1.
Electrolier
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Electrolier was the name for a fixture, usually pendent from the ceiling, for holding electric lamps. The word is analogous to chandelier, from which it was formed and this article incorporates text from a publication now in the public domain, Chisholm, Hugh, ed. article name needed
2.
Glasgow
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Glasgow is the largest city in Scotland, and third largest in the United Kingdom. Historically part of Lanarkshire, it is now one of the 32 council areas of Scotland and it is situated on the River Clyde in the countrys West Central Lowlands. Inhabitants of the city are referred to as Glaswegians, Glasgow grew from a small rural settlement on the River Clyde to become the largest seaport in Britain. From the 18th century the city grew as one of Great Britains main hubs of transatlantic trade with North America. Glasgow was the Second City of the British Empire for much of the Victorian era and Edwardian period, in the late 19th and early 20th centuries Glasgow grew in population, reaching a peak of 1,128,473 in 1939. The entire region surrounding the conurbation covers about 2.3 million people, at the 2011 census, Glasgow had a population density of 8, 790/sq mi, the highest of any Scottish city. Glasgow hosted the 2014 Commonwealth Games and is well known in the sporting world for the football rivalry of the Old Firm between Celtic and Rangers. Glasgow is also known for Glasgow patter, a dialect that is noted for being difficult to understand by those from outside the city. Glasgow is the form of the ancient Cumbric name Glas Cau. Possibly referring to the area of Molendinar Burn where Glasgow Cathedral now stands, the later Gaelic name Baile Glas Chu, town of the grey dog, is purely a folk-etymology. The present site of Glasgow has been settled since prehistoric times, it is for settlement, being the furthest downstream fording point of the River Clyde, the origins of Glasgow as an established city derive ultimately from its medieval position as Scotlands second largest bishopric. Glasgow increased in importance during the 10th and 11th centuries as the site of this bishopric, reorganised by King David I of Scotland and John, there had been an earlier religious site established by Saint Mungo in the 6th century. The bishopric became one of the largest and wealthiest in the Kingdom of Scotland, bringing wealth, sometime between 1189 and 1195 this status was supplemented by an annual fair, which survives as the Glasgow Fair. Glasgow grew over the following centuries, the first bridge over the River Clyde at Glasgow was recorded from around 1285, giving its name to the Briggait area of the city, forming the main North-South route over the river via Glasgow Cross. The founding of the University of Glasgow in 1451 and elevation of the bishopric to become the Archdiocese of Glasgow in 1492 increased the towns religious and educational status and landed wealth. Its early trade was in agriculture, brewing and fishing, with cured salmon and herring being exported to Europe, Glasgow was subsequently raised to the status of Royal Burgh in 1611. The citys Tobacco Lords created a water port at Port Glasgow on the Firth of Clyde. By the late 18th century more than half of the British tobacco trade was concentrated on Glasgows River Clyde, at the time, Glasgow held a commercial importance as the city participated in the trade of sugar, tobacco and later cotton
3.
Kelvingrove Park
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Kelvingrove Park is a public park located on the River Kelvin in the West End of the city of Glasgow, Scotland, containing the famous Kelvingrove Art Gallery and Museum. The Town Council had purchased the land, which represented the Kelvingrove and Woodlands estates. The park has been the site of three exhibitions, the 1888 International Exhibition, the 1901 International Exhibition and the 1911 Scottish Exhibition. Large, impressive buildings were constructed in the park for the International Exhibitions, including a large Indian pavilion where the Art Gallery now stands, and these, however, have since been demolished. The Doulton Fountain at Glasgow Green was originally situated in the park for the 1888 Exhibition but was later relocated, the park is 34 hectares in size, and located in the West End of Glasgow. It straddles the River Kelvin shortly before the confluence with the Clyde. Birds found in the include the grey heron, cormorant, and kingfisher, the mallard and goosander. The park is flanked to the West by Gilmorehill and the University of Glasgow, to the South by Partick and Anderston, to the East by Charing Cross and to the North by Hillhead and Woodlands. This central location makes it a route for commuters to the city centre. The park is popular with dog-walkers, and students from the university. Kelvingrove sits around the contours of a hill, on which is sited the Park district of Glasgow. This was formerly a highly residential area before falling out of fashion and being taken over mostly for office space. However, recent high-class residential developments there have made living in the much more appealing. The area is home to 22 Park Circus, the citys registry office, and to the Glasgow branch of the Goethe-Institut. Kelvinbridge subway station and bus routes provide access to the park, Kelvingrove contains a bandstand, skatepark, bowling and croquet greens, and various statues and monuments. The largest monument is the Stewart Memorial Fountain, built to commemorate Lord Provost Robert Stewart, the fountain was built in 1872 to a design by James Sellars, who later designed the nearby St. Lukes Orthodox Cathedral and Kelvinside Academy. It is built of granite, sandstone, marble and bronze, features imagery of the Trossachs, the fountain is currently undergoing a half-million pound refurbishment supported by the City Council, Glasgow City Heritage Trust, the Heritage Lottery Fund and Scottish Water. The park is popular with dog-walkers and joggers, and is convenient for tourists, being adjacent to Kelvin Hall Sports Arena, the park also contains the recently renovated world-renowned Kelvingrove Art Gallery and Museum
4.
John William Simpson
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Sir John William Simpson KBE FRIBA was an English architect and President of the Royal Institute of British Architects from 1919 to 1921. Simpson was the eldest son of the Brighton architect Thomas Simpson and he was the brother of another architect, Gilbert Murray Simpson. He was educated privately and articled to his father in 1875, Simpson became an Associate of the Royal Institute of British Architects in 1882. He was in partnership with M. P, manning from 1881 to 1884 and subsequently with E. J. Milner Allen, specializing in public buildings. He was an member of the Royal Institute of British Architects, rising to be its President. He also wrote books and articles on architecture, in 1905, he was joined in his practice by the young Maxwell Ayrton, and they entered into a partnership in 1910. He never married, and died at home in West Hill, Highgate, Middlesex and he edited the periodical The Book of Book-Plates between 1900 and 1903
5.
Spanish Baroque architecture
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Spanish Baroque is a strand of Baroque architecture that evolved in Spain, its provinces, and former colonies. As early as 1667, the facades of Granada Cathedral and Jaén Cathedral suggest the artists fluency in interpreting traditional motifs of Spanish cathedral architecture in the Baroque aesthetic idiom and its gardens still remain as El Retiro park. This sober brick Baroque of the 17th century is well represented in the streets of the capital in palaces and squares. In contrast to the art of Northern Europe, the Spanish art of the period appealed to the rather than seeking to please the intellect. Within half a century, they transformed Salamanca into an exemplary Churrigueresque city, the development of the style passed through three phases. Between 1680 and 1720, the Churriguera popularized Guarinis blend of Solomonic columns and composite order, between 1720 and 1760, the Churrigueresque column, or estipite, in the shape of an inverted cone or obelisk, was established as a central element of ornamental decoration. The years from 1760 to 1780 saw a shift of interest away from twisted movement and excessive ornamentation toward a neoclassical balance. In this case as in others, the design involves a play of tectonic and decorative elements with little relation to structure. The focus of the ornamentation is an elaborately sculptured surround to a main doorway. The Royal Palace of Madrid and the interventions of Paseo del Prado in the same city and they were constructed in a sober Baroque international style, often mistaken for neoclassical, by the kings Philip V and Charles III. In the richest imperial province of 17th-century Spain, Flanders, florid decorative detailing was more tightly knit to the structure, a remarkable convergence of Spanish, French and Dutch Baroque aesthetics may be seen in the Abbey of Averbode. Six decades later, the architect Jaime Bort y Meliá, was the first to introduce Rococo to Spain. The greatest practitioner of the Spanish Rococo style was a master, Ventura Rodríguez. Even more than its Spanish counterpart, American Baroque developed as a style of stucco decoration, even then, the new style hardly affected the structure of churches. The Peruvian Baroque was particularly lush, as evidenced by the monastery of San Francisco in Lima, in the eighteenth century, the architects of the region turned for inspiration to the Mudéjar art of medieval Spain. The late Baroque type of Peruvian facade first appears in the Church of Our Lady of Mercy, similarly, the Iglesia de La Compañia, Quito suggests a carved altarpiece with its richly sculpted facade and a surfeit of spiral salomónica. To the north, the richest province of 18th-century New Spain — Mexico — produced some fantastically extravagant and this ultra-Baroque approach culminates in the works of Lorenzo Rodriguez, whose masterpiece is the Sagrario Metropolitano in Mexico City. Other fine examples of the style may be found in the remote silver-mining towns, there are about sixty churches whose facades and domes display glazed tiles of many colours, often arranged in Arabic designs
6.
Architectural sculpture
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Architectural sculpture is the use of sculptural techniques by an architect and/or sculptor in the design of a building, bridge, mausoleum or other such project. The sculpture is usually integrated with the structure, but freestanding works that are part of the design are also considered to be architectural sculpture. It has also defined as, an integral part of a building or sculpture created especially to decorate or embellish an architectural structure. Architectural sculpture has been employed by builders throughout history, and in every continent on earth save pre-colonial Australia. Modern understanding of ancient Egyptian architecture is based mainly on the monuments that have survived since antiquity. The classic examples of Egyptian colossal monuments represent thoroughly integrated combinations of architecture and sculpture, obelisks, elaborately carved from a single block of stone, were usually placed in pairs to flank the entrances to temples and pyramids. Reliefs are also common in Egyptian building, depicting scenes of everyday life, the Fertile Crescent architectural sculptural tradition began when Ashurnasirpal II moved his capitol to the city of Nimrud around 879 BCE. This site was located near a deposit of gypsum. This fairly easy to cut stone could be quarried in large blocks that allowed it to be carved for the palaces that were built there. The early style developed out of an already flourishing mural tradition by creating drawings that were carved in low relief. Another contributing factor in the development of sculpture were the small carved seals that had been made in the area for centuries. Classical Greek architecture, like the prototypical Parthenon, incorporate architectural sculpture in a narrow set of standard. The names of these elements comprise the usual vocabulary for discussion, the pediment, the metope, the frieze, the caryatid. Not until about 1870 did the U. S. develop the talent, the power. In the same years, H. H. Richardson began to develop his influential signature genre, which included romantic, medieval, and Romanesque stone carving. The Beaux-Arts style dominated for major buildings between the 1893 Worlds Columbian Exposition in Chicago, through about 1912, the year of the San Francisco City Hall. The need for sculptors saw the emergence of an industry of carvers and modelers, and a professional organization. The advent of steel frames and reinforced concrete encouraged, at first, the diversity of skyscraper Gothic, exotic revivals of Mayan and Egyptian, Stripped Classicism, Art Deco, etc. called for a similar diversity of sculptural approaches
7.
George Frampton
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Sir George James Frampton, RA was a notable British sculptor and leading member of the New Sculpture movement. He was born on 18 June 1860 in London to a stonemason and he began his working life in an architects office before studying under William Silver Frith at the City and Guilds of London Art School. He went on to the Royal Academy Schools where he won the Gold Medal, from 1887 to 1890 Frampton undertook further study and work at the studio of Antonin Mercie in Paris. Frampton returned to England and took up a position at the Slade School of Art in 1893 By this time, Frampton was. Spielmann in open rebellion against white sculpture, in 1895 he showed Mother and Child at the Royal Academy, a polychromatic work, with the figures in bronze against a copper plaque, and a white disc behind the head. In his statue of Dame Alice Owen he combined bronze and marble and he made many busts and reliefs, mostly as memorials. His statues include a bronze of Queen Victoria erected in Calcutta in 1901. Framptons first house and studio was at 32 Queens Grove, but he built a larger house nearby in Carlton Hill. He was married to the artist Christabel Cockerell and had one son and he was an active member of The Art Workers Guild and became Master in 1902. He sculpted the Art Workers Guilds Masters Jewel in silver representing Art is Unity He died on 21 May 1928 and was cremated at Golders Green Crematorium on 25 May and his ashes lie in a niche on the ground floor of the east wing of the Ernest George Columbarium. The original statue of Peter Pan in Kensington Gardens, London, was commissioned by J. M. Barrie in 1912. Six more casts were made of the statue, situated in, Perth, Western Australia, Australia Parc dEgmont, Brussels, Belgium Bowring Park in St. Johns, Newfoundland, Canada. Toronto, Ontario, Canada Sefton Park, Liverpool, England Camden, New Jersey, United States A number of his works can be seen at the restored St James Church, Warter in Yorkshire. Frampton worked with Sir Edwin Lutyens on two of the war memorials in the aftermath of the First World War—Hove War Memorial in East Sussex. Both feature a statue of Saint George, sculpted by Frampton atop a column designed by Lutyens. After the death of Queen Victoria in early 1901, Frampton was chosen to create a statue of the late queen in Calcutta. It was unveiled in March 1902, and was placed outside the Victoria Memorial. He also created the sculpture of the late Queen Victoria situated outside the Royal Victoria Infirmary in Newcastle-upon-Tyne in 1906 that was unveiled by her son King Edward VII in the same year
8.
Francis Derwent Wood
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Francis Derwent Wood RA was a British sculptor. He was elected to the Royal Academy in 1920, instead of the rubber masks used conventionally, Wood constructed masks of thin metal, sculpted to match the portraits of the men in their pre-war normality. Face wounds were known to be the most devastating, by hiding the wounds behind the mask, the young men were able to return to relationships with their families and friends. Each mask required many weeks of work on the part of Woods, a plaster cast was taken of the subjects wounded face – but only after the wounds and subsequent surgeries had totally healed. The crude process was itself a trial, the plaster cast was used to make a squeeze of plastocene or clay. This disfigured bust was used as the foundation of all prosthetic restorative work, the mask itself was made from a thin copper sheet – galvanized copper to facilitate painting after forming. The ward stayed open only two years, from 1917 to 1919, there is no record of the exact number of masks made, but it must have been several hundred, a tiny drop among the more than 20,000 wounded in the face. His earnest efforts may not have helped statistically, but they influenced the lives of those he helped dramatically and he produced a representation of The Crucified Soldier called Canadas Golgotha in 1919, which caused a diplomatic flap between the Canadian and German governments. His Machine Gun Corps Memorial at Hyde Park Corner was also controversial and he married Florence Mary Schmidt in early 1903. Wood died in London in 1926 at the age of fifty-five and his grave can be found at St Michaels Church, Amberley, West Sussex with that of his wife. Suzannah Biernoff, ‘The Rhetoric of Disfigurement in First World War Britain, ’ Social History of Medicine
9.
Pipe organ
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The pipe organ is a musical instrument that produces sound by driving pressurized air through organ pipes selected via a keyboard. Because each pipe produces a pitch, the pipes are provided in sets called ranks, each of which has a common timbre. Most organs have multiple ranks of pipes of differing timbre, pitch, a pipe organ has one or more keyboards played by the hands, and a pedalboard played by the feet, each keyboard has its own group of stops. The keyboard, pedalboard, and stops are housed in the organs console, the smallest portable pipe organs may have only one or two dozen pipes and one manual, the largest may have over 20,000 pipes and seven manuals. A list of some of the most notable and largest pipe organs in the world can be viewed at List of pipe organs. The origins of the organ can be traced back to the water organ in Ancient Greece, in the 3rd century BC. By the 6th or 7th century AD, bellows were used to supply organs with wind, beginning in the 12th century, the organ began to evolve into a complex instrument capable of producing different timbres. A pipe organ with great leaden pipes was sent to the West by the Byzantine emperor Constantine V as a gift to Pepin the Short, King of the Franks, in 757. Pepins son Charlemagne requested a similar organ for his chapel in Aachen in 812, by the 17th century, most of the sounds available on the modern classical organ had been developed. From that time, the organ was the most complex man-made device - a distinction it retained until it was displaced by the telephone exchange in the late 19th century. Pipe organs are installed in churches, synagogues, concert halls, schools and they are used in the performance of classical music, sacred music, secular music, and popular music. The beginning of the 21st century has seen a resurgence in installations in concert halls, the organ boasts a substantial repertoire, which spans over 500 years. The organ is one of the oldest instruments used in European classical music that has commonly been credited as having derived from Greece. Its earliest predecessors were built in Ancient Greece in the 3rd century BC. The word organ is derived from the Greek όργανον, a term for an instrument or a tool, via the Latin organum. The Greek engineer Ctesibius of Alexandria is credited with inventing the organ in the 3rd century BC and he devised an instrument called the hydraulis, which delivered a wind supply maintained through water pressure to a set of pipes. The hydraulis was played in the arenas of the Roman Empire, the 9th century Persian geographer Ibn Khurradadhbih, in his lexicographical discussion of instruments, cited the urghun as one of the typical instruments of the Eastern Roman Empire. It was often used in the Hippodrome in the capital of Constantinople
10.
Rembrandt
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Rembrandt Harmenszoon van Rijn was a Dutch draughtsman, painter, and printmaker. A prolific and versatile master across three media, he is considered one of the greatest visual artists in the history of art. Having achieved youthful success as a painter, Rembrandts later years were marked by personal tragedy. Yet his etchings and paintings were popular throughout his lifetime, his reputation as an artist remained high, Rembrandts portraits of his contemporaries, self-portraits and illustrations of scenes from the Bible are regarded as his greatest creative triumphs. His self-portraits form a unique and intimate biography, in which the artist surveyed himself without vanity and his reputation as the greatest etcher in the history of the medium was established in his lifetime, and never questioned since. Few of his paintings left the Dutch Republic whilst he lived, but his prints were circulated throughout Europe, because of his empathy for the human condition, he has been called one of the great prophets of civilization. Rembrandt Harmenszoon van Rijn was born on 15 July 1606 in Leiden, in the Dutch Republic and he was the ninth child born to Harmen Gerritszoon van Rijn and Neeltgen Willemsdochter van Zuijtbrouck. His family was quite well-to-do, his father was a miller, religion is a central theme in Rembrandts paintings and the religiously fraught period in which he lived makes his faith a matter of interest. His mother was Roman Catholic, and his father belonged to the Dutch Reformed Church, unlike many of his contemporaries who traveled to Italy as part of their artistic training, Rembrandt never left the Dutch Republic during his lifetime. He opened a studio in Leiden in 1624 or 1625, which he shared with friend, in 1627, Rembrandt began to accept students, among them Gerrit Dou in 1628. In 1629, Rembrandt was discovered by the statesman Constantijn Huygens, as a result of this connection, Prince Frederik Hendrik continued to purchase paintings from Rembrandt until 1646. He initially stayed with an art dealer, Hendrick van Uylenburgh, Saskia came from a good family, her father had been a lawyer and the burgemeester of Leeuwarden. When Saskia, as the youngest daughter, became an orphan, Rembrandt and Saskia were married in the local church of St. Annaparochie without the presence of Rembrandts relatives. In the same year, Rembrandt became a burgess of Amsterdam and he also acquired a number of students, among them Ferdinand Bol and Govert Flinck. In 1635 Rembrandt and Saskia moved into their own house, renting in fashionable Nieuwe Doelenstraat, in 1639 they moved to a prominent newly built house in the upscale Breestraat, today known as Jodenbreestraat in what was becoming the Jewish quarter, then a young upcoming neighborhood. The mortgage to finance the 13,000 guilder purchase would be a cause for later financial difficulties. Rembrandt should easily have been able to pay the house off with his income, but it appears his spending always kept pace with his income. It was there that Rembrandt frequently sought his Jewish neighbors to model for his Old Testament scenes, in 1640, they had a second daughter, also named Cornelia, who died after living barely over a month
11.
Gerard de Lairesse
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Gerard or Gérard Lairesse was a Dutch Golden Age painter and art theorist. His broad range of talent included music, poetry, and theatre, De Lairesse was influenced by the Perugian Cesare Ripa and French classicist painters as Charles le Brun, Simon Vouet and authors as Pierre Corneille and Jean Racine. His importance grew in the following the death of Rembrandt. His treatises on painting and drawing, Grondlegginge der teekenkonst, based on geometry, De Lairesse was born in Liège and was the second son of painter Renier de Lairesse. He studied art under his father and from 1655 under Bertholet Flemalle and he worked in Cologne and Aix-la-Chapelle for Maximilian Henry of Bavaria in 1660. In 1664 De Lairesse fled from Liège after an affair with two sisters, his models, went wrong and he traveled north with a girl named Marie Salme and married her in Visé. The couple settled in Utrecht, where a son was baptized in April 1665, when his talent was discovered by the art dealer Gerrit van Uylenburgh, he moved quickly to Amsterdam. De Lairesse arrived with his violin, with which he impressed Jan van Pee, in 1667 De Lairesse became a poorter, living on Nieuwmarkt. In 1670 a son Abraham was born, the engraver Abraham Blooteling, with whom he collaborated, was the witness, another son was baptized in 1673. In 1671, when Van Uylenburgh tried to sell 13 paintings to Frederick William, Elector of Brandenburg, Fromantiou claimed the paintings were copies of Italian ones, and he could point out the originals in Holland. Included in the 51 people involved in the expertise, was De Lairesse, at some time De Lairesse moved to Spinhuissteeg, he became a member of the literary society Nil Volentibus Arduum, which seems to have gathered in his house from 1676 till 1681. In 1682 he sold copied of sheet music, composed by Lully, in May 1684 he rented the nearby house of Caspar Barlaeus. His pupils Philip Tideman and Louis Abry lived there too, De Lairesse produced paintings for the decoration of Soestdijk Palace between 1676 and 1683. In 1684 he moved to the Hague and worked there for a year, in the Binnenhof he decorated a hall, which is named after him, with an Allegory of Justice. In 1685 he painted works for the Loo Palace, in 1687 he was visited by Nicodemus Tessin the Younger. On 27 November 1693, Abraham de Lairesse, from Amsterdam, painter,27 years old, achterburgwal, assisted by his mother Maria Salme, was legally engaged to Johanna van Bevere, from Amsterdam. In 1697 he sold sheet music for his son Abraham who also sold paper, within a few years De Lairesse would change environment again and move to Prinsengracht, closer to his son. At first, De Lairesse was highly influenced by Rembrandt, the French even nicknamed him the Dutch Poussin, but he was also influenced by Pierre Mignard and Charles Alphonse du Fresnoy
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