click links in text for more info
SUMMARY / RELATED TOPICS

Robert Hodshon Cay

Robert Hodshon Cay FSSA LLD was Judge Admiral of Scotland overseeing naval trials. He was husband of the artist Elizabeth Liddell, father of John Cay FRSE and maternal grandfather of James Clerk Maxwell. Cay was born on 7 July 1758 at Charlton Hall in North Charlton in Northumberland, the son of Frances Hodshon of Lintz and John Cay DL JP. In 1776 he is recorded as winning a gold medal for horsemanship at the Edinburgh Riding School, he studied law at the University of Glasgow graduating in 1778, was admitted to the Scottish Bar in 1780. By 1800 he had risen to be the principal judge in the High Court of the Admiralty in Scotland. In 1788 he was created a Commissary of Edinburgh. In 1793 he moved to 1 George Street, occupying the upper two levels of a large Georgian tenement on the corner of St Andrew Square in Edinburgh's New Town; the house is now demolished. He can be presumed to have worshipped there, he is known to have been a friend of Rev Daniel Sandford. He was a member of the Scottish Society of Antiquaries.

The University of Edinburgh awarded him an honorary doctorate in 1803. In this year he moved to 11 Heriot Row, a new house), he died at home, 11 Heriot Row in Edinburgh on 31 March 1810. He is buried in Restalrig Churchyard in eastern Edinburgh; the grave lies just north with his father. His principal estate remainder Charlton Hall in Northumberland which he had inherited from his father. Cay was painted by Sir Henry Raeburn; this portrait is now with the Museum of Fine Arts in Texas. A copy of this by Isabella Cay hangs in the James Clerk Maxwell Foundation museum. On 26 September 1789 he married amateur pastellist Elizabeth Liddell, daughter of John Liddell of Tynemouth, their children were: John Cay Frances Hodshon Cay Jane Cay Robert Dundas Cay Albert Cay Robert Elizabeth George buried in Restalrig

The Empyrean

The Empyrean is the eighth solo album by John Frusciante, released worldwide on January 20, 2009 through Record Collection. Frusciante did not plan on a following tour, as he instead wanted to focus on recording; the Empyrean peaked at number 151 on the US Billboard 200 as well as number seven on the Top Heatseekers. On release it made number 105 on the UK Albums Chart. Frusciante asserts that the record "was recorded on and off between December 2006 and March 2008," and is a concept album that tells "a single story both musically and lyrically." The Empyrean contains a version of Tim Buckley's "Song to the Siren", from his 1970 album Starsailor. The record features an array of collaborators and guest musicians, including Frusciante's former bandmate Flea, friends Josh Klinghoffer and former The Smiths guitarist Johnny Marr. Due to an error at the duplication plant, the United States CD release date was delayed until January 27. On June 2, 2010, a new bonus track, Air, was added to the album available at John's website.

On December 11, 2012, Record Collection re-issued various John Frusciante albums released from 2004 to 2009, including The Empyrean. These re-issued albums are available on 180 gram limited edition vinyl; each LP comes with a download card for your choice of MP3 or WAV file. The Empyrean was one of the most sought after John Frusciante LPs from the 2012 catalog reissue. According to John Frusciante's official website, the pre-order of the limited edition vinyl was sold out as of November 24, 2012. Additional stock of recording would be available in 2013. A ten-year anniversary reissue, recut by John Frusciante and Bernie Grundman from the original analog tapes, was released on March 29, 2019; the reissue is a double disc LP that includes a download card of the album plus bonus tracks in hi-resolution. A song, written during The Empyrean sessions, "Scratch", was released as a free download on February 18, 2014 as an introductory track to the full-length record Enclosure released April 8, 2014. At Metacritic, which assigns a weighted mean rating out of 100 to reviews from mainstream critics, the album received an average score of 69, based on 8 reviews, which indicates "generally favorable reviews."

Physically, the artwork is a photograph of prints arranged to form a collage. The upper left region of the image contains various references to the natural world, such as the multiple images of green leaved trees and several superimposed images of mountains. Considering John's philosophy on life, it is plausible to draw that this arrangement is a reference to the Tree of life. In the lower left corner, the presence of tree roots and semi-transparent fallen leaves reinforces the idea of the Tree of life. Josh Klinghoffer, John's personal friend is pictured laying next to a skull, connected to the angelic figure of John; this is a reference to death and rebirth, confirmed through John's blog posts. The two figures are connected through means of a string. Considering the religious themes of the album, it is plausible to draw the conclusion that this is a reference to God and Jesus; however John's figure could be interpreted as being Dante's Satan due to the similarity between the multiple pairs of wings and heads.

The helical staircase leading from the dead figure's resting place signifies rebirth and improvement until it reaches the highest point in heaven. The palace above the clouds is the representation; the album artwork is representative of the musical content of the album. This is reinforced through John's content in his blog posts. All tracks are written by John Frusciante. John Frusciante – lead vocals and rhythm guitar, acoustic guitar, piano, Bass VI on "Dark/Light" and "Central", drum machine, backing vocals Josh Klinghoffer – drums, electric piano, piano, backing vocals Flea – bass guitar on "Unreachable", "God", "Heaven", "Enough of Me", "Today", "Ah Yom" Johnny Marr – electric guitar on "Enough of Me", electric and acoustic guitar on "Central" Donald Taylor and the New Dimension Singers – backing vocals on "Dark/Light" Lawrence Young – backing vocals on "Dark/Light" Sonus Quartet – strings Geoff Gallegof – string arrangement on "God" and "One More of Me" Neel Hammond – string arrangement on "Enough of me" Vanessa Freebairn-Smith – string arrangement on "Central"ProductionRyan Hewitt – recording engineer Adam Samuels – recording engineer Dave Lee – instrument tech Sarah Sitkin – cover art Anthony Zamora – production coordination

Patriarchate of Venice

The Patriarchate of Venice, sometimes called the Archdiocese of Venice, is an archdiocese of the Latin Rite of the Roman Catholic Church in Italy. The ordinary of the archdiocese is the Patriarch of Venice, traditionally created a cardinal in consistory by the Pope; the mother church of the archdiocese is the Basilica di San Marco in Venezia. As a metropolitan see, the Patriarch of Venice is the metropolitan of the Ecclesiastical Province of Venice, its suffragan dioceses include Adria-Rovigo, Belluno-Feltre, Concordia-Pordenone, Treviso, Verona and Vittorio Veneto. In 1451 the Patriarchate of Grado was merged with the Bishopric of Castello and Venice to form the Archdiocese of Venice. Cardinal Giovanni Alberto Badoer Piero Barbarigo Marco Gradenigo Francesco Antonio Correr, O. F. M. Cap. Aloysius Foscari Giovanni Bragadin Fridericus Maria Giovanelli Cardinal Ludovico Flangini Giovanelli Nicolò Saverio Gamboni Francesco Milesi Ján Ladislaus Pyrker, O. Cist. Appointed Archbishop of Eger Cardinal Giacomo Monico Pier Aurelio Mutti, O.

S. B. Angelo Ramazzotti Cardinal Giuseppe Luigi Trevisanato Cardinal Domenico Agostini Cardinal Giuseppe Melchiorre Sarto, elected Pope Cardinal Aristide Cavallari Cardinal Pietro La Fontaine Cardinal Adeodato Giovanni Piazza Carlo Agostini, died as Cardinal-designate Cardinal Angelo Giuseppe Roncalli, elected Pope Cardinal Giovanni Urbani Cardinal Albino Luciani, elected Pope Cardinal Marco Cé Cardinal Angelo Scola, appointed Archbishop of Milan Francesco Moraglia Eubel, Conradus. Hierarchia catholica, Tomus 1. Münster: Libreria Regensbergiana. CS1 maint: extra text: authors list Eubel, Conradus. Hierarchia catholica, Tomus 2. Münster: Libreria Regensbergiana. CS1 maint: extra text: authors list Eubel, Conradus. Hierarchia catholica, Tomus 3. Münster: Libreria Regensbergiana. CS1 maint: extra text: authors list Gams, Pius Bonifatius. Series episcoporum Ecclesiae catholicae: quotquot innotuerunt a beato Petro apostolo. Ratisbon: Typis et Sumptibus Georgii Josephi Manz. pp. 946-947. Gauchat, Patritius.

Hierarchia catholica IV. Münster: Libraria Regensbergiana. Retrieved 2016-07-06. Ritzler, Remigius. Hierarchia catholica medii et recentis aevi V. Patavii: Messagero di S. Antonio. Retrieved 2016-07-06. Ritzler, Remigius. Hierarchia catholica medii et recentis aevi VI. Patavii: Messagero di S. Antonio. Retrieved 2016-07-06. Ritzler, Remigius. Hierarchia Catholica medii et recentioris aevi sive summorum pontificum, S. R. E. cardinalium, ecclesiarum antistitum series... A pontificatu Pii PP. VII usque ad pontificatum Gregorii PP. XVI. Volume VII. Monasterii: Libr. Regensburgiana. Ritzler, Remigius. Hierarchia catholica Medii et recentioris aevi... A Pontificatu PII PP. IX usque ad Pontificatum Leonis PP. XIII. Volume VIII. Il Messaggero di S. Antonio. Pięta, Zenon. Hierarchia catholica medii et recentioris aevi... A pontificatu Pii PP. X usque ad pontificatum Benedictii PP. XV. Volume IX. Padua: Messagero di San Antonio. ISBN 978-88-250-1000-8. Cappelletti, Giuseppe. Storia della chiesa di Venezia dalla sua. Tomo primo. Venice.

Cappelletti, Giuseppe. Storia della chiesa di Venezia dalla sua. Tomo secondo. Venezia. Cappelletti, Giuseppe. Storia della chiesa di Venezia dalla sua. Volume Terzo. Venezia. Cappelletti, Giuseppe. Storia della chiesa di Venezia dalla sua. Tomo sesto. Venice. Cappelletti, Giuseppe. Le chiese d'Italia: dalla loro origine sino ai nostri giorni. Tomo IX. Venice: G. Antonelli. Lentz, Harris M. III. Popes and Cardinals of the 20th Century: A Biographical Dictionary. London: McFarland. ISBN 978-0-7864-4101-3. Orsoni, Alessandro. Serie cronologica dei cardinali veneziani tratta dalle memorie inedite. Venezia: Picotti. Piva, Vittorio. Il Patriarcato di Venezia e le sue origini. Venice: tip. San Marco. Piva, Vittorio. Il Patriarcato di Venezia e le sue origini: libro 2. Volume II. Venice: Tip S. Marco

Without Honor (1932 film)

Without Honor is a 1932 American Pre-Code film directed by William Nigh. The screenplay concerns a gambler who joins the Texas Rangers in hopes of finding the true perpetrators of the killings in which his brother is implicated. Harry Carey as Pete Marlan Mae Busch as Mary Ryan Gibson Gowland as Mike Donovan Mary Jane Irving as Bernice Donovan Ed Brady as Lopez Venero Jack Richardson as Steve Henderson Tom London as "Sholt" Fletcher Lafe McKee as Ranger Captain Frank Henderson Lee Sage as Jack Marlan, Texas Ranger Maston Williams as Jim Bowman, the gambler Without Honor on IMDb Without Honor is available for free download at the Internet Archive

London Philharmonic Orchestra

The London Philharmonic Orchestra is a British orchestra and one of five permanent symphony orchestras based in London. It was founded by the conductors Sir Thomas Beecham and Malcolm Sargent in 1932 as a rival to the existing London Symphony Orchestra and BBC Symphony Orchestra; the founders' ambition was to build an orchestra the equal of any American rival. Between 1932 and the Second World War the LPO was judged to have succeeded in this regard. After the outbreak of war, the orchestra's private backers withdrew and the players reconstituted the LPO as a self-governing cooperative. In the post-war years, the orchestra faced challenges from two new rivals. By the 1960s the LPO had regained its earlier standards, in 1964 it secured a valuable engagement to play in the Glyndebourne Festival opera house during the summer months. In 1993 it was appointed resident orchestra of the Royal Festival Hall on the south bank of the Thames, one of London's major concert venues. Since 1995 the residency has been jointly held with the Philharmonia.

In addition to its work at the Festival Hall and Glyndebourne, the LPO performs at the Congress Theatre and the Brighton Dome, tours nationally and internationally. Since Beecham, the orchestra has had ten principal conductors, including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Vladimir Jurowski; the orchestra has been active in recording studios since its earliest days, has played on hundreds of sets made by EMI, Decca and other companies. Since 2005 the LPO has had its own record label, issuing live recordings of concerts; the orchestra has played on numerous film soundtracks, including Lawrence of Arabia and the Lord of the Rings trilogy. In the 1920s the London Symphony Orchestra was the city's best-known concert and recording orchestra. Others were the Royal Albert Hall Orchestra, the orchestra of the Royal Philharmonic Society, the BBC's Wireless Symphony Orchestra and Sir Henry Wood's Queen's Hall Orchestra. All except the last of these were ad hoc ensembles, with little continuity of personnel, none approached the excellence of the best continental and American orchestras.

This became obvious in 1927 when the Berlin Philharmonic, under Wilhelm Furtwängler, gave two concerts at the Queen's Hall. The chief music critic of The Times commented, "the British public... was electrified when it heard the disciplined precision of the Berlin Philharmonic... This was how an orchestra could, therefore, ought to sound". After the Berliners, London heard a succession of major foreign orchestras, including the Amsterdam Royal Concertgebouw Orchestra under Willem Mengelberg and the Philharmonic-Symphony Orchestra of New York under Arturo Toscanini. Among those determined that London should have a permanent orchestra of similar excellence were Sir John Reith, director-general of the British Broadcasting Corporation, the conductor Sir Thomas Beecham. In 1928 they opened discussions about jointly setting up such an ensemble, but after 18 months of negotiations it became clear that the corporation and the conductor had irreconcilable priorities. Beecham demanded more personal control of the orchestra and repertoire than the BBC was willing to concede, his priorities were the opera house and the concert hall rather than the broadcasting studio.

The BBC went ahead without him, under its director of music, Adrian Boult, launched the BBC Symphony Orchestra in October 1930, to immense acclaim. In 1931 Beecham was approached by the rising young conductor Malcolm Sargent with a proposal to set up a permanent, salaried orchestra with a subsidy guaranteed by Sargent's patrons, the Courtauld family. Sargent and Beecham envisaged a reshuffled version of the LSO, but the orchestra, a self-governing body, balked at weeding out and replacing underperforming players. In 1932 Beecham agreed with Sargent to set up a new orchestra from scratch; the BBC having attracted a large number of the finest musicians from other orchestras, many in the musical world doubted that Beecham could find enough good players. He was fortunate in the timing of the enterprise: the depressed economy had reduced the number of freelance dates available to orchestral players. Moreover, Beecham himself was a strong attraction to many musicians: he commented, "I always get the players.

Among other considerations, they are so good they refuse to play under anybody but me." In a study of the foundation of the LPO, David Patmore writes, "The combination of steady work higher than usual rates, variety of performance and Beecham's own magnetic personality would make such an offering irresistible to many orchestral musicians."Beecham and Sargent had financial backing from leading figures in commerce, including Samuel Courtauld, Robert Mayer and Baron Frédéric d'Erlanger, secured profitable contracts to record for Columbia and play for the Royal Philharmonic Society, the Royal Choral Society, the Courtauld-Sargent Concerts, Mayer's concerts for children, the international opera season at Covent Garden. During his earlier negotiations with the BBC Beecham had proposed the title "London Philharmonic Orchestra", now adopted for the new ensemble. With the aid of the impresario Harold Holt and other influential and informed contacts he recruited 106 players, they included a few young musicians straight from music college, many established players from provincial orchestras, 17 of the LSO's leading members.

During the early years, the orchestra was led by Paul Beard and David McCallum, included leading player