Hammersmith Embankment Historical Context
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Key Locations Britain in the 1930S and 40S
Key Locations Britain in the 1930s and 40s Marcus Garvey Park Hamlet Gardens 2 Beaumont Crescent Dieppe Street St. Dunstan’s Road 53 Talgarth Road Section 10 Marcus Garvey Curriculum Links Objectives This section can provide links Children should learn: with History Unit 20 ‘What can we learn about recent history • to identify Marcus Garvey and compile a historical narrative from studying the life of a famous person?’. It links to Citizenship • to examine the portrayal of Marcus Garvey by extracting by introducing the idea of information from reference material including support politics through a controversial material, accompanying DVD and internet sources figure from recent history. It also provides links to ICT Unit 2C • to select information to represent key aspects of a biography ‘Finding information’ and Unit 6D • to begin to evaluate the impact of Marcus Garvey on the ‘Using the internet’. history of his time and his legacy This section links to Key Stage 3 History Unit 15 ‘Black peoples Activities of America from slavery to equality?’ and Citizenship Unit 1. Using support and reference material, ask the children to write 03 ‘Human rights’. their own account of the life of Marcus Garvey, focusing on the political nature of his activities. 2. Ask the children to think about what being famous means. Why Outcomes is Marcus Garvey more famous in the Caribbean and USA than The children could: he is in Britain? Should he be more famous in Britain? • summarise the key events in Marcus Garvey’s life in a 3. Ask the children to discuss, in small groups, ways of chronological sequence representing Marcus Garvey’s life and achievements. -
Fulham Palace Visitor Leaflet and Site
Welcome to Fulham Palace Pick up our What’s On guide to House and Garden, the find out about upcoming events home of the Bishops of London since AD 704, and We would love /fulhampalacetrust to see your photos! @fulham_palace a longer history stretching @fulhampalace back 6,000 years. Our site includes our historic house Getting here and garden, museum and café; we invite you to explore. Open daily • Free entry Wheelchair and pushchair friendly All ages are welcome to explore our site Drawing Bishop Bishop room café Porteus’s Howley’s library room Bishop Terrick’s p rooms East court Access Ram Chapel Bishop Great hall Sherlock’s room Putney Bridge Putney Exit to Fulham Palace is located on Bishop’s Avenue, just West (Tudor) court o Fulham Palace Road (A219). Visit our website for further information on getting to Fulham Palace including coach access and street parking. West (Tudor) court Museum rooms Accessibility Public areas of Fulham Palace are accessible and Visitor assistance dogs are welcome. Limited accessible parking is available to book. Visit out website for further information. information Shop Fulham Palace Trust Bishop’s Avenue Fulham and site map Main entrance London, SW6 6EA +44 (0)20 7736 3233 Education centre [email protected] Open daily • Free admission * Some rooms may be closed from time Registered charity number 1140088 fulhampalace.org to time for private events and functions Home to a history that never stands still Market barrow Walled garden Buy fresh, organic produce Explore the knot garden, orchard grown in our garden. and bee hives. -
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Early Modern Low Countries 1 (2017) 1, pp. 30-50 - eISSN: 2543-1587 30 ‘Before she ends up in a brothel’ Public Femininity and the First Actresses in England and the Low Countries Martine van Elk Martine van Elk is a Professor of English at California State University, Long Beach. Her research interests include early modern women, Shakespeare, and vagrancy. She is the author of numerous essays on these subjects, which have appeared in essay collections and in journals like Shakespeare Quarterly, Studies in English Literature, and Early Modern Women. Her book Early Modern Women’s Writing: Domesticity, Privacy, and the Public Sphere in England and the Low Countries has been pub- lished by Palgrave Macmillan (2017). Abstract This essay explores the first appearance of actresses on the public stage in England and the Dutch Republic. It considers the cultural climate, the theaters, and the plays selected for these early performances, particularly from the perspective of public femininity. In both countries antitheatricalists denounced female acting as a form of prostitution and evidence of inner corruption. In England, theaters were commercial institutions with intimate spaces that capitalized on the staging of privacy as theatrical. By contrast, the Schouwburg, the only public playhouse in Amsterdam, was an institu- tion with a more civic character, in which the actress could be treated as unequivocally a public figure. I explain these differences in the light of changing conceptions of public and private and suggest that the treatment of the actress shows a stronger pub- lic-private division in the Dutch Republic than in England. -
Lambeth Palace Library Research Guide Biographical Sources for Archbishops of Canterbury from 1052 to the Present Day
Lambeth Palace Library Research Guide Biographical Sources for Archbishops of Canterbury from 1052 to the Present Day 1 Introduction .................................................................................................................... 3 2 Abbreviations Used ....................................................................................................... 4 3 Archbishops of Canterbury 1052- .................................................................................. 5 Stigand (1052-70) .............................................................................................................. 5 Lanfranc (1070-89) ............................................................................................................ 5 Anselm (1093-1109) .......................................................................................................... 5 Ralph d’Escures (1114-22) ................................................................................................ 5 William de Corbeil (1123-36) ............................................................................................. 5 Theobold of Bec (1139-61) ................................................................................................ 5 Thomas Becket (1162-70) ................................................................................................. 6 Richard of Dover (1174-84) ............................................................................................... 6 Baldwin (1184-90) ............................................................................................................ -
THE POWER of BEAUTY in RESTORATION ENGLAND Dr
THE POWER OF BEAUTY IN RESTORATION ENGLAND Dr. Laurence Shafe [email protected] THE WINDSOR BEAUTIES www.shafe.uk • It is 1660, the English Civil War is over and the experiment with the Commonwealth has left the country disorientated. When Charles II was invited back to England as King he brought new French styles and sexual conduct with him. In particular, he introduced the French idea of the publically accepted mistress. Beautiful women who could catch the King’s eye and become his mistress found that this brought great wealth, titles and power. Some historians think their power has been exaggerated but everyone agrees they could influence appointments at Court and at least proposition the King for political change. • The new freedoms introduced by the Reformation Court spread through society. Women could appear on stage for the first time, write books and Margaret Cavendish was the first British scientist. However, it was a totally male dominated society and so these heroic women had to fight against established norms and laws. Notes • The Restoration followed a turbulent twenty years that included three English Civil Wars (1642-46, 1648-9 and 1649-51), the execution of Charles I in 1649, the Commonwealth of England (1649-53) and the Protectorate (1653-59) under Oliver Cromwell’s (1599-1658) personal rule. • Following the Restoration of the Stuarts, a small number of court mistresses and beauties are renowned for their influence over Charles II and his courtiers. They were immortalised by Sir Peter Lely as the ‘Windsor Beauties’. Today, I will talk about Charles II and his mistresses, Peter Lely and those portraits as well as another set of portraits known as the ‘Hampton Court Beauties’ which were painted by Godfrey Kneller (1646-1723) during the reign of William III and Mary II. -
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cast EDWARD KYNASTON Michael Kelly v Shea Owens 1 THOMAS BETTERTON Ron Loyd v Matthew Curran 1 VILLIERS, DUKE OF BUCKINGHAM Bray Wilkins v John Kaneklides 1 MARGARET HUGHES Maeve Höglund v Jessica Sandidge 1 LADY MERESVALE Elizabeth Pojanowski v Hilary Ginther 1 about the opera MISS FRAYNE Heather Hill v Michelle Trovato 1 SIR CHARLES SEDLEY Raùl Melo v Set in Restoration England during the time of King Charles II, Prince of Neal Harrelson 1 Players follows the story of Edward Kynaston, a Shakespearean actor famous v for his performances of the female roles in the Bard’s plays. Kynaston is a CHARLES II Marc Schreiner 1 member of the Duke’s theater, which is run by the actor-manager Thomas Nicholas Simpson Betterton. The opera begins with a performance of the play Othello. All of NELL GWYNN Sharin Apostolou v London society is in attendance, including the King and his mistress, Nell Angela Mannino 1 Gwynn. After the performance, the players receive important guests in their HYDE Daniel Klein dressing room, some bearing private invitations. Margaret Hughes, Kynaston’s MALE EMILIA Oswaldo Iraheta dresser, observes the comings and goings of the others, silently yearning for her FEMALE EMILIA Sahoko Sato Timpone own chance to appear on the stage. Following another performance at the theater, it is revealed that Villiers, the Duke of Buckingham, has long been one STAGE HAND Kyle Guglielmo of Kynaston’s most ardent fans and admirers. SAMUEL PEPYS Hunter Hoffman In a gathering in Whitehall Palace, Margaret is presented at court by her with Robert Balonek & Elizabeth Novella relation Sir Charles Sedley. -
108-114 FULHAM PALACE ROAD Hammersmith, London W6 9PL
CGI of Proposed Development 108-114 FULHAM PALACE ROAD Hammersmith, London W6 9PL West London Development Opportunity 108-114 Fulham Palace Road Hammersmith, London W6 9PL 2 INVESTMENT LOCATION & HIGHLIGHTS SITUATION • Residential led development The site is situated on the west side of Fulham opportunity in the London Borough Palace Road, at the junction of the Fulham Palace Road and Winslow Road, in the London of Hammersmith & Fulham. Borough of Hammersmith and Fulham. • 0.09 hectare (0.21 acre). The surrounding area is characterised by a mix of uses; Fulham Palace Road is typified by 3 • Existing, mixed-use building storey buildings with retail at ground floor and comprising retail, office and a mixture of commercial and residential uppers, residential uses. whilst Winslow Road and the surrounding streets predominately comprise 2-3 storey • Proposed new-build development residential terraces. Frank Banfield Park is extending to approximately 3,369 situated directly to the west and Charing Cross Hospital is situated 100m to the south of the sqm (36,250 sq ft) GIA. site. St George’s development known as Fulham • Full planning permission for: Reach is located to the west of Frank Branfield Park with the River Thames beyond. • 32 x private and 2 x intermediate The retail offering on Fulham Palace Road is residential units. largely made up of independent shops, bars and restaurants, whilst a wider range of amenities • 2 x retail units. and retailers is found in central Hammersmith, • 6 basement car parking spaces. located approximately 0.55 km (0.3 miles) to the north of the site. -
Iburtraits Qrtbhisbups Nt
iB urtraits of the ’ Qrtbhisbups nt fian tzrhury E M . B N Emm i) B Y G . V A A N D I SSU ED W I TH TH E AP P ROV AL O F Hrs G RAC E TH E A R CHB I SHOP OF CAN TER B U RY A . R . M LTD . OWB RAY CO . ON DON : G a t Ca s tl Ox f Ci c s W . L 34 re e Street , ord r u , ’ OXFO R D : 1 06 S . Alda t e s St re e t 1 908 LAM B ETH A LA P C E . E . , S , M a r h c 7 0 . , 9 8 MY DEAR M I SS B EV AN , I cordially approve of y o u r plan of publishing a series of such portraits as exist of the successive occupants of the See of Canterbury . I gather that you propose to a c c omp a ny the plates with such biographical notes as may present the facts in outline to those who have little knowledge of English Church History . I need hardly say that so far as Lambeth is c o n cerned we offer you every facility for the reproduction of pictures or seals . Such a book as you contemplate will have a peculiar f s interest this year, when the See of Canterbury orm the - pivot of a world wide gathering . a m I , Y s our very truly, Si n e d RAN DAL R ( g ) L CAN TUA . -
“Revenge in Shakespeare's Plays”
“REVENGE IN SHAKESPEARE’S PLAYS” “OTHELLO” – LECTURE/CLASS WRITTEN: 1603-1604…. although some critics place the date somewhat earlier in 1601- 1602 mainly on the basis of some “echoes” of the play in the 1603 “bad” quarto of “Hamlet”. AGE: 39-40 Years Old (B.1564-D.1616) CHRONO: Four years after “Hamlet”; first in the consecutive series of tragedies followed by “King Lear”, “Macbeth” then “Antony and Cleopatra”. GENRE: “The Great Tragedies” SOURCES: An Italian tale in the collection “Gli Hecatommithi” (1565) of Giovanni Battista Giraldi (writing under the name Cinthio) from which Shakespeare also drew for the plot of “Measure for Measure”. John Pory’s 1600 translation of John Leo’s “A Geographical History of Africa”; Philemon Holland’s 1601 translation of Pliny’s “History of the World”; and Lewis Lewkenor’s 1599 “The Commonwealth and Government of Venice” mainly translated from a Latin text by Cardinal Contarini. STRUCTURE: “More a domestic tragedy than ‘Hamlet’, ‘Lear’ or ‘Macbeth’ concentrating on the destruction of Othello’s marriage and his murder of his wife rather than on affairs of state and the deaths of kings”. SUCCESS: The tragedy met with high success both at its initial Globe staging and well beyond mainly because of its exotic setting (Venice then Cypress), the “foregrounding of issues of race, gender and sexuality”, and the powerhouse performance of Richard Burbage, the most famous actor in Shakespeare’s company. HIGHLIGHT: Performed at the Banqueting House at Whitehall before King James I on 1 November 1604. AFTER: The play has been performed steadily since 1604; for a production in 1660 the actress Margaret Hughes as Desdemona “could have been the first professional actress on the English stage”. -
The Bishop of London, Colonialism and Transatlantic Slavery
The Bishop of London, colonialism and transatlantic slavery: Research brief for a temporary exhibition, spring 2022 and information to input into permanent displays Introduction Fulham Palace is one of the earliest and most intriguing historic powerhouses situated alongside the Thames and the last one to be fully restored. It dates back to 704AD and for over thirteen centuries was owned by the Bishop of London. The Palace site is of exceptional archaeological interest and has been a scheduled monument since 1976. The buildings are listed as Grade I and II. The 13 acres of botanical gardens, with plant specimens introduced here from all over the world in the late 17th century, are Grade II* listed. Fulham Palace Trust has run the site since 2011. We are restoring it to its former glory so that we can fulfil our vision to engage people of all ages and from all walks of life with the many benefits the Palace and gardens have to offer. Our site-wide interpretation, inspired learning and engagement programmes, and richly-textured exhibitions reveal insights, through the individual stories of the Bishops of London, into over 1,300 years of English history. In 2019 we completed a £3.8m capital project, supported by the National Lottery Heritage Fund, to restore and renew the historic house and garden. The Trust opens the Palace and gardens seven days a week free of charge. In 2019/20 we welcomed 340,000 visitors. We manage a museum, café, an award-winning schools programme (engaging over 5,640 pupils annually) and we stage a wide range of cultural events. -
Buses from Sherpherd's Bush
UXBRIDGE HARLESDEN WILLESDEN CRICKLEWOOD HAYES LADBROKE GROVE EAST ACTON EALING ACTON TURNHAM GREEN Buses from Shepherd’s Bush HOUNSLOW BARNES 607 N207 Isleworth Brentford Gunnersbury Uxbridge UXBRIDGE Busch Corner Half Acre 316 Key Uxbridge Civic Centre Uxbridge Park Road Cricklewood 49 Day buses in black Bus Garage WILLESDEN CRICKLEWOOD N207 Night buses in blue HARLESDEN O Connections with London Underground Hillingdon Road The Greenway Harlesden Willesden Cricklewood — Central Middlesex Hospital Jubilee Clock Bus Garage Broadway ChildÕs Hill o Connections with London Overground 260 Hillingdon Lees Road HAYES Craven Park Willesden Cricklewood Golders R Connections with National Rail 228 Harlesden Green Kilburn Green B Connections with river boats South College Park Hayes End M Greenford South Early mornings and evenings only Willesden Junction Brondesbury Perivale Hampstead Chalk Farm G Daytimes only when Wetlands Centre is open Uxbridge 24 hour 31 24 hour 220 service County Court Greenford Park Royal 72 service 283 Swiss Cottage Camden Town L Not served weekday morning and evening peak hours Red Lion Hanger East Acton Lane ASDA Kilburn or Saturday shopping hours ROEHAMPTON Hayes Grapes Industrial Estate Scrubs Lane High Road DormerÕs Mitre Bridge N Limited stop Wells Lane Southall Ruislip Kilburn Park Trinity Road Lady Margaret Park Road s Road Royal Old Oak Common Lane QueenÕs Park The Fairway LADBROKE 95 Scrubs Lane 207 Southall Town Hall North Acton Mitre Way/Wormwood Scrubs 228 Southall Gypsy Corner GROVE Chippenham Road Police -
'Prince of Players' Score Soars, While Libretto Is a Letdown
LIFESTYLE 'Prince of Players' score soars, while libretto is a letdown By Joseph Campana | March 7, 2016 0 Photo: Marie D. De Jesus, Staff Ben Edquist, plays the lead role Edward Kynaston, a famed actor in England in the 1700s whose career is abruptly stopped when the king issues a decree prohibiting men from playing women in stage roles. Armenian soprano Mane Galoyan will sing Margaret Hughes. The Houston Grand Opera (HGO) will present Prince of Players by distinguished American composer Carlisle Floyd on March 5, 11, and 13, 2016. ( Marie D. De Jesus / Houston Chronicle ) A night at the opera can leave us speechless or it can send us to our feet shouting "Bravo!" At the close of the Houston Grand Opera world premiere of Carlisle Floyd's "Prince of Players," it was all leaping and shouting. Floyd not only co-founded the Houston Grand Opera Studio, but this great American treasure has now premiered his fifth work for Houston Grand Opera just shy of his 90th birthday. That's plenty to celebrate. But the true achievement of "Prince of Players" is a beautifully realized production of an ambitious commission with an electrifying score stirringly conducted by Patrick Summers. From its opening moments, "Prince of Players" resounds with tonal unease, surreptitious woodwinds and warning strings. And in mere seconds, Floyd conveys that, in spite of some fun and flirtation to come, we are in the presence of a sea-change, and no one will remain unscathed. The marvel of Floyd is his attention to moments great and small. Some of the most compelling passages come seemingly between scenes or in the absence of voice - as an actor silently practices his gestures or as the court eerily processes before their king.