2012, ISBN: 9780714126739

Paperback, Hardcover

"The Stuttgart Story" by John Percival - ephemera"Wizardry in Wuerttemberg"9 x 12 inches, 2 pagesNoted British ballet critic John Percival died June 20, 2012 at his home in London. John w… More...

"The Stuttgart Story" by John Percival - ephemera"Wizardry in Wuerttemberg"9 x 12 inches, 2 pagesNoted British ballet critic John Percival died June 20, 2012 at his home in London. John wrote for Danceviewtimes for several years.John Percival was the main critic for the Times of London for decades. There is a very nice interview with him on Ballet.co.uk.Percival was one of the finest critics writing in recent years. He was a teacher by example. He could pack so much detail into six lines yet still keep the writing individual and vivid. I realized after I'd been writing for a few years that I'd subconsciously been using the structure of his full length reviews in Dance and Dancers, where he was a mainstay until that magazine ceased publication.He had a love of dance as keen as his eye, and an openness to all genres of dance that was rare in those days. He also had a way of being honest about a new struggling choreographer's work without pulverizing him with wit. He remained a strong voice in support of Ashton's work.His skills as a critic did not diminish with age.-----------------------------------John Percival, born March 16 1927, died June 20 2012John Percival, who has died aged 85, was probably the most influential observer of the explosive development of 20th-century British dance.John Percival was born in London on March 16 1927 and educated in Walthamstow. He saw his first ballet when he was 16 and determined to be a critic. On going up to St Catherine's College, Oxford, where he read English, he found like minds in four other undergraduates, who would later also become prominent dance critics.Among them was Clive Barnes, who would go on to write for The New York Times. The pair edited Arabesque, the magazine of the University Ballet Club, and presented a small touring company, which gave Percival a valuable insight into the business end of dance presentation.Both he and Barnes found roles with London County Council, and Percival's day-job remained in London local government until he retired in 1991. In the evenings and at weekends, however, he worked as a freelance critic for various papers, reviewing the early phase of the fast-rising Sadler's Wells Ballet and the many foreign companies visiting London after the war.He and Barnes soon became frequent contributors to the new monthly Dance and Dancers, a magazine which, from 1951 until its closure in 1995, was the major publication of record about the British dance scene. "Always we wanted to encourage people to enjoy dance, and in particular to draw attention to what we especially admired," Percival said.He saw the first performances in Britain of the New York City Ballet, the new French ballet of Roland Petit, the Bolshoi, and the Martha Graham and Pina Bausch contemporary dance troupes, and he took a keen interest in Britain's regional ballet. By 1960 he was an established voice, and in 1964 he was appointed to The Times.During his time there he enthusiastically advocated American modernists such as Paul Taylor and Twyla Tharp, and highlighted young British experimentalists such as Jonathan Burrows, Siobhan Davies and Michael Clark. But he became infamous during the hostilities that erupted at the Royal Ballet in the 1970s.A strong admirer of the choreographies of Frederick Ashton, then the Royal Ballet's director, he was much less supportive of the rising Kenneth MacMillan, and when MacMillan succeeded Ashton in 1970, Percival became known inside Covent Garden as "poisonous Perce".Percival maintained that it was only MacMillan's full-evening story ballets that he considered overrated, but lines became bitterly drawn, with Percival and Barnes perceived as having a powerful influence on the American reception of the Royal Ballet's all-important tours there.However, Percival was equally trenchant about MacMillan's successors, considering Anthony Dowell a "disastrous" director in the 1990s. He said he could not help being forthright, as his standards had been formed in the outstandingly fertile period of the Fifties and Sixties.While writing for The Times, Percival became editor of Dance and Dancers in 1981, and was its Chairman and Director in its last years. In 1994 he moved to The Independent as dance critic and became London correspondent for New York's Ballet Review and the online American magazine DanceViewTimes.John Percival wrote books on Nureyev, the choreographers Antony Tudor and John Cranko and the ballerina Marcia Haydee, and published studies on male dancers and new trends in classical and experimental dance, as well as contributing to the International Encyclopedia of Dance and Ballet and to many German dance publications.He was adviser to the Nureyev Foundation, served as President of the Critics' Circle, and appointed MBE in 2002. Apart from dance, he described his pleasures in life as eating well and reading thrillers.He married, first, in 1954, Freda Thorne-Large; and, secondly, in 1972, Judith Cruickshank, who survives him. There were no children.When the young Rudolf Nureyev defected to the West, Percival befriended him and later became his first biographer , revealing the conditions in Soviet Russia from which Nureyev had emerged and illuminating for the public his artistic motivation.As The Times's chief dance critic for more than three decades, Percival also shaped opinion both in Britain and America, wielding considerable clout in the heated debates of the 1970s about performances of the Royal Ballet under its choreographer-director Kenneth MacMillan.Percival made enemies with his robust views about what he saw as the decline in the Covent Garden company. After one particularly hostile review, the Royal Opera House chairman even felt moved to write to The Times to complain about what he saw as a plot to destabilise MacMillan and replace him with Nureyev.--------------------------------Passion Play by John Percival, September 10, 2005 John Percival takes a close look at legendary choreographer John Cranko, whose Onegin runs through September 18 at Houston Ballet.John Cranko's Onegin is the best narrative work of one of ballet's master story-tellers. Born 1927 in Rustenburg, South Africa, Cranko produced his first creation, a personal interpretation of Stravinsky's Soldier's Tale suite, in Cape Town aged 16. Moving to London on the first available ship after World War Two, he danced and made ballets at Sadler's Wells and Covent Garden for both Royal Ballet companies, was soon named resident choreographer and commissioned also by New York City Ballet, Ballet Rambert, the Paris Opéra and La Scala, Milan. Outstanding among his early ballets were Pineapple Poll, the big hit of the Festival of Britain, and the three-act Prince of the Pagodas, for which Benjamin Britten composed the score.It was the success of Pagodas that led the Württemberg Theatre, Stuttgart, to invite Cranko in 1961 as its ballet director. Before his accidental early death in 1973 he transformed Stuttgart Ballet into one of the world's leading companies. Part of his success lay in recruiting and maintaining a team of exceptionally fine dancers, chief among them the great dramatic ballerina Marcia Haydée. She created leading roles in many ballets by Cranko, Kenneth MacMillan, Glen Tetley, Jirì Kylián, Hans van Manen, John Neumeier and Maurice Béjart among others. The diversity implied by that list is something that Cranko always encouraged and developed, for Haydée and the company as a whole. Having, for instance, made a star of her as Juliet, and then invented the tragic character of Tatiana for her in Onegin, he went on to reveal a command of comedy (which she had thought beyond her, but he insisted) in The Taming of the Shrew.The story of Eugene Onegin and his doomed love for Tatiana is one that had long appealed to Cranko - at least since the 1940s when he made the dances for a Sadler's Wells production of Tchaikovsky's opera on that subject. It fitted perfectly with his wish to make highly theatrical ballets about recognizable people, and to please the widest possible public. The opera and the ballet both derive from the verse novel by Russia's great writer, Alexander Pushkin (1799-1837), whose varied works have inspired many choreographers from his own time on, among them such successes as The Prisoner of the Caucasus, The Fountain of Bakhchisarai, The Bronze Horseman, Aleko and The Queen of Spades. Before moving to Stuttgart, Cranko had already proposed an Onegin for the Royal Ballet at Covent Garden, to star the husband and wife partnership of Ronald Hynd and Annette Page, but the management turned down his idea of having a score adapted from Tchaikovsky's opera. The same objection was raised in Stuttgart when Cranko first suggested Onegin there, but this time he overcame the problem by having less familiar Tchaikovsky music selected and arranged for his purpose by the German composer Kurt-Heinz Stolze.The ballet was admired from its first performances in 1965, but gained immensely from the revisions which Cranko made on reviving it two years later. He deleted an unhelpful prologue and substantially developed the title role for a new interpreter, Heinz Clauss, recruited from the Hamburg Ballet, who proved a worthy match for Haydée's exceptional qualities.Adapted by Cranko from Pushkin's original, the libretto shows Tatiana falling in love at first sight with the dandified poet Onegin, in spite of his amused and condescending manner towards her. Rejected by him, and understandably grief-stricken when Onegin kills her sister's fiancé in a duel, Tatiana marries her admirer Prince Gremin. Years later, Onegin meets her again, and now it is his turn to fall in love and hers to reject him, however sadly.Cranko realized that this story provided vividly dramatic roles for five leading characters, seen against the backdrop of an ensemble that changed in each act: first the peasants who work on the farm of Tatiana's mother, Madame Larina; then the guests at her party; and finally the assembly at Prince Gremin's ball. His handling of the action, however, is surprisingly domestic: even at Madame Larina's party he concentrates on the individuals rather than seizing the opportunities for large-scale dances. And the scenes which end both Act 1 (Tatiana writing her love letter to Onegin) and Act 3 (Onegin's final rejection by Tatiana) never have more than two dancers on stage at once.Onegin himself, Tatiana's sister Olga and her betrothed Lensky all have fine roles for acting, solo dancing and duets. However, it is for Tatiana, inspired by Haydée's supreme artistry, that Cranko primarily made the ballet, creating a truly tragic character of impassioned depth and rare understanding. Even for that unrivaled dance-actress this was a challenging part, and ballerinas all over the world who have had the honor of succeeding her in it have found the role as demanding as it is rewarding.John Percival, an international freelance critic, has been watching dance for more than 60 years and writing about it almost as long.-------------------------------Requiem is a one-act ballet created by Kenneth MacMillan in 1976 for the Stuttgart Ballet. The music is Gabriel Fauré's Requiem (1890). The designer was Yolanda Sonnabend, who had first collaborated with him on 1963's Symphony.Reviewing the Stuttgart premiere for The Times, John Percival rated the piece as MacMillan's best ballet to date, and criticised the Royal Ballet for failing to secure the piece for itself. When the work was staged at Covent Garden in 1983 Percival again praised it, though he was less convinced by the company's dancing, much of which he found too reserved. In The Observer, Jann Parry wrote of, "A beautiful ballet, reminding us that MacMillan can use a corps de ballet as a community rather than a crowd of extras."--------------------------------Cranko also staged the ballet at Stuttgart on 6 November 1960: see John Percival, Theatre in my Blood: A Biography of John Cranko, pp. 130-32. The ballet scored something of a success in Stuttgart (due in part to a major overhaul of the original choreography), Cranko immediately being invited to take up the position of ...----------------------------------Choreography by John Cranko First performance: Stuttgart, Wurttemberg States Theatre (States Theatre Ballet), 16 March 1961, under the title of FamilienAlbum. Dancers and the Stuttgart Philharmonic Orchestra, conducted by Josef Dunnwald. Bibliography: John Percival, Theatre in My Blood: A Biography of John ...-----------------------------------Percival, dance critic for the The Times in London, analyzes Cranko's life and work, from being the youngest choreographer for the Royal Ballet, to his death at the age of forty-five in 1973; utilizes information from family, friends, and co-workers. -------------------------------From the Stuttgart Ballet website: 'John Cranko was born on August 15, 1927 in Rustenburg, South Africa. He received his dance education mainly at the University of Cape Town, where he also choreographed his first ballet to Stravinsky's Suite from The Soldier's Tale. In 1946, he continued his studies at the Sadler's Wells School in London and shortly afterwards became a member of the Sadler's Wells Ballet (subsequently The Royal Ballet). In 1947, Cranko made a sensational choreography to Debussy's Children's Corner for the Sadler's Wells Ballet; from 1949 on he devoted himself exclusively to choreography, producing extremely successful ballets - mostly for the Sadler's Wells Ballet. In 1955, he choreographed La Belle Hélène for the Paris Opera Ballet and in 1957 he created his first full-length ballett, The Prince of the Pagodas, for The Royal Ballet. In 1961, John Cranko was appointed ballet director in Stuttgart by Walter Erich Schaefer, the General Director of the Wuerttemberg State Theatre (today's Stuttgart State Theater). At the beginning of his time in Stuttgart, Cranko created short ballets and gathered together a group of dancers, among whom were Egon Madsen, Richard Cragun, Birgit Keil and, most importantly, a young Brazilian dancer named Marcia Hayd´e who was to become his prime muse and inspiration. The breakthrough for Cranko came in December 1962 with the world premiere of Romeo and Juliet, which was highly praised by critics and audience alike. In Stuttgart Cranko created many small choreographic jewels such as Jeu de cartes and Opus I, as well as his symphonic ballet Initials R.B.M.E., but it was with his dramatic story ballets such as Onegin, The Taming of the Shrew, Carmen, Po´me de l'Extase and Traces that Cranko secured his place in the pantheon of great choreographers. In addition, he encouraged young dancers in his company - including Jiri Kylian and John Neumeier - to try their hand at choreography. Cranko's gift for nuanced story-telling, clear dramatic structure and his exquisite mastery of the art of the pas de deux conquered New York audiences, 3, US: Harvard University Press, 1990. Paperback. Good. Four-year-old Joshua challenges his father to a game: Can he come downstair s before Joshua writes the word to? Rachel, two and a half, makes a series of wavy lines on a piece of paper and calls it a "thank-you letter to Grand ma." In Early Literacy Joan McLane and Gillian McNamee explore the ways you ng children like Joshua and Rachel begin to learn about written language. B ecoming literate requires mastering a complex set of skills, behaviors, and attitudes that makes it possible to receive and communicate meaning throug h the written word. McLane and McNamee provide a fresh examination of this process in light of recent research. The authors look closely at what young children do with writing and reading . As children play with making marks on paper and listen to stories being r ead aloud, they begin to discover uses and purposes for written language. T hey learn that they can use writing to communicate with people they care ab out and that reading story books opens up new ideas and experiences. As chi ldren experiment with writing and reading in their talking, drawing, and pr etend play, they can build "bridges to literacy." The authors emphasize the importance of children's relationships with signi ficant adults and peers for growth in literacy. They also devote chapters t o early literacy development at home and in the neighborhood, and in presch ool and kindergarten settings. In one daycare center for inner-city childre n, for example, where a favorite activity is dictating and acting out stori es, children become active participants in a community of readers and write rsâ??a literate culture. Through its clear and concise discu., Harvard University Press, 1990, 2.5, US: HarperTorch, 2002. Paperback. Good. The city caught its collective breath when upscale couple Byrne and Susan H ollander were slaughtered in a brutal home invasion. Now, a few days later, the killers themselves have turned up dead behind the locked door of a Bro oklyn hellhole -- one apparently slain by his partner in crime who then too k his own life. There's something drawing Matthew Scudder to this case that the cops have quickly and eagerly closed: a nagging suspicion that a third man is involved, a cold, diabolical puppet master who manipulates his two accomplices, then cuts their strings when he's done with them. No one but Scudder even suspects he exists. And his worst fear is that the guy is just getting started., HarperTorch, 2002, 2.5, Grand Rapids: Zondervan, 2003. Hard cover. Good in good dust jacket. Everybody's Normal Till You Get to Know Them (Hardcover IN DUST JACKET CONDITION FAIR BOOK HAS HIGHLIGHTING IN UNDERLINING SIGNED BY PREVIOUS OWNER-PUBLISHED BY ZONDERVAN-2003 COPYRIGHT) by John Ortberg Normal? Who s Normal? ... Sewn binding. With dust jacket. Audience: General/trade. Everybody's Normal Till You Get to Know Them (Hardcover IN DUST JACKET CONDITION FAIR BOOK HAS HIGHLIGHTING IN UNDERLINING SIGNED BY PREVIOUS OWNER-PUBLISHED BY ZONDERVAN-2003 COPYRIGHT) by John Ortberg Normal? Who s Normal? Not you, that s for sure! No one you ve ever met, either. None of us are normal according to God s definition, and the closer we get to each other, the plainer that becomes. Yet for all our quirks, sins, and jagged edges, we need each other. Community is more than just a word&#8213; it is one of our most fundamental requirements. So how do flawed, abnormal people such as ourselves master the forces that can drive us apart and come together in the life-changing relationships God designed us for? In Everybody s Normal Till You Get to Know Them, teacher and best-selling author John Ortberg zooms in on the things that make community tick. You ll get a thought-provoking look at God s heart, at others, and at yourself. Even better, you ll gain wisdom and tools for drawing closer to others in powerful, impactful ways. With humor, insight, and a gift for storytelling, Ortberg shows how community pays tremendous dividends in happiness, health, support, and growth. It s where all of us weird, unwieldy people encounter God s love in tangible ways and discover the transforming power of being loved, accepted, and valued just the way we are. The need for community is woven into the very fabric of our being. Nothing else can substitute for the life-giving benefits of connecting with others&#8213; not even God. He won t preempt the way he himself has designed us to reflect his own intensely relational nature. But there s a hitch in our experience of community, says John Ortberg: We re all weird. Folks around us may seem normal enough, but just wait till we get to know them&#8213; and they get to know us. The unhealthy, sinful ways we respond to life in a fallen world are hardly God s idea of normal, and they can make us as unhuggable as porcupines. We face the porcupine dilemma, says Ortberg: We need each other, but how do we get close without getting hurt? How do we get past all those quills and grow together in Christ? In Everybody s Normal Till You Get to Know Them, Ortberg once again reveals his gift for sharing profound insights using a lighten-up approach. With winsome humor and a fondness for well-spun stories, he pops the myth of normalcy and hands us the keys to creating and sustaining relationships. God s dream for community encompasses the redemption of all spheres of life, he says. Who doesn t want like to be liked, to be wanted, to have solid, satisfying friendships! Ortberg shows what such relationships are made of. He reveals the benefits of authenticity&#8213; what it means to live with an unveiled face, as the Bible puts it. He encourages us to trade the stones it s so easy to cast at others for acceptance. He opens our eyes and heart to empathy, the art of reading people. And he takes us through the ins and outs of conflict, forgiveness, confrontation, inclusion, and gratitude. The principles and discussion questions in this book are down-to-earth. They re for real people living in a real world, and are intended to help us count the practical cost of relationship and then pay it&#8213; because in all the rewards and struggles of community, we re investing in something beyond our comprehension. You could call it heaven. You could call it home. It s the place where all of us are headed, all of us belong, and all of us will be normal at last., Zondervan, 2003, 2.25, The Palace of Holyroodhousepublished by Her Majesty's Stationery Office, Edinburgh  1968 (Third Edition, Second Impression)ISBN#: 0114900108Paperback5.1 x 7.6 inches, 32 pagesThe Palace of Holyroodhouse, commonly referred to as Holyrood Palace, is the official residence of the British monarch in Scotland, Queen Elizabeth II. Located at the bottom of the Royal Mile in Edinburgh, at the opposite end to Edinburgh Castle, Holyrood Palace has served as the principal residence of the Kings and Queens of Scots since the 16th century, and is a setting for state occasions and official entertaining.Queen Elizabeth spends one week in residence at Holyrood Palace at the beginning of each summer, where she carries out a range of official engagements and ceremonies. The 16th century Historic Apartments of Mary, Queen of Scots and the State Apartments, used for official and state entertaining, are open to the public throughout the year, except when members of the Royal Family are in residence.The palace as it stands today was built between 16711678 in a quadrangle layout, approximately 230 feet (70 m) from north to south and 230 feet (70 m) from east to west, with the exception of the 16th-century north-west tower built by James V. Sir William Bruce designed the 3-storey plus attic Baroque palace for Charles II, upon the restoration of the monarchy. The principal entrance is located on the west front in a recessed 2-storey range that links the 16th-century north-west tower with a matching south-west tower with three ball-finialled, conical bell-cast roofs. The entry gateway is framed by massive coupled Roman Doric columns, with the carved Royal Arms of Scotland and an octagonal cupola with clock-face above.The north and south fronts have symmetrical three-storey facades that rise behind to far left and right of 2-storey range with regular arrangement of bays. General repairs were completed by the architect Robert Reid between 18241834 that included the partial rebuilding of the south-west corner tower and refacing of the entire south front in ashlar to match that of the east. The east front has 17 pilastered bays with superimposed columns at each floor. The ruins of the abbey church connect to the palace on the north-east corner. For the internal quadrangle, Bruce designed a colonaded piazza of nine arches on the north, south and east facades superimposed with columns from the three classical orders to indicate the importance of the three main floors. The plain Doric order is used for the services at ground floor, the Ionic order is used for the state apartments on the first floor, while the elaborate Corinthian order is used for the royal apartments on the second floor.Architectural historian Dan Cruickshank selected the palace as one of his eight choices for the 2002 BBC book The Story of Britain's Best Buildings.The ruined Augustinian Holyrood Abbey that is sited in the grounds was founded in 1128 at the order of King David I of Scotland. The name derives either from a legendary vision of the cross witnessed by David I, or from a relic of the True Cross known as the Holy Rood or Black Rood, and which had belonged to Queen Margaret, David's mother. As a royal foundation, and sited close to Edinburgh Castle, it became an important administrative centre. A Papal legate was received here in 1177, while in 1189 a council of nobles met to discuss a ransom for the captive king, William the Lion. Robert the Bruce held a parliament at the abbey in 1326, and by 1329 it may already have been in use as a royal residence. In 1370, David II became the first of several Kings of Scots to be buried at Holyrood. Not only was James II born at Holyrood in 1430, it was at Holyrood that he was crowned, married and laid to rest. James III and Margaret of Denmark were married at Holyrood in 1469. The early royal residence was in the abbey guesthouse, which most likely stood on the site of the present north range of the palace, west of the abbey cloister, and by the later 15th century already had dedicated royal apartments.Between 1501 and 1505, James IV constructed a new Gothic palace adjacent to the abbey. The impetus for the work probably came from the marriage of James IV to Margaret Tudor, which took place in the abbey in August 1503 while work was still ongoing. The palace was built around a quadrangle, situated west of the abbey cloister. It contained a chapel, gallery, royal apartments, and a great hall. The chapel occupied the north range of the quadrangle, with the Queen's apartments occupying part of the south range.The west range contained the King's lodgings and the entrance to the palace. James IV also oversaw construction of a two-storey gatehouse, fragments of which survive in the Abbey Courthouse. In 1512 a lion house was constructed to house the king's menagerie, which included a lion and a civet among other exotic beasts. James V added to the palace between 1528 and 1536, beginning with the present north-west tower to provide new royal apartments. This was followed by reconstruction of the south and west ranges of the palace in the Renaissance style, with a new chapel in the south range. The former chapel in the north range was converted into the Council Chamber, where ceremonial events normally took place. The west range contained the royal library and a suite of rooms, extending the royal apartments in the tower. The symmetrical composition of the west façade suggested that a second tower at the south-west was planned, though this was never executed at the time. Around a series of lesser courts were ranged the Governor's Tower, the armoury, the mint, a forge, kitchens and other service quarters.In 1544, during the War of the Rough Wooing, the Earl of Hertford sacked Edinburgh, and Holyrood was looted and burned. Repairs were made, but the altars were destroyed by a Reforming mob in 1559. After the Scottish Reformation was formalised, the abbey buildings were neglected, and the choir and transepts of the abbey church were pulled down in 1570. The nave was retained as the parish church of the Canongate.The royal apartments in the north-west tower of the palace were occupied by Mary, Queen of Scots, from her return to Scotland in 1561 to her forced abdication in 1567. The Queen had archery butts erected in her private gardens to allow her to practice, and hunted deer in Holyrood Park. It was at Holyrood that the series of famous interviews between the Queen and John Knox took place, and she married both of her Scottish husbands in the palace: Henry Stewart, Lord Darnley, in 1565 in the chapel, and James Hepburn, 4th Earl of Bothwell, in 1567 in the great hall. It was in the Queen's private apartments that she witnessed the murder of David Rizzio, her private secretary, on 9 March 1566. Darnley and several nobles entered the apartment via the private stair from Darnley's own apartments below. Bursting in on the Queen, Rizzio and four other courtiers, who were at supper, they dragged the Italian through the bedchamber into the outer chamber, where he was stabbed 56 times.During the subsequent Marian civil war, on 25 July 1571, William Kirkcaldy of Grange bombarded the Palace with cannon placed in the Black Friar Yard, near the Pleasance. James VI took up residence at Holyrood in 1579 at the age of 13 years. His wife, Anne of Denmark, was crowned in the diminished abbey church in 1590, at which time the royal household at the palace numbered around 600 persons.When James became King of England in 1603 and moved to London, the palace was no longer the seat of a permanent royal court. James visited in 1617, for which the chapel was redecorated. More repairs were put in hand in preparation for the coronation of Charles I as King of Scotland at Holyrood in 1633. On 10 August 1646 Charles appointed James Hamilton, 1st Duke of Hamilton, as hereditary Keeper of Holyroodhouse, an office which his descendants retain. The post is one of the Great Offices in the Royal Household in Scotland, and indeed the private ducal apartments cover a larger area of the palace than the state ones. As well as his own deputy, the Keeper still appoints the Bailie of Holyroodhouse, who is responsible for law and order within the Holyrood Abbey Sanctuary. The High Constables of Holyroodhouse are responsible to the Keeper.In 1650, either by accident or design, the east range of the palace was set on fire during its occupation by Oliver Cromwell's soldiers. After this, the eastern parts of the palace were effectively abandoned. The remaining parts were used as barracks, and a two-storey block was added to the west range in 1659.The following year saw the Restoration of Charles II in England and Scotland. The Privy Council was reconstituted and once more met at Holyrood. Repairs were put in hand to allow use of the building by the Earl of Lauderdale, the Secretary of State for Scotland, and a full survey was carried out in 1663 by John Mylne. In 1670, £30,000 was set aside by the Privy Council for the rebuilding of Holyrood.Plans for complete reconstruction were drawn up by Sir William Bruce, the Surveyor of the King's Works, and Robert Mylne, the King's Master Mason. The design included a south-west tower to mirror the existing tower, a plan which had existed since at least Charles I's time. Following criticism from Charles II, Bruce redesigned the interior layout to provide suites of royal apartments on the first floor: the Queen's apartment on the west side; and the King's apartment on the south and east sides. The two were linked by a gallery to the north, and a council chamber occupied the south-west tower.Work began in July 1671, starting at the north-west, which was ready for use by Lauderdale the following year. In 1675 Lord Hatton became the first of many nobles to take up a grace-and-favour apartment in the palace. The following year the decision was taken to rebuild the west range of the palace, and to construct a kitchen block to the south-east of the quadrangle. Bruce's appointment as architect of the project was cancelled in 1678, with the remaining work being overseen by Hatton. By 1679 the palace had been re-constructed, largely in its present form. Craftsmen employed included the Dutch carpenters Alexander Eizat and Jan van Santvoort, and their countryman Jacob de Wet who painted several ceilings. The elaborate plasterwork was done by John Houlbert and George Dunsterfield.Interior work was still in progress when the James, Duke of Albany, the future James VII and II, and his wife Mary of Modena visited that year. They returned to live at Holyrood between 1680 and 1682, in the aftermath of the Exclusion crisis, which had severely impacted James' popularity in England. When he acceded to the throne in 1685, the Catholic king set up a Jesuit college in the Chancellor's Lodging to the south of the palace. The abbey was adapted as a chapel for the Order of the Thistle in 168788. The architect was James Smith, and carvings were done by Grinling Gibbons and William Morgan. The interiors of this chapel, and the Jesuit college, were subsequently destroyed by an anti-Catholic mob, following the beginning of the Glorious Revolution in late 1688. In 1691 the Kirk of the Canongate was completed, to replace the abbey as the local parish church, and it is at the Kirk of the Canongate that the Queen today attends services when in residence at Holyrood Palace.After the Union of Scotland and England in 1707 the palace lost its principal functions, although it was used for the elections of Scottish representative peers. The nobles who had been granted apartments in the palace continued to use them: the Duke of Hamilton had already taken over the Queen's Apartments in 1684. The King's Apartments were meanwhile neglected.Bonnie Prince Charlie held court at Holyrood for five weeks in September and October 1745, during the Jacobite Rising. Charles occupied the Duke of Hamilton's apartments rather than the unkempt king's rooms, and held court in the Gallery. The following year, government troops were billeted in the palace after the Battle of Falkirk, when they damaged the royal portraits in the gallery, and the Duke of Cumberland stayed here on his way to Culloden. Meanwhile, the neglect continued: the roof of the abbey church collapsed in 1768, leaving it as it currently stands. However, the potential of the palace as a tourist attraction was already being recognised, with the Duke of Hamilton allowing paying guests to view Queen Mary's apartments in the north-west tower.The precincts of Holyrood Abbey, extending to the whole of Holyrood Park, had been designated as a debtors' sanctuary since the 16th century. Those in debt could escape their creditors, and imprisonment, by taking up residence within the sanctuary, and a small community grew up to the west of the palace. The residents, known colloquially as "Abbey Lairds", were able to leave the sanctuary on Sundays, when no arrests were permitted. The area was controlled by a baillie, and by several constables, appointed by the Keeper of Holyroodhouse. The constables now form a ceremonial guard at the palace.Following the French Revolution, George III allowed Louis XVI's youngest brother, the Comte d'Artois to live at Holyrood, where he took advantage of the abbey sanctuary to avoid his creditors. Artois stayed at Holyrood from 1796 to 1803, during which time the King's apartments were renovated. The Comte d'Artois inherited the French throne in 1824 as Charles X, but following the July Revolution of 1830, the French royal family lived at Holyrood again until 1832 when they moved to Austria.King George IV became the first reigning monarch since Charles I to visit Holyrood, during his 1822 visit to Scotland. Although he stayed at Dalkeith Palace, the king held a levée (reception) at Holyrood, and was shown the historic apartments. He ordered repairs to the palace, but declared that Queen Mary's rooms should be protected from any future changes. Over the next ten years, Robert Reid oversaw works including the demolition of all the buildings to the north and south of the main quadrangle. In 1834 William IV agreed that the High Commissioner to the General Assembly of the Church of Scotland could make use of the palace during the sitting of the assembly, and this tradition continues today.On the first visit of Queen Victoria to Scotland in 1842, she also stayed at Dalkeith, and was prevented from visiting Holyrood by an outbreak of Scarlet Fever. In preparation for her 1850 visit, more renovations were carried out by Robert Matheson of the Office of Works, and the interiors were redecorated by David Ramsay Hay. Over the next few years, the lodgings of the various nobles were gradually repossessed, and Victoria was able to take up a second floor apartment in 1871, freeing up the former royal apartments as dining and drawing rooms, as well as a throne room. From 1854 the historic apartments, Her Majesty's Stationery Office, 1968, 0, British Museum Press. Used - Very Good. Ships from the UK. Former library book; may include library markings. Used book that is in excellent condition. May show signs of wear or have minor defects., British Museum Press, 3<

2005, ISBN: 9780714126739

Washington DC: United States Navy, Division of Naval Intelligence, Identification and Characteristics Section, 1942. Presumed First Edition, First printing. Wraps. Good. The format is a… More...

Washington DC: United States Navy, Division of Naval Intelligence, Identification and Characteristics Section, 1942. Presumed First Edition, First printing. Wraps. Good. The format is approximately 10 inches by 6 inches. Unpaginated (32 pages, plus covers) Illustrated covers. Illustrations (photographs, drawings, silhouettes). Tabular data. O. N. I. 220-M--Axis Submarine Manual--was designed primarily for the masters and seamen of our merchant marine and for armed guard crews. This publication is deliberately nontechnical. Its purpose is to acquaint seafaring men with some of the characteristics and tactics of the raider which approaches unseen and strikes without warning. There are included in this publication the principal types of Axis submarines. Vichy French submarines are included as well so that the coverage of the leading continental naval powers will be more complete. The techniques described are largely from what we know of German methods. However, it is believed that the principles discussed apply to the submarine forces of Italy and Japan, with due consideration for national traits--caution and prudence in the case of Italy; reckless fanaticism in the case of Japan. The principal methods which are available to the master of a ship for thwarting his attacker are those of concealment and evasion. Thus, strict adherence to sailing instructions with regard to darkening ship, zigzagging, and similar precautions is clearly indicated. This publication is an unclassified public document. Distribution should be made of its contents so that those men who must the the gauntlet of a worldwide submarine blockade will know the nature to the enemy that seeks to destroy them. Submarines can proceed on the surface at a speed of 18 knots or better. The submarine carries sufficient fuel to travel around the world. She also carries food and supplies for a cruise of several months' duration. Consequently, the German submarine operating along the American littoral does not need to be refueled or serviced by "mother ships." There have been press reports that German submarines operating off the Atlantic seaboard have been refueled and have obtained supplies from disguised supply ships. This is quite possible. What definitely sends the submarine back home, if she is not sunk or damaged by her enemy, is the expenditure of her torpedoes. When the last bolt has been shot, she must return home to get a new supply. Torpedoes and the human factor determine the endurance of the submarine. This second fact, which may be easily overlooked by even seafaring men who are not accustomed to the cramped quarters of a submarine, is one of considerable important. Submarine crews are likely to be tough and courageous, but under the continual stress of war conditions, unless frequently relieved and given comparatively long periods of rest and relaxation, their morale may show signs of deterioration. The loss of several famous U-boat captains who were an inspiration to the entire German submarine service has, no doubt, had its effect on the less experienced commanders. One or two torpedo hits, if properly placed, will sink a large merchant vessel, although there are many instances of tankers and other ships which have come home after sustaining a torpedo attack from an enemy submarine. Submarines are equipped with very efficient underwater sound devices which permit them to discover the presence and bearings of large surface vessels within a range of 5 miles. This equipment also permits a submerged submarine to keep an accurate track of the position of attacking destroyers and other antisubmarine units. Evasive maneuvers are facilitated by the high maneuverability and the relatively small turning circle of the submarine. The German submarines are reputed to have made considerable progress in reducing the noise of their own machinery, and a submarine proceeding submerged at a speed of less than 3 knots is very difficult to pick up by even the best and most modern listening gear. To destroy a modern submarine by means of depth charges the charge must be exploded very near the submarine's hull. To open up that hull a 100-pound depth charge must be exploded within 15 feet from the submarine. The lethal distance is somewhat greater with heavier charges, but in all cases in order to insure a kill the depth charge must be exploded close aboard., United States Navy, Division of Naval Intelligence, Identification and Characteristics Section, 1942, 2.5, Milano: Skira, 2005. A cura di D. Arasse, De Vecchi P. e Katz Nelson J. Parigi, Musée du Luxembourg, 1 ottobre 2003 - 22 febbraio 2004. Firenze, Palazzo Strozzi, 10 marzo - 11 luglio 2004. Milano, 2005; br., pp. 344, ill. b/n, tavv. col., cm 24x28. (Arte Antica. Cataloghi). Florence has organised an extraordinary exhibition to celebrate Sandro Botticelli (Florence 1445 - 1510). His works will be displayed along with those of his pupil and friend Filippino Lippi (1457-1504), in the year marking the fifth centenary of the latter's death. The exhibition is subtitled: Grace and Unrest. Grace because the fifteenth century selected grace -that is intellectual elegance and the refined representation of sentiment - as its aesthetic emblem. Unrest because the century closed on the note of uncertainty and anguish, overshadowed by the apocalyptic threats of Gerolamo Savonarola, the charismatic and tragic prophet of the eclipse of Humanist ideals. At the time of Sandro Botticelli and of Filippino Lippi, his ingenious alter ego and only true heir, Palazzo Strozzi was already standing It had been commissioned by the wealthy banker Filippo Strozzi, and built, in the form we can still see today, by the architect Giuliano da Maiano. Palazzo Strozzi is the archetype of Florentine residential civilisation, the emblem of Medici Florence, that great season of which Botticelli and Filippino Lippi were the protagonists. The restitution of the works by the two artists to their original sites enriches the exhibition with great historical atmosphere. The exhibition features over 60 masterpieces originating from the most important museums of the world and from some private collections: 25 paintings by Botticelli, 16 by Filippino Lippi, as well as drawings and works for context and comparison by other artists including Leonardo da Vinci and Piero di Cosimo, set up in an itinerary divided into thematic sections. Sacred and profane scenes Botticelli addressed the narration of Biblical episodes, such as The Return of Judith from the Uffizi, but also scenes inspired by literature: from the Prado comes one of the Scenes from the Story of Nastagio degli Onesti, taken from Boccaccio's famous novella, and from the Biblioteca Vaticana one of the illustrations for The Divine Comedy. Several of the early paintings of Filippino, 1470-1480, reveal the close links with his Master, such as Queen Vasthi leaving the Palace of Susa, probably executed to drawings by Botticelli. Saints On display, by Botticelli, two versions of Saint Augustine in his study, and by Filippino Lippi, the splendid panel showing the Vision of St. Bernard, now in the Badia Fiorentina, displayed alongside a preparatory study for the figure of the saint. Angels The angel of Botticelli's Annunciation hangs close to Filippino's splendid medallion portraying the Madonna and Child with angel musicians. In the spiritual atmosphere of this section, it is surprising to come across an erotic drawing by Leonardo da Vinci: this is illustrative of an era which was at once profoundly religious and at the same time unbiased, capable of treating with irony even the most transcendental subjects. Madonnas After the early Madonna and Child paintings, such as those from Boston, Chicago and Edinburgh, still close to the style of Filippo Lippi, Botticelli began to create a new personal style, at once lyrical and sophisticated. Portraits Here works by Botticelli, one of the first Italian masters of the portrait, the Portrait of Man with a Medal, showing a youth with a proud and thoughtful expression, the Portrait of a woman in profile from an American private collection, are counterpoised by the portraits of Filippino, such as the splendid Portrait of a musician from Dublin, revealing the same attention to the study of character and to the innovations introduced by Flemish painting. Allegory and myth Allegory is the preferential language of Florentine fifteenth-century culture. On display in the rooms of Palazzo S, Skira, 2005, 0, British Museum Press. Used - Good. Ships from the UK. Former library book; may include library markings. Used book that is in clean, average condition without any missing pages., British Museum Press, 2.5<

ISBN: 9780714126739

Book, Gut, Festpreisangebot, [LT: FixedPrice], Special Attributes: EX-LIBRARY, Publication Name: British Museum Press, Publication Year: 2010, Format: Paperback, Language: English, Book T… More...

Book, Gut, Festpreisangebot, [LT: FixedPrice], Special Attributes: EX-LIBRARY, Publication Name: British Museum Press, Publication Year: 2010, Format: Paperback, Language: English, Book Title: Master Drawings Close-Up, Item Height: 241mm, Item Width: 243mm, Item Weight: 570g, Number of Pages: 124 Pages, British Museum Press<

2010, ISBN: 071412673X

[EAN: 9780714126739], Gebraucht, guter Zustand, [SC: 7.5], [PU: British Museum Press], xi, 108 p. : il. ; 24 cm Europa. Drawing, European Drawing,Appreciation English Incluye referencias … More...

[EAN: 9780714126739], Gebraucht, guter Zustand, [SC: 7.5], [PU: British Museum Press], xi, 108 p. : il. ; 24 cm Europa. Drawing, European Drawing,Appreciation English Incluye referencias bibliogra?ficas. The drawings. -- List of commonly used media. -- Brief guide to terms used in the study of master drawings., Books<