View allAll Photos Tagged published
Published in the Western Producer - March 15, 2012
LONG LINEUPS AT THE TERMINAL
A Pioneer terminal at Mollard, Man., appears busy as rail cars line up on each side for unloading.
The 2014 Mermaid Parade
Saturday, June 21st, 2014
Coney Island (Brooklyn, NY)
© 2014 LEROE24FOTOS.COM
ALL RIGHTS RESERVED.
THIS MATERIAL MAY NOT BE PUBLISHED,
BROADCAST, REWRITTEN OR REDISTRIBUTED.
This photograph was published in the Illustrated Chronicle on the 1st of September 1915.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images and have any stories and information to add please comment below.
Copies of this photograph may be ordered from us, for more information see: www.newcastle.gov.uk/tlt Please make a note of the image reference number above to help speed up your order.
Pratham Books is a non-profit trust that publishes high quality books for children at affordable prices and in multiple Indian languages.
The images in this set are from our book 'The Jungle School' www.scribd.com/doc/40709084/The-Jungle-School-English
Feel free to experiment with these images and create your own story. Do leave us a link so we can see what you came up with too.
Please attribute the images as follows:
Illustrated by Ketan Raut, Book by Pratham Books.
© sergione infuso - all rights reserved
follow me on www.sergione.info
You may not modify, publish or use this photo without written permission and consent.
-----------------------------
Dopo il successo dell’ultimo tour, torna in Italia l’evento power metal per eccellenza, “Hellish Rock”: Helloween e Gamma Ray insieme!
Le due band teutoniche saranno in Italia per due date a marzo. Le novità in casa Helloween riguardano il nuovo album “Straight Out Of Hell” la cui uscita è prevista il 18 gennaio prossimo, mentre Gamma Ray pubblicheranno un CD/DVD live il 30 novembre dal titolo “Skeletons & Majesties Live”.
Per gli amanti del metallo puro, i due appuntamenti italiani targati “Hellish Rock – part II” saranno imperdibili!
Ad aprire la data milanese gli Shadowside, una band heavy metal con voce femminile dal Brasile con influenze Thrash e Hard Rock.
Power, energy, intensity. Shadowside can be defined by their and passion for Rock and courage to take risks and pursue goals and dreams. Bringing together the four members' influences of Hard Rock, Thrash and Heavy Metal to create songs with strong hooks, heavy guitars, catchy melodies and a vigorous performance with a hint of modern. Featuring Dani Nolden, one of the most powerful and charismatic female vocalists ever heard, they leave fans totally enthralled night after night with a highly vigorous performance.
Dani Nolden - Vocals
Raphael Mattos - Guitar
Fabio Carito - Bass (Instincted (Bra))
Fabio Buitvidas - Drums
The Postcard
A postally unused postcard that was published by F. Frith & Co. Ltd. of Reigate. The card, which has a divided back, was printed in England.
The Hospital of St. Cross
The Hospital of St Cross and Almshouse of Noble Poverty is a medieval almshouse in Winchester, Hampshire, England. It has been described as "England's oldest and most perfect almshouse". It is a Grade I listed building.
History of The Hospital of St. Cross
The hospital was founded in 1136 by Henry of Blois, Bishop of Winchester, grandson of William the Conqueror and younger brother to King Stephen.
Architecture
The building is constructed of stone, and surrounds two quadrangles. The smaller Outer Quadrangle to the north consists of: the outer gate (16th. century); the brewhouse (14th. century).
From the 15th. century were built the guest wing, the kitchen (which had to produce food for thirteen poor men and 100 men at the gates), the porter's lodge and the three-storey Beaufort Tower. This has three niches above the arch, one of which still contains the weathered statue of Cardinal Beaufort, who was Bishop of Winchester, and the tower and spaces above the porter's lodge used to be the Master's lodging.
Passing beneath the tower, the Inner Quadrangle is reached. The north range includes the 14th.-century Brethren's Hall (which had to be large enough for the Brethren and 100 poor men), entered via a flight of steps in a stone porch. There is a timber screen with gallery above, within which is also a splendid timber roof, a central hearth and a dais where the Master dined with the Brethren in the main part of the hall.
There is also a wooden staircase leading to the Master's rooms in the south-east corner.
The main set of two-storeyed lodgings are on the north-west and west sides of the quadrangle; these house the 25 inmates, and are notable for the tall, regularly spaced chimneys and doorways, each leading to four sets of apartments.
There used to be a corresponding range on the south side joined to the church, but this was demolished in 1789. The eastern or infirmary range is occupied by an ambulatory.
The 12th.-century and 13th.-century church in the south-east corner is more like a miniature cathedral than a typical almshouse chapel. The building is stone-vaulted throughout, with transepts and a central tower. The walls are over a metre thick, made from stone from Caen, Dorset, and the Isle of Wight as well as local flint. The roof is lead.
The building is in Norman/Gothic style. Started in 1135, the chancel was the first part, built two bays deep with aisles. This is typically Norman, with round-headed windows and much chevron ornament. But the main arches in the arcade and beneath the central tower are slightly pointed in the Gothic manner. The three-bay aisled nave and transepts continue the style.
Between 1383 and 1385, a large tracery window was inserted in the west front, and the clerestory windows in the nave were enlarged and a north porch added. Several medieval encaustic tiles survive on the floor. There are also traces of medieval wall paintings. The stained glass is mainly 19th. century. The font came from the nearby St Faith's Church, which was demolished in 1507.
Charitable Work
The Hospital still provides accommodation for a total of 25 elderly men, known as "The Brothers", under the care of "The Master". They belong to either of two charitable foundations: those belonging to the Order of the Hospital of St. Cross (founded around 1132) wear black trencher hats and black robes with a silver badge in the shape of a Jerusalem cross.
Those belonging to the Order of Noble Poverty (founded in 1445) wear claret trencher hats and claret robes with a silver cardinal's badge in memory of Cardinal Beaufort. They are often referred to as the "Black Brothers" and the "Red Brothers".
Brothers must be single, widowed or divorced, and over 60 years of age. Preference is given to those in most need. They are expected to wear their robes and attend daily morning prayers in the Church.
The Hospital continues an ancient tradition in the "Wayfarer's Dole", which consists of a small horn cup of ale and a piece of bread. The dole was started by a Cluniac monk, and can be obtained by anyone who asks at the Porter's Lodge.
St. Cross Hospital in The Media
The Hospital was used in the filming of The Day of the Triffids, and in the BBC adaptation of Wolf Hall. It was also featured on Songs of Praise.
© sergione infuso - all rights reserved
follow me on www.sergione.info
You may not modify, publish or use any files on
this page without written permission and consent.
-----------------------------
Roger Daltrey, voce e icona di The Who, annuncia un tour europeo nel quale eseguirà dal vivo dall'inizio alla fine la leggendaria opera rock della band, "Tommy", un'impresa mai portata in scena nemmeno dagli Who medesimi. Oltre alla musica maestosa di Tommy, i fan ogni sera ascolteranno anche una selezione degli storici brani degli Who e altra musica composta da Roger Daltrey nel corso della sua straordinaria carriera.
Contenuti video di grande impatto accompagnano la musica in quello che promette di diventare un'esperienza indimenticabile sia per i fan di vecchia data sia per i nuovi adepti, che hanno scoperto solo in anni più recenti THE WHO e Tommy, opera fra le più acclamate e simboliche del rock mondiale, un album letteralmente transgenerazionale che da decenni continua ad esercitare sul pubblico la medesima fascinazione. Uscito nel 1969 ed entrato nella Grammy Hall of Fame nel 1998, il doppio album ha venduto fino ad ora oltre 20 milioni di copie nel mondo e l'omonimo film di straordinario successo che ne è stato tratto nel 1975, con Roger Daltrey nel ruolo del protagonista Tommy, non ha fatto che rimarcare la posizione di assoluto rilievo che l'opera riveste nel firmamento culturale mondiale.
L'esperienza live di "Tommy" prenderà vita ogni sera sul palco nella vibrante complessità sonora creata da Roger Daltrey, accompagnato in questo progetto da una band composta da musicisti di assoluto rilievo: Frank Simes (chitarra), Scott Deavours (batteria), Jon Button (basso), Loren Gold (tastiere) e ancora alla chitarra SIMON TOWNSHEND, fratello del leggendario chitarrista di The Who, Pete Townshend, il quale ha così commentato la notizia del tour: "E' fantastico vedere Roger che porta in concerto Tommy con la sua band. Il mio cuore e il mio spirito sono con loro e Roger ha il mio appoggio totale. Roger ha messo in scena dal vivo una versione eccezionale di Tommy, utilizzando la sua fedele rappresentazione del lavoro originale come ossatura di uno spettacolo che comprende anche altro materiale. E' meraviglioso sentire come Roger e la sua nuova band hanno saputo reinterpretare le vecchie canzoni degli Who".
In questo show brani come "Pinball Wizard", "The Acid Queen", "I'm Free", See Me, Feel Me" e "We're Not Gonna Take It" trasportano il pubblico nel mondo di questo album leggendario con poetica energia e intensità da brividi.
Sarah Addison Allen
Garden Spells
First published in: 2007
This edition: Bantam Books / Bantam Dell, 2008
ISBN: 978-0-553-59032-6
Cover design by Jamie S. Warren Youll; cover art by Melody Cassen
Read the review here: ofbooks.blogspot.com/2010/03/r-085-garden-spells.html
----------
R&R series © Karin E. Lips 2008-2010 (and beyond)
----------
Copyright © Karin Elizabeth. All rights reserved.
R&R series © Karin Elizabeth. Do NOT copy and repost or reproduce the review or photo anywhere without my permission.
No group images or (admin) invites wanted in my comments. I will delete your comments.
Play nice.
I block assholes.
THIS IS NOT FREE STOCK.
This photograph was published in the Illustrated Chronicle on the 2nd of July 1915.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images please comment below.
Copies of this photograph may be ordered from us, for more information see: www.newcastle.gov.uk/tlt Please make a note of the image reference number above to help speed up your order.
This photograph was published in the Illustrated Chronicle 29 Aug 1916 p12.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images and have any stories and information to add please comment below.
'Fake' pot plant and window, Ramsgate kent. Published, Folk Archive: Contemporary Popular Art from the UK
by Jeremy Deller and Alan Kane.
Vincent Robinson "On Location"
February 6th, 2016
New York City
© 2016 LEROE24FOTOS.COM
ALL RIGHTS RESERVED.
THIS MATERIAL MAY NOT BE PUBLISHED,
BROADCAST, REWRITTEN OR REDISTRIBUTED.
Droplets in a pond. Thanks to Silje Stavrum, I am now published in the local free newspaper byavisen on page 2. issuu.com/byavisen/docs/avis31_2010
Lady Gaga
ARTRAVE THE ARTPOP BALL
FT LAUDERDALE (FL)
May 4th, 2014
© 2014 LEROE24FOTOS.COM
ALL RIGHTS RESERVED.
THIS MATERIAL MAY NOT BE PUBLISHED,
BROADCAST, REWRITTEN OR REDISTRIBUTED.
© sergione infuso - all rights reserved
follow me on www.sergione.info
You may not modify, publish or use any files on
this page without written permission and consent.
-----------------------------
Marcus Miller torna ad esibirsi dal vivo con una band di giovani musicisti ai Magazzini Generali di Milano.
Dopo un'assenza dalle scene nel 2014, in cui si è concentrato nel comporre nuova musica ispirato dal ruolo di portavoce dell'UNESCO per lo Slave Route Project, Marcus ha registrato un nuovo CD tra Rio, Parigi, Los Angeles e Lafayette (Louisiana).
Marcus Miller, vincitore di due Grammy Awards, dell'Edison Award for Lifetime Achievement in Jazz 2013, del Victorie du Jazz 2010 e nominato Artista per la Pace Uncesco 2013 non è solo un musicista eccezionale, un bassista e multi strumentista apprezzato in tutto il mondo ma anche un dotato compositore e produttore.
Il leggendario album "Tutu", scritto e prodotto per Miles Davis, lo ha consacrato alla fama internazionale quando aveva solo 25 anni.
Nel corso della sua carriera Miller ha collaborato con moltissimi artisti di talento tra cui Eric Clapton, George Benson, Luther Vandross, Roberta Flack, Aretha Franklin, Chaka Khan, Al Jarreau, George Duke, Wayne Shorter, Lalah Hathaway e Herbie Hancock. Ha anche prodotto i suoi album, vere e proprie pietre miliari del genere, come The Sun Don't Lie, Tales, M2, Silver Rain, Free, A Night in MonteCarlo (con l'Orchestra Filarmonica di Montecarlo) e Renaissance che gli ha dato l'occasione di intraprendere un tour mondiale con una nuova band composta da giovani talentuosi musicisti, forse ricordando le sue audizioni con un certo Miles Davis che ha fatto la stessa cosa per Marcus ed altri giovani musicisti di talento come Herbie Hancock e Wayne Shorter.
Marcus Miller - bass, bass clarinet
Alex Han - saxophone
Lee Hogans - trumpet
Brett Williams - keyboards
Adam Agati - guitar
Louis Cato - drums
Alexis Mag Vol.003
like my fb page!
Photography: Shavonne Wong (zhiffyphotography)
Styling: Raudhah Hanafi
Assistants: Dewi Sriwahyuto, Li Kah Yan, & Jeslin Lee
Hair and Makeup: Julyen Z L.
Model: Victoria Stutterheim (Phantom Models)
This photograph was published in the Illustrated Chronicle on the 20th of October 1915.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images please comment below.
Copies of this photograph may be ordered from us, for more information see: www.newcastle.gov.uk/tlt Please make a note of the image reference number above to help speed up your order.
William Mason died November 24th 1708 aged 78 years
his second wife, Jane.
His son was the poet
"MASON, WILLIAM (1724–1797), poet, born 12 Feb. 1724, was son of William Mason by his first wife, Sarah. The father was appointed vicar of Holy Trinity, Kingston-upon-Hull, in 1722, and held that benefice until his death on 26 Aug. 1753 (Tickell, Hist. of Kingston-upon-Hull, p. 804; cf. Foster, Yorkshire Pedigrees; Correspondence with Walpole, ii. 411). Mason's grandfather, Hugh Mason, was appointed collector of customs at Hull in 1696. His great-grand-father, Robert (1633-1719), son of Valentine Mason (1583-1639), successively vicar of Driffield and Elloughton, Yorkshire, was sheriff of Hull in 1675 and mayor in 1681 and 1696 respectively; one of his daughters, the poet's grandaunt, married an Erasmus Darwin, the great-uncle of the physician and poet (see Diary of Abraham de la Pryme, Surtees Soc., p. 219).
William entered St. John's College, Cambridge, 30 June 1743, was elected scholar in the following October, graduated B.A. 1745, and M.A. 1749. He had shown some literary and artistic tastes, which were encouraged by his father. In 1744 he wrote a 'monody' upon Pope's death in imitation of 'Lycidas.' It was not published till 1747. He had become known to Gray, then resident at Pembroke Hall, and by Gray's influence was elected fellow of Pembroke. He had entered St. John's with a view to a Platt fellowship, but the Pembroke fellowships were then `reckoned the best in the university.' The fellows voted for Mason in 1747, but the master disputed their right to choose a member of another college, and his final election did not take place till 1749 (Mason's letter of 13 Nov. 1747 in Nichols, Lit. Anecd. ii. 710-11, and Gray to Wharton, 9 March 1748-9). He became intimate with Gray, who was a good deal amused with the simplicity, openness, and harmless vanity of his young admirer. Gray says that Mason `reads little or nothing, writes abundance, and that with a design to make a fortune by it' (Gray to Wharton, 8 Aug. 1749). In 1748 Mason published a poem called `Isis,' denouncing the Jacobitism of Oxford. Thomas Warton replied by `The Triumph of Isis,' which is thought by those who have read both to be the better of the two. Mason never republished this poem till he collected the volume which appeared posthumously. According to Mant (Life of Warton), he expressed pleasure some years later when he was entering Oxford that as it was after dark he was not likely to attract the notice of the victims of his satire. In 1749 he was employed to write an ode upon the Duke of Newcastle's installation as chancellor, which Gray (ib.) thought `uncommonly well on such an occasion.' Mason was also known by 1750 to Hurd, then resident at Cambridge. Cambridge was then divided between the `polite scholars' and the `philologists,' and the philologists thought that the 'polite scholars, including Gray, Hurd, and Mason, were a set of arrogant coxcombs' (Nichols, Lit. Anecd. v. 613). Hurd introduced his young friend to Warburton, who had been pleased by the monody on Pope, and who condescended to approve Mason's `Elfrida,' a dramatic poem on the classical model, which appeared in the beginning of 1752. Warburton writes to Hurd (9 May 1752) of some offer made to Mason by Lord Rockingham.
In 1754 Mason was presented by Robert D'Arcy, fourth earl of Holderness [q. v.], to the rectory of Aston, near Rotherham, Yorkshire. He became chaplain to Holderness and resigned his fellowship at Pembroke. Warburton told him that if he took orders he should `totally abandon his poetry,' and Mason, says, agreed that decency and religion demanded the sacrifice. If so, Mason soon changed his mind. He visited Germany in 1755, and had hopes of appointments from various great men (correspondence with Gray). He was appointed one of the king's chaplains in ordinary, through the interest of the Duke of Devonshire, on 2 July 1757, and the appointment was renewed under George III on 19 Sept. 1761. On 6 Dec. 1756 he was appointed to the prebend of Holme in York Cathedral, was made canon residentiary on 7 Jan. 1762, and on 22 Feb. 1763 became precentor and prebendary of Driffield (resigning Holme) (Le Neve, Fasti, and Correspondence with Walpole, ii. 411). He held his living and his precentorship till his death. He built a parsonage at Aston, thereby, as he told Walpole (21 June 1777), making a `pretty adequate' return for the patronage of Lord Holderness, whose family retained the advowson. He resided three months in the year at York, and had, as chaplain, to make an annual visit to London. He resigned his chaplaincy in 1773 (to Walpole, 17 May 1772, and 7 May 1773; Correspondence with Walpole (Mitford), ii. 212), finding, as he said, that the journey to London was troublesome, and being resolved to abandon any thoughts of preferment. Holderness behaved so `shabbily' to him (to Walpole, 3 Feb. 1774), that he declined coming to Strawberry Hill at the risk of encountering his patron. Mason came into an estate in the East Riding upon the death of John Hutton of Marsh, near Richmond, Yorkshire, on 12 June 1768. His income (Nichols, Lit. Anecd. ii. 241) is said to have been 1 ,500l. a year.
Though performing his ecclesiastical duties regularly, Mason never gave up his literary pursuits. In 1756 he published four odes. In 1757 some apology was made for not offering him the laureateship, vacant by the death of Gibber, which was declined by Gray and given to W. Whitehead. In 1759 he published his `Caractacus,' a rather better performance in the `Elfrida' style, which Gray had carefully criticised in manuscript and read `not with pleasure only but with emotion' (to Mason, 28 Sept. 1757). Mason's odes and the choruses in his dramas show a desire to imitate Gray, and the two were parodied by George Colman the elder [q. v.] and Robert Lloyd [q. v.] in their `Odes to Obscurity and Oblivion' (published in Lloyd's 'Poems'). Gray declined (to Mason, 20 Aug. 1760) to `combustle' about it, and Mason was equally wise. Mason published some `elegies' in 1762, and in 1764 a collection of his poems, omitting `Isis' and the `Installation Ode,' with a prefatory sonnet to Lord Holderness.
On 25 Sept. he married, at St. Mary's, Lowgate, Mary, daughter of William Sherman of Kingston-upon-Hull (register entry given in Notes and Queries, 6th ser. iv. 347). She soon fell into a consumption and died at Bristol, where she had gone to drink the Clifton waters, on 27 March 1767. She was buried in the north aisle of Bristol Cathedral, where there is a touching inscription by her husband (Nichols, Lit. Anecd. ii. 240), the last three lines of which were written by Gray. (The epitaph now in the cathedral is given in Mason, Works; Nichols, Lit. Anecd. ii. 240, gives an entirely different epitaph, and wrongly dated 24 March; information from Mr. William George of Bristol.) Mason appears to have done little for some time; Gray visited him for the last time in the summer of 1770, and on his death (30 July 1771) left the care of his papers to his friend. Mason had been to the last an affectionate disciple of Gray, who called him `Scroddles,' and condescended to a minute revision of all his poems before publication. Mason published Gray's `Life and Letters' in 1774. His plan of printing the letters as part of the life, said to have been suggested by Middleton's `Cicero,' was followed by later writers, including Boswell. Johnson himself had thought meanly of the 'Life,' describing it as `fit for the second table,' but he was doubtless not uninfluenced by Mason's whiggism in politics. Mason took great liberties with the letters, considering them less as biographical documents than as literary material to be edited and combined (see, e.g., his letter to Walpole of 28 June 1773, where he proposes to alter Gray's French and `run two letters into one'). The book, however, is in other respects well done. It brought him into a long correspondence with Horace Walpole, who supplied him with materials, and whom he consulted throughout. The correspondence continued after the publication of the life, and was published by Mitford in 1851. Walpole supplied the country parson with the freshest town gossip and `criticised' the works submitted to him, if criticism be a name applicable to unmixed flattery. They corresponded in particular about Mason's `Heroic Epistle,' a sharp satire, in the style of Pope, upon `Sir William Chambers' [q. v.], whose `Dissertation upon Oriental Gardening' appeared in 1772. This and some succeeding satires under the pseudonym of `Malcolm Macgregor' are very smartly written. Mason took great pains to conceal the authorship, and even his correspondence with Walpole is so expressed that the secret should not be revealed if the letters were opened at the post-office. The friendship, like most of Walpole's, led to a breach. Both correspondents were whigs, and even played at republicanism. When, however, Mason took a prominent part in the agitation which began with the Yorkshire petition for retrenchment and reform in the beginning of 1780 (he was a leading member of the county association for some years), Walpole thought that his friend was going into extremes. He remonstrated in several letters, and the friendship apparently cooled. Mason afterwards became an admirer of Pitt, to whom he addressed an ode, and he took the side of the court in the struggle over Fox's India Bill. Walpole thought that Mason had persuaded their common friend, Lord Harcourt, to oppose Fox's measure and become reconciled to the crown. In a couple of letters (one probably not sent) he showed that he could be as caustic on occasion as he had been effusive. In the suppressed letter he says that Mason had `floundered into a thousand absurdities' through a blind ambition of winning popularity. The letter actually sent was not milder in substance, and the friendship expired. In 1796 Mason again wrote to Walpole, however, and one or two civil letters passed between them. The French revolution had frightened both of them out of any sympathy for radical reforms.
Mason continued his literary labours after the ' Life of Gray.' His `Elfrida' was brought out at Covent Garden on 21 Nov. 1772 by Colman without his consent, and again, with alterations by himself, at the same theatre on 22 Feb. 1779. The `Caractacus,' also corrected by himself, was performed at Covent Garden on 1 Dec. 1776, and was again produced on 22 Oct. 1778. The success of both plays was very moderate. In 1778 he wrote an opera called `Sappho,' to be set to music by Giardini. Some other theatrical writings remained in manuscript. In 1777 he had a lawsuit with John Murray, the first publisher of the name, who had infringed his copyright by publishing extracts from Gray. Mason obtained an injunction, but Murray attacked him effectively in a pamphlet 'Concerning Mr. Mason's Edition of Mr. Gray's Poems, and the Practices of Booksellers,' 1777. Mason's other works are given below.
In 1797 Mason hurt his shin on a Friday in stepping out of his carriage. He was able to officiate in his church at Aston on the Sunday, but died from the injury on the following Wednesday, 7 April. A monument was erected to him in Westminster Abbey, close to Gray's, and the Countess Harcourt placed a cenotaph in the gardens at Nuneham. There is also a monument in Aston Church.
Mason was a man of considerable abilities and cultivated taste, who naturally mistook himself for a poet. He accepted the critical canons of his day, taking Gray and Hurd for his authorities, and his' serious attempts at poetry are rather vapid performances, to which his attempt to assimilate Gray's style gives an air of affectation. The `Heroic Epistle' gives him a place among the other followers of Pope's school in satire.
He was a good specimen of the more cultivated clergy of his day. He improved his church and built a village school (Mason and Walpole Corresp., i. xxiii). He had some antiquarian taste, like his friends Gray and Walpole. It was by his and Gray's criticisms that Walpole's eyes were opened to Chatterton's forgery. Mason was an accomplished musician. He composed some church music and published an essay upon the subject. He is said by a doubtful authority (Encycl. Brit. 1810) to have invented an improvement of the pianoforte brought out by Zumpe. Mrs. Delany says that he also invented a modification called the `Celestina,' upon which he performed with much expression; this is the instrument mentioned in the `Mason and Walpole Correspondence' as the celestinette (Encycl. Brit. 9th ed. `Pianoforte;' Grove, Dictionary of Music, `Mason' and 'Pianoforte;' Mrs. Delany, Autobiography, &c., 2nd ser. ii. 90). He was also something of an artist, and a portrait which he painted of the poet Whitehead was in 1853 bequeathed by the Rev. William Alderson, together with the poet's favourite chair, to the Rev. John Mitford, the editor of the `Gray and Mason Correspondence' (Gent. Mag. 1853, i. 338).
Mason's works are: 1. ' Musæus, a Monody to the Memory of Mr. Pope, in Imitation of Milton's "Lycidas,"' 1747. 2. 'Isis, a Monologue,' 1749. 3. `Ode on the Installation of the Duke of Newcastle as Chancellor of the University of Cambridge on 1 July 1749,' 1749. 4. 'Elfrida: written on the model of the antient Greek Tragedy,' 1752. 5. `Odes,' 1756. 6. 'Caractacus: written on the model of the antient Greek Tragedy,' 1759; a Greek translation was published in 1781 by George Henry Glasse [q.v.] 7. 'Elegies,' 1763. 8. `Animadversions on the Present Government of the York Lunatic Asylum,' &c., 1772. 9. `The English Garden,' bk. i. 1772; bk. ii. 1777; bk. iii. 1779; bk. iv. 1782. 10. 'An Heroic Epistle to Sir William Chambers,' 1773. 11. 'An Heroic Postscript,' 1774. 12. 'Life of Gray,' 1774. 18. `Ode to Mr. Pinchbeck, upon his newly invented Candle-snuffers, by Malcolm Macgregor, Author of the "Heroic Epistle,"' 1776. 14. `An Epistle to Dr. Shebbeare; to which is added an Ode to Sir Fletcher Norton, by Malcolm Macgregor,' &c., 1777. 15. `Ode to the Naval Officers of Great Britain,' 1779. 16. `Ode to William Pitt,' 1782. 17. `The Dean and the Squire, a Political Eclogue by the Author of the "Heroic Epistle," ' 1782. 18. 'The Art of Painting' (translated from Du Fresnoy, 'De Arte Graphica'), 1782. 19. `Collection of the Psalms of David' (used as anthems in York Cathedral), published `under the direction of W. Mason, by whom is prefixed a Critical and Historical Essay on Cathedral Music,' 1782 (the essay also published separately). 20. `Secular Ode,' 1788. 21. 'Life of W. Whitehead' (prefixed to Whitehead's `Poems'), 1788. 22. `Sappho, a Lyrical Drama in three Acts,' by Mason, with an Italian translation by Mathias, was published at Naples in 1809, first printed in the 1797 volume (below).
Besides the above, `Mirth, a Poem in Answer to Warton's "Pleasures of Melancholy," by a Gentleman of Cambridge' (1774), with dedication by `W. M.,' has been attributed to Mason, but can hardly be his. The `Archaeological Epistle' to Dean Miller, also attributed to him, was written by John Baynes (Nichols, Lit. Anecd. viii. 113).
Mason's poems were collected in one volume in 1764, and in two volumes in 1774. A third volume, prepared by himself, was added in 1797. His `Works' were collected in four volumes in 1811.
[Chalmers' English Poets, xviii. 307-17, contains the first published life; lives prefixed to an edition of the English Garden in 1814 and, by S. W. Singer, to Mason's poems in vols. lxxvii. and lxxviii. of British Poets (Chiswick) in 1822 add little. J. Mitford edited Mason's correspondence with Walpole in 1851, and his correspondence with Gray in 1853. The letters to Walpole are reprinted, with one or two additions, in the notes to Cunningham's edition of Walpole's Correspondence. See also Letters of an Eminent Prelate (Warburton), 1809, pp. 71, 83, 87, 93, 100, 106, 171, 293, 300, 305, 341, 396, 418, 469, 475, 478; Biog. Dramatica; Genest's History of the Stage, v. 360-3, 563, vi. 87, 95, 271, 340, vii. 99; Mant's Life of Thomas Warton prefixed to Warton's Poetical Works, 1802, i. pp.xv-xxii; various lives of Gray; Nichols's Lit. Anecd.; Hartley Coleridge's Worthies of Yorkshire, for a life and a long criticism of the poems, and Southey's Doctor, chaps. lxvii. and cxxvi., and Commonplace Book, 4th ser. pp. 294-6.]" Leslie Stephens in Dictionary of National Biography 1885 -1900
His father Valentine Mason was Vicar of Elloughton from 24th August 1623 until 19th November 1639.
St. Mary's Church, Elloughton, East Yorkshire - Charity: - William Mason's charity, by will, dated 11 th April 1705. A house, stable, coach-house, yard, and garden, containing in the whole about 2a. and an allotment of 2a. 3r. of land, all copyhold. The property was bought with a legacy of £120 for the purchase of a house for the constant residence of the Vicar; and if he refuse to reside, then the rent to be distributed among the poor."
"The Revd William Mason, by his will, dated 11th April 1705 and proved in 1709, left £120 to purchase a house for the use of the Vicar of the parish of Elloughton and of his “successor for ever,” and £20 to fit offices there (if need be), and he directed that if the incumbent did not reside in the parish, the property was to be let and the rent distributed yearly among the poor. An old property was subsequently acquired in Town Street, later renamed Dale Road, which consisted of a house, coach-house, hayloft, orchard and gardens. It is believed the dwelling was built somewhere between 1550 and 1600 and represents one of the oldest properties in Elloughton. It appears the house was not used from 1808 while non-resident Vicars (Nicholas Bourne, John Overton and Thomas Williams) held the living and it was said, in 1835, to be unfit. The Vicar occupied rooms in it in the 1840’s, but, in 1851, he lodged elsewhere in the village. It was sold, in 1936, for £460 and the proceeds handed to the Ecclesiastical Commissioners on behalf of the benefice." Elloughton and Brough P. C. C.
Taken on 29/12/2008 with a Canon EOS 40D using a 24.0 - 70.0 mm Lens at ISO 100 for 1/60 sec at f/11.0
© Juergen Strasser. All Rights Reserved. This image should not be reproduced, published, transmitted in any forum (even via e-mails) or in print or in any other physical or electronic forum either in part or in whole without the explicit written consent from the copyright owner. Legal action will be initiated against any individual, organisation, institution, agency, publishing house, etc. who violate the Copyright laws including but not limited to those mentioned here and use the image for any commercial/non-commercial purposes.
If you would like to use any of the photograph displayed here commercially or would like to use for any other use please do contact me via my profile page. Thanks.
Suspended Animation Classic #114
Originally published March 3, 1991 (#9)
Harvey Kurtzman’s Strange Adventures
By Michael Vance
There are three great fears for a writer: the inability to write; that their best work is already past; that they’ll die before creating a masterpiece. There’s no evidence that Harvey Kurtzman ever suffered writer’s block, and “Mad Magazine”, “Frontline Combat” and “Two Fisted Tales” are undisputed masterpieces.
Two out of three is missed fears isn’t bad.
“Strange Adventures” is a beautifully produced anthology of Kurtzman stories, illustrated by seven talented artists including Kurtzman himself. It’s touted as the long awaited return to the “Mad” format that made the cartoonist famous. It’s actually a rehashing of worn themes without his hard-edged, biting wit.
“Shmegeggi of the Cavemen” is the best of the book, taking a poignant look at how genius ahead of its time is alternately praised and outcast by society. The artwork by William Stout is beautiful, and perfectly suited for a story where the first kiss is considered kinky by the status quo. But one gem does not a crown make.
Among the other genres winked at are pirate movies, westerns, horror and kid stories, and superhero comics.
That Harvey used to stick out his tongue at the stupidity of man and his art is the problem with “Strange Adventures”. Doing so is satire. Kurtzman winks now, and that’s not satire. Oversimplified, this distinction is like the difference between Woody Allen films – substance – and “Police Academy” movies – surface.
This book is surface without substance.
Some critics may argue that weak Harvey is better than none. But Kurtzman has missed the high mark that he, as much as anyone, established in comics. While it doesn’t diminish his early brilliance, this book adds nothing to one of the most distinguished careers in comics.
“Harvey Kurtzman’s Strange Adventures”/ hardback, 80 pages, published by Epic Comics, $19.95/available in comics shops.
MINIVIEW: “Cerebus – Jaka’s Story”. Over 400 pages at $24.95, possibly the only real graphic novel released in 1990. Despite occasional visual and prose padding, artist and writer Dave Sims continues to raise the quality of adult comics. Highly recommended. Available by mail.
A postcard published by Heiss & Co., Graph. Kunstanstalt Coln-Lindenthal.
The card was posted on Wednesday the 23rd. July 1919 to:
Mrs. Couchman,
69, Montfort Road,
Strood,
Kent,
England.
The back of the card bears a rectangular blue censor's stamp numbered 1804. The censor has also signed the card.
The pencilled message on the back of the card was as follows:
"Rhine Army.
Hope you are alright -
haven't heard since
Saturday".
There have been two formations named British Army of the Rhine (BAOR). Both were originally occupation forces in Germany, one after the First World War, and the other after the Second World War.
The first British Army of the Rhine was set up in March 1919 to implement the occupation of the Rhineland. It originally comprised five corps, composed of two divisions each, plus a cavalry division.
So what else happened on the day that the card was posted?
Not a lot, but two days earlier, on Monday the 21st. July 1919, there was an air accident in Chicago.
The Wingfoot Air Express was a dirigible that crashed into the Illinois Trust and Savings Building in Chicago. The Type FD dirigible, owned by the Goodyear Tire and Rubber Company, was transporting people from Grant Park to the White City amusement park.
One crew member, two passengers, and ten bank employees were killed in what was, up to that point, the worst dirigible disaster in United States history.
The craft caught fire at about 4:55pm while cruising at an altitude of 1,200 ft (370 m) over the Chicago Loop. When it became clear the dirigible was lost, the pilot, Jack Boettner, and chief mechanic, Harry Wacker, used parachutes to jump to safety. (I'm all right, Jack!)
A second mechanic, Henry Weaver, died when his parachute caught fire. Another passenger, Earl H. Davenport, a publicity agent for the White City Amusement Park, jumped from the dirigible, but his parachute got tangled in the rigging and he hung fifty feet below the burning craft; he was killed when the airship crashed.
A fifth person who parachuted from the dirigible, Chicago Daily News photographer Milton Norton, broke both legs and later died in hospital.
At the Illinois Trust & Savings Bank building at the northeast corner of LaSalle Street and Jackson Boulevard, 150 employees were closing up after the day's business in and around the main banking hall, which was illuminated by a large skylight.
The remains of the Wingfoot struck the bank's skylight directly, and flaming debris fell through to the banking hall below. The result was that ten employees were killed, and 27 banking staff were injured.
NYC Pride 2017
LGBT Parade
New York City
Sunday, June 25th, 2017
© 2017 LEROE24FOTOS.COM
ALL RIGHTS RESERVED.
THIS MATERIAL MAY NOT BE PUBLISHED,
BROADCAST, REWRITTEN OR REDISTRIBUTED.
Pratham Books is a non-profit trust that publishes high quality books for children at affordable prices and in multiple Indian languages.
The images in this set are from our book 'The Generous Crow' www.scribd.com/doc/40708437/The-Generous-Crow-English
Feel free to experiment with these images and create your own story. Do leave us a link so we can see what you came up with too.
Please attribute the images as follows:
Illustrated by Padmanabh, Book by Pratham Books.