Both sides of a Stonehenge entrance ticket from 1901. Evidence from two other sources suggests the numbering had started at...? Answers on a postcard please.

I like these weird silent credits from the Stonehenge episode of archaeology programme Buried Treasure (1954, currently on iPlayer), with triffid-like lurs held aloft

The obvious question that arises about Thomas Creswick's 'Landscape with artist resting beside a road' aound 1851, is what did the artist have in his sandwich that left his dog so disinterested?

This is distinctly worrying. Or rather, extremely alarming. A heads up for all writers out there.

Packed room for the talk last night, their biggest attendance at the Raven apparently. What stood out for me was the quality of the questions from the audience.

Yes, but only in part, and yes. Pm me your email address and I will send you a pdf.

I use a series of images to demonstrate it was highly unlikely to have been designed with a blueprint of a figure, not least as it can hardly be seen to advantage from many places in the landscape, but probably developed from a series of routes up the hill with the tail, back and neck all one line.

As in ... the National Trust imported so much chalk for the upcoming 100th anniversary of the charity caring for it the Uffington White Horse was created in 2019?

Tonight! Do come along if you can.

Radcliffe, Ann., 1826, ‘Salisbury Plains: Stonehenge,’ Gaston de Blondeville: A romance. St. Alban's Abbey: a metrical tale with some poetical pieces, Vol. IV of IV, London: Henry Colbourn, pp. 109-161.

All this and much more would you know? And why, And how, Salisbury spire was built so high, As fairies had meant it to prop the sky? Then listen and watch, and you shall hear What never till now hath met mortal ear!

Why no village-Church is here to raise The blest hymn of humble heart-felt praise, Nor ring for the passing soul a knell, Nor give the dead a hallowed cell, Nor in wedlock-bonds unite a pair, Nor sound one merry peal through the air?

IV. Would you know why this country so desolate lies? Why no sound but the but the tempest’s is heard as it flies, Or the croak of the raven, or bustard cries? Why the corn does not spring nor a cottage rise?

And whose was the mind, that willed them reign, The wonder of ages, simply sublime? The purpose is lost in the midnight of time; And shadowy guessings alone remain

Ann Radcliffe Salisbury Plains: Stonehenge. 1826. I. Whose were the hands, that upheaved these stones Standing, like spectres, under the moon, Steadfast and solemn and strange and alone, As raised by a Wizard- a king of bones! [contd]

Ramble on. Battle of Evermore. No Quarter. Whole L. L. The Ocean. Close runners up in order: Dancing Days, Immigrant Song, Kashmir, Stairway.

Newton’s Baydon, Wren’s East Knoyle, County houses, homely, royal; Stately elms and village people; Little chapels, Salisbury’s steeple, Wind their beauty round the heart, In such things, we all have part.

‘Wiltshire - A Cameo. Wistful Wiltshire; place of downs, Undulating: Roman mounds, Laden with engaging treasure; Spacious ranges without measure; Stonehenge’s history, Avebury’s wealth; [contd.]