First Commercial Film

On this day in 1895, the world’s first commercial movie screening takes place at the Grand Cafe in Paris. The film was made by Louis and Auguste Lumiere, two French brothers who developed a camera-projector called the Cinematographe.

The Lumiere brothers unveiled their invention to the public in March 1895 with a brief film showing workers leaving the Lumiere factory. On December 28, the entrepreneurial siblings screened a series of short scenes from everyday French life and charged admission for the first time.

Through A Window by Jane Goodall

THROUGH A WINDOW

There are many windows through

which we can look out into the

world, searching for meaning …

… Most of us, when we ponder on the

meaning of our existence,

peer through but one of these

windows onto the world.

And even that one is often misted over

by the breath of our finite humanity.

We clear a tiny peephole and stare through.

No wonder we are confused by the

tiny fraction of a whole that we see.

It is, after all, like trying to

comprehend the panorama of the

desert or the sea through

a rolled-up newspaper.

~ Dr. Jane Goodall

Globe Theatre

Globe Theater Fun Facts –> Opened in 1599, the Globe played host to Shakespeare for 14 years, during which time he wrote many of his greatest works. The theatre was destroyed by fire in 1613 after its thatch was accidentally set alight by a cannon during a performance of Henry VIII.

A new theatre was built in 1614, but was demolished in 1644 when all plays were banned by the Puritan parliament.

Balancing Stones

“The very first time I tried balancing stones was back in 2010. I saw some stone sculptures in a park, when an old, wise man told me that it was a symbol for the balance of nature. I liked that idea, and after that I started making easy stone sculptures. After a while, I started experimenting with balance and I tried to make stone sculptures that had such small balance points so that it almost would look impossible. I really loved that. Both because it felt like a challenge, but also because it forced me to get really still and quiet, and focus on one thing only; to find the tiny, tiny balance point. It more and more turned into some kind of meditation.”

~ Jonna Jinton, Swedish artist, musician and filmmaker and I live in the beautiful woods in the North of Sweden

Archaeological Finds 2020: The Red Lion

Archaeologists from the UCL’s Institute of Archaeology have discovered the remains of what may be the Red Lion, an early Elizabethan playhouse built around AD 1567.

The Red Lion was a purpose-built playhouse in the yard of the Red Lion, a farmhouse east of Aldgate near Mile End. This was to be the first known attempt to provide a purpose-built playhouse in London for the many Tudor age touring theatrical companies, in particular staging a young Shakespeare’s plays in the 1590s.

The Red was financed by John Brayne who also financed, with his brother-in-law James Burbage, the building of the Theatre in Shoreditch.

The only contemporary information previously known about the playhouse was from two lawsuits issued in the Records of the Court of King’s Bench in 1567, between John Brayne and the carpenters commissioned with aspects of the playhouse construction that noted “the house called the red lyon” and “farme house called and knowen by the name of the Sygne of the Redd Lyon”. Location of the Red Lion Playhouse The lawsuit details ‘scaffolds’ or galleries around the stage, suggesting they were substantial.

The second lawsuit relates to the quality of work, and crucially includes a description of the stage and dimensions: 40ft (12.2m) north to south, by 30ft (9.1m) east to west, and standing at a height of 5ft (1.5m) above the ground. While it appears to have been a commercial success, the Red Lion offered little that the prior tradition of playing in inns had not offered.

Situated in open farmland, it was too far from its audiences to be attractive for visiting in the winter. Archaeologists excavating the site discovered a rectangular timber structure, comprising 144 surviving timbers and measuring 12.27m north-south by 9.27m east-west.

Amélie

One person can change your life forever…

Plot:

A painfully shy waitress working at a tiny Paris cafe, Amelie makes a surprising discovery and sees her life drastically changed for the better. From then on, Amelie dedicates herself to helping others find happiness in the most delightfully unexpected ways. But will she have the courage to do for herself what she has done for others?

Rating: R (for sexual content)

Genre: Comedy, Romance, Foreign

Directed By: Jean-Pierre Jeunet

Written By: Jean-Pierre Jeunet, Guillaume Laurant

Country: France

Language: French (Subtitled in English)

Release Date: 4 November 2001 in USA

Worldwide Gross: $173,924,742 (Worldwide)

Runtime: 122 minutes

Main Character:

Amélie Poulain —> Audrey Tautou

French actress Audrey Tautou hit the international spotlight in 2001 as the star of the whimsical Parisian romance “Amélie” (2001), which went on to become the top-grossing French-language film ever released in the United States. With her wide eyes and shy, winsome smile, the brunette gamine instantly earned comparisons to Audrey Hepburn, and like Hepburn, she successfully built a film career alternating between light romantic comedies and teary dramas. Many of Tautou’s popular French films did not make it to U.S. theaters, however following the art house success of “Amélie” and the World War I-set romantic drama “A Very Long Engagement” (2004), Tautou answered the call of Hollywood, co-starring opposite Tom Hanks in the blockbuster thriller “The Da Vinci Code” (2006). Tautou’s experience in an overblown, critically reviled hit failed to draw her to American filmmaking, so she promptly returned to the French fold where a starring role as design icon Coco Chanel in “Coco Before Chanel” (2009) proved that the actress had a whole career of increasingly mature roles ahead of her once her quirky, youthful charm had run its course.

The Sphinx and Its Meaning

The Sphinx is said to be associated with Khafre during 2558-2532 BC, and it lines up with the Pyramid of Khafre at the foot of its causeway.

The Sphinx has the body of lion and the head of a king or god. In 1905 the sand was cleared away from the sculpture base to reveal how massive the Sphinx really is. The paws alone are 50 feet long and the entire body equals out to 150 feet long. The head is proportionally a lot smaller at only 30 feet long and 14 feet wide. The Sphinx is believed to have been quite colorfully painted at one time. Unfortunately, the bedrock it is carved into is sandstone so it does not hold up well to the elements and a lot of erosion has occurred.

The Sphinx lost its nose because Muhammad Sa’Im Al-Dahr was angered by peasants making offerings to it, so he destroyed the nose then was promptly hanged for vandalism. Other stories such as the claim that Turks shot off its nose during target practice or even Napoleon. More mystery surrounding the Sphinx is who it resembles. Some believe that the face resembles that of Khafre’s older brother, Pharaoh Djedefre. A German Egyptologist has also suggested that the Sphinx was built by King Khufu, Khafre’s father. So many rumors circulate around the Sphinx, but I do not think we will ever truly know what it’s true purpose was.

The Dream Stele is between the paws of the Sphinx. The stele tells the story of when Thutmosis IV fell asleep under the Sphinx, which at the time was covered in sand up to its neck. He had a dream that the Sphinx talked to him and told him that if he freed the Sphinx from the sand then he would become king. Some people do believe that the Sphinx has magical powers or that it has hidden passageways under it. But none of these have been confirmed.

The Lady of Shalott

The Lady of Shalott (1832)

BY ALFRED, LORD TENNYSON

Part I 

On either side the river lie

Long fields of barley and of rye,

That clothe the wold and meet the sky; 

And thro’ the field the road runs by 

       To many-tower’d Camelot; 

The yellow-leaved waterlily 

The green-sheathed daffodilly 

Tremble in the water chilly 

Round about Shalott.

Willows whiten, aspens shiver. 

The sunbeam showers break and quiver 

In the stream that runneth ever 

By the island in the river 

       Flowing down to Camelot. 

Four gray walls, and four gray towers 

Overlook a space of flowers, 

And the silent isle imbowers 

The Lady of Shalott.

Underneath the bearded barley, 

The reaper, reaping late and early, 

Hears her ever chanting cheerly, 

Like an angel, singing clearly, 

       O’er the stream of Camelot. 

Piling the sheaves in furrows airy, 

Beneath the moon, the reaper weary 

Listening whispers, ‘ ‘Tis the fairy, 

Lady of Shalott.’

The little isle is all inrail’d 

With a rose-fence, and overtrail’d 

With roses: by the marge unhail’d 

The shallop flitteth silken sail’d, 

       Skimming down to Camelot. 

A pearl garland winds her head: 

She leaneth on a velvet bed, 

Full royally apparelled, 

The Lady of Shalott.

Part II 

No time hath she to sport and play: 

A charmed web she weaves alway. 

A curse is on her, if she stay 

Her weaving, either night or day, 

       To look down to Camelot. 

She knows not what the curse may be; 

Therefore she weaveth steadily, 

Therefore no other care hath she, 

The Lady of Shalott.

She lives with little joy or fear. 

Over the water, running near, 

The sheepbell tinkles in her ear. 

Before her hangs a mirror clear, 

       Reflecting tower’d Camelot. 

And as the mazy web she whirls, 

She sees the surly village churls, 

And the red cloaks of market girls 

Pass onward from Shalott.

Sometimes a troop of damsels glad, 

An abbot on an ambling pad, 

Sometimes a curly shepherd lad, 

Or long-hair’d page in crimson clad, 

       Goes by to tower’d Camelot: 

And sometimes thro’ the mirror blue 

The knights come riding two and two: 

She hath no loyal knight and true, 

The Lady of Shalott.

But in her web she still delights 

To weave the mirror’s magic sights, 

For often thro’ the silent nights 

A funeral, with plumes and lights 

       And music, came from Camelot: 

Or when the moon was overhead 

Came two young lovers lately wed; 

‘I am half sick of shadows,’ said 

The Lady of Shalott.

Part III 

A bow-shot from her bower-eaves, 

He rode between the barley-sheaves, 

The sun came dazzling thro’ the leaves, 

And flam’d upon the brazen greaves 

       Of bold Sir Lancelot. 

A red-cross knight for ever kneel’d 

To a lady in his shield, 

That sparkled on the yellow field, 

Beside remote Shalott.

The gemmy bridle glitter’d free, 

Like to some branch of stars we see 

Hung in the golden Galaxy. 

The bridle bells rang merrily 

       As he rode down from Camelot: 

And from his blazon’d baldric slung 

A mighty silver bugle hung, 

And as he rode his armour rung, 

Beside remote Shalott.

All in the blue unclouded weather 

Thick-jewell’d shone the saddle-leather, 

The helmet and the helmet-feather 

Burn’d like one burning flame together, 

       As he rode down from Camelot. 

As often thro’ the purple night, 

Below the starry clusters bright, 

Some bearded meteor, trailing light, 

Moves over green Shalott.

His broad clear brow in sunlight glow’d; 

On burnish’d hooves his war-horse trode; 

From underneath his helmet flow’d 

His coal-black curls as on he rode, 

       As he rode down from Camelot. 

From the bank and from the river 

He flash’d into the crystal mirror, 

‘Tirra lirra, tirra lirra:’ 

Sang Sir Lancelot.

She left the web, she left the loom 

She made three paces thro’ the room 

She saw the water-flower bloom, 

She saw the helmet and the plume, 

       She look’d down to Camelot. 

Out flew the web and floated wide; 

The mirror crack’d from side to side; 

‘The curse is come upon me,’ cried 

The Lady of Shalott.

Part IV 

In the stormy east-wind straining, 

The pale yellow woods were waning, 

The broad stream in his banks complaining, 

Heavily the low sky raining 

       Over tower’d Camelot; 

Outside the isle a shallow boat 

Beneath a willow lay afloat, 

Below the carven stern she wrote, 

The Lady of Shalott.

A cloudwhite crown of pearl she dight, 

All raimented in snowy white 

That loosely flew (her zone in sight 

Clasp’d with one blinding diamond bright) 

       Her wide eyes fix’d on Camelot, 

Though the squally east-wind keenly 

Blew, with folded arms serenely 

By the water stood the queenly 

Lady of Shalott.

With a steady stony glance— 

Like some bold seer in a trance, 

Beholding all his own mischance, 

Mute, with a glassy countenance— 

       She look’d down to Camelot. 

It was the closing of the day: 

She loos’d the chain, and down she lay; 

The broad stream bore her far away, 

The Lady of Shalott.

As when to sailors while they roam, 

By creeks and outfalls far from home, 

Rising and dropping with the foam, 

From dying swans wild warblings come, 

       Blown shoreward; so to Camelot 

Still as the boathead wound along 

The willowy hills and fields among, 

They heard her chanting her deathsong, 

The Lady of Shalott.

A longdrawn carol, mournful, holy, 

She chanted loudly, chanted lowly, 

Till her eyes were darken’d wholly, 

And her smooth face sharpen’d slowly, 

       Turn’d to tower’d Camelot: 

For ere she reach’d upon the tide 

The first house by the water-side, 

Singing in her song she died, 

The Lady of Shalott.

Under tower and balcony, 

By garden wall and gallery, 

A pale, pale corpse she floated by, 

Deadcold, between the houses high, 

       Dead into tower’d Camelot. 

Knight and burgher, lord and dame, 

To the planked wharfage came: 

Below the stern they read her name, 

The Lady of Shalott.

They cross’d themselves, their stars they blest, 

Knight, minstrel, abbot, squire, and guest. 

There lay a parchment on her breast, 

That puzzled more than all the rest, 

       The wellfed wits at Camelot. 

‘The web was woven curiously, 

The charm is broken utterly, 

Draw near and fear not,—this is I, 

       The Lady of Shalott.’

Hylas and the Nymphs

Hylas and the Nymphs

Hylas and the Nymphs is not one of John William Waterhouse’s most well known works, however it is a prime example of his skill as an artist and therefore has received very little negative comment since its completion in 1896.

Taken from the story of Jason and the Argonauts, Hylas was an Argonaut warrior and the assistant and lover of Herlkas. He was also known to be a very handsome youth.

When Jason’s boat landed on an island during his search for the Golden Fleece, Hylas was sent to fetch water for the camp. Finding a pool in a clearing, he reached down and put his pitcher into the water. Before he could lift his pitcher he looked up to discover water nymphs encircling him. Drawn by his beauty, one of the nymphs reached up to kiss Hylas.

The tale stops there and Hylas disappeared without trace from that moment, it was said that Herlkas searched the island for his beloved, in fact such a time passed that the boat left without him.