1.
John Opie
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John Opie RA was a Cornish historical and portrait painter. He painted many great men and women of his day, including members of the British Royal Family, Opie was born in Harmony Cottage, Trevellas, between St Agnes and Perranporth in Cornwall, UK. He was the youngest of the five children of Edward Opie, a master carpenter and his father, however, did not encourage his abilities, and apprenticed him to his own trade of carpentry. Opies artistic abilities eventually came to the attention of local physician and satirist, Dr John Wolcot, recognising a great talent, Wolcot became Opies mentor, buying him out of his apprenticeship and insisting that he come to live at his home in Truro. Wolcot provided invaluable encouragement, advice, tuition and practical help in the advancement of his early career, in 1781, having gained considerable experience as a portraitist travelling around Cornwall, Opie moved to London with Wolcot. There they lived together, having entered into a formal profit-sharing agreement, Wolcot introduced the Cornish wonder to leading artists, including Sir Joshua Reynolds, who was to compare him to Caravaggio and Velazquez, and to prospective patrons. The business arrangement with Wolcot lasted for a year, after which Opie informed the doctor that he now wished to go it alone, through the influence of a Mrs Boscawen, Wolcot managed to have Opie introduced at the court of King George III. The king purchased one of his pictures and commissioned him to produce a portrait of Mary Delany and he also received commissions to paint the Duke and Duchess of Gloucester, Lady Salisbury, Lady Charlotte Talbot, Lady Harcourt and other ladies of the court. Opies residence at Orange Court, Castle Street, Leicester Fields, was said to be crowded with rank and fashion every day, in 1782 he first exhibited at the Royal Academy and in December of that year was married to Mary Bunn. The match, however, proved to be an unhappy one, Opies work, after an initial burst of popularity, rapidly fell out of fashion. He painted five subjects for John Boydells Shakespeare Gallery, and until his death, in May 1798 he married Amelia Alderson whom he had met at a party in Norwich, having gone to Norfolk to carry out some commissions for Thomas Coke at Holkham Hall. They lived at 8 Berners Street, where Opie had moved in 1791 and his students at the Academy included Henry Thomson. John Opies paintings An exhaustive list of Opies exhibited works, private commissions etc. can be found in Ada Earlands book John Opie, century Magazine/Volume 57/Issue 4/Coles Old English Masters. & Bulfinch, S. G. Biography of self-taught men, Cornish worthies, sketches of some eminent Cornish men and families, volume 2 pp. 243–278
2.
Jedburgh Abbey
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Jedburgh Abbey, a ruined Augustinian abbey which was founded in the 12th century, is situated in the town of Jedburgh, in the Scottish Borders 10 miles north of the border with England at Carter Bar. Jedburgh is the largest town on the A68 between Newcastle upon Tyne and the Scottish capital, Edinburgh, towards the middle of the 9th century, when the area around Jedburgh was part of the Anglo-Saxon Kingdom of Northumbria, there were two Gedworths. One of them became the Jedburgh we know now, the other was four miles to the south, according to Symeon of Durham, Ecgred, bishop of Lindisfarne from 830AD to 845AD, gifted the two villages of the same name to the See of Lindisfarne. The southerly Gedworth was the place of Ecgreds church, the first church in the parish, the present town was distinguished from the long disappeared south village by UBI CASTELLUM EST meaning, where the castle is. The only solid evidence of Ecgreds church came from Symeon of Durham when he described the burial, at the church of Geddewerde, of Eadulf, one of the assassins of William Walcher, Bishop of Durham. In 1118, prior to his ascension to the Scottish throne, the foundation appeared to have the status of priory in the early years and a man by the name of Daniel was described as the Prior of Geddwrda in 1139. The church was raised to the status of monastery before becoming in the years prior to King Davids death in 1153 probably in 1147. It has to be mentioned that over the years, Jedburgh has been described by 83 different names or spellings. After the death of King David I of Scotland, the patronage and privileges of the abbey were accorded to his grandsons Malcolm IV of Scotland, the Kings son, Henry, had preceded his father in death. The nave and the choir were built in the 13th century and were in place by the time Alexander III of Scotland married Yolande, the great abbey was said to contain the finery of the best of Norman and early English Architecture. The Abbey Church of St. Mary of Jedeworth was growing in stature and importance, as well as the lands and chapels in southern Scotland, Jedburgh Abbey owned great lands in Northumberland. In 1296, the Abbot of Jedburgh swore fealty to Edward I of England at Berwick-on-Tweed, Edward intended to rule the abbey and presented William de Jarum as the new Abbot of Jedburgh in 1296. After the defeat of the Earl of Surrey in 1297 at Stirling at the hands of William Wallace, robert I of Scotland continued to patronise the church during his reign in the early 14th century. In 1346, after the Scottish defeat at the Battle of Nevilles Cross, later that century, in 1370, David II of Scotland was instrumental in the completion of the north transept we can still see today. The abbey faced more torture and destruction in 1410,1416, in 1523, the town and abbey were set ablaze by the Earl of Surrey. The abbey faced more indignity in 1544 at the hands of the Earl of Hertford, the end came for the great Abbey of St. Mary of Jedburgh in 1560 and the coming of the Scottish Reformation. Jedburgh Grammar School was founded by the monks of Jedburgh Abbey in the late 15th, when the Protestant Reformation arrived in 1560, the monks were allowed to stay but the abbey was used as the parish kirk for the reformed religion. In 1671 the church was removed to the part of the nave for safety reasons
3.
England
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England is a country that is part of the United Kingdom. It shares land borders with Scotland to the north and Wales to the west, the Irish Sea lies northwest of England and the Celtic Sea lies to the southwest. England is separated from continental Europe by the North Sea to the east, the country covers five-eighths of the island of Great Britain in its centre and south, and includes over 100 smaller islands such as the Isles of Scilly, and the Isle of Wight. England became a state in the 10th century, and since the Age of Discovery. The Industrial Revolution began in 18th-century England, transforming its society into the worlds first industrialised nation, Englands terrain mostly comprises low hills and plains, especially in central and southern England. However, there are uplands in the north and in the southwest, the capital is London, which is the largest metropolitan area in both the United Kingdom and the European Union. In 1801, Great Britain was united with the Kingdom of Ireland through another Act of Union to become the United Kingdom of Great Britain and Ireland. In 1922 the Irish Free State seceded from the United Kingdom, leading to the latter being renamed the United Kingdom of Great Britain, the name England is derived from the Old English name Englaland, which means land of the Angles. The Angles were one of the Germanic tribes that settled in Great Britain during the Early Middle Ages, the Angles came from the Angeln peninsula in the Bay of Kiel area of the Baltic Sea. The earliest recorded use of the term, as Engla londe, is in the ninth century translation into Old English of Bedes Ecclesiastical History of the English People. According to the Oxford English Dictionary, its spelling was first used in 1538. The earliest attested reference to the Angles occurs in the 1st-century work by Tacitus, Germania, the etymology of the tribal name itself is disputed by scholars, it has been suggested that it derives from the shape of the Angeln peninsula, an angular shape. An alternative name for England is Albion, the name Albion originally referred to the entire island of Great Britain. The nominally earliest record of the name appears in the Aristotelian Corpus, specifically the 4th century BC De Mundo, in it are two very large islands called Britannia, these are Albion and Ierne. But modern scholarly consensus ascribes De Mundo not to Aristotle but to Pseudo-Aristotle, the word Albion or insula Albionum has two possible origins. Albion is now applied to England in a poetic capacity. Another romantic name for England is Loegria, related to the Welsh word for England, Lloegr, the earliest known evidence of human presence in the area now known as England was that of Homo antecessor, dating to approximately 780,000 years ago. The oldest proto-human bones discovered in England date from 500,000 years ago, Modern humans are known to have inhabited the area during the Upper Paleolithic period, though permanent settlements were only established within the last 6,000 years
4.
Painting
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Painting is the practice of applying paint, pigment, color or other medium to a solid surface. The medium is commonly applied to the base with a brush, but other implements, such as knives, sponges, Painting is a mode of creative expression, and the forms are numerous. Drawing, gesture, composition, narration, or abstraction, among other aesthetic modes, may serve to manifest the expressive, Paintings can be naturalistic and representational, photographic, abstract, narrative, symbolistic, emotive, or political in nature. A portion of the history of painting in both Eastern and Western art is dominated by motifs and ideas. In art, the term painting describes both the act and the result of the action, the term painting is also used outside of art as a common trade among craftsmen and builders. What enables painting is the perception and representation of intensity, every point in space has different intensity, which can be represented in painting by black and white and all the gray shades between. In practice, painters can articulate shapes by juxtaposing surfaces of different intensity, thus, the basic means of painting are distinct from ideological means, such as geometrical figures, various points of view and organization, and symbols. In technical drawing, thickness of line is ideal, demarcating ideal outlines of an object within a perceptual frame different from the one used by painters. Color and tone are the essence of painting as pitch and rhythm are the essence of music, color is highly subjective, but has observable psychological effects, although these can differ from one culture to the next. Black is associated with mourning in the West, but in the East, some painters, theoreticians, writers and scientists, including Goethe, Kandinsky, and Newton, have written their own color theory. Moreover, the use of language is only an abstraction for a color equivalent, the word red, for example, can cover a wide range of variations from the pure red of the visible spectrum of light. There is not a register of different colors in the way that there is agreement on different notes in music. For a painter, color is not simply divided into basic, painters deal practically with pigments, so blue for a painter can be any of the blues, phthalocyanine blue, Prussian blue, indigo, cobalt, ultramarine, and so on. Psychological and symbolical meanings of color are not, strictly speaking, colors only add to the potential, derived context of meanings, and because of this, the perception of a painting is highly subjective. The analogy with music is quite clear—sound in music is analogous to light in painting, shades to dynamics and these elements do not necessarily form a melody of themselves, rather, they can add different contexts to it. Modern artists have extended the practice of painting considerably to include, as one example, collage, some modern painters incorporate different materials such as sand, cement, straw or wood for their texture. Examples of this are the works of Jean Dubuffet and Anselm Kiefer, there is a growing community of artists who use computers to paint color onto a digital canvas using programs such as Adobe Photoshop, Corel Painter, and many others. These images can be printed onto traditional canvas if required, rhythm is important in painting as it is in music
5.
Etching
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Etching is traditionally the process of using strong acid or mordant to cut into the unprotected parts of a metal surface to create a design in intaglio in the metal. In modern manufacturing, other chemicals may be used on other types of material, as a method of printmaking, it is, along with engraving, the most important technique for old master prints, and remains in wide use today. In a number of variants such as microfabrication etching and photochemical milling it is a crucial technique in much modern technology. In traditional pure etching, a plate is covered with a waxy ground which is resistant to acid. The artist then scratches off the ground with an etching needle where he or she wants a line to appear in the finished piece. The échoppe, a tool with an oval section, is also used for swelling lines. The plate is dipped in a bath of acid, technically called the mordant or etchant. The acid bites into the metal where it is exposed, leaving behind lines sunk into the plate, the remaining ground is then cleaned off the plate. The plate is inked all over, and then the ink wiped off the surface, the plate is then put through a high-pressure printing press together with a sheet of paper. The paper picks up the ink from the lines, making a print. The process can be repeated many times, typically several hundred impressions could be printed before the shows much sign of wear. The work on the plate can also be added to by repeating the whole process, Etching has often been combined with other intaglio techniques such as engraving or aquatint. The process as applied to printmaking is believed to have been invented by Daniel Hopfer of Augsburg, Hopfer was a craftsman who decorated armour in this way, and applied the method to printmaking, using iron plates. Apart from his prints, there are two examples of his work on armour, a shield from 1536 now in the Real Armeria of Madrid. The switch to copper plates was made in Italy. On the other hand, the handling of the ground and acid need skill and experience, prior to 1100 AD, the New World Hohokam independently utilized the technique of acid etching in marine shell designs. Jacques Callot from Nancy in Lorraine made important technical advances in etching technique and he developed the échoppe, a type of etching-needle with a slanting oval section at the end, which enabled etchers to create a swelling line, as engravers were able to do. Callot also appears to have responsible for an improved, harder, recipe for the etching ground
6.
J. M. W. Turner
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Joseph Mallord William Turner, RA was an English Romanticist landscape painter. Turner was considered a figure in his day, but is now regarded as the artist who elevated landscape painting to an eminence rivalling history painting. Although renowned for his oil paintings, Turner is also one of the greatest masters of British watercolour landscape painting and he is commonly known as the painter of light. Joseph Mallord William Turner was baptised on 14 May 1775, and it is generally believed he was born between late April and early May. Turner himself claimed he was born on 23 April, but there is no proof and he was born in Maiden Lane, Covent Garden, in London, England. His father, William Turner, was a barber and wig maker and his mother, Mary Marshall, came from a family of butchers. A younger sister, Mary Ann, was born in September 1778, the earliest known artistic exercise by Turner is from this period—a series of simple colourings of engraved plates from Henry Boswells Picturesque View of the Antiquities of England and Wales. Around 1786, Turner was sent to Margate on the north-east Kent coast, here he produced a series of drawings of the town and surrounding area foreshadowing his later work. Turner returned to Margate many times in later life, by this time, Turners drawings were being exhibited in his fathers shop window and sold for a few shillings. His father boasted to the artist Thomas Stothard that, My son, in 1789, Turner again stayed with his uncle who had retired to Sunningwell in Berkshire. A whole sketchbook of work from time in Berkshire survives as well as a watercolour of Oxford. The use of sketches on location, as the foundation for later finished paintings. By the end of 1789, he had begun to study under the topographical draughtsman Thomas Malton. Turner learned from him the tricks of the trade, copying and colouring outline prints of British castles. He would later call Malton My real master, topography was a thriving industry by which a young artist could pay for his studies. In the same year of 1789 he entered the Royal Academy of Art schools, when he was 14 years old, Sir Joshua Reynolds, president of the Royal Academy, chaired the panel that admitted him. At first Turner showed a keen interest in architecture, but was advised by the architect Thomas Hardwick to continue painting and his first watercolour painting A View of the Archbishops Palace, Lambeth was accepted for the Royal Academy summer exhibition of 1790 when Turner was 15. As a probationer in the academy, he was drawing from plaster casts of antique sculptures
7.
Watercolor painting
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Watercolor or watercolour, also aquarelle, a diminutive of the Latin for water, is a painting method in which the paints are made of pigments suspended in a water-based solution. Watercolor refers to both the medium and the resulting artwork, the traditional and most common support—material to which the paint is applied—for watercolor paintings is paper. Other supports include papyrus, bark papers, plastics, vellum, or leather, fabric, wood, Watercolor paper is often made entirely or partially with cotton, which gives a good texture and minimizes distortion when wet. Watercolors are usually translucent, and appear luminous because the pigments are laid down in a form with few fillers obscuring the pigment colors. Watercolors can also be made opaque by adding Chinese white, in East Asia, watercolor painting with inks is referred to as brush painting or scroll painting. In Chinese, Korean, and Japanese painting it has been the dominant medium, india, Ethiopia, and other countries have long watercolor painting traditions as well. Fingerpainting with watercolor paints originated in mainland China, however, its continuous history as an art medium begins with the Renaissance. The German Northern Renaissance artist Albrecht Dürer, who painted several fine botanical, wildlife, an important school of watercolor painting in Germany was led by Hans Bol as part of the Dürer Renaissance. Despite this early start, watercolors were used by Baroque easel painters only for sketches, copies or cartoons. Notable early practitioners of watercolor painting were Van Dyck, Claude Lorrain, Giovanni Benedetto Castiglione, however, botanical illustration and wildlife illustration perhaps form the oldest and most important traditions in watercolor painting. Botanical illustrations became popular during the Renaissance, both as hand-tinted woodblock illustrations in books or broadsheets and as tinted ink drawings on vellum or paper. Wildlife illustration reached its peak in the 19th century with such as John James Audubon. Several factors contributed to the spread of watercolor painting during the 18th century, Watercolor artists were commonly brought with the geological or archaeological expeditions, funded by the Society of Dilettanti, to document discoveries in the Mediterranean, Asia, and the New World. This example popularized watercolors as a form of personal tourist journal, the confluence of these cultural, engineering, scientific, tourist, and amateur interests culminated in the celebration and promotion of watercolor as a distinctly English national art. William Blake published several books of hand-tinted engraved poetry, provided illustrations to Dantes Inferno, from the late 18th century through the 19th century, the market for printed books and domestic art contributed substantially to the growth of the medium. Satirical broadsides by Thomas Rowlandson, many published by Rudolph Ackermann, were extremely popular. Among the important and highly talented contemporaries of Turner and Girtin, were John Varley, John Sell Cotman, Anthony Copley Fielding, Samuel Palmer, William Havell, the Swiss painter Louis Ducros was also widely known for his large format, romantic paintings in watercolor. These societies provided annual exhibitions and buyer referrals for many artists, in particular, the graceful, lapidary, and atmospheric watercolors by Richard Parkes Bonington created an international fad for watercolor painting, especially in England and France in the 1820s
8.
Southwark
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Southwark is a district of Central London and part of the London Borough of Southwark. Situated 1.5 miles east of Charing Cross, it one of the oldest parts of London. It historically formed an ancient borough in the county of Surrey, made up of a number of parishes, as an inner district of London, Southwark experienced rapid depopulation during the late-19th and early-20th centuries. It is now at a stage of regeneration and is the county town of Greater London which is the location of the City Hall offices of the Greater London Authority. Southwark had a population of 30,119 in 2011, Southwark is recorded in the 1086 Domesday Book as Sudweca. The name means southern defensive work and is formed from the Old English sūth, the southern location is in reference to the City of London to the north, Southwark being at the southern end of London Bridge. The ancient borough of Southwark was also simply as The Borough—or Borough—and this name. Southwark was also referred to as the Ward of Bridge Without when administered by the City. Southwark is on a marshy area south of the River Thames. Recent excavation has revealed prehistoric activity including evidence of ploughing, burial mounds. The area was originally a series of islands in the River Thames and this formed the best place to bridge the Thames and the area became an important part of Londinium owing its importance to its position as the endpoint of the Roman London Bridge. Two Roman roads, Stane Street and Watling Street, met at Southwark in what is now Borough High Street, archaeological work at Tabard Street in 2004 discovered a plaque with the earliest reference to London from the Roman period on it. Londinium was abandoned at the end of the Roman occupation in the fifth century. Archaeologically, evidence of settlement is replaced by a largely featureless soil called the Dark Earth which probably represents an urban area abandoned, Southwark appears to recover only during the time of King Alfred and his successors. Sometime about 886 AD, the burh of Southwark was created and it was probably fortified to defend the bridge and hence the re-emerging City of London to the north. He failed to force the bridge during the Norman conquest of England, Southwark appears in the Domesday Book of 1086 as held by several Surrey manors. Southwarks value to the King was £16, much of Southwark was originally owned by the church—the greatest reminder of monastic London is Southwark Cathedral, originally the priory of St Mary Overie. During the early Middle Ages, Southwark developed and was one of the four Surrey towns which returned Members of Parliament for the first commons assembly in 1295
9.
Huguenots
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Huguenots are the ethnoreligious group of French Protestants who follow the Reformed tradition. It was used frequently to members of the French Reformed Church until the beginning of the 19th century. The term has its origin in 16th-century France, Huguenot numbers peaked near an estimated two million by 1562, concentrated mainly in the southern and western parts of France. As Huguenots gained influence and more openly displayed their faith, Catholic hostility grew, in spite of political concessions, a series of religious conflicts followed, known as the French Wars of Religion, fought intermittently from 1562 to 1598. The Huguenots were led by Jeanne dAlbret, her son, the future Henry IV, the wars ended with the Edict of Nantes, which granted the Huguenots substantial religious, political, and military autonomy. Huguenot rebellions in the 1620s prompted the abolishment of their political and they retained religious provisions of the Edict of Nantes until the rule of Louis XIV. Nevertheless, a minority of Huguenots remained and faced continued persecution under Louis XV. By the death of Louis XV in 1774, French Calvinism was almost completely wiped out, persecution of Protestants officially ended with the Edict of Versailles, signed by Louis XVI in 1787. Two years later, with the Declaration of the Rights of Man and Citizen of 1789 and they also spread to the Dutch Cape Colony in South Africa, the Dutch East Indies, the Caribbean, New Netherland, and several of the English colonies in North America. Small contingents of families went to Orthodox Russia and Catholic Quebec, a term used originally in derision, Huguenot has unclear origins. Geneva was John Calvins adopted home and the centre of the Calvinist movement, the label Huguenot was purportedly first applied in France to those conspirators involved in the Amboise plot of 1560, a foiled attempt to wrest power in France from the influential House of Guise. The move would have had the effect of fostering relations with the Swiss. Thus, Hugues plus Eidgenosse by way of Huisgenoten supposedly became Huguenot, a version of this complex hypothesis is promoted by O. I. A. Roche, who writes in his book, The Days of the Upright, A History of the Huguenots, that Huguenot is, a combination of a Dutch and a German word. Gallicised into Huguenot, often used deprecatingly, the word became, Some disagree with such double or triple non-French linguistic origins, arguing that for the word to have spread into common use in France, it must have originated in the French language. The Hugues hypothesis argues that the name was derived by association with Hugues Capet, king of France and he was regarded by the Gallicans and Protestants as a noble man who respected peoples dignity and lives. Janet Gray and other supporters of the hypothesis suggest that the name huguenote would be equivalent to little Hugos. It was in place in Tours that the prétendus réformés habitually gathered at night
10.
Drawing
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Drawing is a form of visual art in which a person uses various drawing instruments to mark paper or another two-dimensional medium. A drawing instrument releases small amount of material onto a surface, the most common support for drawing is paper, although other materials, such as cardboard, plastic, leather, canvas, and board, may be used. Temporary drawings may be made on a blackboard or whiteboard or indeed almost anything, the medium has been a popular and fundamental means of public expression throughout human history. It is one of the simplest and most efficient means of communicating visual ideas, the wide availability of drawing instruments makes drawing one of the most common artistic activities. In addition to its artistic forms, drawing is frequently used in commercial illustration, animation, architecture, engineering. A quick, freehand drawing, usually not intended as a work, is sometimes called a sketch. An artist who practices or works in technical drawing may be called a drafter, Drawing is one of the major forms of expression within the visual arts. It is generally concerned with the marking of lines and areas of tone onto paper/other material, traditional drawings were monochrome, or at least had little colour, while modern colored-pencil drawings may approach or cross a boundary between drawing and painting. In Western terminology, drawing is distinct from painting, even though similar media often are employed in both tasks, dry media, normally associated with drawing, such as chalk, may be used in pastel paintings. Drawing may be done with a medium, applied with brushes or pens. Drawing is often exploratory, with emphasis on observation, problem-solving. Drawing is also used in preparation for a painting, further obfuscating their distinction. Drawings created for these purposes are called studies, there are several categories of drawing, including figure drawing, cartooning, doodling, free hand and shading. There are also many drawing methods, such as drawing, stippling, shading, the surrealist method of entopic graphomania. A quick, unrefined drawing may be called a sketch, in fields outside art, technical drawings or plans of buildings, machinery, circuitry and other things are often called drawings even when they have been transferred to another medium by printing. Drawing as a Form of Communication Drawing is one of the oldest forms of human expression and these drawings, known as pictograms, depicted objects and abstract concepts. The sketches and paintings produced in prehistoric times were eventually stylised and simplified, Drawing in the Arts Drawing is used to express ones creativity, and therefore has been prominent in the world of art. Throughout much of history, drawing was regarded as the foundation for artistic practise, initially, artists used and reused wooden tablets for the production of their drawings
11.
Thomas Malton
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Thomas Malton, the younger, was an English painter of topographical and architectural views, and an engraver. J. M. W. Turner and Thomas Girtin were amongst his pupils and he is designated the younger to differentiate him from his father Thomas Malton, the elder. Malton was born in London, the son of Thomas Malton the elder and he was with his father during the latters residence in Dublin, Ireland, and then passed three years in the office of James Gandon the architect, in London. In 1774 Malton received a premium from the Society of Arts and he entered the Royal Academy and in 1782 gained a gold medal for his design for a theatre. In 1773 he sent the Academy a view of Covent Garden, in these there is little attempt at pictorial effect, but their extreme accuracy in the architectural details renders them of great interest and value as topographical records. They are enlivened with groups of figures, in which Malton is said to have been assisted by Francis Wheatley, after leaving Ireland, Malton appears to have always lived in London - with the exception of a brief stay at Bath in 1780. Turner paid tribute to him in life by saying My real master was Tom Malton. In 1791 Malton removed to Great Titchfield Street, and finally, in 1796 and he also painted some scenes for Covent Garden Theatre. In 1792 Malton published the work by which he is now best known, A Picturesque Tour through the Cities of London and Westminster, Thomas Malton the Younger, himself, was painted by American artist Gilbert Stuart/Stewart. This portrait, Gilbert Stuart, was engraved by William Barney in 1806, Malton died in Long Acre, London, on 7 March 1804, leaving a widow and six children. A portrait of his son Charles, when a child, drawn, the water colour was recently sold by Christies. One version was in the British Museum, Charles was an apprentice of and worked with Sir John Soane on the architectural drawings of the Bank of England. Details are in the Sir John Soane Museum, including a letter from Charles for talking to Soanes servants. After qualifying, Charles married an heiress and seems never to have practiced as an architect, Thomas Malton the Youngers brother James Malton was also a notable artist, draughtsman and engraver in Ireland and London. The Arsenal Cannon Foundery in the Litanie, St. Dictionary of National Biography, Works by Thomas Malton Thomas Malton Aquatints Works by Thmas malton
12.
Apprenticeship
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An apprenticeship is a system of training a new generation of practitioners of a trade or profession with on-the-job training and often some accompanying study. Apprenticeship also enables practitioners to gain a license to practice in a regulated profession, Apprenticeships typically last 3 to 7 years. People who successfully complete an apprenticeship reach the journeyman or professional level of competence. In early modern usage, the clipped form prentice was common, the system of apprenticeship first developed in the later Middle Ages and came to be supervised by craft guilds and town governments. A master craftsman was entitled to employ young people as a form of labour in exchange for providing food, lodging. Most apprentices were males, but female apprentices were found in such as seamstress, tailor. Apprentices usually began at ten to fifteen years of age, in Coventry those completing seven-year apprenticeships with stuff merchants were entitled to become freemen of the city. Subsequently, governmental regulation and the licensing of technical colleges and vocational education formalized and bureaucratized the details of apprenticeship, Australian Apprenticeships encompass all apprenticeships and traineeships. They cover all sectors in Australia and are used to achieve both entry-level and career upskilling objectives. There were 470,000 Australian Apprentices in-training as at 31 March 2012, Australian Government employer and employee incentives may be applicable, while State and Territory Governments may provide public funding support for the training element of the initiative. Australian Apprenticeships combine time at work with formal training and can be full-time, part-time or school-based, Australian Apprentice and Traineeship services are dedicated to promoting retention, therefore much effort is made to match applicants with the right apprenticeship or traineeship. This is done with the aid of aptitude tests, tips, information and resources on potential apprenticeship and traineeship occupations are available in over sixty industries. The distinction between the terms apprentices and trainees lies mainly around traditional trades and the time it takes to gain a qualification, Australia also has a fairly unusual safety net in place for businesses and Australian Apprentices with its Group Training scheme. It is a safety net, because the Group Training Organisation is the employer and provides continuity of employment and it lasts two to four years – the duration varies among the 250 legally recognized apprenticeship trades. About 40 percent of all Austrian teenagers enter apprenticeship training upon completion of compulsory education and this number has been stable since the 1950s. The five most popular trades are, Retail Salesperson, Clerk, Car Mechanic, Hairdresser, there are many smaller trades with small numbers of apprentices, like EDV-Systemtechniker which is completed by fewer than 100 people a year. The Apprenticeship Leave Certificate provides the apprentice with access to two different vocational careers, the person responsible for overseeing the training inside the company is called Lehrherr or Ausbilder. An Ausbilder must prove he has the qualifications needed to educate another person
13.
Edward Dayes
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Edward Dayes was an English watercolour painter and engraver in mezzotint. He studied under William Pether, and began to exhibit at the Royal Academy in 1786, in the three following years he exhibited both miniatures and landscapes. He continued to exhibit at the Academy regularly until the year of his death and he also was an exhibitor at the Society of Artists. Dayes drew from nature in various parts of England, including the Lake District, much of his topographical work depicted ruins, painted in a palette dominated by blues and greens, which had an influence on the early work of J. M. W. He laid out detailed rules for the method of laying down the colours in landscape in his Instructions for Drawing and Colouring Landscapes. The art historian Graham Reynolds sees Dayes work as mark the transition from the eighteenth to the nineteenth century. In 1798 Dayes began to show scriptural subjects, such as The Fall of the Angels, John preaching in the Wilderness, the Triumph of Beauty and he was draughtsman to the Duke of York and Albany. Dayes engraved at least four mezzotints, one after George Morland, another after John Raphael Smith and he wrote an Excursion through Derbyshire and Yorkshire, Essays on Painting, Instructions for Drawing and Colouring Landscapes, and Professional Sketches of Modern Artists. He committed suicide at the end of May 1804, after his death his works were collected and edited by E. W. Bradley, and published for the benefit of his widow in 1805. His wife painted miniatures and exhibited four works at the Royal Academy between 1797 and 1800 and this article incorporates text from a publication now in the public domain, Stephen, Leslie, ed. Dayes, Edward
14.
Old master print
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An old master print is a work of art produced by a printing process within the Western tradition. Fifteenth-century prints are rare that they are classed as old master prints even if they are of crude or merely workmanlike artistic quality. A date of about 1830 is usually taken as marking the end of the period whose prints are covered by this term, the main techniques used, in order of their introduction, are woodcut, engraving, etching, mezzotint and aquatint, although there are others. Different techniques are combined in a single print. With rare exceptions printed on textiles, such as silk, or on vellum, many great European artists, such as Albrecht Dürer, Rembrandt, and Francisco Goya, were dedicated printmakers. In their own day, their international reputations largely came from their prints, influences between artists were also mainly transmitted beyond a single city by prints, for the same reason. Prints therefore are frequently brought up in detailed analyses of individual paintings in art history, today, thanks to colour photo reproductions, and public galleries, their paintings are much better known, whilst their prints are only rarely exhibited, for conservation reasons. But some museum print rooms allow visitors to see their collection, the oldest technique is woodcut, or woodblock printing, which was invented as a method for printing on cloth in China, and perhaps separately in Egypt in the Byzantine period. This had reached Europe via the Byzantine or Islamic worlds before 1300, religious images and playing cards are documented as being produced on paper, probably printed, by a German in Bologna in 1395. However, the most impressive printed European images to survive from before 1400 are printed on cloth, for use as hangings on walls or furniture, including altars, some were used as a pattern to embroider over. Some religious images were used as bandages, to speed healing, the earliest print images are mostly of a high artistic standard, and were clearly designed by artists with a background in painting. Whether these artists cut the blocks themselves, or only inked the design on the block for another to carve, is not known, the great majority of surviving 15th-century prints are religious, although these were probably the ones more likely to survive. Their makers were sometimes called Jesus maker or saint-maker in documents, as with manuscript books, monastic institutions sometimes produced, and often sold, prints. No artists can be identified with specific woodcuts until towards the end of the century, the little evidence we have suggests that woodcut prints became relatively common and cheap during the fifteenth century, and were affordable by skilled workers in towns. For example, what may be the earliest surviving Italian print, the school caught fire, and the crowd who gathered to watch saw the print carried up into the air by the fire, before falling down into the crowd. This was regarded as an escape and the print was carried to Forlì Cathedral. Like the majority of prints before approximately 1460, only a single impression of this print has survived, Woodcut blocks are printed with light pressure, and are capable of printing several thousand impressions, and even at this period some prints may well have been produced in that quantity. Many prints were hand-coloured, mostly in watercolour, in fact the hand-colouring of prints continued for many centuries, Italy, Germany, France and the Netherlands were the main areas of production, England does not seem to have produced any prints until about 1480
15.
Royal Academy of Arts
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The Royal Academy of Arts is an art institution based in Burlington House on Piccadilly in London. The Royal Academy of Arts was founded through an act of King George III on 10 December 1768 with a mission to promote the arts of design in Britain through education and exhibition. Supporters wanted to foster a national school of art and to encourage appreciation, fashionable taste in 18th-century Britain was based on continental and traditional art forms, providing contemporary British artists little opportunity to sell their works. From 1746 the Foundling Hospital, through the efforts of William Hogarth, the success of this venture led to the formation of the Society of Artists of Great Britain and the Free Society of Artists. Both these groups were primarily exhibiting societies, their success was marred by internal factions among the artists. The combined vision of education and exhibition to establish a school of art set the Royal Academy apart from the other exhibiting societies. It provided the foundation upon which the Royal Academy came to dominate the art scene of the 18th and 19th centuries, supplanting the earlier art societies. Sir William Chambers, a prominent architect, used his connections with George III to gain royal patronage and financial support of the Academy, the painter Joshua Reynolds was made its first president. Francis Milner Newton was elected the first secretary, a post he held for two decades until his resignation in 1788, the instrument of foundation, signed by George III on 10 December 1768, named 34 founder members and allowed for a total membership of 40. William Hoare and Johann Zoffany were added to this list later by the King and are known as nominated members, among the founder members were two women, a father and daughter, and two sets of brothers. The Royal Academy was initially housed in cramped quarters in Pall Mall, although in 1771 it was given temporary accommodation for its library and schools in Old Somerset House, then a royal palace. In 1780 it was installed in purpose-built apartments in the first completed wing of New Somerset House, located in the Strand and designed by Chambers, the Academy moved in 1837 to Trafalgar Square, where it occupied the east wing of the recently completed National Gallery. These premises soon proved too small to house both institutions, in 1868,100 years after the Academys foundation, it moved to Burlington House, Piccadilly, where it remains. Burlington House is owned by the British Government, and used rent-free by the Royal Academy, the first Royal Academy exhibition of contemporary art, open to all artists, opened on 25 April 1769 and ran until 27 May 1769. 136 works of art were shown and this exhibition, now known as the Royal Academy Summer Exhibition, has been staged annually without interruption to the present day. In 1870 the Academy expanded its programme to include a temporary annual loan exhibition of Old Masters. The range and frequency of these exhibitions have grown enormously since that time. Britains first public lectures on art were staged by the Royal Academy, led by Reynolds, the first president, a program included lectures by Dr. William Hunter, John Flaxman, James Barry, Sir John Soane, and J. M. W. Turner
16.
Architecture
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Architecture is both the process and the product of planning, designing, and constructing buildings and other physical structures. Architectural works, in the form of buildings, are often perceived as cultural symbols. Historical civilizations are often identified with their surviving architectural achievements, Architecture can mean, A general term to describe buildings and other physical structures. The art and science of designing buildings and nonbuilding structures, the style of design and method of construction of buildings and other physical structures. A unifying or coherent form or structure Knowledge of art, science, technology, the design activity of the architect, from the macro-level to the micro-level. The practice of the architect, where architecture means offering or rendering services in connection with the design and construction of buildings. The earliest surviving work on the subject of architecture is De architectura. According to Vitruvius, a building should satisfy the three principles of firmitas, utilitas, venustas, commonly known by the original translation – firmness, commodity. An equivalent in modern English would be, Durability – a building should stand up robustly, utility – it should be suitable for the purposes for which it is used. Beauty – it should be aesthetically pleasing, according to Vitruvius, the architect should strive to fulfill each of these three attributes as well as possible. Leon Battista Alberti, who elaborates on the ideas of Vitruvius in his treatise, De Re Aedificatoria, saw beauty primarily as a matter of proportion, for Alberti, the rules of proportion were those that governed the idealised human figure, the Golden mean. The most important aspect of beauty was, therefore, an inherent part of an object, rather than something applied superficially, Gothic architecture, Pugin believed, was the only true Christian form of architecture. The 19th-century English art critic, John Ruskin, in his Seven Lamps of Architecture, Architecture was the art which so disposes and adorns the edifices raised by men. That the sight of them contributes to his health, power. For Ruskin, the aesthetic was of overriding significance and his work goes on to state that a building is not truly a work of architecture unless it is in some way adorned. For Ruskin, a well-constructed, well-proportioned, functional building needed string courses or rustication, but suddenly you touch my heart, you do me good. I am happy and I say, This is beautiful, le Corbusiers contemporary Ludwig Mies van der Rohe said Architecture starts when you carefully put two bricks together. The notable 19th-century architect of skyscrapers, Louis Sullivan, promoted an overriding precept to architectural design, function came to be seen as encompassing all criteria of the use, perception and enjoyment of a building, not only practical but also aesthetic, psychological and cultural
17.
Landscape painting
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In other works, landscape backgrounds for figures can still form an important part of the work. Sky is almost always included in the view, and weather is often an element of the composition, detailed landscapes as a distinct subject are not found in all artistic traditions, and develop when there is already a sophisticated tradition of representing other subjects. The two main traditions spring from Western painting and Chinese art, going well over a thousand years in both cases. Landscape views in art may be imaginary, or copied from reality with varying degrees of accuracy. If the primary purpose of a picture is to depict an actual, specific place, especially including buildings prominently, within a few decades it was used to describe vistas in poetry, and eventually as a term for real views. However the cognate term landscaef or landskipe for a patch of land had existed in Old English. The earliest pure landscapes with no figures are frescos from Minoan Greece of around 1500 BCE. The frescos from the Tomb of Nebamun, now in the British Museum, are a famous example. These were frequently used, as in the illustrated, to bridge the gap between a foreground scene with figures and a distant panoramic vista, a persistent problem for landscape artists. The Chinese style generally showed only a distant view, or used dead ground or mist to avoid that difficulty, aesthetic theories in both regions gave the highest status to the works seen to require the most imagination from the artist. They were often also poets whose lines and images illustrated each other, a revival in interest in nature initially mainly manifested itself in depictions of small gardens such as the Hortus Conclusus or those in millefleur tapestries. The frescos of figures at work or play in front of a background of trees in the Palace of the Popes. Several frescos of gardens have survived from Roman houses like the Villa of Livia, a particular advance is shown in the less well-known Turin-Milan Hours, now largely destroyed by fire, whose developments were reflected in Early Netherlandish painting for the rest of the century. Landscape backgrounds for various types of painting became prominent and skilful during the 15th century. The Italian development of a system of graphical perspective was now known all over Europe. Indeed, certain styles were so popular that they became formulas that could be copied again and again, after the publication of the Small Landscapes, landscape artists in the Low Countries either continued with the world landscape or followed the new mode presented by the Small Landscapes. The popularity of landscape scenes can be seen in the success of the painter Frans Post. Salvator Rosa gave picturesque excitement to his landscapes by showing wilder Southern Italian country, there are different styles and periods, and subgenres of marine and animal painting, as well as a distinct style of Italianate landscape
18.
Romanticism
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Romanticism was characterized by its emphasis on emotion and individualism as well as glorification of all the past and nature, preferring the medieval rather than the classical. It was embodied most strongly in the arts, music, and literature, but had a major impact on historiography, education. It elevated folk art and ancient custom to something noble, Romanticism assigned a high value to the achievements of heroic individualists and artists, whose examples, it maintained, would raise the quality of society. It also promoted the individual imagination as a critical authority allowed of freedom from classical notions of form in art, there was a strong recourse to historical and natural inevitability, a Zeitgeist, in the representation of its ideas. In the second half of the 19th century, Realism was offered as a polar opposite to Romanticism, the decline of Romanticism during this time was associated with multiple processes, including social and political changes and the spread of nationalism. Defining the nature of Romanticism may be approached from the point of the primary importance of the free expression of the feelings of the artist. The importance the Romantics placed on emotion is summed up in the remark of the German painter Caspar David Friedrich that the feeling is his law. Samuel Taylor Coleridge and others believed there were laws that the imagination—at least of a good creative artist—would unconsciously follow through artistic inspiration if left alone. As well as rules, the influence of models from other works was considered to impede the creators own imagination, so that originality was essential. The concept of the genius, or artist who was able to produce his own work through this process of creation from nothingness, is key to Romanticism. This idea is called romantic originality. Not essential to Romanticism, but so widespread as to be normative, was a strong belief, however, this is particularly in the effect of nature upon the artist when he is surrounded by it, preferably alone. Romantic art addressed its audiences with what was intended to be felt as the voice of the artist. So, in literature, much of romantic poetry invited the reader to identify the protagonists with the poets themselves. In both French and German the closeness of the adjective to roman, meaning the new literary form of the novel, had some effect on the sense of the word in those languages. It is only from the 1820s that Romanticism certainly knew itself by its name, the period typically called Romantic varies greatly between different countries and different artistic media or areas of thought. Margaret Drabble described it in literature as taking place roughly between 1770 and 1848, and few dates much earlier than 1770 will be found. In English literature, M. H. Abrams placed it between 1789, or 1798, this latter a very typical view, and about 1830, however, in most fields the Romantic Period is said to be over by about 1850, or earlier
19.
Earl of Sutherland
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Earl of Sutherland is a title in the Peerage of Scotland. It was created circa 1230 for William de Moravia, the Earl of Sutherland is also the Chief of Clan Sutherland. The original line of earls of Sutherland had the surname de Moravia although they used the surname Sutherland. The name de Moravia meant of Moray or of Murray, the de Moravias who were Earls of Sutherland and chiefs of Clan Sutherland shared their paternal ancestry with the chiefs of Clan Murray who were Earls and later Dukes of Atholl. However the de Moravias of Sutherland were the line of the family. Elizabeth de Moravia, 10th Countess of Sutherland, married Adam Gordon and their first son is Alexander Gordon, Master of Sutherland, whose descendants were several of the next Earls of Sutherland, who all used the surname Gordon. The title was held by a long string of men, until the death of William Gordon, 18th Earl, without sons. Elizabeth, 19th Countess of Sutherland then married George Granville Leveson-Gower in 1785 and he was made Duke of Sutherland in 1833. The Dukes son, also named George, inherited the Earldom of Sutherland from his mother, the two titles continued united until the death of the fifth Duke in 1963. The Earldom passed to his niece Elizabeth, while the Dukedom had to pass to a male heir, the subsidiary title associated with the Earldom is Lord Strathnaver, which is used as a courtesy title by the Earls or Countesss eldest son and heir. The family seat is Dunrobin Castle, near Golspie, Sutherland in Scotland, sources give different accounts of the ancestors of the Earls of Sutherland. The generally accepted ancestry is that William de Moravia, 1st Earl of Sutherland in the peerage of Scotland was the son of Hugh de Moravia, who in turn was a grandson of Freskin, a Flemish knight. The heir apparents heir apparent is his son Alexander Charles Robert Sutherland, Clan Sutherland Lord Duffus Duke of Sutherland Leveson-Gower family http, //www. duffus. com/family. htm
20.
City of London
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The City of London is a city and county within London. It constituted most of London from its settlement by the Romans in the 1st century AD to the Middle Ages, the City is now only a tiny part of the metropolis of London, though it remains a notable part of central London. Administratively, it one of the 33 local authority districts of Greater London, however, the City of London is not a London borough. The City of London is widely referred to simply as the City and is colloquially known as the Square Mile. Both of these terms are often used as metonyms for the United Kingdoms trading and financial services industries. The name London is now used for a far wider area than just the City. London most often denotes the sprawling London metropolis, or the 32 London boroughs and this wider usage of London is documented as far back as 1888, when the County of London was created. The local authority for the City, namely the City of London Corporation, is unique in the UK and has some unusual responsibilities for a local council and it is also unusual in having responsibilities and ownerships beyond its boundaries. The Corporation is headed by the Lord Mayor of the City of London, the current Lord Mayor, as of November 2016, is Andrew Parmley. The City is a business and financial centre. Throughout the 19th century, the City was the primary business centre. London came top in the Worldwide Centres of Commerce Index, published in 2008, the insurance industry is focused around the eastern side of the City, around Lloyds building. A secondary financial district exists outside of the City, at Canary Wharf,2.5 miles to the east, the City has a resident population of about 7,000 but over 300,000 people commute to and work there, mainly in the financial services sector. It used to be held that Londinium was first established by merchants as a trading port on the tidal Thames in around 47 AD. However, this date is only supposition, many historians now believe London was founded some time before the Roman conquest of Britain in 43 AD. They base this notion on evidence provided by both archaeology and Welsh literary legend, archaeologists have claimed that as much as half of the best British Iron Age art and metalwork discovered in Britain has been found in the London area. One of the most prominent examples is the famously horned Waterloo Helmet dredged from the Thames in the early 1860s and now exhibited at the British Museum. Also, according to an ancient Welsh legend, a king named Lud son of Heli substantially enlarged and improved a pre-existing settlement at London which afterwards came to be renamed after him, the same tradition relates how this Lud son of Heli was later buried at Ludgate
21.
Paul Sandby
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Paul Sandby RA was an English map-maker turned landscape painter in watercolours, who, along with his older brother Thomas, became one of the founding members of the Royal Academy in 1768. Sandby was born in Nottingham, and baptised there in 1731, in 1745 he moved to London where he followed his brother Thomas in obtaining an appointment in the military drawing department at the Tower of London. He was later appointed draughtsman to the survey and he left his post with the survey in 1751, and spent some time living with his brother, who had been appointed Deputy Ranger of Windsor Great Park. There he assisted his brother, and made a series of drawings of the castle, the town, and its neighbourhood, which were purchased by Sir Joseph Banks. He also etched a number of plates after his own drawings, a hundred of which (including views of Edinburgh. In 1760 he issued twelve etchings of The Cries of London and he also made many plates after other artists, including his brother. In 1753–4 he published, anonymously, several single caricatures satirising William Hogarth and he returned to the attack in 1762, and produced other satirical work sporadically throughout his career. It is not recorded how long Sandby lived with his brother at Windsor, but he is said to have spent part of year in London. On 3 May 1757 he married Anne Stogden, and by 1760 he was settled in London, in 1760 he contributed to the first exhibition of the Society of Artists. He exhibited regularly with the society until the foundation of the Royal Academy eight years later, in 1768, he was appointed chief drawing master to the Royal Military Academy at Woolwich, a position he retained until 1799. On the formation of the Royal Academy in the year he was one of the 28 founder-members nominated by George III. He often served on its council, and contributed to all, Sandby made extensive journeys around Britain and Ireland, sketching scenery and ancient monuments. He died at his house in Paddington on 7 November 1809 and he was described in his obituaries as the father of modern landscape painting in watercolors. English school of painting Monkhouse, William Cosmo, London, Smith, Elder & Co. pp. 251–254. The Collection in the City of Hamilton Art Gallery, the Great Age of British Watercolours. ISBN 3-7913-1254-5 Anne Lyles & Robin Hamlyn, British watercolours from the Oppé Collection. ISBN 1-85437-240-8 Michael Charlesworth, Landscape and Vision, Chapter One, Michael Charlesworth, Thomas Sandby climbs the Hoober Stand, Art History,19,2, Paul Sandby online. Paul Sandby, Unlikely Founder of Dazzling School of European Art, Souren Melikian, text by Alexander J Finberg & E A Taylor
22.
Harewood House
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Harewood House is a country house in Harewood near Leeds, West Yorkshire, England. Designed by architects John Carr and Robert Adam, it was built between 1759 and 1771 for wealthy plantation owner Edwin Lascelles, 1st Baron Harewood, the landscape was designed by Lancelot Capability Brown and spans 1,000 acres at Harewood. Still home to the Lascelles family, Harewood House is a member of the Treasure Houses of England, the house is a Grade I listed building and a number of features in the grounds and courtyard have been listed as Grade I, II and II*. The Lascelles family claim to have arrived in England with William the Conqueror, the family had settled in Yorkshire by 1315 as the de Lascelles. Prosperous members of the county gentry, the Lascelles served as members of parliament, the foundations were laid in 1759, with the house being largely complete by 1765. The fashionable Robert Adam submitted designs for the interiors, which were approved in 1765, Adam made a number of minor alterations to Carrs designs for the exterior of the building, including internal courtyards. The house remained untouched until the 1840s when Sir Charles Barry was employed by the Henry Lascelles, 3rd Earl of Harewood. Barry added second storeys to each of the wings to provide extra bedrooms, removed the south portico. In 1922, Henry Lascelles, Viscount Lascelles married Mary, Princess Royal, initially living in the nearby Goldsborough Hall, the couple moved permanently into Harewood House at the death of Henrys father in 1929. The house is the seat of the Lascelles family, and home of David Lascelles. The house and grounds have been transferred into a trust ownership structure managed by Harewood House Trust and are open to the public for most of the year, Harewood won a Large Visitor Attraction of the Year award in the 2009 national Excellence in England awards. Harewood houses a collection of paintings by masters of the Italian Renaissance, family portraits by Reynolds, Hoppner and Lawrence, changing temporary exhibitions are held each season in the Terrace Gallery. Catering facilities in the house include Michelin-starred fine dining, from May 2007 to October 2008 the grounds contained Yorkshires first planetarium, the Yorkshire Planetarium. The Leeds Country Way passes through the Harewood Estate, to the south of the house and lake, artist Joseph Turner visited the house and painted the outdoor landscape in watercolour. Elton John has performed a concert on the grounds and it has featured in both the television and film versions of Brideshead Revisited. Since 1996, part of the estate has developed as the village in the ITV soap opera Emmerdale. The Bird Garden at Harewood House has a collection of exotic Bird species. It is a member of the British and Irish Association of Zoos, birds that can be seen in the garden include Humboldt penguins, Chilean flamingos, Duyvenbodes lories and macaws
23.
Mulgrave Castle
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Mulgrave Castle refers to one of three structures on the same property in Lythe, near Whitby, Yorkshire, England. One of these, known as the old or ancient castle, was by legend founded by Wada, the second castle, caput of the feudal barony of Mulgrave, was of Norman construction and remained active until destroyed by order of Parliament in 1647. The Phipps family later held the titles of Baron Mulgrave, Earl of Mulgrave, the 19th century Handbook for Travellers in Yorkshire and for Residents in the County recounts that the ancient castle was built by Wada, ruler of Hälsingland. Leland in his Itineraries, circa 1545, refers to local legends supposing Wada to have been a giant who built many castles. A second castle, which occupied the entire width of the ridge, seems to have been Norman, presumably constructed by Nigel Fossard, who obtained the property after the Norman Conquest. Fossard is recorded in the Domesday Book of 1086 as a tenant of 114 manors, all in Yorkshire, including under Robert, Count of Mortain of Grif, the main approach was located on the west, with two stone towers overlooking the entrance. Moats prohibited approach from the east and ensured that western approach was by means of a drawbridge, differing levels of land surrounding the containing walls caused the wall to bulge outwards, which required buttressing. Some of the used in the structure are clearly Roman. Nigel Fossards son Robert died c.1135, Roberts son William I d. c,1170, leaving a son William II who died in 1195 leaving an heiress Joan, who brought the barony and castle to her husband Robert de Turnham. He was governor of Corfe Castle in Dorset where he acted as jailer of Eleanor, in the time of Peter II the barony was held by knight service of supplying two knights in time of war in the kings presence for 40 days per annum. Peter IIs heir was Peter III de Mauley, who married Nicole de Ghent, sister and in her issue co-heir to Gilbert V de Ghent, feudal baron of Folkingham, Lincolnshire. Peter III was summoned to parliament by writ dated 23 June 1296 and his arms within a heater-shaped escutcheon show a bend with a field diapered with scroll-work, which are blazoned as borne by him on the Falkirk Roll as, Or, a bend sable. His heir was Peter IV de Mauley, camden states that the first Peter was succeeded by 7 others bearing his name. Bigot was 5th in descent from Hugh Bigod, 3rd Earl of Norfolk, the property passed to the Radcliffes on the marriage of Dorothy Bigot into that family, before settling in 1625 on Lord Sheffield of Butterwick, later to be titled Earl of Mulgrave by Charles I. There is evidence that the construction by the Fossards was updated and altered by subsequent residents. The castle was garrisoned by royalists during the English Civil War, subsequently, it was dismantled by Parliamentary order in 1647, the lie of bricks from the destruction suggest that gunpowder might have been employed for this purpose. The property passed to the Phipps family in 1718, when the Duchesss daughter Lady Catherine Annesley wed William Phipps, a summer house was also built on the grounds, according to legend on the spot of a hermitage which William de Percy established in 1150. In 1858 Duleep Singh, the last Mahararah of the Punjab, as of 2010, the property is held by Constantine Phipps, 5th Marquess of Normanby
24.
Paris
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Paris is the capital and most populous city of France. It has an area of 105 square kilometres and a population of 2,229,621 in 2013 within its administrative limits, the agglomeration has grown well beyond the citys administrative limits. By the 17th century, Paris was one of Europes major centres of finance, commerce, fashion, science, and the arts, and it retains that position still today. The aire urbaine de Paris, a measure of area, spans most of the Île-de-France region and has a population of 12,405,426. It is therefore the second largest metropolitan area in the European Union after London, the Metropole of Grand Paris was created in 2016, combining the commune and its nearest suburbs into a single area for economic and environmental co-operation. Grand Paris covers 814 square kilometres and has a population of 7 million persons, the Paris Region had a GDP of €624 billion in 2012, accounting for 30.0 percent of the GDP of France and ranking it as one of the wealthiest regions in Europe. The city is also a rail, highway, and air-transport hub served by two international airports, Paris-Charles de Gaulle and Paris-Orly. Opened in 1900, the subway system, the Paris Métro. It is the second busiest metro system in Europe after Moscow Metro, notably, Paris Gare du Nord is the busiest railway station in the world outside of Japan, with 262 millions passengers in 2015. In 2015, Paris received 22.2 million visitors, making it one of the top tourist destinations. The association football club Paris Saint-Germain and the rugby union club Stade Français are based in Paris, the 80, 000-seat Stade de France, built for the 1998 FIFA World Cup, is located just north of Paris in the neighbouring commune of Saint-Denis. Paris hosts the annual French Open Grand Slam tennis tournament on the red clay of Roland Garros, Paris hosted the 1900 and 1924 Summer Olympics and is bidding to host the 2024 Summer Olympics. The name Paris is derived from its inhabitants, the Celtic Parisii tribe. Thus, though written the same, the name is not related to the Paris of Greek mythology. In the 1860s, the boulevards and streets of Paris were illuminated by 56,000 gas lamps, since the late 19th century, Paris has also been known as Panam in French slang. Inhabitants are known in English as Parisians and in French as Parisiens and they are also pejoratively called Parigots. The Parisii, a sub-tribe of the Celtic Senones, inhabited the Paris area from around the middle of the 3rd century BC. One of the areas major north-south trade routes crossed the Seine on the île de la Cité, this place of land and water trade routes gradually became a town
25.
British Museum
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The British Museum is dedicated to human history, art and culture, and is located in the Bloomsbury area of London. The British Museum was established in 1753, largely based on the collections of the physician, the museum first opened to the public on 15 January 1759, in Montagu House, on the site of the current building. Although today principally a museum of art objects and antiquities. Its foundations lie in the will of the Irish-born British physician, on 7 June 1753, King George II gave his formal assent to the Act of Parliament which established the British Museum. They were joined in 1757 by the Old Royal Library, now the Royal manuscripts, together these four foundation collections included many of the most treasured books now in the British Library including the Lindisfarne Gospels and the sole surviving copy of Beowulf. The British Museum was the first of a new kind of museum – national, belonging to neither church nor king, freely open to the public, sloanes collection, while including a vast miscellany of objects, tended to reflect his scientific interests. The addition of the Cotton and Harley manuscripts introduced a literary, the body of trustees decided on a converted 17th-century mansion, Montagu House, as a location for the museum, which it bought from the Montagu family for £20,000. The Trustees rejected Buckingham House, on the now occupied by Buckingham Palace, on the grounds of cost. With the acquisition of Montagu House the first exhibition galleries and reading room for scholars opened on 15 January 1759. During the few years after its foundation the British Museum received several gifts, including the Thomason Collection of Civil War Tracts. A list of donations to the Museum, dated 31 January 1784, in the early 19th century the foundations for the extensive collection of sculpture began to be laid and Greek, Roman and Egyptian artefacts dominated the antiquities displays. Gifts and purchases from Henry Salt, British consul general in Egypt, beginning with the Colossal bust of Ramesses II in 1818, many Greek sculptures followed, notably the first purpose-built exhibition space, the Charles Towneley collection, much of it Roman Sculpture, in 1805. In 1816 these masterpieces of art, were acquired by The British Museum by Act of Parliament. The collections were supplemented by the Bassae frieze from Phigaleia, Greece in 1815, the Ancient Near Eastern collection also had its beginnings in 1825 with the purchase of Assyrian and Babylonian antiquities from the widow of Claudius James Rich. The neoclassical architect, Sir Robert Smirke, was asked to draw up plans for an extension to the Museum. For the reception of the Royal Library, and a Picture Gallery over it, and put forward plans for todays quadrangular building, much of which can be seen today. The dilapidated Old Montagu House was demolished and work on the Kings Library Gallery began in 1823, the extension, the East Wing, was completed by 1831. The Museum became a site as Sir Robert Smirkes grand neo-classical building gradually arose
