1.
Charles Barry
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He also developed the Italian Renaissance garden style for the many gardens he designed around country houses. Born on 23 May 1795 in Bridge Street, Westminster, he was the son of Walter Edward Barry, a stationer. He was baptised at St Margarets, Westminster, into the Church of England and his father remarried shortly after Frances died and Barrys stepmother Sarah would bring him up. He was educated at schools in Homerton and then Aspley Guise, before being apprenticed to Middleton & Bailey, Lambeth architects and surveyors. Barry exhibited drawings at the Royal Academy annually from 1812 to 1815 and he visited France and, while in Paris, spent several days at the Musée du Louvre. In Rome he sketched antiquities, sculptures and paintings at the Vatican Museums and other galleries, before carrying on to Naples, Pompeii, Bari, while in Italy, Barry met Charles Lock Eastlake, an architect, William Kinnaird and Francis Johnson and Thomas Leverton Donaldson. From Constantinople he visited the Troad, Assos, Pergamon and back to Smyrna, on 18 June 1819, Barry parted from Baillie at Tripoli, Lebanon. Over this time, Barry created more than 500 sketches, Barry then travelled on to Cyprus, Rhodes, Halicarnassus, Ephesus and Smyrna from where he sailed on 16 August 1819 for Malta. Barry then sailed from Malta to Syracuse, Sicily, then Italy and his travels in Italy exposed him to Renaissance architecture and after arriving in Rome in January 1820, he met architect John Lewis Wolfe, who inspired Barry himself to become an architect. Their friendship continued until Barry died, the building that inspired Barrys admiration for Italian architecture was the Palazzo Farnese. Over the following months, he and Wolfe together studied the architecture of Vicenza, Venice, Verona and Florence, where the Palazzo Strozzi greatly impressed him. While in Rome he had met Henry Petty-Fitzmaurice, 3rd Marquess of Lansdowne, through whom he met Henry Vassall-Fox, 3rd Baron Holland and their London home, Holland House, was the centre of the Whig Party. Barry remained a supporter of the Liberal party, the successor to the Whig Party. Barry was invited to the gatherings at the house, and there met many of the prominent members of the group, Barry set up his home and office in Ely Place in 1821. In 1827 he moved to 27 Foley Place, then in 1842 he moved to 32 Great George Street and finally to The Elms, now 29 Clapham Common Northside, the Georgian house of five bays and three stories was designed by Samuel Pepys Cockerell as his own home. Probably thanks to his fiancées friendship with John Soane, Barry was recommended to the Church Building Commissioners and these were in the Gothic Revival architecture style, including two in Lancashire, St. Matthew, Campfield, Manchester, and All Saints Church, Whitefield. Barry designed three churches for the Commissioners in Islington, Holy Trinity, St. Johns and St. Pauls, all in the Gothic in style and built between 1826 and 1828. His final church for the Commissioners was the Gothic St Peters Church, Brighton, the Gothic Hurstpierpoint church, with its tower and spire, unlike his earlier churches was much closer to the Cambridge Camden Societys approach to church design
2.
Queen Anne style architecture
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George Devey and the better-known Norman Shaw popularized the Queen Anne style of British architecture of the industrial age in the 1870s. Norman Shaw published a book of architectural sketches as early as 1858, Shaws eclectic designs often included Tudor elements, and this Old English style also became popular in the United States, where it became known as the Queen Anne style. Confusion between buildings constructed during the reign of Queen Anne and the Queen Anne Style still persists, in the late 1850s the name Queen Anne was in the air, following publication in 1852 of William Makepeace Thackerays novel, The History of Henry Esmond, Esq. A Colonel in the Service of Her Majesty Queen Anne, one minor side-effect of Thackerays novel and of Norman Shaws freehand picturesque vernacular Renaissance survives to this day. The British Victorian version of the style more closely with the Arts and Crafts movement than does its American counterpart. A good example is Severalls Hospital in Colchester, Essex, now defunct, in the 20th century Edwin Lutyens and others used an elegant version of the style, usually with red-brick walls contrasting with pale stone details. In the United States, the so-called Queen Anne style is used of a wide range of picturesque buildings with free Renaissance details rather than of a specific formulaic style in its own right. The gabled and domestically scaled Queen Anne style arrived in New York City with the new housing for the New York House and School of Industry Sidney V. Stratton, architect, 1878). Dentils, classical columns, spindle work, oriel and bay windows, horizontal bands of leaded windows, monumental chimneys, painted balustrades, front gardens often had wooden fences. The Federation period went from 1890 to 1915 and included twelve styles and this became the most popular style for houses built between 1890 and 1910. The style often utilised Tudor-style woodwork and elaborate fretwork that replaced the Victorian taste for wrought iron, verandahs were usually a feature, as were the image of the rising sun and Australian wildlife, plus circular windows, turrets and towers with conical or pyramid-shaped roofs. The first Queen Anne house in Australia was Caerleon in the suburb of Bellevue Hill, Caerleon was designed initially by a Sydney architect, Harry Kent, but was then substantially reworked in London by Maurice Adams. This led to controversy over who deserved the credit. The house was built in 1885 and was the precursor for the Federation Queen Anne house that were to become so popular. Caerleon was followed soon after by West Maling, in the suburb of Penshurst, New South Wales and these houses, although built around the same time, had distinct styles, West Maling displaying a strong Tudor influence that was not present in Annesbury. The style soon became popular, appealing predominantly to reasonably well-off people with an Establishment leaning. The style as it developed in Australia was highly eclectic, blending Queen Anne elements with various Australian influences, Old English characteristics like ribbed chimneys and gabled roofs were combined with Australian elements like encircling verandahs, designed to keep the sun out. One outstanding example of this approach is Urrbrae House, in the Adelaide suburb of Urrbrae, South Australia
3.
Architect
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An architect is someone who plans, designs, and reviews the construction of buildings. Etymologically, architect derives from the Latin architectus, which derives from the Greek, practical, technical, and academic requirements for becoming an architect vary by jurisdiction. The terms architect and architecture are used in the disciplines of landscape architecture, naval architecture. In most jurisdictions, the professional and commercial uses of the terms architect, throughout ancient and medieval history, most architectural design and construction was carried out by artisans—such as stone masons and carpenters, rising to the role of master builder. Until modern times, there was no distinction between architect and engineer. In Europe, the architect and engineer were primarily geographical variations that referred to the same person. It is suggested that various developments in technology and mathematics allowed the development of the gentleman architect. Paper was not used in Europe for drawing until the 15th century, pencils were used more often for drawing by 1600. The availability of both allowed pre-construction drawings to be made by professionals, until the 18th-century, buildings continued to be designed and set out by craftsmen with the exception of high-status projects. In most developed countries, only qualified people with appropriate license, certification, or registration with a relevant body, such licensure usually requires an accredited university degree, successful completion of exams, and a training period. To practice architecture implies the ability to independently of supervision. In many places, independent, non-licensed individuals may perform design services outside the professional restrictions, such design houses, in the architectural profession, technical and environmental knowledge, design and construction management, and an understanding of business are as important as design. However, design is the force throughout the project and beyond. An architect accepts a commission from a client, the commission might involve preparing feasibility reports, building audits, the design of a building or of several buildings, structures, and the spaces among them. The architect participates in developing the requirements the client wants in the building, throughout the project, the architect co-ordinates a design team. Structural, mechanical, and electrical engineers and other specialists, are hired by the client or the architect, the architect hired by a client is responsible for creating a design concept that meets the requirements of that client and provides a facility suitable to the required use. In that, the architect must meet with and question the client to ascertain all the requirements, often the full brief is not entirely clear at the beginning, entailing a degree of risk in the design undertaking. The architect may make proposals to the client which may rework the terms of the brief
4.
Artist
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An artist is a person engaged in one or more of any of a broad spectrum of activities related to creating art, practicing the arts or demonstrating an art. The common usage in everyday speech and academic discourse is a practitioner in the visual arts only. The term is used in the entertainment business, especially in a business context, for musicians. Artiste is a variant used in English only in this context, use of the term to describe writers, for example, is valid, but less common, and mostly restricted to contexts like criticism. Wiktionary defines the noun artist as follows, A person who creates art, a person who makes and creates art as an occupation. A person who is skilled at some activity, a person whose trade or profession requires a knowledge of design, drawing, painting, etc. The adjectival Latin form of the word, technicus, became the source of the English words technique, technology, in ancient Greece sculptors and painters were held in low regard, somewhere between freemen and slaves, their work regarded as mere manual labour. The word art derives from the Latin ars, which, although literally defined, means skill method or technique, and conveys a connotation of beauty. During the Middle Ages the word artist already existed in countries such as Italy. An artist was able to do a work better than others, so the skilled excellency was underlined. In this period some artisanal products were more precious and expensive than paintings or sculptures. With the Academies in Europe the gap between fine and applied arts was definitely set, Artist is a descriptive term applied to a person who engages in an activity deemed to be an art. An artist also may be defined unofficially as a person who expresses him- or herself through a medium, the word is also used in a qualitative sense of, a person creative in, innovative in, or adept at, an artistic practice. Art historians and critics define artists as those who produce art within a recognized or recognizable discipline, contrasting terms for highly skilled workers in media in the applied arts or decorative arts include artisan, craftsman, and specialized terms such as potter, goldsmith or glassblower. The term may also be used loosely or metaphorically to denote highly skilled people in any activities, as well— law, medicine, mechanics, or mathematics. Often, discussions on the focus on the differences among artist and technician, entertainer and artisan, fine art and applied art, or what constitutes art. The French word artiste has been imported into the English language where it means a performer, use of the word artiste can also be a pejorative term. The English word artiste has thus a range of meaning than the word artiste in French
5.
Gibson House Museum
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The Gibson House Museum is an historic house museum located at 137 Beacon Street in the Back Bay neighborhood of Boston, Massachusetts. It preserves the 1860 Victorian rowhouse occupied by three generations of the Gibson family, the house was one of the first to be built in Back Bay, and has an unparalleled state of preservation that includes wallpaper, textiles, furnishings, and family artifacts and collections. Both the public and service areas of the exhibit a high degree of preservation. The property was designated a Boston Landmark in 1989 by the Boston Landmarks Commission, the widowed Catherine Hammond Gibson purchased the newly filled in land for $3,696 in 1859 in order to move away from Beacon Hill. Edward Clarke Cabot designed the building which was finished by 1860 in the Italian Renaissance style with an exterior of brownstone and she passed it on to her son Charles Hammond Gibson. Charles married Rosamond Warren in 1871 and brought her to live at number 137, Rosamond was from a very distinguished Boston family and after Catherines death in 1888 redecorated the house with Japanese wallpapers. After Charles Hammond Gibson, Jr. Catherine Hammond Gibsons grandson died in 1954, the became a museum in 1957. Its interior is a composite of family furnishings and pieces added to make it more complete, the museum is not well known and runs on a $100,000 yearly budget
6.
Netherlands Institute for Art History
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The Netherlands Institute for Art History or RKD is located in The Hague and is home to the largest art history center in the world. The center specializes in documentation, archives, and books on Western art from the late Middle Ages until modern times, all of this is open to the public, and much of it has been digitized and is available on their website. The main goal of the bureau is to collect, categorize, via the available databases, the visitor can gain insight into archival evidence on the lives of many artists of past centuries. The library owns approximately 450,000 titles, of which ca.150,000 are auction catalogs, there are ca.3,000 magazines, of which 600 are currently running subscriptions. Though most of the text is in Dutch, the record format includes a link to library entries and images of known works. The RKD also manages the Dutch version of the Art and Architecture Thesaurus, the original version is an initiative of the Getty Research Institute in Los Angeles, California. Their bequest formed the basis for both the art collection and the library, which is now housed in the Koninklijke Bibliotheek. Though not all of the holdings have been digitised, much of its metadata is accessible online. The website itself is available in both a Dutch and an English user interface, in the artist database RKDartists, each artist is assigned a record number. To reference an artist page directly, use the code listed at the bottom of the record, usually of the form, https, for example, the artist record number for Salvador Dalí is 19752, so his RKD artist page can be referenced. In the images database RKDimages, each artwork is assigned a record number, to reference an artwork page directly, use the code listed at the bottom of the record, usually of the form, https, //rkd. nl/en/explore/images/ followed by the artworks record number. For example, the record number for The Night Watch is 3063. The Art and Architecture Thesaurus also assigns a record for each term, rather, they are used in the databases and the databases can be searched for terms. For example, the painting called The Night Watch is a militia painting, the thesaurus is a set of general terms, but the RKD also contains a database for an alternate form of describing artworks, that today is mostly filled with biblical references. To see all images that depict Miriams dance, the associated iconclass code 71E1232 can be used as a search term. Official website Direct link to the databases The Dutch version of the Art and Architecture Thesaurus
7.
James Elliot Cabot
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James Elliot Cabot was an American philosopher and author, born in Boston to Samuel Cabot, Jr. and Eliza Cabot. James had six brothers, Thomas Handasyd Cabot, Samuel Cabot III, Edward Clarke Cabot, Stephen Cabot, Walter Channing Cabot, having received his bachelors degree from Harvard Law School in 1845, Elliot started a law firm. He taught philosophy at Harvard and was a transcendentalist and edited the Massachusetts Quarterly Review, Cabot argued that we do not experience space directly, that space is a system of relations, it cannot be given in any one sensation. Space is a symbol of the relatedness of objects constructed by thought from data which lie below consciousness. Cabot was of the opinion that the position of something in space was not felt at all, Cabot was a correspondent of Henry David Thoreau. His biography of Ralph Waldo Emerson was criticized for its lack of colour, schlesinger Library, Radcliffe Institute, Harvard University. Massachusetts Quarterly Review, Ralph Waldo Emerson, Theodore Parker, James Elliot Cabot
8.
Virtual International Authority File
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The Virtual International Authority File is an international authority file. It is a joint project of national libraries and operated by the Online Computer Library Center. The project was initiated by the US Library of Congress, the German National Library, the National Library of France joined the project on October 5,2007. The project transitions to a service of the OCLC on April 4,2012, the aim is to link the national authority files to a single virtual authority file. In this file, identical records from the different data sets are linked together, a VIAF record receives a standard data number, contains the primary see and see also records from the original records, and refers to the original authority records. The data are available online and are available for research and data exchange. Reciprocal updating uses the Open Archives Initiative Protocol for Metadata Harvesting protocol, the file numbers are also being added to Wikipedia biographical articles and are incorporated into Wikidata. VIAFs clustering algorithm is run every month, as more data are added from participating libraries, clusters of authority records may coalesce or split, leading to some fluctuation in the VIAF identifier of certain authority records
9.
International Standard Book Number
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The International Standard Book Number is a unique numeric commercial book identifier. An ISBN is assigned to each edition and variation of a book, for example, an e-book, a paperback and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, the method of assigning an ISBN is nation-based and varies from country to country, often depending on how large the publishing industry is within a country. The initial ISBN configuration of recognition was generated in 1967 based upon the 9-digit Standard Book Numbering created in 1966, the 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108. Occasionally, a book may appear without a printed ISBN if it is printed privately or the author does not follow the usual ISBN procedure, however, this can be rectified later. Another identifier, the International Standard Serial Number, identifies periodical publications such as magazines, the ISBN configuration of recognition was generated in 1967 in the United Kingdom by David Whitaker and in 1968 in the US by Emery Koltay. The 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108, the United Kingdom continued to use the 9-digit SBN code until 1974. The ISO on-line facility only refers back to 1978, an SBN may be converted to an ISBN by prefixing the digit 0. For example, the edition of Mr. J. G. Reeder Returns, published by Hodder in 1965, has SBN340013818 -340 indicating the publisher,01381 their serial number. This can be converted to ISBN 0-340-01381-8, the check digit does not need to be re-calculated, since 1 January 2007, ISBNs have contained 13 digits, a format that is compatible with Bookland European Article Number EAN-13s. An ISBN is assigned to each edition and variation of a book, for example, an ebook, a paperback, and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, a 13-digit ISBN can be separated into its parts, and when this is done it is customary to separate the parts with hyphens or spaces. Separating the parts of a 10-digit ISBN is also done with either hyphens or spaces, figuring out how to correctly separate a given ISBN number is complicated, because most of the parts do not use a fixed number of digits. ISBN issuance is country-specific, in that ISBNs are issued by the ISBN registration agency that is responsible for country or territory regardless of the publication language. Some ISBN registration agencies are based in national libraries or within ministries of culture, in other cases, the ISBN registration service is provided by organisations such as bibliographic data providers that are not government funded. In Canada, ISBNs are issued at no cost with the purpose of encouraging Canadian culture. In the United Kingdom, United States, and some countries, where the service is provided by non-government-funded organisations. Australia, ISBNs are issued by the library services agency Thorpe-Bowker
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