1.
Marc Isambard Brunel
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Sir Marc Isambard Brunel, FRS FRSE was a French-born engineer who settled in England. He preferred the name Isambard, but is known to history as Marc to avoid confusion with his more famous son Isambard Kingdom Brunel. His most famous achievement was the construction of the Thames Tunnel, Brunel was the second son of Jean Charles Brunel and Marie Victoire Lefebvre. Jean Charles was a farmer in Hacqueville, Normandy. It was customary for the first son to inherit the farm and his father therefore started Marc on a classical education, but he showed no liking for Greek or Latin and instead showed himself proficient in drawing and mathematics. He was also very musical from an early age, at the age of eleven he was sent to a seminary in Rouen. The superior of the seminary allowed him to learn carpentry, and he also sketched ships in the local harbour. As he showed no desire to become a priest, his father sent him to stay with relatives in Rouen, in 1786, as a result of this tuition, Marc became a naval cadet on a French frigate and during his service visited the West Indies several times. He made a quadrant for himself of brass and ivory, during Brunels service abroad, the French Revolution began, in 1789. In January 1792, Brunels frigate paid off its crew, and he was a Royalist sympathiser, as were most inhabitants of Normandy. In January 1793, whilst visiting Paris during the trial of Louis XVI, Brunel unwisely publicly predicted the demise of Robespierre and he was lucky to get out of Paris with his life, and returned to Rouen. However it was evident that he would have to leave France, during his stay in Rouen, Brunel had met Sophia Kingdom, a young Englishwoman who was an orphan and was working as a governess. Unfortunately he was forced to leave her behind when he fled to Le Havre and boarded the American ship Liberty, Brunel arrived in New York on 6 September 1793, and he subsequently travelled to Philadelphia and Albany. He got involved in a scheme to link the Hudson River by canal with Lake Champlain, the judges were very impressed with the design, but it was not selected. In 1796, after taking American citizenship, Brunel was appointed Chief Engineer of the city of New York and he designed various houses, docks, commercial buildings, an arsenal, and a cannon factory. No official records exist of the projects that he carried out in New York, in 1798, during a dinner conversation, Brunel learnt of the difficulties that the Royal Navy had in obtaining the 100,000 pulley blocks that it required each year to fit out its ships. Each of these was being made by hand, Brunel quickly produced an outline design of a machine that would automate the production of pulley blocks. He decided to sail to England and put his invention before the Admiralty and he sailed for England on 7 February 1799 with a letter of introduction to the Navy Minister, and on 7 March his ship, Halifax landed at Falmouth
2.
Theater (structure)
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A theater, theatre or playhouse, is a structure where theatrical works or plays are performed, or other performances such as musical concerts may be produced. While a theater is not required for performance, a theater serves to define the performance and audience spaces, the facility is traditionally organized to provide support areas for performers, the technical crew and the audience members. There are as many types of theaters as there are types of performance, theaters may be built specifically for a certain types of productions, they may serve for more general performance needs or they may be adapted or converted for use as a theater. They may range from open-air amphitheaters to ornate, cathedral-like structures to simple, some theaters may have a fixed acting area, while some theaters, such as black box theaters, may not, allowing the director and designers to construct an acting area suitable for the production. The most important of these areas is the acting space generally known as the stage, in some theaters, specifically proscenium theaters, arena theaters and amphitheaters, this area is permanent part of the structure. In a blackbox theater the area is undefined so that each theater may adapt specifically to a production. In addition to these spaces, there may be offstage spaces as well. These include wings on either side of a stage where props, sets. A Prompters box may be found backstage, in an amphitheater, an area behind the stage may be designated for such uses while a blackbox theater may have spaces outside of the actual theater designated for such uses. Often a theater will incorporate other spaces intended for the performers, a booth facing the stage may be incorporated into the house where lighting and sound personnel may view the show and run their respective instruments. Other rooms in the building may be used for dressing rooms, rehearsal rooms, spaces for constructing sets, props and costumes, as well as storage. There are usually two main entrances, one at the front, used by the audience, that leads into the back of the audience, the second is called the stage door, and it is accessible from backstage. This is the means by which the cast and crew enter and exit the theater and this term can also be used to refer to going to a lot of shows or living in a big theater city, such as New York or Chicago. All theaters provide a space for an audience, the audience is usually separated from the performers by the proscenium arch. In proscenium theaters and amphitheaters, the arch, like the stage, is a permanent feature of the structure. This area is known as the auditorium or the house, the word parterre is sometimes used to refer to a particular subset of this area. In North American usage this is usually the rear seating block beneath the gallery whereas in Britain it can mean either the area in front near the orchestra pit, the term can also refer to the side stalls in some usages. Derived from the gardening term parterre, the usage refers to the pattern of both the seats of an auditorium and of the planted beds seen in garden construction
3.
Park Row (Manhattan)
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Park Row is a street located in the Financial District, Civic Center, and Chinatown sections of the New York City borough of Manhattan. The street runs east-west, sometimes called north-south because the end is nearer to Downtown Manhattan. At the north end of Park Row is the confluence of Bowery, East Broadway, St. James Place, Oliver Street, Mott Street, at the streets south end, Broadway, Vesey Street, Barclay Street, and Ann Street intersect. The intersection includes a bus turnaround loop designated as Millennium Park, in the late 18th century Eastern Post Road became the more important road connecting New York to Albany and New England. Early in the 19th century most of the Manhattan portion of road was suppressed, the Commons became City Hall Park. Part of the section of the street was known as Printing House Square. The New York Times was originally located at 113 Nassau Street in 1851, the New Yorker Staats-Zeitung moved to its own building at 17 Chatham Street at very nearly the same time. One of the first structures to be called a skyscraper, the Park Row Building is located at the end of Park Row. At 391 feet tall it was the tallest office building in the world from 1899 until 1908, the building is 29 stories tall, with 26 full floors and two, three-story cupolas. It has a frontage of 103 ft on Park Row,23 on Ann Street and 48 feet on Theater Alley, the base of the building covers a land area of approximately 15,000 square feet. The New York City Police Department is headquartered at 1 Police Plaza located on Park Row, across the street from the Manhattan Municipal Building, the segment of Park Row between Frankfort Street and Chatham Square is only open to MTA buses and government and emergency vehicles. The section of Park Row has been closed to traffic since 2001. The NYPD asserts that this is necessary to protect its headquarters from a bomb attack. Chinatown residents are increasingly frustrated at the disruption caused by the closure of the thoroughfare, members of the Civic Center Residents Coalition have been fighting the security perimeter around the building for years. The department also plans to redesign its guard booths and security barriers to make them more attractive, media related to Park Row at Wikimedia Commons Park Row, A New York Songline – virtual walking tour
4.
New York City Hall
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New York City Hall, the seat of New York City government, is located at the center of City Hall Park in the Civic Center area of Lower Manhattan, between Broadway, Park Row, and Chambers Street. Constructed from 1803 to 1812, New York City Hall is a National Historic Landmark and is listed on the National Register of Historic Places, both its exterior and interior are designated New York City landmarks. New Amsterdams first City Hall was built by the Dutch in the 17th century near 73 Pearl Street, the citys second City Hall, built in 1700, stood on Wall and Nassau Streets. That building was renamed Federal Hall after New York became the first official capital of the United States after the Revolutionary War. Plans for building a new City Hall were discussed by the New York City Council as early as 1776, the Council chose a site at the old Common at the northern limits of the City, now City Hall Park. City Hall was originally an area for the first almhouse in 1653, in 1736, there was a financed almhouse for those who were fit to work, for the unfit, and those that were like criminals but were paupers. In 1802 the City held a competition for a new City Hall, mangin was also the architect of the landmark St. Patricks Old Cathedral on Mulberry Street. McComb, whose father had worked on the old City Hall, was a New Yorker and he would supervise the construction of the building, and designed the architectural detailing as well. Also, many architects were in favor of Greek Revival style and created Brooklyn City Hall, the cornerstone of the new City Hall was laid in 1803. Construction was delayed after the City Council objected that the design was too extravagant, labor disputes and an outbreak of yellow fever further slowed construction. The building was not dedicated until 1811, and opened officially in 1812, the Outer Room is adjacent to the traditional Mayors office, which is a small space on the northwest corner of the first floor. The Ceremonial Room is where the mayor would meet officials and hold small group meetings, there are 108 paintings from the late 18th century through the 20th. The New York Times declared it almost unrivaled as an ensemble, among the collection is John Trumbull’s 1805 portrait of Alexander Hamilton, the source of the face on the United States ten-dollar bill. There were significant efforts to restore the paintings in the 1920s and 1940s, in 2006 a new restoration campaign began for 47 paintings identified by the Art Commission as highest in priority. On July 23,2003 at 2,08 p. m, City Hall was the scene of a rare political assassination. Othniel Askew, a rival of City Councilman James E. Davis. Askew shot Davis twice, fatally wounding him, a police officer on the floor of the chamber then fatally shot Askew. Askew and Davis had entered the building together without passing through a metal detector, as a result of the security breach, then-Mayor Michael Bloomberg revised security policy to require that everyone entering the building pass through metal detectors without exception
5.
Upper class
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The upper class in modern societies is the social class composed of the wealthiest members of society, who also wield the greatest political power. According to this view, the class is generally distinguished by immense wealth which is passed on from generation to generation. Prior to the 20th century, the aristocracy was widely used. The term is used in conjunction with terms like upper-middle class, middle class. Upper-class status commonly derived from the position of ones family. Much of the population that composed the upper consisted of aristocrats, ruling families, titled people. These people were born into their status and historically there was not much movement across class boundaries. This is to say that it was harder for an individual to move up in class simply because of the structure of society. The Transatlantic Slave Trade also helped create a class of white Europeans while maintaining a lower class of black Europeans, Americans and Africans. This fact is often edited out of academic research both in publications and online ones such as Wikipedia. In many countries, the upper class was intimately associated with hereditary land ownership. Political power was often in the hands of the landowners in many pre-industrial societies despite there being no legal barriers to land ownership for other social classes. Upper-class landowners in Europe were often members of the titled nobility, though not necessarily. Some upper classes were almost entirely untitled, for example, the Szlachta of the Polish–Lithuanian Commonwealth, in England, Wales, Scotland, and Ireland, the upper class traditionally comprised the landed gentry and the aristocracy of noble families with hereditary titles. The vast majority of post-medieval aristocratic families originated in the merchant class and were ennobled between the 14th and 19th centuries while intermarrying with the old nobility and gentry. Since the Second World War, the term has come to encompass rich, members of the English gentry organized the colonization of Virginia and New England and ruled these colonies for generations forming the foundation of the American upper class or East Coast Elite. In this respect, the US differs little from such as the UK where membership of the upper class is also dependent on other factors. The American upper class is estimated to less than 1% of the population
6.
Bowery Theatre
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The Bowery Theatre was a playhouse on the Bowery in the Lower East Side of Manhattan, New York City. By the 1850s, the theatre came to cater to immigrant groups such as the Irish, Germans and it burned down four times in 17 years, a fire in 1929 destroying it for good. Although the theatres name changed several times, it was referred to as the Bowery Theatre. They hired architect Ithiel Town to design the new venue, Some notable investors included Samuel Laurence Gouverneur, son-in-law to President James Monroe, and James Alexander Hamilton, son of Alexander Hamilton. The new playhouse, with its Neoclassical design, was more opulent than the Park, the Bowery Theatre opened on 22 October 1826 under the name New York Theatre, with the comedy The Road to Ruin, by Thomas Holcroft, under the management of Charles A. Gilfert. Its first few seasons were devoted to ballet, opera, the theatre was by this time quite fashionable, and the northward expansion of Manhattan gave the theatre access to a large patronage. The theatre burnt out in 1828, but was rebuilt behind the same facade, Gilferts understanding of advertising was keen, but in 1829 the owners fired him. The owners hired Thomas Hamblin and James H. Hackett in August 1830 to manage the theatre, a month later, Hackett left Hamblin in complete control. After the Bowery burned down later that year, Hamblin rebuilt and he then took the theatre in a decidedly different direction for what would be its most innovative and successful period. This was partially the result of a theatre riot at the Park, Hamblin renamed the playhouse the American Theatre. Hamblin hired unknown American actors and playwrights and allowed them to play for long runs of up to a month, before 1843, early blackface performers such as George Washington Dixon and Thomas D. Rice played there frequently, and acts such as J. B. Booth, Edwin Forrest, Louisa Lane Drew, and Frank Chanfrau also gained renown on the Bowerys stage, George L. Fox and his pantomime became the most popular act at the Bowery until after the Civil War. Bowery productions also debuted or popularized a number of new types, including the Bowery Bhoy, the Yankee, the Frontiersman. The pro-Americanism of the Bowerys audience came to a head during the Farren Riots of 1834, Farren, the Bowerys British-born stage manager, had reportedly made anti-American comments and fired an American actor. Protesters reacted by attacking the homes, businesses, and churches of abolitionists and blacks in New York City, Farren apologized for his comments, and George Washington Dixon sang popular songs to quell the rioters. Hamblin defied conventions of theatre as high culture by booking productions that appealed to working-class patrons, animal acts, blackface minstrel shows, and melodrama enjoyed the most frequent billings, and hybrid forms, such as melodramas about dogs saving their human masters, became unprecedented successes. Spectacular productions with advanced visual effects, including water and fire, Hamblin also innovated by using gas lighting in lieu of candles and kerosene lamps. The Bowery Theatre earned the nickname The Slaughterhouse for its low-class offerings, in the spring of 1834, Hamblin began buying shares in the theatre from the New York Association, he had enough to control the enterprise completely within 18 months
7.
Blackface
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Blackface is a form of theatrical makeup used predominantly by non-black performers to represent a black person. The practice gained popularity during the 19th century and contributed to the spread of racial stereotypes such as the happy-go-lucky darky on the plantation or the dandified coon. In 1848, blackface minstrel shows were an American national art of the time, translating formal art such as opera into popular terms for a general audience. Early in the 20th century, blackface branched off from the show and became a form in its own right. Blackface was an important performance tradition in the American theater for roughly 100 years beginning around 1830, in both the United States and Britain, blackface was most commonly used in the minstrel performance tradition, which it both predated and outlasted. Later, black artists also performed in blackface, in some quarters, the caricatures that were the legacy of blackface persist to the present day and are a cause of ongoing controversy. Another view is that blackface is a form of cross-dressing in which one puts on the insignias of a sex, class, or race that stands in opposition to ones own. By the mid-20th century, changing attitudes about race and racism effectively ended the prominence of blackface makeup used in performance in the U. S. and it remains in relatively limited use as a theatrical device and is more commonly used today as social commentary or satire. Perhaps the most enduring effect of blackface is the precedent it established in the introduction of African-American culture to an international audience, there is no consensus about a single moment that constitutes the origin of blackface. Whites routinely portrayed the characters in the Elizabethan and Jacobean theater. The play attracted notice, and other performers adopted the style, from at least the 1810s, blackface clowns were popular in the United States. Rice introduced the song Jump Jim Crow accompanied by a dance in his act in 1828. Rice traveled the U. S. performing under the stage name Daddy Jim Crow, the name Jim Crow later became attached to statutes that codified the reinstitution of segregation and discrimination after Reconstruction. In the 1830s and early 1840s, blackface performances mixed skits with comic songs, stereotyped blackface characters developed, buffoonish, lazy, superstitious, cowardly, and lascivious characters, who stole, lied pathologically, and mangled the English language. By 1852, the skits that had part of blackface performance for decades expanded to one-act farces. The songs of northern composer Stephen Foster figured prominently in blackface minstrel shows of the period, though written in dialect and certainly politically incorrect by todays standards, his later songs were free of the ridicule and blatantly racist caricatures that typified other songs of the genre. Fosters works treated slaves and the South in general with a cloying sentimentality that appealed to audiences of the day. White minstrel shows featured white performers pretending to be blacks, playing their versions of black music, Minstrel shows dominated popular show business in the U. S. from that time through into the 1890s, also enjoying massive popularity in the UK and in other parts of Europe
8.
Italian opera
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Italian opera is both the art of opera in Italy and opera in the Italian language. Opera was born in Italy around the year 1600 and Italian opera has continued to play a dominant role in the history of the form until the present day, many famous operas in Italian were written by foreign composers, including Handel, Gluck and Mozart. Dafne by Jacopo Peri was the earliest composition considered opera, as understood today, peris works, however, did not arise out of a creative vacuum in the area of sung drama. An underlying prerequisite for the creation of opera proper was the practice of monody, from this, it was only a small step to fully-fledged monody. Such spectacles were staged to commemorate significant state events, weddings, military victories, and the like. They were lavishly staged, and led the scenography of the half of the 16th century. Another popular court entertainment at this time was the madrigal comedy and this consisted of a series of madrigals strung together to suggest a dramatic narrative, but not staged. There were also two staged musical pastorals, Il Satiro and La Disperazione di Fileno, both produced in 1590 and written by Emilio de Cavalieri. Other pastoral plays had long included some musical numbers, one of the earliest, the music of Dafne is now lost. The first opera for which music has survived was performed in 1600 at the wedding of Henry IV of France, the opera, Euridice, with a libretto by Rinuccini, set to music by Peri and Giulio Caccini, recounted the story of Orpheus and Eurydice. The style of singing favored by Peri and Caccini was a form of natural speech. Recitative thus preceded the development of arias, though it became the custom to include separate songs. Both Dafne and Euridice also included choruses commenting on the action at the end of each act in the manner of Greek tragedy. The theme of Orpheus, the demi-god of music, was popular and attracted Claudio Monteverdi who wrote his first opera, La Favola dOrfeo. Monteverdi insisted on a relationship between the words and music. When Orfeo was performed in Mantua, an orchestra of 38 instruments, Opera had revealed its first stage of maturity in the hands of Monteverdi. LOrfeo also has the distinction of being the earliest surviving opera that is regularly performed today. Within a few decades opera had spread throughout Italy, in Rome, it found an advocate in the prelate and librettist Giulio Rospigliosi
9.
Reign of Terror
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The Reign of Terror or The Terror, is the label given by some historians to a period of violence during the French Revolution. Different historians place the date at either 5 September 1793 or June 1793 or March 1793 or September 1792 or July 1789. Between June 1793 and the end of July 1794, there were 16,594 official death sentences in France, but the total number of deaths in France in 1793–96 in only the civil war in the Vendée is estimated at 250,000 counter-revolutionaries and 200,000 republicans. During 1794, revolutionary France was beset with conspiracies by internal, within France, the revolution was opposed by the French nobility, which had lost its inherited privileges. The Catholic Church opposed the revolution, which had turned the clergy into employees of the state, in addition, the French First Republic was engaged in a series of wars with neighboring powers, and parts of France were engaging in civil war against the loyalist regime. The latter were grouped in the parliamentary faction called the Mountain. Through the Revolutionary Tribunal, the Terrors leaders exercised broad powers, the Reign was a manifestation of the strong strain on centralized power. Many historians have debated the reasons the French Revolution took such a turn during the Reign of Terror of 1793–94. The public was frustrated that the equality and anti-poverty measures that the revolution originally promised were not materializing. Jacques Rouxs Manifesto of the Enraged on 25 June 1793, describes the extent to which, four years into the revolution, the foundation of the Terror is centered on the April 1793 creation of the Committee of Public Safety and its militant Jacobin delegates. Those in power believed the Committee of Public Safety was an unfortunate, according to Mathiez, they touched only with trepidation and reluctance the regime established by the Constituent Assembly so as not to interfere with the early accomplishments of the revolution. Similar to Mathiez, Richard Cobb introduced competing circumstances of revolt, counter-revolutionary rebellions taking place in Lyon, Brittany, Vendée, Nantes, and Marseille were threatening the revolution with royalist ideas. Cobb writes, the revolutionaries themselves, living as if in combat… were easily persuaded that only terror, Terror was used in these rebellions both to execute inciters and to provide a very visible example to those who might be considering rebellion. Cobb agrees with Mathiez that the Terror was simply a response to circumstances, at the same time, Cobb rejects Mathiezs Marxist interpretation that elites controlled the Reign of Terror to the significant benefit of the bourgeoisie. Instead, Cobb argues that social struggles between the classes were seldom the reason for actions and sentiments. Widespread terror and a consequent rise in executions came after external and internal threats were vastly reduced, with the backing of the national guard, they persuaded the convention to arrest 29 Girondist leaders, including Jacques Pierre Brissot. On 13 July the assassination of Jean-Paul Marat – a Jacobin leader, georges Danton, the leader of the August 1792 uprising against the king, was removed from the committee. The Jacobins identified themselves with the movement and the sans-culottes
10.
Tent city
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A tent city is a temporary housing facility made using tents or other temporary structures. Informal tent cities may be set up without authorization by homeless people or protesters, as well, state governments or military organizations set up tent cities to house refugees, evacuees, or soldiers. Tent cities set up by people may be similar to shanty towns. In the military, the tent city usually refers to temporary living quarters erected on deployed military bases, such as those found in Bosnia. Depending on the branch of service and the length of time the tent city has been in place, for sanitary reasons, military tent cities place toilet, shower, and laundry facilities at least 50 feet from living quarters. Also, tents are typically divided into clusters of 8-10 to prevent the spread of fire. Since Hurricane Katrina made landfall in August 2005, the term has been used to temporary housing sites set up for Gulf Coast residents who were left homeless by the storm. Some of the tents that were built by Seabees and funded by the U. S. Federal Emergency Management Agency are wooden structures covered by tents, with the exception of indoor plumbing, most of the tents have heat, air, and lights. The tent city can hold as many as 250 occupants, displaced residents are only expected to stay for three to six months. Camp Hope is a transitional living project, for the homeless. It is located on the Mesilla Valley Community of Hope campus and is an alliance of agencies that address homelessness in Las Cruces, New Mexico. The tent city can house 50 people that would otherwise be on the streets, providing them a place to seek direct services, healthcare. Camp Hope has provided the homeless with the opportunity to be next to all the Direct Services the agencies on the MVCH campus provide. The camp was founded in November 2011 with temporary permission from the city of Las Cruces, the camp was supposed to disband in March 2012, but there was no funding available to build another shelter and the City Council stated that the tent city benefited the city. Dignity Village is an encampment of homeless people in Portland, Oregon. Dignity Village is incorporated in Oregon as a 501 membership-based non-profit organization, and is governed by bylaws, dignity Village states that membership is not limited based on religion, race, sex, sexual orientation, handicap, age, lifestyle choice, previous record or economic status. Continued membership is dependent upon following the rules of behavior, contained in their membership agreement. No illegal substances or alcohol or paraphernalia on the premises or within a one-block radius, everyone contributes to the upkeep and welfare of the village and works to become a productive member of the community
11.
Gas lighting
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Gas lighting is production of artificial light from combustion of a gaseous fuel, such as hydrogen, methane, carbon monoxide, propane, butane, acetylene, ethylene, or natural gas. Before electricity became widespread and economical to allow for general public use, gas was the most popular method of outdoor and indoor lighting in cities. Early gas lights were ignited manually, but many designs are self-igniting. In addition, some urban historical districts retain gas street lighting, early lighting fuels consisted of olive oil, beeswax, fish oil, whale oil, sesame oil, nut oil, and similar substances. These were the most commonly used fuels until the late 18th century, chinese records dating back 1,700 years note the use of natural gas in the home for light and heat via bamboo pipes to the dwellings. Public illumination preceded the discovery and adoption of gaslight by centuries, in 1417, Sir Henry Barton, Mayor of London, ordained lanterns with lights to be hung out on the winter evenings between Hallowtide and Candlemasse. Paris was first lit by an order issued in 1524, and, in the beginning of the 16th century, in coal mining, accumulating and escaping gases were known originally for their adverse effects rather than their useful qualities. Coal miners described two types of gases, one called the choke damp and the fire damp. In 1667, a paper detailing the effects of gases was entitled, A Description of a Well and Earth in Lancashire taking Fire. Imparted by Thomas Shirley, Esq an eye-witness, stephen Hales was the first person who procured a flammable fluid from the actual distillation of coal. His experiments with this object are related in the first volume of his Vegetable Statics and these results seemed to have passed without notice for several years. This paper contained some striking facts relating to the flammability and other properties of coal-gas, the principal properties of coal-gas were demonstrated to different members of the Royal Society, and showed that after keeping the gas some time, it still retained its flammability. The scientists of the time still saw no purpose for it. John Clayton, in an extract from a letter in the Philosophical Transactions for 1735, calls gas the spirit of coal and this spirit happened to catch fire, by coming in contact with a candle as it escaped from a fracture in one of his distillatory vessels. By preserving the gas in bladders, he entertained his friends, william Murdoch was the first to exploit the flammability of gas for the practical application of lighting. He worked for Matthew Boulton and James Watt at their Soho Foundry steam engine works in Birmingham and he first lit his own house in Redruth, Cornwall in 1792. In 1798, he used gas to light the building of the Soho Foundry and in 1802 lit the outside in a public display of gas lighting. One of the employees at the Soho Foundry, Samuel Clegg, Clegg left his job to set up his own gas lighting business, the Gas Lighting and Coke Company
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