polyglot photos on Flickr

Starring Eric Porter, Hildegard Knef, Suzanna Leigh, Tony Beckley, Nigel Stock, Neil McCallum, Ben Carruthers, Victor Maddern, and Norman Eshley. Directed by Michael Carreras, and Leslie Norman.

The Lost Continent is a crazy-quilt of a film, with chunks of several unrelated plotlines sewn together willy nilly. Eric Porter plays Lansen, the captain of a tramp steamer who has agreed to deliver contraband dynamite for a hefty price. His passengers are a polyglot of the good, the bad and the worse. Shipwrecked on an mysterious isle in the Sargasso Sea, Lansen and party find themselves prisoners of a bizarre inbred colony still governed by the long-abandoned edicts of the Spanish Inquisition. The film is no more coherent than the original Dennis Wheatley novel Uncharted Seas, but that doesn't detract from its endearing wackiness. To their credit, the cast members of Lost Continent play the script straight, which merely adds to the kinky fun.

review

It would be exaggerating to call The Lost Continenht a very good film, but it's a strangely appealing one. This is especially true for those who are fans of science fiction films, especially of the "lost world" sub-genre. Aficionados may argue that Continent doesn't actually belong in that "lost world" category as, despite its title, the voyagers don't really discover a long-lost continent so much as encounter a strange civilization existing in the Sargasso Sea -- but that's splitting hairs. Continent has giant sea creatures, man-eating seaweed, people walking on snowshoes while being held aloft by balloons, and a group who still thinks the Spanish Inquisition is going on -- more than enough to satisfy any fan. Granted, it's totally ridiculous and immensely silly, and granted that the melodrama is piled on with a sledgehammer; yet that somehow adds to Continent's appeal. (For young male viewers, it also doesn't hurt that Continent features some very attractive women among its cast members.) The filmmakers have so much fun setting up this strange world and the exploring it that it's rather contagious -- so much so that most viewers won't mind the crudity of some of the special effects. Continent is a good picture to approach on a rainy day when the viewer has just popped some corn and feels like something that will make him feel like a wide-eyed 10-year-old again.

Cat-Women of the Moon (Astor Pictures, 1954). Lobby Card (11”x14”) by Morbius19

youtu.be/yKRbpIcOrFE Full feature.

Science Fiction. Starring Sonny Tufts, Victor Jory, Marie Windsor, William Phipps, Douglas Fowley, Carol Brewster, Susan Morrow, Suzanne Alexander, and Betty Arlen. Directed by Arthur Hilton.

Cat Women of the Moon tells the tale of a group of American space travellers who confront a hostile tribe of females on the border between the light and dark side of the moon. The expedition is led by Laird Grainger (Sonny Tufts), whose polyglot crew--including co-pilot Kip Reissner (Victor Jory) and navigator Helen Salinger (Marie Windsor)--land on the lunar surface, where they soon discover that there's an atmosphere and water and everything. After a few minutes of wandering, the travellers come upon a huge modernistic city, populated by leotard-clad "cat women". The ruler, Alpha (Carol Brewster), reveals that she has telepathically brought the earthlings to her city, using Salinger as her unsuspecting go-between. The cat women perform a kinky dance to the tune of "Stranger in Paradise," while the shifty copilot Reissner tries to steal the city's cache of gold. Alpha enslaves the visitors via mind control, leaving only cat-woman Lambda (Susan Morrow), who has fallen in love with crewman Douglas Smith (Bill Phipps), to save the day.

The remnants of a two-million-year-old civilization still survive underground on the Moon, but their air is running out, so they lure a lunar expedition into the clutches of the Cat-Women!

Released originally in both 3-D and 2-D versions, but the 3-D effects were kept to a minimum. A rocket ship from America is bound for the moon with Sonny Tufts as the commander, Victor Jory as the co-pilot (this was not NASA and astronauts no matter what the late-arriving revisionists might think), Marie Windsor as the navigator, Douglas Fowley as the engineer and Bill Phipps as the radio man. After landing where Windsor suggests, and going through some weird stuff and happenings, they find a cavern which leads them to signs of civilization. Since Jory has a gun and the others don't, there is some time spent trying to get his gun away from him. The non-astronaut space-travelers then find about a dozen attractive (some of them) females, who are all that is left of the original inhabitants. Jory discovers they control Windsor hypnotically and that they plan to learn the rocket-ship's secrets from the crew, and then use the ship to take off for Earth where, with their superior powers, they will assume control. Evidently, two or three of them made it.

1604 Limp vellum binding by The Rare Book Detective: books, type, watermarks

2

Colloqvia et dictionariolvm septem lingvarvm, Belgicæ, Anglicæ, Teutonicæ, Latinæ, Italicæ, Hispanicæ, Gallicæ ... = Colloques ou dialogues auec vn dictionaire en sept languages, Flamen, Anglois, Alleman, Latin, Italien, Espaignol & Francois ... = Colloquien oft samenspreckingen met eenen vocabulaer in seuen spraken, Neerduntsch, Engelsch, Hoochduntsch, Latin, Italien, Spaens ende Fransois

Printed: Leodii (Liège) 1604

Printer:Apud Henricum Hovium, 1604

NLA RBRS ALS 115

The Lost Continent (20th Century Fox, 1968). Lobby Card (11" X 14") by Morbius19

1 1

Starring Eric Porter, Hildegard Knef, Suzanna Leigh, Tony Beckley, Nigel Stock, Neil McCallum, Ben Carruthers, Victor Maddern, and Norman Eshley. Directed by Michael Carreras, and Leslie Norman.

The Lost Continent is a crazy-quilt of a film, with chunks of several unrelated plotlines sewn together willy nilly. Eric Porter plays Lansen, the captain of a tramp steamer who has agreed to deliver contraband dynamite for a hefty price. His passengers are a polyglot of the good, the bad and the worse. Shipwrecked on an mysterious isle in the Sargasso Sea, Lansen and party find themselves prisoners of a bizarre inbred colony still governed by the long-abandoned edicts of the Spanish Inquisition. The film is no more coherent than the original Dennis Wheatley novel Uncharted Seas, but that doesn't detract from its endearing wackiness. To their credit, the cast members of Lost Continent play the script straight, which merely adds to the kinky fun.

review

It would be exaggerating to call The Lost Continenht a very good film, but it's a strangely appealing one. This is especially true for those who are fans of science fiction films, especially of the "lost world" sub-genre. Aficionados may argue that Continent doesn't actually belong in that "lost world" category as, despite its title, the voyagers don't really discover a long-lost continent so much as encounter a strange civilization existing in the Sargasso Sea -- but that's splitting hairs. Continent has giant sea creatures, man-eating seaweed, people walking on snowshoes while being held aloft by balloons, and a group who still thinks the Spanish Inquisition is going on -- more than enough to satisfy any fan. Granted, it's totally ridiculous and immensely silly, and granted that the melodrama is piled on with a sledgehammer; yet that somehow adds to Continent's appeal. (For young male viewers, it also doesn't hurt that Continent features some very attractive women among its cast members.) The filmmakers have so much fun setting up this strange world and the exploring it that it's rather contagious -- so much so that most viewers won't mind the crudity of some of the special effects. Continent is a good picture to approach on a rainy day when the viewer has just popped some corn and feels like something that will make him feel like a wide-eyed 10-year-old again.

The Lost Continent (20th Century Fox, 1968). Lobby Card (11" X 14") by Morbius19

1 1

Starring Eric Porter, Hildegard Knef, Suzanna Leigh, Tony Beckley, Nigel Stock, Neil McCallum, Ben Carruthers, Victor Maddern, and Norman Eshley. Directed by Michael Carreras, and Leslie Norman.

The Lost Continent is a crazy-quilt of a film, with chunks of several unrelated plotlines sewn together willy nilly. Eric Porter plays Lansen, the captain of a tramp steamer who has agreed to deliver contraband dynamite for a hefty price. His passengers are a polyglot of the good, the bad and the worse. Shipwrecked on an mysterious isle in the Sargasso Sea, Lansen and party find themselves prisoners of a bizarre inbred colony still governed by the long-abandoned edicts of the Spanish Inquisition. The film is no more coherent than the original Dennis Wheatley novel Uncharted Seas, but that doesn't detract from its endearing wackiness. To their credit, the cast members of Lost Continent play the script straight, which merely adds to the kinky fun.

review

It would be exaggerating to call The Lost Continenht a very good film, but it's a strangely appealing one. This is especially true for those who are fans of science fiction films, especially of the "lost world" sub-genre. Aficionados may argue that Continent doesn't actually belong in that "lost world" category as, despite its title, the voyagers don't really discover a long-lost continent so much as encounter a strange civilization existing in the Sargasso Sea -- but that's splitting hairs. Continent has giant sea creatures, man-eating seaweed, people walking on snowshoes while being held aloft by balloons, and a group who still thinks the Spanish Inquisition is going on -- more than enough to satisfy any fan. Granted, it's totally ridiculous and immensely silly, and granted that the melodrama is piled on with a sledgehammer; yet that somehow adds to Continent's appeal. (For young male viewers, it also doesn't hurt that Continent features some very attractive women among its cast members.) The filmmakers have so much fun setting up this strange world and the exploring it that it's rather contagious -- so much so that most viewers won't mind the crudity of some of the special effects. Continent is a good picture to approach on a rainy day when the viewer has just popped some corn and feels like something that will make him feel like a wide-eyed 10-year-old again.

Street portrait: Maya, the polyglot by Keith Alan Sprouse

5 3

A black and white version of my street portrait of Maya.

The Lost Continent (20th Century Fox, 1968). Lobby Card (11" X 14") by Morbius19

Starring Eric Porter, Hildegard Knef, Suzanna Leigh, Tony Beckley, Nigel Stock, Neil McCallum, Ben Carruthers, Victor Maddern, and Norman Eshley. Directed by Michael Carreras, and Leslie Norman.

The Lost Continent is a crazy-quilt of a film, with chunks of several unrelated plotlines sewn together willy nilly. Eric Porter plays Lansen, the captain of a tramp steamer who has agreed to deliver contraband dynamite for a hefty price. His passengers are a polyglot of the good, the bad and the worse. Shipwrecked on an mysterious isle in the Sargasso Sea, Lansen and party find themselves prisoners of a bizarre inbred colony still governed by the long-abandoned edicts of the Spanish Inquisition. The film is no more coherent than the original Dennis Wheatley novel Uncharted Seas, but that doesn't detract from its endearing wackiness. To their credit, the cast members of Lost Continent play the script straight, which merely adds to the kinky fun.

review

It would be exaggerating to call The Lost Continenht a very good film, but it's a strangely appealing one. This is especially true for those who are fans of science fiction films, especially of the "lost world" sub-genre. Aficionados may argue that Continent doesn't actually belong in that "lost world" category as, despite its title, the voyagers don't really discover a long-lost continent so much as encounter a strange civilization existing in the Sargasso Sea -- but that's splitting hairs. Continent has giant sea creatures, man-eating seaweed, people walking on snowshoes while being held aloft by balloons, and a group who still thinks the Spanish Inquisition is going on -- more than enough to satisfy any fan. Granted, it's totally ridiculous and immensely silly, and granted that the melodrama is piled on with a sledgehammer; yet that somehow adds to Continent's appeal. (For young male viewers, it also doesn't hurt that Continent features some very attractive women among its cast members.) The filmmakers have so much fun setting up this strange world and the exploring it that it's rather contagious -- so much so that most viewers won't mind the crudity of some of the special effects. Continent is a good picture to approach on a rainy day when the viewer has just popped some corn and feels like something that will make him feel like a wide-eyed 10-year-old again.

Cat-Women of the Moon (Astor Pictures, 1954). One Sheet (27" X 41") by Morbius19

youtu.be/yKRbpIcOrFE Full feature.

Science Fiction. Starring Sonny Tufts, Victor Jory, Marie Windsor, William Phipps, Douglas Fowley, Carol Brewster, Susan Morrow, Suzanne Alexander, and Betty Arlen. Directed by Arthur Hilton.

Cat Women of the Moon tells the tale of a group of American space travellers who confront a hostile tribe of females on the border between the light and dark side of the moon. The expedition is led by Laird Grainger (Sonny Tufts), whose polyglot crew--including co-pilot Kip Reissner (Victor Jory) and navigator Helen Salinger (Marie Windsor)--land on the lunar surface, where they soon discover that there's an atmosphere and water and everything. After a few minutes of wandering, the travellers come upon a huge modernistic city, populated by leotard-clad "cat women". The ruler, Alpha (Carol Brewster), reveals that she has telepathically brought the earthlings to her city, using Salinger as her unsuspecting go-between. The cat women perform a kinky dance to the tune of "Stranger in Paradise," while the shifty copilot Reissner tries to steal the city's cache of gold. Alpha enslaves the visitors via mind control, leaving only cat-woman Lambda (Susan Morrow), who has fallen in love with crewman Douglas Smith (Bill Phipps), to save the day.

The remnants of a two-million-year-old civilization still survive underground on the Moon, but their air is running out, so they lure a lunar expedition into the clutches of the Cat-Women!

Released originally in both 3-D and 2-D versions, but the 3-D effects were kept to a minimum. A rocket ship from America is bound for the moon with Sonny Tufts as the commander, Victor Jory as the co-pilot (this was not NASA and astronauts no matter what the late-arriving revisionists might think), Marie Windsor as the navigator, Douglas Fowley as the engineer and Bill Phipps as the radio man. After landing where Windsor suggests, and going through some weird stuff and happenings, they find a cavern which leads them to signs of civilization. Since Jory has a gun and the others don't, there is some time spent trying to get his gun away from him. The non-astronaut space-travelers then find about a dozen attractive (some of them) females, who are all that is left of the original inhabitants. Jory discovers they control Windsor hypnotically and that they plan to learn the rocket-ship's secrets from the crew, and then use the ship to take off for Earth where, with their superior powers, they will assume control. Evidently, two or three of them made it.

Kostas Katsouranis

The Lost Continent (20th Century Fox, 1968). Lobby Card (11" X 14") by Morbius19

1

Starring Eric Porter, Hildegard Knef, Suzanna Leigh, Tony Beckley, Nigel Stock, Neil McCallum, Ben Carruthers, Victor Maddern, and Norman Eshley. Directed by Michael Carreras, and Leslie Norman.

The Lost Continent is a crazy-quilt of a film, with chunks of several unrelated plotlines sewn together willy nilly. Eric Porter plays Lansen, the captain of a tramp steamer who has agreed to deliver contraband dynamite for a hefty price. His passengers are a polyglot of the good, the bad and the worse. Shipwrecked on an mysterious isle in the Sargasso Sea, Lansen and party find themselves prisoners of a bizarre inbred colony still governed by the long-abandoned edicts of the Spanish Inquisition. The film is no more coherent than the original Dennis Wheatley novel Uncharted Seas, but that doesn't detract from its endearing wackiness. To their credit, the cast members of Lost Continent play the script straight, which merely adds to the kinky fun.

review

It would be exaggerating to call The Lost Continenht a very good film, but it's a strangely appealing one. This is especially true for those who are fans of science fiction films, especially of the "lost world" sub-genre. Aficionados may argue that Continent doesn't actually belong in that "lost world" category as, despite its title, the voyagers don't really discover a long-lost continent so much as encounter a strange civilization existing in the Sargasso Sea -- but that's splitting hairs. Continent has giant sea creatures, man-eating seaweed, people walking on snowshoes while being held aloft by balloons, and a group who still thinks the Spanish Inquisition is going on -- more than enough to satisfy any fan. Granted, it's totally ridiculous and immensely silly, and granted that the melodrama is piled on with a sledgehammer; yet that somehow adds to Continent's appeal. (For young male viewers, it also doesn't hurt that Continent features some very attractive women among its cast members.) The filmmakers have so much fun setting up this strange world and the exploring it that it's rather contagious -- so much so that most viewers won't mind the crudity of some of the special effects. Continent is a good picture to approach on a rainy day when the viewer has just popped some corn and feels like something that will make him feel like a wide-eyed 10-year-old again.

Kostas Katsouranis

Elias Hutter New Testament Polyglot by FirewallJC

1

The Elias Hutter New Testament Polyglot

Nuremburg, Germany, 1599

Printed in Syriac, Greek, Latin, Hebrew, German, Italian, Spanish, Polish, English, and Danish.

A masterpiece of complex typology.

At first sight, I didn't realize that there were so many languages (mainly because I couldn't read the words), but after reading the description, my mind was just left with a 'Wow'.

And I find it interesting that it was published in Nuremberg, yet Nuremberg later became the spiritual center of Nazism..

Miami Deco by Sangroncito

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Things I like about Miami: the art deco of Miami Beach and the futuristic architecture of downtown Miami; the monorail lines that snake above and through downtown; the international and polyglot mix....Spanish, Portuguese, French, Haitian Creole and occasionally even a little English! Oh, and the weather, of course.

Kostas Katsouranis

Hypolaïs polyglotte Hippolais polyglotta by Patrick Weider

3 1

Cat-Women Of the Moon (Astor Pictures, 1954). Pressbook (Multiple Pages, 11" X 17"). by Morbius19

1

youtu.be/yKRbpIcOrFE Full feature.

Science Fiction. Starring Sonny Tufts, Victor Jory, Marie Windsor, William Phipps, Douglas Fowley, Carol Brewster, Susan Morrow, Suzanne Alexander, and Betty Arlen. Directed by Arthur Hilton.

Cat Women of the Moon tells the tale of a group of American space travellers who confront a hostile tribe of females on the border between the light and dark side of the moon. The expedition is led by Laird Grainger (Sonny Tufts), whose polyglot crew--including co-pilot Kip Reissner (Victor Jory) and navigator Helen Salinger (Marie Windsor)--land on the lunar surface, where they soon discover that there's an atmosphere and water and everything. After a few minutes of wandering, the travellers come upon a huge modernistic city, populated by leotard-clad "cat women". The ruler, Alpha (Carol Brewster), reveals that she has telepathically brought the earthlings to her city, using Salinger as her unsuspecting go-between. The cat women perform a kinky dance to the tune of "Stranger in Paradise," while the shifty copilot Reissner tries to steal the city's cache of gold. Alpha enslaves the visitors via mind control, leaving only cat-woman Lambda (Susan Morrow), who has fallen in love with crewman Douglas Smith (Bill Phipps), to save the day.

The Lost Continent (20th Century Fox, 1968). One Sheet (27" X 41") by Morbius19

1

artedemadrid.wordpress.com/2011/07/24/el-palacio-de-laredo/

Starring Eric Porter, Hildegard Knef, Suzanna Leigh, Tony Beckley, Nigel Stock, Neil McCallum, Ben Carruthers, Victor Maddern, and Norman Eshley. Directed by Michael Carreras, and Leslie Norman.

The Lost Continent is a crazy-quilt of a film, with chunks of several unrelated plotlines sewn together willy nilly. Eric Porter plays Lansen, the captain of a tramp steamer who has agreed to deliver contraband dynamite for a hefty price. His passengers are a polyglot of the good, the bad and the worse. Shipwrecked on an mysterious isle in the Sargasso Sea, Lansen and party find themselves prisoners of a bizarre inbred colony still governed by the long-abandoned edicts of the Spanish Inquisition. The film is no more coherent than the original Dennis Wheatley novel Uncharted Seas, but that doesn't detract from its endearing wackiness. To their credit, the cast members of Lost Continent play the script straight, which merely adds to the kinky fun.

review

It would be exaggerating to call The Lost Continenht a very good film, but it's a strangely appealing one. This is especially true for those who are fans of science fiction films, especially of the "lost world" sub-genre. Aficionados may argue that Continent doesn't actually belong in that "lost world" category as, despite its title, the voyagers don't really discover a long-lost continent so much as encounter a strange civilization existing in the Sargasso Sea -- but that's splitting hairs. Continent has giant sea creatures, man-eating seaweed, people walking on snowshoes while being held aloft by balloons, and a group who still thinks the Spanish Inquisition is going on -- more than enough to satisfy any fan. Granted, it's totally ridiculous and immensely silly, and granted that the melodrama is piled on with a sledgehammer; yet that somehow adds to Continent's appeal. (For young male viewers, it also doesn't hurt that Continent features some very attractive women among its cast members.) The filmmakers have so much fun setting up this strange world and the exploring it that it's rather contagious -- so much so that most viewers won't mind the crudity of some of the special effects. Continent is a good picture to approach on a rainy day when the viewer has just popped some corn and feels like something that will make him feel like a wide-eyed 10-year-old again.

Palacio Laredo - Sala Árabe - Alcalá de Henares by Rosa

12

Esta foto participó en el juego En un lugar de Flickr

El Palacio de Laredo o Quinta La Gloria fue construido por su propietario Manuel Laredo y Ordoño entre los años 1881 y 1884 para albergar su Casa-Estudio. Eran los tiempos en que el Alhambrismo y la recreación de ambientes exóticos en general se puso de moda entre los nobles y clases más pudientes.

Manuel Laredo nació en Amurrio -Álava- en 1842. Pocos años después su familia se trasladó a Madrid. Fue restaurador, pintor y arquitecto, académico de Bellas Artes de San Fernando, amante del arte y las antigüedades, un hombre activo, artista y político. Todo ello quedó reflejado en su palacio, que unos años después construiría para él y su familia en Alcalá de Henares.

Hacia 1872 Laredo comenzó a trabajar como restaurador en Alcalá y poco a poco fue integrándose en la vida de esta ciudad, participando en la creación de muchas de las obras de su época más floreciente. En 1881, para construir su casa, con una gran visión de futuro eligió unos terrenos entonces rodeados por huertas, las llamadas Eras de San Isidro, que se convertirían en el “ensanche” de Alcalá.

Fue su Alcalde entre 1891 y 1893, época en la que la zona fue urbanizada y se construyó el Paseo de la Estación, vía en la quedó enclavada la quinta.

Manuel Laredo es el autor del Palacio en todos sus aspectos, diseñó el edificio, decidió su decoración, la materializó en su faceta de pintor, y la adornó con elementos arqueológicos traídos de diferentes lugares de España, piezas originales de los siglos XV y XVI.

Su estilo es neomudéjar, aunque incorpora otras formas y estilos de distintas épocas artísticas, gótico, renacimiento, modernismo… casi todo el lugar es un puro capricho.

Antes de entrar, rodeamos el edificio, adornado por multitud de elementos deliciosos, ventanitas, arcos, torres, celosías …… y admiramos su apariencia de castillo entre los árboles.

La entrada es tan bonita que obliga a detenerse y contemplarla con calma. Junto a la puerta don Manuel instaló unos azulejos del siglo XVI.

Comienza la visita en una sala en la que se encuentran las primeras vitrinas que muestran piezas del Museo Cisneriano, que tiene aquí su sede, conocida como Sala del Alfarje por su artesonado mudéjar, que proviene del Palacio de Antonio de Mendoza de Guadalajara, del siglo XVI. Una maqueta representa la ciudad de Alcalá tal como era en el siglo XIII.

El espectacular techo convive con otros elementos “falsos”, pintados al trampantojo, como los azulejos de esta habitación, de una calidad tan extraordinaria que parecen auténticos.

A continuación, la Sala Árabe, que intenta evocar los ambientes de la Alhambra. En este caso los azulejos del zócalo son verdaderos, cerámicas originales del siglo XV, que proceden del Palacio de Pedro I en Jaén. El precioso cupulín del techo estuvo en el Palacio del Conde de Tendilla en Guadalajara. En una de sus esquinas se encuentra una imagen de madera policromada de la reina Isabel la Católica, atribuida al escultor Gil de Siloé, gran representante del arte gótico tardío o isabelino.

La siguiente Sala del Espejo supone un gran contraste, con su decoración renacentista. Aquí se encuentra otra maqueta de la ciudad, tal como era en el siglo XVI. Pasamos a otra habitación, más sencilla, la Sala Entelada, por cuyas ventanas se puede contemplar el Jardín.

Como era obligado, Manuel Laredo ordenó construir un Jardín Romántico alrededor de su palacete en el cual se conservan también algunos elementos de interés, como el cenador de hierro.

El salón principal, alrededor del cual están situadas las demás estancias, es el Salón de Reyes, situado bajo el torreón, gran homenaje a la Monarquía, en cuyas paredes están representados desde Alfonso XI hasta Carlos I. Los nervios góticos de la bóveda y las columnas pertenecieron al Castillo de Santorcaz.

Finalmente visitamos el que fuera su dormitorio, con su mirador cubierto de celosías y azulejos del siglo XVI, y su gabinete, con imaginativa decoración mudéjar.

Manuel Laredo vivió aquí hasta 1895, en que vendió la posesión, al parecer obligado por las deudas, y se trasladó a Madrid.

Murió al año siguiente, a la edad de 54 años. Fue enterrado en el antiguo Cementerio de la Almudena.

La familia que lo compró lo donó al Ayuntamiento para que fuera dedicado a difundir todo lo relativo al Cardenal Cisneros, la Universidad y la historia de Alcalá. Este es el objetivo del Centro Internacional de Estudios Históricos Cisneros, de la Universidad de Alcalá, y el Museo Cisneriano, aquí ubicados.

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

La Biblia Políglota Complutense o Biblia Sacra Polyglota

www.todolibroantiguo.es/libros-raros/biblia-poliglota-com...

Walton’s Polyglot Bible, Volume 1, 1654, restored exterior / Bible polyglotte de l’évêque Walton, volume 1, 1654, extérieur restauré by BiblioArchives / LibraryArchives

kostas katsouranis

Hypolaïs polyglotte (Hippolais polyglotta) by Nicolas Dumats

6 2

1

Title / Titre :

Walton’s Polyglot Bible, Volume 1, 1654, restored exterior /

Bible polyglotte de l’évêque Walton, volume 1, 1654, extérieur restauré

Description :

Bishop Brian Walton’s six-volume Bible, published between 1654 and 1657, contains nine languages including Hebrew, Syriac, Arabic, Greek, and Latin. This copy is in a 19th-century gold-tooled purple leather binding by the celebrated British bookbinder Robert Riviere. /

La bible en six volumes de l’évêque Brian Walton, publiée de 1654 à 1657, contient neuf langues, notamment l’hébreu, le syriaque, l’arabe, le grec et le latin. Cet exemplaire du 19e siècle vient dans une reliure en cuir repoussé mauve et dorée du célèbre relieur anglais Robert Riviere.

Creator(s) / Créateur(s) : Brian Walton

Date(s) : 1654-1657

Reference No. / Numéro de référence : OCLC 1006898114

bac-lac.on.worldcat.org/oclc/1006898114

Location / Lieu : London, England / Londres, Angleterre

Credit / Mention de source :

Brian Walton. Library and Archives Canada, London : Imprimebat Thomas Roycroft, 1654-1657, IMG_6630redux /

Brian Walton. Bibliothèque et Archives Canada, London : Imprimebat Thomas Roycroft, 1654-1657, IMG_6630redux

Cat-Women of the Moon (Astor Pictures, 1954). by Morbius19

1

Half Sheet (22" X 28")

youtu.be/yKRbpIcOrFE Full feature.

Science Fiction. Starring Sonny Tufts, Victor Jory, Marie Windsor, William Phipps, Douglas Fowley, Carol Brewster, Susan Morrow, Suzanne Alexander, and Betty Arlen. Directed by Arthur Hilton.

Cat Women of the Moon tells the tale of a group of American space travellers who confront a hostile tribe of females on the border between the light and dark side of the moon. The expedition is led by Laird Grainger (Sonny Tufts), whose polyglot crew--including co-pilot Kip Reissner (Victor Jory) and navigator Helen Salinger (Marie Windsor)--land on the lunar surface, where they soon discover that there's an atmosphere and water and everything. After a few minutes of wandering, the travellers come upon a huge modernistic city, populated by leotard-clad "cat women". The ruler, Alpha (Carol Brewster), reveals that she has telepathically brought the earthlings to her city, using Salinger as her unsuspecting go-between. The cat women perform a kinky dance to the tune of "Stranger in Paradise," while the shifty copilot Reissner tries to steal the city's cache of gold. Alpha enslaves the visitors via mind control, leaving only cat-woman Lambda (Susan Morrow), who has fallen in love with crewman Douglas Smith (Bill Phipps), to save the day.

One of the favorite storylines of 1950s science fiction was the all-male expedition that discovers a race of women who have never been exposed to men before. Queen of Outer Space, Fire Maidens from Outer Space and this low-budget film are examples of this theme. With props left over from Project Moonbase and Destination Moon, Sonny Tufts and Victor Jory meet the Cat-Women who populate the moon.

Camino, 11 by Quotes from Saint Josemaria ES

Will-power. Energy. Example. What has to be done, is done... without hesitation, without more worrying.

Otherwise, Cisneros would not have been Cisneros; nor Teresa of Avila, Saint Teresa; nor Iñigo of Loyola, Saint Ignatius.

God and daring! Regnare Christum volumus! — 'We want Christ to reign!'

_________

In an 'Instruction' of March 1934: "We must give all the glory to God. He wants us to: 'my glory I give to no other' (Is 42:8). This is why we want Christ to reign, since 'per ipsum, et cum ipso, et in ipso, est tibi Deo Patri Omnipotenti in unitate Spiritus Sancti omnis honor et gloria – through him, with him, in him, in the unity of the Holy Spirit, all glory and honour is yours, almighty Father' (Roman Canon)."

The expression 'Regnare Christum volumus' has a central place in St Josemaría's understanding of the salvific economy. The theme was a live one in those years. The encyclical, Quas primas, on Christ's royalty, had been published (1925), and the solemnity of the Feast of Christ the King had been decreed. In the Catholic world, especially in Latin countries, there was a resurgence of devotion to Christ the King, united in a more or less diffuse way, to specific choices of a temporal character, including political ones. It is interesting to note that in the Author's thinking, ‘Regnare Christum volumus’ always had only a spiritual significance.

St Teresa of Avila and St Ignatius of Loyola, for whom St Josemaría had great personal devotion, appear here and in other places in the book, as eminent figures of saintliness; here, in particular, showing a dedication without reserve, which is proposed to readers.

Cardinal Cisneros (1436-1517), an energetic character, was the first promoter of the Catholic Reformation in Spain: he fostered the spiritual reform of the religious orders, the University of Alcala, the polyglot Bible, etc.

(cf. "The Way": Critical-historical edition prepared by P. Rodriguez)

Niš skyline by Monika

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We went to Niš by accident and fell in love with it. It's full of everything mixed up without any imposed logic or plan, it seems. The people are fantastic. At the hotel we were staying, called My Place, a new very classy hotel designed by the local group Garaz, we met genuinly friendly and completely human people - not the trained-to-the-limits hotel employees one usually encounters at hotel chains. We also met a polyglot waiter, a gang of cute & hilarious Roma kids who wanted to be photographed (and my husband took a very nice photo of them), an inquisitive older shop assistant, speaking good English and wondering why on Earth I came to Niš - no sea, no mountains...? - and all this without us being in the least extroverted. Unlike Belgrade where I felt all the time I was drawn into somebody else's space, or that someone was striding into my space, in Niš people were outgoing in a very friendly and natural way.

Love you, Niš.

Read more at: en.wikipedia.org/wiki/Nis

"Door" by Barry Kite

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When I come home and open my door,

I hear the same old squeak from times before.

Not quite like a cat or a rat being squeezed,

But more of a “You’re finally home – I’m so damn pleased!”

Not like I’ve not heard this many times before.

Of course, enthusiasm differs as you might suspect.

If you really pay attention, you might learn to speak ‘Door’.

It’s like ‘Kitchen Cabinet”—but a different dialect.

Not to be confused with ‘Shoe’ – a completely different tongue,

With its squeaks and squishes – such ‘sole’!

Now, stop me if I’m making way too many puns—

For a polyglot, that never gets old.

Now—back to doors. There’s a few in my house.

The bathroom and the closets have their own tales to tell.

Except that one in the hallway that never shuts up,

Shouting constantly: “We’re all going to hell!”

So, the front door’s my buddy, and when I leave for the day,

It tells me to behave and avoid drunken binges.

“And if it wouldn’t be asking too much, as they say:

Please pick up some WD-40 for my damn hinges!”

B. Kite -- 4/18/2024

The Lost Continent (20th Century Fox, 1968). Lobby Card (11" X 14") by Morbius19

Walton’s Polyglot Bible, Volume 1, 1654. Left: engraved portrait of Brian Walton. Right: engraved title page / Bible polyglotte de l’évêque Walton, volume 1, 1654. À gauche : portrait gravé de Brian Walton. À droite : page de titre gravée by BiblioArchives / LibraryArchives

Starring Eric Porter, Hildegard Knef, Suzanna Leigh, Tony Beckley, Nigel Stock, Neil McCallum, Ben Carruthers, Victor Maddern, and Norman Eshley. Directed by Michael Carreras, and Leslie Norman.

The Lost Continent is a crazy-quilt of a film, with chunks of several unrelated plotlines sewn together willy nilly. Eric Porter plays Lansen, the captain of a tramp steamer who has agreed to deliver contraband dynamite for a hefty price. His passengers are a polyglot of the good, the bad and the worse. Shipwrecked on an mysterious isle in the Sargasso Sea, Lansen and party find themselves prisoners of a bizarre inbred colony still governed by the long-abandoned edicts of the Spanish Inquisition. The film is no more coherent than the original Dennis Wheatley novel Uncharted Seas, but that doesn't detract from its endearing wackiness. To their credit, the cast members of Lost Continent play the script straight, which merely adds to the kinky fun.

review

It would be exaggerating to call The Lost Continenht a very good film, but it's a strangely appealing one. This is especially true for those who are fans of science fiction films, especially of the "lost world" sub-genre. Aficionados may argue that Continent doesn't actually belong in that "lost world" category as, despite its title, the voyagers don't really discover a long-lost continent so much as encounter a strange civilization existing in the Sargasso Sea -- but that's splitting hairs. Continent has giant sea creatures, man-eating seaweed, people walking on snowshoes while being held aloft by balloons, and a group who still thinks the Spanish Inquisition is going on -- more than enough to satisfy any fan. Granted, it's totally ridiculous and immensely silly, and granted that the melodrama is piled on with a sledgehammer; yet that somehow adds to Continent's appeal. (For young male viewers, it also doesn't hurt that Continent features some very attractive women among its cast members.) The filmmakers have so much fun setting up this strange world and the exploring it that it's rather contagious -- so much so that most viewers won't mind the crudity of some of the special effects. Continent is a good picture to approach on a rainy day when the viewer has just popped some corn and feels like something that will make him feel like a wide-eyed 10-year-old again.

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Title / Titre :

Walton’s Polyglot Bible, Volume 1, 1654. Left: engraved portrait of Brian Walton. Right: engraved title page /

Bible polyglotte de l’évêque Walton, volume 1, 1654. À gauche : portrait gravé de Brian Walton. À droite : page de titre gravée

Description :

Bishop Brian Walton’s six-volume Bible, published between 1654 and 1657, contains nine languages including Hebrew, Syriac, Arabic, Greek, and Latin. This copy is in a 19th-century gold-tooled purple leather binding by the celebrated British bookbinder Robert Riviere. /

La bible en six volumes de l’évêque Brian Walton, publiée de 1654 à 1657, contient neuf langues, notamment l’hébreu, le syriaque, l’arabe, le grec et le latin. Cet exemplaire du 19e siècle vient dans une reliure en cuir repoussé mauve et dorée du célèbre relieur anglais Robert Riviere.

Creator(s) / Créateur(s) : Brian Walton

Date(s) : 1654-1657

Reference No. / Numéro de référence : OCLC 1006898114

bac-lac.on.worldcat.org/oclc/1006898114

Location / Lieu : London, England / Londres, Angleterre

Credit / Mention de source :

Brian Walton. Library and Archives Canada, London : Imprimebat Thomas Roycroft, 1654-1657, Polyglot IMG_6639 /

Brian Walton. Bibliothèque et Archives Canada, London : Imprimebat Thomas Roycroft, 1654-1657, Polyglot IMG_6639

The Lost Continent (20th Century Fox, 1968). Still (8" X 10"). by Morbius19

Starring Eric Porter, Hildegard Knef, Suzanna Leigh, Tony Beckley, Nigel Stock, Neil McCallum, Ben Carruthers, Victor Maddern, and Norman Eshley. Directed by Michael Carreras, and Leslie Norman.

The Lost Continent is a crazy-quilt of a film, with chunks of several unrelated plotlines sewn together willy nilly. Eric Porter plays Lansen, the captain of a tramp steamer who has agreed to deliver contraband dynamite for a hefty price. His passengers are a polyglot of the good, the bad and the worse. Shipwrecked on an mysterious isle in the Sargasso Sea, Lansen and party find themselves prisoners of a bizarre inbred colony still governed by the long-abandoned edicts of the Spanish Inquisition. The film is no more coherent than the original Dennis Wheatley novel Uncharted Seas, but that doesn't detract from its endearing wackiness. To their credit, the cast members of Lost Continent play the script straight, which merely adds to the kinky fun.

review

It would be exaggerating to call The Lost Continenht a very good film, but it's a strangely appealing one. This is especially true for those who are fans of science fiction films, especially of the "lost world" sub-genre. Aficionados may argue that Continent doesn't actually belong in that "lost world" category as, despite its title, the voyagers don't really discover a long-lost continent so much as encounter a strange civilization existing in the Sargasso Sea -- but that's splitting hairs. Continent has giant sea creatures, man-eating seaweed, people walking on snowshoes while being held aloft by balloons, and a group who still thinks the Spanish Inquisition is going on -- more than enough to satisfy any fan. Granted, it's totally ridiculous and immensely silly, and granted that the melodrama is piled on with a sledgehammer; yet that somehow adds to Continent's appeal. (For young male viewers, it also doesn't hurt that Continent features some very attractive women among its cast members.) The filmmakers have so much fun setting up this strange world and the exploring it that it's rather contagious -- so much so that most viewers won't mind the crudity of some of the special effects. Continent is a good picture to approach on a rainy day when the viewer has just popped some corn and feels like something that will make him feel like a wide-eyed 10-year-old again.

Kostas Katsouranis

Europe - Belgium / Plantin-Moretus museum in Antwerp / P.P.Rubens - Martina Plantin by RURO photography

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The Plantin-Moretus Museum (Dutch: Plantin-Moretusmuseum) is a printing museum in Antwerp, Belgium which focuses on the work of the 16th-century printers Christophe Plantin and Jan Moretus. It is located in their former residence and printing establishment, the Plantin Press, at the Vrijdagmarkt (Friday Market) in Antwerp, and has been a UNESCO World Heritage Site since 2005.

The printing company was founded in the 16th century by Christophe Plantin, who obtained type from the leading typefounders of the day in Paris. Plantin was a major figure in contemporary printing with interests in humanism; his eight-volume, multi-language Plantin Polyglot Bible with Hebrew, Aramaic, Greek and Syriac texts was one of the most complex productions of the period. Plantin's is now suspected of being at least connected to members of heretical groups known as the Familists, and this may have led him to spend time in exile in his native France.

View of the courtyard of the museum

After Plantin's death it was owned by his son-in-law Jan Moretus. While most printing concerns disposed of their collections of older type in the eighteenth and nineteenth century in response to changing tastes, the Plantin-Moretus company "piously preserved the collection of its founder."

Four women ran the family-owned Plantin-Moretus printing house (Plantin Press) over the 16th, 17th, and 18th centuries: Martina Plantin, Anna Goos, Anna Maria de Neuf and Maria Theresia Borrekens.

In 1876 Edward Moretus sold the company to the city of Antwerp. One year later the public could visit the living areas and the printing presses. The collection has been used extensively for research, by historians H. D. L. Vervliet, Mike Parker and Harry Carter. Carter's son Matthew would later describe this research as helping to demonstrate "that the finest collection of printing types made in typography's golden age was in perfect condition (some muddle aside) [along with] Plantin's accounts and inventories which names the cutters of his types."

In 2002 the museum was nominated as UNESCO World Heritage Site and in 2005 was inscribed onto the World Heritage list.

The Plantin-Moretus Museum possesses an exceptional collection of typographical material. Not only does it house the two oldest surviving printing presses in the world and complete sets of dies and matrices, it also has an extensive library, a richly decorated interior and the entire archives of the Plantin business, which were inscribed on UNESCO's Memory of the World Programme Register in 2001 in recognition of their historical significance.

Patio Trilinüe by Alejandro Cárdaba Rubio

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El Patio Trilingüe, el más antiguo de los conservados en la universidad, en torno al cual se disponían las aulas y dormitorios del Colegio Menor de San Jerónimo o Trilingüe dedicado a la enseñanza del latín, griego y hebreo y donde se escribió la Biblia Políglota. En el lateral de la derecha se encuentra el acceso al Paraninfo, antiguo corral de comedias y sala de actos académicos de la Universidad Cisneriana.

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

The trilingual courtyard, the oldest of the preserved in the University in lathe were preparing to which classrooms and dormitories of the lower school of St. Jerome or trilingual dedicated to the teaching of latin, Greek and Hebrew and where wrote the Polyglot Bible. Access to the Auditorium, old corral of comedies and academic Auditorium of the Cisneriana University is located on the side of right.

Más Información / More Information: open.ieec.uned.es/HussoDigital/?page_id=762

Europe - Belgium / Plantin-Moretus museum in Antwerp by RURO photography

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The Plantin-Moretus Museum (Dutch: Plantin-Moretusmuseum) is a printing museum in Antwerp, Belgium which focuses on the work of the 16th-century printers Christophe Plantin and Jan Moretus. It is located in their former residence and printing establishment, the Plantin Press, at the Vrijdagmarkt (Friday Market) in Antwerp, and has been a UNESCO World Heritage Site since 2005.

The printing company was founded in the 16th century by Christophe Plantin, who obtained type from the leading typefounders of the day in Paris. Plantin was a major figure in contemporary printing with interests in humanism; his eight-volume, multi-language Plantin Polyglot Bible with Hebrew, Aramaic, Greek and Syriac texts was one of the most complex productions of the period. Plantin's is now suspected of being at least connected to members of heretical groups known as the Familists, and this may have led him to spend time in exile in his native France.

View of the courtyard of the museum

After Plantin's death it was owned by his son-in-law Jan Moretus. While most printing concerns disposed of their collections of older type in the eighteenth and nineteenth century in response to changing tastes, the Plantin-Moretus company "piously preserved the collection of its founder."

Four women ran the family-owned Plantin-Moretus printing house (Plantin Press) over the 16th, 17th, and 18th centuries: Martina Plantin, Anna Goos, Anna Maria de Neuf and Maria Theresia Borrekens.

In 1876 Edward Moretus sold the company to the city of Antwerp. One year later the public could visit the living areas and the printing presses. The collection has been used extensively for research, by historians H. D. L. Vervliet, Mike Parker and Harry Carter. Carter's son Matthew would later describe this research as helping to demonstrate "that the finest collection of printing types made in typography's golden age was in perfect condition (some muddle aside) [along with] Plantin's accounts and inventories which names the cutters of his types."

In 2002 the museum was nominated as UNESCO World Heritage Site and in 2005 was inscribed onto the World Heritage list.

The Plantin-Moretus Museum possesses an exceptional collection of typographical material. Not only does it house the two oldest surviving printing presses in the world and complete sets of dies and matrices, it also has an extensive library, a richly decorated interior and the entire archives of the Plantin business, which were inscribed on UNESCO's Memory of the World Programme Register in 2001 in recognition of their historical significance.

At the Plantin Moretus Museum in Antwerp by no_typographic_man

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shot in 1982. This is Plantin's famous Polyglot Bible.

The Lost Continent (20th Century Fox, 1968). Half Sheet (22" X 28") by Morbius19

Starring Eric Porter, Hildegard Knef, Suzanna Leigh, Tony Beckley, Nigel Stock, Neil McCallum, Ben Carruthers, Victor Maddern, and Norman Eshley. Directed by Michael Carreras, and Leslie Norman.

The Lost Continent is a crazy-quilt of a film, with chunks of several unrelated plotlines sewn together willy nilly. Eric Porter plays Lansen, the captain of a tramp steamer who has agreed to deliver contraband dynamite for a hefty price. His passengers are a polyglot of the good, the bad and the worse. Shipwrecked on an mysterious isle in the Sargasso Sea, Lansen and party find themselves prisoners of a bizarre inbred colony still governed by the long-abandoned edicts of the Spanish Inquisition. The film is no more coherent than the original Dennis Wheatley novel Uncharted Seas, but that doesn't detract from its endearing wackiness. To their credit, the cast members of Lost Continent play the script straight, which merely adds to the kinky fun.

review

It would be exaggerating to call The Lost Continenht a very good film, but it's a strangely appealing one. This is especially true for those who are fans of science fiction films, especially of the "lost world" sub-genre. Aficionados may argue that Continent doesn't actually belong in that "lost world" category as, despite its title, the voyagers don't really discover a long-lost continent so much as encounter a strange civilization existing in the Sargasso Sea -- but that's splitting hairs. Continent has giant sea creatures, man-eating seaweed, people walking on snowshoes while being held aloft by balloons, and a group who still thinks the Spanish Inquisition is going on -- more than enough to satisfy any fan. Granted, it's totally ridiculous and immensely silly, and granted that the melodrama is piled on with a sledgehammer; yet that somehow adds to Continent's appeal. (For young male viewers, it also doesn't hurt that Continent features some very attractive women among its cast members.) The filmmakers have so much fun setting up this strange world and the exploring it that it's rather contagious -- so much so that most viewers won't mind the crudity of some of the special effects. Continent is a good picture to approach on a rainy day when the viewer has just popped some corn and feels like something that will make him feel like a wide-eyed 10-year-old again.

The Lost Continent (20th Century Fox, 1968). Lobby Card (11" X 14") by Morbius19

www.msn.com/en-us/news/world/little-by-little-the-russian...

Starring Eric Porter, Hildegard Knef, Suzanna Leigh, Tony Beckley, Nigel Stock, Neil McCallum, Ben Carruthers, Victor Maddern, and Norman Eshley. Directed by Michael Carreras, and Leslie Norman.

The Lost Continent is a crazy-quilt of a film, with chunks of several unrelated plotlines sewn together willy nilly. Eric Porter plays Lansen, the captain of a tramp steamer who has agreed to deliver contraband dynamite for a hefty price. His passengers are a polyglot of the good, the bad and the worse. Shipwrecked on an mysterious isle in the Sargasso Sea, Lansen and party find themselves prisoners of a bizarre inbred colony still governed by the long-abandoned edicts of the Spanish Inquisition. The film is no more coherent than the original Dennis Wheatley novel Uncharted Seas, but that doesn't detract from its endearing wackiness. To their credit, the cast members of Lost Continent play the script straight, which merely adds to the kinky fun.

review

It would be exaggerating to call The Lost Continenht a very good film, but it's a strangely appealing one. This is especially true for those who are fans of science fiction films, especially of the "lost world" sub-genre. Aficionados may argue that Continent doesn't actually belong in that "lost world" category as, despite its title, the voyagers don't really discover a long-lost continent so much as encounter a strange civilization existing in the Sargasso Sea -- but that's splitting hairs. Continent has giant sea creatures, man-eating seaweed, people walking on snowshoes while being held aloft by balloons, and a group who still thinks the Spanish Inquisition is going on -- more than enough to satisfy any fan. Granted, it's totally ridiculous and immensely silly, and granted that the melodrama is piled on with a sledgehammer; yet that somehow adds to Continent's appeal. (For young male viewers, it also doesn't hurt that Continent features some very attractive women among its cast members.) The filmmakers have so much fun setting up this strange world and the exploring it that it's rather contagious -- so much so that most viewers won't mind the crudity of some of the special effects. Continent is a good picture to approach on a rainy day when the viewer has just popped some corn and feels like something that will make him feel like a wide-eyed 10-year-old again.

DSC_9481 by Guy M Wong

'Little by little, the Russians are winning'

For hours there is no let-up in the shelling, incoming and outgoing. A Russian fighter jet roars overhead. The nearest Russian troops are just two kilometres away.

There is street fighting in some areas, but Ukrainian forces still hold the city - despite sub-zero temperatures and dwindling ammunition.

"We have some shortages of ammunition of all kinds, especially artillery rounds," says Capt Mykhailo from the 93rd Mechanised Brigade, whose call sign is 'Polyglot'. "We also need encrypted communication devices from our Western allies, and some armoured personnel carriers to move troops around. But we still manage. One of the main lessons of this war is how to fight with limited resources."

We get an insight into the ammunition problems as Ukrainian troops target a Russian position with 60mm mortars. The first mortar round flies from the tube with a loud bang. The second round doesn't eject.

There's a hiss of smoke and a shout of "misfire" sending the mortar unit scrambling for cover. Troops tell us the ammunition is old stock, sent from abroad.

The battle for Bakhmut is a war within a war. Some of the fiercest fighting of the invasion has happened here. And now the Kremlin's forces are gaining ground, metre by metre, body by body. Wave after wave of mercenaries from the notorious Wagner group have been sent into battle here. There are reports of fields of Russian corpses.

Moscow now has effective control of both main roads into the city, leaving just one back route left - a slender supply line.

"They have been trying to take the city since July," says Iryna, press officer of the 93rd Brigade. "Little by little they are winning now. They have more resources, so if they play the long game they will win. I can't say how long it will take.

"Maybe they will run out of resources. I really hope so."

We move from carefully concealed firing positions to bunkers humming with generators and warmed by stoves. But troops take care to conceal any smoke which could give away their location - part of the housekeeping of war. Among those we meet there is calm determination to fight on.

"They are trying to encircle us so that we leave the city, but it's not working," says Ihor, a camouflage-clad commander, with a battle-hardened edge. "The city is under control. Transport moves, despite constant artillery strikes. Of course, we have losses from our side, but we are holding on. We only have one option - to keep going to victory."

There is another option - to withdraw from Bakhmut before it's too late. But among the defenders on the ground there seems little appetite for that. "If we have such an order from our HQ, OK, order is order," says Captain Myhailo. "But what sense to hold all these months if you need to retreat from this city? No, we don't want to do this."

He recalls those who have given their lives for Bakhmut - "a lot of good brave men who just love this country."

And if the defenders of Bakhmut were to withdraw, it would pave the way for Russia to push towards bigger cities in eastern Ukraine like Kramatorsk and Slovyansk.

Moscow has stepped up its attacks in other front-line areas in the Donbas region in the east, and in the south. Ukrainian officials say a new Russian offensive is already under way.

The Kremlin is on a clock, as it counts down to the anniversary on 24 February. "They are mad about dates and so-called 'victory days'," says Capt Mykhailo.

But the battle of attrition for Bakhmut could wear out the Russians, according to Viktor, a tall, lean Ukrainian commander who has captured Russian magazines on a shelf in his bunker.

"They don't defend now," he says, "they just attack. They continue taking some metres, but we are trying to make sure they take as little of our land as possible. We are holding the enemy here and wearing them out."

Perhaps.

There is still some life in Bakhmut if you know where to find it.

A blast of heat and light hits you when you walk through the door of the "invincibility hub", past boxes of donated food supplies. It's a boxing club turned life-support system where local people can recharge their phones and themselves, with hot food and companionship.

It was crowded when we visited, with elderly women clustered around a stove, and two young boys sitting in the boxing ring, glued to a TV screen, and playing war games.

Around 5,000 civilians remain in Bakhmut without running water or power - many are elderly and poor. "Some are pro-Moscow. They are waiting for the Russians," a Ukrainian colleague mutters darkly.

All here are fighting their own battles says Tetiana, a 23-year-old psychologist who is at the hub watching over her young brother and sister. She's still in Bakhmut because her 86-year-old grandmother can't move and relies on her.

"Most people deal with it by praying to God," she says. "Faith helps. Some forget that they are people. Some show aggression. They start behaving worse than animals."

Back outside the battle for this broken city rages on, with a drum beat of shelling as we leave.

www.euronews.com/2023/02/12/russia-continues-to-close-in-...

Russia continues to close in on Bakhmut, claiming capture of nearby town

12/02/2023 - 15:18

The head of Russia's paramilitary Wagner group said on Sunday that his troops had taken the Ukrainian town of Krasna Hora, a few kilometres north of Bakhmut, a key city that Moscow has been trying to conquer for several months.

"Today, Wagner's assault units took the locality of Krasna Hora", Yevgeny Prigozhin was quoted as saying by his press service.

For more than six months, Wagner and the Russian army have been trying to capture Bakhmut in eastern Ukraine, a town of limited strategic importance but which has gained great symbolic significance because of the long duration of the fighting.

Russian forces have been trying to encircle the city for the past few weeks. They have managed to cut off several roads that are vital for the supply of Ukrainian troops.

www.euronews.com/2023/02/10/ukraine-war-russia-launches-m...

Ukraine war: Russia launches 'massive' drone and missile attack

Russian forces struck critical infrastructure in Kharkiv, Ukraine's second-largest city, and launched multiple strikes on energy infrastructure in Zaporizhzhia early Friday as Moscow stepped up its attacks in Ukraine’s south and east and air raid sirens went off across much of the country.

The strikes happened just one day after Ukrainian President Volodymyr Zelenskky visited several European countries, lobbying for long-range weapons. Kyiv says it's already submitted a request for F-16 fighter jets from the Netherlands.

Ukraine's military chief also confirmed two Russian cruise missiles flew over Moldova's airspace before entering Ukraine. The missiles were fired from the Black Sea, said Valery Zaluzhny.

Moldovan authorities corroborated the Ukrainian statement, but reports that Romania's airspace was also breached were not confirmed by Bucharest.

The Moldovan foreign ministry has summoned the Russian ambassador to protest "against the unacceptable violation of our airspace by a Russian missile," according to a statement.

Explosions in Kyiv, and power grids targeted

Several explosions were also heard in Kyiv as officials reported high-voltage facilities across Ukraine being hit by Russian air strikes.

According to the Ukrainian Air Force, Russia fired "six Kalibr cruise missiles", "up to 35 S-300 anti-aircraft guided missiles at the Kharkiv and Zaporizhia regions", and used "seven Shahed drones".

"Five Kalibr cruise missiles and five Shahed drones were destroyed" by the anti-aircraft defence, the air force said.

No casualties have been reported at this stage by Ukrainian authorities.

Ukraine's power grid operator Ukrenergo said that several facilities in eastern, southern and western Ukraine had been hit, causing disruption to power supply.

Zaporizhzhia City Council Secretary Anatolii Kurtiev said the city had been hit 17 times in one hour, which he said made it the most intense period of attacks since the beginning of the full-scale invasion in February 2022.

In Kharkiv, authorities were still trying to establish information on victims and scale of the destruction, with Mayor Ihor Terekhov saying there may be disruptions to heating and the electricity and water supply.

Military analysts say Russian President Vladimir Putin is hoping that Europe’s support for Ukraine will wane, as Russia is believed to be preparing a new offensive.

Fighting in Ukraine intensified Thursday. Kyiv’s military intelligence agency said Russian forces have launched an offensive in the partially occupied Donetsk and Luhansk regions, with the aim to grab full control of the entire industrial region, known as the Donbas. Moscow-backed separatists have been fighting Ukrainian forces there since 2014.

Hypolaïs polyglotte ( Hyppolaïs polyglotta ).jpg by Yves Geay

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Benito Arias Montano - 1572 by Tom Wigley

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Benedict. Arias Montanus Sacrae Geographiae Tabulam...l571, from: Biblia Sacra, Hebraice, Chaldaice, Graece & Latine... Antwerp, 1572

This map is from Arias's eight-volume Polyglot Bible with text in Hebrew, Syriac, Greek and Latin. It records, with tables in Hebrew and Latin, the distribution of the descendants of Noah who repopulated the world after the great biblical flood. Location of some of them in the New World supports an early theory that the native Americans were descended from a lost tribe of Israel. Sea monsters abound, no doubt as examples of The Almighty's wondrous creations.

From usm.maine.edu/maps/exhibition/105/home

University of Michigan Catalog Record

Kostas Katsouranis

Bible polyglot by suzanne chapman

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Psalterium, Hebręum, Gręcū, Arabicũ, & Chaldęũ, cũ tribus latinis ĩterp̃tatõibus & glossis ...

Bible polyglot, each double-page spread having eight columns containing the text of the Psalms in Hebrew, Latin, Greek, Arabic, and Chaldean, along with columns for a Latin translation of the Hebrew, a Latin translation of the Chaldean, and a column for notes. At one point the editor (or printer?) includes a lengthy explanation of Christopher Columbus’s voyages, probably because he was proud of him as a native son of Genoa where the book was printed.

Victor #11 Serious by just.Luc

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The Lost Continent (20th Century Fox, 1968). Still (8" X 10"). by Morbius19