Edward Anthony Jenner

Edward Anthony Jenner (May 17, 1749 – January 26, 1823), was born at Berkeley, Gloucestershire, England. He studied surgery under John Hunter, the comparative anatomist, at London, and began practice in his native town. Jenner was the pioneer of the smallpox vaccine. He is often called "the father of immunology", and his work is said to have "saved more lives than the work of any other man"

Being a descendant of an ancient and distinguished family, he was able to avail himself of the benefits of a classical education, and early developing a love for scientific pursuits, was placed as an "apprentice" to a surgeon at Sodbury, near Bristol. Here his attention was first arrested by the report current among the milkmaids in the dairy district, of Gloucestershire, that milkers who had been infected with cow-pox were ever afterward insusceptible to small-pox. The rumor, though popular, was considered vulgar and trifling, and no one save he, who was afterward destined to become one of the greatest "benefactors of his kind" and "beauty's truest, trustiest friend," thought it worthy of patient investigation. The rumor was first brought to his attention in a casual way by an observation of a dairy girl, who applied to his "master" for professional advice, and, in response to a question concerning small-pox, then raging within the district, replied, "I can't take that disease, for I have had cowpox."

About 1796 he was told that milkmaids who had caught the cowpox were immune from the small-pox, and at once began experimenting on the subject. In 1798 in his "Inquiry" he made his vaccination theory public. This at once excited the greatest interest and vaccination spread rapidly. In 1801 10,000 persons were vaccinated in England. A great discussion arose over the utility and healthfulness of vaccination, but the theory and practice have on the whole much more than held their ground. The general effect has certainly been to decrease the malignity and spread of the disease. In Chemnitz, France, 1870-1871, an epidemic swept through the town. Of the population 53,891 had been vaccinated, 5,712 had not been. Of the vaccinated 953 caught the disease and 73 of these died; of the unvaccinated 2,643 had the disease and 916 died.

IMAGE CREDIT: The life of Edward Jenner ...: with illustrations of his doctrines, and selections from his correspondence, Volume 1 The Life of Edward Jenner ...: With Illustrations of His Doctrines, and Selections from His Correspondence, John Baron. Author: John Baron. Publisher: H. Colburn, 1838. Subjects: Physicians.

TEXT CREDIT:

• The ideas that have influenced civilization, in the original documents, Volume 8. The Ideas that Have Influenced Civilization, in the Original Documents, Oliver Joseph Thatcher. Editor: Oliver Joseph Thatcher. Publisher: The Roberts-Manchester publishing co., 1902. Original from: the University of California. Digitized: Aug 18, 2009
• Dr. Edward Jenner's discovery of vaccination, Author: E. L. B. Godfrey. Publisher: Hoeflich & Senseman, 1881. Original from: Northwestern University. Digitized: Dec 20, 2010, Length: 16 pages. Subjects: Biography & Autobiography › Medical, Biography & Autobiography / Medical

The Academy Award® aka Oscar®

An Academy Award is an award bestowed by the American Academy of Motion Picture Arts and Sciences (AMPAS) to recognize excellence of professionals in the film industry, including directors, actors, and writers. The Oscar statuette is officially named the Academy Award of Merit and is one of nine types of Academy Awards. The formal ceremony at which the Awards of Merit are presented is one of the most prominent award ceremonies in the world, and is televised live in more than 100 countries annually, however the first broadcast was not televised. It is also the oldest award ceremony in the media; its equivalents, the Grammy Awards (for music), Emmy Awards (for television), and Tony Awards (for theatre) are modeled after the Academy.

The AMPAS was originally conceived by Metro-Goldwyn-Mayer studio boss Louis B. Mayer as a professional honorary organization to help improve the film industry’s image and help mediate labor disputes. The Oscar itself was later initiated by the Academy as an award "of merit for distinctive achievement" in the industry.

The first Academy Awards ceremony was held on May 16, 1929, at the Hotel Roosevelt in Hollywood to honor outstanding film achievements of the 1927/1928 film season. The most recent ceremony, honoring films in 2010, was held at Hollywood's Kodak Theatre on February 27, 2011. The 84th Academy Awards, honoring films in 2011, will be held at the Kodak Theatre on February 26, 2012.

Design

Although there are seven other types of annual awards presented by the Academy (the Irving G. Thalberg Memorial Award, the Jean Hersholt Humanitarian Award, the Gordon E. Sawyer Award, the Scientific and Engineering Award, the Technical Achievement Award, the John A. Bonner Medal of Commendation, and the Student Academy Award) plus two awards that are not presented annually (the Special Achievement Award in the form of an Oscar statuette and the Honorary Award that may or may not be in the form of an Oscar statuette), the best known one is the Academy Award of Merit more popularly known as the Oscar statuette.

Made of gold-plated britannium on a black metal base, it is 13.5 in (34 cm) tall, weighs 8.5 lb (3.85 kg) and depicts a knight rendered in Art Deco style holding a crusader's sword standing on a reel of film with five spokes. The five spokes each represent the original branches of the Academy: Actors, Writers, Directors, Producers, and Technicians.

In 1928, MGM's art director Cedric Gibbons, one of the original Academy members, supervised the design of the award trophy by printing the design on a scroll. In need of a model for his statuette, Gibbons was introduced by his future wife Dolores del Río to Mexican film director and actor Emilio "El Indio" Fernández. Reluctant at first, Fernández was finally convinced to pose nude to create what today is known as the "Oscar". Then, sculptor George Stanley (who also did the Muse Fountain at the Hollywood Bowl) sculpted Gibbons's design in clay and Sachin Smith cast the statuette in 92.5 percent tin and 7.5 percent copper and then gold-plated it.

The only addition to the Oscar since it was created is a minor streamlining of the base. The original Oscar mold was cast in 1928 at the C.W. Shumway & Sons Foundry in Batavia, Illinois, which also contributed to casting the molds for the Vince Lombardi Trophy and Emmy Awards statuettes. Since 1983, approximately 50 Oscars are made each year in Chicago by Illinois manufacturer R.S. Owens & Company.

In support of the American effort in World War II, the statuettes were made of plaster and were traded in for gold ones after the war had ended.

Naming

The root of the name Oscar is contested. One biography of Bette Davis claims that she named the Oscar after her first husband, band leader Harmon Oscar Nelson; one of the earliest mentions in print of the term Oscar dates back to a Time magazine article about the 1934 6th Academy Awards. Walt Disney is also quoted as thanking the Academy for his Oscar as early as 1932.

Another claimed origin is that the Academy's Executive Secretary, Margaret Herrick, first saw the award in 1931 and made reference to the statuette's reminding her of her "Uncle Oscar" (a nickname for her cousin Oscar Pierce). Columnist Sidney Skolsky was present during Herrick's naming and seized the name in his byline, "Employees have affectionately dubbed their famous statuette 'Oscar'". The trophy was officially dubbed the "Oscar" in 1939 by the Academy of Motion Pictures Arts and Sciences.

Another legend reports that the Norwegian-American Eleanor Lilleberg, executive secretary to Louis B. Mayer, saw the first statuette and exclaimed, "It looks like King Oscar II!". At the end of the day she asked, "What should we do with Oscar, put him in the vault?" and the name stuck.

I, (sookietex) the creator of this work, hereby release it into the public domain. This applies worldwide. In case this is not legally possible, I grant any entity the right to use this work for any purpose, without any conditions, unless such conditions are required by law.

If These images is subject to copyright in your jurisdiction, i (sookietex) the copyright holder have irrevocably released all rights to it, allowing it to be freely reproduced, distributed, transmitted, used, modified, built upon, or otherwise exploited in any way by anyone for any purpose, commercial or non-commercial, with or without attribution of the author, as if in the public domain. +sookie tex

TEXT CREDIT: Wikipedia From Wikipedia

Review and Preview. Last year with The Oscars image/editing/sookietex More about this image and story at Public Domain Clip Art - http://publicdomainclip-art.blogspot.com/2012/02/academy-award-aka-oscar.html

In 1928, MGM's art director Cedric Gibbons, one of the original Academy members, supervised the design of the award trophy by printing the design on a scroll. In need of a model for his statuette, Gibbons was introduced by his future wife Dolores del Río to Mexican film director and actor Emilio "El Indio" Fernández.

Reluctant at first, Fernández was finally convinced to pose nude to create what today is known as the "Oscar". Then, sculptor George Stanley (who also did the Muse Fountain at the Hollywood Bowl) sculpted Gibbons's design in clay and Sachin Smith cast the statuette in 92.5 percent tin and 7.5 percent copper and then gold-plated it.

James Armistead Lafayette

James Armistead Lafayette [Facsimile of the Marquis de Lafayette's original certificate commending James Armistead Lafayette for his revolutionary war service with portrait after John B. Martin.]

John Blennerhassett Martin, 1797-1857 -- Artist. Created Date
: November 21st, 1784. Source: Miscellaneous American letters and papers. / Slavery and abolition.

Location: Schomburg Center for Research in Black Culture / Manuscripts, Archives and Rare Books Division. The New York Public Library. Digital ID: 1243992, Record ID: 596970.

After getting consent of his master, he volunteered in 1781 to join the army under General Lafayette. He was stationed as a spy. First he spied on Brigadier General Benedict Arnold (by this time, Arnold had defected from the American Continental Army to lead British forces). After Arnold departed north in the spring of 1781, James went to the camp of Lord Cornwallis. He relayed much information about the British plans for troop deployment and about their arms. The intelligence reports from his espionage were instrumental in helping to defeat the British during the Battle of Yorktown.

While pretending to be a British spy, Armistead gained the confidence of General Benedict Arnold and General Cornwallis. Arnold was so convinced of Armistead's pose as a runaway slave that he used him to guide British troops through local roads. Armistead often traveled between camps, spying on British officers, who spoke openly about their strategies in front of him. Armistead documented this information in written reports, delivered them to other American spies, and then return to General Cornwallis's camp.

Because he was an intelligence agent and not technically a soldier, James could not qualify for emancipation under the Act of 1783, so with the support of William Armistead, he petitioned the Virginia State Legislature for his freedom. He received a letter of commendation dated November 21, 1784 from the Marquis de Lafayette. The facsimile of the letter of commendation can be viewed to the left. On January 9, 1786, the Virginia State legislature granted the slave known only as "James" his freedom for services rendered and bravery as a spy during the siege of Yorktown. It was at that time that he chose the name 'Armistead' for his middle name and 'Lafayette' for his surname, to honor the general.

This Image (or other media file) is in the public domain because its copyright has expired. This applies to the United States, where Works published prior to 1978 were copyright protected for a maximum of 75 years. See Circular 1 "COPYRIGHT BASICS" PDF from the U.S. Copyright Office. Works published before 1923 in this case November 21st, 1784, are now in the public domain.

This file is also in the public domain in countries that figure copyright from the date of death of the artist (post mortem auctoris in this case John Blennerhassett Martin, 1797-1857 and that most commonly runs for a period of 50 to 70 years from December 31 of that year. +sookie tex

TEXT RESOURCE: James Armistead From Wikipedia

Buffalo Soldiers Company D, 8th Illinois Volunteer Regiment

Buffalo Soldiers of Company D, 8th Illinois Volunteer Regiment, 1899.

Title: [Company D, 8th Illinois Volunteer Regiment] Date Created/Published: [1899?] Medium: 1 photographic print. Reproduction Number: LC-USZ62-109102 (b&w film copy neg.)

Rights Advisory: No known restrictions on publication.

Call Number: LOT 11308 [P&P] Subjects: African Americans--Military service--1890-1900. Military personnel--American--1890-1900. Military uniforms--United States--1890-1900.

Format: Group portraits--1890-1900. Photographic prints--1890-1900. Portrait photographs--1890-1900. Collections: African American Photographs Assembled for 1900 Paris Exposition

Images collected by W.E.B. Du Bois and Thomas J. Calloway for the "American Negro Exhibit" at the Paris Exposition of 1900 (Exposition universelle internationale de 1900).

At the turn of the century, W. E. B. Du Bois compiled a series of photographs for the "American Negro" exhibit at the 1900 Paris Exposition. He organized the 363 images into albums, entitled Types of American Negroes, Georgia, U.S.A. and Negro Life in Georgia, U.S.A.

Du Bois's work for the American Negro exhibit was extensive and much praised. In the Spring of 1900, Paris Exposition judges awarded him a gold medal for his role as "collaborator" and "compiler" of materials for the exhibit. +sookie tex

JPEG (76kb) || JPEG (209kb) || TIFF (12.8mb)

Mardi Gras French Quarter

Title: Details in the French Quarter of New Orleans, Louisiana. Creator(s): Highsmith, Carol M., 1946-, photographer. Date Created / Published: 2011 March 7. Medium: 1 photograph : digital, TIFF file, color. Reproduction Number: LC-DIG-highsm-11685 (original digital file)

Rights Advisory: No known restrictions on publication.

Call Number: LC-DIG-highsm- 11685 (ONLINE) [P&P] Repository: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA http://hdl.loc.gov/loc.pnp/pp.print

Notes: Title, date, and subjects provided by the photographer. Photograph taked during the 2011 Mardi Gras celebration. Credit line: Carol M. Highsmith's America, Library of Congress, Prints and Photographs Division.

Gift; Carol M. Highsmith; 2011; (DLC/PP-2002:038). Forms part of: Carol M. Highsmith's America Project in the Carol M. Highsmith Archive.

Subjects: United States--Louisiana--New Orleans. Mardi Gras. French Quarter. America. Format: Digital photographs--Color--2010-2020. Collections: Highsmith (Carol M.) Archive. Part of: Highsmith, Carol M., 1946- Carol M. Highsmith Archive.

About the Carol M. Highsmith Archive: Highsmith, a distinguished and richly-published American photographer, has donated her work to the Library of Congress since 1992. Starting in 2002, Highsmith provided scans or photographs she shot digitally with new donations to allow rapid online access throughout the world. Her generosity in dedicating the rights to the American people for copyright free access also makes this Archive a very special visual resource. +sookie tex

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The Lost World

Prof. Challenger (Wallace Beery) and Prof. Summerlee (Arthur Hoyt) behold the death struggle between allosaursus and trachodon. (The Lost World) (A First National Picture)

The Lost World By SIR ARTHUR CONAN DOYLE

Directed by: Harry Hoyt. Produced by: Jamie White (executive) Earl Hudson (unc). Written by: Sir Arthur Conan Doyle (novel) Marion Fairfax (screenplay) Starring: Bessie Love, Lewis Stone, Wallace Beery, Lloyd Hughes, Alma Bennett, Cinematography: Arthur Edeson. Editing by: George McGuire. Distributed by: First National Pictures. Release date(s): February 2, 1925 (USA) June 22, 1925 (USA, wide release) Running time: 106 (original) 55 (Kodascope 16 mm) 64 (1991) 100 (1998) 93 (2000) Country: United States. Language: Silent film. English: intertitles. Budget: $700,000

This work is in the public domain because it was published in the United States between 1923 and 1963 and although there may or may not have been a copyright notice, the copyright was not renewed. See Circular 1 "COPYRIGHT BASICS" PDF from the U.S. Copyright Office.

This inage however MAY NOT be in the public domain in countries that figure copyright from the date of death of the artist (post mortem auctoris) and that most commonly runs for a period of 50 to 70 years from that date. It may be copyrighted in jurisdictions that do not apply the rule of the shorter term for US works. If your use will be outside the United States please check your local law.

IMAGE CREDIT: The lost world Author: Sir Arthur Conan Doyle. Publisher: A. L. Burt Company, 1912. Original from: Princeton University. Digitized: Feb 20, 2008. Length: 309 pages. Subjects: Fiction › Science Fiction › General, Challenger, Professor (Fictitious character) Dinosaurs, Fiction / Science Fiction / General, Prehistoric peoples, South America +sookie tex

TEXT RESOURCE: The Lost World (1925 film) From Wikipedia

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Rev. Lemuel Haynes A. M.

February 21, 1804 - Lemuel Haynes (1753–1833) ~ becomes the first Black minister to serve a congregation that includes whites in America. He also becomes the first Black person to receive an honorary degree from a White college, Middlebury College.

Lemuel Haynes, a patriot during the American Revolutionary War, understood the meaning of freedom. Abandoned as child by his Anglo mother and African father, Lemuel was raised on a farm in Massachusetts. He worked on the farm by day and spent time learning and studying in front of the fireplace at night. Lemuel was an indentured servant, which means he was able to earn his freedom by working for a number of years. When Lemuel became a free man at age 21 in 1774, one of his first choices was to join freedom's cause and serve in a military unit from Connecticut.

More than 5,000 African soldiers — both slave and free — fought in the American Revolutionary War. Lemuel not only fought on the battlefield, but he also wrote about freedom in poems and essays. Lemuel was inspired by the Declaration of Independence, and in 1776 he wrote an essay about the need to extend freedom to Africans. His essay was called, “Liberty Further Extended.”

After the American Revolutionary War, Lemuel returned to Massachusetts, where he studied Latin and Greek and taught school. He became a preacher and spent the next 50 years pastoring churches. Five of the churches he served included Anglo members. Many of Lemuel’s sermons were published during his lifetime, and the presidents of Yale University and Amherst College often sought his advice. He also received an honorary degree from Middlebury College.

TEXT CREDIT: whitehouse.archives.gov

IMAGE CREDIT: Sketches of the life and character of the Rev. Lemuel Haynes, A. M.: for many years pastor of a church in Rutland, Vt., and late in Granville, New-York. Author: Timothy Mather Cooley. Publisher: Harper, 1837. Original from: Princeton University. Digitized: Mar 19, 2008. Length: 345 pages. +sookie tex

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Confederate Submarine H.L. Hunley (1863-1864)

February 17, 1864. The H. L. Hunley becomes the first submarine to engage and sink a warship, the USS Housatonic.

H.L. Hunley, a small, hand-powered submarine, was privately built at Mobile, Alabama, in 1863, based on plans furnished by Horace Lawson Hunley, James R. McClintock and Baxter Watson. Her construction was sponsored by Mr. Hunley and superintended by Confederate officers W.A. Alexander and G.E. Dixon. Following trials in Mobile Bay, she was transported to Charleston, South Carolina, in August 1863 to serve in the defense of that port. On 29 August, while moored to a steamer, the submarine was accidently pulled over on its side and sank, drowning five members of her crew. After salvage, she was given a new crew and began a series of tests. However, during diving trials on 15 October 1863, she failed to surface. Horace Lawson Hunley, who was directing her operation, and the rest of her men were drowned.

H.L. Hunley was again raised and repaired. With a third crew, and under orders to only operate on the surface, she began a series of attempts to attack United States Navy ships on blockade duty off Charleston. On 17 February 1864, these efforts were successful. H.L. Hunley approached the steam sloop of war USS Housatonic and detonated a spar torpedo against her side. The Federal ship sank rapidly, becoming the first warship to be lost to a submarine's attack.

However, H.L. Hunley did not return from this mission, and was presumed lost with all hands. Her fate remained a mystery for over 131 years, until May 1995, when a search led by author Clive Cussler located her wreck. On 8 August 2000, following extensive preliminary work, the H.L. Hunley was raised and taken to a conservation facility at the former Charleston Naval Base. At present, she is the subject of a careful preservation effort that ultimately should place her in suitable condition for general public exhibition.

The search for Hunley ended 131 years later when best-selling author Clive Cussler and his team from the National Underwater and Marine Agency (NUMA) discovered the submarine after a 14-year search. At the time of discovery, Cussler and NUMA were conducting this research in partnership with the South Carolina Institute of Anthropology and Archaeology (SCIAA). The team realized that they had found Hunley after exposing the forward hatch and the ventilator box (the air box for the attachment of a snorkel). The submarine rested on its starboard side at about a 45-degree angle and is covered in a 1/4 to 3/4-inch encrustation of ferrous oxide bonded with sand and shell particles. Archaeologists exposed a little more on the port side and found the bow dive plane on that side. More probing revealed an approximate length of 34 feet with most, if not all, of the vessel preserved under the sediment.

In August 2000 archaeological investigation and excavation culminated with the resurrection of Hunley from its watery grave. A large team of professionals from the Naval Historical Center's Underwater Archaeology Branch, National Park Service, the South Carolina Institute of Archaeology and Anthropology and various other individuals investigated the vessel, measuring and documenting it prior to preparing it for removal. Once the on-site investigation was complete, harnesses were slipped underneath the sub one by one and attached to a truss designed by Oceaneering, International, Inc. Then after the last harness had been secured, the crane from Karlissa B began hoisting the submarine from the mire of the harbor. On August 8 at 8:37 AM the sub broke the surface for the first time in over 136 years where it was greeted by a cheering crowd in hundreds of nearby watercraft. Once safely on its transporting barge, Hunley finally completed its last voyage back to Charleston, passing by hundreds of spectators on Charleston's shores and bridges. The removal operation reached its successful conclusion when the submarine was secured inside the Warren Lasch Conservation Center in a specially designed tank of freshwater to await conservation.

All who viewed the vessel said Hunley incorporated an unexpectedly graceful and beautiful design. It is certainly a marvel both for its time period and for modern day researchers. No doubt this small submarine will be the key to unlock many mysteries of a bygone era.

Photo #: NH 999 Confederate Submarine H.L. Hunley (1863-1864) Sepia wash drawing by R.G. Skerrett, 1902, after a painting then held by the Confederate Memorial Literary Society Museum, Richmond, Virginia.

Courtesy of the Navy Art Collection, Washington, DC. U.S. Naval Historical Center Photograph.

This is a World Wide Web site for official information about the Naval History and Heritage Command (NHHC) and naval history. It is provided as a public service by the NHHC. The purpose is to provide information and news about the Naval History and Heritage Command and naval history to the general public.

All information on this site is in the public domain and may be distributed or copied unless otherwise specified. Use of appropriate byline / photo / image credits is requested.

TEXT and IMAGE CREDIT: DEPARTMENT OF THE NAVY -- NAVAL HISTORICAL CENTER 805 KIDDER BREESE SE -- WASHINGTON NAVY YARD WASHINGTON DC 20374-5060 +sookie tex

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ENIAC - (Electronic Numerical Integrator And Computer)

"U.S. Army Photo", from K. Kempf, "Historical Monograph: Electronic Computers Within the Ordnance Corps" The ENIAC, in BRL building 328. Left: Glen Beck Right: Frances Elizabeth Snyder Holberton. The completed machine was announced to the public the evening of February 14, 1946

ENIAC - (Electronic Numerical Integrator And Computer) was the first general-purpose electronic computer is formally dedicated at the University of Pennsylvania in Philadelphia.

The Electronic Numerical Integrator and Computer (ENIAC) is a high-speed electronic computing machine which operates on discrete variables. It is capable of performing the arithmetic operations of addition, subtraction, multiplication, division, and square rooting on numbers (with sign indication) expressed in decimal form. The ENIAC, furthermore, remembers numbers which it reads from punched cards, or which are stored on the switches of its so called function tables, or which are formed in the process of computation, and makes them available as needed. The ENIAC records its results on punched cards from which tables can be automatically printed. Finally, the ENIAC is automatically sequenced, i.e., once set-up (see Sections 1.1.4 and 1.4. and subsequent chapters) to follow a routine consisting of operations in its repertoire, it carries out the routine without further human intervention. When instructed in an appropriate routine consisting of arithmetic operations, looking up numbers stored in function tables, etc., the ENIAC can carry out complex mathematical operations such as interpolation and numerical integration and differentiation.

The speed of the ENIAC is at least 500 times as great as that of any other existing computing machine. The fundamental signals used in the ENIAC are emitted by its oscillator at the rate of 100,000 per second. The interval between successive signals, 10 micro-seconds, is designated by the term pulse time. The time unit in which the operation time for various parts of the ENIAC is reckoned is the addition time. An addition time is 20 pulse times or 200 micro-seconds (1/5000 th of a second). An addition time is so named because it is the time required to complete an addition. Other operations require an integral number of addition times

This file is a work of a United States Department of Defence employee, taken or made during the course of the person's official duties. As a work of the U.S. federal government, the file is in the public domain.

Generally speaking, works created by U.S. Government employees are not eligible for copyright protection in the United States. See Circular 1 "COPYRIGHT BASICS" PDF from the U.S. Copyright Office.

TEXT CREDIT: BRIEF DESCRIPTION OF THE ENIAC

Being for the benefit of Mr.Kite

February 14, 1843 - The Beatles' song "Being for the Benefit of Mr. Kite!" was inspired by this nineteenth century circus poster for Pablo Fanque's Circus Royal. Pablo Fanque, the Victorian circus owner, who employed William Kite from 1843 to 1845.

The full text of the original Pablo Fanque's Circus Royal poster is:

PABLO FANQUE'S CIRCUS ROYAL
TOWN-MEADOWS, ROCHDALE
Grandest Night of the Season!
AND POSITIVELY THE
LAST NIGHT BUT THREE!
BEING FOR THE
BENEFIT OF MR. KITE,
(LATE OF WELLS'S CIRCUS) AND
MR. J. HENDERSON,
THE CELEBRATED SOMERSET THROWER!
WIRE DANCER, VAULTER, RIDER, etc.
On TUESDAY Evening, February 14, 1843.

Mssrs. KITE and HENDERSON, in announcing the following Entertainments ensure the Public that this Night's Production will be one of the most splendid ever produced in this Town, having been some days in preparation.
Mr. Kite will, for this night only,
introduce the
CELEBRATED
HORSE, ZANTHUS!
Well known to be one of the
best Broke Horses
IN THE WORLD!!!

Mr. HENDERSON will undertake the arduous Task of
THROWING TWENTY-ONE SOMERSETS,
ON THE SOLID GROUND.
Mr. KITE will appear, for the
first time this season,
On The Tight Rope,
When Two Gentlemen Amateurs
of this Town will
perform with him. Mr. HENDERSON will, for the first time
in Rochdale,
introduce his extraordinary
TRAMPOLINE LEAPS
AND
SOMERSETS!
Over Men & Horses, through Hoops,
over Garters and lastly through a
Hogshead of REAL FIRE!
In this branch of the profession Mr. H challenges THE WORLD!
For particulars see Bills of the day.

This Image (or other media file) is in the public domain because its copyright has expired. This applies to the United States, where Works published prior to 1978 were copyright protected for a maximum of 75 years. See Circular 1 "COPYRIGHT BASICS" PDF from the U.S. Copyright Office. Works published before 1923 in this case 1843, are now in the public domain.

This file is also in the public domain in countries that figure copyright from the date of death of the artist (post mortem auctoris in this case Pablo Fanque (born William Darby) February 28, 1796 - May 4, 1871 and that most commonly runs for a period of 50 to 70 years from December 31 of that year. +sookie tex

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Stradivarius Violins

The back and front views of the violin to the left of this plate are taken from the " Alard" Stradivarius, so called from the famous violinist who formerly owned it. It is one of the finest violins made by Stradivarius, and bears the date "1715, thus belonging to his great period, which is considered by connoisseurs to have extended from about 17o0 to 1725. The following is the brief history of the Alard Stradivarius: Bought in Florence early in the nineteenth century by a banker of Courtrai in Belgium, it passed at his death into the possession of the late J. B. Vuillaume of Paris, a famous violin-maker and expert. Vuillaume reserved it for his son-in-law, Mr. Delphin Alard, professor of the violin at the Paris Conservatoire, and of European reputation as a virtuoso, in whose possession it remained until he retired from public life in 1876. It was then acquired by Mr. David Laurie of Glasgow.

It is a Stradivarius of the "grand" form, and of a very handsome model, the arching of the belly and back being of exquisite proportions, neither exaggerated nor weak. The workmanship is between the earlier and later styles of the master. A careful choice of the wood is of course presupposed, but the fine regular marking of the back may be observed, and also the beautiful color and quality of the varnish. The neck is original, as it left the hands of Stradivarius; it has, however, been lengthened by a piece added at its junction with the upper block of the body. The letters P.S., which are sometimes found on Stradivari violins at the peg-box end of the neck when it is original, are here very distinct. These enigmatical letters have given rise to some discussion among experts, but the conclusion appears to be that they are the initials of Stradivari's youngest son, Paolo, through whose hands the instruments may have passed. Paolo was a cloth merchant, not a violinmaker, but he succeeded to his father's house after the decease of his brothers.

The "King Joseph" Guarnerius del Gesfi violin (del Gesu on account of his signing his violins with the device j j£s ), and of which back and front views appear to the right of the plate, is presented for comparison with the no less fine specimen of Stradivarius. The differences in the construction of the instruments of these famous makers are, to the practised eye, considerable. In general, the violins of Guarneri are smaller than those of Stradivari. There is a marked difference observable in the outlines of the two makers, the Stradivarius being somewhat square in the shoulders, in the C's, or inward curvings of the sides of a violin which resemble that letter, and in the lower part, while all those features in the Guarnerius are more curved. The head of the latter is bolder, less symmetrical and quaintly original.

The "f's," the sound-holes in violins assuming the form of that letter as an italic, which are beautifully curved by Stradivarius, are by Guarnerius often sharply pointed at top and bottom. It might be expected that this peculiarity of the "f's" would be detrimental to the artistic effect, but it is not. The arching of the belly and back are with Guarnerius less marked than with Stradivarius. Generally speaking, Guarnerius left his bellies thicker than those of Stradivarius. As may be expected, there is a decided difference in tone between a Guarnerius del Gesu and a Stradivarius. Dr. William Huggins makes this interesting comparison: "The Stradivarius possesses, as a rule, a brighter tone with unlimited capacity for expressing the most varied accents of feeling, 'welling forth like a spring' (says Dr. Joachim) 'and capable of infinite modifications under the bow.' The tone of Guarnerius has intense individuality, it is powerful and somewhat contralto in quality, with a superb mellow richness strongly tinged with melancholy."

A Tourte bow, mounted with gold, tortoiseshell and mother-of pearl, is shown in the same plate.

This Image (or other media file) is in the public domain because its copyright has expired. This applies to the United States, where Works published prior to 1978 were copyright protected for a maximum of 75 years. See Circular 1 "COPYRIGHT BASICS" PDF from the U.S. Copyright Office. Works published before 1923 in this case 1901, are now in the public domain.

TEXT and IMAGE CREDIT: Famous composers and their music, Volume 1 Famous composers and their music, Theodore Thomas. Editors Theodore Thomas, John Knowles Paine, Karl Klauser. Publisher: Merrill, 1901. Original from: Princeton University. Digitized: Aug 11, 2008. Subjects: Music › Musical Instruments › Piano & Keyboard, Biography & Autobiography / Composers & Musicians, Composers, Music, Music / Musical Instruments / Piano & Keyboard, Piano music. +sookie tex

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The Mysterious Island

The Mysterious Island - The "Bonadventure" sailed along this coast for the distance of half a mile. It was easy to see that it was composed of blocks of all sizes, from twenty to three hundred feet in height, and of all shapes, round like towers, prismatic like steeples, pyramidal like obelisks, conical like factory chimneys. An iceberg of the Polar seas could not have been more capricious in its terrible sublimity! Here, bridges were thrown from one rock to another; there, arches like those of a wave, into the depths of which the eye could not penetrate; in one place, large vaulted excavations presented a monumental aspect; in another, a crowd of columns, spires, and arches, such as no Gothic cathedral ever possessed.

Every caprice of nature, still more varied than those of the imagination, appeared on this grand coast, which extended over a length of eight or nine miles.

Cyrus Harding and his companions gazed, with a feeling of surprise bordering on stupefaction. But, although they remained silent, Top, not being troubled with feelings of this sort, uttered barks which were repeated by the thousand echoes of the basaltic cliff. The engineer even observed that these barks had something strange in them, like those which the dog had uttered at the mouth of the well in Granite House.

"Let us go close in," said he.

And the "Bonadventure" sailed as near as possible to the rocky shore. Perhaps some cave, which it would be advisable to explore, existed there? But Harding saw nothing, not a cavern, not a cleft which could serve as a retreat to any being whatever, for the foot of the cliff was washed by the surf. Soon Top's barks ceased, and the vessel continued her course at a few cables-length from the coast.

In the northwest part of the island the shore became again flat and sandy. A few trees here and there rose above a low, marshy ground, which the colonists had already surveyed, and in violent contrast to the other desert shore, life was again manifested by the presence of myriads of water-fowl. That evening the "Bonadventure" anchored in a small bay to the north of the island, near the land, such was the depth of water there. The night passed quietly, for the breeze died away with the last light of day, and only rose again with the first streaks of dawn.

This Image (or other media file) is in the public domain because its copyright has expired. This applies to the United States, where Works published prior to 1978 were copyright protected for a maximum of 75 years. See Circular 1 "COPYRIGHT BASICS" PDF from the U.S. Copyright Office. Works published before 1923 in this case 1920, are now in the public domain.

This inage however MAY NOT be in the public domain in countries that figure copyright from the date of death of the artist (post mortem auctoris), in this case Newell Convers Wyeth (October 22, 1882 – October 19, 1945), and that most commonly runs for a period of 50 to 70 years from that date. It may be copyrighted in jurisdictions that do not apply the rule of the shorter term for US works. If your use will be outside the United States please check your local law.

TEXT CREDIT: The mysterious island Author: Jules Verne. Illustrated by: Newell Convers Wyeth (October 22, 1882 – October 19, 1945). Publisher: Scribner, 1920. Original from: the University of Michigan. Digitized: Nov 8, 2006. Length: 493 pages. +sookie tex

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HMS Dreadnought (Battleship, 1906-1922)

HMS Dreadnought (Battleship, 1906-1922), an 18,110-ton battleship built at Portsmouth Dockyard, England, represented one of the most notable design transformations of the armored warship era. Her "all-big-gun" main battery of ten twelve-inch guns, steam turbine powerplant and 21-knot maximum speed so thoroughly eclipsed earlier types that subsequent battleships were commonly known as "dreadnoughts", and the previous ones disparaged as "pre-dreadnoughts". The swiftness of her construction was equally remarkable. Laid down in October 1905, she was launched in February 1906, after only four months on the ways. Dreadnought was commissioned for trials a year after her keel was laid and was completed in December 1906. Her building, trials and early service were closely watched by the World's naval authorities, including the U.S. Navy's Office of Naval Intelligence, the source of all of our photographs of Dreadnought.

The new battleship served as Flagship of the Home Fleet in 1907-1912 and remained part of that fleet thereafter. Dreadnought served with the 4th Battle Squadron in the North Sea during the first two years of World War I. On 18 March 1915, while so employed, she rammed and sank the German Submarine U-29. From May 1916, Dreadnought was flagship of the 3rd Battle Squadron, based on the Thames to counter the threat of bombardment by German battlecruisers. Placed in reserve in 1919, the once-revolutionary warship was sold for scrapping in 1922.

HMS Dreadnought (British Battleship, 1906) Underway, with an anchor suspended from the starboard deck edge, circa 1906-07.

Note the array of booms used to deploy her anti-torpedo net system. Photo #: NH 63596 U.S. Naval History & Heritage Command Photograph.

This is a World Wide Web site for official information about the Naval History and Heritage Command (NHHC) and naval history. It is provided as a public service by the NHHC. The purpose is to provide information and news about the Naval History and Heritage Command and naval history to the general public.

All information on this site is in the public domain and may be distributed or copied unless otherwise specified. Use of appropriate byline / photo / image credits is requested.

This file is a work of a United States Department of Defence employee, taken or made during the course of the person's official duties. As a work of the U.S. federal government, the file is in the public domain.

Generally speaking, works created by U.S. Government employees are not eligible for copyright protection in the United States. See Circular 1 "COPYRIGHT BASICS" PDF from the U.S. Copyright Office. +sookie tex

TEXT and IMAGE CREDIT: Naval History and Heritage Command

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Mary, Queen of Scots

February 8, 1587 – Mary, Queen of Scots, is executed on suspicion of having been involved in the Babington Plot to murder her cousin, Queen Elizabeth I.

The Dean of Peterborough, the Protestant ecclesiastio whom Mary had refused to see, then came forward to the foot of the platform, and most absurdly commenced an address to her, with a view to convert her to the Protestant faith. Mary interrupted him, saying that she had been born and had lived a Catholic, and she was resolved so to die; and she asked him to spare her his useless reasonings. The dean persisted in going on. Mary turned away from him, kneeled down, and began to offer a Latin prayer.

The dean soon brought his ministrations to a close, and then Mary prayed for some time, in a distinct and fervent voice, in English, the largo company listening with breathless attention, She prayed for her own soul, and that she might have comfort from heaven in the agony of death. She implored God's blessing upon France; upon Scotland; upon England; upon Queen Elizabeth; and, more than all, upon hei no. During this time she held the ivory crucifix in her hand, clasping it and raising it from time to time toward heaven.

When her prayer was ended, she rose, and, with the assistance of her attendants, took off her veil, and such other parts of her dress as it was necessary to remove in order to leave the neck bare, and then she kneeled forward and laid her head upon the block. The agitation of the assembly became extreme. Some turned away from the scene faint and sick at heart; some looked more eagerly and intensely at the group upon the scaffold; some wept and sobbed aloud. The assistant executioner put Mary's two hands together and held them; the other raised his axe, and, after the horrid sound of two or three successive blows, the assistant held up the dissevered head, saying, "So perish all Queen Elizabeth's enemies."

The assembly dispersed. The body was taken into an adjoining apartment, and prepared for interment. Mary's attendants wished to have it delivered to them, that they might comply with her dying request to convey it tc France; but they were told that they could not be allowed to do so. The body was interred with great pomp and ceremonv in the Cathedral at Peterborough, where it remained is peace for many years.

Now that the deed was done, tne great problem with Elizabeth was, of course, to avert the consequences of the terrible displeasure and thirst for revenge which she might naturally suppose it would awaken in Scotland and in France. She succeeded very well in accomplishing this. As soon as she heard of the execution of Mary, she expressed the utmost surprise, grief, and indignation. She said that she had, indeed, signed the death warrant, but it was not her intention at all to have it executed; and that, when she delivered it to the officer, she charged him not to let it go out of his possession. This the officer denied.

Elizabeth insisted, and punished the officer by a long imprisonment, and perpetual disgrace, for his pretended offense. She sent a messenger to James, explaining the terrible accident, as she termed it, which had occurred, and deprecating his displeasure. James, though at first filled with indignation, and determined to avenge his mother's death, allowed himself to be appeased.

Mary Stuart, Queen of Scots, at about the time of her marriage to the French heir Francis of Valois, the later King Francis II of France, son of King Henry II of France and Catherine de Medici, Royal Collection of Her Majesty Queen Elizabeth II

By: Artist François Clouet (1515–1572) Date: 1558. Work period c. 1536-1572. Work location: Paris. Medium: watercolor and gouache on vellum rebacked with card. Accession number: RCIN 401229.

This Image (or other media file) is in the public domain because its copyright has expired. This applies to the United States, where Works published prior to 1978 were copyright protected for a maximum of 75 years. See Circular 1 "COPYRIGHT BASICS" PDF from the U.S. Copyright Office. Works published before 1923 in this case 1558, are now in the public domain.

This file is also in the public domain in countries that figure copyright from the date of death of the artist (post mortem auctoris in this case François Clouet (1515–1572) and that most commonly runs for a period of 50 to 70 years from December 31 of that year. +sookie tex

François Clouet [Public domain], via Wikimedia Commons

TEXT CREDIT: Mary, queen of Scots Volume 2 of Makers of history, Jacob Abbott. Author: Jacob Abbott. Publisher Harper, 1901. Original from: Harvard University. Digitized: Feb 21, 2008. Length: 286 pages. Subjects: Biography & Autobiography › Royalty, Biography & Autobiography / Royalty.

Civil rights march on Washington, D.C.

Civil rights march on Washington, D.C. Title: Civil rights march on Wash[ington], D.C. / [WKL]. Creator(s): Leffler, Warren K., photographer. Date Created / Published: 1963 Aug. 28. Medium: 1 negative : film.

Summary: Photograph shows a crowd of African Americans and whites surrounding the Reflecting Pool and continuing to the Washington Monument. Reproduction Number: LC-DIG-ppmsca-03130 (digital file from original)

Rights Advisory: No known restrictions on publication.

Call Number: LC-U9- 10363-5 [P&P] Repository: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA. http://hdl.loc.gov/loc.pnp/pp.print

Notes: Title from contact sheet folder caption. U.S. News & World Report Magazine Photograph Collection. Contact sheet available for reference purposes: USN&WR COLL - Job no. 10363, frame 5.

Subjects: African Americans--Civil rights--Washington (D.C.)--1960-1970. March on Washington for Jobs and Freedom, Washington, D.C., 1963. Civil rights demonstrations--Washington (D.C.)--1960-1970. Format: Film negatives--1960-1970.

Collections: Miscellaneous Items in High Demand

Unedited Image: JPEG (36kb) || JPEG (89kb) || TIFF (11.0mb)

On August 28, 1963, more than 250,000 demonstrators descended upon the nation’s capital to participate in the “March on Washington for Jobs and Freedom.” Not only was it the largest demonstration for human rights in United States history, but it also occasioned a rare display of unity among the various civil rights organizations. The event began with a rally at the Washington Monument featuring several celebrities and musicians. Participants then marched the mile-long National Mall to the Memorial. The three-hour long program at the Lincoln Memorial included speeches from prominent civil rights and religious leaders. The day ended with a meeting between the march leaders and President John F. Kennedy at the White House.

TEXT RESOURCE: www.ourdocuments.gov/

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George Washington Carver and staff members at the Tuskegee Institute

Title: [George Washington Carver, full-length portrait, seated on steps, facing front, with staff] Creator(s): Johnston, Frances Benjamin, 1864-1952, photographer. Date Created / Published: [ca. 1902]

Medium: 1 photographic print. Reproduction Number: LC-DIG-ppmsca-05633 (digital file from modern print)

Rights Advisory: No known restrictions on publication.

Call Number: LOT 13164-C, no. 103 [P&P] Repository: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA. Notes: Title devised by Library staff. Reference copy (modern print) in BIOG FILE - Carver, George Washington.

Forms part of: Booker T. Washington Collection (Library of Congress). Original negative may be available: LC-J694-159. Subjects: Carver, George Washington,--1864?-1943. Format: Group portraits--1900-1910. Photographic prints--1900-1910. Portrait photographs--1900-1910.

Collections: Miscellaneous Items in High Demand. Part of: Visual materials from the Booker T. Washington papers.

George Washington Carver was born a slave in Diamond Grove, Missouri, around 1864. He is one of the nation's most famous agricultural scientists. He is best known for his research on peanuts and his commitment to helping poor Southern African American farmers.

Unedited Image: JPEG (68kb) || JPEG (148kb) || TIFF (28.8mb)

George Washington Carver (front row, center) poses with fellow staff members at the Tuskegee Institute (now known as Tuskegee University) Alabama.

Carver worked at Tuskegee Institute in Alabama for most of his adult life. In 1943, soon after Carver's death, President Franklin D. Roosevelt made Carver's boyhood home a national monument. It was the first national monument to honor an African American.

Benjamin Oliver Davis Jr. Tuskegee Airmen

Benjamin Oliver Davis Jr. (December 18, 1912 – July 4, 2002) commander of Tuskegee Airmen 332nd Fighter Group and Edward C. Gleed of Lawrence, KS, Class 42-K, Group Operations Officer.

Title: [Col. Benjamin O. Davis, full-length portrait, and Edward C. Gleed, wearing flight gear, standing next to airplane, and looking upward, at air base at Rametti, Italy] Creator(s): Frissell, Toni, 1907-1988, photographer. Date Created / Published: [1945 March]
Medium: 1 photographic print.

Summary: Photograph shows (left) Col. Benjamin O. Davis, Commanding Officer, 332nd Fighter Group, Class 42-C; (right) Edward C. Gleed, Lawrence, KS, Class 42-K, Group Operations Officer. P-5/D in background, "Creamer's Dream," generally flown by Charles L. White, St. Louis MO, Class 44-C Ramitelli, Italy, March 1945. (Source: Tuskegee Airmen 332nd Fighter Group pilots.)

Reproduction Number: LC-DIG-ppmsca-11759 (digital file from original neg.) LC-USZ6-2259 (b&w film copy neg.) LC-F9-02-4503-330-4 (b&w film neg.)

Rights Advisory: No known restrictions on publication.

Call Number: LOT 12447-1 [item] [P&P] Repository: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA. Notes: Frame ET 330-4 of contact sheet. Toni Frissell Collection (Library of Congress). Copyright by Toni Frissell.

Subjects: Davis, Benjamin O.-- (Benjamin Oliver), -- 1912-2002 -- Military service. United States. -- Army Air Forces. -- Fighter Group, 332nd -- People. Fighter pilots -- American -- Italy -- 1940-1950.

Format: Group portraits--1940-1950. Photographic prints--1940-1950. Portrait photographs--1940-1950. Collections: Miscellaneous Items in High Demand.

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John Carter and Dejah Thoris

The morning of our departure for Thark dawned clear and hot, as do all Martian mornings except for the six weeks when the snow melts at the poles.

I sought out Dejah Thoris in the throng of departing chariots, but she turned her shoulder to me, and I could see the red blood mount to her cheek. With the foolish inconsistency of love I held my peace when I might have plead ignorance of the nature of my offense, or at least the gravity of it, and so have effected, at worst, a half conciliation.

My duty dictated that I must see that she was comfortable, and so I glanced into her chariot and rearranged her silks and furs. In doing so I noted with horror that she was heavily chained by one ankle to the side of the vehicle.

"What does this mean?" I cried, turning to Sola.

"Sarkoja thought it best," she answered, her face betokening her disapproval of the procedure.

Examining the manacles I saw that they fastened with a massive spring lock.

"Where is the key, Sola? Let me have it."

"Sarkoja wears it, John Carter," she answered.

I turned without further word and sought out Tars Tarkas, to whom I vehemently objected to the unnecessary humiliations and cruelties, as they seemed to my lover's eyes, that were being heaped upon Dejah Thoris.

"John Carter," he answered, "if ever you and Dejah Thoris escape the Tharks it will be upon this journey. We know that you will not go without her. You have shown yourself a mighty fighter, and we do not wish to manacle you, so we hold you both in the easiest way that will yet ensure security. I have spoken."

This Image (or other media file) is in the public domain because its copyright has expired. This applies to the United States, where Works published prior to 1978 were copyright protected for a maximum of 75 years. See Circular 1 "COPYRIGHT BASICS" PDF from the U.S. Copyright Office. Works published before 1923 in this case 1917, are now in the public domain.

This inage however MAY NOT be in the public domain in countries that figure copyright from the date of death of the artist (post mortem auctoris), in this case Frank Earle Schoonover (August 19, 1877 - Aug 1972), and that most commonly runs for a period of 50 to 70 years from that date. It may be copyrighted in jurisdictions that do not apply the rule of the shorter term for US works. If your use will be outside the United States please check your local law.

TEXT and IMAGE CREDIT: A Princess of Mars Author: Edgar Rice Burroughs. Edition: illustrated by: Frank Earle Schoonover (August 19, 1877 - Aug 1972). Publisher: Grosset & Dunlap, 1917. Original from: Harvard University. Digitized: Sep 27, 2005. Length: 326 pages. Subjects: Fiction › Science Fiction › General.

John Carter of Mars

“A Princess of Mars” First in series from the creator of Tarzan, this book features swordplay, daring feats, romance and six-limbed green aliens as Confederate Captain John Carter finds himself mysteriously transported to Barsoom, which we know as Mars.

All eyes turned in the direction I had indicated, and there, forging through the portals of the entrance-way rode Tars Tarkas and his fifty warriors on their great thoats.

A cry of alarm and amazement broke from the assemblage, but no word of fear, and in a moment the soldiers and nobles of Zodanga were hurling themselves upon the advancing Tharks.

Thrusting Sab Than headlong from the platform, I drew Dejah Thoris to my side. Behind the throne was a narrow doorway and in this Than Kosis now stood facing me, with drawn long-sword. In an instant we were engaged, and I found no mean antagonist.

As we circled upon the broad platform I saw Sab Than rushing up the steps to aid his father, but, as he raised his hand to strike, Dejah Thoris sprang before him and then my sword found the spot that made Sab Than jeddak of Zodanga. As his father rolled dead upon the floor the new jeddak tore himself free from Dejah Thoris' grasp, and again we faced each other. He was soon joined by a quartet of officers, and, with my back against a golden throne, I fought once again for Dejah Thoris. I was hard pressed to defend myself and yet not strike down Sab Than and, with him, my last chance to win the woman I loved. My blade was swinging with the rapidity of lightning as I sought to parry the thrusts and cuts of my opponents. Two I had disarmed, and one was down, when several more rushed to the aid of their new ruler, and to avenge the death of the old.

As they advanced there were cries of "The woman! The woman I Strike her down; it is her plot. Kill her! Kill her!"

Calling to Dejah Thoris to get behind me I

worked my way toward the little doorway back of

the throne, but the officers realized my intentions,

and three of them sprang in behind me and blocked my chances for gaining a position where I could have defended Dejah Thoris against an army of swordsmen.

This Image (or other media file) is in the public domain because its copyright has expired. This applies to the United States, where Works published prior to 1978 were copyright protected for a maximum of 75 years. See Circular 1 "COPYRIGHT BASICS" PDF from the U.S. Copyright Office. Works published before 1923 in this case 1917, are now in the public domain.

This inage however MAY NOT be in the public domain in countries that figure copyright from the date of death of the artist (post mortem auctoris), in this case Frank Earle Schoonover (August 19, 1877 - Aug 1972), and that most commonly runs for a period of 50 to 70 years from that date. It may be copyrighted in jurisdictions that do not apply the rule of the shorter term for US works. If your use will be outside the United States please check your local law.

TEXT and IMAGE CREDIT: A Princess of Mars Author: Edgar Rice Burroughs. Edition: illustrated by: Frank Earle Schoonover (August 19, 1877 - Aug 1972). Publisher: Grosset & Dunlap, 1917. Original from: Harvard University. Digitized: Sep 27, 2005. Length: 326 pages. Subjects: Fiction › Science Fiction › General.