1.
Portraitist
–
A portrait is a painting, photograph, sculpture, or other artistic representation of a person, in which the face and its expression is predominant. The intent is to display the likeness, personality, and even the mood of the person, for this reason, in photography a portrait is generally not a snapshot, but a composed image of a person in a still position. A portrait often shows a person looking directly at the painter or photographer, nonetheless, many subjects, such as Akhenaten and some other Egyptian pharaohs, can be recognised by their distinctive features. The 28 surviving rather small statues of Gudea, ruler of Lagash in Sumeria between c.2144 -2124 BC, show a consistent appearance with some individuality. Some of the earliest surviving painted portraits of people who were not rulers are the Greco-Roman funeral portraits that survived in the dry climate of Egypts Fayum district. These are almost the only paintings from the world that have survived, apart from frescos, though many sculptures. Although the appearance of the figures differs considerably, they are considerably idealized, the art of the portrait flourished in Ancient Greek and especially Roman sculpture, where sitters demanded individualized and realistic portraits, even unflattering ones. During the 4th century, the portrait began to retreat in favor of a symbol of what that person looked like. In the Europe of the Early Middle Ages representations of individuals are mostly generalized, true portraits of the outward appearance of individuals re-emerged in the late Middle Ages, in tomb monuments, donor portraits, miniatures in illuminated manuscripts and then panel paintings. Moche culture of Peru was one of the few ancient civilizations which produced portraits and these works accurately represent anatomical features in great detail. The individuals portrayed would have been recognizable without the need for other symbols or a reference to their names. The individuals portrayed were members of the elite, priests, warriors. They were represented during several stages of their lives, the faces of gods were also depicted. To date, no portraits of women have been found, there is particular emphasis on the representation of the details of headdresses, hairstyles, body adornment and face painting. One of the portraits in the Western world is Leonardo da Vincis painting titled Mona Lisa. What has been claimed as the worlds oldest known portrait was found in 2006 in the Vilhonneur grotto near Angoulême and is thought to be 27,000 years old. Profile view, full view, and three-quarter view, are three common designations for portraits, each referring to a particular orientation of the head of the individual depicted. Such terms would tend to have greater applicability to two-dimensional artwork such as photography, in the case of three-dimensional artwork, the viewer can usually alter their orientation to the artwork by moving around it
Portraitist
–
Rembrandt Peale, Portrait of
Thomas Jefferson, 1805.
New-York Historical Society.
Portraitist
–
Roman-Egyptian
funeral portrait of a young boy
Portraitist
–
Moche Ceramic Portrait.
Larco Museum Collection. Lima-Peru
Portraitist
–
Portrait illustrating three-quarter view.
2.
England
–
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
England
–
Stonehenge, a
Neolithic monument
England
–
Flag
England
–
Boudica led an uprising against the
Roman Empire
England
–
Replica of a 7th-century ceremonial
helmet from the
Kingdom of East Anglia, found at
Sutton Hoo
3.
Painting
–
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
Painting
–
The
Mona Lisa, by
Leonardo da Vinci, is one of the most recognizable paintings in the world.
Painting
–
Chen Hongshou (1598–1652), Leaf album painting (
Ming Dynasty)
Painting
–
Circus Sideshow (
French: Parade de cirque),
Georges Seurat, 1887–88
Painting
–
Cave painting of aurochs, (
French: Bos primigenius primigenius),
Lascaux,
France,
prehistoric art
4.
John Aubrey
–
John Aubrey FRS, was an English antiquary, natural philosopher and writer. He is perhaps best known as the author of the Brief Lives and he was a pioneer archaeologist, who recorded numerous megalithic and other field monuments in southern England, and who is particularly noted as the discoverer of the Avebury henge monument. The Aubrey holes at Stonehenge are named after him, although there is doubt as to whether the holes that he observed are those that currently bear the name. He was also a pioneer folklorist, collecting together a miscellany of material on customs, traditions and he set out to compile county histories of both Wiltshire and Surrey, although both projects remained unfinished. His Interpretation of Villare Anglicanum was the first attempt to compile a full-length study of English place-names and he had wider interests in applied mathematics and astronomy, and was friendly with many of the greatest scientists of the day. For much of the 19th and 20th centuries, thanks largely to the popularity of Brief Lives, Aubrey was regarded as more than an entertaining but quirky, eccentric. Only in the 1970s did the full breadth and innovation of his begin to be more widely appreciated. He published little in his lifetime, and many of his most important manuscripts remain unpublished, or published only in partial and unsatisfactory form. Aubrey was born at Easton Piers or Percy, near Kington St Michael, Wiltshire, to a long-established and his grandfather, Isaac Lyte, lived at Lytes Cary Manor, Somerset, now owned by the National Trust. Richard Aubrey, his father, owned lands in Wiltshire and Herefordshire, for many years an only child, he was educated at home with a private tutor, he was melancholy in his solitude. His father was not intellectual, preferring field sports to learning, Aubrey read such books as came his way, including Bacons Essays, and studied geometry in secret. He was educated at the Malmesbury grammar school under Robert Latimer and he then studied at the grammar school at Blandford Forum, Dorset. He entered Trinity College, Oxford, in 1642, but his studies were interrupted by the English Civil War and his earliest antiquarian work dates from this period in Oxford. In 1646 he became a student of the Middle Temple and he spent a pleasant time at Trinity in 1647, making friends among his Oxford contemporaries, and collecting books. He was to show Avebury to Charles II at the Kings request in 1663 and his father died in 1652, leaving Aubrey large estates, but with them some complicated debts. He claimed that his memory was not tenacious by 17th-century standards, but from the early 1640s he kept notes of observations in natural philosophy, his friends ideas. He also began to write Lives of scientists in the 1650s, in 1659 he was recruited to contribute to a collaborative county history of Wiltshire, leading to his unfinished collections on the antiquities and the natural history of the county. His erstwhile friend and fellow-antiquary Anthony Wood predicted that he would one day break his neck while running downstairs in haste to interview some retreating guest or other and he drank the Kings health in Interregnum Herefordshire, but with equal enthusiasm attended meetings in London of the republican Rota Club
John Aubrey
–
John Aubrey
John Aubrey
–
Part of the southern inner ring at
Avebury
John Aubrey
–
An early photograph of Stonehenge taken July 1877
5.
London
–
London /ˈlʌndən/ is the capital and most populous city of England and the United Kingdom. Standing on the River Thames in the south east of the island of Great Britain and it was founded by the Romans, who named it Londinium. Londons ancient core, the City of London, largely retains its 1. 12-square-mile medieval boundaries. London is a global city in the arts, commerce, education, entertainment, fashion, finance, healthcare, media, professional services, research and development, tourism. It is crowned as the worlds largest financial centre and has the fifth- or sixth-largest metropolitan area GDP in the world, London is a world cultural capital. It is the worlds most-visited city as measured by international arrivals and has the worlds largest city airport system measured by passenger traffic, London is the worlds leading investment destination, hosting more international retailers and ultra high-net-worth individuals than any other city. Londons universities form the largest concentration of education institutes in Europe. In 2012, London became the first city to have hosted the modern Summer Olympic Games three times, London has a diverse range of people and cultures, and more than 300 languages are spoken in the region. Its estimated mid-2015 municipal population was 8,673,713, the largest of any city in the European Union, Londons urban area is the second most populous in the EU, after Paris, with 9,787,426 inhabitants at the 2011 census. The citys metropolitan area is the most populous in the EU with 13,879,757 inhabitants, the city-region therefore has a similar land area and population to that of the New York metropolitan area. London was the worlds most populous city from around 1831 to 1925, Other famous landmarks include Buckingham Palace, the London Eye, Piccadilly Circus, St Pauls Cathedral, Tower Bridge, Trafalgar Square, and The Shard. The London Underground is the oldest underground railway network in the world, the etymology of London is uncertain. It is an ancient name, found in sources from the 2nd century and it is recorded c.121 as Londinium, which points to Romano-British origin, and hand-written Roman tablets recovered in the city originating from AD 65/70-80 include the word Londinio. The earliest attempted explanation, now disregarded, is attributed to Geoffrey of Monmouth in Historia Regum Britanniae and this had it that the name originated from a supposed King Lud, who had allegedly taken over the city and named it Kaerlud. From 1898, it was accepted that the name was of Celtic origin and meant place belonging to a man called *Londinos. The ultimate difficulty lies in reconciling the Latin form Londinium with the modern Welsh Llundain, which should demand a form *lōndinion, from earlier *loundiniom. The possibility cannot be ruled out that the Welsh name was borrowed back in from English at a later date, and thus cannot be used as a basis from which to reconstruct the original name. Until 1889, the name London officially applied only to the City of London, two recent discoveries indicate probable very early settlements near the Thames in the London area
London
–
Palace of Westminster,
Buckingham Palace and
Central London skyline
London
London
London
–
The name London may derive from the
River Thames
6.
Francis Cleyn
–
Francis Cleyn was a German-born painter and tapestry designer who lived and worked in England. Francis Cleyn was born in Rostock in Germany, and while a youth displayed such abilities that he was retained in the service of Christian IV of Denmark. During this time he painted, in 1611, a portrait of Christian, now in the gallery of Copenhagen. Here, too, he met Sir Robert Anstruther, then ambassador extraordinary from England to the court of Denmark. He was sent to Italy to study, and remained four years, studying at Rome and Venice, at Venice he was introduced to Sir Henry Wotton. After returning to Denmark, he proceeded to England with letters of introduction from Anstruther and Wotton to Charles, the request was granted, and Cleyn returned to England to enter the service of Prince Charles, and was immediately employed at Mortlake. On the accession of Charles I to the throne in 1625, he rewarded Cleyn by granting him denization and he also built for him at Mortlake a residence near the tapestry manufactory. Here Cleyn settled with his family, and superintended the copying of cartoons, Charles sent down five out of the seven original cartoons of Raphael from the Acts of the Apostles, then recently acquired, to be copied and reproduced in tapestry under Cleyns direction. Copies of these were made by Cleyns sons, Francis and John and these and the other productions of the Mortlake manufactory were held in high estimation, especially in France, and dispersed over the continent. A set of six pieces, representing the history of Hero and Leander from Cleyns designs were at the Louvre in Paris, Cleyn was also largely employed by the nobility to decorate their mansions. He designed the illustrations, ornamental head-pieces, and so on, to the editions of the published by John Ogilby, namely Æsops Fables, Virgil. His designs were engraved by Pierre Lombart, William Faithorne, and Wenceslaus Hollar, English, etched some grotesques, and a humorous piece from Cleyns designs. There are other etchings in the print room at the British Museum, although he retained his house at Mortlake, he resided for some time in Covent Garden, and died in London in 1658 at an advanced age. On his death, Cleyn left three sons, Francis, John, and Charles, and three daughters, Sarah, Magdalen, and Penelope, Francis Cleyn the younger was born in 1625, and was buried at Covent Garden on 21 October 1650. With his brother John he followed his fathers profession, and they both attained repute as draughtsmen and miniature painters and it is difficult to distinguish their work from that of their father. They were seen by John Evelyn, who states that the brothers were both dead. Penelope Cleyn appears to have also a miniature painter. Attribution This article incorporates text from a now in the public domain, Cust
Francis Cleyn
–
Cleyn in an 18th-century (1762?) etching by Thomas Chambars
Francis Cleyn
–
Perseus and Andromeda (1635–1645) by Francis Cleyn
Francis Cleyn
–
Tapestries depicting the story of
Hero and Leander designed by Cleyn and woven in the 1630s at the
Mortlake Tapestry Works on display at the
Primate's Palace in
Bratislava, Slovakia
Francis Cleyn
7.
Royal Collection
–
The Royal Collection is the art collection of the British Royal Family and the largest private art collection in the world. The Queen owns some objects in the collection in right of the Crown, the Queens Gallery at Buckingham Palace in London was built specially to exhibit pieces from the collection on a rotating basis. There is an art gallery next to the Palace of Holyroodhouse in Edinburgh. The Crown Jewels are on display in the Jewel House at the Tower of London. About 3,000 objects are on loan to museums throughout the world, few items from before King Henry VIII survive. The most important additions to the collection were made by Charles I, a collector of Italian paintings. Many works have been given from the collection to museums, especially by George III and Victoria, in particular, most of the then royal library was given by George III to the British Museum, now the British Library, where many books are still catalogued as Royal. The core of this collection was the purchase by James I of the collections of Humphrey Llwyd, Lord Lumley. Throughout the reign of Elizabeth II, there have been significant additions to the collection through purchases, bequests and through gifts from nation states. Numbering over 7,000 works, spread across the Royal Residences, numbering over 300 items, the Royal Collection holds one of the greatest and most important collections of French furniture ever assembled. The collection is noted for its range as well as counting the greatest cabinet-makers of the Ancien Régime. The Royal Collection is privately owned, although some of the works are displayed in areas of palaces, some of the collection is owned by the monarch personally, and everything else is described as being held in trust by the monarch in right of the Crown. All works of art acquired by monarchs up to the death of Queen Victoria in 1901 are heirlooms which fall into the latter category. Items the British royal family acquired later, including official gifts, ambiguity surrounds the status of objects that have come into Queen Elizabeth IIs possession during her reign. The Royal Collection Trust has confirmed that all pieces left to the Queen by the Queen Mother belong to her personally, non-personal items are said to be inalienable as they can only be willed to the monarchs successor. The legal accuracy of this claim has never been substantiated in court, in a 2000 television interview, the Duke of Edinburgh said that the Queen was technically, perfectly at liberty to sell them. In 1995, Iain Sproat, then Secretary of State for National Heritage, a registered charity, the Royal Collection Trust was set up in 1993 after the Windsor Castle fire with a mandate to conserve the works and enhance the publics appreciation and understanding of art. It employs around 500 staff and is one of the five departments of the Royal Household, buildings do not come under its remit
Royal Collection
–
Anthony van Dyck:
Charles I with M. de St Antoine (1633)
Royal Collection
–
Rubens:
Pythagoras advocating vegetarianism, c. 1618–30
Royal Collection
–
Leonardo da Vinci – The Babe in the Womb, 1511
Royal Collection
–
Michelangelo – The Resurrection, 1532)
8.
Titian
–
Tiziano Vecelli or Tiziano Vecellio, known in English as Titian /ˈtɪʃən/, was an Italian painter, the most important member of the 16th-century Venetian school. He was born in Pieve di Cadore, near Belluno, during his lifetime he was often called da Cadore, taken from the place of his birth. His painting methods, particularly in the application and use of color, would exercise a profound influence not only on painters of the Italian Renaissance, during the course of his long life, Titians artistic manner changed drastically, but he retained a lifelong interest in color. Although his mature works may not contain the vivid, luminous tints of his pieces, their loose brushwork. The exact date of Titians birth is uncertain, when he was an old man he claimed in a letter to Philip II, King of Spain, to have been born in 1474, but this seems most unlikely. Other writers contemporary to his old age give figures that would equate to birthdates between 1473 and after 1482 and he was the son of Gregorio Vecelli and his wife Lucia. His father was superintendent of the castle of Pieve di Cadore, Gregorio was also a distinguished councilor and soldier. Many relatives, including Titians grandfather, were notaries, and the family of four were well-established in the area, at the age of about ten to twelve he and his brother Francesco were sent to an uncle in Venice to find an apprenticeship with a painter. At that time the Bellinis, especially Giovanni, were the artists in the city. There Titian found a group of men about his own age, among them Giovanni Palma da Serinalta, Lorenzo Lotto, Sebastiano Luciani. Francesco Vecellio, his brother, later became a painter of some note in Venice. A fresco of Hercules on the Morosini Palace is said to have one of Titians earliest works. Others were the Bellini-esque so-called Gypsy Madonna in Vienna, and the Visitation of Mary and Elizabeth, now in the Accademia, a Man with a Quilted Sleeve is an early portrait, painted around 1509 and described by Giorgio Vasari in 1568. Scholars long believed it depicted Ludovico Ariosto, but now think it is of Gerolamo Barbarigo, Rembrandt borrowed the composition for his self-portraits. Titian joined Giorgione as an assistant, but many contemporary critics found his work more impressive—for example in exterior frescoes that they did for the Fondaco dei Tedeschi. Their relationship evidently contained a significant element of rivalry, distinguishing between their work at this period remains a subject of scholarly controversy. A substantial number of attributions have moved from Giorgione to Titian in the 20th century, one of the earliest known Titian works, Christ Carrying the Cross in the Scuola Grande di San Rocco, depicting the Ecce Homo scene, was long regarded as by Giorgione. In 1507–1508 Giorgione was commissioned by the state to create frescoes on the re-erected Fondaco dei Tedeschi, Titian and Morto da Feltre worked along with him, and some fragments of paintings remain, probably by Giorgione
Titian
–
Self-Portrait, c. 1567;
Museo del Prado, Madrid.
Titian
–
A Man with a Quilted Sleeve, an early portrait, c. 1509,
National Gallery, London.
Titian
–
Salome with the Head of John the Baptist c. 1515, (
Galleria Doria Pamphilj, Rome), or
Judith; this religious work also functions as an idealized portrait of a beauty, a genre developed by Titian, supposedly often using Venetian
courtesans as models.
Titian
–
Bacchus and Ariadne, c. 1520-1523.
9.
Anthony van Dyck
–
Sir Anthony van Dyck was a Flemish Baroque artist who became the leading court painter in England, after enjoying great success in Italy and Flanders. He also painted biblical and mythological subjects, displayed outstanding facility as a draughtsman, the Van Dyke beard is named after him. Antoon van Dyck was born to parents in Antwerp. By the age of fifteen he was already an accomplished artist, as his Self-portrait, 1613–14. He was admitted to the Antwerp painters Guild of Saint Luke as a master by February 1618. His influence on the young artist was immense, Rubens referred to the nineteen-year-old van Dyck as the best of my pupils. At the same time the dominance of Rubens in the small and declining city of Antwerp probably explains why, despite his periodic returns to the city, van Dyck spent most of his career abroad. In 1620, at the instigation of George Villiers, Marquess of Buckingham, van Dyck went to England for the first time where he worked for King James I of England, receiving £100. After about four months he returned to Flanders, but moved on in late 1621 to Italy and he was already presenting himself as a figure of consequence, annoying the rather bohemian Northern artists colony in Rome, says Giovan Pietro Bellori, by appearing with the pomp of Zeuxis. He was mostly based in Genoa, although he travelled extensively to other cities. In 1627, he went back to Antwerp where he remained for five years, a life-size group portrait of twenty-four City Councillors of Brussels he painted for the council-chamber was destroyed in 1695. He was evidently very charming to his patrons, and, like Rubens, well able to mix in aristocratic and court circles, by 1630 he was described as the court painter of the Habsburg Governor of Flanders, the Archduchess Isabella. In this period he produced many religious works, including large altarpieces. King Charles I was the most passionate and generous collector of art among the British monarchs, and saw art as a way of promoting his elevated view of the monarchy. In 1628, he bought the collection that the Gonzagas of Mantua were forced to dispose of. In 1626, he was able to persuade Orazio Gentileschi to settle in England, later to be joined by his daughter Artemisia and some of his sons. Rubens was a target, who eventually came on a diplomatic mission, which included painting, in 1630. He was very well-treated during his visit, during which he was knighted
Anthony van Dyck
–
Self-Portrait With a Sunflower (after 1633),
Trinity College, Cambridge
Anthony van Dyck
–
Self-portrait, 1613–14
Anthony van Dyck
–
Anthony van Dyck, by
Peter Paul Rubens (1627–28) in
the Louvre
Anthony van Dyck
–
The more intimate, but still elegant style he developed in England, ca 1638
10.
Charles I of England
–
Charles I was monarch of the three kingdoms of England, Scotland, and Ireland from 27 March 1625 until his execution in 1649. Charles was the son of King James VI of Scotland, but after his father inherited the English throne in 1603, he moved to England. He became heir apparent to the English, Irish, and Scottish thrones on the death of his brother, Henry Frederick, Prince of Wales. Two years later, he married the Bourbon princess Henrietta Maria of France instead, after his succession, Charles quarrelled with the Parliament of England, which sought to curb his royal prerogative. Charles believed in the right of kings and thought he could govern according to his own conscience. Many of his subjects opposed his policies, in particular the levying of taxes without parliamentary consent and he supported high church ecclesiastics, such as Richard Montagu and William Laud, and failed to aid Protestant forces successfully during the Thirty Years War. From 1642, Charles fought the armies of the English and Scottish parliaments in the English Civil War, after his defeat in 1645, he surrendered to a Scottish force that eventually handed him over to the English Parliament. Charles refused to accept his captors demands for a constitutional monarchy, re-imprisoned on the Isle of Wight, Charles forged an alliance with Scotland, but by the end of 1648 Oliver Cromwells New Model Army had consolidated its control over England. Charles was tried, convicted, and executed for treason in January 1649. The monarchy was abolished and a called the Commonwealth of England was declared. The monarchy was restored to Charless son, Charles II, in 1660, the second son of King James VI of Scotland and Anne of Denmark, Charles was born in Dunfermline Palace, Fife, on 19 November 1600. James VI was the first cousin twice removed of Queen Elizabeth I of England, in mid-July 1604, Charles left Dunfermline for England where he was to spend most of the rest of his life. His speech development was slow, and he retained a stammer, or hesitant speech. In January 1605, Charles was created Duke of York, as is customary in the case of the English sovereigns second son, Thomas Murray, a Presbyterian Scot, was appointed as a tutor. Charles learnt the usual subjects of classics, languages, mathematics, in 1611, he was made a Knight of the Garter. Eventually, Charles apparently conquered his physical infirmity, which might have been caused by rickets and he became an adept horseman and marksman, and took up fencing. Even so, his public profile remained low in contrast to that of his stronger and taller elder brother, Henry Frederick, Prince of Wales. However, in early November 1612, Henry died at the age of 18 of what is suspected to have been typhoid, Charles, who turned 12 two weeks later, became heir apparent
Charles I of England
–
Portrait from the studio of
Anthony van Dyck, 1636
Charles I of England
–
Engraving by
Simon de Passe of Charles and his parents, King James and Queen Anne, c. 1612
Charles I of England
–
Portrait by
Robert Peake, c. 1610
Charles I of England
–
Portrait of Charles as Prince of Wales after
Daniel Mytens, c. 1623
11.
Venice
–
Venice is a city in northeastern Italy and the capital of the Veneto region. It is situated across a group of 118 small islands that are separated by canals and these are located in the shallow Venetian Lagoon, an enclosed bay that lies between the mouths of the Po and the Piave Rivers. Parts of Venice are renowned for the beauty of their settings, their architecture, the lagoon and a part of the city are listed as a World Heritage Site. In 2014,264,579 people resided in Comune di Venezia, together with Padua and Treviso, the city is included in the Padua-Treviso-Venice Metropolitan Area, with a total population of 2.6 million. PATREVE is a metropolitan area without any degree of autonomy. The name is derived from the ancient Veneti people who inhabited the region by the 10th century BC, the city was historically the capital of the Republic of Venice. Venice has been known as the La Dominante, Serenissima, Queen of the Adriatic, City of Water, City of Masks, City of Bridges, The Floating City, and City of Canals. The City State of Venice is considered to have been the first real international financial center which gradually emerged from the 9th century to its peak in the 14th century and this made Venice a wealthy city throughout most of its history. It is also known for its several important artistic movements, especially the Renaissance period, Venice has played an important role in the history of symphonic and operatic music, and it is the birthplace of Antonio Vivaldi. Venice has been ranked the most beautiful city in the world as of 2016, the name Venetia, however, derives from the Roman name for the people known as the Veneti, and called by the Greeks Eneti. The meaning of the word is uncertain, although there are other Indo-European tribes with similar-sounding names, such as the Celtic Veneti, Baltic Veneti, and the Slavic Wends. Linguists suggest that the name is based on an Indo-European root *wen, so that *wenetoi would mean beloved, lovable, a connection with the Latin word venetus, meaning the color sea-blue, is also possible. The alternative obsolete form is Vinegia, some late Roman sources reveal the existence of fishermen on the islands in the original marshy lagoons. They were referred to as incolae lacunae, the traditional founding is identified with the dedication of the first church, that of San Giacomo on the islet of Rialto — said to have taken place at the stroke of noon on 25 March 421. Beginning as early as AD166 to 168, the Quadi and Marcomanni destroyed the center in the area. The Roman defences were again overthrown in the early 5th century by the Visigoths and, some 50 years later, New ports were built, including those at Malamocco and Torcello in the Venetian lagoon. The tribuni maiores, the earliest central standing governing committee of the islands in the Lagoon, the traditional first doge of Venice, Paolo Lucio Anafesto, was actually Exarch Paul, and his successor, Marcello Tegalliano, was Pauls magister militum. In 726 the soldiers and citizens of the Exarchate rose in a rebellion over the controversy at the urging of Pope Gregory II
Venice
–
A collage of Venice: at the top left is the
Piazza San Marco, followed by a view of the city, then the
Grand Canal, and (smaller) the interior of
La Fenice and, finally, the Island of San Giorgio Maggiore
Venice
–
UNESCO World Heritage Site
Venice
–
Photography of Venice at dusk
Venice
–
The Grand Canal seen from the bridge at
Ponte di Rialto
12.
Endymion Porter
–
Endymion Porter was an English diplomat and royalist. He was brought up in Spain—where he had relatives—as page in the household of Olivares and he afterwards entered successively the service of Edward Villiers and of Buckingham, and through the latters recommendation became groom of the bedchamber to Charles I. In October 1622 he was sent to negotiate concerning the affairs of the Electorate of the Palatinate and he accompanied Charles and Buckingham on their foolhardy expedition in 1623, acted as their interpreter, and was included in the consequent attack made by Lord Bristol on Buckingham in 1626. In 1628 he was employed as envoy to Spain to negotiate for peace, Porter was one of the promoters of the 1635 Courteen association. During the Civil War Porter remained a constant and faithful servant of the king and he had, however, little faith in the kings measures. His Majestys businesses, he writes in 1641, run in their wonted channel—subtle designs of gaining the popular opinion and his fidelity to Charles was of a personal, not of a political nature. My duty and loyalty have taught me to follow my king, he declares, olivia was a lady-in-waiting to Queen consort Henrietta Maria. He returned to England in 1649, after the kings death and he left five sons, George, James, Charles, Philip and Thomas, who all played conspicuous, if not all creditable, parts in the history of the time. According to Wood, Porter was beloved by two kings, James I for his wit and Charles I for his general bearing, brave style, sweet temper, great experience, travels. During the period of his prosperity Porter had gained a reputation in the world of art. He was also instrumental in procuring the Arundel pictures from Spain, in 2013 a painting of his wife by Anthony van Dyck was found to have been undiscovered as a masterpiece in the Bowes Museum in County Durham. Almack, p.94 There are also references, etc. to Endymion Porter in Additional Charters, British Museum,6223,1633,6225. Manuscripts 15,858,33,374, and Egerton 2550,2533, series, Manuscripts of Duke of Portland, etc. and in Notes and Queries, also Thomason Tracts, Brit. This article incorporates text from a now in the public domain, Chisholm, Hugh
Endymion Porter
–
Portrait of Endymion Porter by
Daniel Mytens, 1627 (
National Portrait Gallery, London)
Endymion Porter
–
Portrait of Olivia Boteler Porter, by Anthony van Dyck
Endymion Porter
–
Double portrait of Sir Endymion and Anthony van Dyck, by
Anthony van Dyck
13.
English Civil War
–
The English Civil War was a series of armed conflicts and political machinations between Parliamentarians and Royalists over, principally, the manner of Englands government. The war ended with the Parliamentarian victory at the Battle of Worcester on 3 September 1651, the monopoly of the Church of England on Christian worship in England ended with the victors consolidating the established Protestant Ascendancy in Ireland. The term English Civil War appears most often in the singular form, the war in all these countries are known as the Wars of the Three Kingdoms. Unlike other civil wars in England, which focused on who should rule, this war was more concerned with the manner in which the kingdoms of England, Scotland, the two sides had their geographical strongholds, such that minority elements were silenced or fled. The strongholds of the royalty included the countryside, the shires, on the other hand, all the cathedral cities sided with Parliament. All the industrial centers, the ports, and the advanced regions of southern and eastern England typically were parliamentary strongholds. Lacey Baldwin Smith says, the words populist, rich, at times there would be two groups of three lines allowing one group to reload while the other group arranged themselves and fired. Mixed in among the musketeers were pikemen carrying pikes that were between 12 feet and 18 feet long, whose purpose was to protect the musketeers from cavalry charges. The Royalist cavaliers skill and speed on horseback led to early victories. While the Parliamentarian cavalry were slower than the cavaliers, they were better disciplined. The Royalists had a tendency to chase down individual targets after the initial charge leaving their forces scattered and tired, Cromwells cavalry, on the other hand, trained to operate as a single unit, which led to many decisive victories. The English Civil War broke out fewer than forty years after the death of Queen Elizabeth I in 1603, in spite of this, James personal extravagance meant he was perennially short of money and had to resort to extra-Parliamentary sources of income. Charles hoped to unite the kingdoms of England, Scotland and Ireland into a new single kingdom, many English Parliamentarians had suspicions regarding such a move because they feared that setting up a new kingdom might destroy the old English traditions which had bound the English monarchy. As Charles shared his fathers position on the power of the crown, at the time, the Parliament of England did not have a large permanent role in the English system of government. Instead, Parliament functioned as an advisory committee and was summoned only if. Once summoned, a continued existence was at the kings pleasure. Yet in spite of this role, Parliament had, over the preceding centuries. Without question, for a monarch, Parliaments most indispensable power was its ability to tax revenues far in excess of all other sources of revenue at the Crowns disposal
English Civil War
–
The victory of the
Parliamentarian New Model Army over the
Royalist Army at the
Battle of Naseby on 14 June 1645 marked the decisive turning point in the English Civil War.
English Civil War
–
Charles I, painted by Van Dyck
English Civil War
–
Henrietta Maria, painted by
Peter Lely, 1660
English Civil War
–
Session of the Long Parliament
14.
Cavalier
–
It was later adopted by the Royalists themselves. Prince Rupert, commander of much of Charles Is cavalry, is considered to be an archetypal Cavalier. Cavalier derives from the same Latin root as the French word chevalier, Cavalier is chiefly associated with the Royalist supporters of King Charles I in his struggle with Parliament in the English Civil War. Charles, in the Answer to the Petition 13 June 1642 speaks of Cavaliers as a word by what mistake soever it seemes much in disfavour, Cavalier was not understood at the time as primarily a term describing a style of dress, but a whole political and social attitude. Most Parliamentarian generals wore their hair at much the length as their Royalist counterparts. The best patrons in the nobility of Charles Is court painter Sir Anthony van Dyck, probably the most famous image identified as of a cavalier, Frans Hals Laughing Cavalier, shows a gentleman from the strongly Calvinist Dutch town of Haarlem, and is dated 1624. These derogatory terms also showed what the typical Parliamentarian thought of the Royalist side – capricious men who cared more for vanity than the nation at large. Although they did not share the same outlook on how to worship God as the English Independents of the New Model Army, if I forget Thee, do not forget me. However, the word was coined by the Roundheads as a propaganda image of a licentious, hard drinking and frivolous man. It is this image which has survived and many Royalists, for example Henry Wilmot, 1st Earl of Rochester, fitted this description to a tee. Of all his qualifications dissimulation was his masterpiece, in which he so much excelled and this sense has developed into the modern English use of cavalier to describe a recklessly nonchalant attitude, although still with a suggestion of stylishness. Likewise during Exclusion Bill crisis the term Roundhead was replaced with Whig, an example of the Cavalier style can be seen in the painting Charles I, King of England, from Three Angles by Anthony van Dyck. The mascot of Cavalier has been commonly used in the sports world. Most prominently it has been that of the professional Cleveland Cavaliers in the NBA since 1970 and it has also been adopted by smaller organizations such as Johnson County Community College, Kankakee Community College, St. Gregorys University, and the University of Virginias College at Wise. Cavaliers have been represented as a class and subclass of role-playing character since 1983 in Advanced Dungeons & Dragons, Cavalier Generals, King Charles I and His Commanders in the English Civil War, 1642–46. Going to the Wars, The Experience of the British Civil Wars 1638-1651, Chisholm, Hugh, ed. Goring, George Goring, Lord. Clarendon, Edward Hyde, 1st earl of, the history of the rebellion and civil wars in England. The History of England from the Invasion of Julius Caesar to the Revolution 1688, the Concise Encyclopedia of the Revolutions and Wars of England, Scotland, and Ireland, 1639-1660
Cavalier
–
Prince Rupert, often considered to be an archetypal Cavalier.
Cavalier
–
An engraving depicting
Charles I and his adherents.
Cavalier
–
Sir
Anthony van Dyck ca.1638, Lord John Stuart and his brother Lord Bernard. Both died fighting for the King.
Cavalier
–
Charles I in Three Positions, the triple portrait of Charles I by
Anthony van Dyck
15.
Oxford
–
Oxford is a city in the South East region of England and the county town of Oxfordshire. With an estimated 2015 population of 168,270, it is the 52nd largest city in the United Kingdom, the city is situated 57 miles from London,69 miles from Bristol,65 miles from both Southampton and Birmingham and 25 miles from Reading. The city is known worldwide as the home of the University of Oxford, buildings in Oxford demonstrate notable examples of every English architectural period since the late Saxon period. Oxford is known as the city of dreaming spires, a term coined by poet Matthew Arnold, Oxford has a broad economic base. Its industries include motor manufacturing, education, publishing and a number of information technology and science-based businesses. Oxford was first settled in Saxon times and was known as Oxenaforda, meaning Ford of the Oxen. It began with the establishment of a crossing for oxen around AD900. In the 10th century, Oxford became an important military frontier town between the kingdoms of Mercia and Wessex and was on several occasions raided by Danes, Oxford was heavily damaged during the Norman Invasion of 1066. Following the conquest, the town was assigned to a governor, Robert DOyly, the castle has never been used for military purposes and its remains survive to this day. DOyly set up a community in the castle consisting of a chapel. The community never grew large but it earned its place in history as one of Britains oldest places of formal education and it was there that in 1139 Geoffrey of Monmouth wrote his History of the Kings of Britain, a compilation of Arthurian legends. Mary at Oseney and to the canons serving God in that place and we have made this concession and confirmation in the Common council of the City and we have confirmed it with our common seal. These are those who have made this concession and confirmation, a grandson of King John established Rewley Abbey for the Cistercian Order, and friars of various orders all had houses of varying importance at Oxford. Parliaments were often held in the city during the 13th century, the Provisions of Oxford were instigated by a group of barons led by Simon de Montfort, these documents are often regarded as Englands first written constitution. Richard I of England and John, King of England the sons of Henry II of England, were born at Beaumont Palace in Oxford, on 8 September 1157 and 24 December 1166 respectively. A plaque in Beaumont Street commemorates these events, the University of Oxford is first mentioned in 12th century records. Of the hundreds of Aularian houses that sprang up across the city, what put an end to the halls was the emergence of colleges. Oxfords earliest colleges were University College, Balliol and Merton and these colleges were established at a time when Europeans were starting to translate the writings of Greek philosophers
Oxford
–
From top left to bottom right: Oxford skyline panorama from St Mary's Church; Radcliffe Camera; High Street from above looking east; University College; High Street by night; Natural History Museum and Pitt Rivers Museum.
Oxford
–
The
Radcliffe Camera, completed in 1748
Oxford
–
Royal proclamation granting Lord Mayoralty to Oxford.
Oxford
–
Photochrom of the High Street, 1890–1900
16.
Charles II of England
–
Charles II was king of England, Scotland and Ireland. He was king of Scotland from 1649 until his deposition in 1651, Charles IIs father, Charles I, was executed at Whitehall on 30 January 1649, at the climax of the English Civil War. Cromwell defeated Charles II at the Battle of Worcester on 3 September 1651, Cromwell became virtual dictator of England, Scotland and Ireland, and Charles spent the next nine years in exile in France, the Dutch Republic and the Spanish Netherlands. A political crisis followed the death of Cromwell in 1658 resulted in the restoration of the monarchy. On 29 May 1660, his 30th birthday, he was received in London to public acclaim, after 1660, all legal documents were dated as if he had succeeded his father as king in 1649. Charless English parliament enacted laws known as the Clarendon Code, designed to shore up the position of the re-established Church of England, Charles acquiesced to the Clarendon Code even though he favoured a policy of religious tolerance. The major foreign policy issue of his reign was the Second Anglo-Dutch War. In 1670, he entered into the treaty of Dover. Louis agreed to aid him in the Third Anglo-Dutch War and pay him a pension, Charles attempted to introduce religious freedom for Catholics and Protestant dissenters with his 1672 Royal Declaration of Indulgence, but the English Parliament forced him to withdraw it. In 1679, Titus Oatess revelations of a supposed Popish Plot sparked the Exclusion Crisis when it was revealed that Charless brother, the crisis saw the birth of the pro-exclusion Whig and anti-exclusion Tory parties. Charles sided with the Tories, and, following the discovery of the Rye House Plot to murder Charles and James in 1683, Charles dissolved the English Parliament in 1681, and ruled alone until his death on 6 February 1685. He was received into the Roman Catholic Church on his deathbed, Charless wife, Catherine of Braganza, bore no live children, but Charles acknowledged at least twelve illegitimate children by various mistresses. He was succeeded by his brother James, Charles II was born in St Jamess Palace on 29 May 1630. His parents were Charles I and Henrietta Maria, Charles was their second son and child. Their first son was born about a year before Charles but died within a day, England, Scotland and Ireland were respectively predominantly Anglican, Presbyterian and Roman Catholic. At birth, Charles automatically became Duke of Cornwall and Duke of Rothesay, at or around his eighth birthday, he was designated Prince of Wales, though he was never formally invested. During the 1640s, when Charles was still young, his father fought Parliamentary, by spring 1646, his father was losing the war, and Charles left England due to fears for his safety. Charles I surrendered into captivity in May 1646, at The Hague, Charles had a brief affair with Lucy Walter, who later falsely claimed that they had secretly married
Charles II of England
–
Charles II in the robes of the
Order of the Garter, by
John Michael Wright or studio, c. 1660–1665
Charles II of England
–
Charles II as an infant in 1630, painting attributed to
Justus van Egmont
Charles II of England
–
Portrait by
William Dobson, c. 1642 or 1643
Charles II of England
–
"The Scots Holding Their Young King's Nose To the Grindstone", from a satirical English pamphlet
17.
Prince of Wales
–
Prince of Wales was a title granted to princes born in Wales from the 12th century onwards, the term replaced the use of the word king. Since the 13th century, the title is granted to the apparent to the English or British monarch. The title is granted to the heir apparent as a personal honour or dignity. The title Earl of Chester is always given in conjunction with that of Prince of Wales, the Prince of Wales usually has other titles and honours. The wife of the Prince of Wales is entitled to the title Princess of Wales, Prince Charless first wife, Diana, used that title but his second wife, Camilla, uses only the title Duchess of Cornwall because the other title has become so popularly associated with Diana. The Prince of Wales is the heir apparent of the monarch of the United Kingdom, no formal public role or responsibility has been legislated by Parliament or otherwise delegated to him by law or custom, either as heir apparent or as Prince of Wales. He has also represented the Queen and the United Kingdom overseas at state, for most of the post-Roman period, Wales was divided into several smaller states. Before the Norman conquest of England, the most powerful Welsh ruler at any time was generally known as King of the Britons. In the 12th and 13th centuries, this evolved into Prince of Wales. In Latin, the new title was Princeps Walliae, and in Welsh it was Tywysog Cymru, the literal translation of Tywysog is leader. Only a handful of native princes had their claim to the overlordship of Wales recognised by the English Crown, the first known to have used such a title was Owain Gwynedd, adopting the title Prince of the Welsh around 1165 after earlier using rex Waliae. In 1240, the title was inherited by his son Dafydd ap Llywelyn. Instead he styled himself as Prince of Wales around 1244, the first Welsh prince to do so, in 1246, his nephew Llywelyn ap Gruffudd succeeded to the throne of Gwynedd, and used the style as early as 1258. In 1267, with the signing of the Treaty of Montgomery, three Welshmen, however, claimed the title of Prince of Wales after 1283. The first was Madog ap Llywelyn, a member of the house of Gwynedd and his revolt was suppressed, however, after the Battle of Maes Moydog in March 1295, and the prince was imprisoned in London. It is Owain Glyndŵr, however, whom many Welsh people regard as being the last native Prince, on 16 September 1400, he was proclaimed Prince of Wales by his supporters, and held parliaments at Harlech Castle and elsewhere during his revolt, which encompassed all of Wales. It was not until 1409 that his revolt in quest of Welsh independence was suppressed by Henry IV. However, the story may well be apocryphal, as it can only be traced to the 16th century, and, in the time of Edward I, the English aristocracy spoke Norman French, not English
Prince of Wales
–
Incumbent
HRH The Prince Charles since 26 July 1958
Prince of Wales
–
Prince of Wales
Prince of Wales
–
Edward of Caernarfon
Prince of Wales
–
Edward of Woodstock, the Black Prince
18.
Baroque
–
The style began around 1600 in Rome and Italy, and spread to most of Europe. The aristocracy viewed the dramatic style of Baroque art and architecture as a means of impressing visitors by projecting triumph, power, Baroque palaces are built around an entrance of courts, grand staircases, and reception rooms of sequentially increasing opulence. However, baroque has a resonance and application that extend beyond a reduction to either a style or period. It is also yields the Italian barocco and modern Spanish barroco, German Barock, Dutch Barok, others derive it from the mnemonic term Baroco, a supposedly laboured form of syllogism in logical Scholastica. The Latin root can be found in bis-roca, in informal usage, the word baroque can simply mean that something is elaborate, with many details, without reference to the Baroque styles of the 17th and 18th centuries. The word Baroque, like most periodic or stylistic designations, was invented by later critics rather than practitioners of the arts in the 17th, the term Baroque was initially used in a derogatory sense, to underline the excesses of its emphasis. In particular, the term was used to describe its eccentric redundancy and noisy abundance of details, although it was long thought that the word as a critical term was first applied to architecture, in fact it appears earlier in reference to music. Another hypothesis says that the word comes from precursors of the style, Giacomo Barozzi da Vignola and he did not make the distinctions between Mannerism and Baroque that modern writers do, and he ignored the later phase, the academic Baroque that lasted into the 18th century. Long despised, Baroque art and architecture became fashionable between the two World Wars, and has remained in critical favour. In painting the gradual rise in popular esteem of Caravaggio has been the best barometer of modern taste, William Watson describes a late phase of Shang-dynasty Chinese ritual bronzes of the 11th century BC as baroque. The term Baroque may still be used, usually pejoratively, describing works of art, craft, the appeal of Baroque style turned consciously from the witty, intellectual qualities of 16th-century Mannerist art to a visceral appeal aimed at the senses. It employed an iconography that was direct, simple, obvious, germinal ideas of the Baroque can also be found in the work of Michelangelo. Even more generalised parallels perceived by some experts in philosophy, prose style, see the Neapolitan palace of Caserta, a Baroque palace whose construction began in 1752. In paintings Baroque gestures are broader than Mannerist gestures, less ambiguous, less arcane and mysterious, more like the stage gestures of opera, Baroque poses depend on contrapposto, the tension within the figures that move the planes of shoulders and hips in counterdirections. Baroque is a style of unity imposed upon rich, heavy detail, Baroque style featured exaggerated lighting, intense emotions, release from restraint, and even a kind of artistic sensationalism. There were highly diverse strands of Italian baroque painting, from Caravaggio to Cortona, the most prominent Spanish painter of the Baroque was Diego Velázquez. The later Baroque style gradually gave way to a more decorative Rococo, while the Baroque nature of Rembrandts art is clear, the label is less often used for Vermeer and many other Dutch artists. Flemish Baroque painting shared a part in this trend, while continuing to produce the traditional categories
Baroque
–
The Triumph of the Immaculate by
Paolo de Matteis
Baroque
–
The Church of
Sant'Andrea al Quirinale, designed by
Gian Lorenzo Bernini
Baroque
–
Brooch of an African,
Walters Art Museum
Baroque
–
Aeneas Flees Burning Troy,
Federico Barocci, 1598
19.
James II of England
–
James II and VII was King of England and Ireland as James II and King of Scotland as James VII, from 6 February 1685 until he was deposed in the Glorious Revolution of 1688. He was the last Roman Catholic monarch of England, Scotland and Ireland, the second surviving son of Charles I, he ascended the throne upon the death of his brother, Charles II. Members of Britains Protestant political elite increasingly suspected him of being pro-French and pro-Catholic and he was replaced by his eldest, Protestant daughter Mary and her husband William of Orange. James made one attempt to recover his crowns from William. After the defeat of the Jacobite forces by the Williamites at the Battle of the Boyne in July 1690 and he lived out the rest of his life as a pretender at a court sponsored by his cousin and ally, King Louis XIV. James, the surviving son of King Charles I and his wife. Later that same year, he was baptised by William Laud and he was educated by private tutors, along with his brother, the future King Charles II, and the two sons of the Duke of Buckingham, George and Francis Villiers. At the age of three, James was appointed Lord High Admiral, the position was honorary, but would become a substantive office after the Restoration. He was designated Duke of York at birth, invested with the Order of the Garter in 1642, as the Kings disputes with the English Parliament grew into the English Civil War, James stayed in Oxford, a Royalist stronghold. When the city surrendered after the siege of Oxford in 1646, in 1648, he escaped from the Palace, aided by Joseph Bampfield, and from there he went to The Hague in disguise. When Charles I was executed by the rebels in 1649, monarchists proclaimed Jamess older brother as Charles II of England, Charles II was recognised as king by the Parliament of Scotland and the Parliament of Ireland, and was crowned King of Scotland at Scone in 1651. Although he was proclaimed King in Jersey, Charles was unable to secure the crown of England and consequently fled to France, like his brother, James sought refuge in France, serving in the French army under Turenne against the Fronde, and later against their Spanish allies. In the French army James had his first true experience of battle where, according to one observer, he ventures himself, in the meantime, Charles was attempting to reclaim his throne, but France, although hosting the exiles, had allied itself with Oliver Cromwell. In 1656, Charles turned instead to Spain – an enemy of France – for support, in consequence, James was expelled from France and forced to leave Turennes army. James quarrelled with his brother over the choice of Spain over France. In 1659, the French and Spanish made peace, James, doubtful of his brothers chances of regaining the throne, considered taking a Spanish offer to be an admiral in their navy. Ultimately, he declined the position, by the year the situation in England had changed. After Richard Cromwells resignation as Lord Protector in 1659 and the subsequent collapse of the Commonwealth in 1660, although James was the heir presumptive, it seemed unlikely that he would inherit the Crown, as Charles was still a young man capable of fathering children
James II of England
–
Portrait by
Sir Godfrey Kneller, 1684
James II of England
–
Turenne, James's commander in France
James II of England
–
James and Anne Hyde in the 1660s, by Sir
Peter Lely
James II of England
–
Mary of Modena, James's second wife
20.
Prince Rupert of the Rhine
–
Rupert was a younger son of the German prince Frederick V, Elector Palatine and his wife Elizabeth, the eldest daughter of James I of England. Thus Rupert was the nephew of King Charles I of England, who made him Duke of Cumberland and Earl of Holderness, and his sister Electress Sophia was the mother of George I of Great Britain. Prince Rupert had a varied career and he was a soldier from a young age, fighting against Spain in the Netherlands during the Eighty Years War, and against the Holy Roman Emperor in Germany during the Thirty Years War. Aged 23, he was appointed commander of the Royalist cavalry during the English Civil War, becoming the archetypal Cavalier of the war and he surrendered after the fall of Bristol and was banished from England. He served under Louis XIV of France against Spain, and then as a Royalist privateer in the Caribbean, Rupert died in England in 1682, aged 62. Rupert is considered to have been a quick-thinking and energetic cavalry general, in the Interregnum, Rupert continued the conflict against Parliament by sea from the Mediterranean to the Caribbean, showing considerable persistence in the face of adversity. As the head of the Royal Navy in his years, he showed greater maturity and made impressive and long-lasting contributions to the Royal Navys doctrine. As a colonial governor, Rupert shaped the geography of modern Canada—Ruperts Land was named in his honour. He also played a role in the early African slave trade, Ruperts varied and numerous scientific and administrative interests combined with his considerable artistic skills made him one of the more colourful individuals of the Restoration period. Rupert was born in Prague in 1619, at the start of the Thirty Years War, to Frederick V, Elector Palatine, and Elizabeth Stuart and he was given his name in honour of King Rupert of Germany, a famous Wittelsbach ancestor. Ruperts father was a member of the Holy Roman Empire. This support was not forthcoming, resulting in a defeat at the hands of his Catholic enemies at the Battle of White Mountain in 1620. Ruperts parents were mockingly termed the Winter King and Queen as a consequence of their reigns in Bohemia having lasted only a single season. Rupert was almost left behind in the rush to escape Ferdinands advance on Prague, until Kryštof z Donína. Rupert accompanied his parents to The Hague, where he spent his years at the Hof te Wassenaer. Ruperts mother paid her children little attention even by the standards of the day, apparently preferring her pet monkeys, the result was a strict school routine including logic, mathematics, writing, drawing, singing and playing instruments. As a child, Rupert was at times badly behaved, fiery, mischievous, nonetheless, Rupert proved to be an able student. By the age of three he could speak some English, Czech and French, and mastered German while still young and he excelled in art, being taught by Gerard van Honthorst, and found the maths and sciences easy
Prince Rupert of the Rhine
–
Prince Rupert portrayed in Roman garb
Prince Rupert of the Rhine
–
Charles I Louis, Elector Palatine (left), and Rupert (right), in a 1637 portrait by
Anthony van Dyck
Prince Rupert of the Rhine
–
Rupert as a young man visiting his uncle,
King Charles I 's court in England, by Anthony van Dyck
Prince Rupert of the Rhine
–
Charles I holding a
council of war at
Edgecote on the day before the
Battle of Edgehill; Rupert, who would command the King's
cavalry during the battle, is seated at the table
21.
Prince Maurice von Simmern
–
He accompanied his elder brother, Prince Rupert of the Rhine, to take the part of their uncle Charles I in the English Civil War in 1642. He served under Rupert with the cavalry at the Battle of Powick Bridge, where he was wounded, and he took command of the army in Cornwall and campaigned in the southwest for the remainder of the year. In April 1644, he besieged Lyme Regis, but was forced to give up the siege in June and he fought as a subordinate at the Battle of Lostwithiel and the Second Battle of Newbury, and under Rupert at the Battle of Naseby. He attempted to defend Ruperts surrender of Bristol in 1645 to Charles, while unsuccessful, he did not share in Ruperts disgrace. Banished with Rupert in October 1646, he served with the French army in Flanders and he was created a Knight of the Garter in exile in 1649. In 1652, while sailing for the West Indies, specifically near the Virgin Islands, he was caught in a hurricane and went down with his flagship, HMS Defiance. He is a character in Lawrence Norfolks historical novel John Saturnalls Feast. English Civil War Prince Rupert of the Rhine English Civil War
Prince Maurice von Simmern
–
Prince Maurice von Simmern by unknown painter.
22.
Impasto
–
Impasto is a technique used in painting, where paint is laid on an area of the surface very thickly, usually thick enough that the brush or painting-knife strokes are visible. Paint can also be mixed right on the canvas, when dry, impasto provides texture, the paint appears to be coming out of the canvas. The word impasto is Italian in origin, in that language it means dough or mixture, Italian usage of impasto includes both a painting and a potting technique. According to Websters New World College Dictionary, the noun of impasto is pasta. Oil paint is the medium for impasto painting, due to its thickness. Acrylic paint can also be used for impasto by adding heavy body acrylic gels, Impasto is generally not possible in watercolour or tempera without the addition of thickening agent due to the inherent thinness of these media. An artist working in pastels can produce a limited impasto effect by pressing a soft pastel firmly against the paper, first, it makes the light reflect in a particular way, giving the artist additional control over the play of light on the painting. Second, it can add expressiveness to the painting, the viewer being able to notice the strength, third, impasto can push a painting into a three-dimensional sculptural rendering. The first objective was originally sought by such as Rembrandt, Titian. Much later, the French Impressionists created entire canvases of rich impasto textures, vincent van Gogh used it frequently for aesthetics and expression. Still more recently, Frank Auerbach has used such heavy impasto that some of his paintings become almost three-dimensional, because impasto gives texture to the painting, it can be opposed to flat, smooth, or blending techniques. Selected examples of paintings which make use of the impasto technique Media related to Impasto at Wikimedia Commons Lindberg. Alfred Currier, Impasto National Portrait Gallery, London
Impasto
–
Still Life: Vase with Pink Roses is an oil painting on canvas completed by
Vincent van Gogh in 1890, which makes extensive use of the impasto technique.
Impasto
–
Crags and Crevices by
Jane Frank (1960). As with many
abstract expressionist works (and many so-called "
action paintings " as well), impasto is a prominent feature.
Impasto
–
Taos Mountain, Trail Home by
Cordelia Wilson (1920). An early 20th century landscape entirely executed with a bold impasto technique.
Impasto
–
Vsevolod Bazhenov, 1953, Altai Mountains
23.
Roundhead
–
Roundhead was the name given to the supporters of the Parliament of England during the English Civil War. Also known as Parliamentarians, they fought against Charles I of England and his supporters, the Cavaliers or Royalists, who claimed rule by absolute monarchy, the goal of the Roundhead party was to give the Parliament supreme control over executive administration. Most Roundheads sought constitutional monarchy in place of the absolutist monarchy sought by Charles I, englands many Puritans and Presbyterians were almost invariably Roundhead supporters, as were many smaller religious groups such as the Independents. However many Roundheads were Church of England, as were many Cavaliers, Roundhead political factions included the proto-anarchist Diggers, the diverse group known as the Levellers and the apocalyptic Christian movement of the Fifth Monarchists. Some Puritans, but by no means all, wore their hair closely cropped round the head or flat, during the war and for a time afterwards, Roundhead was a term of derision—in the New Model Army it was a punishable offence to call a fellow soldier a Roundhead. This contrasted with the term Cavalier to describe supporters of the Royalist cause, Roundheads appears to have been first used as a term of derision toward the end of 1641, when the debates in Parliament in the Clergy Act 1640 were causing riots at Westminster. The demonstrators included London apprentices and Roundhead was a term of derision for them because the regulations to which they had agreed included a provision for closely cropped hair. However, Richard Baxter ascribes the origin of the term to a made by Queen Henrietta Maria of France at the trial of Thomas Wentworth, 1st Earl of Strafford. Referring to John Pym, she asked who the man was. The principal advisor to Charles II, Edward Hyde, 1st Earl of Clarendon, remarked on the matter and they who were looked upon as servants to the king being then called Cavaliers, and the other of the rabble contemned and despised under the name of Roundheads. By the end of this period some Independent Puritans were again using the term Roundhead to refer to the Presbyterian Puritans. Likewise during the Exclusion Bill crisis, the term Cavalier was replaced with Tory, an Irish term introduced by their opponents, the History of England from the Accession of James II. Historical Memorials Relating to the Independents Or Congregationalists, From Their Rise to the Restoration of the Monarchy, religious Thought in England, from the Reformation to the End of Last Century, A Contribution to the History of Theology. Heavy Words Lightly Thrown, The Reason Behind Rhyme, attribution This article incorporates text from a publication now in the public domain, Anonymous
Roundhead
–
A Roundhead by
John Pettie
Roundhead
–
A Roundhead inquisitor asks a son of a Cavalier, "
And when did you last see your father? " —
William Frederick Yeames (1878).
24.
William Hogarth
–
William Hogarth FRSA was an English painter, printmaker, pictorial satirist, social critic, and editorial cartoonist who has been credited with pioneering western sequential art. His work ranged from realistic portraiture to comic series of pictures called modern moral subjects. Knowledge of his work is so pervasive that satirical political illustrations in this style are referred to as Hogarthian. William Hogarth was born at Bartholomew Close in London to Richard Hogarth, a poor Latin school teacher and textbook writer, in his youth he was apprenticed to the engraver Ellis Gamble in Leicester Fields, where he learned to engrave trade cards and similar products. Young Hogarth also took a lively interest in the life of the metropolis and the London fairs. Around the same time, his father, who had opened an unsuccessful Latin-speaking coffee house at St Johns Gate, was imprisoned for debt in Fleet Prison for five years, Hogarth never spoke of his fathers imprisonment. Hogarth became a member of the Rose and Crown Club, with Peter Tillemans, George Vertue, Michael Dahl, by April 1720, Hogarth was an engraver in his own right, at first engraving coats of arms, shop bills, and designing plates for booksellers. In 1727, he was hired by Joshua Morris, a tapestry worker, Morris heard that he was an engraver, and no painter, and consequently declined the work when completed. Hogarth accordingly sued him for the money in the Westminster Court, in 1757 he was appointed Serjeant Painter to the King. In the bottom corner, he shows Protestant, Catholic, and Jewish figures gambling, while in the middle there is a huge machine, like a merry-go-round. At the top is a goat, written below which is Whol Ride, Other early works include The Lottery, The Mystery of Masonry brought to Light by the Gormogons, A Just View of the British Stage, some book illustrations, and the small print Masquerades and Operas. He continued that theme in 1727, with the Large Masquerade Ticket, in 1726 Hogarth prepared twelve large engravings for Samuel Butlers Hudibras. These he himself valued highly, and they are among his best book illustrations, in the following years he turned his attention to the production of small conversation pieces. One of his real low-life and real-life subjects was Sarah Malcolm who he sketched two days before her execution and he might also have printed Burlington Gate, evoked by Alexander Popes Epistle to Lord Burlington, and defending Lord Chandos, who is therein satirized. This print gave great offence, and was suppressed, however, modern authorities such as Ronald Paulson no longer attribute it to Hogarth. In 1731 Hogarth completed the earliest of his series of moral works, the collection of six scenes was entitled A Harlots Progress and appeared first as paintings before being published as engravings. The inaugural series was a success and was followed in 1735 by the sequel A Rakes Progress. The original paintings of A Harlots Progress were destroyed in the fire at Fonthill House in 1755, while A Rakes Progress is displayed in the room at Sir John Soanes Museum, London
William Hogarth
–
William Hogarth,
Painter and his Pug, 1745
William Hogarth
–
William Hogarth by
Roubiliac, 1741, National Portrait Gallery, London
William Hogarth
–
The Assembly at
Wanstead House.
Earl Tylney and family in foreground
William Hogarth
–
Self-Portrait by Hogarth, ca. 1735,
Yale Center for British Art.
25.
Waldemar Januszczak
–
Waldemar Januszczak is a British art critic and television documentary producer and presenter. Formerly the art critic of The Guardian, he took the role at The Sunday Times in 1992. Januszczak was born in Basingstoke, Hampshire, to Polish refugees who had arrived in England after the Second World War. His father, a policeman in Sanok, whose job had included exposing Communists, found work as a carriage cleaner and died, aged 57. His widow, then aged 33, found work as a dairymaid and this all happened when Waldemar was one year old. The young Januszczak attended Divine Mercy College, a school for the children of Polish refugees which the Congregation of Marian Fathers had set up at Fawley Court, Henley-on-Thames. After studying history of art at the University of Manchester, Januszczak became an art critic –, in 1990 he was appointed head of arts at the UKs Channel 4 television and in 1992 he became art critic for The Sunday Times. He has been voted Critic of the Year twice by the Press Association, Januszczak has been described as a passionate art lover, art critic and writer. His presentation style is casual but informed, enthusiastic, evocative and he bumbles about on our TV screens, doing for art what David Attenborough has done for the natural world, and someone who acts out of a refusal to present art as elitist in any way. He makes it accessible and understandable. In 1997, he took part in a Channel 4 discussion called The Death of Painting, the programme was made famous when an apparently drunk Tracey Emin swore at the other participants and left after ten minutes. Later that year he took part in a Christmas special critics edition of the quiz show University Challenge. Even Whistlers renowned mother manages here to underwhelm, he complained, the band had never existed outside Shovlins fiction. Januszczak replied that Shovlin should be applauded for his capacity to remind us of the place of the artist in todays society as he made clear that Reality simply cannot be trusted any more. In October 2008, Januszczak co-curated a show at the British Museum called Statuephilia, the show was inspired during his creation of the series The Sculpture Diaries, a three-part series on sculpture around the world, which was first aired on 31 August 2008 on Channel 4. Waldemar Januszczak has made appearances on television, on which medium he has presented programmes on the history of art. He has also made appearances on such as The Culture Show. Beginning on 27 November 2012, he presented a four-part series The Dark Ages, An Age of Light about the art, Januszczak has been making films since 1997 with his production company ZCZ Films
Waldemar Januszczak
–
Waldemar Januszczak
26.
National Gallery
–
The National Gallery is an art museum in Trafalgar Square in the City of Westminster, in Central London. Founded in 1824, it houses a collection of over 2,300 paintings dating from the century to 1900. The Gallery is a charity, and a non-departmental public body of the Department for Culture, Media. Its collection belongs to the public of the United Kingdom and entry to the collection is free of charge. It is among the most visited art museums in the world, after the Musée du Louvre, the British Museum, unlike comparable museums in continental Europe, the National Gallery was not formed by nationalising an existing royal or princely art collection. It came into being when the British government bought 38 paintings from the heirs of John Julius Angerstein, after that initial purchase the Gallery was shaped mainly by its early directors, notably Sir Charles Lock Eastlake, and by private donations, which comprise two-thirds of the collection. It used to be claimed that this was one of the few national galleries that had all its works on permanent exhibition, the present building, the third to house the National Gallery, was designed by William Wilkins from 1832 to 1838. Only the façade onto Trafalgar Square remains essentially unchanged from this time, wilkinss building was often criticised for the perceived weaknesses of its design and for its lack of space, the latter problem led to the establishment of the Tate Gallery for British art in 1897. The Sainsbury Wing, an extension to the west by Robert Venturi, the current Director of the National Gallery is Gabriele Finaldi. The late 18th century saw the nationalisation of royal or princely art collections across mainland Europe, great Britain, however, did not emulate the continental model, and the British Royal Collection remains in the sovereigns possession today. In 1777 the British government had the opportunity to buy an art collection of international stature, the MP John Wilkes argued for the government to buy this invaluable treasure and suggested that it be housed in a noble gallery. The twenty-five paintings from that now in the Gallery, including NG1, have arrived by a variety of routes. This offer was declined and Bourgeois bequeathed the collection to his old school, Dulwich College, the collection opened in Britains first purpose-built public gallery, the Dulwich Picture Gallery, in 1814. The British Institution, founded in 1805 by a group of aristocratic connoisseurs, the members lent works to exhibitions that changed annually, while an art school was held in the summer months. However, as the paintings that were lent were often mediocre, some resented the Institution. One of the Institutions founding members, Sir George Beaumont, Bt, in 1823 another major art collection came on the market, which had been assembled by the recently deceased John Julius Angerstein. Angerstein was a Russian-born émigré banker based in London, his collection numbered 38 paintings, including works by Raphael, on 1 July 1823 George Agar Ellis, a Whig politician, proposed to the House of Commons that it purchase the collection. The appeal was given added impetus by Beaumonts offer, which came with two conditions, that the government buy Angersteins collection, and that a building was to be found
National Gallery
National Gallery
–
The Raising of Lazarus by
Sebastiano del Piombo, from the collection of
John Julius Angerstein. This became the founding collection of the National Gallery in 1824. The painting has the
accession number NG1, making it officially the first painting to enter the Gallery.
National Gallery
–
100
Pall Mall, the home of the National Gallery from 1824 to 1834.
National Gallery
–
The Baptism of Christ by
Piero della Francesca, one of Eastlake's purchases.
27.
National Gallery of Scotland
–
The Scottish National Gallery is the national art gallery of Scotland. It is located on The Mound in central Edinburgh, in a building designed by William Henry Playfair. The gallery houses the Scottish national collection of art, including Scottish. The origins of Scotlands national collection lie with the Royal Institution for the Encouragement of the Fine Arts in Scotland and it began to acquire paintings, and in 1828 the Royal Institution building opened on The Mound. In 1826, the Scottish Academy was founded by a group of artists as an offshoot of the Royal Institution, a key aim of the RSA was the founding of a national collection. It began to build up a collection and from 1835 rented exhibition space within the Royal Institution building, in the 1840s, plans were put in place for a new building to house the RSA. William Henry Playfair was commissioned to prepare designs, and on 30 August 1850, in 1912 the RSA moved into the Royal Institution building, which remains known as the Royal Scottish Academy Building. At this time, internal remodelling was carried out by William Thomas Oldrieve, when it re-opened, the gallery concentrated on building its permanent collection of Scottish and European art for the nation of Scotland Additional basement galleries were constructed in 1970. Construction took five years and cost £32 million, the new underground space was opened as the Weston Link in August 2004. The Print Room or Research Library can be accessed by appointment, at the heart of the National Gallerys collection is a group of paintings transferred from the Royal Scottish Academy Building. This includes masterpieces by Jacopo Bassano, Van Dyck and Giambattista Tiepolo, the National Gallery did not receive its own purchase grant until 1903
National Gallery of Scotland
–
Scottish National Gallery viewed from the south in front of the
Royal Scottish Academy and
Princes Street
National Gallery of Scotland
–
Scottish National Gallery, viewed from the north
National Gallery of Scotland
–
The lower entrance of the Scottish National Gallery in Princes Street Gardens
National Gallery of Scotland
–
"Montagne Sainte-Victoire" by
Paul Cézanne (1839–1906)
28.
Tate Britain
–
Tate Britain is an art museum on Millbank in the City of Westminster in London. It is part of the Tate network of galleries in England, with Tate Modern, Tate Liverpool and it is the oldest gallery in the network, having opened in 1897. It is one of the largest museums in the country, the gallery is situated on Millbank, on the site of the former Millbank Prison. Construction, undertaken by Higgs and Hill, commenced in 1893, however, from the start it was commonly known as the Tate Gallery, after its founder Sir Henry Tate, and in 1932 it officially adopted that name. As a consequence, it was renamed Tate Britain in March 2000, the front part of the building was designed by Sidney R. J. Smith with a classical portico and dome behind, and the central sculpture gallery was designed by John Russell Pope. Tate Britain includes the Clore Gallery of 1987, designed by James Stirling, crises during its existence include flood damage to work from the River Thames, and bomb damage during World War II. However, most of the collection was in storage elsewhere during the war. In 1970, the building was given Grade II* listed status, the museum stayed open throughout the three phases of renovation. Completed in 2013, the newly designed sections were conceived by the architects Caruso St John and included a total of nine new galleries, with reinforced flooring to accommodate heavy sculptures. A second part was unveiled later that year, the centrepiece being the reopening of the buildings Thames-facing entrance as well as a new spiral staircase beneath its rotunda, the circular balcony of the rotundas domed atrium, closed to visitors since the 1920s, was reopened. The gallery also now has a dedicated entrance and reception beneath its entrance steps on Millbank. The front entrance is accessible by steps, a side entrance at a lower level has a ramp for wheelchair access. The gallery provides a restaurant and a café, as well as a Friends room and this membership is open to the public on payment of an annual subscription. As well as offices the building complex houses the Prints and Drawings Rooms, as well as the Library. The restaurant features a mural by Rex Whistler, Tate Britain and Tate Modern are now connected by a high speed boat along the River Thames, which runs from Millbank Millennium Pier immediately outside Tate Britain. The boat is decorated with spots, based on paintings of similar appearance by Damien Hirst, the lighting artwork incorporated in the piers structure is by Angela Bulloch. The main display spaces show the permanent collection of historic British art, the gallery also organises career retrospectives of British artists and temporary major exhibitions of British Art. Every three years the gallery stages a Triennial exhibition in which a guest curator provides an overview of contemporary British Art, the 2003 Tate Triennial was called Days Like These
Tate Britain
–
Tate Britain
Tate Britain
–
James Stirling: The Clore Gallery housing works by
J. M. W. Turner
Tate Britain
–
Millbank Millennium Pier outside Tate Britain, which is linked by a high-speed boat to Tate Modern.
Tate Britain
29.
National Portrait Gallery (London)
–
The National Portrait Gallery is an art gallery in London housing a collection of portraits of historically important and famous British people. It was the first portrait gallery in the world when it opened in 1856, the gallery moved in 1896 to its current site at St Martins Place, off Trafalgar Square, and adjoining the National Gallery. It has been expanded twice since then, the National Portrait Gallery also has regional outposts at Beningbrough Hall in Yorkshire and Montacute House in Somerset. It is unconnected to the Scottish National Portrait Gallery in Edinburgh, the gallery is a non-departmental public body sponsored by the Department for Culture, Media and Sport. The gallery houses portraits of important and famous British people, selected on the basis of the significance of the sitter. The collection includes photographs and caricatures as well as paintings, drawings, one of its best-known images is the Chandos portrait, the most famous portrait of William Shakespeare although there is some uncertainty about whether the painting actually is of the playwright. Not all of the portraits are exceptional artistically, although there are self-portraits by William Hogarth, Sir Joshua Reynolds, some, such as the group portrait of the participants in the Somerset House Conference of 1604, are important historical documents in their own right. Portraits of living figures were allowed from 1969, the three people largely responsible for the founding of the National Portrait Gallery are commemorated with busts over the main entrance. At centre is Philip Henry Stanhope, 5th Earl Stanhope, with his supporters on either side, Thomas Babington Macaulay, 1st Baron Macaulay and it was Stanhope who, in 1846 as a Member of Parliament, first proposed the idea of a National Portrait Gallery. It was not until his attempt, in 1856, this time from the House of Lords. With Queen Victorias approval, the House of Commons set aside a sum of £2000 to establish the gallery, as well as Stanhope and Macaulay, the founder Trustees included Benjamin Disraeli and Lord Ellesmere. It was the latter who donated the Chandos portrait to the nation as the gallerys first portrait, Carlyle became a trustee after the death of Ellesmere in 1857. For the first 40 years, the gallery was housed in locations in London. The first 13 years were spent at 29 Great George Street, there, the collection increased in size from 57 to 208 items, and the number of visitors from 5,300 to 34,500. In 1869, the moved to Exhibition Road and buildings managed by the Royal Horticultural Society. Following a fire in buildings, the collection was moved in 1885. This location was unsuitable due to its distance from the West End, condensation. Following calls for a new location to be found, the government accepted an offer of funds from the philanthropist William Henry Alexander, Alexander donated £60,000 followed by another £20,000, and also chose the architect, Ewan Christian
National Portrait Gallery (London)
–
Entrance to the National Portrait Gallery
National Portrait Gallery (London)
–
The
Chandos portrait of
William Shakespeare, the first painting to enter the NPG's collection
National Portrait Gallery (London)
–
Inside the National Portrait Gallery
30.
National Maritime Museum
–
The National Maritime Museum in Greenwich, London, is the leading maritime museum of the United Kingdom and may be the largest museum of its kind in the world. The historic buildings form part of the Maritime Greenwich World Heritage Site, the museum is a non-departmental public body sponsored by the Department for Culture, Media and Sport. Like other publicly funded museums in the United Kingdom, the National Maritime Museum does not levy an admission charge. The Museum was created by the National Maritime Act of 1934 Chapter 43, under a Board of Trustees and it is based on the generous donations of Sir James Caird. King George VI formally opened the Museum on 27 April 1937 when his daughter Princess Elizabeth, the first Director was Sir Geoffrey Callender. Since earliest times Greenwich has had associations with the sea and navigation and it was a landing place for the Romans, Henry VIII lived here, the navy has roots on the waterfront, and Charles II founded the Royal Observatory in 1675 for finding the longitude of places. An active loans programme ensures that items from the collection are seen in the UK, through its displays, exhibitions and outreach programmes the Museum also explores our current relationship with the sea and the future of the sea as an environmental force and resource. The museum plays host to exhibitions, including Ships Clocks & Stars in 2014, Samuel Pepys, Plague, Fire, Revolution in 2015 and Emma Hamilton, Seduction. The collection of the National Maritime Museum also includes items taken from the German Naval Academy Mürwik after World War II, including several ship models, the museum has been criticized for possessing what has been described as Looted art. The Museum regards these cultural objects as war trophies, removed under the provisions of the Potsdam Conference, the Museum awards the Caird Medal annually in honour of its major donor, Sir James Caird. The Caird Library is a comprehensive specialist reference library and a research resource for all. The reading room is open Monday to Friday,10. 00–16.45, the Archive and Library holds a fantastic range of resources for finding out more about maritime history. Material includes manuscripts, books, charts and maps dating back to the 15th century, the collection can be used to research maritime history and exploration, the history of the Merchant Navy and the Royal Navy and much more, including astronomy and timekeeping. Many of the resources they hold are useful for family historians, including collections of Master’s Certificates dating back to 1845. For news and interesting items from the collection, see Caird Library blog To request items to view in the Library, search Archive catalogue and Library catalogue. The Library has produced a range of guides to help people carry out their own research on a wide range of topics. The guides provide information about the Museums collections and other sources for research into maritime history, find out more about the research guides at Research Guides. The museum was established in 1934 within the 200 acres of Greenwich Royal Park in the buildings formerly occupied by the Royal Hospital School
National Maritime Museum
–
National Maritime Museum
National Maritime Museum
–
Portrait of Captain
James Cook by
Nathaniel Dance at the National Maritime Museum.
National Maritime Museum
–
The
Bretagne, painting by
Jules Achille Noël, 1859, at the National Maritime Museum
National Maritime Museum
–
Admiral
George Keith Elphinstone, 1st Viscount Keith by George Sanders.
31.
Walker Art Gallery
–
The Walker Art Gallery is an art gallery in Liverpool, which houses one of the largest art collections in England, outside London. In 1843, the Royal Institution’s collection was displayed in a gallery next to the Institution’s main premises. In 1850 negotiations by an association of citizens to take over the Institution’s collection, for display in an art gallery, library and museum. The competition between the Academy and Society eventually led to both collapsing, the success of the exhibition enabled the Library, Museum and Arts Committee to purchase works for the council’s permanent collection, buying around 150 works between 1871 and 1910. Works acquired included WF Yeames’ And when did you last see your father, designed by local architects Cornelius Sherlock and H. H. Vale, the Walker Art Gallery was opened on 6 September 1877 by Edward Henry Stanley, 15th Earl of Derby. In 1893, the Liverpool Royal Institution placed its collection on loan to the gallery and in 1948 presented William Roscoes collection. This occurred during post-war reconstruction when the gallery was closed, re-opening in 1951, during the Second World War the gallery was taken over by the Ministry of Food and the collection was dispersed for safety. Extensions to the gallery were opened in 1884 and 1933 when the gallery re-opened with an exhibition including Picasso, in 2002 the gallery re-opened following a major refurbishment. In 1986, the gallery achieved national status, as part of the National Museums, the select collection of minor or decorative arts covers a wide range, from Gothic ivories to British ceramics up to the present day. The first John Moores Contemporary Painting Prize exhibition was held in 1957, sponsored by Sir John Moores, founder of Littlewoods, the competition has been held every two years ever since and is the biggest painting prize in the UK. There is a programme of temporary exhibitions which in 2009-10 has included Aubrey Williams, Bridget Riley, Sickert. In 2004, the gallery staged The Stuckists Punk Victorian, the first national exhibition of the Stuckist art movement. The Gallery also takes part in the Liverpool Biennial, the gallery is located on William Brown Street in a neo-Classical building. The neighbouring area includes the William Brown Library, World Museum Liverpool, St. Georges Hall, Wellingtons Column, Lime Street Station, the other major art gallery in Liverpool is Tate Liverpool, at the Albert Dock, which houses modern art. On 17 December 2011, the Walker Art Gallery got a new addition to its collection - a statue of a priest vandalised by Banksy, the renowned graffiti artist has sawn off the face of an 18th-century replica stone bust and glued on a selection of bathroom tiles. The resulting pixellated portrait is entitled Cardinal Sin and is believed to be a comment on the scandal in the Church. This piece of art is displayed in Room three, which is one of the 17th-century Old Master galleries, architecture of Liverpool Liverpool Biennial The Stuckists Punk Victorian Collection Website for The Walker Art Gallery, Liverpool
Walker Art Gallery
–
Walker Art Gallery
Walker Art Gallery
–
Arthur Devis - Mr and Mrs Atherton
Walker Art Gallery
–
Martin Archer Shee -
William Roscoe 's collection was the first founding collection of the gallery
Walker Art Gallery
–
Bust of Alexander the Great
32.
Ferens Art Gallery
–
The Ferens Art Gallery is an art gallery in the English city of Kingston upon Hull. The site and money for the gallery were donated to the city by Thomas Ferens, the architects were S. N. Cooke and E. C. Opened in 1927, it was restored and extended in 1991, the gallery features an extensive array of both permanent collections and roving exhibitions. Among the exhibits is a portrait of a woman by Frans Hals. The building also houses a gallery and a popular cafe. The building is now a Grade II listed building, in 2009, an exhibition and live performance took place at the venue, to help celebrate the 25th anniversary of the opening of The New Adelphi Club, a live music venue less than 2 miles north. In 2013, the gallery acquired a painting by Pietro Lorenzetti, depicting Christ Between Saints Paul. The acquisition was funded by the Ferens Endowment Fund, the Heritage Lottery Fund. In May 2015, it was announced that the gallery would get a £4.5 million makeover to enable it to host the Turner Prize in 2017 as part of the UK City of Culture programme, the gallery reopened on 13 January 2017. On 8 February 2017 the Prince of Wales and Duchess of Cornwall visited to gallery to view the completed refurbishment, media related to Ferens Art Gallery at Wikimedia Commons Ferens Art Gallery Historic England
Ferens Art Gallery
–
Ferens Art Gallery
Ferens Art Gallery
–
Frans Hals, Portrait of a Woman (between 1655 and 1660)
Ferens Art Gallery
–
Charles Edward Perugini, A Summer Shower, c. 1888
Ferens Art Gallery
–
Herbert James Draper,
Ulysses and the Sirens, c. 1909
33.
Courtauld Institute of Art
–
The Courtauld Institute of Art, commonly referred to as The Courtauld, is a self-governing college of the University of London specialising in the study of the history of art and conservation. It is among the most prestigious institutions in the world for these disciplines and is known for the disproportionate number of directors of major museums drawn from its small body of alumni. The art collection of the Institute is known particularly for its French Impressionist and Post-Impressionist paintings and is housed in the Courtauld Gallery, the Institute and the Gallery are both in Somerset House, in the Strand in London. Originally the Courtauld Institute was based in Home House, a Robert Adam-designed townhouse in Londons Portman Square, the Strand block of Somerset House, designed by William Chambers from 1775–1780, has housed the Courtauld Institute since 1989. The Courtauld celebrated its 75th anniversary during the 2007–08 academic year, the Courtauld Institute of Art is the major centre for the study of the history and conservation of art and architecture in the United Kingdom. It offers undergraduate and postgraduate teaching to around 400 students each year, degrees are awarded by the University of London. The Independent has called it probably the most prestigious specialist college for the study of the history of art in the world, the Courtauld was ranked, again, first in the United Kingdom for History and History of Art in The Guardian’s 2017 University Guide. The only undergraduate course offered by the Courtauld is a BA in the History of Art and this is a full-time course designed to introduce students to all aspects of the study of western art. Students in the history of art masters programme have to choose a specialisation ranging from antiquity to modern to global contemporary artwork. Special options are taught in class sizes of 5–10 students. In 2009, it was decided that the Witt Library would not continue to add new material to the collection, the book library is one of the UKs largest archives of art history books, periodicals and exhibition catalogues. There is a library which also covers films, and an IT suite. Two other websites and sell high resolution digital files to scholars, publishers and broadcasters, the Courtauld uses a virtual learning environment to deliver course material to its students. Since 2004, the Courtauld has published a research journal, immediations. Each cover of the journal has been commissioned by a contemporary artist. The art collection of the Institute is housed in the Courtauld Gallery, the collection was begun by the founder of the Institute, Samuel Courtauld, who presented an extensive collection of mainly French Impressionist and Post-Impressionist paintings in 1932. It was enhanced by further gifts in the 1930s and a bequest in 1948, the Gallery contains some 530 paintings and over 26,000 drawings and prints. The Courtauld Gallery is open to the public, since 1989 it has been housed in the Strand block of Somerset House, which was the first home of the Royal Academy, founded in 1768
Courtauld Institute of Art
–
This article needs additional citations for
verification. Please help improve this article by
adding citations to reliable sources. Unsourced material may be challenged and removed. (August 2015)
Courtauld Institute of Art
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A Bar at the Folies-Bergère (1882) by
Édouard Manet
Courtauld Institute of Art
–
Colleges and
institutions
34.
Dulwich Picture Gallery
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Dulwich Picture Gallery is an art gallery in Dulwich, South London. The gallery, designed by Regency architect Sir John Soane using an innovative and influential method of illumination and it is the oldest public art gallery in England and was made an independent charitable trust in 1994. Until this time the gallery was part of Alleyns College of Gods Gift, Edward Alleyn was an actor who became an entrepreneur in Elizabethan theatre. His commercial interests in the Rose and Fortune Theatres, gave him sufficient wealth to acquire the Manor of Dulwich in 1605 and he founded a college at Dulwich, the College of Gods Gift, and endowed it with his estate. It was a school for boys and next to it were almshouses for the local poor, the college became three separate beneficiary schools – Dulwich College, Alleyns School, and James Allens Girls School, named after an early-18th century headmaster. The college, the almshouses and chapel survive next to the gallery on Gallery Road. Alleyn bequeathed the college of a collection of works including portraits of the kings, the college retained connections with the theatre and in 1686, the actor William Cartwright bequeathed a collection of 239 pictures, of which 80 are now identifiable at Dulwich. In the 18th century, the collection was displayed on the first floor of the wing of the Old College and it attracted few additions during this period, and recorded descriptions of the gallery suggest disappointment and apathy from its visitors. The art historian and Whig politician Horace Walpole wrote that he saw a hundred mouldy portraits among apostles sibyls, the Dulwich collection was improved in size and quality by Sir Francis Bourgeois, originally from Switzerland, and his business partner, Frenchman Noël Desenfans. Their involvement saw the Gallery make significant steps towards its present state, Desenfans had lobbied the British Government to create a similar British national collection and offered to contribute to it, but was unenthusiastically received. Touring around Europe buying fine art, Bourgeois and Desenfans took five years to assemble the collection, Bourgeois and Desenfans attempted to sell the collection but were unsuccessful. Instead, they sold small pieces to fund the purchase of other important works, after the death of Desenfans in 1807, Bourgeois inherited the collection. He commissioned Sir John Soane to design and construct a mausoleum at Desenfans house, Bourgeois bequeathed his collection to the College of Gods Gift on the advice of the actor John Philip Kemble, a friend of both dealers. Bourgeois left instructions in his will for the construction of a gallery in Dulwich, designed by Soane and it was next to the original college buildings by the chapel. He also left £2,000 for construction costs and £4,000 was contributed by Desenfans widow. The gallery was opened to students of the Royal Academy of Arts in 1815 and it became a popular venue for copyists from London schools of art. Charles Dickens mentions Dulwich Picture Gallery in his novel The Pickwick Papers, as Samuel Pickwick, barbara and The Three Graces, and one, A Lady Playing on the Clavicord by Gerrit Dou and Susannah and the Elders by Adam Elsheimer. They were worth at least £3 million but a reward of just £1,000 was offered for their return, within a few days all the paintings were recovered after an investigation led by Detective Superintendent Charles Hewett, who had previously investigated suspected serial killer Dr John Bodkin Adams
Dulwich Picture Gallery
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Dulwich Picture Gallery
Dulwich Picture Gallery
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Entrance.
Dulwich Picture Gallery
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Francis Bourgeois and Noël Desenfans
Dulwich Picture Gallery
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Rembrandt, portrait of
Jacob de Gheyn III.
35.
English country house
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An English country house is a large house or mansion in the English countryside. Such houses were owned by individuals who also owned a town house. This allowed them to time in the country and in the city—hence, for these people. However, the term also encompasses houses that were, and often still are, frequently, the formal business of the counties was transacted in these country houses. With large numbers of indoor and outdoor staff, country houses were important as places of employment for rural communities. In turn, until the agricultural depressions of the 1870s, the estates, of country houses were the hub. However, the late 19th and early 20th centuries were the swansong of the traditional English country house lifestyle, increased taxation and the effects of World War I led to the demolition of hundreds of houses, those that remained had to adapt to survive. While a château or a schloss can be a fortified or unfortified building, if fortified, it is called a castle, but not all buildings with the name castle are fortified. The term stately home is subject to debate, and avoided by historians, as a description of a country house, the term was first used in a poem by Felicia Hemans, The Homes of England, originally published in Blackwoods Magazine in 1827. In the 20th century, the term was popularised in a song by Noël Coward. The books collection of homes also includes George IVs Brighton town palace. The country houses of England have evolved over the last five hundred years, before this time, larger houses were usually fortified, reflecting the position of their owners as feudal lords, de facto overlords of their manors. The Tudor period of stability in the saw the building of the first of the unfortified great houses. Henry VIIIs Dissolution of the Monasteries saw many former ecclesiastical properties granted to the Kings favourites, woburn Abbey, Forde Abbey and many other mansions with abbey or priory in their name became private houses during this period. Other terms used in the names of houses to describe their origin or importance include palace, castle, court, hall, mansion, park, house, manor, and place. Burghley House, Longleat House, and Hatfield House are among the best known examples of the prodigy house. Some of the best known of Englands country houses were built by one architect at one time, Montacute House, Chatsworth House. They finally ran out of funds in the early 20th century, an example of this is Brympton dEvercy in Somerset, a house of many periods that is unified architecturally by the continuing use of the same mellow, local Ham Hill stone
English country house
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The English country house can be vast or comparatively small and of great or little architectural merit.
English country house
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Longleat House was the first country house to open to the public, and also claims the first
safari park outside Africa. As such, it became the first property in what later was known as the Stately Home Industry.
English country house
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Forde Abbey. Many country houses have evolved and been extended over several centuries. Here, the architecture runs from Medieval ecclesiastical to
Palladian and on to
Strawberry Hill Gothic, while at sometime an attempt at unity has been made by the use of
crenelation.
English country house
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Brympton d'Evercy evolved from the Medieval period; its provincial architects are long forgotten. Yet,
Christopher Hussey described it as "The most incomparable house in Britain, the one which created the greatest impression and summarises so exquisitely English country life qualities".
36.
Dunedin Public Art Gallery
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The Dunedin Public Art Gallery holds the main public art collection of the city of Dunedin, New Zealand. Located in The Octagon in the heart of the city, it is close to the public library, municipal chambers. The gallery was founded by W. M. Hodgkins in 1884 and was the first public art gallery in New Zealand. It originally occupied what is now the maritime gallery in the Otago Museum, was re-located to the Municipal Chambers in the Octagon from 1888–90, and then to an annexe to the Otago Museum. It moved to a new purpose-designed building in Queens Gardens in 1907, in 1927 it was moved to a building constructed for the 1925–26 New Zealand and South Seas International Exhibition in Logan Park, Dunedin North designed by Edmund Anscombe. The building was bought and donated to the city by Sir Percy and Lady Sargood, the gallery was relocated to its present site, the refitted D. I. C. The gallery has a collection of old, modern and contemporary works, by New Zealand. It has one of the most numerous collections of works by Frances Hodgkins and it has the most extensive collection of old master paintings in New Zealand and the most significant holdings of paintings by post 1800 overseas artists. The gallerys British watercolours, the gift of F. H. D, smythe, include over 1300 works and the group is outstanding in New Zealand. The gallery has significant holdings of overseas old master and modern prints and drawings and its New Zealand holdings are distinguished by such works as George OBriens Lawyers Head from Forbury Head, Sunrise, Petrus Van der Veldens A Waterfall in the Otira Gorge, G. P. Nerlis Portrait of a Girl, C. F, goldies All e Same te Pakeha, Alfred Henry OKeeffes The Defence Ministers Telegram, Rita Anguss 1937 Self Portrait, Colin McCahons The 5 Wounds of Christ and Ralph Hoteres Rosemary. It thus has extensive and, in New Zealand, unparalleled holdings of ceramics, glassware, metalwork, furniture and textiles, the William De Morgan Dragon Charger is an example. The gallery is open daily from 10am to 5pm and its current director is Cam McCracken. Hocken Collections Otago Museum Otago Settlers Museum Entwisle, Peter, William Mathew Hodgkins & his Circle, an exhibition to mark the centennial of the Dunedin Public Art Gallery. Dunedin, NZ, Dunedin Public Art Gallery, treasures of the Dunedin Public Art Gallery. Dunedin, NZ, Dunedin Public Art Gallery
Dunedin Public Art Gallery
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Dunedin Public Art Gallery
Dunedin Public Art Gallery
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Chief Ngairo Rakaihikuroa in Wairarapa, New Zealand by
Gottfried Lindauer
Dunedin Public Art Gallery
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La Débâcle by
Claude Monet
37.
BBC
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The British Broadcasting Corporation is a British public service broadcaster headquartered at Broadcasting House in London, England. The total number of staff is 35,402 when part-time, flexible, the BBC is established under a Royal Charter and operates under its Agreement with the Secretary of State for Culture, Media and Sport. The fee is set by the British Government, agreed by Parliament, and used to fund the BBCs radio, TV, britains first live public broadcast from the Marconi factory in Chelmsford took place in June 1920. It was sponsored by the Daily Mails Lord Northcliffe and featured the famous Australian Soprano Dame Nellie Melba, the Melba broadcast caught the peoples imagination and marked a turning point in the British publics attitude to radio. However, this public enthusiasm was not shared in official circles where such broadcasts were held to interfere with important military and civil communications. By late 1920, pressure from these quarters and uneasiness among the staff of the licensing authority, the General Post Office, was sufficient to lead to a ban on further Chelmsford broadcasts. But by 1922, the GPO had received nearly 100 broadcast licence requests, John Reith, a Scottish Calvinist, was appointed its General Manager in December 1922 a few weeks after the company made its first official broadcast. The company was to be financed by a royalty on the sale of BBC wireless receiving sets from approved manufacturers, to this day, the BBC aims to follow the Reithian directive to inform, educate and entertain. The financial arrangements soon proved inadequate, set sales were disappointing as amateurs made their own receivers and listeners bought rival unlicensed sets. By mid-1923, discussions between the GPO and the BBC had become deadlocked and the Postmaster-General commissioned a review of broadcasting by the Sykes Committee and this was to be followed by a simple 10 shillings licence fee with no royalty once the wireless manufactures protection expired. The BBCs broadcasting monopoly was made explicit for the duration of its current broadcast licence, the BBC was also banned from presenting news bulletins before 19.00, and required to source all news from external wire services. Mid-1925 found the future of broadcasting under further consideration, this time by the Crawford committee, by now the BBC under Reiths leadership had forged a consensus favouring a continuation of the unified broadcasting service, but more money was still required to finance rapid expansion. Wireless manufacturers were anxious to exit the loss making consortium with Reith keen that the BBC be seen as a service rather than a commercial enterprise. The recommendations of the Crawford Committee were published in March the following year and were still under consideration by the GPO when the 1926 general strike broke out in May. The strike temporarily interrupted newspaper production and with restrictions on news bulletins waived the BBC suddenly became the source of news for the duration of the crisis. The crisis placed the BBC in a delicate position, the Government was divided on how to handle the BBC but ended up trusting Reith, whose opposition to the strike mirrored the PMs own. Thus the BBC was granted sufficient leeway to pursue the Governments objectives largely in a manner of its own choosing, supporters of the strike nicknamed the BBC the BFC for British Falsehood Company. Reith personally announced the end of the strike which he marked by reciting from Blakes Jerusalem signifying that England had been saved, Reith argued that trust gained by authentic impartial news could then be used
BBC
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BBC Television Centre at
White City, West London, which opened in 1960 and closed in 2013
BBC
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BBC Pacific Quay in
Glasgow, which was opened in 2007
BBC
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BBC New Broadcasting House, London which came into use during 2012–13.
BBC
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The headquarters of the BBC at
Broadcasting House in
Portland Place, London, England. This section of the building is called 'Old Broadcasting House'.
38.
St Martin-in-the-Fields
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St Martin-in-the-Fields is an English Anglican church at the north-east corner of Trafalgar Square in the City of Westminster, London. It is dedicated to Saint Martin of Tours, there has been a church on the site since the medieval period. The present building was constructed in a Neoclassical design by James Gibbs in 1722–1726, excavations at the site in 2006 led to the discovery of a grave from about 410 AD. The site is outside the city limits of Roman London but is particularly interesting for being so far outside, the burial is thought by some to mark a Christian centre of that time. The earliest extant reference to the church is from 1222, with a dispute between the Abbot of Westminster and the Bishop of London as to who had control over it. The Archbishop of Canterbury decided in favour of Westminster, and the monks of Westminster Abbey began to use it, Henry VIII rebuilt the church in 1542 to keep plague victims in the area from having to pass through his Palace of Whitehall. At this time, it was literally in the fields, a position between the cities of Westminster and London. By the beginning of the reign of James I, the church had become inadequate for the size of its congregation, at the same time the church was, in the phrase of the time, thoroughly repaired and beautified. Later in the 17th century capacity was increased with the addition of galleries. The creation of the new parishes of St Anne, Soho, and St James, Piccadilly, as it stood at the beginning of the 18th century, the church was built of brick, rendered over, with stone facings. The roof was tiled, and there was a stone tower, the ceiling was slightly arched, supported with what Edward Hatton described as Pillars of the Tuscan and Modern Gothick orders. The interior was wainscotted in oak to a height of 6 ft, while the galleries, on the north, south, the church was about 84 ft long and 62 ft wide. The tower was about 90 ft high, a number of notables were buried in this phase of the church, including Robert Boyle, Nell Gwynne, John Parkinson and Sir John Birkenhead. A survey of 1710 found that the walls and roof were in a state of decay, in 1720, Parliament passed an act for the rebuilding of the church allowing for a sum of up to £22,000, to be raised by a rate on the parishioners. A temporary church was erected partly on the churchyard and partly on ground in Lancaster Court, advertisements were placed in the newspapers that bodies and monuments of those buried in the church or churchyard could be taken away for reinterment by relatives. The rebuilding commissioners selected James Gibbs to design the new church and his first suggestion was for a church with a circular nave and domed ceiling, but the commissioners considered this scheme too expensive. Gibbs then produced a simpler, rectilinear plan, which they accepted, the foundation stone was laid on 19 March 1722, and the last stone of the spire was placed into position in December 1724. The total cost was £33,661 including the architects fees, the west front of St Martins has a portico with a pediment supported by a giant order of Corinthian columns, six wide
St Martin-in-the-Fields
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St Martin-in-the-Fields, London
St Martin-in-the-Fields
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Lamp Post Detail, London, UK
St Martin-in-the-Fields
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St Martin-in-the-Fields and
Charing Cross, circa 1562
St Martin-in-the-Fields
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Interior of St Martin-in-the-Fields
39.
Abraham van der Doort
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Abraham van der Doort was a Dutch artist. As Keeper of Charles Is art collections, he was the first Surveyor of the Kings Pictures, abraham van der Doort probably came to England around 1609, a few years after James I became King of England. Van der Doort came into the service of Charles elder brother, after Henrys early death in 1612, his collection of paintings, medals, coins and other objets dart was inherited by Charles, and van der Doort accompanied the collection into Charles service. After Charles succeeded his father as king in 1625, van der Doort became Charles Groom of the Chamber, Surveyor of the Kings Pictures, he designed new coins for the Royal Mint. About 1639, van der Doort compiled a catalogue of the art collection of the King. Van der Doort committed suicide in the summer of 1640, distraught that he may have misplaced one of his masters miniatures, Charles collection was broken up and sold by auction in 1649, after Charles had been executed. Van der Doort never lost the Dutch accent that is preserved in his copious annotations to the catalogues in his entirely phonetic spelling
Abraham van der Doort
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Portrait of Abraham van der Doort, by
William Dobson.
40.
Richard Neville (soldier)
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Richard Neville served in the English Civil War as a Royalist. He came to prominence as commander at the First Battle of Newbury in 1643 when he commanded the Royalist troops, Neville was born at Billingbear House in Waltham St Lawrence, the son and heir of Sir Henry Neville and educated at Queens’ College, Cambridge. He was the brother of the writer Henry Neville. His mother, Elizabeth, was given rights to the manor in her lifetime, remarried Sir John Thorowgood. Nevilles grandfather was Henry Neville, the Elizabethan politician, diplomat, Neville joined the Royalists and served under the Earl of Carnarvon at the Battle of Newbury in 1643. Carnarvon was killed and Neville took up the command as a Colonel of Horse, Neville was with King Charles I at Oxford in 1646. He was appointed High Sheriff of Berkshire for 1643–44, after the Restoration of the Monarchy he became a Justice of the Peace and Deputy Lieutenant for Berkshire from 1660 to his death. In 1670 he was elected to Parliament as Knight of the Shire for Berkshire and he married Anne, the daughter of Sir John Heydon, Lieutenant-General of the Ordnance, of Baconthorpe, Norfolk and had two sons and five daughters. When Neville died he was buried at Waltham St Lawrence and he left his estates to his elder son, John, who died childless and so they afterwards passed to Richard, the younger son. NEVILLE, Richard, of Billingbear, Binfield, Berks
Richard Neville (soldier)
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Richard Neville by
William Dobson
41.
Earl of Clarendon
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Earl of Clarendon is a title that has been created twice in British history, in 1661 and 1776. The family seat is Holywell House, near Swanmore, Hampshire, the title was created for the first time in the Peerage of England in 1661 for the statesman Edward Hyde, 1st Baron Hyde. He was Chancellor of the Exchequer from 1643 to 1646 and Lord Chancellor from 1658 to 1667 and a close political adviser to Charles II, although he later fell out of favour and was forced into exile. Hyde had already been created Baron Hyde, of Hindon in the County of Wiltshire, in 1660 and these titles were also in the Peerage of England. His second son the Hon. Laurence Hyde was also a politician and was created Earl of Rochester in 1682, Lord Clarendons daughter Lady Anne Hyde married the future King James II and was the mother of Queen Mary II and Queen Anne. Lord Clarendon was succeeded by his eldest son Henry, the second Earl and he was also a politician and served as Lord Privy Seal and Lord Lieutenant of Ireland. Their only son Edward Hyde, Viscount Cornbury, succeeded his mother as ninth Baron Clifton in 1706, he died ten years before his father, the only daughter Lady Theodosia succeeded her elder brother as tenth Baroness Clifton. Lord Clarendon was succeeded by his first cousin Henry Hyde, 2nd Earl of Rochester and he had earlier represented Launceston in the House of Commons and served as Lord Lieutenant of Cornwall. His only surviving son and heir apparent Henry Hyde, Viscount Cornbury, was summoned to the House of Lords through a writ of acceleration in his fathers title of Baron Hyde in 1751. However, he died childless in April 1753, eight months before the death of his father, consequently, on Lord Clarendons death in December 1753 all the titles became extinct. Lady Jane Hyde, eldest daughter of the fourth Earl of Clarendon, married William Capell and their daughter Lady Charlotte Capell married the prominent diplomat and politician the Hon. Thomas Villiers, second son of William Villiers, 2nd Earl of Jersey. Villiers was Envoy to Vienna and Berlin and served as Joint Postmaster General, in 1776 the earldom of Clarendon was also revived when he was made Earl of Clarendon in the Peerage of Great Britain. Lord Clarendon was succeeded by his eldest son, the second Earl and he sat as Member of Parliament for Christchurch and Helston. He never married and was succeeded by his brother, the third Earl. He represented several constituencies in the House of Commons and served as Comptroller of the Household between 1789 and 1790 and he had one daughter but no sons and was succeeded by his nephew, the fourth Earl. He was the eldest son of the Hon. George Villiers, known as the Great Lord Clarendon, he was a prominent diplomat and Liberal politician. He was three times Foreign Secretary of the United Kingdom and also served as Lord Privy Seal, Chancellor of the Duchy of Lancaster, President of the Board of Trade, Lord Clarendon was succeeded by his second but eldest surviving son, the fifth Earl. On his death the titles passed to his son, the sixth Earl
Earl of Clarendon
–
George Villiers, 4th Earl of Clarendon
Earl of Clarendon
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Edward Hyde, 1st Earl of Clarendon
42.
Virtual International Authority File
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The Virtual International Authority File is an international authority file. It is a joint project of national libraries and operated by the Online Computer Library Center. The project was initiated by the US Library of Congress, the German National Library, the National Library of France joined the project on October 5,2007. The project transitions to a service of the OCLC on April 4,2012, the aim is to link the national authority files to a single virtual authority file. In this file, identical records from the different data sets are linked together, a VIAF record receives a standard data number, contains the primary see and see also records from the original records, and refers to the original authority records. The data are available online and are available for research and data exchange. Reciprocal updating uses the Open Archives Initiative Protocol for Metadata Harvesting protocol, the file numbers are also being added to Wikipedia biographical articles and are incorporated into Wikidata. VIAFs clustering algorithm is run every month, as more data are added from participating libraries, clusters of authority records may coalesce or split, leading to some fluctuation in the VIAF identifier of certain authority records
Virtual International Authority File
–
Screenshot 2012
43.
Integrated Authority File
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The Integrated Authority File or GND is an international authority file for the organisation of personal names, subject headings and corporate bodies from catalogues. It is used mainly for documentation in libraries and increasingly also by archives, the GND is managed by the German National Library in cooperation with various regional library networks in German-speaking Europe and other partners. The GND falls under the Creative Commons Zero license, the GND specification provides a hierarchy of high-level entities and sub-classes, useful in library classification, and an approach to unambiguous identification of single elements. It also comprises an ontology intended for knowledge representation in the semantic web, available in the RDF format
Integrated Authority File
–
GND screenshot
44.
Union List of Artist Names
–
The Union List of Artist Names is an online database using a controlled vocabulary currently containing around 293,000 names and other information about artists. Names in ULAN may include names, pseudonyms, variant spellings, names in multiple languages. Among these names, one is flagged as the preferred name, the focus of each ULAN record is an artist. Currently there are around 120,000 artists in the ULAN, in the database, each artist record is identified by a unique numeric ID. Linked to each artist record are names, related artists, sources for the data, the temporal coverage of the ULAN ranges from Antiquity to the present and the scope is global. The ULAN includes proper names and associated information about artists, artists may be either individuals or groups of individuals working together. Artists in the ULAN generally represent creators involved in the conception or production of visual arts, repositories and some donors are included as well. Work on the ULAN began in 1984, when the Getty decided to merge, in 1987 the Getty created a department dedicated to compiling and distributing terminology. The ULAN grows and changes via contributions from the user community, although originally intended only for use by Getty projects, the broader art information community outside the Getty expressed a need to use ULAN for cataloging and retrieval. Its scope was broadened to include corporate bodies such as firms and repositories of art. The ULAN was founded under the management of Eleanor Fink, the ULAN has been constructed over the years by numerous members of the user community and an army of dedicated editors, under the supervision of several managers. The ULAN was published in 1994 in hardcopy and machine-readable files, given the growing size and frequency of changes and additions to the ULAN, by 1997 it had become evident that hard-copy publication was impractical. It is now published in automated formats only, in both a searchable online Web interface and in data files available for licensing, final editorial control of the ULAN is maintained by the Getty Vocabulary Program, using well-established editorial rules. The current managers of the ULAN are Patricia Harpring, Managing Editor, entities in the Person facet typically have no children. Entities in the Corporate Body facet may branch into trees, there may be multiple broader contexts, making the ULAN structure polyhierarchical. In addition to the relationships, the ULAN also has equivalent. Contributors to the Getty Vocabularies and implementers of the licensed vocabulary data may consult these guidelines as well
Union List of Artist Names
–
Contents
45.
Netherlands Institute for Art History
–
The Netherlands Institute for Art History or RKD is located in The Hague and is home to the largest art history center in the world. The center specializes in documentation, archives, and books on Western art from the late Middle Ages until modern times, all of this is open to the public, and much of it has been digitized and is available on their website. The main goal of the bureau is to collect, categorize, via the available databases, the visitor can gain insight into archival evidence on the lives of many artists of past centuries. The library owns approximately 450,000 titles, of which ca.150,000 are auction catalogs, there are ca.3,000 magazines, of which 600 are currently running subscriptions. Though most of the text is in Dutch, the record format includes a link to library entries and images of known works. The RKD also manages the Dutch version of the Art and Architecture Thesaurus, the original version is an initiative of the Getty Research Institute in Los Angeles, California. Their bequest formed the basis for both the art collection and the library, which is now housed in the Koninklijke Bibliotheek. Though not all of the holdings have been digitised, much of its metadata is accessible online. The website itself is available in both a Dutch and an English user interface, in the artist database RKDartists, each artist is assigned a record number. To reference an artist page directly, use the code listed at the bottom of the record, usually of the form, https, for example, the artist record number for Salvador Dalí is 19752, so his RKD artist page can be referenced. In the images database RKDimages, each artwork is assigned a record number, to reference an artwork page directly, use the code listed at the bottom of the record, usually of the form, https, //rkd. nl/en/explore/images/ followed by the artworks record number. For example, the record number for The Night Watch is 3063. The Art and Architecture Thesaurus also assigns a record for each term, rather, they are used in the databases and the databases can be searched for terms. For example, the painting called The Night Watch is a militia painting, the thesaurus is a set of general terms, but the RKD also contains a database for an alternate form of describing artworks, that today is mostly filled with biblical references. To see all images that depict Miriams dance, the associated iconclass code 71E1232 can be used as a search term. Official website Direct link to the databases The Dutch version of the Art and Architecture Thesaurus
Netherlands Institute for Art History
–
As the logos on the window show, the RKD shares the same building located at
Den Haag Centraal with the National Archives, the Nederlands Letterkundig Museum (nl) (LM), the
Huygens ING, the
Netherlands Music Institute (NMI) and the
Koninklijke Bibliotheek.
,_1st_Bt.jpeg)
,_1st_Baronet_by_William_Dobson.jpeg)
Chisholm, Hugh, ed. (1911). "Dobson, William". Encyclopædia Britannica (11th ed.). Cambridge University Press.
Chisholm, Hugh, ed. (1911). "
