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faithful, using as his agents the nations of Gog and Magog. The saints willendure their suVerings until the onslaughts of Gog and Magog have burntthemselves out (DCD XX. 11–12. 19). Thirdly, Jesus will return to earth tojudge the living and the dead. Fourthly, in order to be judged, the souls ofthe dead will return from their resting place and be reunited with theirbodies. Fifthly, the judgement will separate the virtuous from the vicious,with the saints assigned to eternal bliss and the wicked to eternal damna-tion (DCD XX. 22. 27). Sixthly, the present world will be destroyed in acosmic conXagration, and a new heaven and a new earth will be created

The Massa Damnata. This MS of the City of God shows Adam and Eve meeting death afterexpulsion from Eden, and the human race going on its way to Hell while the elect aresaved by divine grace.

PHILOSOPHY AND FAITH

12



The pagan philosopher Hypatia, beset by a Christian mob, takes refuge at an altar, in thisVictorian painting by C. W. Mitchell.



Anselm’s Tower in Canterbury Cathedral. He is buried under a simple slab in a chapelat its foot.

PHILOSOPHY AND FAITH

42



Exercise 1. 5Study the information on the left-hand page about the future tense. Notice how theendings are added to the present stem of the verb. Notice also how the word shall shouldreally be used instead of will in the 1st person. Now translate into Latin:

1. I shall build 6. We shall hurry

2. They will build 7. You (pl.) will love

3. You (sing.) will sing 8. They will call

4. It will sail 9. You (pl.) will work

5. He will hurry 10. We shall call

Exercise 1. 6Translate into English. N.B. not all of these verbs are in the future tense.

1. festīnābunt 6. labōrant

2. labōrātis 7. nāvigābis

3. aedificātis 8. cantābunt

4. amābitis 9. cantās

5. vocābit 10. aedificābitis

Exercise 1. 7Study the information on the left-hand page about the imperfect tense. Note the twoways of expressing this tense in English. Then translate into Latin:

1. I was building 6. You (pl.) were hurrying

2. They were working 7. We used to hurry

3. You (sing.) were sailing 8. We were calling

4. He used to build 9. You (pl.) used to call

5. She was singing 10. They were singing

Exercise 1. 8Study the information on the left-hand page about and, but and not. Then translate thefollowing. Some new verbs are used (from the vocabulary on the left-hand page).

1. rogābant 6. pugnābant et superābant

2. nōn superābat 7. pugnat sed labōrāmus

3. spectābis 8. vocābat et festīnābat

4. festīnābātis et parābam 9. pugnābās sed superābam

5. nōn vocābātis 10. nōn pugnābimus

Page 9

Using Latin I.e.The letters i.e. stand for id est = that is.



So you really want to learn Latin…

Page 10

Principal partsBefore moving on to the other tenses in Latin we need to explain how principal partswork. All Latin verbs have strange things called principal parts. These are the fourmain parts of the verb, from which all other parts can be formed. The principal parts ofamō are as follows:

1 2 3 4am-ō amā-re amāv-ī amāt-umI love To love I have loved In order to love

• The first principal part is the first person singular of the present tense and gives usthe basic meaning of the verb.

• The second principal part is the present infinitive, and is used to find the presentstem of the verb (by chopping off the -re).

• The third principal part is the 1st person singular of the perfect tense, and is usedto find the perfect stem of the verb (by chopping off the -ī).

• The fourth principal part is the supine. This is a very rare part of the verb, but isuseful as it gives us (by chopping off the -um) the supine stem, used for formingsome of the passive tenses of the verb (described later in the course).

N.B. All the verbs which you have met so far go like amō and form their principal partsin exactly the same way as amō does (i.e. -ō, -āre, -āvī, -ātum). Thus nāvigō = I sailhas the following principal parts:

nāvigō nāvigāre nāvigāvī nāvigātumI sail To sail I have sailed In order to sail

The perfect tenseWhen we wish to describe a state which is the result in the present of an action whichhas happened in the past we use the perfect tense. This tense is used to refer to acompleted action in the past (unlike the imperfect, which refers to continuous actions).

E.g. I have lost my dog; he has lost his marbles; etc.

The perfect tense is formed by adding a set of endings to the perfect stem. As we sawabove, this is found by looking at the verb’s 3rd principal part.

amāv-ī I have lovedamāv-istī You (sing.) have lovedamāv-it He, she, it has lovedamāv-imus We have lovedamāv-istis You (pl.) have lovedamāv-ērunt They have loved



6 Introduction

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The Guided Tour

The Guided Tour

If you had never seen all the videos and photos of the iPhone, and you just found it lying on someone’s desk, you might not guess that it’s a phone (let alone an iPod/Web browser/alarm clock/stopwatch/etc.).

You can’t see any antenna, mouthpiece, earpiece—and, goodness knows, there are no number keys for dialing.

It’s all there, though, hidden inside this sleek black-and-silver slab.

For the rest of this book, and for the rest of your life with the iPhone, you’ll be expected to know what’s meant by, for example, “the Home button” and “the Sleep/Wake switch.” A guided tour, therefore, is in order. Keep hands and feet inside the tram at all times.

1



Chapter 1

words, it will accept that bizarre new word as a legitimate word—and, in fact, will even suggest it the next time you type something like it.

Words you’ve added to the dictionary actually age. If you stop using some custom term, the iPhone gradually learns to forget it. That’s handy behavior if you never intended for that word to become part of the dictionary to begin with (that is, it was a mistake).

If you feel you’ve really made a mess of your custom dictionary, and the iPhone keeps suggesting ridiculous alternate words, you can always start fresh. Tap Home Settings General Reset; then tap Reset Keyboard Dictionary. Now the iPhone’s dictionary is the way it was when it came from the factory, without any of the words it learned from you.

Charging the iPhoneThe iPhone has a built-in, rechargeable battery that fills up a substantial chunk of the iPhone’s interior. How long one charge can drive your iPhone depends on what you’re doing—music playback saps the battery least, Internet and video sap it the most. But one thing is for sure: Sooner or later, you’ll have to recharge the iPhone. (For most people, that’s every other day or so.)



Music and Video

Music and Video

Of the iPhone’s Big Three talents—phone, Internet, and iPod—its iPoddishness may be the most successful. This function, after all, is the only one that doesn’t require the participation of O2 and

its network. It works even on planes and on the tube. And it’s the iPhone function that gets the most impressive battery life (almost 24 hours of music playback).

This chapter assumes that you’ve already loaded some music or video onto your iPhone, as described in Chapter 11.

To enter iPod Land, press the Home button, and then tap the orange iPod icon at the lower-right corner of the screen.

4

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Size24cm x 34cm

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25



Useful Colour MixesSkin Tones -- Light red with a tiny bit of Sepia added. White skin when painted is a much darker tone than you expect.

Shadows -- Intense Violet makes an interesting shadow. Grey can be very boring. Large shadow areas can be broken up by using an unmixed mixture of French Ultra Marine and Burnt Umber. Vary from brown to blue to break up large areas. Blonde Hair -- Raw Sienna for where the light hits the hair and Sepia for where the shadows fall.

Sand Mix -- Add a tiny bit of Sepia into Raw Sienna. Make this very watered down, almost like a watermark.

English Sky -- Cobalt Blue with a hint of Light Red (the red just takes off the edge of the bright blue).French Ultra Marine mixed with a tiny amount of Burnt Umber. This makes a slightly stronger sky.

Mediterranean Sky -- Phthalo Blue on its own is fantastic for giving that feeling of heat and colour.

Trees -- Prussian Blue mixed with Sepia and a hint of Cadmium Yellow. This works very well for the dark darks of an English tree. When these pigments are used the greens look very natural.

Donkeys -- Burnt Umber with a hint of French Ultra Marine. Raw Sienna mixed with Cobalt Blue, and Sepia on its own. Donkeys come in a great range of colours, and integrating these mixes will help you differentiate between the animals.

8



7







The Two Brothers

12

Figure 4: The Middle Kingdom tombs of Rifeh and Asyut.



Chapter 3: Religious Function of the Burial

51

stone, flanked by two green, black-ringed beads (Figure 34).The lower part of the coffin is painted to represent a bead network placed over

the outermost layer of bandaging. The bandages are painted red, and the network incorporates dark green, white, black and yellow beads. Down the front there is a vertical band of inscription depicted in yellow hieroglyphs on a dark green ground. There are three transverse plain yellow bands, painted around the body; these continue around the back but do not join up. On the back, the coffin is plain red, while the inside is painted light yellow. This coffin was placed on its left side inside the rectangular coffin, so that the mummy could look out through the coffin�s eyes and through the sacred eyes which adorned the outer box coffin.

The body coffin of Khnum-Nakht (Figures 32 and 33) is less well-preserved and some of the paintwork has fallen away. The wooden case has a yellowish-white face, and the eyes are made of limestone and obsidian set into bronze rims. The eyes

Figure 33: The upper parts of the body coffins of Nakht-Ankh (left) and Khnum-Nakht (right).







284 The Clarinet

Ex. 12.1 Well-known high clarinet solos (excerpts): Hector Berlioz, Symphonie Fantastique (1830),‘Nuit de Sabbat’; Richard Strauss, Till Eulenspiegel’s lustige Streiche (1894–5); Igor Stravinsky, Le Sacredu Printemps (1921); Maurice Ravel, Boléro (1928)



for casual gatherings in Viennese cafés and parks, adding the clarinettist Georg Dänzerwith his so-called picksüsses Hölzl in 1886.7 A composer no less distinguished thanJohannes Brahms reportedly heard the quartet and expressed approval.

Today clarinets in high F and A flat are still made for use in bands, the latter beingthe most popular. It was officially included in the band of the Royal Bavarian InfantryGuards in the 1830s, and Verdi featured the A-flat clarinet among the instruments for

The odd clarinets 285

12.1 High clarinets in G, A flat, D and E flat by C. Kruspe (Erfurt, c. 1880) and models by W. Heckel (Biebrich, 1936)

12.2 The Schrammel Quartette in Vienna,1886, featuring the clarinettist Georg Dänzerwith his picksüsses Hölzl (Museum der StadtWien)

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16

Patrick Macnee and Diana Rigg film the closing scene for The Forget-Me-Knot on the ABP Elstree Studio lot in Borehamwood

Patrick Macnee and Linda Thorson on location at Tykes Water Lake, Aldenham Park, during filming on They Keep Killing Steed









CONTENTS



Sport


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Reg ParnellThe undisputed “King” of Goodwood in the early days, “Uncle Reggie” was a very popular driver as well as a very successful one. Between 1948 and 1956 he won a total of 15 races, eight of these with his trusty 4CLT Maserati. He had two wins and a second place with the V16 BRM, and with the famous Thin Wall Special he clocked up two more wins, two seconds, and a third place.

With co-driver Eric Thompson, Reg Parnell won the second Nine-hour race in 1953, driving an Aston Martin DB3S. During 1954 Parnell had two wins and two third places with his Ferrari 500. Over the years he drove a variety of other cars including Cooper and Connaught.

After a brilliant driving career he became equally successful as Team Manager for Aston Martin.

18th September 1948Daily Graphic fi ve-lap Formula 1 race for the Goodwood Trophy.Reg Parnell ( Maserati 4CLT/18), winner, at Madgwick. Bob Gerard ( ERA R14B), second.



Chapter 2 The Good in Goodwood

Chapter 2

The good in GoodwoodThe Easter meetings at Goodwood were always most enjoyable, partly because of the time of year, but also because the programme was bound to contain some different cars and drivers from the previous year for the specta-tors to cast their eyes over.

The atmosphere in the enclosures was always friendly and cheerful and on occasions could be almost “party-like”. Complete strangers

would become good friends for the day and “hope to meet again sometime”.

After the long English winter, spring and a new motor racing season were about to burst into life. The buzz of excited chatter, which started in the car parks as the enthusiastic crowd arrived and made its way to the turnstiles, swelled considerably as the enclosures and stands fi lled as the time for the fi rst race drew near.

7

18th September 1948: three-lap race for 500 cc cars. Stirling Moss ( Cooper-JAP), winner,

at Fordwater. Eric Brandon (Cooper-JAP), second, Curly Dryden ( Cooper-Norton), third.



S A L T W A T E R F L Y F I S H I N G

Mackerel taken on a streamer meant for bass. Rudy van Duijnhoven



S A L T W A T E R F L Y F I S H I N G

Robert Lai’s ragworm flies. Barry Ord Clarke





November 1951

March 1953 September 1953

May 1953

June 1952

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A Mixed Bunch 21

TopsBlack tops, white tops

What we wear at night topsBlue tops, green tops

Evening and night topsFeathery tops, colourful tops

Lovely mix together topsTops with spots, tops with stripes, Tops with rectangles used at night

Pink tops, grey topsLovely looking straight tops

Pattern tops, square tops, circle tops, pear topsThin tops, fat tops, scary tops and hairy topsNight tops, day tops, every living day tops.

Poem & IllustrationsLauren Rees (J8)



29

TravelPoemsOn my Way to

the Rainforest I Saw . . .A lizard

A scaly lizardA green scaly lizard

A slimy green scaly lizardAnd it climbed on me all the way there!

IllustrationJade Gipson (J1)

Isabelle Rouse(J1)



GrasshopperI am a green grasshopper jumping highI am a jumping grasshopper in the sky

I am a small grasshopper on the groundI am a dizzy grasshopper turning aroundI am a loud grasshopper making noise

I am a cheeky grasshopper chasing boys.

IllustrationCisne McLellan-Hayes (J6)

Annie Boussemart

(J6)

Animal Poems 65



Fresh Egg PastaMakes enough to serve 2

Form 5 (Food Tech recipe)

150g ‘00’ flour

Pinch salt

11⁄2 eggs

1 Mix the flour and salt in a large bowl, and make a well in the centre.

2 Beat the eggs, and add them to the well. Using a fork, gradually draw in the flour.

3 Using your hands, mix in as much of the flour as needed to make a rough dough.

You may not need all the flour, or if too sticky, you may need to sprinkle on some

more flour.

4 Empty on to a work surface and knead until smooth and elastic (10 minutes).

5 Leave to rest before rolling out and cutting.

6 Cut spaghetti or tagliatelle using a pasta machine, or by hand if you are making ravioli,

tortellini etc.

7 To cook, put pasta into a large saucepan of gently simmering water for 3–4 minutes,

taking care not to overcook.

Lunch26



Fairy cakes were made and decorated by some of the Cranleigh

Mothers to raise money for Breast Cancer (see page 48, bottom right).

The children purchased them during their Privilege time activity – and

all agreed they were an extremely yummy Friday afternoon treat!

MISS NUTLEY

“

”





Gingerbread MenMakes 12–15 gingerbread men

Form 4 (Food Tech recipe)

200g plain flour1⁄2 teaspoon bicarbonate of soda

1 teaspoon ground ginger

1 egg

50g butter

Teatime 65

1 Preheat the oven to 180C/Fan 160C/Gas mark 4. Grease a baking tray.

2 Sieve the flour into a large mixing bowl and add the bicarbonate of soda and

ground ginger.

3 Beat the egg in a small bowl.

4 Gently melt the butter and sugar in a saucepan with the golden syrup, being careful

not to let it boil.

5 Add the butter, sugar and golden syrup mixture – and the egg – to the flour mixture

and mix to form a soft dough.

6 Allow the mixture to cool, before rolling out to 0.5cm thick on a floured surface.

Cut out the gingerbread men and carefully place them on the baking tray.

7 Decorate with the currants and cherries.

8 Bake in the preheated oven for 8–10 minutes. Carefully remove onto a cooling rack

to cool before eating.

75g brown sugar

1 tablespoon golden syrup

Currants (eyes) and glacé cherries (lips)

to decorate

Use writing icing to outline festive

gingerbread shapes. They make great

decorations to hang on your

Christmas tree.

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