1.
Chatham, Kent
–
Chatham is one of the Medway towns located within the Medway unitary authority, in North Kent, in South East England. Chatham Dockyard closed in 1984, but major naval buildings remain as the focus for a flourishing tourist industry, Chatham also has military connections, several Army barracks were located here, together with 19th-century forts which provided a defensive shield for the dockyard. Brompton Barracks, located in the town, remains the headquarters of the Corps of Royal Engineers, the town has important road links and the railway and bus stations are the main interchanges for the area. It is the headquarters of Medway unitary authority, as well as its principal shopping centre. The name Chatham was first recorded as Cetham in 880, the Domesday Book records the place as Ceteham. Most books explain this name as a British root ceto plus Old English ham, however, the river-valley situation of Chatham is more consistent with cet being an Old English survival of the element catu that was common in Roman-era names and meant basin or valley. Chatham stands on the A2 road along the line of the ancient Celtic route, which was paved by the Romans, among finds have been the remains of a Roman cemetery. It was established as a Royal Dockyard by Queen Elizabeth I in 1568, initially a refitting base, it became a shipbuilding yard, from then until the late 19th century, further expansion of the yard took place. In its time, many thousands of men were employed at the dockyard, after World War I many submarines were also built in Chatham Dockyard. In addition to the dockyard itself, defensive fortifications were built to protect it from attack, upnor Castle had been built in 1567, but had proved ineffectual, the Dutch Raid on the Medway in 1667 showed that more was required. The threat of a attack from the south during the 19th century led to the construction of even more forts. The second phase of fort-building included Fort Pitt, the 1859 Royal Commission on the Defence of the United Kingdom ordered, inter alia, a third outer ring of forts, these included Fort Luton, Fort Bridgewood, and Fort Borstal. These fortifications all required military personnel to man them and Army barracks to house those men and these included Kitchener Barracks, the Royal Marine Barracks, Brompton Artillery Barracks and Melville Barracks. In response to the manpower needs, the village of Chatham and other nearby villages. Trams, and later buses, linked those places to bring in the workforce, the area between the High Street and Luton village illustrates part of that growth, with its many streets of Victorian terraces. The importance of Chatham dockyard gradually declined as Britains naval resources were reduced or moved to other locations, the dockyard buildings were preserved as the historic site Chatham Historic Dockyard, which was under consideration as a World Heritage Site the site is being used for other purposes. Part of the St Marys Island section is now used as a marina, under the most recent change, in 1998, and with the addition of the Borough of Gillingham, the Borough of Medway became a unitary authority area, administratively separate from Kent. It remains part of the county of Kent for ceremonial purposes, Medway Council has recently relocated its main administration building to Gun Wharf, the site of the earliest part of the Dockyard, a former Lloyds office building
2.
United Kingdom of Great Britain and Ireland
–
The United Kingdom of Great Britain and Ireland was established as a sovereign state on 1 January 1801 by the Acts of Union 1800, which merged the kingdoms of Great Britain and Ireland. The growing desire for an Irish Republic led to the Irish War of Independence, Northern Ireland remained part of the United Kingdom, and the state was consequently renamed the United Kingdom of Great Britain and Northern Ireland. Britain financed the European coalition that defeated France in 1815 in the Napoleonic Wars, the British Empire thereby became the foremost world power for the next century. The Crimean War with Russia and the Boer wars were relatively small operations in a largely peaceful century, rapid industrialisation that began in the decades prior to the states formation continued up until the mid-19th century. A devastating famine, exacerbated by government inaction in the century, led to demographic collapse in much of Ireland. It was an era of economic modernization and growth of industry, trade and finance. Outward migration was heavy to the colonies and to the United States. Britain also built up a large British Empire in Africa and Asia, India, by far the most important possession, saw a short-lived revolt in 1857. In foreign policy Britain favoured free trade, which enabled its financiers and merchants to operate successfully in many otherwise independent countries, as in South America. Britain formed no permanent military alliances until the early 20th century, when it began to cooperate with Japan, France and Russia, and moved closer to the United States. A brief period of limited independence for Ireland came to an end following the Irish Rebellion of 1798, the British governments fear of an independent Ireland siding against them with the French resulted in the decision to unite the two countries. This was brought about by legislation in the parliaments of both kingdoms and came into effect on 1 January 1801, however, King George III was bitterly opposed to any such Emancipation and succeeded in defeating his governments attempts to introduce it. When the Treaty of Amiens ended the war, Britain agreed to return most of the territories it had seized, in May 1803, war was declared again. In 1806, Napoleon issued the series of Berlin Decrees, which brought into effect the Continental System and this policy aimed to eliminate the threat from the British by closing French-controlled territory to foreign trade. Frances population and agricultural capacity far outstripped that of the British Isles, Napoleon expected that cutting Britain off from the European mainland would end its economic hegemony. The Spanish uprising in 1808 at last permitted Britain to gain a foothold on the Continent, after Napoleons surrender and exile to the island of Elba, peace appeared to have returned. The Allies united and the armies of Wellington and Blucher defeated Napoleon once, simultaneous with the Napoleonic Wars, trade disputes, arming hostile Indians and British impressment of American sailors led to the War of 1812 with the United States. The war was little noticed in Britain, which could devote few resources to the conflict until the fall of Napoleon in 1814, American frigates inflicted a series of defeats on the Royal Navy, which was short on manpower due to the conflict in Europe
3.
Victorian era
–
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
4.
Fairy
–
A fairy is a type of mythical being or legendary creature in European folklore, a form of spirit, often described as metaphysical, supernatural, or preternatural. According to Thomas Keightley, the word derives from the Latin fata. Other forms are the Italian fata, and the Provençal fada, in old French romance, fee was a woman skilled in magic, and who knew the power and virtue of words, of stones, and of herbs. Faierie became fairy, but with that now almost exclusively referring to one of the legendary people. The word fairy was used to represent an illusion, or enchantment, to the word faie was added the suffix -erie, used to express either a place where something is found or a trade or typical activity engaged in. In later usage it applied to any kind of quality or activity associated with a particular type of person. In the sense land where fairies dwell, the distinctive and archaic spellings Faery, the latinate fay is not to be confused with the unrelated fey, meaning fated to die. Various folkloristic traditions refer to them euphemistically, by such as wee folk, good folk, people of peace, fair folk. Sometimes the term fairy is used to any magical creature, including goblins or gnomes, at other times. Fairies have their origin in the conflation of Celtic traditions in the Middle French medieval romances. Fairie was in origin used adjectivally, meaning enchanted, but was used as a name for enchanted creatures from as early as the Late Middle English period. In English literature of the Elizabethan era, elves became conflated with the fairies of Romance culture, the Victorian and Edwardian eras saw an increase in interest in fairies. The Celtic Revival viewed them as part of Irelands cultural heritage, carole Silvers and others suggest that the fascination of English antiquarians arose from a reaction to greater industrialization, and loss of folkways. Fairies are generally described as human in appearance and having magical powers, even with these small fairies, however, their small size may be magically assumed rather than constant. Some fairies though normally quite small were able to dilate their figures to imitate humans, on Orkney they were described as short in stature, dressed in dark grey, and sometimes seen in armour. Wings, while common in Victorian and later artwork of fairies, are rare in the folklore, even very small fairies flew with magic. Nowadays, fairies are depicted with ordinary insect wings or butterfly wings. In some folklore, fairies have green eyes, some depictions of fairies either have them wearing some sort of footwear and other depictions of fairies are always barefoot
5.
Orientalism
–
In particular, Orientalist painting, representing the Middle East, was a genre of Academic art in the 19th century. Orientalism refers to the Orient, in reference and opposition to the Occident, the East, the word Orient entered the English language as the Middle French orient. In the “Monks Tale”, Geoffrey Chaucer wrote, “That they conquered many regnes grete / In the orient, with many a fair citee. ”The term “orient” refers to countries east of the Mediterranean Sea and Southern Europe. In Place of Fear, Aneurin Bevan used an expanded denotation of the Orient that comprehended East Asia, “the awakening of the Orient under the impact of Western ideas”. Edward Said said that Orientalism “enables the political, economic, cultural and social domination of the West, not just during colonial times, but also in the present. ”In art history, the term Orientalism refers to the works of the Western artists who specialized in Oriental subjects, produced from their travels in Western Asia, during the 19th century. In that time, artists and scholars were described as Orientalists, especially in France, in the 18th and 19th centuries, the term Orientalist identified a scholar who specialized in the languages and literatures of the Eastern world. Among such scholars is the philologist William Jones, whose studies of Indo-European languages established modern philology, additionally, Hebraism and Jewish studies gained popularity among British and German scholars in the 18th and 19th century. The academic field of Oriental studies, which comprehended the cultures of the Near East, the thesis of Orientalism develops Antonio Gramsci’s theory of cultural hegemony, and Michel Foucaults theorisation of discourse to criticise the scholarly tradition of Oriental studies. Said criticised contemporary scholars who perpetuated the tradition of outsider-interpretation of Arabo-Islamic cultures, especially Bernard Lewis, the analyses are of Orientalism in European literature, especially French literature, and do not analyse visual art and Orientalist painting. In that vein, the art historian Linda Nochlin applied Said’s methods of analysis to art. In the academy, the book Orientalism became a text of post-colonial cultural studies. Early architectural use of motifs lifted from the Indian subcontinent is known as Indo-Saracenic Revival architecture, one of the earliest examples is the façade of Guildhall, London. The style gained momentum in the west with the publication of views of India by William Hodges, examples of Hindoo architecture are Sezincote House in Gloucestershire, built for a nabob returned from Bengal, and the Royal Pavilion in Brighton. Venice, the trading partner of the Ottomans, was the earliest centre. Chinoiserie is the term for the fashion for Chinese themes in decoration in Western Europe, beginning in the late 17th century and peaking in waves, especially Rococo Chinoiserie. From the Renaissance to the 18th century, Western designers attempted to imitate the technical sophistication of Chinese ceramics with only partial success, Early hints of Chinoiserie appeared in the 17th century in nations with active East India companies, England, Denmark, the Netherlands and France. Tin-glazed pottery made at Delft and other Dutch towns adopted genuine Ming-era blue, Early ceramic wares made at Meissen and other centers of true porcelain imitated Chinese shapes for dishes, vases and teawares. Pleasure pavilions in Chinese taste appeared in the formal parterres of late Baroque and Rococo German palaces, Thomas Chippendales mahogany tea tables and china cabinets, especially, were embellished with fretwork glazing and railings, ca 1753–70
6.
Genre art
–
Genre art is the pictorial representation in any of various media of scenes or events from everyday life, such as markets, domestic settings, interiors, parties, inn scenes, and street scenes. Such representations may be realistic, imagined, or romanticized by the artist, some variations of the term genre art specify the medium or type of visual work, as in genre painting, genre prints, genre photographs, and so on. Rather confusingly, the meaning of genre, covering any particular combination of an artistic medium. Painting was divided into a hierarchy of genres, with painting at the top, as the most difficult and therefore prestigious. But history paintings are a genre in painting, not genre works, the following concentrates on painting, but genre motifs were also extremely popular in many forms of the decorative arts, especially from the Rococo of the early 18th century onwards. Single figures or small groups decorated a huge variety of such as porcelain, furniture, wallpaper. Genre painting, also called genre scene or petit genre, depicts aspects of life by portraying ordinary people engaged in common activities. A work would often be considered as a genre work even if it could be shown that the artist had used a known member of his family. In this case it would depend on whether the work was likely to have intended by the artist to be perceived as a portrait—sometimes a subjective question. The depictions can be realistic, imagined, or romanticized by the artist, because of their familiar and frequently sentimental subject matter, genre paintings have often proven popular with the bourgeoisie, or middle class. Genre themes appear in all art traditions. These were part of a pattern of Mannerist inversion in Antwerp painting, giving low elements previously in the background of images prominent emphasis. The generally small scale of these paintings was appropriate for their display in the homes of middle class purchasers. Often the subject of a painting was based on a popular emblem from an Emblem book. The merry company showed a group of figures at a party, other common types of scenes showed markets or fairs, village festivities, or soldiers in camp. In Italy, a school of painting was stimulated by the arrival in Rome of the Dutch painter Pieter van Laer in 1625. He acquired the nickname Il Bamboccio and his followers were called the Bamboccianti, whose works would inspire Giacomo Ceruti, Antonio Cifrondi, jean-Baptiste Greuze and others painted detailed and rather sentimental groups or individual portraits of peasants that were to be influential on 19th-century painting. Spain had a tradition predating The Book of Good Love of social observation and commentary based on the Old Roman Latin tradition, practiced by many of its painters and illuminators
7.
Bethlem Royal Hospital
–
Bethlem Royal Hospital, also known as St Mary Bethlehem, Bethlehem Hospital and Bedlam, is a psychiatric hospital in London. Its infamous history has inspired several books, films and TV series, most notably Bedlam. It has moved three times from its location, and is Europes first and oldest institution to specialise in mental illnesses. The hospital is associated with Kings College London and, in partnership with the Institute of Psychiatry, Psychology. It is part of the Kings Health Partners academic health science centre, originally the hospital was near Bishopsgate just outside the walls of the City of London. It moved outside of Moorfields in the 17th century, then to St Georges Fields in Southwark in the 19th century, the word bedlam, meaning uproar and confusion, is derived from the hospitals prior nickname. Although the hospital became a psychiatric facility, historically it was representative of the worst excesses of asylums in the era of lunacy reform. The hospital was founded in 1247 as the Priory of the New Order of St Mary of Bethlem in the city of London during the reign of Henry III. It was established by the Bishop-elect of Bethlehem, the Italian Goffredo de Prefetti, following a donation of property by the London alderman and former sheriff. The original location was in the parish of St Botolph, Bishopsgates ward, just beyond Londons wall, the priory, obedient to the Church of Bethlehem, would also house the poor and, if they visited, provide hospitality to the bishop, canons and brothers of Bethlehem. Thus, Bethlem became a hospital, in British English usage, by this time the Bethlehemite bishops had relocated to Clamecy, France, under the surety of the Avignon papacy. As a dependent house of the Order of Saint Bethlehem in Clamecy, Bethlem was vulnerable to seizure by the crown, after this event the masters of the hospital, semi-autonomous figures in charge of its day-to-day management, were normally crown appointees and it became an increasingly secularised institution. The removal of the last symbolic link to the Bethlehemites was confirmed in 1403 when it was reported that master, in 1546 the Lord Mayor of London, Sir John Gresham, petitioned the crown to grant Bethlem to the city. This petition was successful and Henry VIII reluctantly ceded to the City of London the custody, order and governance of the hospital and of its occupants. This charter came into effect in 1547, the crown retained possession of the hospital while its administration fell to the city authorities. It is Europes oldest extant psychiatric hospital and has operated continuously for over 600 years and it has also been the continents most famous, and infamous, specialist institution for the care and treatment of the insane. Its popular designation – Bedlam – has long been synonymous with madness, precisely dating its transition to this role is difficult. It is unknown when it began to specialise in the care and control of the insane and this date is derived from the unsubstantiated conjecture of the Reverend Edward Geoffrey ODonoghue, chaplain to the hospital, who published a monograph on its history in 1914
8.
Royal Academy of Arts
–
The Royal Academy of Arts is an art institution based in Burlington House on Piccadilly in London. The Royal Academy of Arts was founded through an act of King George III on 10 December 1768 with a mission to promote the arts of design in Britain through education and exhibition. Supporters wanted to foster a national school of art and to encourage appreciation, fashionable taste in 18th-century Britain was based on continental and traditional art forms, providing contemporary British artists little opportunity to sell their works. From 1746 the Foundling Hospital, through the efforts of William Hogarth, the success of this venture led to the formation of the Society of Artists of Great Britain and the Free Society of Artists. Both these groups were primarily exhibiting societies, their success was marred by internal factions among the artists. The combined vision of education and exhibition to establish a school of art set the Royal Academy apart from the other exhibiting societies. It provided the foundation upon which the Royal Academy came to dominate the art scene of the 18th and 19th centuries, supplanting the earlier art societies. Sir William Chambers, a prominent architect, used his connections with George III to gain royal patronage and financial support of the Academy, the painter Joshua Reynolds was made its first president. Francis Milner Newton was elected the first secretary, a post he held for two decades until his resignation in 1788, the instrument of foundation, signed by George III on 10 December 1768, named 34 founder members and allowed for a total membership of 40. William Hoare and Johann Zoffany were added to this list later by the King and are known as nominated members, among the founder members were two women, a father and daughter, and two sets of brothers. The Royal Academy was initially housed in cramped quarters in Pall Mall, although in 1771 it was given temporary accommodation for its library and schools in Old Somerset House, then a royal palace. In 1780 it was installed in purpose-built apartments in the first completed wing of New Somerset House, located in the Strand and designed by Chambers, the Academy moved in 1837 to Trafalgar Square, where it occupied the east wing of the recently completed National Gallery. These premises soon proved too small to house both institutions, in 1868,100 years after the Academys foundation, it moved to Burlington House, Piccadilly, where it remains. Burlington House is owned by the British Government, and used rent-free by the Royal Academy, the first Royal Academy exhibition of contemporary art, open to all artists, opened on 25 April 1769 and ran until 27 May 1769. 136 works of art were shown and this exhibition, now known as the Royal Academy Summer Exhibition, has been staged annually without interruption to the present day. In 1870 the Academy expanded its programme to include a temporary annual loan exhibition of Old Masters. The range and frequency of these exhibitions have grown enormously since that time. Britains first public lectures on art were staged by the Royal Academy, led by Reynolds, the first president, a program included lectures by Dr. William Hunter, John Flaxman, James Barry, Sir John Soane, and J. M. W. Turner
9.
William Powell Frith
–
William Powell Frith RA was an English painter specialising in genre subjects and panoramic narrative works of life in the Victorian era. He was elected to the Royal Academy in 1853, presenting The Sleeping Model as his Diploma work and he has been described as the greatest British painter of the social scene since Hogarth. William Powell Frith was born in Aldfield, North Yorkshire on 19 January 1819, Frith was encouraged to take up art by his father, a hotelier in Harrogate. Frith was great uncle and an advisor to the English school portrait painter Henry Keyworth Raine and he moved to London in 1835 where he began his formal art studies at Sasss Academy in Charlotte Street, before attending the Royal Academy Schools. Frith started his career as a painter and first exhibited at the British Institution in 1838. In the 1840s he often based works on the output of writers such as Charles Dickens, whose portrait he painted. He was a member of The Clique, which also included Richard Dadd, the principal influence on his work was the hugely popular domestic subjects painted by Sir David Wilkie. Wilkies famous painting The Chelsea Pensioners was a spur to the creation of Friths own most famous compositions, in Ramsgate Sands, Life at the Seaside he depicted visitors and entertainers at the seaside resort. He followed this with The Derby Day, depicting scenes among the crowd at the race at Epsom Downs and this 1858 composition was bought by Jacob Bell for £1,500. It was so popular that it had to be protected by a specially installed rail when shown at the Royal Academy of Arts, another well-known painting was The Railway Station, a scene of Paddington station. In 1865 he was chosen to paint the Marriage of the Prince of Wales and his 1858 painting The Crossing Sweeper has been described as breaking new ground in its description of the collision of wealth and poverty on a London street. Later in his career he painted two series of five each, telling moral stories in the manner of William Hogarth. These were the Road to Ruin, about the dangers of gambling, and he retired from the Royal Academy in 1890 but continued to exhibit until 1902. Frith was a traditionalist who made known his aversion to modern-art developments in a couple of autobiographies – My Autobiography and Reminiscences and Further Reminiscences –, fellow traditionalist Frederic Leighton is featured in the painting, which also portrays painter John Everett Millais and novelist Anthony Trollope. In his later years, he painted copies of his famous paintings, as well as more sexually uninhibited works. A well-known raconteur, his writings, most notably his chatty autobiography, were very popular, in 1856, Frith was photographed at The Photographed Institute by Robert Howlett, as part of a series of portraits of fine artists. The picture was among a group exhibited at the Art Treasures Exhibition in Manchester in 1857, Frith is buried in Kensal Green Cemetery in London. The first major retrospective in Friths native Britain for half a century was staged at the Guildhall Art Gallery and it transferred to Mercer Art Gallery in Harrogate, North Yorkshire in March 2007
10.
Augustus Egg
–
Augustus Leopold Egg RA was a Victorian artist best known for his modern triptych Past and Present, which depicts the breakup of a middle-class Victorian family. Egg was born to Joseph and Ann Egg, and baptised in St Jamess Church, Piccadilly and he had an elder brother, George Hine Egg. His father Joseph Egg was a gunsmith from the distinguished gun making family. Egg was educated in the schools of the Royal Academy, beginning in 1836, Egg was a member of The Clique, a group of artists founded by Richard Dadd and others in the late 1830s. Egg sought to combine popularity with moral and social activism, in line with the work of his friend Charles Dickens. With Dickens he set up the Guild of Literature and Art and he acted the lead role in Not So Bad As We Seem, a play written by Edward Bulwer-Lytton to raise funds for the organisation. His self-portrait in the role is in Hospitalfield House in Arbroath, eggs early paintings were generally illustrations of literary subjects. Like other members of The Clique, he saw himself as a follower of Hogarth and his interest in Hogarthian moral themes is evidenced in his paired paintings The Life and Death of Buckingham, depicting the dissolute life and sordid death of the Restoration rake. Yet his paintings often took a look at their subjects. Unlike most other members of The Clique, Egg also admired the Pre-Raphaelites, he bought work from the young William Holman Hunt and his own triptych, known as Past and Present, was influenced by Hunts work. The two outer scenes depict the separated mother and children a few later, now living in poverty. The paintings use of flashback — the central scene is occurring in the past — has been seen as a precursor of cinema, Egg was also an active organiser of exhibitions, being admired by fellow-artists for his dedication and fair mindedness. He was one of the organisers of the Manchester Art Treasures Exhibition in 1857 and he was elected to the Royal Academy in 1860. A member of the circle of friends that included Dickens and Wilkie Collins and he participated, as actor and costume designer, in their amateur theatricals, which were often conducted for charitable purposes as noted above. Dickens described Egg as a gentle little fellow, always sweet-tempered, humorous, conscientious, thoroughly good. In a 1953 radio interview, Evelyn Waugh was asked What painters do you admire most and he answered Augustus Egg I’d put among the highest. Edited by William Baker and William Malpas Clarke, London, Palgrave Macmillan,1999, the Dickens Circle, A Narrative of the Novelists Friendships. New York, E. P. Dutton,1919, Art in the Age of Queen Victoria, Treasures from the Royal Academy of Arts Permanent Collection
11.
Henry Nelson O'Neil
–
Henry Nelson ONeil ARA was an historical genre painter and minor Victorian writer. He worked primarily with historical and literary subjects, but his paintings dealt with the Indian Mutiny. Eastward, Ho. dated August 1857 but exhibited the following year, a second painting, Home Again, shows the troops returning to England. He also had successes with romantic scenes portraying the deaths of Mozart and Raphael. In The Last Moments of Mozart the dying composer listens to singers performing part of his Requiem, the Last Moments of Raphael shows the painter contemplating the unseen figure of Christ in his Transfiguration. ONeil was a member of The Clique, a group of artists in the 1840s who, like the later Pre-Raphaelite Brotherhood, met regularly to discuss and criticize one anothers works. The other members of The Clique were Augustus Egg, Alfred Elmore, Richard Dadd, William Powell Frith, John Phillip, most of the Clique opposed the Pre-Raphaelites, but ONeil was the most virulent in his condemnation of the movement, attacking them in both paintings and writings. These included his futuristic fantasy 2000 Years Hence, which portrayed Britain in the year 3967 as a frozen wasteland excavated by an archaeologist from New Zealand, discussion of The Parting Cheer, by Henry ONeil ONeils Satirical Dialogues at Internet Archive Profile on Royal Academy of Arts Collections
12.
Milas
–
Milas is an ancient city and the seat of the district of the same name in Muğla Province in southwestern Turkey. The city was the first capital of ancient Caria and of the Anatolian beylik of Menteşe in medieval times. Milas center is situated on a plain at the foot of Mount Sodra on. Milass political colour has been centre-left for the last decade, the name Mylasa, with the old Anatolian ending in -asa is sufficient proof of very early foundation. But there is nothing else to suggest a Lycian origin for the name Mylasa, labrandean Zeus was one of the three deities proper to Mylasa, all named Zeus but each bearing indigenous characteristics. Of these, the cult of Zeus Carius was also notable in being exclusively reserved, aside from the Carians, to their Lydian and Mysian kinsmen. One of the finest temples was also the one dedicated to Zeus Osogoa, traceable to times when the Carians had been a maritime folk, under Achaemenid rule Mylasa was the chief city of Caria. A ruler appointed by the Persian Emperor ruled the city in varying degrees of allegiance to the emperor. Between 460-450 BC, Mylasa was a prominent member of the Delian League, like most Carian cities. Mylasa was at once their hometown and their capital, during the long and striking reign of Mausolus, they became virtual rulers of Caria and of a sizable surrounding region between 377-352 BC. It was during Mausoluss reign that the capital was moved to Halicarnassus, Mausolus was the builder of the famous Mausoleum of Mausolus. The international term Mausoleum derives from this Carian ruler, in 40 BCE Mylasa suffered great damage when it was taken by Labienus in the Roman Civil War. Mylasa is frequently mentioned by ancient writers, at the time of Strabo the city boasted two remarkable orators, Euthydemos and Hybreas. Various inscriptions tell us that the Phrygian cults were represented here by the worship of Sabazios, there was also a temple of Nemesis. An inscription from Mylasa provided one of the few data about the life of Cornelius Tacitus. Among the ancient bishops of Mylasa was Saint Ephrem, whose feast was kept on January 23, cyril and his successor, Paul, are mentioned by Nicephorus Callistus and in the Life of Saint Xene. Since the Fourth Crusade, Mylasa has remained a titular see of the Roman Catholic Church, Mylasensis, the seat has been vacant since the death of the last bishop in 1966. Milas and the region was taken over by the Turks under the command of Menteşe Bey in the late thirteenth century
