1.
Bill Main
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According to Jarrod Jablonski, the Hogarthian style has many minor variations, yet its focus asserts a policy of minimalism. The configuration was refined in the 1990s, partially through the Woodville Karst Plain Project, established in 1985, at this point, George Irvine, director of the WKPP, added a third component emphasizing use of the highest quality and best maintained equipment. Gavin, Main, Lamar English, Irvine, and Jablonski all cultivated the idea there was an ideal equipment configuration that should be standardized among the WKPP divers. As Main put considerable efforts towards streamlining configurations, his name was taken to represent the approach. Doing It Right Backplate and wing
2.
Painter and his Pug
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Painter and his Pug is a 1745 self-portrait created by William Hogarth. He began the portrait a decade earlier, the portrait was originally created with the intention of Hogarth wearing formal attire, but was changed to the informal attire sometime during the painting process. In the portrait, Hogarth himself is in a painting as the pug is alongside him, the dog is indifferent to the painting, to the books and to the painting palette. So the painting seems to be a Vanitas still life, but, as an ironic disruption, the cloth behind the dog comes out of the painting. The painting is part of the collections of the Tate Gallery
3.
St Nicholas Church, Chiswick
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St Nicholas Church, Chiswick is a Grade II* listed Anglican church in Church Street, Chiswick, London, near the River Thames. The oldest part of Chiswick developed as a village around the church from c, the current church dates from 1882–84, when most of the building except the tower was demolished and rebuilt at the expense of the brewer Henry Smith of the nearby Fuller, Smith and Turner brewery. Several monuments survive, mainly in the tower, there has been a church on the Chiswick site since at least 1181 in Norman times. The church was visited and an inventory made at the unusually early date of 1252. The chancel roof needed repairing, and the church was at the time not dedicated, visitations were repeated in 1297 and 1458. The current church dates from 1882–84, when it was rebuilt to a design by the architect John Loughborough Pearson, because of the small distance between the tower and the road at Church Street, Pearson made the nave short but wide, so it is nearly square in plan. The Duke of Devonshire gave £1,000 for the rebuilding, the church is built of courses of squared Kentish ragstone masonry in the Perpendicular style. It has a coping with a copper roof. Inside the church, surviving 15th-century features include the tall archway to the west tower, among the monuments in the church are, Ralph Wenwood, d. 1799, wall tablet in swag surround Charlotte Seymour, Duchess of Somerset and she was the second wife of Charles Seymour, 6th Duke of Somerset Sir Thomas Chaloner, d. 1615, and his two wives, d.1603 and 1615, heraldic achievement over baldachino, stone curtains held open by figures on sides, kneeling figures of Sir Thomas and his wife Mary Litcott, d. 1780, representation of sarcophagus by Thomas Scheemakers, Bentley was Josiah Wedgwoods business partner Richard Taylor,1698, urn on tassellated swag surround held by cherubs Richard Tayler, d. 1716, Corinthian aedicule, heraldic cartouche, statues of Father Time and Angel of Death Charles Holland the actor,1769, bust on obelisk, epitaph by Daniel Garrick James Howard, d. 1669, flaming urn on Ionic aedicule, inscription panel Thomas Plucknett,1721, broken pediment and Ionic aedicule John Taylor, d. 1729, open pediment, heraldic achievement in tympanum over Ionic aedicule Thomas Tomkins,1816, tablet with medallion portrait Charles Barnevett, d. 1695, pedimented wall tablet John Beckwith, d,1815, rectangular fluted tablet Among the monuments in the churchyard and the adjacent burial ground are, Ugo Foscolo, d. In 1871, his remains were taken to Italy, but inscriptions were added to the monument in Chiswick by the Italian government,1764, and relatives, epitaph poem by David Garrick Charles Holland, actor, epitaph by David Garrick Henry Joy, d. 1893, trumpeter in the Charge of the Light Brigade Philip James de Loutherbourg,1812, landscape painter, mausoleum was designed by Sir John Soane
4.
Chiswick
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Chiswick is a district of west London, England. Most of it is in the London Borough of Hounslow, other parts of the W4 postcode area, including Chiswick Park tube station, Acton Green, and much of Bedford Park are in the London Borough of Ealing. It occupies a meander of the River Thames used for competitive and recreational rowing, the finishing post for the Boat Race is just downstream of Chiswick Bridge. Chiswick was historically the ancient parish of St Nicholas in the county of Middlesex, with an agrarian and it became the Municipal Borough of Brentford and Chiswick in 1932 and has formed part of Greater London since 1965, when it was merged into the London Borough of Hounslow. On a border, the Chiswick or Great West Road Roundabout is the start of the North Circular Road, South Circular Road with the eponymous road flying over this. West of Chiswicks Hogarth Roundabout, the Great West Road from central London converts to the M4 motorway, providing a second mode of transport connection to Heathrow Airport, the Great Chertsey Road runs south-west from the Hogarth Roundabout, becoming the M3 motorway. Historic figures who lived in Chiswick include the poets Alexander Pope, yeats, the Italian revolutionary Ugo Foscolo, the Impressionist painter Camille Pissarro and the novelist E. M. Forster. Chiswick was first recorded c.1000 as the Old English Ceswican meaning Cheese Farm, Chiswick grew up as a village around St Nicholas Church from c. The area included three small settlements, the fishing village of Strand-on-the-Green, Little Sutton and Turnham Green on the west road out of London. A decisive skirmish took place on Turnham Green early in the English Civil War, in November 1642, royalist forces under Prince Rupert, marching from Oxford to retake London, were halted by a larger parliamentarian force under the Earl of Essex. The royalists retreated and never threatened the capital. In 1864, John Isaac Thornycroft, founder of the John I, Thornycroft & Company shipbuilding company, established a yard at Church Wharf at the west end of Chiswick Mall. The shipyard built the first naval destroyer, HMS Daring of the Daring class, to cater for the increasing size of warships, Thornycroft moved its shipyard to Southampton in 1909. In 1822, the Royal Horticultural Society leased 33 acres of land in the south of the High Road between what are now Sutton Court Road and Duke’s Avenue. This site was used for its fruit tree collection and its first school of horticulture, the area was reduced to 10 acres in the 1870s, and the lease was terminated when the Society’s garden at Wisley, Surrey, was set up in 1904. Some of the pear trees still grow in the gardens of houses built on the site. The population of Chiswick grew almost tenfold during the 19th century, reaching 29,809 in 1901, suburban building began in Gunnersbury in the 1860s and in Bedford Park, on the borders of Chiswick and Acton, in 1875. During the Second World War, Chiswick was bombed repeatedly, with incendiary and high explosive bombs
5.
Painting
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Painting is the practice of applying paint, pigment, color or other medium to a solid surface. The medium is commonly applied to the base with a brush, but other implements, such as knives, sponges, Painting is a mode of creative expression, and the forms are numerous. Drawing, gesture, composition, narration, or abstraction, among other aesthetic modes, may serve to manifest the expressive, Paintings can be naturalistic and representational, photographic, abstract, narrative, symbolistic, emotive, or political in nature. A portion of the history of painting in both Eastern and Western art is dominated by motifs and ideas. In art, the term painting describes both the act and the result of the action, the term painting is also used outside of art as a common trade among craftsmen and builders. What enables painting is the perception and representation of intensity, every point in space has different intensity, which can be represented in painting by black and white and all the gray shades between. In practice, painters can articulate shapes by juxtaposing surfaces of different intensity, thus, the basic means of painting are distinct from ideological means, such as geometrical figures, various points of view and organization, and symbols. In technical drawing, thickness of line is ideal, demarcating ideal outlines of an object within a perceptual frame different from the one used by painters. Color and tone are the essence of painting as pitch and rhythm are the essence of music, color is highly subjective, but has observable psychological effects, although these can differ from one culture to the next. Black is associated with mourning in the West, but in the East, some painters, theoreticians, writers and scientists, including Goethe, Kandinsky, and Newton, have written their own color theory. Moreover, the use of language is only an abstraction for a color equivalent, the word red, for example, can cover a wide range of variations from the pure red of the visible spectrum of light. There is not a register of different colors in the way that there is agreement on different notes in music. For a painter, color is not simply divided into basic, painters deal practically with pigments, so blue for a painter can be any of the blues, phthalocyanine blue, Prussian blue, indigo, cobalt, ultramarine, and so on. Psychological and symbolical meanings of color are not, strictly speaking, colors only add to the potential, derived context of meanings, and because of this, the perception of a painting is highly subjective. The analogy with music is quite clear—sound in music is analogous to light in painting, shades to dynamics and these elements do not necessarily form a melody of themselves, rather, they can add different contexts to it. Modern artists have extended the practice of painting considerably to include, as one example, collage, some modern painters incorporate different materials such as sand, cement, straw or wood for their texture. Examples of this are the works of Jean Dubuffet and Anselm Kiefer, there is a growing community of artists who use computers to paint color onto a digital canvas using programs such as Adobe Photoshop, Corel Painter, and many others. These images can be printed onto traditional canvas if required, rhythm is important in painting as it is in music
6.
Engraving
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Engraving is the practice of incising a design onto a hard, usually flat surface by cutting grooves into it. Wood engraving is a form of printing and is not covered in this article. Engraving was an important method of producing images on paper in artistic printmaking, in mapmaking. Other terms often used for printed engravings are copper engraving, copper-plate engraving or line engraving, hand engraving is a term sometimes used for engraving objects other than printing plates, to inscribe or decorate jewellery, firearms, trophies, knives and other fine metal goods. Traditional engravings in printmaking are also engraved, using just the same techniques to make the lines in the plate. Each graver is different and has its own use, engravers use a hardened steel tool called a burin, or graver, to cut the design into the surface, most traditionally a copper plate. Modern professional engravers can engrave with a resolution of up to 40 lines per mm in high grade work creating game scenes, dies used in mass production of molded parts are sometimes hand engraved to add special touches or certain information such as part numbers. In addition to engraving, there are engraving machines that require less human finesse and are not directly controlled by hand. They are usually used for lettering, using a pantographic system, there are versions for the insides of rings and also the outsides of larger pieces. Such machines are used for inscriptions on rings, lockets. Gravers come in a variety of shapes and sizes that yield different line types, the burin produces a unique and recognizable quality of line that is characterized by its steady, deliberate appearance and clean edges. The angle tint tool has a curved tip that is commonly used in printmaking. Florentine liners are flat-bottomed tools with multiple lines incised into them, ring gravers are made with particular shapes that are used by jewelry engravers in order to cut inscriptions inside rings. Flat gravers are used for work on letters, as well as wriggle cuts on most musical instrument engraving work, remove background. Knife gravers are for line engraving and very deep cuts, round gravers, and flat gravers with a radius, are commonly used on silver to create bright cuts, as well as other hard-to-cut metals such as nickel and steel. Square or V-point gravers are typically square or elongated diamond-shaped and used for cutting straight lines, V-point can be anywhere from 60 to 130 degrees, depending on purpose and effect. These gravers have very small cutting points, other tools such as mezzotint rockers, roulets and burnishers are used for texturing effects. Burnishing tools can also be used for stone setting techniques
7.
James Thornhill
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Sir James Thornhill was an English painter of historical subjects working in the Italian baroque tradition. Thornhill was born in Melcombe Regis, Dorset, the son of Walter Thornhill of Wareham and Mary, eldest daughter of Colonel William Sydenham, in 1689 he was apprenticed to Thomas Highmore, a specialist in non-figurative decorative painting. He also learned a great deal from Antonio Verrio and Louis Laguerre and he completed his apprenticeship in 1696 and, on 1 March 1704, became a Freeman of the Painter-Stainers Company of London. Thornhill decorated palace interiors with large-scale compositions, with figures shown in idealized. In 1707 he was given the commission to decorate the Hall now known as the Painted Hall at Greenwich Hospital, the scheme of allegorical wall and ceiling decorations of the hall depicts the Protestant succession of English monarchs from William and Mary to George I. On 28 June 1715 Thornhill was awarded the commission to decorate the dome of St Pauls Cathedral by a whig, the Weekly Packet said that the decision to award Thornhill the commission would put to silence all the loud applauses hitherto given to foreign artists. The eight scenes in the dome, executed in grisaille, show episodes from the Life of St. Paul, Thornhills vast murals in great houses often related to topical events, as seen through the eyes of his mainly Whig patrons. Here he painted The Rape of the Sabine Women, a vast panorama of mounted warriors carrying off the Sabine women to Rome, the subject is, inevitably, the Dukes 1704 victory at the Battle of Blenheim, during the War of the Spanish Succession. His last major commission was to paint the chapel at Wimpole Hall, he started work on the sketches in 1713. The north wall has fictive architecture and four Trompe-lœil statues of the four Doctors of the Church, the east wall above the altar is painted with the Adoration of the Magi. In 1725 he offered to paint decorations for the ceiling of the New Council Chamber at the Guildhall in the City of London and he gave his services free, although he was rewarded with a valuable gold cup. The chamber was demolished, though some of the paintings – an Allegory of London. In his native Dorset Thornhill decorated the reredos at St. Marys Church, in 1711, Thornhill was one of the twelve original directors of Sir Godfrey Knellers academy at Great Queen Street, London. In 1716, he succeeded Kneller as Governor there and held the post until 1720 and he then established his own private drawing school at Covent Garden, but this soon closed. In November 1724, Thornhill made a second, more successful, William Hogarth seems to have been a member of Thornhills second academy from the beginning. On 23 March 1729 he married Thornhills daughter Jane, Thornhill was with Hogarth when he went to see Sarah Malcolm in Newgate prison just days before her execution. This was in order that Hogarth might record her portrait, in June 1718 George I made Thornhill court painter, and in March 1720 Serjeant Painter. On 2 May 1720, the king knighted him, the first native artist to be knighted, in the same year, he was master of the Painters Company and in 1723 fellow of the Royal Society
8.
Fellow of the Royal Society of Arts
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Fellowship of the Royal Society of Arts is an award open to anyone who can demonstrate that they support the mission and share the values of the Royal Society of Arts. Fellows are charged a subscription and are entitled to use the post-nominal letters FRSA, examples of current fellows, who come from diverse backgrounds and professions, include Tim Berners-Lee, Sue Black, Stephen Hawking, Benson Taylor and Gareth Malone. Previous Fellows have included Charles Dickens, Benjamin Franklin and Karl Marx, a partial List of Fellows of the Royal Society of Arts gives more examples, alongside the Category, Fellows of the Royal Society of Arts. As of 2016 the RSA Fellowship is a community of 28,000 members who have either applied for or been nominated for Fellowship since 1754
9.
Printmaking
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Printmaking is the process of making artworks by printing, normally on paper. Printmaking normally covers only the process of creating prints that have an element of originality, except in the case of monotyping, the process is capable of producing multiples of the same piece, which is called a print. Each print produced is not considered a copy but rather is considered an original, a print may be known as an impression. Printmaking is not chosen only for its ability to multiple impressions. Prints are created by transferring ink from a matrix or through a screen to a sheet of paper or other material. Screens made of silk or synthetic fabrics are used for the screenprinting process, other types of matrix substrates and related processes are discussed below. Multiple impressions printed from the matrix form an edition. Prints may also be printed in book form, such as illustrated books or artists books, Printmaking techniques are generally divided into the following basic categories, Relief, where ink is applied to the original surface of the matrix. Relief techniques include woodcut or woodblock as the Asian forms are known, wood engraving. Intaglio, where ink is applied beneath the surface of the matrix. Intaglio techniques include engraving, etching, mezzotint, aquatint, planographic, where the matrix retains its original surface, but is specially prepared and/or inked to allow for the transfer of the image. Planographic techniques include lithography, monotyping, and digital techniques, stencil, where ink or paint is pressed through a prepared screen, including screenprinting and pochoir. Other types of printmaking techniques outside these groups include collagraphy and viscosity printing, collagraphy is a printmaking technique in which textured material is adhered to the printing matrix. This texture is transferred to the paper during the printing process, Contemporary printmaking may include digital printing, photographic mediums, or a combination of digital, photographic, and traditional processes. Many of these techniques can also be combined, especially within the same family, for example, Rembrandts prints are usually referred to as etchings for convenience, but very often include work in engraving and drypoint as well, and sometimes have no etching at all. Woodcut, a type of print, is the earliest printmaking technique. It was probably first developed as a means of printing patterns on cloth, woodcuts of images on paper developed around 1400 in Japan, and slightly later in Europe. These are the two areas where woodcut has been most extensively used purely as a process for making images without text, the artist draws a design on a plank of wood, or on paper which is transferred to the wood
10.
Cartoonist
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A cartoonist is a visual artist who specializes in drawing cartoons. This work is created for entertainment, political commentary, or advertising. The English satirist and editorial cartoonist William Hogarth, who emerged In the 18th century, has credited with pioneering Western sequential art. His work ranged from realistic portraiture to comic series of pictures called modern moral subjects. Much of his work poked fun at politics and customs. Gillray explored the use of the medium for lampooning and caricature, calling the king, prime ministers and generals to account, while never a professional cartoonist, Benjamin Franklin is credited with having the first cartoon published in an American newspaper. In the 19th century, professional cartoonists such as Thomas Nast introduced other familiar American political symbols, during the 20th century, numerous magazines carried single-panel gag cartoons by such freelance cartoonists as Charles Addams, Irwin Caplan, Chon Day, Clyde Lamb, and John Norment. These were almost always published in black and white, although Colliers often carried cartoons in color, the debut of Playboy introduced full-page color cartoons by Jack Cole, Eldon Dedini, and others. Single-panel cartoonists syndicated to newspapers included Dave Breger, Hank Ketcham, George Lichty, Fred Neher, Irving Phillips, comic strips received widespread distribution to mainstream newspapers by syndicates such as the Universal Press Syndicate, United Media, or King Features. Sunday strips go to a company such as American Color before they are published. Some comic strip creators publish in the press or on the Internet. Comic strip artists may also work in book-length form, creating graphic novels. Both vintage and current strips receive reprints in book collections, the major comic book publishers utilize teams of cartoonists to produce the art. When a consistent artistic style is wanted among different cartoonists, character model sheets may be used as reference, animated cartooning is created for short films, advertising, feature films and television. It is also used in live-action films for dream sequences or opening titles. An animation artist is referred to as an animator rather than a cartoonist. They create motion pictures as well, Animation studios such as DreamWorks Animation, Pixar, Walt Disney Animation Studios, and Blue Sky Studios create CGI or computer-animated films that are more three-dimensional. There are many books of cartoons in both paperback and hardcover, such as the collections of cartoons from The New Yorker, prior to the 1960s, cartoons were mostly ignored by museums and art galleries
11.
Realism (arts)
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Realism in the arts is the attempt to represent subject matter truthfully, without artificiality and avoiding artistic conventions, implausible, exotic and supernatural elements. Realism has been prevalent in the arts at many periods, and is in part a matter of technique and training. In the visual arts, illusionistic realism is the depiction of lifeforms, perspective. Realist works of art may emphasize the mundane, ugly or sordid, such as works of realism, regionalism. There have been various movements in the arts, such as the opera style of verismo, literary realism, theatrical realism. The realism art movement in painting began in France in the 1850s, the realist painters rejected Romanticism, which had come to dominate French literature and art, with roots in the late 18th century. Realism is the precise, detailed and accurate representation in art of the appearance of scenes. Realism in this sense is also called naturalism, mimesis or illusionism, realistic art was created in many periods, and it is in large part a matter of technique and training, and the avoidance of stylization. It becomes especially marked in European painting in the Early Netherlandish painting of Jan van Eyck, however such realism is often used to depict, for example, angels with wings, which were not things the artists had ever seen in real life. It is the choice and treatment of matter that defines Realism as a movement in painting. The development of increasingly accurate representation of the appearances of things has a long history in art. It includes elements such as the depiction of the anatomy of humans and animals, of perspective and effects of distance. Ancient Greek art is recognised as having made great progress in the representation of anatomy. Pliny the Elders famous story of birds pecking at grapes painted by Zeuxis in the 5th century BC may well be a legend, roman portraiture, when not under too much Greek influence, shows a greater commitment to a truthful depiction of its subjects. The art of Late Antiquity famously rejected illusionism for expressive force, scientific methods of representing perspective were developed in Italy and gradually spread across Europe, and accuracy in anatomy rediscovered under the influence of classical art. As in classical times, idealism remained the norm, intriguingly, having led the development of illusionic painting, still life was to be equally significant in its abandonment in Cubism. The depiction of ordinary, everyday subjects in art also has a history, though it was often squeezed into the edges of compositions. However these objects are at least largely there because they carry layers of complex significance, pieter Bruegel the Elder pioneered large panoramic scenes of peasant life
12.
Comic strip
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A comic strip is a sequence of drawings arranged in interrelated panels to display brief humor or form a narrative, often serialized, with text in balloons and captions. With the development of the internet, they began to online as web comics. There were more than 200 different comic strips and daily cartoon panels in American newspapers alone each day for most of the 20th century, Strips are written and drawn by a comics artist or cartoonist. As the name implies, comic strips can be humorous, starting in the late 1920s, comic strips expanded from their mirthful origins to feature adventure stories, as seen in Popeye, Captain Easy, Buck Rogers, Tarzan, and The Adventures of Tintin. Soap-opera continuity strips such as Judge Parker and Mary Worth gained popularity in the 1940s, all are called, generically, comic strips, though cartoonist Will Eisner has suggested that sequential art would be a better genre-neutral name. In the UK and the rest of Europe, comic strips are also serialized in comic book magazines, storytelling using a sequence of pictures has existed through history. One medieval European example in textile form is the Bayeux Tapestry, printed examples emerged in 19th-century Germany and in 18th-century England, where some of the first satirical or humorous sequential narrative drawings were produced. William Hogarths 18th century English cartoons include both narrative sequences, such as A Rakes Progress, and single panels, in China, with its traditions of block printing and of the incorporation of text with image, experiments with what became lianhuanhua date back to 1884. The first newspaper comic strips appeared in North America in the late 19th century, the Yellow Kid is usually credited as one of the first newspaper strips. However, the art form combining words and pictures developed gradually, swiss author and caricature artist Rodolphe Töpffer is considered the father of the modern comic strips. In 1865, German painter, author, and caricaturist Wilhelm Busch created the strip Max and Moritz, Max and Moritz provided an inspiration for German immigrant Rudolph Dirks, who created the Katzenjammer Kids in 1897. Familiar comic-strip iconography such as stars for pain, sawing logs for snoring, speech balloons, hugely popular, Katzenjammer Kids occasioned one of the first comic-strip copyright ownership suits in the history of the medium. When Dirks left William Randolph Hearst for the promise of a better salary under Joseph Pulitzer, it was an unusual move, in a highly unusual court decision, Hearst retained the rights to the name Katzenjammer Kids, while creator Dirks retained the rights to the characters. Hearst promptly hired Harold Knerr to draw his own version of the strip, Dirks renamed his version Hans and Fritz. Thus, two versions distributed by rival syndicates graced the pages for decades. Dirks version, eventually distributed by United Feature Syndicate, ran until 1979, in the United States, the great popularity of comics sprang from the newspaper war between Pulitzer and Hearst. On January 31,1912, Hearst introduced the nations first full daily comic page in his New York Evening Journal, the history of this newspaper rivalry and the rapid appearance of comic strips in most major American newspapers is discussed by Ian Gordon. The longest running American comic strips are,1, barney Google and Snuffy Smith 5
13.
A Harlot's Progress
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A Harlots Progress is a series of six paintings and engravings by the English artist William Hogarth. The series shows the story of a woman, M. Hackabout. The series was developed from the image, having painted a prostitute in her boudoir in a garret on Drury Lane. The title and rich allegory are reminiscent of John Bunyans Pilgrims Progress, in the first scene, an old woman praises her beauty and suggests a profitable occupation, procuring her for the gentleman shown towards the back of the image. She is a mistress with two lovers in the second, has become a prostitute on the point of being arrested in the third. By the fifth, she is dying from disease. The protagonist M. Hackabout is either named after the heroine of Moll Flanders, pirate copies of the engravings were soon in circulation, and Hogarth procured a 1735 Act of Parliament to prohibit the practice. Soon after, Hogarth published his series of satirical and moralistic images, A Rakes Progress. The original plates survived, and were sold by Hogarths widow, Jane, to John Boydell in 1789, by him to Baldwin, Cradock and Joy in 1818, and then to Henry Bohn in 1835. British composer Iain Bell composed an adaptation of the work which opened at the Theater an der Wien in Vienna in 2013 with German soprano Diana Damrau in the title role. The world premiere of the opera A Harlots Progress was on 13 October 2013, beer Street and Gin Lane A Rakes Progress Shesgreen, Sean. Catalogue of Political and Personal Satires, Volume III, part I, London, British Museum Publications, Ltd.1978
14.
A Rake's Progress
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A Rakes Progress is a series of eight paintings by 18th-century English artist William Hogarth. The canvases were produced in 1732–33, then engraved and published in print form in 1734, the original paintings are in the collection of Sir John Soanes Museum in London, where they are normally on display. The filmmaker Alan Parker has described the works as an ancestor to the storyboard, gavin Gordon wrote a 1935 ballet titled The Rakes Progress, based directly on Hogarths paintings. It was choreographed by Ninette de Valois, designed by Rex Whistler, has recorded several times. The 1946 RKO film Bedlam, produced by Val Lewton and directed by Mark Robson, was inspired by A Rakes Progress, Hogarth received a writing credit for the film. Igor Stravinskys 1951 opera The Rakes Progress, with a libretto by W. H. Auden, in 1961, David Hockney created his own print edition version of The Rakes Progress, he has also created stage designs for the Stravinsky Opera. In 2012, English artist Grayson Perry created a series of tapestries named The Vanity of Small Differences, a modern adaptation of Hogarths originals. In 2014 Ulrike Theusner created a version in eight paintings - eleven plates of 130 ×200 cm accompanied as by Hogarth of a series of copper engravings reproducing the same themes
15.
Latin
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Latin is a classical language belonging to the Italic branch of the Indo-European languages. The Latin alphabet is derived from the Etruscan and Greek alphabets, Latin was originally spoken in Latium, in the Italian Peninsula. Through the power of the Roman Republic, it became the dominant language, Vulgar Latin developed into the Romance languages, such as Italian, Portuguese, Spanish, French, and Romanian. Latin, Italian and French have contributed many words to the English language, Latin and Ancient Greek roots are used in theology, biology, and medicine. By the late Roman Republic, Old Latin had been standardised into Classical Latin, Vulgar Latin was the colloquial form spoken during the same time and attested in inscriptions and the works of comic playwrights like Plautus and Terence. Late Latin is the language from the 3rd century. Later, Early Modern Latin and Modern Latin evolved, Latin was used as the language of international communication, scholarship, and science until well into the 18th century, when it began to be supplanted by vernaculars. Ecclesiastical Latin remains the language of the Holy See and the Roman Rite of the Catholic Church. Today, many students, scholars and members of the Catholic clergy speak Latin fluently and it is taught in primary, secondary and postsecondary educational institutions around the world. The language has been passed down through various forms, some inscriptions have been published in an internationally agreed, monumental, multivolume series, the Corpus Inscriptionum Latinarum. Authors and publishers vary, but the format is about the same, volumes detailing inscriptions with a critical apparatus stating the provenance, the reading and interpretation of these inscriptions is the subject matter of the field of epigraphy. The works of several hundred ancient authors who wrote in Latin have survived in whole or in part and they are in part the subject matter of the field of classics. The Cat in the Hat, and a book of fairy tales, additional resources include phrasebooks and resources for rendering everyday phrases and concepts into Latin, such as Meissners Latin Phrasebook. The Latin influence in English has been significant at all stages of its insular development. From the 16th to the 18th centuries, English writers cobbled together huge numbers of new words from Latin and Greek words, dubbed inkhorn terms, as if they had spilled from a pot of ink. Many of these words were used once by the author and then forgotten, many of the most common polysyllabic English words are of Latin origin through the medium of Old French. Romance words make respectively 59%, 20% and 14% of English, German and those figures can rise dramatically when only non-compound and non-derived words are included. Accordingly, Romance words make roughly 35% of the vocabulary of Dutch, Roman engineering had the same effect on scientific terminology as a whole
16.
Leicester Square
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Leicester Square is a pedestrianised square in the West End of London, England. It was laid out in 1670 and is named after the contemporary Leicester House, itself named after Robert Sidney, the square was originally a gentrified residential area, with tenants including Frederick, Prince of Wales and artists William Hogarth and Joshua Reynolds. It became more down-market in the late 18th century as Leicester House was demolished and retail developments took place, several major theatres were established in the 19th century, which were converted to cinemas towards the middle of the next. The square remains a popular tourist attraction, including hosting events for the Chinese New Year, the square has always had a park in its centre, which was originally Lammas land. The parks fortunes have varied over the centuries, reaching near dilapidation in the century after changing ownership several times. It was restored under the direction of Albert Grant, which included the construction of four new statues, the square was extensively refurbished and remodelled for the 2012 London Olympics, costing more than £15m and taking over 17 months to complete. The square lies within an area bound by Lisle Street, to the north, Charing Cross Road, to the east, Orange Street, to the south, and Whitcomb Street, to the west. It is within the City of Westminster, north of Trafalgar Square, east of Piccadilly Circus, west of Covent Garden, the nearest tube station is Leicester Square tube station, which opened in 1906. London bus routes 24,29 and 176 run on nearby Charing Cross Road, the land where Leicester Square now lies once belonged to the Abbot and Convent of Westminster Abbey and the Beaumont family. In 1536, Henry VIII took control of 3 acres of land around the square, the square is named after Robert Sidney, 2nd Earl of Leicester, who purchased this land in 1630. By 1635, he had himself a large house, Leicester House. The area in front of the house was enclosed, depriving inhabitants of St Martin in the Fields parish of their right to use the previously common land. The parishioners appealed to King Charles I, and he appointed three members of the council to arbitrate. Lord Leicester was ordered to keep part of his land open for the parishioners, the square was laid out to the south of Leicester House and developed in the 1670s. The area was originally residential, with properties laid out in a similar style to nearby Pall Mall. In 1687, the part of the square became part of the new parish of St Anne. The Jocelyn Sidney, 7th Earl of Leicester took ownership of the property in 1728 and it was briefly the residence of Frederick, Prince of Wales from 1742 until Leicesters death the following year. The poet Matthew Prior lived at what is now No.21 around 1700, the magistrate Thomas de Veil, later to found Bow Street Magistrates Court, lived at No 40 between 1729 and 1737, this location is now the Odeon West End
17.
Trade card
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A trade card is a square card that is small, but bigger than the modern visiting card, and is exchanged in social circles, that a business distributes to clients and potential customers. Trade cards first became popular at the end of the 17th century in Paris and they functioned as advertising and also as maps, directing the public to the merchants stores. The trade card is an example of the modern business card. Some businesses began to increasingly sophisticated designs, especially with the development of color printing. A few companies specialized in producing stock cards, usually with an image on one side, as the designs became more attractive and colorful, collecting trade cards became a popular hobby in the late 19th century, since color images were not yet widely available. In its original sense, the trade in trade card refers to its use by the proprietor of a business to announce his trade, or line of business. By moving into the realm of collecting, trade cards gave rise to the trading card, some cards, particularly those produced by tobacco companies featuring baseball players, later developed into collectibles and lost their function as a business advertisement. Advertising postcard Baseball card — The earliest baseball cards were trade cards, cigarette card — a type of trade card packaged in tobacco products. Postcard Prizes — Trade cards were some of the earliest prizes packaged in retail products, trading card — Trade cards were the ancestors of trading cards
18.
Coffeehouse
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A coffeehouse, coffee shop, or café is an establishment which primarily serves hot coffee, related coffee beverages, tea, and other hot beverages. Some coffeehouses also serve cold beverages such as iced coffee and iced tea, many cafés also serve some type of food, such as light snacks, muffins, or pastries. Coffeehouses range from owner-operated small businesses to multinational corporations. A coffeehouse may share some of the characteristics of a bar or restaurant. Many coffee houses in the Middle East and in West Asian immigrant districts in the Western world offer shisha, espresso bars are a type of coffeehouse that specializes in serving espresso and espresso-based drinks. Since the development of Wi-Fi, coffeehouses with this capability have also become places for patrons to access the Internet on their laptops, a coffeehouse can serve as an informal club for its regular members. As early as the 1950s Beatnik era and the 1960s folk music scene, coffeehouses have hosted singer-songwriter performances, coffeehouses in Mecca became a concern as places for political gatherings to the imams, who banned them, as well as the drink, for Muslims between 1512 and 1524. In 1530, the first coffeehouse was opened in Damascus and not long there were many coffeehouses in Cairo. About that year, a fellow called Hakam from Aleppo and a wag called Shams from Damascus came to the city, they opened a large shop in the district called Tahtakale. Various legends involving the introduction of coffee to Istanbul at a Kiva Han in the late 15th century circulate in culinary tradition, resembling checkers, hopscotch, and chess, are played. In addition, mollas, dervishes, and poets take turns telling stories in verse or in prose, the narrations by the mollas and the dervishes are moral lessons, like our sermons, but it is not considered scandalous not to pay attention to them. No one is forced to give up his game or his conversation because of it. It often happens that two or three people talk at the time, one on one side, the other on the opposite, and sometimes one will be a preacher. The most common English spelling, café, is the French, Portuguese and Spanish spelling, thus the spelling cafe has become very common in English-language usage throughout the world, especially for the less formal, i. e. greasy spoon variety. The Italian spelling, caffè, is sometimes used in English. In southern England, especially around London in the 1950s, the French pronunciation was often altered to /ˈkæf/. The English words coffee and café both descend from the Italian word for coffee, caffè—first attested as caveé in Venice in 1570— and in turn derived from the Arabic qahuwa. The Arabic term qahuwa originally referred to a type of wine but after the ban by Mohammed
19.
St John's Gate, Clerkenwell
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The substructure is of brick, the north and south façades of stone. Griffiths, R. Norman Shaw, and J. Oldrid Scott, the building has many historical associations, most notably as the original printing-house for Edward Caves pioneering monthly, The Gentlemans Magazine, and sometime workplace of Samuel Johnson. From 1701–1709 it was the home of the painter William Hogarth who was just a child at that time, in 1703 his father Richard opened a coffee house there, Hogarths Coffee House, offering Latin lessons together with the coffee. For many years the building was used as a tavern, the Gate was acquired in the 1870s by the revived Order of St. John and was gradually converted to serve as headquarters of both the Order and its subsidiary, St. John Ambulance. It now also houses the Museum of the Order, much of its Tudor-style interior, including the Council Chamber over the Arch, can be attributed to Scotts renovations in the 1880s and 1890s. St Johns Gate was voted an iconic landmark to represent Islington for the London Olympics 2012, historical picture of St Johns Gate Museum and Library of the Order of St John at St Johns Gate
20.
Debtors' prison
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A debtors prison is a prison for people who are unable to pay debt. Through the mid 19th century, debtors prisons were a way to deal with unpaid debt in Western Europe. Increasing access and lenience throughout the history of law have made prison terms for unaggravated indigence illegal over most of the world. In this case the crime is not indigence, but disobeying the order to appear before the court. During Europes Middle Ages, debtors, both men and women, were locked up together in a single, large cell until their families paid their debt, debt prisoners often died of diseases contracted from other debt prisoners. Conditions included starvation and abuse from other prisoners, if the father of a family was imprisoned for debt, the family business often suffered while the mother and children fell into poverty. Unable to pay the debt, the father often remained in prison for many years. Some debt prisoners were released to become serfs or indentured servants until they paid off their debt in labor, article 1 of Protocol 4 of the European Convention on Human Rights prohibits the imprisonment of people for breach of a contract. Turkey and the United Kingdom have signed but never ratified Protocol 4, greece and Switzerland have neither signed nor ratified this protocol. In the late Middle Ages, and at the beginning of the modern era and this served to standardize the coercive arrest, and got rid of the many arbitrary sanctions that were not universal. In some areas the debtor could sell or redistribute their debt, in most of the cities, the towers and city fortifications functioned as jails. For certain sanctions there were designated prisons, hence some towers being called debtors prison, the term Schuldturm, outside of the Saxon constitution, became the catchword for public law debtor’s prison. In the early era, the debtor’s detainment or citizen’s arrest remained valid in Germany. This practice was particularly disgraceful to an identity, but had different rules than criminal trials. It was more similar to the enforcement of sentences e. g. the debtor would be able to work off their debt for a certain amount of days. The North German Confederation eliminated debtors prisons on May 29,1868, in England during the eighteenth and nineteenth centuries,10,000 people were imprisoned for debt each year. A prison term did not alleviate a persons debt, however, in the Kingdom of Great Britain and the later United Kingdom, debtors prisons varied in the amount of freedom they allowed the debtor. Life in these prisons, however, was far from pleasant, some debtor prisoners were even less fortunate, being sent to prisons with a mixture of vicious criminals and petty criminals, and many more were confined to a single cell
21.
Fleet Prison
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Fleet Prison was a notorious London prison by the side of the River Fleet. The prison was built in 1197, was several times. The prison was built in 1197 off what is now Farringdon Street, in 1381, during the Peasants Revolt, it was deliberately destroyed by Wat Tylers men. In 1666, during the Great Fire of London, it was burned down on the day of the fire. The warden of the prison, Sir Jeremy Whichcote, purchased Caron House in Lambeth after the fire to house the prisons debtors while the prison was rebuilt on the site at his own expense. During the 18th century, Fleet Prison was mainly used for debtors and it usually contained about 300 prisoners and their families. Like the Marshalsea prison, it was divided into a restrictive and arduous common side and a more open masters side, at that time, prisons were profit-making enterprises. Prisoners had to pay for food and lodging, there were fees for turning keys and for taking irons off, and Fleet Prison had the highest fees in England. There was even a grille built into the Farringdon Street prison wall, from 1613 on, there were also many clandestine Fleet Marriages. The boundary of the Liberties of the Fleet included the side of Ludgate Hill, the Old Bailey to Fleet Lane and along it until the Fleet Market. The head of the prison was termed the warden, who was appointed by letters patent and it became a frequent practice of the holder of the patent to farm out the prison to the highest bidder. This custom made the prison long notorious for the cruelties inflicted on prisoners, one purchaser of the office, Thomas Bambridge, who became warden in 1728, was of particularly evil repute. He was committed to Newgate Prison, and an act was passed to prevent his enjoying the office of warden, during the Gordon Riots in 1780 Fleet Prison was again destroyed and rebuilt in 1781–1782. The demolition yielded three million bricks,50 tons of lead and 40,000 square feet of paving, after lying empty for 17 years the site was sold to the London, Chatham and Dover Railway and became the site of their new Ludgate station. Roger de Saperton, fl.1381 Edmund Haslewood of Maidwell, such Cruelty reduces the Prisoners to Despair, insomuch, that many choose rather to shoot, hang or throw themselves out of the Window, than to be insulted, beaten and imposed upon by the Gaolers. If every Gaoler was allowed a yearly Sallary, in foreign Countries, where the Romish Religion prevails, what Crowds of People of both Sexes, from the highest Prince to the meanest Peasant, thrust themselves into Religious Houses. It is an apparent Injury to the Country, too obvious to be denied, that the many Prisons in England, where so many Thousands of both Sexes are detained, is a greater Loss and Injury to the King and Country. Other notable inmates include, Richard Onslow spent a time in the Fleet after being expelled from the Inner Temple for taking part in an affray in 1556
22.
Rose and Crown Club
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The Rose and Crown Club was a club for artists, collectors and connoisseurs of art in early 18th-century London, England. The club was initially a bawdy assembly of artists and cognoscenti. In addition to Vertue, members included Bernard Lens III, Christian Friedrich Zincke, William Hogarth, Peter Tillemans, Marcellus Laroon the Younger, the members of the club were known as the Rosacoronians. Tiffin, and it has suggested that this is a group portrait of the Rosacoronians. The group includes Hamilton himself, Michael Dahl, John Vanderbank, the architect William Kent, Vertue listed the painter and engraver Gerhard Bockman as a member in 1724. The club was connected with the older-established Virtuosi of St Luke, with which it is sometimes confused. The Rose and Crown Club remained in existence until 1745 and held its last meeting at the Half-Moon Tavern. Bignamini notes in his George Vertue that The meetings and annual feasts of the Virtuosi of St Luke and of the Rose and Crown Club had come to a definitive end in 1745
23.
Peter Tillemans
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Peter Tillemans was a Flemish painter, best known for his works on sporting and topographical subjects. Alongside John Wootton and James Seymour, he was one of the founders of the English school of sporting painting, from 1708 until his death he lived and worked in England. Tillemans was born in Antwerp in c,1684, the son of a diamond-cutter, and studied painting there under various masters. As he was the brother-in-law of another Flemish painter, Pieter Casteels, like other artists from the Low Countries such as Dirk Maas, Jan Wyck and Willem van de Velde the Younger, Tillemans moved to England. In Tillemanss case he moved in 1708, induced to do so by a picture-dealer called Turner, in his Sportsmen in a Landscape, Aubrey Noakes offers this description of Tillemans, If we may judge from his success Tillemans was a socially agreeable and charming man. A chronic sufferer of asthma, Tillemans retired to Richmond on account of his ill state of health and he died at the house of Dr Cox Macro in Little Haugh Hall, in Suffolk, on 5 December 1734 and was buried on 7 December at Stowlangtoft. Dr Macro had a bust of Tillemans made by John Michael Rysbrack, a portrait of the artist, engraved by T. Chambers, from a painting by Hissings, is given in Fuselis 1805 revised edition of Rev. Matthew Pilkingtons A Dictionary of Painters. He enjoyed much success imitating the style and execution of David Teniers, Tillemans worked in many different styles and rarely dated his work. By 1711 Tillemans joined Godfrey Knellers Academy of Painting and Drawing in Great Queen Street, London and his main residence was in Westminster but he travelled extensively on commission. In 1716 Tillemans repainted part of a portrait of Dr Macro by Frans van Mieris from around 1703 and that year he also painted Dr Macro in the background of The Artists Studio, a self-portrait, with a pupil and Dr Cox Macro, surrounded in the studio by paintings. In 1717, his piece of the royal family making music was shown at the Bartholomew fair. His other patrons included the Duke of Devonshire, the 4th Baron Byron, the greater part of Tillemanss oeuvre was painted from approximately 1720 onwards, and it is from the works painted over these years that he chiefly derives his fame. The development of painting on sporting themes was centred on the Newmarket Racecourse in the town of Newmarket in Suffolk. Because both Wootton and Tillemans omitted to sign many of their works, some of them are difficult to tell apart, Tillemanss Newmarket, the Long Course is in the Government Art Collection. Patteson had inherited many of Tillemanss paintings by his marriage into Dr Macros family, tilleman painted numerous portraits of racehorses for his patrons, among whom were the Dukes of Somerset, Rutland, and Bolton, and the Earl of Portmore. According to Sir Walter Gilbey in his Animal Painters of England From the Year 1650, A brief history of their lives and works, lloyds, from a set of three pictures descriptive of Newmarket Horse Races, enable us to measure Tillemans talent as a horse painter. In 1724, Tillemans worked with Joseph Goupy on scenery for the Haymarket opera house, Tillemans was also a member of the Rose and Crown Club, and in 1725 was recorded by George Vertue as steward to the Society of the Virtuosi of St Luke. Vertue noted that Tillemans was acquainted with people of Fashion & persons of Quality and was in demand as a painter of country-house and his country house paintings include Chatsworth House, Holker Hall, and Chirk Castle in Denbighshire
24.
George Vertue
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George Vertue was an English engraver and antiquary, whose notebooks on British art of the first half of the 18th century are a valuable source for the period. Vertue was born in 1684 in St Martins-in-the-Fields, London, his father, perhaps a tailor, at the age of 13, he was apprenticed to a prominent heraldic engraver of French origin who became bankrupt and returned to France. Vertue worked seven years under Michael Vandergucht, before operating independently and he was amongst the first members of Godfrey Knellers London Academy of Painting, who had employed him to engrave portraits. It was there that he became a pupil of Thomas Gibson, Vertue had a deep interest in antiquarian research, and much of his labour was given to this subject. From 1713 on, Vertue was a researcher on details of the history of British art. He was a member of the Rose and Crown Club, with William Hogarth, Peter Tillemans and other artists and connoisseurs and his travels to sites across England, with enthusiasts such as Edward Harley, Lord Coleraine and others, were recorded in Vertues highly detailed drawings and notes. In 1717 he was appointed engraver to the Society of Antiquaries. Most of the illustrations in Vetusta Monumenta, up to his date of death, are his work, after the death of the Earl of Oxford in 1741, Vertue was patronised by the Duchess of Portland and others. The Duke of Norfolk commissioned a work after Van Dyck of the Earl of Arundel and he produced a catalogue detailing the collections of the royal family, at the request of Frederick, Prince of Wales, an avid buyer of the engravers work. A portrait of Vertue was painted in 1715 by Gibson, his widow donated this to The Society of Antiquaries, Vertue had produced an engraving of this. A later painting, of the artist aged around 50, by Jonathan Richardson was acquired by the National Portrait Gallery, another self-portrait, with his wife on their wedding-day, was etched by William Humphrey. Richardson also drew the profile used in James Basires plate in Nicholss Literary Anecdotes, Vertue died in London on 24 July 1756 and was buried in Westminster Abbey. Vertues brother James was an artist in Bath who produced the view of the abbey that was engraved by him. The second of his three brothers, Peter, was a master of Chelmsford. Approximately five hundred portraits are attributed to Vertue, a number of published plates were devoted to antiquarian subjects. Many of the portraits were printed as frontispieces, most are regarded as accurate representations of the subject, twelve Heads of Poets, set of plates issued 1730 Rapins History of England, Knapton Brothers edition,1736. A task that took three years, the same publisher commissioned plates for Thomas Birchs Heads of Illustrious Persons, though his contribution is submerged by the popularity of Houbrakens brilliant but less truthful productions. The copperplates of these were acquired by the Society of Antiquaries and his publications include A Description of the Works of Wenceslaus Hollar,1745, and Medals, Coins, Great Seals, Impressions from the Works of Thomas Simon,1753
25.
Michael Dahl
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Michael Dahl was a Swedish portrait painter who lived and worked in England most of his career and died there. He was one of the most internationally known Swedish painters of his time and he painted portraits of many aristocrats and some members of royal families, such as Queen Anne of Great Britain, Prince George of Denmark and the exiled Queen Christina of Sweden. Michael Dahl was born in Stockholm, in 1656 or 1659 and his mother, Catarina Dahl, is assumed to have made many silent sacrifices to give Michael the opportunity of a good education, so that his talent was not to be wasted. According to letters written by Michael from Rome to his back in Sweden, she had raised him and his sister in an old-fashioned way. The Hannibal and Ehrenstrahl group consisted of a handful of students who were taught by Martin Hannibal, since there were two teachers, the group was divided. The students were first under the leadership of Hannibal to learn the basics of painting and this would suggest that Ehrenstrahl was a better painter than Hannibal, whose talent is not easily assessed as none of his work has been identified. The Painters Guild wasnt an option for Dahl either, due to its lack of contemporary artists as members. Thus Michael Dahl started to study in the Hannibal and Ehrenstrahl group in 1674, after his time with Hannibal, Dahl was one of the students who were allowed to continue with Ehrenstrahl as the teacher. From this fact it is easy to tell that Hannibal and Ehrenstrahl were pleased with Dahl as a student, on 30 July 1682, Dahl was issued a passport to be able to travel throughout Europe for the sake of his studies. His first destination on this journey was London. He was brought there by an English merchant called Sowter, though his name may vary and it is probable that it was through this man that Dahl came in contact with the skilled engraver and painter Robert White. The earliest trace of Dahls activity in England is a portrait of Samuel Clarke, White took Dahl under his wing in the world of painting in London. White helped Dahl expand his network in London and he came in contact with the man who is probably responsible for the greatest impact on his development. Kneller showed Dahl what the public really wanted from artists, and his studio was factory-like compared with David Klöcker Ehrenstrahls, which Dahls biographer Wilhelm Nisser terms Ehrenstrahls monopoly of glorifying Swedish Royalty. In Knellers studio, Dahl both studied and made a living and there he became acquainted with Henry Tilson, Tilson was from a highly respected family and had earlier studied under the Court portrait painter Sir Peter Lely. He was considered one of the most promising painters of Lelys pupils, Dahl and Tilson started to plan a journey around Europe to expand their studies. They were to go to Paris, Venice and Rome, lack of documentation makes it impossible to determine when Michael Dahl and Henry Tilson left for Paris, but it is known that they were still working in Paris in April 1685. Paris at that time was an objective for Swedish travelers
26.
Palace of Westminster
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The Palace of Westminster is the meeting place of the House of Commons and the House of Lords, the two houses of the Parliament of the United Kingdom. Commonly known as the Houses of Parliament after its occupants, the Palace lies on the bank of the River Thames in the City of Westminster. The palace is owned by the monarch in right of the Crown and for ceremonial purposes, the building is managed by committees appointed by both houses, which report to the Speaker of the House of Commons and the Lord Speaker. The first royal palace was built on the site in the 11th century, part of the New Palaces area of 3.24 hectares was reclaimed from the Thames, which is the setting of its nearly 300-metre long façade, called the River Front. Barry was assisted by Augustus Pugin, an authority on Gothic architecture and style. The Palace is one of the centres of political life in the United Kingdom, Westminster has become a metonym for the UK Parliament, the Palace of Westminster has been a Grade I listed building since 1970 and part of a UNESCO World Heritage Site since 1987. The Palace of Westminster site was important during the Middle Ages. Known in medieval times as Thorney Island, the site may have been first-used for a residence by Canute the Great during his reign from 1016 to 1035. St Edward the Confessor, the penultimate Anglo-Saxon monarch of England, Thorney Island and the surrounding area soon became known as Westminster. Neither the buildings used by the Anglo-Saxons nor those used by William I survive, the oldest existing part of the Palace dates from the reign of William Is successor, King William II. The Palace of Westminster was the principal residence in the late Medieval period. The predecessor of Parliament, the Curia Regis, met in Westminster Hall, simon de Montforts parliament, the first to include representatives of the major towns, met at the Palace in 1265. The Model Parliament, the first official Parliament of England, met there in 1295, in 1512, during the early years of the reign of King Henry VIII, fire destroyed the royal residential area of the palace. In 1534, Henry VIII acquired York Place from Cardinal Thomas Wolsey, renaming it the Palace of Whitehall, Henry used it as his principal residence. Although Westminster officially remained a royal palace, it was used by the two Houses of Parliament and by the various law courts. Because it was originally a residence, the Palace included no purpose-built chambers for the two Houses. Important state ceremonies were held in the Painted Chamber which had originally built in the 13th century as the main bedchamber for King Henry III. The House of Commons, which did not have a chamber of its own, the Commons acquired a permanent home at the Palace in St Stephens Chapel, the former chapel of the royal palace, during the reign of Edward VI
27.
Serjeant Painter
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The Serjeant Painter was an honorable and lucrative position with the British monarchy. It carried with it the prerogative of painting and gilding all of the Kings residences, coaches, banners, etc. and it grossed over £1,000 in a good year by the 18th century. The work itself involved painting the palaces, coaches, royal barges, and all sorts of decorations for festivities, the actual involvement of the Serjeant Painters in this gradually declined. The post itself fell out of use in the 18th century, the post of serjeant-painter came into being with the appointment of John Browne in 1511–12. In the time of Henry VIII they seem to have acted as at least foremen for the workers, from 1527 better artists were made Kings Painter. They may have painted portraits. George Gower was appointed by Elizabeth I in 1581 and in 1603 James I appointed John de Critz at £40 a year together with another - first Leonard Fryer, and from 1610 Robert Peake the Elder. Gower and De Critz were reputable artists, as was Peake, for Anthony van Dyck the position of Principal Painter in Ordinary was devised, at a retainer of £200 p. a. this continued until Queen Victoria and was nearly always given to a portraitist. By the 18th century most of the work was done by assistants, in 1720 Sir James Thornhill was appointed Serjeant Painter and, in 1757, William Hogarth. The last known holder was James Stewart, of whom no records are available after 1782, in a patent issued on 7 May 1679 for Robert Streater Jr, a list of previous serjeant-painters is given, including John Decreetz & Robert Peake as joint-holders of the post. De Critz was given the post in 1603 but is first described as sharing the office with Leonard Fryer, Robert Peake was appointed jointly with de Critz in 1607, or 1610. A payment made to de Critz in 1633 shows that he was paid a retainer of £40 a year, the lines of demarcation between the work of the serjeant-painters and that of other artists employed by the court sometimes needed clarification. At the time, Nicholas Hilliard was the leading artist in limning and this was regarded as the highest form of painting, while easel painting in large was still associated with interior decorating. Hilliard reports in a letter to Robert Cecil, Lord Salisbury, in particular, Walpole quoted from a scrap of paper, a memorandum in his own hand, on which de Critz wrote bills for jobs completed. On the other side is a demand for payment for work on the barge, John De Critz demaundeth allowance for these parcells of Worke following. The two figures of Justice and Fortitude most an end being quite new painted and guilded. 3s. 4d, Art historian William Gaunt describes de Critzs role as mainly that of a handyman. Hogarth made up his own mock version, Hogarth succeeded his brother-in-law John Thornhill, who had fallen ill and resigned the post. Hogarths father-in-law, Sir James Thornhill, had also been serjeant-painter, though Hogarths salary for the post was only £10, it was potentially lucrative, Hogarth wrote that he was now landed as it were and secured from tugging any longer at the ore
28.
Richard Child, 1st Earl Tylney
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Richard Child, 1st Earl Tylney, was an English Member of Parliament. In the furnishing of his mansion Child became the patron of the Flemish painter Old Nollekens. He died in March 1750 aged 70 at Aix-en-Provence, France and he was appointed as residuary legatee and executor under the will of his father, whose death occurred before Richards majority. Richard then on 12 February 1700 petitioned Parliament for a bill, to vest certain lands in trustees, so that settlements made upon the marriage of his half-brother Josiah could be honoured. On 20 January 1704 he succeeded his half-brother Sir Josiah Child, 2nd Baronet, to the Baronetcy and to the Child manor of Wanstead, Essex and he also inherited a fortune of £4,000 per annum, which brought his total income to £10,000. Following the first Baronetss death, his heir Josiah had leased Wanstead to his half-brother Richard, coming into full possession of it, Sir Richard Child, 3rd Baronet, commissioned in 1715 the Scottish architect Colen Campbell to build a palatial Palladian mansion to replace the former manor house. By the time of its completion in 1722 Wanstead House had provided Child with a grand seat befitting his newly obtained status as Viscount Castlemaine, Sir Richard Child stood unsuccessfully as a Tory candidate for Essex in 1705, with the backing of Henry Compton, Bishop of London. In 1708 he won a seat as Member of Parliament for Maldon, Essex, as a Tory, the House resolved that Tylney had not been duly elected. He also voted against the impeachment of Dr Henry Sacheverell, in 1711 he was listed as one of the Worthy Patriots who had drawn attention to the mismanagement of the previous government. He was a member of the October Club and his elevation to the Peerage of Ireland in 1718 did not preclude him from retaining his seat in the British House of Commons. He again represented Essex from 1727 to 1734 and it is not known whether he ever took his seat in the Irish House of Lords, the title was designed only to give social status. The patent confined the remainder to the heirs of her body, palmer himself never took his seat in the Irish Parliament, and had died in 1705. Ann Tylney, Lady Craven was buried at Binley, Coventry, in 1629 Richard Tylney purchased the manor of Rotherwick from Richard More. Tylney was already by then a local landowner and his descendant Frederick Tylney, who stood as MP for Whitchurch in January 1708, built a great mansion on the estate in 1700, called Tylney Hall. It was rebuilt in 1898 in the Victorian style, and is now a country hotel, on 11 June 1731, Viscount Castlemaine was created Earl Tylney, of Castlemaine in the County of Kerry, a title in the Peerage of Ireland. On 13 June 1733 the Earl assumed by Act of Parliament the surname, for himself and his heirs, of Tylney in lieu of his patronymic, to meet a requirement of his wifes inheritance. His eldest surviving son Richard, styled from the creation of his fathers earldom in 1731 by the title of Viscount Castlemaine, died in 1734 without issue. Child was the patron of the Flemish painter Joseph Francis Nollekens
29.
Emblematical Print on the South Sea Scheme
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Emblematical Print on the South Sea Scheme is an early print by William Hogarth, created in 1721 and widely published from 1724. It caricatures the financial speculation, corruption and credulity that caused the South Sea Bubble in England in 1720–1, the South Sea Company was a British joint stock company founded in 1711. Speculation in the stock led to a great economic bubble in 1720. Many investors were ruined when the bubble burst and the value of stock in the South Sea Company crashed, political scandal ensued when fraud among the companys directors and corruption of cabinet ministers became clear. Hogarths print was created in 1721 as a response to the foreign engravings, the events had personal piquancy for Hogarth, given his fathers detention as a debtor in Fleet Prison from 1707–12 and his early death in 1718. The base of the bears a inscription which states, This monument was erected in memory of the destruction of the city by the South Sea in 1720. It is no coincidence that in Hogarths scene the monument, a symbol of the Citys greed, dwarfs St Pauls, the ride is surmounted by a goat and the slogan Whol Ride and surrounded by a jostling crowd below. To the front of the crowd, a short pickpocket rifles through the pockets of a larger gentleman. The image of the wheel is a parody of Jacques Callots La Pendaison from the series The Miseries and Misfortunes of War, and the crowd has elements taken from his La Roue. Women line a balcony to the left, queuing to enter a building surmounted by stags antlers. The satire is accentuated by a series of figures, identified by letters explained in the verse below. In the bottom corner, distinctive clothing identifies a Catholic, a Jew and a Puritan. Standing nearby is a monkey who wears a sword and a baronial hat. In the lower corner, the figure of Trade lies asleep or dead. Underneath, a verse reads, Hogarth may have tried to sell copies of the print in 1721, prints were sold for 1 shilling each. The last known state, produced sometime after 1751, has the publication line erased completely, ronald Paulson has described Emblematical Print on the South Sea Scheme as the one original Bubble print by an English artist. John J. Richetti, in The Cambridge history of English literature, 1660–1780, Hogarth and the Shows of London. Hogarth The modern moral subject, 1697-1732, the Cambridge history of English literature, 1660–1780
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South Sea Company
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The South Sea Company was a British joint-stock company founded in 1711, created as a public-private partnership to consolidate and reduce the cost of national debt. The company was granted a monopoly to trade with South America. At the time it was created, Britain was involved in the War of the Spanish Succession, there was no realistic prospect that trade would take place and the company never realised any significant profit from its monopoly. The Bubble Act 1720, which forbade the creation of joint-stock companies without royal charter, was promoted by the South Sea company itself before its collapse. In Great Britain, a number of people were ruined by the share collapse. The founders of the scheme engaged in trading, using their advance knowledge of when national debt was to be consolidated to make large profits from purchasing debt in advance. Huge bribes were given to politicians to support the Acts of Parliament necessary for the scheme, Company money was used to deal in its own shares, and selected individuals purchasing shares were given loans backed by those same shares to spend on purchasing more shares. The expectation of vast wealth from trade with South America was used to encourage the public to purchase shares, the only significant trade that did take place was in slaves, but the company failed to manage this profitably. A parliamentary enquiry was held after the crash to discover its causes, a number of politicians were disgraced, and people found to have profited unlawfully from the company had assets confiscated proportionate to their gains. The company was restructured and continued to operate for more than a century after the Bubble, the headquarters were in Threadneedle Street at the centre of the financial district in London, today the Bank of England has headquarters on Threadneedle Street. At the time of events the Bank of England also was a private company dealing in national debt. In August 1710 Robert Harley was appointed Chancellor of the Exchequer in a government of commission, the government at this time had become reliant on the Bank of England. This was a privately owned company, chartered 16 years previously, the government had become dissatisfied with the service it was receiving and Harley was actively seeking new ways to improve the national finances. The committee included Harley himself, the two Auditors of the Imprests, whose task was to investigate government spending, Harleys brother Edward, Harleys first concern was to find £300,000 for the next quarters pay for the British army operating in Europe under Marlborough. This was provided by a consortium of Edward Gibbon, George Caswall. The Bank of England had been operating a state lottery on behalf of the government, but this had not been successful in 1710. This too was performing poorly, so Harley granted authority to sell tickets to John Blunt, a director of the Hollow Sword Blade Company, with sales commencing on 3 March 1711, tickets had completely sold out by the 7th. This was the first truly successful English state lottery, marketing was handled by members of the Sword Blade syndicate, Gibbon selling £200,000 of tickets and earning £4,500 commission, and Blunt selling £993,000
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Protestantism
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Protestantism is a form of Christianity which originated with the Reformation, a movement against what its followers considered to be errors in the Roman Catholic Church. It is one of the three divisions of Christendom, together with Roman Catholicism and Orthodoxy. The term derives from the letter of protestation from German Lutheran princes in 1529 against an edict of the Diet of Speyer condemning the teachings of Martin Luther as heretical. Although there were earlier breaks from or attempts to reform the Roman Catholic Church—notably by Peter Waldo, John Wycliffe, Protestants reject the notion of papal supremacy and deny the Roman Catholic doctrine of transubstantiation, but disagree among themselves regarding the real presence of Christ in the Eucharist. The Five solae summarize the reformers basic differences in theological beliefs, in the 16th century, Lutheranism spread from Germany into Denmark, Norway, Sweden, Finland, the Baltic states, and Iceland. Reformed churches were founded in Germany, Hungary, the Netherlands, Scotland, Switzerland and France by such reformers as John Calvin, Huldrych Zwingli, the political separation of the Church of England from Rome under King Henry VIII brought England and Wales into this broad Reformation movement. Protestants developed their own culture, which made major contributions in education, the humanities and sciences, the political and social order, the economy and the arts, some Protestant denominations do have a worldwide scope and distribution of membership, while others are confined to a single country. A majority of Protestants are members of a handful of families, Adventism, Anglicanism, Baptist churches, Reformed churches, Lutheranism, Methodism. Nondenominational, evangelical, charismatic, independent and other churches are on the rise, and constitute a significant part of Protestant Christianity. Six princes of the Holy Roman Empire and rulers of fourteen Imperial Free Cities, the edict reversed concessions made to the Lutherans with the approval of Holy Roman Emperor Charles V three years earlier. During the Reformation, the term was used outside of the German politics. The word evangelical, which refers to the gospel, was more widely used for those involved in the religious movement. Nowadays, this word is still preferred among some of the historical Protestant denominations in the Lutheran and Calvinist traditions in Europe, above all the term is used by Protestant bodies in the German-speaking area, such as the EKD. In continental Europe, an Evangelical is either a Lutheran or a Calvinist, the German word evangelisch means Protestant, and is different from the German evangelikal, which refers to churches shaped by Evangelicalism. The English word evangelical usually refers to Evangelical Protestant churches, and it traces its roots back to the Puritans in England, where Evangelicalism originated, and then was brought to the United States. Protestantism as a term is now used in contradistinction to the other major Christian traditions, i. e. Roman Catholicism. Initially, Protestant became a term to mean any adherent to the Reformation movement in Germany and was taken up by Lutherans. Even though Martin Luther himself insisted on Christian or Evangelical as the only acceptable names for individuals who professed Christ, French and Swiss Protestants preferred the word reformed, which became a popular, neutral and alternative name for Calvinists
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Jews
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The Jews, also known as the Jewish people, are an ethnoreligious group originating from the Israelites, or Hebrews, of the Ancient Near East. Jews originated as a national and religious group in the Middle East during the second millennium BCE, the Merneptah Stele appears to confirm the existence of a people of Israel, associated with the god El, somewhere in Canaan as far back as the 13th century BCE. The Israelites, as an outgrowth of the Canaanite population, consolidated their hold with the emergence of the Kingdom of Israel, some consider that these Canaanite sedentary Israelites melded with incoming nomadic groups known as Hebrews. The worldwide Jewish population reached a peak of 16.7 million prior to World War II, but approximately 6 million Jews were systematically murdered during the Holocaust. Since then the population has risen again, and as of 2015 was estimated at 14.3 million by the Berman Jewish DataBank. According to the report, about 43% of all Jews reside in Israel and these numbers include all those who self-identified as Jews in a socio-demographic study or were identified as such by a respondent in the same household. The exact world Jewish population, however, is difficult to measure, Israel is the only country where Jews form a majority of the population. The modern State of Israel was established as a Jewish state and defines itself as such in its Declaration of Independence and its Law of Return grants the right of citizenship to any Jew who requests it. The English word Jew continues Middle English Gyw, Iewe, according to the Hebrew Bible, the name of both the tribe and kingdom derive from Judah, the fourth son of Jacob. The Hebrew word for Jew, יְהוּדִי ISO 259-3 Yhudi, is pronounced, with the stress on the syllable, in Israeli Hebrew. The Ladino name is ג׳ודיו, Djudio, ג׳ודיוס, Djudios, Yiddish, ייִד Yid, ייִדן, Yidn. The etymological equivalent is in use in languages, e. g. but derivations of the word Hebrew are also in use to describe a Jew, e. g. in Italian. The German word Jude is pronounced, the corresponding adjective jüdisch is the origin of the word Yiddish, in such contexts Jewish is the only acceptable possibility. Some people, however, have become so wary of this construction that they have extended the stigma to any use of Jew as a noun, a factual reconstruction for the origin of the Jews is a difficult and complex endeavor. It requires examining at least 3,000 years of ancient human history using documents in vast quantities, as archaeological discovery relies upon researchers and scholars from diverse disciplines, the goal is to interpret all of the factual data, focusing on the most consistent theory. In this case, it is complicated by long standing politics and religious, Jacob and his family migrated to Ancient Egypt after being invited to live with Jacobs son Joseph by the Pharaoh himself. The patriarchs descendants were later enslaved until the Exodus led by Moses, traditionally dated to the 13th century BCE, Modern archaeology has largely discarded the historicity of the Patriarchs and of the Exodus story, with it being reframed as constituting the Israelites inspiring national myth narrative. The growth of Yahweh-centric belief, along with a number of practices, gradually gave rise to a distinct Israelite ethnic group
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A Just View of the British Stage
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A Just View of the British Stage or Three Heads are Better than One is an unsigned 1724 engraving attributed to the English artist William Hogarth. It is a view of the management of British plays. It forms part of an attack on the tastes of the theatre which Hogarth mounted in earnest between 1723 with Masquerades and Operas and 1727 with Masquerade Ticket, Rich was at the forefront of the resurgence of the pantomime in England and his productions aimed at spectacle rather than art. The picture was issued at sixpence, announced as Just Published in the Daily Post on 10 December 1724 and it was advertised as, A Print representing the Rehearsal of a new Farce, calld three Heads are better than one. In the print, the production of popularist plays are taken to an extreme by suggesting that the three impresarios are planning a spectacle which combines Dr Faustus with Harlequin Sheppard. To make it more ridiculous comical humours are added from Ben Johnsons Ghost and the exploits of Scaramouch Jack Hall and it is possible that this was added as another absurdist element, to deride the fashion for glamorising the exploits of criminals. The concluding Vivat Rex suggests the satirical thrust extends past the theatre managers to what was perceived as the source of the fashion for popularist theatre, the king himself. Throughout the scene Hogarth litters the trappings of the pantomime and objects representative of the arts obscured or defaced by the detritus of the production. There is a ready to be swung in from the wings, a dog appearing from a kennel. Ben Johnsons Ghost wearing laurels, promised in the commentary below, the statues on either side of the picture probably refer to the death of Tragedy and Comedy, their faces obscured by the titles of the entertainments under rehearsal. On the model privy pages from Shakespeares Macbeth, Julius Caesar, Hamlet, above the scene is the title, which places the action at a Newgate created by the scene-painter Devoto, at Drury Lane, the motto VIVITUR INGENGIO hung above the stage there for many years. The three principles endure the brunt of Hogarths satire, wilks declares Poor R—ch, Faith I pitty him as he sits dangling a puppet of Mr. Punch, a none-too subtle suggestion that he exceeds Rich in his desire to pander to the lowest denominator. Cibber looks heavenward to the painted Muses and entreats Assist, ye Sacred Nine, while Booth dangles the puppet of Jack Hall and says Ha, the Question of Style in Philosophy and the Arts. Anecdotes of William Hogarth, Written by Himself, With Essays on His Life and Genius, Hogarth, The Modern Moral Subject, 1697–1732 Vol 1. Archived from the original on 1 December 2008
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Masquerade ball
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A masquerade ball is an event in which the participants attend in costume wearing a mask. The Bal des Ardents was held by Charles VI of France, and intended as a Bal des sauvages and it took place in celebration of the marriage of a lady-in-waiting of Charles VI of Frances queen in Paris on January 28,1393. The King and five courtiers dressed as wildmen of the woods, with costumes of flax, when they came too close to a torch, the dancers caught fire. Such costumed dances were a luxury of the ducal court of Burgundy. Masquerade balls were extended into costumed public festivities in Italy during the 16th century Renaissance and they were generally elaborate dances held for members of the upper classes, and were particularly popular in Venice. They have been associated with the tradition of the Venetian Carnival, with the fall of the Venetian Republic at the end of the 18th century, the use and tradition of masks gradually began to decline, until they disappeared altogether. They became popular throughout mainland Europe in the 17th and 18th centuries, sometimes with fatal results, gustav III of Sweden was assassinated at a masquerade ball by disgruntled nobleman Jacob Johan Anckarström, an event which Eugène Scribe and Daniel Auber turned into the opera Gustave III. The same event was the basis of Giuseppe Verdis opera A Masked Ball, most masks came from countries like Switzerland and Italy. Londons public gardens, like Vauxhall Gardens, refurbished in 1732, and Ranelagh Gardens, provided optimal outdoor settings, throughout the century, masquerade dances became popular in Colonial America. Its prominence did not go unchallenged, a significant anti-masquerade movement grew alongside the balls themselves, the anti-masquerade writers held that the events encouraged immorality and foreign influence. In the 1770s, fashionable Londoners went to the organized by Teresa Cornelys at Carlisle House in Soho Square. Masquerade balls were set as a game among the guests. The masked guests were dressed so as to be unidentifiable. This would create a type of game to see if a guest could determine each others identities and this added a humorous effect to many masquerades and enabled a more enjoyable version of typical balls. One of the most noted masquerade balls of the 20th century was held at Palazzo Labia in Venice on 3 September 1951. It was dubbed the party of the century, a new resurgence of masquerade balls began in the late 1990s in North America. More recently, the party atmosphere is emphasized and the formal dancing usually less prominent, less formal costume parties may be a descendant of this tradition. The picturesque quality of the ball has made it a favorite topic or setting in literature
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John James Heidegger
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John James Heidegger was a Swiss count and leading impresario of masquerades in the early part of the 18th century. The son of Zürich clergyman Johann Heinrich Heidegger, Johann Jacob Heidegger came to England in 1708 as a Swiss negotiator and he failed in his undertaking, and was involved in difficulties. So he entered as a private in the Guards, and afterwards became influential in the management of the opera, in 1709 he made five hundred guineas by furnishing the spectacle for Motteuxs opera Tomyris, Queen of Scythia. From 1710 on, as part of a new commercial public entertainment, the fashionable world of London was enthusiastic about it and called Heidegger the Swiss Count. Though moralists protested and clergymen preached against such activities, the phenomenon became a trend throughout 18th-century London. In 1724, William Hogarth published a satire on Heidegger in his print, Masquerades, by that time, masquerades were equally reputed for their great popularity and immoral influences. Indeed, much of the occasions popularity resulted from the aura of danger and mystery. In 1727, during the coronation of King George II in Westminster Hall and he had used a burnable connector that ran from candle to candle. According to the poet Thomas Gray, the Queen and her ladies were in no small terror as trains of flax were set alight, the expiring flax fell in large flakes upon the heads of those beneath but, fortunately, did no harm. In 1728 Heidegger was called in to nurse the Opera, which throve by his bold puffing, in 1729 Handel and Heidegger were permitted to produce operas at the Kings Theatre by The Royal Academy in London. I was born, Heidegger himself said, a Swiss, and came to England without a farthing, now I defy the ablest Englishman to go to Switzerland and either gain that income or spend it there
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Opera
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Opera is an art form in which singers and musicians perform a dramatic work combining text and musical score, usually in a theatrical setting. In traditional opera, singers do two types of singing, recitative, a style and arias, a more melodic style. Opera incorporates many of the elements of theatre, such as acting, scenery. The performance is given in an opera house, accompanied by an orchestra or smaller musical ensemble. Opera is a key part of the Western classical music tradition, in the 18th century, Italian opera continued to dominate most of Europe, attracting foreign composers such as George Frideric Handel. Opera seria was the most prestigious form of Italian opera, until Christoph Willibald Gluck reacted against its artificiality with his operas in the 1760s. The first third of the 19th century saw the point of the bel canto style, with Gioachino Rossini, Gaetano Donizetti. It also saw the advent of Grand Opera typified by the works of Auber and Meyerbeer, the mid-to-late 19th century was a golden age of opera, led and dominated by Richard Wagner in Germany and Giuseppe Verdi in Italy. The popularity of opera continued through the era in Italy and contemporary French opera through to Giacomo Puccini. During the 19th century, parallel operatic traditions emerged in central and eastern Europe, the 20th century saw many experiments with modern styles, such as atonality and serialism, Neoclassicism, and Minimalism. With the rise of recording technology, singers such as Enrico Caruso, since the invention of radio and television, operas were also performed on these mediums. Beginning in 2006, a number of opera houses began to present live high-definition video transmissions of their performances in cinemas all over the world. In 2009, an opera company offered a download of a complete performance. The words of an opera are known as the libretto, some composers, notably Wagner, have written their own libretti, others have worked in close collaboration with their librettists, e. g. Mozart with Lorenzo Da Ponte. Vocal duets, trios and other ensembles often occur, and choruses are used to comment on the action, in some forms of opera, such as singspiel, opéra comique, operetta, and semi-opera, the recitative is mostly replaced by spoken dialogue. Melodic or semi-melodic passages occurring in the midst of, or instead of, the terminology of the various kinds of operatic voices is described in detail below. Over the 18th century, arias were accompanied by the orchestra. Subsequent composers have tended to follow Wagners example, though some, the changing role of the orchestra in opera is described in more detail below
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John Rich (producer)
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John Rich was an important director and theatre manager in 18th-century London. He opened the New Theatre at Lincolns Inn Fields, which he managed until he opened the Theatre Royal and he managed Covent Garden until 1761, putting on ever more lavish productions. He introduced pantomime to the English stage and played a dancing, the British idea of the Harlequin character was heavily inspired by Rich’s idea of a silent character. Rich’s choice of being a silent character was influenced by his unappealing voice, Richs theatre specialized in what contemporaries called spectacle. Today we might call them special effects and his stagings would endeavour to present actual cannon shots, animals, and multiple illusions of battle. Rich began his work as “Lun” the Harlequin character in 1717, wearing a leotard with diamond shaped patches, by 1728, Rich was synonymous with lavish productions. Rich performed multiple roles as the character type while the Company Manager at Lincoln’s Inn Fields. Rich was praised for his movement style, allowing each limb to tell a story in shows, lewis Theobald was working for Rich on writing pantomimes. When Alexander Pope wrote the first version of The Dunciad, and even more in the second and third editions, Rich appears as a symptom of the disease of the age. In his Dunciad Variorum of 1732, he makes John Rich the angel of the goddess Dulness, Immortal Rich. How calm he sits at ease Mid snows of paper, and fierce hail of pease, And proud his mistress orders to perform, Rides in the whirlwind, yet, at the same time,1728 was the year that Rich produced John Gays Beggars Opera. The play ran so successfully, with 62 performances, that it was said the play made Gay rich and Rich gay. John Gay was a friend of Popes and a frequent collaborator of his. Richs success with Beggars Opera allowed him to open his own theatre and this was the first of three theatres on the site, now known as the Royal Opera House. Rich commissioned some of the landscape artists of his day to paint the scenery for Covent Garden. Rich received a 75% share in the Lincolns Inn Fields theatre from his father, Christopher Rich, at that time, the theatre was, by no means, ready for use, as it was still under construction. By that point, Rich had already begun acting in plays and his father had set the reputation and direction of the Lincolns Inn Theatre during the War of the Theatres in the 1690s, and John Rich continued it. In particular, John Rich exaggerated the theatricality of the Restoration spectacular by creating a new form of hireling drama designed strictly to generate opulent stagecraft, after becoming majority owner of Lincolns Inn Fields, his control grew as he sought to get the rest of the shares
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Lincoln's Inn Fields
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Lincolns Inn Fields is the largest public square in London. The grounds, which had remained private property, were acquired by London County Council in 1895 and it is today managed by the London Borough of Camden and forms part of the southern boundary of that borough with the City of Westminster. Lincolns Inn Fields takes its name from the adjacent Lincolns Inn, of which the gardens are separated from the Fields by a perimeter wall. The grassed area in the centre of the Fields contains a court for tennis and netball and it was previously used for corporate events, which are no longer permitted. Cricket and other sports are thought to have played here in the 18th century. When originally laid out, Lincolns Inn Fields was part of fashionable London, the oldest building from this early period is Lindsey House, 59–60 Lincolns Inn Fields, which was built in 1640 and has been attributed to Inigo Jones. The builder may have been David Cunningham, 1st Baronet of Auchinhervie, a friend of the mason-sculptor Nicholas Stone and it derives its name from a period of ownership in the 18th century by the earls of Lindsey. Another seventeenth century survival is now 66 Lincolns Inn Fields, which was built for Lord Powis, the charter of the Bank of England was sealed there on 27 July 1694. It was in 1705 acquired by the Duke of Newcastle who had it remodelled by Sir John Vanbrugh and it remains substantially in its circa 1700 form, although a remodelling in 1930 by Sir Edwin Lutyens gives it a curiously pastiche appearance. Up to the 17th century, cattle were grazed upon the fields, turnstiles were placed around the square to enable pedestrians to enter without the animals escaping. Shops and other businesses developed along these footpaths and some of these still exist – the Great. As London fashion moved west, Lincolns Inn Fields was left to lawyers who were attracted by its proximity to the Inns of Court. Thus, the former Newcastle House became in 1790 the premises of the solicitors Farrer & Co who are there, their clients include much of the landed gentry. The Lincolns Inn Fields Theatre was located in the Fields from 1661 to 1848 when it was demolished, originally called the Dukes Theatre, it was created by converting Lisles Tennis Court, to become the Lincolns Inn Fields Theatre in 1695. The theatre presented the first paid public performances of Purcells Dido and Aeneas in 1700, John Gays The Beggars Opera in January 1728, and Handels final two operas in 1740 and 1741. Sometime after 1735 the Fields were enclosed within an iron railing, on account of the then Master of the Rolls, an alternative version of the story claims that Jekyll was attacked for his support of an Act of Parliament raising the price of gin. Essex Court Chambers now occupy five buildings, nos. 24–28 Lincolns Inn Fields, other barristers chambers have since then also set up in Lincolns Inn Fields, but solicitors firms still outnumber them there. In Charles Dickens novel Bleak House, the solicitor to the aristocracy, Mr Tulkinghorn, has his offices in Lincolns Inn Fields
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Richard Boyle, 3rd Earl of Burlington
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Richard Boyle, 3rd Earl of Burlington and 4th Earl of Cork, KG PC, born in Yorkshire, England, was the son of the 2nd Earl of Burlington and 3rd Earl of Cork and Juliana Noel. He is remembered for bringing Palladian architecture to Britain and Ireland and his major projects include Burlington House, Westminster School, Chiswick House and Northwick Park. Lord Burlington was born in Yorkshire into a wealthy Anglo-Irish aristocratic family, often known as the architect Earl, he was instrumental in the revival of Palladian architecture in both Great Britain and the Kingdom of Ireland. He succeeded to his titles and extensive estates in Yorkshire and Ireland at the age of nine, during his minority, which lasted until 1715, his English and Irish lands and political interests were managed on his behalf by his mother and guardian, the dowager countess Juliana. He showed a love of music. Georg Frideric Handel dedicated two operas to him, while staying at Burlington House, Teseo and Amadigi di Gaula, three foreign Grand Tours 1714 –1719 and a further trip to Paris in 1726 gave him opportunities to develop his taste. His professional skill as an architect was extraordinary in an English aristocrat and he carried his copy of Andrea Palladios book I quattro libri dellarchitettura with him in touring the Veneto in 1719, and made notes on a small number of blank pages. In 1719 he was one of main subscribers in the Royal Academy of Music, Burlington never closely inspected Roman ruins or made detailed drawings on the sites, he relied on Palladio and Scamozzi as his interpreters of the classic tradition. With Some Additional Designs that were by Kent and Burlington, the important role of Jones pupil Webb in transmitting the palladian—neo-palladian heritage was not understood until the 20th century. Burlingtons Palladio drawings include many reconstructions after Vitruvius of Roman buildings, in the meantime, in 1723 he adapted the palazzo facade in the illustration for the London house of General Wade in Old Burlington Street, which was engraved for Vitruvius Britannicus iii. The process put a previously unknown Palladio design into circulation, the courtyard front of Burlington House, prominently sited in Piccadilly, was the first major executed statement of neo-Palladianism. By the early 1730s Palladian style had triumphed as the accepted manner for a British country house or public building. For the rest of his life Burlington was the Apollo of the arts as Horace Walpole phrased it—, in 1739, Lord Burlington was involved in the founding of a new charitable organisation called the Foundling Hospital. Burlington was a governor of the charity, but did not formally take part in planning the construction of this large Bloomsbury childrens home completed in 1742, architect for the building was a Theodore Jacobsen, who took on the commission as an act of charity. Many of Burlingtons projects have suffered, from rebuilding or additions, from fire, brettinghams engraved publication of Holkham credited Burlington specifically with ceilings for the portico and the north dressing-room. Burlingtons architectural drawings, inherited by his son-in-law the Duke of Devonshire, are preserved at Chatsworth, in 1751 he sent some of his drawings to Francesco Algarotti in Potsdam together with a book on Vitruvius. In the original house, the corner pavilion blocks of Inigo Jones Wilton were provided with the Palladian window motif to be seen at Burlington House. Old Burlington Street, London, houses, including one for General Wade,1723, General Wades house adapted the genuine Palladio facade in Burlingtons collection of drawings
40.
William Kent
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William Kent was an eminent English architect, landscape architect and furniture designer of the early 18th century. As a landscape gardener he revolutionised the layout of estates, but had limited knowledge of horticulture and he complemented his houses and gardens with stately furniture for major buildings including Hampton Court Palace, Chiswick House, Devonshire House and Rousham. Kent was born in Bridlington, Yorkshire, and baptised, on 1 January 1686, Kents career began as a sign and coach painter who was encouraged to study art, design and architecture by his employer. A group of Yorkshire gentlemen sent Kent for a period of study in Rome, by 18 November he was in Florence, staying there until April 1710 before finally setting off for Rome. In 1713 he was awarded the medal in the second class for painting in the annual competition run by the Accademia di San Luca for his painting of A Miracle of S. Andrea Avellino. During his stay in Rome, he painted the ceiling of the church of San Giuliano dei Fiamminghi with the Apotheosis of St. Julian, the most significant meeting was between Kent and Richard Boyle, 3rd Earl of Burlington. Kent started practising as a relatively late, in the 1730s. He is better remembered as an architect of the revived Palladian style in England, Burlington gave him the task of editing The Designs of Inigo Jones. With some additional designs in the Palladian/Jonesian taste by Burlington and Kent and these neo-antique buildings were inspired as much by the architecture of Raphael and Giulio Romano as by Palladio. Walpoles son Horace described Kent as below mediocrity as a painter, a restorer of science as an architect, a theatrically Baroque staircase and parade rooms in London, at 44 Berkeley Square, are also notable. Kents domed pavilions were erected at Badminton House and at Euston Hall, Kent could provide sympathetic Gothic designs, free of serious antiquarian tendencies, when the context called, he worked on the Gothic screens in Westminster Hall and Gloucester Cathedral. When Kent died, the work was completed by Stephen Wright, as a landscape designer, Kent was one of the originators of the English landscape garden, a style of natural gardening that revolutionised the laying out of gardens and estates. Smaller Kent works can be found at Shotover Park, Oxfordshire, including a faux Gothic eyecatcher and his all-but-lost gardens at Claremont, Surrey, have recently been restored. It is often said that he was not above planting dead trees to create the mood he required. Kents only real downfall was said to be his lack of knowledge and technical skill. Claremont, Stowe, and Rousham are places where their joint efforts can be viewed, Stowe and Rousham are Kents most famous works. At the latter, Kent elaborated on Bridgemans 1720s design for the property, adding walls, at Stowe, Kent used his Italian experience, particularly with the Palladian Bridge. At both sites Kent incorporated his naturalistic approach, the royal barge he designed for Frederick, Prince of Wales can still be seen at the National Maritime Museum, Greenwich
41.
Samuel Butler (poet)
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Samuel Butler was a poet and satirist. He is remembered now chiefly for a satirical poem titled Hudibras. Samuel Butler was born in Strensham, Worcestershire, and was the son of a farmer and churchwarden and his date of birth is unknown, but there is documentary evidence for the date of his baptism of 14 February. The date of Butlers baptism is given as 8 February by Treadway Russell Nash in his 1793 edition of Hudibras, however, The parish register of Strensham records under the year 1612, Item was christened Samuell Butler the sonne of Samuell Butler the xiiijth of February anno ut supra. Lady Day,25 March, was New Years Day in England at the time and he was educated at the Kings School, Worcester, under Henry Bright whose teaching is recorded favourably by Thomas Fuller, a contemporary writer, in his Worthies of England. In early youth he was a servant to the Countess of Kent, through Lady Kent he met her steward, the jurist John Selden who influenced his later writings. He also tried his hand at painting but was not very good at it, one of his editors reporting that his pictures served to stop windows. One early purchaser of the first two parts was Samuel Pepys, while the diarist acknowledged that the book was the greatest fashion he could not see why it was found to be so witty. Despite the popularity of Hudibras, Butler was not offered a place at Court, however, Butler is thought to have been in the employment of the Duke of Buckingham in the summer of 1670, and accompanied him on a diplomatic mission to France. Butler also received support in the form of a grant from King Charles II. During the latter part of his life, Butler lived in a house in the now partially demolished Rose Street, Butler was buried at St. Pauls, Covent Garden at the expense of a Mr. Longueville, although he was not in debt when he died. Aubrey in Brief Lives describes his grave as being in the part next to the church at the east end. 2 yards distant from the pillaster of the dore, also, a monument to him was placed in Westminster Abbey in 1732 by a printer with the surname Barber, and the Lord Mayor of London. There is also a plaque to him in the small village church of Strensham, Worcestershire, near the town of Upton upon Severn. Hudibras is directed against religious sectarianism, the poem was very popular in its time, and several of its phrases have passed into the dictionary. It was sufficiently popular to spawn imitators, Hudibras takes some of its characterization from Don Quixote but unlike that work, it has many more references to personalities and events of the day. Butler was also influenced by such as John Skelton and Paul Scarrons Virgile travesti. Hudibras was reprinted many times in the centuries following Butlers death, two of the more noteworthy editions are those edited by Zachery Grey and Treadway Russell Nash
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Hudibras
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Hudibras is an English mock heroic narrative poem from the 17th century written by Samuel Butler. The work is a satirical polemic upon Roundheads, Puritans, Presbyterians, the work was begun, according to the title page, during the civil war and published in three parts in 1663,1664 and 1678, with the first edition encompassing all three parts in 1684. The Mercurius Aulicus reported an unauthorised edition of the first part was already in print in early 1662, published only four years after Charles II had been restored to the throne and the Protectorate of Oliver Cromwell being completely over, the poem found an appreciative audience. The satire is not balanced as Butler was fiercely royalist and only the side are singled out for ridicule. Butler also uses the work to some of the dreadful poetry of the time. His squire, Ralpho, is of a similar stamp but makes no claim to great learning, knowing all there is to know from his religion or “new-light”, as he calls it. Butler satirises the competing factions at the time of the protectorship by the constant bickering of these two characters whose religious opinions should unite them. These are fawning but barbed portraits and are thought to represent personalities of the times but the actual analogues are, now as then, a Key to Hudibras printed with one of the works editions and ascribed to Roger LEstrange names Sir Samuel Luke as the model for Hudibras. Certainly, the mention of Mamaluke in the poem makes this possible although Butler suggests Hudibras is from the West Country making Henry Rosewell a candidate, Butler is clearly influenced by Rabelais and particularly Cervantes Don Quixote. But whereas in Cervantes, the noble knight although being mocked is supposed to draw readers sympathies, Hudibras is offered nothing but derision. The title comes from the name of a knight in Edmund Spensers Faerie Queene who is described as not so good of deeds as great of name, spenser in turn probably got the name from the legendary king of the Britons, Rud Hud Hudibras. Hudibras was written in an iambic tetrameter in closed couplets, with surprising feminine rhymes, the dramatic meter portends tales of dramatic deeds, but the subject matter and the unusual rhymes undercut its importance. This verse form is now referred to as Hudibrastic, the work was published in three parts, each divided into three cantos with some additional heroic epistles. It is possible that a part was planned, which would have given the work twelve parts in imitation of Virgils Aeneid. The knight and his squire sally forth and come upon some people bear-baiting, after deciding that this is anti-Christian they attack the baiters and capture one after defeating the bear. The defeated group of bear-baiters then rallies and renews the attack, capturing the knight, while in the stock the pair argue on religion. The second part describes how the knights imprisoned condition is reported by Fame to a widow Hudibras has been wooing, with a captive audience, she complains that he does not really love her and he ends up promising to flagellate himself if she frees him. They are interrupted by a skimmington, a procession where women are celebrated, after haranguing the crowd for their lewdness, the knight is pelted with rotten eggs and chased away
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Yale Center for British Art
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The Yale Center for British Art at Yale University in downtown New Haven, Connecticut, houses the largest and most comprehensive collection of British art outside the United Kingdom. The collection of paintings, sculpture, drawings, prints, rare books, the Yale Center for British Art was completed after Kahns death in 1974, and opened to the public on April 15,1977. The exterior is made of steel and reflective glass, the interior is made of travertine marble, white oak. Kahn succeeded in creating intimate galleries where one can view objects in diffused natural light and he wanted to allow in as much daylight as possible, with artificial illumination used only on dark days or in the evening. The building’s design, materials, and sky-lit rooms combine to provide an environment for the works of art that is simple and dignified. The collection consists of nearly 2,000 paintings and 200 sculptures, the collection also has works by artists from Europe and North America who lived and worked in Britain. These include Hans Holbein, Peter Paul Rubens, Anthony van Dyck, Canaletto, Johann Zoffany, John Singleton Copley, Benjamin West, and James McNeill Whistler. Other genres include marine paintings, represented by Samuel Scott and Charles Brooking, London cityscapes, travel art from India, scenes of Shakespearean plays, sculptors represented include Louis-Francois Roubiliac, Joseph Nollekens, Francis Chantrey, Jacob Epstein, and Henry Moore. The collection of 20,000 drawings and watercolors and 31,000 prints features British sporting art, the Centers collection of rare books and manuscripts comprises 35,000 volumes, including maps, atlases, sporting books, and archival material of British artists. It also has some 1,300 leaves originating in illustrated incunabula, the collection also includes a complete set of William Morris’s Kelmscott Press publications as well as a growing collection of contemporary artists’ books. The Center’s collection also contains a significant number of early maps, the four-floor Center offers a year-round schedule of exhibitions and educational programs, including films, concerts, lectures, tours, symposia, and family programs. It also provides opportunities for scholarly research, including residential fellowships. Academic resources of the Center include the library and photo archive, conservation laboratories. The Center is open to the free of charge six days a week. The Yale Center for British Art at Great Buildings and at Architecture Week Official website
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