DOCSLIB.ORG

Front Matter

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Front Matter Cambridge University Press 978-0-521-76022-5 - Sensation and Modernity in the 1860s Nicholas Daly Frontmatter More information SENSATION AND MODERNITY IN THE s This is a study of high and low culture in the years before the Reform Act of 1867, which vastly increased the number of voters in Victorian Britain. As many commentators worried about the political con- sequences of this ‘Leap in the Dark’, authors and artists began to re-evaluate their own role in a democratic society that was also becom- ing more urban and more anonymous. While some fantasized about ways of capturing and holding the attention of the masses, others preferred to make art and literature more exclusive, to shut out the crowd. One path led to ‘Sensation’, the other to aestheticism, though there were also efforts to evade this opposition. This book examines the fiction, drama, fine art and ephemeral forms of these years against the backdrop of Reform. Authors and artists studied include Wilkie Collins, Dion Boucicault, Charles Dickens, James McNeill Whistler and the popular illustrator Alfred Concanen. nicholas daly is Chair in Modern English and American Literature, School of English, Drama and Film, University College Dublin. © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-76022-5 - Sensation and Modernity in the 1860s Nicholas Daly Frontmatter More information cambridge studies in nineteenth-century literature and culture General editor Gillian Beer, University of Cambridge Editorial board Isobel Armstrong, Birkbeck, University of London Kate Flint, Rutgers University Catherine Gallagher, University of California, Berkeley D. A. Miller, University of California, Berkeley J. Hillis Miller, University of California, Irvine Daniel Pick, Birkbeck, University of London Mary Poovey, New York University Sally Shuttleworth, University of Oxford Herbert Tucker, University of Virginia Nineteenth-century British literature and culture have been rich fields for inter- disciplinary studies. Since the turn of the twentieth century, scholars and critics have tracked the intersections and tensions between Victorian literature and the visual arts, politics, social organization, economic life, technical innovations, sci- entific thought – in short, culture in its broadest sense. In recent years, theoretical challenges and historiographical shifts have unsettled the assumptions of previous scholarly synthesis and called into question the terms of older debates. Whereas the tendency in much past literary critical interpretation was to use the meta- phor of culture as ‘background’, feminist, Foucauldian, and other analyses have employed more dynamic models that raise questions of power and of circulation. Such developments have reanimated the field. This series aims to accommodate and promote the most interesting work being undertaken on the frontiers of the field of nineteenth-century literary studies: work which intersects fruitfully with other fields of study such as history, or literary theory, or the history of science. Comparative as well as interdisciplinary approaches are welcomed. A complete list of titles published will be found at the end of the book. © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-76022-5 - Sensation and Modernity in the 1860s Nicholas Daly Frontmatter More information SENSATION AND MODERNITY IN THE s NICHOLAS DALY © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-76022-5 - Sensation and Modernity in the 1860s Nicholas Daly Frontmatter More information cambridge university press Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, São Paulo, Delhi, Dubai, Tokyo Cambridge University Press The Edinburgh Building, Cambridge cb2 8ru, uk Published in the United States of America by Cambridge University Press, New York www.cambridge.org Information on this title: www.cambridge.org/9780521760225 © Nicholas Daly 2009 This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2009 Printed in the United Kingdom at the University Press, Cambridge A catalogue record for this publication is available from the British Library Library of Congress Cataloguing in Publication data Daly, Nicholas. Sensation and modernity in the 1860s / Nicholas Daly. p. cm. – (Cambridge studies in nineteenth-century literature and culture ; 70) Includes bibliographical references and index. isbn 978-0-521-76022-5 (hardback) 1. English literature–19th century–History and criticism. 2. Sensationalism in literature. 3. Social change–Great Britain–History–19th century. 4. Literature and society–Great Britain–History–19th century. 5. Art and society–Great Britain–History–19th century. 6. Great Britain–Intellectual life–19th century. 7. Modernism (Literature)–Great Britain. 8. Modernism (Art)–Great Britain. I. Title. pr468.s6d36 2009 820.9355–dc22 2009028521 isbn 978-0-521-76022-5 Hardback Cambridge University Press has no responsibility for the persistence or accuracy of URLs for external or third-party internet websites referred to in this publication, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate. © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-76022-5 - Sensation and Modernity in the 1860s Nicholas Daly Frontmatter More information For Stephanie © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-76022-5 - Sensation and Modernity in the 1860s Nicholas Daly Frontmatter More information Contents List of illustrations page viii Acknowledgements x Introduction 1 1 The Woman in White and the crowd 26 2 The many lives of the Colleen Bawn: pastoral spectacle 55 3 The White Girl: aestheticism as mesmerism 81 4 Black and white in the 1860s 109 5 The chromolithographers of modern life 147 Conclusion 197 Notes 211 Index 243 vii © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-76022-5 - Sensation and Modernity in the 1860s Nicholas Daly Frontmatter More information Illustrations 1 Illustrated cover for J. H. Stead’s ‘The Great Sensation Song’, written by Frank Hall (1863). Chromolithograph by Concanen and Lee. page 27 2 Illustrated cover for C.H.R. Marriott, ‘The Colleen Bawn Waltz’ (1861). Chromolithograph by John Brandard. 59 3 Illustrated cover for William Forde, ‘The Colleen Bawn Quadrille’ (1861). Chromolithograph by Concanen and Lee. 60 4 James McNeill Whistler, Symphony in White No. 1: The White Girl (1862). 82 5 George Du Maurier, illustration for Punch’s parodic sensation narrative, ‘Mokeanna, or The White Witness’ (1863). 88 6 One of Du Maurier’s illustrations for Trilby (1894). The old friends contemplate Little Billee’s drawing of Trilby’s foot. 100 7 Another of Du Maurier’s illustrations for Trilby. Svengali as a spider. 101 8 The cover of the 1895 Harper edition ofTrilby , showing a winged heart caught in a spider’s web. 102 9 Gustave Courbet, L’Origine du monde (1866). 106 10 Illustrated cover for ‘Lucy Neal’, performed at the St. James’s Theatre by the Ethiopian Serenaders c( . 1846). 115 11 Illustrated cover for E. W. Mackney, ‘Oxford Street’ (1862). Chromolithograph by R. J. Hamerton. 120 12 Illustrated cover for W. West, ‘Am I Right, Or Any Other Man’. Chromolithograph by R. J. Hamerton. 122 13 Illustrated cover for Marriott, ‘The Gorilla Quadrille’ (186?). Chromolithograph by Concanen. 143 14 Illustrated cover for Alfred Lee’s ‘The Bond St. Beau’ [1873?]. Chromolithograph by Concanen and Lee. 150 15 Illustrated cover for J. H. Stead’s ‘The Perfect Cure’. 161 viii © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-76022-5 - Sensation and Modernity in the 1860s Nicholas Daly Frontmatter More information Illustrations ix 16 Illustrated cover for Frank Hall’s ‘The Properest Thing to Do’ (1863). Chromolithograph by R. J. Hamerton. 169 17 Illustrated cover for Frank Hall’s ‘Down in Piccadilly’ (1863). Chromolithograph by Concanen and Lee. 171 18 Illustrated cover for Harry Clifton’s ‘The Dark Girl Dressed in Blue’ (1862). Chromolithograph by Concanen and Lee. Hamerton and for C. Sloman, ‘The Young Chap Dress’d in Blue’ by Concanen and Lee. 174 19 Illustrated cover for Frank Hall’s ‘The Sewing Machine’ (1864). Chromolithograph by Thomas Packer. 178 20 Illustrated cover for Harry Clifton’s ‘Jemima Brown, Or the Queen of a Sewing Machine’ (1865). Chromolithograph by Concanen, Lee and Siebe. 180 21 Illustrated cover for Frank Hall’s ‘Kleptomania’ (1863). Chromolithograph by Concanen and Lee. 183 22 Illustrated cover for Charles Coote’s ‘Mormons Quadrille’ (1867). Chromolithograph by Concanen. 188 23 Illustrated cover for C. H. R. Marriott’s ‘The Banting Quadrille’ (1866). Chromolithograph by Concanen and Lee and Siebe. Illustrated cover for Harry Clifton’s ‘Have you Seen the Ghost?’. Chromolithograph by Siebe. 190 24 Illustrated cover for Frank Musgrave’s ‘Bow Bells Polka’ (1863). Chromolithograph by Concanen and Lee. 192 25 Illustrated cover for C. Godfrey Jr’s ‘Popular Tunes Quadrille’ (1862). Chromolithograph by Concanen and Lee. 194 Images 2, 14, 16, 17, 19, 21 and 25 appear courtesy of the British Library. Shelfmarks H.1460.M(1.), H.1561.(11.), H.1258.(14.), H.1258.(5.), H.1258.(10.), H.1258.(7.) and H.2931.(1.). Image 4 appears courtesy of the National Gallery of Art, Washington, DC. Image 9 appears courtesy of the Musée D’Orsay. © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-76022-5 - Sensation and Modernity in the 1860s Nicholas Daly Frontmatter More information Acknowledgements This book has changed career a number of times: beginning as a study of women in white, it became for a period a broad and even survey of culture in the 1860s, before assuming its current shape as an account of elite and popular cultural forms in the run-up to the 1867 Reform Act.
Load more

Recommended publications
  • Wilde's World
    Wilde’s World Anne Anderson Aesthetic London Wilde appeared on London’s cultural scene at a propitious moment; with the opening of the Grosvenor Gallery in May 1877 the Aesthetes gained the public platform they had been denied. Sir Coutts Lindsay and his wife Blanche, who were behind this audacious enterprise, invited Edward Burne-Jones, George Frederick Watts, and James McNeill Whistler to participate in the first exhibition; all had suffered rejections from the Royal Academy.1 The public were suddenly confronted with the avant-garde, Pre-Raphaelitism, Symbolism, and even French Naturalism. Wilde immediately recognized his opportunity, as few would understand “Art for Art’s sake,” that paintings no longer had to be didactic or moralizing. Rather, the function of art was to appeal to the senses, to focus on color, form, and composition. Moreover, the aesthetes blurred the distinction between the fine and decorative arts, transforming wallpapers and textiles into objets d’art. The goal was to surround oneself with beauty, to create a House Beautiful. Wilde hitched his star to Aestheticism while an undergraduate at Oxford; his rooms were noted for their beauty, the panelled walls thickly hung with old engravings and contemporary prints by Burne-Jones and filled with exquisite objects: Blue and White Oriental porcelain, Tanagra statuettes brought back from Greece, and Persian rugs. He was also aware of the controversy surrounding Aestheticism; debated in the Oxford and Cambridge Undergraduate in April and May 1877, the magazine at first praised the movement as a civilizing influence. It quickly recanted, as it sought “‘implicit sanction’” for “‘Pagan worship of bodily form and beauty’” and renounced morals in the name of liberty (Ellmann 85, emphasis in original).
    [Show full text]
  • DICKENS FINAL with ILLUS.Ppp
    The Dickens Calendar 2012 The Dickens Calendar 2012 Celebrating the bicentenary of Dickens’s birth. £6.00 each or £10.00 for 2 (plus postage) Contact Jarndyce to order your copy: Email: [email protected] Phone: 020 7631 4220 35 _____________________________________________________________ Jarndyce Antiquarian Booksellers 46, Great Russell Street Telephone: 020 - 7631 4220 (opp. British Museum) Fax: 020 - 7631 1882 Bloomsbury, Email: [email protected] London WC1B 3PA V.A.T. No. GB 524 0890 57 _____________________________________________________________ CATALOGUE CXCV WINTER 2011-12 THE DICKENS CATALOGUE Catalogue: Joshua Clayton Production: Carol Murphy All items are London-published and in at least good condition, unless otherwise stated. Prices are nett. Items on this catalogue marked with a dagger (†) incur VAT (current rate 20%) A charge for postage and insurance will be added to the invoice total. We accept payment by VISA or MASTERCARD. If payment is made by US cheque, please add $25.00 towards the costs of conversion. Email address for this catalogue is [email protected]. JARNDYCE CATALOGUES CURRENTLY AVAILABLE, price £5.00 each include: Social Science Parts I & II: Politics & Philosophy and Economics & Social History. Women III: Women Writers J-Q; The Museum: Books for Presents; Books & Pamphlets of the 17th & 18th Centuries; 'Mischievous Literature': Bloods & Penny Dreadfuls; The Social History of London: including Poverty & Public Health; The Jarndyce Gazette: Newspapers, 1660 - 1954; Street Literature: I Broadsides, Slipsongs & Ballads; II Chapbooks & Tracts; George MacDonald. JARNDYCE CATALOGUES IN PREPARATION include: The Museum: Jarndyce Miscellany; The Library of a Dickensian; Women Writers R-Z; Street Literature: III Songsters, Lottery Puffs, Street Literature Works of Reference.
    [Show full text]
  • Transactions Dumfriesshire and Galloway Natural History Antiquarian Society
    Transactions of the Dumfriesshire and Galloway Natural History and Antiquarian Society LXXXIII 2009 Transactions of the Dumfriesshire and Galloway Natural History and Antiquarian Society FOUNDED 20th NOVEMBER, 1862 THIRD SERIES VOLUME LXXXIII Editors: JAMES WILLIAMS, R. McEWEN and FRANCIS TOOLIS ISSN 0141-1292 2009 DUMFRIES Published by the Council of the Society Office-Bearers 2008-2009 and Fellows of the Society President Morag Williams, MA Vice Presidents Mr J McKinnell, Dr A Terry, Mr J L Williams and Mrs J Brann Fellows of the Society Mr J Banks, BSc; Mr A D Anderson, BSc; Mr J Chinnock; Mr J H D Gair, MA, Dr J B Wilson, MD; Mr K H Dobie; Mrs E Toolis, BA and Dr D F Devereux, PhD. Mr J Williams, Mr L J Masters and Mr R H McEwen — appointed under Rule 10 Hon. Secretary John L Williams, Merkland, Kirkmahoe, Dumfries DG1 1SY Hon. Membership Secretary Miss H Barrington, 30 Noblehill Avenue, Dumfries DG1 3HR Hon. Treasurer Mr L Murray, 24 Corberry Park, Dumfries DG2 7NG Hon. Librarian Mr R Coleman, 2 Loreburn Park, Dumfries DG1 1LS Assisted by Mr J Williams, 43 New Abbey Road, Dumfries DG2 7LZ Joint Hon. Editors Mr J Williams and Mr R H McEwen, 5 Arthur’s Place, Lockerbie DG11 2EB Assisted by Dr F Toolis, 25 Dalbeattie Road, Dumfries DG2 7PF Hon. Syllabus Convener Mrs E Toolis, 25 Dalbeattie Road, Dumfries DG2 7PF Hon. Curators Mrs J Turner and Ms S Ratchford Hon. Outings Organisers Mr J Copland and Mr Alastair Gair Ordinary Members Mr R Copland, Dr J Foster, Mrs P G Williams, Mr D Rose, Mrs C Inglehart, Mr A Pallister, Mr R McCubbin, Dr F Toolis, Mr I Wismach and Mrs J Turner CONTENTS Ostracods from the Wet Moat at Caerlaverock Castle by Mervin Kontrovitz and Huw I Griffiths .......................................................
    [Show full text]
  • Music Hall, C
    NOTE TO USERS The original manuscript received by UMI contains pages with slanted print. Pages were microfilmed as received. This reproduction is the best copy available NOTE TO USERS The cassette is not included in this original manuscript. It is available for consultation at the author's graduate school library. From the Provinces: The Representation of Regional Identity in the British Music Hall, c. 1880-1914 by Nicole Amanda Gocker A Thesis submitted to the Department in conformity with the requirements for the degree of Master of Arts Queen's University Kingston, Ontario, Canada June, 1998 O Nicole Amanda Crocker National Libtary Bibliothbque nationale 1+1 of,,, du Canada Acquisitions and Acquisitions et Bibliographie Services seMces bibliographiques 395 Wellington Street 395. nie Wellington Ottawa ON K1A ON4 OFtawa ON K1A ON4 Canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Lîbrary of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or selI reproduire, prêter, distn'buer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfichelfilm, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thèse ni des extraits substantiels may be printed or othhse de celle-ci ne doivent être imprimes reproduced without the author's ou autrement reproduits sans son oennission.
    [Show full text]
  • Sleep, Sickness, and Spirituality: Altered States and Victorian Visions of Femininity in British and American Art, 1850-1915
    Sleep, Sickness, and Spirituality: Altered States and Victorian Visions of Femininity in British and American Art, 1850-1915 Kimberly E. Hereford A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2015 Reading Committee: Susan Casteras, Chair Paul Berger Stuart Lingo Program Authorized to Offer Degree: Art History ©Copyright 2015 Kimberly E. Hereford ii University of Washington Abstract Sleep, Sickness, and Spirituality: Altered States and Victorian Visions of Femininity in British and American Art, 1850-1915 Kimberly E. Hereford Chair of the Supervisory Committee: Professor Susan Casteras Art History This dissertation examines representations in art of the Victorian woman in “altered states.” Though characterized in Victorian art in a number of ways, women are most commonly stereotyped as physically listless and mentally vacuous. The images examined show the Victorian female in a languid and at times reclining or supine pose in these representations. In addition, her demeanor implies both emotional and physical depletion, and there is both a pronounced abandonment of the physical and a collapsing effect, as if all mental faculties are withdrawing inward. Each chapter is dedicated to examining one of these distinct but interrelated types of femininity that flourished throughout British and American art from c. 1850 to c. 1910. The chapters for this dissertation are organized sequentially to demonstrate a selected progression of various states of consciousness, from the most obvious (the sleeping woman) to iii the more nuanced (the female Aesthete and the female medium). In each chapter, there is the visual perception of the Victorian woman as having access to otherworldly conditions of one form or another.
    [Show full text]
  • An Analysis of Virtuosic Self-Accompanied Singing As a Historical Vocal Performance Practice
    The Ideal Orpheus: An Analysis of Virtuosic Self-Accompanied Singing as a Historical Vocal Performance Practice Volume Two of Two Robin Terrill Bier Doctor of Philosophy University of York Department of Music September 2013 231 Contents Volume Two Contents, Volume Two 231 Appendix One. Documentation of Historical Self-Accompanied Singing 232 Newspapers and Periodicals 233 Personal Accounts 324 Literature 346 Historical Music Treatises 366 Appendix Two. Singers 374 Appendix Three. Repertoire 380 Appendix Four. Discography 401 Appendix Five. Developing a self-accompanied performance of 411 Paisiello’s ‘Nel cor più non mi sento’ Conception 411 Preparation 412 Presentation 415 Performers experience 417 Audience response 417 Bibliography 418 232 Appendix One Documentation of Historical Self-Accompanied Singing This appendix catalogues evidence in primary sources that directly portrays self- accompaniment. When indirect evidence refers to a body of repertoire that is elsewhere documented having been performed self-accompanied by the same performer, or when the evidence refers to a performer or performance context known to have been exclusively self- accompanied, or the source provides specific useful context for understanding other self- accompanied performances, it may also be included here. In the case of George Henschel and Reynaldo Hahn in particular, it should be noted that while it can be assumed that any documented performance is self-accompanied, evidence that does not identify self- accompaniment explicitly or offer new contextual information may not be included. This appendix is organized according to four basic types of material: Newspapers and Periodicals (including concert advertisements and reviews, letters to the editor, obituaries and other published articles), Personal Accounts (including published and unpublished letters, diaries, autobiographies, memoirs and contemporary biographies), Literature (including novels, poems, plays, non-academic non-fiction, musical and theatrical texts and works), and Historical Music Treatises.
    [Show full text]
  • David Robinson Collection Monographs, Articles, Manuscripts
    David Robinson Collection Monographs, Articles, Manuscripts and Research Material 178B43 Photographs and Postcards 178C1 Newspaper Cuttings and Scrapbooks 178G36 Trade and Advertising Material 178I20 Bibliographies and Catalogues 178J8 Programmes 178K52 Posters 178R44 Proclamations 178S1 Handbills 178T39 Original Artwork 178V9 Various 178Z44 178B43.1 Jacob Bates, the Celebrated Horse-Rider Monograph Extract from Portraits, Memoirs and Characters, of Remarkable Persons: from the revolution in 1688 to the end of the reign of George II by James Caulfield. Published by H. R. Young and T. H. Whitely, 1819-1820 in London. Text accompanied by black and white engraving portrait of Jacob Bates stood up holding a whip, by R. Graves 2p.p 130mm x 235mm David Robinson Collection 178B43.2 Belgrade, A Camp-Sutler Monograph Extract from Portraits, Memoirs and Characters, of Remarkable Persons: from the revolution in 1688 to the end of the reign of George II by James Caulfield. Published by H. R. Young and T. H. Whitely, 1819-1820 in London. Text accompanied by black and white engraving portrait of a woman standing next to a dog in a field and a camp with tents on the background entitled Belgrade and Clumsey 2p.p 130mm x 235mm David Robinson Collection 178B43.3 Mahomet Caratha, A Turkish Rope and Wire Dancer Monograph Extract from Portraits, Memoirs and Characters, of Remarkable Persons: from the revolution in 1688 to the end of the reign of George II by James Caulfield. Published by H. R. Young and T. H. Whitely, 1819-1820 in London. Text accompanied by black and white engraving portrait of Mahomet Caratha stood up with his right arm stretched, wearing a long coat with fur collar and cuffs 2p.p 130mm x 235mm David Robinson Collection 178B43.4 Mary Blandy Monograph Extract from Portraits, Memoirs and Characters, of Remarkable Persons: from the revolution in 1688 to the end of the reign of George II by James Caulfield.
    [Show full text]
  • Sheet Music Listing
    WIMA Catalog Listing Count of items in this report 5438 Sheet Music -- All Formats Monday, April 23, 2012 Page 1 of 248 Title Publisher Dates Notes Object Number L / S Collection "Come Back To Erin James F. Hey & Co No copyright date. Old. Plain cover. 1231 SL 2 IF "Mayflower" Lancers, The Boosey & Co. Ltd Alfred Concanen: Artwork on cover; On popular 67 SL 68 AlCon American airs. 3,121 Miles Away Leeds Music Corporation 1942 Distance from Ireland to America. 856 SM 2 IF A-Broken Song Pallma Music Publishers 1925 290 SL 2 IF A.B.C.'s Of The U. S. A. Cohan & Harris Publishing Co. 1908 Song is from Cohan play titled "The Yankee 1451 SL 2 IF Prince". Cover is separated from contents. A.O.H.'s Of The U.S.A., The Leo. Feist 1914 Song sung by Nora Bayes, pictured on the cover. 781 SL 2 IF Abie's Irish Nose Dixon-Lane Music Pub. Co Interesting cover, but the music contents is 1225 SM 2 IF missing. Abie's Irish Nose Dixon-Lane Music Pub. Co 1925 Spin-off on the similarly titled popular theatre 1629 SM 2 IF show. Amusing cover design. Abie's Irish Rose Shapiro, Bernstein & Co. Inc. 1923 Jimmy Hussey of the Ziegfeld Follies is pictured 2312 SL 2 IF on the cover. Abie's Irish Rose Royale & Alley 1927 Song sung by composers, who are pictured on 801 SM 2 IF the cover (with artwork). Abie's Irish Rose Melodies Paull-Pioneer Music Corporation 1942 Five various selections combined into melody.
    [Show full text]
  • Chairman's Report
    Newsletter No.91 – January 2018 Free to members Chairman’s Report In this Issue: Bob Flanagan Murder at Nor- Progress on the HLF bid continues apace. Beth Cross, a wood: Elizabeth local resident, has been appointed as Activities Co- Camp (c.1864- ordinator to work with Project Officer Jo Flaherty. We wish her every success in this important role. One task is Page 4 1897) to recommence volunteer working parties in the Cem- The Schwartze etery to give practical help with grounds maintenance. Family Burials The aim is to tidy up monuments, remove litter, etc. in Page 7 the wake of the Lambeth scrub-clearance team, which is currently tackling the large area to the west of Doulton Augustus Fred- Path, and the removal of dead/dying trees coordinated by erick Burtwell Steve Wong under the capital development programme. jnr (1893- The initial public consultation 1948) Page 10 phase of the bid produced 159 individual responses, the vast Derrick de majority supporting the propo- Marney (1906- sals outlined in the consultation 1978) Page 11 documents. An important out- The Renovated come was a vote in favour of a suggested new pedestrian entra- Pinder and nce to the cemetery at Hubbard Lockhart Mem- Road if this proved feasible. An orials Page 13 issue is that there may not be a Recent FOWNC path within the cemetery that does not trespass on graves that Events Page 14 have not been opened for 75 yr. Forthcoming Another important outcome was Events Page 15 the agreement to promote the extended lodge as the site for a A Bit of Mystery visitor centre.
    [Show full text]