CONTENTS the James Boyd Library
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Intimations Surnames L
Intimations Extracted from the Watt Library index of family history notices as published in Inverclyde newspapers between 1800 and 1918. Surnames L This index is provided to researchers as a reference resource to aid the searching of these historic publications which can be consulted on microfiche, preferably by prior appointment, at the Watt Library, 9 Union Street, Greenock. Records are indexed by type: birth, death and marriage, then by surname, year in chronological order. Marriage records are listed by the surnames (in alphabetical order), of the spouses and the year. The copyright in this index is owned by Inverclyde Libraries, Museums and Archives to whom application should be made if you wish to use the index for any commercial purpose. It is made available for non- commercial use under the Creative Commons Attribution-Noncommercial-ShareAlike International License (CC BY-NC-SA 4.0 License). This document is also available in Open Document Format. Surnames L Record Surname When First Name Entry Type Marriage L’AMY / SCOTT 1863 Sylvester L’Amy, London, to Margaret Sinclair, 2nd daughter of John Scott, Finnart, Greenock, at St George’s, London on 6th May 1863.. see Margaret S. (Greenock Advertiser 9.5.1863) Marriage LACHLAN / 1891 Alexander McLeod to Lizzie, youngest daughter of late MCLEOD James Lachlan, at Arcade Hall, Greenock on 5th February 1891 (Greenock Telegraph 09.02.1891) Marriage LACHLAN / SLATER 1882 Peter, eldest son of John Slater, blacksmith to Mary, youngest daughter of William Lachlan formerly of Port Glasgow at 9 Plantation Place, Port Glasgow on 21.04.1882. (Greenock Telegraph 24.04.1882) see Mary L Death LACZUISKY 1869 Maximillian Maximillian Laczuisky died at 5 Clarence Street, Greenock on 26th December 1869. -
Weymouth Centered on Literature and Hunting That Continued up to James Boyd’S Death in 1944
Cultural Landscape Report for Weymouth Southern Pines, NC Davyd Foard Hood Landscape Historian & Glenn Thomas Stach Preservation Landscape Architect August 2011 Cultural Landscape Report for Weymouth Southern Pines, NC August 2011 Client: Town of Southern Pines This study was funded in part from the Historic Preservation Fund grant from the U.S. National Park Service through the North Carolina State Historic Preservation Office, with additional funding and support by the Southern Pines Garden Club Preparers: Davyd Foard Hood, Landscape Historian Glenn Thomas Stach, Preservation Landscape Architect Table of Contents List of Figures & Plans Introduction…………………………………………………………………….…….….…….viii Chapter I: History Narrative & Supporting Imagery………………………….….……I-1 thru 61 Chapter II: Existing Conditions & Supporting Imagery ………..…………....………II-1 thru 23 Chapter III: Analysis & Evaluation with Supporting Imagery……………………….III1 thru 20 Appendix A: Period, Existing, and Analysis Plans and Diagrams Appendix B: Boyd Family Genealogical Table Appendix C: Floor Plans Appendix D. Street Map of Southern Pines Weymouth Cultural Landscape Report List of Figures Chapter I I/1 View of Weymouth, looking southwest along the brick lined path in the lower terrace, showing plantings along the path by students in the Sandhills horticultural program launched in 1968, the cold frame, and dense shrub plantings in the lower terrace, the tall Japanese privet hedge separating the upper and lower terraces, and the manner by which Alfred B. Yeomans closed the axial view with the corner of the loggia in his ca. 1932 addition, ca. 1970. Weymouth Archives. I/2 Photograph of James Boyd, seated, ca. 1890‐1900, Weymouth Archives. I/3 Hand‐colored postal view, “Vermont Avenue, Southern Pines, N.C.”, by E. -
T. F. Torrance on the Centenary of His Birth: a Biographical and Theological Synopsis with Some Personal Reminiscences
T. F. TORRANCE ON THE CENTENARY OF HIS BIRTH: A BIOGRAPHICAL AND THEOLOGICAL SYNOPSIS WITH SOME PERSONAL REMINISCENCES Thomas A. Noble, PhD Professor of Theology, Nazarene Theological Seminary Senior Research Fellow in Theology, Nazarene Theological College, Manchester [email protected] Abstract: Given as a lecture at the meeting of the T. F. Torrance Theological Fellowship on 21st November, 2013, this paper celebrates the centenary of Torrance’s birth. It begins with the world into which he was born and the ethos of the evangelical missionary movement to which his family belonged. Major aspects of his thinking are considered against his biographical background as they became prominent in the development of his theology: the Reformed tradition and his ecumenical endeavours, his profound analysis of the scientic metho of theolog in relation to the natural sciences his focus on the Incarnation and the Atonement, his engagement with the Greek Fathers, and his place in the Trinitarian revival. The review of Torrance’s thought is interspersed with personal reminiscences from several years as Torrance’s student at New College, Edinburgh in the 1970s and from later contact. To return in thought to 1913, the year in which T. F. Torrance was born, is to return to another world. The German Kaiser, the Austrian Kaiser, the Czar of all the Russias, and the Sultan of the Ottoman Empire all still ruled – not to mention his Britannic Majesty, King George V, Emperor of India, presiding over the largest empire the world had ever seen. His Royal Navy dominated the oceans of the world and had been instrumental in abolishing piracy and the slave trade for ever (or so it was thought). -
Tomorrow's World
Tomorrow’s World: The New York World’s Fairs and Flushing Meadows Corona Park The Arsenal Gallery June 26 – August 27, 2014 the “Versailles of America.” Within one year Tomorrow’s World: 10,000 trees were planted, the Grand Central Parkway connection to the Triborough Bridge The New York was completed and the Bronx-Whitestone Bridge well underway.Michael Rapuano’s World’s Fairs and landscape design created radiating pathways to the north influenced by St. Peter’s piazza in the Flushing Meadows Vatican, and also included naturalized areas Corona Park and recreational fields to the south and west. The Arsenal Gallery The fair was divided into seven great zones from Amusement to Transportation, and 60 countries June 26 – August 27, 2014 and 33 states or territories paraded their wares. Though the Fair planners aimed at high culture, Organized by Jonathan Kuhn and Jennifer Lantzas they left plenty of room for honky-tonk delights, noting that “A is for amusement; and in the interests of many of the millions of Fair visitors, This year marks the 50th and 75th anniversaries amusement comes first.” of the New York World’s Fairs of 1939-40 and 1964-65, cultural milestones that celebrated our If the New York World’s Fair of 1939-40 belonged civilization’s advancement, and whose visions of to New Dealers, then the Fair in 1964-65 was for the future are now remembered with nostalgia. the baby boomers. Five months before the Fair The Fairs were also a mechanism for transform- opened, President Kennedy, who had said, “I ing a vast industrial dump atop a wetland into hope to be with you at the ribbon cutting,” was the city’s fourth largest urban park. -
2196 Astoria Park Pool And
Landmarks Preservation Commission June 20, 2006, Designation List 377 LP- 2196 ASTORIA PARK POOL AND PLAY CENTER, including the bath house, wading pool, diving pool, filter house, bleachers, brick perimeter walls, piers and cast iron fencing, stairways to bath house roof-top observation decks, comfort station, and connecting pathways, 19th Street between 22nd Drive and Hoyt Avenue North, Astoria Park, Borough of Queens. Constructed 1934-36; John M. Hatton and others, Architects; Aymar Embury II, Consulting Architect; Gilmore D. Clarke and others, Landscape Architects. Landmark Site: Tax Map Block 898, Lot 1 in part, and portions of the adjacent public way, consisting of the property bounded by a line extending northerly from a point defined by the intersection of the western curbline or 19th Street and the northern curbline of Hoyt Avenue North (where it extends westerly to form the vehicular entrance to the Astoria Park parking lot), along the western curbline of 19th Street to a line extending easterly from the line of the southernmost wall of the Hellgate Bridge anchorage, continuing westerly along that line and the line of the southernmost wall of the Hellgate Bridge anchorage to the U.S. Pierhead and Bulkhead Line, then southerly along the U.S. Pierhead and Bulkhead Line to a line extending westerly from the line of the northernmost wall of the Triborough Bridge anchorage, then easterly along that line to the western concrete curb of the concrete and asphalt Astoria Park parking lot, continuing northeasterly, then southeasterly around the curvature of the concrete curb to the point of the beginning. -
Lewis Mumford – Sidewalk Critic
SIDEWALK CRITIC SIDEWALK CRITIC LEWIS MUMFORD’S WRITINGS ON NEW YORK EDITED BY Robert Wojtowicz PRINCETON ARCHITECTURAL PRESS • NEW YORK Published by Library of Congress Princeton Architectural Press Cataloging-in-Publication Data 37 East 7th Street Mumford, Lewis, 1895‒1990 New York, New York 10003 Sidewalk critic : Lewis Mumford’s 212.995.9620 writings on New York / Robert Wojtowicz, editor. For a free catalog of books, p. cm. call 1.800.722.6657. A selection of essays from the New Visit our web site at www.papress.com. Yorker, published between 1931 and 1940. ©1998 Princeton Architectural Press Includes bibliographical references All rights reserved and index. Printed and bound in the United States ISBN 1-56898-133-3 (alk. paper) 02 01 00 99 98 5 4 3 2 1 First edition 1. Architecture—New York (State) —New York. 2. Architecture, Modern “The Sky Line” is a trademark of the —20th century—New York (State)— New Yorker. New York. 3. New York (N.Y.)— Buildings, structures, etc. I. Wojtowicz, No part of this book my be used or repro- Robert. II. Title. duced in any manner without written NA735.N5M79 1998 permission from the publisher, except in 720’.9747’1—dc21 98-18843 the context of reviews. CIP Editing and design: Endsheets: Midtown Manhattan, Clare Jacobson 1937‒38. Photo by Alexander Alland. Copy editing and indexing: Frontispiece: Portrait of Lewis Mumford Andrew Rubenfeld by George Platt Lynes. Courtesy Estate of George Platt Lynes. Special thanks to: Eugenia Bell, Jane Photograph of the Museum of Modern Garvie, Caroline Green, Dieter Janssen, Art courtesy of the Museum of Modern Therese Kelly, Mark Lamster, Anne Art, New York. -
Orchard Beach Bathhouse and Promenade
Landmarks Preservation Commission June 20, 2006, Designation List 377 LP-2197 ORCHARD BEACH BATHHOUSE AND PROMENADE, including the upper and lower bathhouse terraces, upper terrace benches and ticket booths, stairways and flanking walls, lighting fixtures, flagpole, railings, paving, seating areas, trees, and comfort stations; Pelham Bay Park, Borough of the Bronx. Constructed 1934-37; Aymar Embury II, Consulting Architect; Gilmore D. Clarke and Michael Rapuano, Consulting Landscape Architects. Landmark Site: The portion of Borough of the Bronx Tax Map Block 5650, Lot 1 in part, incorporating the Orchard Beach Bathhouse and Promenade which is bounded by a line beginning at the point that is at the southern end of the eastern edge of the promenade, extending northwesterly, northerly, and northeasterly along the curved eastern edge of the promenade (including all stairs) at its juncture with the beach, extending northerly along the northeastern polygonal end of the promenade to the point at which the beach ends, southwesterly and southerly along a curved line that is fifteen feet northwesterly and westerly from the northern and western paved edge of the promenade (and incorporating the outer perimeter of the comfort stations), westerly and southerly along the northern and western edges of the paved curving paths located north and northwest of the bathhouse, southerly along a line that is a southerly continuation of the western edge of the path on the (north)east side of the bathhouse (adjacent to and west of the stairs leading to the bathhouse upper terrace) to the path south of the stairs and (south)east of the bathhouse, southerly and easterly along the western and southern edges of the paved curving paths located southwest and south of the bathhouse, southeasterly along a curved line that is fifteen feet southwesterly from the southwestern paved edge of the promenade (and incorporating the outer perimeter of the comfort stations), and northerly along the southeastern polygonal end of the promenade, to the point of beginning. -
Prints Collection
Prints Collection: An Inventory of the Collection at the Harry Ransom Humanities Research Center Descriptive Summary Creator: Prints Collection Title: Prints Collection Dates: 1669-1906 (bulk 1775-1825) Extent: 54 document boxes, 7 oversize boxes (33.38 linear feet) Abstract: The collection consists of ca. 8,000 prints, the great majority of which depict British and American theatrical performers in character or in personal portraits. RLIN Record #: TXRC02-A1 Language: English. Access Open for research Administrative Information Provenance The Prints Collection was assembled by Theater Arts staff, primarily from the Messmore Kendall Collection which was acquired in 1958. Other sources were the Robert Downing and Albert Davis collections. Processed by Helen Baer and Antonio Alfau, 2000 Repository: Harry Ransom Humanities Research Center, University of Texas at Austin Prints Collection Scope and Contents The Prints Collection, 1669-1906 (bulk 1775-1825), consists of ca. 8,000 prints, the great majority of which depict British and American theatrical performers in character or in personal portraits. The collection is organized in three series: I. Individuals, 1669-1906 (58.25 boxes), II. Theatrical Prints, 1720-1891 (1.75 boxes), and III. Works of Art and Miscellany, 1827-82 (1 box), each arranged alphabetically by name or subject. The prints found in this collection were made by numerous processes and include lithographs, woodcuts, etchings, mezzotints, process prints, and line blocks; a small number of prints are hand-tinted. A number of the prints were cut out from books and periodicals such as The Illustrated London News, The Universal Magazine, La belle assemblée, Bell's British Theatre, and The Theatrical Inquisitor; others comprised sets of plates of dramatic figures such as those published by John Tallis and George Gebbie, or by the toy theater publishers Orlando Hodgson and William West. -
Information to Users
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely afreet reproduction. In the unlikely event that the author didsend notUMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note wül indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the origmal manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Infonnation Company 300 Horth Zeeb Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 THOMAS KING AT SADLER'S WELLS AND DRURY LANE: PROPRIETORSHIP AND MANAGEMENT IN LATE EIGHTEENTH-CENTURY ENGLISH THEATRE, 1772-1788 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Evan M. -
Do Bad Things Happen When Works Enter the Public Domain?: Empirical Tests of Copyright Term Extension (With P
Chicago-Kent College of Law Scholarly Commons @ IIT Chicago-Kent College of Law All Faculty Scholarship Faculty Scholarship January 2012 Do Bad Things Happen When Works Enter the Public Domain?: Empirical Tests of Copyright Term Extension (with P. Heald) Christopher J. Buccafusco IIT Chicago-Kent College of Law, [email protected] Follow this and additional works at: https://scholarship.kentlaw.iit.edu/fac_schol Part of the Evidence Commons, and the Intellectual Property Law Commons Recommended Citation Christopher J. Buccafusco, Do Bad Things Happen When Works Enter the Public Domain?: Empirical Tests of Copyright Term Extension (with P. Heald), 28 Berkeley Tech. L.J. 1 (2012). Available at: https://scholarship.kentlaw.iit.edu/fac_schol/148 This Article is brought to you for free and open access by the Faculty Scholarship at Scholarly Commons @ IIT Chicago-Kent College of Law. It has been accepted for inclusion in All Faculty Scholarship by an authorized administrator of Scholarly Commons @ IIT Chicago-Kent College of Law. For more information, please contact [email protected], [email protected]. DO BAD THINGS HAPPEN WHEN WORKS ENTER THE PUBLIC DOMAIN?: EMPIRICAL TESTS OF COPYRIGHT TERM EXTENSION Christopher Buccafusco. & Paul J. Heald ABSTRACT According to the current copyright statute, in 2018, copyrighted works of music, film, and literature will begin to transition into the public domain. While this will prove a boon for users and creators, it could be disastrous for the owners of these valuable copyrights. Accordingly, the next few years will witness another round of aggressive lobbying by the film, music, and publishing industries to extend the terms of already-existing works. -
No Play Title 651 102 94 a Bold Stroke for a Husband MISSING 77
No Play Title 651 102 94 A Bold Stroke for a Husband MISSING 77 A Bold Stroke for a Wife 889 A Cabinet Question 722 A Christmas Carol 709 A Close Seige 603 A Cure for Love MISSING 260 A Cure for the Heartache 415 A Day After the Fair 776 A Day at the Inn 425 A Day in Paris MISSING 531 A Day Well Spent 808 A Dead Shot 359 A Dream of the Future 981 A Familiar Friend 545 A Gentleman in Difficulties 403 A Good Night's Rest 989 A Good-looking Fellow MISSING 887 A Handsome Husband MISSING 887 A Hasty Conclusion MISSING 576 A House Divided MISSING 850 A Husband At Sight MISSING 852 A Kiss in the Dark 425 A Lady and a Gentleman 373 A Legend of Florence 809 A Lesson For Ladies MISSING 735 A Maiden’s Flame 488 A Marriage Noose 852 A Match in the Dark 459 A Message from the Sea 736 A Mistaken Story 1008 A Model of a Wife 7 A New Way to Pay Old Bet 623 A Night in the Bastille 878 A Perculiar Position 873 A Pleasant Neighbour MISSING 437 A Poor Young Man 946 A Quarter to Nine 987 A Quiet Day 337 A Roland for an Oliver 1010 A Romantic Idea 1006 A Rough Diamond 919 A Sailor's Legacy MISSING 716 A School for Grown Children 1055 A Sheep in Wolf’s Clothing 919 A Soldier and a Sailor, A Tinker and a Tailor MISSING 343 A Soldier's Courtship 881 A Trip to Kissengen 68 A Trip to Scarborough 1025 A Vision of Venus 33 A Winter's Tale MISSING 880 A Woman Never Vexed MISSING 490 A Woman Will Be a Woman MISSING 1038 A Wonderful Woman 814 Abelard and Heloise 543 Abroad and At Home MISSING 590 Advice Gratis 805 Agnes De Vere MISSING 778 Aldgate Pump MISSING 83 Alexander -
A Thesis the University of Manitoba in Partial Fulfillment for the Degree
ALCHEMIST OF THE THEATRE: STUDY OF SHER]DAN ' S DRAMATIC ART A thesis Presented to the Faculty of Graduate Studies The University of Manitoba In Partial Fulfillment of the Requirements for the Degree Master of Arts by Anne E. Boeckx February L97I .ånne E. Boecks 1972 ABSTRACT The purpose of this study is to explore Sheridan's dramatíc art as ít develops in his minor plays--St. Patrick's Day, The Duenna and å Trip to scarborough--and particularly his comic masterpieces--The Rivals and The School for Scandal. To the Restoration and sentimental modes of comedy, the plays owe many of their themes and Sheridan much of his inspiration and craftsmanship as a comic dramatist. Sheridan, hovtrever, is no mere imitator who mechanically adheres to ej-ther tradi- tion. Rather, to his blending of the Restoration and senti- mental comic modes, he adds his own distinctive comic ingredients. Thus, his Restoration and sentimental models are transformed into a ne\^/ comic mode. This study, then, shows how Sheridan effects a blending of his two inherited traditions. Even more import- antly, it indicates Sheridanrs own artistry and his skill as a transformer, or alchemíst, of comic modes. In Chapter One, a brief summary of the Restoration and sentj-mental modes establishes the nature of Sheridan's basic comic models. Chapter Two, which deals with the minor plays, points to Sheridan's attempt to transform the two traditions into a new comic mode. The third chapter is devoted to a detailed discussion of The Riva]s, one of Sheridanrs more successful efforts as a transformer of comic traditíons.