Stardom in their hands

QUESTION Who was the first actor to leave their handprint outside Grauman’s Chinese Theatre in Hollywood?

Grauman’s Chinese Theatre, built in 1927, is a focal point of the film business and a Hollywood landmark attracting more than four million tourists a year.

Towering majestically above the 6900 block of Hollywood Boulevard, this most famous of motion picture palaces was built under the precise instructions of the great film exhibitor sid Grauman, known as the P. T. Barnum of the movies.

There are various stories regarding the origin of the famous footprints in the cement squares of the theatre’s forecourt.

The official version states that silent screen star norma Talmadge accidentally stepped into wet cement while visiting the building site. Grauman witnessed the incident and was inspired to create the Forecourt of the stars.

Variations of this story have america’s sweetheart mary Pickford tripping into the wet cement or even her dog Zorro.

a more plausible story is that stonemason and site foreman Jean Klossner always signed his work with his autograph and handprint in cement. In fact, they can be seen on the forecourt.

Grauman thought it was a wonderful way to have a permanent record of the movie stars of the day. He held ceremonies for invited film personalities to put their handprint, footprint, signature and date into wet concrete squares in front of the movie theatre. Each block is unique in size, shape and colour.

Grauman’s publicity machine went into action for each ceremony. The original block in the forecourt would be removed. special concrete, with a setting time of just 45 minutes, was poured in and the star would make their imprints with flashbulbs popping.

The first two movie stars to receive the honour were mary Pickford and Douglas Fairbanks snr on april 30, 1927, followed by norma shearer on may 18, 1927.

next to an academy award, having your name immortalised on Grauman’s Chinese Theatre forecourt is the highest tribute a movie star can receive. Bob Jones, Plymouth, Devon.

QUESTION Did Henry VIII order his butler to be executed?

HEnry VIII did have one of his entourage

executed, but not the Lord steward, the closest equivalent to a butler.

The holder of this office was responsible for the household of the court below stairs: running the kitchens, provision of fuel, food and drink, and overseeing the maintenance of the grounds.

The three holders of this office under Henry VIII died of natural causes. They were: George Talbot, Earl of shrewsbury (who served from 1502 to 1538); Charles Brandon, Duke of suffolk (15401545); and William Paulet, Baron st John (15451551).

One of the most celebrated positions at court was Groom of the stool, who was responsible for assisting the king in his toileting needs, even changing his undergarments and wiping his bottom.

Courtiers with this politically influential role were sir William Compton (15091526), sir Henry norris (15261536), sir Thomas Heneage (15361546) and sir anthony Denny (15461547).

norris was a close confidant of the king. In 1520, he was with Henry VIII at the Field of the Cloth of Gold and in 1526 he was appointed Keeper of the Privy Purse and Groom of the stool with right of entry to the king’s bedchamber. Hewas his ‘most intimate servant and confidant’.

norris also supported the faction in court led by anne Boleyn. When she fell out of favour, he was accused of treason and adultery.

He was found guilty and executed with anne’s brother, George Boleyn (Viscount rochford), sir Francis Weston, William Brereton and mark smeaton.

Rebecca Oliver, Malvern, Worcs.

QUESTION Did Plato want to ban art?

sCarCELy a day passes without a major institution announcing that it is ‘decolonising’ itself. This may have been met with approval from Plato, the ancient Greek philosopher.

In republic, a discussion of how an ideal state should be constituted, he suggested the wrong type of art should be banned.

He argues that censorship is justified because it prevents the harmful influence of ideas that might morally corrupt children. He targets religious stories by Greek classic writers.

In antiquity, great emphasis was placed on the epic poems of Homer, the Iliad and Odyssey, and the poetry of Hesiod’s Theogony. yet Plato observed these works highlighted the venality and weakness of the Olympian gods, who committed acts of adultery, rape, bribery and violence.

‘These tales must not be admitted into our state, whether they are supposed to have an allegorical meaning or not.

‘For a young person cannot judge what is allegorical and what is literal; anything that he receives into his mind at that age is likely to become indelible and unalterable; and therefore, it is most important that the tales which the young first hear should be models of virtuous thoughts.’

Plato argued that for a state to be good, it must have good citizens and for citizens to be good they must be well educated, and this means that children must not be exposed to evil ideas or images.

The state must therefore control not only education but the arts in order to prevent moral corruption.

since music has the power to shape people’s hearts and actions, musicians must not compose or present certain kinds of music, in particular those played in a minor key, because these might make people lament.

Poetry and drama must be censored, particularly comedy, which makes people laugh at foolishness and bad behaviour.