The Genesis of Edward Salter Aetatis 6’, the Georgian Group Journal, Vol
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Shearer West Phd Thesis Vol 1
THE THEATRICAL PORTRAIT IN EIGHTEENTH CENTURY LONDON (VOL. I) Shearer West A Thesis Submitted for the Degree of PhD at the University of St. Andrews 1986 Full metadata for this item is available in Research@StAndrews:FullText at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/2982 This item is protected by original copyright THE THEATRICAL PORTRAIT IN EIGHTEENTH CENTURY LONDON Ph.D. Thesis St. Andrews University Shearer West VOLUME 1 TEXT In submitting this thesis to the University of St. Andrews I understand that I am giving permission for it to be made available for use in accordance with the regulations of the University Library for the time being in force, subject to any copyright vested in the work not being affected thereby. I also understand that the title and abstract will be published, and that a copy of the I work may be made and supplied to any bona fide library or research worker. ABSTRACT A theatrical portrait is an image of an actor or actors in character. This genre was widespread in eighteenth century London and was practised by a large number of painters and engravers of all levels of ability. The sources of the genre lay in a number of diverse styles of art, including the court portraits of Lely and Kneller and the fetes galantes of Watteau and Mercier. Three types of media for theatrical portraits were particularly prevalent in London, between ca745 and 1800 : painting, print and book illustration. -
Palace of Westminster and Westminster Abbey Including Saint
Palace of Westminster and Westminster Abbey including Saint Margaret’s Church - UNESCO World Heritage Centre This is a cache of http://whc.unesco.org/en/list/426 as retrieved on Tuesday, April 09, 2019. UNESCO English Français Help preserve sites now! Login Join the 118,877 Members News & Events The List About World Heritage Activities Publications Partnerships Resources UNESCO » Culture » World Heritage Centre » The List » World Heritage List B z Search Advanced Palace of Westminster and Westminster Abbey including Saint Margaret’s Church Description Maps Documents Gallery Video Indicators Palace of Westminster and Westminster Abbey including Saint Margaret’s Church Westminster Palace, rebuilt from the year 1840 on the site of important medieval remains, is a fine example of neo-Gothic architecture. The site – which also comprises the small medieval Church of Saint Margaret, built in Perpendicular Gothic style, and Westminster Abbey, where all the sovereigns since the 11th century have been crowned – is of great historic and symbolic significance. Description is available under license CC-BY-SA IGO 3.0 English French Arabic Chinese Russian Spanish Japanese Dutch Palace of Westminster and Westminster Abbey including Saint Margaret’s Church (United Kingdom of Great Britain and Northern Ireland) © Tim Schnarr http://whc.unesco.org/en/list/426[04/09/2019 11:20:09 AM] Palace of Westminster and Westminster Abbey including Saint Margaret’s Church - UNESCO World Heritage Centre Outstanding Universal Value Brief synthesis The Palace of Westminster, Westminster Abbey and St Margaret’s Church lie next to the River Thames in the heart of London. With their intricate silhouettes, they have symbolised monarchy, religion and power since Edward the Confessor built his palace and church on Thorney Island in the 11th century AD. -
Westminster Abbey a Service for the New Parliament
St Margaret’s Church Westminster Abbey A Service for the New Parliament Wednesday 8th January 2020 9.30 am The whole of the church is served by a hearing loop. Users should turn the hearing aid to the setting marked T. Members of the congregation are kindly requested to refrain from using private cameras, video, or sound recording equipment. Please ensure that mobile telephones and other electronic devices are switched off. The service is conducted by The Very Reverend Dr David Hoyle, Dean of Westminster. The service is sung by the Choir of St Margaret’s Church, conducted by Greg Morris, Director of Music. The organ is played by Matthew Jorysz, Assistant Organist, Westminster Abbey. The organist plays: Meditation on Brother James’s Air Harold Darke (1888–1976) Dies sind die heil’gen zehn Gebot’ BWV 678 Johann Sebastian Bach (1685–1750) The Lord Speaker is received at the East Door. All stand as he is conducted to his seat, and then sit. The Speaker of the House of Commons is received at the East Door. All stand as he is conducted to his seat, and then sit. 2 O R D E R O F S E R V I C E All stand to sing THE HYMN E thou my vision, O Lord of my heart, B be all else but naught to me, save that thou art, be thou my best thought in the day and the night, both waking and sleeping, thy presence my light. Be thou my wisdom, be thou my true word, be thou ever with me, and I with thee, Lord; be thou my great Father, and I thy true son, be thou in me dwelling, and I with thee one. -
'The Little-Ingenious Garrick and the Ingenious Little Hogarth'
Video transcript 'The little-ingenious Garrick and the ingenious little Hogarth' Robin Smith Honorary Professor of English, University College London and William Chubb Actor The Queen’s Gallery, Buckingham Palace Wednesday, 23 April 2014 ROBIN SIMON: In July 1746 the great actor David Garrick wrote a reply to an invitation from the reverend John Hoadly – [CAPTION: The Revd John Hoadly (right) detail from double portrait with Dr Maurice Greene, 1747, National Portrait Gallery] WILLIAM CHUBB: Your invitation to the Old Alresford I most cordially accept of and the little ingenious Garrick with the ingenious little Hogarth will get up on a horseblock. Mount a couple of quadrupeds, or one if it carries double and high away to the reverend Rigdom Funnydose there to be merry, facetious, mad and nonsensical. ' ROBIN SIMON: Well they were certainly facetious. The house party acted, at least to their great enjoyment, what was described as a little bawdy play by Garrick, entitled Rag-and-jaw – rag and jaw. At this stage I think I ought to make one thing clear about Georgian life and humour, it’s, well how shall we put it, very down to earth. And so if you wish you may put your hands over your ears now. Rag-and-jaw is a skit upon the relationship between Brutus and Cassius in Julius Caesar, only now of course inevitably the characters are Brute-arse and Cassy-arse. I didn't say that Georgian, Georgian hjour was subtle. <Footer addr ess> Accompanied by Lucius, oh sorry Loose-arse. Garrick played Cassy-arse and the reverend John Hoadly was Brute-arse. -
Critical Ideology: Pope's Epistle to Burlington
SYDNEY STUDIES Critical Ideology: Pope's Epistle to Burlington ROBEIIT W. WILLIAMS Well, it had to happen - Pope has been 'recuperated' for the modern reader. The word is not mine but is taken from the most recent general survey of Pope's work, that of Brean S. Hammond in the Harvester 'New Readings' series. Pope, it seems, can be recuperated because he can be shown to have that indispensable requirement for some current criticism - an ideology: ... the character of Pope's ideology is that of a family-based, Christian aristocrat or landed gentleman, implacably opposed to the elite of, as he believed, corrupt financiers, bankers and brokers who governed the country. Pope himself did not experience his ideology as an ideology, however.! There is an irony in that last sentence which, I think, escapes the writer of it. As Hammond "reads" it, the Epistle To Burlington is to be seen as an early example of the politicization of Pope's ideology, a preaching of the via media in which all extremes are to be eschewed. Through exemplary figures such as Burlington and Lord Bathurst, an ideology of aristocratic restraint is offered for adoption by the British voting public, especially the squirearchy and the lesser landed gentry. If this is all that current critical approaches can find to say about the poem that is worth saying, I would suggest that such a Procrustean approach does little to illuminate the poetry of To Burlington and, to a fair extent, falsifies the text. The matter of Epistle to Burlington is drawn from the aesthetics of landscape-gardening and architecture, areas of the Arts in which Pope and Burlington were both practitioners and theoreticians. -
Eugene Barilo Von Reisberg, M
Eugene Barilo von Reisberg, Garters and Petticoats: Franz Xaver Winterhalter’s 1843 Portraits of Queen Victoria and Prince Albert EUGENE BARILO VON REISBERG Garters and Petticoats: Franz Xaver Winterhalter’s 1843 Portraits of Queen Victoria and Prince Albert ABSTRACT What does official royal iconography tell us? What messages does it communicate about the sitters – and from the sitters? This paper deconstructs two official portraits of Queen Victoria and Prince Albert painted by Franz Xaver Winterhalter (1805-1873) in 1843. It outlines the complex semantic layering within this pair of British royal portraits, and explores in particular the emphasis on Prince Albert‘s newly-acquired ‗Englishness‘ and the notion of an iconographic ‗gender reversal‘ within the context of traditional marital pendants. The Honourable Eleanor Stanley wrote in a letter that a ‗regular dull evening‘ at Windsor Castle on 24 March 1845 was enlivened by the youthful Queen Victoria‘s impassioned speech about the state of British portraiture, ‗a terrible broadside at English artists, both as regards their works and … their prices, and their charging her particularly outrageously high.‘1 The twenty-six-year-old queen spoke from experience. As the heir apparent to the British throne, she had been painted from infancy by a succession of artists, vying for the patronage of the future sovereign. From her accession in 1837, the queen sat to numerous painters who failed to satisfy the requirements of official portraiture in the eyes of the monarch, her courtiers, and the critics. David Wilkie‘s (1785-1841) portrait of the queen was condemned by the critics as being ‗execrable‘.2 The queen considered her portrait by Martin Archer Shee (1769- 1850) as ‗monstrous‘;3 while the Figaro compared her countenance in the portrait by George Hayter (1792-1871) as that of an ‗ill-tempered and obstinate little miss.‘4 Portraits of Prince Albert, whom the queen married in February 1840, did not fair much better. -
Darnley Portraits
DARNLEY FINE ART DARNLEY FINE ART PresentingPresenting anan Exhibition of of Portraits for Sale Portraits for Sale EXHIBITING A SELECTION OF PORTRAITS FOR SALE DATING FROM THE MID 16TH TO EARLY 19TH CENTURY On view for sale at 18 Milner Street CHELSEA, London, SW3 2PU tel: +44 (0) 1932 976206 www.darnleyfineart.com 3 4 CONTENTS Artist Title English School, (Mid 16th C.) Captain John Hyfield English School (Late 16th C.) A Merchant English School, (Early 17th C.) A Melancholic Gentleman English School, (Early 17th C.) A Lady Wearing a Garland of Roses Continental School, (Early 17th C.) A Gentleman with a Crossbow Winder Flemish School, (Early 17th C.) A Boy in a Black Tunic Gilbert Jackson A Girl Cornelius Johnson A Gentleman in a Slashed Black Doublet English School, (Mid 17th C.) A Naval Officer Mary Beale A Gentleman Circle of Mary Beale, Late 17th C.) A Gentleman Continental School, (Early 19th C.) Self-Portrait Circle of Gerard van Honthorst, (Mid 17th C.) A Gentleman in Armour Circle of Pieter Harmensz Verelst, (Late 17th C.) A Young Man Hendrick van Somer St. Jerome Jacob Huysmans A Lady by a Fountain After Sir Peter Paul Rubens, (Late 17th C.) Thomas Howard, Earl of Arundel After Sir Peter Lely, (Late 17th C.) The Duke and Duchess of York After Hans Holbein the Younger, (Early 17th to Mid 18th C.) William Warham Follower of Sir Godfrey Kneller, (Early 18th C.) Head of a Gentleman English School, (Mid 18th C.) Self-Portrait Circle of Hycinthe Rigaud, (Early 18th C.) A Gentleman in a Fur Hat Arthur Pond A Gentleman in a Blue Coat -
Acknowledgements There Are Several People Without
Acknowledgements There are several people without whose assistance this thesis could not have been produced. I would like to thank, in particular, the following: Dr Alan Marshal, my supervisor at Bath Spa University College, for his constant nagging to 'get on with it'; Professor Roger Richardson of King Alfred's for his support as my external supervisor; Bath Spa University College for a constant supply of Inter Library Loans, a bursary and a travel grant to Spain; The Andrew C. Duncan Catholic History Trust for a research grant; Mgr Peter Pooling and the staff at Collegio Ingleses, Valladolid, Spain for their hospitality and access to their Archives; Mgr Michael Williams, for his assistance at Archive General, Simancas; Fr Daniel Rees, Librarian, Downside Abbey, Stratton on the Fosse, Somerset for access to the monastic library; Dr Dominic Bellenger and Dr Elaine Chalus, for their support and suggestions; Dr Ratal Witkowski, for Polish biographies; Joan Pattison, Dick Meyer, Irene Stansby for French, Dutch and Polish translations respectively; and David and Louise for being there. I would also like to thank Dr Paul Hyland & Doctor Barry Coward for their useful comments and suggestions that have enabled me to complete this work successfully. This thesis is dedicated to the memory of Charlotte May Anderson (May, 1977). Phis copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. Contents List of Illustrations Abbreviations Preface 12 Introduction 22 1. James VI and I and the Early Seventeenth-Century Political Scene 27 2. -
TOWER of LONDON (UNITED KINGDOM) (C 488), WESTMINSTERPALACE, WESTMINSTER ABBEY and SAINT MARGARET’S CHURCH (UNITED KINGDOM) (C 426Bis)
Department for Culture, Media and Sport 2-4 Cockspur Street Tel 020 7211 6441 London SW1Y 5DH www.culture.gov.uk [email protected] Kishore Rao Director, World Heritage Centre UNESCO 7 Place de Fontenoy 75352 Paris 07 SP France 22nd March 2012 Dear Kishore TOWER OF LONDON (UNITED KINGDOM) (C 488), WESTMINSTERPALACE, WESTMINSTER ABBEY AND SAINT MARGARET’S CHURCH (UNITED KINGDOM) (C 426bis) In accordance with Decisions 35 COM 7B.114 and 35 COM 7B.115, I am pleased to send you a State of Conservation Report for the Tower of London and Westminster Palace, Westminster Abbey and St Margaret’s Church. As well as the Committee decisions, we have also received the report of the reactive monitoring mission sent to both sites in December 2011. Its relevant findings, conclusions and recommendations are noted in the appropriate place. Because of the great degree of overlap of issues between the two sites and their respective Committee decisions, we have combined the two reports in this letter. Where the response is common to both reports, the answer is provided only in the report on the Tower. Each report is structured according to the format provided by the Centre. The clauses of the World Heritage Committee decision are given in bold and indented. The response of the state party is not indented and does not use bold type. The UK Government takes its responsibilities under the World Heritage Convention very seriously and is fully committed to protecting, conserving and presenting UK properties on the World Heritage List. In recent years, there has been significant progress in improving protection for those properties and transmitting their outstanding values to future generations. -
Lowell Libson Limited
LOWELL LI BSON LTD 2 0 1 0 LOWELL LIBSON LIMITED BRITISH PAINTINGS WATERCOLOURS AND DRAWINGS 3 Clifford Street · Londonw1s 2lf +44 (0)20 7734 8686 · [email protected] www.lowell-libson.com LOWELL LI BSON LTD 2 0 1 0 Our 2010 catalogue includes a diverse group of works ranging from the fascinating and extremely rare drawings of mid seventeenth century London by the Dutch draughtsman Michel 3 Clifford Street · Londonw1s 2lf van Overbeek to the small and exquisitely executed painting of a young geisha by Menpes, an Australian, contained in the artist’s own version of a seventeenth century Dutch frame. Telephone: +44 (0)20 7734 8686 · Email: [email protected] Sandwiched between these two extremes of date and background, the filling comprises Website: www.lowell-libson.com · Fax: +44 (0)20 7734 9997 some quintessentially British works which serve to underline the often forgotten international- The gallery is open by appointment, Monday to Friday ism of ‘British’ art and patronage. Bellucci, born in the Veneto, studied in Dalmatia, and worked The entrance is in Old Burlington Street in Vienna and Düsseldorf before being tempted to England by the Duke of Chandos. Likewise, Boitard, French born and Parisian trained, settled in London where his fluency in the Rococo idiom as a designer and engraver extended to ceramics and enamels. Artists such as Boitard, in the closely knit artistic community of London, provided the grounding of Gainsborough’s early In 2010 Lowell Libson Ltd is exhibiting at: training through which he synthesised -
Poet's Corner in Westminster Abbey
Poet’s Corner in Westminster Abbey Alton Barbour Abstract: Beginning with a brief account of the history of Westminster Abbey and its physical structure, this paper concentrates on the British writers honored in the South Transept or Poet’s Corner section. It identifies those recognized who are no longer thought to be outstanding, those now understood to be outstanding who are not recognized, and provides an alphabetical listing of the honored members of dead poet’s society, Britain’s honored writers, along with the works for which they are best known. Key terms: Poet’s Corner, Westminster Abbey, South Transept. CHRISTIANITY RETURNS AND CHURCHES ARE BUILT A walk through Westminster Abbey is a walk through time and through English history from the time of the Norman conquest. Most of that journey is concerned with the crowned heads of England, but not all. One section of the Abbey has been dedicated to the major figures in British literature. This paper is concerned mainly with the major poets, novelists and dramatists of Britain, but that concentration still requires a little historical background. For over nine centuries, English monarchs have been both crowned and buried in Westminster Abbey. The Angles, Saxons and Jutes who conquered and occupied England in the mid 5th century were pagans. But, as the story goes, Pope Gregory saw two fair-haired boys in the Roman market who were being sold as slaves and asked who they were. He was told that they were Angles. He replied that they looked more like angels (angeli more than angli) and determined that these pagan people should be converted to Christianity. -
EVELYN PAPERS (16Th Century-Early 20Th Century) (Add MS 78168-78693) Table of Contents
British Library: Western Manuscripts EVELYN PAPERS (16th century-Early 20th century) (Add MS 78168-78693) Table of Contents EVELYN PAPERS (16th century–Early 20th century) Key Details........................................................................................................................................ 1 Provenance........................................................................................................................................ 2 Add MS 78172–78178 Papers of the Earl of Leicester78172–78178. EVELYN PAPERS. Vols. V–XI. Papers of and relating to Robert......................................................................................................... 8 Add MS 78179–78185 Papers relating to the Royal Household. ([1547–1601])....................................... 16 Add MS 78187–78188 EVELYN PAPERS. Vols. XX, XXI. Horoscopes by John Wells, mathematician and Treasurer of the Stores at............................................................................................................ 25 Add MS 78189–78200 : Official Correspondence ([1631–1682]).......................................................... 27 Add MS 78201–78209 Papers relating to Diplomatic Service ([1575–1665])............................................ 35 Add MS 78210–78219 Privy Council Papers78210–78219. EVELYN PAPERS. Vols. XLIII–LII. Papers of Sir Richard Browne relating to.............................................................................................. 55 Add MS 78220–78224 Family and Personal Correspondence