By Christopher Ward
The impressive precise tale of 1 of the band participants who famously performed because the Titanic sank, written via his grandson</B> On 14th April 1912, when the sizeable struck an iceberg on her maiden voyage and sank, 1,500 passengers and group misplaced their lives. because the order to desert send was once given, the orchestra took their tools on deck and persisted to play as the send went down. The violinist, 21 year-old Jock Hume, knew that his fiancée, Mary, was once anticipating their first baby, the author's mother. A century later, Christopher Ward unearths a dramatic tale of affection, loss, and betrayal, and the catastrophic influence of Jock's loss of life on very varied Scottish households. He paints a vibrant portrait of an age during which type made up our minds how you lived—and died. This remarkable piece of old detective paintings can be a relocating account of ways the author's quest to benefit extra approximately his grandfather printed the surprising fact a couple of family members he proposal he knew, a fact that have been hidden for nearly 100 years.</B>
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Extra resources for And the Band Played On . . .: The Titanic Violinist and the Glovemaker: A True Story of Love, Loss and Betrayal
Seating around 2,500,the remaining rows,apparently A B C D P I G U R E 13. Chaironeia:the groundplan. From Carlo Anti and Luigi Polacco, Nuove ricerche sui teatri greci arcaici. 32 T H E S H A P E OF T H E O R C H E S T R A E 14. Argos: groundplan of thejfth-century theatre and overlaid Roman odeion. From Anti andPolacco, Nuove ricerche. 17 MAGNA GRAECIA The trapezoidal drainage ditch surrounding a primitive orchestra of the theatre at Syracuse (fig. 16) offers clear evidence of early rectilinearity.
Gebhard’s solution is plausible,but the Hellenistic remainsof theatres at Mycenae, Vergina, and Orchomenos-in-Boeotia offersupport for Dinsmoor’s version: in these theatres, onlythe first row isof curved stone, with the remainder apparentlyhaving been wooden sections arranged in the polygonal pattern that Dinsmoor CONCLUSION When rectangular theatres first came to light in the late nineteenth century, they caused considerableconsternation among archaeologists imbued with the concept of theatrical circularity.
5. AU thirteen altars are particularized and apparentlyscene-specific;the two altars shown onstage are positioned to suit the action of the particular scene ratherthan being permanent architectural features ofthe theatre. Two conclusions can be drawn from the tragic and comic vases: when altars are shown, they are involved the in action of the scene; and the altars are highly particularized, adding further doubt as to the existence of stana dard stage altar. 13 These, likethe altars shown on the vases, differin detail one from the other; they do notsuggest an insitu theatre altar serving many plays.
And the Band Played On . . .: The Titanic Violinist and the Glovemaker: A True Story of Love, Loss and Betrayal by Christopher Ward