1.
Mary Howard, Duchess of Norfolk (d. 1773)
–
Mary Howard, Duchess of Norfolk, was the British noblewoman after whom Norfolk Island was named. The youngest of three daughters of Edward Blount and his wife Anne, née Guise, she was a co-heiress of her fathers property, born into an exiled Roman Catholic family, she spent her adolescence and early years of marriage on the continent. On 26 November 1727, she married Edward Howard and he succeeded to the dukedom in 1732, upon the death of his older brother Thomas. The pair were active, using their position as the highest ranking peers in the kingdom to promote religious tolerance. The Duchess was intelligent and assertive, she was referred to as My Lord Duchess by Horace Walpole and her interest in arts drove her to restore the Norfolk House in 1755. An ardent Catholic, she was fond of French and Italian fashion and styles. The newly built Music Room, intended for the playing of music, was an important part of the Norfolk House, as the Duchess used it for receptions. She proceeded to have Worksop Manor renovated, after the manor burned down in 1761, the Duchess had it restored once again. The childless couple had decided to rebuild the house for the benefit of their nephew Thomas, further building was abandoned after the deaths of Thomas and his half-brother Edward in 1763 and 1767 respectively. Her marriage had been childless and her husband survived her, according to the astronomer William Wales, she had asked the explorer Captain James Cook to have an island named after her. He had not heard about the Duchesss death when he discovered Norfolk Island, of Her Making, the cultural practices of Mary Blount, 9th Duchess of Norfolk, Tulsa Studies in Womens Literature,2012
Mary Howard, Duchess of Norfolk (d. 1773)
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The Duchess of Norfolk in 1737, by
John Vanderbank
Mary Howard, Duchess of Norfolk (d. 1773)
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The future duchess in 1727, by
James Latham
Mary Howard, Duchess of Norfolk (d. 1773)
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The Duchess in 1730s, by
William Hoare
2.
Philip Stanhope, 4th Earl of Chesterfield
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Philip Dormer Stanhope, 4th Earl of Chesterfield KG PC was a British statesman, man of letters, and wit. He was born in London to Philip Stanhope, 3rd Earl of Chesterfield, and Lady Elizabeth Savile, and known as Lord Stanhope until the death of his father, in 1726. In the course of his tour of Europe, the death of Queen Anne and the accession of King George I opened a political career for Stanhope. In 1715, Philip Dormer Stanhope entered the House of Commons as Lord Stanhope of Shelford, later, when the impeachment of James Butler, 2nd Duke of Ormonde came before the House, he used the occasion to put to proof his old rhetorical studies. From Paris, he sent the government valuable information about the Jacobite plot, and in 1716 he returned to Britain, resumed his seat, in that year, King George I quarreled with his son, the Prince of Wales. In 1723, a vote for the government got him the place of Captain of the Gentlemen Pensioners, in January 1725, on the revival of the Order of the Bath, the red ribbon was offered to him, but Chesterfield declined the honour. Upon assuming his seat in the House of Lords, Lord Chesterfield the orator met with acceptance, what had been ineffective in the House of Commons, was suddenly appreciated by educated men. In 1728, he was sent to the Hague as ambassador, in 1732, there was born to him, by Mlle Madelina Elizabeth du Bouchet, the son, Philip, for whose advice and instruction at Westminster School Chesterfield wrote the Letters to his Son. He was the British envoy in Den Haag when the second Treaty of Vienna was signed, in 1732, ill health and a reduced personal fortune cast a shadow over Chesterfields resignation as ambassador, so he returned to Britain. Moreover, Chesterfields cook, Vincent la Chapelle, accepted a post at the court of William IV of Orange, a few months rest enabled him to resume his seat in the Lords, of which he was one of the acknowledged leaders. He supported the ministry, but his allegiance was not the blind fealty that Walpole exacted of his followers, the Excise Bill, the great premiers favourite measure, was vehemently opposed by him in the Lords and by his three brothers in the Commons. Walpole bent before the storm and abandoned the measure, but Chesterfield was summarily dismissed from his stewardship, for the next two years, he led the opposition in the Upper House, leaving no stone unturned to effect Walpoles downfall. During this time, he resided in Grosvenor Square and got involved in the creation of a new London charity called the Foundling Hospital for which he was a founding governor, in 1741, he signed the protest for Walpoles dismissal and went abroad on account of his health. He visited Voltaire at Brussels and spent some time in Paris, in 1742 Walpole fell, and Carteret was his real but not his nominal successor. Although Walpoles administration had been largely by Chesterfields efforts, the new ministry did not count Chesterfield either in its ranks or among its supporters. He remained in opposition, distinguishing himself by the bitterness of his attacks on George II. In 1743 a new journal, Old England, or, the Constitutional Journal appeared, Chesterfield wrote under the name of Jeffrey Broadbottom. A number of pamphlets, in some of which Chesterfield had the help of Edmund Waller and his energetic campaign against George II and his government won the gratitude of the Dowager Duchess of Marlborough, who left him £20,000 as a mark of her appreciation
Philip Stanhope, 4th Earl of Chesterfield
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Philip Stanhope by
Roubiliac, 1745, Victoria and Albert Museum
Philip Stanhope, 4th Earl of Chesterfield
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The Right Honourable The Earl of Chesterfield
KG PC
Philip Stanhope, 4th Earl of Chesterfield
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Chesterfield's "Phoenix Monument" (1746) in the
Phoenix Park,
Dublin
Philip Stanhope, 4th Earl of Chesterfield
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Portrait of Philip Stanhope, 4th Earl of Chesterfield
3.
Portraitist
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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
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Roman-Egyptian
funeral portrait of a young boy
Portraitist
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Moche Ceramic Portrait.
Larco Museum Collection. Lima-Peru
Portraitist
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Portrait illustrating three-quarter view.
4.
Oil painting
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Oil painting is the process of painting with pigments with a medium of drying oil as the binder. Commonly used drying oils include linseed oil, poppy seed oil, walnut oil, the choice of oil imparts a range of properties to the oil paint, such as the amount of yellowing or drying time. Certain differences, depending on the oil, are visible in the sheen of the paints. An artist might use different oils in the same painting depending on specific pigments and effects desired. The paints themselves also develop a particular consistency depending on the medium, the oil may be boiled with a resin, such as pine resin or frankincense, to create a varnish prized for its body and gloss. Its practice may have migrated westward during the Middle Ages, Oil paint eventually became the principal medium used for creating artworks as its advantages became widely known. In recent years, water miscible oil paint has come to prominence and, to some extent, water-soluble paints contain an emulsifier that allows them to be thinned with water rather than paint thinner, and allows very fast drying times when compared with traditional oils. Traditional oil painting techniques often begin with the artist sketching the subject onto the canvas with charcoal or thinned paint, Oil paint is usually mixed with linseed oil, artist grade mineral spirits, or other solvents to make the paint thinner, faster or slower-drying. A basic rule of oil paint application is fat over lean and this means that each additional layer of paint should contain more oil than the layer below to allow proper drying. If each additional layer contains less oil, the painting will crack. This rule does not ensure permanence, it is the quality and type of oil leads to a strong. There are many media that can be used with the oil, including cold wax, resins. These aspects of the paint are closely related to the capacity of oil paint. Traditionally, paint was transferred to the surface using paintbrushes. Oil paint remains wet longer than other types of artists materials, enabling the artist to change the color. At times, the painter might even remove a layer of paint. This can be done with a rag and some turpentine for a time while the paint is wet, Oil paint dries by oxidation, not evaporation, and is usually dry to the touch within a span of two weeks. It is generally dry enough to be varnished in six months to a year, art conservators do not consider an oil painting completely dry until it is 60 to 80 years old
Oil painting
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Mona Lisa,
Leonardo da Vinci, c. 1503–06
Oil painting
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Self-portrait, at work,
Anders Zorn, 1897
Oil painting
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Self-portrait of
Rembrandt, 1630. An example of oil painting on copper.
Oil painting
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Flax seed is the source of linseed oil.
5.
Bath, Somerset
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Bath is a city in the ceremonial county of Somerset, England, known for its Roman-built baths. In 2011, the population was 88,859, Bath is in the valley of the River Avon,97 miles west of London and 11 miles south-east of Bristol. The city became a World Heritage Site in 1987, the city became a spa with the Latin name Aquæ Sulis c. AD60 when the Romans built baths and a temple in the valley of the River Avon, Bath Abbey was founded in the 7th century and became a religious centre, the building was rebuilt in the 12th and 16th centuries. In the 17th century, claims were made for the properties of water from the springs. Many of the streets and squares were laid out by John Wood, the Elder, and in the 18th century the city became fashionable, Jane Austen lived in Bath in the early 19th century. Further building was undertaken in the 19th century and following the Bath Blitz in World War II, the city has software, publishing and service-oriented industries. Theatres, museums, and other cultural and sporting venues have helped make it a centre for tourism with more than one million staying visitors and 3.8 million day visitors to the city each year. There are several museums including the Museum of Bath Architecture, Victoria Art Gallery, Museum of East Asian Art, the city has two universities, the University of Bath and Bath Spa University, with Bath College providing further education. Sporting clubs include Bath Rugby and Bath City F. C. while TeamBath is the name for all of the University of Bath sports teams. Bath became part of the county of Avon in 1974, and, the hills in the locality such as Bathampton Down saw human activity from the Mesolithic period. Several Bronze Age round barrows were opened by John Skinner in the 18th century, solsbury Hill overlooking the current city was an Iron Age hill fort, and the adjacent Bathampton Camp may also have been one. A long barrow site believed to be from the Beaker people was flattened to make way for RAF Charmy Down, messages to her scratched onto metal, known as curse tablets, have been recovered from the sacred spring by archaeologists. The tablets were written in Latin, and cursed people whom the writers felt had wronged them, for example, if a citizen had his clothes stolen at the baths, he might write a curse, naming the suspects, on a tablet to be read by the goddess. A temple was constructed in AD 60–70, and a complex was built up over the next 300 years. Engineers drove oak piles into the mud to provide a stable foundation, in the 2nd century, the spring was enclosed within a wooden barrel-vaulted structure that housed the caldarium, tepidarium, and frigidarium. The town was given defensive walls, probably in the 3rd century. After the failure of Roman authority in the first decade of the 5th century, in March 2012 a hoard of 30,000 silver Roman coins, one of the largest discovered in Britain, was unearthed in an archaeological dig
Bath, Somerset
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The
Royal Crescent in Bath
Bath, Somerset
–
A nineteenth century
Photochrom of the Great Bath at the
Roman Baths. The entire structure above the level of the pillar bases is a later construction and was not a feature of the building in Roman days.
Bath, Somerset
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Bath Abbey
Bath, Somerset
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Map of Bath by
John Speed published in 1610
6.
Thomas Gainsborough
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Thomas Gainsborough FRSA was an English portrait and landscape painter, draughtsman, and printmaker. He surpassed his rival Sir Joshua Reynolds to become the dominant British portraitist of the half of the 18th century. He painted quickly, and the works of his maturity are characterised by a light palette and he preferred landscapes to portraits, and is credited as the originator of the 18th-century British landscape school. Gainsborough was a member of the Royal Academy. He was born in Sudbury, Suffolk, the youngest son of John Gainsborough, a weaver and maker of woollen goods, and his wife, the artist spent his childhood at what is now Gainsboroughs House, on Gainsborough Street. The original building survives and is now a dedicated House to his life. Gainsborough was allowed to leave home in 1740 to study art in London and he assisted Francis Hayman in the decoration of the supper boxes at Vauxhall Gardens, and contributed to the decoration of what is now the Thomas Coram Foundation for Children. In 1746, Gainsborough married Margaret Burr, a daughter of the Duke of Beaufort. The artists work, then consisting of landscape paintings, was not selling well. He returned to Sudbury in 1748–1749 and concentrated on painting portraits, in 1752, he and his family, now including two daughters, moved to Ipswich. Commissions for personal portraits increased, but his clientele included mainly local merchants and he had to borrow against his wifes annuity. The Artists family and Self-Portrait In 1759, Gainsborough and his moved to Bath. There, he studied portraits by van Dyck and was able to attract a fashionable clientele. In 1761, he began to work to the Society of Arts exhibition in London. He selected portraits of well-known or notorious clients in order to attract attention, the exhibitions helped him acquire a national reputation, and he was invited to become a founding member of the Royal Academy in 1769. His relationship with the academy was not a one and he stopped exhibiting his paintings in 1773. In 1774, Gainsborough and his moved to London to live in Schomberg House. A commemorative blue plaque was put on the house in 1951, in 1777, he again began to exhibit his paintings at the Royal Academy, including portraits of contemporary celebrities, such as the Duke and Duchess of Cumberland
Thomas Gainsborough
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Self-portrait (1759)
Thomas Gainsborough
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Lady Lloyd and Her Son, Richard Savage Lloyd, of Hintlesham Hall, Suffolk (1745–46). At the time, his clientele included mainly local merchants and squires.
Thomas Gainsborough
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Margaret Burr (1728–1797), the artist's wife, c. early 1770s
Thomas Gainsborough
–
Self-Portrait (1754)
7.
Pastel
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A pastel is an art medium in the form of a stick, consisting of pure powdered pigment and a binder. The pigments used in pastels are the same as used to produce all colored art media, including oil paints. The color effect of pastels is closer to the natural dry pigments than that of any other process, Pastels have been used by artists since the Renaissance, and gained considerable popularity in the 18th century, when a number of notable artists made pastel their primary medium. An artwork made using pastels is called a pastel, Pastel used as a verb means to produce an artwork with pastels, as an adjective it means pale in color. Pastel sticks or crayons consist of powdered pigment combined with a binder. The exact composition and characteristics of an individual pastel stick depends on the type of pastel and it also varies by individual manufacturer. Dry pastels have historically used binders such as gum arabic and gum tragacanth, methyl cellulose was introduced as a binder in the twentieth century. Often a chalk or gypsum component is present and they are available in varying degrees of hardness, the softer varieties being wrapped in paper. Some pastel brands use pumice in the binder to abrade the paper, dry pastel media can be subdivided as follows, Soft pastels, This is the most widely used form of pastel. The sticks have a portion of pigment and less binder. The drawing can be readily smudged and blended, but it results in a proportion of dust. White chalk may be used as a filler in producing pale, Pan Pastels, These are formulated with a minimum of binder in flat compacts and applied with special Soft micropore sponge tools. A 21st-century invention, Pan Pastels can be used for the painting or in combination with soft. Hard pastels, These have a portion of binder and less pigment. These can be used with other pastels for drawing outlines and adding accents, hard pastels are traditionally used to create the preliminary sketching out of a composition. However, the colors are brilliant and are available in a restricted range in contrast to soft pastels. Pastel pencils, These are pencils with a pastel lead and they are useful for adding fine details. In addition, pastels using a different approach to manufacture have been developed, Oil pastels, These have a soft, buttery consistency and they are dense and fill the grain of paper and are slightly more difficult to blend than soft pastels, but do not require a fixative
Pastel
–
Commercial pastels
Pastel
–
A young woman with pastel box and painting
Pastel
–
Georg Anton Urlaub (1713–1759) holding a box of pastels in his hands. Selfportrait, 1735
Pastel
–
Ants Laikmaa Taebla landscape from 1936.
8.
Royal Academy
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The Royal Academy of Arts is an art institution based in Burlington House on Piccadilly in London. The Royal Academy of Arts was founded through an act of King George III on 10 December 1768 with a mission to promote the arts of design in Britain through education and exhibition. Supporters wanted to foster a national school of art and to encourage appreciation, fashionable taste in 18th-century Britain was based on continental and traditional art forms, providing contemporary British artists little opportunity to sell their works. From 1746 the Foundling Hospital, through the efforts of William Hogarth, the success of this venture led to the formation of the Society of Artists of Great Britain and the Free Society of Artists. Both these groups were primarily exhibiting societies, their success was marred by internal factions among the artists. The combined vision of education and exhibition to establish a school of art set the Royal Academy apart from the other exhibiting societies. It provided the foundation upon which the Royal Academy came to dominate the art scene of the 18th and 19th centuries, supplanting the earlier art societies. Sir William Chambers, a prominent architect, used his connections with George III to gain royal patronage and financial support of the Academy, the painter Joshua Reynolds was made its first president. Francis Milner Newton was elected the first secretary, a post he held for two decades until his resignation in 1788, the instrument of foundation, signed by George III on 10 December 1768, named 34 founder members and allowed for a total membership of 40. William Hoare and Johann Zoffany were added to this list later by the King and are known as nominated members, among the founder members were two women, a father and daughter, and two sets of brothers. The Royal Academy was initially housed in cramped quarters in Pall Mall, although in 1771 it was given temporary accommodation for its library and schools in Old Somerset House, then a royal palace. In 1780 it was installed in purpose-built apartments in the first completed wing of New Somerset House, located in the Strand and designed by Chambers, the Academy moved in 1837 to Trafalgar Square, where it occupied the east wing of the recently completed National Gallery. These premises soon proved too small to house both institutions, in 1868,100 years after the Academys foundation, it moved to Burlington House, Piccadilly, where it remains. Burlington House is owned by the British Government, and used rent-free by the Royal Academy, the first Royal Academy exhibition of contemporary art, open to all artists, opened on 25 April 1769 and ran until 27 May 1769. 136 works of art were shown and this exhibition, now known as the Royal Academy Summer Exhibition, has been staged annually without interruption to the present day. In 1870 the Academy expanded its programme to include a temporary annual loan exhibition of Old Masters. The range and frequency of these exhibitions have grown enormously since that time. Britains first public lectures on art were staged by the Royal Academy, led by Reynolds, the first president, a program included lectures by Dr. William Hunter, John Flaxman, James Barry, Sir John Soane, and J. M. W. Turner
Royal Academy
–
Royal Academy of Arts
Royal Academy
–
Satiric drawing of Sir William Chambers, one of the founders, trying to slay the 8-headed hydra of the Incorporated Society of Artists
Royal Academy
–
Study for
Henry Singleton 's painting The Royal Academicians assembled in their council chamber to adjudge the Medals to the successful students in Painting, Sculpture, Architecture and Drawing, which hangs in the Royal Academy. Ca. 1793.
Royal Academy
–
An early
RA Summer Exhibition at the Academy's original home in
Somerset House
9.
Eye, Suffolk
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Eye is a small market town in the north of the English county of Suffolk. The town is around 4 miles south of Diss,17.5 miles north of Ipswich and 23 miles southwest of Norwich and it lies close to the River Waveney which forms the border with Norfolk and is on the River Dove. Eye is twinned with the town of Pouzauges in the Vendée Department of France, the area is still prone to flooding in areas close to the River Dove. A large Anglo-Saxon cemetery including many urned cremations and some furnished inhumations, in use during the 6th century, was excavated near the Waterloo Plantation, Eye, in 1818. In 1781 some labourers unearthed a box by the river at Clint Farm in Eye,3 miles south of Scole and 2 miles south–west of Hoxne. The box contained about 600 Roman gold coins dating to the reigns of Valens and Valentinian I, Gratian, Theodosius I, Arcadius and this was the largest hoard of Roman gold coins ever discovered in Britain, similar in content to the Hoxne Hoard. Before the Norman Conquest, Eye was one of the holdings of Edric of Laxfield, a wealthy and influential Saxon. Between 1066 and 1071, Malet constructed a castle, to establish his military and administrative headquarters and its prison continued in use up until the early 17th century despite a programme of demolition of most of the castle buildings during the 14th century. A windmill, built in 1561–62, stood on the motte until the circular keep was built in 1844. The ruins of the keep are still in place today, and Castle Street, Eye was once the smallest borough in the country, its claim based on the 1205 Charter of King John. The charter was renewed in 1408 then many times by successive monarchs. However, in 1885 the town clerk of Hythe proved that the original charter belonged only to Hythe in Kent, the error having arisen from the similarity of the early English names. From 1571 to 1832 Eye returned two MPs, then, following the Reform Act 1832, a single MP until 1983 after which the Eye Constituency became the Suffolk Central constituency. The Lordship of the Manor of Eye and Constableship of the Castle is held by the Palmer family of Haughley in Suffolk, the current Lord is Kieron Palmer of Haughley in succession to his father Kenneth Palmer. The Manor was held by the Malet family, Mary I and it would appear that Eye was at the centre of a localised lace making industry for many years. The last lacemaker in the town died in 1914, in 1846 Eye Borough Council failed in its attempt to route the new London-Norwich railway line through Eye. The line, completed in 1849, went instead through Diss ensuring its growth in prosperity, Eye railway station, located at the end of a branch line from Mellis, closed to passengers in 1931 and to freight in 1964. Eye airfield, to the north-east of the town, began as RAF Eye occupied by the 490th Bomb Group of the USAAFs VIII Bomber Command during World War II, Eye today has a population of just over 2000
Eye, Suffolk
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Eye Town Hall
Eye, Suffolk
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Eye Castle
Eye, Suffolk
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parish church of Ss. Peter & Paul
10.
Faringdon
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It is a large parish, its lowest parts extending to the River Thames in the north and its highest ground reaching the Ridgeway in the south. It was the westernmost town in Berkshire until the 1974 boundary changes transferred it to Oxfordshire, the civil parish is formally called Great Faringdon, to distinguish it from Little Faringdon in West Oxfordshire. The 2011 Census recorded its population as 7,121, on 1 February 2004, Faringdon was granted Fairtrade Town status, becoming the first Fairtrade Town in South East England. Faringdon is the base for the Faringdon Enterprise Gateway, which is run by the South East England Development Agency to help, the toponym Faringdon means fern covered hill. Claims that King Edward the Elder died there are incorrect, the town was granted a weekly market in 1218, and as a result came to be called Chipping Faringdon. The weekly market is held today. King John also established an abbey in Faringdon in 1202, in 1417 the aged Archbishop of Dublin, Thomas Cranley, died in Faringdon while journeying to London. The Church of England parish church of All Saints may date from the 12th century, a Norman doorway survives, although not in its original position, in the baptistery. The chancel and north transept are 13th century and the west chapel is 14th century, the north chapel is a late mediaeval Perpendicular Gothic addition with 15th century windows. All Saints has a bell tower, which was reduced in height in 1645 after it was damaged by a cannonball in the English Civil War. Faringdon was fought over because it commands the road to the Radcot Bridge over the River Thames, the tower now has a ring of eight bells. The three oldest bells were cast in 1708, james Wells of Aldbourne, Wiltshire cast the tenor bell in 1779 and another bell in 1803. The three youngest bells, including the treble, were cast in 1874 by Mears and Stainbank, the churchyard is reportedly haunted by the headless apparition of naval officer Hampden Pye. An alternate local legend states that Pye was a husband who was decapitated by his wife with a gun. The ghost was reportedly exorcised shortly after Pyes death, the Old Town Hall in the Market Place dates from the late 17th or early 18th century and is a Grade II* listed building. Just east of the town is Folly Hill or Faringdon Hill, in common with Badbury Hill to the west of the town, it has an ancient ditched defensive ring. This was fortified by supporters of Matilda sometime during the Anarchy – her campaign to claim the throne from King Stephen – but was razed to the ground by Stephen. Oliver Cromwell fortified it in his campaign to defeat the Royalist garrison at Faringdon House
Faringdon
–
Faringdon market place, with the Old Town Hall
Faringdon
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All Saints' parish church
Faringdon
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Faringdon Folly
Faringdon
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Numerous borings in a Cretaceous cobble from Faringdon. These are examples of fossil
bioerosion.
11.
Giuseppe Grisoni
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Giuseppe Pierre Joseph Grisoni, also known as Grifoni or Grison, was an Italian painter and sculptor, noted for his landscapes and historical tableaux. Born in Mons, he studied in Florence under Tommaso Redi, in 1715 he travelled to London with John Talman and tried to establish himself as a portrait painter. He did not achieve enough success to stay, however, in 1740, he briefly relocated to Pisa before settling in Rome where he died. One of his pupils was William Hoare, family of William Talman Self-portrait Death of St Romuald Statue of St Joseph Rape of Proserpina Gallery of works
Giuseppe Grisoni
–
The Talman family by Grisoni
12.
Florence
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Florence is the capital city of the Italian region of Tuscany and of the Metropolitan City of Florence. It is the most populous city in Tuscany, with 383,083 inhabitants, Florence was a centre of medieval European trade and finance and one of the wealthiest cities of the time. It is considered the birthplace of the Renaissance, and has called the Athens of the Middle Ages. A turbulent political history includes periods of rule by the powerful Medici family, from 1865 to 1871 the city was the capital of the recently established Kingdom of Italy. The Historic Centre of Florence attracts 13 million tourists each year and it was declared a World Heritage Site by UNESCO in 1982. The city is noted for its culture, Renaissance art and architecture, the city also contains numerous museums and art galleries, such as the Uffizi Gallery and the Palazzo Pitti, and still exerts an influence in the fields of art, culture and politics. Due to Florences artistic and architectural heritage, it has been ranked by Forbes as one of the most beautiful cities in the world, in 2008, the city had the 17th highest average income in Italy. Florence originated as a Roman city, and later, after a period as a flourishing trading and banking medieval commune. According to the Encyclopædia Britannica, it was politically, economically, and culturally one of the most important cities in Europe, the language spoken in the city during the 14th century was, and still is, accepted as the Italian language. Starting from the late Middle Ages, Florentine money—in the form of the gold florin—financed the development of all over Europe, from Britain to Bruges, to Lyon. Florentine bankers financed the English kings during the Hundred Years War and they similarly financed the papacy, including the construction of their provisional capital of Avignon and, after their return to Rome, the reconstruction and Renaissance embellishment of Rome. Florence was home to the Medici, one of European historys most important noble families, Lorenzo de Medici was considered a political and cultural mastermind of Italy in the late 15th century. Two members of the family were popes in the early 16th century, Leo X, catherine de Medici married king Henry II of France and, after his death in 1559, reigned as regent in France. Marie de Medici married Henry IV of France and gave birth to the future king Louis XIII, the Medici reigned as Grand Dukes of Tuscany, starting with Cosimo I de Medici in 1569 and ending with the death of Gian Gastone de Medici in 1737. The Etruscans initially formed in 200 BC the small settlement of Fiesole and it was built in the style of an army camp with the main streets, the cardo and the decumanus, intersecting at the present Piazza della Repubblica. Situated along the Via Cassia, the route between Rome and the north, and within the fertile valley of the Arno, the settlement quickly became an important commercial centre. Peace returned under Lombard rule in the 6th century, Florence was conquered by Charlemagne in 774 and became part of the Duchy of Tuscany, with Lucca as capital. The population began to again and commerce prospered
Florence
–
A collage of Florence showing the
Galleria degli Uffizi (top left), followed by the
Palazzo Pitti, a sunset view of the city and the
Fountain of Neptune in the
Piazza della Signoria
Florence
–
A wooden model of Florence as it would have probably looked during Roman times, showing the ancient amphitheatre
Florence
–
The façade of the Cathedral
Florence
–
Leonardo da Vinci statue outside the
Uffizi Gallery.
13.
Italy
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Italy, officially the Italian Republic, is a unitary parliamentary republic in Europe. Located in the heart of the Mediterranean Sea, Italy shares open land borders with France, Switzerland, Austria, Slovenia, San Marino, Italy covers an area of 301,338 km2 and has a largely temperate seasonal and Mediterranean climate. Due to its shape, it is referred to in Italy as lo Stivale. With 61 million inhabitants, it is the fourth most populous EU member state, the Italic tribe known as the Latins formed the Roman Kingdom, which eventually became a republic that conquered and assimilated other nearby civilisations. The legacy of the Roman Empire is widespread and can be observed in the distribution of civilian law, republican governments, Christianity. The Renaissance began in Italy and spread to the rest of Europe, bringing a renewed interest in humanism, science, exploration, Italian culture flourished at this time, producing famous scholars, artists and polymaths such as Leonardo da Vinci, Galileo, Michelangelo and Machiavelli. The weakened sovereigns soon fell victim to conquest by European powers such as France, Spain and Austria. Despite being one of the victors in World War I, Italy entered a period of economic crisis and social turmoil. The subsequent participation in World War II on the Axis side ended in defeat, economic destruction. Today, Italy has the third largest economy in the Eurozone and it has a very high level of human development and is ranked sixth in the world for life expectancy. The country plays a prominent role in regional and global economic, military, cultural and diplomatic affairs, as a reflection of its cultural wealth, Italy is home to 51 World Heritage Sites, the most in the world, and is the fifth most visited country. The assumptions on the etymology of the name Italia are very numerous, according to one of the more common explanations, the term Italia, from Latin, Italia, was borrowed through Greek from the Oscan Víteliú, meaning land of young cattle. The bull was a symbol of the southern Italic tribes and was often depicted goring the Roman wolf as a defiant symbol of free Italy during the Social War. Greek historian Dionysius of Halicarnassus states this account together with the legend that Italy was named after Italus, mentioned also by Aristotle and Thucydides. The name Italia originally applied only to a part of what is now Southern Italy – according to Antiochus of Syracuse, but by his time Oenotria and Italy had become synonymous, and the name also applied to most of Lucania as well. The Greeks gradually came to apply the name Italia to a larger region, excavations throughout Italy revealed a Neanderthal presence dating back to the Palaeolithic period, some 200,000 years ago, modern Humans arrived about 40,000 years ago. Other ancient Italian peoples of undetermined language families but of possible origins include the Rhaetian people and Cammuni. Also the Phoenicians established colonies on the coasts of Sardinia and Sicily, the Roman legacy has deeply influenced the Western civilisation, shaping most of the modern world
Italy
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The
Colosseum in Rome, built c. 70 – 80 AD, is considered one of the greatest works of
architecture and
engineering of ancient history.
Italy
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Flag
Italy
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The
Iron Crown of Lombardy, for centuries symbol of the
Kings of Italy.
Italy
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Castel del Monte, built by German Emperor
Frederick II,
UNESCO World Heritage site
14.
George Frideric Handel
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George Frideric Handel was a German, later British baroque composer who spent the bulk of his career in London, becoming well known for his operas, oratorios, anthems, and organ concertos. Handel received important training in Halle and worked as a composer in Hamburg and Italy before settling in London in 1712 and he was strongly influenced both by the great composers of the Italian Baroque and by the middle-German polyphonic choral tradition. Within fifteen years, Handel had started three commercial opera companies to supply the English nobility with Italian opera, musicologist Winton Dean writes that his operas show that Handel was not only a great composer, he was a dramatic genius of the first order. As Alexanders Feast was well received, Handel made a transition to English choral works, after his success with Messiah he never composed an Italian opera again. Almost blind, and having lived in England for nearly fifty years, he died in 1759 and his funeral was given full state honours, and he was buried in Westminster Abbey in London. Handel was born in 1685 in Halle-on-Saal, Duchy of Magdeburg, to Georg Händel and his father,63 when George Frideric was born, was an eminent barber-surgeon who served the court of Saxe-Weissenfels and the Margraviate of Brandenburg. Georg Händel was the son of a coppersmith, Valentin Händel who had emigrated from Eisleben in 1608 with his first wife Anna Belching and they were Protestants and chose reliably Protestant Saxony over Silesia, a Hapsburg possession as religious tensions mounted in the years before the Thirty Years War. Halle was a prosperous city, home of a salt-mining industry. Even the smaller churches all had able organists and fair choirs, and humanities, the Thirty Years War brought extensive destruction to Halle, and by the 1680s it was impoverished. But since the middle of the war the city was under the administration of the Duke of Saxony, the arts and music, however, flourished only among the higher strata, which did not describe Handels family. Handel was the child of this marriage, the first son died still born. Two younger sisters were born after the birth of George Frideric, Dorthea Sophia, born 6 October 1687 and Johanna Christiana, born 10 January 1690. Early in his life Handel is reported to have attended the gymnasium in Halle, Mainwaring is the source for almost all information of Handels childhood, and much of that information came from J. C. Smith, Jr. Handels confidant and copyist. Whether they came from Smith or elsewhere, Mainwaring frequently relates misinformation and it is from Mainwaring that the portrait of Handels father as implacably opposed to any musical education comes. This did nothing to dampen young Handels inclination, in fact, Mainwaring tells the story of Handels secret attic spinnet, Handel found means to get a little clavichord privately conveyd to a room at the top of the house. To this room he constantly stole when the family was asleep, but Handel had to have had some experience with the keyboard to have made the impression in Weissenfels that resulted in his receiving formal musical training. Somehow Handel made his way to the organ, where he surprised everyone with his playing. Overhearing this performance and noting the youth of the performer caused the Duke to recommend to Georg Händel that Handel be given musical instruction, Handels father engaged the organist at the Halle parish church, the young Friedrich Wilhelm Zachow, to instruct Handel
George Frideric Handel
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Portrait of Handel, by
Balthasar Denner (c. 1726–1728)
George Frideric Handel
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Handel's baptismal registration (Marienbibliothek in
Halle)
George Frideric Handel
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Händel-Haus (2009) – birthplace of George Frideric Handel
George Frideric Handel
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Entrance of Teatro del Cocomero in Florence
15.
Robert Walpole
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Robert Walpole, 1st Earl of Orford, KG, KB, PC, known before 1742 as Sir Robert Walpole, was a British statesman who is generally regarded as the de facto first Prime Minister of Great Britain. Although the exact dates of his dominance are a matter of scholarly debate and he dominated the Walpole–Townshend ministry and the Walpole ministry and holds the record as the longest-serving Prime Minister in British history. Speck says that Walpoles uninterrupted run of 20 years as Prime Minister is rightly regarded as one of the feats of British political history. He was a Whig from the class, who was first elected to Parliament in 1701. He was a squire and looked to country gentlemen for his political base. Hoppit says Walpoles policies sought moderation, he worked for peace, lower taxes, growing exports and he avoided controversy and high-intensity disputes, as his middle way attracted moderates from both the Whig and Tory camps. Dickinson sums up his role, Walpole was one of the greatest politicians in British history. He played a significant role in sustaining the Whig party, safeguarding the Hanoverian succession and he established a stable political supremacy for the Whig party and taught succeeding ministers how best to establish an effective working relationship between Crown and Parliament. Walpole was born in Houghton, Norfolk, in 1676, Horatio Walpole, 1st Baron Walpole was his younger brother. As a child, Walpole attended a school at Massingham. Walpole entered Eton College in 1690 where he was considered an excellent scholar and he left Eton on 2 April 1696 and matriculated at Kings College, Cambridge on the same day. On 25 May 1698 he left Cambridge after the death of his only remaining brother, Edward. Walpole had planned to become a clergyman but as he was now the eldest surviving son in the family, in November 1700 his father died, and Walpole succeeded to the estate. A paper in his fathers handwriting, dated 9 June 1700, shows the estate in Norfolk and Suffolk to have been nine manors in Norfolk. As a young man, Walpole had bought shares in the South Sea Company, which monopolized trade with Spain, the speculative market for slaves, rum and mahogany spawned a frenzy that had ramifications throughout Europe when it collapsed. However, Walpole had bought at the bottom and sold at the top, adding greatly to his inherited wealth, Walpoles political career began in January 1701 when he won a seat in the general election at Castle Rising. He left Castle Rising in 1702 so that he could represent the borough of Kings Lynn. Like his father, Robert Walpole was a member of the Whig Party, in 1705, Walpole was appointed by Queen Anne to be a member of the council for her husband, Prince George of Denmark, Lord High Admiral
Robert Walpole
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The Right Honourable The Earl of Orford
KG KB PC
Robert Walpole
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Armorial of Walpole: Or, on a fesse between two chevrons sable three crosses crosslet of the field
Robert Walpole
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Sir Robert Walpole
Robert Walpole
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1740 political cartoon depicting Walpole as the
Colossus of Rhodes, alluding to his reluctance to engage Spain and France militarily
16.
William Pitt, 1st Earl of Chatham
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William Pitt, 1st Earl of Chatham, PC, FRS was a British statesman of the Whig group who led the government of Great Britain twice in the middle of the 18th century. Historians call him Pitt of Chatham, or William Pitt the Elder to distinguish from his son, William Pitt the Younger, Pitt was also known as The Great Commoner, because of his long-standing refusal to accept a title until 1766. Pitt was a member of the British cabinet and its leader from 1756 to 1761. He again led the ministry, holding the title of Lord Privy Seal. Much of his power came from his brilliant oratory, Peters argues his statesmanship was based on a clear, consistent, and distinct appreciation of the value of the Empire. The British parliamentary historian Peter D. G, Thomas argues that Pitts power was based not on his family connections but the extraordinary parliamentary skills by which he dominated the House of Commons. He displayed a commanding manner, brilliant rhetoric, and sharp debating skills that cleverly utilized broad literary and historical knowledge. Pitt was the grandson of Thomas Pitt, the governor of Madras, known as Diamond Pitt for having discovered and this transaction, as well as other trading deals in India, established the Pitt family fortune. He made further purchases and became one of the dominant political figures in the West Country controlling seats such as the rotten borough of Old Sarum. Williams father was Robert Pitt, the eldest son of Governor Pitt and his mother was Harriet Villiers, the daughter of Edward Villiers-FitzGerald and the Irish heiress Katherine FitzGerald. Both Williams paternal uncles Thomas and John were MPs, while his aunt Lucy married the leading Whig politician, William Pitt was born at Golden Square, Westminster, on 15 November 1708. His older brother Thomas Pitt had been born in 1704, there were also five sisters, Harriet, Catherine, Ann, Elizabeth, and Mary. From 1719 William was educated at Eton College along with his brother, William disliked Eton, later claiming that a public school might suit a boy of turbulent disposition but would not do where there was any gentleness. It was at school that Pitt began to suffer from gout, in 1726 Governor Pitt died, and the family estate at Boconnoc passed to Williams father. When he died the year, Boconnoc was inherited by Williams elder brother. In January 1727, William was entered as a commoner at Trinity College. There is evidence that he was a reader, if not a minutely accurate classical scholar. William diligently cultivated the faculty of expression by the practice of translation and re-translation, in these years he became a close friend of George Lyttelton, who would later become a leading politician
William Pitt, 1st Earl of Chatham
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William Pitt, 1st Earl of Chatham by
Richard Brompton, 1772
William Pitt, 1st Earl of Chatham
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William Pitt, 1st Earl of Chatham
William Pitt, 1st Earl of Chatham
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The huge monument to William Pitt the Elder, in the
Guildhall, London stands opposite an equally huge monument to his son, William Pitt the Younger in a balanced composition
William Pitt, 1st Earl of Chatham
–
Governor
Thomas "Diamond" Pitt.
17.
Mezzotint
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Mezzotint is a printmaking process of the intaglio family, technically a drypoint method. It was the first tonal method to be used, enabling half-tones to be produced without using line- or dot-based techniques like hatching, cross-hatching or stipple. Mezzotint achieves tonality by roughening the plate with thousands of little dots made by a tool with small teeth. In printing, the pits in the plate hold the ink when the face of the plate is wiped clean. A high level of quality and richness in the print can be achieved, the mezzotint printmaking method was invented by the German amateur artist Ludwig von Siegen. His earliest mezzotint print dates to 1642 and is a portrait of Countess Amalie Elisabeth of Hanau-Münzenberg and this was made by working from light to dark. The rocker seems to have been invented by Prince Rupert of the Rhine, a cavalry commander in the English Civil War, who was the next to use the process. Sir Peter Lely saw the potential for using it to publicise his portraits, the process was especially widely used in England from the mid-eighteenth century, to reproduce portraits and other paintings. Since the mid-nineteenth century it has relatively little used. Robert Kipniss and Peter Ilsted are two notable 20th-century exponents of the technique, M. C, British mezzotint collecting was a great craze from about 1760 to the Great Crash of 1929, also spreading to America. The favourite period to collect was roughly from 1750 to 1820, leading collectors included William Eaton, 2nd Baron Cheylesmore and the Irishman John Chaloner Smith. This became the most common method, the whole surface of a metal, usually copper, plate is roughened evenly, manually with a rocker, or mechanically. If the plate were printed at this point it would show as solid black, a burnisher has a smooth, round end, which flattens the minutely protruding points comprising the roughened surface of the metal printing plate. Areas smoothed completely flat will not hold ink at all, such areas will print white, by varying the degree of smoothing, mid-tones between black and white can be created, hence the name mezzo-tinto which is Italian for half-tone or half-painted. This is called working from dark to light, or the subtractive method, alternatively, it is possible to create the image directly by only roughening a blank plate selectively, where the darker parts of the image are to be. This is called working from light to dark, or the additive method, the first mezzotints by Ludwig von Siegen were made in this way. Especially in this method, the mezzotint can be combined with other techniques, such as engraving, on areas of the plate not roughened. The plate is put through a printing press next to a sheet of paper
Mezzotint
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Sunshine V, mezzotint by
Peter Ilsted
Mezzotint
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Early mezzotint by Vaillerant, Siegen's assistant or tutor. Young man reading, with statue of Cupid. Probably made using light to dark technique. 27.5 × 21.3 cm
Mezzotint
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The first known mezzotint, by
Ludwig von Siegen, 1642
18.
Christopher Anstey
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Christopher Anstey was an English poet who also wrote in Latin. His New Bath Guide began a satirical fashion that was influential in the second half of the 18th century. Anstey was the son of the Rev. Dr. Christopher Anstey, the rector of Brinkley in Cambridgeshire and he was educated at Eton College and Kings College, Cambridge, where he distinguished himself for his Latin verses. He became a fellow of his college in 1745 but the degree of M. A, in 1754, having succeeded to the prosperous family estates, he withdrew from the university. Two years later, he married Ann, the sister of his friend John Calvert of Albury Hall, for a considerable time Anstey lived the life of a country squire, cultivating letters as well as his estates, but publishing little of any note for many years. His family grew to thirteen children, eight of whom survived him. Following a period of depression aggravated by ill health after the death of a sister in 1760. Impressed by the place, he returned annually and decided to settle permanently in 1770. In 1766, he achieved fame following the publication of The New Bath Guide, or Memoirs of the B__n__r__d Family in a series of Poetical Epistles, the work was enthusiastically praised for its gently satirical humour by such literary figures as Horace Walpole and Thomas Gray. Later Anstey composed a work in the vein, An Election Ball, in Poetical Letters from Mr Inkle at Bath to his Wife at Gloucester. The theme had been suggested to him at the gatherings of the Batheaston Literary Circle which he had been attending. In the years followed, he thought of collecting his poems for general publication. Although Anstey declared himself uninterested in office, he had served as High Sheriff of Cambridgeshire and Huntingdonshire for 1770-71. Once there, he busied himself in philanthropic ventures, such as supporting the scheme for the support of the poor on behalf of which the Batheaston Circle’s Poetical Amusements were sold. In addition he served between 1781-95 on the board of governors of Bath Hospital, for whom he wrote effective fund-raising poems, later he supported the work of Hannah More, in whose series of Cheap Repository Tracts appeared his long ballad, “The Farmer’s Daughter, a poetical tale”. His final Latin poem, the Alcaic stanzas addressed to Edward Jenner on his work on inoculation, Anstey’s normally strong constitution gave way early in 1805. He died on 3 August and was buried at St. Swithins Church in Walcot, later a white marble memorial tablet was placed in the Poets Corner of Westminster Abbey. Poetry in Latin makes up only a quarter of Anstey’s published output, but his poetical career both began and ended with it
Christopher Anstey
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Anstey with his daughter, by
William Hoare (c. 1777)
Christopher Anstey
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William Blake 's design for "
Gray's Elegy ", 1797-98
Christopher Anstey
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An illustration to Anstey's An Election Ball (1776) by
Coplestone Warre Bampfylde
19.
Henry Scudamore, 3rd Duke of Beaufort
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Henry Somerset-Scudamore, 3rd Duke of Beaufort was born Henry Somerset, the elder son of Henry Somerset, 2nd Duke of Beaufort and his second wife, Rachel Noel. As his fathers eldest son and heir to his fathers title he was known as Marquess of Worcester, on his fathers death on 24 April 1714 he succeeded him and became 3rd Duke of Beaufort. At the age of 19 he commissioned the construction of what would become known as the Badminton Chest or Badminton Cabinet. The chest was sold in 2004 to Hans-Adam II, Prince of Liechtenstein for £19 million and it is on display in the Palais Liechtenstein in Vienna, Austria. On 28 June 1729 he married Frances Scudamore, the daughter and heir of James Scudamore, 3rd Viscount Scudamore. In 1742 he filed for divorce due to Frances adulterous relationship with William Talbot, Frances countersued, saying the Duke was impotent, in March 1743, he demonstrated before court-appointed examiners that he was physically able to have an erection. The divorce was granted, and he sued Talbot for damages, Frances later remarried to Charles FitzRoy-Scudamore. After his death, the 3rd Duke of Beaufort was buried at St Michael and All Angels Church, because he had no legitimate children, his titles and estates were inherited by his younger brother, Charles Noel Somerset. The Duke had one daughter, Margaret Burr, who married the painter Thomas Gainsborough and had issue. The Badminton Cabinet in the Liechtenstein Museum, Vienna
Henry Scudamore, 3rd Duke of Beaufort
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The Duke of Beaufort
20.
Rosalba Carriera
–
Rosalba Giovana Carriera was a Venetian Rococo painter. In her younger years, she specialized in portrait miniatures and it is for this that she was able to establish a career in portraiture. Carriera would later became known for her work, a medium appealing to Rococo styles for its soft edges. She is remembered as one of the most successful artists of any era. Born in Venice with two sisters, Rosalba Carriera was a prominent and greatly admired portrait artist of the Italian Rococo. Her family was from the lower-middle-class in Venice, and as a child, she began her career by making lace-patterns for her mother. However, when interests in lace waned and the industry began to falter, Carriera had to find a new means of providing for herself, the popularity of snuff-taking gave her a an opportunity to do just that. Carriera began painting miniatures for the lids of snuff-boxes, and was the first painter to use instead of vellum for this purpose. Gradually, this evolved into portrait-painting, for which she pioneered the exclusive use of pastel. Prominent foreign visitors to Venice, young sons of the nobility on the tour and diplomats for example. By 1700 she was already creating miniatures and by 1703 she completed her first pastel portraits, in 1704, she was made an Accademico di merito by the Roman Accademia di San Luca, a title reserved for non-Roman painters. By 1721, during Carrieras left Venice for Paris, as portraits by her were in great demand, while in Paris, as a guest of the great amateur and art collector, Pierre Crozat. She painted Watteau, all the royalty and nobility from the King and Regent downwards and her brother-in-law, the painter Antonio Pellegrini, married to her sister Angela, was also in Paris that year. Pellegrini was employed by John Law, a British financier and adventurer, Carrieras other sister, Giovanna, and her mother, were members of the party in France. Both sisters, particularly Giovanna, helped her in painting the hundreds of portraits she was asked to execute and this was because she undertook a lot of work in order to support her family. Carrieras diary of these 18 months in Paris was later published by her admirer, Antonio Zanetti. Her extensive correspondence has also been published, in the short time she spent in Paris, her work contributed to forming the new aristocratic tastes of the court and by extension, the tastes of Parisians. No longer did art serve only the monarchys needs and her freedom, colorfulness and charms were injected into the Rococo style which soon dominated the arts
Rosalba Carriera
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Self-portrait, 1715
Rosalba Carriera
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Female Portrait with Mask, (
Fondazione Cariplo).
Rosalba Carriera
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Self-Portrait
21.
Duke of Newcastle
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Duke of Newcastle upon Tyne is a title which has been created three times in British history while the title of Duke of Newcastle-under-Lyne has been created once. The title was created for the first time in the Peerage of England in 1665 when William Cavendish and he was a prominent Royalist commander in the Civil War. Cavendish was the son of Sir Charles Cavendish, third son of Sir William Cavendish, William Cavendish, 1st Earl of Devonshire, was his uncle. Sir Charles Cavendish married as his second wife Catherine Ogle, 8th Baroness Ogle, daughter of Cuthbert Ogle, in 1629 their son William Cavendish succeeded as ninth Baron Ogle. He was succeeded by his son, the second Duke, also a politician and his only son and heir apparent Henry Cavendish, Earl of Ogle, predeceased him. On the Dukes death in 1691 all the titles became extinct, another daughter, Lady Margaret Cavendish, married John Holles, 4th Earl of Clare. In 1694 the dukedom was revived when he was created Marquess of Clare, the Holles family descended from John Holles, 1st Baron Haughton. He was created Baron Haughton, of Haughton in the County of Nottingham, in 1616 and his second son was the politician Denzil Holles, 1st Baron Holles. Lord Clare was succeeded by his eldest son, the second Earl and he represented East Retford in the House of Commons and served as Lord Lieutenant of Nottinghamshire. His son, the third Earl, was briefly Member of Parliament for Nottinghamshire in 1660 and he was succeeded by his son, the aforementioned fourth Earl, who was raised to Duke in 1694. The Duke of Newcastle upon Tyne had one daughter but no sons, the Dukes sister, Lady Grace Holles, married Thomas Pelham, 1st Baron Pelham. On his uncles death in 1711 their eldest son succeeded to the substantial Holles estates and assumed by Royal Licence the additional surname and these titles were in the Peerage of Great Britain. In 1756 the Duke of Newcastle-upon-Tyne was additionally created Duke of Newcastle-under-Lyne, in the County of Stafford, with remainder to his nephew Henry Clinton. On the Dukes death in 1768 he was succeeded in the dukedom of Newcastle-under-Lyne under this remainder by his nephew, all his other titles became extinct except for the Pelham baronetcy and the barony of Pelham, which devolved upon his first cousin once removed, Thomas Pelham. The title of the 1756 dukedom was of Newcastle-under-Lyne and not Newcastle under Lyme, extensive personal and estate papers of the Dukes of Newcastle are held in the Portland and Newcastle collections at Nottingham Universitys Department of Manuscripts and Special Collections. At this point his fathers baronetcy and barony of 1706, his own earldom and dukedom of 1715 became extinct, on his death in 1988 the dukedoms male heirs became exhausted and so the title became extinct. Www. medialens. org Kidd, Charles & Williamson, David, new York, St Martins Press,1990 Lundy, Darryl. Manuscripts and Special Collections, The Dukes of Newcastles of Clumber Park - a Brief History
Duke of Newcastle
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Thomas Pelham-Holles, 1st Duke of Newcastle
22.
Henry Herbert, 9th Earl of Pembroke
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Henry Herbert, 9th Earl of Pembroke, 6th Earl of Montgomery PC FRS was an English peer and courtier. He was the heir and eldest son of Thomas Herbert, 8th Earl of Pembroke and he was styled Lord Herbert from birth until he inherited his fathers earldoms of Pembroke and Montgomery in 1733. Studying at Christ Church, Oxford up to 1705 in a milieu of classicist architecture he went on a tour in 1712. He was appointed lord of the bedchamber to George II during his time as the prince of Wales and he was made a deputy lieutenant of Worcestershire on 29 January 1715, and was commissioned captain & lieutenant-colonel in the Coldstream Guards on 12 August 1717. On 20 September 1721, he was promoted to the rank of colonel, upon the accession of George II in 1727, Herbert remained his close associate, and was made first lord of the bedchamber. After acceding to the earldom on 9 January 1733, Pembroke left the Horse Guards and was appointed colonel of The Kings Own Regiment of Horse, later that year, he was appointed Lord Lieutenant of Wiltshire. George II continued to favour Pembroke, who was appointed groom of the stole on 8 January 1735, however, he proved unsuccessful in his attempts to mediate between George and his son prince Frederick. Though he exercised patronage in Wilton, his local constituency. He shared his fathers antiquarian tastes, but expressed them through architecture rather than collecting. As one of the earls, he collaborated with Roger Morris to design Marble Hill House, the White Lodge, Richmond. He also designed the tower at Houghton Hall in the form of a garden temple. The mason William Townsend executed the Earls design for the Column of Victory, at Blenheim Palace, the Earl also inspected Townsends design of Westcombe House, Blackheath, Kent and as well as parts of the design of Castle Hill, Devon. He also redecorated a few of the rooms in the front of Wilton House. Pembroke was promoted lieutenant-general on 18 February 1742, and became a Fellow of the Royal Society on 15 December 1743, during the kings trip to Hanover in 1748, he served as one of the Lords Justices. He died at Pembroke House in 1750 and he and Mary FitzWilliam and Frabces Shelley, married on 28 August 1733, and they only had one child, Henry, who inherited his fathers earldoms. When the Fitzwilliam family died out in the line in 1833, the Pembroke family inherited large estates in Dublin. Henry Herbert, 9th Earl of Pembroke at thepeerage. com Herbert, Henry
Henry Herbert, 9th Earl of Pembroke
–
Henry Herbert by
Roubiliac, c.1747, Victoria and Albert Museum
Henry Herbert, 9th Earl of Pembroke
–
The Earl of Pembroke
Henry Herbert, 9th Earl of Pembroke
–
The Palladian bridge
Henry Herbert, 9th Earl of Pembroke
–
Column of Victory, Blenheim Palace
23.
Duke of Beaufort (England)
–
The name Beaufort refers to a castle in Champagne, France. It is the current dukedom to take its name from a place outside the British Isles. The Dukes of Beaufort descend in the line from the House of Plantagenet through John of Gaunt. Beaufort Castle was a possession of John of Gaunt, and the surname Beaufort was given to Gaunts four legitimised children by his mistress and third wife and this was the foundation of the House of Beaufort, Dukes of Somerset. A descendant of the Beauforts through his mother was Henry Tudor, Charles Somerset, 1st Earl of Worcester, KG was the bastard son of Henry Beaufort, 3rd Duke of Somerset by his mistress Joan Hill. The Duke of Beaufort holds two subsidiary titles, Marquess of Worcester and Earl of Worcester, the title Marquess of Worcester is used as a courtesy title by the dukes eldest son and heir. The title Earl of Glamorgan is used by the eldest son of the apparent to the dukedom. The Earl of Glamorgans eldest son is known as Viscount Grosmont, the Earldom of Glamorgan and Viscountcy of Grosmont derive from an irregular creation by Charles I in 1644 in favour of Edward Somerset, who later succeeded his father as 2nd Marquess of Worcester. All subsidiary titles are in the Peerage of England, field Marshal The Lord Raglan, born Lord FitzRoy Somerset, was the youngest son of the fifth duke. The family seat was once Raglan Castle, Monmouthshire, but as of 2017 is Badminton House near Chipping Sodbury in Gloucestershire, the principal burial place of the Dukes and Duchesses of Beaufort is St Michael and All Angels Church, Badminton. Following the creation of the dukedom, each successive duke has served as Master of the Duke of Beauforts Hunt, for previous creations of the same title, see Earl of Worcester. He has a claim to the invention of the steam engine, david Robert Somerset, 11th Duke of Beaufort, great-grandson of Rt. Hon. Lord Henry Richard Charles Somerset, second son of the 8th Duke The heir apparent is Henry John FitzRoy Somerset, Marquess of Worcester, the heir apparents heir apparent is his son Henry Robert FitzRoy Somerset, Earl of Glamorgan, his eldest son. In heraldry, a bordure compony is traditionally used to designate illegitimacy, since the original Beaufort siblings father was of the English royal family, the English royal arms are used. At that time, the king of England also claimed the French crown, hence the inclusion of the French royal arms
Duke of Beaufort (England)
–
Bookplate with the arms of the
2nd Duke of Beaufort in 1705
Duke of Beaufort (England)
–
Dukedom of Beaufort
Duke of Beaufort (England)
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Bookplate with the arms of the
9th Duke of Beaufort in 1900
24.
Joshua Reynolds
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Sir Joshua Reynolds RA FRS FRSA was an influential eighteenth-century English painter, specialising in portraits. He promoted the Grand Style in painting which depended on idealization of the imperfect and he was a founder and first president of the Royal Academy of Arts, and was knighted by George III in 1769. Reynolds was born in Plympton, Devon, on 16 July 1723 the third son of the Rev. Samuel Reynolds and his father had been a fellow of Balliol College, Oxford, but did not send any of his sons to the university. One of his sisters was Mary Palmer, seven years his senior, author of Devonshire Dialogue, in 1740 she provided £60, half of the premium paid to Thomas Hudson the portrait-painter, for Joshuas pupilage, and nine years later advanced money for his expenses in Italy. His other siblings included Frances Reynolds and Elizabeth Johnson, as a boy, he came under the influence of Zachariah Mudge, whose Platonistic philosophy stayed with him all his life. The work that came to have the most influential impact on Reynolds was Jonathan Richardsons An Essay on the Theory of Painting, having shown an early interest in art, Reynolds was apprenticed in 1740 to the fashionable London portrait painter Thomas Hudson, who had been born in Devon. Hudson had a collection of old master drawings, including some by Guercino, although apprenticed to Hudson for four years, Reynolds only remained with him until summer 1743. Having left Hudson, Reynolds worked for some time as a portrait-painter in Plymouth Dock and he returned to London before the end of 1744, but following his fathers death in late 1745 he shared a house in Plymouth Dock with his sisters. In 1749, Reynolds met Commodore Augustus Keppel, who invited him to join HMS Centurion, of which he had command, while with the ship he visited Lisbon, Cadiz, Algiers, and Minorca. From Minorca he travelled to Livorno in Italy, and then to Rome, while in Rome he suffered a severe cold, which left him partially deaf, and, as a result, he began to carry a small ear trumpet with which he is often pictured. Reynolds travelled homeward overland via Florence, Bologna, Venice, and he was accompanied by Giuseppe Marchi, then aged about 17. Apart from a brief interlude in 1770, Marchi remained in Reynolds employment as an assistant for the rest of the artists career. Following his arrival in England in October 1752, Reynolds spent three months in Devon, before establishing himself in London, where he remained for the rest of his life. He took rooms in St Martins Lane, before moving to Great Newport Street and he achieved success rapidly, and was extremely prolific. In 1760 Reynolds moved into a house, with space to show his works and accommodate his assistants. Alongside ambitious full-length portraits, Reynolds painted large numbers of smaller works, in the late 1750s, at the height of the social season, he received five or six sitters a day, each for an hour. By 1761 Reynolds could command a fee of 80 guineas for a full-length portrait, the clothing of Reynolds sitters was usually painted either by one of his pupils, his studio assistant Giuseppe Marchi, or the specialist drapery painter Peter Toms. Lay figures were used to model the clothes and he had an excellent vantage from his house, Wick House, on Richmond Hill, and painted the view in about 1780
Joshua Reynolds
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Self-portrait
Joshua Reynolds
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Joshua Reynolds, self-portrait, aged around 24
Joshua Reynolds
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Self-portrait, aged 17, entitled, Uffizi Self-portrait
Joshua Reynolds
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Self-portrait
25.
Royal Mineral Water Hospital
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The Royal National Hospital for Rheumatic Diseases is a small, specialist NHS hospital in the centre of Bath. Since 2015 it is run by the Royal United Hospitals Bath NHS Foundation Trust, the building frontage uses Royal Mineral Water Hospital, a previous name. From the 16th century the needs of the poor who came to take the healing waters of the Roman Baths were recognised. This attracted beggars and was repealed in 1714 but large numbers were attracted to the city. Plans were suggested for a hospital to receive them in 1716 with supporters which included Lady Elizabeth Hastings, Henry Hoare, Joseph Jekyll, William Oliver and Beau Nash. The hospital was founded in 1738 as The Mineral Water Hospital, then, it provided care for the impoverished sick who were attracted to Bath because of the supposed healing properties of the mineral water from the spa. The original building was designed by John Wood the Elder and built with Bath stone donated by Ralph Allen. It was later enlarged, firstly in 1793 by the addition of an attic storey and it is a Grade II* listed building. There is a pediment, in Bath stone, on 1860 building depicting the parable of the good Samaritan. The hospital possesses a number of interesting oil paintings, in particular a picture of Dr Oliver, in 1978, the hospital was the third from last of the English hydropathic hospitals to cease offering hydropathy. In 1993, it became an NHS Foundation Trust, specialising in Rheumatic Disease and Rehabilitation, the hospital provides local Rheumatology services, and also has specialist clinics and services which attract referrals from a national population. Specialist rheumatology clinics include connective tissue disease, ankylosing spondylitis, osteoporosis, the hospital has a large brain injury rehabilitation service with separate units for adults, adolescents and children. The brain injury unit closed in March 2013 as a result of financial pressures and it was named by the Health Service Journal as the best acute specialist trust to work for in 2015. At that time it had 208 full-time equivalent staff and a sickness rate of 3. 18%. 91% of staff recommend it as a place for treatment and 79% recommended it as a place to work, during 2015 and 2016 some services were transferred to the Royal United Hospital, including endoscopy and childrens services. It is planned that the last services will be transferred to the RUH by 2018, healthcare in Somerset List of hospitals in England Royal National Hospital for Rheumatic Diseases website The Royal National Hospital for Rheumatic Diseases National Health Service Trust Order 1993
Royal Mineral Water Hospital
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Royal National Hospital for Rheumatic Diseases
26.
Prince Hoare (younger)
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Prince Hoare was an English painter and dramatist. Prince is a name, not a royal title. Hoare was born in Bath, the son of painter William Hoare and he was named Prince after his fathers brother, a sculptor. He studied art from an age, and became well known as a painter of portraits. Later in his life, Hoare wrote 20 plays and he also compiled the Memoirs of Granville Sharp, based on the British abolitionists manuscripts, family documents and material from the African Institution, London. Prince Hoare II, Grove Art Online, Oxford University Press, accessed 15 August 2007 Wroth, M. Clare Loughlin-Chow Hoare, Prince, Oxford Dictionary of National Biography, Oxford University Press, accessed 15 Aug 2007
Prince Hoare (younger)
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Prince Hoare (1755–1834) (
Thomas Lawrence, circa 1826)
27.
Dramatist
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A playwright, also known as a dramatist, is a person who writes plays. The term is not a variant spelling of playwrite, but something quite distinct, hence the prefix and the suffix combine to indicate someone who has wrought words, themes, and other elements into a dramatic form - someone who crafts plays. The homophone with write is in this case entirely coincidental, the term playwright appears to have been coined by Ben Jonson in his Epigram 49, To Playwright, as an insult, to suggest a mere tradesman fashioning works for the theatre. Jonson described himself as a poet, not a playwright, since plays during that time were written in meter and this view was held as late as the early 19th century. The term playwright later lost this negative connotation, the earliest playwrights in Western literature with surviving works are the Ancient Greeks. These early plays were written for annual Athenian competitions among playwrights held around the 5th century BC, such notables as Aeschylus, Sophocles, Euripides, and Aristophanes established forms still relied on by their modern counterparts. For the ancient Greeks, playwriting involved poïesis, the act of making and this is the source of the English word poet. In the 4th century BCE, Aristotle wrote his Poetics, the first play-writing manual, in this famous text, Aristotle established the principle of action or praxis as the basis for all drama. He then included a hierarchy of elements for the beginning with plot, character, thought, diction, music. The ends of drama were plot, character, and thought, the means of drama were language and music, since the myths, upon which Greek tragedy were based, were widely known, plot had to do with the arrangement and selection of existing material. Character was equated with choice as rather than psychology, so that character was determined by action, in tragedy, the notion of ethical choice determined the character of the individual. Thought had more to do and the imitation of an action that is serious, thus, he developed his notion of hamartia, or tragic flaw, an error in judgment by the main character or protagonist. It provides the basis for the play, a term still held as the sine qua non of dramaturgy. The Poetics, while very brief and highly condensed, is studied today. Perhaps the most Aristotelian of contemporary playwrights is David Mamet, who embraces the idea of character as agent of the action, and emphasizes causality in the structure of his plays. His recently revived, Speed-the-Plow, is quintessentially Aristotelian, in that it observes the unities and builds its plot through a causal stream of discoveries and reversals. The Italian Renaissance brought about a stricter interpretation of Aristotle, as this long-lost work came to light in the late 15th century. The neoclassical ideal, which was to reach its apogee in France during the 17th century, dwelled upon the unities, of action, place, and time
Dramatist
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William Shakespeare
28.
International Standard Book Number
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The International Standard Book Number is a unique numeric commercial book identifier. An ISBN is assigned to each edition and variation of a book, for example, an e-book, a paperback and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, the method of assigning an ISBN is nation-based and varies from country to country, often depending on how large the publishing industry is within a country. The initial ISBN configuration of recognition was generated in 1967 based upon the 9-digit Standard Book Numbering created in 1966, the 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108. Occasionally, a book may appear without a printed ISBN if it is printed privately or the author does not follow the usual ISBN procedure, however, this can be rectified later. Another identifier, the International Standard Serial Number, identifies periodical publications such as magazines, the ISBN configuration of recognition was generated in 1967 in the United Kingdom by David Whitaker and in 1968 in the US by Emery Koltay. The 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108, the United Kingdom continued to use the 9-digit SBN code until 1974. The ISO on-line facility only refers back to 1978, an SBN may be converted to an ISBN by prefixing the digit 0. For example, the edition of Mr. J. G. Reeder Returns, published by Hodder in 1965, has SBN340013818 -340 indicating the publisher,01381 their serial number. This can be converted to ISBN 0-340-01381-8, the check digit does not need to be re-calculated, since 1 January 2007, ISBNs have contained 13 digits, a format that is compatible with Bookland European Article Number EAN-13s. An ISBN is assigned to each edition and variation of a book, for example, an ebook, a paperback, and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, a 13-digit ISBN can be separated into its parts, and when this is done it is customary to separate the parts with hyphens or spaces. Separating the parts of a 10-digit ISBN is also done with either hyphens or spaces, figuring out how to correctly separate a given ISBN number is complicated, because most of the parts do not use a fixed number of digits. ISBN issuance is country-specific, in that ISBNs are issued by the ISBN registration agency that is responsible for country or territory regardless of the publication language. Some ISBN registration agencies are based in national libraries or within ministries of culture, in other cases, the ISBN registration service is provided by organisations such as bibliographic data providers that are not government funded. In Canada, ISBNs are issued at no cost with the purpose of encouraging Canadian culture. In the United Kingdom, United States, and some countries, where the service is provided by non-government-funded organisations. Australia, ISBNs are issued by the library services agency Thorpe-Bowker
International Standard Book Number
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A 13-digit ISBN, 978-3-16-148410-0, as represented by an
EAN-13 bar code
29.
Grove Art Online
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A new edition was published in 2003 by Oxford University Press. Written by 6,700 experts from around the world, its 32, 600-pages cover over 45,000 topics about art, artists, art critics, art collectors, or anything else connected to the world of art. According to The New York Times Book Review it is the most ambitious art-publishing venture of the late 20th century, almost half the content covers non-Western subjects, and contributors hail from 120 countries. Topics range from Julia Margaret Cameron to Shoji Hamada, Korea to Timbuktu, the Enlightenment to Marxism, entries include bibliographies and a vast number of images. The dictionary is available in a standard hardcover edition, though the leather-bound version appears to be out of print. The Grove Dictionary of Art is published by Oxford University Press, the online version, which is updated three times a year, is available by subscription and includes some extra content. In the UK, many libraries offer it free to their online users using their library membership number. The Grove Dictionary of Art was first offered online through the Grove Art Online web site in 1998. The site was expanded and renamed as Oxford Art Online, including works, The Oxford Companion to Western Art, Encyclopedia of Aesthetics. In 2011, the Benezit Dictionary of Artists was added to the database, the New Grove Dictionary of Music and Musicians References Sources Jane Turner
Grove Art Online
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The Dictionary of Art
30.
Oxford Dictionary of National Biography
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The Dictionary of National Biography is a standard work of reference on notable figures from British history, published from 1885. The updated Oxford Dictionary of National Biography was published on 23 September 2004 in 60 volumes and he approached Leslie Stephen, then editor of the Cornhill Magazine, owned by Smith, to become editor. Stephen persuaded Smith that the work should focus on subjects from the UK and its present, an early working title was the Biographia Britannica, the name of an earlier eighteenth-century reference work. The first volume of the Dictionary of National Biography appeared on 1 January 1885, in May 1891 Leslie Stephen resigned and Sidney Lee, Stephens assistant editor from the beginning of the project, succeeded him as editor. While much of the dictionary was written in-house, the DNB also relied on external contributors, by 1900, more than 700 individuals had contributed to the work. Successive volumes appeared quarterly with complete punctuality until midsummer 1900, when the series closed with volume 63, the year of publication, the editor and the range of names in each volume is given below. The supplements brought the work up to the death of Queen Victoria on 22 January 1901. The dictionary was transferred from its original publishers, Smith, Elder & Co. to Oxford University Press in 1917, until 1996, Oxford University Press continued to add further supplements featuring articles on subjects who had died during the twentieth century. The supplements published between 1912 and 1996 added about 6,000 lives of people who died in the century to the 29,120 in the 63 volumes of the original DNB. In 1993 a volume containing missing biographies was published and this had an additional 1,000 lives, selected from over 100,000 suggestions. Consequently, the dictionary was becoming less and less useful as a reference work, in 1966, the University of London published a volume of corrections, cumulated from the Bulletin of the Institute of Historical Research. There were various versions of the Concise Dictionary of National Biography, the last edition, in three volumes, covered everyone who died before 1986. In the early 1990s Oxford University Press committed itself to overhauling the DNB, the new dictionary would cover British history, broadly defined, up to 31 December 2000. The research project was conceived as a one, with in-house staff co-ordinating the work of nearly 10,000 contributors internationally. Following Matthews death in October 1999, he was succeeded as editor by another Oxford historian, Professor Brian Harrison, in January 2000. The new dictionary, now known as the Oxford Dictionary of National Biography, was published on 23 September 2004 in 60 volumes in print at a price of £7500, most UK holders of a current library card can access it online free of charge. In subsequent years, the print edition has been able to be obtained new for a lower price. At publication, the 2004 edition had 50,113 biographical articles covering 54,922 lives, a small permanent staff remain in Oxford to update and extend the coverage of the online edition
Oxford Dictionary of National Biography
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George Murray Smith conceived of the DNB, subsidised it, and saw it finally into print before he died in 1901.
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