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The Garden Designs of William Stukeley (1687–1765)
2-4 GS Reeve + RS CORR NEW_baj gs 4/9/13 10:02 PM Page 9 The BRITISH ART Journal Volume XIII, No. 3 Of Druids, the Gothic, and the origins of architecture The garden designs of William Stukeley (1687–1765) Matthew M Reeve illiam Stukeley’s central place in the historiogra- phy of eighteenth-century England is hardly Winsecure.1 His published interpretations of the megalithic monuments at Avebury (1743) and Stonehenge (1740) earned him a prominent position in the history of archaeology, and his Vetusta Monumenta ensured his rep- utation as a draughtsman and antiquarian. Recent research has shown that Stukeley was a polymath, whose related interests in astrology, Newtonian natural history and theol- ogy formed part of a broader Enlightenment world view.2 Yet, in the lengthy scholarship on Stukeley, insufficient attention has been paid to his interest in another intellectu- al and aesthetic pursuit of eighteenth-century cognoscenti: garden design.3 Stukeley’s voluminous manuscripts attest to his role as an avid designer of gardens, landscapes and garden build- ings. His own homes were the subjects of his most interesting achievements, including his hermitages at Kentish Town (1760), Stamford (Barnhill, 1744 and Austin Street 1737), and Grantham (1727).4 In this, Stukeley can be located among a number of ‘gentleman gardeners’ in the first half of the eighteenth century from the middling classes and the aristocracy.5 He toured gardens regularly, and recorded many of them in his books, journals and cor- respondence. His 1724 Itinerarium Curiosum recounts his impressions of gardens, including the recent work at Blenheim Palace and the ‘ha-ha’ in particular, and his unpublished notebooks contain a number of sketches such as the gardens at Grimsthorpe, Lincs., where he was a reg- ular visitor.6 Stukeley also designed a handful of garden buildings, apparently as gifts for friends and acquaintances. -
Blackstone As Architect: Constructing the Commentaries
Blackstone as Architect: Constructing the Commentaries Wilfrid Prest* On January 28, 1746, as Cumberland's forces pursued the retreating Jacobite army into Scotland, a twenty-three year old newly-minted Bachelor of Civil Law and junior fellow of All Souls College sat down to write a characteristically cheerful letter to his lawyer uncle Seymour Richmond, shortly after reaching "my new Habitation (which is at Mr Stoke's a Limner in Arundel St)."' In the light of what is becoming clear about William Blackstone's own accomplishments and interests in draftsmanship and the visual arts, his choice of London lodgings was perhaps not entirely accidental. Be that as it may, this report on what was seemingly Blackstone's first serious encounter with the common law (even though he had by now accumulated a full five years' standing at the Middle Temple), exudes a jaunty self-confidence, couched in topically martial language: "I have stormed one Book of Littleton, & opened my Trenches before ye 2d; and I can with Pleasure say I have met with no Difficulty of Consequence...." Having established that even the * Australian Research Council Australian Professorial Fellow, University of Adelaide. This paper is part of William Blackstone. Life and Works, an Australian Research Council Discovery Project (DP0210901) at the University of Adelaide which aims to produce a full- length biography, together with annotated editions of Blackstone's correspondence and architectural writings. Preliminary versions were presented from 1998 onwards to audiences at the University of South Australia, the National Humanities Center, the Australian and New Zealand Law and History Conference, the Australian Modem British History Conference (La Trobe University), the British Legal History Conference (University of Wales, Aberystwyth), the Law and Public Affairs Seminar, Princeton University, the Yale Legal History Forum, and a conference on "Enlightenment Law and Lawyers" at Glasgow University. -
A Chesapeake Falling Garden: Landon Carter's Sabine Hall Mollie Ridout, Director of Horticulture, Historic Annapolis, Inc
Magnolia grandiflora The Laurel Tree of Carolina Publication of the Southern Garden Catesby’s NaturalM History, 1743 agnoliaHistory Society Vol. XXIV No. 4 Fall 2011 A Chesapeake Falling Garden: Landon Carter's Sabine Hall Mollie Ridout, Director of Horticulture, Historic Annapolis, Inc. Terraced gardens are a tradition of landscape design extending backward in time wherever gardens have been created on hilly terrain. The Chesapeake falling garden can find its distant ancestors in classic gardens of Europe. Yet the Tidewater region brings much of its own character to M. Ridout by Photo Sabine Hall, central path on the parterre terrace. the garden, beginning with the name. The term falling garden, referring to the slopes designed layouts advocated by earlier writers. between the terraces or flats, is fairly localized. Its use The desire for a high order of control in the landscape seems to be confined to the tidewater region of the may well be attributed to the ongoing struggle of Chesapeake, from the mid-eighteenth century into the American landowners to overcome the chaos of nature. early nineteenth century. We find Colonel William Byrd II No need for them to follow the style of their English using the term fall or falling garden as he describes notable counterparts by creating vast, and vastly expensive, Virginia gardens he has visited in the mid-eighteenth landscapes of wildness when original wildness was century. By the 1770s the term is familiar enough to apparent from their very doorsteps. When wild animals, be used in a Fredericksburg newspaper advertisement and in the early days, unfriendly native Indians as well describing a lot “already well improved with a good falling as unruly slaves and servants lurked about, a little show garden” (Sarudy, 29). -
The Architecture of Joseph Michael Gandy (1771-1843) and Sir John Soane (1753-1837): an Exploration Into the Masonic and Occult Imagination of the Late Enlightenment
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2003 The Architecture of Joseph Michael Gandy (1771-1843) and Sir John Soane (1753-1837): An Exploration Into the Masonic and Occult Imagination of the Late Enlightenment Terrance Gerard Galvin University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Architecture Commons, European History Commons, Social and Behavioral Sciences Commons, and the Theory and Criticism Commons Recommended Citation Galvin, Terrance Gerard, "The Architecture of Joseph Michael Gandy (1771-1843) and Sir John Soane (1753-1837): An Exploration Into the Masonic and Occult Imagination of the Late Enlightenment" (2003). Publicly Accessible Penn Dissertations. 996. https://repository.upenn.edu/edissertations/996 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/996 For more information, please contact [email protected]. The Architecture of Joseph Michael Gandy (1771-1843) and Sir John Soane (1753-1837): An Exploration Into the Masonic and Occult Imagination of the Late Enlightenment Abstract In examining select works of English architects Joseph Michael Gandy and Sir John Soane, this dissertation is intended to bring to light several important parallels between architectural theory and freemasonry during the late Enlightenment. Both architects developed architectural theories regarding the universal origins of architecture in an attempt to establish order as well as transcend the emerging historicism of the early nineteenth century. There are strong parallels between Soane's use of architectural narrative and his discussion of architectural 'model' in relation to Gandy's understanding of 'trans-historical' architecture. The primary textual sources discussed in this thesis include Soane's Lectures on Architecture, delivered at the Royal Academy from 1809 to 1836, and Gandy's unpublished treatise entitled the Art, Philosophy, and Science of Architecture, circa 1826. -
Transactions 1948
PRESENTED 2 1 MAR 1952 TRANSACTIONS OF THE JtiiU'folli anil ilu fluid) NATURALISTS’ SOCIETY For the Year 1948 VOL. XVI Part v. Edited by Major A. Buxton NORWICH Printed by The Soman-Wherry Press Ltd., Norwich. February, 1949 Price 10 /- PAST PRESIDENTS REV. JOSEPH CROMPTON, M.A. ... 1869—70 ... ... ... 1870—71 "! HENRY STEVENSON, KL.S. !!! 1871—72 MICHAEL BEVERLEY, M.D ... 1872—73 FREDERIC KITTON, Hon. F.R.M.S. ... ... 1873—74 H. D. GELDART 1874—75 JOHN B. BRIDGMAN 1875—76 T. G. BAYFIELD ... 1876—77 F. W. HARMER, F.G.S. ... ... ... 1877—78 ... 1878—79 THOMAS SOUTHWELL, F.Z.S. 1879—80 OCTAVIUS CORDER ... 1880—81 ... 1881—82 J. H. GURNEY, Jun., F.Z.S H. D. GELDART 1882—83 H. M. UPCHER, F.Z.S 1883—84 FRANCIS SUTTON, F.C.S ... 1884—85 MAJOR H. W. FIELDEN, C.B., F.G.S., C.M z.s. ... 1885—86 SIR PETER EADE, M.D., F.R.C.P. ... 1886—87 SIR EDWARD NEWTON, K.C.M.G., F.L.S. C.M.Z.S. ... 1887—88 1888—89 J. H. GURNEY, F.L.S., F.Z.S SHEPHARD T. TAYLOR, M.B. 1889—90 HENRY SEEBOHM, F.L.S., F.Z.S. ... ... 1890—91 F. D. WHEELER, M.A., LL.D 1891—92 HORACE B. WOODWARD, F.G.S. ... ... 1892—93 THOMAS SOUTHWELL, F.Z.S. 1893—94 C. B. PLOWRIGHT, M.D ... 1894—95 H. D. GELDART ... 1895—96 SIR F. C. M. BOILEAU, Bart., F.Z.S., F.S !.. 1896—97 E. W. PRESTON, F.R.Met.Soc. -
The Norfolk & Norwich
BRITISH MUSEUM (NATURAL HISTORY) TRANSACTIONS 2 7 JUN 1984 exchanged OF GENfcriAL LIBRARY THE NORFOLK & NORWICH NATURALISTS’ SOCIETY Edited by: P. W. Lambley Vol. 26 Part 5 MAY 1984 TRANSACTIONS OF THE NORFOLK AND NORWICH NATURALISTS’ SOCIETY Volume 26 Part 5 (May 1984) Editor P. W. Lambley ISSN 0375 7226 U: ' A M «SEUV OFFICERS OF THE SOCIETY 1984-85 j> URAL isSTORY) 2? JUH1984 President: Dr. R. E. Baker Vice-Presidents: P. R. Banham, A. Bull, K. B. Clarke, E. T. Daniels, K. C. Durrant, E. A. Ellis, R. Jones, M. J. Seago, J. A. Steers, E. L. Swann, F. J. Taylor-Page Chairman: Dr. G. D. Watts, Barn Meadow, Frost’s Lane, Gt. Moulton. Secretary: Dr. R. E. Baker, 25 Southern Reach, Mulbarton, NR 14 8BU. Tel. Mulbarton 70609 Assistant Secretary: R. N. Flowers, Heatherlands, The Street, Brundall. Treasurer: D. A. Dorling, St. Edmundsbury, 6 New Road, Heathersett. Tel. Norwich 810318 Assistant Treasurer: M. Wolner Membership Committee: R. Hancy, Tel. Norwich 860042 Miss J. Wakefield, Post Office Lane, Saxthorpe, NR1 1 7BL. Programme Committee: A. Bull, Tel. Norwich 880278 Mrs. J. Robinson, Tel. Mulbarton 70576 Publications Committee: R. Jones. P. W. Lambley & M. J. Seago (Editors) Research Committee: Dr. A. Davy, School of Biology, U.E.A., Mrs. A. Brewster Hon. Auditor. J. E. Timbers, The Nook, Barford Council: Retiring 1985; D. Fagg, J. Goldsmith, Miss F. Musters, R. Smith. Retiring 1986 Miss R. Carpenter, C. Dack, Mrs. J. Geeson, R. Robinson. Retiring 1987 N. S. Carmichael, R. Evans, Mrs.L. Evans, C. Neale Co-opted members: Dr. -
Oxford Book Fair 5 Th- 5 Th April 515
oxford book fair 5 th- 5 th april 515 BERNARD QUARITCH Stand No 86 40 South Audley Street London W1K 2PR 020 7297 4888 [email protected] 1. DICKENS, Charles. The Nonesuch Dickens. The Complete Works of Charles Dickens. London, The Nonesuch Press, 1937-38. 8vo (255 x 158mm), 23 volumes and etched steel plate in box; uncut, volumes and box bound in original coloured full buckram by the Leighton-Straker Bookbinding Co., Ltd., gilt morocco lettering-pieces on spines, top edges gilt; a little light wear and occasional soiling, spines of a few volumes lightly sunned, Martin Chuzzlewit (supplied) sunned on spine and upper board with light wear to spine label; a very good set. £9,500 Limited edition of 877 sets, of which 66 were destroyed when a bomb hit the bindery in September 1940, so at most 811 complete sets survive (cf. Dreyfus, Nonesuch Press, 108). The steel plate included with this set is number 605, ‘Solemn reference is made to Mr. Bunsby’ from Dombey and Son (Chapter 23, facing p. 458), engraved by H. K. Browne (‘Phiz’), with the typed letter of authenticity on Chapman & Hall headed paper, signed by Arthur Waugh. Intended as a definitive edition of Dickens’ works the Nonesuch Press edition was printed using the original steel plates and woodblocks created by Chapman & Hall for the illustrations in the first editions of the books. Each set of the works was accompanied by one of the original engraved plates or woodblocks, of which there were 877. The original steel-engraved plate in this set is by ‘Phiz’ (Hablot Knight Browne), who was Dickens’ friend and the most highly regarded illustrator of his works. -
Notes on Contributors / Remembering Roy Porter
Notes on Contributors / Remembering Roy Porter Not only was Roy Porter a brilliant scholar and a dedicated colleague, he was also a remarkable, generous and idiosyncratic individual – in fact, he was exactly the kind of person about whom Roy himself loved to write. We were all lucky that our lives were enriched by his presence. In this section, conventionally reserved for descriptions of ourselves, many of us have also added favourite memories of Roy, or moments when his influence shaped our ideas and careers. Roberta Bivins is Wellcome Lecturer in the History of Medicine at Cardiff University. The topic of her most recent book,Alternative Medicine? A Global Approach (2007), was suggested to her by Roy Porter many years ago. She is now studying the reciprocal impact of immigration and medical research/healthcare delivery in the US and UK since the Second World War. ‘As a nervous PhD student, I came to Roy via the most tenuous of connections: my American supervisor happened to know Roy’s wife. It is typical of his generosity that Roy invited me to London sight unseen, simply as a favour to his wife’s acquaintance. Dutifully, he scheduled regular lunches with me to check on my progress. Alongside the sandwiches and the inspiration, Roy offered me, in his inimitable way, a much- needed sense of belonging. One lunchtime, he dropped into his chair, grinned, and reported: “My mother has a question for you: did the royals use acupuncture?” I was surprised – but the idea that Roy’s mum knew all about my dissertation suddenly made me feel right at home in London. -
University Microfilms 300 North Zaeb Road Ann Arbor
INFORMATION TO USERS This dissertation was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. -
Histories of British Art 1660-1735 Reconstruction and Transformation
HISTORIES OF BRITISH ART 1660-1735 RECONSTRUCTION AND TRANSFORMATION ABSTRACTS OF PAPERS Day 1 (Thursday) Panel 1 Netherlandish influences on British Art Sander Karst (University of Utrecht) ‘The participation of Dutch Migrant artists in the London art market at the end of the seventeenth century’ In this paper presentation I will focus on the many Dutch migrant artists who participated in the London art market at the end of the seventeenth century. During this period London started to take over from Amsterdam as Europe’s most important economic centre. Due to an economic depression in the Dutch Republic, the demand for paintings in the republic decreased, the Dutch art market collapsed and many artists were forced to seek their fortune abroad. Most of them migrated to London. In London these Dutch artists found a new market for their paintings and anticipated the increasing demand for luxury products among London’s inhabitants. Whereas in the Dutch Republic pictures auctions had been organised from the early seventeenth century onwards and had enabled artists to produce their paintings on speculation, in London similar market conditions only began to emerge during the 1670s. For my masterthesis I made an analysis of as set of 132 London auction catalogues which cover the period between May 1689 and March 1692 (British Library, shelfmark 1402.g.1). This analysis demonstrates that 49% percent of all paintings which were offered at these auctions, and which were attributed to a specific artists, were produced by Dutch migrant artists. 1 During my paper presentation I will explain this analysis and will argue that the market for contemporary paintings was dominated by London-based Dutch artists. -
Georgians Revealed Final Exhibit List
‘Georgians Revealed ’ exhibit list Introductory area National Portrait Gallery NPG 4223 Painting of George I, 1714 National Portrait Gallery NPG 256 Painting of George II, 1753 National Portrait Gallery NPG 6250 Painting of George III, c.1800 National Trust (Fenton Inv no.1449346 Painting of George IV House) Shop window British Library Map Library Fan with map of London Private loan Pair of Georgian shoes (reproduction) British Library RB.23.a.33599 The Royal Engagement Pocket Atlas. 1796 British Library RB.23.a.10097 The Royal Engagement Pocket Atlas. 1788 British Library C.192.a.94 Cover Polite Repository. 1786 British Library C.108.bbb.42 Cover Short Dialogues for the instruction of (5) Young People. 1819 British Library C.108.bbb.43 Cover The Extraordinary Trial of Daniel (6) Dawson. 1812 British Library C.108.bbb.57 Cover Metastasio, Artaxerxes. 1780 British Library C.108.bbb.66 Cover Burger, Leonora. 1796 British Library C.108.bbb.35(5 Cover The Rise and Fatal Effects of War. ) 1794 British Library Maps The Earth and itz inhabitants c.1830 C.4.a.5(12) No.1 Public Places, Private Spaces British Library Maps Crace Cary’s map of London. 1818 6.210 The Tea Table Tate Britain N04500 Van Aken, An English family at tea, c.1720 V&A 435-1907 English Mahogany table, 1730-50 V&A C.426&A-1920 Bow porcelain teapot and cover, 1755 V&A C.93&A-1948 Worcester porcelain cup & saucer, 1765 British Library Burney 237 Eliza Haywood, The Tea Table, 1724 British Library HS.74/1983(46 William Cowper, The Negro’s ) Complaint. -
Number 37 July 2014 Spring Outing 2014: Gunton Sawmill
BAHS Newsletter Number 37 www.history-blakeney-area.org.uk July 2014 Spring Outing 2014: Gunton Sawmill... Top: the frame saw carriage with timber to be cut. Above left: the lake that feeds the mill. Gunton Hall is in the distance behind the trees. Above right: the mill header pond which is fed via a sluice gate prior to starting the wheel. Water here is about 3 feet deep. Front cover: more machiney. n Monday 12th May, six- teen members of the BAHS ...and a Church or two Oset off for the water-pow- ered Sawmill in Gunton Park. The rain held off and we were wel- comed by Barré Funnell and his enthusiastic band of volunteers. Our visit began with a short climb up to the Lake behind the Mill; from here we could see the dam which held back the water needed to power the wheel. Once back under cover, the water was released and we watched, in some amazement, as the Saw chugged its way along the length of a 12 foot lime log to create a long, even plank of wood. The whole process took about 40 minutes. This historic Mill was built in the early days of the Industrial Revolution, between 1821 & 1824. It served the needs of the Estate for a hundred years until after the first world war, when it was replaced by a horse-drawn portable steam engine. Subsequently, the Watermill fell into disrepair and the skilled craftsmen who had looked after it became redundant. A circular frame-saw, powered by steam, continued to be used until the mid-Thirties.