That in turn would require some artistic licence with the main protagonist.
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This distance is therefore linked to the artistic licence Tennyson often wrote about.
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Lambert also took artistic licence in other matters, notably showing all Australian troops in slouch hats rather than portraying some in caps, which were worn on the day.
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"We knew that this road was built in the 1960s, but we took a bit of artistic licence". Minor historical anachronisms such as this are present throughout Life on Mars. Some, as above, were made out of artistic licence whilst others were deliberately inserted to confuse the issue of whether Sam Tyler was in a coma, mad or really back in time. Many inaccuracies were visible such as modern street furniture, cable television cabinets, satellite television dishes, CCTV cameras, LCD digital watches and double-glazed uPVC window frames, which were all unintentional.
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An apocryphal inscription said to have been found in Hornsea references the nearing of the sea by erosion – the figure of ten miles given as the distance the town once stood from the sea is certainly artistic licence.
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Hardy R, Strickland M. Sutton Publishing 2005. may have been composite weapons, or wooden bows with ends recurved by heat and force, or simply artistic licence. Many North American bows were recurved, especially West Coast bows. Recurve bows went out of widespread use, for war, with the availability of effective firearms.
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Art historian posited that this had its roots in traditional buyō dance; countered that the poses were artistic licence taken by ukiyo-e artists, causing a seemingly relaxed pose to reach unnatural or impossible physical extremes. This remained the case even when realistic perspective techniques were applied to other sections of the composition.
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The front's new grille designed by young in-house designer, Philippe Charbonneaux, in a corporate effort to develop a particular Delahaye "face" after the war. Delahaye required coachbuilders to use the new corporate grille design, although several of the more famous, such as Joseph Figoni (of Figoni et Falaschi), Jacques Saoutchik, and Henri Chapron were given artistic licence.
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Some figure skaters will use PEDs to help with recovery time, allowing them to train harder and longer. Figure skating is an aesthetic sport that combines both athleticism and artistic licence, where weight-loss substances will have little effect on athletic performance but skaters may be perceived as more graceful and sleek, which is required for an athlete to be competitive.
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However, he was not trained as an archaeologist. Many of his reconstructions take extreme artistic licence in the interpretation of the archaeological remains. For example, his reconstruction of the dolphin fresco at Knossos, is formulated around a very small number of fresco fragments. In addition, de Jong did not produce a style of documentation which would be considered sufficient for modern, quantitative, standards of archaeological recording.
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The Tudors were monarchs of England but of Welsh descent. In later centuries, following the union of the crowns of England and Scotland, depictions appeared accompanied by a lion and a unicorn, representing England and Scotland. Other depictions included two stags, representing Ireland, or a stag and a lion. However, none of these were ever a part of the blazon and should be interpreted in terms of artistic licence.
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The purpose of the coalition has been to campaign against Ecodesign lighting regulations and propose exemptions for stage lighting. In 2018 PLASA collaborated with Hamish Dumbreck of JESE Ltd, Peter Willis of Howard Eaton Lighting and Wayne Howell of Artistic Licence to present Plugfest, a three-day residential event in Gatwick, UK for lighting technicians and developers to test the interoperability of their products. This event returns in 2019 taking place in Lille, France.
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Retrieved: 25 July 2009. This event is depicted, with considerable artistic licence, in the film. The confrontation between Dowding and Keith Park and Trafford Leigh-Mallory is fictitious, though there were undoubted tensions between the two sides. The film does not mention that, following the Battle of Britain, Dowding and Park were replaced by Sholto Douglas and Leigh-Mallory, despite Dowding and Park having demonstrated that Leigh-Mallory's "Big Wing" strategy was unworkable.
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It does not, however, seem clear to Wallace, quoted below. through her reflected image in the mirror. However, the image is blurred and reveals only a vague reflection of her facial characteristics; the reflected image of the head is much larger than it would be in reality.Gregory, R. L., Mirrors in mind (London: Penguin, 1997, ). He notes that "the image is with legitimate artistic licence at least twice the size it should be" (p. 21).
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Some artistic licence was used to find the appropriate props. Cars used included a 1924 Morris Oxford, a 1926 Darracq, and a 1927 Wolseley, previously used in the 1960s series Dr Finlay's Casebook. Willie Bennie, who sourced the vehicles, told the Daily Record: > I knew they were wanting to include car chases to make the drama much more > exciting to watch. The only trouble was that the cars around this era > weren't very fast.
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UK Sound and Lighting Community, 23 February 2005 He was the show producer, lighting and set designer for the Spice Girls live shows including the massive, international SpiceworldSpice Girls personnel . The Production Office, August 1999 – December 1999 tour and the Christmas in Spiceworld tour. He designed the lighting for Live 8Live 8 design. Artistic Licence 2005 and his design was used around the world for all major Live 8 venues with an estimated worldwide audience of 3 billion people.
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The model that supports the skin was built to show the greatest size possible, with the tail rigid and straight, and produced what Archibald considered an unnatural pose. The taxidermist's careful research and preparation has been lauded by others, but Archibald does not take an especial pride in the exhibit. The story of Sweetheart has been taken with considerable artistic licence by Greg McLean, director of the film Wolf Creek, and made into a film titled Rogue.
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Together, the names form the sentence "", or "Beijing huanying ni," which means "Beijing welcomes you". Originally named 'The Friendlies', they were promoted as 'Fuwa' when concerns arose that the name could be misinterpreted. While originally given artistic licence in his commission, Han Meilin was subsequently requested by officials to include various Chinese designs and fauna in the Fuwa. Han Meilin drew 1,000 models of possible Fuwa (including a dragon and an anthropomorphic drum) before settling on the five characters.
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A major problem confronting the study of early gunpowder history is ready access to sources close to the events described. Often the first records potentially describing use of gunpowder in warfare were written several centuries after the fact, and may well have been colored by the contemporary experiences of the chronicler. Translation difficulties have led to errors or loose interpretations bordering on artistic licence. Ambiguous language can make it difficult to distinguish gunpowder weapons from similar technologies that do not rely on gunpowder.
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The best depictions are those of England's J. M. W. Turner, who stayed in Heidelberg several times between 1817 and 1844, and painted Heidelberg and the castle many times. He and his fellow Romantic painters were not interested in faithful portrayals of the building and gave artistic licence free rein. For example, Turner's paintings of the castle show it perched far higher up on the hill than it actually is. The saviour of the castle was the French count Charles de Graimberg.
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Charles Dickens' novel Great Expectations opens in 1812 with the escape of the convict Abel Magwitch from a hulk moored in the Thames Estuary. In fact, the prison ships were largely moored off Upnor in the neighbouring River Medway, but Dickens used artistic licence to place them on the Thames. Great Expectations, Penguin English Library, 1965, Notes, p.499 French artist and author Ambroise Louis Garneray depicted his life on a prison hulk at Portsmouth in the memoir Mes Pontons.
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To balance this Roberts gave some emphasis to the choir, who were dressed in white. A shaft of light focused on the Duke reading the King's proclamation also provides some colour; this phenomenon was remarked upon by contemporary newspaper reports. Artistic licence was taken with the dais shown as much higher that it actually was and some other architectural features of the building either downplayed or ignored. Roberts also honoured the "Father of Federation", Henry Parkes, who had died five years previous.
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Routed Sarmatian cataphracts (right) flee from Roman auxiliary cavalrymen, during the Dacian Wars (AD 101-6). Note full-body scale armour, also armoured caparison for horses (including eye-guards). As depicted, the body hugging scale armour (especially covering the horses' legs) is entirely impractical and must reflect artistic licence based on an oral description. In the period following this war the Romans established the first of their own regular units of cataphracts, they were most likely equipped like the Sarmatians.
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She is incensed that he would let her walk away from Louis when he knew what was really going on. She asks what possible reason he could have, but Dan can't quite spit out: "I love you." Maybe later... Rufus ends up reading the extract and praises it, though he doesn't know why Dan was so worried about it since Blair comes out of it all pretty well. He assumed the ending was artistic licence, though - I'm guessing that was the whole kissing bit.
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169Lear 2007, pp. 193–4 Although the real Duchess lived at Lakefield Cottages, in the tale her home became Buckle Yeat, a picturesque cottage in the village, and Duchess is shown in its garden reading Ribby's invitation. In the illustration of Duchess leaving home with her veal and ham pie in a basket, Potter took some artistic licence and combined the doorway of the village post office with the Buckle Yeat garden. Completely faithful to life in the village, Potter even included the pattens Mrs.
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Self Made: Inspired by the Life of Madam C. J. Walker is an American drama web television limited series, based on the biography On Her Own Ground by A'Lelia Bundles, that premiered on March 20, 2020 on Netflix. It received generally positive reviews from the critics with major praise drawn towards Octavia Spencer's performance; however it received criticism for various historical inaccuracies and artistic licence. For her performance, Spencer received a nomination for the Primetime Emmy Award for Outstanding Lead Actress in a Limited Series or Movie.
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Principal photography began at Shepperton Studios' 'H' Stage, in September 2011, and lasted just 26 days, with further pick ups on the 007 stage at Pinewood studios. The film was set on-board two Class 421 “4-CIG” EMU carriages (numbers 76747 and 62385 from unit 1399). Despite being part of an electric train, artistic licence was taken and the carriages were portrayed as diesel powered for the purpose of the storyline. The film is set in 2004 when 'slam door' trains were still in service.
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He spent over two years, the remainder of World War II, in the internment camp. His family lived in a small area in G block, a two-storey residence for 40 families. He attended school in the camp, the teachers being camp inmates from a number of professions. As he explained later in his autobiography Miracles of Life, these experiences formed the basis of Empire of the Sun, although Ballard exercised considerable artistic licence in writing the book, such as the removal of his parents from the bulk of the story.
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Shakespeare, and the Tudor chroniclers who influenced him, had an interest in portraying the defeat of the Plantagenet House of York by the House of Tudor as good conquering evil. Loyalty to the new regime required that the last Plantagenet king, Richard III, be depicted as a villain. The historical inaccuracies in the play can be attributed partly to Shakespeare's sources, such as Holinshed's Chronicles, and partly to artistic licence. Some of these inaccuracies are listed below in the order in which they either appear or are referred to in the play.
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These he reproduced in his own unique style, shot through with exaggerated excitement and atmosphere. He is well known for his coverage of many of the great car races of the day, including Le Mans (see 24 hours of Le Mans), and the Monte Carlo Rally and Alpine Rally. The cars he best loved to illustrate were the big, pre-World War One racing cars, which feature prominently in much of his work. These cars lent themselves well to an artistic licence for slight exaggeration of their features.
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The book which the film is based on is vaguely based on real events, but takes significant artistic licence with historical facts. The main story is loosely based on events concerning the light cruiser SMS Königsberg, which was sunk after taking refuge in Rufiji Delta in 1915. Ivory hunter P J Pretorius had gone on board Königsberg disguised as a native to pace out the ranges for the Navy's guns. In the film the German ship is named Blücher; there was a vessel of this name, but it did not serve in Africa.
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Judgements tend to vary wildly of the value of Geoffrey as both a historian and a literary storyteller. He has been praised for giving us detailed information about an otherwise obscure period and possibly preserving information from lost sources, and condemned for an excessive use of artistic licence and possibly inventing stories wholecloth. According to Frank D. Reno, whenever Geoffrey uses extant sources, the details in the text tend to be accurate. Assuming that he was also using sources lost to us, it may be difficult to decide which details are truthful.
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Stannard shows the beauty of the setting by painting in woodland, the buildings of the gentry and the fields beyond the river, whilst also recreating the event using his artistic licence. Thorpe Frolic, Afternoon was praised by the Norfolk Chronicle, which described the work as "intensely interesting, masterly and elegant". The Norwich Mercury also praised Stannard's painting, noting it to be a work of great skill, and adding that it was a striking blend of fact and fiction. The painting—his best known work—is on display at Norwich Castle Museum and Art Gallery.
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His first records were as part of the breakbeat hardcore group DJ Force & The Evolution (with Paul Hobbs, James Broomfield and Paul Hughes) released in 1993. The group signed to hardcore record label Kniteforce and many of their tracks were played by Carl Cox. The group also produced tracks using the alias A Sense of Summer for another hardcore label Universal Records owned by Slipmatt. In 1995, he and Paul Hobbs set up their own label UK Dance Records so they could quickly release more material and have complete artistic licence over their records.
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La Reine Margot (English:Queen Margot) is a historical novel written in 1845 by Alexandre Dumas, père. Although La Reine Margot is based on real characters and events, certain aspects of the novel may be inconsistent with the historical record; historians have attributed that to artistic licence and the fact that Dumas might have been influenced by propaganda against certain historical figures, notably Catherine. Written in French, it was almost immediately translated into English, first anonymously and soon afterward by David Bogue as Marguerite de Valois: An Historical Romance.Coward, D. (1997).
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Shaffer used artistic licence in his portrayals of Mozart and Salieri. Documentary evidence suggests that there may have been some occasional antipathy between the two men but the idea that Salieri was the instigator of Mozart's demise is not taken seriously by scholars of the men's lives and careers. While historically there may have been some rivalry and mild tension between Mozart and Salieri, there is also evidence that they enjoyed a relationship marked by mutual respect. As an example, Salieri later tutored Mozart's son Franz in music.
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In the second part of the manuscript, Ferrer Bassa's brushstrokes reinterpret the Byzantine dimension of English painting with greater artistic licence, revealing a thorough knowledge of trecentist pictorial resources. Bassa's images convey new ways of structuring space along with more naturalist landscapes. Ferrer Bassa, considered to be the finest painter in Aragon in the 14th century, developed a personality of his own, clearly marked by the Tuscan styles of the Trecento, particularly those of Florence and Siena with which he was so familiar. A painter making a delicate, elegant and refined use of colour.
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Detail of bottom right corner Turner took some artistic licence with the painting. The ship was known to her crew as "Saucy", rather than "Fighting" Temeraire. Before being sold to the ship-breaker John Beatson, the ship had been lying at Sheerness Dockyard, and was then moved to his wharf at Rotherhithe,Egerton, 309 then in Surrey but now in Southwark. As shown in a "prosaic drawing, made on the spot by a trained observer" (William Beatson, the ship-breaker's brother) and turned into a lithograph, her masts and rigging were removed before her sale and journey to the breaker's yard.
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The first locomotive arrived on the ship Navarino on 2 October 1862. There is no known photograph of it, and no information about either the builder or the tank configuration have been found. A painting by Otto Lansberg which depicts the breakwater under construction in 1869, shows a side- or well-tank locomotive at work and, since the second locomotive is known to have been a saddle-tank engine, this painting may well depict the first locomotive. Given the possibility of artistic licence, however, the painting cannot be accepted as factual confirmation of the locomotive's appearance or configuration.
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An Auxiliary Unit arms cache features in the 1985 BBC TV series, Blott on the Landscape. British partisans feature in two UK films that imagine what would have happened if Germany had successfully invaded Britain: the 1966 film It Happened Here (which simply refers to 'partisans') and the 2011 film Resistance based on Owen Sheers' first novel, Resistance. The partisans in the latter are loosely based upon Auxiliary Units, albeit with considerable artistic licence. The Auxiliary Units feature in the BBC programme Wartime Farm although there is some confusion between the roles of the Operational Patrols and the Special Duties Branch.
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The entrance door has a window set on each side, which would have prevented the projection of an image onto mirrors placed onto this 'back' wall. A window and ground floor door were present in each of the two side walls of the building; providing up to three doors altogether into the ground floor and a total of five windows, providing for exceptionally good views out of the building. The only apparently uninterrupted surface was the upper ceiling. The artist Alexander Archer sketched the pavilion from the south-west in 1837, probably including some 'artistic licence' .
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Time has been altered, however; many elements of the 1960s American counterculture are combined with the life and times of Benjamin Franklin. Through generous use of artistic licence, he has been transformed into a "flower child", or "hippie". Via humorous dialogue and interaction with both the townspeople and Franklin, Pepper is responsible for ensuring that history unfolds the way it should, as well as first locating and subsequently reuniting with Lockjaw. The player does have the opportunity to learn valid historical facts throughout the game; this is facilitated by a "truth" icon and multiple-choice quizzes at the conclusion of each act, or section of the game.
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The estate lies by the River Thames on the historic highway from Staines to Windsor, near Runnymede. It was originally known as Remenham, after Hugo de Remenham, who held the land at the end of the 14th century. The estate was then owned for a period by the Tyle family, and subsequently by John Morley, Francis Kibblewhite, William Christmas and Henry Frederick Thynne (clerk to the Privy Council under Charles II) in the 17th century.18th-century view of Beaumont Lodge – placed closer to the river Thames than it now is, whether because the river has moved or by artistic licence In 1714 Thomas Thynne, 2nd Viscount Weymouth, inherited the estate.
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Captain Charles Johnson Otiende was the British author of the 1724 book A General History of the Robberies and Murders of the most notorious Pyrates, whose identity remains a mystery. No record exists of a captain by this name, with Johnson generally considered a pseudonym for one of London's writer- publishers. Some scholars have suggested that "Charles Johnson" was actually Daniel Defoe writing under a pen name, but this is disputed. The prime source for the biographies of many well known pirates, Johnson gave an almost mythical status to the more colourful characters, and it is likely that the author used considerable artistic licence in his accounts of pirate conversations.
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Speculation surrounds the frequency with which the retiarius used his net. Extant imagery rarely shows gladiators of the type with a net, yet the class is named for the device, and Juvenal uses the net to quickly identify a retiarius in his satires. The discrepancy may simply be a case of artistic licence; other types of gladiator are often shown without their weapons but can be assumed to be holding them due to their stance, and a net is a particularly difficult weapon to depict. The lack of nets in retiarius images may show gladiators who have already lost the weapon in the fight.
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Nancy goes into labour three months premature, after feeling tired, dizzy and sick for a few days beforehand. She realises that she has to go to the hospital, where she has an emergency caesarean section and gives birth to a baby boy. Fox researched premature births before filming the scenes and she explained "Obviously there's a bit of artistic licence that goes into the scripts, to make things more dramatic or to let the story flow better. But I did do a lot of reading about premature birth and premature babies - all the things that can go wrong and all the things that can go right".
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These included the Coal Exchange (1883–86) in Mount Stuart Square and the imposing French-Gothic Pierhead Building (1896) at the docks entrance. Cardiff Castle was restored and redesigned between 1868 and 1890. The private apartments of the third Marquis of Bute in Cardiff Castle, commissioned from the architect William Burges, are an acknowledged masterpiece of the Victorian Gothic Revival. Burges's other buildings in Cardiff are Castell Coch, a 13th-century castle rebuilt (with some artistic licence) as a residence for Bute, and Park House which influenced domestic architecture in Cardiff and was a prototype for Burges's own house in London, The Tower House.
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The illustration of the Mary Rose, which has been compared to the salvaged wreck of the actual ship to determine the historical accuracy of Anthony Anthony's ship portrayals Comparisons with the finds from the salvaged Mary Rose itself have provided an opportunity to compare the accuracy of the records provided in the Roll. The picture of the ship has provided clues about basic structural features, such as the number of masts and sails. When compared with an inventory of the ship from 1514, there is a close match, proving the illustration to be largely accurate. Examination of details in the construction, however, reveals that Anthony allowed himself some artistic licence.
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Kubrick had seen Sellers in The Battle of the Sexes and listened to the album The Best of Sellers, and was impressed by the range of characters he could portray. Sellers was apprehensive about accepting the role, doubting his ability to successfully portray the part of a flamboyant American television playwright who was according to Sellers "a fantastic nightmare, part homosexual, part drug addict, part sadist". Kubrick encouraged Sellers to improvise and stated that he often reached a "state of comic ecstasy". Kubrick had American jazz producer Norman Granz record portions of the script for Sellers to listen to, so he could study the voice and develop confidence, granting Sellers a free artistic licence.
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The videos mostly relate to pre-1900 European history as that is Burvall's area of interest. She has been asked to create videos about American history but says "it's hard to write something in a forced way." Burvall says that her songs are not meant to replace more detailed instruction, rather they are a survey of the main points and vocabulary of a topic in a catchy but factually accurate way with a little artistic licence over the exact wording. Renee Hobbs and David Cooper Moore in Discovering Media Literacy: Teaching Digital Media and Popular Culture in Elementary School say "Many educators have benefited from the work of these remarkable teachers"Hobbs, Renee & David Cooper Moore.
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" Blair said that at the time she was not aware of her pupil's crush on her, but that she did remember him from the dance classes: "He was quite cheeky and charming and always had something to say in class. He used to tell us he was in a band, but I never dreamed they were going to be this big and I certainly hadn't a clue I was going to feature in one of their songs!" Commenting on the veracity of these events as portrayed in the song, Blair said: "I think he's used a bit of artistic licence in the song. It was a dance class so we never used any pencils but I suppose he had ample opportunity to look at my bum.
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To model the city, the developers used aerial photographs taken by photographer Robert Spence. The team also used the photographs to create traffic patterns and public transport routes, as well as the location and condition of buildings. While striving to recreate an accurate model of 1947 Los Angeles, the team also took some artistic licence, such as including the appearance of the film set for D. W. Griffith's Intolerance; the set had actually been dismantled in 1919. In addition to recreating the city as it was in 1947, all of the in-game cases that the developers worked upon were each inspired in some part by the actual real-life crimes that the city's media reported on during that year.
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Their interaction with the adult world, populated by imbeciles who occasionally play ridiculous roles to entertain the pair from outside the bubbles, is clearly disproportionate, as if the children were a few light years ahead of the 'common sense' practised within the French hospital. With the moralistic and sometimes hysterical persecution of artistic licence observed since the late 1980s, this film gained only a narrow VHS distribution, with regard to the fiercely competitive category of collector's items. A great example of avant-garde cinema, victimised by the approach. The aesthetics of scenarios in the laboratory and the excessive use of white, is similar to THX 1138 by George Lucas, a kind of paradigm in the science fiction of the 1970s.
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The tunnel was built in a shallow trench of in depth; the contemporary illustration (right) showing the line disappearing beneath the landscape seems to be no more than artistic licence although, as built, earth may have been drawn up around the structure. In the tunnel the bridge-profile rails were on longitudinal sleepers whereas in the platform sections conventional cross sleepers were used. Rammell included a curve of radius and a gradient of 1 in 15 (7 per cent) to demonstrate the capabilities of his design. The power was provided by a large fan, some in diameter, like a paddle-wheel in an iron case (see image) that was powered at 300rpm by a former steam locomotive, mounted on a plinth, acting through leather belts.
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It was later re-packaged in a television "Movie of the Week" titled The Journey of Radiance(2000), which was also released, along with related documentary material, on DVD-Video(2007). Blue Dove, a musical in two acts, is based on Krishnamurti's life between his discovery by Leadbeater and the start of his career as an independent philosopher and speaker following the dissolution of the Order of the Star. The musical, with a running time of two hours and fifteen minutes, premiered in October2004 at Los Angeles' Ivar Theatre and had a three-week stage run; a 40-minute recording of songs was released in 2005. The libretto and plot, by Englishman Peter Wells, employ considerable artistic licence in their portrayals of related persons and events.
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Rather than faithfully draw puppets, he took the artistic licence of rendering the characters as real people for a more exciting strip, as was already being done by the comic's other artists (including Ron Embleton and Mike Noble) in their strips. Apart from one short break, Bellamy drew Thunderbirds throughout its run in TV Century 21 and TV21, leaving shortly after the comic merged with Joe 90 Top Secret to become TV21 & Joe 90 in 1969. He also drew the colour splash pages for five Captain Scarlet and the Mysterons strips. Bellamy's break from the Thunderbirds strip in the autumn of 1966 enabled him to work on an episode of the British TV series The Avengers entitled The Winged Avenger.
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While largely based on the original series, with storylines from three of the picture books weaved into the plot, several liberties were taken with the characters' backstories. Notably, Madeline is depicted as an orphan in the film, while in the books, she receives a dollhouse from her father and is known not only to have both her parents but siblings as well. The film's costume department went for some artistic licence in developing the costumes for Madeline. Aside from moving the time period from the 1930s to 1950, the producers elected for saturated blues and reds in the students' uniforms while keeping them as believable as possible, ruling out the possibility of using grey as it was seen as depressing.
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The film adaptation of Raymond Briggs's satirical and blackly comic cartoon strip, When the Wind Blows, has the warning message as part of the script, which triggers arguing between Jim and Hilda Bloggs. Although this is not Peter Donaldson's pre-recorded warning (which was not available on grounds of national security and for copyright reasons), this was a fictional announcement written on grounds of artistic licence. It was read by Robin Houston, a voiceover artist who was known in London as a newsreader for Thames Television (who played the role of newsreader in the film). The adult humour comic Viz ran a photo strip in its issue 107 called "Four Minutes to Fall in Love", where a boyfriend and girlfriend cram a whole relationship into the four minutes before a nuclear attack.
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While Petit can be located in the British topographical tradition, no-one combined his various qualities in quite the same way. On the one hand, in both the 18th and 19th Centuries artists were often commissioned to provide drawings for antiquarian purposes, for collectors complementing their own work, or for books of engravings. The Buck brothers and Edward Dayes, among others, each produced large quantities. It was not uncommon for antiquarians to leave several thousand drawings in albums. In the 18th century these tended to be dry ‘factual’ recordings of the subjects. In the 19th century, starting with Turner and Girtin most famously, professional artists took a more romantic view of topographical drawing, and artistic licence to adjust what they saw to make a more commercial picture: Cotman and Prout are good examples.
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On 30 September 2005, Melua came under criticism in The Guardian from writer and scientist Simon Singh for the lyrics (written by Mike Batt) of the track "Nine Million Bicycles". Batt's disputed lyrics were: They were interpreted by Singh as an assault on the accuracy of the work of cosmologists which sparked a series of letters from other Guardian readers, agreeing or disagreeing. On 15 October, Melua and Singh appeared on the BBC's Today programme, and Melua light-heartedly performed the song during the interview, including Singh's tongue-in-cheek amendments to the lyrics: Both sides amicably agreed that the new lyrics were less likely to achieve commercial success, amidst a discussion about scientific accuracy versus artistic licence. Melua said that she "should have known better" because she used to be a member of the astronomy club at school.
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Among the aristocracy, the levée could also become a crowded and social occasion, especially for women, who liked to put off the donning of their uncomfortable formal clothes, and whose hair and perhaps make-up needed prolonged attention. There is a famous depiction of the levée of an 18th-century Viennese lady of the court in Richard Strauss's later opera Der Rosenkavalier, where she has her hair dressed while surrounded by a disorderly crowd of tradesmen touting for work or payment, and other petitioners, followed by a visit from a cousin. The second scene of William Hogarth's A Rake's Progress shows a male equivalent in 1730s London. In the French engraving Le Lever after Freudenberg, of the 1780s (illustration, right), gentle social criticism is levelled at the lady of the court; that she slept without unlacing her stays, apparently, perhaps can be seen as artistic licence.
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A poem illustrating the folklore surrounding the stones is recorded in The Witchcraft and Folklore of Dartmoor by Ruth St Leger-Gordon, originally written by Eden Phillpotts in the Book of Avis trilogy: :And now at every Hunter's Moon :That haggard cirque of stones so still :Awakens to immortal thrill'' :And seven small maidens in silver shoon :Twixt dark of night and white of day :Twinkle upon the sere old heath :Like living blossoms in a wreath :Then shrink again to granite grey. :So blue-eyed Dian shall ever dance :With Linnette, Bethkin, Jennifer, :Arisa, Petronell and Nance. St Leger-Gordon suggests Phillpotts could be referring to another stone circle due to certain inaccuracies in the poem, although these inaccuracies could simply be a generous usage of artistic licence. Hunter's moon refers to the first full moon following the harvest moon and usually occurs in October.
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The hilltop of Gills Lap, crowned by pine trees and visible from miles around, became Galleon's Lap. The North Pole and Gloomy Place are in Wren’s Warren Valley, a short walk north-east of Gill's Lap, as is The Dark and Mysterious Forest. Furthermore, the landscapes depicted in Shepard’s illustrations for the Winnie-the-Pooh stories, which are very evocative of Ashdown Forest, can in many cases be matched up to actual views, allowing for a degree of artistic licence. Shepard's sketches of pine trees and other forest scenes are now exhibited at the V&A; Museum in London. A free leaflet, “Pooh Walks from Gill's Lap”, which is available from the Ashdown Forest Centre and downloadable from its website, describes a walk that takes in many locations familiar from the Pooh stories including Galleon's Lap, The Enchanted Place, the Heffalump Trap and Lone Pine, North Pole, 100 Aker Wood and Eeyore’s Sad and Gloomy Place.
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This version of the popular legend eschews the use of magic to explain Arthur's ascent to power and instead relies on the historical condition (with some artistic licence) of post-Roman Britain to support the theory that Arthur was meant to counter the anarchy left by the Roman departure from Britain in 410 AD and the subsequent colonization and invasion of Britain by various peoples from Northwestern Europe, including the Saxons, Jutes, Franks, and Angles. Whyte incorporates both traditional Arthurian names, places and events (albeit in Gaelic or Latin form) as well as the names of various historical figures that have been suggested as being the possible basis for the original King Arthur legend. The tacit implication is that Whyte's version of history is the true story that has become distorted over time to become the legend and stories of magic that we know today. The series has been published in different locations under three different titles.
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Jean Wauquelin kneels before Philip, presenting a large book bound in brown leather; his translation of the Chroniques de Hainaut which he had completed in 1446. Van der Weyden some took artistic licence here, probably to vary the tonality of the dark colours; the surviving Chroniques bound in black satin. Antoine de Croÿ or Anthony, bastard of Burgundy (in blue), unidentified old man (behind), unidentified man (in grey with chain), Jean de Croÿ (in green gown and chain) Philip's preference for black is imitated by a number of the other men to the right, particularly the older nobleman at the head of the group, who is generally identified as Antoine I de Croÿ, first chamberlain of the ducal household. Most of the chaperons are black, although the man in blue has one in salmon-pink; black was having one of its earliest periods of being the most fashionable colour at the time.
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Two years after Augusta's death, Burian painted what is regarded as his last classic image, the famous 'heroic' Tarbosaurus bataar of Mongolia (an image that was also widely reproduced and copied). Following Augusta's death, conditions were increasingly placed on Burian's artistic licence and the scientific detail of what he painted, whilst he was also being asked to depict different species within the same scenes but as individual, non- interacting animals as in a montage. Given his background as a novel/action- scene illustrator, and the close collaboration with Augusta the 'story- teller', Burian viewed the subjects of his paintings as very real animals (as would a natural history artist), and the new restrictions did not sit well with him. An example of how his work was compromised is evident in another version of Brachiosaurus that he painted in his later years under the direction of Vratislav Mazak; the animal, now shown on dry land, appears oddly out of proportion and fails to compare to the celebrated 1941 version.
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The popular myth that Catherine Parr acted more as her husband's nurse than his wife was born in the 19th century from the work of Victorian moralist and proto-feminist, Agnes Strickland. David Starkey challenged this assumption in his book Six Wives, in which he points out that such a situation would have been vaguely obscene to the Tudors—given that Henry had a huge staff of physicians waiting on him hand and foot, and Catherine was expected to live up to the heavy expectations of Queenly dignity. Parr is usually portrayed in cinema and television by actresses who are much older than the queen, who was in her early 30s when she was Henry's wife and was about 36 years old at the time of her death. When she married Henry she was 31, younger than the 32 year-old Anne Boleyn was when she married Henry This change is usually an artistic licence taken to highlight Parr's maturity in comparison to Henry's previous queens, or at least a symptom of the longer lifespans enjoyed by modern audiences (who might be confused as to why a 30-year-old is considered much older and more experienced).
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The film is a work of historical fiction, inspired by a painting and the evidence that Dido was brought up at Kenwood House. The relative lack of details about Dido Elizabeth Belle allowed screenwriter Misan Sagay considerable artistic licence in framing the young woman's story, within the broader historical context of the slave economy and the abolition movement. The only other direct historical reference made about Belle, other than the painting and Thomas Hutchinson's personal diary, appear in Elements of Moral Science, a 1790 work by the Scottish professor of moral philosophy James Beattie, who met Belle and in the book states she recited poetry with "a degree of elegance"page 225 equal to any English child of her age, arguing against the then prevailing theory that "negroes are naturally and utterly incapable of distinct articulation".again page 225 William Murray, 1st Earl of Mansfield, who was Lord Chief Justice of England from 1756 to 1788, presided over two important cases, Somerset v Stewart in 1772 and the Zong insurance claims case in 1783, which helped lay the groundwork for Britain's Slave Trade Act 1807.
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