1.
Calais
–
Calais is a town and major ferry port in northern France in the department of Pas-de-Calais, of which it is a sub-prefecture. Although Calais is by far the largest city in Pas-de-Calais, the prefecture is its third-largest city of Arras. The population of the area at the 2010 census was 126,395. Calais overlooks the Strait of Dover, the narrowest point in the English Channel, which is only 34 km wide here, the White Cliffs of Dover can easily be seen on a clear day from Calais. Calais is a port for ferries between France and England, and since 1994, the Channel Tunnel has linked nearby Coquelles to Folkestone by rail. Due to its position, Calais since the Middle Ages has been a major port and it was annexed by Edward III of England in 1347 and grew into a thriving centre for wool production. The town came to be called the brightest jewel in the English crown owing to its importance as the gateway for the tin, lead, lace. Calais was a possession of England until its capture by France in 1558. In 1805 it was an area for Napoleons troops for several months during his planned invasion of the United Kingdom. The town was razed to the ground during World War II. During World War II, the Germans built massive bunkers along the coast in preparation for launching missiles on England, the old part of the town, Calais proper, is situated on an artificial island surrounded by canals and harbours. The modern part of the town, St-Pierre, lies to the south, south east of the Place is the church of Notre-Dame, built during the English occupancy of Calais. It is arguably the only built in the English perpendicular style in all of France. In this church former French President Charles de Gaulle married his wife Yvonne Vendroux, south of the Place and opposite the Parc St Pierre is the Hôtel-de-ville, and the belfry from the 16th and early 17th centuries. Today, Calais is visited by more than 10 million annually, although the early history of habitation in the area is limited, the Romans called the settlement Caletum. Julius Caesar mustered 800 to 1,000 sailing boats, five legions, as the pebble and sand ridge extended eastward from Calais, the haven behind it developed into fen, as the estuary progressively filled with silt and peat. Calais was improved by the Count of Flanders in 997 and fortified by the Count of Boulogne in 1224, in 1189, Richard the Lionheart is documented to have landed at Calais on his journey to the Third Crusade. Angered, the English king demanded reprisals against the citizens for holding out for so long
Calais
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Port of Calais
Calais
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"Le Devouement des Bourgeois de Calais 1347", "The Devotion of the Burghers of Calais".
Philippa of Hainault begs King Edward III to spare the lives of the six volunteers for martyrdom. 19th-century mural in Council Chamber, Hôtel de Ville, Calais
Calais
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The Burghers of Calais, by Rodin, with the Hôtel de Ville behind.
Calais
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The Marches of Calais temp. Henry VIII. (Top: south, bottom:north): "Cales Market" within citadel, shown at bottom, top "
Gyenes Castel ", bottom left "
Graveling ", bottom right "
Sand Gat "
2.
St Pancras and Islington Cemetery
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St Pancras and Islington Cemetery in East Finchley, North London while situated in the London Borough of Barnet is actually two cemeteries, owned by two other London Boroughs, Camden and Islington. The fence along the boundary runs west to east between the two parts of the cemetery has been removed, although the line of it is still marked. St Pancras and Islington Cemetery is designated Grade II* on the English Heritage Register of Parks, St Pancras and Islington, located in Finchley, is also one of Londons historically most interesting cemeteries. A further 94 acres were annexed in 1877 and the area was divided between Islington and Camden, the former having two areas to the north-west and east, the latter having the remainder. A bank and ditch along the eastern edge marks the boundary between Finchley and Hornsey. To the south the cemetery is bordered by the ancient woodland of Coldfall Wood, to the north the North Circular road, the cemetery features several chapels and a large crematorium built by Albert Freeman in 1937. The St Pancras Anglican chapel lies at the centre of the drive which links the entrance and exit to the cemetery. It was built in 1853 by John Barnett and William C, Birch in a cruciform design, with decorated windows in Gothic style and a central octagonal crossing tower and spire. It was used by both St Pancras and Islington until 1896, when the Islington chapel was built, the Nonconformist chapel was built in the early 1850s by Barnett and Birch and had a six-sided lantern. It was demolished in the 20th century, the St Pancras Roman Catholic chapel lies on the north side of Roman Road, and is in a simple Gothic style. Many of the tombs in the Roman Catholic section are decorated with angels and there are several interesting tombs, including the Melesi Mausoleum of 1914, for an early victim of a car accident. In total 299 First World War Commonwealth service casualties - including one unidentified Royal Navy sailor - and 207 Second World War casualties are commemorated or buried here, John Ross who gained the Victoria Cross is also buried here. Islington Cemetery contains the graves of 334 Commonwealth service personnel of the First and 265 of the Second World War, six soldiers buried in this cemetery whose graves could not be located are alternatively commemorated on stones in St Pancras Cemetery. The grade II listed Mond Mausoleum by Thomas Arthur Darcy Braddell is built in the Grecian style in granite and Portland stone and it was built for Ludwig Mond, a German-born chemist and industrialist. There is a memorial for William French who lost his life on 13 July 1896 by saving a dog from drowning in Highgate Ponds North London, the dog survived, alas Mr French did not. The monument was erected in St Pancras and Islington Cemetery in commemoration of his brave deed, due to the areas covered by the old parishes and the later Borough Councils, many of the burials of central/north Victorian London are contained within the cemetery. Thus it represents a large and fascinating historical cross section of London from the 1850s on, there are tombs of every type and style, with the larger Victorian and Edwardian monuments strategically placed along the main drives, and at the main junctions. St Pancras and Islington Cemetery has the largest number of interments of any cemetery in the UK, there are many interesting graves at the cemetery, including one put up by the St Pancras Board to celebrate members of their parish who had reached the 100 years milestone
St Pancras and Islington Cemetery
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Islington Chapel, English Heritage Listed Building Grade II
St Pancras and Islington Cemetery
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Headstone from the eastern boundary
St Pancras and Islington Cemetery
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Wooden crosses
St Pancras and Islington Cemetery
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Mond mausoleum
3.
Work (painting)
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Work is a painting by Ford Madox Brown that is generally considered to be his most important achievement. The painting attempts to portray, both literally and analytically, the totality of the Victorian social system and the transition from a rural to an urban economy. Brown began the painting in 1852 and completed it in 1865 and he wrote a detailed catalogue explaining the significance of the picture. The painting was commissioned by Thomas Plint, a collector of Pre-Raphaelite art. A second version, smaller at 684 ×990 mm, was commissioned in 1859 and this is now in the Birmingham Museum and Art Gallery. It is closely similar, though for the lady with a blue parasol the face of Maria Leathart, the picture depicts a group of so-called navvies digging up the road to build an underground tunnel. It is typically assumed that this was part of the extensions of Londons sewerage system, the workers are in the centre of the painting. On either side of them are individuals who are unemployed or represent the leisured classes. Behind the workers are two figures on horseback, whose progress along the road has been halted by the excavations. The painting also portrays an election campaign, evidenced by posters, a poster also draws attention to the potential presence of a burglar. The setting is a depiction of The Mount on Heath Street in Hampstead, London. Brown made a study of the location in 1852. Brown explained that he had intended to demonstrate that the modern British workman could be as fit a subject for art as the more supposedly picturesque Italian lazarone and he set the painting on Heath Street in Hampstead, of which he made a detailed study. Hampstead was at the time an area on the outskirts of London. The development of the new sewerage and drainage systems in the city was widely discussed in the press as an agent of modernisation. The character of Bobus appears in the writings of Thomas Carlyle as the epitome of a businessman who uses his money to market himself as a politician. Browns principal artistic model was the work of William Hogarth, in particular his paintings Humours of an Election and his prints Beer Street, the Election paintings depicted both the vitality and the corruption of British society, while the prints set up a contrast between poverty and prosperity. While working on the painting Brown founded the Hogarth club to link artists who saw themselves as Hogarths admirers and followers, the rustic aspects of the composition draw on the established tradition of the picturesque, epitomised by the work of artists such as John Constable and William Collins
Work (painting)
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Work (Manchester)
Work (painting)
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Hogarth, Humours of an Election: Chairing the Member. An MP is being carried by his supporters, while a Tory rural labourer and a Whig urban entertainer fight one another
Work (painting)
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Work (Birmingham)
Work (painting)
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Rustic Civility (1833) by
William Collins depicting a deferential social system and visual harmony. The boy is tugging his forelock to a passing member of the gentry on horseback (visible as a shadow)
4.
The Last of England (painting)
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The Last of England is an 1855 oil-on-panel painting by Ford Madox Brown depicting two emigrants leaving England to start a new life in Australia with their baby. Brown began the painting in 1852 inspired by the departure of his friend, the Pre-Raphaelite sculptor, Thomas Woolner. Emigration from England was at a peak, with over 350,000 people leaving that year, Brown, who at the time considered himself very hard up and a little mad, was himself thinking of moving to India with his new family. Although Ford Madox Brown was never a member of the Pre-Raphaelite Brotherhood, The Last of England, like many of his paintings, the painting depicts a man and his wife seeing England for the last time. The two main figures, based on Brown and his wife, Emma, stare ahead, stony-faced, the hand of the baby, which can be seen clasped by the woman, is supposedly that of their second child, Oliver. He was seen as strange by his neighbours who saw him out in all kinds of weather, browns painting room was above a china shop at 33 High Street, Hampstead and sittings took place in the houses garden. His diary noted that the. ribbons of the bonnet took me 4 weeks to paint, two finished versions of the picture exist, one in Birmingham Museum and Art Gallery and the other in the Fitzwilliam Museum in Cambridge. A reduced watercolour replica of the painting in Birmingham produced between 1864–66 is in Tate Britain, a fully worked study also exists, and a detailed compositional drawing. All are in the form of panels, a rarely revived Renaissance format called a tondo. In March 1859 The Last Sight of England as it was known, was sold by Benjamin Windus to Ernest Gambart for 325 Guineas. The picture was voted Britains eighth-favourite picture in a poll carried out by BBC Radio 4, in 2013 it was voted 32 out of 57 paintings chosen by the British public from national collections, which were used for Art Everywhere The Worlds Largest Public Art Exhibition. Birmingham Museums & Art Gallery, Last of England Online Biography,1001 Paintings You Must See Before You Die
The Last of England (painting)
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The Last of England
The Last of England (painting)
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Finished study for the painting
5.
Pre-Raphaelite
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The Pre-Raphaelite Brotherhood was a group of English painters, poets, and critics, founded in 1848 by William Holman Hunt, John Everett Millais and Dante Gabriel Rossetti. The three founders were joined by William Michael Rossetti, James Collinson, Frederic George Stephens and Thomas Woolner to form the seven-member brotherhood and their principles were shared by other artists, including Marie Spartali Stillman and Ford Madox Brown. A later, medievalising strain inspired by Rossetti included Edward Burne-Jones, the groups intention was to reform art by rejecting what it considered the mechanistic approach first adopted by Mannerist artists who succeeded Raphael and Michelangelo. Its members believed the Classical poses and elegant compositions of Raphael in particular had been an influence on the academic teaching of art. In particular, the group objected to the influence of Sir Joshua Reynolds, founder of the English Royal Academy of Arts, to the Pre-Raphaelites, according to William Michael Rossetti, sloshy meant anything lax or scamped in the process of painting. Any thing or person of a commonplace or conventional kind, the brotherhood sought a return to the abundant detail, intense colours and complex compositions of Quattrocento Italian art. The group associated their work with John Ruskin, an English critic whose influences were driven by his religious background, the group continued to accept the concepts of history painting and mimesis, imitation of nature, as central to the purpose of art. The Pre-Raphaelites defined themselves as a movement, created a distinct name for their form of art. The groups debates were recorded in the Pre-Raphaelite Journal, the Pre-Raphaelite Brotherhood was founded in John Millaiss parents house on Gower Street, London in 1848. At the first meeting, the painters John Everett Millais, Dante Gabriel Rossetti, Hunt and Millais were students at the Royal Academy of Arts and had met in another loose association, the Cyclographic Club, a sketching society. At his own request Rossetti became a pupil of Ford Madox Brown in 1848, at that date, Rossetti and Hunt shared lodgings in Cleveland Street, Fitzrovia, Central London. Hunt had started painting The Eve of St. Agnes based on Keatss poem of the same name, as an aspiring poet, Rossetti wished to develop the links between Romantic poetry and art. Ford Madox Brown was invited to join, but the more senior artist remained independent but supported the group throughout the PRB period of Pre-Raphaelitism, other young painters and sculptors became close associates, including Charles Allston Collins, Thomas Tupper, and Alexander Munro. The PRB intended to keep the existence of the secret from members of the Royal Academy. The principles were deliberately non-dogmatic, since the brotherhood wished to emphasise the personal responsibility of artists to determine their own ideas. Influenced by Romanticism, the members thought freedom and responsibility were inseparable, nevertheless, they were particularly fascinated by medieval culture, believing it to possess a spiritual and creative integrity that had been lost in later eras. The emphasis on medieval culture clashed with principles of realism which stress the independent observation of nature, in its early stages, the Pre-Raphaelite Brotherhood believed its two interests were consistent with one another, but in later years the movement divided and moved in two directions. The realists were led by Hunt and Millais, while the medievalists were led by Rossetti and his followers, Edward Burne-Jones and William Morris
Pre-Raphaelite
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Proserpine, by
Dante Gabriel Rossetti
Pre-Raphaelite
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Illustration by Holman Hunt of Thomas Woolner's poem "My Beautiful Lady", published in The Germ, 1850
Pre-Raphaelite
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Christ in the House of His Parents, by John Everett Millais, 1850
Pre-Raphaelite
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Ophelia, by
John Everett Millais
6.
William Hogarth
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William Hogarth FRSA was an English painter, printmaker, pictorial satirist, social critic, and editorial cartoonist who has been credited with pioneering western sequential art. His work ranged from realistic portraiture to comic series of pictures called modern moral subjects. Knowledge of his work is so pervasive that satirical political illustrations in this style are referred to as Hogarthian. William Hogarth was born at Bartholomew Close in London to Richard Hogarth, a poor Latin school teacher and textbook writer, in his youth he was apprenticed to the engraver Ellis Gamble in Leicester Fields, where he learned to engrave trade cards and similar products. Young Hogarth also took a lively interest in the life of the metropolis and the London fairs. Around the same time, his father, who had opened an unsuccessful Latin-speaking coffee house at St Johns Gate, was imprisoned for debt in Fleet Prison for five years, Hogarth never spoke of his fathers imprisonment. Hogarth became a member of the Rose and Crown Club, with Peter Tillemans, George Vertue, Michael Dahl, by April 1720, Hogarth was an engraver in his own right, at first engraving coats of arms, shop bills, and designing plates for booksellers. In 1727, he was hired by Joshua Morris, a tapestry worker, Morris heard that he was an engraver, and no painter, and consequently declined the work when completed. Hogarth accordingly sued him for the money in the Westminster Court, in 1757 he was appointed Serjeant Painter to the King. In the bottom corner, he shows Protestant, Catholic, and Jewish figures gambling, while in the middle there is a huge machine, like a merry-go-round. At the top is a goat, written below which is Whol Ride, Other early works include The Lottery, The Mystery of Masonry brought to Light by the Gormogons, A Just View of the British Stage, some book illustrations, and the small print Masquerades and Operas. He continued that theme in 1727, with the Large Masquerade Ticket, in 1726 Hogarth prepared twelve large engravings for Samuel Butlers Hudibras. These he himself valued highly, and they are among his best book illustrations, in the following years he turned his attention to the production of small conversation pieces. One of his real low-life and real-life subjects was Sarah Malcolm who he sketched two days before her execution and he might also have printed Burlington Gate, evoked by Alexander Popes Epistle to Lord Burlington, and defending Lord Chandos, who is therein satirized. This print gave great offence, and was suppressed, however, modern authorities such as Ronald Paulson no longer attribute it to Hogarth. In 1731 Hogarth completed the earliest of his series of moral works, the collection of six scenes was entitled A Harlots Progress and appeared first as paintings before being published as engravings. The inaugural series was a success and was followed in 1735 by the sequel A Rakes Progress. The original paintings of A Harlots Progress were destroyed in the fire at Fonthill House in 1755, while A Rakes Progress is displayed in the room at Sir John Soanes Museum, London
William Hogarth
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William Hogarth,
Painter and his Pug, 1745
William Hogarth
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William Hogarth by
Roubiliac, 1741, National Portrait Gallery, London
William Hogarth
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The Assembly at
Wanstead House.
Earl Tylney and family in foreground
William Hogarth
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Self-Portrait by Hogarth, ca. 1735,
Yale Center for British Art.
7.
The Manchester Murals
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The Manchester Murals are a series of twelve paintings by Ford Madox Brown in the Great Hall of Manchester Town Hall and are based on the history of Manchester. Following the success of Browns painting Work he was commissioned to paint six murals for its Great Hall, another six murals were to be completed by Frederic Shields who later withdrew, leaving Brown to complete all twelve works. The murals were begun in 1879, towards the end of Browns career, but were not completed until 1893, during this period he moved from London to Manchester with his family, first living in Crumpsall and then Victoria Park. The murals form part of the decoration of the Great Hall, the subjects chosen reflect the Victorian ideals through which the history of Manchester was seen, focusing on Christianity, commerce and the textile industry. The artist did a deal of research to check the details for accuracy. The art historian Julie F. Codell refers to these as the pratfalls and penultimates of history, most of the paintings contain Hogarthian satire. In the first picture the wife of the Roman general wearing a blond wig distracts him from his work, their son – a Caligula in the making – kicks an African servant. The painting that seems to celebrate industrial technology, John Kay, Inventor of the Fly Shuttle, instead of culminating in the achievement of modern Manchester, the sequence concludes with a rustic scene in a small village. According to Codell, history is portrayed as fragmented, contested and this may be related to Browns interest in anarchism and William Morriss utopian socialism at the time, but it also arises from disputes about the more modern subjects. Paintings depicting the Peterloo Massacre in 1819 and the end of the Lancashire Cotton Famine in 1865 had been proposed, all but the last four murals were painted directly on to the wall. They were not created using the true fresco process but taking advantage of a Victorian technique, the Gambier Parry process, Brown completed the last four murals on canvas, after he had returned to live in London. Ford Madox Brown Murals on the Manchester City Council website
The Manchester Murals
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Ford Madox Brown, painter of the Manchester Murals
The Manchester Murals
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The twelve Murals are located on opposite walls in the Great Hall.
The Manchester Murals
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The Romans Building a Fort at Mancenion The mural depicts the building of a Roman fort by enslaved Britons while a Roman general gives the orders. The fort, now known as
Mamucium, was at what is now the area of
Castlefield, near the centre of Manchester.
The Manchester Murals
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The Baptism of Edwin The mural depicts the
baptism of
Edwin of Northumbria, who was also king of
Deira which included the Manchester area, at
York, watched by his Christian wife
Ethelburga and family.
8.
History of Manchester
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The history of Manchester encompasses its change from a minor Lancastrian township into the pre-eminent industrial metropolis of the United Kingdom and the world. The transformation took little more than a century, having evolved from a Roman castrum in Celtic Britain. In the Victorian era, Manchester was the site of one of the worlds first passenger railway station, Manchester also led the political and economic reform of 19th century Britain as the vanguard of free trade. The mid-20th century saw a decline in Manchesters industrial importance, prompting a depression in social, Manchester has been on a provisional list for UNESCO World Heritage City on numerous occasions. However, since the 1996 bombing, local authorities have persisted on a course of evolution rather than prioritising the past. This economic evolution is perhaps best illustrated with the 558 foot Beetham Tower which instantly torpedoed any possibility of World Heritage City status according to one author, despite this, areas perceived as internationally important in the Industrial Revolution such as Castlefield and Ancoats have been sympathetically redeveloped. According to Oxford University Press, Manchester derived its name from Mamucium, Mamucium itself is a Latinised form of the Celtic meaning breast-shaped hill. The Latin name for Manchester is often given as Mancuniun and this is most likely a retronym coined in Victorian times, similar to the widespread Latin name Cantabrigia for Cambridge. Prehistoric evidence of activity in the area of Manchester is limited. There is evidence of Bronze Age activity around Manchester in the form of burial sites, for the important prehistoric farm site at Oversley Farm, see History of Cheshire#Oversley Farm. The Roman fort of Mamucium was established c, AD79 near a crossing point on the River Medlock. The fort was sited on a bluff near the confluence of the rivers Medlock. It guards the Deva Victrix to Eboracum Roman road running east to west, the neighbouring forts were Castleshaw and Northwich. Built first from turf and timber, the fort was demolished around 140, when it was rebuilt around 160, it was again of turf and timber construction. In about 200 the fort underwent another rebuild, this time enhancing the defences by replacing the gatehouse with a stone version, the fort would have been garrisoned by a cohort, about 500 infantry, of auxiliary troops. Evidence of both pagan and Christian worship has been discovered, two altars have been discovered and there may be a temple of Mithras associated with Mamucium. A word square was discovered in the 1970s that may be one of the earliest examples of Christianity in Britain, a civilian settlement, or vicus, grew in association with the fort, made up of traders and families of the soldiers. An area which has a concentration of furnaces and industrial activity has been described as an industrial estate, the vicus was probably abandoned by the mid 3rd century, although a small garrison may have remained at Mamucium into the late 3rd and early 4th centuries
History of Manchester
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Manchester Town Hall
History of Manchester
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Runway 2 of
Manchester Airport lies on top of Oversley Farm, a Neolithic farming community.
History of Manchester
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A reconstructed gateway of Mamucium fort
History of Manchester
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Looking west along Nico Ditch, near
Levenshulme
9.
Manchester Town Hall
–
Manchester Town Hall is a Victorian, Neo-gothic municipal building in Manchester, England. It is the headquarters of Manchester City Council and houses a number of local government departments. The building faces Albert Square to the north, featuring the Albert Memorial and St Peters Square to the south, designed by architect Alfred Waterhouse, the town hall was completed in 1877. The building contains offices and grand ceremonial rooms such as the Great Hall which is decorated with Ford Madox Browns imposing Manchester Murals illustrating the history of the city, the entrance and Sculpture Hall contain busts and statues of influential figures including Dalton, Joule and Barbirolli. The exterior is dominated by the tower which rises to 280 feet and houses Great Abel. In 1938, a detached Town Hall Extension was completed and is connected by two covered bridges over Lloyd Street. The town hall, which was granted Grade I listed building status on 25 February 1952, is regarded as one of the finest interpretations of Gothic revival architecture in the world, Manchesters original civic administration was housed in the Police Office in King Street. It was replaced by the first Town Hall, to accommodate the local government. The Town Hall, also located in King Street at the corner of Cross Street, was designed by Francis Goodwin and constructed during 1822–25, the building was designed with a screen of Ionic columns across a recessed centre, in a classicising manner strongly influenced by John Soane. The building was 134 feet long and 76 feet deep, the ground floor housed committee rooms and offices for the Chief Constable, Surveyor, Treasurer, other officers, the first floor held the Assembly Rooms. The building and land cost £39,587, as the size and wealth of the city grew, largely as a result of the textile industry, its administration outstripped the existing facilities, and a new building was proposed. The King Street building was occupied by a lending library. The facade was removed to Heaton Park in 1912, when a bank,53 King Street was erected on the site, planning for the new town hall began in 1863. Manchester Corporation demanded it be, equal if not superior, to any building in the country at any cost which may be reasonably required. After investigating suitable sites, including Piccadilly, an oddly shaped plot facing Albert Square was chosen, the Albert Square frontage measures 323 feet, Lloyd Street is 350 feet, Princess Street the longest at 383 feet and Cooper Street measures 94 feet. On this tight site, the built an grand hall, a suite of reception rooms, quarters for the lord mayor, offices. The second stage of a competition to design the hall which attracted 137 entries was judged by Thomas Leverton Donaldson, a classicist. The eight finalists were Waterhouse, William Lee, Speakman & Charlesworth, Cuthbert Brodrick, Thomas Worthington, John Oldrid Scott, Thomas Henry Wyatt, the foundation stone was laid on 26 October 1868 by the Lord Mayor, Robert Neill
Manchester Town Hall
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Manchester Town Hall
Manchester Town Hall
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The original Manchester Town Hall
Manchester Town Hall
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Detail of façades by
Alfred Waterhouse
Manchester Town Hall
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Cross section drawing by Waterhouse
10.
William Holman Hunt
–
William Holman Hunt OM was an English painter and one of the founders of the Pre-Raphaelite Brotherhood. His paintings were notable for their attention to detail, vivid color. These features were influenced by the writings of John Ruskin and Thomas Carlyle, for Hunt it was the duty of the artist to reveal the correspondence between sign and fact. Of all the members of the Pre-Raphaelite Brotherhood, Hunt remained most true to their ideals throughout his career and he was always keen to maximize the popular appeal and public visibility of his works. After eventually entering the Royal Academy art schools, having initially been rejected and he formed the Pre-Raphaelite movement in 1848, after meeting the poet and artist Dante Gabriel Rossetti. Along with John Everett Millais they sought to revitalise art by emphasising the detailed observation of the world in a spirit of quasi-religious devotion to truth. This religious approach was influenced by the qualities of medieval art. He had many pupils including Robert Braithwaite Martineau, after a failed engagement to his model Annie Miller, he married Fanny Waugh, who later modelled for the figure of Isabella. When she died in childbirth in Italy, he sculpted her tomb at Fiesole, having it brought down to the English Cemetery in Florence and he had a close connection with St. Marks Church in Florence, and paid for the communion chalice inscribed in memory of his wife and his second wife, Edith, was Fannys sister. At the time it was illegal in Great Britain to marry ones deceased wifes sister, hunts works were not initially successful, and were widely attacked in the art press for their alleged clumsiness and ugliness. He achieved some note for his intensely naturalistic scenes of modern rural and urban life, such as The Hireling Shepherd. Hunt also painted works based on poems, such as Isabella. He eventually built his own house in Jerusalem and he eventually had to relinquish painting because failing eyesight meant that he could not achieve the quality that he wanted. His last major works, including a version of The Light of the World, were completed with the help of his assistant. Hunt died on 7 September 1910 and was buried in St Pauls Cathedral in London, Hunt published an autobiography in 1905. Many of his writings are attempts to control the interpretation of his work. That year, he was appointed to the Order of Merit by King Edward VII, at the end of his life he lived in Sonning-on-Thames
William Holman Hunt
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Self-portrait, 1867,
Galleria degli Uffizi,
Florence
William Holman Hunt
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William Holman Hunt
William Holman Hunt
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Our English Coasts, 1852 ('Strayed Sheep')
William Holman Hunt
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Hunt in his eastern dress, photo by
Julia Margaret Cameron
11.
Caricature
–
A caricature is a rendered image showing the features of its subject in a simplified or exaggerated way through sketching, pencil strokes, or through other artistic drawings. In literature, a caricature is a description of a person using exaggeration of some characteristics, Caricatures can be insulting or complimentary and can serve a political purpose or be drawn solely for entertainment. Caricatures of politicians are commonly used in cartoons, while caricatures of movie stars are often found in entertainment magazines. The term is derived from the Italian caricare—to charge or load, an early definition occurs in the English doctor Thomas Brownes Christian Morals, published posthumously in 1716. Expose not thy self by four-footed manners unto monstrous draughts, with the footnote, When Mens faces are drawn with resemblance to some other Animals, the Italians call it, to be drawn in Caricatura Thus, the word caricature essentially means a loaded portrait. Some of the earliest caricatures are found in the works of Leonardo da Vinci, the point was to offer an impression of the original which was more striking than a portrait. Caricature took a road to its first successes in the aristocratic circles of France and Italy. These caricatures were the work of Brig. -Gen, george Townshend whose caricatures of British General James Wolfe, depicted as Deformed and crass and hideous, were drawn to amuse fellow officers. Elsewhere, two great practitioners of the art of caricature in 18th-century Britain were Thomas Rowlandson and James Gillray, Rowlandson was more of an artist and his work took its inspiration mostly from the public at large. Gillray was more concerned with the vicious visual satirisation of political life and they were, however, great friends and caroused together in the pubs of London. In a lecture titled The History and Art of Caricature, the British caricaturist Ted Harrison said that the caricaturist can choose to either mock or wound the subject with an effective caricature. Drawing caricatures can simply be a form of entertainment and amusement – in which case gentle mockery is in order – or the art can be employed to make a social or political point. A caricaturist draws on the characteristics of the subject, the acquired characteristics. Sir Max Beerbohm, created and published caricatures of the men of his own time. His style of single-figure caricatures in formalized groupings was established by 1896 and his published works include Caricatures of Twenty-five Gentlemen, The Poets Corner, and Rossetti and His Circle. He published widely in magazines of the time, and his works were exhibited regularly in London at the Carfax Gallery. George Cruikshank created political prints that attacked the family and leading politicians. He went on to create caricatures of British life for popular publications such as The Comic Almanack
Caricature
–
Caricature of
Aubrey Beardsley by
Max Beerbohm (1896), taken from
Caricatures of Twenty-five Gentlemen
Caricature
–
Ancient
Pompeiian graffiti caricature of a politician.
Caricature
–
James Gillray 's The Plumb-pudding in danger (1805), which caricatured
Pitt and
Napoleon, was voted the most famous of all UK political cartoons.
Caricature
–
Une discussion littéraire à la deuxième Galerie by
Honoré Daumier Lithograph published in Le Charivari newspaper, February 27, 1864
12.
Max Beerbohm
–
Sir Henry Maximilian Max Beerbohm was an English essayist, parodist, and caricaturist. He first became known in the 1890s as a dandy and a humorist and he was the drama critic for the Saturday Review from 1898 until 1910, when he relocated to Rapallo, Italy. In his later years he was popular for his radio broadcasts. Among his best-known works is his novel, Zuleika Dobson. His caricatures, drawn usually in pen or pencil with muted watercolour tinting, are in public collections. His mother was Eliza Draper Beerbohm, the sister of Juliuss late first wife and his was a well-to-do London family. He was also close to four half-siblings, one of whom, other older half-siblings were the author and explorer Julius Beerbohm and the author Constance Beerbohm. His nieces were Viola, Felicity and Iris Tree, from 1881 to 1885 Max – he was always called simply Max and it is thus that he signed his drawings – attended the day school of a Mr Wilkinson in Orme Square. Mr Wilkinson, Beerbohm later said, gave me my love of Latin, mrs Wilkinson taught drawing to the students, the only lessons Beerbohm ever had in the subject. Beerbohm was educated at Charterhouse School and Merton College, Oxford from 1890 and it was at school that he began writing. While at Oxford Beerbohm became acquainted with Oscar Wilde and his circle through his half-brother, in 1893 he met William Rothenstein, who introduced him to Aubrey Beardsley and other members of the literary and artistic circle connected with The Bodley Head. Though he was an unenthusiastic student academically, Beerbohm became a figure in Oxford social circles. He also began submitting articles and caricatures to London publications, which were met enthusiastically, in March 1893 he submitted an article on Oscar Wilde to the Anglo-American Times under the pen name An American. Later in 1893 his essay The Incomparable Beauty of Modern Dress was published in the Oxford journal The Spirit Lamp by its editor, Lord Alfred Douglas. By 1894, having developed his personality as a dandy and humorist and his A Defence of Cosmetics appeared in the first edition of The Yellow Book in 1894, his friend Aubrey Beardsley being art editor at the time. At this time Oscar Wilde said of him The gods have bestowed on Max the gift of perpetual old age, in 1895 Beerbohm went to the United States for several months as secretary to his half-brother Herbert Beerbohm Trees theatrical company. He was fired when he spent far too many hours polishing the business correspondence, there he became engaged to Grace Conover, an American actress in the company, a relationship that lasted several years. On his return to England Beerbohm published his first book, The Works of Max Beerbohm and his first piece of fiction, The Happy Hypocrite, was published in volume XI of The Yellow Book in October 1896
Max Beerbohm
–
From The Critic 1901
Max Beerbohm
–
Blue plaque at 57 Palace Gardens Terrace, Kensington, London
Max Beerbohm
–
Max Beerbohm, self-caricature (1897)
Max Beerbohm
–
Beerbohm caricatured by
Walter Sickert in
Vanity Fair (1897)
13.
Rossetti and His Circle
–
Rossetti and His Circle is a book of twenty-three caricatures by English caricaturist, essayist and parodist Max Beerbohm. The book is now considered one of Beerbohms masterpieces, Beerbohm returned to England from his home in Rapallo in Italy so that he could study photographs of the subjects he depicted in his caricatures. During the winter of 1917 he rented a cottage in the English countryside near the home of his friend William Rothenstein so that he could work on his Rossetti drawings, every day, carrying his portfolio of drawings with him, Beerbohm walked across the snow to visit Rothenstein. No wonder Max was nervous of leaving his Rossetti caricatures in an empty cottage, what a remarkable reconstruction of a period. Rossetti and the Pre-Raphaelite Brotherhood had captured Beerbohms imagination, and so he still shines for me. Beerbohms caricatures include Dante Gabriel Rossetti with his sister Christina, John Ruskin, Algernon Charles Swinburne, William Holman Hunt, John Millais, in plate 22, Oscar Wilde, on his 1882 lecture tour in America, describes the delights of the Aesthetic Movement to a fascinated audience. This tour had been organised by Richard DOyly Carte to publicise the new Gilbert, sir Hugh Walpole bequeathed Beerbohms original watercolour artwork for Rossetti and His Circle to the Tate Collection in London in 1941. A special limited edition of 380 numbered copies bound in cloth was also published in 1922. A Momentary Vision that once Befell Young Millais, ford Madox Brown patronised by Holman Hunt. The Small Hours in the Sixties at 16, Cheyne Walk, robert Browning introduces a Great Lady. Mr. Watts, Mr. Shields, and Mr. Caine, the Touch of a Vanished Hand. Rossettis Name is heard in America, Caricatures of Twenty-five Gentlemen The Poets Corner Fifty Caricatures Rossetti and His Circle on Victorianweb. org The Beerbohm Collection at the Tate Turning the pages of Rossetti and His Circle
Rossetti and His Circle
–
Frontispiece. Rossetti in Childhood D. G. Rossetti, precociously manifesting, among the exiled patriots who frequented
his father 's house in
Charlotte Street, that queer indifference to politics which marked him in his prime and his decline.
Rossetti and His Circle
–
Cover to the 1922 first edition of Rossetti and His Circle
Rossetti and His Circle
–
British Stock and Alien Inspiration 1849 First County Member/Holman Hunt: "Very clever no doubt" Second County Member/John Millais: "Full of wonderful ideas, but" First County Member/Holman Hunt; Second County Member/John Millais: "not to be trusted for one moment". (
Benjamin Disraeli pondered by Tory MPs; Rossetti pondered by
Hunt and
Millais)
14.
John Brown (doctor)
–
John Brown was a Scottish physician and the creator of the Brunonian system of medicine. In 1759 he discontinued his studies and began the study of medicine. After a dispute with Cullen and the professors of the university, Browns public lectures contained attacks on preceding systems of medicine and he received his medical degree from St Andrews in 1779. In 1780 he published his Elementa Medicinae, which for a time was an influential text and it set out his theories, often called the Brunonian system of medicine, which essentially understood all diseases as a matter of over or under-stimulation. John Browns theory focused on outside factors, which would excite the body and lead to different diseases, the stimulation was seen as excitability, hence the relation of Brunonian medicine and excitants. John Brown argued that any symptoms of disease or behavior which strayed from that of a healthy individual suggested over-excitement of the body, for instance, even a person presenting as weak had been over-excited. Brown labeled over-stimulation as the state and under-stimulation as the asthenic state. For sthenic diseases, Browns treatments included vomiting, cold air, for asthenic diseases, Brown prescribed opium, roast beef, and alcoholic beverages. He wrote that all life consists in stimulus, and both over-abundance and deficiency is productive of diseases, Brown described medicine as related to excitement and his medicine was seen as mechanical to certain individuals and dynamic to others. For instance, Immanuel Kant perceived the system as highly mechanical and this system explained disease as the imbalance of excitants and could be quantified. Kant believed that this quantification could be used to explain the cause of disease, on the other hand, avid follower in Germany, Andreas Röschlaub, perceived Brunonian medicine as an example of natural philosophy and as a changing theory. He saw this practice of medicine as a way to explain relationships between nature and man and this notion was rooted in pathology and relation of the outside world to man and his disease or illness. In his work, Brown outlined and explained which excitants were good, the Brunonian system of treatment was intended to outline specific treatments for symptoms and to simplify medicine. Due to this simplicity, it very popular in countries such as Germany. His medical ideas proved highly influential for the few decades, especially in Italy. His medical theory was based on the principle that all disease was caused by an unbalance of excitability, Brown believed that excitement could be measured mathematically similar to the use of degrees on a thermometer. At this time in Germany, many physicians were attempting to change and revamp the medical curriculum, Germany physicians wanted a system rooted in science which would give a scientific explanation to diseases, as the medical world began to emphasize science. John Browns theory explained the relationship between the world, causing excitement, and the body, which was stimulated from the world
John Brown (doctor)
–
John Brown
15.
Royal Navy
–
The Royal Navy is the United Kingdoms naval warfare force. Although warships were used by the English kings from the medieval period. The modern Royal Navy traces its origins to the early 16th century, from the middle decades of the 17th century and through the 18th century, the Royal Navy vied with the Dutch Navy and later with the French Navy for maritime supremacy. From the mid 18th century it was the worlds most powerful navy until surpassed by the United States Navy during the Second World War. The Royal Navy played a key part in establishing the British Empire as the world power during the 19th. Due to this historical prominence, it is common, even among non-Britons, following World War I, the Royal Navy was significantly reduced in size, although at the onset of the Second World War it was still the worlds largest. By the end of the war, however, the United States Navy had emerged as the worlds largest, during the Cold War, the Royal Navy transformed into a primarily anti-submarine force, hunting for Soviet submarines, mostly active in the GIUK gap. The Royal Navy is part of Her Majestys Naval Service, which includes the Royal Marines. The professional head of the Naval Service is the First Sea Lord, the Defence Council delegates management of the Naval Service to the Admiralty Board, chaired by the Secretary of State for Defence. The strength of the fleet of the Kingdom of England was an important element in the power in the 10th century. English naval power declined as a result of the Norman conquest. Medieval fleets, in England as elsewhere, were almost entirely composed of merchant ships enlisted into service in time of war. Englands naval organisation was haphazard and the mobilisation of fleets when war broke out was slow, early in the war French plans for an invasion of England failed when Edward III of England destroyed the French fleet in the Battle of Sluys in 1340. Major fighting was confined to French soil and Englands naval capabilities sufficed to transport armies and supplies safely to their continental destinations. Such raids halted finally only with the occupation of northern France by Henry V. Henry VII deserves a large share of credit in the establishment of a standing navy and he embarked on a program of building ships larger than heretofore. He also invested in dockyards, and commissioned the oldest surviving dry dock in 1495 at Portsmouth, a standing Navy Royal, with its own secretariat, dockyards and a permanent core of purpose-built warships, emerged during the reign of Henry VIII. Under Elizabeth I England became involved in a war with Spain, the new regimes introduction of Navigation Acts, providing that all merchant shipping to and from England or her colonies should be carried out by English ships, led to war with the Dutch Republic. In the early stages of this First Anglo-Dutch War, the superiority of the large, heavily armed English ships was offset by superior Dutch tactical organisation and the fighting was inconclusive
Royal Navy
–
Royal Navy
Royal Navy
–
The
Battle of Sluys as depicted in
Froissart's Chronicles; late 14th century
Royal Navy
–
A late 16th century painting of the
Spanish Armada in battle with English warships
Royal Navy
–
The Dutch
Raid on the Medway in 1667 during the Second Anglo–Dutch War
16.
Sir Isaac Coffin, 1st Baronet
–
Admiral Sir Isaac Coffin, 1st Baronet, GCH was an officer of the Royal Navy who served during the American War of Independence and the French Revolutionary and Napoleonic Wars. Coffin was born in Boston and served in the navy on a number of ships during the War of Independence and he fought at Cape Henry with Arbuthnot and at St. Kitts with Hood, eventually being promoted to command a number of small ships on the American coast. Despite his rise through the ranks, he clashed occasionally with the naval hierarchy, an incident over unqualified lieutenants led to his court-martial, though he was acquitted. A more serious incident occurred after the end of the war with America, a charge was brought of issuing false musters, and though the practice was endemic in the navy, led to his dismissal from the ship. The First Lord of the Admiralty, Lord Howe, then intervened to have him dismissed from the navy entirely, a decision that was overturned by an inquiry. Restored to his rank, Coffin commanded several ships during the years of the wars with France. He spent the rest of the war commanding a number of dockyards, continuing to rise through the ranks, Isaac Coffin was born in Boston, Massachusetts on 16 May 1759, into what would prove to be a strong loyalist family. He was the fourth and youngest son of the paymaster of the customs in the port and his father descended from Tristram Coffin, who immigrated to Massachusetts from Devon in 1642. His mother was Elizabeth, the daughter of the merchant Henry Barnes and he attended the Boston Latin School. However it is likely that he did not enter the service until October 1773, joining George Montagu. Montagu was the son of Rear-Admiral John Montagu, then commander in chief on the North American station and he later followed George Montagu aboard HMS Fowey. Coffin was commissioned lieutenant on 18 August 1776 while serving aboard the brig HMS Diligent under Lieutenant Edmund Dod at Halifax, instead he joined the 50-gun HMS Romney as a midshipman in September 1776, the Romney then being at Newfoundland. In June 1778 he moved aboard the 50-gun HMS Europa, still as a midshipman and he finally received a posting as a lieutenant in October 1778, aboard the cutter Placentia. He briefly served as a volunteer aboard Captain Thomas Pasleys ship HMS Sibyl, the Pincon was wrecked in August 1779, and in November he was moved aboard the 50-gun HMS Adamant under Captain Gideon Johnstone as her second lieutenant. The Adamant was then being completed at Liverpool, with Coffin helping to oversee work and he was involved in a number of accidents during the final phases of work, but was able to get her ready to sail to Plymouth under a jury-rig by June 1780. He went out with Adamant to North America the following month as a convoy escort, Coffins time aboard London was brief, and in March he moved aboard the 74-gun HMS Royal Oak, under Captain Swiney. Royal Oak was the flagship of Vice-Admiral Mariot Arbuthnot at the Battle of Cape Henry on 16 March, Royal Oak then returned to New York, but ran aground while passing from the North to the East River, and was badly damaged. She had to sail to Halifax for repairs, after which Arbuthnot returned to England, Royal Oak set sail to return New York in July, joining the fleet, now under Admiral Graves, on her journey
Sir Isaac Coffin, 1st Baronet
–
Sir Isaac Coffin, Bt
Sir Isaac Coffin, 1st Baronet
–
Guy Carleton, 1st Baron Dorchester. Coffin transported him and his family to and from Quebec, but his musters of Dorchester's sons nearly caused his downfall.
Sir Isaac Coffin, 1st Baronet
–
Isaac Coffin (1759 -1839),
Admiral of the Blue
17.
HMS Arethusa (1781)
–
HMS Arethusa was a 38-gun Minerva-class fifth-rate frigate of the Royal Navy built at Bristol in 1781. She served in three wars and made a number of notable captures before she was broken up in 1815, in February 1782, Arethusa captured the French ship Tartare, of fourteen 6-pounder guns. Tartarte was the former British privateer Tartar, which the French ships Aimable, the Royal Navy took Tartare into service as True Briton. On 20 August 1782, Arethusa recaptured the former British warship Thorn and she was armed with 18 guns and carrying a crew of 71 men. She was also carrying a cargo of 10,000 pounds of indigo, Arethusa was assigned to the British Western Frigate Squadron under Commodore John Borlase Warren. The squadron consisted of Flora, Captain Sir John Warren, Arethusa, Captain Sir Edward Pellew, Melampus, Captain Thomas Wells, Concorde, Sir Richard Strachan and these were all 36-gun ships, apart from Nymphe and Arethusa with 38. The Western Frigate Squadron engaged a French squadron off the Île de Batz on 23 April 1794, the squadron had sighted four strange sail which, upon closure, were identified as three French frigates and a corvette. The French squadron included the new French Frigate Pomone which, at 44 guns, was the most powerful ship in action that day, Flora and Arethusa were the first to close with Pomone and Babet, the corvette of 20 guns. The opening shots were fired just before 6 a. m, for about forty-five minutes, the four ships manoeuvred against one another without any severe damage being done. Then Flora lost her mainmast and was forced to drop astern, with Flora out of action, Pellew ordered Arethusa to close with the corvette. Arethusa’s carronades quickly destroyed her resistance, leaving Babet to be finished by Melampus, Arethusa then engaged Pomone, coming to within pistol range at 8.30 a. m. and raking her repeatedly. Within twenty-five minutes one of the finest new French frigates was a ruin, her main and mizzen masts shot away, the action had cost Babet some 30 to 40 of her crew killed and wounded. Arethusa also captured Pomone which had between eighty and a dead or wounded out of her 350-man complement. Arethusa had three men killed and five wounded, a tribute to her superior gunnery, the captured vessels were brought her into Portsmouth, arriving on 30 April. The Royal Navy took Babet and Pomone into service under their existing names, additionally Concorde captured Engageante in this action. Engageante suffered 30 to 40 men killed and wounded, Concorde lost one man killed and 12 wounded. Heavy mast damage to both vessels delayed their return to Portsmouth, Engageante was taken into British service as a hospital ship. Some four months later, on 23 August, Arethusa and Flora sent their boats into Audierne Bay, there they attacked two French corvettes, Alerte and Espion, driving them ashore
HMS Arethusa (1781)
–
Anson (left) and Arethusa (centre) capture Pomona
HMS Arethusa (1781)
–
The capture of Curaçao, depicted by
Thomas Whitcombe
18.
Napoleonic Wars
–
The wars resulted from the unresolved disputes associated with the French Revolution and the Revolutionary Wars, which had raged on for years before concluding with the Treaty of Amiens in 1802. Napoleon became the First Consul of France in 1799, then Emperor five years later, inheriting the political and military struggles of the Revolution, he created a state with stable finances, a strong central bureaucracy, and a well-trained army. The British frequently financed the European coalitions intended to thwart French ambitions, by 1805, they had managed to convince the Austrians and the Russians to wage another war against France. At sea, the Royal Navy destroyed a combined Franco-Spanish fleet at Trafalgar in October 1805, Prussian worries about increasing French power led to the formation of the Fourth Coalition in 1806. France then forced the defeated nations of the Fourth Coalition to sign the Treaties of Tilsit in July, although Tilsit signified the high watermark of the French Empire, it did not bring a lasting peace for Europe. Hoping to extend the Continental System and choke off British trade with the European mainland, Napoleon invaded Iberia, the Spanish and the Portuguese revolted with British support. The Peninsular War lasted six years, featured extensive guerrilla warfare, the Continental System caused recurring diplomatic conflicts between France and its client states, especially Russia. Unwilling to bear the consequences of reduced trade, the Russians routinely violated the Continental System. The French launched an invasion of Russia in the summer of 1812. The resulting campaign witnessed the collapse and retreat of the Grand Army along with the destruction of Russian lands. In 1813, Prussia and Austria joined Russian forces in a Sixth Coalition against France, a lengthy military campaign culminated in a large Allied army defeating Napoleon at the Battle of Leipzig in October 1813. The Allies then invaded France and captured Paris in the spring of 1814 and he was exiled to the island of Elba near Rome and the Bourbons were restored to power. However, Napoleon escaped from Elba in February 1815 and took control of France once again, the Allies responded by forming a Seventh Coalition, which defeated Napoleon at the Battle of Waterloo in June. The Congress of Vienna, which started in 1814 and concluded in 1815, established the new borders of Europe and laid out the terms, Napoleon seized power in 1799, creating a de facto military dictatorship. The Napoleonic Wars began with the War of the Third Coalition, Kagan argues that Britain was irritated in particular by Napoleons assertion of control over Switzerland. Furthermore, Britons felt insulted when Napoleon stated that their country deserved no voice in European affairs, for its part, Russia decided that the intervention in Switzerland indicated that Napoleon was not looking toward a peaceful resolution of his differences with the other European powers. The British quickly enforced a blockade of France to starve it of resources. Napoleon responded with economic embargoes against Britain, and sought to eliminate Britains Continental allies to break the coalitions arrayed against him, the so-called Continental System formed a league of armed neutrality to disrupt the blockade and enforce free trade with France
Napoleonic Wars
–
Top:
Battle of Austerlitz Bottom:
Battle of Waterloo
Napoleonic Wars
–
"Maniac-raving's-or-Little Boney in a strong fit" by
James Gillray. His caricatures ridiculing Napoleon greatly annoyed the Frenchman, who wanted them suppressed by the British government.
Napoleonic Wars
–
The British
HMS Sandwich fires to the French
flagship Bucentaure (completely dismasted) in the battle of
Trafalgar. The Bucentaure also fights
HMS Victory (behind her) and
HMS Temeraire (left side of the picture). In fact, HMS Sandwich never fought at Trafalgar and her depiction is a mistake by
Auguste Mayer, the painter.
Napoleonic Wars
–
European strategic situation in 1805 before the War of the Third Coalition
19.
Pas-de-Calais
–
Pas-de-Calais is a department in northern France. Its name is used in French to refer to the Strait of Dover, which it borders. Inhabited since prehistoric times, the Pas-de-Calais region was populated in turn by the Celtic Belgae, the Romans, the Germanic Franks and this linguistic border is still evident today in the toponyms and patronyms of the region. Beginning in the century, the linguistic border began a steady move to north and the east. Pas-de-Calais is one of the original 83 departments created during the French Revolution on 4 March 1790 and it was created from parts of the former provinces of Calaisis, formerly English, Boulonnais, Ponthieu and Artois, this last formerly part of the Spanish Netherlands. Some of the costliest battles of World War I were fought in the region, the Canadian National Vimy Memorial, eight kilometres from Arras, commemorates the Battle of Vimy Ridge and is Canadas most important memorial in Europe to its fallen soldiers. Pas-de-Calais is in the current region of Hauts-de-France and is surrounded by the departments of Nord and Somme, the English Channel, and it shares a nominal border with the English county of Kent halfway through the Channel Tunnel. Its principal towns are, on the coast, Calais, Boulogne-sur-Mer and Étaples, and in Artois, Lens, Liévin, Arras, however, since World War II, the economy has become more diversified. The inhabitants of the department are called Pas-de-Calaisiens, Pas-de-Calais is one of the most densely populated departments of France, and yet it has no large cities. Calais has only about 80,000 inhabitants, followed closely by Arras, Boulogne-sur-Mer, Lens, the center and south of the department are more rural, but still quite heavily populated, with many villages and small towns. Although the department saw some of the heaviest fighting of World War I, however, many of the mining towns have seen dramatic decreases in population, some up to half of their population. There are currently two universities in the department
Pas-de-Calais
–
Prefecture building of the Pas-de-Calais department, in Arras
Pas-de-Calais
–
The
Université d'Artois ' campus in
Lens sits in the ancient headquarters of Compagnie des mines.
Pas-de-Calais
–
Mussel aquaculture in
Wissant
Pas-de-Calais
–
Cap Blanc Nez
20.
Kent
–
Kent /ˈkɛnt/ is a county in South East England and one of the home counties. It borders Greater London to the north west, Surrey to the west and East Sussex to the south west, the county also shares borders with Essex via the Dartford Crossing and the French department of Pas-de-Calais through the Channel Tunnel. France can be clearly in fine weather from Folkestone and the White Cliffs of Dover. Hills in the form of the North Downs and the Greensand Ridge span the length of the county, because of its relative abundance of fruit-growing and hop gardens, Kent is known as The Garden of England. The title was defended in 2006 when a survey of counties by the UKTV Style Gardens channel put Kent in fifth place, behind North Yorkshire, Devon. Haulage, logistics, and tourism are industries, major industries in north-west Kent include aggregate building materials, printing. Coal mining has played its part in Kents industrial heritage. Large parts of Kent are within the London commuter belt and its transport connections to the capital. Twenty-eight per cent of the county forms part of two Areas of Outstanding Natural Beauty, the North Downs and The High Weald, the area has been occupied since the Palaeolithic era, as attested by finds from the quarries at Swanscombe. The Medway megaliths were built during the Neolithic era, There is a rich sequence of Bronze Age, Iron Age, and Roman era occupation, as indicated by finds and features such as the Ringlemere gold cup and the Roman villas of the Darent valley. The modern name of Kent is derived from the Brythonic word Cantus meaning rim or border and this describes the eastern part of the current county area as a border land or coastal district. Julius Caesar had described the area as Cantium, or home of the Cantiaci in 51 BC, the extreme west of the modern county was by the time of Roman Britain occupied by Iron Age tribes, known as the Regnenses. East Kent became a kingdom of the Jutes during the 5th century and was known as Cantia from about 730, the early medieval inhabitants of the county were known as the Cantwara, or Kent people. These people regarded the city of Canterbury as their capital, in 597, Pope Gregory I appointed the religious missionary as the first Archbishop of Canterbury. In the previous year, Augustine successfully converted the pagan King Æthelberht of Kent to Christianity, the Diocese of Canterbury became Britains first Episcopal See with first cathedral and has since remained Englands centre of Christianity. The second designated English cathedral was in Kent at Rochester Cathedral, in the 11th century, the people of Kent adopted the motto Invicta, meaning undefeated. This naming followed the invasion of Britain by William of Normandy, the Kent peoples continued resistance against the Normans led to Kents designation as a semi-autonomous county palatine in 1067. Under the nominal rule of Williams half-brother Odo of Bayeux, the county was granted powers to those granted in the areas bordering Wales
Kent
Kent
–
Kent shown within England
Kent
–
Title page of
William Lambarde 's Perambulation of Kent (completed in 1570, and published in 1576), a historical description of Kent and the first published
county history
Kent
–
The
White Cliffs of Dover
21.
Bruges
–
Bruges is the capital and largest city of the province of West Flanders in the Flemish Region of Belgium, in the northwest of the country. The area of the whole city amounts to more than 13,840 hectares, including 1,075 hectares off the coast, the historic city centre is a prominent World Heritage Site of UNESCO. It is oval and about 430 hectares in size, the citys total population is 117,073, of whom around 20,000 live in the city centre. The metropolitan area, including the commuter zone, covers an area of 616 km2 and has a total of 255,844 inhabitants as of 1 January 2008. Along with a few other canal-based northern cities, such as Amsterdam and Stockholm, Bruges has a significant economic importance thanks to its port and was once one of the worlds chief commercial cities. Bruges is well known as the seat of the College of Europe, the name probably derives from the Old Dutch for bridge, brugga. Also compare Middle Dutch brucge, brugge, and modern Dutch bruggehoofd, the form brugghe would be a southern Dutch variant. The Dutch word and the English bridge both derive from Proto-Germanic *brugjō-, Bruges was a location of coastal settlement during prehistory. This Bronze Age and Iron Age settlement is unrelated to medieval city development, in the Bruges area, the first fortifications were built after Julius Caesars conquest of the Menapii in the first century BC, to protect the coastal area against pirates. The Franks took over the region from the Gallo-Romans around the 4th century. The Viking incursions of the century prompted Count Baldwin I of Flanders to reinforce the Roman fortifications, trade soon resumed with England. Bruges received its city charter on 27 July 1128, and new walls and canals were built, in 1089 Bruges became the capital of the County of Flanders. Since about 1050, gradual silting had caused the city to lose its access to the sea. A storm in 1134, however, re-established this access, through the creation of a channel at the Zwin. The new sea arm stretched all the way to Damme, a city became the commercial outpost for Bruges. Bruges had a location at the crossroads of the northern Hanseatic League trade. They developed, or borrowed from Italy, new forms of merchant capitalism, whereby several merchants would share the risks and profits and they employed new forms of economic exchange, including bills of exchange and letters of credit. The city eagerly welcomed foreign traders, most notably the Portuguese traders selling pepper and other spices, the citys entrepreneurs reached out to make economic colonies of England and Scotlands wool-producing districts
Bruges
–
A canal in Bruges with the famous
Belfry in the background
Bruges
–
The
Markt ("Market square")
Bruges
–
The 'Burg', painted c. 1691 – 1700 by
Meunincxhove
Bruges
–
An old street in Bruges, with the
Church of Our Lady tower in the background
22.
Albert Gregorius
–
Albert Jacob Frans Gregorius, or Albert Jacques François Grégorius was a Flemish-Belgian portrait painter and Director of the art academy in Bruges. He was born into a poor, laboring family and his drawing abilities were observed by François van der Donckt, a local amateur painter who took him in, gave him his first lessons and helped him enroll at the art academy. Gregorius was there from 1791 to 1793 and won several awards, in 1801, he went to Paris, where he was apprenticed to Joseph-Benoît Suvée, who was also from Bruges. Not long after, Suvée went to Rome to become Director of the French Academy, in 1805, he was back in Bruges, making preparations to enter the Prix de Rome, but fell ill and was unable to participate. After his recovery, he returned to Paris and remained until 1835 and he soon established a reputation as a portrait painter and formed an association with other expatriate Flemish artists. After exhibiting in the Ghent Salon, he entered the Paris Salon in 1812, in addition to the usual French nobility, he is also known for his portrait of August Wilhelm Schlegel, which is now on display at Coppet Castle. At the age of 61, he received an appointment as Director of De Vrije Academie in Bruges and he served until 1852, when he was forced to resign after clashes with colleagues, students and city officials over his conservative approach to art. His best-known student was Ford Madox Brown, curiously, on his death certificate he was described as a widower, but his wifes name was unknown. It is speculated that he was married during his long stay in France and had no close relatives he cared to notify. A. Jacobs, Albert Gregorius, in, Le dictionnaire des peintres belges du XIVe siècle à nos jours, Vol. A-K, ed. by Eliane de Wilde and Philippe Roberts-Jones
Albert Gregorius
–
Portrait of Count Charles Antoine Chasset, a member of the
Sénat conservateur and envoyé extraordinaire to
Metz (1813)
Albert Gregorius
–
Portrait of General
Nicolas Dahlmann (date unknown)
23.
Ghent
–
Ghent is a city and a municipality in the Flemish Region of Belgium. It is the capital and largest city of the East Flanders province and it is a port and university city. With 240,191 inhabitants in the beginning of 2009, Ghent is Belgiums second largest municipality by number of inhabitants, the current mayor of Ghent, Daniël Termont, leads a coalition of the Socialistische Partij Anders, Groen and Open VLD. The ten-day-long Ghent Festival is held every year and attended by about 1–1.5 million visitors, archaeological evidence shows human presence in the region of the confluence of Scheldt and Leie going back as far as the Stone Age and the Iron Age. Most historians believe that the name for Ghent, Ganda, is derived from the Celtic word ganda which means confluence. Other sources connect its name with a deity named Gontia. There are no records of the Roman period, but archaeological research confirms that the region of Ghent was further inhabited. When the Franks invaded the Roman territories from the end of the 4th century and well into the 5th century, they brought their language with them and Celtic, around 650, Saint Amand founded two abbeys in Ghent, St. Peters and Saint Bavos Abbey. The city grew from several nuclei, the abbeys and a commercial centre, around 800, Louis the Pious, son of Charlemagne, appointed Einhard, the biographer of Charlemagne, as abbot of both abbeys. In 851 and 879, the city was attacked and plundered twice by the Vikings. Within the protection of the County of Flanders, the city recovered and flourished from the 11th century, by the 13th century, Ghent was the biggest city in Europe north of the Alps after Paris, it was bigger than Cologne or Moscow. Within the city walls lived up to 65,000 people, the belfry and the towers of the Saint Bavo Cathedral and Saint Nicholas Church are just a few examples of the skyline of the period. The rivers flowed in an area where land was periodically flooded. These rich grass meersen were ideally suited for herding sheep, the wool of which was used for making cloth, during the Middle Ages Ghent was the leading city for cloth. The wool industry, originally established at Bruges, created the first European industrialized zone in Ghent in the High Middle Ages, the mercantile zone was so highly developed that wool had to be imported from Scotland and England. This was one of the reasons for Flanders good relationship with Scotland and England, Ghent was the birthplace of John of Gaunt, Duke of Lancaster. Trade with England suffered significantly during the Hundred Years War, the city recovered in the 15th century, when Flanders was united with neighbouring provinces under the Dukes of Burgundy. High taxes led to a rebellion and eventually the Battle of Gavere in 1453, around this time the centre of political and social importance in the Low Countries started to shift from Flanders to Brabant, although Ghent continued to play an important role
Ghent
–
View of Ghent from the
Cathedral with
Belfry of Ghent and
Saint Nicholas church visible
Ghent
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Ghent in 1775
Ghent
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Buildings along the
Leie river in the city of Ghent
Ghent
–
The Justitiepaleis in Ghent, c. 1895
24.
Pieter van Hanselaere
–
Pieter van Hanselaere was a Belgian painter in the neoclassical style, who specialized in portraits and religious and historical scenes. In 1814 he was back in Ghent and competed for the prize in painting, winning it gave him the funds to travel to Italy. In his early days he specialized in portraiture and achieved a level of technical perfection. At the Academy of Ghent Cornelis Kimmel and Pierre Olivier Joseph Coomans were among his pupils, van Hanselaere exhibited in many cities and had amassed a considerable fortune, allowing him to buy three houses in the Rue Courte du Marais. By 1844 he had finished his pièce capitale, a 24 by 16 foot painting depicting Philip van Artevelde and his army leaving Ghent to fight Louis II, critical response of the large and confused piece was negative, and van Hanselaere never fully recuperated from the disappointment. The death of his only son hastened him towards his death, work of his was in the Rijksmuseum in Amsterdam in 1890. Media related to Pieter van Hanselaere at Wikimedia Commons
Pieter van Hanselaere
–
Pieter Van Hanselaere, self-portrait, 1824
Pieter van Hanselaere
–
Suzanna and the elders
Pieter van Hanselaere
–
Young woman with hat and grapes
Pieter van Hanselaere
–
Infanta Maria Isabella
25.
Antwerp
–
Antwerp is a city in Belgium, the capital of Antwerp province in the region of Flanders. With a population of 510,610, it is the most populous city proper in Belgium and its metropolitan area houses around 1,200,000 people, which is second behind Brussels. Antwerp is on the River Scheldt, linked to the North Sea by the Westerschelde estuary, the Port of Antwerp is one of the biggest in the world, ranking second in Europe and within the top 20 globally. Antwerp has long been an important city in the Low Countries, the inhabitants of Antwerp are nicknamed Sinjoren, after the Spanish honorific señor or French seigneur, lord, referring to the Spanish noblemen who ruled the city in the 17th century. The city hosted the 1920 Summer Olympics, according to folklore, notably celebrated by a statue in front of the town hall, the city got its name from a legend about a giant called Antigoon who lived near the Scheldt river. He exacted a toll from passing boatmen, and for those who refused, he severed one of their hands, eventually the giant was killed by a young hero named Silvius Brabo, who cut off the giants own hand and flung it into the river. Hence the name Antwerpen, from Dutch hand werpen, akin to Old English hand and wearpan, a longstanding theory is that the name originated in the Gallo-Roman period and comes from the Latin antverpia. Antverpia would come from Ante Verpia, indicating land that forms by deposition in the curve of a river. Note that the river Scheldt, before a period between 600 and 750, followed a different track. This must have coincided roughly with the current ringway south of the city, however, many historians think it unlikely that there was a large settlement which would be named Antverpia, but more something like an outpost with a river crossing. However, John Lothrop Motley argues, and so do a lot of Dutch etymologists and historians, aan t werp is also possible. This warp is a hill or a river deposit, high enough to remain dry at high tide. Another word for werp is pol hence polders, historical Antwerp allegedly had its origins in a Gallo-Roman vicus. Excavations carried out in the oldest section near the Scheldt, 1952–1961, produced pottery shards, the earliest mention of Antwerp dates from the 4th century. In the 4th century, Antwerp was first named, having been settled by the Germanic Franks, the name was reputed to have been derived from anda and werpum. The Merovingian Antwerp was evangelized by Saint Amand in the 7th century, at the end of the 10th century, the Scheldt became the boundary of the Holy Roman Empire. Antwerp became a margraviate in 980, by the German emperor Otto I, in the 11th century Godfrey of Bouillon was for some years known as the marquis of Antwerp. In the 12th century, Norbert of Xanten established a community of his Premonstratensian canons at St. Michaels Abbey at Caloes
Antwerp
–
Antwerp Antwerpen
Antwerp
–
Coat of arms
Antwerp
–
The
Onze-Lieve-Vrouwekathedraal (Cathedral of our Lady) and the
Scheldt river.
Antwerp
–
Grote Markt
26.
Gustaf Wappers
–
Egide Charles Gustave, Baron Wappers was a Belgian painter. His work is considered to be Flemish and he signed his work with the Flemish form of his name. He studied at the Royal Academy of Fine Arts in Antwerp, the Romantic movement with its new ideas about art and politics was astir in France. While political, this remarkable work revolutionized the direction of Flemish painters, Wappers was invited to the court at Brussels, and was favoured with commissions. In 1832 the city of Antwerp appointed him Professor of Painting and he exhibited his masterpiece, Episode of the Belgian Revolution of 1830 or rather Episode of the September Days of 1830 on the Grand Place of Brussels, at the Antwerp Salon in 1834. He was subsequently appointed painter to Leopold, King of the Belgians, at the death of Matthieu-Ignace Van Brée in 1839 he was elevated to director of the Antwerp Academy. Louis Philippe gave him a commission to paint a painting for the gallery at Versailles. He finished the work in 1844, the year that he received the title of baron from Belgian king Leopold I. After retiring as director of the Antwerp Academy, he settled in 1853 in Paris, media related to Gustave_Wappers at Wikimedia Commons
Gustaf Wappers
–
Gustave Wappers
Gustaf Wappers
–
Episode of the
Belgian Revolution of 1830 (1834),
Museum of Ancient Art, Brussels.
27.
Lord Byron
–
George Gordon Byron, 6th Baron Byron, FRS, commonly known simply as Lord Byron, was a British poet, peer, politician, and a leading figure in the Romantic movement. Among his best-known works are the narrative poems, Don Juan and Childe Harolds Pilgrimage. Byron is regarded as one of the greatest British poets and remains widely read and influential and he travelled extensively across Europe, especially in Italy, where he lived for seven years with the struggling poet Percy Bysshe Shelley. Later in his life, Byron joined the Greek War of Independence fighting the Ottoman Empire. He died in 1824 at the age of 36 from a fever contracted while in Missolonghi, ethel Colburn Mayne states that George Gordon Byron was born on 22 January 1788 in a house on 24 Holles Street in London. However, Robert Charles Dallas in his Recollections states that Byron was born in Dover and he was the son of Captain John Mad Jack Byron and his second wife, the former Catherine Gordon, a descendant of Cardinal Beaton and heiress of the Gight estate in Aberdeenshire, Scotland. Byrons father had seduced the married Marchioness of Carmarthen and, after she divorced her husband. His treatment of her was described as brutal and vicious, in order to claim his second wifes estate in Scotland, Byrons father took the additional surname Gordon, becoming John Byron Gordon, and he was occasionally styled John Byron Gordon of Gight. Byron himself used this surname for a time and was registered at school in Aberdeen as George Byron Gordon, at the age of 10, he inherited the English Barony of Byron of Rochdale, becoming Lord Byron, and eventually dropped the double surname. Byrons paternal grandparents were Vice-Admiral the Hon. John Foulweather Jack Byron, vice Admiral John Byron had circumnavigated the globe, and was the younger brother of the 5th Baron Byron, known as the Wicked Lord. He was christened, at St Marylebone Parish Church, George Gordon Byron after his maternal grandfather George Gordon of Gight, a descendant of James I of Scotland, Mad Jack Byron married his second wife for the same reason that he married his first, her fortune. In a move to avoid his creditors, Catherine accompanied her husband to France in 1786. He was born on 22 January in lodgings at Holles Street in London, Catherine moved back to Aberdeenshire in 1790, where Byron spent his childhood. His father soon joined them in their lodgings in Queen Street, Catherine regularly experienced mood swings and bouts of melancholy, which could be partly explained by her husbands continuing to borrow money from her. As a result, she fell even further into debt to support his demands and it was one of these importunate loans that allowed him to travel to Valenciennes, France, where he died in 1791. When Byrons great-uncle, the wicked Lord Byron, died on 21 May 1798, described as a woman without judgment or self-command, Catherine either spoiled and indulged her son or vexed him with her capricious stubbornness. Her drinking disgusted him, and he often mocked her for being short and corpulent and she once retaliated and, in a fit of temper, referred to him as a lame brat. Langley-Moore questions the Galt claim that she over-indulged in alcohol, upon the death of Byrons mother-in-law Judith Noel, the Hon
Lord Byron
–
Portrait of Lord Byron by
Richard Westall
Lord Byron
–
An engraving of Byron's father, Captain
John "Mad Jack" Byron, date unknown
Lord Byron
–
Catherine Gordon, Byron's mother, by
Thomas Stewardson
Lord Byron
–
John FitzGibbon, 2nd Earl of Clare
28.
The Giaour
–
The Giaour is a poem by Lord Byron first published in 1813 by T. Davison and the first in the series of his Oriental romances. The Giaour proved to be a success when published, consolidating Byrons reputation critically and commercially. Byron was inspired to write the poem during his Grand Tour during 1810 and 1811, while in Athens, he became aware of the Turkish custom of throwing a woman found guilty of adultery into the sea wrapped in a sack. Giaour is an offensive Turkish word for infidel or non-believer, and is similar to the Arabic word kafir, the story is subtitled A Fragment of a Turkish Tale, and is Byrons only fragmentary narrative poem. Byron designed the story with three narrators giving their individual point of view about the series of events, the main story is of Leila, a member of her master Hassans harem, who loves the giaour and is killed by being drowned in the sea by Hassan. In revenge, the giaour kills him and then enters a monastery due to his remorse, the design of the story allows for contrast between Christian and Muslim perceptions of love, sex, death and the afterlife. The poem was written after Byron had become famous overnight after the publication of the first two cantos of Childe Harolds Pilgrimage and reflects his disenchantment with fame. It also reflects the gloom, remorse and lust of two love affairs, one with his half-sister Augusta Leigh and the other with Lady Frances Webster. The earliest version of the poem was written between September 1812 and March 1813, and a version of 700 lines published in June 1813, several more editions were published before the end of 1813, each longer than the last. The last edition contains 1300 lines, almost twice as many as the version first published, the Giaour proved to be very popular with several editions published in the first year. By 1815,14 editions had been published when it was included in his first collected edition and its runaway success led Byron to publish three more Turkish tales in the next couple of years, The Bride of Abydos in 1813, The Corsair in 1814 and Lara. Each of these proved to be very popular, with The Corsair selling 10,000 copies in its first day of publication. These tales led to the perception of the Byronic hero. The Giaour illustrates the idea of Orientalism with its characters, some critics consider Leila as a personification of Greece, for the sake of which there was a war between the Ottoman Empire and Russia. So did Ary Scheffer who painted Giaour, housed at the Musée de la Vie romantique, the poem was an influence on the early work of Edgar Allan Poe. His first major poem, Tamerlane, particularly emulates both the manner and style of The Giaour, the Giaour is also notable for its inclusion of the theme of vampires. Byron became acquainted with the concept of vampires while on his Grand Tour, the lead character, Lord Ruthven, was based on Byron. Polidori had previously worked as Byrons doctor and the two parted on bad terms, much to Byrons annoyance, The Vampyre was widely attributed to him and even included in the third volume of Byrons works by popular demand
The Giaour
–
The Combat of the Giaour and Hassan Painted by Eugène Delacroix (1826)
The Giaour
–
Topics
29.
Manfred
–
Manfred, A dramatic poem is a closet drama written in 1816–1817 by Lord Byron. It contains supernatural elements, in keeping with the popularity of the ghost story in England at the time and it is a typical example of a Gothic fiction. Byron commenced this work in late 1816, only a few months after the famed ghost-story sessions which provided the impetus for Mary Shelleys Frankenstein. The supernatural references are made throughout the poem. Manfred was adapted musically by Robert Schumann in 1852, in a composition entitled Manfred, Dramatic Poem with music in Three Parts, friedrich Nietzsche was impressed by the poems depiction of a super-human being, and wrote some music for it. Attacked by the press and ostracised by London society, Byron fled England for Switzerland in 1816, at the time, he was living at the Villa Diodati in Switzerland. The unnamed but forbidden nature of Manfreds relationship to Astarte is believed to represent Byrons relationship with his half-sister Augusta, most of Manfred was written on a tour through the Bernese Alps in September 1816. The third act was rewritten in February 1817 since Byron was not happy with its first version, Manfred is a Faustian noble living in the Bernese Alps. The spirits, who rule the various components of the world, are unable to control past events. For some time, fate prevents him from escaping his guilt through suicide, at the end, Manfred dies, defying religious temptations of redemption from sin. Throughout the poem he succeeds in challenging all of the powers he faces. Manfred directs his words to the Abbot, remarking, Old man. Tis not so difficult to die, the unconquerable individual to the end, Manfred gives his soul to neither heaven nor hell, only to death. Published in June 1817, Manfred has as its epigraph the famous phrase of Shakespeares Hamlet, There are more things in heaven and earth, Horatio and it shows heavy influence by Goethes Faust, which Byron most likely read in translation. Manfred has as its theme defiant humanism, represented by the refusal to bow to supernatural authority. Manfred was not originally intended for the stage, it was written to be a poem or, as Byron called it. Manfred has received more attention on stage for its musical treatments by Tchaikovsky. It was later played by Samuel Phelps
Manfred
–
1817
first edition,
John Murray, London.
Manfred
–
"Scene from Manfred " by
Thomas Cole, 1833.
Manfred
–
Topics
30.
Palace of Westminster
–
The Palace of Westminster is the meeting place of the House of Commons and the House of Lords, the two houses of the Parliament of the United Kingdom. Commonly known as the Houses of Parliament after its occupants, the Palace lies on the bank of the River Thames in the City of Westminster. The palace is owned by the monarch in right of the Crown and for ceremonial purposes, the building is managed by committees appointed by both houses, which report to the Speaker of the House of Commons and the Lord Speaker. The first royal palace was built on the site in the 11th century, part of the New Palaces area of 3.24 hectares was reclaimed from the Thames, which is the setting of its nearly 300-metre long façade, called the River Front. Barry was assisted by Augustus Pugin, an authority on Gothic architecture and style. The Palace is one of the centres of political life in the United Kingdom, Westminster has become a metonym for the UK Parliament, the Palace of Westminster has been a Grade I listed building since 1970 and part of a UNESCO World Heritage Site since 1987. The Palace of Westminster site was important during the Middle Ages. Known in medieval times as Thorney Island, the site may have been first-used for a residence by Canute the Great during his reign from 1016 to 1035. St Edward the Confessor, the penultimate Anglo-Saxon monarch of England, Thorney Island and the surrounding area soon became known as Westminster. Neither the buildings used by the Anglo-Saxons nor those used by William I survive, the oldest existing part of the Palace dates from the reign of William Is successor, King William II. The Palace of Westminster was the principal residence in the late Medieval period. The predecessor of Parliament, the Curia Regis, met in Westminster Hall, simon de Montforts parliament, the first to include representatives of the major towns, met at the Palace in 1265. The Model Parliament, the first official Parliament of England, met there in 1295, in 1512, during the early years of the reign of King Henry VIII, fire destroyed the royal residential area of the palace. In 1534, Henry VIII acquired York Place from Cardinal Thomas Wolsey, renaming it the Palace of Whitehall, Henry used it as his principal residence. Although Westminster officially remained a royal palace, it was used by the two Houses of Parliament and by the various law courts. Because it was originally a residence, the Palace included no purpose-built chambers for the two Houses. Important state ceremonies were held in the Painted Chamber which had originally built in the 13th century as the main bedchamber for King Henry III. The House of Commons, which did not have a chamber of its own, the Commons acquired a permanent home at the Palace in St Stephens Chapel, the former chapel of the royal palace, during the reign of Edward VI
Palace of Westminster
–
The Palace of Westminster with
Elizabeth Tower and
Westminster Bridge, viewed from across the
River Thames
Palace of Westminster
–
Conjectural restoration of Westminster during reign of Henry VIII
Palace of Westminster
–
Parliament before
1834 Fire with
Old Palace Yard in foreground
Palace of Westminster
–
A detail from
John Rocque's 1746 map of London. St Stephen's Chapel, labelled "H of Comm" (House of Commons), was adjacent to Westminster Hall; the Parliament Chamber—labelled "H of L" (House of Lords)—and the Prince's Chamber were to the far south. The Court of Requests, between the two Houses, would become the new home of the Lords in 1801. At the north-east, by the river, stood Speaker's House.
31.
Dante Gabriel Rossetti
–
Dante Gabriel Rossetti was an English poet, illustrator, painter and translator. He founded the Pre-Raphaelite Brotherhood in 1848 with William Holman Hunt, Rossetti was later to be the main inspiration for a second generation of artists and writers influenced by the movement, most notably William Morris and Edward Burne-Jones. His work also influenced the European Symbolists and was a precursor of the Aesthetic movement. Rossettis art was characterised by its sensuality and its medieval revivalism and his early poetry was influenced by John Keats. His later poetry was characterised by the complex interlinking of thought and feeling, especially in his sonnet sequence, poetry and image are closely entwined in Rossettis work. Rossettis personal life was linked to his work, especially his relationships with his models and muses Elizabeth Siddal, Fanny Cornforth. The son of émigré Italian scholar Gabriele Pasquale Giuseppe Rossetti and his wife Frances Mary Lavinia Polidori, Rossetti was born in London, England and his family and friends called him Gabriel, but in publications he put the name Dante first in honour of Dante Alighieri. He was the brother of poet Christina Rossetti, critic William Michael Rossetti and his father was a Roman Catholic, at least prior to his marriage, and his mother was an Anglican, ostensibly Gabriel was baptized as and was a practicing Anglican. During his childhood, Rossetti was home educated and often read the Bible, along with the works of Shakespeare, Dickens, Sir Walter Scott, the youthful Rossetti is described as self-possessed, articulate, passionate and charismatic but also ardent, poetic and feckless. Like all his siblings, he aspired to be a poet and attended Kings College School and he also wished to be a painter, having shown a great interest in Medieval Italian art. He studied at Henry Sass Drawing Academy from 1841 to 1845, when he enrolled in the Antique School of the Royal Academy, after leaving the Royal Academy, Rossetti studied under Ford Madox Brown, with whom he retained a close relationship throughout his life. Following the exhibition of William Holman Hunts painting The Eve of St. Agnes, the painting illustrated a poem by the little-known John Keats. Rossettis own poem, The Blessed Damozel, was an imitation of Keats, together they developed the philosophy of the Pre-Raphaelite Brotherhood which they founded along with John Everett Millais. Their approach was to return to the abundant detail, intense colours, the eminent critic John Ruskin wrote, Every Pre-Raphaelite landscape background is painted to the last touch, in the open air, from the thing itself. Every Pre-Raphaelite figure, however studied in expression, is a portrait of some living person. Rossettis first major paintings in oil display the realist qualities of the early Pre-Raphaelite movement and his Girlhood of Mary Virgin and Ecce Ancilla Domini portray Mary as a teenage girl. I saw at once that he was not an orthodox boy, the mixture of genius and dilettantism of both men shut me up for the moment, and whetted my curiosity. Although his work subsequently won support from John Ruskin, Rossetti only rarely exhibited thereafter, in 1850, Rossetti met Elizabeth Siddal, an important model for the Pre-Raphaelite painters
Dante Gabriel Rossetti
–
Portrait of Dante Gabriel Rossetti c. 1871, by
George Frederic Watts
Dante Gabriel Rossetti
–
Self-portrait, 1847
Dante Gabriel Rossetti
–
Portrait of Dante Gabriel Rossetti at 22 years of Age by
William Holman Hunt
Dante Gabriel Rossetti
–
The Girlhood of Mary Virgin (1849). (Models: the artist's mother for
St. Anne and his sister Christina for
the Virgin).
32.
Pre-Raphaelite Brotherhood
–
The Pre-Raphaelite Brotherhood was a group of English painters, poets, and critics, founded in 1848 by William Holman Hunt, John Everett Millais and Dante Gabriel Rossetti. The three founders were joined by William Michael Rossetti, James Collinson, Frederic George Stephens and Thomas Woolner to form the seven-member brotherhood and their principles were shared by other artists, including Marie Spartali Stillman and Ford Madox Brown. A later, medievalising strain inspired by Rossetti included Edward Burne-Jones, the groups intention was to reform art by rejecting what it considered the mechanistic approach first adopted by Mannerist artists who succeeded Raphael and Michelangelo. Its members believed the Classical poses and elegant compositions of Raphael in particular had been an influence on the academic teaching of art. In particular, the group objected to the influence of Sir Joshua Reynolds, founder of the English Royal Academy of Arts, to the Pre-Raphaelites, according to William Michael Rossetti, sloshy meant anything lax or scamped in the process of painting. Any thing or person of a commonplace or conventional kind, the brotherhood sought a return to the abundant detail, intense colours and complex compositions of Quattrocento Italian art. The group associated their work with John Ruskin, an English critic whose influences were driven by his religious background, the group continued to accept the concepts of history painting and mimesis, imitation of nature, as central to the purpose of art. The Pre-Raphaelites defined themselves as a movement, created a distinct name for their form of art. The groups debates were recorded in the Pre-Raphaelite Journal, the Pre-Raphaelite Brotherhood was founded in John Millaiss parents house on Gower Street, London in 1848. At the first meeting, the painters John Everett Millais, Dante Gabriel Rossetti, Hunt and Millais were students at the Royal Academy of Arts and had met in another loose association, the Cyclographic Club, a sketching society. At his own request Rossetti became a pupil of Ford Madox Brown in 1848, at that date, Rossetti and Hunt shared lodgings in Cleveland Street, Fitzrovia, Central London. Hunt had started painting The Eve of St. Agnes based on Keatss poem of the same name, as an aspiring poet, Rossetti wished to develop the links between Romantic poetry and art. Ford Madox Brown was invited to join, but the more senior artist remained independent but supported the group throughout the PRB period of Pre-Raphaelitism, other young painters and sculptors became close associates, including Charles Allston Collins, Thomas Tupper, and Alexander Munro. The PRB intended to keep the existence of the secret from members of the Royal Academy. The principles were deliberately non-dogmatic, since the brotherhood wished to emphasise the personal responsibility of artists to determine their own ideas. Influenced by Romanticism, the members thought freedom and responsibility were inseparable, nevertheless, they were particularly fascinated by medieval culture, believing it to possess a spiritual and creative integrity that had been lost in later eras. The emphasis on medieval culture clashed with principles of realism which stress the independent observation of nature, in its early stages, the Pre-Raphaelite Brotherhood believed its two interests were consistent with one another, but in later years the movement divided and moved in two directions. The realists were led by Hunt and Millais, while the medievalists were led by Rossetti and his followers, Edward Burne-Jones and William Morris
Pre-Raphaelite Brotherhood
–
Proserpine, by
Dante Gabriel Rossetti
Pre-Raphaelite Brotherhood
–
Christ in the House of His Parents, by John Everett Millais, 1850
Pre-Raphaelite Brotherhood
–
Illustration by Holman Hunt of Thomas Woolner's poem "My Beautiful Lady", published in The Germ, 1850
Pre-Raphaelite Brotherhood
–
Ophelia, by
John Everett Millais
33.
John Everett Millais
–
Sir John Everett Millais, 1st Baronet, PRA was an English painter and illustrator who was one of the founders of the Pre-Raphaelite Brotherhood. A child prodigy, at the age of eleven Millais became the youngest student to enter the Royal Academy Schools, the Pre-Raphaelite Brotherhood was founded at his family home in London, at 83 Gower Street. Millais became the most famous exponent of the style, his painting Christ in the House of His Parents generating considerable controversy, by the mid-1850s Millais was moving away from the Pre-Raphaelite style and developing a new and powerful form of realism in his art. His later works were successful, making Millais one of the wealthiest artists of his day. Millaiss personal life has played a significant role in his reputation. His wife Effie was formerly married to the critic John Ruskin, Millais was born in Southampton, England in 1829, of a prominent Jersey-based family. His parents were John William Millais and Emily Mary Millais, most of his early childhood was spent in Jersey, to which he retained a strong devotion throughout his life. The author Thackeray once asked him when England conquered Jersey, the family moved to Dinan in Brittany for a few years in his childhood. His mothers forceful personality was the most powerful influence on his early life and she had a keen interest in art and music, and encouraged her sons artistic bent, promoting the relocating of the family to London to help develop contacts at the Royal Academy of Art. He later said I owe everything to my mother and his prodigious artistic talent won him a place at the Royal Academy schools at the unprecedented age of eleven. While there, he met William Holman Hunt and Dante Gabriel Rossetti with whom he formed the Pre-Raphaelite Brotherhood in September 1848 in his home on Gower Street. Millaiss Christ in the House of His Parents was highly controversial because of its portrayal of a working class Holy Family labouring in a messy carpentry workshop. Later works were controversial, though less so. Millais achieved popular success with A Huguenot, which depicts a couple about to be separated because of religious conflicts. He repeated this theme in later works. All these early works were painted with great attention to detail, in paintings such as Ophelia Millais created dense and elaborate pictorial surfaces based on the integration of naturalistic elements. This approach has been described as a kind of pictorial eco-system, Mariana is a painting that Millais painted in 1850-51 based on the play Measure for Measure by William Shakespeare and the poem of the same name by Alfred, Lord Tennyson from 1830. In the play, the young Mariana was to be married and this style was promoted by the critic John Ruskin, who had defended the Pre-Raphaelites against their critics
John Everett Millais
–
Sir John Everett Millais, Bt
John Everett Millais
–
Photo of Millais, c. 1854
John Everett Millais
–
Mariana
John Everett Millais
–
The Order of Release (1853) Tate Britain, London
34.
Friedrich Overbeck
–
Johann Friedrich Overbeck was a German painter and member of the Nazarene movement. Born in Lübeck, his ancestors for three generations had been Protestant pastors, his father Christian Adolph Overbeck was doctor of law, poet, mystic pietist and burgomaster of Lübeck. The young artist left Lübeck in March 1806, and entered as student the academy of Vienna, while Overbeck clearly accrued some of the polished technical aspects of the neoclassic painters, he was alienated by lack of religious spirituality in the themes chosen by his masters. After four years, their differences between his group and others in the academy had grown so irreconcilable, that Overbeck and his followers were expelled and he left for Rome, where he arrived in 1810, carrying his half-finished canvas of Christs Entry into Jerusalem. Rome became for 59 years the centre of his labor, Overbeck in 1813 joined the Roman Catholic Church, and thereby he believed that his art received Christian baptism. The subjects which fell to the lot of Overbeck were the Seven Years of Famine and Joseph sold by his Brethren, after ten years delay, the overtaxed and enfeebled painter delegated the completion of the frescoes to his friend Joseph von Führich. Overbeck was elected a Foreign Honorary Member of the American Academy of Arts and he was interred in the church of San Bernardo alle Terme. Portrait of the Painter Franz Pforra Vittoria Caldoni Christs Entry into Jerusalem, christus am Ölberg Italy and Germany Christs Agony in the Garden, in the great hospital, Hamburg. Lo Sposalizio, Muzeum Narodowe, Poznań, Poland, the Triumph of Religion in the Arts, in the Städel Institute, Frankfurt. Lamentation of Christ The Incredulity of St. Thomas, first in the possession of Beresford Hope, London, now in the Schäfer collection, Schweinfurt, the Assumption of the Madonna, in Cologne Cathedral. The Ascension of the Virgin Mary Christ Delivered from the Jews, tempera, the Seven Sacraments Baptism 1862–64, Neue Pinakothek, Munich Drawings for the frescoes for the Cathedral of St. Peter and St. Paul in Đakovo. His nephew Johannes Overbeck, a professor of archaeology at the University of Leipzig, was noted for his work in art history, in 1843 the Church of St. John the Baptist, Penymynydd, North Wales was built by the Glynne Family of Hawarden, Flintshire. The first vicar, Rev. Lionel Gossman, “Making of a Romantic Icon, The Religious Context of Friedrich Overbeck’s ‘Italia und Germania. ’” American Philosophical Society,2007. At dianepub. wordpress. com This article incorporates text from a now in the public domain, Chisholm, Hugh, ed. Overbeck. Thurston, H. T. Colby, F. M. eds, Johann Friedrich Overbeck in the History of Art Italy and Germany Reproduction Overbeck by J
Friedrich Overbeck
–
Self-portrait with family, c. 1820,
Behnhaus.
Friedrich Overbeck
–
Easter Morning
Friedrich Overbeck
–
The Adoration of the kings
Friedrich Overbeck
–
Christ's Entry into Jerusalem.
35.
Peter Cornelius
–
Carl August Peter Cornelius was a German composer, writer about music, poet and translator. He was born in Mainz to Carl Joseph Gerhard and Friederike Cornelius, actors in Mainz, from an early age he played the violin and composed, eventually studying with Tekla Griebel-Wandall and composition with Heinrich Esser in 1841. Corneliuss first mature works were composed during his stay in Weimar. His next place of residence was Vienna, where he lived for five years and it was in Vienna that Cornelius began a friendship with Richard Wagner. At the latters behest, Cornelius moved to Munich in 1864, in Britain to this day, Corneliuss best-known work is The Three Kings, a song for voice and piano in which the soloist sings Three Kings from Persian lands afar. While from the piano is heard the tune of Philipp Nicolai. An arrangement by Ivor Atkins of The Three Kings for solo voice and choir is included in the first volume of the popular David Willcocks and Reginald Jacques compilation Carols for Choirs. During his last few years in Berlin, Cornelius wrote music criticism for several major Berlin journals and entered into friendships with Joseph von Eichendorff, Paul Heyse and Hans von Bülow. Despite his long-standing association with Wagner and Franz Liszt, Corneliuss relations with the so-called New German School of composition were sometimes rocky, for instance, he did not attend the premiere of Tristan und Isolde, using the premiere of his own opera Der Cid as an excuse. Corneliuss third and final project, Gunlöd, based on the Norse eddas, was left incomplete at his death in Mainz. He was buried in the citys Hauptfriedhof, and his grave can still be seen there, Der Barbier von Bagdad, opera buffa Brautlieder Weihnachtslieder op
Peter Cornelius
–
Peter Cornelius
36.
Guinea (British coin)
–
The guinea was a coin of approximately one quarter ounce of gold that was minted in Great Britain between 1663 and 1814. From 1717 to 1816, its value was fixed at twenty-one shillings. Then, Britain adopted the standard and guinea became a colloquial or specialised term. The name came from the Guinea region in West Africa, where much of the used to make the coins originated. The name also forms the basis for the Arabic word for the Egyptian pound الجنيه el-Genēh / el-Geni, the first guinea was produced on 6 February 1663, a proclamation of 27 March 1663 made the coins legal currency. One troy pound of 11/12 fine gold would make 44½ guineas, the denomination was originally worth one pound, or twenty shillings, but an increase in the price of gold during the reign of King Charles II led to the market trading it at a premium. The price of gold continued to increase, especially in times of trouble, and by the 1680s, indeed, in his diary entries for 13 June 1667, Samuel Pepys records that the price was 24 to 25 shillings. The diameter of the coin was 1 inch throughout Charles IIs reign, Guinea was not an official name for the coin, but much of the gold used to produce the early coins came from Guinea in Africa. The coin was produced each year between 1663 and 1684, with the elephant appearing on some coins each year from 1663 to 1665 and 1668, and the elephant and castle on some coins from 1674 onward. The elephant, with or without the castle, symbolises the Royal African Company, the obverse and reverse of this coin were designed by John Roettier. The edge was milled to deter clipping or filing, and to distinguish it from the silver half-crown which had edge lettering, until 1669 the milling was perpendicular to the edge, giving vertical grooves, while from 1670 the milling was diagonal to the edge. John Roettier continued to design the dies for this denomination in the reign of King James II. In this reign, the coins weighed 8.5 g with a diameter of 25–26 mm, Coins of each year were issued both with and without the elephant and castle mark. The edge of the coins are milled diagonally, with the removal of James II in the Glorious Revolution of 1688, his daughter Mary, and her husband Prince William of Orange ruled jointly by agreement as co-monarchs. Their heads appear conjoined on the piece in Roman style, with Williams head uppermost. By the early part of this reign the value of the guinea had increased to thirty shillings. The guineas of this reign weighed 8, following the death of Queen Mary from smallpox in 1694, William continued to reign as William III. The coins of William IIIs reign weighed 8.4 g with a gold purity of 0.9123
Guinea (British coin)
–
Charles II
Guinea (British coin)
–
James II, with elephant and castle under the bust, 1686
Guinea (British coin)
–
William and
Mary
Guinea (British coin)
–
George I: 1/4 guinea (1718)
37.
Thomas Woolner
–
Thomas Woolner RA was an English sculptor and poet who was one of the founder-members of the Pre-Raphaelite Brotherhood. He was the only sculptor among the original members, after participating in the foundation of the PRB, Woolner emigrated for a period to Australia. He returned to Britain to have a career as a sculptor, creating many important public works as well as memorials, tomb sculptures. He corresponded with notable men of the day and also had some success as a poet. Born in Hadleigh, Suffolk, Woolner trained with the sculptor William Behnes and he became friendly with Dante Gabriel Rossetti and was invited by him to join the Pre-Raphaelite Brotherhood. Woolner was active in the history of the group, emphasising the need for a more vivid form of realism in sculpture. Woolners classical inclinations became increasingly difficult to reconcile with Pre-Raphaelite Medievalism, Woolners sculptures immediately after the foundation of the Brotherhood in 1848 display close attention to detail. He made his name with forceful portrait busts and medallions, but was at first unable to make a living and he was forced to emigrate to Australia in 1852, but after a year he returned to Britain, soon establishing himself as both a sculptor and art-dealer. His visit to Australia nevertheless helped him to obtain commissions there and elsewhere for statues of British imperial heroes, such as Captain Cook and his bronze statue of John Robert Godley in Christchurch, New Zealand, was toppled and shattered into several pieces by the February 2011 earthquake. It has since been repaired and was re-erected in March 2015, Woolner became a close friend of Francis Turner Palgrave. The two shared a house and both were known for their combative personalities, Henry Adams refers to them in The Education of Henry Adams, noting that Woolner had a rough personality and had to make a supernatural effort to be polite. Woolner designed the frontispiece of a youth for Palgraves famous verse anthology the Golden Treasury. The well known controversialist Jacob Omnium pointed out in a series of letters to the press that the two lived together, William Holman Hunt wrote a reply supporting Woolner, but Palgrave was forced to withdraw the catalogue. His largest single commission was a programme of architectural sculptures for the Manchester Assize Courts, Woolner created a large number of statues depicting lawgivers and rulers which formed part of the buildings structure. Most dramatic was a giant sculpture depicting Moses which was placed on the top, there were also allegorical figures of Justice and Mercy. Inside was a sculpture depicting the Judgment of Solomon, flanked by statues of a drunk woman. Alfred Waterhouse, the architect, wrote, we are all delighted with your virtuous woman, the building was bombed during World War II. Some of the sculptures were saved and incorporated into the replacement building and these demonstrate his attempt to express the tension between the static stone and the dynamic desires of the figures represented emerging into solidity from it
Thomas Woolner
–
Portrait of Woolner by
Dante Gabriel Rossetti
Thomas Woolner
–
A Celtic warrior "attacking" the dress of the woman emblematic of civilization in Woolner's sculpture Civilization (1867),
Wallington Hall, Northumberland.
Thomas Woolner
–
Woolner in later years
Thomas Woolner
–
Statue of Bishop
James Fraser, Albert Square, Manchester.
38.
Tondo (art)
–
A tondo is a Renaissance term for a circular work of art, either a painting or a sculpture. The word derives from the Italian rotondo, round, artists have created tondi since Greek antiquity. The circular paintings in the centre of painted vases of that period are known as tondi, the style was revived in the fifteenth and sixteenth centuries, particularly in Italy, where it may have developed from the smaller desco da parto or birthing tray. Since then it has been less common, in Ford Madox Browns painting The Last of England, the ships wire railing curving round the figures helps enclose the composition within its tondo shape. The background scene is consolidated or omitted, and to an extent, unimportant. While the background may be visible in paintings, in tondo relief carvings the background is not seen. Andrea della Robbia and other members of his family created glazed terracotta tondi that were framed in a wreath of fruit and leaves. In the sixteenth century the style of istoriato decoration for maiolica wares was applied to large circular dishes. The infrequently-encountered synonym rondo much more usually refers to a musical form, adoration of the Magi Taddei Tondo Doni Tondo Pitti Tondo Severan Tondo, Roman painting of c.200 AD Roberta J. M. Olson, The Florentine Tondo, Oxford 2000. Moritz Hauptmann, Der Tondo, Ursprung, Bedeutung und Geschichte des italienischen Rundbildes in Relief und Malerei, six tondi from the National Gallery, London
Tondo (art)
–
Tondo by
Andrea della Robbia
Tondo (art)
–
Madonna of the Pomegranate c. 1487 by
Sandro Botticelli. Tempera on panel. 143.5 cm diameter (
Uffizi)
Tondo (art)
–
Taddei Tondo, a
relief sculpture by
Michelangelo in the
Royal Academy, London.
39.
Museo de Arte de Ponce
–
Museo de Arte de Ponce is an art museum located on Avenida Las Americas in Ponce, Puerto Rico. It houses a collection of European art, as well as work by Puerto Rican artists, the museum contains one of the most important Pre-Raphaelite collections in the Western Hemisphere, holding some 4,500 pieces of art distributed among fourteen galleries. Museo de Arte de Ponce is considered one of the finest art museums in Puerto Rico, the largest art museum in the Caribbean, it has also been called one of the best in the Americas. It was the first museum in Puerto Rico accredited by the American Alliance of Museums and it was founded in 1959 by industrialist and philanthropist Luis A. Ferré at a location in the Ponce Historic Zone. The museum moved to its current building location on Avenida Las Americas in 1965, in 2010, the museum increased its size significantly after a $30M expansion. With the advice of two experts – Julius S. Ferré would state in a Forbes interview that the scholars and critics all called it kitsch, everyone thought I was crazy to buy them. On January 3,1959, Ferré opened the museum at a house at 70 Cristina Street in Ponce at what is today the Centro Cultural de Ponce, some of these original paintings continue to be on display today. As time passed and the gained popularity, additional works of art were added to the collections. In 1962, the Samuel H. Kress Foundation donated 15 paintings to the museum, by 1989, the museums collection had grown to 500 pieces, with a then estimated value of $50 million, equivalent to $96.6 million in present-day terms. On April 23,1964 the first stone was placed and the construction of the museum began and it was finished in 1965 and officially opened on December 28,1965. One of the features of the museum is its hexagonal galleries. The museum contained a total of 14 galleries, two gardens, and an amphitheater, and its entrance with bifurcated ladders. The museum was closed from 2008 to 2010 while undergoing renovations, re-opening in time for the celebration of its 50th anniversary on November 13,2010, after a $30 million in improvements. In the meantime, the museum exhibitions in San Juans Plaza Las Américas. The construction work was both a renovation of the structure and an expansion, increasing the size of the museum by more than 40%. The $20-turn-$30 million renovation included a new building to house a historic archive. After the expansion the total footage of the museum came to 77,745 square feet. The expansion intended to provided facilities for educational purposes and an art history library as well as to room for a museum shop
Museo de Arte de Ponce
–
Exterior view of the museum
Museo de Arte de Ponce
–
Main hall of the museum
Museo de Arte de Ponce
–
Flaming June, by Fredric Leighton
40.
Ponce, Puerto Rico
–
Ponce is both a city and a municipality in the southern part of Puerto Rico. The city is the seat of the municipal government, Ponce, Puerto Ricos most populated city outside the San Juan metropolitan area, is named for Juan Ponce de León y Loayza, the great-grandson of Spanish conquistador Juan Ponce de León. Ponce is often referred to as La Perla del Sur, La Ciudad Señorial, the city serves as the governmental seat of the autonomous municipality as well as the regional hub for various Government of Puerto Rico entities, such as the Judiciary of Puerto Rico. It is also the center for various other commonwealth and federal government agencies. The municipality has a total of 31 barrios, including 19 outside the urban area and 12 in the urban area of the city. Ponce is a city of both the Ponce Metropolitan Statistical Area and the Ponce-Yauco-Coamo Combined Statistical Area. The municipality of Ponce is the second largest in Puerto Rico by land area, the region of what is now Ponce belonged to the Taíno Guaynia region, which stretched along the southern coast of Puerto Rico. Agüeybaná, a cacique who led the region, was among those that greeted Spanish conquistador Juan Ponce de León when he came to the island in 1508. Archeological findings have identified four sites within the municipality of Ponce with archeological significance, Canas, Tibes, Caracoles, during the first years of the colonization, Spanish families started settling around the Jacaguas River, in the south of the island. For security reasons, these moved to the banks of the Rio Portugués. Starting around 1646 the whole area from the Rio Portugués to the Bay of Guayanilla was called Ponce, in 1670, a small chapel was raised in the middle of the small settlement and dedicated in honor of Our Lady of Guadalupe. Among its earliest settlers were Juan Ponce de León y Loayza, on September 17,1692, the King of Spain Carlos II issued a Cédula Real converting the chapel into a parish, and in so doing officially recognizing the small settlement as a hamlet. It is believed that Juan Ponce de León y Loayza, Juan Ponce de Leóns great-grandson, was instrumental in obtaining the permit to formalize the founding of the hamlet. Captains Enrique Salazar and Miguel del Toro where also instrumental, the city is named after Juan Ponce de León y Loayza, the great-grandson of Spanish conquistador Juan Ponce de León. In the early 18th century Don Antonio Abad Rodriguez Berrios built a chapel under the name of San Antonio Abad. The area would receive the name of San Antón, a historically important part of modern Ponce. In 1712 the village was chartered as El Poblado de Nuestra Señora de Guadalupe de Ponce, in the early 19th century, Ponce continued to be one of dozens of hamlets that dotted the Island. Its inhabitants survived by subsistence agriculture, cattle raising, and maritime contraband with foreigners, however, in the 1820s, three events took place that dramatically changed the size of the town forever
Ponce, Puerto Rico
–
Ponce as seen from
El Vigia, with the
Caribbean Sea and
Caja de Muertos in the background
Ponce, Puerto Rico
–
Ponce's town center, circa 1900
Ponce, Puerto Rico
–
Many mid-18th-century immigrants made fortunes in Ponce, like the owner of this restored coffee plantation (
Hacienda Buena Vista) founded in 1833; today it is a point of interest in the municipality
Ponce, Puerto Rico
–
U.S. troopships and convoy at
Playa de Ponce, in 1898, coincided with a period of economic stagnation for Ponce
41.
Victorian era
–
The Victorian era was the period of Queen Victorias reign, from 20 June 1837 until her death on 22 January 1901. It was a period of peace, prosperity, refined sensibilities. Some scholars date the beginning of the period in terms of sensibilities, the era followed the Georgian period and preceded the Edwardian period. The later half of the Victorian age roughly coincided with the first part of the Belle Époque era of continental Europe, culturally there was a transition away from the rationalism of the Georgian period and toward romanticism and mysticism with regard to religion, social values, and arts. The end of the saw the Boer War. Domestically, the agenda was increasingly liberal with a number of shifts in the direction of political reform, industrial reform. Two especially important figures in period of British history are the prime ministers Benjamin Disraeli and William Gladstone. Disraeli, favoured by the queen, was a gregarious Conservative and his rival Gladstone, a Liberal distrusted by the Queen, served more terms and oversaw much of the overall legislative development of the era. The population of England and Wales almost doubled from 16.8 million in 1851 to 30.5 million in 1901, Scotlands population also rose rapidly, from 2.8 million in 1851 to 4.4 million in 1901. However, Irelands population decreased sharply, from 8.2 million in 1841 to less than 4.5 million in 1901, mostly due to the Great Famine. Between 1837 and 1901 about 15 million emigrants departed the UK permanently, in search of a life in the United States, Canada, South Africa, New Zealand, Australia. During the early part of the era, politics in the House of Commons involved battles between the two parties, the Whigs/Liberals and the Conservatives. These parties were led by such prominent statesmen as Lord Melbourne, Sir Robert Peel, Lord Derby, Lord Palmerston, Gladstone, Disraeli, Victoria became queen in 1837 at age 18. Her long reign until 1901 was mainly a time of peace, Britain reached the zenith of its economic, political, diplomatic and cultural power. The era saw the expansion of the second British Empire, Historians have characterised the mid-Victorian era as Britains Golden Years. There was prosperity, as the income per person grew by half. There was peace abroad, and social peace at home, opposition to the new order melted away, says Porter. The Chartist movement peaked as a movement among the working class in 1848, its leaders moved to other pursuits, such as trade unions
Victorian era
–
Queen Victoria, after whom the era is named
Victorian era
–
The Louth-London
Royal Mail travelling by train from
Peterborough East, 1845
Victorian era
–
A picture of
Leadenhall Street, London, c. 1837
Victorian era
–
The Poultry Cross,
Salisbury, painted by
Louise Rayner, c. 1870
42.
Soup kitchen
–
A soup kitchen, meal center, or food kitchen is a place where food is offered to the hungry for free or at a below market price. Frequently located in neighborhoods, they are often staffed by volunteer organizations. Many historical and some modern soup kitchens serve only soup with perhaps some bread, while societies have been using various methods to share food with the hungry for millennia, the first soup kitchens in the modern sense may have emerged in the late 18th century. By the late 19th century, they were to be found in several American and European cities, in the United States and elsewhere, they became more prominent in the 20th century during the Great Depression. With the improved economic conditions that followed World War II, soup kitchens became less widely used, in the United States there was a resurgence in the use of soup kitchens following the cutbacks in welfare that were implemented in the early 1980s. In the 21st century, the use of soup kitchens expanded in both the United States and Europe, following the lasting global inflation in the price of food began in late 2006. Demand for their services grew as the Great Recession began to worsen economic conditions for those on low income, in much of Europe, demand further increased after the introduction of austerity-based economic policies from 2010. The earliest occurrences of soup kitchens are difficult to identify, throughout history, societies have invariably recognized a moral obligation to feed the hungry. The philosopher Simone Weil wrote that feeding the hungry when one has resources to do so is the most obvious obligation of all. She also said that as far back as Ancient Egypt, it was believed that people needed to show they had helped the hungry in order to themselves in the afterlife. Soup has long been one of the most economical and simple ways to supply food to large numbers of people. As markets began to replace the older forms of resource allocation such as Redistribution, Reciprocity, but food insecurity could become worse for the poorest section of society, and the need arose for more formal methods for providing them with food. Christian churches traditionally provided food for the hungry since Late antiquity, the earliest modern soup kitchens were established by the inventor Sir Benjamin Thompson, who was employed as an aide-de-camp to the Elector of Bavaria in the 1790s. Thompson was an American loyalist refugee from New England an inventor who was ennobled by Bavaria as Count Rumford, the count was a prominent advocate of hunger relief, writing pamphlets that were widely read across Europe. His message was well received in Great Britain, where he had previously held a senior government position for several years and was known as the Colonel. An urgent need had arisen in Britain for food relief. While technological development and economic reforms were rapidly increasingly overall prosperity, conditions for the poorest were often made worse, as traditional ways of life were disrupted. While soup kitchens were generally regarded, they did attract criticism from some, for encouraging dependency
Soup kitchen
–
A soup kitchen in
Montreal,
Canada in 1931.
Soup kitchen
–
Sir Benjamin Thompson, painted by
Thomas Gainsborough, 1783.
Soup kitchen
–
Chilean women preparing soup kitchen meals in 1932.
Soup kitchen
–
Members of the
United States Navy serve the homeless at Dorothy's Soup Kitchen,
Salinas, California in 2009.
43.
William Morris
–
William Morris was an English textile designer, poet, novelist, translator, and socialist activist. Associated with the British Arts and Crafts Movement, he was a contributor to the revival of traditional British textile arts. His literary contributions helped to establish the modern fantasy genre, while he played a significant role in propagating the early socialist movement in Britain. Born in Walthamstow, Essex, to a wealthy family, Morris came under the strong influence of medievalism while studying Classics at Oxford University. Webb and Morris designed a home, Red House, then in Kent. In 1861, Morris founded a decorative arts firm with Burne-Jones, Rossetti, Webb, and others, in 1875, Morris assumed total control of the company, which was renamed Morris & Co. Although retaining a main home in London, from 1871 Morris rented the rural retreat of Kelmscott Manor, greatly influenced by visits to Iceland, with Eiríkr Magnússon he produced a series of English-language translations of Icelandic Sagas. In 1877 he founded the Society for the Protection of Ancient Buildings to campaign against the damage caused by architectural restoration, in 1891 he founded the Kelmscott Press to publish limited-edition, illuminated-style print books, a cause to which he devoted his final years. Morris is recognised as one of the most significant cultural figures of Victorian Britain, though best known in his lifetime as a poet, founded in 1955, the William Morris Society is devoted to his legacy, while multiple biographies and studies of his work have seen publication. Many of the associated with his life are open to visitors, much of his work can be found in art galleries and museums. Morris was born at Elm House in Walthamstow, Essex, on 24 March 1834. Raised into a wealthy family, he was named after his father. His mother was Emma Morris, who came from Woodford Hall in Woodford, Essex and he also took rides through the Essex countryside on his pony, and visited the various churches and cathedrals throughout the country, marveling at their architecture. His father took him on visits outside of the county, for instance to Canterbury Cathedral, the Chiswick Horticultural Gardens, and to the Isle of Wight, where he adored Blackgang Chine. In February 1848 Morris began his studies at Marlborough College in Marlborough, Wiltshire and he despised his time there, being bullied, bored, and homesick. He did use the opportunity to many of the prehistoric sites of Wiltshire, such as Avebury and Silbury Hill. At Christmas 1851, Morris was removed from the school and returned to Water House, guy, Assistant Master at the nearby Forest School. In June 1852 Morris entered Oxford Universitys Exeter College, although since the college was full and he disliked the college and was bored by the manner in which they taught him Classics
William Morris
–
William Morris by
Frederick Hollyer, 1887
William Morris
–
Water House, Morris' childhood home; renovated in 2012, it now houses The
William Morris Gallery
William Morris
–
William Morris self-portrait, 1856; Morris grew his beard that year, after leaving university.
William Morris
–
Morris's painting La belle Iseult, also inaccurately called Queen Guinevere, is his only surviving easel painting, now in the
Tate Gallery, 1858.
44.
Edward Burne-Jones
–
Burne-Joness early paintings show the heavy inspiration of Dante Gabriel Rossetti, but by the 1860s Burne-Jones was discovering his own artistic voice. In 1877, he was persuaded to show eight oil paintings at the Grosvenor Gallery and these included The Beguiling of Merlin. The timing was right, and he was taken up as a herald, Edward Coley Burne Jones was born in Birmingham, the son of a Welshman, Edward Richard Jones, a frame-maker at Bennetts Hill, where a blue plaque commemorates the painters childhood. He attended Birminghams King Edward VI grammar school from 1844 and the Birmingham School of Art from 1848 to 1852, before studying theology at Exeter College, at Oxford he became a friend of William Morris as a consequence of a mutual interest in poetry. The members of the Brotherhood read John Ruskin and Tennyson, visited churches, at this time Burne-Jones discovered Thomas Malorys Le Morte dArthur which was to be so influential in his life. In February 1857, Rossetti wrote to William Bell Scott In 1856 Burne-Jones became engaged to Georgiana Georgie MacDonald and she was training to be a painter, and was the sister of Burne-Joness old school friend. The couple married in 1860, after which she made her own work in woodcuts, Georgiana bore a son, Philip, in 1861. A second son, born in the winter of 1864 while Georgiana was gravely ill with scarlet fever, the family soon moved to 41 Kensington Square, and their daughter Margaret was born there in 1866. In 1867 Burne-Jones and his family settled at the Grange, an 18th-century house set in a garden in North End, Fulham. During these difficult years Georgiana developed a friendship with Morris. Morris and Georgie may have been in love, but if he asked her to leave her husband, in the end, the Burne-Joneses remained together, as did the Morrises, but Morris and Georgiana were close for the rest of their lives. His troubled son Philip, who became a portrait painter. His adored daughter Margaret married John William Mackail, the friend and biographer of Morris and their children were the novelists Angela Thirkell and Denis Mackail. In an edition of the magazine, Chums, an article on Burne-Jones stated that. his pet grandson used to be punished by being sent to stand in a corner with his face to the wall. One day on being sent there he was delighted to find the wall prettily decorated with fairies, flowers, birds and his indulgent grandfather had utilised his talent to alleviate the tedium of his favourites period of penance. Burne-Jones once admitted that after leaving Oxford he found himself at five-and-twenty what he ought to have been at fifteen and he had had no regular training as a draughtsman, and lacked the confidence of science. Many are pen-and-ink drawings on vellum, exquisitely finished, of which his Waxen Image is one of the earliest and best examples, although the subject, medium and manner derive from Rossettis inspiration, it is not the hand of a pupil merely, but of a potential master. This was recognized by Rossetti himself, who before long avowed that he had nothing more to teach him
Edward Burne-Jones
–
Photogravure of a portrait of Edward Burne-Jones by his son
Philip Burne-Jones, 1898
Edward Burne-Jones
–
Burne-Jones with William Morris, 1874, by
Frederick Hollyer.
Edward Burne-Jones
–
Portrait of Georgiana Burne-Jones, with Philip and Margaret, 1883
Edward Burne-Jones
–
Margaret, daughter of Edward Coley Burne-Jones
45.
Henry Mark Anthony
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Henry Mark Anthony was an English landscape artist, often favourably compared to John Constable by critics. He exhibited at major art institutions and travelled widely, being credited with introducing the en plein air style of painting to Britain. Anthony was born at Rusholme Lane, Manchester, of Welsh ancestry, and was the son of John Anthony, merchant. The family moved to Cowbridge, Glamorgan, around 1823, Anthony was apprenticed to a doctor called Harrison who, being an amateur artist himself, encouraged his artistic leanings. Subsequently he is reported to have been a pupil of his cousin George Wilfred Anthony, Anthony moved to London around 1833. Patronage and a legacy received in the 1830s, allowed him to travel, Anthony was among the first British artists to introduce the French style of plein-air landscape painting to London. He exhibited regularly at the Royal Academy, between 1837 and 1884, the British Institution, and the Society of British Artists. He was elected a member of the latter in 1845, resigning in 1852 in the hope that it would assist his election to associateship of the Royal Academy. In 1843 he showed one of his paintings at the Royal Birmingham Society of Artists and he also exhibited once at the Grosvenor Gallery and the Liverpool Academy, winning the 1854 prize of £50 for Natures Mirror. He travelled and painted in England and Wales, France, the Netherlands, Ireland, at the time, Anthony was considered the second best British landscape artist after John Constable. However, new developments in British art after 1860, and his failure to be elected to the Royal Academy, Anthony was admired by the Pre-Raphaelite Brotherhood. Anthony was a friend of Ford Madox Brown, mentioned frequently in Browns diaries - in 1851. Dante Gabriel Rossetti helped to secure Anthony the patronage of the important Newcastle collector James Leathart in the 1860s, at about the same time, Anthony corresponded with the famous Birmingham pen-maker and art patron Joseph Gillott. He intended to buy from Gillott musical instrument in exchange for cash or one of his paintings, Anthonys art dealer was Sergeant Ralph Thomas who was said to pay Anthony sixpence a minute for his pictures and owned about one hundred sketches by him. Anthonys only known portrait was painted by George Phoenix and it was on loan from Phoenix to Wolverhampton Art Gallery until 1931, when it was returned to Anthonys descendants. Anthony married Eleanor Sophia Marshall and had at least three daughters, Phoebe Grace, Constance and Grace, one of his cousins was George Wilfred Anthony, drawing master, landscape painter and art critic. Henry Mark Anthony died in London at The Lawn, Hampstead, a number of his paintings were subsequently purchased by Wolverhampton postmaster George Fardo. Eventually he passed these paintings to Philip Horsman, Wolverhampton builder and they are now in the collection of Wolverhampton Art Gallery
Henry Mark Anthony
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George Phoenix. Portrait of Henry Mark Anthony. 1880s. Present location unknown
Henry Mark Anthony
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Henry Mark Anthony. Nature's Mirror. 1854
46.
Meopham
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Meopham /ˈmɛpəm/ is a large linear village and civil parish in the Borough of Gravesham and ceremonial county of Kent, in England, and lies to the south of Gravesend. The parish covers 6.5 square miles, and comprises two villages and two settlements, it has a population of 6,427, increasing slightly to 6,722 at the 2011 census. Meopham is the longest village in Europe, being 7 miles in length, the name of the village derives from Meapaham, it is first recorded in 788, in the reign of King Offa. The modern pronunciation of the name comes from different ways of writing and spelling, edward Hasted in 1797 described the village as being out of the way and with no well frequented thoroughfare through it. Historically, the parish of Meopham was in the Hundred of Toltingtrough, the parish comprises the main village, divided into four named settlements, the outlying village of Harvel, and two other settlements, Dodmore and Culverstone. The Parish Council, which now owns the lordship of the manor of Meopham, meets at Meopham Windmill, from the north along the main A227, the four settlements are Hook Green, The Street, Meopham Green, and Culverstone. The first three contain conservation areas, there were originally seven village greens in the parish, only three remain today. Hook Green is the most northerly of the settlements, originally called Hoo Green, it lies around a small triangular village green to the west of the main road. There are again listed buildings in the area, including the Weavers Cottage. More modern developments are situated near to Meopham Railway Station to the north, there is also an Italian restaurant, Bartellas, formerly the Fox & Hounds public house. In addition, there are other historic buildings, including The George Inn. At The George Inn there is still the Courtroom Bar, the room in which the baron of the manor was held. The present lord of the manor of Dodmore owns the Tudor manor house, the family of the cricketer Thomas Nordish worked Dodmore Manor Farm. In the late 20th century Ifield CC relocated to within Dodmores ancient manorial boundaries, Meopham Green is by far the largest remaining village green in the parish. The main road passes to the west, around the two sides are buildings, many of which are of 18th- and 19th-century origin. Here are two houses, the Kings Arms, and the The Cricketers Inn, previously The Long Hop. Just to the north of the Green is Meopham Vineyard, Culverstone Green is the most southerly of the main village settlements. The original village green has mostly given up to road widening
Meopham
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Meopham Green
47.
Lucy Madox Brown
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Lucy Madox Brown Rossetti was an artist, author and model associated with the Pre-Raphaelites and married to the writer and art critic William Michael Rossetti. She was the daughter of Ford Madox Brown and Elisabeth Bromley, born in 1843 in Paris, her mother died just three years later in 1846, and she was sent to live with her aunt Helen Bromley in Gravesend, Kent. In 1856 she went to live with the Rossetti household in London and was tutored by her future sister-in-law and she visited the Manchester Art Treasures Exhibition in 1857. Her sister Catherine Madox Brown described her as a mixture with a violent temper. In the summer of 1873 she became engaged to William Michael Rossetti, William was the son of Gabriele Rossetti and the brother of Maria Francesca Rossetti, Dante Gabriel Rossetti and Christina Georgina Rossetti. There was an age gap between the couple but they had much in common, they were both agnostic, with strong views on art, feminism and liberal politics. They honeymooned in France and Naples, Italy, in April 1874 and she began painting in 1868, and along with her half sister Catherine, modelled and worked as an assistant under their father. Other female Pre-Raphaelite artists such as Georgiana Burne-Jones, the sister of Thomas Seddon, working mainly in watercolours, she exhibited in Dudley Museum and Art Gallery from 1869 to 1872. Her painting, The Duet, which was exhibited at the Royal Academy in 1870, was described by Dante Gabriel Rossetti as a perfect picture. She wrote the biography of Mary Wollstonecraft Godwin, Mrs. Shelley, for John Ingrams Eminent Women series, from 1855 she suffered from consumption and went to Italy for her health during the winter. Due to her illness, sexual relations with her husband ceased by late 1892 and she died on 12 April 1894 at the Hotel Victoria in Sanremo, Italy, in the presence of her husband and her daughter Olivia, and was buried in La Foce Cemetery. Lucys will left everything to her children, which Dinah Roe suggests was intended to protect them in the event William remarried in the future, Romeo and Juliet,1870, Wightwick Manor, Wolverhampton, UK. Study for Romeo and Juliet,28 x 33.6 cm, chalk on paper, sold Christies sale Lots 26-35,1870, oil on canvas, private collection. Après le Bal,1870, watercolour, private collection, the Magic Mirror,1872, private collection. Margaret Roper Receiving the Head of her Father 1873, oil on canvas, St Thomas More, reproduction of Portrait by Dante Gabriel Rossetti at the Rossetti Archive. Portrait by Dante Gabriel Rossetti at Wightwick Manor, West Midlands, Rossetti, Lucy Madox Brown, painter and biographer, Oxford Dictionary of National Biography Thirlwell, Angela, Into The Frame, The Four Loves of Ford Madox Brown ---. William and Lucy, The Other Rossettis, ISBN 0-300-10200-3 Marsh, Jan and Nunn, Pamela Gerrish, Women Artists and the Pre-Raphaelite Movement Marsh, Jan, Pre-Raphaelite Sisterhood, ISBN9780704301696 Roe, Dinah The Rossettis in Wonderland. A Victorian Family History, ISBN 978-1-907822-01-8 Garnett, Richard, Dictionary of National Biography,1901 supplement
Lucy Madox Brown
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1874 portrait by
Dante Gabriel Rossetti
Lucy Madox Brown
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The Duet by Lucy Madox Brown (1870)
Lucy Madox Brown
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Portrait of Lucy Madox Brown by her father,
Ford Madox Brown
Lucy Madox Brown
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Signature of Lucy Madox Brown
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Catherine Madox Brown
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Born out of wedlock 11 November 1850 in London, Catherine was named after Emmas mother. Emma and Catherine posed as the mother and child in Pretty Baa-Lambs and she married Francis Hueffer on the 3 September 1872. They had two surviving sons, Ford Madox Ford born 1873 and Oliver Madox Hueffer, both writers and their daughter, Juliet, married Russian revolutionary journalist David Soskice, their son Frank Soskice became Home Secretary. Emma left Catherine all of her property after her death in September 1890, Francis Hueffer died in January 1899. She began painting along with her half sister Lucy Madox Brown, Other female Pre-Raphaelite artists such as Georgiana Burne-Jones, the sister of Thomas Seddon and Marie Spartali Stillman also took lessons in the same studio. The Fine Art and Antiques fair Olympia, London,2000 by Campbell Wilson, birmingham Museums & Art Gallery, Catherine Madox Brown Thirlwell, Angela, Into The Frame, The Four Loves of Ford Madox Brown ---. William and Lucy, The Other Rossettis, ISBN 0-300-10200-3 Marsh, Jan and Nunn, Pamela Gerrish, Women Artists and the Pre-Raphaelite Movement Marsh, Jan, Pre-Raphaelite Sisterhood, Roe, Dinah The Rossettis in Wonderland
Catherine Madox Brown
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Catherine Madox Brown (unfinished)
Catherine Madox Brown
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Waiting: an English fireside of 1854-55 by Ford Madox Brown
Catherine Madox Brown
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Pretty Baa-Lambs by Ford Madox Brown, oil on panel, 1851/1859, Birmingham Museums and Art Gallery
Catherine Madox Brown
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Stages of Cruelty (Catherine Madox Brown is the child), 1857, Manchester Art Gallery
Pre-Raphaelites: Curator's choice – Ford Madox Brown's Work, Tate Gallery
