A Survey of Post Boxes in the Borough of Colchester
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There and Back Again: Mobilising Tourist Imaginaries at the Tower Of
There and Back Again: Mobilising Tourist Imaginaries at the Tower of London Matthew Hughes Ansell 2014 Dissertation submitted in partial fulfillment of the requirements for the degree of MA in Cultural Heritage Studies of University College London in 2017 UCL INSTITUTE OF ARCHAEOLOGY ‘Those responsible for the brochure had darkly intuited how easily their readers might be turned into prey by photographs whose power insulted the intelligence and contravened any notions of free will: over-exposed photographs of palm trees, clear skies, and white beaches. Readers who would have been capable of skepticism and prudence in other areas of their lives reverted in contact with these elements to a primordial innocence and optimism. The longing provoked by the brochure was an example, at once touching and bathetic, of how projects (and even whole lies) might be influenced by the simplest and most unexamined images of happiness; of how a lengthy and ruinously expensive journey might be set into motion by nothing more than the sight of a photograph of a palm tree gently inclining in a tropical breeze’ (de Botton 2002, 9). 2 Abstract Tourist sites are amalgams of competing and complimentary narratives that dialectically circulate and imbue places with meaning. Widely held tourism narratives, known as tourist imaginaries, are manifestations of ‘shared mental life’ (Leite 2014, 268) by tourists, would-be tourists, and not-yet tourists prior to, during, and after the tourism experience. This dissertation investigates those specific pre-tour understandings that inform tourists’ expectations and understandings of place prior to visiting. Looking specifically at the Tower of London, I employ content and discourse analysis alongside ethnographic field methods to identify the predominant tourist imaginaries of the Tower of London, trace their circulation and reproduction, and ultimately discuss their impact on visitor experience at the Tower. -
Ford Connected Wall Box Operation Manual SKLJ98-10C823-BA 3 Ford Connected Wall Box
Ford Connected Wall Box Label Operation manual Information Charging station 16A Three Phase/ 32A Single Phase Ford Connected Wall Box Quick Start Guide 1 2 3 1 2 The wall box must be installed by a qualified electri- Download the required Apps: Tap FordPass, and then select More and My Charge cian. 1) FordPassTM Station from the menu. 2) Ford Connected Wall Box Setup App 4 5 6 Locate the sticker with your ID and Code on the front Tap the Start Setup button and follow the instruc- Plug in and enjoy exploring your station’s capabilities. of the User Manual. tions to complete the process. For Ford Connected Wall Box support, select Help in the FordPass App Ford Connected Wall Box Operation manual SKLJ98-10C823-BA 3 Ford Connected Wall Box Table of Contents 1 General information ........................................................................................................................ 5 7 Decommissioning the product ..................................................................................................... 10 1.1 Purpose of this document............................................................................................... 5 8 Maintenance, cleaning and repair ................................................................................................ 11 1.2 Using this document......................................................................................................... 5 8.1 Maintenance...................................................................................................................... -
Post Boxes Formally Designated As a Listed Building
Historic Post Boxes in Jersey Table A – post boxes formally designated as a Listed building Jersey Post ref Historic Environment ref Address Parish Description Post Box no.9 HE1926 Queens Road St. Helier Cast iron Victorian pillar box, 1879-83. Cast by A. Handyside foundry in Derby. Known as an 'anonymous' box as it has no Royal cypher, and with unusually high aperture. In position of one of the original Penfold boxes. Post Box no.12 HE1931 Le Mont Pinel St. Helier Cast iron Victorian wall box. Small C type (39 x 82cm) with Royal cipher VR. Crack at top. Cast by Eagle foundry - one of only three examples in Jersey. Set in roadside boundary wall opposite Douro Terrace. Post Box no.15 Included with SA0236 St. Saviour's Hill St. Saviour Set into the Parish Church boundary wall is a rare example of a Victorian wall box 1861- 71, cast by Smith & Hawkes - one of only four examples in Jersey. Post Box no.17 MN0326 La Rue D'Aval St. Martin Cast iron Victorian wall box (25 x 77cm) with Royal cipher VR. Cast by Smith & Hawkes foundry - one of only four examples in Jersey. Set in roadside boundary wall. Post Box no.18 HE1928 La Pouquelaye St. Helier Cast iron Victorian wall box, 1881-85. Cast by Allen foundry. Medium size B type (35 x 83cm) with high aperture and Royal cipher VR, with three-ring crown. No door pull. Set in roadside boundary wall. Post Box no.20 MN0327 La Rue de Fliquet St. Martin Cast iron Victorian wall box (25.5 x 77cm) with Royal cipher VR. -
Historic Post Boxes PDF 481 KB
An Roinn Pleanála agus Forbartha Maoine Oifigí na Cathrach, An Ché Adhmaid, Baile Átha Cliath 8 Planning and Property Development Department Block 4, Floor 3, Civic Offices, Wood Quay, Dublin 8 Planning and Property Development Strategic Policy Committee September 2017 Historic Post Boxes in Dublin City Many postal pillar boxes in Dublin City date from the Victorian, Edwardian, and George V eras, adorned with the respective British monarch's monogram. These were retained following Irish Independence and repainted green, to which were added further new pillar boxes with SÉ (for Saorstát Éireann), a harp or the P & T logo. The ‘An Post’ logo is used to adorn newer post boxes since 1984. In 2012, An Post was considering the removal of redundant, historic post boxes across the city. Following consultation with City Council officials from the Planning and Property Development Departments Conservation Section, Public Realm Strategy Group and Roads Maintenance Services, an agreement was reached with An Post that all historic post boxes would remain in situ. In addition, An Post provided a photographic survey and schedule of some 600 older post boxes in the city to the Planning Department; these are mainly the common, round shaped, cast iron, pillar boxes, installed from the Victorian era up to the 1980’s, but also some oval shaped, double aperture pillar boxes, and rectangular, cast iron wall boxes. That schedule and photographic survey has been used to compile an inventory of historic post boxes, including their typologies and details. A total of 302 such post boxes have been identified across the city, including the following: Victorian 50 Edward VII (monogram) 43 Edwardian – no marking 9 George V (monogram) 10 P&T (large lettering) 96 (including the C-Type, oval, double letter box pillar) above of which Wall Box 22 Others of the historic and possibly historic post boxes identified have no obvious markings and require further investigation, while some 28 require examination to see if they have historical relevance at all. -
Addyman Archaeology
Mingary Castle Ardnamurchan, Argyll Analytical and Historical Assessment for Tertia and Donald Houston December 2012 Detail from a survey of c1734 by John Cowley (NRS) Addyman Archaeology Building Historians & Archaeologists a division of Simpson & Brown Architects St Ninians Manse Quayside Street Edinburgh Eh6 6EJ Telephone 0131 554 6412 Facsimile 0131 553 4576 [email protected] www.simpsonandbrown.co.uk Mingary Castle, Ardnamurchan, Argyll Mingary Castle Ardnamurchan, Argyll Analytical and historical assessment By Tom Addyman and Richard Oram Contents 1. Introduction i. General ii. Methodology 2. Mingary Castle, the MacIans and the Lordship of Ardnamurchan Richard Oram i. Introduction ii. The Historiography of Mingary Castle iii. The Lordship of Ardnamurchan to c.1350 iv. The MacIans v. MacIan Inheritance and the Rise of Campbell Power 1519-1612 vi. Civil War to the Jacobite Era vii. Conclusion 3. Cartographic, early visual sources and visitors’ accounts 4. Earlier analyses of Mingary Castle i. Introduction ii. MacGibbon and Ross iii. W Douglas Simpson (1938-54) iv. RCAHMS (1970-80) v. More recent assessment 5. Description and structural analysis i. Introduction - methodology ii. Geology, building materials and character of construction th iii. The early castle (mid-late 13 century) a. General b. The early curtain c. Entrance arrangements d. Site of hall range e. Other features of the interior f. Possible well or cistern g. The early wall heads and parapet walk th iv. Later medieval – 16 century a. Introduction b. Hall range c. Garderobe tower d. Wall head remodelling to N e. Modifications to the wall head defences to the west, south and SE f. -
Westminster Abbey ASERVICE to CELEBRATE the 60TH ANNIVERSARY of the CORONATION of HER MAJESTY QUEEN ELIZABETH II
Westminster Abbey ASERVICE TO CELEBRATE THE 60TH ANNIVERSARY OF THE CORONATION OF HER MAJESTY QUEEN ELIZABETH II Tuesday 4th June 2013 at 11.00 am FOREWORD On 2nd June 1953, the Coronation of Her Majesty Queen Elizabeth II followed a pattern established over the centuries since William the Conqueror was crowned in Westminster Abbey on Christmas Day 1066. Our intention in this Service of Thanksgiving is to evoke and reflect the shape of the Coronation service itself. The Queen’s entrance was marked by the Choirs’ singing Psalm 122—I was glad—set to music for the Coronation of EdwardVII by Sir Hubert Parry. The Queen’s Scholars of Westminster School exercised their historic right to exclaim Vivat Regina Elizabetha! (‘Long live Queen Elizabeth!’); so it will be today. The coronation service begins with the Recognition. The content of this part of the service is, of course, not today what it was in 1953, but the intention is similar: to recognise with thanksgiving the dutiful service offered over the past sixty years by our gracious and noble Queen, and to continue to pray God saveThe Queen. The Anointing is an act of consecration, a setting apart for royal and priestly service, through the gift of the Holy Spirit. The Ampulla from which the oil was poured rests today on the HighAltar as a reminder of that central act. St Edward’s Crown also rests today on the High Altar as a powerful symbol of the moment of Coronation. In today’s Service, a flask of Oil is carried by representatives of the people of the United Kingdom to the Sacrarium, received by theArchbishop and placed by the Dean on the High Altar. -
From Allegory to Domesticity and Informality, Elizabeth I and Elizabeth II
The Image of the Queen; From Allegory to Domesticity and Informality, Elizabeth I and Elizabeth II. By Mihail Vlasiu [Master of Philosophy Faculty of Arts University of Glasgow] Christie’s Education London Master’s Programme September 2000 © Mihail Vlasiu ProQuest Number: 13818866 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 13818866 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 GLASGOW 1 u n iv er sity .LIBRARY: \1S3lS Abstract This thesis focuses on issues of continuity and change in the evolution royal portraiture and examines the similarities and differences in portraying Elizabeth I in the 16th and 17th centuries and Elizabeth II in the 20th century. The thesis goes beyond the similarity of the shared name of the two monarchs; it shows the major changes not only in the way of portraying a queen but also in the way in which the public has changed its perception of the monarch and of the monarchy. Elizabeth I aimed to unite a nation by focusing the eye upon herself, while Elizabeth II triumphed through humanity and informality. -
Tudors to Windsors: British Royal Portraits 16 March – 14 July
Tudors to Windsors: British Royal Portraits 16 March – 14 July Chris Levine, Queen Elizabeth II (Lightness of being), 2007 National Portrait Gallery, London • Founded in 1856, the National Portrait Gallery was the first gallery established exclusively for displaying portraiture. The Gallery’s collection includes a wide variety of works such as painting, sculpture, photography, prints and caricatures. Tudors to Windsors is the first time the NPG has toured their outstanding collection of royal portraiture. Bendigo Art Gallery has collaborated with the National Portrait Gallery on several occasions but this is by far the most extensive exhibition the NPG has ever sent to Australia and Bendigo Art Gallery is one of only two venues in the world, the other being Houston, Texas. The exhibition traces many of the major events in British history, examining the ways in which royal portraits were impacted by both the personalities of individual monarchs and wider historical change. The exhibition explores five royal dynasties, from the Tudors to the Windsors, and includes works by many of the most important artists to have worked in Britain. • Alongside the works of art from the National Portrait Gallery, Bendigo Art Gallery has secured some additional loans to further explain the lives of these fascinating characters. Special loans from the Royal Armouries and Historic Royal Palaces add a further dimension to this exhibition. 1483-1603 Above after Titian, Philip II, king of Spain 1555, oil on panel Right after Hans Holbein the younger King Henry VIII, c.1540s, oil on wood panel Art Gallery of South Australia, Adelaide • The Tudors are one of the most famous royal dynasties in the world. -
Planning for Accession and Coronation
DEPARTMENT OF POLITICAL SCIENCE INAUGURATING A NEW REIGN: PLANNING FOR ACCESSION AND CORONATION BOB MORRIS INAUGURATING A NEW REIGN: PLANNING FOR ACCESSION AND CORONATION Dr Bob Morris The Constitution Unit University College London May 2018 i ISBN: 978-1-903903-82-7 Published by: The Constitution Unit School of Public Policy University College London 29-31 Tavistock Square London WC1H 9QU United Kingdom Tel: 020 7679 4977 Email: [email protected] Web: www.ucl.ac.uk/constitution-unit © The Constitution Unit, UCL, 2018 This report is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, hired out or otherwise circulated without the publisher’s prior consent in any form of binding or cover other than that in which it is published and without a similar condition including this condition being imposed on the subsequent purchaser. First published May 2018 Front cover image: Nathan Hughes Hamilton; licenced under Creative Commons, https://creativecommons.org/licenses/by/2.0/legalcode ii CONTENTS Preface……………………………………………………………………………….v Executive summary………………………………………………………………….vi 1.1-1.25 Conceptual changes since 1952……………………………………………...1 1.1-1.5 Social…………………………………………………………..1 1.6-1.8 Religion……...………………………………………………....1 1.9-1.10 Political…………………………………………………….....2 1.11-1.14 Geopolitics and security……………………………………..2 1.15-1.23 Constitutional……………………………………………….3 1.24-1.25 Machinery of government…………………………………...5 2.1-2.22 Accession…………………………………………………………………....6 2.1 Demise…………………………………………………………….6 2.2-2.4 -
Kings and Queens
East Park Academy Summer Term Year 1 – Kings and Queens Overview of the Learning: In this unit children will be introduced to the concepts of the monarchy‘’ and look at similarities and differences between the queen today and her role and kings and queens of the past.. They will develop an understanding of chronology and an awareness of change and continuity by identifying how things have changed or stayed the same. Core Aims Children should be taught . know and understand the history of these islands in chronological Chronological understanding narrative, from the earliest times to the present day: Children should be able to: place events and objects in chronological order . know how people’s lives have shaped this nation and how Britain use common words and phrases relating to the passing of time has influenced and been influenced by the wider world (eg, before, after, a long time ago, past) and everyday historical terms. know and understand significant aspects of the history of the wider match objects to people of different ages. world: the achievements and follies of mankind Identify similarities and differences between ways of life in different period . understand historical concepts such as continuity and change, Knowledge and understanding of events, people and changes in cause and consequence, similarity, difference and significance, the past and use them to make connections. Children should know: recognise why people did things, why events happened and . understand the methods of historical enquiry, what happened as a result. -
“Corounes Tweyne”: the Eyes Have It
“COROUNES TWEYNE”: THE EYES HAVE IT 層 Linda Spetter, Ph.D. For years, scholars have pondered the meaning of the mysteri- bus “corounes tweyne” in Chaucer's Troylus and Criseyde. Pandarus uses the phrase as he ushers Criseyde into the bedroom where Troylus is feigning an illness. Pandarus tells Criseyde (lines ll-1733 ff.): Nece, 1 conj ure, and heighly yow defende, On his byhalf which that us al sowle sende, And in the vertue of corounes tweyne, Sle naught this man, that hath for yow this peyne. In most interpretations, of course, “corounes” literally means “coronas” or “ モ窒盾翌獅刀C” and “tweyne” means “twin” or “two.” But what were the twin crowns or twin coronas? What was Chaucer referring to when he used the term, “corounes tweyne”? Skeats speculated that “corounes tweyne” were nuptial crowns of roses and lilies mentioned in the “Second Nun's Tale” (573), and Malarkey gives an interesting interpretation of the crowns as symbols of the spiritual and temporal power of the church (with an allusion to the then-doubl' crown of the papal tiara). Root thought the crowns might stand for Pity and Bounty or Justice and Mercy, while Patch thought they might have been suggested by “the crown of virtue” mentioned in Boccaccio's ll Filostrato. Doob, in 1972, discussed her opinion that the word C 121 ) “COROUNES TWEYNE”: THE EYES HAVE IT “corounes” 翌≠?actually supPosed to be“ceraunius,”asemi-pregious stone often listed in medieval lapidaries. Dozens of other suggestibns have been considered, but none to the satisfaction of any large body of り scholars. -
2018 Inspired Trasures Full Trade
Crowns & Regalia Coronation Five Piece Coronation Crown set Coronation Throne PENDANT- small lobster claw polish 18k gold 0.15mc plated. Seven of the main pieces used in the Coronation of a Item Code Trade Euro Dollar 29756 30.35 39.50 40.30 British Monarch. THE St. EDWARD'S CROWN :- *29756* Item Code Trade Euro Dollar Gold, 5lb in weight, set with precious and semi 28099 6.10 7.90 8.05 *28099* precious stones. Made for Charles II in 1661, but believed to contain the ancient crown of Edward the confessor. THE IMPERIAL STATE CROWN: Contains The Black Prince's Ruby, The Stuart Sapphire, The 2nd Star of Africa Diamond (317.40 Cts) and over 3000 other precious gems and pearls. THE SOVEREIGN'S SCEPTRE WITH THE CROSS: Made for Charles II in 1661, but altered during 1910, when the '1st Star of Africa' diamond (530 cts. the largest in the world) was added. THE SOVEREIGN'S ORB:- made in 1661 for Charles II - held by the Sovereign as 'Defender of the Faith'. THE COMMONWEALTH BRACELETS - (Armills) were a gift to Queen Elizabeth II, for her coronation in 1953. THE CORONATION RING:- Made for William IV in 1831, has been used since by all monarchs except Queen Victoria. Seven Piece Coronation Crown set Item Code Trade Euro Dollar 28031J 48.55 63.30 64.55 *28031* JUBILEE Coronation Regalia Charm Bracelet Top cross from the Sovereign's Sceptre Item Code Trade Euro Dollar 29742 37.15 48.45 49.40 *29742* PENDANT- small lobster clawemerald crystal / white crystal18k gold 0.15mc (stopped-off) plated.