1.
Hoxton
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Hoxton is a district in the East End of London, England, immediately north of the financial district of the City of London. Hoxton forms the part of Shoreditch, being part of the ancient parish. The area of Hoxton is bordered by Regents Canal on the side, Wharf Road and City Road to the west, Old Street to the south. Hoxton is also a ward, electing three councillors to Hackney London Borough Council and it forms part of the Hackney South and Shoreditch constituency. Hogesdon is first recorded in the Domesday Book, meaning an Anglo-Saxon farm belonging to Hoch, little is recorded of the origins of the settlement, though there was Roman activity around Ermine Street, which ran to the east of the area from the 1st century. In medieval times, Hoxton formed a part of Shoreditch parish. The Worshipful Company of Haberdashers remains Patron of the advowson of the parish of St Johns, the residents responded by harassing walkers to protect their fields. A century later, the hedges and ditches were destroyed, by order of the City, by Tudor times many moated manor houses existed to provide ambassadors and courtiers country air nearby the City. This included many Catholics, attracted by the house of the Portuguese Ambassador, one such resident was Sir Thomas Tresham, who was imprisoned here by Elizabeth I of England for harbouring Catholic priests. Jonson was able to prove his literacy, thereby claiming benefit of clergy to escape a hanging. Hoxtons public gardens were a popular resort from the overcrowded City streets, and it is reputed that the name of Pimlico came from the publican, Ben Pimlico, have at thee, then, my merrie boyes, and beg for old Ben Pimlico’s nut-brown ale. The gardens appear to have been situated near Hoxton Street, known at that time, the modern area of Pimlico derives its name from its former use in Hoxton. The letter may have been sent by his brother-in-law Francis Tresham, or he may have written it himself, the letter was read aloud at supper, before prominent Catholics, and then he delivered it personally to Robert Cecil at Whitehall. While the conspirators were alerted, by the reading, to the existence of the letter they persevered with their plot as their gunpowder remained undiscovered. William Parker accompanied Thomas Howard, the Lord Chamberlain, at his visit to the undercroft of Parliament, most of the conspirators fled on the discovery of the Gunpowder Plot, but Francis Tresham was arrested a few days later at his house in Hoxton. A commemorative plaque is attached to modern flats at the site of Parkers house in Hoxton Street, by the end of the 17th century the nobilitys estates began to be broken up. Many of these houses became to be used as schools, hospitals or mad houses. Askes Almshouses were built on Pitfield Street in 1689 from Robert Askes endowment for 20 poor haberdashers, Hoxton House, was established as a private asylum in 1695
2.
Greater London
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London, or Greater London, is a region of England which forms the administrative boundaries of London. It is organised into 33 local government districts, the 32 London boroughs, the Greater London Authority, based in Southwark, is responsible for strategic local government across the region and consists of the Mayor of London and the London Assembly. The county of Greater London was created on 1 April 1965 through the London Government Act 1963, administratively, Greater London was first established as a sui generis council area under the Greater London Council between 1963 and 1986. The area was re-established as a region in 1994, and the Greater London Authority formed in 2000, the region covers 1,572 km2 and had a population of 8,174,000 at the 2011 census. In 2012, it had the highest GVA per capita in the United Kingdom at £37,232, the Greater London Built-up Area—used in some national statistics—is a measure of the continuous urban area of London, and therefore includes areas outside of the administrative region. The term Greater London has been and still is used to different areas in governance, statistics, history. In terms of ceremonial counties, London is divided into the small City of London, outside the limited boundaries of the City, a variety of arrangements has governed the wider area since 1855, culminating in the creation of the Greater London administrative area in 1965. The Greater London Arterial Road Programme was devised between 1913 and 1916, one of the larger early forms was the Greater London Planning Region, devised in 1927, which occupied 1,856 square miles and included 9 million people. The LCC pressed for an alteration in its boundaries soon after the end of the First World War, noting that within the Metropolitan, a Royal Commission on London Government was set up to consider the issue. The LCC proposed a vast new area for Greater London, with a boundary somewhere between the Metropolitan Police District and the home counties, protests were made at the possibility of including Windsor, Slough and Eton in the authority. The Commission made its report in 1923, rejecting the LCCs scheme, two minority reports favoured change beyond the amalgamation of smaller urban districts, including both smaller borough councils and a central authority for strategic functions. The London Traffic Act 1924 was a result of the Commission, Greater London originally had a two-tier system of local government, with the Greater London Council sharing power with the City of London Corporation and the 32 London Borough councils. The GLC was abolished in 1986 by the Local Government Act 1985 and its functions were devolved to the City Corporation and the London Boroughs, with some functions transferred to central government and joint boards. Greater London was used to form the London region of England in 1994, a referendum held in 1998 established a public will to recreate an upper tier of government to cover the region. The Greater London Authority, London Assembly and the directly elected Mayor of London were created in 2000 by the Greater London Authority Act 1999, in 2000, the outer boundary of the Metropolitan Police District was re-aligned to the Greater London boundary. The 2000 and 2004 mayoral elections were won by Ken Livingstone, the 2008 and 2012 elections were won by Boris Johnson. The 2016 election was won by Sadiq Khan, Greater London continues to include the most closely associated parts of the Greater London Urban Area and their historic buffers. Thus it includes, in five boroughs, significant parts of the Metropolitan Green Belt which protects designated greenfield land in a way to the citys parks
3.
Frognal
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Not to be confused with Frognal House, in Foots Cray near Sidcup, London Frognal is an area of Hampstead, North West London in the London Borough of Camden. Frognal is also the name of the road in the area. The first reference to Frognal is as a tenement in the 15th century, by the mid-eighteenth century it was a significant settlement, sought after by eminent lawyers, and infill development continued through the nineteenth and twentieth centuries. William Page, historian and general editor of the Victoria County History, sir Walter Besant, the author, lived at 106 Frognal, and died at 18 Frognal Gardens in 1901. The Labour Party leader Hugh Gaitskell lived at 10 Frognal and ran a salon of influence in the 1940s, general Charles de Gaulle lived from 1942 to 1944 in 99 Frognal. Kathleen Ferrier, the contralto, lived at Frognal Mansions,97 Frognal, kate Greenaway, the illustrator, lived in a house in Frognal designed for her by Richard Norman Shaw in 1885. Charles Forte, restaurant and hotel owner lived at Greenaway Gardens in Frognal, Dennis Brain, tamara Karsavina, the ballerina, lived at 108 Frognal in the 1950s. E. V. Knox, the editor of Punch, lived at 110 Frognal from 1945, anton Walbrook, the actor, died at 69 Frognal in 1967. Sir Bernard Spilsbury, the pathologist, died at 20 Frognal, Frognal has a diverse architecture, with many architecturally notable buildings. The central area, lacking large council estates, has undergone less change than some parts of Hampstead. University College School, an independent day school founded in 1830, frognall Grove, Grade II listed, was large house inherited by the architect George Edmund Street, who made additions to it. It was later subdivided into four semi-detached houses, Hampstead West Hampstead Swiss Cottage Kilburn Fortune Green Finchley Road & Frognal Hampstead tube station Finchley Road tube station Elrington, C. R. Baker, T. F. T. Bolton, Diane K, Croot, Patricia E. C, a History of the County of Middlesex, Volume 9
4.
Picture book
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A picture book combines visual and verbal narratives in a book format, most often aimed at young children. The images in picture books use a range of such as oil paints, acrylics, watercolor. Two of the earliest books with something like the picture books still retain now were Heinrich Hoffmanns Struwwelpeter from 1845. Some of the picture books are Robert McCloskeys Make Way for Ducklings, Dr. Seuss The Cat In The Hat. The Caldecott Medal and Kate Greenaway Medal are awarded annually for illustrations in childrens literature, from the mid-1960s several childrens literature awards include a category for picture books. Some picture books are published with content aimed at children or even adults. Tibet, Through the Red Box, by Peter Sis, is one example of a book aimed at an adult audience. There are several subgenres among picture books, including books, concept books, early readers, nursery rhymes. Another category is movable books, such as books, which employ paper engineering to make parts of the page pop up or stand up when pages are opened. The Wheels on the Bus, by Paul O. Zelinsky, is one example of a bestseller pop-up picture book, orbis Pictus from 1658 by John Amos Comenius was the earliest illustrated book specifically for children. It is something of an encyclopedia and is illustrated by woodcuts. A Little Pretty Pocket-Book from 1744 by John Newbery was the earliest illustrated storybook marketed as pleasure reading in English, the German childrens books Struwwelpeter from 1845 by Heinrich Hoffmann, and Max and Moritz from 1865 by Wilhelm Busch, were among the earliest examples of modern picturebook design. Andrew Langs twelve Fairy Books published between 1889 and 1910 were illustrated by among others Henry J. Ford and Lancelot Speed, lewis Carrolls Alices Adventures in Wonderland, illustrated by John Tenniel in 1866 was one of the first highly successful entertainment books for children. Toy books were introduced in the half of the 19th century. These had a proportion of pictures to words than earlier books. Heath Robinson, Howard Pyle, or Charles Robinson, generally, these illustrated books had eight to twelve pages of illustrated pictures or plates accompanying a classic childrens storybook. Beatrix Potters The Tale of Peter Rabbit was published in 1902 to immediate success, Peter Rabbit was Potters first of many The Tale of. Including The Tale of Squirrel Nutkin, The Tale of Benjamin Bunny, The Tale of Tom Kitten, swedish author Elsa Beskow wrote and illustrated some 40 childrens stories and picture books between 1897–1952
5.
Victorian era
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The Victorian era was the period of Queen Victorias reign, from 20 June 1837 until her death on 22 January 1901. It was a period of peace, prosperity, refined sensibilities. Some scholars date the beginning of the period in terms of sensibilities, the era followed the Georgian period and preceded the Edwardian period. The later half of the Victorian age roughly coincided with the first part of the Belle Époque era of continental Europe, culturally there was a transition away from the rationalism of the Georgian period and toward romanticism and mysticism with regard to religion, social values, and arts. The end of the saw the Boer War. Domestically, the agenda was increasingly liberal with a number of shifts in the direction of political reform, industrial reform. Two especially important figures in period of British history are the prime ministers Benjamin Disraeli and William Gladstone. Disraeli, favoured by the queen, was a gregarious Conservative and his rival Gladstone, a Liberal distrusted by the Queen, served more terms and oversaw much of the overall legislative development of the era. The population of England and Wales almost doubled from 16.8 million in 1851 to 30.5 million in 1901, Scotlands population also rose rapidly, from 2.8 million in 1851 to 4.4 million in 1901. However, Irelands population decreased sharply, from 8.2 million in 1841 to less than 4.5 million in 1901, mostly due to the Great Famine. Between 1837 and 1901 about 15 million emigrants departed the UK permanently, in search of a life in the United States, Canada, South Africa, New Zealand, Australia. During the early part of the era, politics in the House of Commons involved battles between the two parties, the Whigs/Liberals and the Conservatives. These parties were led by such prominent statesmen as Lord Melbourne, Sir Robert Peel, Lord Derby, Lord Palmerston, Gladstone, Disraeli, Victoria became queen in 1837 at age 18. Her long reign until 1901 was mainly a time of peace, Britain reached the zenith of its economic, political, diplomatic and cultural power. The era saw the expansion of the second British Empire, Historians have characterised the mid-Victorian era as Britains Golden Years. There was prosperity, as the income per person grew by half. There was peace abroad, and social peace at home, opposition to the new order melted away, says Porter. The Chartist movement peaked as a movement among the working class in 1848, its leaders moved to other pursuits, such as trade unions
6.
Children's literature
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Childrens literature or juvenile literature includes stories, books, magazines, and poems that are enjoyed by children. Modern childrens literature is classified in two different ways, genre or the age of the reader. Childrens literature can be traced to stories and songs, part of an oral tradition. The development of childrens literature, before printing was invented, is difficult to trace. Even after printing became widespread, many childrens tales were originally created for adults. Since the 15th century, a quantity of literature, often with a moral or religious message, has been aimed specifically at children. The late nineteenth and early centuries became known as the Golden Age of Childrens Literature as this period included the publication of many books acknowledged today as classics. There is no single or widely used definition of childrens literature and it can be broadly defined as anything that children read or more specifically defined as fiction, non-fiction, poetry, or drama intended for and used by children and young people. The International Companion Encyclopedia of Childrens Literature notes that the boundaries of genre. are not fixed but blurred, sometimes, no agreement can be reached about whether a given work is best categorized as literature for adults or children. Rowlings Harry Potter series was written and marketed for young adults, the series extreme popularity led The New York Times to create a separate best-seller list for childrens books. Despite the widespread association of childrens literature with picture books, spoken narratives existed before printing, seth Lerer, in the opening of Childrens Literature, A Readers History from Aesop to Harry Potter, says, This book presents a history of what children have heard and read. The history I write of is a history of reception, early childrens literature consisted of spoken stories, songs, and poems that were used to educate, instruct, and entertain children. It was only in the 18th century, with the development of the concept of childhood, that a genre of childrens literature began to emerge, with its own divisions, expectations. French historian Philippe Ariès argues in his 1962 book Centuries of Childhood that the concept of childhood only emerged in recent times. He explains that children were in the past not considered as different from adults and were not given significantly different treatment. Pre-modern childrens literature, therefore, tended to be of a didactic and moralistic nature, with the purpose of conveying conduct-related, educational, during the 17th century, the concept of childhood began to emerge in Europe. Adults saw children as separate beings, innocent and in need of protection, the English philosopher John Locke developed his theory of the tabula rasa in his 1690 An Essay Concerning Human Understanding. A corollary of this doctrine was that the mind of the child was born blank, and he also suggested that picture books be created for children
7.
Royal College of Art
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The Royal College of Art or RCA is a public research university in London, in the United Kingdom. This was the third year that QS had awarded it the number 1 position for Art & Design. The RCA was founded in Somerset House in 1837 as the Government School of Design or Metropolitan School of Design, richard Burchett became head of the school in 1852. In 1853 it was expanded and moved to Marlborough House, and then, in 1853 or 1857 and it was renamed the Normal Training School of Art in 1857 and the National Art Training School in 1863. During the later 19th century it was primarily a training college, pupils during this period included George Clausen, Christopher Dresser, Luke Fildes, Kate Greenaway. In 1896 or 1897 the school received the name Royal College of Art, teaching of graphic design, industrial design and product design began in the mid-twentieth century. The school expanded further in the 1960s, and in 1967 it received a Royal Charter which gave it the status of an independent university with the power to grant its own degrees, the RCA has two campuses, in South Kensington and in Battersea. The Darwin Building in Kensington Gore dates from the 1960s and is a Grade II listed building and it was designed by a team of RCA staff members, H. T. Cadbury-Brown, Hugh Casson and Robert Goodden. In 1991 the sculpture department moved to a converted factory across the river Thames in Battersea, in the early 2000s the college conceived a substantial second campus being created on the site, with a minibus service linking it to Kensington. Thus, after a redevelopment of the premises by Wright & Wright. A masterplan was commissioned by Haworth Tompkins and phase 1 of their three phase design was completed with the opening of the Sackler Building on 19 November 2009 and its name commemorates a major gift by The Dr Mortimer and Theresa Sackler Foundation. The Dyson Building, named in honour of James Dyson, whose educational charity donated £5m to the development, was opened on 24 September 2012 and it is the home for printmaking and photography, and contains an innovation wing where start-up designers can launch their businesses. The Woo Building was opened on 30 September 2015, completing the Battersea project and it is named in honour of Sir Po-Shing and Lady Helen Woo, who have funded scholarships at the RCA since the 1990s. It accommodates the Ceramics & Glass and Jewellery & Metal programmes, the buildings anodised aluminium gates were designed by alumnus Max Lamb. The RCA offers MA, MPhil and PhD degrees in twenty-four subject areas, divided into six schools, architecture, communication, design, fine art, humanities, and materials. In April 2011 the RCA was ranked first on a list of UK graduate art schools compiled by Modern Painters magazine from a survey of professionals in the art world. In August 2015 it was ranked first on a list of courses in fashion by Business of Fashion. In 2015 the RCA placed first in the art and design subject area in the QS World University Rankings published by Quacquarelli Symonds, in 2016 and 2017 it held onto the position, increasing its overall score from 96. 0/100 to 98. 4/100
8.
Slade School of Fine Art
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The UCL Slade School of Fine Art is the art school of University College London and is based in London, United Kingdom. It is world-renowned and is ranked as the UKs top art. The school is organised as a department of UCLs Faculty of Arts, distinguished past teachers include Henry Tonks, Wilson Steer, Randolph Schwabe, William Coldstream, Andrew Forge, Lucian Freud, Phyllida Barlow, John Hilliard, Bruce McLean, Alfred Gerrard. Edward Allington is currently a Professor of Fine Art and Head of Graduate Sculpture, two of its most important periods were immediately before, and immediately after, the turn of the twentieth century, described by Henry Tonks as its two crises of brilliance. R. W. The Slade Centre for Electronic Media in Fine Art was opened in 1995, the centre provides opportunities for research into electronic media and fine art with the goal of contributing to debate on national and international levels. The Slade had previously been home to Malcolm Hughess Computer and Experimental Department in the 1970s, in 1997 SCEMFA presented Collision, a public lecture series by artists, writers, and curators working with interactivity, telematics, and digital works. Throughout 1998, SCEMFA collaborated with Channel 4 UK to organise Cached, funded by the Arts Council, this series investigated the conceptual and practical issues of producing art for the internet through a series of artists presentations. Works by students and staff of the Slade School of Fine Art form the basis of the UCL Art museum today, in a 2008 survey conducted by The Sunday Times the Slade recorded perfect scores
9.
Edmund Evans
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Edmund Evans was a prominent English wood engraver and colour printer during the Victorian era. Evans specialized in printing, which, in part because of his work. He employed and collaborated with such as Walter Crane, Randolph Caldecott, Kate Greenaway. Although little is known about his life, he wrote an autobiography before his death in 1905 in which he described his life as a printer in Victorian London. After finishing an apprenticeship, Evans went into business for himself, by the early 1850s, he had established a reputation as a printer of covers for a type of cheap novels known as yellow-backs. In the early 1860s, he began to print childrens toy books and picture books in association with the printing house Routledge and his intention was to produce books for children that were beautiful and inexpensive. For three decades he produced multiple volumes each year, first illustrated by Crane, and later by Caldecott, Evans used a woodblock printing technique known as chromoxylography, which was used primarily for inexpensive serialised books and childrens books requiring few colours, so as to maximize profits. However, chromoxylography allowed a variety of hues and tones to be produced by mixing colours, the process was complicated and required intricate engraving to achieve the best results. Evans possessed a meticulous eye for detail and used a hand-press and he went on to become the preeminent wood engraver and colour printer in Britain during the second half of the 19th century. Evans was born in Southwark, London, on 23 February 1826 and he attended school in Jamaica Row, where he enjoyed mathematics but wished he had learned Latin. As a 13-year-old he began work as a boy at the printing house of Samuel Bentley in London in 1839. However, he was reassigned as an errand boy because his stutter interfered with his duties. The hours were long—from seven in the morning until nine or ten at night—but the printmaking process itself, Evans started with Landells in 1840. His duties included delivering proofs of drawings to be approved by such as Edward Dalziel. A year later, Landells launched Punch magazine, and as early as 1842 had Evans illustrate covers for the new publication, Evans worked and became friends with Myles Birket Foster, John Greenaway and George Dalziel. Foster and Evans became lifelong friends, toward the end of his apprenticeship, the demands of the Illustrated London News caused Evans to work late into the night and return early in the morning. When his apprenticeship ended in 1847, Evans, then 21, refused an offer of employment from Landells, deciding instead to go into business for himself as a wood-engraver, in 1848 Evans engraved a title-page illustration, among other commissions, for the Illustrated London News. However, the Illustrated London News stopped employing him on the basis that his wood engraving was too fine for newspaper work and his final print for the Illustrated London News showed the four seasons, and was illustrated by Foster
10.
Under the Window
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Under the Window, Pictures & Rhymes for Children was Kate Greenaways first childrens picture book, composed of her own verses and illustrations. Although Greenaway illustrated over 150 books, Under the Window is one of two books that she wrote and illustrated, the other was Marigold Garden. In the late 1870s, Greenaway—who had been illustrating greeting cards—persuaded her father, Evans explains, I was at once fascinated by the originality of the drawings and the ideas of the verse, so I at once purchased them. Evans considered Greenaways illustrations to be appealing and encouraged Routledge to publish the book. Reprinting kept on till 70,000 was reached, under the Window, Pictures and Rhymes for Children consists of rhymes and traditional nursery rhymes. Greenaway wrote her own verse for the book, in Under the Window, Greenaway presented drawings of children dressed in styles based on the fashions of the turn-of-the-century. Her books were so popular that the clothing the children in them came back into fashion. The colouring is pale with gently modulated tints favored by the Aesthetes, mainly soft yellows, other fashionable motifs illustrated in the book are sunflowers, blue and white china, and Queen Anne Style architecture. Also evident within the book is the influence of Japanese woodblocks with their definite block outline, flat, delicate colours, the emphasis is placed largely on the illustrations which are accompanied by verse. The images reflect the English countryside, childhood fantasies, and adult parodies, under the Window appeared in stores in October 1879, in time for Christmas. A further 70,000 copies were printed and sold in England, with separate editions for America, the book was published in 1879, Edmund Evans produced 100,000 copies of Under the Window which helped launch Greenaways career as an author and illustrator of childrens books. Under the Window was followed by The Birthday Book, Mother Goose, Little Ann, within weeks of publication of Under the Window, several imitations appeared, frustrating Greenaway. One fairly well-known artist from the North of England wanted me to buy a copy of a book he had drawn, painted, of course I could have nothing to do with such a bare faced copy of K. G. s book. It was, of course, bought and published by another firm of publishers, Greenaways friends considered Afternoon Tea to be a crude exploitation and urged legal action. Frederick Locker denounced the book as an imitation of your manner. The Reminiscences of Edmund Evans, Wood Engraver and Colour Printer, international Companion Encyclopedia of Childrens Literature. Under the Window and Afternoon Tea, Twirling the Same Blade of Grass, the Illustrator and the book in England from 1790 to 1914. The art of Kate Greenaway, a portrait of childhood
11.
Myles Birket Foster
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Myles Birket Foster was a popular English illustrator, watercolour artist and engraver in the Victorian period. His name is also to be found as Myles Birkett Foster, Foster was born in North Shields, England of a primarily Quaker family, but his family moved south to London in 1830, where his father founded M. B. Foster & sons — a successful beer-bottling company and he was schooled at Hitchin, Hertfordshire and on leaving initially went into his fathers business. On leaving Landells employ, he continued to work for the Illustrated London News. He also found work as an illustrator and, during the 1850s. His illustrations of Longfellow’s Evangeline and books of poetry by other contemporaries were a great success, Birket Foster became an Associate of the Old Watercolour Society in 1860 and exhibited some 400 of his paintings at the Royal Academy over more than 2 decades. Birket Foster travelled widely, painting the countryside around Scotland, the Rhine Valley, in 1863 he moved to Witley, near Godalming in Surrey where he had a house built. Being friendly with Edward Burne-Jones and William Morris, he had the house decorated and furnished in contemporary style, with tiles and paintings by Burne-Jones and Morris firm, Morris, the same year he published a volume of English Landscapes, with text by Tom Taylor. Although criticised for their view of rural life, they were recognised for their detail. Birket Fosters work was used by Cadburys, the chocolate manufacturer and he became ill in 1893 and moved to Weybridge. He continued painting, but died on 27 March 1899 and his obituary in The Times referred to him as certainly the most popular water-colour artist of our time. He is buried at All Saints Church in Witley, when his father, Myles Birket Foster died, the artist sons obituary was published. His son, Myles Birket Foster, was an organist who composed cantatas for childrens voices, Illustrated by Foster Foster, Myles Birket. The Carewes, A Tale of the Civil Wars, Birket Fosters pictures of English landscape. Birket Foster, R. W. S, with colour plates, Birket Foster, sixteen examples in colour of the artists work
12.
Engraving
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Engraving is the practice of incising a design onto a hard, usually flat surface by cutting grooves into it. Wood engraving is a form of printing and is not covered in this article. Engraving was an important method of producing images on paper in artistic printmaking, in mapmaking. Other terms often used for printed engravings are copper engraving, copper-plate engraving or line engraving, hand engraving is a term sometimes used for engraving objects other than printing plates, to inscribe or decorate jewellery, firearms, trophies, knives and other fine metal goods. Traditional engravings in printmaking are also engraved, using just the same techniques to make the lines in the plate. Each graver is different and has its own use, engravers use a hardened steel tool called a burin, or graver, to cut the design into the surface, most traditionally a copper plate. Modern professional engravers can engrave with a resolution of up to 40 lines per mm in high grade work creating game scenes, dies used in mass production of molded parts are sometimes hand engraved to add special touches or certain information such as part numbers. In addition to engraving, there are engraving machines that require less human finesse and are not directly controlled by hand. They are usually used for lettering, using a pantographic system, there are versions for the insides of rings and also the outsides of larger pieces. Such machines are used for inscriptions on rings, lockets. Gravers come in a variety of shapes and sizes that yield different line types, the burin produces a unique and recognizable quality of line that is characterized by its steady, deliberate appearance and clean edges. The angle tint tool has a curved tip that is commonly used in printmaking. Florentine liners are flat-bottomed tools with multiple lines incised into them, ring gravers are made with particular shapes that are used by jewelry engravers in order to cut inscriptions inside rings. Flat gravers are used for work on letters, as well as wriggle cuts on most musical instrument engraving work, remove background. Knife gravers are for line engraving and very deep cuts, round gravers, and flat gravers with a radius, are commonly used on silver to create bright cuts, as well as other hard-to-cut metals such as nickel and steel. Square or V-point gravers are typically square or elongated diamond-shaped and used for cutting straight lines, V-point can be anywhere from 60 to 130 degrees, depending on purpose and effect. These gravers have very small cutting points, other tools such as mezzotint rockers, roulets and burnishers are used for texturing effects. Burnishing tools can also be used for stone setting techniques
13.
Ebenezer Landells
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Ebenezer Landells was an English wood-engraver, illustrator, and magazine proprietor. Born in Newcastle, Landells was apprenticed to the wood-engraver Thomas Bewick, in 1829 he moved to London, and before long managed to start his own engraving workshop. After attempting a short-lived fashion journal, Cosmorama, he joined with the journalist Henry Mayhew, Landells was also involved in several other magazines, the less successful Illuminated Magazine, Great Gun, the Ladys Newspaper, Diogenes, and the Illustrated Inventor. Responding to the growth in the book market, he wrote and illustrated several books for children, Boys Own Toy-Maker, Girls Own Toy-Maker. Landells made a contribution to the development of the illustrated magazine in the nineteenth century. He provided the link between Bewicks inspirational use of wood-engraving for artistic purposes and the use of the technology for the mass market. He died at Victoria Grove, West Brompton, in south-west London on 1 October 1860, Landells Road in Londons East Dulwich is purported to be named after Ebeneezer Landells. He was married, on 9 January 1832, at New St. Pancras Church, London, to Anne, attribution This article incorporates text from a publication now in the public domain, Cust, Lionel Henry
14.
Charles Dickens
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Charles John Huffam Dickens was an English writer and social critic. He created some of the worlds best-known fictional characters and is regarded by many as the greatest novelist of the Victorian era and his works enjoyed unprecedented popularity during his lifetime, and by the twentieth century critics and scholars had recognised him as a literary genius. His novels and short stories enjoy lasting popularity, born in Portsmouth, Dickens left school to work in a factory when his father was incarcerated in a debtors prison. Dickenss literary success began with the 1836 serial publication of The Pickwick Papers, within a few years he had become an international literary celebrity, famous for his humour, satire, and keen observation of character and society. His novels, most published in monthly or weekly instalments, pioneered the publication of narrative fiction. The instalment format allowed Dickens to evaluate his audiences reaction, and he modified his plot. For example, when his wifes chiropodist expressed distress at the way Miss Mowcher in David Copperfield seemed to reflect her disabilities and his plots were carefully constructed, and he often wove elements from topical events into his narratives. Masses of the poor chipped in hapennies to have each new monthly episode read to them, opening up. Dickens was regarded as the literary colossus of his age and his 1843 novella, A Christmas Carol, remains popular and continues to inspire adaptations in every artistic genre. Oliver Twist and Great Expectations are also adapted, and, like many of his novels. His 1859 novel, A Tale of Two Cities, set in London, Dickens has been praised by fellow writers—from Leo Tolstoy to George Orwell and G. K. Chesterton—for his realism, comedy, prose style, unique characterisations, and social criticism. On the other hand, Oscar Wilde, Henry James, and Virginia Woolf complained of a lack of depth, loose writing. The term Dickensian is used to something that is reminiscent of Dickens and his writings. Charles John Huffam Dickens was born on 7 February 1812, at 1 Mile End Terrace, Landport in Portsea Island and his father was a clerk in the Navy Pay Office and was temporarily stationed in the district. He asked Christopher Huffam, rigger to His Majestys Navy, gentleman, Huffam is thought to be the inspiration for Paul Dombey, the owner of a shipping company in Dickenss eponymous Dombey and Son. In January 1815 John Dickens was called back to London, when Charles was four, they relocated to Sheerness, and thence to Chatham, Kent, where he spent his formative years until the age of 11. His early life seems to have been idyllic, though he himself a very small. Charles spent time outdoors but also read voraciously, including the novels of Tobias Smollett and Henry Fielding, as well as Robinson Crusoe
15.
The Pickwick Papers
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The Posthumous Papers of the Pickwick Club was Charles Dickenss first novel. He was asked to contribute to the project as a writer following the success of Sketches by Boz. Dickens increasingly took over the monthly publication after the original illustrator Robert Seymour had committed suicide. With the introduction of Sam Weller in chapter 10, the became the first real publishing phenomenon, with bootleg copies, theatrical performances, Sam Weller joke books. A firm of London publishers, Messrs. Chapman & Hall, was projecting a series of cockney sporting plates by illustrator Robert Seymour. There was to be a club, the members of which were to be sent on hunting and fishing expeditions into the country and their guns were to go off by accident, fishhooks were to get caught in their hats and trousers. All these and other misadventures were to be depicted in Seymours comic plates, only in a few instances did Dickens adjust his narrative to plates that had been prepared for him. Typically, he led the way with an instalment of his story. The story thus became the source of interest, and the illustrations merely of secondary importance. By this reversal of interest, Dickens transformed, at a stroke, simple as the process may appear, others who had tried the plan had all failed. Pierce Egan partially succeeded in his Tom and Jerry, a novel in which the pictures, in future years, however, Dickens was suspiciously eager to distance himself from suggestions that Pierce Egans Life in London had been a formative influence. Robert Seymour provided the illustrations for the first two instalments before his suicide, Robert Buss illustrated the third instalment, but his work was not liked by Dickens and the remaining instalments were illustrated by Phiz who went on to illustrate most of Dickens novels. The instalments were first published in form in 1837. Written for publication as a serial, The Pickwick Papers is a sequence of loosely related adventures, the action is given as occurring 1827–8, though critics have noted some seeming anachronisms. It has been stated that Dickens satirized the case of George Norton suing Lord Melbourne in The Pickwick Papers, the novels main character, Samuel Pickwick, Esquire, is a kind and wealthy old gentleman, the founder and perpetual president of the Pickwick Club. Their travels throughout the English countryside by coach provide the theme of the novel. A distinctive and valuable feature of the work is the accurate description of the old coaching inns of England. Its main literary value and appeal is formed by its numerous memorable characters, each character in The Pickwick Papers, as in many other Dickens novels, is drawn comically, often with exaggerated personality traits
16.
Islington
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Islington is a district in Greater London, England, and part of the London Borough of Islington. Islington grew as a sprawling Middlesex village along the line of the Great North Road and this gave rise to some confusion, as neighbouring districts may also be said to be in Islington. This district is bounded by Liverpool Road to the west and City Road and its northernmost point is in the area of Canonbury. The main north-south high street, Upper Street splits at Highbury Corner to Holloway Road to the west, Islington was originally named by the Saxons Giseldone, then Gislandune. The name means Gīslas hill from the Old English personal name Gīsla, the name later mutated to Isledon, which remained in use well into the 17th century when the modern form arose. In medieval times, Islington was just one of many small manors thereabouts, along with Bernersbury, some roads on the edge of the area, including Essex Road, were known as streets by the medieval period, possibly indicating a Roman origin, but little physical evidence remains. What is known is that the Great North Road from Aldersgate came into use in the 14th century and this was along the line of modern Upper Street, with a toll gate at The Angel defining the extent of the village. The Back Road, the modern Liverpool Road, was primarily a road where cattle would be rested before the final leg of their journey to Smithfield. Pens and sheds were erected along this road to accommodate the animals, the first recorded church, St Marys, was erected in the twelfth century and was replaced in the fifteenth century. Islington lay on the estates of the Bishop of London and the Dean, there were substantial medieval moated manor houses in the area, principally at Canonbury and Highbury. In 1548, there were 440 communicants listed and the atmosphere, with access to the City and Westminster, made it a popular residence for the rich. The local inns, however, harboured many fugitives and recusants, the Royal Agricultural Hall was built in 1862 on the Liverpool Road site of William Dixons Cattle Layers. The hall was 75 ft high and the glass roof spanned 125 ft. It was built for the annual Smithfield Show in December of that year but was popular for other purposes, including recitals and it was the primary exhibition site for London until the 20th century and the largest building of its kind, holding up to 50,000 people. It was requisitioned for use by the Mount Pleasant sorting office during World War II, the main hall has now been incorporated into the Business Design Centre. The hill on which Islington stands has long supplied the City of London with water and these included Sadlers Wells, London Spa and Clerkenwell. The river was opened on 29 September 1613 by Sir Hugh Myddelton and his statue still stands where Upper Street meets Essex Road. The course of the river ran to the east of Upper Street, the Regents Canal passes through Islington
17.
The Illustrated London News
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The Illustrated London News appeared first on Saturday 14 May 1842, as the worlds first illustrated weekly news magazine. Founded by Herbert Ingram, it appeared weekly until 1971, then less frequently thereafter, the company continues today as Illustrated London News Ltd, a publishing, content and digital agency in London, which holds the publication and business archives of the magazine. As a newsagent, Ingram was struck by the increase in newspaper sales when they featured pictures. Ingram began to plan a weekly newspaper that would contain pictures in every edition, Ingram rented an office, recruited artists and reporters, and employed as his editor Frederick William Naylor Bayley, formerly editor of the National Omnibus. The first issue of The Illustrated London News appeared on Saturday,14 May 1842, Ingram hired 200 men to carry placards through the streets of London promoting the first edition of his new newspaper. Costing sixpence, the first issue sold 26,000 copies, despite this initial success, sales of the second and subsequent editions were disappointing. Its circulation soon increased to 40,000 and by the end of its first year was 60,000, in 1851, after the newspaper published Joseph Paxtons designs for the Crystal Palace before even Prince Albert had seen them, the circulation rose to 130,000. Andrew Spottiswoodes Pictorial Times lost £20,000 before it was sold to Ingram by Henry Vizetelly, Ingram folded it into another purchase, The Ladys Newspaper, which became The Ladys Newspaper and Pictorial Times. Vitezelly was also behind a competitor, The Illustrated Times in 1855. Ingrams other early collaborators left the business in the 1850s, nathanial Cooke, his business partner and brother-in-law, found himself in a subordinate role in the business and parted on bad terms around 1854. 1858 saw the departure of William Little, who, in addition to providing a loan of £10,000, was printer and publisher of the paper for 15 years, littles relationship with Ingram deteriorated over Ingrams harassment of their mutual sister-in-law. By 1863, The Illustrated London News was selling more than 300,000 copies every week, the death of Herbert and his eldest son left the company without a director and manager. Control passed to Ingrams widow Ann, and his friend Sir Edward William Watkin, once Ingrams two younger sons, William and Charles, were old enough, they took over as managing directors, although it was William who took the lead. It was also a period of expansion and increased competition for the ILN, as reading habits and the illustrated news market changed, the ILN bought or established a number of new publications, evolving from a single newspaper to a larger-scale publishing business. As with Herbert Ingrams purchases in the 1850s, this expansion was also a way of managing competition, dominating markets. As too with the acquisitions of the 1850s, several similar illustrated publications were established in this period by former employees of The Illustrated London News. Serious competition for the ILN appeared in 1869, with the establishment of The Graphic, Thomas was a former wood engraver for The Illustrated London News, and brought his expertise in illustrated publishing to his new magazine. The Graphic was highly popular, particularly for its coverage of the Franco-Prussian War in 1870, William Ingram became chief proprietor of The Illustrated Sporting and Dramatic News, and The Ladys Pictorial, which may have been a later title of The Ladys Newspaper and Pictorial Times
18.
John Leech (caricaturist)
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John Leech was an English caricaturist and illustrator. He is best known for his work for Punch, a magazine for a broad middle-class audience, combining verbal. Leech catered to contemporary prejudices, such as anti-Americanism and anti-Semitism, Leechs critical yet humorous cartoons on the Crimean War help shape public attitudes toward heroism, warfare, and Britons role in the world. John Leech was born in London and his mother was descended from the family of Richard Bentley. It was from his father that Leech inherited his skill with the pencil, when he was only three, he was discovered by John Flaxman, who was visiting, seated on his mothers knee, drawing with much gravity. The sculptor admired his sketch, adding, Do not let him be cramped with lessons in drawing, let his genius follow its own bent, a mail-coach, done when he was six years old, is already full of surprising vigour and variety in its galloping horses. His nickname also being Blicky stuck with him during his life and he was eighteen when his first designs were published, a quarto of four pages, entitled Etchings and Sketchings by A. Pen, Esq. comic character studies from the London streets. In company with the elder master Leech designed for the Ingoldsby Legends and Stanley Thorn, then in the 1850s come the numerous etchings of sporting scenes, contributed, together with woodcuts, to the Handley Cross novels by Robert Smith Surtees. Amid all the squalor which they depict, they are full of beauties in the delicate or touching expression of a face. It was in work for the wood-engravers that Leech was most prolific and it was in 1841 that Leechs connection with Punch began, a connexion which subsisted until his death, and resulted in the production of the best-known and most admirable of his designs. His first contribution appeared in the issue of 7 August, a full-page illustration—entitled Foreign Affairs of character studies from the neighbourhood of Leicester Square, in 1862 Leech appealed to the public with a very successful exhibition of some of the most remarkable of his Punch drawings. These were enlarged by a process, and coloured in oils by the artist himself, with the assistance. Millais had earlier painted a portrait of a child reading Leechs comic book Mr Briggs Sporting Tour, Leech was a rapid and indefatigable worker. Dean Hole claims to have observed the artist produce three finished drawings on the wood, designed, traced, and rectified, without effort as it seemed. Turning to the qualities of his art, it would be a mistaken criticism which ranked him as a comic draughtsman. The purity and manliness of Leechs own character are impressed on his art and we find in it little of the exaggeration and grotesqueness, and none of the fierce political enthusiasm, of which the designs of James Gillray are so full. Compared with that of his contemporary, George Cruikshank, his work is restricted both in compass of subject and in artistic dexterity. Biographies of Leech have been written by John Brown Frederick G. Kitton, John Leech, artist and humorist, Leech, John, Oxford Dictionary of National Biography, online edn,2014 accessed 13 June 2015 Houfe, Simon
19.
John Gilbert (painter)
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Sir John Gilbert RA was an English artist, illustrator and engraver. Gilbert was born in Blackheath, Surrey, and taught himself to paint and his only formal instruction was from George Lance. Skilled in several media, Gilbert gained the nickname, the Scott of painting and he was best known for the illustrations and woodcuts he produced for the Illustrated London News. Gilbert was initially apprenticed to a firm of estate agents, and he was unable to enter the Royal Academy Schools, but mastered watercolour, oils, and other media. From 1836 he exhibited at the Society of British Artists, the art patron Thomas Sheepshanks and the artist William Mulready suggested that he learn wood engraving. Starting with Punch, he moved on to the Illustrated London News and he produced an impressive number of wood engravings for that publication and for The London Journal. He also produced many illustrations for books, including nearly all the important English poets. He became president of the Old Watercolour Society in 1871 and he exhibited some 400 pictures in watercolour and oil exhibited at the various societies. He became an RA in 1876, in the year as Edward Poynter. The Gilbert-Garret Competition for Sketching Clubs was started in 1870 at St. Martins School of Art, Gilbert is buried at Brockley and Ladywell Cemeteries. Charles Lamb Gilbert has nearly sixty oil paintings in British national collections
20.
Kenny Meadows
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Joseph Kenny Meadows, better known as Kenny Meadows, was a British caricaturist and illustrator. He is best known for the drawings that he contributed to Punch, much of his work was drawn in a humorous bohemian style. He was well known for the quality of his illustrations, although the reception of his work was often mixed. Meadows first major project was Heads of the People in 1840 and his acquaintance with Douglas Jerrold allowed him to become the illustrator of the project. Other contributors to the book included William Makepeace Thackeray and Leigh Hunt and he also contributed to The Illuminated Magazine, which was edited by Jerrold as well. In addition, he drew illustrations for the Christmas editions of Illustrated London News. Meadows became a prominent artist due to his work for Punch and he contributed fourteen total drawings to the paper. They were published in 1843 and 1844, appearing in the first through the seventh volumes and he worked very closely with John Leech while they were employed there. At the time that he first began working for Punch he was one of its oldest contributors, William Powell Frith once described him as perhaps the best of Punchs early illustrators. Other critics have stated that the quality the work that he produced varied and his drawings were hailed by some commentators more thoughtful than the typical burlesque treatments the subjects of his drawings often received. Others have faulted his work for a lack of humour and inventiveness and he was often noted, however, for the youthful enthusiasm he had toward drawing. His drawings often included the depiction of a butterfly at the mouth of a cannon, a similar design was used by Sir Edwin Henry Landseer in a painting, and some have attributed this similarity to Meadows influence on Landseer. Meadows often read Shakespeare and memorised many passages and he published a volume of illustrated scenes from Shakespeare in 1843. Though he and several of his friends considered this work to be his masterpiece and it was particularly well received in Germany, however. He continued working on depictions of scenes from Shakespeare for his entire life, Meadows was the son of a Naval officer and was born in Cardigan. Although his first name was Joseph, he listed his name as Kenny Meadows in professional use and he lived in Camden Town for much of his life. He was married to the sister of Archibald Henning, a fellow artist who contributed to Punch, Meadows wife was very frugal, and he allowed her to run the households finances. One of their daughters married James Hannay, who wrote for Punch in the 1850s, Meadows, who was known to be very outgoing and a night owl, spent much of his time visiting with friends and drinking gin
21.
Chapbook
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A chapbook is an early type of popular literature printed in early modern Europe. Produced cheaply, chapbooks were commonly small, paper-covered booklets, usually printed on a single sheet folded into books of 8,12,16 and 24 pages and they were often illustrated with crude woodcuts, which sometimes bore no relation to the text. When illustrations were included in chapbooks, they were considered popular prints, the tradition of chapbooks arose in the 16th century, as soon as printed books became affordable, and rose to its height during the 17th and 18th centuries. The term chapbook for this type of literature was coined in the 19th century, the corresponding French and German terms are bibliothèque bleue and Volksbuch, respectively. In Spain they were known as pliegos de cordel, the term chapbook is also in use for present-day publications, commonly short, inexpensive booklets. Chapbook is first attested in English in 1824, and seems to derive from the word for the itinerant salesmen who would sell such books, the first element of chapman comes in turn from Old English cēap. Broadside ballads were popular songs, sold for a penny or halfpenny in the streets of towns and they preceded chapbooks, but had similar content, marketing and distribution systems. These sales are probably characteristic of the market for chapbooks, Chapbooks gradually disappeared from the mid-19th century in the face of competition from cheap newspapers and, especially in Scotland, religious tract societies that regarded them as ungodly. Although the form originated in Britain, many were made in the U. S. during the same period, because of their flimsy nature such ephemera rarely survive as individual items. They were aimed at buyers without formal libraries, and, in an era when paper was expensive, were used for wrapping or baking, paper has also always had hygienic uses and there are contemporary references to the use of chapbooks as bum fodder. Many of the surviving chapbooks come from the collections of Samuel Pepys between 1661 and 1688 which are now held at Magdalene College, Cambridge, anthony Wood also collected 65 chapbooks, which are now at The Bodleian Library. There are also significant Scottish collections, such as held by the University of Glasgow. Modern collectors, such as Peter Opie, have chiefly a scholarly interest in the form, however, the category has no real limits, some chapbooks were long, some well produced, and some even historically accurate. The centre of chapbook and ballad production was London, and until the Great Fire of London the printers were based around London Bridge, however, a feature of chapbooks is the proliferation of provincial printers, especially in Scotland and Newcastle upon Tyne. Chapbooks were an important medium for the dissemination of culture to the common people. They were a medium of entertainment, information and history, however, they are nonetheless valued as a record of popular culture, preserving cultural artifacts that may not survive in any other form. Chapbooks were priced for sales to workers, although their market was not limited to the working classes, Broadside ballads were sold for a halfpenny, or a few pence. Prices of chapbooks were from 2d. to 6d, when agricultural labourers wages were 12d. per day
22.
Sleeping Beauty
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Sleeping Beauty by Charles Perrault, or Little Briar Rose by the Brothers Grimm, is a classic fairy tale which involves a beautiful princess, a sleeping enchantment, and a handsome prince. The version collected by the Brothers Grimm was an orally transmitted version of the originally literary tale published by Charles Perrault in Histoires ou contes du temps passé in 1697. This in turn was based on Sun, Moon, and Talia by Italian poet Giambattista Basile, the earliest known version of the story is found in the narrative Perceforest, composed between 1330 and 1344 and first printed in 1528. At the christening of a king and queens long-wished-for child, seven good fairies are invited to be godmothers to the infant princess, the fairies attend the banquet at the palace. Each fairy is presented with a plate and drinking cups adorned with jewels. Soon after, an old fairy enters the palace and is seated with a plate of fine china and this old fairy is overlooked because she has been within a tower for many years and everyone had believed her to be deceased. Six of the seven fairies then offer their gifts of beauty, wit, grace, dance, song. The evil fairy is very angry about having been forgotten, and as her gift, enchants the infant princess so that she one day prick her finger on a spindle of a spinning wheel. The seventh fairy, who hasnt yet given her gift, attempts to reverse the evil fairys curse, however, she can only do so partially. Instead of dying, the Princess will fall into a deep sleep for 100 years, the King orders that every spindle and spinning wheel in the kingdom to be destroyed, to try to save his daughter from the terrible curse. Fifteen or sixteen years pass and one day, when the king and queen are away, the princess, who has never seen anyone spin before, asks the old woman if she can try the spinning wheel. The curse is fulfilled as the princess pricks her finger on the spindle, the old woman cries for help and attempts are made to revive the princess. The king attributes this to fate and has the Princess carried to the finest room in the palace and placed upon a bed of gold, the king and queen kiss their daughter goodbye and depart, proclaiming the entrance to be forbidden. The good fairy who altered the evil prophecy is summoned, having great powers of foresight, the fairy sees that the Princess will awaken to distress when she finds herself alone, so the fairy puts everyone in the castle to sleep. The fairy also summons a forest of trees, brambles and thorns that spring up around the castle, shielding it from the outside world, a hundred years pass and a prince from another family spies the hidden castle during a hunting expedition. The prince then braves the tall trees, brambles and thorns which part at his approach and he passes the sleeping castle folk and comes across the chamber where the Princess lies asleep on the bed. Struck by the radiant beauty before him, he falls on his knees before her, the enchantment comes to an end by a kiss and the princess awakens and converses with the prince for a long time. Meanwhile, the rest of the castle awakens and go about their business, the prince and princess are later married by the chaplain in the castle chapel
23.
Cinderella
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Cinderella, or The Little Glass Slipper, is a folk tale embodying a myth-element of unjust oppression/triumphant reward. Thousands of variants are known throughout the world, the title character is a young woman living in unfortunate circumstances, that are suddenly changed to remarkable fortune. The oldest documented version comes from China, and the oldest European version from Italy, the most popular version was first published by Charles Perrault in Histoires ou contes du temps passé in 1697, and later by the Brothers Grimm in their folk tale collection Grimms Fairy Tales. Although the storys title and main characters change in different languages. The word Cinderella has, by analogy, come to one whose attributes were unrecognized, or one who unexpectedly achieves recognition or success after a period of obscurity. The still-popular story of Cinderella continues to influence popular culture internationally, lending plot elements, allusions, the Aarne–Thompson system classifies Cinderella as the persecuted heroine. The story of Rhodopis, about a Greek slave girl who marries the king of Egypt, is considered the earliest known variant of the Cinderella story, a version of the story, Ye Xian, appeared in Miscellaneous Morsels from Youyang by Duan Chengshi around 860. Here, the hardworking and lovely girl befriends a fish, the rebirth of her mother, the fish is later killed by her stepmother and sister. Ye Xian saves the bones, which are magic, and they help her dress appropriately for the New Year Festival, when she loses her slipper after being recognized by her stepfamily, the king finds her slipper and falls in love with her. The Indonesian and Malaysian story Bawang Merah Bawang Putih, are two girls named Bawang Putih and Bawang Merah. While the two countrys respective versions differ in the relationship of the girls and the identity of the protagonist. Both have a fish as the fairy godmother to her daughter. The heroine then finds the bones and buries them, and over the grave a magical swing appears, the protagonist sits on the swing and sings to make it sway, her song reaching the ears of a passing Prince. The swing is akin to the slipper test, which distinguishes the heroine from her sister. In Indonesia, Bawang Putih is the girl, who suffers at the hands of her evil stepmother and stepsister, Bawang Merah. When the Prince enquires after the singer on the swing, Bawang Merah lies, the angry prince forces Bawang Merah and her mother to tell the truth. They then admit that there is another daughter in the house, Bawang Putih comes out and moves the magical swing by her singing. In the end, she and her prince marry and live happily ever after, in the Malaysian version, it is Bawang Merah and her mother Mak Labu who are good, while her half sister Bawang Putih and her mother Mak Kundur are evil
24.
Beauty and the Beast
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Beauty and the Beast is a traditional fairy tale written by French novelist Gabrielle-Suzanne Barbot de Villeneuve and published in 1740 in La Jeune Américaine et les contes marins. Variants of the tale are known across Europe, amour pour amour, by Nivelle de la Chaussée, is a 1742 play based on Gabrielle-Suzanne Barbot de Villeneuves version. According to researchers at universities in Durham and Lisbon, the story originated around 4,000 years ago, a widowed merchant lives in a mansion with his six children, three sons and three daughters. They secretly taunt Beauty and treat her more like a servant than a sister, the merchant eventually loses all of his wealth in a tempest at sea. He and his children are forced to live in a small farmhouse. Some years later, the merchant hears that one of the ships he had sent off has arrived back in port. Before leaving, he asks his children if they wish for him to bring any gifts back for them. The sons ask for weaponry and horses to hunt with, whereas his oldest daughters ask for clothing, jewels, Beauty is satisfied with the promise of a rose as none grow in their part of the country. The merchant, to his dismay, finds that his ships cargo has been seized to pay his debts, leaving him penniless, during his return, the merchant becomes lost during a storm. Seeking shelter, he enters a dazzling palace, a hidden figure opens the giant doors and silently invites him in. The merchant finds tables inside laden with food and drink, which seem to have left for him by the palaces invisible owner. The merchant accepts this gift and spends the night there, the next morning, as the merchant is about to leave, he sees a rose garden and recalls that Beauty had desired a rose. The merchant begs to be set free, arguing that he had picked the rose as a gift for his youngest daughter. The Beast agrees to let him give the rose to Beauty, the merchant is upset but accepts this condition. The Beast sends him on his way, with wealth, jewels and fine clothes for his sons and daughters, the merchant, upon arriving home, tries to hide the secret from Beauty, but she pries it from him. Her brothers say they will go to the castle and fight the Beast, Beauty then agrees to go to the Beasts castle. The Beast receives her graciously and informs her that she is now mistress of the castle and he gives her lavish clothing and food and carries on lengthy conversations with her. Every night, the Beast asks Beauty to marry him, only to be refused each time, Beauty does not make the connection between the handsome prince and the Beast and becomes convinced that the Beast is holding the prince captive somewhere in the castle
25.
Shakespeare
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William Shakespeare was an English poet, playwright, and actor, widely regarded as the greatest writer in the English language and the worlds pre-eminent dramatist. He is often called Englands national poet, and the Bard of Avon and his extant works, including collaborations, consist of approximately 38 plays,154 sonnets, two long narrative poems, and a few other verses, some of uncertain authorship. His plays have been translated into every major living language and are performed more often than those of any other playwright, Shakespeare was born and brought up in Stratford-upon-Avon, Warwickshire. At the age of 18, he married Anne Hathaway, with whom he had three children, Susanna, and twins Hamnet and Judith. Sometime between 1585 and 1592, he began a career in London as an actor, writer. He appears to have retired to Stratford around 1613, at age 49, Shakespeare produced most of his known work between 1589 and 1613. His early plays were primarily comedies and histories, which are regarded as some of the best work ever produced in these genres. He then wrote mainly tragedies until about 1608, including Hamlet, Othello, King Lear, in his last phase, he wrote tragicomedies, also known as romances, and collaborated with other playwrights. Many of his plays were published in editions of varying quality and it was prefaced with a poem by Ben Jonson, in which Shakespeare is hailed, presciently, as not of an age, but for all time. In the 20th and 21st centuries, his works have been adapted and rediscovered by new movements in scholarship. His plays remain highly popular and are studied, performed. William Shakespeare was the son of John Shakespeare, an alderman and a successful glover originally from Snitterfield, and Mary Arden and he was born in Stratford-upon-Avon and baptised there on 26 April 1564. His actual date of birth unknown, but is traditionally observed on 23 April. This date, which can be traced back to an 18th-century scholars mistake, has proved appealing to biographers because Shakespeare died on 23 April 1616 and he was the third child of eight and the eldest surviving son. At the age of 18, Shakespeare married 26-year-old Anne Hathaway, the consistory court of the Diocese of Worcester issued a marriage licence on 27 November 1582. The next day, two of Hathaways neighbours posted bonds guaranteeing that no lawful claims impeded the marriage, twins, son Hamnet and daughter Judith, followed almost two years later and were baptised 2 February 1585. Hamnet died of unknown causes at the age of 11 and was buried 11 August 1596, after the birth of the twins, Shakespeare left few historical traces until he is mentioned as part of the London theatre scene in 1592. The exception is the appearance of his name in the bill of a law case before the Queens Bench court at Westminster dated Michaelmas Term 1588 and 9 October 1589
26.
William Palmer (murderer)
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William Palmer, also known as the Rugeley Poisoner or the Prince of Poisoners, was an English doctor found guilty of murder in one of the most notorious cases of the 19th century. Charles Dickens called Palmer the greatest villain that ever stood in the Old Bailey, Palmer was convicted for the 1855 murder of his friend John Cook, and was executed in public by hanging the following year. Born in Rugeley, Staffordshire, William Palmer was the sixth of eight children to Sarah and his father worked as a sawyer, and died when William was 12, leaving Sarah with a legacy of some £70,000. As a seventeen-year-old, Palmer worked as an apprentice at a Liverpool chemist and he studied medicine in London, and qualified as a physician in August 1846. After returning to Staffordshire later that year he met plumber and glazier George Abley at the Lamb and Flag public house in Little Haywood, and challenged him to a drinking contest. Abley accepted, and an hour later was carried home, where he died in bed later that evening, nothing was ever proven, but locals noted that Palmer had an interest in Ableys attractive wife. He returned to his town of Rugeley to practice as a doctor. His new mother-in-law, also called Ann Thornton, had inherited a fortune of £8,000 after Colonel Brookes committed suicide in 1834 and she died on 18 January 1849, two weeks after coming to stay with Palmer, she was known to have lent him money. An elderly Dr Bamford recorded a verdict of apoplexy, Palmer was disappointed with the inheritance he and his wife gained from the death, having expected it to be much greater. Palmer became interested in racing and borrowed money from Leonard Bladen. Bladen lent him £600, but died in agony at Palmers house on 10 May 1850, bladens death certificate listed Palmer as present at the death, and stated the cause of death as injury of the hip joint,5 or 6 months, abscess in the pelvis. His first son, William Brookes Palmer, was born in either 1848 or 1850 and he outlived his father, dying on 29 April 1926. William and Ann had four children, who all died in infancy. She was about two and a half months old at the time of death and he was about a month old. Died on 19 December 1852, only 7 hours following his birth and he was three or four days old. By 1854 Palmer was heavily in debt, and he began forging his mothers signature to pay off creditors and he took out life insurance on his wife with the Prince of Wales Insurance Company, and paid out a premium of £750 for a policy of £13,000. The death of Ann Palmer followed on 29 September 1854, at only 27 years old and she was believed to have died of cholera, as a cholera pandemic was affecting Great Britain. Still heavily in debt, with two creditors threatening to speak to his mother, Palmer attempted to take out insurance on his brother, Walter
27.
Lithography
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Lithography is a method of printing originally based on the immiscibility of oil and water. The printing is from a stone or a plate with a smooth surface. It was invented in 1796 by German author and actor Alois Senefelder as a method of publishing theatrical works. Lithography can be used to print text or artwork onto paper or other suitable material, Lithography originally used an image drawn with oil, fat, or wax onto the surface of a smooth, level lithographic limestone plate. The stone was treated with a mixture of acid and gum arabic, when the stone was subsequently moistened, these etched areas retained water, an oil-based ink could then be applied and would be repelled by the water, sticking only to the original drawing. The ink would finally be transferred to a paper sheet. This traditional technique is used in some fine art printmaking applications. In modern lithography, the image is made of a coating applied to a flexible aluminum plate. The image can be printed directly from the plate, or it can be offset, by transferring the image onto a sheet for printing. In fact, photolithography is used synonymously with offset printing, the technique as well as the term were introduced in Europe in the 1850s. Beginning in the 1960s, photolithography has played an important role in the fabrication, Lithography uses simple chemical processes to create an image. For instance, the part of an image is a water-repelling substance. Thus, when the plate is introduced to a printing ink and water mixture, the ink will adhere to the positive image. This allows a flat print plate to be used, enabling much longer, Lithography was invented by Alois Senefelder in the Kingdom of Bavaria in 1796. In the early days of lithography, a piece of limestone was used. After the oil-based image was put on the surface, a solution of gum arabic in water was applied, during printing, water adhered to the gum arabic surfaces and was repelled by the oily parts, while the oily ink used for printing did the opposite. Lithography works because of the repulsion of oil and water. The image is drawn on the surface of the print plate with a fat or oil-based medium such as a wax crayon, which may be pigmented to make the drawing visible
28.
Henry Cole
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Sir Henry Cole was a British civil servant and inventor who facilitated many innovations in commerce and education in 19th century in the United Kingdom of Great Britain and Ireland. Cole is credited with devising the concept of sending greetings cards at Christmas time, Henry Cole was born in Bath the son of Captain Henry Robert Cole, then of the 1st Dragoon Guards, and his wife Lætitia Dormer. He was sent in 1817 to Christs Hospital, and upon leaving school in 1823 became clerk to Francis Palgrave, Cole was employed in transcribing records, but found time to study water-colour painting under David Cox, and exhibited sketches at the Royal Academy. He lived with his father in a house belonging to the novelist Thomas Love Peacock, Cole drew for him, helped him in writing critiques of musical performances, and was introduced by him to John Stuart Mill, Charles Buller, and George Grote. The friends used to meet at Grotes house in Threadneedle Street for discussions twice a week, a new Record Commission was issued in 1831, and in 1833 Cole was appointed a sub-commissioner. The secretary, Charles Purton Cooper, quarrelled with the commission, and with Cole, who applied to Charles Buller for protection. A committee of the House of Commons was appointed upon Bullers motion in 1836, which reported against the system. Cole wrote many articles in support of Buller and he was appointed by Lord Langdale, who, as Master of the Rolls, administered the affairs of the commission, to take charge of the records of the exchequer of pleas. The record office was constituted in 1838 under the Public Record Office Act 1838 and he ranged a large mass of records in the Carlton House Riding School, where he was placed for the purpose 2 November 1841. His reports upon the unsuitability of this contributed to bring about the erection of the building in Fetter Lane. Coles duties at the office did not absorb his whole energy. In 1838, with the leave of his superiors, he became secretary to a committee for promoting postal reform and he edited their organ, the Post Circular, suggested by himself, of which the first number appeared 14 March 1838. He got up petitions and meetings with such energy that Cobden offered to him in 1839 the secretaryship of the Anti-Cornlaw League, parliament granted power to carry out the new postal scheme in August 1839, and the treasury offered premiums for the best proposals as to stamps. Cole gained one of the premiums, he attended the treasury to discuss details, from 1837 to 1840, he worked as an assistant to Rowland Hill and played a key role in the introduction of the Penny Post. He is sometimes credited with the design of the worlds first postage stamp, in 1843, Cole introduced the worlds first commercial Christmas card, commissioning artist John Callcott Horsley to make the artwork. Through his membership of the Society for the Encouragement of Arts, Manufactures, the backing of Prince Albert was secured, and in 1847 a royal charter was granted to the Royal Society for the Encouragement of Arts, Manufactures and Commerce. Under the patronage of Prince Albert, Cole organised a successful Exhibition of Art Manufactures in 1847, Cole visited the 1849 11th Quinquennial Paris Exhibition and noticed the lack of an exhibition open to international participants. As one of the Commissioners, Cole was instrumental in the decision that the £186,000 surplus from the Great Exhibition would be used for improving science and art education in the United Kingdom
29.
Richard Burchett
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Richard Burchett was a British artist and educator on the fringes of the Pre-Raphaelite movement, who was for over twenty years the Headmaster of what later became the Royal College of Art. Princess Louise, Duchess of Argyll, Queen Victorias daughter, Burchett published collections of his lectures as text-books for the South Kensington system of art education, which he helped to devise. Burchett was born in Brighton on 30 January 1815 and he gave evidence to this in 1846-7, by which time he had become a master at the school, remaining on the staff until his death in 1875, from 1852 as Headmaster. He married twice, and had several children, what appear to be a son and grandson are recorded exhibiting paintings in London. Ebenezer Stanley Burchett worked at South Kensington and then was Head Master of the Bedford Park School of Arts & Crafts, in 1870 Richard Burchett is described as formerly of 43 Brompton Square, but now of 8 Bedford Road, Clapham. Burchett was in bad health for the last years of his life. He had only been in the School for 133 days in 1872, in 1870, he began proceedings for bankruptcy, which were still not concluded by his death. Scott says he took to a sort of farming at considerable expense and he began to get into deep water, and into the hands of 20 per cent money-lenders. Still he fought bravely with his difficulties, and even when his salary was placed under trustees. His venture was ill-timed, hitting a period of agricultural depression and his will was probated at less than £200, and Frayling records that a letter from his widow asking for a pension was found unanswered in the school files thirteen years later. Obituaries were published in the Athenaeum, the Art Journal, Burchett exhibited five works, apparently all large history paintings, at the Royal Academy between 1847, including The Death of Marmion, famous in its day according to Hugh Thomas) and 1873. These are rather described as in the Pre-Raphaelite style by the DNB. He exhibited a work at the British Institution in 1855, superstition, you see, turns them into caitiffs. Academy as the exponent of the same would like to crush out of existence. This small painting, which closely approaches a Pre-Raphaelite landscape style, shows a half-harvested cornfield, with tools. But the only figures visible are two clearly middle-class women, no part of the same party as the artist, one sitting against a stook reading a book. Any georgic or realist focus on agriculture is absent his cornfield is just part of a landscape where middle-class people take their leisure, the corn is no more or no less useful than the beaches which we imagine to be in the distance of this brilliantly coloured painting. Here too a more subtle hint of religious feeling is found, there are a number of public paintings by Burchett, with help of his students, commissioned through the school
30.
Elizabeth Thompson
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Elizabeth Southerden Thompson, Lady Butler was a British painter, one of the few female painters to achieve fame for history paintings, especially military battle scenes, at the end of that tradition. Some of her most famous military scenes come from the Napoleonic Wars and she married Lieutenant General Sir William Butler, becoming Lady Butler. Born at Villa Claremont in Lausanne, Switzerland, she specialized in painting scenes from British military campaigns and battles, including the Crimean War, the Roll Call, The Defence of Rorkes Drift, and Scotland Forever. Showing the Scots Greys at the Battle of Waterloo, are among her better-known works and she wrote about her military paintings in an autobiography published in 1922, I never painted for the glory of war, but to portray its pathos and heroism. She was the daughter of Thomas James Thompson and his second wife Christiana Weller and her sister was the noted essayist and poet Alice Meynell. Elizabeth began receiving art instruction in 1862, while growing up in Italy, in 1866 she went to South Kensington, London, and entered the Female School of Art. She became a Roman Catholic along with the rest of the family after they moved to Florence in 1869, while in Florence, under the tutelage of the artist Giuseppe Bellucci, Elizabeth attended the Accademia di Belle Arti. She signed her works as E. B, with the painting Missing, a Franco-Prussian War battle scene depicting the common soldiers suffering and heroism, she earned her first submission to the Royal Academy. After The Roll Call was shown in 1874 at the Academy and it also helped that during this time there was a huge swell of Victorian pride and romanticism for the growing British Empire. While Lady Butlers topics reflected such romanticism, her paintings were generally realistic in detail with such as confusion, mud. Her works tend to focus on British troops shown in action, or shortly after it, the troops are often shown as their opponents might have seen them, but relatively few of the opponents themselves are shown. Her career largely ended with her 11 June 1877 marriage to Sir William Francis Butler, not only was she now married, breaking the hearts of many young men, but she would travel to the far reaches of the Empire with her husband and raise their six children. Yet she continued to paint scenes showing the valour of the ordinary British soldier, Butler also did some black and white illustration, including of poems by her sister, Alice Meynell, and of works by Thackeray. On her husbands retirement from the army, she moved him to Ireland. She showed pictures at the Royal Hibernian Academy from 1892, among the paintings that she took with her to County Tipperary was a set of water-colours that she had painted while with her husband in Palestine. During the Irish Civil War they were transferred to her daughter in Gormanston Castle for safekeeping and she died there shortly before her 87th birthday and was interred at nearby Stamullen graveyard. Dawn at Waterloo The Morning of Talavera The Colours, Advance of the Scots Guards at the Alma Within Sound of Guns Stand Fast Craigellachie Rescue of Wounded, from Sketch-book and Diary An Autobiography. - Britains Battle Painter, Lady Butler and Her Art,13, September 1900, pp. 579–587 Gladwell, Malcolm
31.
Edward Burne-Jones
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Burne-Joness early paintings show the heavy inspiration of Dante Gabriel Rossetti, but by the 1860s Burne-Jones was discovering his own artistic voice. In 1877, he was persuaded to show eight oil paintings at the Grosvenor Gallery and these included The Beguiling of Merlin. The timing was right, and he was taken up as a herald, Edward Coley Burne Jones was born in Birmingham, the son of a Welshman, Edward Richard Jones, a frame-maker at Bennetts Hill, where a blue plaque commemorates the painters childhood. He attended Birminghams King Edward VI grammar school from 1844 and the Birmingham School of Art from 1848 to 1852, before studying theology at Exeter College, at Oxford he became a friend of William Morris as a consequence of a mutual interest in poetry. The members of the Brotherhood read John Ruskin and Tennyson, visited churches, at this time Burne-Jones discovered Thomas Malorys Le Morte dArthur which was to be so influential in his life. In February 1857, Rossetti wrote to William Bell Scott In 1856 Burne-Jones became engaged to Georgiana Georgie MacDonald and she was training to be a painter, and was the sister of Burne-Joness old school friend. The couple married in 1860, after which she made her own work in woodcuts, Georgiana bore a son, Philip, in 1861. A second son, born in the winter of 1864 while Georgiana was gravely ill with scarlet fever, the family soon moved to 41 Kensington Square, and their daughter Margaret was born there in 1866. In 1867 Burne-Jones and his family settled at the Grange, an 18th-century house set in a garden in North End, Fulham. During these difficult years Georgiana developed a friendship with Morris. Morris and Georgie may have been in love, but if he asked her to leave her husband, in the end, the Burne-Joneses remained together, as did the Morrises, but Morris and Georgiana were close for the rest of their lives. His troubled son Philip, who became a portrait painter. His adored daughter Margaret married John William Mackail, the friend and biographer of Morris and their children were the novelists Angela Thirkell and Denis Mackail. In an edition of the magazine, Chums, an article on Burne-Jones stated that. his pet grandson used to be punished by being sent to stand in a corner with his face to the wall. One day on being sent there he was delighted to find the wall prettily decorated with fairies, flowers, birds and his indulgent grandfather had utilised his talent to alleviate the tedium of his favourites period of penance. Burne-Jones once admitted that after leaving Oxford he found himself at five-and-twenty what he ought to have been at fifteen and he had had no regular training as a draughtsman, and lacked the confidence of science. Many are pen-and-ink drawings on vellum, exquisitely finished, of which his Waxen Image is one of the earliest and best examples, although the subject, medium and manner derive from Rossettis inspiration, it is not the hand of a pupil merely, but of a potential master. This was recognized by Rossetti himself, who before long avowed that he had nothing more to teach him
32.
Edward Poynter
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Sir Edward John Poynter, 1st Baronet, GCVO, PRA was an English painter, designer, and draughtsman who served as President of the Royal Academy. Edward Poynter was the son of the architect Ambrose Poynter and he was born in Paris, though his parents returned to Britain soon after. He was educated at Brighton College and Ipswich School, but left early for reasons of ill health, spending winters in Madeira. In 1853 he met Frederick Leighton in Rome, who made an impression on the 17-year-old Poynter. In 1866 Poynter married the famous beauty Agnes MacDonald, daughter of the Rev G B MacDonald of Wolverhampton, Visit of the Queen of Sheba and King Solomon. He was admitted as an associate of the Royal Academy in 1869 and he became a Royal Academician in 1876. In 1896, on the death of Sir John Millais, Poynter was elected President of the Royal Academy and he received a knighthood in the same year and an honorary degree from Cambridge University in 1898. It appears from the subjects of his paintings and his association with Kipling that he was a Freemason, prints of his painting The Visit of the Queen of Sheba to King Solomon are to be found in many Masonic Lodges around the world. Poynters old school, Brighton College held an exhibition of Poynters paintings and drawings entitled Life at Arms Length in its Burstow Gallery in November–December 1995, Edward Poynters works Ten lectures on art. Drawings of Sir E. J. Poynter
33.
Walter Crane
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Walter Crane was an English artist and book illustrator. Cranes work featured some of the colourful and detailed beginnings of the child-in-the-garden motifs that would characterize many nursery rhymes. He was part of the Arts and Crafts movement and produced an array of paintings, illustrations, childrens books, ceramic tiles, Crane is also remembered for his creation of a number of iconic images associated with the international Socialist movement. Crane was the son of Thomas Crane, a portrait painter and miniaturist, and Marie Crane. His older brother Thomas would also go into illustration, and sister Lucy a noted writer, a set of coloured page designs to illustrate Tennysons Lady of Shalott gained the approval of wood-engraver William James Linton to whom Walter Crane was apprenticed for three years in 1859–62. He was a student who admired the masters of the Italian Renaissance, a further and important element in the development of his talent was the study of Japanese colour-prints, the methods of which he imitated in a series of toy books, which started a new fashion. From the early 1880s, initially under William Morriss influence, Crane was closely associated with the Socialist movement and he did as much as Morris himself to bring art into the daily life of all classes. With this object in view he devoted attention to designs for textiles and wallpapers, and to house decoration. For a long time he provided the cartoons for the Socialist organs Justice, The Commonweal. Many of these were collected as Cartoons for the Cause and he devoted much time and energy to the work of the Art Workers Guild, of which he was master in 1888 and 1889 and to the Arts and Crafts Exhibition Society, which he helped to found in 1888. He was also a Vice President of the Healthy and Artistic Dress Union and they produced numerous pamphlets setting out their cause, including one entitled How to Dress Without a Corset which Crane illustrated. Although not himself an anarchist, Crane contributed to several publishers, including Liberty Press. He is credited with the design and decoration of the front facade of The Bomb Shop, Hendersons bookshop at 66 Charing Cross Road specialising in left-wing, Crane was controversial in his support of the four Chicago anarchists executed in 1887 in connection with the Haymarket affair. Financial support was withdrawn and planned dinners in Cranes honor were cancelled, the incident was memorialized in the press as probably the most dramatic episode in the artists career. Walter Crane died on 14 March 1915 in Horsham Hospital, West Sussex and his body was cremated at the Golders Green Crematorium, where his ashes remain. He was survived by three children, Beatrice, Lionel and Lancelot, in 1863 the printer Edmund Evans employed Crane to illustrate yellowbacks, and in 1865 they began to collaborate on toy books of nursery rhymes and fairy tales. From 1865 to 1876 Crane and Evans produced two to three toy books each year and these are a few of his illustration suites, In 1864 he began to illustrate a series of sixpenny toy books of nursery rhymes in three colours for Edmund Evans. He was allowed more freedom in a beginning with The Frog Prince which showed markedly the influence of Japanese art
34.
Diamonds and Toads
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Diamonds and Toads or Toads and Diamonds is a French fairy tale by Charles Perrault, and titled by him Les Fées or The Fairies. Andrew Lang included it in The Blue Fairy Book and it was illustrated by Laura Valentine in Aunt Louisas nursery favourite. In his source, as in Mother Hulda, the girl was the stepdaughter. The change was apparently to decrease the similarity to Cinderella and it is Aarne-Thompson tale 480, the kind and the unkind girls. Others of this type include Shita-kiri Suzume, Frau Holle, The Three Heads in the Well, Father Frost, The Three Little Men in the Wood, The Enchanted Wreath, The Old Witch, literary variants include The Three Fairies and Aurore and Aimée. Jealous and bitter, the widow and her favourite daughter abused and mistreated the younger girl, one day while drawing water from the well, an old woman asked the younger girl for a drink of water. The girl politely consented and after giving it, she found that the woman was a fairy, who had taken the guise of a crone to test the character of mortals. As the girl was so kind and compassionate toward her, the fairy blessed her with having either a jewel, Fanny protested, but the widow forcibly sent her to the well with instruction to act kindly toward an old beggar woman. Fanny set off but the fairy appeared as a fine princess, the elder daughter spoke rudely to the fairy and insulted her. The fairy decreed that, as punishment for her despicable attitude, when Fanny arrived home, she told her story to her mother and disgusting toads and vipers fell from her mouth with each word. The widow, in a fury, drove her daughter out of the house. In the woods, she met a kings son, who fell in love with her, in time, even the widow was sickened by her older daughter, and drove her out, and she died alone and miserable in the woods. The idea of having jewels fall from a person is a motif found in various other tales, as in the Italian Biancabella
35.
Frederick Warne & Co
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Frederick Warne & Co is a British publisher famous for childrens books, particularly those of Beatrix Potter, and for its Observers Books which have gained a cult following. Frederick Warne & Co was founded in 1865 by London bookseller and publisher, the business was a replacement of an earlier association between Warne and George Routledge, who went on to found his own publishing company, Routledge. Toward the end of the century, Frederick Warne had retired, Warne was among the six publishers whom Beatrix Potter submitted her first book, the story of a rabbit called Peter. Like the other five firms, Warne turned the proposal down, but the people at the firm changed their minds, when they saw the privately published copy in 1901. They said they would publish the book, as long as the illustrations were drawn in colour, the next year, Warne published THE TALE OF PETER RABBIT, and by Christmas it had sold 20,000 copies. This began a forty year partnership which saw the publication of twenty two additional little books, Beatrix Potter was engaged to marry Norman Warne, her editor and the youngest of the three Warne brothers. However, he died tragically in 1905, only a few weeks after their engagement. Harold and she continued to produce one or two new Little Books each year for the next eight years until her marriage in 1913 to William Heelis. Potter, who had no children, left the rights to her works to Warne upon her death, the company continued to publish them, it also brought out several biographical works about its most renowned author. Over the years, Warne also expanded its publishing, issuing among others the world-famous Observer books. In 1983, Warne was bought by Penguin books and it began developing classic book-based childrens character brands. The merchandising program was expanded from a base of thirty-five licenses to more than four hundred by the late 1990s, over the years, Warne acquired a variety of other classic books. A major motion picture about the life of Beatrix Potter Miss Potter, starring Renée Zellweger as Beatrix Potter, while the company no longer exists as an independent company, it continues to exist as an imprint of Penguin Group. The company will be collaborating with Sony Pictures Animation and Animal Logic to produce the upcoming Peter Rabbit film, as mentioned earlier, Warne printed twenty three books written by Beatrix Potter. These books were written about animals, and were written from 1902-1930. Here is the list of her books, the links to their Wikipedia pages, the aim of these books were to interest the observer. They were called the Observers books and these books were very popular amongst children. Over the past few years they have become very popular collector items, for the dedicated collector this could be a lifetimes work as there are over 800 variations, some of which are now very rare. The values of the books can vary from 50p to hundreds of pounds and they all include a variety of topics, which include hobbies, art, history, wildlife and many more
36.
W. J. Loftie
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William John Loftie was a British clergyman and writer, on the history of London, travel, art and architecture. He was educated at Trinity College, Dublin, after holding church appointments, he joined the staff of the Saturday Review, and in 1894 that of the National Observer. As a writer on subjects he combined learning and picturesque statement. Dictionary of National Biography,1912 supplement, Works by W. J. Loftie at Project Gutenberg Works by or about W. J. Loftie at Internet Archive
37.
Joseph Martin Kronheim
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Joseph Martin Kronheim was a German-born lithographer and wood engraver known for founding Kronheim & Co. and working with George Baxter. Kronheim was born on October 26,1810 in Magdeburg, Germany, by the age of 22 he resided in Edinburgh, and died at the age of 85 in 1896, in Berlin. During the mid-1860s, Kronheim and Co. printed hundreds of biblical prints, Kronheim & Co. utilized the Baxter process to create prints. Kronheims chief innovation in the field was the use of zinc instead of blocks, which reduced the amount of time needed to complete prints. By 1855, thanks in part to the firms use of zinc blocks, Kronheim & Co. had produced over 1000 different prints. After the exhibition, Kronheim sold his share of the business to Oscar Frauenknecht, Kronheim retired to Germany and attempted to set up other printing businesses, including an American one. However, these failed, causing Kronheim to lose all of his investments. So, he rejoined Frauenknecht and his old firm, Kronheim & Co. the firm expanded into Manchester and Glasgow. In 1875, due to the rise of power and steam lithography machines. Kronheim worked under Frauenknecht for Kronheim and Co. until 1887, Kronheim and Co. produced at least 4000 and as may as 5000 different prints. This immense output has led critics to assert that his firm was more concerned with quantity than quality. Others, such as author Mike Martin, argue that Kronheim simply preferred a larger subject variety, Martin argues that Kronheim was an important book illustrator, of childrens books in particular, and that much of his work was of high quality. Kronheim is best known for his set of four large coaching scene prints, entitled Spring, Summer, Autumn, in July 2000, the New Baxter Society held an exhibition sampling Kronheims work at St. Albans. Works by Joseph Martin Kronheim at Project Gutenberg Works by or about Joseph Martin Kronheim at Internet Archive Works by Joseph Martin Kronheim at LibriVox
38.
Madame d'Aulnoy
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Marie-Catherine Le Jumel de Barneville, Baroness dAulnoy, also known as Countess dAulnoy, was a French writer known for her fairy tales. When she termed her works contes de fées, she originated the term that is now used for the genre. DAulnoy was born in Barneville-la-Bertran, Calvados, as a member of the family of Le Jumel de Barneville. In 1666, she was given at the age of fifteen in a marriage to a Parisian thirty years older—François de la Motte, Baron dAulnoy. The baron was a freethinker and a known gambler, over the next three years, the couple had three children. In 1669, the Baron dAulnoy was accused of treason but the accusations, in which Mme dAulnoy appeared to be involved, proved to be false, and two men implicated in the accusation were executed. Marie-Catherines mother fled the country as she was allegedly involved. She had three children and discontinued involvement in the Paris social scene for twenty years. During this period, she said that she had traveled to Spain, with her mother, who remained in Madrid, and England. Much of this time was spent writing stories inspired by these destinations. Madame dAulnoy was a permanent resident of Paris again by 1690, over the next thirteen years she published twelve books including three pseudo-memoirs, two fairy tale collections and three historical novels. Gaining the reputation as a historian and recorder of tales from outside France, however, at this time the idea of history was a much looser term which included her fictional accounts. In 150 years, the more strictly documented form of the led to her accounts being declared fraudulent. However, in France and England at the time her works were considered as mere entertainment and her truly accurate attempts at historical accounts telling of the Dutch wars of Louis XIV were less successful. Her most popular works were her fairy tales and adventure stories as told in Les Contes des Fees and Contes Nouveaux, ou Les Fées à la Mode. Unlike the folk tales of the Grimm Brothers, who were born some 135 years later than dAulnoy, she told her stories in a conversational style. These stories were far from suitable for children and many English adaptations are very dissimilar to the original
39.
Chromoxylography
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In the 19th century the art of relief engraving and chromoxylography was perfected by engravers and printers, most notably in England by Victorian engraver and printer Edmund Evans. A wide range of hues and tones were produced by the mixing of the chromoxylography process—a technique that was complicated. For each colour a separate woodblock had to be carved, full-colour printing in the 19th century relied on the relief process and colour wood engraving. Relief prints were made by printing with engraved and coloured wood blocks, chromoxylography became a popular technique in the production of inexpensive books, such as childrens toy books and serialized stories into the early-20th century. To make a print, the printer began with a wood block. A wood block was carved for each primary colours, with the coloured ink coating the areas left in relief, the printer engraved the image to the finer end grain of the woodblock. For more complicated work the carver worked on the end grain of the wood, for the childrens book market, which had lower profit margins, the printer would use fewer ink colours, which could be optimised by mixing colours such as blue and yellow to create green. The blocks were carved with extremely fine lines to create stippling. To create a blend of colours, blocks were hatched horizontally and diagonally to allow applications of multiple colours that resulted in browns, greens, gascoigne explains that a blockmaker would know whether to engrave thin white lines, medium white lines or crosshatchings. Overlapping diagonal lines were carved to create dot-like shapes on the surface that took less ink, thicker hatchings were less expensive and easier to produce, but the result was not as attractive. Books that were to be produced as inexpensively as possible showed less engraving work, the chief problem was to maintain correct register so that the design on the block matched the design on the paper. To achieve a precise register small holes were drilled along each block, when done correctly, the blocks colour registers matched printed paper, although sometimes ink squash is visible along the edges of an illustration. An electroplate was produced for each engraved wood block, inked according to the block, the colour was applied as a solid, or in stripes of various of thickness, allowing for changes in hue. Most often the only used primary colors and black. The inexpensive technique of chromoxylography allowed publishers and printers to design covers as an attraction to purchase the book, the process was also used to produce higher quality childrens books and toy books. Evans considered full colour printing a technique well-suited to the illustrations in childrens books. Evans reacted against crudely coloured childrens book illustrations, which he believed could be beautiful, in doing so, Evans collaborated with Walter Crane, Kate Greenaway and Randolph Caldecott. Books illustrated by Kate Greenaway, Walter Crane and Randolph Caldecott, engraved and printed by Evans, became popular, chromoxylography was additionally used to illustrate natural history books and to reproduce paintings
40.
National Gallery
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The National Gallery is an art museum in Trafalgar Square in the City of Westminster, in Central London. Founded in 1824, it houses a collection of over 2,300 paintings dating from the century to 1900. The Gallery is a charity, and a non-departmental public body of the Department for Culture, Media. Its collection belongs to the public of the United Kingdom and entry to the collection is free of charge. It is among the most visited art museums in the world, after the Musée du Louvre, the British Museum, unlike comparable museums in continental Europe, the National Gallery was not formed by nationalising an existing royal or princely art collection. It came into being when the British government bought 38 paintings from the heirs of John Julius Angerstein, after that initial purchase the Gallery was shaped mainly by its early directors, notably Sir Charles Lock Eastlake, and by private donations, which comprise two-thirds of the collection. It used to be claimed that this was one of the few national galleries that had all its works on permanent exhibition, the present building, the third to house the National Gallery, was designed by William Wilkins from 1832 to 1838. Only the façade onto Trafalgar Square remains essentially unchanged from this time, wilkinss building was often criticised for the perceived weaknesses of its design and for its lack of space, the latter problem led to the establishment of the Tate Gallery for British art in 1897. The Sainsbury Wing, an extension to the west by Robert Venturi, the current Director of the National Gallery is Gabriele Finaldi. The late 18th century saw the nationalisation of royal or princely art collections across mainland Europe, great Britain, however, did not emulate the continental model, and the British Royal Collection remains in the sovereigns possession today. In 1777 the British government had the opportunity to buy an art collection of international stature, the MP John Wilkes argued for the government to buy this invaluable treasure and suggested that it be housed in a noble gallery. The twenty-five paintings from that now in the Gallery, including NG1, have arrived by a variety of routes. This offer was declined and Bourgeois bequeathed the collection to his old school, Dulwich College, the collection opened in Britains first purpose-built public gallery, the Dulwich Picture Gallery, in 1814. The British Institution, founded in 1805 by a group of aristocratic connoisseurs, the members lent works to exhibitions that changed annually, while an art school was held in the summer months. However, as the paintings that were lent were often mediocre, some resented the Institution. One of the Institutions founding members, Sir George Beaumont, Bt, in 1823 another major art collection came on the market, which had been assembled by the recently deceased John Julius Angerstein. Angerstein was a Russian-born émigré banker based in London, his collection numbered 38 paintings, including works by Raphael, on 1 July 1823 George Agar Ellis, a Whig politician, proposed to the House of Commons that it purchase the collection. The appeal was given added impetus by Beaumonts offer, which came with two conditions, that the government buy Angersteins collection, and that a building was to be found
41.
Jan van Eyck
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Jan van Eyck was a Flemish/Netherlandish painter active in Bruges. He is often considered one of the founders of Early Netherlandish painting school, the few surviving records of his early life indicate that he was born c. After Johns death in 1425 he was employed in Lille as court painter to Philip the Good, Duke of Burgundy, until 1429 before moving to Bruges, where he lived until his death. Apart from the Ghent Altarpiece and the miniatures of the Turin-Milan Hours, about 20 surviving paintings are confidently attributed to him. Ten, including the Ghent altarpiece, are dated and signed with a variation of his motto, ALS IK KAN always written in Greek characters, Van Eyck painted both secular and religious subject matter, including altarpieces, single panel religious figures and commissioned portraits. His work includes single panels, diptychs, triptychs, and polyptych panels and he was well paid by Philip, who sought that the painter was secure financially and had artistic freedom and could paint whenever he pleased. Van Eycks work comes from the International Gothic style, but he soon eclipsed it, through his developments in the use of oil paint he achieved a new level of virtuosity. Van Eyck was highly influential and his techniques and style were adopted and refined by the Early Netherlandish painters, little is known of Jan van Eycks early life and neither the date nor place of his birth is documented. This suggests a date of birth of 1395 at the latest, however, his apparent age in the London probable self-portrait of 1433 suggests to most scholars a date closer to 1380. He was identified in the late 1500s as having been born in Maaseik and this claim is still considered credible on etymological grounds, considering that Van Eyck means of Eyck which is an old variant spelling of eik. He had a sister Margareta, and at least two brothers, Hubert and Lambert, both painters, but the order of their births has not been established. Another significant, and rather younger, painter who worked in Southern France and it is not known where Jan was educated, but he had knowledge of Latin and used the Greek and Hebrew alphabets in his inscriptions, indicating that he was schooled in the classics. This level of education was rare among painters, and would have made him attractive to the cultivated Philip. Van Eyck served John of Bavaria-Straubing, ruler of Holland, Hainault, by this time van Eyck had assembled a small workshop and was involved in redecorating the Binnenhof palace in The Hague. After Johns death in 1425 he moved to Bruges and came to the attention of Philip the Good c and his emergence as a collectable painter generally follows his appointment to Philips court, and from this point his activity in the court is comparatively well documented. He served as court artist and diplomat, and a was a member of the Tournai painters guild. On 18 October 1427, the Feast of St. Luke, he travelled to Tournai to attend a banquet in his honour, also attended by Robert Campin, a court salary freed him from commissioned work, and allowed a large degree of artistic freedom. Over the following decade van Eycks reputation and technical ability grew, unlike most of his peers his reputation never diminished and he remained well regarded over the following centuries
42.
Arnolfini Portrait
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The Arnolfini Portrait is a 1434 oil painting on oak panel by the Early Netherlandish painter Jan van Eyck. It forms a double portrait, believed to depict the Italian merchant Giovanni di Nicolao Arnolfini and his wife. According to Ernst Gombrich in its own way it was as new, a simple corner of the real world had suddenly been fixed on to a panel as if by magic. For the first time in history the artist became the perfect eye-witness in the truest sense of the term, the portrait has been considered by Erwin Panofsky and some other art historians as a unique form of marriage contract, recorded as a painting. The painting was bought by the National Gallery in London in 1842, van Eyck used the technique of applying layer after layer of thin translucent glazes to create a painting with an intensity of both tone and colour. The glowing colours also help to highlight the realism, and to show the material wealth, the medium of oil paint also permitted van Eyck to capture surface appearance and distinguish textures precisely. He also rendered the effects of direct and diffuse light by showing the light from the window on the left reflected by various surfaces. It has been suggested that he used a glass in order to paint the minute details such as the individual highlights on each of the amber beads hanging beside the mirror. It is indeed tempting to call this the first genre painting – a painting of everyday life – of modern times, the painting is generally in very good condition, though with small losses of original paint and damages, which have mostly been retouched. Infrared reflectograms of the show many small alterations, or pentimenti, in the underdrawing. The couple are shown in an room with a chest. The window has six interior wooden shutters, but only the top opening has glass, with clear bulls-eye pieces set in blue, red and green stained glass. The two figures are very richly dressed, despite the season both their outer garments, his tabard and her dress, are trimmed and fully lined with fur, the furs may be the especially expensive sable for him and ermine or miniver for her. He wears a hat of plaited straw dyed black, as worn in the summer at the time. His tabard was more purple than it now and may be intended to be silk velvet. Underneath he wears a doublet of patterned material, probably silk damask and her dress has elaborate dagging on the sleeves, and a long train. Her blue underdress is also trimmed with white fur, the interior of the room has other signs of wealth, the brass chandelier is large and elaborate by contemporary standards, and would have been very expensive. It would probably have had a mechanism with pulley and chains above, there is also no sign of a fireplace, nor anywhere obvious to put one
43.
British Museum
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The British Museum is dedicated to human history, art and culture, and is located in the Bloomsbury area of London. The British Museum was established in 1753, largely based on the collections of the physician, the museum first opened to the public on 15 January 1759, in Montagu House, on the site of the current building. Although today principally a museum of art objects and antiquities. Its foundations lie in the will of the Irish-born British physician, on 7 June 1753, King George II gave his formal assent to the Act of Parliament which established the British Museum. They were joined in 1757 by the Old Royal Library, now the Royal manuscripts, together these four foundation collections included many of the most treasured books now in the British Library including the Lindisfarne Gospels and the sole surviving copy of Beowulf. The British Museum was the first of a new kind of museum – national, belonging to neither church nor king, freely open to the public, sloanes collection, while including a vast miscellany of objects, tended to reflect his scientific interests. The addition of the Cotton and Harley manuscripts introduced a literary, the body of trustees decided on a converted 17th-century mansion, Montagu House, as a location for the museum, which it bought from the Montagu family for £20,000. The Trustees rejected Buckingham House, on the now occupied by Buckingham Palace, on the grounds of cost. With the acquisition of Montagu House the first exhibition galleries and reading room for scholars opened on 15 January 1759. During the few years after its foundation the British Museum received several gifts, including the Thomason Collection of Civil War Tracts. A list of donations to the Museum, dated 31 January 1784, in the early 19th century the foundations for the extensive collection of sculpture began to be laid and Greek, Roman and Egyptian artefacts dominated the antiquities displays. Gifts and purchases from Henry Salt, British consul general in Egypt, beginning with the Colossal bust of Ramesses II in 1818, many Greek sculptures followed, notably the first purpose-built exhibition space, the Charles Towneley collection, much of it Roman Sculpture, in 1805. In 1816 these masterpieces of art, were acquired by The British Museum by Act of Parliament. The collections were supplemented by the Bassae frieze from Phigaleia, Greece in 1815, the Ancient Near Eastern collection also had its beginnings in 1825 with the purchase of Assyrian and Babylonian antiquities from the widow of Claudius James Rich. The neoclassical architect, Sir Robert Smirke, was asked to draw up plans for an extension to the Museum. For the reception of the Royal Library, and a Picture Gallery over it, and put forward plans for todays quadrangular building, much of which can be seen today. The dilapidated Old Montagu House was demolished and work on the Kings Library Gallery began in 1823, the extension, the East Wing, was completed by 1831. The Museum became a site as Sir Robert Smirkes grand neo-classical building gradually arose
44.
Illuminated manuscript
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An illuminated manuscript is a manuscript in which the text is supplemented with such decoration as initials, borders and miniature illustrations. Comparable Far Eastern and Mesoamerican works are described as painted, islamic manuscripts may be referred to as illuminated, illustrated or painted, though using essentially the same techniques as Western works. This article covers the technical, social and economic history of the subject, for an art-historical account, the earliest surviving substantive illuminated manuscripts are from the period 400 to 600, produced in the Kingdom of the Ostrogoths and the Eastern Roman Empire. The significance of these works lies not only in their inherent artistic and historical value, had it not been for the monastic scribes of Late Antiquity, most literature of Greece and Rome would have perished in Europe. As it was, the patterns of textual survivals were shaped by their usefulness to the severely constricted literate group of Christians, the majority of surviving manuscripts are from the Middle Ages, although many survive from the Renaissance, along with a very limited number from Late Antiquity. The majority of manuscripts are of a religious nature. However, especially from the 13th century onward, a number of secular texts were illuminated. Most illuminated manuscripts were created as codices, which had superseded scrolls, a very few illuminated manuscript fragments survive on papyrus, which does not last nearly as long as vellum or parchment. Most medieval manuscripts, illuminated or not, were written on parchment, beginning in the late Middle Ages manuscripts began to be produced on paper. Illuminated manuscripts continued to be produced in the early 16th century, Manuscripts are among the most common items to survive from the Middle Ages, many thousands survive. They are also the best surviving specimens of medieval painting, indeed, for many areas and time periods, they are the only surviving examples of painting. There are a few examples from later periods, the type of book that was most often heavily and richly illuminated, sometimes known as a display book, varied between periods. In the first millennium, these were most likely to be Gospel Books, such as the Lindisfarne Gospels, the Romanesque period saw the creation of many huge illuminated complete Bibles – one in Sweden requires three librarians to lift it. Many Psalters were also illuminated in both this and the Gothic period. Finally, the Book of Hours, very commonly the personal book of a wealthy layperson, was often richly illuminated in the Gothic period. Other books, both liturgical and not, continued to be illuminated at all periods, the Byzantine world also continued to produce manuscripts in its own style, versions of which spread to other Orthodox and Eastern Christian areas. See Medieval art for other regions, periods and types, reusing parchments by scraping the surface and reusing them was a common practice, the traces often left behind of the original text are known as palimpsests. The Gothic period, which saw an increase in the production of these beautiful artifacts, also saw more secular works such as chronicles
45.
Marcus Ward & Co.
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Marcus Ward and Co. was a British publishing company known for its illustrated books for children and adults, as well as its decorative greeting cards. It had its beginnings in 1802, with a partnership between John Ward, James Blow and Robert Greenfield, by the 1820s they owned paper mills in Belfast, Comber and Coleraine. Which operated under the name of John Ward and Sons. In the early 1830s Marcus Ward took over the running of the Belfast paper mill, then in 1833 Marcus formed a new company, Marcus Ward & Sons, based in Belfast, having a new direction, in stationery and general publishing. Marcus Ward and Sons soon became successful in the area of colour lithography. By the time Marcus died in 1847 his three sons, Francis, William and John, had taken over the running of the business. In the 1860s Marcus Ward & Co began mass-producing calendars and greeting cards, initially they printed cards for other publishers such as Goodall and Charles Bennett. By the late 1860s they began printing greeting cards under their own name and this venture turned out to be very successful, the company engaging Thomas Crane as artistic director and talented artists such as Kate Greenaway and Walter Crane as illustrators. In the early years of production they marked the reverse with their trademark. In later years the name was printed on the front side of their greeting cards. Marcus Ward & Co. of Belfast, the Oxford History of the Irish Book, Volume IV, The Irish Book in English, 1800-1891. The Splendid Press of Messrs Marcus Ward & Company, scrapalbum. com page on Marcus Ward and Co
46.
Idyll
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An idyll or idyl is a short poem, descriptive of rustic life, written in the style of Theocritus short pastoral poems, the Idylls. Unlike Homer, Theocritus did not engage in heroes and warfare and his idylls are limited to a small intimate world, and describe scenes from everyday life. Later imitators include the Roman poets Virgil and Catullus, Italian poets Torquato Tasso, Sannazaro and Leopardi, the English poet Alfred, Lord Tennyson, goethe called his poem Hermann and Dorothea—which Schiller considered the very climax in Goethes production—an idyll. Examples of the latter are Lullys LIdylle sur la Paix set to a text by Racine, in the visual arts, an idyll is a painting depicting the same sort of subject matter to be found in idyllic poetry, often with rural or peasant life as its central theme. One of the earliest examples is the early 15th century Très Riches Heures du Duc de Berry, the genre was particularly popular in English paintings of the Victorian era
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