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Fortunino Matania RI (1881-1963), 'Judith & Holofernes', ''Britannia and Eve'', Vol. 1, #3, 1929 "....Judith, standing alone in the darkness before the great fire they lit to welcome her, drew out the head of Holofernes....and cried to her people with a loud voice to glorify God...."

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George Montbard (1841-1905), 'The Fairy Oak', ''The Illustrated London News'', Christmas Number, 1881 engraved by William James Palmer

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Daphne Constance Allen (1899-1985), ''The Illustrated London News'', Christmas Number, 1937 Text top: "The immortal race known in the old Gaelic myths as the Tuatha de Danaan came to earth bringing four treasures —the Stone of Destiny; the Fiery Spear of the Sun God; the Sword, or “Glaive of Light,” also of the Sun God; and the Cauldron of Abundance, sometimes called the Cup of Healing and Friendship. In later mythology these became symbols of a more mystical nature. The Stone acquired a dual symbolism; sometimes being regarded as a Crystal of Vision and Wisdom. The Spear and Sword were signs of Light and Strength, as opposed to Darkness and Evil; and, in still later legend, the sword appears again as Arthur's "Excalibur." The Cauldron becomes “The Cup of Healing and the Fulfilment of Heart's Desire,” and its originally somewhat homely virtue of providing inexhaustible food and drink becomes a symbol that ends up as the Grail of Arthurian legend. These treasures came from the immortal cities at the four corners of the world, one of which, Falias, is depicted on the opposite page. After the immortals who had brought them had given place to the mortals who eventually possessed the World, they dwelt in the hills, and became known as the Sidhe (Shee), the fairy-folk." Text bottom: "According to the old Gaelic mythology, there were four immortal cities, one at each of the corners of the world— Falias of the North, a crystal city of ice-green spires; Finias of the South, golden and flame-lit; Gorias of the East, a city of gold and gems; and Murias of the West, the city beyond the sunset. The immortals dwelling in these cities were the Tuatha de Danaan, meaning people of the Goddess Dana, the Earth Mother. They brought to earth the four treasures that figure in the painting reproduced on the opposite page, including the Stone of Destiny, said to be the same as that now in the Coronation Chair at Westminster Abbey. The Stone came from Fealias of the North. The Tuatha de Danaan (otherwise known as the Shee), who were akin to the Gods, dwelt in Ireland and Scotland for many years till the coming of the first Gaels, the Milesians. These, in turn, ruled the land and won the mystic Stone of Destiny. The first of the mortal kings of Ireland and later Scotland were crowned upon the Stone— and from them it came direct to our present kings. It will be observed that this legend differs entirely from the legend of the Stone of Scone as generally current in this country. In this Christianised form, the Stone is identified with that on which Jacob rested his head at Bethel."

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Herbert Gandy (1857-1934) 'A Christmas Eavesdropper: The Fairies' Yuletide Feast', ''The Illustrated London News'', Christmas Number, 1903

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Dorothy Muriel Wheeler (1891-1966), 'A Piper of Dreams', ''The Illustrated London News'', Christmas Number, 1935

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"Spanning the years 1937–2001, the collection should especially appeal to those with an avant-garde or musicological bent." Not everything in here is appealing to me but there are some wonderful compositions buried in this compilation. As noted in the article, there's some deficiencies in the overall selection given a lack of women and non-Western composers (additional links at the bottom of the article somewhat compensate for this lack) but it's still a sufficient overview of "avant-garde" electronic music. Direct link to the compilation here.

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Aleksander Rzewuski (1893-1983) 'The Vision of the Snow Queen', ''The Illustrated London News'', Christmas Number, 1923

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Eleanor Fortescue-Brickdale (1872-1945), 'The Four-Leaved Clover', ''The Illustrated London News'', Christmas Number, 1924

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Harold Cecil Earnshaw (1885-1937), 'Not in the Scouts' Rules! Tracking the Ghost', ''Illustrated London News'', Christmas Number, 1921

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Gustav-Adolf Mossa (1883-1971), 'Goethe's Faust: 'La Ronde Des Sylphes', ''Illustrated London News'', Christmas Number, 1923

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Gonzalez Moreno, 'The Making of a Mermaid', ''The Illustrated London News'', Christmas Issue, 1923 This might be Antonio Gonzalez Moreno (1896-1968), who was said to have had some brief association with Edmund Dulac (what that was or when that was is unclear). He applied to the Salon of French Artists in Paris between 1919 and 1924 so that tracks with the text in this image (he won a silver medal for painting in 1924). Nothing solid enough for me to give Antonio attribution here so *shrugs* I didn't. None of this is necessary for you to know or care about. I'm just sharing.

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Sidney Herbert Sime (1865-1941), 'Cornish Litany', ''The Illustrated London News'', Christmas Number, 1925

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Kay Nielsen (1886-1957), 'Saint Joan the Maid', ''Illustrated London News'', Christmas Number. 1920 Below: 'Joan the Maid', ''Illustrated London News'', Christmas Number, 1924

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The Talking Heads have released a video for 'Psycho Killer' that was directed by Mike Mills (a director whose work I enjoy) and starring Saoirse Ronan. The song is 48 years old, having arrived into the world in 1977 with The Talking Heads first album. As the band themselves wrote, “We LOVE what this video is NOT—it’s not literal, creepy, bloody, physically violent or obvious.”

To jump off one of the comments to this video, I'm all here for people making videos for previously released material. It feels like such an obvious move. Let's hope more bands allow this kind of thing to flourish (although I doubt any will).

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Paul Mak (Pavel Petrovich Ivanov) (1891-1967), 'The Kiss', ''The Illustrated London News'', Christmas Number, 1930

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Wladyslaw Theodor Benda (1873-1948), ''The Shrine'', Aug. 1926

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Yoshitaka Amano, 'Swan Maidens', ''Fairies'', 2006