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Arthur Neuendorffer
Aug 18, 2019, 7:34:53 AM8/18/19
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----------------------------------------------------------
In 1608 Thomas Greene and his wife Leticia living at
*NEW PLACE* , Stratford-on-Avon, had a son, William.
......................................................
EPIGRAMS. BOOK I. The Author B. J.
.
64. To [Robert (Cecil) Earl of Salisbury. (May 4, 1608)]
Upon the Accession of the Treasurership to him.
......................................................
NOt glad, like those that have new Hopes, or Suits,
With thy *NEW PLACE* , bring I [Th]ese ear[L]y Fruits
[O]f Love, an[D] what the [G]olden Ag[E] did hold
A Treasure, Art: Condemn'd in th' Age of Gold.
..................................................
_ <= 8 =>
. *N E W P L A C E* (May 4, 1597)
. b r i n g I[T h]
. e s e e a r[L]y
. F r u i t s[O]f
. L o v e,a n[D]w
. h a T t h e[G]o
. l d E n A g[E]d
. i d H o l d A T
. r e A s u r e,
.
[T LODGE] 8 Prob. in epigram ~ 1 in 7250
-----------------------------------------------------------------
http://www.johnrausch.com/PuzzleWorld/toc.asp?t=_cat/io001.htm&m=cat/...
*NEW PLACE* remained in possession of Shakespeare's successors
until the Restoration; it was then purchased by the Clopton family:
about 1752 it was sold by the executor of Sir Hugh to a clergyman
of the name of Francis GASTRELL, who, on some offence
taken at the authorities of the borough of Stratford,
on the subject of rating the house, PULLED IT DOWN,
and cut down the MULBERRY tree.
According to a letter in the Annual Register of 1760,
the wood was bought by a silver-smith,
who "made many odd things of it for the curious.">>
----------------------------------------------------------------
THE NAMES IN WRITING OF Oxford's PRINCIPAL MEN.
[G]ASTRELL [H]orsleye
[G]abriel [H]arvey
----------------------------------------------------------------
<<the Blackfriars affair: June 18, 1582: The junior master of
Caverley's fencing-school, which shared Blackfriars with the theatre,
was able to name Oxford's two men as [G]ASTRELL and [H]orsleye:
"Seeing swords drawn, and having only about him a single sword,
he went in amongst them--- only to keep the peace.">> CO2 p.652
http://www.sourcetext.com/sourcebook/library/bowen/20babbles.htm
<<On 22nd June, 1582: "Upon Friday last, in the afternoon," they saw
one called GASTRELL and "maned"' to be my Lord of Oxford's man draw
his sword upon 3 or 4 of Mr. Knyvet's men. And one of Mr. Knyvet's men
said twice or thrice: "Put up thy sword GASTRELL, we will not deal
with thee here, there is no place here," and xxxred the street to bear
witness. GASTRELL replied and said he would fight with them, and one
HARVEY, my Lord of Oxford's man, would have parted the fray and willed
GASTRELL to put up his sword, which he did accordingly. And then one
of Mr. Knyvet's men said: "GASTRELL, another time use thy discretion."
Whereupon GASTRELL drew again and ran upon one of Mr. Knyvet's men
furiously; and they struck 5 or 6 blows, and Mr. Knyvet's man hurt
GASTRELL. The rest of Mr. Knyvet's men had their swords drawn but
struck not at all. HARVEY, my Lord of Oxford's man, with his sword
drawn, would have parted the fray and (according to Bothame) was hurt
by chance, by GASTRELL, for he did not see any of Mr. Knyvet's men
strike at him, or he at any of them."
The part played by HARVEY here may be of special interest to students
of the Elizabethan literary world, for though no Christian name is
given, this was in all probability Spenser's and Sidney's friend and
Nashe's enemy, the eccentric Cambridge don, [G]abriel [H]ARVEY; who is
known to have been a protégé of the Earl of Oxford at about this time.
There is no evidence that either Oxford or Knyvet was present on this
occasion>>
<<1583: GASTRELL avenged the day at Blackfriars. He killed one of
Knyvet's men called Long Tom. This comes ot in a letter of March 12th
from Burghley to Christopher Hatton. Long Tom, [a former Oxford man],
was "a bad fellow" and Burghley says he is sending Hatton the records
of the Coroner's inquest acquitting [former Oxford man] GASTRELL.>>
CO2 p.653
--------------------------------------------------------------------
Apocrypha 1 Esdras 6:9
*Building an house unto the Lord, great and new* , of hewn and costly
STONEs, and the TIMBER already laid upon the walls. Then asked we
these elders, saying, By whose commandment build ye this house,
and lay the foundations of these works? Therefore to the intent
that we might give knowledge unto thee by writing,
we demanded of them who were the chief doers, and
WE REQUIRED OF THEM THE NAMES
IN WRITING OF THEIR PRINCIPAL MEN.
So they gave us this answer, We are the servants of the Lord which
made heaven and earth. And as for this house, it was builded many
years
ago by a king of Israel great and strong, and was finished. But when
our fathers provoked God unto wrath, and sinned against the Lord
of Israel which is in heaven, he gave them over into the power
of Nabuchodonosor king of Babylon, of the Chaldees;
WHO PULLED DOWN THE HOUSE, and BURNED IT,
and carried away the people captives unto Babylon.
---------------------------------------------------------------------
1613 The First Globe BURNED
1644 The Second Globe PULLED DOWN
1759 Francis GASTRELL PULLED DOWN New Place & BURNED it.
----------------------------------------------------------------------
http://www.xrefer.com/entry/554920
<<At his death, the house passed to his daughter, Susanna, and her
husband, Dr John Hall, and then to their daughter and son-in-law,
Elizabeth & Thomas Nash. New Place was sold in 1675 to Sir Edward
WALKER, and passed from him to his daughter and, in 1699, into the
Clopton family. It was extensively rebuilt by Sir John Clopton,
who settled it on his son, Hugh, in 1702 before it was ready for
reoccupation. When Sir Hugh died, it passed to his daughters, who sold
it to the Reverend Francis GASTRELL in 1756. He demolished it in
1759.>>
---------------------------------------------------------------------
http://www.btinternet.com/~steveaj/Shakespeare/nash.htm
<<A subsequent owner, Rev Francis GASTRELL, the Canon of Lichfield,
spent only half of each year in the house and disputed having
to pay full rates on the property. The town council disagreed,
so in 1759 HE BURNT THE HOUSE DOWN.>>
---------------------------------------------------------
_____ {UT} [MASTER MASONS]
..............................................
___ <= 21 =>
.
. {U} P o n t h e L i n e s a n d L i f e o f
. {T} H e F a m o u s S c e n i c k e P o e t
.
. [M A S T E R] W I L L I A M S H A K E S P E
. [A] R E T h o s e h a n d s w h i c h y o u
. [S] O c l a p t g o n o w a n d w r i n g Y
. [O] u B r i t a i n e s b r a v e f o r d o
. [N] e a r e S h a k e s p e a r e s d a y e
. [S]
.
[MASONS] 21 : Prob. at start of poem ~ 1 in 9460
-----------------------------------------------------
https://en.wikipedia.org/wiki/Nicholas_Stone
<<In 1619 {N}icholas {STONE} (1586/87 – 24 Aug. 1647) was appointed [MASTER MASON] to James I, and in 1626 to Charles I. During his career he was the mason responsible for the most prominent of his era. {N}icholas {STONE} also designed *DIGGES* chapel for, Sir Dudley Digges (1583–1639), older brother of [L]eonard [DIGGES] (1588–1635), to contain his monument to Lady Digges. Stone's non-sepulchre sculpture includes a collection of statues in good repair at *Wilton House*. Stone's 1631 monument to Dr John Donne, at St Pauls Cathedral depicts the poet, standing upon an urn, dressed in a winding cloth, rising for the moment of judgement. Another of Stone's finest works is the effigy of Elizabeth, Lady Carey in the parish church at Stowe Nine Churches, Northamptonshire. While other surviving examples of his monuments to the dead include those to: *Sir FRANCIS VERE*, Earl of Middlesex; Thomas, Lord Knivett, at Stanwell, Middlesex; Sir Nicholas Bacon, in Redgrave church, Suffolk (with Janssens).>>
-------------------------------------------------------------------
First Folio (1623)
TO THE MEMORIE of the deceased Authour
Maister W. SHAKESPEARE.
SHake-speare, at length thy pious fellowes giue
The world thy Workes: thy Workes, by which, out-liue
Thy Tombe, thy name must: when that {STONE} is rent,
And Time dissolues thy {STRATFORD MONIMENT},
Here we aliue shall view thee still. This Booke,
When Brasse and Marble fade, shall make thee looke
Fresh to all Ages: when Posteritie
Shall loath what's new, thinke all is prodegie
That I{S} NOT *S[H]AKE-SPEARES*; eu'ry Line, each Verse
Here shall reuiu{E}, rE[D]eeme thee from thy Herse.
Nor Fire, nor cankring Age, a{S N|A]so said,
Of his, {T}hy wit-fraught B{O}oke shall once i{N}vadE.
[N|O}r shall I {E}'re beleeve, or thinke thee dead.
(Though mis{T}) [U]nt{I}ll our bankrout Stage be sped
(Impossible) with som[E] new straine t' out-do
{P}assions of Iuliet, and her Romeo;
{O}[R] till I heare a Scene more nobly take,
{T}hen when thy half=[S|WORD} parlying Romans spake.
{T}ill these, till any of thy (v)olumes rest
Shall with more fire, more feeling be expr{E}st,
Be sure, our Shake=speare, thou canst n[EVER DYE],
But cr{O}wn'd with Lawrell, liue eternally.
[L]. [DIGGES].
.................................................
. <= 14 =>
.
. a {S N}[A]s o s a i d,O f h i
. s,{T} h y w i t-f r a u g h t
. B {O} o k e s h a l l o n c e
. i {N} v a d e[N]o r s h a l l
. I {E}'r e b e l e e v e,o r t
. h i n k e t h e e d e a d.
...........................................
{N/STONE} 14 : Prob. in poem ~ 1 in 280
----------------------------------------------------------------------
. <= 46 =>
.
. SHakespeareatlengththypi o u s f e l l o w e s g i u e T h e worl
. dthyWorkesthyWorkesbywhi c h o u t l i u e T h y T o m b e,t hyna
. memustwhenthatSTONEisren t A n d T i m e d i s s o l u e s t hyST
. RATFORDMONIMENTHereweali u e s h a l l v i e w t h e e s t i llTh
. isBookeWhenBrasseandMarb l e f a d e,s h a l l m a k e t h e eloo
. keFreshtoallAgeswhenPost e r i t i e S h a l l l o a t h w h atsn
. ewthinkeallisprodegieTha t I{S}N O T*S[H]A K E S P E A R E S* eury
. LineeachVerseHereshallre u i u{E}r E[D]e e m e t h e e f r o mthy
. HerseNorFirenorcankringA g e a s{N|A]s o s a i d O f h i s t hywi
. tfraughtBookeshalloncein u a d E[N|O}r s h a l l I e r e b e leeu
. eorthinketheedeadThoughm i s T[U]n t{I}l l o u r b a n k r o utSt
. agebespedImpossiblewiths o m[E]n e w s t r a i n e t o u t d oPas
. sionsofIulietandherRomeo O[R]t i l l I h e a r e a S c e n e more
. noblytakeThenwhenthyhalf [S|W O R D}p a r l y i n g R o m a n sspa
. keTillthesetillanyofthyv o l u m e s r e s t S h a l l w i t hmor
. efiremorefeelingbeexprEs t B e s u r e o u r S h a k e s p e aret
. houcanstnEVERDYEButcrOwn d w i t h L a w r e l l l i u e e t erna
. lly.
.
[H.DANUERS] 45 : Prob. in poem ~ 1 in 192,000
(IONES) -47 : Prob. mear [H.DANUERS] ~ 1 in 950
-------------------------------------------------------------------
. "Moore C W The Freemasons Monthly Magazine Vol IV 1845"
.
GRAND MASTERS, OR PATRONS, OF THE FREE AND ACCEPTED MASONS IN ENGLAND,
.
1618.[W]illiam [H]erbert , Earl of Pembroke, was chosen Grand Master.
. He appointed Inigo {IONES} his Deputy.
.
Charles I., a Royal Mason and Grand Patron by Prerogative ;
. under him [H]enry [DANVERS], Earl of Danby, who erected
. the beautiful gate of the Physick Gardens, at Oxford.
.
1630-1-2. [H]enry [DANVERS] , Earl of Danby.
-----------------------------------------------------------------
> | Art Neuendorffer wrote:
> | > --------------------------------------------------------
> | > (The King James & only the King James version):
> | > Psalm 46
> | > "SHAKE" is the 46th word from the beginning,
> | > and "SPEAR" is the 46th word from the end.
---------------------------------------------------------------
David L. Webb <David.L.W...@Dartmouth.edu> wrote:
> | I've already pointed out to you that this is false, Art,
> | as Martin Gardner, has pointed out; as I already said,
> | "In Richard TaVERner's 1539 VERsion of Psalm 46,
> | 'shake' & 'spear' are in *precisely* the same positions.
> | HoweVER, one would scarcely expect
> | aneuendorffer114...@comicass.nut
> | to have VERified his idiotic claims about matters of fact."
> | Are you completely senile, Art?
> | Or are you just oblivious to facts?
---------------------------------------------------------------
Peter Groves wrote:
>
> I've just had a look at the text on EEBO
> (Early English Books Online) and while "spere" is 47 words from
> the end (not counting "Selah"), Taverner has "shooke" rather
> than "shake" and it's actually 57 words from the beginning.
> Also, for some reason, he numbers the psalm 45.
-------------------------------------------------------------
(Richard TaVERner's 1539 VERsion):
Psalm *45*
"*SHOOKE*" is the *57*th word from the beginning,
and "SPERE" is the *47*th word from the end.
---------------------------------------------------------------
(The King James & only the King James Version):
Psalm *46*
"SHAKE" is the *46*th word from the beginning,
and "SPEAR" is the *46*th word from the end.
-------------------------------------------------------------------------
https://en.wikipedia.org/wiki/University_of_Oxford_Botanic_Garden
<<The Danby gateway to the Botanic Garden is one of three entrances designed by {N}icholas {STONE} between 1632 & 1633. It is one of the earliest structures in Oxford to use classical style. In this highly ornate arch, Stone ignored the new simple classical Palladian style currently fashionable, which had just been introduced to England from Italy by Inigo {IONES}. The pediments of the lateral bays are seemingly supported by circular columns which frame niches containing statues of Charles I & Charles II in classical pose. The tympanum of the central pediment contains a segmented niche containing a bust of [H]enry [DANVERS], Earl of Danby.>>
-------------------------------------------------------------------
https://en.wikipedia.org/wiki/Inigo_Jones
<<Inigo {IONES} (15 July 1573 – 21 June 1652) was the first significant English architect in the early modern period, and the first to employ Vitruvian rules of proportion and symmetry in his buildings. JonesH was the first person to introduce the classical architecture of Rome and the Italian Renaissance to Britain. He made major contributions to stage design by his work as theatrical designer for several dozen masques, most by royal command and many in collaboration with Ben Jonson. One of Jones's design work was "double cube" room. Wilton House was renovated from about 1630 onwards, at times worked on by Jones, then passed on to Isaac de Caus when Jones was too busy with royal clients. He then returned in 1646 with his student, *JOHN WEBB*, to try and complete the project. Contemporary equivalent architects included {N}icholas {STONE}. Jones is also said to be responsible for the Masonic Document called "The Inigo Jones Manuscript", from around 1607. A document of the Old Charges of Freemasonry. http://theoldcharges.com/chapter-17.html
Beyond the fact that he was born in Smithfield, London, the son of Inigo Jones, a Welsh cloth worker, and baptised at the church of St Bartholomew-the-Less, little is known about Jones's early years. There is evidence that Christopher Wren obtained information that recorded Jones as an apprentice joiner in St Paul's Churchyard. At some point before 1603 a rich patron (possibly the *Earl of Pembroke* or the *Earl of Rutland*) sent him to Italy to study drawing after being impressed by the quality of his sketches. From Italy he travelled to Denmark where he worked for King Christian on the design of the palaces of Rosenborg and Frederiksborg.
Jones first became famous as a designer of costumes and stage settings, especially after he brought "masques" to the stage. Under the patronage of Queen Anne (the consort of King James I), he is credited with introducing movable scenery and the proscenium arch to English theatre. Between 1605 and 1640, he was responsible for staging over 500 performances, collaborating with Ben Jonson for many years: the two had arguments about whether stage design or literature was more important in theatre. (Jonson ridiculed Jones in a series of his works, written over a span of two decades.) Over 450 drawings for the scenery and costumes survive, demonstrating Jones's virtuosity as a draughtsman and his development between 1605 and 1609 exhibiting an "accomplished Italianate manner" and understanding of Italian set design. This suggests a second visit to Italy, circa 1606, influenced by the ambassador Henry Wotton. Jones learned to speak Italian fluently and there is evidence that he owned an Italian copy of Andrea Palladio's I quattro libri dell'architettura with marginalia that refer to Wotton.
In 1609, having perhaps accompanied Lord Salisbury's son and heir, Viscount Cranborne, around France, Jones appears as an architectural consultant at Hatfield House, making small modifications to the design as the project progressed, and in 1610, Jones was appointed Surveyor to Henry Frederick, Prince of Wales. He devised a masque for the Prince and was possibly involved in some alterations to St James's Palace.
On 27 April 1613, Jones was appointed the position of Surveyor of the King's Works and shortly after, embarked on a tour of Italy with the Earl of Arundel, destined to become one of the most important patrons in the history of English art. His surviving sketchbook shows his preoccupation with such artists as Parmigianino and Schiavone. He is also known to have met Vincenzo Scamozzi at this time. Jones gave priority to Roman antiquity rather than observing the contemporary fashion in Italy.
In September 1615, Jones was appointed Surveyor-General of the King's Works. Fortunately, both James I and Charles I spent lavishly on their buildings, contrasting hugely with the economical court of Elizabeth I. In 1616, work began on the Queen's House, Greenwich, for James I's wife, Anne. With the foundations laid and the first storey built, work stopped suddenly when Anne died in 1619. Work resumed in 1629, but this time for Charles I's Queen, Henrietta Maria. It was finished in 1635 as the first strictly classical building in England, employing ideas found in the architecture of Palladio and ancient Rome.
Between 1619 and 1622, the Banqueting House in the Palace of Whitehall was built to which a ceiling painted by Peter Paul Rubens was added several years later. The Whitehall palace was one of several projects where Jones worked with his personal assistant and nephew by marriage *JOHN WEBB*.
The Queen's Chapel, St. James's Palace, was built between 1623 and 1627, for Charles I's Roman Catholic wife, Henrietta Maria. Parts of the design originate in the Pantheon of ancient Rome and Jones evidently intended the church to evoke the Roman temple.
The other project in which Jones was involved is the design of Covent Garden square. He was commissioned by the Earl of Bedford to build a residential square, which he did along the lines of the Italian piazza of Livorno. It is the first regularly planned square in London. The Earl felt obliged to provide a church and he warned Jones that he wanted to economise. He told him to simply erect a "barn" and Jones's oft-quoted response was that his lordship would have "the finest barn in Europe". In the design of St Paul's, Jones faithfully adhered to Vitruvius's design for a Tuscan temple and it was the first wholly and authentically classical church built in England. The inside of St Paul's, Covent Garden was gutted by fire in 1795, but externally it remains much as Jones designed it and dominates the west side of the piazza.
Another large project Jones undertook was the repair and remodelling of St Paul's Cathedral. Between the years of 1634 and 1642, Jones wrestled with the dilapidated Gothicism of Old St Paul's, casing it in classical masonry and totally redesigning the west front. Jones incorporated the giant scrolls from Vignola and della Porta's Church of the Gesù with a giant Corinthian portico, the largest of its type north of the Alps, but was destroyed in the Great Fire of London in 1666.
Jones's contribution to a building may also simply be verbal instructions to a mason or bricklayer and providing an Italian engraving or two as a guide, or the correction of drafts. In the 1630s, Jones was in high demand and, as Surveyor to the King, his services were only available to a very limited circle of people, so often projects were commissioned to other members of the Works. Stoke Bruerne Park in Northamptonshire was built by Sir Francis Crane, "receiving the assistance of Inigo Jones", between 1629 and 1635. Jones is also thought to have been involved in another country house, this time in Wiltshire.
Jones's full-time career effectively ended with the outbreak of the English Civil War in 1642 and the seizure of the King's houses in 1643. Jones was captured at the third siege of Basing House in October 1645. Unfortunately, as one of the last great strongholds to the Cavaliers, the great mansion inside was destroyed by Cromwell's army and even the walls were broken into many pieces. His property was later returned to him (c. 1646) but Jones ended his days, unmarried, living in Somerset House. He died on 21 June 1652 and was subsequently buried with his parents at St Benet Paul's Wharf, the Welsh church of the City of London. John Denham and then Christopher Wren followed him as King's Surveyor of Works. A monument dedicated to him in the church, ironically portraying St Paul's Cathedral and other buildings, was destroyed in the Great Fire in 1666.>>
-----------------------------------------------------------
> Lea wrote:
>
> <<If you will write a clear exposition of your "calculation" *in English*,
> I will try to show it to two colleagues, one of whom is Chair of the
> Statistics Department at a major uniVERsity and the other of whom is
> a renowned statistician at an Ivy League institution
> and a former student of the great Kolmogorov.>>
-----------------------------------------------------------
There are 27,302 possible positions for an 8 letter ELS skip of 2 to 45.
.
The "raw" probability of [H.DANUERS] in any one of those positions is:
.
. 1 in 5,230,781,000 {see below}
.
Hence, the probability of [H.DANUERS] showing up as an ELS is ~ 1 in 191,590
-----------------------------------------------------------
H : 57 in 785 total letters
D : 18 in 784 total letters
A : 55 in 783 total letters
N : 42 in 782 total letters
U or V : 29 in 781 total letters
E : 122 in 780 total letters
R : 52 in 779 total letters
S : 61 in 778 total letters
.....................................................................
[H.DANUERS] "raw" prob. = [57*18*55*42*29*122*52*61x(777!)/(785!)]
[H.DANUERS] "raw" prob. = 1 in 5,230,781,000
.....................................................................
[H.DANUERS] prob. ~ 27,302 in 5,230,781,000 ~ 1 in 191,590
--------------------------------------------------------------------
http://www.geocities.ws/garydanvers/PS-funeral.html
Future Masonic Grand Master Henry Danvers leading the funeral cortege
of Sir Philip Sidney... uncle to First Folio's two dedicatees:
Philip & William Herbert (Masonic Grand Master in 1623)
----------------------------------------------------------------
Lea wrote:
<<I'll show your crackpot cryptography to two experts, Art.
It may take a while, though.>>
Thanks, Dave.
------------------------------------------------------
Art Neuendorffer
In 1608 Thomas Greene and his wife Leticia living at
*NEW PLACE* , Stratford-on-Avon, had a son, William.
......................................................
EPIGRAMS. BOOK I. The Author B. J.
.
64. To [Robert (Cecil) Earl of Salisbury. (May 4, 1608)]
Upon the Accession of the Treasurership to him.
......................................................
NOt glad, like those that have new Hopes, or Suits,
With thy *NEW PLACE* , bring I [Th]ese ear[L]y Fruits
[O]f Love, an[D] what the [G]olden Ag[E] did hold
A Treasure, Art: Condemn'd in th' Age of Gold.
..................................................
_ <= 8 =>
. *N E W P L A C E* (May 4, 1597)
. b r i n g I[T h]
. e s e e a r[L]y
. F r u i t s[O]f
. L o v e,a n[D]w
. h a T t h e[G]o
. l d E n A g[E]d
. i d H o l d A T
. r e A s u r e,
.
[T LODGE] 8 Prob. in epigram ~ 1 in 7250
-----------------------------------------------------------------
http://www.johnrausch.com/PuzzleWorld/toc.asp?t=_cat/io001.htm&m=cat/...
*NEW PLACE* remained in possession of Shakespeare's successors
until the Restoration; it was then purchased by the Clopton family:
about 1752 it was sold by the executor of Sir Hugh to a clergyman
of the name of Francis GASTRELL, who, on some offence
taken at the authorities of the borough of Stratford,
on the subject of rating the house, PULLED IT DOWN,
and cut down the MULBERRY tree.
According to a letter in the Annual Register of 1760,
the wood was bought by a silver-smith,
who "made many odd things of it for the curious.">>
----------------------------------------------------------------
THE NAMES IN WRITING OF Oxford's PRINCIPAL MEN.
[G]ASTRELL [H]orsleye
[G]abriel [H]arvey
----------------------------------------------------------------
<<the Blackfriars affair: June 18, 1582: The junior master of
Caverley's fencing-school, which shared Blackfriars with the theatre,
was able to name Oxford's two men as [G]ASTRELL and [H]orsleye:
"Seeing swords drawn, and having only about him a single sword,
he went in amongst them--- only to keep the peace.">> CO2 p.652
http://www.sourcetext.com/sourcebook/library/bowen/20babbles.htm
<<On 22nd June, 1582: "Upon Friday last, in the afternoon," they saw
one called GASTRELL and "maned"' to be my Lord of Oxford's man draw
his sword upon 3 or 4 of Mr. Knyvet's men. And one of Mr. Knyvet's men
said twice or thrice: "Put up thy sword GASTRELL, we will not deal
with thee here, there is no place here," and xxxred the street to bear
witness. GASTRELL replied and said he would fight with them, and one
HARVEY, my Lord of Oxford's man, would have parted the fray and willed
GASTRELL to put up his sword, which he did accordingly. And then one
of Mr. Knyvet's men said: "GASTRELL, another time use thy discretion."
Whereupon GASTRELL drew again and ran upon one of Mr. Knyvet's men
furiously; and they struck 5 or 6 blows, and Mr. Knyvet's man hurt
GASTRELL. The rest of Mr. Knyvet's men had their swords drawn but
struck not at all. HARVEY, my Lord of Oxford's man, with his sword
drawn, would have parted the fray and (according to Bothame) was hurt
by chance, by GASTRELL, for he did not see any of Mr. Knyvet's men
strike at him, or he at any of them."
The part played by HARVEY here may be of special interest to students
of the Elizabethan literary world, for though no Christian name is
given, this was in all probability Spenser's and Sidney's friend and
Nashe's enemy, the eccentric Cambridge don, [G]abriel [H]ARVEY; who is
known to have been a protégé of the Earl of Oxford at about this time.
There is no evidence that either Oxford or Knyvet was present on this
occasion>>
<<1583: GASTRELL avenged the day at Blackfriars. He killed one of
Knyvet's men called Long Tom. This comes ot in a letter of March 12th
from Burghley to Christopher Hatton. Long Tom, [a former Oxford man],
was "a bad fellow" and Burghley says he is sending Hatton the records
of the Coroner's inquest acquitting [former Oxford man] GASTRELL.>>
CO2 p.653
--------------------------------------------------------------------
Apocrypha 1 Esdras 6:9
*Building an house unto the Lord, great and new* , of hewn and costly
STONEs, and the TIMBER already laid upon the walls. Then asked we
these elders, saying, By whose commandment build ye this house,
and lay the foundations of these works? Therefore to the intent
that we might give knowledge unto thee by writing,
we demanded of them who were the chief doers, and
WE REQUIRED OF THEM THE NAMES
IN WRITING OF THEIR PRINCIPAL MEN.
So they gave us this answer, We are the servants of the Lord which
made heaven and earth. And as for this house, it was builded many
years
ago by a king of Israel great and strong, and was finished. But when
our fathers provoked God unto wrath, and sinned against the Lord
of Israel which is in heaven, he gave them over into the power
of Nabuchodonosor king of Babylon, of the Chaldees;
WHO PULLED DOWN THE HOUSE, and BURNED IT,
and carried away the people captives unto Babylon.
---------------------------------------------------------------------
1613 The First Globe BURNED
1644 The Second Globe PULLED DOWN
1759 Francis GASTRELL PULLED DOWN New Place & BURNED it.
----------------------------------------------------------------------
http://www.xrefer.com/entry/554920
<<At his death, the house passed to his daughter, Susanna, and her
husband, Dr John Hall, and then to their daughter and son-in-law,
Elizabeth & Thomas Nash. New Place was sold in 1675 to Sir Edward
WALKER, and passed from him to his daughter and, in 1699, into the
Clopton family. It was extensively rebuilt by Sir John Clopton,
who settled it on his son, Hugh, in 1702 before it was ready for
reoccupation. When Sir Hugh died, it passed to his daughters, who sold
it to the Reverend Francis GASTRELL in 1756. He demolished it in
1759.>>
---------------------------------------------------------------------
http://www.btinternet.com/~steveaj/Shakespeare/nash.htm
<<A subsequent owner, Rev Francis GASTRELL, the Canon of Lichfield,
spent only half of each year in the house and disputed having
to pay full rates on the property. The town council disagreed,
so in 1759 HE BURNT THE HOUSE DOWN.>>
---------------------------------------------------------
_____ {UT} [MASTER MASONS]
..............................................
___ <= 21 =>
.
. {U} P o n t h e L i n e s a n d L i f e o f
. {T} H e F a m o u s S c e n i c k e P o e t
.
. [M A S T E R] W I L L I A M S H A K E S P E
. [A] R E T h o s e h a n d s w h i c h y o u
. [S] O c l a p t g o n o w a n d w r i n g Y
. [O] u B r i t a i n e s b r a v e f o r d o
. [N] e a r e S h a k e s p e a r e s d a y e
. [S]
.
[MASONS] 21 : Prob. at start of poem ~ 1 in 9460
-----------------------------------------------------
https://en.wikipedia.org/wiki/Nicholas_Stone
<<In 1619 {N}icholas {STONE} (1586/87 – 24 Aug. 1647) was appointed [MASTER MASON] to James I, and in 1626 to Charles I. During his career he was the mason responsible for the most prominent of his era. {N}icholas {STONE} also designed *DIGGES* chapel for, Sir Dudley Digges (1583–1639), older brother of [L]eonard [DIGGES] (1588–1635), to contain his monument to Lady Digges. Stone's non-sepulchre sculpture includes a collection of statues in good repair at *Wilton House*. Stone's 1631 monument to Dr John Donne, at St Pauls Cathedral depicts the poet, standing upon an urn, dressed in a winding cloth, rising for the moment of judgement. Another of Stone's finest works is the effigy of Elizabeth, Lady Carey in the parish church at Stowe Nine Churches, Northamptonshire. While other surviving examples of his monuments to the dead include those to: *Sir FRANCIS VERE*, Earl of Middlesex; Thomas, Lord Knivett, at Stanwell, Middlesex; Sir Nicholas Bacon, in Redgrave church, Suffolk (with Janssens).>>
-------------------------------------------------------------------
First Folio (1623)
TO THE MEMORIE of the deceased Authour
Maister W. SHAKESPEARE.
SHake-speare, at length thy pious fellowes giue
The world thy Workes: thy Workes, by which, out-liue
Thy Tombe, thy name must: when that {STONE} is rent,
And Time dissolues thy {STRATFORD MONIMENT},
Here we aliue shall view thee still. This Booke,
When Brasse and Marble fade, shall make thee looke
Fresh to all Ages: when Posteritie
Shall loath what's new, thinke all is prodegie
That I{S} NOT *S[H]AKE-SPEARES*; eu'ry Line, each Verse
Here shall reuiu{E}, rE[D]eeme thee from thy Herse.
Nor Fire, nor cankring Age, a{S N|A]so said,
Of his, {T}hy wit-fraught B{O}oke shall once i{N}vadE.
[N|O}r shall I {E}'re beleeve, or thinke thee dead.
(Though mis{T}) [U]nt{I}ll our bankrout Stage be sped
(Impossible) with som[E] new straine t' out-do
{P}assions of Iuliet, and her Romeo;
{O}[R] till I heare a Scene more nobly take,
{T}hen when thy half=[S|WORD} parlying Romans spake.
{T}ill these, till any of thy (v)olumes rest
Shall with more fire, more feeling be expr{E}st,
Be sure, our Shake=speare, thou canst n[EVER DYE],
But cr{O}wn'd with Lawrell, liue eternally.
[L]. [DIGGES].
.................................................
. <= 14 =>
.
. a {S N}[A]s o s a i d,O f h i
. s,{T} h y w i t-f r a u g h t
. B {O} o k e s h a l l o n c e
. i {N} v a d e[N]o r s h a l l
. I {E}'r e b e l e e v e,o r t
. h i n k e t h e e d e a d.
...........................................
{N/STONE} 14 : Prob. in poem ~ 1 in 280
----------------------------------------------------------------------
. <= 46 =>
.
. SHakespeareatlengththypi o u s f e l l o w e s g i u e T h e worl
. dthyWorkesthyWorkesbywhi c h o u t l i u e T h y T o m b e,t hyna
. memustwhenthatSTONEisren t A n d T i m e d i s s o l u e s t hyST
. RATFORDMONIMENTHereweali u e s h a l l v i e w t h e e s t i llTh
. isBookeWhenBrasseandMarb l e f a d e,s h a l l m a k e t h e eloo
. keFreshtoallAgeswhenPost e r i t i e S h a l l l o a t h w h atsn
. ewthinkeallisprodegieTha t I{S}N O T*S[H]A K E S P E A R E S* eury
. LineeachVerseHereshallre u i u{E}r E[D]e e m e t h e e f r o mthy
. HerseNorFirenorcankringA g e a s{N|A]s o s a i d O f h i s t hywi
. tfraughtBookeshalloncein u a d E[N|O}r s h a l l I e r e b e leeu
. eorthinketheedeadThoughm i s T[U]n t{I}l l o u r b a n k r o utSt
. agebespedImpossiblewiths o m[E]n e w s t r a i n e t o u t d oPas
. sionsofIulietandherRomeo O[R]t i l l I h e a r e a S c e n e more
. noblytakeThenwhenthyhalf [S|W O R D}p a r l y i n g R o m a n sspa
. keTillthesetillanyofthyv o l u m e s r e s t S h a l l w i t hmor
. efiremorefeelingbeexprEs t B e s u r e o u r S h a k e s p e aret
. houcanstnEVERDYEButcrOwn d w i t h L a w r e l l l i u e e t erna
. lly.
.
[H.DANUERS] 45 : Prob. in poem ~ 1 in 192,000
(IONES) -47 : Prob. mear [H.DANUERS] ~ 1 in 950
-------------------------------------------------------------------
. "Moore C W The Freemasons Monthly Magazine Vol IV 1845"
.
GRAND MASTERS, OR PATRONS, OF THE FREE AND ACCEPTED MASONS IN ENGLAND,
.
1618.[W]illiam [H]erbert , Earl of Pembroke, was chosen Grand Master.
. He appointed Inigo {IONES} his Deputy.
.
Charles I., a Royal Mason and Grand Patron by Prerogative ;
. under him [H]enry [DANVERS], Earl of Danby, who erected
. the beautiful gate of the Physick Gardens, at Oxford.
.
1630-1-2. [H]enry [DANVERS] , Earl of Danby.
-----------------------------------------------------------------
> | Art Neuendorffer wrote:
> | > --------------------------------------------------------
> | > (The King James & only the King James version):
> | > Psalm 46
> | > "SHAKE" is the 46th word from the beginning,
> | > and "SPEAR" is the 46th word from the end.
---------------------------------------------------------------
David L. Webb <David.L.W...@Dartmouth.edu> wrote:
> | I've already pointed out to you that this is false, Art,
> | as Martin Gardner, has pointed out; as I already said,
> | "In Richard TaVERner's 1539 VERsion of Psalm 46,
> | 'shake' & 'spear' are in *precisely* the same positions.
> | HoweVER, one would scarcely expect
> | aneuendorffer114...@comicass.nut
> | to have VERified his idiotic claims about matters of fact."
> | Are you completely senile, Art?
> | Or are you just oblivious to facts?
---------------------------------------------------------------
Peter Groves wrote:
>
> I've just had a look at the text on EEBO
> (Early English Books Online) and while "spere" is 47 words from
> the end (not counting "Selah"), Taverner has "shooke" rather
> than "shake" and it's actually 57 words from the beginning.
> Also, for some reason, he numbers the psalm 45.
-------------------------------------------------------------
(Richard TaVERner's 1539 VERsion):
Psalm *45*
"*SHOOKE*" is the *57*th word from the beginning,
and "SPERE" is the *47*th word from the end.
---------------------------------------------------------------
(The King James & only the King James Version):
Psalm *46*
"SHAKE" is the *46*th word from the beginning,
and "SPEAR" is the *46*th word from the end.
-------------------------------------------------------------------------
https://en.wikipedia.org/wiki/University_of_Oxford_Botanic_Garden
<<The Danby gateway to the Botanic Garden is one of three entrances designed by {N}icholas {STONE} between 1632 & 1633. It is one of the earliest structures in Oxford to use classical style. In this highly ornate arch, Stone ignored the new simple classical Palladian style currently fashionable, which had just been introduced to England from Italy by Inigo {IONES}. The pediments of the lateral bays are seemingly supported by circular columns which frame niches containing statues of Charles I & Charles II in classical pose. The tympanum of the central pediment contains a segmented niche containing a bust of [H]enry [DANVERS], Earl of Danby.>>
-------------------------------------------------------------------
https://en.wikipedia.org/wiki/Inigo_Jones
<<Inigo {IONES} (15 July 1573 – 21 June 1652) was the first significant English architect in the early modern period, and the first to employ Vitruvian rules of proportion and symmetry in his buildings. JonesH was the first person to introduce the classical architecture of Rome and the Italian Renaissance to Britain. He made major contributions to stage design by his work as theatrical designer for several dozen masques, most by royal command and many in collaboration with Ben Jonson. One of Jones's design work was "double cube" room. Wilton House was renovated from about 1630 onwards, at times worked on by Jones, then passed on to Isaac de Caus when Jones was too busy with royal clients. He then returned in 1646 with his student, *JOHN WEBB*, to try and complete the project. Contemporary equivalent architects included {N}icholas {STONE}. Jones is also said to be responsible for the Masonic Document called "The Inigo Jones Manuscript", from around 1607. A document of the Old Charges of Freemasonry. http://theoldcharges.com/chapter-17.html
Beyond the fact that he was born in Smithfield, London, the son of Inigo Jones, a Welsh cloth worker, and baptised at the church of St Bartholomew-the-Less, little is known about Jones's early years. There is evidence that Christopher Wren obtained information that recorded Jones as an apprentice joiner in St Paul's Churchyard. At some point before 1603 a rich patron (possibly the *Earl of Pembroke* or the *Earl of Rutland*) sent him to Italy to study drawing after being impressed by the quality of his sketches. From Italy he travelled to Denmark where he worked for King Christian on the design of the palaces of Rosenborg and Frederiksborg.
Jones first became famous as a designer of costumes and stage settings, especially after he brought "masques" to the stage. Under the patronage of Queen Anne (the consort of King James I), he is credited with introducing movable scenery and the proscenium arch to English theatre. Between 1605 and 1640, he was responsible for staging over 500 performances, collaborating with Ben Jonson for many years: the two had arguments about whether stage design or literature was more important in theatre. (Jonson ridiculed Jones in a series of his works, written over a span of two decades.) Over 450 drawings for the scenery and costumes survive, demonstrating Jones's virtuosity as a draughtsman and his development between 1605 and 1609 exhibiting an "accomplished Italianate manner" and understanding of Italian set design. This suggests a second visit to Italy, circa 1606, influenced by the ambassador Henry Wotton. Jones learned to speak Italian fluently and there is evidence that he owned an Italian copy of Andrea Palladio's I quattro libri dell'architettura with marginalia that refer to Wotton.
In 1609, having perhaps accompanied Lord Salisbury's son and heir, Viscount Cranborne, around France, Jones appears as an architectural consultant at Hatfield House, making small modifications to the design as the project progressed, and in 1610, Jones was appointed Surveyor to Henry Frederick, Prince of Wales. He devised a masque for the Prince and was possibly involved in some alterations to St James's Palace.
On 27 April 1613, Jones was appointed the position of Surveyor of the King's Works and shortly after, embarked on a tour of Italy with the Earl of Arundel, destined to become one of the most important patrons in the history of English art. His surviving sketchbook shows his preoccupation with such artists as Parmigianino and Schiavone. He is also known to have met Vincenzo Scamozzi at this time. Jones gave priority to Roman antiquity rather than observing the contemporary fashion in Italy.
In September 1615, Jones was appointed Surveyor-General of the King's Works. Fortunately, both James I and Charles I spent lavishly on their buildings, contrasting hugely with the economical court of Elizabeth I. In 1616, work began on the Queen's House, Greenwich, for James I's wife, Anne. With the foundations laid and the first storey built, work stopped suddenly when Anne died in 1619. Work resumed in 1629, but this time for Charles I's Queen, Henrietta Maria. It was finished in 1635 as the first strictly classical building in England, employing ideas found in the architecture of Palladio and ancient Rome.
Between 1619 and 1622, the Banqueting House in the Palace of Whitehall was built to which a ceiling painted by Peter Paul Rubens was added several years later. The Whitehall palace was one of several projects where Jones worked with his personal assistant and nephew by marriage *JOHN WEBB*.
The Queen's Chapel, St. James's Palace, was built between 1623 and 1627, for Charles I's Roman Catholic wife, Henrietta Maria. Parts of the design originate in the Pantheon of ancient Rome and Jones evidently intended the church to evoke the Roman temple.
The other project in which Jones was involved is the design of Covent Garden square. He was commissioned by the Earl of Bedford to build a residential square, which he did along the lines of the Italian piazza of Livorno. It is the first regularly planned square in London. The Earl felt obliged to provide a church and he warned Jones that he wanted to economise. He told him to simply erect a "barn" and Jones's oft-quoted response was that his lordship would have "the finest barn in Europe". In the design of St Paul's, Jones faithfully adhered to Vitruvius's design for a Tuscan temple and it was the first wholly and authentically classical church built in England. The inside of St Paul's, Covent Garden was gutted by fire in 1795, but externally it remains much as Jones designed it and dominates the west side of the piazza.
Another large project Jones undertook was the repair and remodelling of St Paul's Cathedral. Between the years of 1634 and 1642, Jones wrestled with the dilapidated Gothicism of Old St Paul's, casing it in classical masonry and totally redesigning the west front. Jones incorporated the giant scrolls from Vignola and della Porta's Church of the Gesù with a giant Corinthian portico, the largest of its type north of the Alps, but was destroyed in the Great Fire of London in 1666.
Jones's contribution to a building may also simply be verbal instructions to a mason or bricklayer and providing an Italian engraving or two as a guide, or the correction of drafts. In the 1630s, Jones was in high demand and, as Surveyor to the King, his services were only available to a very limited circle of people, so often projects were commissioned to other members of the Works. Stoke Bruerne Park in Northamptonshire was built by Sir Francis Crane, "receiving the assistance of Inigo Jones", between 1629 and 1635. Jones is also thought to have been involved in another country house, this time in Wiltshire.
Jones's full-time career effectively ended with the outbreak of the English Civil War in 1642 and the seizure of the King's houses in 1643. Jones was captured at the third siege of Basing House in October 1645. Unfortunately, as one of the last great strongholds to the Cavaliers, the great mansion inside was destroyed by Cromwell's army and even the walls were broken into many pieces. His property was later returned to him (c. 1646) but Jones ended his days, unmarried, living in Somerset House. He died on 21 June 1652 and was subsequently buried with his parents at St Benet Paul's Wharf, the Welsh church of the City of London. John Denham and then Christopher Wren followed him as King's Surveyor of Works. A monument dedicated to him in the church, ironically portraying St Paul's Cathedral and other buildings, was destroyed in the Great Fire in 1666.>>
-----------------------------------------------------------
> Lea wrote:
>
> <<If you will write a clear exposition of your "calculation" *in English*,
> I will try to show it to two colleagues, one of whom is Chair of the
> Statistics Department at a major uniVERsity and the other of whom is
> a renowned statistician at an Ivy League institution
> and a former student of the great Kolmogorov.>>
-----------------------------------------------------------
There are 27,302 possible positions for an 8 letter ELS skip of 2 to 45.
.
The "raw" probability of [H.DANUERS] in any one of those positions is:
.
. 1 in 5,230,781,000 {see below}
.
Hence, the probability of [H.DANUERS] showing up as an ELS is ~ 1 in 191,590
-----------------------------------------------------------
H : 57 in 785 total letters
D : 18 in 784 total letters
A : 55 in 783 total letters
N : 42 in 782 total letters
U or V : 29 in 781 total letters
E : 122 in 780 total letters
R : 52 in 779 total letters
S : 61 in 778 total letters
.....................................................................
[H.DANUERS] "raw" prob. = [57*18*55*42*29*122*52*61x(777!)/(785!)]
[H.DANUERS] "raw" prob. = 1 in 5,230,781,000
.....................................................................
[H.DANUERS] prob. ~ 27,302 in 5,230,781,000 ~ 1 in 191,590
--------------------------------------------------------------------
http://www.geocities.ws/garydanvers/PS-funeral.html
Future Masonic Grand Master Henry Danvers leading the funeral cortege
of Sir Philip Sidney... uncle to First Folio's two dedicatees:
Philip & William Herbert (Masonic Grand Master in 1623)
----------------------------------------------------------------
Lea wrote:
<<I'll show your crackpot cryptography to two experts, Art.
It may take a while, though.>>
Thanks, Dave.
------------------------------------------------------
Art Neuendorffer
nordicskiv2
Aug 18, 2019, 9:43:50 AM8/18/19
to
On Sunday, August 18, 2019 at 7:34:53 AM UTC-4, Arthur Neuendorffer (aka Noonedafter) wrote:
[Lunatic logorrhea snipped]
> THE NAMES IN WRITING OF Oxford's PRINCIPAL MEN.
>
> [G]ASTRELL [H]orsleye
> [G]abriel [H]arvey
That's ridiculous, Art:
[A]rt [NEU]endorffer
[A]lfred [NEU]man
[Lunatic logorrhea snipped]
> . <= 14 =>
> .
> . a {S N}[A]s o s a i d,O f h i
> . s,{T} h y w i t-f r a u g h t
> . B {O} o k e s h a l l o n c e
> . i {N} v a d e[N]o r s h a l l
> . I {E}'r e b e l e e v e,o r t
> . h i n k e t h e e d e a d.
> ...........................................
> {N/STONE} 14
The string "NSTONE [sic]" does not occur as an equidistant letter sequence of skip 14 -- or for that matter, as an equidistant letter sequence of *any* skip -- in the above text, Art.
[Crackpot cryptography snipped]
> https://en.wikipedia.org/wiki/Inigo_Jones
>
> <<Inigo {IONES} (15 July 1573 – 21 June 1652) was the first significant
> English architect in the early modern period, and the first to employ
> Vitruvian rules of proportion and symmetry in his buildings. JonesH was
> the first person to introduce the classical architecture of Rome and the
> Italian Renaissance to Britain. He made major contributions to stage design
> by his work as theatrical designer for several dozen masques, most by royal
> command and many in collaboration with Ben Jonson. One of Jones's design
> work [sic] was "double cube" [sic] room.
Is English your native tongue, Art?
Oxford was said by his contemporaries to have an In-I-go Jones for Orazio Cogno and other boys in his entourage.
> Wilton House was renovated from about 1630 onwards, at times worked on by
> Jones, then passed on to Isaac de Caus when Jones was too busy with royal
> clients. He then returned in 1646 with his student, *JOHN WEBB*,
It's always gratifying when one's ancestors are mentioned, Art, but why do you emphasize the name? It is a VERy common surname.
[Lunatic logorrhea snipped]
> Over 450 drawings for the scenery and costumes survive, demonstrating
> Jones's virtuosity as a draughtsman
OVER 450,000,000,000 posts by Noonedafter survive, demonstrating his virtuosity as a daftsman.
[Lunatic logorrhea snipped]
> On 27 April 1613, Jones was appointed the position of Surveyor of the
> King's Works and shortly after, embarked on a tour of Italy with the Earl
> of Arundel, destined to become one of the most important patrons in the
> history of English art. His surviving sketchbook shows his preoccupation
> with such artists as Parmigianino and Schiavone. He is also known to have
> met Vincenzo Scamozzi at this time. Jones gave priority to Roman antiquity
> rather than observing the contemporary fashion in Italy.
In other words, he spent his time in Italy more productively than Oxford did.
[Lunatic logorrhea snipped]
> The Whitehall palace was one of several projects where Jones worked with
> his personal assistant and nephew by marriage *JOHN WEBB*.
It's always gratifying when one's ancestors are mentioned, Art, but why do you emphasize the name? It is a VERy common surname.
[Lunatic logorrhea snipped]
I haven't forgotten, Art; I warned you in advance that it might take a while, since both experts have many important things to do other than reading the utter gibberish of cranks.
> ------------------------------------------------------
> Art Neuendorffer (aka Noonedafter)
[Lunatic logorrhea snipped]
> THE NAMES IN WRITING OF Oxford's PRINCIPAL MEN.
>
> [G]ASTRELL [H]orsleye
> [G]abriel [H]arvey
[A]rt [NEU]endorffer
[A]lfred [NEU]man
[Lunatic logorrhea snipped]
> . <= 14 =>
> .
> . a {S N}[A]s o s a i d,O f h i
> . s,{T} h y w i t-f r a u g h t
> . B {O} o k e s h a l l o n c e
> . i {N} v a d e[N]o r s h a l l
> . I {E}'r e b e l e e v e,o r t
> . h i n k e t h e e d e a d.
> ...........................................
> {N/STONE} 14
[Crackpot cryptography snipped]
> https://en.wikipedia.org/wiki/Inigo_Jones
>
> <<Inigo {IONES} (15 July 1573 – 21 June 1652) was the first significant
> English architect in the early modern period, and the first to employ
> Vitruvian rules of proportion and symmetry in his buildings. JonesH was
> the first person to introduce the classical architecture of Rome and the
> Italian Renaissance to Britain. He made major contributions to stage design
> by his work as theatrical designer for several dozen masques, most by royal
> command and many in collaboration with Ben Jonson. One of Jones's design
Is English your native tongue, Art?
Oxford was said by his contemporaries to have an In-I-go Jones for Orazio Cogno and other boys in his entourage.
> Wilton House was renovated from about 1630 onwards, at times worked on by
> Jones, then passed on to Isaac de Caus when Jones was too busy with royal
> clients. He then returned in 1646 with his student, *JOHN WEBB*,
[Lunatic logorrhea snipped]
> Over 450 drawings for the scenery and costumes survive, demonstrating
> Jones's virtuosity as a draughtsman
[Lunatic logorrhea snipped]
> On 27 April 1613, Jones was appointed the position of Surveyor of the
> King's Works and shortly after, embarked on a tour of Italy with the Earl
> of Arundel, destined to become one of the most important patrons in the
> history of English art. His surviving sketchbook shows his preoccupation
> with such artists as Parmigianino and Schiavone. He is also known to have
> met Vincenzo Scamozzi at this time. Jones gave priority to Roman antiquity
> rather than observing the contemporary fashion in Italy.
[Lunatic logorrhea snipped]
> The Whitehall palace was one of several projects where Jones worked with
> his personal assistant and nephew by marriage *JOHN WEBB*.
[Lunatic logorrhea snipped]
> ------------------------------------------------------
> Art Neuendorffer (aka Noonedafter)
Arthur Neuendorffer
Aug 18, 2019, 10:46:09 AM8/18/19
to
Lea wrote:
<<The string "NSTONE [sic]" does not occur as an equidistant letter sequence of skip 14 -- or for that matter, as an equidistant letter sequence of *any* skip -- in the above text, Art.>>
It's a Masonic square (like you, Dave).
<<The string "NSTONE [sic]" does not occur as an equidistant letter sequence of skip 14 -- or for that matter, as an equidistant letter sequence of *any* skip -- in the above text, Art.>>
> https://en.wikipedia.org/wiki/Inigo_Jones
>
> <<Inigo {IONES} (15 July 1573 – 21 June 1652) was the first significant
> English architect in the early modern period, and the first to employ
> Vitruvian rules of proportion and symmetry in his buildings. JonesH was
> the first person to introduce the classical architecture of Rome and the
> Italian Renaissance to Britain. He made major contributions to stage design
> by his work as theatrical designer for several dozen masques, most by royal
> command and many in collaboration with Ben Jonson. One of Jones's design
> Wilton House was renovated from about 1630 onwards, at times worked on by
> Jones, then passed on to Isaac de Caus when Jones was too busy with royal
> clients. He then returned in 1646 with his student, *JOHN WEBB*,
<<It's always gratifying when one's ancestors are mentioned, Art.>>
I can just bet what kind of a student he was:
https://www.youtube.com/watch?v=Bdf_XdDwc-o
> Over 450 drawings for the scenery and costumes survive, demonstrating
> Jones's virtuosity as a draughtsman
Lea wrote:
<<OVER 450,000,000,000 posts by Noonedafter survive,
demonstrating his virtuosity as a daftsman.>>
You're off by about 7 orders of magnitude.
<<OVER 450,000,000,000 posts by Noonedafter survive,
demonstrating his virtuosity as a daftsman.>>
> On 27 April 1613, Jones was appointed the position of Surveyor of the
> King's Works and shortly after, embarked on a tour of Italy with the Earl
> of Arundel, destined to become one of the most important patrons in the
> history of English art. His surviving sketchbook shows his preoccupation
> with such artists as Parmigianino and Schiavone. He is also known to have
> met Vincenzo Scamozzi at this time. Jones gave priority to Roman antiquity
> rather than observing the contemporary fashion in Italy.
Lea wrote:
<<In other words, he spent his time in Italy more productively than Oxford did.>>
Meanwhile:
<<In other words, he spent his time in Italy more productively than Oxford did.>>
The Stratman gave priority to hording gain & suing his neighbors.
> The Whitehall palace was one of several projects where Jones worked with
> his personal assistant and nephew by marriage *JOHN WEBB*.
<<It's always gratifying when one's ancestors are mentioned, Art.>>
I doubt that he could keep up with the Joneses
any more than you can keep up with me.
Lea wrote:
<<I haven't forgotten, Art; I warned you in advance that it might take a while, since both experts have many important things to do other than reading the utter gibberish of cranks.>>
Apparently the same doesn't hold true with youself...
<<I haven't forgotten, Art; I warned you in advance that it might take a while, since both experts have many important things to do other than reading the utter gibberish of cranks.>>
...so why don't you take a crack at it?
-----------------------------------------------
Art Neuendorffer
nordicskiv2
Aug 18, 2019, 7:31:17 PM8/18/19
to
On Sunday, August 18, 2019 at 10:46:09 AM UTC-4, Arthur Neuendorffer (aka Noonedafter) wrote:
[Lunatic logorrhea snipped]
[Lunatic logorrhea snipped]
> > THE NAMES IN WRITING OF Oxford's PRINCIPAL MEN.
> >
> > [G]ASTRELL [H]orsleye
> > [G]abriel [H]arvey
> >
> > [G]ASTRELL [H]orsleye
> > [G]abriel [H]arvey
[A]rt [NEU]endorffer
[A]lfred [NEU]man
[Repetitive, cretinous lunatic logorrhea snipped]
[A]lfred [NEU]man
> > . <= 14 =>
> > .
> > . a {S N}[A]s o s a i d,O f h i
> > . s,{T} h y w i t-f r a u g h t
> > . B {O} o k e s h a l l o n c e
> > . i {N} v a d e[N]o r s h a l l
> > . I {E}'r e b e l e e v e,o r t
> > . h i n k e t h e e d e a d.
> > ...........................................
> > {N/STONE} 14
[Cretinous crackpot cryptography snipped
> THE NAMES IN WRITING OF Oxford's PRINCIPAL MEN.
>
> [G]ASTRELL [H]orsleye
> [G]abriel [H]arvey
[A]rt [NEU]endorffer
[A]lfred [NEU]man
[Lunatic logorrhea snipped]
> . <= 14 =>
> .
> . a {S N}[A]s o s a i d,O f h i
> . s,{T} h y w i t-f r a u g h t
> . B {O} o k e s h a l l o n c e
> . i {N} v a d e[N]o r s h a l l
> . I {E}'r e b e l e e v e,o r t
> . h i n k e t h e e d e a d.
> ...........................................
> {N/STONE} 14 [...]
> .
> . a {S N}[A]s o s a i d,O f h i
> . s,{T} h y w i t-f r a u g h t
> . B {O} o k e s h a l l o n c e
> . i {N} v a d e[N]o r s h a l l
> . I {E}'r e b e l e e v e,o r t
> . h i n k e t h e e d e a d.
> ...........................................
> Lea wrote:
>
> <<The string "NSTONE [sic]" does not occur as an equidistant letter
> sequence of skip 14 -- or for that matter, as an equidistant letter
> sequence of *any* skip -- in the above text, Art.>>
> It's a Masonic square (like you, Dave).
[Lunatic logorrhea snipped]
> Lea wrote:
>
> <<It's always gratifying when one's ancestors are mentioned, Art.>>
> I can just bet what kind of a student he was:
> https://www.youtube.com/watch?v=Bdf_XdDwc-o
>
> > Over 450 drawings for the scenery and costumes survive, demonstrating
> > Jones's virtuosity as a draughtsman
> Lea wrote:
>
> <<OVER 450,000,000,000 posts by Noonedafter survive,
> demonstrating his virtuosity as a daftsman.>>
> You're off by about 7 orders of magnitude.
> > On 27 April 1613, Jones was appointed the position of Surveyor of the
> > King's Works and shortly after, embarked on a tour of Italy with the Earl
> > of Arundel, destined to become one of the most important patrons in the
> > history of English art. His surviving sketchbook shows his preoccupation
> > with such artists as Parmigianino and Schiavone. He is also known to have
> > met Vincenzo Scamozzi at this time. Jones gave priority to Roman antiquity
> > rather than observing the contemporary fashion in Italy.
> Lea wrote:
>
> <<In other words, he spent his time in Italy more productively than Oxford
> did.>>
> Meanwhile:
Is English your native tongue, Art?!
> gain [sic!]
Is English your native tongue, Art?!
> & suing his neighbors.
No, he didn't, Art. He spent the lion's share of his time involved in the business of the acting company in which he was an actor and shareholder, writing plays for the company and acting in them. He only sued to recoVER a few debts.
> > The Whitehall palace was one of several projects where Jones worked with
> > his personal assistant and nephew by marriage *JOHN WEBB*.
> Lea wrote:
>
> <<It's always gratifying when one's ancestors are mentioned, Art.>>
> I doubt that he could keep up with the Joneses
> any more than you can keep up with me.
> >> Lea wrote:
> >>
> >> <<If you will write a clear exposition of your "calculation" *in English*,
> >> I will try to show it to two colleagues, one of whom is Chair of the
> >> Statistics Department at a major uniVERsity and the other of whom is
> >> a renowned statistician at an Ivy League institution
> >> and a former student of the great Kolmogorov.>>
> > Lea wrote:
> >
> > <<I'll show your crackpot cryptography to two experts, Art.
> > It may take a while, though.>>
> >
> > Thanks, Dave.
> Lea wrote:
>
> <<I haven't forgotten, Art; I warned you in advance that it might take a
> while, since both experts have many important things to do other than
> reading the utter gibberish of cranks.>>
Is English your native tongue, Art? But thanks anyway for confirming that your "calculation" is the utter gibberish of a crank. And the same thing *does* hold true for me: I have better things to do than explain -- again! -- to a crank hopelessly incapable of understanding it what is wrong with his gibberish, which is why, having done so once, I will not waste my time doing so again.
> ...so why don't you take a crack at it?
> -----------------------------------------------
> Art Neuendorffer (aka Noonedafter)
Arthur Neuendorffer
Aug 18, 2019, 9:09:16 PM8/18/19
to
-------------------------------------------------------------------
. "Moore C W The Freemasons Monthly Magazine Vol IV 1845"
.
GRAND MASTERS, OR PATRONS, OF THE FREE AND ACCEPTED MASONS IN ENGLAND,
.
1618.[W]illiam [H]erbert , Earl of Pembroke, was chosen Grand Master.
. He appointed Inigo {IONES} his Deputy.
.
Charles I., a Royal Mason and Grand Patron by Prerogative ;
. under him [H]enry [DANVERS], Earl of Danby, who erected
. the beautiful gate of the Physick Gardens, at Oxford.
.
1630-1-2. [H]enry [DANVERS] , Earl of Danby.
-----------------------------------------------------------------
. "Moore C W The Freemasons Monthly Magazine Vol IV 1845"
.
GRAND MASTERS, OR PATRONS, OF THE FREE AND ACCEPTED MASONS IN ENGLAND,
.
1618.[W]illiam [H]erbert , Earl of Pembroke, was chosen Grand Master.
. He appointed Inigo {IONES} his Deputy.
.
Charles I., a Royal Mason and Grand Patron by Prerogative ;
. under him [H]enry [DANVERS], Earl of Danby, who erected
. the beautiful gate of the Physick Gardens, at Oxford.
.
1630-1-2. [H]enry [DANVERS] , Earl of Danby.
-----------------------------------------------------------------
> Lea wrote:
>
> <<The string "NSTONE [sic]" does not occur as an equidistant letter
> sequence of skip 14 -- or for that matter, as an equidistant letter
> sequence of *any* skip -- in the above text, Art.>>
> It's a Masonic square (like you, Dave).
>
> <<The string "NSTONE [sic]" does not occur as an equidistant letter
> sequence of skip 14 -- or for that matter, as an equidistant letter
> sequence of *any* skip -- in the above text, Art.>>
> It's a Masonic square (like you, Dave).
Lea wrote:
<<the Masonic square that appears with the compass in the insignia has equal side lengths, while "SN" is *not even close* to the same length as "STONE".>>
Fitzgerald's contraction?
<<the Masonic square that appears with the compass in the insignia has equal side lengths, while "SN" is *not even close* to the same length as "STONE".>>
> Lea wrote:
>
> <<It's always gratifying when one's ancestors are mentioned, Art.>>
> I can just bet what kind of a student he was:
Lea wrote:
<<Since he studied under a genius, he was almost surely a VERy able student, Art -- after all, the master could have his pick of personal assistants.>>
>> Over 450 drawings for the scenery and costumes survive, demonstrating
>> Jones's virtuosity as a draughtsman
> Lea wrote:
>
> <<OVER 450,000,000,000 posts by Noonedafter survive,
> demonstrating his virtuosity as a daftsman.>>
> You're off by about 7 orders of magnitude.
>
> <<OVER 450,000,000,000 posts by Noonedafter survive,
> demonstrating his virtuosity as a daftsman.>>
> You're off by about 7 orders of magnitude.
Lea wrote:
<<I'm not talking about the posts with original content, Art;>>
-------------------------------------------------
<<I'm not talking about the posts with original content, Art;>>
https://en.wikipedia.org/wiki/Lynn_Margulis
<<Lynn Margulis (March 5, 1938 – November 22, 2011) was the primary modern proponent for the significance of symbiosis in evolution. Throughout her career, Margulis' work could arouse intense objection (one grant application elicited the response, "Your research is crap, do not bother to apply again") and her formative paper, "On the Origin of Mitosing Cells", appeared in 1967 after being rejected by about fifteen journals. Still a junior faculty member at Boston University at the time, her theory that cell organelles such as mitochondria and chloroplasts were once independent bacteria was largely ignored for another decade, becoming widely accepted only after it was powerfully substantiated through genetic evidence.
Richard Dawkins: "I greatly admire Lynn Margulis's sheer courage and stamina in sticking by the endosymbiosis theory, and carrying it through from being an unorthodoxy to an orthodoxy. I'm referring to the theory that the eukaryotic cell is a symbiotic union of primitive prokaryotic cells. This is one of the great achievements of twentieth-century evolutionary biology, and I greatly admire her for it."
-------------------------------------------------
>> On 27 April 1613, Jones was appointed the position of Surveyor of the
>> King's Works and shortly after, embarked on a tour of Italy with the Earl
>> of Arundel, destined to become one of the most important patrons in the
>> history of English art. His surviving sketchbook shows his preoccupation
>> with such artists as Parmigianino and Schiavone. He is also known to have
>> met Vincenzo Scamozzi at this time. Jones gave priority to Roman antiquity
>> rather than observing the contemporary fashion in Italy.
> Lea wrote:
>
> <<In other words, he spent his time in Italy more productively than Oxford
> did.>>
> Meanwhile:
> The Stratman gave priority to hoarding grain & suing his neighbors.
>
> <<In other words, he spent his time in Italy more productively than Oxford
> did.>>
> Meanwhile:
Lea wrote:
<<He spent the lion's share of his time involved in the business of the acting company in which he was an actor and shareholder, writing plays for the company and acting in them.>>
>> The Whitehall palace was one of several projects where Jones worked with
>> his personal assistant and nephew by marriage *JOHN WEBB*.
> Lea wrote:
>
> <<It's always gratifying when one's ancestors are mentioned, Art.>>
> I doubt that he could keep up with the Joneses
> any more than you can keep up with me.
Lea wrote: <<I don't aspire to be a repetitive moron, Art.>>
>
> <<It's always gratifying when one's ancestors are mentioned, Art.>>
> I doubt that he could keep up with the Joneses
> any more than you can keep up with me.
I guess it must just come naturally to you, Dave.
>>> Lea wrote:
>>>
>>> <<If you will write a clear exposition of your "calculation" *in English*,
>>> I will try to show it to two colleagues, one of whom is Chair of the
>>> Statistics Department at a major uniVERsity and the other of whom is
>>> a renowned statistician at an Ivy League institution
>>> and a former student of the great Kolmogorov.>>
>> Lea wrote:
>>
>> <<I'll show your crackpot cryptography to two experts, Art.
>> It may take a while, though.>>
>>
>> Thanks, Dave.
> Lea wrote:
>
> <<I haven't forgotten, Art; I warned you in advance that it might take a
> while, since both experts have many important things to do other than
> reading the utter gibberish of cranks.>>
> Apparently the same doesn't hold true with yourself...
>
> <<I haven't forgotten, Art; I warned you in advance that it might take a
> while, since both experts have many important things to do other than
> reading the utter gibberish of cranks.>>
> ...so why don't you take a crack at it?
-----------------------------------------------
Art Neuendorffer
nordicskiv2
Aug 18, 2019, 10:21:59 PM8/18/19
to
On Sunday, August 18, 2019 at 9:09:16 PM UTC-4, Arthur Neuendorffer (aka Noonedafter) wrote:
[Endlessly repetitive, cretinous crackpot cryptography snipped]
> > Lea wrote:
> >
> > <<The string "NSTONE [sic]" does not occur as an equidistant letter
> > sequence of skip 14 -- or for that matter, as an equidistant letter
> > sequence of *any* skip -- in the above text, Art.>>
> > It's a Masonic square (like you, Dave).
> Lea wrote:
>
> <<the Masonic square that appears with the compass in the insignia has
> equal side lengths, while "SN" is *not even close* to the same length as
> "STONE".>>
> Fitzgerald's contraction?
It isn't moving at a relativistic velocity in the horizontal direction, Art; it's in your frame of rest (as well as being lame of jest). Besides, I've already told you that I'm not a Mason.
> > Lea wrote:
> >
> > <<It's always gratifying when one's ancestors are mentioned, Art.>>
> > I can just bet what kind of a student he was:
> > https://www.youtube.com/watch?v=Bdf_XdDwc-o
> Lea wrote:
>
> <<Since he studied under a genius, he was almost surely a VERy able
> student, Art -- after all, the master could have his pick of personal
> assistants.>>
> Beggers [sic] can't be choosers.
Is English your native tongue, Art?
HoweVER, buggers *can* be losers, as Oxford's example clearly shows.
> >> Over 450 drawings for the scenery and costumes survive, demonstrating
> >> Jones's virtuosity as a draughtsman
> > Lea wrote:
> >
> > <<OVER 450,000,000,000 posts by Noonedafter survive,
> > demonstrating his virtuosity as a daftsman.>>
> > You're off by about 7 orders of magnitude.
> Lea wrote:
>
> <<I'm not talking about the posts with original content, Art;>>
-- I'm taking into account the moronically repetitive idiotic crap reposted oVER and oVER and oVER and oVER and oVER and oVER and oVER and oVER, often even *after* it has been conclusively refuted.
> https://en.wikipedia.org/wiki/Lynn_Margulis
>
> <<Lynn Margulis (March 5, 1938 – November 22, 2011) was the primary modern
> proponent for the significance of symbiosis in evolution. Throughout her
> career, Margulis' work could arouse intense objection (one grant application
> elicited the response, "Your research is crap, do not bother to apply
> again") and her formative paper, "On the Origin of Mitosing Cells",
> appeared in 1967 after being rejected by about fifteen journals. Still a
> junior faculty member at Boston University at the time, her theory that
> cell organelles such as mitochondria and chloroplasts were once independent
> bacteria was largely ignored for another decade, becoming widely accepted
> only after it was powerfully substantiated through genetic evidence.
[...]
Huh? This has *nothing whateVER* to do with Lynn Margulis, Art. Margulis did landmark work. By contrast, you won't even submit your "discoVERies" to a reputable statistics journal because you know that they are idiotic crap.
> >> On 27 April 1613, Jones was appointed the position of Surveyor of the
> >> King's Works and shortly after, embarked on a tour of Italy with the Earl
> >> of Arundel, destined to become one of the most important patrons in the
> >> history of English art. His surviving sketchbook shows his preoccupation
> >> with such artists as Parmigianino and Schiavone. He is also known to have
> >> met Vincenzo Scamozzi at this time. Jones gave priority to Roman antiquity
> >> rather than observing the contemporary fashion in Italy.
> > Lea wrote:
> >
> > <<In other words, he spent his time in Italy more productively than Oxford
> > did.>>
> > Meanwhile:
> > The Stratman gave priority to hoarding grain & suing his neighbors.
> Lea wrote:
>
> <<He spent the lion's share of his time involved in the business of the
> acting company in which he was an actor and shareholder, writing plays for
> the company and acting in them.>>
> Did you misspell "lyin' share?"
No, Art; I merely used a common English idiom with which you are evidently unfamiliar.
> >> The Whitehall palace was one of several projects where Jones worked with
> >> his personal assistant and nephew by marriage *JOHN WEBB*.
> > Lea wrote:
> >
> > <<It's always gratifying when one's ancestors are mentioned, Art.>>
> > I doubt that he could keep up with the Joneses
> > any more than you can keep up with me.
> Lea wrote: <<I don't aspire to be a repetitive moron, Art.>>
> I guess it must just come naturally to you, Dave.
But Art -- you asserted that I could not keep up with you; now you are contradicting yourself by asserting that I *have* caught up with you!
> >>> Lea wrote:
> >>>
> >>> <<If you will write a clear exposition of your "calculation" *in English*,
> >>> I will try to show it to two colleagues, one of whom is Chair of the
> >>> Statistics Department at a major uniVERsity and the other of whom is
> >>> a renowned statistician at an Ivy League institution
> >>> and a former student of the great Kolmogorov.>>
> Too bad you lack the confidence to do the work yourself.
It's clearly not a matter of confidence, Art, since I *already* explained it to you once. I am merely unwilling to waste my time explaining it to you again, since you manifestly were incapable of understanding my earlier explanation.
If you want an expert opinion, you'll have to wait until I show your idiotic gibberish to two experts -- unless, of course, you want to submit your findings to a reputable statistics journal, in which case I have no doubt that the referee (if the editor even bothers to have the crap refereed) will explain to you why it is idiotic gibberish.
> >> Lea wrote:
> >>
> >> <<I'll show your crackpot cryptography to two experts, Art.
> >> It may take a while, though.>>
> >> Thanks, Dave.
> > Lea wrote:
> >
> > <<I haven't forgotten, Art; I warned you in advance that it might take a
> > while, since both experts have many important things to do other than
> > reading the utter gibberish of cranks.>>
> > Apparently the same doesn't hold true with yourself...
Obviously, the same thing *does* hold in my case: in fact, as I have already told you -- many times now, although admittedly in English -- I am unwilling to waste my time explaining what I have *already* explained to you once, since you are manifestly incapable of comprehending the explanation.
HoweVER, since you don't read English, here it is again, in a form in which you daughter can translate it into COBOL for you:
No tengo la más mínima inclinación de perder más tiempo explicándote lo que *ya hace tiempo* te expliqué detalladamente una vez, porque es muy claro que no eres capaz de comprender la explicación, dicha explicación siendo escrita en un idioma natural que ni hablas ni lees.
If you like, I can tell you the same thing in French, Russian, or Portuguese, since English obviously does not suffice (is St. Carolyn getting tired of translating English into COBOL for you, Art?).
> > ...so why don't you take a crack [sic] at it?
Did you misspell "crackpot", Art?
> -----------------------------------------------
> Art Neuendorffer (aka Noondafter)
[Endlessly repetitive, cretinous crackpot cryptography snipped]
> > Lea wrote:
> >
> > <<The string "NSTONE [sic]" does not occur as an equidistant letter
> > sequence of skip 14 -- or for that matter, as an equidistant letter
> > sequence of *any* skip -- in the above text, Art.>>
> > It's a Masonic square (like you, Dave).
> Lea wrote:
>
> <<the Masonic square that appears with the compass in the insignia has
> equal side lengths, while "SN" is *not even close* to the same length as
> "STONE".>>
> Fitzgerald's contraction?
> > Lea wrote:
> >
> > <<It's always gratifying when one's ancestors are mentioned, Art.>>
> > I can just bet what kind of a student he was:
> > https://www.youtube.com/watch?v=Bdf_XdDwc-o
> Lea wrote:
>
> <<Since he studied under a genius, he was almost surely a VERy able
> student, Art -- after all, the master could have his pick of personal
> assistants.>>
Is English your native tongue, Art?
> >> Over 450 drawings for the scenery and costumes survive, demonstrating
> >> Jones's virtuosity as a draughtsman
> > Lea wrote:
> >
> > <<OVER 450,000,000,000 posts by Noonedafter survive,
> > demonstrating his virtuosity as a daftsman.>>
> > You're off by about 7 orders of magnitude.
> Lea wrote:
>
> <<I'm not talking about the posts with original content, Art;>>
> https://en.wikipedia.org/wiki/Lynn_Margulis
>
> <<Lynn Margulis (March 5, 1938 – November 22, 2011) was the primary modern
> proponent for the significance of symbiosis in evolution. Throughout her
> career, Margulis' work could arouse intense objection (one grant application
> elicited the response, "Your research is crap, do not bother to apply
> again") and her formative paper, "On the Origin of Mitosing Cells",
> appeared in 1967 after being rejected by about fifteen journals. Still a
> junior faculty member at Boston University at the time, her theory that
> cell organelles such as mitochondria and chloroplasts were once independent
> bacteria was largely ignored for another decade, becoming widely accepted
> only after it was powerfully substantiated through genetic evidence.
Huh? This has *nothing whateVER* to do with Lynn Margulis, Art. Margulis did landmark work. By contrast, you won't even submit your "discoVERies" to a reputable statistics journal because you know that they are idiotic crap.
> >> On 27 April 1613, Jones was appointed the position of Surveyor of the
> >> King's Works and shortly after, embarked on a tour of Italy with the Earl
> >> of Arundel, destined to become one of the most important patrons in the
> >> history of English art. His surviving sketchbook shows his preoccupation
> >> with such artists as Parmigianino and Schiavone. He is also known to have
> >> met Vincenzo Scamozzi at this time. Jones gave priority to Roman antiquity
> >> rather than observing the contemporary fashion in Italy.
> > Lea wrote:
> >
> > <<In other words, he spent his time in Italy more productively than Oxford
> > did.>>
> > Meanwhile:
> > The Stratman gave priority to hoarding grain & suing his neighbors.
> Lea wrote:
>
> <<He spent the lion's share of his time involved in the business of the
> acting company in which he was an actor and shareholder, writing plays for
> the company and acting in them.>>
> Did you misspell "lyin' share?"
> >> The Whitehall palace was one of several projects where Jones worked with
> >> his personal assistant and nephew by marriage *JOHN WEBB*.
> > Lea wrote:
> >
> > <<It's always gratifying when one's ancestors are mentioned, Art.>>
> > I doubt that he could keep up with the Joneses
> > any more than you can keep up with me.
> Lea wrote: <<I don't aspire to be a repetitive moron, Art.>>
> I guess it must just come naturally to you, Dave.
> >>> Lea wrote:
> >>>
> >>> <<If you will write a clear exposition of your "calculation" *in English*,
> >>> I will try to show it to two colleagues, one of whom is Chair of the
> >>> Statistics Department at a major uniVERsity and the other of whom is
> >>> a renowned statistician at an Ivy League institution
> >>> and a former student of the great Kolmogorov.>>
> Too bad you lack the confidence to do the work yourself.
If you want an expert opinion, you'll have to wait until I show your idiotic gibberish to two experts -- unless, of course, you want to submit your findings to a reputable statistics journal, in which case I have no doubt that the referee (if the editor even bothers to have the crap refereed) will explain to you why it is idiotic gibberish.
> >> Lea wrote:
> >>
> >> <<I'll show your crackpot cryptography to two experts, Art.
> >> It may take a while, though.>>
> >> Thanks, Dave.
> > Lea wrote:
> >
> > <<I haven't forgotten, Art; I warned you in advance that it might take a
> > while, since both experts have many important things to do other than
> > reading the utter gibberish of cranks.>>
> > Apparently the same doesn't hold true with yourself...
HoweVER, since you don't read English, here it is again, in a form in which you daughter can translate it into COBOL for you:
No tengo la más mínima inclinación de perder más tiempo explicándote lo que *ya hace tiempo* te expliqué detalladamente una vez, porque es muy claro que no eres capaz de comprender la explicación, dicha explicación siendo escrita en un idioma natural que ni hablas ni lees.
If you like, I can tell you the same thing in French, Russian, or Portuguese, since English obviously does not suffice (is St. Carolyn getting tired of translating English into COBOL for you, Art?).
> > ...so why don't you take a crack [sic] at it?
Did you misspell "crackpot", Art?
> -----------------------------------------------
> Art Neuendorffer (aka Noondafter)
Message has been deleted
Arthur Neuendorffer
Aug 19, 2019, 9:42:29 AM8/19/19
to
>> Lea wrote:
>>
>> <<It's always gratifying when one's ancestors are mentioned, Art.>>
>> I can just bet what kind of a student he was:
>> https://www.youtube.com/watch?v=Bdf_XdDwc-o
> Lea wrote:
>
> <<Since he studied under a genius, he was almost surely a VERy able
> student, Art -- after all, the master could have his pick of personal
> assistants.>>
> Beggars can't be choosers.
>>
>> <<It's always gratifying when one's ancestors are mentioned, Art.>>
>> I can just bet what kind of a student he was:
>> https://www.youtube.com/watch?v=Bdf_XdDwc-o
> Lea wrote:
>
> <<Since he studied under a genius, he was almost surely a VERy able
> student, Art -- after all, the master could have his pick of personal
> assistants.>>
Lea wrote: <<HoweVER, buggers *can* be losers.>>
Speaking of losers:
--------------------------------------------
https://www.washingtonpost.com/education/2019/08/07/dartmouth-plans-million-settlement-suit-accusing-college-animal-house-climate-sexual-misconduct/
Dartmouth plans $14 million settlement of suit accusing
college of ‘Animal House’ climate on sexual misconduct
--------------------------------------------
(People who live in ivory towers....)
>>> Over 450 drawings for the scenery and costumes survive,
>>> demonstrating Jones's virtuosity as a draughtsman
>> Lea wrote:
>>
>> <<OVER 450,000,000,000 posts by Noonedafter survive,
>> demonstrating his virtuosity as a daftsman.>>
>> You're off by about 7 orders of magnitude.
> Lea wrote:
>
> <<I'm not talking about the posts with original content, Art;>>
>>
>> <<OVER 450,000,000,000 posts by Noonedafter survive,
>> demonstrating his virtuosity as a daftsman.>>
>> You're off by about 7 orders of magnitude.
> Lea wrote:
>
> <<I'm not talking about the posts with original content, Art;>>
Lea wrote:
<<I'm taking into account the moronically repetitive idiotic crap reposted oVER and oVER and oVER and oVER and oVER and oVER and oVER and oVER, often even *after* it has been conclusively refuted.>>
The posts with original content *ARE* the ones that get reposted.
<<I'm taking into account the moronically repetitive idiotic crap reposted oVER and oVER and oVER and oVER and oVER and oVER and oVER and oVER, often even *after* it has been conclusively refuted.>>
> https://en.wikipedia.org/wiki/Lynn_Margulis
>
> <<Lynn Margulis (March 5, 1938 – November 22, 2011) was the primary modern
> proponent for the significance of symbiosis in evolution. Throughout her
> career, Margulis' work could arouse intense objection (one grant application
> elicited the response, "Your research is crap, do not bother to apply
> again") and her formative paper, "On the Origin of Mitosing Cells",
> appeared in 1967 after being rejected by about fifteen journals. Still a
> junior faculty member at Boston University at the time, her theory that
> cell organelles such as mitochondria and chloroplasts were once independent
> bacteria was largely ignored for another decade, becoming widely accepted
> only after it was powerfully substantiated through genetic evidence.
[...]
Lea wrote:
<<This has *nothing whateVER* to do with Lynn Margulis, Art. Margulis did landmark work. By contrast, you won't even submit your "discoVERies" to a reputable statistics journal because you know that they are idiotic crap.>>
Then *prove* that they are "idiotic crap," Dave.
<<This has *nothing whateVER* to do with Lynn Margulis, Art. Margulis did landmark work. By contrast, you won't even submit your "discoVERies" to a reputable statistics journal because you know that they are idiotic crap.>>
Bayesian probability is where "probability is interpreted as *reasonable* expectation representing a state of knowledge." Margulis's editors/referees had a distorted *unreasonable* a priori expectation representing the distorted state of knowledge at the time.
Stratfordians love to muddy the Bayesian waters with an even
more egregious *unreasonable* distorted state of knowledge.
>>> On 27 April 1613, Jones was appointed the position of Surveyor of the
>>> King's Works and shortly after, embarked on a tour of Italy with the Earl
>>> of Arundel, destined to become one of the most important patrons in the
>>> history of English art. His surviving sketchbook shows his preoccupation
>>> with such artists as Parmigianino and Schiavone. He is also known to have
>>> met Vincenzo Scamozzi at this time. Jones gave priority to Roman antiquity
>>> rather than observing the contemporary fashion in Italy.
>> Lea wrote:
>>
>> <<In other words, he spent his time in Italy more productively than Oxford
>> did.>>
>> Meanwhile:
>> The Stratman gave priority to hoarding grain & suing his neighbors.
> Lea wrote:
>
> <<He spent the lion's share of his time involved in the business of the
> acting company in which he was an actor and shareholder, writing plays for
> the company and acting in them.>>
> Did you misspell "lyin' share?"
>>
>> <<In other words, he spent his time in Italy more productively than Oxford
>> did.>>
>> Meanwhile:
>> The Stratman gave priority to hoarding grain & suing his neighbors.
> Lea wrote:
>
> <<He spent the lion's share of his time involved in the business of the
> acting company in which he was an actor and shareholder, writing plays for
> the company and acting in them.>>
> Did you misspell "lyin' share?"
Lea wrote:
<<No, Art; I merely used a common English idiom with which you are evidently unfamiliar.>>
.................................................
<<No, Art; I merely used a common English idiom with which you are evidently unfamiliar.>>
<<William Caxton in his 1484 collection of the Fables relates how a cow, a goat and a sheep go hunting together with a lion. When it comes to dividing the spoil, the lion says, "I take the first portion because of my title, since I am addressed as king; the second portion you will assign to me, since I’m your partner; then because I am the stronger, the third will follow me; and an accident will happen to anyone who touches the fourth.">>
.................................................
Personally, I doubt that a cow, a goat or a sheep would *EVER* go hunting with a lion;
that would be like believing that the illiterate Stratford boob contributed to _Shake-speare_.
>>> The Whitehall palace was one of several projects where Jones worked with
>>> his personal assistant and nephew by marriage *JOHN WEBB*.
>> Lea wrote:
>>
>> <<It's always gratifying when one's ancestors are mentioned, Art.>>
>> I doubt that he could keep up with the Joneses
>> any more than you can keep up with me.
> Lea wrote: <<I don't aspire to be a repetitive moron, Art.>>
> I guess it must just come naturally to you, Dave.
Lea wrote:
>>
>> <<It's always gratifying when one's ancestors are mentioned, Art.>>
>> I doubt that he could keep up with the Joneses
>> any more than you can keep up with me.
> Lea wrote: <<I don't aspire to be a repetitive moron, Art.>>
> I guess it must just come naturally to you, Dave.
<<But Art -- now you are contradicting yourself
by asserting that I *have* caught up with you!>>
Rather: I provide repetitive *LESSons* to morons:
>>>> Lea wrote:
>>>>
>>>> <<If you will write a clear exposition of your "calculation" *in English*,
>>>> I will try to show it to two colleagues, one of whom is Chair of the
>>>> Statistics Department at a major uniVERsity and the other of whom is
>>>> a renowned statistician at an Ivy League institution
>>>> and a former student of the great Kolmogorov.>>
>>>>
>>>> <<If you will write a clear exposition of your "calculation" *in English*,
>>>> I will try to show it to two colleagues, one of whom is Chair of the
>>>> Statistics Department at a major uniVERsity and the other of whom is
>>>> a renowned statistician at an Ivy League institution
>>>> and a former student of the great Kolmogorov.>>
> Too bad you lack the confidence to do the work yourself.
Lea wrote:
<<I am merely unwilling to waste my time explaining it to you again, since you manifestly were incapable of understanding my earlier explanation. If you want an expert opinion, you'll have to wait until I show your idiotic gibberish to two experts.>>
>>> Lea wrote:
>>>
>>> <<I'll show your crackpot cryptography to two experts, Art.
>>> It may take a while, though.>>
>>> Thanks, Dave.
>> Lea wrote:
>>
>> <<I haven't forgotten, Art; I warned you in advance that it might take a
>> while, since both experts have many important things to do other than
>> reading the utter gibberish of cranks.>>
>> Apparently the same doesn't hold true with yourself...
>>
>> <<I haven't forgotten, Art; I warned you in advance that it might take a
>> while, since both experts have many important things to do other than
>> reading the utter gibberish of cranks.>>
>> Apparently the same doesn't hold true with yourself...
Lea wrote:
<<I am unwilling to waste my time explaining what I have *already* explained to you once, since you are manifestly incapable of comprehending the explanation.>>
<<I am unwilling to waste my time explaining what I have *already* explained to you once, since you are manifestly incapable of comprehending the explanation.>>
>> ...so why don't you take a crack [sic] at it?
Lea wrote: <<Did you misspell "crackpot", Art?>>
No, Dave; I merely used a common English idiom
with which you are evidently unfamiliar.
As unfamiliar, in fact, as performing a simple statistical calculation.
-----------------------------------------------
Art Neuendorffer
nordicskiv2
Aug 19, 2019, 2:26:25 PM8/19/19
to
On Monday, August 19, 2019 at 9:42:29 AM UTC-4, Arthur Neuendorffer (aka Noonedafter) wrote:
> >> Lea wrote:
> >>
> >> <<It's always gratifying when one's ancestors are mentioned, Art.>>
> >> I can just bet what kind of a student he was:
> >> https://www.youtube.com/watch?v=Bdf_XdDwc-o
> > Lea wrote:
> >
> > <<Since he studied under a genius, he was almost surely a VERy able
> > student, Art -- after all, the master could have his pick of personal
> > assistants.>>
> > Beggars can't be choosers.
> Lea wrote: <<HoweVER, buggers *can* be losers.>>
...as Oxford's example clearly demonstrates.
> >> Lea wrote:
> >>
> >> <<It's always gratifying when one's ancestors are mentioned, Art.>>
> >> I can just bet what kind of a student he was:
> >> https://www.youtube.com/watch?v=Bdf_XdDwc-o
> > Lea wrote:
> >
> > <<Since he studied under a genius, he was almost surely a VERy able
> > student, Art -- after all, the master could have his pick of personal
> > assistants.>>
> > Beggars can't be choosers.
> Lea wrote: <<HoweVER, buggers *can* be losers.>>
> Speaking of losers:
> --------------------------------------------
> https://www.washingtonpost.com/education/2019/08/07/dartmouth-plans-million-settlement-suit-accusing-college-animal-house-climate-sexual-misconduct/
>
> Dartmouth plans $14 million settlement of suit accusing
> college of ‘Animal House’ climate on sexual misconduct
In fact, the settlement was not a loss for *anyone*: the plaintiffs received deserved compensation, the institution did the right thing, and existent procedures for handling such complaints were thoroughly REVamped in the ensuing REView, making it much less likely that such abuses could go undetected and unredressed in the future.
> (People who live in ivory towers....)
> >>> Over 450 drawings for the scenery and costumes survive,
> >>> demonstrating Jones's virtuosity as a draughtsman
> >> Lea wrote:
> >>
> >> <<OVER 450,000,000,000 posts by Noonedafter survive,
> >> demonstrating his virtuosity as a daftsman.>>
> >> You're off by about 7 orders of magnitude.
> > Lea wrote:
> >
> > <<I'm not talking about the posts with original content, Art;>>
> Lea wrote:
>
> <<I'm taking into account the moronically repetitive idiotic crap reposted
> oVER and oVER and oVER and oVER and oVER and oVER and oVER and oVER, often
> even *after* it has been conclusively refuted.>>
> The posts with original content *ARE* the ones that get reposted.
> > https://en.wikipedia.org/wiki/Lynn_Margulis
> >
> > <<Lynn Margulis (March 5, 1938 – November 22, 2011) was the primary modern
> > proponent for the significance of symbiosis in evolution. Throughout her
> > career, Margulis' work could arouse intense objection (one grant application
> > elicited the response, "Your research is crap, do not bother to apply
> > again") and her formative paper, "On the Origin of Mitosing Cells",
> > appeared in 1967 after being rejected by about fifteen journals. Still a
> > junior faculty member at Boston University at the time, her theory that
> > cell organelles such as mitochondria and chloroplasts were once independent
> > bacteria was largely ignored for another decade, becoming widely accepted
> > only after it was powerfully substantiated through genetic evidence.
> [...]
> Lea wrote:
>
> <<This has *nothing whateVER* to do with Lynn Margulis, Art. Margulis
> did landmark work. By contrast, you won't even submit your "discoVERies"
> to a reputable statistics journal because you know that they are idiotic
> crap.>>
> Then *prove* that they are "idiotic crap," Dave.
[Lunatic logorrhea snipped]
> >>> On 27 April 1613, Jones was appointed the position of Surveyor of the
> >>> King's Works and shortly after, embarked on a tour of Italy with the Earl
> >>> of Arundel, destined to become one of the most important patrons in the
> >>> history of English art. His surviving sketchbook shows his preoccupation
> >>> with such artists as Parmigianino and Schiavone. He is also known to have
> >>> met Vincenzo Scamozzi at this time. Jones gave priority to Roman antiquity
> >>> rather than observing the contemporary fashion in Italy.
> >> Lea wrote:
> >>
> >> <<In other words, he spent his time in Italy more productively than Oxford
> >> did.>>
> >> Meanwhile:
> >> The Stratman gave priority to hoarding grain & suing his neighbors.
> > Lea wrote:
> >
> > <<He spent the lion's share of his time involved in the business of the
> > acting company in which he was an actor and shareholder, writing plays for
> > the company and acting in them.>>
> > Did you misspell "lyin' share?"
> Lea wrote:
>
> <<No, Art; I merely used a common English idiom with which you are evidently
> unfamiliar.>>
> .................................................
> <<William Caxton
> in his 1484 collection of the Fables relates how a cow, a goat and a sheep
> go hunting together with a lion. When it comes to dividing the spoil, the
> lion says, "I take the first portion because of my title, since I am
> addressed as king; the second portion you will assign to me, since I’m
> your partner; then because I am the stronger, the third will follow me; and
> an accident will happen to anyone who touches the fourth.">>
> Personally, I doubt that a cow, a goat or a sheep would *EVER* go hunting
> with a lion;
> that would be like believing that the illiterate Stratford boob contributed
> to _Shake-speare_.
Incidentally, Art, did you eVER ascertain where this year's SACCC/CACCC was held?
[Lunatic logorrhea snipped]
But if you're so eager for feedback, why won't you submit your "discoVERies" to a reputable statistics journal?
[Lunatic logorrhea snipped]
Arthur Neuendorffer
Aug 19, 2019, 7:02:08 PM8/19/19
to
>>> Lea wrote:
>>>
>>> <<It's always gratifying when one's ancestors are mentioned, Art.>>
>>> I can just bet what kind of a student he was:
>>> https://www.youtube.com/watch?v=Bdf_XdDwc-o
>> Lea wrote:
>>
>> <<Since he studied under a genius, he was almost surely a VERy able
>> student, Art -- after all, the master could have his pick of personal
>> assistants.>>
>> Beggars can't be choosers.
> Lea wrote: <<HoweVER, buggers *can* be losers.>>
> Speaking of losers:
>>>
>>> <<It's always gratifying when one's ancestors are mentioned, Art.>>
>>> I can just bet what kind of a student he was:
>>> https://www.youtube.com/watch?v=Bdf_XdDwc-o
>> Lea wrote:
>>
>> <<Since he studied under a genius, he was almost surely a VERy able
>> student, Art -- after all, the master could have his pick of personal
>> assistants.>>
>> Beggars can't be choosers.
> Lea wrote: <<HoweVER, buggers *can* be losers.>>
> --------------------------------------------
> Dartmouth plans $14 million settlement of suit accusing
> college of ‘Animal House’ climate on sexual misconduct
Lea wrote:
> college of ‘Animal House’ climate on sexual misconduct
<<No, Art; Dartmouth did not *lose*, as the suit neVER even went to trial; rather, Dartmouth *settled* the suit. In fact, the settlement was not a loss for *anyone*: the plaintiffs received DE(s)ERVED compensation, the institution did the right thing, and existent procedures for handling such complaints were thoroughly REVamped in the ensuing REView, making it much less likely that such abuses could go undetected and unredressed in the future.>>
Abuses such as cyber bullying?
> (People who live in ivory towers....)
Baker House is a brick tower.
(The Stratford Butcher House is an ivory tower.)
>>>> Over 450 drawings for the scenery and costumes survive,
>>>> demonstrating Jones's virtuosity as a draughtsman
>>> Lea wrote:
>>>
>>> <<OVER 450,000,000,000 posts by Noonedafter survive,
>>> demonstrating his virtuosity as a daftsman.>>
>>> You're off by about 7 orders of magnitude.
>> Lea wrote:
>>
>> <<I'm not talking about the posts with original content, Art;>>
> Lea wrote:
>
> <<I'm taking into account the moronically repetitive idiotic crap reposted
> oVER and oVER and oVER and oVER and oVER and oVER and oVER and oVER, often
> even *after* it has been conclusively refuted.>>
> The posts with original content *ARE* the ones that get reposted.
>>>
>>> <<OVER 450,000,000,000 posts by Noonedafter survive,
>>> demonstrating his virtuosity as a daftsman.>>
>>> You're off by about 7 orders of magnitude.
>> Lea wrote:
>>
>> <<I'm not talking about the posts with original content, Art;>>
> Lea wrote:
>
> <<I'm taking into account the moronically repetitive idiotic crap reposted
> oVER and oVER and oVER and oVER and oVER and oVER and oVER and oVER, often
> even *after* it has been conclusively refuted.>>
> The posts with original content *ARE* the ones that get reposted.
Lea wrote:
<<Then the supposed "original content" must be idiotic crap, Art, because that's what gets posted oVER and oVER and oVER and oVER and oVER and oVER and oVER and oVER, often even *after* it has been conclusively refuted!>>
You have proved to be incapable of refuting my "original content"
<<Then the supposed "original content" must be idiotic crap, Art, because that's what gets posted oVER and oVER and oVER and oVER and oVER and oVER and oVER and oVER, often even *after* it has been conclusively refuted!>>
oVER and oVER and oVER and oVER and oVER and oVER and oVER and oVER.
>> https://en.wikipedia.org/wiki/Lynn_Margulis
>>
>> <<Lynn Margulis (March 5, 1938 – November 22, 2011) was the primary modern
>> proponent for the significance of symbiosis in evolution. Throughout her
>> career, Margulis' work could arouse intense objection (one grant application
>> elicited the response, "Your research is crap, do not bother to apply
>> again") and her formative paper, "On the Origin of Mitosing Cells",
>> appeared in 1967 after being rejected by about fifteen journals. Still a
>> junior faculty member at Boston University at the time, her theory that
>> cell organelles such as mitochondria and chloroplasts were once independent
>> bacteria was largely ignored for another decade, becoming widely accepted
>> only after it was powerfully substantiated through genetic evidence.
> [...]
> Lea wrote:
>
> <<This has *nothing whateVER* to do with Lynn Margulis, Art. Margulis
> did landmark work. By contrast, you won't even submit your "discoVERies"
> to a reputable statistics journal because you know that they are idiotic
> crap.>>
> Then *prove* that they are "idiotic crap," Dave.
Lea wrote:
<<I have *already* done so, Art;
howeVER, you refuse to accept my demonstration.??>>
<<I have *already* done so, Art;
You have *NO* demonstrations,
you have *nEVER* had demonstrations...just ad hominems.
>>>> On 27 April 1613, Jones was appointed the position of Surveyor of the
>>>> King's Works and shortly after, embarked on a tour of Italy with the Earl
>>>> of Arundel, destined to become one of the most important patrons in the
>>>> history of English art. His surviving sketchbook shows his preoccupation
>>>> with such artists as Parmigianino and Schiavone. He is also known to have
>>>> met Vincenzo Scamozzi at this time. Jones gave priority to Roman antiquity
>>>> rather than observing the contemporary fashion in Italy.
>>> Lea wrote:
>>>
>>> <<In other words, he spent his time in Italy more productively than Oxford
>>> did.>>
>>> Meanwhile:
>>> The Stratman gave priority to hoarding grain & suing his neighbors.
>> Lea wrote:
>>
>> <<He spent the lion's share of his time involved in the business of the
>> acting company in which he was an actor and shareholder, writing plays for
>> the company and acting in them.>>
>> Did you misspell "lyin' share?"
> Lea wrote:
>
> <<No, Art; I merely used a common English idiom with which you are evidently
> unfamiliar.>>
> .................................................
> <<William Caxton
>>>
>>> <<In other words, he spent his time in Italy more productively than Oxford
>>> did.>>
>>> Meanwhile:
>>> The Stratman gave priority to hoarding grain & suing his neighbors.
>> Lea wrote:
>>
>> <<He spent the lion's share of his time involved in the business of the
>> acting company in which he was an actor and shareholder, writing plays for
>> the company and acting in them.>>
>> Did you misspell "lyin' share?"
> Lea wrote:
>
> <<No, Art; I merely used a common English idiom with which you are evidently
> unfamiliar.>>
> .................................................
> <<William Caxton
Lea wrote:
<<...whom at least one of your coreligionists believes
to have been a contemporary of Shakespeare...>>
The original "W.C.":
<<...whom at least one of your coreligionists believes
to have been a contemporary of Shakespeare...>>
-----------------------------------------------------------
https://en.wikipedia.org/wiki/Tonight_Starring_Jack_Paar
<<Tonight Starring Jack Paar is an American talk show from 1957 to 1962. Paar was often unpredictable and emotional [as] on February 10, 1960, when one of his jokes was cut from a broadcast by studio censors:
An English lady is visiting Switzerland. She asks about the location of the "W.C." The Swiss, thinking she is referring to the "Wayside Chapel", leaves her a note that said (in part) "the W.C. is situated nine miles from the room that you will occupy... It is capable of holding about 229 people and it is only open on Sunday and Thursday... It may interest you to know that my daughter was married in the W.C. and it was there that she met her husband... I shall be delighted to reserve the best seat for you, if you wish, where you will be seen by everyone."
NBC censors replaced that section of the show with news coverage and failed to inform Paar of their decision. On February 11, 1960, Jack Paar left his desk in the middle of the program, he said:
I am leaving The Tonight Show. There must be a better way of making a living than this. There's a way of entertaining people without being constantly involved in some form of controversy which is on me all the time. It's rough on my wife and child, and I don't need it. I like the National Broadcasting Company, they've been swell to me. And I've been pretty wonderful to them. I took over a show with 60 stations. There is now 158. This show is sold out. It's the highest, I think, money producer for this network. And I believe I was let down by this network at a time when I could have used their help. You have been peachy to me always.
Although Paar had earlier told his announcer Hugh Downs of his intention to quit the show, Downs at first thought Paar was joking. He expected the host to return to the stage, but the abrupt departure left Downs to finish the broadcast himself. Urged to return to the show by his friend Jonathan Winters, Paar reappeared on March 7, 1960, strolled on stage, struck a pose, and said, "As I was saying before I was interrupted...">>
-----------------------------------------------------
> in his 1484 collection of the Fables relates how a cow, a goat and a sheep
> go hunting together with a lion. When it comes to dividing the spoil, the
> lion says, "I take the first portion because of my title, since I am
> addressed as king; the second portion you will assign to me, since I’m
> your partner; then because I am the stronger, the third will follow me; and
> an accident will happen to anyone who touches the f#ourth.">>
> go hunting together with a lion. When it comes to dividing the spoil, the
> lion says, "I take the first portion because of my title, since I am
> addressed as king; the second portion you will assign to me, since I’m
> your partner; then because I am the stronger, the third will follow me; and
Lea wrote:
<<An accident may happen to you if you touch another fifth, Art.>>
How can I play Chopin's Ballade 1 without touching another fifth, Dave.
> Personally, I doubt that a cow, a goat or a sheep would *EVER* go hunting
> with a lion;
Perhaps you should think this matter through more carefully, Art --
when have you eVER known a cow, a sheep, or a goat to go hunting *at all*?!
> that would be like believing that the illiterate Stratford boob contributed
> to _Shake-speare_.
Lea wrote:
<<William Shakespeare of Stratford was demonstrably literate, Art>>
https://en.wikipedia.org/wiki/Shakespeare%27s_handwriting#/media/File:Shakespeare_sigs_collected.png
<<William Shakespeare of Stratford was demonstrably literate, Art>>
'nuff said!
Lea wrote:
<<Incidentally, Art, did you eVER ascertain
where this year's SACCC/CACCC was held?
--------------------------------------------------------
https://en.wikipedia.org/wiki/La_Mancha
<<Miguel de Cervantes described La Mancha and its windmills in his novel Don Quixote de La Mancha. Cervantes was making fun of the region, using a pun; a "mancha" was also a stain, as on one's honor, and thus an inappropriately-named homeland for a dignified knight-errant. Translator John Ormsby believed that Cervantes chose it because it was the most ordinary, prosaic, anti-romantic, and therefore unlikely place from which a chivalrous, romantic hero could originate.>>
------------------------------------------------
>>>>> Lea wrote:
>>>>>
>>>>> <<If you will write a clear exposition of your "calculation"
>>>>> Lea wrote:
>>>>>
>>>>> <<If you will write a clear exposition of your "calculation"
>>>>> I will try to show it to two colleagues, one of whom is Chair of the
>>>>> Statistics Department at a major uniVERsity and the other of whom is
>>>>> a renowned statistician at an Ivy League institution
>>>>> and a former student of the great Kolmogorov.>>
>>>>> Statistics Department at a major uniVERsity and the other of whom is
>>>>> a renowned statistician at an Ivy League institution
>>>>> and a former student of the great Kolmogorov.>>
>> Too bad you lack the confidence to do the work yourself.
>
> Lea wrote:
> <<I am merely unwilling to waste my time explaining it to you again, since
> you manifestly were incapable of understanding my earlier explanation. If
> you want an expert opinion, you'll have to wait until I show your idiotic
> gibberish to two experts.>>
>
> Lea wrote:
> <<I am merely unwilling to waste my time explaining it to you again, since
> you manifestly were incapable of understanding my earlier explanation. If
> you want an expert opinion, you'll have to wait until I show your idiotic
> gibberish to two experts.>>
>>>> Lea wrote:
>>>>
>>>> <<I'll show your crackpot cryptography to two experts, Art.
>>>> It may take a while, though.>>
>>>> Thanks, Dave.
>>>>
>>>> <<I'll show your crackpot cryptography to two experts, Art.
>>>> It may take a while, though.>>
>>>> Thanks, Dave.
>>> Lea wrote:
>>>
>>> <<I haven't forgotten, Art; I warned you in advance that it might take a
>>> while, since both experts have many important things to do other than
>>> reading the utter gibberish of cranks.>>
>>> Apparently the same doesn't hold true with yourself...
> Lea wrote:
>
> <<I am unwilling to waste my time explaining what I have *already*
> explained to you once, since you are manifestly incapable of comprehending
> the explanation.>>
>>> ...so why don't you take a crack [sic] at it?
Lea wrote: <<Your claim is untenable, Art >>
>>>
>>> <<I haven't forgotten, Art; I warned you in advance that it might take a
>>> while, since both experts have many important things to do other than
>>> reading the utter gibberish of cranks.>>
>>> Apparently the same doesn't hold true with yourself...
> Lea wrote:
>
> <<I am unwilling to waste my time explaining what I have *already*
> explained to you once, since you are manifestly incapable of comprehending
> the explanation.>>
>>> ...so why don't you take a crack [sic] at it?
My claim is tenable, Dave... even elevenable:
https://www.youtube.com/watch?v=WmpLUezDzoo
Lea wrote: <<I have *already done so*>>
Have not!!!!!
Lea wrote:
<<But if you're so eager for feedback, why won't you submit your "discoVERies" to a reputable statistics journal?>>
but a *MAXIMAL* amount of authorship knowledge.
-----------------------------------------------------
Art Neuendorffer
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