchant, he can not consider the unreceipted money as his own.
106. If the agent accept money from the merchant, but have a quarrel with the merchant (denying the receipt), then shall the merchant swear before God and witnesses that he has given this money to the agent, and the agent shall pay him three times the sum.
107. If the merchant cheat the agent, in that as the latter has returned to him all that had been given him, but the merchant denies the receipt of what had been returned to him, then shall this agent convict the merchant before God and the judges, and if he still deny receiving what the agent had given him shall pay six times the sum to the agent.
108. If a tavern-keeper (feminine) does not accept corn according to gross weight in payment of drink, but takes money, and the price of the drink is less than that of the corn, she shall be convicted and thrown into the water.
109. If conspirators meet in the house of a tavern-keeper, and these conspirators are not captured and delivered to the court, the tavern-keeper shall be put to death.
110. If a "sister of a god" open a tavern, or enter a tavern to drink, then shall this woman be burned to death.
111. If an inn-keeper furnish sixty ka of usakani-drink to ... she shall receive fifty ka of corn at the harvest.
112. If any one be on a journey and entrust silver, gold, precious stones, or any movable property to another, and wish to recover it from him; if the latter do not bring all of the property to the appointed place, but appropriate it to his own use, then shall this man, who did not bring the property to hand it over, be convicted, and he shall pay fivefold for all that had been entrusted to him.
113. If any one have consignment of corn or money, and he take from the granary or box without the knowledge of the owner, then shall he who took corn without the knowledge of the owner out of the granary or money out of the box be legally convicted, and repay the corn he has taken. And he shall lose whatever commission was paid to him, or due him.
114. If a man have no claim on another for corn and money, and try to demand it by force, he shall pay one-third of a mina of silver in every case.
115. If any one have a claim for corn or money upon another and imprison him; if the prisoner die in prison a natural death, the case shall go no further.
116. If the prisoner die in prison from blows or maltreatment, the master of the prisoner shall convict the merchant before the judge. If he was a free-born man, the son of the merchant shall be put to death; if it was a slave, he shall pay one-third of a mina of gold, and all that the master of the prisoner gave he shall forfeit.
117. If any one fail to meet a claim for debt, and sell himself, his wife, his son, and daughter for money or give them away to forced labor: they shall work for three years in the house of the man who bought them, or the proprietor, and in the fourth year they shall be set free.
118. If he give a male or female slave away for forced labor, and the merchant sublease them, or sell them for money, no objection can be raised.
119. If any one fail to meet a claim for debt, and he sell the maid servant who has borne him children, for money, the money which the merchant has paid shall be repaid to him by the owner of the slave and she shall be freed.
120. If any one store corn for safe keeping in another person's house, and any harm happen to the corn in storage, or if the owner of the house open the granary and take some of the corn, or if especially he deny that the corn was stored in his house: then the owner of the corn shall claim his corn before God (on oath), and the owner of the house shall pay its owner for all of the corn that he took.
121. If any one store corn in another man's house he shall pay him storage at the rate of one gur for every five ka of corn per year.
122. If any one give another silver, gold, or anything else to keep, he shall show everything to some witness, draw up a contract, and then hand it over for safe keeping.
123. If he turn it over for safe keeping without witness or contract, and if he to whom it was given deny it, then he has no legitimate claim.
124. If any one deliver silver, gold, or anything else to another for safe keeping, before a witness, but he deny it, he shall be brought before a judge, and all that he has denied he shall pay in full.
125. If any one place his property with another for safe keeping, and there, either through thieves or robbers, his property and the property of the other man be lost, the owner of the house, through whose neglect the loss took place, shall compensate the owner for all that was given to him in charge. But the owner of the house shall try to follow up and recover his property, and take it away from the thief.
126. If any one who has not lost his goods state that they have been lost, and make false claims: if he claim his goods and amount of injury before God, even though he has not lost them, he shall be fully compensated for all his loss claimed. (I.e., the oath is all that is needed.)
127. If any one "point the finger" (slander) at a sister of a god or the wife of any one, and can not prove it, this man shall be taken before the judges and his brow shall be marked. (by cutting the skin, or perhaps hair.)
128. If a man take a woman to wife, but have no intercourse with her, this woman is no wife to him.
129. If a man's wife be surprised (in flagrante delicto) with another man, both shall be tied and thrown into the water, but the husband may pardon his wife and the king his slaves.
130. If a man violate the wife (betrothed or child-wife) of another man, who has never known a man, and still lives in her father's house, and sleep with her and be surprised, this man shall be put to death, but the wife is blameless.
131. If a man bring a charge against one's wife, but she is not surprised with another man, she must take an oath and then may return to her house.
132. If the "finger is pointed" at a man's wife about another man, but she is not caught sleeping with the other man, she shall jump into the river for her husband.
133. If a man is taken prisoner in war, and there is a sustenance in his house, but his wife leave house and court, and go to another house: because this wife did not keep her court, and went to another house, she shall be judicially condemned and thrown into the water.
134. If any one be captured in war and there is not sustenance in his house, if then his wife go to another house this woman shall be held blameless.
135. If a man be taken prisoner in war and there be no sustenance in his house and his wife go to another house and bear children; and if later her husband return and come to his home: then this wife shall return to her husband, but the children follow their father.
136. If any one leave his house, run away, and then his wife go to another house, if then he return, and wishes to take his wife back: because he fled from his home and ran away, the wife of this runaway shall not return to her husband.
137. If a man wish to separate from a woman who has borne him children, or from his wife who has borne him children: then he shall give that wife her dowry, and a part of the usufruct of field, garden, and property, so that she can rear her children. When she has brought up her children, a portion of all that is given to the children, equal as that of one son, shall be given to her. She may then marry the man of her heart.
138. If a man wishes to separate from his wife who has borne him no children, he shall give her the amount of her purchase money and the dowry which she brought from her father's house, and let her go.
139. If there was no purchase price he shall give her one mina of gold as a gift of release.
140. If he be a freed man he shall give her one-third of a mina of gold.
141. If a man's wife, who lives in his house, wishes to leave it, plunges into debt, tries to ruin her house, neglects her husband, and is judicially convicted: if her husband offer her release, she may go on her way, and he gives her nothing as a gift of release. If her husband does not wish to release her, and if he take another wife, she shall remain as servant in her husband's house.
142. If a woman quarrel with her husband, and say: "You are not congenial to me," the reasons for her prejudice must be presented. If she is guiltless, and there is no fault on her part, but he leaves and neglects her, then no guilt attaches to this woman, she shall take her dowry and go back to her father's house.
143. If she is not innocent, but leaves her husband, and ruins her house, neglecting her husband, this woman shall be cast into the water.
144. If a man take a wife and this woman give her husband a maid-servant, and she bear him children, but this man wishes to take another wife, this shall not be permitted to him; he shall not take a second wife.
145. If a man take a wife, and she bear him no children, and he intend to take another wife: if he take this second wife, and bring her into the house, this second wife shall not be allowed equality with his wife.
146. If a man take a wife and she give this man a maid-servant as wife and she bear him children, and then this maid assume equality with the wife: because she has borne him children her master shall not sell her for money, but he may keep her as a slave, reckoning her among the maid-servants.
147. If she have not borne him children, then her mistress may sell her for money.
148. If a man take a wife, and she be seized by disease, if he then desire to take a second wife he shall not put away his wife, who has been attacked by disease, but he shall keep her in the house which he has built and support her so long as she lives.
149. If this woman does not wish to remain in her husband's house, then he shall compensate her for the dowry that she brought with her from her father's house, and she may go.
150. If a man give his wife a field, garden, and house and a deed therefor, if then after the death of her husband the sons raise no claim, then the mother may bequeath all to one of her sons whom she prefers, and need leave nothing to his brothers.
151. If a woman who lived in a man's house made an agreement with her husband, that no creditor can arrest her, and has given a document therefor: if that man, before he married that woman, had a debt, the creditor can not hold the woman for it. But if the woman, before she entered the man's house, had contracted a debt, her creditor can not arrest her husband therefor.
152. If after the woman had entered the man's house, both contracted a debt, both must pay the merchant.
153. If the wife of one man on account of another man has their mates (her husband and the other man's wife) murdered, both of them shall be impaled.
154. If a man be guilty of incest with his daughter, he shall be driven from the place (exiled).
155. If a man betroth a girl to his son, and his son have intercourse with her, but he (the father) afterward defile her, and be surprised, then he shall be bound and cast into the water (drowned).
156. If a man betroth a girl to his son, but his son has not known her, and if then he defile her, he shall pay her half a gold mina, and compensate her for all that she brought out of her father's house. She may marry the man of her heart.
157. If any one be guilty of incest with his mother after his father, both shall be burned.
158. If any one be surprised after his father with his chief wife, who has borne children, he shall be driven out of his father's house.
159. If any one, who has brought chattels into his father-in-law's house, and has paid the purchase-money, looks for another wife, and says to his father-in-law: "I do not want your daughter," the girl's father may keep all that he had brought.
160. If a man bring chattels into the house of his father-in-law, and pay the "purchase price" (for his wife): if then the father of the girl say: "I will not give you my daughter," he shall give him back all that he brought with him.
161. If a man bring chattels into his father-in-law's house and pay the "purchase price," if then his friend slander him, and his father-in-law say to the young husband: "You shall not marry my daughter," the he shall give back to him undiminished all that he had brought with him; but his wife shall not be married to the friend.
162. If a man marry a woman, and she bear sons to him; if then this woman die, then shall her father have no claim on her dowry; this belongs to her sons.
163. If a man marry a woman and she bear him no sons; if then this woman die, if the "purchase price" which he had paid into the house of his father-in-law is repaid to him, her husband shall have no claim upon the dowry of this woman; it belongs to her father's house.
164. If his father-in-law do not pay back to him the amount of the "purchase price" he may subtract the amount of the "Purchase price" from the dowry, and then pay the remainder to her father's house.
165. If a man give to one of his sons whom he prefers a field, garden, and house, and a deed therefor: if later the father die, and the brothers divide the estate, then they shall first give him the present of his father, and he shall accept it; and the rest of the paternal property shall they divide.
166. If a man take wives for his son, but take no wife for his minor son, and if then he die: if the sons divide the estate, they shall set aside besides his portion the money for the "purchase price" for the minor brother who had taken no wife as yet, and secure a wife for him.
167. If a man marry a wife and she bear him children: if this wife die and he then take another wife and she bear him children: if then the father die, the sons must not partition the estate according to the mothers, they shall divide the dowries of their mothers only in this way; the paternal estate they shall divide equally with one another.
168. If a man wish to put his son out of his house, and declare before the judge: "I want to put my son out," then the judge shall examine into his reasons. If the son be guilty of no great fault, for which he can be rightfully put out, the father shall not put him out.
169. If he be guilty of a grave fault, which should rightfully deprive him of the filial relationship, the father shall forgive him the first time; but if he be guilty of a grave fault a second time the father may deprive his son of all filial relation.
170. If his wife bear sons to a man, or his maid-servant have borne sons, and the father while still living says to the children whom his maid-servant has borne: "My sons," and he count them with the sons of his wife; if then the father die, then the sons of the wife and of the maid-servant shall divide the paternal property in common. The son of the wife is to partition and choose.
171. If, however, the father while still living did not say to the sons of the maid-servant: "My sons," and then the father dies, then the sons of the maid-servant shall not share with the sons of the wife, but the freedom of the maid and her sons shall be granted. The sons of the wife shall have no right to enslave the sons of the maid; the wife shall take her dowry (from her father), and the gift that her husband gave her and deeded to her (separate from dowry, or the purchase-money paid her father), and live in the home of her husband: so long as she lives she shall use it, it shall not be sold for money. Whatever she leaves shall belong to her children.
172. If her husband made her no gift, she shall be compensated for her gift, and she shall receive a portion from the estate of her husband, equal to that of one child. If her sons oppress her, to force her out of the house, the judge shall examine into the matter, and if the sons are at fault the woman shall not leave her husband's house. If the woman desire to leave the house, she must leave to her sons the gift which her husband gave her, but she may take the dowry of her father's house. Then she may marry the man of her heart.
173. If this woman bear sons to her second husband, in the place to which she went, and then die, her earlier and later sons shall divide the dowry between them.
174. If she bear no sons to her second husband, the sons of her first husband shall have the dowry.
175. If a State slave or the slave of a freed man marry the daughter of a free man, and children are born, the master of the slave shall have no right to enslave the children of the free.
176. If, however, a State slave or the slave of a freed man marry a man's daughter, and after he marries her she bring a dowry from a father's house, if then they both enjoy it and found a household, and accumulate means, if then the slave die, then she who was free born may take her dowry, and all that her husband and she had earned; she shall divide them into two parts, one-half the master for the slave shall take, and the other half shall the free-born woman take for her children. If the free-born woman had no gift she shall take all that her husband and she had earned and divide it into two parts; and the master of the slave shall take one-half and she shall take the other for her children.
177. If a widow, whose children are not grown, wishes to enter another house (remarry), she shall not enter it without the knowledge of the judge. If she enter another house the judge shall examine the state of the house of her first husband. Then the house of her first husband shall be entrusted to the second husband and the woman herself as managers. And a record must be made thereof. She shall keep the house in order, bring up the children, and not sell the house-hold utensils. He who buys the utensils of the children of a widow shall lose his money, and the goods shall return to their owners.
178. If a "devoted woman" or a prostitute to whom her father has given a dowry and a deed therefor, but if in this deed it is not stated that she may bequeath it as she pleases, and has not explicitly stated that she has the right of disposal; if then her father die, then her brothers shall hold her field and garden, and give her corn, oil, and milk according to her portion, and satisfy her. If her brothers do not give her corn, oil, and milk according to her share, then her field and garden shall support her. She shall have the usufruct of field and garden and all that her father gave her so long as she lives, but she can not sell or assign it to others. Her position of inheritance belongs to her brothers.
179. If a "sister of a god," or a prostitute, receive a gift from her father, and a deed in which it has been explicitly stated that she may dispose of it as she pleases, and give her complete disposition thereof: if then her father die, then she may leave her property to whomsoever she pleases. Her brothers can raise no claim thereto.
180. If a father give a present to his daughter -- either marriageable or a prostitute (unmarriageable) -- and then die, then she is to receive a portion as a child from the paternal estate, and enjoy its usufruct so long as she lives. Her estate belongs to her brothers.
181. If a father devote a temple-maid or temple-virgin to God and give her no present: if then the father die, she shall receive the third of a child's portion from the inheritance of her father's house, and enjoy its usufruct so long as she lives. Her estate belongs to her brothers.
182. If a father devote his daughter as a wife of Mardi of Babylon (as in 181), and give her no present, nor a deed; if then her father die, then shall she receive one-third of her portion as a child of her father's house from her brothers, but Marduk may leave her estate to whomsoever she wishes.
183. If a man give his daughter by a concubine a dowry, and a husband, and a deed; if then her father die, she shall receive no portion from the paternal estate.
184. If a man do not give a dowry to his daughter by a concubine, and no husband; if then her father die, her brother shall give her a dowry according to her father's wealth and secure a husband for her.
185. If a man adopt a child and to his name as son, and rear him, this grown son can not be demanded back again.
186. If a man adopt a son, and if after he has taken him he injure his foster father and mother, then this adopted son shall return to his father's house.
187. The son of a paramour in the palace service, or of a prostitute, can not be demanded back.
188. If an artizan has undertaken to rear a child and teaches him his craft, he can not be demanded back.
189. If he has not taught him his craft, this adopted son may return to his father's house.
190. If a man does not maintain a child that he has adopted as a son and reared with his other children, then his adopted son may return to his father's house.
191. If a man, who had adopted a son and reared him, founded a household, and had children, wish to put this adopted son out, then this son shall not simply go his way. His adoptive father shall give him of his wealth one-third of a child's portion, and then he may go. He shall not give him of the field, garden, and house.
192. If a son of a paramour or a prostitute say to his adoptive father or mother: "You are not my father, or my mother," his tongue shall be cut off.
193. If the son of a paramour or a prostitute desire his father's house, and desert his adoptive father and adoptive mother, and goes to his father's house, then shall his eye be put out.
194. If a man give his child to a nurse and the child die in her hands, but the nurse unbeknown to the father and mother nurse another child, then they shall convict her of having nursed another child without the knowledge of the father and mother and her breasts shall be cut off.
195. If a son strike his father, his hands shall be hewn off.
196. If a man put out the eye of another man, his eye shall be put out.
197. If he break another man's bone, his bone shall be broken.
198. If he put out the eye of a freed man, or break the bone of a freed man, he shall pay one gold mina.
199. If he put out the eye of a man's slave, or break the bone of a man's slave, he shall pay one-half of its value.
200. If a man knock out the teeth of his equal, his teeth shall be knocked out.
201. If he knock out the teeth of a freed man, he shall pay one-third of a gold mina.
202. If any one strike the body of a man higher in rank than he, he shall receive sixty blows with an ox-whip in public.
203. If a free-born man strike the body of another free-born man or equal rank, he shall pay one gold mina.
204. If a freed man strike the body of another freed man, he shall pay ten shekels in money.
205. If the slave of a freed man strike the body of a freed man, his ear shall be cut off.
206. If during a quarrel one man strike another and wound him, then he shall swear, "I did not injure him wittingly," and pay the physicians.
207. If the man die of his wound, he shall swear similarly, and if he (the deceased) was a free-born man, he shall pay half a mina in money.
208. If he was a freed man, he shall pay one-third of a mina.
209. If a man strike a free-born woman so that she lose her unborn child, he shall pay ten shekels for her loss.
210. If the woman die, his daughter shall be put to death.
211. If a woman of the free class lose her child by a blow, he shall pay five shekels in money.
212. If this woman die, he shall pay half a mina.
213. If he strike the maid-servant of a man, and she lose her child, he shall pay two shekels in money.
214. If this maid-servant die, he shall pay one-third of a mina.
215. If a physician make a large incision with an operating knife and cure it, or if he open a tumor (over the eye) with an operating knife, and saves the eye, he shall receive ten shekels in money.
216. If the patient be a freed man, he receives five shekels.
217. If he be the slave of some one, his owner shall give the physician two shekels.
218. If a physician make a large incision with the operating knife, and kill him, or open a tumor with the operating knife, and cut out the eye, his hands shall be cut off.
219. If a physician make a large incision in the slave of a freed man, and kill him, he shall replace the slave with another slave.
220. If he had opened a tumor with the operating knife, and put out his eye, he shall pay half his value.
221. If a physician heal the broken bone or diseased soft part of a man, the patient shall pay the physician five shekels in money.
222. If he were a freed man he shall pay three shekels.
223. If he were a slave his owner shall pay the physician two shekels.
224. If a veterinary surgeon perform a serious operation on an ass or an ox, and cure it, the owner shall pay the surgeon one-sixth of a shekel as a fee.
225. If he perform a serious operation on an ass or ox, and kill it, he shall pay the owner one-fourth of its value.
226. If a barber, without the knowledge of his master, cut the sign of a slave on a slave not to be sold, the hands of this barber shall be cut off.
227. If any one deceive a barber, and have him mark a slave not for sale with the sign of a slave, he shall be put to death, and buried in his house. The barber shall swear: "I did not mark him wittingly," and shall be guiltless.
228. If a builder build a house for some one and complete it, he shall give him a fee of two shekels in money for each sar of surface.
229 If a builder build a house for some one, and does not construct it properly, and the house which he built fall in and kill its owner, then that builder shall be put to death.
230. If it kill the son of the owner the son of that builder shall be put to death.
231. If it kill a slave of the owner, then he shall pay slave for slave to the owner of the house.
232. If it ruin goods, he shall make compensation for all that has been ruined, and inasmuch as he did not construct properly this house which he built and it fell, he shall re-erect the house from his own means.
233. If a builder build a house for some one, even though he has not yet completed it; if then the walls seem toppling, the builder must make the walls solid from his own means.
234. If a shipbuilder build a boat of sixty gur for a man, he shall pay him a fee of two shekels in money.
235. If a shipbuilder build a boat for some one, and do not make it tight, if during that same year that boat is sent away and suffers injury, the shipbuilder shall take the boat apart and put it together tight at his own expense. The tight boat he shall give to the boat owner.
236. If a man rent his boat to a sailor, and the sailor is careless, and the boat is wrecked or goes aground, the sailor shall give the owner of the boat another boat as compensation.
237. If a man hire a sailor and his boat, and provide it with corn, clothing, oil and dates, and other things of the kind needed for fitting it: if the sailor is careless, the boat is wrecked, and its contents ruined, then the sailor shall compensate for the boat which was wrecked and all in it that he ruined.
238. If a sailor wreck any one's ship, but saves it, he shall pay the half of its value in money.
239. If a man hire a sailor, he shall pay him six gur of corn per year.
240. If a merchantman run against a ferryboat, and wreck it, the master of the ship that was wrecked shall seek justice before God; the master of the merchantman, which wrecked the ferryboat, must compensate the owner for the boat and all that he ruined.
241. If any one impresses an ox for forced labor, he shall pay one-third of a mina in money.
242. If any one hire oxen for a year, he shall pay four gur of corn for plow-oxen.
243. As rent of herd cattle he shall pay three gur of corn to the owner.
244. If any one hire an ox or an ass, and a lion kill it in the field, the loss is upon its owner.
245. If any one hire oxen, and kill them by bad treatment or blows, he shall compensate the owner, oxen for oxen.
246. If a man hire an ox, and he break its leg or cut the ligament of its neck, he shall compensate the owner with ox for ox.
247. If any one hire an ox, and put out its eye, he shall pay the owner one-half of its value.
248. If any one hire an ox, and break off a horn, or cut off its tail, or hurt its muzzle, he shall pay one-fourth of its value in money.
249. If any one hire an ox, and God strike it that it die, the man who hired it shall swear by God and be considered guiltless.
250. If while an ox is passing on the street (market) some one push it, and kill it, the owner can set up no claim in the suit (against the hirer).
251. If an ox be a goring ox, and it shown that he is a gorer, and he do not bind his horns, or fasten the ox up, and the ox gore a free-born man and kill him, the owner shall pay one-half a mina in money.
252. If he kill a man's slave, he shall pay one-third of a mina.
253. If any one agree with another to tend his field, give him seed, entrust a yoke of oxen to him, and bind him to cultivate the field, if he steal the corn or plants, and take them for himself, his hands shall be hewn off.
254. If he take the seed-corn for himself, and do not use the yoke of oxen, he shall compensate him for the amount of the seed-corn.
255. If he sublet the man's yoke of oxen or steal the seed-corn, planting nothing in the field, he shall be convicted, and for each one hundred gan he shall pay sixty gur of corn.
256. If his community will not pay for him, then he shall be placed in that field with the cattle (at work).
257. If any one hire a field laborer, he shall pay him eight gur of corn per year.
258. If any one hire an ox-driver, he shall pay him six gur of corn per year.
259. If any one steal a water-wheel from the field, he shall pay five shekels in money to its owner.
260. If any one steal a shadduf (used to draw water from the river or canal) or a plow, he shall pay three shekels in money.
261. If any one hire a herdsman for cattle or sheep, he shall pay him eight gur of corn per annum.
262. If any one, a cow or a sheep ...
263. If he kill the cattle or sheep that were given to him, he shall compensate the owner with cattle for cattle and sheep for sheep.
264. If a herdsman, to whom cattle or sheep have been entrusted for watching over, and who has received his wages as agreed upon, and is satisfied, diminish the number of the cattle or sheep, or make the increase by birth less, he shall make good the increase or profit which was lost in the terms of settlement.
265. If a herdsman, to whose care cattle or sheep have been entrusted, be guilty of fraud and make false returns of the natural increase, or sell them for money, then shall he be convicted and pay the owner ten times the loss.
266. If the animal be killed in the stable by God (an accident), or if a lion kill it, the herdsman shall declare his innocence before God, and the owner bears the accident in the stable.
267. If the herdsman overlook something, and an accident happen in the stable, then the herdsman is at fault for the accident which he has caused in the stable, and he must compensate the owner for the cattle or sheep.
268. If any one hire an ox for threshing, the amount of the hire is twenty ka of corn.
269. If he hire an ass for threshing, the hire is twenty ka of corn.
270. If he hire a young animal for threshing, the hire is ten ka of corn.
271. If any one hire oxen, cart and driver, he shall pay one hundred and eighty ka of corn per day.
272. If any one hire a cart alone, he shall pay forty ka of corn per day.
273. If any one hire a day laborer, he shall pay him from the New Year until the fifth month (April to August, when days are long and the work hard) six gerahs in money per day; from the sixth month to the end of the year he shall give him five gerahs per day.
274. If any one hire a skilled artizan, he shall pay as wages of the ... five gerahs, as wages of the potter five gerahs, of a tailor five gerahs, of ... gerahs, ... of a ropemaker four gerahs, of ... gerahs, of a mason ... gerahs per day.
275. If any one hire a ferryboat, he shall pay three gerahs in money per day.
276. If he hire a freight-boat, he shall pay two and one-half gerahs per day.
277. If any one hire a ship of sixty gur, he shall pay one-sixth of a shekel in money as its hire per day.
278. If any one buy a male or female slave, and before a month has elapsed the benu-disease be developed, he shall return the slave to the seller, and receive the money which he had paid.
279. If any one by a male or female slave, and a third party claim it, the seller is liable for the claim.
280. If while in a foreign country a man buy a male or female slave belonging to another of his own country; if when he return home the owner of the male or female slave recognize it: if the male or female slave be a native of the country, he shall give them back without any money.
281. If they are from another country, the buyer shall declare the amount of money paid therefor to the merchant, and keep the male or female slave.
282. If a slave say to his master: "You are not my master," if they convict him his master shall cut off his ear.
The Epilogue
Laws of justice which Hammurabi, the wise king, established. A righteous law, and pious statute did he teach the land. Hammurabi, the protecting king am I. I have not withdrawn myself from the men, whom Bel gave to me, the rule over whom Marduk gave to me, I was not negligent, but I made them a peaceful abiding-place. I expounded all great difficulties, I made the light shine upon them. With the mighty weapons which Zamama and Ishtar entrusted to me, with the keen vision with which Ea endowed me, with the wisdom that Marduk gave me, I have uprooted the enemy above and below (in north and south), subdued the earth, brought prosperity to the land, guaranteed security to the inhabitants in their homes; a disturber was not permitted. The great gods have called me, I am the salvation-bearing shepherd, whose staff is straight, the good shadow that is spread over my city; on my breast I cherish the inhabitants of the land of Sumer and Akkad; in my shelter I have let them repose in peace; in my deep wisdom have I enclosed them. That the strong might not injure the weak, in order to protect the widows and orphans, I have in Babylon the city where Anu and Bel raise high their head, in E-Sagil, the Temple, whose foundations stand firm as heaven and earth, in order to bespeak justice in the land, to settle all disputes, and heal all injuries, set up these my precious words, written upon my memorial stone, before the image of me, as king of righteousness.
The king who ruleth among the kings of the cities am I. My words are well considered; there is no wisdom like unto mine. By the command of Shamash, the great judge of heaven and earth, let righteousness go forth in the land: by the order of Marduk, my lord, let no destruction befall my monument. In E-Sagil, which I love, let my name be ever repeated; let the oppressed, who has a case at law, come and stand before this my image as king of righteousness; let him read the inscription, and understand my precious words: the inscription will explain his case to him; he will find out what is just, and his heart will be glad, so that he will say:
"Hammurabi is a ruler, who is as a father to his subjects, who holds the words of Marduk in reverence, who has achieved conquest for Marduk over the north and south, who rejoices the heart of Marduk, his lord, who has bestowed benefits for ever and ever on his subjects, and has established order in the land."
When he reads the record, let him pray with full heart to Marduk, my lord, and Zarpanit, my lady; and then shall the protecting deities and the gods, who frequent E-Sagil, graciously grant the desires daily presented before Marduk, my lord, and Zarpanit, my lady.
In future time, through all coming generations, let the king, who may be in the land, observe the words of righteousness which I have written on my monument; let him not alter the law of the land which I have given, the edicts which I have enacted; my monument let him not mar. If such a ruler have wisdom, and be able to keep his land in order, he shall observe the words which I have written in this inscription; the rule, statute, and law of the land which I have given; the decisions which I have made will this inscription show him; let him rule his subjects accordingly, speak justice to them, give right decisions, root out the miscreants and criminals from this land, and grant prosperity to his subjects.
Hammurabi, the king of righteousness, on whom Shamash has conferred right (or law) am I. My words are well considered; my deeds are not equaled; to bring low those that were high; to humble the proud, to expel insolence. If a succeeding ruler considers my words, which I have written in this my inscription, if he do not annul my law, nor corrupt my words, nor change my monument, then may Shamash lengthen that king's reign, as he has that of me, the king of righteousness, that he may reign in righteousness over his subjects. If this ruler do not esteem my words, which I have written in my inscription, if he despise my curses, and fear not the curse of God, if he destroy the law which I have given, corrupt my words, change my monument, efface my name, write his name there, or on account of the curses commission another so to do, that man, whether king or ruler, patesi, or commoner, no matter what he be, may the great God (Anu), the Father of the gods, who has ordered my rule, withdraw from him the glory of royalty, break his scepter, curse his destiny. May Bel, the lord, who fixeth destiny, whose command can not be altered, who has made my kingdom great, order a rebellion which his hand can not control; may he let the wind of the overthrow of his habitation blow, may he ordain the years of his rule in groaning, years of scarcity, years of famine, darkness without light, death with seeing eyes be fated to him; may he (Bel) order with his potent mouth the destruction of his city, the dispersion of his subjects, the cutting off of his rule, the removal of his name and memory from the land. May Belit, the great Mother, whose command is potent in E-Kur (the Babylonian Olympus), the Mistress, who harkens graciously to my petitions, in the seat of judgment and decision (where Bel fixes destiny), turn his affairs evil before Bel, and put the devastation of his land, the destruction of his subjects, the pouring out of his life like water into the mouth of King Bel. May Ea, the great ruler, whose fated decrees come to pass, the thinker of the gods, the omniscient, who maketh long the days of my life, withdraw understanding and wisdom from him, lead him to forgetfulness, shut up his rivers at their sources, and not allow corn or sustenance for man to grow in his land. May Shamash, the great Judge of heaven and earth, who supporteth all means of livelihood, Lord of life-courage, shatter his dominion, annul his law, destroy his way, make vain the march of his troops, send him in his visions forecasts of the uprooting of the foundations of his throne and of the destruction of his land. May the condemnation of Shamash overtake him forthwith; may he be deprived of water above among the living, and his spirit below in the earth. May Sin (the Moon-god), the Lord of Heaven, the divine father, whose crescent gives light among the gods, take away the crown and regal throne from him; may he put upon him heavy guilt, great decay, that nothing may be lower than he. May he destine him as fated, days, months and years of dominion filled with sighing and tears, increase of the burden of dominion, a life that is like unto death. May Adad, the lord of fruitfulness, ruler of heaven and earth, my helper, withhold from him rain from heaven, and the flood of water from the springs, destroying his land by famine and want; may he rage mightily over his city, and make his land into flood-hills (heaps of ruined cities). May Zamama, the great warrior, the first-born son of E-Kur, who goeth at my right hand, shatter his weapons on the field of battle, turn day into night for him, and let his foe triumph over him. May Ishtar, the goddess of fighting and war, who unfetters my weapons, my gracious protecting spirit, who loveth my dominion, curse his kingdom in her angry heart; in her great wrath, change his grace into evil, and shatter his weapons on the place of fighting and war. May she create disorder and sedition for him, strike down his warriors, that the earth may drink their blood, and throw down the piles of corpses of his warriors on the field; may she not grant him a life of mercy, deliver him into the hands of his enemies, and imprison him in the land of his enemies. May Nergal, the might among the gods, whose contest is irresistible, who grants me victory, in his great might burn up his subjects like a slender reedstalk, cut off his limbs with his mighty weapons, and shatter him like an earthen image. May Nin-tu, the sublime mistress of the lands, the fruitful mother, deny him a son, vouchsafe him no name, give him no successor among men. May Nin-karak, the daughter of Anu, who adjudges grace to me, cause to come upon his members in E-kur high fever, severe wounds, that can not be healed, whose nature the physician does not understand, which he can not treat with dressing, which, like the bite of death, can not be removed, until they have sapped away his life. May he lament the loss of his life-power, and may the great gods of heaven and earth, the Anunaki, altogether inflict a curse and evil upon the confines of the temple, the walls of this E-barra (the Sun temple of Sippara), upon his dominion, his land, his warriors, his subjects, and his troops. May Bel curse him with the potent curses of his mouth that can not be altered, and may they come upon him forthwith.
The days drag and the weeks fly by.
It has been a grim week at work, and yet the weekend is here once again.
The cold snap is still here; thick frosts and icy patches, but Sunday afternoon storms will sweep in from the west and temperatures will soar by day to 13 degrees.
But for now it is cold, and colder at nights, the wood burner makes the living room toasty warm, though the rest of the house seems like a fridge in comparison.
Even though we went to bed at nine, we slept to nearly half seven, which meant we were already later than usual going to Tesco.
We had a coffee first, then got dressed and went out into the winter wonderland.
Tesco was more crowded mainly because we were an hour later. There were no crackers for cheese, a whole aisle empty of cream crackers and butter wafers.
There is only so much food you can eat even over Christmas, so the cracker-shortage won't affect us, we have two Dundee cakes, filling for two lots of mince pies and pastry for five lots of sausage rolls.
We won't starve.
We buy another bag of stuff for the food bank, try to get two weeks of stuff so we wont need to go next weekend, just to a farm shop for vegetables, and the butcher for the Christmas order, though on the 25th we are going out for dinner to the Lantern.
Back home for fruit, then bacon butties and another huge brew. Yes, smoked bacon is again in short supply, with just the basic streaky smoked available, but we're not fussy, so that does the trick.
Also, Jools picked up her inhalers for her cough, and so, we hope, the road to recovery begins.
What to do with the day?
Although a walk would have been good, Jools can do no more than ten minutes in freezing conditions before a coughing fits starts, so a couple of churches to revisit and take more shots of.
First on the list was St Leonard in Upper Deal. A church I have only have been inside once. As it was just half ten, there should have been a chance it was open, but no. We parked up and I walked over the road to try the porch door, but it was locked.
No worries, as the next two would certainly be open.
Just up the road towards Canterbury is Ash.
Ash is a large village that the main roads now bypass its narrow streets, and buses call not so frequently.
The church towers over the village, its spire piercing the grey sky. We park beside the old curry hours than burned down a decade ago, is now a house and no sign of damage.
indeed the church was open, though the porch door was closed, it opened with use of the latch, and the inner glass door swung inwards, revealing an interior I had forgotten about, rich Victorian glass let in the weak sunlight, allowing me to take detailed shots. It was far better and more enjoyable than I remembered.
Once I took 200 or so shots, we went back to the car, drove back to the main road, and on to Wingham, where the church there, a twin of Wingham, would also be open too.
And it was.
The wardens were just finishing trimming the church up, and putting out new flowers, it was a bustle of activity, then one by one they left.
got my shots, and we left, back to the car and to home, though we did stop at he farm shop at Aylsham, and all we wanted was some sweet peppers for hash.
We went in and there was the bakery: I bought two sausage rolls, four small pork pies and two Cajun flavours scotch eggs. We got cider, beer, healthy snacks (we told ourselves) and finally found the peppers.
Three peppers cost £50!
Then back home, along the A2.
And arriving back home at one. We feasted on the scotch eggs and two of the pork pies.
Yummy.
There was the third place play off game to watch on the tellybox, the Football league to follow on the radio. We lit the woodburner and it was soon toasty warm.
At half five, Norwich kicked off, and hopes were high as Blackburn had not beaten us in over a decade.
And, yes you guessed it, Norwich lost. Played poorly, and in Dad's words, were lucky to get nil.
Oh dear.
Oh dear indeed.
We have Christmas cake for supper, and apart from the football, as was well with the world.
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A large and impressive church of mainly thirteenth century date over restored in 1847 by the irrepressible William Butterfield. The scale of the interior is amazing - particularly in the tower crossing arches which support the enormous spire. They are an obvious insertion into an earlier structure. The best furnishing at Ash is the eighteenth century font which stands on an inscribed base. For the visitor interested in memorials, Ash ahs more than most ranging from the fourteenth century effigy of a knight to two excellent alabaster memorials to Sir Thomas Harfleet (d 1612) and Christopher Toldervy (d 1618). Mrs Toldervy appears twice in the church for she accompanies her husband on his memorial and may also be seen as a `weeper` on her parents` memorial! On that she is one of two survivors of what was once a group of seven daughters - all her weeping brothers have long since disappeared.
www.kentchurches.info/church.asp?p=Ash+2
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ASH
LIES adjoining to the last-described parish of Staple northward. It is written in Domesday, Ece, and in other antient records, Aisse, and is usually called Ash, near Sandwich, to distinguish it from Ash, near Wrotham.
The parish of Ash is very large, extending over a variety of soil and country, of hill, dale, and marsh lands, near four miles across each way, and containing more than six thousand acres of land, of which about one half is marsh, the river Stour being its northern bounday, where it is very wet and unwholesone, but the southern or upland part of the parish is very dary, pleasant and healthy. The soil in general is fertile, and lets on an average at about one pound an acre; notwithstanding, there is a part of it about Ash-street and Gilton town, where it is a deep sand. The village of Ash, commonly called Ash-street, situated in this part of it, on high ground, mostly on the western declivity of a hill, having the church on the brow of it, is built on each side of the road from Canterbury to Sandwich, and contains about fifty houses. On the south side of this road, about half a mile westward, is a Roman burial ground, of which further mention will be taken hereaster, and adjoining to it the hamlet of Gilton town, formerly written Guildanton, in which is Gilton parsonage, a neat stuccoed house, lately inhabited by Mr. Robert Legrand, and now by Mrs. Becker. In the valley southward stands Mote farm, alias Brooke house, formerly the habitation of the Stoughtons, then of the Ptoroude's and now the property of Edward Solly, esq. of London.
There are dispersed throughout this large parish many small hamlets and farms, which have been formerly of more consequence, from the respective owners and in habitants of them, all which, excepting East and New Street, and Great Pedding, (the latter of which was the antient residence of the family of solly, who lie buried in Ash church-yard, and bore for their arms, Vert, a chevron, per pale, or, and gules, between three soles naiant, argent, and being sold by one of them to dean Lynch, is now in the possession of lady Lynch, the widow of Sir William Lynch, K. B.) are situated in the northern part of the parish, and contain together about two hundred and fifty houses, among them is Hoden, formerly the residence of the family of St. Nicholas; Paramour-street, which for many years was the residence of those of that name, and Brook-street, in which is Brook-house, the residence of the Brooke's, one of whom John Brooke, esq. in queen Elizabeth's reign, resided here, and bore for his arms, Per bend, vert and sable, two eagles, counterchanged.
William, lord Latimer, anno 38 Edward III. obtained a market to be held at Ash, on a Thursday; and a fair yearly on Lady-day, and the two following ones. A fair is now held in Ash-street on Lady and Michaelmas days yearly.
In 1473 there was a lazar house for the infirm of the leprosy, at Eche, near Sandwich.
¶The manor of Wingham claims paramount over this parish, subordinate to which there were several manors in it, held of the archbishop, to whom that manor belonged, the mansions of which, being inhabited by families of reputation and of good rank in life, made this parish of much greater account than it has been for many years past, the mansions of them having been converted for a length of time into farmhouses to the lands to which they belong.
f this manor, (viz. Wingham) William de Acris holds one suling in Fletes, and there he has in demesne one carucate and four villeins, and one knight with one carucate, and one fisbery, with a saltpit of thirty pence. The whole is worth forty shillings.
This district or manor was granted by archbishop Lanfranc, soon after this, to one Osberne, (fn. 7) of whom I find no further mention, nor of this place, till king Henry III.'s reign, when it seems to have been separated into two manors, one of which, now known by the name of the manor of Gurson Fleet, though till of late time by that of Fleet only, was held afterwards of the archbishop by knight's service, by the family of Sandwich, and afterwards by the Veres, earls of Oxford, one of whom, Robert de Vere, earl of Oxford, who died anno 3 Edward III. was found by the escheat-rolls of that year, to have died possessed of this manor of Fleet, which continued in his descendants down to John de Vere, earl of Oxford, who for his attachment to the house of Lancaster, was attainted in the first year of king Edward IV. upon which this manor came into the hands of the crown, and was granted the next year to Richard, duke of Gloucester, the king's brother, with whom it staid after his succession to the crown, as king Richard III. on whose death, and the accession of king Henry VII. this manor returned to the possession of John, earl of Oxford, who had been attainted, but was by parliament anno I Henry VII. restored in blood, titles and possessions. After which this manor continued in his name and family till about the middle of queen Elizabeth's reign, when Edward Vere, earl of Oxford, alienated it to Hammond, in whose descendants it continued till one of them, in the middle of king Charles II.'s reign, sold it to Thomas Turner, D. D. who died possessed of it in 1672, and in his name and descendants it continued till the year 1748, when it was sold to John Lynch, D. D. dean of Canterbury, whose son Sir William Lynch, K. B. died possessed of it in 1785, and by his will devised it, with the rest of his estates, to his widow lady Lynch, who is the present possessor of it. A court baron is held for this manor.
Archbishop Lanfranc, on his founding the priory of St. Gregory, in the reign of the Conqueror, gave to it the tithe of the manor of Fleet; which gift was confirmed by archbishop Hubert in Richard I.'s reign. This portion of tithes, which arose principally from Gurson Fleet manor, remained with the priory at its dissolution, and is now part of Goldston parsonage, parcel of the see of Canterbury, of which further mention has been made before.
The other part of the district of Fleet was called, to distinguish it, and from the possessors of it, the manor of Nevills Fleet, though now known by the name of Fleet only, is situated between Gurson and Richborough, adjoining to the former. This manor was held in king John's reign of the archbishop, by knight's service, by Thomas Pincerna, so called probably from his office of chief butler to that prince, whence his successors assumed the name of Butler, or Boteler. His descendant was Robert le Boteler, who possessed this manor in king Ed ward I.'s reign, and from their possession of it, this manor acquired for some time the name of Butlers Fleet; but in the 20th year of king Edward III. William, lord Latimer of Corbie, appears to have been in the possession of it, and from him it acquired the name of Latimers Fleet. He bore for his arms, Gules, a cross flory, or. After having had summons to parliament, (fn. 8) he died in the begening of king Richard II.'s reign, leaving Elizabeth his sole daughter and heir, married to John, lord Nevill, of Raby, whose son John bore the title of lord Latimer, and was summoned to parliament as lord Latimer, till the 9th year of king Henry VI. in which he died, so that the greatest part of his inheritance, among which was this manor, came by an entail made, to Ralph, lord Nevill, and first earl of Westmoreland, his eldest, but half brother, to whom he had sold, after his life, the barony of Latimer, and he, by seoffment, vested it, with this manor and much of the inheritance above-mentioned, in his younger son Sir George Nevill, who was accordingly summoned to parliament as lord Latimer, anno 10 Henry VI. and his grandson Richard, lord Latimer, in the next regin of Edward IV. alienated this manor, which from their length of possession of it, had acquired the name of Nevill's Fleet, to Sir James Cromer, and his son Sir William Cromer, in the 11th year of king Henry VII, sold it to John Isaak, who passed it away to Kendall, and he, in the beginning of king Henry VIII.'s reign, sold it to Sir John Fogge, of Repton, in Ashford, who died possessed of it in 1533, and his son, of the same name, before the end of it, passed it away to Mr. Thomas Rolfe, and he sold it, within a few years afterwards, to Stephen Hougham, gent. of this parish, who by his will in 1555, devised it to his youngest son Rich. Hougham, of Eastry, from one of whose descendants it was alienated to Sir Adam Spracklin, who sold it to one of the family of Septvans, alias Harflete, in which name it continued till within a few years after the death of king Charles I. when by a female heir Elizabeth it went in marriage to Thomas Kitchell, esq. in whose heirs it continued till it was at length, about the year 1720, alienated by one of them to Mr. Thomas Bambridge, warden of the Fleet prison, upon whose death it became vested in his heirs-at-law, Mr. James Bambridge, of the Temple, attorney at-law, and Thomas Bambridge, and they divided this estate, and that part of it allotted to the latter was soon afterwards alienated by him to Mr. Peter Moulson, of London, whose only daughter and heir carried it in marriage to Mr. Geo. Vaughan, of London, and he and the assignees of Mr. James Bambridge last mentioned, have lately joined in the conveyance of the whole fee of this manor to Mr. Joseph Solly, gent. of Sandwich, the present owner of it. There is not any court held for this manor.
In this district, and within this manor of Fleet lastmentioned, there was formerly a chapel of cose to the church of Ash, as that was to the church of Wingham, to which college, on its foundation by archbishop Peckham in 1286, the tithes, rents, obventions, &c of this chapel and district was granted by him, for the support in common of the provost and canons of it, with whom it remained till the suppression of it, anno I king Edward VI. The tithes, arising from this manor of Fleet, and the hamlet of Richborough, are now a part of the rectory of Ash, and of that particular part of it called Gilton parsonage, parcel of the possessions of the see of Canterbury, of which further mention will be made hereafter. There have not been any remains left of it for a long time part.
Richborough is a hamlet and district of land, in the south-east part of this parish, rendered famous from the Roman fort and town built there, and more so formerly, from the port or haven close adjoining to it.
It was in general called by the Romans by the plural name of Rutupiæ; for it must be observed that the æstuary, which at that time separated the Isle of Thanet from the main land of Kent, and was the general passage for shipping,had at each mouth of it, towards the sea, a fort and haven, called jointly Rutupiæ. That at the northern part and of it being now called Reculver, and that at the eastern, being the principal one, this of Richborough.
The name of it is variously spelt in different authors. By Ptolemy it is written [Patapiaia (?)] urbem; by Tacitus, according to the best reading, Portus, Rutupensis; by Antonine, in his Itinerary, Ritupas, and Ritupis Portum; by Ammianus, Ritupiæ statio; afterwards by the Saxons, Reptacester, and now Richborough.
The haven, or Portus Rutupinus, or Richborough, was very eminent in the time of the Romans, and much celebrated in antient history, being a safe and commodious harbour, stationem ex adverso tranquillam, as Ammianus calls it, situated at the entrance of the passage towards then Thamas, and becoming the general place of setting sail from Britain to the continent, and where the Roman fleets arrived, and so large and extensive was the bay of it, that it is supposed to have extended far beyond Sandwich on the one side, almost to Ramsgate cliffs on the other, near five miles in width, covering the whole of that flat of land on which Stonar and Sandwich were afterwards built, and extending from thence up the æstuary between the Isle of Thanet and the main land. So that Antonine might well name it the Port, in his Itinerary, [Kat exochin], from there being no other of like consequence, and from this circumstance the shore for some distance on each side acquired the general name of Littus Rutupinum, the Rutupian shore. (fn. 9) Some have contended that Julius Cæsar landed at Richborough, in his expeditions into Britain; but this opinion is refuted by Dr. Hasley in Phil, Trans. No. 193, who plainly proves his place of landing to have been in the Downs. The fort of Richborough, from the similarity of the remains of it to those of Reculver, seems to have been built about the same time, and by the same emperer, Serveris, about the year 205. It stands on the high hill, close to a deep precipice eastward, at the soot of which was the haven. In this fortress, so peculiarly strengthened by its situation, the Romans had afterwards a stationary garrison, and here they had likewise a pharos, of watch tower, the like as at Reculver and other places on this coast, as well to guide the shipping into the haven, as to give notice of the approach of enemies. It is by most supposed that there was, in the time of the Romans, near the fort, in like manner as at Reculver, a city or town, on the decline of the hill, south-westward from it, according to custom, at which a colony was settled by them. Prolemy, in his geography, reckons the city Rutpia as one of the three principal cities of Kent. (fn. 10) Orosius. and Bede too, expressly mention it as such; but when the haven decayed, and there was no longer a traffic and resort to this place, the town decayed likewise, and there have not been, for many ages since, any remains whatever of it left; though quantities of coins and Roman antiquities have been sound on the spot where it is supposed to have once stood.
During the latter part of the Roman empire, when the Saxons prevented all trade by sea, and insefted these coasts by frequent robberies, the second Roman legion, called Augusta, and likewise Britannica, which had been brought out of Germany by the emperor Claudius, and had resided for many years at the Isca Silurum, in Wales, was removed and stationed here, under a president or commander, præpositus, of its own, who was subordinate to the count of the Saxon shore, and continued so till the final departure of the Romans from Britain, in the year 410, when this fortress was left in the hands of the Britons, who were afterwards dispossessed of it by the Saxons, during whose time the harbour seems to have began to decay and to swerve up, the sea by degrees entirely deserting it at this place, but still leaving one large and commodious at Sandwich, which in process of time became the usual resort for shipping, and arose a flourishing harbour in its stead, as plainly appears by the histories of those times, by all of which, both the royal Saxon fleets, as well as those of the Danes, are said to sail for the port of Sandwich, and there to lie at different times; (fn. 11) and no further mention is made by any of them of this of Rutupiæ, Reptachester, or Richborough; so that the port being thus destroyed, the town became neglected and desolate, and with the castle sunk into a heap of ruins. Leland's description of it in king Henry VIII.'s reign, is very accurate, and gives an exceeding good idea of the progressive state of its decay to that time. He says, "Ratesburg otherwyse Richeboro was, of ever the ryver of Sture dyd turn his botom or old canale, withyn the Isle of the Thanet, and by Iykelyhod the mayn se came to the very foote of the castel. The mayn se ys now of yt a myle by reason of wose, that has there swollen up. The scite of the town or castel ys wonderful fair apon an hille. The walles the wich remayn ther yet be in cumpase almost as much as the tower of London. They have bene very hye thykke stronge and wel embateled. The mater of them is flynt mervelus and long brykes both white and redde after the Britons fascion. The sement was made of se sand and smaul pible. Ther is a great lykelyhod that the goodly hil abowte the castel and especially to Sandwich ward hath bene wel inhabited. Corne groweth on the hille yn bene mervelous plenty and yn going to plowgh ther hath owt of mynde fownd and now is mo antiquities of Romayne money than yn any place els of England surely reason speketh that this should be Rutupinum. For byside that the name sumwhat toucheth, the very near passage fro Cales Clyves or Cales was to Ratesburgh and now is to Sandwich, the which is about a myle of; though now Sandwich be not celebrated by cawse of Goodwine sandes and the decay of the haven. Ther is a good flyte shot of fro Ratesburg toward Sandwich a great dyke caste in a rownd cumpas as yt had bene for sens of menne of warre. The cumpase of the grownd withyn is not much above an acre and yt is very holo by casting up the yerth. They cawle the place there Lytleborough. Withyn the castel is a lytle paroche chirch of St. Augustine and an heremitage. I had antiquities of the heremite the which is an industrious man. Not far fro the hermitage is a cave wher men have sowt and digged for treasure. I saw it by candel withyn, and ther were conys. Yt was so straite that I had no mynd to crepe far yn. In the north side of the castel ys a hedde yn the walle, now fore defaced with wether. They call it queen Bertha hedde. Nere to that place hard by the wal was a pot of Romayne mony sownd."
The ruins of this antient castle stand upon the point of a hill or promontory, about a mile north-west from Sandwich, overlooking on each side, excepting towards the west, a great flat which appears by the lowness of it, and the banks of beach still shewing themselves in different places, to have been all once covered by the sea. The east side of this hill is great part of it so high and perpendicular from the flat at the foot of it, where the river Stour now runs, that ships with the greatest burthen might have lain close to it, and there are no signs of any wall having been there; but at the north end, where the ground rises into a natural terrace, so as to render one necessary, there is about 190 feet of wall left. Those on the other three sides are for the most part standing, and much more entire than could be expected, considering the number of years since they were built, and the most so of any in the kingdom, except Silchester. It is in shape an oblong square, containing within it a space of somewhat less than five acres. They are in general about ten feet high within, but their broken tops shew them to have been still higher. The north wall, on the outside, is about twice as high as it is within, or the other two, having been carried up from the very bottom of the hill, and it seems to have been somewhat longer than it is at present, by some pieces of it sallen down at the east end. The walls are about eleven feet thick. In the middle of the west side is the aperture of an entrance, which probably led to the city or town, and on the north side is another, being an entrance obliquely into the castle. Near the middle of the area are the ruins of some walls, full of bushes and briars, which seem as if some one had dug under ground among them, probably where once stood the prætorium of the Roman general, and where a church or chapel was afterwards erected, dedicated to St. Augustine, and taken notice of by Leland as such in his time. It appears to have been a chapel of ease to the church of Ash, for the few remaining inhabitants of this district, and is mentioned as such in the grant of the rectory of that church, anno 3 Edward VI. at which time it appears to have existed. About a furlong to the south, in a ploughed field, is a large circular work, with a hollow in the middle, the banks of unequal heights, which is supposed to have been an amphitheatre, built of turf, for the use of the garrison, the different heights of the banks having been occasioned by cultivation, and the usual decay, which must have happened from so great a length of time. These stations of the Romans, of which Richborough was one, were strong fortifications, for the most part of no great compass or extent, wherein were barracks for the loding of the soldiers, who had their usual winter quarters in them. Adjoining, or at no great distance from them, there were usually other, buildings forming a town; and such a one was here at Richborough, as has been already mentioned before, to which the station or fort was in the nature of a citadel, where the soldiers kept garrison. To this Tacitus seems to allude, when he says, "the works that in time of peace had been built, like a free town, not far from the camp, were destroyed, left they should be of any service to the enemy." (fn. 12) Which in great measure accounts for there being no kind of trace or remains left, to point out where this town once stood, which had not only the Romans, according to the above observation, but the Saxons and Danes afterwards, to carry forward at different æras the total destruction of it.
The burial ground for this Roman colony and station of Richborough, appears to have been on the hill at the end of Gilton town, in this parish, about two miles south-west from the castle, and the many graves which have been continually dug up there, in different parts of it, shew it to have been of general use for that purpose for several ages.
The scite of the castle at Richborough was part of the antient inheritance of the family of the Veres, earls of Oxford, from which it was alienated in queen Elizabeth's reign to Gaunt; after which it passed, in like manner as Wingham Barton before-described, to Thurbarne, and thence by marriage to Rivett, who sold it to Farrer, from whom it was alienated to Peter Fector, esq. of Dover, the present possessor of it. In the deed of conveyance it is thus described: And also all those the walls and ruins of the antient castle of Rutupium, now known by the name of Richborough castle, with the scite of the antient port and city of Rutupinum, being on and near the lands before-mentioned. About the walls of Richborough grows Fæniculum valgare, common fennel, in great plenty.
It may be learned from the second iter of Antonine's Itinerary, that there was once a Roman road, or highway from Canterbury to the port of Richborough, in which iter the two laft stations are, from Durovernum, Canterbury, to Richborough, ad portum Rutupis, xii miles; in which distance all the different copies of the Itinerary agree. Some parts of this road can be tracted at places at this time with certainty; and by the Roman burial-ground, usually placed near the side of a high road, at Gilton town, and several other Roman vestigia thereabouts, it may well be supposed to have led from Canterbury through that place to Richborough, and there is at this time from Goldston, in Ash, across the low-grounds to it, a road much harder and broader than usual for the apparent use of it, which might perhaps be some part of it.
Charities.
A person unknown gave four acres and an half of land, in Chapman-street, of the annual produce of 5l. towards the church assessments.
Thomas St. Nicholas, esq. of this parish, by deed about the year 1626, gave an annuity of 11. 5s. to be paid from his estate of Hoden, now belonging to the heirs of Nathaniel Elgar, esq. to be distributed yearly, 10s. to the repairing and keeping clean the Toldervey monument in this church, and 15s. on Christmas-day to the poor.
John Proude, the elder, of Ash, yeoman, by his will in 1626, ordered that his executor should erect upon his land adjoining to the church-yard, a house, which should be disposed of in future by the churchwardens and overseers, for a school-house, and for a storehouse, to lay in provision for the church and poor. This house is now let at 1l. per annum, and the produce applied to the use of the poor.
Richard Camden, in 1642, gave by will forty perches of land, for the use of the poor, and of the annual produce of 15s. now vested in the minister and churchwardens.
Gervas Cartwright, esq. and his two sisters, in 1710 and 1721, gave by deed an estate, now of the yearly value of 50l. for teaching fifty poor children to read, write, &c. vested in the minister, churchwardens, and other trustees.
The above two sisters, Eleanor and Anne Cartwright, gave besides 100l. for beautifying the chancel, and for providing two large pieces of plate for the communion service; and Mrs. Susan Robetts added two other pieces of plate for the same purpose.
There is a large and commodious workhouse lately built, for the use of the poor, to discharge the expence of which, 100l. is taken yearly out of the poor's rate, till the whole is discharged. In 1604, the charges of the poor were 29l. 15s. 11d. In 1779. 1000l.
There is a charity school for boys and girls, who are educated, but not cloathed.
The poor constantly relieved are about seventy-five, casually fifty-five.
This parish is within the ecclesiastical jurisdiction of the dioceseof Canterbury, and deanry of Bridge.
The church, which is dedicated to St. Nicholas, is a handsome building, of the form of a cross, consisting of two isles and two chancels, and a cross sept, having a tall spire steeple in the middle, in which are eight bells and a clock. It is very neat and handsome in the inside. In the high or south chancel is a monument for the Roberts's, arms, Argent, three pheons, sable, on a chief of the second, a greybound current of the first; another for the Cartwrights, arms, Or, a fess embattled, between three catherine wheels, sable. In the north wall is a monument for one of the family of Leverick, with his effigies, in armour, lying cross-legged on it; and in the same wall, westward, is another like monument for Sir John Goshall, with his effigies on it, in like manner, and in a hollow underneath, the effigies of his wife, in her head-dress, and wimple under her chin. A gravestone, with an inscription, and figure of a woman with a remarkable high high-dress, the middle part like a horseshoe inverted, for Jane Keriell, daughter of Roger Clitherow. A stone for Benjamin Longley, LL. B. minister of Ash twenty-nine years, vicar of Eynsford and Tonge, obt. 1783. A monument for William Brett, esq. and Frances his wife. The north chancel, dedicated to St. Nicholas, belongs to the manor of Molland. Against the north wall is a tomb, having on it the effigies of a man and woman, lying at full length, the former in armour, and sword by his side, but his head bare, a collar of SS about his neck, both seemingly under the middle age, but neither arms nor inscription, but it was for one of the family of Harflete, alias Septvans; and there are monuments and several memorials and brasses likewise for that family. A memorial for Thomas Singleton, M. D. of Molland, obt. 1710. One for John Brooke, of Brookestreet, obt. 1582, s. p. arms, Per bend, two eagles.—Several memorials for the Pekes, of Hills-court, and for Masters, of Goldstone. A monument for Christopher Toldervy, of Chartham, obt. 1618. A memorial for Daniel Hole, who, as well as his ancestors, had lived upwards of one hundred years at Goshall, as occupiers of it. In the north cross, which was called the chapel of St. Thomas the Martyr, was buried the family of St. Nicholas. The brass plates of whom, with their arms, are still to be seen. A tablet for Whittingham Wood, gent. obt. 1656. In the south cross, a monument for Richard Hougham, gent. of Weddington, and Elizabeth his wife, daughter of Edward Sanders, gent. of Norborne. An elegant monument for Mary, wife of Henry Lowman, esq. of Dortnued, in Germany. She died in 1737, and he died in 1743. And for lieutenant colonel Christopher Ernest Kien, obt. 1744, and Jane his wife, their sole daughter and heir, obt. 1762, and for Evert George Cousemaker, esq. obt. 1763, all buried in a vault underneath, arms, Or, on a mount vert, a naked man, bolding a branch in his hand, proper, impaling per bend sinister, argent and gules, a knight armed on borjeback, holding a tilting spear erect, the point downwards, all counterchanged. On the font is inscribed, Robert Minchard, arms, A crescent, between the points of it a mullet. Several of the Harfletes lie buried in the church-yard, near the porch, but their tombs are gone. On each side of the porch are two compartments of stone work, which were once ornamented with brasses, most probably in remembrance of the Harfleets, buried near them. At the corner of the church-yard are two old tombs, supposed for the family of Alday.
In the windows of the church were formerly several coats of arms, and among others, of Septvans, alias Harflete, Notbeame, who married Constance, widow of John Septvans; Brooke, Ellis, Clitherow, Oldcastle, Keriell, and Hougham; and the figures of St. Nicholas, Keriell, and Hougham, kneeling, in their respective surcoats of arms, but there is not any painted glass left in any part of the church or chancels.
John Septvans, about king Henry VII.'s reign, founded a chantry, called the chantry of the upper Hall, as appears by the will of Katherine Martin, of Faversham, sometime his wife, in 1497. There was a chantry of our blessed Lady, and another of St. Stephen likewise, in it; both suppressed in the 1st year of king Edward VI. when the former of them was returned to be of the clear yearly certified value of 15l. 11s. 1½d. (fn. 13)
The church of Ash was antiently a chapel of east to that of Wingham, and was, on the foundation of the college there in 1286, separated from it, and made a distinct parish church of itself, and then given to the college, with the chapels likewise of Overland and Fleet, in this parish, appurtenant to this church; which becoming thus appropriated to the college, continued with it till the suppression of it in king Edward VI.'s reign, when this part of the rectory or parsonage appropriate, called Overland parsonage, with the advowson of the church, came, with the rest of the possessions of the college, into the hands of the crown, where the advowson of the vicarage, or perpetual curacy of it did not remain long, for in the year 1558, queen Mary granted it, among others, to the archbishop. But the above-mentioned part of the rectory, or parsonage appropriate of Ash, with those chapels, remained in the crown, till queen Elizabeth, in her 3d year, granted it in exchange to archbishop Parker, who was before possessed of that part called Goldston parsonage, parcel of the late dissolved priory of St. Gregory, by grant from king Henry VIII. so that now this parish is divided into two distinct parsonages, viz. of Overland and of Goldston, which are demised on separate beneficial leases by the archbishop, the former to the heirs of Parker, and the latter, called Gilton parsonage, from the house and barns of it being situated in that hamlet, to George Gipps, esq. M. P. for Canterbury. The patronage of the perpetual curacy remains parcel of the possessions of the see of Canterbury.
¶At the time this church was appropriated to the college of Wingham, a vicarage was endowed in it, which after the suppression of the college came to be esteemed as a perpetual curacy. It is not valued in the king's books. The antient stipend paid by the provost, &c. to the curate being 16l. 13s. 4d. was in 1660, augmented by archbishop Juxon with the addition of 33l. 6s. 8d. per annum; and it was afterwards further augmented by archbishop Sheldon, anno 28 Charles II. with twenty pounds per annum more, the whole to be paid by the several lessees of these parsonages. Which sum of seventy pounds is now the clear yearly certified value of it. In 1588 here were communicants five hundred; in 1640, eight hundred and fifty. So far as appears by the registers, the increase of births in this parish is almost double to what they were two hundred years ago.
Spanish postcard by Ediciones Raker, Barcelona. no. 1047.
Handsome British actor Stephen Boyd (1931-1977) preferred to play character parts, but he had the looks of a leading man. Boyd appeared in some 60 films, most notably as the villainous Messala in Ben-Hur (1959), a role that earned him the Golden Globe Award. His other suvcccesses included The Bravados (1958),The Fall of the Roman Empire (1964), Fantastic Voyage (1966) and Shalako (1968).
Stephen Boyd was born William Millar in 1931 in Glengormley, Northern Ireland. Boyd was the youngest of nine siblings born to Irish/Canadian parents, truck driver James Alexander Millar and his wife Martha Boyd. Billy attended the local Public Elementary School and Ballyclare High School, but at the age of fourteen Boyd quit school to take up other jobs to help support his family. He worked in an insurance office and travel agency during the day and rehearsed with a semi-professional acting company at night during the week and weekends. He would eventually manage to be on the list for professional acting companies to call him when they had a role. He eventually joined the Ulster Group Theater where he learned the behind the scenes tasks of the theatre. He became well known in Belfast for his contributions as a gravel-voiced policeman on the Ulster Radio program The McCooeys, the story of a Belfast family written by Joseph Tomelty. Boyd eventually worked his way up to character parts and then starring roles. By nineteen he had toured Canada with summer stock companies. In 1950 he made a coast to coast tour of America with the Clare Tree Major Company In A Streetcar Named Desire, he played the lead role as Stanley Kowalski. Boyd would later recall this as “the best performance I ever gave in my life.” By the time he was twenty, Boyd had a wide range of theatre experience, but he longed for the big stage. In 1952 Boyd moved to London as an understudy in an Irish play, The Passing Day. Boyd nearly died during the great flu epidemic in London in 1952. He worked in a cafeteria and busked outside a cinema in Leicester Square to get money as he was literally close to starvation. Boyd caught his first break as a doorman at the Odeon Theatre. The Leicester Square Cinema across the street recruited him to usher attendees during the British Academy Awards in the early 1950s. During the awards ceremony he was noticed by actor Sir Michael Redgrave, who used his connections to introduce Boyd to the director of the Windsor Repertory Group. At this point Boyd’s stage career in the U.K. began to flourish with performances in The Deep Blue Sea and Barnett’s Folly. Boyd’s first role which brought him acclaim was as an Irish spy in the film The Man Who Never Was (Ronald Neame, 1956) with Cliffton Webb, based on the book by Ewen Montagu. Shortly thereafter he signed a ten-year contract with 20th Century Fox studios, who began prepping him for Hollywood. But it would be a while until Boyd actually set foot on a Hollywood back-lot. Boyd’s next stop was Portugal to make A Hill in Korea (Julian Amyes, 1956), which also featured future stars Michael Caine and Robert Shaw. In June 1956, Boyd was cast in the nautical, ship-wreck adventure Seven Waves Away/Abandon Ship! (Richard Sale, 1956) starring Tyrone Power. This was filmed in the summer of 1956 in London where the British Navy built a huge 35,000 gallon water tank for the film. In November 1956, Boyd traveled to the British West Indies as part of a large ensemble cast in Darryl Zanuck‘s racially provocative film Island in the Sun (Robert Rossen, 1957), based on the Alec Waugh novel.Boyd portrayed a young English aristocrat who becomes the lover of Joan Collins. Boyd would be loaned out to the J. Arthur Rank production of Seven Thunders (Beast of Marseilles), a World War II romance set in Nazi-occupied Marseilles. It was Boyd's most prominent starring film role yet.
After her success in Roger Vadim‘s Et Dieu... créa la femme/ And God Created Woman (1956), Brigitte Bardot was given the opportunity to cast her own leading man in her next film, the lusty romance Les bijoutiers du clair de lune/The Night Heaven Fell, (Roger Vadim, 1957). and she chose Stephen Boyd. Being in the Bardot spotlight added much to Boyd’s film credit, in addition to bringing him notice in Hollywood. Stephen Boyd finally arrived in Hollywood in January 1958 to take on his first true Hollywood role as the leader of a quartet of renegade outlaws in the Western The Bravados (Henry King, 1958), which starred Gregory Peck and Joan Collins. Even though this was a Hollywood production, the actually filming took place in Morelia, Mexico. After the filming of The Bravados was completed Boyd auditioned for the coveted role of Messala in Ben-Hur (William Wyler, 1958). Many other actors, including Victor Mature. Kirk Douglas, Leslie Nielsen and Stewart Granger had been considered for the part, but Stephen Boyd’s screen test convinced director William Wyler that he had found the perfect villain for his epic. Boyd was hurried off to join actor Charlton Heston in Rome in May 1958 to learn the chariot racing aspect of his role. Heston had already been practicing behind the chariot for weeks, so Boyd needed to learn the sport quickly. Later, Boyd described the filming experience of Ben-Hur in the Cinecittà Studios in Rome, as the most exciting experience of his life. Years after the film was released, interim Ben-Hur screen-writer and novelist Gore Vidal revealed that Boyd portrayed Messala with an underlying homosexual energy as instructed by Vidal when he greets Ben-Hur Charlton Heston in the opening sequence. In Gore Vidal’s autobiography Palimpsest, Vidal describes his discussion first with director William Wyler concerning Messala’s underlying motivation, that being that Messala and Judea Ben-Hur had previously been lovers. This was based on an idea by Vidal to enhance the tension between the two main antagonists. After Ben-Hur filming was completed, Boyd returned to Hollywood in early 1959 to star with Academy Award winner Susan Hayward in the Canadian-based drama Woman Obsessed (Henry Hathaway, 1959), and appeared in the adaptation of Rona Jaffe‘s novel The Best of Everything, (Jean Negulesco, 1959). Ben-Hur was released in December 1959 and made Boyd an international star overnight. His portrayal of the Roman tribune Messala brought in rave reviews. In early 1960 Boyd won the Golden Globe Award for Best Supporting Actor – Motion Picture for his performance in Ben-Hur.
Stephen Boyd himself chose to do roles which he felt comfortable in. His next choice was The Big Gamble (Richard Fleischer, Elmo Williams, 1961), which featured Darryl F. Zanuck‘s current paramour and French icon Juliette Gréco. The adventure of making this film almost outdid the adventure in the film itself as the crew slept in tents in the jungle that were guarded by natives on parole for cannibalism. Boyd nearly drowned in the Ardèche river during the making of the film. Boyd was originally chosen to play Mark Antony opposite Elizabeth Taylor in the epic production of Cleopatra (1963) under the direction of Rouben Mamoulian. He began film work in September 1960 but eventually withdrew from the problem-plagued production after Elizabeth Taylor’s severe illness postponed the film for months. Cleopatra was later directed by Joseph L. Mankiewicz, and the role of Mark Antony went to Richard Burton. After several months without active work, Boyd worked on The Inspector (Philip Dunne, 1962), renamed Lisa for the American release. It was based on the novel by Jan de Hartog and co- starred actress Dolores Hart. The film was made in Amsterdam , London and Wales during the summer of 1961. Boyd starred with Doris Day in the circus musical Billy Rose’s Jumbo (Charles Walters, 1962); the role earned Boyd a nomination for the Golden Globe Award for Best Actor – Motion Picture Musical or Comedy. In Rome Boyd acted with Gina Lollobrigida in her long-time pet project Venere imperiale/Imperial Venus (Jean Delannoy, 1962), a romantic epic about the many loves of Pauline Bonaparte, the sister of Napoleon. This film was the first film to be banned by the Motion Picture Association of America for male nudity. Boyd appeared in a humorous bedroom scene, naked, but covered by a sheet. The suggestion of nudity was too much for the censors and the film was never released in the United States. In Spain, he appeared in Samuel Bronston‘s massive production of The Fall of the Roman Empire (1964), directed by Anthony Mann. Boyd’s co-star was Sophia Loren. Although the film did well internationally when it was released in 1964, it was a box office failure in the United States and signaled the end of Roman epic. He then filmed the suspenseful The Third Secret (Charles Crichton, 1964) starring Jack Hawkins, Pamela Franklin and Sean Connery’s wife, Diane Cilento. In December, 1963, Stephen Boyd became a naturalized U.S. citizen. In 1964 Boyd continued to make films in Europe, traveling to Yugoslavia to star as the villain Jamuga in the epic Genghis Khan (Henry Levin, 1965). Boyd was the top billed and therefore the top paid star in the epic, and this apparently caused friction with up-and-coming star Omar Sharif. After completing Genghis Khan, Boyd trekked to Cairo for a brief appearance as the regal King Nimrod at The Tower of Babel in Dino de Laurentiis‘s production of The Bible (John Huston, 1966). Boyd returned to the United States to start work on the Science Fiction adventure Fantastic Voyage (Richard Fleischer, 1966), co-starring with Raquel Welch. Boyd then joined German star Elke Sommer and music legend Tony Bennett to film the Hollywood drama The Oscar (Russell Rouse, 1966), based on the eponymous Richard Sale novel. The film was a popular success, but maligned by film critics. In Iran he filmed his scenes for the United Nations film project Poppies Are Also Flowers (Terence Young, 1966) written by James Bond creator Ian Fleming. Two of Boyd’s projects were ranked among the top twenty-five grossing films of 1966; The Bible at number one and Fantastic Voyage at twenty-two. Next, Boyd starred in a spy thriller Assignment K (Val Guest, 1968) with Swedish model/actress Camilla Sparv. Boyd grew a full beard for his role as the iconic Irish playwright and critic George Bernard Shaw in the Off-Broadway play The Bashful Genius written by Harold Callen. This was Boyd’s first return to the stage since the mid-1950s, and he received excellent reviews.
In early 1968 Boyd was cast as the heavy opposite Sean Connery and Brigitte Bardot in the Western adventure Shalako (Edward Dmytryk, 1968) based on the Louis L’Amour novel. Shalako was filmed in the early part of 1968 in Almería, Spain. After returning to the United States, Boyd took the role of the cruel slave master Nathan MacKay in the Southern 'Slavesploitation' drama Slaves (Herbert J. Biberman, 1969), also starring Ossie Davis and songstress Dionne Warwick. The film was loosely based on the famous Harriet Beecher Stowe novel Uncle Tom’s Cabin. Buena Vista plantation near Shreveport, Louisiana. Closely following Slaves, Boyd starred in another story about racial tension, this time a World War II made-for-television drama called Carter’s Army/Black Brigade (George McCowan, 1970), featuring a young Richard Pryor. Boyd began his interest in L. Ron Hubbard‘s Church of Scientology, which would make him one of the first Hollywood stars to be involved in it. Boyd would star and narrate a Scientology recruiting film called Freedom (1970). There is no documentation of his later involvement with Scientology after the early 1970s. During the 1970s the demand for Boyd in Hollywood diminished, so he focused his attention on European films and several television pilots and shows. He made three films in Spain with director José Antonio Nieves Conde, including Marta (José Antonio Nieves Conde, 1970) with Marisa Mell, Historia de una traición/The Great Swindle (José Antonio Nieves Conde, 1971), and Casa Manchada (José Antonio Nieves Conde, 1975). He worked with cult director Romain Gary in the drug thriller Kill! (1971). He also made several Westerns, including Hannie Caulder (Burt Kennedy, 1971) with Raquel Welch (1971), Un hombre llamado Noon/The Man Called Noon (Peter Collinson, 1973) with Richard Crenna, and Rosanna Schiaffino, Campa carogna... la taglia cresce/Those Dirty Dogs (Giuseppe Rosati, 1973) with Gianni Garko, and Potato Fritz (Peter Schamoni, 1976) with Hardy Krüger. His last acting stint was a guest star on the popular television show Hawaii Five-O (1977.) His most critically acclaimed role during the 1970s was as a colourful Irish gangster in the UK crime thriller The Squeeze (Michael Apted, 1977) with Stacey Keach and David Hemmings. Boyd died of a massive heart attack on 2 June 1977 at the age of 45 while playing golf with his wife Elizabeth Mills at the Porter Valley Country Club in Northridge, California. Boyd was interred in Oakwood Memorial Park Cemetery in Chatsworth, California. Boyd was first married in 1958 to Italian-born MCA executive Mariella Di Sarzana during the filming of Ben-Hur. They separated after just three weeks. Boyd lived as a bachelor for most of his life and was wary of marriage after his first experience. His secretary Elizabeth Mills was a permanent resident at his Tarzana home during these years though the two did not marry until 1974. Raquel Welch would claim in 2013 that during the filming of Fantastic Voyage in 1965, she became infatuated with Boyd, who rejected her advances. In her comments she would imply that Boyd was gay, however no evidence of Stephen Boyd being a homosexual exists.
Sources: Brigitte Ivory (IMDb), Stephen Boyd Blog, Wikipedia and IMDb.
(my re-photograph of an original Andre de Dienes photograph in a tribute book to Marilyn)
Today is Marilyn Monroe's Birthday.
This is first picture of Marilyn Monroe that I'm aware of. She had recently arrived in Hollywood and was at this time just beginning her modelling career.
When Photographer Andre de Dienes met her for this shoot she was using the name Norma Jeane Dougherty, then her name through a marriage to James Dougherty, although her original birth name was Norma Jeane Mortenson.
This shot, my favorite Marilyn Monroe image of all time, was taken by Andre de Dienes on Mulholland Drive in 1945.
In this image we see "Marilyn" in her pre-Marilyn state i.e. as the person she was when she first arrived in Hollywood. Her hair had not yet been bleached and straightened, she had not undergone any cosmetic surgery (if indeed she ever did) and she has a wholesome, wide-eyed exuberance that would morph over time as she was reshaped into a femme fatale sex-symbol and Presidential Paramour.
I like this Marilyn, the early version, before Hollywood got it's hooks into her and pushed her down the path that led to her very early, and extremely suspicious, death at the young age of 36.
Hera was the wife and one of three sisters of Zeus in the Olympian pantheon of classical Greek Mythology. Her chief function was as the goddess of women and marriage. The cow, and later, the peacock were sacred to her. Hera's mother was Rhea and her father, Cronus.
Portrayed as majestic and solemn, often enthroned, and crowned with the polos (a high cylindrical crown worn by several of the Great Goddesses), Hera may bear a pomegranate in her hand, emblem of fertile blood and death and a substitute for the narcotic capsule of the opium poppy.
Hera was known for her jealous and vengeful nature, most notably against Zeus's paramours and offspring, but also against mortals who crossed her.
Entrance to the Lyric Theater in NYC. What a treat, going to Cirque du Soleil's PARAMOUR. It certainly was a "spectacular and eye-popping" show.
iPhone photo.
If you want to use this image, please email me at images@johnbald.net
Go-Go for a wild ride with the action girls! Russ Meyer, the king of exploitation, directs this lurid thrill-ride starring Tura Satana, Haji, and Lori Williams as a trio of dancers who turn to murder and mayhem on a road trip from hell. Varla is well-endowed, beautiful, physically powerful, savvy and conniving. She lives for kicks, but she's also got a serious mad on for the world, and anyone who crosses her finds out the hard way. Her job as a go-go dancer, supplemented by a part time career in petty crime has afforded her a sleek and fast sports car, which she enjoys riding in the desert with her fellow dancers. One of them, Rosie, has a crush on Varla, which she happily encourages, even if Varla is really more interested in the control it gives her over Rosie than in Rosie herself. The other dancer, Billie, is a little harder for Varla to manage, but Billie isn't bright enough to outmaneuver Varla.
When the little gang run into a square drag racer, he winds up getting into a fight with Varla, losing of course. Varla makes sure he never talks back again, then kidnaps his girlfriend and makes a run for it. BIllie and Rosie tag along, and they soon become involved in intrigue with an old letch in the desert rumored to have a stash of cash hidden away somewhere. When Varla starts to lose control of the situation, things (again) become violent, leading to a revved-up climax! Three strippers seeking thrills encounter a young couple in the desert. After dispatching the boyfriend, they take the girl hostage and begin scheming on a crippled old man living with his two sons in the desert, reputedly hiding a tidy sum of cash. They become houseguests of the old man and try and seduce the sons in an attempt to locate the money, not realizing that the old man has a few sinister intentions of his own.
synopsis
Exploitation maven Russ Meyer created a cult classic with this turbo-charged action film. Three curvaceous go-go dancers in a cool sports car go on a desert crime spree, led by Varla (the amazing Tura Satana), a busty, nasty woman dressed entirely in black. Varla's lesbian moll, Rosie (Haji) -- who has an extremely overwrought accent -- and reluctant bimbo Billie (Lori Williams) are along for the ride. When they meet a naïve young couple, Tommy and Linda (Ray Barlow and Sue Bernard), Varla challenges the man to a race then kills him by breaking his back. They take Linda hostage and drive to a house owned by a crippled old lecher (Stuart Lancaster) and his muscular but retarded son, Vegetable (Dennis Busch). Varla discovers that the old man has money hidden on the property, so the girls try to find it. Meanwhile, Vegetable's perverted father tries to trick him into assaulting one of the girls as he watches, but his other son (Paul Trinka) finally shows up to save the day. A great deal of bloodshed, campy catfighting, and funny dialogue fills the bulk of this fast-paced comic book of a movie.
Born 1946 Quebec,Canada
Passed on 2013
Birth Name - Barbarella Catton Nickname - Haji
Haji was a Cando-American actress renowned for starring in Russ Meyer's sexploitation classic Faster, Pussycat! Kill! Kill! (1965), in which she made her theatrical film debut. Barbarella Catton was born in Quebec City, Quebec on January 24, 1946, and at the age of 14, began dancing topless. The renamed Haji caught the eye of cinema's "King Leer" while performing as an exotic dancer.
He also cast her as one of three go-go dancers who turn into avenging furies in "Pussycat", which was her theatrical film debut as it was released before Motor Psycho (1965). She also appeared in Meyer's potboiler Good Morning... and Goodbye! (1967), his big budget Hollywood sextravaganza Beyond the Valley of the Dolls (1970), and his cartoonish amalgamation of sex and violence, Supervixens (1975).
Haji died on August 10, 2013 at the age of 67.
Was a fervent supporter of animal rights and environmentalism. Interviewed in the book "Invasion of the B-Girls" by Jewel Shepard. Began as an exotic dancer. Moved to California at the age of fourteen and was discovered by filmmaker Russ Meyer performing in a topless bar. Her only child, a daughter she had at age 15, is named Cerlette. Haji was of British and Filipino descent, and her nickname was bestowed on her by an uncle. Was a friend and co-star of former stripper and long-time Russ Meyer paramour Kitten Natividad.
Haji, an Actress Featured in Cult Films by Russ Meyer, Dies at 67
By DANIEL E. SLOTNIK
Published: August 17, 2013
Haji, a voluptuous actress who played one of three homicidal go-go dancers in Russ Meyer’s 1965 cult film “Faster, Pussycat! Kill! Kill!,” died on Aug. 9 in Southern California. She was 67.
Her death was confirmed by the dancer and actress Kitten Natividad, a friend, who said she did not know the cause. She said Haji had high blood pressure and heart problems in recent years and was taken to a hospital after falling ill at a restaurant in Newport Beach.Haji, a brunette of Filipino and British descent, met Meyer, the celebrated B-movie director, in the mid-1960s while she worked in a strip club in California. He cast her as the lead in his biker movie “Motorpsycho” (1965) even though she had no acting experience.Later that year Haji appeared in “Faster, Pussycat! Kill! Kill!,” the tale of three dancers who beat a young man to death, kidnap his girlfriend and flee into the desert. She played the lesbian paramour of the lead character, Varla, played by Tura Satana. The film has acquired a devoted following and has been embraced by the filmmakers John Waters and Quentin Tarantino and even some feminists, including the film critic B. Ruby Rich, who praised it in The Village Voice as a “female fantasy.”“You just didn’t see women taking over and beating up men in those days,” Haji said in an interview posted on Russ Meyer’s Ultravixens, a Web site devoted to Meyer, who died in 2004, and his films. “Russ did something no one else had the imagination to do. And he was smart to use three bodied-up women, so whether the picture’s good or not, you still sort of stare at it.”Haji played a scantily clad bartender in Meyer’s “Supervixens” in 1975 and appeared in “Beyond the Valley of the Dolls,” the story of an all-woman rock band’s descent into debauchery. It was the first of Meyer’s films produced by a mainstream studio. She also acted in John Cassavetes’s gritty drama “The Killing of a Chinese Bookie” in 1976.
Haji was born in Quebec on Jan. 24, 1946. Ms. Natividad said that Haji’s last name at birth was Catton, and that she thought her given name was Cerlette. (The name Haji, she said, was a nickname given to her by an uncle.) Haji left school before finishing the sixth grade and began stripping at 14. She had a daughter, also named Cerlette, at 15. She lived in Oxnard, Calif. Her survivors include her daughter and a granddaughter. Haji’s last screen role was in the 2003 comedy “Killer Drag Queens on Dope.”
www.nytimes.com/2013/08/18/arts/haji-an-actress-featured-...;