Analysis, Conclusions, Recommendations & Appendices
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DUTCH and ENGLISH PAINTINGS Seascape Gallery 1600 – 1850
DUTCH AND ENGLISH PAINTINGS Seascape Gallery 1600 – 1850 The art and ship models in this station are devoted to the early Dutch and English seascape painters. The historical emphasis here explains the importance of the sea to these nations. Historical Overview: The Dutch: During the 17th century, the Netherlands emerged as one of the great maritime oriented empires. The Dutch Republic was born in 1579 with the signing of the Union of Utrecht by the seven northern provinces of the Netherlands. Two years later the United Provinces of the Netherlands declared their independence from the Spain. They formed a loose confederation as a representative body that met in The Hague where they decided on issues of taxation and defense. During their heyday, the Dutch enjoyed a worldwide empire, dominated international trade and built the strongest economy in Europe on the foundation of a powerful merchant class and a republican form of government. The Dutch economy was based on a mutually supportive industry of agriculture, fishing and international cargo trading. At their command was a huge navy and merchant fleet of fluyts, cargo ships specially designed to sail through the world, which controlled a large percentage of the international trade. In 1595 the first Dutch ships sailed for the East Indies. The Dutch East Indies Company (the VOC as it was known) was established in 1602 and competed directly with Spain and Portugal for the spices of the Far East and the Indian subcontinent. The success of the VOC encouraged the Dutch to expand to the Americas where they established colonies in Brazil, Curacao and the Virgin Islands. -
(1802-1834) Chapter 1 Harriet Martineau Grows up in Norwich
Part 1 Early Life and Celebrity (1802-1834) Chapter 1 Harriet Martineau Grows Up in Norwich (1802-1819) When Harriet (the Martineaus’ sixth child) was born on 12 June 1802, Thomas’s Spanish trade was suffering from the effects of the Napoleonic wars, and the family moved from Gurney Court across Magdalen Street to a plain, three-story brick house.1 There, carts could pass through an arched passage from Magdalen Street to Thomas’s warehouse off Boswell’s Court. Utilitarian sheds bordered a planting strip where the Martineau children made gardens and where Harriet and James once tried to dig to China but as somber Victorian children decided instead to make a “grave” to test the feeling of being dead. Harriet Martineau’s autobiography, completed in 1855 when she thought she was dying, cites similar grim incidents from her childhood. Yet the Martineau family enjoyed games and carefree occasions--the girls had hoops and all played at battledore and cards. On special days Thomas let the children play among the bolts of cloth in his warehouse (Harriet remembered with anguish running off to play hide-and-seek and leaving behind her childhood friend who had lost a leg). Another traumatic moment for Harriet arose when the family climbed to the long-windowed room, built originally for weavers, to gaze at a rare comet. Strangely, the anxious nine-year-old Harriet could not see it.2 The accomplishments of Norwich writers and artists of the early nineteenth century like William Taylor--a respected scholar and translator of German literary works--or the painters John Sell Cotman and John Crome scarcely touched Thomas Martineau’s family. -
The Shepherd on the Hill: Comparative Notes on English and German Romantic Landscape Painting 1810-1831
The Shepherd on the Hill: Comparative Notes on English and German Romantic Landscape Painting 1810-1831. Conference paper Conference: ‘Romantic Correspondences’, The Centre for Regional Cultures, University of Nottingham and Nottingham Trent University, Newstead Abbey. Date: 4 November 2005 Abstract The solitary figure in the landscape can be understood in relation to certain, fundamentally Romantic traits – solitude, contemplation, oneness with nature – and is most notably found in the work of Caspar David Friedrich. Less recognised however is the fact that the solitary figure can also be found in the landscape paintings of many English artists of the early nineteenth century, particularly within depictions of commonly held pastoral landscapes. Within the traditional terms of English art history, the landscape genre of this period has also been closely associated with the concept of Romanticism. This paper will study the use of the solitary figure in paintings of open, common field landscape, and will compare two paintings: Caspar David Friedrich’s ‘Landscape with Rainbow (The Shepherd’s Complaint)’ of 1810, and John Sell Cotman’s ‘The Shepherd on the Hill’ of 1831. It will examine the more conventional Romantic resonances of Friedrich’s painting in order to question whether Cotman’s shepherd is a comparative example of Romantic solitude and contemplation, or whether it was more of a prosaic image of a typically English ‘rustic type’ at a time when a particular sense of national identity was emerging that was closely associated with the countryside and country life. From there, it is hoped that we can begin to reconsider the conventional Romantic image of English landscape painting in the first three decades of the nineteenth century. -
Historicalmaterialism Bookseries
Landscape between Ideology and the Aesthetic Historical Materialism Book Series Editorial Board Sébastien Budgen (Paris) David Broder (Rome) Steve Edwards (London) Juan Grigera (London) Marcel van der Linden (Amsterdam) Peter Thomas (London) volume 135 The titles published in this series are listed at brill.com/hm Landscape between Ideology and the Aesthetic Marxist Essays on British Art and Art Theory, 1750–1850 By Andrew Hemingway leiden | boston The Library of Congress Cataloging-in-Publication Data is available online at http://catalog.loc.gov LC record available at http://lccn.loc.gov/2016042764 Typeface for the Latin, Greek, and Cyrillic scripts: “Brill”. See and download: brill.com/brill-typeface. issn 1570-1522 isbn 978-90-04-26900-2 (hardback) isbn 978-90-04-26901-9 (e-book) Copyright 2017 by Koninklijke Brill nv, Leiden, The Netherlands. Koninklijke Brill nv incorporates the imprints Brill, Brill Hes & De Graaf, Brill Nijhoff, Brill Rodopi and Hotei Publishing. All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher. Authorization to photocopy items for internal or personal use is granted by Koninklijke Brill nv provided that the appropriate fees are paid directly to The Copyright Clearance Center, 222 Rosewood Drive, Suite 910, Danvers, ma 01923, usa. Fees are subject to change. This book is printed on acid-free paper -
DANIELLS Artists and Travellers
,···.:.:.:::.::.;.:·::;'.:.:J<" .J THE DANIELLS Artists and Travellers by THOMAS SUTTON F.S.A. LONDON • THE BODLEY HEAD VIEW OF THE CASCADE Engr4vtil 1111J coloureil by William 'D4n1itll .from 4 pai11ti11g by Captain &btrt Smith •.=. THE DANIELLS IN NORTHERN INDIA: 1. CALCUTTA TO DELHI 27 been endowed with literary talents commensurate with his widoubted artistic ability, he could have been the creator of one of the most absorbing travel diaries ofall times. To the art historian the diaries are of the greatest interest, crowded as they are with Chapter Two references to the methods used by his wide and himself. We find, for example, that they used the camera obscura, and in this they were probably by no means alone. There are various types of this mechanical aid and the type used by the Daniells was probably The Daniells in Northern the one shaped like a box, with an open side over which a curtain is hwig. By means of optical refraction (as in a reflex camera) the object to be depicted is reflected on a India - I sheet of paper laid on the base of the box. The artist can then readily trace with a pencil over the outlines of the reflected surface. Holbein is reputed to have used a mechanical Calcutta to Delhi : 1788-1789 device for the recording ofhis portraits of the Court ofHenry VIII, and other kinds of artistic aids were widoubtedly known from the rime ofDiircr onwards. It must not be imagined, however, that the result of tracing in the camera produces a finished picture. accurate itinerary of the wanderings of the Dani ells in India between 1788 and It is one thing to make a tracing, and quite another to make a work of art. -
The Norwich School John Old Crome John Sell Cotman George Vincent
T H E NO RW I CH SCH OOL JOH N “ OLD ” CROME JOH N SELL c o TMAN ( ) , G E OR G E ‘D I N C E N T JA ME A , S S T RK 1 B N Y C OM JOHN I T . E E E R R , TH R LE D BROOKE D A ’DI D H OD N R. LA , GSO ? J J 0 M. E . 0TM 89 . g/{N E TC . WITH ARTI LES BY M UND ALL C H . C P S A , . CONT ENTS U A P S A R I LES BY H M C ND LL . A T C . , Introduction John Crome John Sell Cotman O ther Members of the Norwich School I LLUSTRATIONS I N COLOURS l Cotman , John Sel Greta rid Yorkshire t - B ge, (wa er colour) Michel Mo nt St. Ruined Castle near a Stream B oats o n Cromer Beach (oil painting) Crome , John The Return ofthe Flock— Evening (oil painting) The Gate A athin Scene View on the Wensum at Thor e Norivtch B g p , (oil painting) Road with Pollards ILLUSTRAT IONS IN MONOTONE Cotman , John Joseph towards Norwich (water—colour) lx x vu Cotman , John Sell rid e Valle and Mountain B g , y, Llang ollen rid e at Sa/tram D evo nshire B g , D urham Castle and Cathedral Windmill in Lincolnshire D ieppe Po wis Cast/e ‘ he alai d an e t Lo T P s e Justic d the Ru S . e , Ro uen Statue o Charles I Chart/2 Cross f , g Cader I dris Eto n Colleg e Study B oys Fishing H o use m th e Place de la Pucelle at Rouen Chdteau at Fo ntame—le— en i near aen H r , C Mil/hank o n the Thames ILLUSTRATIONS IN MONOTONE— Continued PLATE M Cotman , iles Edmund Boats on the Medway (oil painting) lxxv Tro wse Mills lxxvi Crome , John Landscape View on th e Wensum ath near o w ch Mousehold He , N r i Moonlight on the Yare Lands cape : Grov' e Scene The Grove Scene Marlin o rd , gf The Villag e Glade Bach o the Ne w Mills Norwich f , Cottage near L ahenham Mill near Lahenham On th e Shirts of the Forest ive orwich Bach R r, N ru es Ri'ver Ostend in the D istance B g , ; Moo nlight Yarmouth H arho ur ddes I tal e s Parts 1 oulevar i n 1 8 . -
History of the Royal Marines 1837-1914 HE Blumberg
History of the Royal Marines 1837-1914 HE Blumberg (Minor editing by Alastair Donald) In preparing this Record I have consulted, wherever possible, the original reports, Battalion War and other Diaries, accounts in Globe and Laurel, etc. The War Office Official Accounts, where extant, the London Gazettes, and Orders in Council have been taken as the basis of events recounted, and I have made free use of the standard histories, eg History of the British Army (Fortescue), History of the Navy (Laird Clowes), Britain's Sea Soldiers (Field), etc. Also the Lives of Admirals and Generals bearing on the campaigns. The authorities consulted have been quoted for each campaign, in order that those desirous of making a fuller study can do so. I have made no pretence of writing a history or making comments, but I have tried to place on record all facts which can show the development of the Corps through the Nineteenth and early part of the Twentieth Centuries. H E BLUMBERG Devonport January, 1934 1 P A R T I 1837 – 1839 The Long Peace On 20 June, 1837, Her Majesty Queen Victoria ascended the Throne and commenced the long reign which was to bring such glory and honour to England, but the year found the fortunes of the Corps at a very low ebb. The numbers voted were 9007, but the RM Artillery had officially ceased to exist - a School of Laboratory and nominally two companies quartered at Fort Cumberland as part of the Portsmouth Division only being maintained. The Portsmouth Division were still in the old inadequate Clarence Barracks in the High Street; Plymouth and Chatham were in their present barracks, which had not then been enlarged to their present size, and Woolwich were in the western part of the Royal Artillery Barracks. -
Daniell's and Ayton's 1813 Coastal Voyage from Land's End To
“Two Navigators…Sailing on Horseback”: Daniell’s and Ayton’s 1813 Coastal Voyage from Land’s End to Holyhead By Patrick D. Rasico Thesis Submitted to the Faculty of the Graduate School of Vanderbilt University in partial fulfillment of the requirements for the degree of MASTER OF ARTS in History May, 2015 Nashville, Tennessee Approved: James Epstein, Ph.D. Samira Sheikh, Ph.D. Peter Lake, Ph. D. Catherine Molineux, Ph.D. Humberto Garcia, Ph.D. 1 The othering of Welsh persons would remain a feature of English “home tour” travelogues throughout the nineteenth century. But in the English popular imaginary of the last decades of the eighteenth century, the Welsh landscape had begun to take on new meanings as a locus of picturesque topographical beauty. This was particularly true among visual artists. As early as 1770, the famed painter and aquatinter, Paul Sandby, made several tours through the Welsh countryside and produced multiple aquatint landscapes depicting the region.1 Sandby’s works opened the floodgate of tourists over the next decades. As Joseph Cradock avowed in 1777, “as everyone who has either traversed a steep mountain, or crossed a small channel, must write his Tour, it would be almost unpardonable in Me to be totally silent, who have visited the most uninhabited regions of North Wales.”2 The Wye Valley in Wales became the epicenter of British home tourism following the 1782 publication of William Gilpin’s Observations on the River Wye,3 one of the first English travel guides detailing the home tour.4 This treatise provided the initial conceptual framework of the picturesque topographical aesthetic. -
Location Address 1 Address 2 Location Postcode Asset Type
Location Address 1 Address 2 Location Postcode Asset Type Description Site Description Code Tenure Alverstone Grazing Land Alverstone Shute Alverstone PO36 0NT Grazing Land Alverstone Land at Alverstone Shute 02084 Freehold Appley Appley Beach Huts Esplanade Ryde PO33 1ND Esplanade, Parks & Gardens Ryde Appley Beach Huts 03190 Freehold Appley Beach area The Esplanade Ryde PO33 1ND Esplanade, Parks & Gardens Ryde Part of Beach at Appley M214 03267 Freehold Arreton Branstone Farm Study Centre Main Road Arreton PO36 0LT Education Non-Schools(Youth Centre, Residence etc) Arreton Branstone Farm Study Centre 00045 Freehold Arreton Stockmans House Main Road Arreton PO36 0LT Housing Arreton Stockmans House 00251 Freehold Arreton St George`s CE Primary School Main Road Arreton PO30 3AD Schools Arreton St George`s CE Primary School 00733 Freehold Arreton Land Off Hazley Combe Arreton PO30 3AD Non-Operational Arreton Land Adjacent Sewerage Works off Hazley Combe 01176 Freehold Arreton Land Garlic Festival Site Main Road Arreton PO36 0LT Non-Operational Arreton Land at Bathingbourne Site (Garlic Festival Site) 01821 Freehold Arreton Land Main Road Arreton PO30 3AB Schools Arreton Extra Playing Field Land adjacent School X0276 Leasehold Arreton Land Arreton Down Arreton PO30 2PA Non-Operational Arreton Land at Michael Moreys Hump X0277 Leasehold Bembridge Bembridge Library Church Road Bembridge PO35 5NA Libraries Bembridge Community Library 00028 Freehold Bembridge Coastguard Lookout Beachfield Road Bembridge PO35 5TN Non-Operational Bembridge Coastguard -
Metal Detectors on Isle of Wight Council-Controlled Beaches
Metal detectors on Isle of Wight Council-controlled beaches The council allows metal detecting on any beaches Crown Estate permits (but no other land) it owns or controls. A Crown Estate metal detecting permit is not needed Most of the Isle of Wight’s popular urban beaches (including Ryde, to go metal detecting on Council controlled foreshore, Ventnor, Shanklin and Sandown) are owned by the Isle of Wight but may be elsewhere. Council, and many other stretches of coast are controlled by the It is possible to obtain a permit from the Crown Estate to use a council under lease from the Crown Estate. metal detector on Crown Estate beaches. However, a Crown Estate There are many other beaches, not owned by the council, on permit does not give a detectorist the right to use detecting which metal detectorists may or may not be able to enjoy their equipment on Crown land which has been leased to a third party. hobby lawfully subject to necessary permissions. This map is In the case of beaches controlled by the Isle of Wight Council intended to help metal detectorists by giving guidance on where there is no need for such a permit. In the case of all other beaches council beaches are located. It does not give information about you should check with the landowner or occupier. any other beaches which are not owned or controlled by the council, or other permits you might need. Note To gain permission to use metal detecting equipment on other Many beaches owned and controlled by the council are also beaches, metal detectorists should approach the owner or designated as Sites of Special Scientific Interest, on which occupier of that beach. -
Military HEAP for the Isle of Wight
Island Heritage Service Historic Environment Action Plan Military Type Report Isle of Wight County Archaeology and Historic Environment Service April 2010 01983 823810 Archaeology @iow.gov.uk Iwight.com Military HEAP for the Isle of Wight 1.0 INTRODUCTION Page 3 2.0 ASSESSMENT OF THE HISTORIC ENVIRONMENT Page 4 2.1 Location, Geology and Topography Page 4 2.2 The Nature of the Historic Environment Resource Page 4 2.3 The Island’s HEAP overview document Page 4 3.0 DEFINING MILITARY STATUS Page 5 4.0 ANALYSIS AND ASSESSMENT OF MILITARY/DEFENCE Page 5 ASSETS 4.1 Principle Historical Processes Page 5 4.2 Surviving Archaeology and Built Environment Page 7 4.3 Relationship with other HEAP Types Page 21 4.4 Contribution of Military/Defence Type to Isle of Wight Historic Page 22 Environment and Historic Landscape Character 4.5 Values, Perceptions and Associations Page 22 4.6 Resources Page 23 4.7 Accessibility and Enjoyment Page 24 4.8 Heritage Assets of Particular Significance Page 26 5.0 CONSERVATION AND MANAGEMENT Page 28 5.1 Forces for Change Page 28 5.2 Management Issues Page 30 5.3 Conservation Designation Page 31 6.0 FUTURE MANAGEMENT Page 33 7.0 GLOSSARY OF TERMS Page 34 8.0 REFERENCES Page 36 2 Iwight.com 1.0 INTRODUCTION The Isle of Wight Historic Environment Action Plan (HEAP) consists of a set of general documents, 15 HEAP Area Reports and a number of HEAP Type reports which are listed in the table below: General Documents HEAP Area Reports HEAP Type Reports HEAP Map of Areas Arreton Valley Agricultural Landscapes HEAP Introduction -
The Norwich School of Lithotomy
THE NORWICH SCHOOL OF LITHOTOMY by A. BATTY SHAW A NOTABLE cHAPTER in the long history of human bladder stone has been contributed from Norwich and its county of Norfolk and this came about for several reasons. The main reason was that Norfolk enjoyed the unenviable reputation during the latter part of the eighteenth and throughout the nineteenth centuries of having the highest incidence of bladder stone among its inhabitants of any county in Great Britain. As a result of thishigh prevalence ofbladderstone a local tradition of surgical skill in the art of lithotomy emerged and when the first general hospital in Norfolk, the Norfolk and Norwich Hospital was founded in 1771-2 there were appointed to its surgical staff local surgeons who were most experienced lithotomists. Their skill was passed on to those who followed them and earned for the hospital a European reputation for its standards of lithotomy. Sir Astley Cooper" when at the height of his professional fame and influence in 1835 spoke of these standards as follows, 'the degree of success which is considered most correct [for lithotomy] is that taken from the results of the cases at the Norfolk and Norwich Hospital'.2 There were not only able lithotomists on the early staff of the Norfolk and Norwich Hospital but also physicians who wrote on the medical aspects of bladder stone with special reference to the problems of incidence and chemical analysis. These writings were based on the registers of admissions to the hospital which were kept from the hospital's inception. The keeping of a hospital register was an uncommon practice at the turn of the eighteenth century as is revealed by Alexander Marcet3 in a mono- graph on calculous disease of the urinary tract which he published in 1817.