The Gauntlet is a 1977 American action thriller film directed by Clint Eastwood, starring Eastwood and Sondra Locke. The film's supporting cast includes Pat Hingle, William Prince, Bill McKinney, Mara Corday. Eastwood plays a down-and-out cop who falls in love with a prostitute whom he is assigned to escort from Las Vegas to Phoenix in order for her to testify against the mob. Ben Shockley, an alcoholic cop from Phoenix, is given the task to escort witness Augustina "Gus" Mally from Las Vegas, his superior, Commissioner E. A. Blakelock, says she is a "nothing witness" for a "nothing trial." Mally protests. Mally reveals herself to be a belligerent prostitute with mob ties and is in possession of incriminating information concerning a high figure in society, her suspicions are confirmed when the transport vehicle is bombed and Mally's house is fired upon. Shockley and Mally are pursued across the open country with no official assistance and with the police force regarding them as fugitives, they kidnap a local constable, who they let go, as Mally knows there'll be another hit.
The constable dies at the hands of several men armed with machine guns. They run into a gang of bikers whom Shockley threatens with his revolver confiscates one of their motorcycles and takes off on it with Mally, it is revealed that Shockley's boss, Commissioner Blakelock, wants both of them dead, because Mally knows about Blakelock's secret life. Assistant District Attorney Feyderspiel is involved with the plot to kill Mally. Both of them are blamed for the death of the constable; the two ride into a town where Shockley and Mally are ambushed by a helicopter filled with cops sent by Blakelock who pursues the two onto the open road, firing at them from above. During the high-speed pursuit, the helicopter explodes; the two ditch the damaged motorcycle and hop on a train on which, the same two bikers whose machine they had "borrowed" are riding. The bikers attack and assault attempt to rape Mally; the wounded Shockley grabs hold of his gun and subdues the bikers, knocking them and their girlfriend off the train.
Shockley and Mally both realize that going back to Phoenix will be suicide, but it's the only way to prove their innocence. The two outfit it with a crude set of armor made from scrap steel, they are about to enter Phoenix when Maynard Josephson, an old friend of Shockley's, warns the two of a gauntlet of armed police officers that Blakelock has set up to "welcome" them. Josephson convinces Shockley to turn himself in to Feyderspiel whom he thinks is an honest broker; as the pair follow Josephson out of the bus, Josephson is shot dead from a nearby building, Shockley is hit in the leg. With no other option, the two enter the town; the bus is shot at as it runs the titular "gauntlet" of hundreds of armed officers lining both sides of the road, until it reaches the steps of City Hall immobilized. The two emerge from the riddled bus and surrender, but Shockley uses Feyderspiel as a shield, in order to have him confess that Blakelock is corrupt; the enraged Blakelock shoots at both Shockley and Feyderspiel, wounding the former and killing the latter.
Blakelock is in return shot dead by Mally. Realizing Blakelock's crime and having witnessed his wanton killing of Feyderspiel, the rest of the assembled officers do nothing to stop the pair as Shockley and Mally walk away safely from the gauntlet. Written by Dennis Shryack and Michal Butler, the film was set to star Marlon Brando and Barbra Streisand. However, differences between McQueen and Streisand led to their joint departure in favor of Eastwood and Locke. There was some pre-production discussion of transforming the Ben Shockley role into a down and out Dirty Harry portrayal The Gauntlet was filmed in Phoenix and Las Vegas, Nevada, as well as in nearby deserts in both states. For the house scene, it was built at a cost of $250,000 and included 7,000 drilled holes that would include explosive squibs for its demolition; the helicopter chase scene included a helicopter, built without an engine for the crash sequence. To simulate the gunshots from the gauntlet of officers at the end of the film, the bus was blasted with 8,000 squibs.
From the total budget of $5.5 million, $1 million was spent on the various action sequences. Frank Frazetta painted the super-stylized promotional billboard poster for the film; the poster features a "muscled colossus Eastwood, brandishing a pistol, scantily clad Locke, her clothes teasingly shredded, clinging onto her hero". The Gauntlet grossed $35.4 million at the box office, making it the 14th highest-grossing film of 1977. Although a hit with the public, the critics were mixed about the film. Roger Ebert gave the film three stars out of four and called it "classic Clint Eastwood: fast and funny, it tells a cheerfully preposterous story with great energy and a lot of style, nobody seems more at home in this sort of action movie than Eastwood." Vincent Canby of The New York Times called it "a movie without a single thought in its head, but its action sequences are so ferociously staged that it's impossible not to pay attention most of the time." Arthur D. Murphy of Variety wrote, "At the least, Eastwood periodically tries something different, if the price of, a run of formula programmers, let it be."
Gene Siskel of the Chicago Tribune gave the film one-and-a-half stars out of four and stated, "This is a stupid movie. It's all meant to be in good fun, and true, the script does have the dialog of a comic book. But there is not one bit of wit in the film
Furrina spelled Furina, was an ancient Roman goddess whose function had become obscure by the 1st century BC. Her cult dated to the earliest period of Roman religious history, since she was one of the fifteen deities who had their own flamen, the Furrinalis, one of the flamines minores. There is some evidence. According to Varro and Georges Dumézil Furrina was a goddess of springs, her name would be related to the Indo-European root *bhr-u-n, Sanskrite bhurvan, indicating the moving or bubbling of water, cognate to Gothic brunna, Latin fervēre, from *fruur > furr by metathesis of the vowel, meaning to bubble or boil. Compare English "fervent", "effervescent" and Latin defruutum; the goddess had a sacred spring and a shrine in Rome, located on the southwestern slopes of Mount Janiculum, on the right bank of the Tiber. The site has survived to the present day in the form of a grove, included within the gardens of Villa Sciarra. Excavations on the site conducted in 1910 identified a well and a system of underground channels, as well as some inscriptions dedicated to Jupiter Heliopolitanus and the nymphae furrinae.
However these findings look to be of a date and the well is not the original spring. Gaius Gracchus was killed in the Grove of Furrina. According to Cicero another sanctuary dedicated to the cult of Furrina was located near Satricum; this place was not the most known one but a hamlet near Arpinum. Furrina's festival was the Furrinalia, held on July 25. On the Roman calendar, festivals separated by an interval of three days were interconnected and belonged to the same function. In the second half of July, the two Lucaria occur on the 19th and 17th, with the Neptunalia on the 23rd and the Furrinalia on the 25th; this grouping is devoted to woods and running waters, which are intended as a shelter and a relief from the heat of the season, the canicula. According to Martianus Capella, Furrina is a low ranking deity who has her seat just above the mountain peaks. Altheim, Franz. A History of Roman Religion. Harold Mattingly, trans. London: Metheun. Dowden, Ken. European Paganism: The Realities of Cult from Antiquity to the Middle Ages.
John IV of Egmont was second Count of Egmont, Lord of Hoogwoud and Baer, tenth Lord of Purmerend and Ilpendam. John was the eldest surviving son of John III of Magdalena van Werdenburg. In 1516 he succeeded his father as Count of Egmont and was made a Knight in the Order of the Golden Fleece. Charles V, Holy Roman Emperor made him in 1527 head of the light infantry in Milan. One year John died near Ferrara, aged 29. John married in 1516 in Brussels with Françoise of daughter of James II of Luxembourg, they had three children: Margaretha, married Nicolas, Duke of Mercœur and mother of Louise of Lorraine, Queen consort of France. Karel, third count of Egmont Lamoraal, fourth Count of Egmont
Frances Ridley Havergal was an English religious poet and hymnwriter. Take My Life and Let it Be and Thy Life for Me are two of her best known hymns, she wrote hymn melodies, religious tracts, works for children. She did not occupy, did not claim for herself, a prominent place as a poet, but by her distinct individuality, she carved out a niche which she alone could fill. Frances Ridley Havergal was born into an Anglican family, at Astley in Worcestershire, 14 December 1836, her father, William Henry Havergal, was a clergyman, writer and hymnwriter. Her brother, Henry East Havergal, was a priest in the Church of an organist; when she was five, her father removed to the Rectory of St. Nicholas, Worcester. In August, 1850, she entered Mrs. Teed's school. In the following year she says, "I committed my soul to the Saviour, earth and heaven seemed brighter from that moment." A short sojourn in Germany followed. In 1852/3, she studied in the Louisenschule, Düsseldorf, at Oberkassel. Havergal's scholastic acquirements were extensive, embracing several modern languages, together with Greek and Hebrew.
On her return to England, she was confirmed in Worcester Cathedral, 17 July 1853. In 1860, she left Worcester upon her father resigning the Rectory of St. Nicholas, resided at different periods in Leamington, at Caswell Bay, broken by visits to Switzerland and North Wales, it was during this time—1873—that she read J. T. Renford's little booklet All For Jesus, which "lifted her whole life into sunshine, of which all she had experienced was but as pale and passing April gleams, compared with the fullness of summer glory." She led a quiet life. She supported the Church Missionary Society. Havergal's hymns were printed by J. & R. Parlane as leaflets, in Caswall & Co. as ornamental cards. They were gathered together from time to time and published in her works as follows:— Ministry of Song, 1869. About fifteen of the more important of Havergal's hymns, including “Golden harps are sounding,” “I gave my life for thee," “Jesus, Whose I am,” “Lord, speak to me,” “O Master, at Thy feet,” “Take my life and let it be,” “Tell it out among the heathen," &c. are annotated under their respective first lines.
The rest, which are in collections, number nearly fifty. These are noted here, together with dates and places of composition, from the Havergal manuscripts and the works in which they were published; those which were printed in Parlane's Series of Leaflets are distinguished as and those in Caswall's series. Most of these hymns are given in Snepp's Songs of Grace and Glory, 1872 and 1876, his †. 1874, the Musical ed. 1880, many of them are in several other hymn-books, including H. A. & M. Thring, Church Hys. Hy. Comp. &c. and some of the leading American collections. Havergal died of peritonitis near Caswell Bay on the Gower Peninsula in Wales at age 42, she is buried in the far western corner of the churchyard at St Peter's parish church, together with her father and near her sister, Maria Vernon Graham Havergal. Her sisters saw much of her work published posthumously. Havergal College, a private girls' school in Toronto, is named after her; the composer Havergal Brian adopted the name as a tribute to the Havergal family.
Her hymns praised the love of God, His way of salvation to this end, for this object, her whole life and all her powers were consecrated. She spoke in every line of her poetry, her religious views and theological bias were distinctly set forth in her poems, may be described as mildly Calvinistic, without the severe dogmatic tenet of reprobation. The burden of her writings was a free and full salvation, through the Redeemer's merits, for every sinner who will receive it, her life was devoted to the proclamation of this truth by personal labours, literary efforts, earnest interest in Foreign Missions. English women hymnwriters This article incorporates text from a publication now in the public domain: Julian, John. A Dictionary of Hymnology: Setting Forth the Origin and History of Christian Hymns of All Ages and Nations, with Special Reference to Those Contained in the Hymn Books of English-speaking Countries and Now in Common Use.. Murray. Frances Ridley Havergal Janet Grierson, The Havergal Society, Worcester 1979 ISBN 0-9506544-0-X Frances Ridley Havergal's Last Week Maria Vernon Graham Havergal Memorials of Frances Ridley Havergal, by her Sister M. V. G. Havergal, including an autobiography Florence Nightingale, Frances Ridley Havergal, Catherine Marsh, Mrs Ranyard Lizzie Alldridge Frances Ridley Havergal: a full sketch of her life, Edward Davies Women who have worked and won: the life-story of Mrs. Spurgeon, Mrs. Booth-Tucker, F.
R. Havergal, Pandita Ramabai Jennie Chappell In Trouble and in Joy: Four Women Who Lived for God, Sharon James, ISBN 0-85234-584-4. Biographies of Margaret Baxter, Sarah Edwards, Anne Steele and Frances Ridley Havergal Francis Ridley Havergal - Opened Treasures: 366 Choice Meditations - Loizeaux Bros, New York, 1979 Waite, Yvonne S. Take My Life: a Portrait of Frances Havergal. Collingswood, N. J.: The Bible for Today. 25 p. N. B.: Transcript of a bio-dramatic text, for public recitation, about the life, religious piety, accomplishments of this lady hymnist. The Havergal Trust – The pu
Michael Haydn's Symphony No. 38 in F major, Perger 30, Sherman 38, MH 477, written in Salzburg in 1788, is the next to last F major symphony he wrote, the fifth of his final set of six symphonies. The symphony is scored for 2 bassoons, 2 horns and strings. Sherman's edition of the score has "Cembalo" written in square brackets, suggesting continuo is optional in this work, despite his often-repeated statement that Haydn considered continuo essential in the most instrumented works; this work is in three movements: Allegro molto Andantino, in C major ScherzandoUnlike the other symphonies in the final set of six, this one starts out piano and states its theme forte, whereas the others first state it forte and piano. Despite its using horns in F, which became standard, the parts are still limited to few notes in addition to F and C. However, in the recapitulation of the first movement, the first horn doubles the first violins an octave lower on the first theme. In the slow movement, the celli, instead of doubling the bassoons and basses on the bass line, double the first violins an octave lower and are written in tenor clef.
Completed on February 10, the autograph score was bequeathed by Prince Esterházy to Hungary's national library in Budapest. Charles Sherman based his edition for Ludwig Doblinger "on a set of performance parts, bearing corrections in the composer's hand," from "the music collection of the Benedictine Archabbey of St. Peter in Salzburg." Like the other symphonies of the 1788 set of six, this one is in the CPO disc with Johannes Goritzki conducting the New German Chamber Academy. A. Delarte, "A Quick Overview Of The Instrumental Music Of Michael Haydn" Bob's Poetry Magazine November 2006: 31 PDF Charles H. Sherman and T. Donley Thomas, Johann Michael Haydn, a chronological thematic catalogue of his works. Stuyvesant, New York: Pendragon Press C. Sherman, "Johann Michael Haydn" in The Symphony: Salzburg, Part 2 London: Garland Publishing: lxix
Lucy Sherrard Atkinson was an English explorer and author who travelled throughout Central Asia and Siberia during the mid-19th century. Born Lucy Sherrard Finley on 15 April 1817 in Sunderland, Co. Durham, the fourth child and eldest daughter among the ten children of Matthew Smith Finley, an East London schoolmaster and his wife, Mary Ann, daughter of William York, perfumer. At the end of the 1830s she went to Russia, where for eight years she lived in St Petersburg as governess to the daughter of General Mikhail Nikolaevich Muravyev-Vilensky. In 1846 she met Thomas Witlam Atkinson. Between 1848 and 1853 she accompanied her husband on his travels through Siberia, south to the Kazakh steppes and eastwards as far as Irkutsk and the Chinese border, before they returned to Britain in 1858. In his memoirs Sir Francis Galton records that on their return they were much visited by the Russian nobility at their cottage in Old Brompton Road. Soon after leaving Moscow at the beginning of her travels Lucy became pregnant, in November 1848, at the small Russian military outpost of Kapal in what is now eastern Kazakhstan, she gave birth to a son whom she and Thomas named Alatau Tamchiboulac Atkinson.
His first name, came from the nearby Alatau Mountains and his second name Tamchiboulac came from a spring in Kapal famous for its healing properties. After resting for six months at Kapal, the family continued their travels, only returning to England in 1858, having journeyed for close to 40,000 miles in some of the most inhospitable landscapes in the world. On his return, Thomas wrote two books on their travels, neither of which mentioned his son; this was due to the fact. In 1863, two years after Thomas' death, Lucy published Recollections of Tartar Steppes and their Inhabitants and that year was granted a civil-list pension of £100, she received a further Civil List pension of £50 in 1870. Her book was one of the first works to concentrate on the people of the Eurasian Steppe rather than the flora and fauna, it is one of the earliest - and finest - genuine travel books written in English by a woman. Her book is arranged as a series of letters to a friend and shows Lucy to have been an indefatigable traveller, held in respect by local people, both for her equestrian skills and as a markswoman with pistol and rifle.
Her reference to the birth of her son Alatau, in the absence of a medical attendant, offers a further indication of her unusually independent capabilities. The book contains descriptions of meetings with exiled survivors of the 1825 Decembrist uprising scattered through Siberia, including M. I. Muravyev-Apostol, I. D. Yakushkin, P. I. Falenberg, the Volkonsky and Trubetskoy families, the Borisov brothers, the Bestuzhevs - which her husband could not include in his own books owing to the dedication of his second volume to Tsar Alexander II. Lucy's work is of importance to historians of the period. During the years she spent in the home of General Muravyev, Lucy knew several of the family and friends of the Decembrists in St Petersburg and Moscow, as well as prominent members of the Russian aristocracy. At the end of her book she wrote: "I now look back on all those scenes, repeat what we have said, that willingly would we face ten times more toil and difficulty rather than go down to mother earth without having beheld them".
At some point after the publication of her book Lucy returned to Russia. She came back to London, where she lived in Camden Road, Holloway. In 1881 Lucy was living in London in the home of Benjamin C. Robinson, Sergeant at Law, aged 68. Lucy is listed as a cousin to Benjamin, although in fact she was not related, she died of acute bronchitis at 45 Mecklenburgh Square, London, on 13 November 1893. Journalist Nick Fielding wrote the book South to the Great Steppe: The Travels of Thomas and Lucy Atkinson in Eastern Kazakhstan, 1847–1852, which described the expedition of the Atkinson family to the Steppe