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Lady Margaret School Parson's Green London Sw6
LADY MARGARET SCHOOL PARSONS GREEN LONDON SW6 4UN YEAR 7 ADMISSIONS POLICY FOR THE SCHOOL YEAR STARTING IN SEPTEMBER 2022 The school’s admission arrangements are reviewed annually by the Governors and should not be regarded as binding for future years 1. If your daughter was born between 1 September 2010 and 31 August 2011 you may apply for a place for the school year starting in September 2022. We will consider applications regardless of the residence or religion of the girl. ADMISSION NUMBER 2. There are 120 places in Year 7 for the school year starting in September 2022. All applicants will be admitted if 120 or fewer apply. There were 576 applications for the 120 places offered for the school year commencing September 2021. BANDING 3. A quarter of the girls we admit are of above average ability (Band 1), half are average (Band 2), and a quarter are below average (Band 3). This is to make sure that the school is comprehensive in terms of ability. The Year 7 Admissions Handbook (“the Handbook”) explains the school’s banding arrangements in detail. OVER-SUBSCRIPTION 4. If the school remains over-subscribed, 67 Foundation Places will be reserved for girls who have attended services at a Church of England church or churches at least fortnightly for a minimum of three years up to the date of application. We will take up a reference from a vicar in order to assess each application for a Foundation Place 5. 53 Open Places will be reserved for girls of any, or no, religion. -
The Master of the Unruly Children and His Artistic and Creative Identities
The Master of the Unruly Children and his Artistic and Creative Identities Hannah R. Higham A Thesis Submitted to The University of Birmingham For The Degree of DOCTOR OF PHILOSOPHY Department of Art History, Film and Visual Studies School of Languages, Art History and Music College of Arts and Law The University of Birmingham May 2015 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This thesis examines a group of terracotta sculptures attributed to an artist known as the Master of the Unruly Children. The name of this artist was coined by Wilhelm von Bode, on the occasion of his first grouping seven works featuring animated infants in Berlin and London in 1890. Due to the distinctive characteristics of his work, this personality has become a mainstay of scholarship in Renaissance sculpture which has focused on identifying the anonymous artist, despite the physical evidence which suggests the involvement of several hands. Chapter One will examine the historiography in connoisseurship from the late nineteenth century to the present and will explore the idea of the scholarly “construction” of artistic identity and issues of value and innovation that are bound up with the attribution of these works. -
Establishing the Tudor Dynasty: the Role of Francesco Piccolomini in Rome As First Cardinal Protector of England
2017 IV Establishing the Tudor Dynasty: The Role of Francesco Piccolomini in Rome as First Cardinal Protector of England Susan May Article: Establishing the Tudor Dynasty: The Role of Francesco Piccolomini in Rome as First Cardinal Protector of England Establishing the Tudor Dynasty: The Role of Francesco Piccolomini in Rome as First Cardinal Protector of England1 Susan May Abstract: Between 1492 and 1503, Francesco Todeschini Piccolomini (1439–1503) was the first officially appointed Cardinal Protector of England. This paper focuses on a select few of his activities executed in that capacity for Henry Tudor, King Henry VII. Drawing particularly on two unpublished letters, it underscores the importance for King Henry of having his most trusted supporters translated to significant bishoprics throughout the land, particularly in the northern counties, and explores Queen Elizabeth of York’s patronage of the hospital and church of St Katharine-by-the-Tower in London. It further considers the mechanisms through which artists and humanists could be introduced to the Tudor court, namely via the communication and diplomatic infrastructure of Italian merchant-bankers. This study speculates whether, by the end of his long incumbency of forty-three years at the Sacred College, uncomfortably mindful of the extent of a cardinal’s actual and potential influence in temporal affairs, Piccolomini finally became reluctant to wield the power of the purple. Keywords: Francesco Todeschini Piccolomini; Henry VII; early Tudor; cardinal protector; St Katharine’s; Italian merchant-bankers ope for only twenty-six days following his election, taking the name of Pius III (Fig. 1), Francesco Todeschini Piccolomini (1439–1503) has understandably been P overshadowed in reputation by his high-profile uncle, Aeneas Silvius Piccolomini, Pope Pius II (1458–64). -
Lady Margaret School
Lady Margaret School Project Overview Lady Margaret School, based in Parsons Green, south west London, is a successful and popular secondary school for girls. In order to meet an increasing demand for places, the school requires extra facilities and creative solutions to increase its Year 7 entry from a three to four class intake. The school was keen to bring us on board to work with them as we had successfully delivered their multi purpose 6th form centre in 2010. During this project, we were mindful of the school and its community’s needs, ensuring minimum disruption while working in a live environment which included Grade II listed buildings. Educational Development With every opportunity to expand comes the opportunity to enhance. By creating new facilities above the existing classrooms, we are able to infill and optimise the use of space in-between buildings. This creates the opportunity for extra classrooms as well as open-plan study areas and flexible learning spaces. The programme will also improve the social spaces, circulation and accessibility across the school, as well as enlarging and enhancing its dining facilities for students. Working in a Live Environment Working in any educational institute poses considerable challenges. At Lady Margaret School, safety is of paramount importance throughout the project. A phased approach has been undertaken to ensure minimal disruption possible. In particular, main constructing builds, such as the infilling between the existing buildings, take place during school holidays. We recognise in school communities that site access is particularly sensitive. We have ensured minimal disruption to the local area by scheduling deliveries before and after the school day. -
Lady Margaret School Parson's Green London Sw6
LADY MARGARET SCHOOL PARSONS GREEN LONDON SW6 4UN YEAR 7 ADMISSIONS HANDBOOK APPLICATIONS 1. The Common Application Form can be obtained from your daughter’s primary school, the Home Authority or online. Parents living in the London Borough of Hammersmith and Fulham can fill in the Common Application Form online at www.lbhf.gov.uk/admissions. 2. Parents are advised to send their Common Application Form by recorded delivery. It is recommended that parents check with their Home Authority that their form has been received. LATE APPLICATIONS st 3. Applications received after 31 October 201920 will be regarded as late. Late applications Formatted: Superscript will only be accepted if they are late for a good reason. Examples include: (1) when a single parent has been ill for some time or has been dealing with the death of a close relative; (2) a family has recently moved into the Borough of Hammersmith & Fulham (proof of ownership or tenancy of a property within the Borough will be required in these cases). Other circumstances will be considered and each case decided on its merits APPLICATIONS OUTSIDE THE NORMAL ADMISSIONS ROUND 4. In dealing with applications outside the normal admissions round, whether in-year or at the start of a school year which is not a normal point of entry to the school, we will comply with parental preference unless one of the statutory reasons for refusing admission applies. 5. If the school is over-subscribed we will apply the over-subscription criteria set out in the Policy to applications outside the normal admissions round, including the continuing applications made for girls on the waiting lists. -
WRAP THESIS Shilliam 1986.Pdf
University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/34806 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. FOREIGN INFLUENCES ON AND INNOVATION IN ENGLISH TOMB SCULPTURE IN THE FIRST HALF OF THE SIXTEENTH CENTURY by Nicola Jane Shilliam B.A. (Warwick) Ph.D. dissertation Warwick University History of Art September 1986 SUMMARY This study is an investigation of stylistic and iconographic innovation in English tomb sculpture from the accession of King Henry VIII through the first half of the sixteenth century, a period during which Tudor society and Tudor art were in transition as a result of greater interaction with continental Europe. The form of the tomb was moulded by contemporary cultural, temporal and spiritual innovations, as well as by the force of artistic personalities and the directives of patrons. Conversely, tomb sculpture is an inherently conservative art, and old traditions and practices were resistant to innovation. The early chapters examine different means of change as illustrated by a particular group of tombs. The most direct innovations were introduced by the royal tombs by Pietro Torrigiano in Westminster Abbey. The function of Italian merchants in England as intermediaries between Italian artists and English patrons is considered. Italian artists also introduced terracotta to England. -
Michelangelo: 1 Michelangelo: “The Divine One” “The Divine One” 1 Goings on 2 Michelangelo, Cont
Tidings Bayshore Presbyterian Church March 25, 2015 Inside This Issue Michelangelo: 1 Michelangelo: “The Divine One” “The Divine One” 1 Goings On 2 Michelangelo, cont. Painter, sculptor and architect Michelangelo Buonarroti was born in 3 Building and Grounds Update Caprese, Italy on March 6, 1475. During a more than 70-year career, he won near-mythical fame as one of Europe’s preeminent 3 Birthdays/Anniversaries “Renaissance Men,” and counted kings and popes among his many 3 admirers and patrons. Temperamental and brilliant, Michelangelo Prayer List crafted several masterpieces 4 From the Pastor’s Desk including the statue of David, the “Pieta” and the ceiling of the Sistine 4 News From Beth-El Chapel. On the 540th anniversary of 4 his birth, here are nine surprising Just Another Day on the Bayshore facts about the artist often called “the 5 Volunteer List Divine One.” 1. A jealous rival broke his nose when he was a teenager. As a teen, Michelangelo was sent to live and study in the home of GOINGS ON Lorenzo de’ Medici, then one of the most important art patrons in all of Europe. His steady hand with a Sunday, March 29 chisel and paintbrush soon made him the envy of all his fellow pupils. Palm Sunday Service 10:30 am One young rival named Pietro Torrigiano grew so enraged at Michelangelo’s superior talent—and perhaps also his sharp tongue— that he walloped him in the nose, leaving it permanently smashed and Thursday, April 2 disfigured. “I gave him such a blow on the nose that I felt bone and Maundy Thursday Tenebrae Service 7:00 pm cartilage go down like biscuit beneath my knuckles,” Torrigiano later bragged, “and this mark of mine he will carry with him to the grave.” Friday, April 3 2. -
Vasari's Vite and Italian Artists in Sixteenth-Century England
Vasari’s Vite and Italian artists in sixteenth-century England Cinzia Maria Sicca Figure 1 Giorgio Vasari, Le vite de’ più eccellenti pittori, scultori et architettori . (Florence, 1568). References to works of art or individuals traveling to England are found in Vasari’s lives of Benedetto da Maiano, Pietro Torrigiani, Benedetto da Rovezzano, Girolamo da Treviso, Rosso Fiorentino, Perino del Vaga, Baccio Bandinelli, Bastiano ‘Aristotile’ da Sangallo, the brothers Davit and Benedetto del Ghirlandaio and their nephew Ridolfo (son of Domenico), Giovan Francesco Penni (il Fattore), as well as in a final, miscellaneous section in the Giuntina edition of 1568 entitled ‘Di diversi artefici Italiani’ (Of several different Italian artists). (Figure 1) This selection is striking for the density of Tuscan artists who, with the only exception of Girolamo da Treviso, appear to have dominated the flux of artistic exchange between the two countries during the sixteenth century. The exception, however, is no less meaningful since Girolamo’s complicated career took him to Venice, Bologna, Rome and Mantua making him a vehicle for the transmission of the highly experimental style that had been incubating in this latter city. The migration of artists to England, as well as to other European countries, is discussed by Vasari within the general framework of a far-ranging view of the Journal of Art Historiography Number 9 December 2013 Cinzia Maria Sicca Vasari’s Vite and Italian artists in sixteenth- century England movement of art through time and space, and serves the ultimate purpose of demonstrating the superiority of central Italian art. Writing about artists who had left their motherland and settled anywhere in Europe was, however, hugely problematic for Vasari who had no direct knowledge of the works produced abroad and was thus unable to discuss them in any detail. -
![The Royal Image and Modern Spanish Iconoclasm [La Imagen Real Y La Iconoclasia Española Moderna]](https://docslib.b-cdn.net/cover/7965/the-royal-image-and-modern-spanish-iconoclasm-la-imagen-real-y-la-iconoclasia-espa%C3%B1ola-moderna-2247965.webp)
The Royal Image and Modern Spanish Iconoclasm [La Imagen Real Y La Iconoclasia Española Moderna]
The Royal Image and Modern Spanish Iconoclasm [La imagen real y la iconoclasia española moderna] Jeffrey Schrader University of Colorado, Denver, United States of America From the nineteenth century onward a considerable number of hostile actions against the portraits of royalty and religious art have been recorded. This icono clasm which, before the nineteenth century, was blamed on foreigners, began to become more common among Spaniards early in the century, increasing with the Carlist wars. Due to their increased frequency, such violent actions against these types of representation, both monarchical and religious, came to acquire a very characteristic social function, becoming rites dramatizing popular support for prog ress. The moments of greatest violence against these works took place during the Spanish civil war, including burning and sacking of churches and even murders of priests. With the rise of Francoism, the dictator cast the blame on foreign govern ments, which seems to suggest a generalized tendency by the Spanish authorities to attribute such acts alien forces. Keywords: iconoclasm; religious art; monarchical portraits; Spain; Contemporary Period. A partir del siglo xix detectamos un gran número de acciones hostiles contra los retratos de la realeza y el arte religioso. Esta iconoclastia, de la que se culpó al extranjero antes del siglo xix, comienza a adquirir fuerza dentro del pueblo espa ñol a principios del mismo siglo, con las guerras carlistas. Las acciones violentas contra este tipo de representaciones, tanto monárquicas como religiosas, debido a su auge llegan a adquirir una función social muy característica: ritos que escenifi can el apoyo al progreso por parte del pueblo. -
Lady Margaret School Inspection Report
Lady Margaret School Inspection report Unique Reference Number 100364 Local Authority Hammersmith And Fulham Inspection number 376386 Inspection dates 20—21 September 2011 Reporting inspector Peter Gale HMI This inspection of the school was carried out under section 5 of the Education Act 2005. Type of school Secondary School category Voluntary aided Age range of pupils 11—19 Gender of pupils Girls Gender of pupils in the sixth form Girls Number of pupils on the school roll 710 Of which, number on roll in the sixth form 230 Appropriate authority The governing body Chair Krysia Williams Headteacher Sally Whyte Date of previous school inspection 14 February 2007 School address Parsons Green London SW6 4UN Telephone number 020 7736 7138 Fax number 020 7384 2553 Email address [email protected] Age group 11—19 Inspection date(s) 20—21 September 2011 Inspection number 376386 Inspection report: Lady Margaret School, 20—21 September 2011 2 of 14 The Office for Standards in Education, Children's Services and Skills (Ofsted) regulates and inspects to achieve excellence in the care of children and young people, and in education and skills for learners of all ages. It regulates and inspects childcare and children's social care, and inspects the Children and Family Court Advisory Support Service (Cafcass), schools, colleges, initial teacher training, work-based learning and skills training, adult and community learning, and education and training in prisons and other secure establishments. It assesses council children’s services, and inspects services for looked after children, safeguarding and child protection. Further copies of this report are obtainable from the school. -
Privacy Notice
Lady Margaret School Privacy Notice How we use Applicant Information Under General Data Protection Regulations (GDPR) and the Data Protection Act (DPA) 2018 we are obliged to inform you of the information we hold about you as applicants, including what we use it for, who we share it with, and for how long we keep it. This privacy notice (also known as a fair processing notice) aims to provide you with this information. If it, or any information linked to it, is unclear, please contact the school office, or the school’s Data Protection Officer. Contact details for both are available at the end of this privacy notice. We, Lady Margaret School at Parsons Green, London SW6 4UN, are the Data Controller for the purposes of data protection law. As a public body we have appointed Grow Partners Ltd as Data Protection Officer (DPO), the responsible contact is David Coy who is contactable via [email protected]. 1. The categories of applicant information that we collect, hold and share include but are not limited to: Basic Details (e.g. title, name) Personal Information (e.g. NI number) Contact Information (e.g. home telephone number, mobile telephone number, home email) Current Address Information Education and Qualifications (e.g. teacher number, QTS, induction status, class of degree, secondary education, higher education) Employment History (e.g. current post, previous posts, previous employers, salary details, periods when not working, referees) Disclosure and Barring Service Information (e.g. convictions, cautions, reprimands, formal warnings, bind-over orders) We collect all the information requested in our application form and, if shortlisted, from the selection process. -
Michelangelo's Julius II Tomb As Template for the Sistine Chapel Ceiling
Trinity College Trinity College Digital Repository Senior Theses and Projects Student Scholarship Spring 2019 Sculpting in Marble and Fresco: Michelangelo's Julius II Tomb as Template for the Sistine Chapel Ceiling Jillian Gates [email protected] Follow this and additional works at: https://digitalrepository.trincoll.edu/theses Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Gates, Jillian, "Sculpting in Marble and Fresco: Michelangelo's Julius II Tomb as Template for the Sistine Chapel Ceiling". Senior Theses, Trinity College, Hartford, CT 2019. Trinity College Digital Repository, https://digitalrepository.trincoll.edu/theses/754 Sculpting in Marble and Fresco: Michelangelo’s Julius II Tomb as Template for the Sistine Chapel Ceiling A Senior Thesis Presented By Jillian Gates To the Art History Department In Fulfillment of the Requirements for Honors in Art History Advisor: Professor Kristin Triff Trinity College Hartford, Connecticut May 2019 2 Table of Contents Table of Contents …………………………………………………………………………. 2 Chapter I: Introduction ……………………………………………………………………. 3 Chapter II: Julius II Tomb ……………………………………………………………….. 15 Chapter III: Sistine Chapel Ceiling ………………………………………………………. 33 Chapter IV: Conceptual Similarities ……………………………………………………… 47 Chapter V: A Shared Vision ………………………………………………………………. 54 Chapter VI: Figure Similarities …………………………………………………………… 58 Chapter VII: Consequences of Michelangelo’s Technique After the Ceiling …………… 64 Chapter VIII: Conclusion …………………………………………………………………… 71 Bibliography ………………………………………………………………………………….. 74 Appendix ……………………………………………………………………………………… 76 3 Chapter I: Introduction As a seminal artistic figure of the early Renaissance period, Michelangelo produced works of art that defined the canon of art. Through his early sculpted and painted works, the ambitions Michelangelo had for himself as an artist were evident. Not only were the works he created masterful for such a young age, but they also pushed the boundaries of existing artistic and stylistic techniques.