1.
National Portrait Gallery, London
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The National Portrait Gallery is an art gallery in London housing a collection of portraits of historically important and famous British people. It was the first portrait gallery in the world when it opened in 1856, the gallery moved in 1896 to its current site at St Martins Place, off Trafalgar Square, and adjoining the National Gallery. It has been expanded twice since then, the National Portrait Gallery also has regional outposts at Beningbrough Hall in Yorkshire and Montacute House in Somerset. It is unconnected to the Scottish National Portrait Gallery in Edinburgh, the gallery is a non-departmental public body sponsored by the Department for Culture, Media and Sport. The gallery houses portraits of important and famous British people, selected on the basis of the significance of the sitter. The collection includes photographs and caricatures as well as paintings, drawings, one of its best-known images is the Chandos portrait, the most famous portrait of William Shakespeare although there is some uncertainty about whether the painting actually is of the playwright. Not all of the portraits are exceptional artistically, although there are self-portraits by William Hogarth, Sir Joshua Reynolds, some, such as the group portrait of the participants in the Somerset House Conference of 1604, are important historical documents in their own right. Portraits of living figures were allowed from 1969, the three people largely responsible for the founding of the National Portrait Gallery are commemorated with busts over the main entrance. At centre is Philip Henry Stanhope, 5th Earl Stanhope, with his supporters on either side, Thomas Babington Macaulay, 1st Baron Macaulay and it was Stanhope who, in 1846 as a Member of Parliament, first proposed the idea of a National Portrait Gallery. It was not until his attempt, in 1856, this time from the House of Lords. With Queen Victorias approval, the House of Commons set aside a sum of £2000 to establish the gallery, as well as Stanhope and Macaulay, the founder Trustees included Benjamin Disraeli and Lord Ellesmere. It was the latter who donated the Chandos portrait to the nation as the gallerys first portrait, Carlyle became a trustee after the death of Ellesmere in 1857. For the first 40 years, the gallery was housed in locations in London. The first 13 years were spent at 29 Great George Street, there, the collection increased in size from 57 to 208 items, and the number of visitors from 5,300 to 34,500. In 1869, the moved to Exhibition Road and buildings managed by the Royal Horticultural Society. Following a fire in buildings, the collection was moved in 1885. This location was unsuitable due to its distance from the West End, condensation. Following calls for a new location to be found, the government accepted an offer of funds from the philanthropist William Henry Alexander, Alexander donated £60,000 followed by another £20,000, and also chose the architect, Ewan Christian
2.
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
3.
History painting
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History painting is a genre in painting defined by its subject matter rather than artistic style. History paintings usually depict a moment in a story, rather than a specific and static subject. The term is derived from the senses of the word historia in Latin and Italian, meaning story or narrative. Most history paintings are not of scenes from history, especially paintings from before about 1850, History paintings almost always contain a number of figures, often a large number, and normally show some type of action that is a moment in a narrative. The genre includes depictions of moments in religious narratives, above all the Life of Christ, as well as scenes from mythology. These groups were for long the most frequently painted, works such as Michelangelos Sistine Chapel ceiling are therefore history paintings, History painting may be used interchangeably with historical painting, and was especially so used before the 20th century. Where a distinction is made historical painting is the painting of scenes from secular history, in the 19th century historical painting in this sense became a distinct genre. In phrases such as historical painting materials, historical means in use before about 1900 and he placed emphasis on the ability to depict the interactions between the figures by gesture and expression. This view remained general until the 19th century, when artistic movements began to struggle against the establishment institutions of academic art, which continued to adhere to it. Scenes from ancient history had been popular in the early Renaissance, and once again became common in the Baroque and Rococo periods, and still more so with the rise of Neoclassicism. In some 19th or 20th century contexts, the term may refer specifically to paintings of scenes from history, rather than those from religious narratives. Scenes from ancient history and mythology were also popular, artists continued for centuries to strive to make their reputation by producing such works, often neglecting genres to which their talents were better suited. The large works of Raphael were long considered, with those of Michelangelo, un Peintre qui ne fait que des portraits, na pas encore cette haute perfection de lArt, & ne peut prétendre à lhonneur que reçoivent les plus sçavans. He who produces perfect landscapes is above another who only produces fruit, a painter who only does portraits still does not have the highest perfection of his art, and cannot expect the honour due to the most skilled. By the late 18th century, with religious and mytholological painting in decline, there was an increased demand for paintings of scenes from history. Classical history remained popular, but scenes from national histories were often the best-received, the unheroic nature of modern dress was regarded as a serious difficulty. When, in 1770, Benjamin West proposed to paint The Death of General Wolfe in contemporary dress and he ignored these comments and showed the scene in modern dress. Although George III refused to purchase the work, West succeeded both in overcoming his critics objections and inaugurating a more historically accurate style in such paintings. M. W, conveniently their clothes had been worn away to classical-seeming rags by the point the painting depicts
4.
John Lucas (painter)
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John Lucas was an English portrait painter. Born in London on 4 July 1807, he was son of William Lucas, from a Kings Lynn family, originally in the Royal Navy, then a writer and journalist and he was apprenticed to Samuel William Reynolds, the mezzotint engraver, where Samuel Cousins was his fellow-pupil. At the end of his apprenticeship he set up as a portrait-painter, Lucas was a member of the Clipstone Street academy, where he worked with William Etty and other artists. One of his earliest patrons and sitters was Henry Milton, who introduced him to Mary Russell Mitford, whose portrait he painted and he then substituted a portrait of her father. A further portrait of her, he kept in his studio, one of the fashionable portrait-painters of his time, Lucas had a successful career. He died at his residence in St Johns Wood, London, on 30 April 1874, works in his possession at his death went to auction by Messrs. Christie, Manson, & Woods, on 25 February 1875, Lucas exhibited 96 portraits at the Royal Academy,13 at the British Institution, and eight at the Suffolk Street Gallery, between 1828 and his death. He contributed to Sir Robert Peels gallery of contemporary portraits, many of Lucass portraits were engraved, some, like that of Nicholas Conyngham Tindal, by himself in mezzotint. He also engraved a few portraits after Sir Thomas Lawrence, including one of the Queen of Portugal, Lucas married early in life Miss Milborough Morgan, and left three sons and two daughters. The eldest son, John Templeton Lucas, was an artist, William Lucas became a water-colour painter, John Seymour Lucas was a nephew and pupil. 53 Painting by or after John Lucas at the Art UK site Attribution This article incorporates text from a now in the public domain, Lee, Sidney, ed. Lucas
5.
Marie Seymour Lucas
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Marie Seymour Lucas née Marie Elizabeth Cornelissen was a French-born English painter. She was the daughter of Louis Dieudonné Cornelissen and Marianne, née Bath and she attended St. Martins Lane Academy and later the Royal Academy, where she began showing her work in 1877. She married the painter John Seymour Lucas the same year and was only known professionally by her married name. She is known for works and genre scenes, but she later concentrated on domestic scenes with children. Her painting of orphans We are but little children weak, nor born to any high estate was included in the 1905 book Women Painters of the World
6.
Vanity Fair (UK magazine)
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The second Vanity Fair was a British weekly magazine published from 1868 to 1914. Subtitled A Weekly Show of Political, Social and Literary Wares, it was founded by Thomas Gibson Bowles, the first issue appeared in London on 7 November 1868. It offered its readership articles on fashion, current events, the theatre, books, social events, Thomas Allinson bought the magazine in 1911 from Frank Harris, by which time it was failing financially. He failed to revive it and the issue of Vanity Fair appeared on 5 February 1914, after which it was merged into Hearth. A full-page, colour lithograph of a celebrity or dignitary appeared in most issues. Subjects included artists, athletes, royalty, statesmen, scientists, authors, actors, soldiers, religious personalities, business people and scholars. More than two thousand of these images appeared, and they are considered the cultural legacy of the magazine
7.
Anthony van Dyck
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Sir Anthony van Dyck was a Flemish Baroque artist who became the leading court painter in England, after enjoying great success in Italy and Flanders. He also painted biblical and mythological subjects, displayed outstanding facility as a draughtsman, the Van Dyke beard is named after him. Antoon van Dyck was born to parents in Antwerp. By the age of fifteen he was already an accomplished artist, as his Self-portrait, 1613–14. He was admitted to the Antwerp painters Guild of Saint Luke as a master by February 1618. His influence on the young artist was immense, Rubens referred to the nineteen-year-old van Dyck as the best of my pupils. At the same time the dominance of Rubens in the small and declining city of Antwerp probably explains why, despite his periodic returns to the city, van Dyck spent most of his career abroad. In 1620, at the instigation of George Villiers, Marquess of Buckingham, van Dyck went to England for the first time where he worked for King James I of England, receiving £100. After about four months he returned to Flanders, but moved on in late 1621 to Italy and he was already presenting himself as a figure of consequence, annoying the rather bohemian Northern artists colony in Rome, says Giovan Pietro Bellori, by appearing with the pomp of Zeuxis. He was mostly based in Genoa, although he travelled extensively to other cities. In 1627, he went back to Antwerp where he remained for five years, a life-size group portrait of twenty-four City Councillors of Brussels he painted for the council-chamber was destroyed in 1695. He was evidently very charming to his patrons, and, like Rubens, well able to mix in aristocratic and court circles, by 1630 he was described as the court painter of the Habsburg Governor of Flanders, the Archduchess Isabella. In this period he produced many religious works, including large altarpieces. King Charles I was the most passionate and generous collector of art among the British monarchs, and saw art as a way of promoting his elevated view of the monarchy. In 1628, he bought the collection that the Gonzagas of Mantua were forced to dispose of. In 1626, he was able to persuade Orazio Gentileschi to settle in England, later to be joined by his daughter Artemisia and some of his sons. Rubens was a target, who eventually came on a diplomatic mission, which included painting, in 1630. He was very well-treated during his visit, during which he was knighted
8.
Tudor period
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The Tudor period is the period between 1485 and 1603 in England and Wales and includes the Elizabethan period which ends with the completion of the reign of Elizabeth I in 1603. The Tudor period coincides with the rule of the Tudor dynasty in England whose first monarch was Henry VII. In terms of the century, Guy argues that England was economically healthier, more expansive. Following the Black Death and the depression of the late 15th century. The export of woollen products resulted in an upturn with products exported to mainland Europe. Henry VII negotiated the favourable Intercursus Magnus treaty in 1496, the high wages and abundance of available land seen in the late 15th century and early 16th century were replaced with low wages and a land shortage. Various inflationary pressures, perhaps due to an influx of New World gold and this was a period of significant change for the majority of the rural population, with manorial lords beginning the process of enclosure. Historian Geoffrey Elton revolutionized the study of Tudor government with his 1953 book The Tudor Revolution in Government and he argued that Thomas Cromwell, who was Henry VIIIs chief minister from 1532 to 1540, was the author of modern, bureaucratic government, which replaced medieval, government-as-household-management. Cromwell introduced reforms into the administration that delineated the Kings household from the state and he injected Tudor power into the darker corners of the realm and radically altered the role of Parliament. This transition happened in the 1530s, Elton argued, and must be regarded as part of a planned revolution, by masterminding these reforms, wrote Elton, Cromwell laid the foundations of Englands future stability and success. However, Eltons thesis has been challenged by recent historians. The Tudor Government raised an amount of revenue from the Dissolution of the Monasteries. The clerical income from First Fruits and Tenths, which went to the Pope. The Tudor Government gained further revenue from the lands by receiving rents from confiscated lands. Altogether, between 1536 and Henrys death, the Government collected £1.3 million, this influx of money caused Cromwell to change the Crowns financial system to manage the money. He created a new department of state and a new official to collect the proceeds of the dissolution, the Court of Augmentations and number of departments meant a growing number of officials, which made the management of revenue troublesome and expensive. Partly because of the new revenue raised from the dissolution of monasteries and these were the six courts or departments of state, each fully organised with its own specialised officials, equipped with seals and habitat, and responsible for a particular kind of revenue. The growing number of departments meant that the number of officials involved increased, there were further financial and administrative difficulties in 1540–58, aggravated by war, debasement, corruption and inefficiency, which were mainly caused by Somerset
9.
Stuart period
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The Stuart period of British history usually refers to the period between 1603 and 1714 and sometimes from 1731 in Scotland. This coincides with the rule of the House of Stuart, whose first monarch of Scotland was Robert II, the period ended with the death of Queen Anne and the accession of George I from the House of Hanover. The Stuart period was plagued by internal and religious strife, the English Civil War took place during the reign of Charles I, the second Stuart monarch. The war ended in victory for the Parliamentarians, after this conflict, the line of Stuart monarchs was temporarily displaced by the Commonwealth of England. Their rule lasted from 1649 to 1660, oliver Cromwell ruled directly from 1653 to 1658. After Cromwells death the Commonwealth fell apart, the Convention Parliament welcomed Charles II, son of Charles I, to return from war and become king. This event was known as the English Restoration, Stuart England was consumed with internal affairs. During 1600-1650 the king made repeated efforts to colonize Guiana in South America and they all failed and the lands were ceded to the Dutch in 1667. James Is foreign policy placed much higher priority on European affairs, the Anglo-Dutch Wars were a series of three wars which took place between the English and the Dutch from 1652 to 1674. The causes included political disputes and increasing competition from merchant shipping, religion was not a factor, since both sides were Protestant. The British in the first war had the advantage with larger numbers of more powerful ships of the line which were well suited to the naval tactics of the era. The British also captured numerous Dutch merchant ships, in the second war Dutch naval victories followed. This second war cost London ten times more than it had planned on, and it ended the fights over mercantilism Meanwhile, the French were building up fleets that threatened both the Netherlands and Great Britain. In third war, The British counted on a new alliance with France, the Dutch gained domination of sea trading routes until 1713. The British gained the colony of New Netherland, and renamed it New York. Historians have long regarded the overthrow of King James II in 1688 as a break in English history. Pincus argues that this revolution was the first modern revolution, it was violent, popular and he rejects older theories to the effect that it was an aristocratic coup or a Dutch invasion. Instead, Pincus argues it was a supported and decisive rejection of James II
10.
Spanish Armada
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The Armada finally dropped anchor off Calais. While awaiting communications from the Duke of Parmas army the Armada was scattered by an English fireship attack, in the ensuing Battle of Gravelines the Spanish fleet was damaged and forced to abandon its rendezvous with Parmas army, who were blockaded in harbour by Dutch flyboats. The Armada managed to regroup and, driven by southwest winds, the commander ordered a return to Spain, but the Armada was disrupted during severe storms in the North Atlantic and a large number of the vessels were wrecked on the coasts of Scotland and Ireland. Of the initial 130 ships over a third failed to return, the expedition was the largest engagement of the undeclared Anglo-Spanish War. The word armada is from the Spanish armada, which is a cognate with English army, originally from the Latin armāta, the past participle of armāre to arm, used in Romance languages as a noun, for armed force, army, navy, fleet. Armada Española is still the Spanish term for the modern Spanish Navy, Armada was also the Portuguese traditional term of the Portuguese Navy. Henry VIII began the English Reformation as a political exercise over his desire to divorce his first wife, a devout Catholic, Mary began to reassert Roman influence over church affairs. Her attempts led to over 260 people being burned at the stake, marys death in 1558 led to her half-sister, Elizabeth I, taking the throne. Unlike Mary, Elizabeth was firmly in the reformist camp, Philip, no longer co-monarch, deemed Elizabeth a heretic and illegitimate ruler of England. Under Roman law, Henry had never officially divorced Catherine, making Elizabeth illegitimate, Elizabeth retaliated against Philip by supporting the Dutch revolt against Spain, as well as funding privateers to raid Spanish ships across the Atlantic. In retaliation, Philip planned an expedition to invade England in order to overthrow Elizabeth, the King was supported by Pope Sixtus V, who treated the invasion as a crusade, with the promise of a subsidy should the Armada make land. A raid on Cadiz, led by Francis Drake in April 1587, had captured or destroyed some thirty ships and great quantities of supplies, the Duke of Parma would then follow with a large army from the Low Countries crossing the English Channel. Parma was uneasy about mounting such an invasion without any possibility of surprise and he was also alarmed by the costs that would be incurred, and advised Philip to postpone or abandon it. The Armadas appointed commander was the highly experienced Álvaro de Bazán, Marquis of Santa Cruz, but he died in February 1588, and the Duke of Medina Sidonia, while a competent soldier and distinguished administrator, Medina Sidonia had no naval experience. He wrote to Philip expressing grave doubts about the planned campaign, prior to the undertaking, Pope Sixtus V allowed Philip II of Spain to collect crusade taxes and granted his men indulgences. The blessing of the Armadas banner on 25 April 1588, was similar to the ceremony used prior to the Battle of Lepanto in 1571, on 28 May 1588, the Armada set sail from Lisbon and headed for the English Channel. The fleet was composed of 130 ships,8,000 sailors and 18,000 soldiers, the full body of the fleet took two days to leave port. It included twenty eight purpose-built warships, of twenty were galleons, four galleys
11.
English Civil War
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The English Civil War was a series of armed conflicts and political machinations between Parliamentarians and Royalists over, principally, the manner of Englands government. The war ended with the Parliamentarian victory at the Battle of Worcester on 3 September 1651, the monopoly of the Church of England on Christian worship in England ended with the victors consolidating the established Protestant Ascendancy in Ireland. The term English Civil War appears most often in the singular form, the war in all these countries are known as the Wars of the Three Kingdoms. Unlike other civil wars in England, which focused on who should rule, this war was more concerned with the manner in which the kingdoms of England, Scotland, the two sides had their geographical strongholds, such that minority elements were silenced or fled. The strongholds of the royalty included the countryside, the shires, on the other hand, all the cathedral cities sided with Parliament. All the industrial centers, the ports, and the advanced regions of southern and eastern England typically were parliamentary strongholds. Lacey Baldwin Smith says, the words populist, rich, at times there would be two groups of three lines allowing one group to reload while the other group arranged themselves and fired. Mixed in among the musketeers were pikemen carrying pikes that were between 12 feet and 18 feet long, whose purpose was to protect the musketeers from cavalry charges. The Royalist cavaliers skill and speed on horseback led to early victories. While the Parliamentarian cavalry were slower than the cavaliers, they were better disciplined. The Royalists had a tendency to chase down individual targets after the initial charge leaving their forces scattered and tired, Cromwells cavalry, on the other hand, trained to operate as a single unit, which led to many decisive victories. The English Civil War broke out fewer than forty years after the death of Queen Elizabeth I in 1603, in spite of this, James personal extravagance meant he was perennially short of money and had to resort to extra-Parliamentary sources of income. Charles hoped to unite the kingdoms of England, Scotland and Ireland into a new single kingdom, many English Parliamentarians had suspicions regarding such a move because they feared that setting up a new kingdom might destroy the old English traditions which had bound the English monarchy. As Charles shared his fathers position on the power of the crown, at the time, the Parliament of England did not have a large permanent role in the English system of government. Instead, Parliament functioned as an advisory committee and was summoned only if. Once summoned, a continued existence was at the kings pleasure. Yet in spite of this role, Parliament had, over the preceding centuries. Without question, for a monarch, Parliaments most indispensable power was its ability to tax revenues far in excess of all other sources of revenue at the Crowns disposal
12.
Jacobite risings
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The series of conflicts takes its name Jacobitism, from Jacobus, the Latin form of James. The major Jacobite risings were called the Jacobite rebellions by the ruling governments, the first Jacobite rebellion and second Jacobite rebellion were also known respectively as the Fifteen and the Forty-five, after the years in which they occurred. Although each Jacobite rising had unique features, they were part of a series of military campaigns by Jacobites attempting to restore the Stuart kings to the thrones of Scotland and England. James II was deposed in 1688 and the thrones were claimed by his daughter Mary II jointly with her husband, after the House of Hanover succeeded to the British throne in 1714, the risings continued and intensified. They continued until the last Jacobite rebellion, led by Charles Edward Stuart, was defeated at the Battle of Culloden in 1746. This ended any hope of a Stuart restoration. During the 17th century, the kingdoms of England, Scotland and Ireland suffered political, the Commonwealth ended with the Restoration of Charles II, re-establishment of the Church of England and the imposition of an Episcopalian church government. In 1685, Charles II was succeeded by his Roman Catholic brother, James saw Covenanters as troublemakers and initially tried to end their influence in Scotland. Jamess half-hearted attempts to woo the Presbyterians seemingly did not win him popularity among that section of society either. They remembered his earlier suppression of them and did not believe him to be sincere in his recognition of Presbyterianism. Although these actions were unpopular, at first the majority of his subjects tolerated these acts because James was in his 50s. It seemed that Jamess reign would be short and the throne would soon return to Protestant hands, in 1688, however, Jamess young second wife, Mary of Modena, gave birth to a boy, Prince James, who was promptly baptized a Roman Catholic. Due to English and Scottish succession laws, Prince James immediately supplanted his older sisters as heir to the throne. Now the prospect of a Catholic dynasty on the English, Scottish and Irish thrones seemed all, the Immortal Seven invited Jamess daughter Mary and her husband William of Orange to depose James and jointly rule in his place. On 4 November 1688, William arrived at Torbay, England, after he landed, James fled London, returned and finally left for France on 23 December. In February 1689, the Glorious Revolution formally changed Englands monarch, Scotland was slow to accept William, who summoned a Convention of the Estates which met on 14 March 1689 in Edinburgh. It reviewed a conciliatory letter from William and a haughty one from James, on Jamess side, a modest force of 50 horsemen gathered by John Graham of Claverhouse, Viscount Dundee was in town. Graham attended the convention at the start but withdrew four days later when its support for William became evident, the convention set out its terms and William and Mary were proclaimed monarchs at Edinburgh on 11 April 1689
13.
Battle of Culloden
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The Battle of Culloden was the final confrontation of the Jacobite rising of 1745 and part of a religious civil war in Britain. On 16 April 1746, the Jacobite forces of Charles Edward Stuart were decisively defeated by loyalist troops commanded by William Augustus, Duke of Cumberland, queen Anne died in 1714, with no living children, she was the last monarch of the House of Stuart. The conflict was the last pitched battle fought on British soil, Charles Stuarts Jacobite army consisted largely of Catholics and Episcopalians, mainly Scots but with a small detachment of Englishmen from the Manchester Regiment. The Jacobites were supported and supplied by the Kingdom of France from Irish, between 1,500 and 2,000 Jacobites were killed or wounded in the brief battle. Government losses were lighter with 50 dead and 259 wounded although recent geophysical studies on the government burial pit suggest the figure for deaths to be nearer 300. Charles Edward Stuart, known as Bonnie Prince Charlie or the Young Pretender and he successfully raised forces, mainly of Scottish Highland clansmen, and slipped past the Hanoverian stationed in Scotland and defeated a force of militiamen at the Battle of Prestonpans. The British government recalled forces from the war with France in Flanders to deal with the rebellion, after a lengthy wait, Charles persuaded his generals that English Jacobites would stage an uprising in support of his cause. He was convinced that France would launch an invasion of England as well and his army of around 5,000 invaded England on 8 November 1745. They advanced through Carlisle and Manchester to Derby and a position where they appeared to threaten London, the Jacobites met only token resistance. There was, however, little support from English Jacobites, the armies of Field Marshal George Wade and of William Augustus, Duke of Cumberland, were approaching. In addition to the militia, London was defended by nearly 6,000 infantry,700 horse and 33 artillery pieces, the Jacobite general, Lord George Murray, and the Council of War insisted on returning to join their growing force in Scotland. On 6 December 1745, they withdrew, with Charles Edward Stuart leaving command to Murray, on the long march back to Scotland, the Highland Army wore out its boots and demanded all the boots and shoes of the townspeople of Dumfries as well as money and hospitality. The Jacobites reached Glasgow on 25 December, there they reprovisioned, having threatened to sack the city, and were joined by a few thousand additional men. They then defeated the forces of General Henry Hawley at the Battle of Falkirk Muir, the Duke of Cumberland arrived in Edinburgh on 30 January to take over command of the government army from General Hawley. He then marched north along the coast, with the army being supplied by sea, six weeks were spent at Aberdeen training. The Kings forces continued to pressure Charles and he retired north, losing men and failing to take Stirling Castle or Fort William. But he invested Fort Augustus and Fort George in Inverness-shire in early April, Charles then took command again, and insisted on fighting a defensive action. Hugh Rose of Kilravock entertained Charles Edward Stuart and the Duke of Cumberland respectively on 14 and 15 April 1746, Charles manners and deportment were described by his host as most engaging
14.
John Singer Sargent
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John Singer Sargent was an American artist, considered the leading portrait painter of his generation for his evocations of Edwardian era luxury. During his career, he created roughly 900 oil paintings and more than 2,000 watercolors, as well as countless sketches and his oeuvre documents worldwide travel, from Venice to the Tyrol, Corfu, the Middle East, Montana, Maine, and Florida. His parents were American, but he was trained in Paris prior to moving to London and his commissioned works were consistent with the grand manner of portraiture, while his informal studies and landscape paintings displayed a familiarity with Impressionism. In later life Sargent expressed ambivalence about the restrictions of formal portrait work and he lived most of his life in Europe. Art historians generally ignored the society such as Sargent until the late 20th century. Before Sargents birth, his father, FitzWilliam, was an eye surgeon at the Wills Eye Hospital in Philadelphia 1844–1854, after Johns older sister died at the age of two, his mother, Mary, suffered a breakdown, and the couple decided to go abroad to recover. They remained nomadic expatriates for the rest of their lives, although based in Paris, Sargents parents moved regularly with the seasons to the sea and the mountain resorts in France, Germany, Italy, and Switzerland. While Mary was pregnant, they stopped in Florence, Tuscany, Sargent was born there in 1856. A year later, his sister Mary was born, after her birth, FitzWilliam reluctantly resigned his post in Philadelphia and accepted his wifes entreaties to remain abroad. They lived modestly on an inheritance and savings, living a quiet life with their children. They generally avoided society and other Americans except for friends in the art world, four more children were born abroad, of whom only two lived past childhood. Although his father was a patient teacher of basic subjects, young Sargent was a rambunctious child, as his father wrote home, He is quite a close observer of animated nature. His mother was convinced that traveling around Europe, and visiting museums and churches. Several attempts to have him formally schooled failed, owing mostly to their itinerant life, Sargents mother was a fine amateur artist and his father was a skilled medical illustrator. Early on, she gave him sketchbooks and encouraged drawing excursions, young Sargent worked with care on his drawings, and he enthusiastically copied images from The Illustrated London News of ships and made detailed sketches of landscapes. FitzWilliam had hoped that his sons interest in ships and the sea might lead him toward a naval career, at thirteen, his mother reported that John sketches quite nicely, & has a remarkably quick and correct eye. If we could afford to give him really good lessons, he would soon be quite a little artist, at the age of thirteen, he received some watercolor lessons from Carl Welsch, a German landscape painter. Although his education was far from complete, Sargent grew up to be a literate and cosmopolitan young man, accomplished in art, music
15.
Tate Britain
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Tate Britain is an art museum on Millbank in the City of Westminster in London. It is part of the Tate network of galleries in England, with Tate Modern, Tate Liverpool and it is the oldest gallery in the network, having opened in 1897. It is one of the largest museums in the country, the gallery is situated on Millbank, on the site of the former Millbank Prison. Construction, undertaken by Higgs and Hill, commenced in 1893, however, from the start it was commonly known as the Tate Gallery, after its founder Sir Henry Tate, and in 1932 it officially adopted that name. As a consequence, it was renamed Tate Britain in March 2000, the front part of the building was designed by Sidney R. J. Smith with a classical portico and dome behind, and the central sculpture gallery was designed by John Russell Pope. Tate Britain includes the Clore Gallery of 1987, designed by James Stirling, crises during its existence include flood damage to work from the River Thames, and bomb damage during World War II. However, most of the collection was in storage elsewhere during the war. In 1970, the building was given Grade II* listed status, the museum stayed open throughout the three phases of renovation. Completed in 2013, the newly designed sections were conceived by the architects Caruso St John and included a total of nine new galleries, with reinforced flooring to accommodate heavy sculptures. A second part was unveiled later that year, the centrepiece being the reopening of the buildings Thames-facing entrance as well as a new spiral staircase beneath its rotunda, the circular balcony of the rotundas domed atrium, closed to visitors since the 1920s, was reopened. The gallery also now has a dedicated entrance and reception beneath its entrance steps on Millbank. The front entrance is accessible by steps, a side entrance at a lower level has a ramp for wheelchair access. The gallery provides a restaurant and a café, as well as a Friends room and this membership is open to the public on payment of an annual subscription. As well as offices the building complex houses the Prints and Drawings Rooms, as well as the Library. The restaurant features a mural by Rex Whistler, Tate Britain and Tate Modern are now connected by a high speed boat along the River Thames, which runs from Millbank Millennium Pier immediately outside Tate Britain. The boat is decorated with spots, based on paintings of similar appearance by Damien Hirst, the lighting artwork incorporated in the piers structure is by Angela Bulloch. The main display spaces show the permanent collection of historic British art, the gallery also organises career retrospectives of British artists and temporary major exhibitions of British Art. Every three years the gallery stages a Triennial exhibition in which a guest curator provides an overview of contemporary British Art, the 2003 Tate Triennial was called Days Like These
16.
Royal Exchange, London
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The Royal Exchange in London was founded in the 16th century by the merchant Thomas Gresham on the suggestion of his factor Richard Clough to act as a centre of commerce for the City of London. The site was provided by the City of London Corporation and the Worshipful Company of Mercers and it is trapezoidal in shape and is flanked by Cornhill and Threadneedle Street, which converge at Bank junction in the heart of the City. The design was inspired by a bourse Gresham had seen in Antwerp and was Britains first specialist commercial building and it has twice been destroyed by fire and subsequently rebuilt. The present building was designed by William Tite in the 1840s, the site was notably occupied by the Lloyds insurance market for nearly 150 years. Today the Royal Exchange contains offices, luxury shops, and restaurants, traditionally, the steps of the Royal Exchange is the place where Royal Proclamations are read out by either a herald or a crier. The Royal Exchange was officially opened on 23 January 1571 by Queen Elizabeth I who awarded the building its royal title, only the exchange of goods took place until the 17th century. Stockbrokers were not allowed into the Royal Exchange because of their manners, hence they had to operate from other establishments in the vicinity. Greshams original building was destroyed in the Great Fire of London in 1666, a second complex was built on the site, designed by Edward Jarman and opened in 1669, but that also burned down, on 10 January 1838. It had been used by the Lloyds insurance market, which was forced to move temporarily to South Sea House following the 1838 fire, the internal works, designed by Edward IAnson in 1837, made use of concrete—an early example of this modern construction method. It features pediment sculptures by Richard Westmacott, and ornamental cast ironwork by Henry Grissells Regents Canal Ironworks and it was opened by Queen Victoria on 28 October 1844 though trading did not commence until 1 January 1845. In June 1844, just before the reopening of the Royal Exchange, the bronze used to cast it was sourced from enemy cannons captured during Wellingtons continental campaigns. Paul Julius Reuter established the Reuters news agency at No,1, Royal Exchange Buildings in 1851. It later moved to Fleet Street, the western end of the building consists of a portico of eight Corinthian columns topped by a pediment containing a tympanum with a sculptured frieze by Richard Westmacott. The central figure represents Commerce, above an inscription from the Bible, The Earth is the Lords, the Latin inscription states that the Exchange was founded in the thirteenth year of Queen Elizabeth, and restored in the seventh of Queen Victoria. Two statues stand in niches in the central courtyard, Charles II a copy of 1792 by John Spiller after Grinling Gibbons statue in the centre of the C17 courtyard, and Queen Elizabeth I by M. L. The Charles II statue survived the fire of 1838 that destroyed the previous Exchange, the Elizabeth I statue was commissioned as she was the monarch who had conferred the status ‘Royal’ on the Exchange. From 1892, twenty-four scenes from Londons history were painted on the walls by artists including Sir Frederick Leighton, Sir Frank Brangwyn. The murals run as a sequence, at the wars end, the building had survived the Blitz, albeit with some near misses
17.
Royal Collection
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The Royal Collection is the art collection of the British Royal Family and the largest private art collection in the world. The Queen owns some objects in the collection in right of the Crown, the Queens Gallery at Buckingham Palace in London was built specially to exhibit pieces from the collection on a rotating basis. There is an art gallery next to the Palace of Holyroodhouse in Edinburgh. The Crown Jewels are on display in the Jewel House at the Tower of London. About 3,000 objects are on loan to museums throughout the world, few items from before King Henry VIII survive. The most important additions to the collection were made by Charles I, a collector of Italian paintings. Many works have been given from the collection to museums, especially by George III and Victoria, in particular, most of the then royal library was given by George III to the British Museum, now the British Library, where many books are still catalogued as Royal. The core of this collection was the purchase by James I of the collections of Humphrey Llwyd, Lord Lumley. Throughout the reign of Elizabeth II, there have been significant additions to the collection through purchases, bequests and through gifts from nation states. Numbering over 7,000 works, spread across the Royal Residences, numbering over 300 items, the Royal Collection holds one of the greatest and most important collections of French furniture ever assembled. The collection is noted for its range as well as counting the greatest cabinet-makers of the Ancien Régime. The Royal Collection is privately owned, although some of the works are displayed in areas of palaces, some of the collection is owned by the monarch personally, and everything else is described as being held in trust by the monarch in right of the Crown. All works of art acquired by monarchs up to the death of Queen Victoria in 1901 are heirlooms which fall into the latter category. Items the British royal family acquired later, including official gifts, ambiguity surrounds the status of objects that have come into Queen Elizabeth IIs possession during her reign. The Royal Collection Trust has confirmed that all pieces left to the Queen by the Queen Mother belong to her personally, non-personal items are said to be inalienable as they can only be willed to the monarchs successor. The legal accuracy of this claim has never been substantiated in court, in a 2000 television interview, the Duke of Edinburgh said that the Queen was technically, perfectly at liberty to sell them. In 1995, Iain Sproat, then Secretary of State for National Heritage, a registered charity, the Royal Collection Trust was set up in 1993 after the Windsor Castle fire with a mandate to conserve the works and enhance the publics appreciation and understanding of art. It employs around 500 staff and is one of the five departments of the Royal Household, buildings do not come under its remit
18.
Alfred, Hereditary Prince of Saxe-Coburg and Gotha
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Alfred, Hereditary Prince of Saxe-Coburg and Gotha, was the only son and heir apparent of Alfred, Duke of Saxe-Coburg and Gotha. He died aged 24 under circumstances still not entirely clear, Prince Alfred of Edinburgh was born on 15 October 1874 at Buckingham Palace, London. His father was Prince Alfred, Duke of Edinburgh, second eldest son of Queen Victoria and his mother was Grand Duchess Maria Alexandrovna of Russia, a daughter of Emperor Alexander II of Russia and Princess Marie of Hesse and by Rhine. In 1893, his granduncle, Ernest II, Duke of Saxe-Coburg and Gotha, brother of his paternal grandfather, thus, the duchy devolved upon Alfreds father, who was at that time the Duke of Edinburgh. Alfred thus became Hereditary Prince of Saxe-Coburg and Gotha. ”The exact circumstances of Alfreds death are not known and his sister Maries memoirs simply say his health broke down, and other writers have said that he had consumption. The Times published an account stating he had died of a tumor, according to theory, Alfred shot himself with a revolver while the rest of the family was gathered for the anniversary celebration. He survived and was looked after at Schloss Friedenstein in Gotha for three days before being sent to the Martinnsbrunn Sanatorium in Gratsch near Merano in the South Tyrol, Alfred died there at 4,15 pm on 6 February 1899, aged 24 years. He was buried in the mausoleum of the Friedhof am Glockenberg, Coburg. Later in 1899 Alfreds uncle the Duke of Connaught and his son Prince Arthur of Connaught renounced their rights to the Duchy of Saxe-Coburg. As a result, his first cousin Prince Charles Edward, Duke of Albany, british Honours United Kingdom, Knight of the Garter,1894 Foreign Honours Order of the Red Eagle,1889 Media related to Alfred, Hereditary Prince of Saxe-Coburg and Gotha at Wikimedia Commons
19.
Devonshire House
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Devonshire House in Piccadilly was the London residence of the Dukes of Devonshire in the 18th and 19th centuries. It was built for William Cavendish, 3rd Duke of Devonshire, in the Palladian style, completed circa 1740, it stood empty after World War I and was demolished in 1924. Many of Britains great peers maintained large London houses that bore their names, all of these have been long demolished, except Burlington and Lansdowne, both of which have been substantially altered. Today the site is occupied by a building known as Devonshire House. The house was occupied by Barbara Villiers, Duchess of Cleveland. The house, a mansion built by Hugh May, had been purchased by William Cavendish, 1st Duke of Devonshire in 1696. As part of the agreement, Lord Berkeley undertook not to build on part of the land he retained that lay directly behind the house. The cause was attributed to careless labourers, ironically, the Dukes former London residence, Old Devonshire House, at 48 Boswell Street, Bloomsbury, survived both its successors until the Blitz of World War II. During the 18th century, existing forms of entertainment began to change and large sophisticated receptions came into fashion, often taking the form of concerts, initially, hosts would hire one of many new assembly rooms built to indulge the fashion. The Duke of Devonshire, an owner of vast estates, belonged to the latter category, thus the fire of the Devonshire House in 1733 provided the opportunity to build a house at the height of contemporary fashion. For his architect, the 3rd Duke chose the fashionable architect William Kent, the house was constructed between 1734 and about 1740. Chiswick House was later to come, other estates, into the Devonshires possession through the marriage of the 4th Duke to Lady Charlotte Boyle, in typical Palladian fashion, Devonshire House consisted of a corps de logis flanked by service wings. The severity of the design, of three storeys in eleven bays, caused one critic to liken the mansion to a warehouse. In the Dukes sitting room, a case over the chimneypiece contained the best of his collection of engraved gems and Renaissance. Such a prominent commission could hardly fail to be included in Vitruvius Britannicus and its purpose, too, was identical, to display wealth and consequently power. Thus a great house, by its size and design. At Devonshire House, Kents exterior stairs led up to a piano nobile, inconspicuous pairs of staircases are tucked into modest sites at either hand, for the upstairs was strictly private. Greeted at the head of the stairs, they then flowed in a convenient circuit rather retracing their steps and this design was first exemplified by the now-demolished Norfolk House completed in 1756
20.
Royal Institute of Painters in Water Colours
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In 1831 the society was founded as the New Society of Painters in Water Colours, competing with the Royal Watercolour Society, which had been founded in 1804. The founding members were William Cowen, James Fudge, Thomas Maisey, O. F. Phillips, Joseph Powell, W. B. S. Taylor, the New Society differed from the RWS in policy, by exhibiting non-members work also. Both societies challenged the Royal Academys refusal to accept the medium of watercolours as appropriate for serious art, in 1839 Henry Warren became president of the society and was re-elected for many years until he resigned due to failing eyesight. In 1863 there was a change to the Institute of Painters in Water Colours. In 1883 it acquired its own premises at Piccadilly, across the road from the Royal Academy, in 1885 it added Royal to its title by command of Queen Victoria. When the lease to the Piccadilly premises ran out in 1970, it moved to the Mall Galleries, near to Trafalgar Square
21.
Holy Trinity Church, Blythburgh
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Holy Trinity Church, Blythburgh, is a Grade I listed parish church in the Church of England in Blythburgh. The parish church is dedicated to the Holy Trinity and known as the Cathedral of the Marshes, Blythburgh was one of the earliest Christian sites in East Anglia. At the time of the Norman Conquest Blythburgh was part of the estate and had one of the richest churches in Suffolk, possibly a Saxon minster. It was probably the parent church that was granted by King Henry I to Augustinian canons some time between 1116 and 1147, becoming the priory of the Blessed Virgin Mary. A daughter church is likely to have been the predecessor of Holy Trinity and it was rebuilt in the 15th century. The church underwent a series of disasters, man-made and natural, the falling spire damaged the font and the roof, destroying the angels in the west end bays. The door shows marks, which have the appearance of burns caused by candle flames and they have been associated with the Black Shuck legend, which is the title of a song by the Lowestoft rock group The Darkness which mentions Blythburgh in the lyrics. And gave order to take down above 200 more within eight days, general neglect also played its part in the churchs deterioration, resulting in part from rural poverty, and in part from the rise of Methodism. By the late 19th century the church was in a poor state of repair, and in 1881 a restoration fund made possible the repair of the church. The restoration was controversial with William Morris and his Society for the Protection of Ancient Buildings opposed to the plans of the local building committee. Shortage of funds restricted the work that could be done, a modern reproduction is mounted above the south door. The church has a two manual organ by Bishop dating from 1951 which was almost completely rebuilt in 2003 by Rodney Briscoe. A specification of the organ can be found on the National Pipe Organ Register, in 1962 the acoustic value of the building was discovered by Benjamin Britten, and some of the concerts of the Aldeburgh Festival are performed in the church. In 1840 this was standing on a ladder in the tower arch, beneath it was this inscription, — As the hours pass away, So doth the life of man decay. The Jack now stands on a shelf near the organ and is rung to signal the start of services, artist John Seymour Lucas RA is buried in the churchyard
22.
Blythburgh
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Blythburgh is a village and civil parish in the Suffolk Coastal district of the English county of Suffolk. It is 4 miles west of Southwold and 5 miles south-east of Halesworth, the A12 road runs through the village which is split either side of the road. At the 2011 census the population of the parish was 297, the parish includes the hamlets of Bulcamp and Hinton. Blythburgh is best known for its church, Holy Trinity, known as the Cathedral of the Marshes, the church has been flood-lit since the 1960s and is a landmark for travellers on the A12. The village is the site of Blythburgh Priory which was founded by Augustine monks from St Osyths Priory in Essex in the 12th century, the priory was suppressed in 1537 and ruins remain at the site. The village is in the area of the Suffolk Coast and Heaths Area of Outstanding Natural Beauty in the known as the Suffolk Sandlings. North of the village is the site of the Battle of Bulcamp which occurred in 653 or 654 AD between the forces of Anna of East Anglia and Penda of Mercia, Anna, the King of East Anglia, was defeated and killed along with his son Jurmin. Both are believed to have been buried at the site of Blythburgh Priory, at the Domesday Survey in 1086 Blythburgh was a very large village with 42 households. It was called Bledeburo, Blieburc or Blideburc and formed part of King Williams holdings and it was an important port at this time and was taxed 3000 herring each year. Bulcamp and Hinton were both listed separately with eight households each, both were held by Roger Bigot. Blythburgh Priory was founded by Augustine monks from St Osyths Priory in Essex in the 12th century, the priory was suppressed in 1537 and ruins remain at the site. The site is a scheduled monument and it was partially excavated in 2008 by Channel Fours Time Team programme. The River Blyth had largely silted by the 18th century, by the 1750s merchants from Halesworth were keen to open the river for trade. An Act of Parliament was passed in 1757 and, after four locks were built, by the end of the 19th century silting of the river downstream from Blythburgh made trade difficult and the locks were finally closed in 1934. Bulcamp, on the edge of the parish, was the site of the Blything Union workhouse. It was built in 1765-66 and later became a geriatric hospital and it has now been converted to residential use. Joseph P. Kennedy, Jr. eldest brother of US President John F. Kennedy, was killed when his aircraft exploded around 1 mile south of the village during World War II. Kennedy and Lieutenant Wilford John Willy were piloting a BQ-8 robot aircraft for the U. S. Navys first mission in Operation Aphrodite, the milestone alongside the A12 shows that the village is 30 miles north of Ipswich and 24 miles south of Great Yarmouth
23.
Suffolk
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Suffolk is an East Anglian county of historic origin in England. It has borders with Norfolk to the north, Cambridgeshire to the west, the North Sea lies to the east. The county town is Ipswich, other important towns include Lowestoft, Bury St Edmunds, Newmarket and Felixstowe, the county is low-lying with very few hills, and is largely arable land with the wetlands of the Broads in the north. The Suffolk Coast and Heaths are an Area of Outstanding Natural Beauty, by the fifth century, the Angles had established control of the region. The Angles later became the folk and the south folk. Suffolk and several adjacent areas became the kingdom of East Anglia, Suffolk was originally divided into four separate Quarter Sessions divisions. In 1860, the number of divisions was reduced to two, the eastern division was administered from Ipswich and the western from Bury St Edmunds. Under the Local Government Act 1888, the two divisions were made the administrative counties of East Suffolk and West Suffolk, Ipswich became a county borough. A few Essex parishes were added to Suffolk, Ballingdon-with-Brundon and parts of Haverhill. On 1 April 1974, under the Local Government Act 1972, East Suffolk, West Suffolk, the county was divided into several local government districts, Babergh, Forest Heath, Ipswich, Mid Suffolk, St. Edmundsbury, Suffolk Coastal, and Waveney. This act also transferred some land near Great Yarmouth to Norfolk, in 2007, the Department for Communities and Local Government referred Ipswich Borough Councils bid to become a new unitary authority to the Boundary Committee. The Boundary Committee consulted local bodies and reported in favour of the proposal and it was not, however, approved by the Secretary of State for Communities and Local Government. Beginning in February 2008, the Boundary Committee again reviewed local government in the county, West Suffolk, like nearby East Cambridgeshire, is renowned for archaeological finds from the Stone Age, the Bronze Age, and the Iron Age. Bronze Age artefacts have been found in the area between Mildenhall and West Row, in Eriswell and in Lakenheath, other finds include traces of cremations and barrows. The majority of agriculture in Suffolk is either arable or mixed, Farm sizes vary from anything around 80 acres to over 8,000. Soil types vary from clays to light sands. The continuing importance of agriculture in the county is reflected in the Suffolk Show, although latterly somewhat changed in nature, this remains primarily an agricultural show. Below is a chart of regional gross value added of Suffolk at current basic prices published by Office for National Statistics with figures in millions of British Pounds Sterling, well-known companies in Suffolk include Greene King and Branston Pickle in Bury St Edmunds
24.
Pax Britannica
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Pax Britannica was the period of relative peace in Europe during which the British Empire became the global hegemonic power and adopted the role of a global police force. Between 1815 and 1914, a referred to as Britains imperial century, around 10,000,000 square miles of territory. Victory over Napoleonic France left the British without any serious international rival, when Russia tried expanding its influence in the Balkans, the British and French defeated it in the Crimean War, thereby protecting the by-then feeble Ottoman Empire. Britains Royal Navy controlled most of the key trade routes. Alongside the formal control it exerted over its own colonies, Britains dominant position in trade meant that it effectively controlled access to many regions, such as Asia. British merchants, shippers and bankers had such an advantage over everyone else that in addition to its colonies it had an informal empire. After losing the American colonies in the American Revolution, Britain turned towards Asia, the Industrial Revolution began in Great Britain in the late 1700s and new ideas emerged about free markets, such as Adam Smiths The Wealth of Nations. Free trade became a principle that Britain practiced by the 1840s. It played a key role in Britains economic growth and financial dominance, from the end of the Napoleonic Wars in 1815 until World War I in 1914, the United Kingdom played the role of global hegemon. Imposition of a British Peace on key trade routes began in 1815 with the annexation of British Ceylon. Under the British Residency of the Persian Gulf, local Arab rulers agreed to a number of treaties that formalised Britain’s protection of the region, Britain imposed an anti-piracy treaty, known as the General Treaty of 1820, on all Arab rulers in the region. By signing the Perpetual Maritime Truce of 1853, Arab rulers gave up their right to war at sea in return for British protection against external threats. The global superiority of British military and commerce was aided by a divided and relatively weak continental Europe, even outside its formal empire, Britain controlled trade with many countries such as China, Siam, and Argentina. Following the Congress of Vienna the British Empires economic strength continued to develop through naval dominance, in this era, the Royal Navy provided services around the world that benefited other nations, such as the suppression of piracy and blocking the slave trade. Sea power, however, did not project on land, land wars fought between the major powers include the Crimean War, the Franco-Austrian War, the Austro-Prussian War and the Franco-Prussian War, as well as numerous conflicts between lesser powers. The Royal Navy prosecuted the First Opium War and Second Opium War against Imperial China, the Royal Navy was superior to any other two navies in the world, combined. Between 1815 and the passage of the German naval laws of 1890 and 1898, Britain traded goods and capital extensively with countries around the world, adopting a free trade policy after 1840. By 1902, the British Empire was linked together by a network of telegraph cables, the Pax Britannica was weakened by the breakdown of the continental order which had been established by the Congress of Vienna
25.
Modernism
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Among the factors that shaped modernism were the development of modern industrial societies and the rapid growth of cities, followed then by reactions of horror to World War I. Modernism also rejected the certainty of Enlightenment thinking, and many modernists rejected religious belief, the poet Ezra Pounds 1934 injunction to Make it new. Was the touchstone of the approach towards what it saw as the now obsolete culture of the past. In this spirit, its innovations, like the novel, atonal and twelve-tone music, divisionist painting and abstract art. Modernism explicitly rejected the ideology of realism and makes use of the works of the past by the employment of reprise, incorporation, rewriting, recapitulation, revision, others focus on modernism as an aesthetic introspection. While J. M. W. Art critic Clement Greenberg describes the Pre-Raphaelite Brotherhood as proto-Modernists, There the proto-Modernists were, of all people, the Pre-Raphaelites actually foreshadowed Manet, with whom Modernist painting most definitely begins. They acted on a dissatisfaction with painting as practiced in their time, rationalism has also had opponents in the philosophers Søren Kierkegaard and later Friedrich Nietzsche, both of whom had significant influence on existentialism. A major 19th-century engineering achievement was The Crystal Palace, the huge cast-iron, Glass and iron were used in a similar monumental style in the construction of major railway terminals in London, such as Paddington Station and Kings Cross Station. These technological advances led to the building of structures like the Brooklyn Bridge. The latter broke all previous limitations on how tall man-made objects could be and these engineering marvels radically altered the 19th-century urban environment and the daily lives of people. Arguments arose that the values of the artist and those of society were not merely different, but that Society was antithetical to Progress, the philosopher Schopenhauer called into question the previous optimism, and his ideas had an important influence on later thinkers, including Nietzsche. Darwins theory of evolution by natural selection undermined religious certainty and the idea of human uniqueness, in particular, the notion that human beings were driven by the same impulses as lower animals proved to be difficult to reconcile with the idea of an ennobling spirituality. Karl Marx argued that there were fundamental contradictions within the capitalist system, historians, and writers in different disciplines, have suggested various dates as starting points for modernism. Everdell also thinks modernism in painting began in 1885–86 with Seurats Divisionism, the poet Baudelaires Les Fleurs du mal, and Flauberts novel Madame Bovary were both published in 1857. In the arts and letters, two important approaches developed separately in France, the first was Impressionism, a school of painting that initially focused on work done, not in studios, but outdoors. Impressionist paintings demonstrated that human beings do not see objects, the school gathered adherents despite internal divisions among its leading practitioners, and became increasingly influential. A significant event of 1863 was the Salon des Refusés, created by Emperor Napoleon III to display all of the paintings rejected by the Paris Salon. While most were in standard styles, but by artists, the work of Manet attracted tremendous attention
26.
Wikisource
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Wikisource is an online digital library of free content textual sources on a wiki, operated by the Wikimedia Foundation. Wikisource is the name of the project as a whole and the name for each instance of that project, the projects aims are to host all forms of free text, in many languages, and translations. Originally conceived as an archive to store useful or important historical texts, the project officially began in November 24,2003 under the name Project Sourceberg. The name Wikisource was adopted later that year and it received its own domain name seven months later, the project has come under criticism for lack of reliability but it is also cited by organisations such as the National Archives and Records Administration. The project holds works that are either in the domain or freely licensed, professionally published works or historical source documents, not vanity products. Verification was initially made offline, or by trusting the reliability of digital libraries. Now works are supported by online scans via the ProofreadPage extension, some individual Wikisources, each representing a specific language, now only allow works backed up with scans. While the bulk of its collection are texts, Wikisource as a whole hosts other media, some Wikisources allow user-generated annotations, subject to the specific policies of the Wikisource in question. Wikisources early history included several changes of name and location, the original concept for Wikisource was as storage for useful or important historical texts. These texts were intended to support Wikipedia articles, by providing evidence and original source texts. The collection was focused on important historical and cultural material. The project was originally called Project Sourceberg during its planning stages, in 2001, there was a dispute on Wikipedia regarding the addition of primary source material, leading to edit wars over their inclusion or deletion. Project Sourceberg was suggested as a solution to this, perhaps Project Sourceberg can mainly work as an interface for easily linking from Wikipedia to a Project Gutenberg file, and as an interface for people to easily submit new work to PG. Wed want to complement Project Gutenberg--how, exactly, and Jimmy Wales adding like Larry, Im interested that we think it over to see what we can add to Project Gutenberg. It seems unlikely that primary sources should in general be editable by anyone -- I mean, Shakespeare is Shakespeare, unlike our commentary on his work, the project began its activity at ps. wikipedia. org. The contributors understood the PS subdomain to mean either primary sources or Project Sourceberg, however, this resulted in Project Sourceberg occupying the subdomain of the Pashto Wikipedia. A vote on the name changed it to Wikisource on December 6,2003. Despite the change in name, the project did not move to its permanent URL until July 23,2004, since Wikisource was initially called Project Sourceberg, its first logo was a picture of an iceberg
27.
Art UK
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Art UK is a registered charity in the United Kingdom, previously known as the Public Catalogue Foundation. Originally the paintings were made accessible through a series of affordable book catalogues, later the same images and information were placed on a website in partnership with the BBC, originally called Your Paintings, hosted as part of the BBC website. The renaming in 2016 coincided with the transfer of the website to a stand-alone site, works by some 40,000 painters held in over 3,000 collections are now on the website. Future plans include a project to cover sculptures in public collections. The catalogues and website allow readers to see an illustration, normally in colour and this information has significant educational benefits and constitutes the building blocks for later art historical research. Revenue from catalogue sales made by collections is dedicated to the conservation and restoration of oil paintings in their care, the collections of bodies such as Arts Council England, English Heritage and the Government Art Collection are included. However the Royal Collection is not included, Art UK receives funding from the Heritage Lottery Fund and other sources. Of the 210,000 oil paintings in public ownership in the UK, many are held in storage or civic buildings without routine public access. Since 2003, The Public Catalogue Foundation has been working to rectify this through a series of colour catalogues. Before these were completed it was clear that a website was the best way to reach the wider public, the Oil Paintings in Public Ownership book series is published by The PCF mainly on a collection or county-by-county basis. Each county catalogue contains a photograph and basic information about each painting. All paintings are reproduced regardless of quality or condition, the PCF’s first catalogue was published in June 2004, and the series is now complete in 85 volumes. In January 2009 a partnership with the BBC was announced with the aim to place the entire catalogue of publicly owned oil paintings online by 2012. On 4 October 2012 it was announced that the project had photographed every painting that it intended to and all 210,000 would shortly be available. The Public Catalogue Foundation worked with the BBC to put all of the UKs publicly owned oil paintings online, in a section of the BBC website, Your Paintings, the PCF completed the digitisation of the entire national collection and celebrated their success in February 2013. An innovative crowdsourcing project, Your Paintings Tagger, also went online in 2011, the high-quality digital files, however, have not been made available to the public, and paintings on the BBC site can only be saved as a personal collection on the site, not downloaded. In March 2013 the BBC revealed that a painting by Anthony van Dyck had been discovered because of the Your Paintings website. Olivia, the subject of the painting, who died in 1663, was a lady-in-waiting to queen consort Henrietta Maria and she had married Endymion Porter, who was a patron of Anthony van Dyck
28.
Netherlands Institute for Art History
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The Netherlands Institute for Art History or RKD is located in The Hague and is home to the largest art history center in the world. The center specializes in documentation, archives, and books on Western art from the late Middle Ages until modern times, all of this is open to the public, and much of it has been digitized and is available on their website. The main goal of the bureau is to collect, categorize, via the available databases, the visitor can gain insight into archival evidence on the lives of many artists of past centuries. The library owns approximately 450,000 titles, of which ca.150,000 are auction catalogs, there are ca.3,000 magazines, of which 600 are currently running subscriptions. Though most of the text is in Dutch, the record format includes a link to library entries and images of known works. The RKD also manages the Dutch version of the Art and Architecture Thesaurus, the original version is an initiative of the Getty Research Institute in Los Angeles, California. Their bequest formed the basis for both the art collection and the library, which is now housed in the Koninklijke Bibliotheek. Though not all of the holdings have been digitised, much of its metadata is accessible online. The website itself is available in both a Dutch and an English user interface, in the artist database RKDartists, each artist is assigned a record number. To reference an artist page directly, use the code listed at the bottom of the record, usually of the form, https, for example, the artist record number for Salvador Dalí is 19752, so his RKD artist page can be referenced. In the images database RKDimages, each artwork is assigned a record number, to reference an artwork page directly, use the code listed at the bottom of the record, usually of the form, https, //rkd. nl/en/explore/images/ followed by the artworks record number. For example, the record number for The Night Watch is 3063. The Art and Architecture Thesaurus also assigns a record for each term, rather, they are used in the databases and the databases can be searched for terms. For example, the painting called The Night Watch is a militia painting, the thesaurus is a set of general terms, but the RKD also contains a database for an alternate form of describing artworks, that today is mostly filled with biblical references. To see all images that depict Miriams dance, the associated iconclass code 71E1232 can be used as a search term. Official website Direct link to the databases The Dutch version of the Art and Architecture Thesaurus
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Virtual International Authority File
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The Virtual International Authority File is an international authority file. It is a joint project of national libraries and operated by the Online Computer Library Center. The project was initiated by the US Library of Congress, the German National Library, the National Library of France joined the project on October 5,2007. The project transitions to a service of the OCLC on April 4,2012, the aim is to link the national authority files to a single virtual authority file. In this file, identical records from the different data sets are linked together, a VIAF record receives a standard data number, contains the primary see and see also records from the original records, and refers to the original authority records. The data are available online and are available for research and data exchange. Reciprocal updating uses the Open Archives Initiative Protocol for Metadata Harvesting protocol, the file numbers are also being added to Wikipedia biographical articles and are incorporated into Wikidata. VIAFs clustering algorithm is run every month, as more data are added from participating libraries, clusters of authority records may coalesce or split, leading to some fluctuation in the VIAF identifier of certain authority records
