Albert, Prince Consort
Prince Albert of Saxe-Coburg and Gotha was the husband of Queen Victoria. He was born in the Saxon duchy of Saxe-Coburg-Saalfeld, to a family connected to many of Europe's ruling monarchs. At the age of 20, he married Queen Victoria, he felt constrained by his role of prince consort, which did not afford him power or responsibilities. He developed a reputation for supporting public causes, such as educational reform and the abolition of slavery worldwide, was entrusted with running the Queen's household and estates, he was involved with the organisation of the Great Exhibition of 1851, a resounding success. Victoria came to depend more on his support and guidance, he aided the development of Britain's constitutional monarchy by persuading his wife to be less partisan in her dealings with Parliament—although he disagreed with the interventionist foreign policy pursued during Lord Palmerston's tenure as Foreign Secretary. Albert died at the young age of 42. Victoria was so devastated at the loss of her husband that she entered into a deep state of mourning and wore black for the rest of her life.
On her death in 1901, their eldest son succeeded as Edward VII, the first British monarch of the House of Saxe-Coburg and Gotha, named after the ducal house to which Albert belonged. Albert was born at Schloss Rosenau, near Coburg, the second son of Ernest III, Duke of Saxe-Coburg-Saalfeld, his first wife, Louise of Saxe-Gotha-Altenburg. Albert's future wife, was born earlier in the same year with the assistance of the same midwife, Charlotte von Siebold. Albert was baptised into the Lutheran Evangelical Church on 19 September 1819 in the Marble Hall at Schloss Rosenau with water taken from the local river, the Itz, his godparents were the Dowager Duchess of Saxe-Coburg-Saalfeld. In 1825, Albert's great-uncle, Frederick IV, Duke of Saxe-Gotha-Altenburg, died, his death led to a realignment of Saxon duchies the following year and Albert's father became the first reigning duke of Saxe-Coburg and Gotha. Albert and his elder brother, spent their youth in a close companionship marred by their parents' turbulent marriage and eventual separation and divorce.
After their mother was exiled from court in 1824, she married her lover, Alexander von Hanstein, Count of Polzig and Beiersdorf. She never saw her children again, died of cancer at the age of 30 in 1831; the following year, their father married his sons' cousin Princess Marie of Württemberg. The brothers were educated at home by Christoph Florschütz and studied in Brussels, where Adolphe Quetelet was one of their tutors. Like many other German princes, Albert attended the University of Bonn, where he studied law, political economy and the history of art, he played music and excelled at sport fencing and riding. His tutors at Bonn included the poet Schlegel; the idea of marriage between Albert and his cousin, was first documented in an 1821 letter from his paternal grandmother, the Dowager Duchess of Saxe-Coburg-Saalfeld, who said that he was "the pendant to the pretty cousin". By 1836, this idea had arisen in the mind of their ambitious uncle Leopold, King of the Belgians since 1831. At this time, Victoria was the heir presumptive to the British throne.
Her father, Prince Edward, Duke of Kent and Strathearn, the fourth son of King George III, had died when she was a baby, her elderly uncle, King William IV, had no legitimate children. Her mother, the Duchess of Kent, was the sister of both Albert's father—the Duke of Saxe-Coburg and Gotha—and King Leopold. Leopold arranged for his sister, Victoria's mother, to invite the Duke of Saxe-Coburg and Gotha and his two sons to visit her in May 1836, with the purpose of meeting Victoria. William IV, disapproved of any match with the Coburgs, instead favoured the suit of Prince Alexander, second son of the Prince of Orange. Victoria was well aware of the various matrimonial plans and critically appraised a parade of eligible princes, she wrote, " is handsome. Alexander, on the other hand, she described as "very plain". Victoria wrote to her uncle Leopold to thank him "for the prospect of great happiness you have contributed to give me, in the person of dear Albert... He possesses every quality that could be desired to render me happy."
Although the parties did not undertake a formal engagement, both the family and their retainers assumed that the match would take place. Victoria came to the throne aged eighteen on 20 June 1837, her letters of the time show interest in Albert's education for the role he would have to play, although she resisted attempts to rush her into marriage. In the winter of 1838–39, the prince visited Italy, accompanied by the Coburg family's confidential adviser, Baron Stockmar. Albert returned to the United Kingdom with Ernest in October 1839 to visit the Queen, with the objective of settling the marriage. Albert and Victoria felt mutual affection and the Queen proposed to him on 15 October 1839. Victoria's intention to marry was declared formally to the Privy Council on 23 November, the couple married on
Appliqué is ornamental needlework in which pieces of fabric in different shapes and patterns are sewn or stuck onto a larger piece to form a picture or pattern. It is used as decoration on garments; the technique is accomplished either by machine. Appliqué is practised with textiles, but the term may be applied to similar techniques used on different materials. In the context of ceramics, for example, an appliqué is a separate piece of clay added to the primary work for the purpose of decoration; the term originates from the Latin applicō "I apply" and subsequently from the French appliquer "attach". In the context of sewing, an appliqué refers to a needlework technique in which patterns or representational scenes are created by the attachment of smaller pieces of fabric to a larger piece of contrasting colour or texture, it is suitable for work, to be seen from a distance, such as in banner-making. A famous example of appliqué is the Hastings Embroidery. Appliquéd cloth is an important art form in Benin, West Africa in the area around Abomey, where it has been a tradition since the 18th century and the kingdom of Danhomè.
Appliqué is used extensively in quilting. "Dresden Plate" and "Sunbonnet Sue" are two examples of traditional American quilt blocks that are constructed with both patchwork and appliqué. Baltimore album quilts, Broderie perse, Hawaiian quilts, Amish quilts, Egyptian Khayamiya and the ralli quilts of India and Pakistan use appliqué. Applied pieces have their edges folded under, are attached by any of the following: Straight stitch 20-30mm in from the edge. Satin stitch, all around; the patch may be straight stitched on first to ensure positional stability and a neat edge. Reverse appliqué: the attached materials are sewn together cut away where another material covers it on top, before being sewn down onto the edges of the original material. Modern consumer embroidery machines stitch appliqué designs by following a program; the programs have a minimum complexity of two thread colours, meaning the machine stops during stitching to allow the user to switch threads. First, the fabric that will be the background and the appliqué fabric are affixed into the machine's embroidery hoop.
The program is run and the machine makes a loose basting stitch over both layers of fabric. Next, the machine halts for a thread change, or other pre-programmed break; the user cuts away the excess appliqué fabric from around the basting stitch. Following this, the machine continues on programme, automatically sewing the satin stitches and any decorative stitching over the appliqué for best results. Collage, a technique of art production used in the visual arts, where the artwork is made from an assemblage of different forms, thus creating a new whole. Khatwa, the name given to appliqué works in Bihar, India. Appliqué armour, in military use, consists of extra protective plates mounted onto the hull or turret of an armoured fighting vehicle. Media related to Applique at Wikimedia Commons
James, Viscount Severn
James, Viscount Severn, is the younger child and only son of Prince Edward, Earl of Wessex, Sophie, Countess of Wessex, the youngest grandchild of Queen Elizabeth II and Prince Philip, Duke of Edinburgh. He is eleventh in line of succession to the British throne. James was born by caesarean section at Frimley Park Hospital. Prince Edward, present for the birth of his second child, remarked that the birth was "a lot calmer than last time", that his wife was "doing well," and that his son was "like most babies, rather small cute and cuddly." The baby and his mother were released from hospital on 20 December, the following day his names were announced as James Alexander Philip Theo. He was admitted to Great Ormond Street Hospital in London on 24 January 2008, with what Buckingham Palace called a "minor allergic reaction." He was released from the hospital within days. He was baptised on 19 April 2008, in the Private Chapel of Windsor Castle by David Conner, the Dean of Windsor and his godparents were Alastair Bruce of Crionaich, Duncan Bullivant, Thomas Hill, Denise Poulton and Jeanye Irwin.
His christening gown was a newly made replica of the gown used by his great-great-great-grandaunt Victoria, the eldest daughter of Queen Victoria, in 1840. It has been worn for most royal christenings since and the original gown has now been preserved. Letters patent issued in 1917 assign a princely status and the style of Royal Highness to all male-line grandchildren of a monarch. Therefore, all else being equal, James would have been styled as "His Royal Highness Prince James of Wessex". However, when his parents married, the Queen, via a Buckingham Palace press release, announced that their children would be styled as the children of an earl, rather than as princes or princesses. Thus, as is customary for the eldest son of an earl, court communications refer to him as Lord Severn, one of his father's subsidiary titles; the title Viscount Severn is derived from the Welsh roots of the Countess's family, the River Severn rising in Wales. In June 2008, to recognise a visit by his father to the Canadian province of Manitoba, the Lieutenant Governor of Manitoba-in-Council named a lake in the north of the province after James
Wedding dress of Catherine Middleton
English designer Sarah Burton, creative director of the luxury fashion house Alexander McQueen, designed the bridal gown worn by Catherine Middleton at her wedding to Prince William on 29 April 2011. The dress and its maker were not formally announced until the bride stepped from her car to enter Westminster Abbey just prior to the service. Noted for its design and expected influence on Western bridal gown trends, the dress was anticipated and generated much comment in the media. Replicas of the dress were produced and sold, the original dress was on display at Buckingham Palace from 23 July 2011 until 3 October 2011 during the annual summer exhibition. Before the day, there was much speculation as to. On 6 March, The Sunday Times reported on speculation that Middleton had chosen McQueen designer Sarah Burton, their report stated: "A fashion source said that the dress will be a combination of Middleton's own design ideas and Burton's deep knowledge and understanding of high fashion." The label and Burton both denied any involvement.
Burton's work came to the notice of Middleton in 2005 when she attended the wedding of Tom Parker Bowles, the son of Camilla, Duchess of Cornwall. Burton had designed the bridal gown for fashion journalist Sara Buys. Suggested were Phillipa Lepley, Victoria Beckham, Sophie Cranston's Libelula, Jasper Conran, Elizabeth Emanuel, Daniella Issa Helayel, Marchesa by Keren Craig and Georgina Chapman, Stella McCartney, Bruce Oldfield, Catherine Walker. Burton emerged as the odds-on favourite to create the dress amongst bookmakers, so much so that the English bookmaker William Hill stopped taking wagers weeks before the event. David Emanuel, co-designer of the wedding dress of Diana, Princess of Wales, commented to the Canadian fashion journalist Jeanne Beker that "McQueen is owned by Gucci, an Italian company. If Kate's gone that route, it would be the first time, and the Italians would have a field day with that."According to Joanna Marschner, Senior Curator of the Historic Royal Palaces, "the dresses have had to grow as the media expectation has grown.
Television cameras in Westminster Abbey have meant that those dresses are going to have to live up to those venues and indeed be of a design excellence to bear infinite scrutiny." Official statements noted that Middleton wished to combine tradition and modernity, "with the artistic vision that characterises Alexander McQueen's work." She and Burton worked together in formulating the dress design. The British tabloid News of the World reported that to maintain secrecy, the embroiderers at the Royal School of Needlework were told that the dress was intended to be used in a television costume drama and that cost was no object; as a result, it had been reported that the dress cost £250,000, although a Clarence House spokesperson dismissed that claim. The ivory satin bodice was padded at the hips and narrowed at the waist, was inspired by the Victorian tradition of corsetry, a particular Alexander McQueen hallmark; the bodice incorporated floral motifs cut from machine-made lace, which were appliquéd on to silk net by workers from the Royal School of Needlework, based at Hampton Court Palace.
On the back were 58 buttons of gazar and organza, which fasten by means of rouleau loops. The skirt, underskirt trim and bridal train incorporated lace appliquéd in a similar manner; the main body of the dress was made in ivory and white satin gazar, using UK fabrics, specially sourced by Sarah Burton, with a long, full skirt designed to echo an opening flower, with soft pleats which unfolded to the floor, forming a Victorian-style semi-bustle at the back, finishing in a short train measuring just under three metres in length. To fulfill the'something blue' portion of the British wedding tradition, a blue ribbon was sewn inside the dress; the design for the bodice of the dress featuring lace in the style of the 19th century was the'something old'. The British press showed considerable interest in the lace used in the wedding dress, but their published reports are at variance with available documentation, suggest that they were briefed with common incorrect or misleading information; the facts about the lace are as follows.
The effect achieved by the design of the bodice is similar to that of the decorated nets that were popular in the late 19th century, typified by the Limerick and Carrickmacross laces of Ireland. For the latter, machine-made net is used as a basis on which floral and other designs are created by various hand-needlework techniques; the press release from the Royal School of Needlework states that the technique used in Catherine's wedding dress "was influenced by" traditional Carrickmacross lace technique. However, the technique itself was a different and modern device: floral motifs were cut out of lengths of lace produced on large 19th-century machines and stitched to machine net. Three companies are known to have produced lace for the dress: Sophie Hallette and Solstiss in France, the Cluny Lace Company in Ilkeston, Derbyshire; the majority of the dress is made using the Solstiss lace the skirt and train. The styles of machine lace go by the names "English Cluny" and "Chantilly", but should not be confused with the older hand-made bobbin laces of the same names.
The lace was not specially commissioned for the dress, but chosen from stock patterns (what was known only as Sophie Hallette's "950264" is now known as "Kate's lace", this lace was only used for the bodice of the dress, the skirt and train are made of the Solstiss lace. Grace Kelly's wedding dress was made from lace by Solstiss, a French company. All the companies
Franz Xaver Winterhalter
Franz Xaver Winterhalter was a German painter and lithographer, known for his portraits of royalty in the mid-19th century. His name has become associated with fashionable court portraiture. Among his best known works are Empress Eugénie Surrounded by her Ladies in Waiting and the portraits he made of Empress Elisabeth of Austria. Franz Xaver Winterhalter was born in the small village of Menzenschwand, in Germany's Black Forest in the Electorate of Baden, on 20 April 1805, he was the sixth child of Fidel Winterhalter, a farmer and resin producer in the village, his wife Eva Meyer, a member of a long established Menzenschwand family. His father was a powerful influence in his life. Of the eight brothers and sisters, only four survived infancy. Throughout his life Franz Xaver remained close to his family, in particular to his brother Hermann, a painter. After attending school at a Benedictine monastery in St. Blasien, Winterhalter left Menzenschwand in 1818 at the age of 13 to study drawing and engraving.
He trained as a draughtsman and lithographer in the workshop of Karl Ludwig Schüler in Freiburg im Breisgau. In 1823, at the age of 18, he went to Munich, sponsored by the industrialist Baron von Eichtal. In 1825, he was granted a stipend by Ludwig I, Grand Duke of Baden and began a course of study at the Academy of Arts in Munich with Peter von Cornelius, whose academic methods made him uncomfortable. Winterhalter found a more congenial mentor in the fashionable portraitist Joseph Karl Stieler. During this time, he supported himself working as lithographer. Winterhalter entered court circles when in 1828 he became drawing master to Sophie Margravine of Baden, at Karlsruhe, his opportunity to establish himself beyond southern Germany came in 1832 when he was able to travel to Italy, 1833–1834, with the support of Grand Duke Leopold of Baden. In Rome he composed romantic genre scenes in the manner of Louis Léopold Robert and attached himself to the circle of the director of the French Academy, Horace Vernet.
On his return to Karlsruhe he painted portraits of the Grand Duke Leopold of Baden and his wife, was appointed painter to the grand-ducal court. He left Baden to move to France, where his Italian genre scene Il dolce Farniente attracted notice at the Salon of 1836. Il Decameron a year was praised. In the Salon of 1838 he exhibited a portrait of the Prince of Wagram with his young daughter, his career as a portrait painter was soon secured when in the same year he painted Louise Marie of Orleans, Queen of the Belgians, her son. It was through this painting that Winterhalter came to the notice of Maria Amalia of the Two Sicilies, Queen of the French, mother of the Queen of the Belgians. In Paris, Winterhalter became fashionable, he was appointed court painter of Louis-Philippe, the king of the French, who commissioned him to paint individual portraits of his large family. Winterhalter would execute more than thirty commissions for him; this success earned the painter the reputation of a specialist in dynastic and aristocratic portraiture, skilled in combining likeness with flattery and enlivening official pomp with modern fashion.
However, Winterhalter's reputation in artistic circles suffered. The critics, who had praised his debut in the salon of 1836, dismissed him as a painter who could not be taken seriously; this attitude persisted throughout Winterhalter's career, condemning his work to a category of his own in the hierarchy of painting. Winterhalter himself regarded his first royal commissions as a temporary intermission before returning to subject painting and the field of academic respectability, but he was a victim of his own success, for the rest of his life he worked exclusively as a portrait painter, his success in this field made him rich. Winterhalter became an international celebrity enjoying Royal patronage. Among his many regal sitters was Queen Victoria. Winterhalter first visited England in 1842, returned several times to paint Victoria, Prince Albert and their growing family, painting at least 120 works for them, a large number of which remain in the Royal Collection, on display to the public at Buckingham Palace and other royal residences.
Winterhalter painted a few portraits of the aristocracy in England members of court circles. The fall of Louis-Philippe in 1848 did not affect the painter's reputation. Winterhalter worked in Belgium and England. Persistence saw. Paris remained his home until a couple of years before his death. A halt in portrait commissions in France allowed him to return to subject painting with Florinda, a joyous celebration of female beauty inspired by a Spanish legend. In the same year his marriage proposal was rejected, Winterhalter remained a bachelor committed to his work. After the accession of Napoleon III, his popularity grew. From on, under the Second Empire, Winterhalter became the chief portraitist of the imperial family and court of France; the beautiful French Empress Eugénie became a favorite sitter, she treated him generously. In 1855 Winterhalter painted his masterpiece: The Empress Eugénie Surrounded by her Ladies in Waiting, he set the French Empress in a pastoral setting gathering flowers in a harmonious circle with her ladies in waiting.
The painting was acclaimed, exhibited in the universal exposition in 1855. It remains Winterhalter's most famous work. In 1852, he went to Spain to paint Queen Isabella II with
Victoria, Princess Royal
Victoria, Princess Royal was German Empress and Queen of Prussia by marriage to German Emperor Frederick III. She was the eldest child of Queen Victoria of the United Kingdom and Prince Albert of Saxe-Coburg and Gotha, was created Princess Royal in 1841, she was the mother of German Emperor. Educated by her father in a politically liberal environment, she was betrothed at the age of sixteen to Prince Frederick of Prussia and supported him in his views that Prussia and the German Empire should become a constitutional monarchy on the British model. Criticised for this attitude and for her English origins, Victoria suffered ostracism by the Hohenzollerns and the Berlin court; this isolation increased after the arrival of Otto von Bismarck to power in 1862. Victoria was empress and queen of Prussia for only a few months, during which she had opportunity to influence the policy of the German Empire. Frederick III died in 1888 – just 99 days after his accession – from laryngeal cancer and was succeeded by their son William II, who had much more conservative views than his parents.
After her husband's death, she became known as Empress Frederick. The empress dowager settled in Kronberg im Taunus, where she built Friedrichshof, a castle, named in honour of her late husband. Isolated after the weddings of her younger daughters, Victoria died of breast cancer a few months after her mother in 1901; the correspondence between Victoria and her parents has been preserved completely: 3,777 letters from Queen Victoria to her eldest daughter, about 4,000 letters from the empress to her mother are preserved and catalogued. These give a detailed insight into the life of the Prussian court between 1858 and 1900. Princess Victoria was born on 21 November 1840 at London, she was her husband, Prince Albert of Saxe-Coburg and Gotha. When she was born, the doctor exclaimed sadly: "Oh Madame, it's a girl!" And the Queen replied: "Never mind, next time it will be a prince!". She was baptised in the Throne Room of Buckingham Palace on 10 February 1841 by the Archbishop of Canterbury, William Howley.
The Lily font was commissioned for the occasion of her christening. Her godparents were Queen Adelaide, the King of the Belgians, the Duke of Saxe-Coburg and Gotha, the Duke of Sussex, the Duchess of Gloucester and the Duchess of Kent; as a daughter of the sovereign, Victoria was born a British princess. On 19 January 1841, she was made Princess Royal, a title sometimes conferred on the eldest daughter of the sovereign. In addition, she was heir presumptive to the throne of the United Kingdom, before the birth of her younger brother Prince Albert Edward on 9 November 1841. To her family, she was known as "Vicky"; the royal couple decided to give their children as complete an education as possible. In fact, Queen Victoria, who succeeded her uncle King William IV at the age of 18, believed that she herself had not been sufficiently prepared for the government affairs. For his part, Prince Albert, born in the small Duchy of Saxe-Coburg-Gotha, had received a more careful education, thanks to his uncle King Leopold I of Belgium.
Shortly after the birth of Victoria, Prince Albert wrote a memoir detailing the tasks and duties of all those involved with the royal children. Another 48-page document, written a year and a half by the Baron Stockmar, intimate of the royal couple, details the educational principles which were to be used with the little princes; the royal couple, had only a vague idea of the proper educational development of a child. Queen Victoria, for example, believed that the fact that her baby sucked on bracelets was a sign of deficient education. According to Hannah Pakula, biographer of the future German empress, the first two governesses of the princess were therefore well chosen. Experienced in dealing with children, Lady Lyttelton directed the nursery through which passed all royal children after Victoria's second year; the diplomatic young woman managed to soften the unrealistic demands of the royal couple. Sarah Anne Hildyard, the children's second governess, was a competent teacher who developed a close relationship with her students.
Precocious and intelligent, Victoria began to learn French at the age of 18 months, she began to study German when aged four. She learned Greek and Latin. From the age of six, her curriculum included lessons of arithmetic and history, her father tutored her in politics and philosophy, she studied science and literature. Her school days, interrupted by three hours of recreation, began at 8:20 and finished at 18:00. Unlike her brother, whose educational program was more severe, Victoria was an excellent student, always hungry for knowledge. However, she showed an obstinate character. Queen Victoria and her husband wanted to remove their children from court life as much as possible, so they acquired Osborne House on the Isle of Wight. Near the main building, Albert built for his children a Swiss-inspired cottage with a small kitchen and a carpentry workshop. In this building, the royal children learned practical life. Prince Albert was involved in the education of their offspring, he followed the progress of his children and gave some of their lessons himself, as well as spending time playing with them.
Victoria is described as having "idolised" her father and having inherited his li
Beer is a village and civil parish in the East Devon district of Devon, England. The village is a little over 1 mile west of the town of Seaton, it is situated on Jurassic Coast World Heritage Site and its picturesque cliffs, including Beer Head, form part of the South West Coast Path. At the 2011 Census, the parish had a population of 1,317. Beer is mentioned in the Domesday Book of 1086, at which time it was located within Colyton hundred and had 28 households, its name is not derived from the drink, but from the Old English word bearu, meaning "grove" and referring to the original forestation that surrounded the village. It is a pretty coastal village that grew up around a smugglers' cove and caves which were once used to store contraband goods; these are now part of the attraction of the village. Many of the buildings are faced with flint, a hard glassy stone found in the local chalk rock; the main sources of income for the village include fishing and lace production. Boats are winched up the beach as there is no harbour, fresh fish is sold nearby.
Nowadays small electrically driven winches using steel cables or tractors are located on the beach to haul boats in. Higher up is an old manual capstan operated by up to 20 men, now disused. A brook winds its way in an open conduit alongside the main road down to the sea. A WW2 pillbox is located close to the western side of the beach exit; the shape of the coastline allowed local seafarers to operate in weather conditions when other towns could not, because it is protected from the prevailing westerly winds by Beer Head and the chalk cliffs which are the furthest outcrop of limestone on the southwest coast. Nowadays, the sources of income are tourism and fishing. Beer is the home of the Pecorama, which includes pleasure gardens and the Beer Heights Light Railway. Beer has a steep pebble beach; this makes walking on the beach difficult. Long rubber mats — recycled conveyor belts — are laid down to assist walkers. Beer is home to the Beer Quarry Caves, resulting from the quarrying of Beer stone; this stone has been prized since Roman times, because of its workability for carving and for its gentle yellow colour on exposure to air.
Beer stone was used in the construction of 24 cathedrals around the UK, including Exeter Cathedral, Westminster Abbey and St. Paul's Cathedral, was used in the building of Christchurch Cathedral, St. Louis. Missouri, USA. Bovey House, an Elizabethan manor house, is a mile inland. Starre House, the oldest house in Beer is built using the local Beer stone, quarried since Roman times. Bacteria taken from cliffs at Beer on the south coast were launched to the International Space Station in 2008; the Beer microbes were placed on the European Space Agency's Technology Exposure Facility and were sent up still sitting on, in, small chunks of cliff rock from the Jurassic Coast. After 553-days they found; the survivors are now reproducing in a laboratory. This was part of an experiment to study the survival of microbes in extreme conditions. A new species of cyanobacteria was isolated at the Open University that could be used in future space settlements on the Moon and Mars to produce oxygen and break down rocks.
William George Aston died in Beer. Richard Gush was born in Beer. Rowland Molony lives in Beer. Charles William Peach lived in Beer. Jack Rattenbury was born in Beer. William Henry Woodgate was born in Seaton Geology. BBC heritage walk subpage Beer Parish Council Beer at Curlie