The 5Th Earl of Leicester
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Robert Dudley, 1St Earl of Leicester
Robert Dudley, 1st Earl of Leicester Robert Dudley, 1st Earl of Leicester, KG (24 June mours that he had arranged for his wife’s death continued 1532 or 1533[note 1] – 4 September 1588) was an English throughout his life, despite the coroner’s jury's verdict of nobleman and the favourite and close friend of Elizabeth accident. For 18 years he did not remarry for Queen Eliz- I from her first year on the throne until his death. The abeth’s sake and when he finally did, his new wife, Lettice Queen giving him reason to hope, he was a suitor for her Knollys, was permanently banished from court. This and hand for many years. the death of his only legitimate son and heir were heavy blows.[2] Shortly after the child’s death in 1584, a viru- Dudley’s youth was overshadowed by the downfall of his family in 1553 after his father, the Duke of Northumber- lent libel known as Leicester’s Commonwealth was circu- land, had unsuccessfully tried to establish Lady Jane Grey lating in England. It laid the foundation of a literary and historiographical tradition that often depicted the Earl as on the English throne. Robert Dudley was condemned to [3] death but was released in 1554 and took part in the Battle the Machiavellian “master courtier” and as a deplorable of St. Quentin under Philip II of Spain, which led to his figure around Elizabeth I. More recent research has led full rehabilitation. On Elizabeth I’s accession in Novem- to a reassessment of his place in Elizabethan government ber 1558, Dudley was appointed Master of the Horse. -
Wider. Bigger. Greater
WIDER. BIGGER. GREATER. Neo-Palladian Country Houses as Representations of Power Struggle, Globalization and “Britishness” in the United Kingdom of the 1750s Stefanie Leitner s1782088 - [email protected] Supervisor: Dr. J.G. Roding Second reader: Dr. E. den Hartog MA Arts and Culture 2016/2017 Specialization: Architecture TABLE OF CONTENT 1. Introduction ................................................................................................. 1 1.1. Theoretical Framework ......................................................................... 2 1.2. Literature Review ................................................................................. 4 2. Node I – Architecture .................................................................................. 8 2.1. General developments compared to the 1720s .................................... 8 2.2. Introduction of the Case Studies .......................................................... 9 2.2.1. Holkham Hall (1734-1764) ........................................................... 11 2.2.2. Hagley Hall (1754-1760)............................................................... 20 2.2.3. Kedleston Hall (1759) ................................................................... 28 3. Node II – Globalization ............................................................................. 38 3.1. Colonization and the British Empire ................................................. 38 3.2. Connection with continental Europe .................................................. 39 3.3. -
The Lookout Our New Visitor Facility on the Holkham National Nature Reserve First Words
Holkham Gazette Issue 28 Autumn 2018 The Lookout Our new visitor facility on the Holkham National Nature Reserve First words Caring for the Holkham collection Maria de Peverelli is executive chairman of Stonehage Fleming Art Management, serving a client base that includes The Lookout, the new facility on Lady individuals, family offices, foundations, Anne’s Drive on the Holkham trusts and estates. She has recently taken up National Nature Reserve, is well the role of consultant on the collection at worth a visit. The interesting, very Holkham where she will oversee the informative and interactive conservation and preservation, and educational boards and media screens supervise the loan, of items from Holkham’s reward those who take time to study world-famous collection to other art them, offering new insights as to how galleries and museums around the world. the reserve’s precious and precarious Maria is also a Trustee of the Yorkshire landscape is managed and what Sculpture Park and of the Estorick visitors can do to help. Its exciting Collection and serves as a member of the design seems destined for board of Advisers of the Fondazione Palazzo commendation by architects from Strozzi, Florence. She established OmniArt in 2005 and prior to that, Maria was around the country and the ‘green’ gallery director of the Villa Favorita in Lugano (Thyssen-Bornemisza message is very thoughtfully and collection). She has organised exhibitions for the Museum of Applied Arts in effectively conveyed. All that and Frankfurt and taught museum management at the University of Genoa. lavatories too – go and see! Sara Phillips, Editor Contents First words ........................................................ -
Job Description
Job Description Title PA to The Countess of Leicester – maternity cover Location: Holkham Hall, Wells-next-the-Sea, Norfolk Reporting to The Countess of Leicester Lateral relationships PA to The Earl of Leicester, Hall team, PA to the Managing Director The Holkham Estate The Holkham Estate extends over 25,000 acres and has an annual turnover of over £19m. The land and property-based enterprises include residential lettings, commercial lettings, property maintenance and development, farming, forestry, country sports, an inn, a holiday park, beach and car parks. The operations centred on Holkham Hall include day visitors, catering, filming, corporate indoor and outdoor events and concerts. See www.holkham.co.uk for more information. Estate Policy Our vision is to see Holkham as the UK’s leading rural estate against which others will measure their own success. Our purpose is to manage Holkham as a progressive commercial operation set within a thriving local community where rural values are upheld. The aim is to ensure the long-term prosperity of the Estate and of those who live and work on it. Overall Job Purpose The role of the Personal Assistant to Lady Leicester is to enable Lord and Lady Leicester and their family to maintain a happy and balanced family life within the context of a home that is open to visitors, in the middle of a thriving collection of rural businesses. The purpose of this role is to provide flexible, timely and focused support to Lady Leicester so that she can effectively balance the varied and intense demands of her involvement in various local charities and family life while maintaining her preferred level of control and privacy. -
Benedetto Luti
BENEDETTO LUTI (Florence 1666 - Rome 1724) Portrait of a Young Girl oil on canvas 41 x 31.8 cm (16¼ x 12½ in) HIS DELIGHTFUL PORTRAIT SHOWS A YOUNG GIRL gazing outside the picture plane to her right. Her porcelain skin is creamy and radiant and her cheeks shimmer with a hint of pink. She wears a simple blue and ochre gown, accessorised with a delicate gold chain necklace and a single drop earring, while Ther hair is loosely tied in a chignon. There is a great sense of simplicity and charm in Benedetto Luti’s Portrait of a Young Girl. The artist has evidently taken great enjoyment in capturing the innocence and youth of this pretty young girl whose attentions are directed elsewhere. Luti was a master of suave portraiture. He was one of the greatest colourists in eighteenth-century Rome and his chalk and pastel studies of single heads, bust-length apostles, saints, angels and children are charming in their polished freshness and elegance. An excellent example of Luti’s refined portraiture is held in theH ermitage (fig. 1).A Boy with a Flute shows a young boy in almost exactly the same pose as the girl in the present work. In his hand he holds a flute though he appears Benedetto to have been distracted by something unknown to the viewer. As in the Luti, present portrait, Luti has applied skilful colouring and flowing brushwork Head of a Girl, to achieve a subtle luminosity that is particularly lustrous in the boy’s curled Holkham Hall, hair and rosy cheeks. -
Biographical Appendix
Biographical Appendix The following women are mentioned in the text and notes. Abney- Hastings, Flora. 1854–1887. Daughter of 1st Baron Donington and Edith Rawdon- Hastings, Countess of Loudon. Married Henry FitzAlan Howard, 15th Duke of Norfolk, 1877. Acheson, Theodosia. 1882–1977. Daughter of 4th Earl of Gosford and Louisa Montagu (daughter of 7th Duke of Manchester and Luise von Alten). Married Hon. Alexander Cadogan, son of 5th Earl of Cadogan, 1912. Her scrapbook of country house visits is in the British Library, Add. 75295. Alten, Luise von. 1832–1911. Daughter of Karl von Alten. Married William Montagu, 7th Duke of Manchester, 1852. Secondly, married Spencer Cavendish, 8th Duke of Devonshire, 1892. Grandmother of Alexandra, Mary, and Theodosia Acheson. Annesley, Katherine. c. 1700–1736. Daughter of 3rd Earl of Anglesey and Catherine Darnley (illegitimate daughter of James II and Catherine Sedley, Countess of Dorchester). Married William Phipps, 1718. Apsley, Isabella. Daughter of Sir Allen Apsley. Married Sir William Wentworth in the late seventeenth century. Arbuthnot, Caroline. b. c. 1802. Daughter of Rt. Hon. Charles Arbuthnot. Stepdaughter of Harriet Fane. She did not marry. Arbuthnot, Marcia. 1804–1878. Daughter of Rt. Hon. Charles Arbuthnot. Stepdaughter of Harriet Fane. Married William Cholmondeley, 3rd Marquess of Cholmondeley, 1825. Aston, Barbara. 1744–1786. Daughter and co- heir of 5th Lord Faston of Forfar. Married Hon. Henry Clifford, son of 3rd Baron Clifford of Chudleigh, 1762. Bannister, Henrietta. d. 1796. Daughter of John Bannister. She married Rev. Hon. Brownlow North, son of 1st Earl of Guilford, 1771. Bassett, Anne. Daughter of Sir John Bassett and Honor Grenville. -
Winter/Spring 2005 ● Issue No.9
Winter/Spring 2005 ● Issue No.9 HOLKHAM NEWSLETTER HERE might be a perception that all the changes we have seen at Holkham have taken place only in the last five or six years.This process might have been more rapid in that time, but that only Treflects the speed of change in the world in general. Change has always been with us. Mick Thompson, recently retired from the Hall, recalls how he helped to modernise four milking parlours on the Estate.Well, how many have we now? None: this is change brought on by economic circumstances. I started farming at Burnham Norton, 36 years ago, with 11 men. By the time the Holkham Farming Company took over, that was down to only three, again a reflection of changed economic circumstances, and a necessary adaptation to new farming practices. Now, seven men look after 5,000 acres. A good example of adaptation is the transformation of the 18th century Triumphal Arch into a chic annexe of The Victoria Hotel, thus turning a long-standing liability to economic advantage, and moreover, making use of a perfectly sound building. I never see the point of new build if existing buildings can be satisfactorily adapted without compromising their character. But with change, it is important to retain and value the best of the past. Nicholas Hills writes about the restoration of the family monuments at Tittleshall Church, to which the Estate contributed a large part of the £70,000 costs.We could have saved our money, but then part of the history of this great Estate would have been lost. -
The Height of the Shaft, and in the Form of the Cross Upon the Apex Were Suggested
182 LEICESTERSHIRE ARCHITECTURAL SOCIETY. the height of the shaft, and in the form of the cross upon the apex were suggested. Mr. Johnson also by way of explanation of his drawing contributed the following Paper upon TOWN CROSSES, which was, in his absence, read by Mr. North:— THE subject of "Town Crosses" is open to much enquiry. Without going very closely into the matter, I have found much to interest any one who takes pleasure in rambling amongst the relics of the past—not, however, so much from the erections themselves, as from the associations which are connected with them. They seem to divide themselves into three distinct heads or classes: Market Crosses, Memorial Crosses, and Town or Village Crosses. Of the antiquity of the first-named we have plenty of proof as far back as the thirteenth century, and I need only quote that in existence at Higham Ferrers, the capitals and mouldings of which are decidedly the work of that period. The form of the Market Cross is generally polygonal, with an open archway niche on two of its sides. The really good specimens to be found are few. More frequently, structures of a debased character, some sur mounted by a kind of dome, seem to have replaced the original ones. Evidently, the centre or the principal part of the town was used as the site of these erections, and some of the principal his torical events are connected with them. The illustrated descrip tions to be met with give but little idea of the style (there were no Le Keux or Jewitts in those early days) but the remains are curious, and from many of the occurrences which are depicted in manuscripts and other ancient works, being found in connection with the Town Crosses, it is clear that they were looked upon with a degree of importance, if not of veneration. -
Weddings YOUR PERFECT WEDDING
Weddings YOUR PERFECT WEDDING Holkham Hall on the north Norfolk coast, home to the Earls of Leicester, is one of the grandest and most beautiful wedding venues in the country. This fine Palladian house, surrounded by a romantic deer park with a lake, temple and woodland, could be yours for the day. Our friendly and experienced team will help you plan your special day, offering flexibility, support and guidance. We know the best suppliers to help you find stunning marquees, delicious food, perfect flowers and memorable photography. You are free to design your day as you wish, safe in the knowledge that we will be there to provide the support you need. TO HAVE Four of the state rooms in the hall are perfect for civil ceremonies and partnerships. With its breathtaking ceiling, inspired by the Pantheon in Rome, the Marble Hall rises to a height of over fifty feet. One of the grandest entrance halls in Europe, it can comfortably seat 142 people on the ground floor and 170 people if the side balconies are used. The opulent Saloon can accommodate up to 80 seated guests for a wedding ceremony. The North State Dining Room offers a classical and beautiful space for a wedding ceremony with up to 50 guests. The Statue Gallery contains perhaps the most complete collection of classical statuary in a private home in Britain and can seat up to 100 people. TO HOLD In the park you can have a civil ceremony at the Temple or a traditional service at St Withburga’s church. The Temple is tucked away in the woods within Holkham park, giving it a very special intimacy. -
Queen Elizabeth I's Pregnancy, Secret Marriage and Childbirth
Queen Elizabeth I’s Pregnancy, Secret Marriage and Childbirth Evidence concerning Queen Elizabeth I’s secret marriage to Robert Dudley, Earl of Leicester, and the Queen’s pregnancy and childbirth. Author: Peter Dawkins Queen Elizabeth I’s Pregnancy, Secret Marriage and Childbirth In November 1560 the Queen’s “looks” were quite consistent with a pregnant woman, and in December 1560, according to Mme D. von Kunow, a secret despatch among the Escurial Papers said that the Queen was expecting a child by Robert Dudley. In early 1561, it was reported that Elizabeth was bedridden with a mysterious illness that caused her body to swell. In addition, there were rumours that some private or formal betrothal had passed between the Queen and Robert Dudley.1 On 31 December 1560 Throckmorton, the English ambassador in Paris, wrote to Cecil, querying what to do “if her Majesty do so foully forget herself in her marriage as the bruit runneth here,” for the Spanish ambassador, who had just visited him, did “earnestly require me to tell him whether the Queen’s Majesty was not secretly married to Lord Robert; for, said he, I assure you, the Court is full of it, and the rumours of her doings be very strange in all courts and countries.” Throckmorton also wrote privately to the Queen and Dudley, saying that if the rumours were true, he would be unable to effect any successful diplomacy at the French Court or elsewhere. Cecil responded to him on 15 January 1561 with a warning: “I advise you not to meddle with the matters of this Court, otherwise than ye may be well advised from hence. -
Paper Palaces: the Topham Collection As a Source for British Neo-Classicism
Paper Palaces: the Topham Collection as a source for British Neo-Classicism Adriano Aymonino with Lucy Gwynn and Mirco Modolo Front cover image: Francesco Bartoli, Drawing of decorative mosaics in the vaulting of S. Costanza, c. 1720-25 (see cat. no. 25) Inside cover image: Francesco Bartoli, Drawing of an ancient ceiling from the Palatine, 1721 (see cat. no. 15) Paper Palaces: the Topham Collection as a source for British Neo-Classicism The Verey Gallery, Eton College May - November 2013 Curated by Lucy Gwynn & Adriano Aymonino Accompanied by the Conference: A Window on Antiquity: the Topham Collection at Eton College, 17th May 2013 Catalogue written by Adriano Aymonino with Lucy Gwynn and Mirco Modolo This catalogue is dedicated to the memory of Louisa M. Connor Bulman Contents Many people have given their support to the production of both the exhibition Foreword 4 Section 2 16 and this catalogue, and we would like in particular to thank: Lord Waldegrave of North Hill Robert Adam and his antiquarian sources The Tavolozza Foundation The Humanities Research Institute, the University of Buckingham Introduction 5 Section 3 22 the rationale for the exhibition Robert Adam, the Topham Collection and Country Life Magazine Francesco Bartoli Sir Francis Dashwood Richard Topham & Eton 6 by Lucy Gwynn The National Trust Section 4 40 The Topham Collection’s broader influence: Savills (UK) Limited Catalogue Charles Cameron and other Neo-Classical architects and decorators The authors would also like to thank Frances Sands for the fruitful discussion on the different hands in the Adam drawings; Jeremy Howard and Eleanor Davey for their Cataloguing Notes 8 help and support; Charlotte Villiers and Dennis Wallis for their patience and exquisite Notes 47 contribution in photography and design, Charlotte Villiers for the coordination of the exhibition, Pat McNeaney for his inexhaustible enthusiasm and skill, the Eton College Section 1 10 Buildings Department and Vario Press. -
The Other W.S., William Stanley, Sixth Earl of Derby
The Other W.S., William Stanley, Sixth Earl of Derby John Raithel n the following, I hope to provide a reasonable summary of the evidence I that I believe points to William Stan- ley, the sixth earl of Derby, as the author of the works generally attributed to Shake- speare. I do not intend, of course, to pre- sent all the material here, but do hope to give a reasonable history of the Derbyite conviction, and in so doing point to some of the sources, compilers, and interpreters of this information, and then bring it up to date with recent discoveries and publica- tions. Beginning with the referenced works, I believe the interested reader will find much to flesh-out the skeleton sketched here. There are good reasons for suspecting that the traditional assignation of the authorship of Shakespeare’s works is misplaced. These are based on statements made about the works at the time of their appearance, evidence concerning the traditional candidate, and inferences derived from the works themselves. There are also good reasons for suspecting the true author to be William Stanley, the sixth earl of Derby. Some of these, too, are based on statements made about the author of the works, and inferences derived from the works themselves. And some are based on evidence concerning William Stanley. None of the statements, evidence, or inferences is conclusive—for Stanley or anyone else—or there would be no controversy. The case for Derby is made by examining the available material and attempting to weight it appropriately, assigning, for example, less weight to inferences drawn from the plays by a Derbyite—where there must be a natural bias toward interpreting the evidence in support of Derby—and more weight to a contemporary’s comments about the author, or to modern research by a non-Derbyite scholar.