1.
Lambeth
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Lambeth is a district in Central London, England, located in the London Borough of Lambeth. It is situated 1 mile south of Charing Cross, the population of Lambeth was 23,937 in 2011. The area experienced some growth in the medieval period as part of the manor of Lambeth Palace. By the Victorian era the area had seen significant development as London expanded, the changes brought by World War II altered much of the fabric of Lambeth. Subsequent development in the late 20th century and early 21st century has seen an increase in the number of high-rise buildings, the area is home to the International Maritime Organization. The origins of the name of Lambeth come from its first record in 1062 as Lambehitha, meaning landing place for lambs, in the Domesday Book, Lambeth is called Lanchei, likely in error. The name refers to a harbour where lambs were either shipped from or to and it is formed from the Old English lamb and hythe. South Lambeth is recorded as Sutlamehethe in 1241 and North Lambeth is recorded in 1319 as North Lamhuth, the manor of Lambeth is recorded as being under ownership of the Archbishop of Canterbury from at least 1190. The Archbishops led the development of much of the manor, with Archbishop Hubert Walter creating the residence of Lambeth Palace in 1197, Lambeth and the palace were the site of two important 13th century international treaties, the Treaty of Lambeth 1217 and the Treaty of Lambeth 1212. Edward, the Black Prince lived in Lambeth in the 14th century in an estate that incorporated the land not belonging to the Archbishops, which also included Kennington. As such, much of the land of Lambeth to this day remains under Royal ownership as part of the estate of the Duchy of Cornwall. The road names, Norfolk Place and Norfolk Row reflect the history, Lambeth Palace lies opposite the southern section of the Palace of Westminster on the Thames. The two were linked by a horse ferry across the river. Until the mid-18th century the north of Lambeth was marshland, crossed by a number of roads raised against floods, the marshland in the area, known as Lambeth Marshe, was drained in the 18th century but is remembered in the Lower Marsh street name. The subsequent growth in road and marine transport, along with the development of industry in the wake of the revolution brought great change to the area. The area grew with a population at this time, many of whom were considerably poor. As a result, Lambeth opened a workhouse in 1726. In 1777 a parliamentary report recorded a parish workhouse in operation accommodating up to 270 inmates and its operation was overseen by an elected Board of twenty Guardians
2.
London
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London /ˈlʌndən/ is the capital and most populous city of England and the United Kingdom. Standing on the River Thames in the south east of the island of Great Britain and it was founded by the Romans, who named it Londinium. Londons ancient core, the City of London, largely retains its 1. 12-square-mile medieval boundaries. London is a global city in the arts, commerce, education, entertainment, fashion, finance, healthcare, media, professional services, research and development, tourism. It is crowned as the worlds largest financial centre and has the fifth- or sixth-largest metropolitan area GDP in the world, London is a world cultural capital. It is the worlds most-visited city as measured by international arrivals and has the worlds largest city airport system measured by passenger traffic, London is the worlds leading investment destination, hosting more international retailers and ultra high-net-worth individuals than any other city. Londons universities form the largest concentration of education institutes in Europe. In 2012, London became the first city to have hosted the modern Summer Olympic Games three times, London has a diverse range of people and cultures, and more than 300 languages are spoken in the region. Its estimated mid-2015 municipal population was 8,673,713, the largest of any city in the European Union, Londons urban area is the second most populous in the EU, after Paris, with 9,787,426 inhabitants at the 2011 census. The citys metropolitan area is the most populous in the EU with 13,879,757 inhabitants, the city-region therefore has a similar land area and population to that of the New York metropolitan area. London was the worlds most populous city from around 1831 to 1925, Other famous landmarks include Buckingham Palace, the London Eye, Piccadilly Circus, St Pauls Cathedral, Tower Bridge, Trafalgar Square, and The Shard. The London Underground is the oldest underground railway network in the world, the etymology of London is uncertain. It is an ancient name, found in sources from the 2nd century and it is recorded c.121 as Londinium, which points to Romano-British origin, and hand-written Roman tablets recovered in the city originating from AD 65/70-80 include the word Londinio. The earliest attempted explanation, now disregarded, is attributed to Geoffrey of Monmouth in Historia Regum Britanniae and this had it that the name originated from a supposed King Lud, who had allegedly taken over the city and named it Kaerlud. From 1898, it was accepted that the name was of Celtic origin and meant place belonging to a man called *Londinos. The ultimate difficulty lies in reconciling the Latin form Londinium with the modern Welsh Llundain, which should demand a form *lōndinion, from earlier *loundiniom. The possibility cannot be ruled out that the Welsh name was borrowed back in from English at a later date, and thus cannot be used as a basis from which to reconstruct the original name. Until 1889, the name London officially applied only to the City of London, two recent discoveries indicate probable very early settlements near the Thames in the London area
3.
Natural history
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Natural history is the research and study of organisms including animals, fungi and plants in their environment, leaning more towards observational than experimental methods of study. It encompasses scientific research but is not limited to it, with articles nowadays more often published in magazines than in academic journals. Grouped among the sciences, natural history is the systematic study of any category of natural objects or organisms. That is a broad designation in a world filled with many narrowly focused disciplines. For example, geobiology has a strong multi-disciplinary nature combining scientists, a person who studies natural history is known as a naturalist or natural historian. The English term natural history is a translation of the Latin historia naturalis and its meaning has narrowed progressively with time, while the meaning of the related term nature has widened. In antiquity, it covered essentially anything connected with nature or which used materials drawn from nature. For example, Pliny the Elders encyclopedia of this title, published circa 77 to 79 AD, covers astronomy, geography, man and his technology, medicine and superstition as well as animals and plants. Medieval European academics considered knowledge to have two divisions, the humanities and divinity, with science studied largely through texts rather than observation or experiment. In modern terms, natural philosophy roughly corresponded to modern physics and chemistry, natural history had been encouraged by practical motives, such as Linnaeus aspiration to improve the economic condition of Sweden. Similarly, the Industrial Revolution prompted the development of geology to help find useful mineral deposits, the astronomer, William Herschel was also a natural historian. Instead of working with plants or minerals he worked with the stars and he spent his time building telescopes to see the stars and the rest of the time watching the stars. In the beginning, he believed there to be a known as a nebulae. Herschel can be considered a natural historian because he observed the natural world, in the process he made charts of all the stars and kept records of all that he saw. S. Wilcove and T. Eisner, The close observation of organisms—their origins, their evolution, their behavior and it encompasses changes in internal states insofar as they pertain to what organisms do. Some definitions go further, focusing on observation of organisms in their environment. Bartholomew, A student of history, or a naturalist, studies the world by observing plants. A common thread in many definitions of natural history is the inclusion of a component, as seen in a recent definition by H. W. Greene
4.
English Botany
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English Botany is the title of a major publication of British plants, an enormous set of volumes that was issued between 1790 and 1813. Smith were illuminated by Sowerbys 2,592 hand-colored plates, the volumes were issued by subscription, as a part work over 23 years, until its eventual completion in 1813. This amounted to 36 volumes which came to be referred to Sowerbys Botany, while extensive, the work was never intended to be comprehensive, Smith would be the first to do such a survey with his first two volumes of Flora Britannica at the end of that century. Combined with increased sales of books, and the amateurs and gardeners enthusiasum for botany, identification of the plants, in correspondence with the details in the plates, gave the work accuracy and utility beyond that of decorative books and more akin to formal botanical works. However, the first four volumes of English Botany came to be misattributed due to a request by Smith to remain anonymous on the title. Sowerbys name as the publisher, with a credit to himself as illustrator, the title is still given in book sales as Sowerbys. The illustrations allowed a reader not familiar with botany to identify plants, also, however, Smith was derisive of the ability of images alone to describe a plant. The graphics needed the formal description and explanation, without which only a superficial knowledge could be gained from the text, despite disagreement between the two men, they continued to issue the work, the absence of Smiths name in the title was corrected in later volumes and editions. Considered to be the first extensive coverage of British flora, there was none of the kingdom Fungi, without Smith, Sowerby added Coloured figures of English fungi, for the species of this domain. Later editions of the book were to take advantage of a colour printing. The third edition in 1883 saw editor John Boswell alter the text and include a popular portion
5.
Royal Academy of Arts
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The Royal Academy of Arts is an art institution based in Burlington House on Piccadilly in London. The Royal Academy of Arts was founded through an act of King George III on 10 December 1768 with a mission to promote the arts of design in Britain through education and exhibition. Supporters wanted to foster a national school of art and to encourage appreciation, fashionable taste in 18th-century Britain was based on continental and traditional art forms, providing contemporary British artists little opportunity to sell their works. From 1746 the Foundling Hospital, through the efforts of William Hogarth, the success of this venture led to the formation of the Society of Artists of Great Britain and the Free Society of Artists. Both these groups were primarily exhibiting societies, their success was marred by internal factions among the artists. The combined vision of education and exhibition to establish a school of art set the Royal Academy apart from the other exhibiting societies. It provided the foundation upon which the Royal Academy came to dominate the art scene of the 18th and 19th centuries, supplanting the earlier art societies. Sir William Chambers, a prominent architect, used his connections with George III to gain royal patronage and financial support of the Academy, the painter Joshua Reynolds was made its first president. Francis Milner Newton was elected the first secretary, a post he held for two decades until his resignation in 1788, the instrument of foundation, signed by George III on 10 December 1768, named 34 founder members and allowed for a total membership of 40. William Hoare and Johann Zoffany were added to this list later by the King and are known as nominated members, among the founder members were two women, a father and daughter, and two sets of brothers. The Royal Academy was initially housed in cramped quarters in Pall Mall, although in 1771 it was given temporary accommodation for its library and schools in Old Somerset House, then a royal palace. In 1780 it was installed in purpose-built apartments in the first completed wing of New Somerset House, located in the Strand and designed by Chambers, the Academy moved in 1837 to Trafalgar Square, where it occupied the east wing of the recently completed National Gallery. These premises soon proved too small to house both institutions, in 1868,100 years after the Academys foundation, it moved to Burlington House, Piccadilly, where it remains. Burlington House is owned by the British Government, and used rent-free by the Royal Academy, the first Royal Academy exhibition of contemporary art, open to all artists, opened on 25 April 1769 and ran until 27 May 1769. 136 works of art were shown and this exhibition, now known as the Royal Academy Summer Exhibition, has been staged annually without interruption to the present day. In 1870 the Academy expanded its programme to include a temporary annual loan exhibition of Old Masters. The range and frequency of these exhibitions have grown enormously since that time. Britains first public lectures on art were staged by the Royal Academy, led by Reynolds, the first president, a program included lectures by Dr. William Hunter, John Flaxman, James Barry, Sir John Soane, and J. M. W. Turner
6.
Curtis's Botanical Magazine
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The Botanical Magazine, or Flower-Garden Displayed, is an illustrated publication which began in 1787. The longest running botanical magazine, it is referred to by the subsequent name Curtiss Botanical Magazine. Each of the issues contains a description, in yet accessible language. Many plants received their first publication on the pages, and the description given was enhanced by the keenly detailed illustrations, the first issue, published on 1 February 1787, was begun by William Curtis, as both an illustrated gardening and botanical journal. Curtis was an apothecary and botanist who held a position at Kew Gardens, the publication familiarized its readers with ornamental and exotic plants, which it presented in octavo format. Artists who had given over their flower paintings to an affluent audience. The illustrations were initially hand-coloured prints, taken from copper engravings, identification by a general reader was given in exploded details, some of which were given as a section. This was accompanied by a page or two of text describing the properties, history, growth characteristics, and some common names for the species. The first volumes illustrations were mostly by Sydenham Edwards, a dispute with the editors saw his departure to start the rival The Botanical Register. The credit for the first plate goes to James Sowerby, as did a dozen of Edwards contributions, the first thirty volumes used copper engraving to provide the plates, the hand colouring of these was performed by up to thirty people. An issue might have a circulation of 3000 copies, with 3 plates in each, as costs of production rose, and demand increased, results would be variable within a run. The later use of machine colouring would provide uniformity to the artists work, the magazine has been considered to be the premier journal for early botanical illustration. When Curtis died, having completed 13 volumes, his friend John Sims became editor between 1801 and 1807 and changed the name, William Hooker was the editor from 1826, bringing to it his experience as a botanist, and as author of the rival magazine, Exotic Botany. W. J. Hooker brought the artist Walter Hood Fitch to the magazine, Joseph Dalton Hooker followed his father, becoming the Director of Kew Gardens in 1865, and editor of its magazine. She rendered almost 100 illustrations for publication during the period 1878–1880, helping to keep the magazine viable until the principal artist. Like Thiselton-Dyer, Smith was brought to the magazine by Hooker, between 1878 and 1923 Smith drew over 2,300 plates for Curtiss. Her exceptional contribution was to see her become the first botanic artist of Kew, the scientific value of the figures and illustration, a source of pride and notability for the magazine, required the careful training of the illustrators. The magazine is the greatest serial of botanical illustration yet produced, other 19th century artists who contributed largely to the magazine include Augusta Innes Withers and Anne Henslow Barnard, Joseph Dalton Hookers sister-in-law, who was active in the period 1879–1894
7.
Still life
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A still life is a work of art depicting mostly inanimate subject matter, typically commonplace objects which may be either natural or man-made. Still life gives the artist more freedom in the arrangement of elements within a composition than do paintings of other types of such as landscape or portraiture. Early still-life paintings, particularly before 1700, often contained religious, some modern still life breaks the two-dimensional barrier and employs three-dimensional mixed media, and uses found objects, photography, computer graphics, as well as video and sound. Still life emerged from the painting of details in larger compositions with subjects, the term includes the painting of dead animals, especially game. Live ones are considered art, although in practice they were often painted from dead models. The still-life category also shares commonalities with zoological and especially botanical illustration, generally a still life includes a fully depicted background, and puts aesthetic rather than illustrative concerns as primary. Still life occupied the lowest rung of the hierarchy of genres, the trompe-lœil painting, which intends to deceive the viewer into thinking the scene is real, is a specialized type of still life, usually showing inanimate and relatively flat objects. Still-life paintings often adorn the interior of ancient Egyptian tombs and it was believed that food objects and other items depicted there would, in the afterlife, become real and available for use by the deceased. Ancient Greek vase paintings also demonstrate great skill in depicting everyday objects, by the 16th century, food and flowers would again appear as symbols of the seasons and of the five senses. Also starting in Roman times is the tradition of the use of the skull in paintings as a symbol of mortality and earthly remains and these vanitas images have been re-interpreted through the last 400 years of art history, starting with Dutch painters around 1600. As Pliny the Elder recorded in ancient Roman times, Greek artists centuries earlier were already advanced in the arts of painting, genre painting. He singled out Peiraikos, whose artistry is surpassed by only a very few, by 1300, starting with Giotto and his pupils, still-life painting was revived in the form of fictional niches on religious wall paintings which depicted everyday objects. Through the Middle Ages and the Renaissance, still life in Western art remained primarily an adjunct to Christian religious subjects, painters like Jan van Eyck often used still-life elements as part of an iconographic program. Petrus Christus’ portrait of a bride and groom visiting a goldsmith is an example of a transitional still life depicting both religious and secular content. Another similar type of painting is the family portrait combining figures with a table of food. Around this time, simple still-life depictions divorced of figures were beginning to be painted on the outside of shutters of private devotional paintings, another step toward the autonomous still life was the painting of symbolic flowers in vases on the back of secular portraits around 1475. This was a development by Pieter Aertsen, whose A Meat Stall with the Holy Family Giving Alms introduced the type with a painting that still startles. A small religious scene can often be out in the distance
8.
Rococo
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Rococo artists and architects used a more jocular, florid, and graceful approach to the Baroque. Their style was ornate and used light colours, asymmetrical designs, curves, unlike the political Baroque, the Rococo had playful and witty themes. By the end of the 18th century, Rococo was largely replaced by the Neoclassic style. In 1835 the Dictionary of the French Academy stated that the word Rococo usually covers the kind of ornament, style and design associated with Louis XVs reign and it includes therefore, all types of art from around the middle of the 18th century in France. The word is seen as a combination of the French rocaille and coquilles, the term may also be a combination of the Italian word barocco and the French rocaille and may describe the refined and fanciful style that became fashionable in parts of Europe in the 18th century. The Rococo love of shell-like curves and focus on decorative arts led some critics to say that the style was frivolous or merely modish, when the term was first used in English in about 1836, it was a colloquialism meaning old-fashioned. While there is some debate about the historical significance of the style to art in general. Italian architects of the late Baroque/early Rococo were wooed to Catholic Germany, Bohemia and Austria by local princes, an exotic but in some ways more formal type of Rococo appeared in France where Louis XIVs succession brought a change in the court artists and general artistic fashion. By the end of the long reign, rich Baroque designs were giving way to lighter elements with more curves. These elements are obvious in the designs of Nicolas Pineau. During the Régence, court life moved away from Versailles and this change became well established, first in the royal palace. The delicacy and playfulness of Rococo designs is seen as perfectly in tune with the excesses of Louis XVs reign. The 1730s represented the height of Rococo development in France, the style had spread beyond architecture and furniture to painting and sculpture, exemplified by the works of Antoine Watteau and François Boucher. The Rococo style was spread by French artists and engraved publications, william Hogarth helped develop a theoretical foundation for Rococo beauty. Though not intentionally referencing the movement, he argued in his Analysis of Beauty that the lines and S-curves prominent in Rococo were the basis for grace. The development of Rococo in Great Britain is considered to have connected with the revival of interest in Gothic architecture early in the 18th century. The beginning of the end for Rococo came in the early 1760s as figures like Voltaire and Jacques-François Blondel began to voice their criticism of the superficiality, Blondel decried the ridiculous jumble of shells, dragons, reeds, palm-trees and plants in contemporary interiors. By 1785, Rococo had passed out of fashion in France, replaced by the order, in Germany, late 18th century Rococo was ridiculed as Zopf und Perücke, and this phase is sometimes referred to as Zopfstil
9.
Invertebrate
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Invertebrates are animals that neither possess nor develop a vertebral column, derived from the notochord. This includes all animals apart from the subphylum Vertebrata, familiar examples of invertebrates include insects, crabs, lobsters and their kin, snails, clams, octopuses and their kin, starfish, sea-urchins and their kin, jellyfish, and worms. The majority of species are invertebrates, one estimate puts the figure at 97%. Many invertebrate taxa have a number and variety of species than the entire subphylum of Vertebrata. Some of the invertebrates, such as the Tunicata and Cephalochordata are more closely related to the vertebrates than to other invertebrates. This makes the term invertebrate paraphyletic and hence almost meaningless for taxonomic purposes, the word invertebrate comes from the form of the Latin word vertebra, which means a joint in general, and sometimes specifically a joint from the spinal column of a vertebrate. In turn the jointed aspect of vertebra derived from the concept of turning, coupled with the prefix in-, meaning not or without. The term invertebrates is not always precise among non-biologists since it does not accurately describe a taxon in the way that Arthropoda. Each of these describes an valid taxon, phylum, subphylum or family. Invertebrata is a term of convenience, not a taxon, it has very little circumscriptional significance except within the Chordata, the Vertebrata as a subphylum comprises such a small proportion of the Metazoa that to speak of the kingdom Animalia in terms of Vertebrata and Invertebrata has limited practicality. That would at least circumscribe the Chordata, however, even the notochord would be a less fundamental criterion than aspects of embryological development and symmetry or perhaps bauplan. The following text reflects earlier scientific understanding of the term and of animals which have constituted it. According to this understanding, invertebrates do not possess a skeleton of bone and they include hugely varied body plans. Many have fluid-filled, hydrostatic skeletons, like jellyfish or worms, others have hard exoskeletons, outer shells like those of insects and crustaceans. The most familiar invertebrates include the Protozoa, Porifera, Coelenterata, Platyhelminthes, Nematoda, Annelida, Echinodermata, Mollusca, Arthropoda include insects, crustaceans and arachnids. By far the largest number of described species are insects. The following table lists the number of described extant species for major invertebrate groups as estimated in the IUCN Red List of Threatened Species,2014.3. The IUCN estimates that 66,178 extant vertebrate species have been described, the trait that is common to all invertebrates is the absence of a vertebral column, this creates a distinction between invertebrates and vertebrates
10.
Banksia spinulosa
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The hairpin banksia is a species of woody shrub, of the genus Banksia in the family Proteaceae, native to eastern Australia. Widely distributed, it is found as a plant in open dry forest or heathland from Victoria to northern Queensland. It generally grows as a shrub to 2 metres in height. Banksia spinulosa was named by James Edward Smith in England in 1793, after being collected by John White and he gave it the common name prickly-leaved banksia, though this has fallen out of use. With four currently recognised varieties, the species has had a complicated taxonomic history, a fourth, from the New England region, has only recently been described. However, there has been disagreement whether one, var. cunninghamii, is enough to once again have specific status. The pre-eminent authority on Banksia, Alex George, concedes there is more work to be done on the Banksia spinulosa complex. The hairpin banksia is pollinated by and provides food for an array of vertebrate and invertebrate animals in the autumn. Its floral display and fine foliage have made it a garden plant with many horticultural selections available. The hairpin banksia usually occurs as a lignotuberous shrub 1–3 metres tall. Alternatively, it may be single-stemmed and lacking a lignotuber, in case it is often taller. It has grey or grey-brown smooth bark with lenticels, the long, narrow leaves are 3–10 cm in length, 1–8 mm wide and more or less linear in shape. Leaf edges are either serrate for the leaf length or toward the apex only, though the margins may be recurved. Immature leaves, which may also be seen after bushfire, are broader, leaf undersides have fine white hairs in the case of the varieties spinulosa and collina and pale brown in cunninghamii and neoanglica. The distinctive inflorescences or flower spikes occur over a period through autumn. A spike may contain hundreds or thousands of flowers, each of which consists of a tubular perianth made up of four united tepals. Characteristic of the section in which it is placed, the styles are hooked rather than straight. The style ends are initially trapped inside the upper perianth parts, in Banksia spinulosa the spikes are cylindrical, about 6–7 centimetres wide and 6–15 centimetres tall, yellow to golden orange in colour, with styles varying from yellow to pink, maroon, or black
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