DOCSLIB.ORG

A Wanderer with Shakespeare

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Wanderer with Shakespeare 1 f A WANDERER WITH SHAKESPEARE THE SPIRIT OF SHAKESPEARE'S ENGLAND. RICHARD COEUR DE LION AT WESTMINSTER A WANDERER WITH SHAKESPEARE LONDON RICH & COWAN, LTD. 37 Bedford Square, W.C.i To LOUISE and JOHN BUSUTTIL in gratitude for all their help. URL CONTENTS List of Illustrations page 7 Index of Scenes 9 I. Shakespeare's early Years at Stratford-on- 17 Avon II. Shakespeare in London 36 III. London Scenes in his Plays 53 IV. The Scenes that are laid in Kent 141 V. The Scenes that are laid in Hertfordshire 159 VI. The Scenes that are laid in Windsor 176 VII. The Scenes that are laid in Scotland 210 VIII. The Scenes that are laid in Northumberland 278 IX. Lancaster and the Scenes that are laid in 284 Yorkshire X. The Scenes that are laid in Staffordshire 301 and Leicestershire XI. The Scenes that are laid in Shropshire 310 and Hereford XII. The Scenes that are laid in Warwickshire 317 XIII. The Scenes that are laid in Northampton 326 and Huntingdon XIV. The Scenes that are laid in Suffolk and 332 Lincolnshire XV. The Scenes that are laid in Wiltshire and 342 Hampshire XVI. The Scenes that are laid in Gloucestershire 347 XVII. The Scenes that are laid in Wales 352 XVIII. Shakespeare's Last Years 361 General Index 365 LIST OF ILLUSTRATIONS The Spirit of Shakespeare's England. Richard Goeur de Lion at Westminster frontispiece Shakespeare's Birthplace, Stratford-on-Avon facing page 22 Southwark Cathedral, which was Shakespeare's parish church when he worked in London 40 Westminster Hall 66 George Inn, Southwark. Here are balconies from which people watched Shakespeare's plays in the court- yard 76 The Spirit of England's Chivalry. The sword of King Edward III, Founder of the Order of the Garter 114 The Church of St. Mary the Virgin, overlooking the Field of Barnet 160 Warwick's Memorial at Barnet, here the Kingmaker fell 164 Old Gateway. St. Albans Abbey 172 St. George's Chapel. The Stalls of the Garter Knights of Windsor 1 80 St. George's Chapel, Windsor Castle, before Restora- tion 1 96 The Curfew Tower Dungeon, Windsor Castle 206 Holyrood Palace . 210 Inverness. Flora Macdonald. (The Castle rebuilt where Macbeth killed Duncan) 236 7 LIST OF ILLUSTRATIONS contd. First and Last Glen of Scotland, showing Bruce's Cave facing page 276 The Percy Stronghold, Warkworth 278 Warkworth. The Grim Fortress of Northumberland 282 Lancaster The Castle Gateway 284 York The Castle, Clifford's Tower 300 King Richard's Well, Bosworth Field 302 The Author at Bosworth 304 The Church at Bosworth 308 Victims of the Wash 338 Ann Hathaway's Cottage, Shottery, near Stratford- on-Avon 362 8 INDEX OF SCENES DESCRIBED Chapter Three LONDON Richard II. Act I, Scenes i, 2, 4. Act II, Scenes i, 2. Act IV, Scene i. ActV, Scenes i, 2. Henry IV. Pt. I, Act I, Scenes i, 2, 3. Act II, Scene 4. Act III, Scene 23. Henry IV. Part II, Act I, Scene 2. Act II, Scenes i, 2, 4. Act III, Scene i. Act IV, Scene 4. Act V, Scenes 2, 4, 5. Henry V. Act I, Scenes i, 2. Act II, Scenes i, 3. Henry VI. Part I, Act I, Scenes i, 3. Act II, Scenes 4, 5. Act III, Scene i. Act V, Scenes i, 5. Henry VI. Part II, Act I, Scenes i, 2, 3, 4. Act II, Scenes 2, 3, 4. Act III, Scene 3. Act IV, Scenes 2, 3> 4> 5> 6, 7, 8. Henry VI. Part III, Act I, Scene i. Act III, Scene 2. Act IV, Scenes i, 4, 6, 8. Act V, Scenes 6, 7. Richard III. Act I, Scenes i, 2, 3, 4. Act II, Scenes i, 2, 3, 4. Act III, Scenes i, 2, 4, 5, 6, 7. Act IV, Scenes i, 2, 3, 4, 5. Henry VIII. Act I, Scenes i, 2, 3, 4. Act II, Scenes i, 2, 3, 4. Act III, Scenes i, 2, 3. Act V, Scenes i, 2, 3, 4, 5. Chapter Four KENT Henry IV. Part I, Act II, Scenes i, 2. Henry VI, Part II, Act IV, Scene i. Lear. Act IV, Scenes 3, 4, 6, 7. Act V, Scenes i, 2, 3. Henry VI. Part II, Act IV, Scenes i, 10. Act V, Scene i . Chapter Five HERTFORDSHIRE Henry VI. Part III, Act V, Scenes 2, 3. Henry VI, Part II, Act II, Scene i. Act V, Scenes 3, 4. Richard II. Act III, Scene 4. Chapter Six WINDSOR Richard II. Act II, Scene 2. Act V, Scenes 3, 4, 6. Merry 9 INDEX OF SCENES DESCRIBED contd. Wives of Windsor. Act I, Scenes i, 2, 3, 4. Act II, Scenes i, 2, 3. Act III, Scenes I, 2, 3, 4, 5. Act IV, Scenes i, 2, 3, 4, 5, 6. Act V, Scenes i, 2, 3, 4, 5. Chapter Seven SCOTLAND Macbeth. Act I, Scenes i, 2, 3, 4, 5, 6, 7. Act II, Scenes i, 2, 3, 4. Act III, Scenes i, 2, 3, 4, 5, 6. Act IV, Scenes i, 2, 3. Act V, Scenes i, 2, 3, 4, 5, 6, 7. Chapter Eight NORTHUMBERLAND Henry IV. Part I, Act II, Scene 3. Henry IV. Part II, Act I, Induction, Scene I. Act II, Scene 3. Chapter Nine YORKSHIRE Richard II. Act V, Scene 5. Richard III. Act III, Scene 3. Henry IV. Part I, Act IV, Scene 4. Henry IV. Part II, Act I, Scene 3. Act IV, Scenes i, 2, 3. Henry VI. Part III, Act I, Scene 3. Act II, Scenes 2, 3, 4, 5, 6. Act III, Scene i. Act IV, Scenes 5, 7. Chapter Ten STAFFORDSHIRE AND LEICESTERSHIRE Richard III. Act V, Scenes 2, 3, 4. Lear. Act I, Scene i. Henry VIII. Act IV, Scene 2. Chapter Eleven SHROPSHIRE AND HEREFORD Henry IV. Part I, Act IV, Scenes 1,3. Act V, Scenes i, 2? 3> 4> 5- Henry VI. Part III, Act II, Scene i. Chapter Twelve WARWICKSHIRE Richard II. Act I, Scene 3. Henry IV. Part I, Act IV, Scene 2. Henry VI. Part II, Act IV, Scene 9. Henry VI. Part III, Act IV, Scenes 2, 3. Act V, Scene i. Chapter Thirteen NORTHAMPTON AND HUNTINGDON King John. Act I, Scene i. Act IV, Scenes i, 2, 3. Act V, Scene i. Henry VIII. Act IV, Scene 2. 10 INDEX OF SCENES DESCRIBED contd. Chapter Fourteen SUFFOLK AND LINCOLNSHIRE King John. Act V, Scenes 2, 3, 4, 5. Henry VI. Part II, Act III, Scenes i, 2. King John. Act V, Scenes 6, 7. Chapter Fifteen WILTSHIRE AND HAMPSHIRE Richard III. Act V, Scene I. Henry V. Act II, Chorus, Scene 2. Chapter Sixteen GLOUCESTERSHIRE Richard II. Act II, Scene 3. Act III, Scene i. Henry IV. Part II, Act III, Scene 2. Act V, Scenes i, 2. Henry VI. Part III, Act V, Scenes 4, 5. Chapter Seventeen WALES Richard II. Act II, Scene 4. Act III, Scenes 2, 3. Henry IV. Part I, Scene i. Cymbeline. Act III, Scenes 3, 4, 6. Act IV, Scenes i, 2, 4. ii PREFACE WILLIAM SHAKESPEARE is without question the most mysterious star in the heavens of the great. The private and public lives of the few god-like beings who approach his magnitude are recorded in full detail, and are therefore not mysterious, whereas very little is known actu- ally about our National Poet. A few legal statements con- cerning him are all that can be vouched for by the ultra- critical. We actually know more of the father's history than the son's. But how shall a man be known? By their fruits ye shall know them, and it must be by his works that we know Shakespeare as great. It is the mystery about his master-mind that in latter days has called forth so many surmises, some of which have developed into cult. To mention two of these the theories about Bacon and the Earl of Oxford. How many books have been written which prove to some conclusively that Shake- speare was but the pen-name of one of these scholarly gentle- men. But so long as Shakespeare exists between covers, and is seen upon the stage, does it matter very much who he was? For the chief thing we are concerned about is what he did, whoever "he" may have been. As far as his plots went, we know that he just sat down and improved the plots of others beyond all recognition. Certainly one part of this Shake- speare was an actor and producer of plays. One has only to play in them to know that he knew his job, by knowing exactly what the actor could do or could not do, and such knowledge made him the good friend of good actors for all time, by giving them the best medium for their art in the 13 PREFACE shape of good actable parts in good actable plays, while to the student of human nature, whether actor, reader, or audience, he bequeathed a great family of characters in whom all the qualities of humanity, good and bad, can be found. Did I have to subscribe to any of the cults which seek to rob the actor, Will Shakespeare of his authorship, I should incline towards the theory that he was a Rosicrucian, which seems to have been a forerunner of Rotarians, a club where the best people of various professions congregated and ex- changed views. In any case, even if Shakespeare is Shake- speare the actor from Stratford, he must have added to his Grammar School scholarship by picking the brains of the cleverest men, which makes him all the cleverer.
Load more

Recommended publications
  • Vagrants and Vagrancy in England, 1485-1553
    W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 1986 Basilisks of the Commonwealth: Vagrants and Vagrancy in England, 1485-1553 Christopher Thomas Daly College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the European History Commons Recommended Citation Daly, Christopher Thomas, "Basilisks of the Commonwealth: Vagrants and Vagrancy in England, 1485-1553" (1986). Dissertations, Theses, and Masters Projects. Paper 1539625366. https://dx.doi.org/doi:10.21220/s2-y42p-8r81 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. BASILISKS OF THE COMMONWEALTH: Vagrants and Vagrancy in England, 1485-1553 A Thesis Presented to The Faculty of the Department of History The College of William and Mary in Virginia In Partial Fulfillment Of the Requirements for the Degree of Master of Arts fcy Christopher T. Daly 1986 APPROVAL SHEET This thesis is submitted in partial fulfillment of the requirements for the degree of Master of Arts . s F J i z L s _____________ Author Approved, August 1986 James L. Axtell Dale E. Hoak JamesEL McCord, IjrT DEDICATION To my brother, grandmother, mother and father, with love and respect. iii TABLE OE CONTENTS Page ACKNOWLEDGEMENTS .................................. v ABSTRACT.......................................... vi INTRODUCTION ...................................... 2 CHAPTER I. THE PROBLEM OE VAGRANCY AND GOVERNMENTAL RESPONSES TO IT, 1485-1553 7 CHAPTER II.
    [Show full text]
  • Chapter 3: History and Land Use of City Hall Park
    Chapter 3: History and Land Use of City Hall Park A. Background History Alyssa Loorya Introduction This section is edited from the forthcoming doctoral dissertation from Loorya on City Hall Park. Loorya’s work references several graduate student projects associated with the overall City Hall Park project, most notably the Master’s theses of Mark Cline Lucey (included as the next section) and Julie Anidjar Pai as well as reports by Elizabeth M. Martin, Diane George, Kirsten (Davis) Smyth, and Jennifer Borishansky. These reports are presented in Chapter 6. This section outlines the history of the City Hall Park area. To provide for proper context, a general history of the development of the lower Manhattan area is presented first to provide a more complete picture of overall project area. City Hall Park is a relatively small triangular parcel of land (8.8 acres) within New York City’s Manhattan Island. It is bounded to the north by Chambers Street, to the east by Park Row, to the west by Broadway. It began as a cow pasture and today houses the seat of government for the nation’s largest city. The general history of City Hall Park is fairly well documented though only in a single comprehensive source.1 The changing uses of City Hall Park from the beginning of the colonial periodFig. 3-1: of theCity midHall nineteenthPark Location century reflect 1 The Master’s Thesis City Hall Park: An Historical Analysis by Mark Cline Lucey, 2003, (below) chronicles the physical development of City Hall Park from the Dutch Colonial period to the mid-nineteenth century.
    [Show full text]
  • Broadside 12:L
    NEWSLETTER OF THE THEATRE LIBRARY ASSOCIATION - - - - - - - - - Volume 12, Number 2 Fall 1984 New Series THE CAFFE ClNO AND ITS LEGACY: OFF-OFF BROADWAY IS FOCUS OF EXHIBITION Richard M. Buck, the Theatre Library Association's tireless and dedicated Secre- tary-Treasurer, has put together an extraor- dinary exhibition detailing the history and heyday of the Caffce Cino, m Qff-Off Broadway playhouse which was the inspir- ation for a new movement in the theatre. The exhibition, which will be on view in the Vincent Astor Gallery of The New York Public Library at Lincoln Center until May 15, follows former TLA board member William Appleton's splendid exhibition on the life and career of composer Richard Rodgers. The Caffe Cino flourished at 31 Cornelia Street in Greenwich Village, New York City, from 1959 to 1968. Beginning with the earliest days when the Cino was a poetry- reading cafe, the exhibition carries the story of the Cino to its end, when after founder Joe Cino's tragic death in 1967, a loyal group of followers tried to continue the tradition. Along the way, the viewer will discover many names and titles that have become landmarks in theatre history: Lanford Wilson, Tom Eyen, John Guare, Sam Shepard, Robert Patrick, Dames at Stewart, Robert Patrick, Robert Heide, Hoffman will discuss the impact of the Sea, This is the Rill Speaking, The White Robert Dahdah, Shirley Stoler, and many Cino on theatre that followed. The pro- Whore and the Bit Player, and many, many others who have first-hand memories of grams, which will begin at 6:30 p.m., will more.
    [Show full text]
  • Directory of Clubs – Season 2017-2018
    DIRECTORY OF CLUBS – SEASON 2017-2018 Parent County Football Associations are shown in italics as follows: - Kent FA – KFA • London FA – LFA • Surrey FA – SCFA • Amateur FA - AFA AEI SPORTS FC KFA (2013) Division Three Central & East Secretary: Peter Stanton, 51 Bryant Road, Strood, Kent ME2 3EP Tel: (H) 01634 318569 (M) 07834 980113 - email: [email protected] Ground: Wested Meadow Ground, Eynsford Road, Crockenhill, Kent BR8 8EJ - Tel: 01322 666067 Colours: Black & White Striped Shirts, Black Shorts, Black Socks Alternative: Blue Shirts, Blue Shorts, Blue Socks Fixture Secretary: As Secretary Emergency Contact: Michael Betts, 11 Wheatcroft Grove, Rainham, Kent ME8 9JF Tel: (M) 07850 473451 - email: [email protected] Chairman: As Secretary AFC ASHFORD ATHLETIC KFA (2013) Division Three Central & East Secretary: Jackie Lawrence, 31 St. Martins Road, Deal, Kent CT14 9NX Tel: (M) 07842 746686 - email: [email protected] Ground: Homelands Stadium, Ashford Road, Kingsnorth, Ashford, Kent TN26 1NJ - Tel: 01233 611838 Colours: Red Shirts, Black Shorts, Black Socks Alternative: Royal Blue Shirts, Royal Blue Shorts, White Socks Fixture Secretary: As Secretary Emergency Contact: Stuart Kingsnorth - Tel (M) 07850 865805 (B) 07725 002681 – email: [email protected] Chairman: As Emergency Contact AFC BEXLEY KFA (2008) Division Three West Secretary: Mark Clark, 18 Woodside Road, Bexleyheath, Kent DA7 6JZ Tel: (H) 01322 409979 (M) 07900 804155 - email: [email protected] Ground: Bakers Fields, Perry Street, Crayford, Kent DA1
    [Show full text]
  • Xerox University Microfilms
    INFORMATION TO USERS This material 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.
    [Show full text]
  • Chapter 1: the Seventeenth Century Actresses
    Notes CHAPTER 1: THE SEVENTEENTH CENTURY ACTRESSES 1. John Genest, Some Account of the English Stage from the Restoration to 1830, vol. I (Bath, 1832), p. 37. 2. Dr John Doran, Their Majesties' Servants: Annals of the English Stage, vol. I (London: William H. Allen & Co., 1864), p. 60. 3. E. K. Chambers, Modern Language Review, XI (October 1916) 466. Also, see Chambers's book The Medieval Stage, vol. II (London, 1948), p. 409. 4. As quoted in Genest, vol. I, p. 37 from Richard Brome's The Court Beggar (1632) and James Shirley's The Ball (1639) in which Freshwater, speaking of the plays in Paris, says, 'Yet the women are the best actors, they Play their own parts, a thing much desir'd in England.' 5. Thornton Shirley Graves, 'Women of the Pre-Restoration Stage,' Studies in Philology, XXII, No.2 (1925) 189, 192-3. The record on which Graves draws is Reyher's Les Masques Anglais, p. 25. 6. Robert Latham and William Matthews (eds), The Diary of Samuel Pepys, vol. I (London, 1970), p. 224. 7. John Downes, Roscius Anglicanus (London, 1708), p. 19. 8. Pepys, vol. II, p. 7. 9. Colley Cibber, An Apology for His Life (London, 1740), p. 55. 10. Pepys, vol. IX, p. 425. 11. Downes, p. 19. 12. She was introduced to the world by means of a hilarious prologue especially written by Thomas Jordan to show what a ridiculous figure the boy- actor had been cutting: Henry Wisham Lanier, The First English Actresses: 1660-1700 (New York, 1930), p. 31.
    [Show full text]
  • Prologue 1 Paying a Visit to the Crown
    Notes Prologue 1 Charles Kean, a letter to Mary Anne Skerret, 3 July 1855, Royal Archives Add X/85. Further material from the Royal Archives will be abbreviated ‘RA’. 2 John Cam Hobhouse (Lord Broughton) diary entry, 14 November 1837, quoted in John Cam Hobhouse, Recollections of a Long Life, 5 vols. (London: W. Clowes & Sons, 1865–7), V, p. 101. 3 Royal Archives Queen Victoria’s Journal 6 February 1852. Subsequent references to Queen Victoria’s journal will be abbreviated ‘RA QVJ’. 4 RA QVJ, 18 June 1853. 5 RA QVJ, 30 March 1859. 6 RA QVJ, 28 April 1856. 7 Benita Stoney and Heinrich C. Weltzein, eds., My Mistress the Queen: The Letters of Frieda Arnold, Dresser to Queen Victoria 1854–9, trans. Sheila de Bellaigue (London: Weidenfeld & Nicolson, 1994), pp. 148–9. 8 RA QVJ, 20 February 1855. 9 RA QVJ, 18 February 1856. 10 Victoria’s extensive collection of playbills, programmes and playscripts is carefully preserved in the Royal Archives at Windsor Castle. 11 James I and VI, Basilikon Doron, cited in Stephen Orgel, The Illusion of Power: Political Theater in the English Renaissance (Berkeley and Los Angeles: University of California Press, 1975), p. 42. 12 King Leopold of the Belgians, a letter to Princess Victoria, 7 October 1836; cited in Lynne Vallone, Becoming Victoria (New Haven: Yale University Press, 2001), p. 199. 13 Walter Bagheot, The English Constitution (London, 1867; Ithaca: Cornell University Press, 1963), pp. 64, 97. 14 Edmund Gosse and Mary Ponsonby, ‘The Character of Queen Victoria’, Quarterly Review 193 (January–June 1901) 311.
    [Show full text]
  • Elizabethan Houses of Correction Austin Van Der Slice
    Journal of Criminal Law and Criminology Volume 27 Article 4 Issue 1 May-June Summer 1936 Elizabethan Houses of Correction Austin Van der Slice Follow this and additional works at: https://scholarlycommons.law.northwestern.edu/jclc Part of the Criminal Law Commons, Criminology Commons, and the Criminology and Criminal Justice Commons Recommended Citation Austin Van der Slice, Elizabethan Houses of Correction, 27 Am. Inst. Crim. L. & Criminology 45 (1936-1937) This Article is brought to you for free and open access by Northwestern University School of Law Scholarly Commons. It has been accepted for inclusion in Journal of Criminal Law and Criminology by an authorized editor of Northwestern University School of Law Scholarly Commons. ELIZABETHAN HOUSES OF CORRECTION* AusTiN VAN DER SLICEt In 1589 the bench of aldermen of Amsterdam objected to pro- nouncing the usual death sentence for theft on a sixteen year old boy. They urged the burgomaster to find a better way to deal with juvenile offenders. They suggested that they be compelled to labor, to give up their evil habits and amend their lives. Finally it was ordered that a house should be established for the confinement of vagabonds and criminals. Here they should be imprisoned and put to work for as long a time as the magistrates ordered. An old" con- vent was set aside for the purpose and the Amsterdam house of correction was opened, in 1596, with twelve inmates.- We have the regulations for this establishment.2 Their probable date is between 1599 and 1602. From the regulations we find that a board of regents consisting of four burghers met regularly each week to supervise the government of the institution.
    [Show full text]
  • Annual Report 2016-2017 Contents 2
    Annual Report 2016-2017 Contents 2 3 Director’s Report 12 Acquisitions 17 Works of art lent to public exhibitions 19 Long-term loans outside Government 25 Advisory Committee members 26 GAC staff Cover Image: A GAC Curator talking about Yinka SHonibare’s work Nelson’s Ship in a Bottle during a public tour of the GAC HQ, London. © Crown Copyright Director’s Report 3 UK Prime Minister, Theresa May and Polish Prime Minister, Beata Szydło at a reception at 10 Downing Street. © Crown Copyright / photograph Tom Evans Once more, the Government Art Collection Selected UK displays Raleigh; and a portrait of William Shakespeare. (GAC) has witnessed, and responded to, Government reshuffles led to a number of Margaret Carpenter’s elegant portrait of Ada an eventful year. Our primary activity has ministerial visits to the GAC to select new King, Countess of Lovelace was re-displayed focused on selecting and installing a range of works for offices. For the new UK regional in its traditional location in the Pillared Room, new displays for government buildings in the display at 10 Downing Street, we arranged following its return from loan to an exhibition UK and at several diplomatic posts abroad. the loan of four paintings from the collections at the Science Museum that celebrated the Just how well dispersed GAC works are in of UK museums: Rock Garden, Cookham bicentenary of Lovelace’s birth. Portraits of government buildings, is best illustrated by the Dean (1942) by Sir Stanley Spencer from William Kent and Kenton Kouse, two architects impressive number of displays (approximately Birmingham Museum and Art Gallery; Sir closely associated with 10 Downing Street, 121) we have installed in the UK and abroad in John Lavery’s Twilight, Lake of Geneva (1924) were also reinstalled in the Terracotta Room.
    [Show full text]
  • Local Development Framework
    City of London Corporation Whitefriars Conservation Area Draft Character Summary and Management Strategy Supplementary Planning Document Whitefriars CA draft Character Summary & Management Strategy SPD 1 Sturgeon lamp standard, Victoria Embankment Whitefriars CA draft Character Summary & Management Strategy SPD 2 This page is intentionally left blank Whitefriars CA draft Character Summary & Management Strategy SPD 3 Several of the maps in this series on conservation area character are based upon Ordnance Survey maps © Crown copyright and database rights 2011 Ordnance Survey 100023243. Whitefriars CA draft Character Summary & Management Strategy SPD 4 Introduction 7 Character summary 8 1. Location and context 8 Boundary 8 2. Designation history 9 3. Summary of character 10 4. Historical development 11 Early history 11 Seventeenth and eighteenth centuries 12 Nineteenth and twentieth centuries 14 5. Spatial analysis 17 Layout and plan form 17 Building plots 17 Building heights 17 Views and vistas 18 6. Character analysis 20 Victoria Embankment 20 Blackfriars Bridge 21 New Bridge Street & Bridewell Place 22 Tudor Street 24 Temple Avenue 27 Tallis Street 28 Carmelite Street 29 John Carpenter Street 30 7. Land uses and related activity 31 8. Architectural character 31 Architects, styles and influences 31 Building ages 33 9. Local details 34 Architectural sculpture 34 Public statuary 35 Signage and shopfronts 35 10. Building materials 36 11. Open spaces and trees 37 12. Public realm 37 13. Cultural associations 38 Management strategy 39 14. Planning policy 39 National policy 39 London-wide policy 39 Whitefriars CA draft Character Summary & Management Strategy SPD 5 City of London Corporation policy 39 Protected views 40 Sustainability and climate change 41 15.
    [Show full text]
  • David Lynch: Elephant Man (1980, 124 Min.) Online Versions of the Goldenrod Handouts Have Color Images & Hot Links
    October 30, 2018 (XXXVII:10) David Lynch: Elephant Man (1980, 124 min.) Online versions of The Goldenrod Handouts have color images & hot links: http://csac.buffalo.edu/goldenrodhandouts.html DIRECTED BY David Lynch WRITING screenplay by Christopher De Vore, Eric Bergren, and David Lynch; Frederick Treves (book) (as Sir Frederick Treves), Ashley Montagu (in part on the book "The Elephant Man: A Study in Human Dignity") PRODUCED BY Stuart Cornfeld (executive producer), Jonathan Sanger (producer), and Mel Brooks (executive producer, uncredited) MUSIC John Morris CINEMATOGRAPHY Freddie Francis (director of photography) FILM EDITING Anne V. Coates PRODUCTION DESIGN Stuart Craig ART DIRECTION Robert Cartwright SET DECORATION Hugh Scaife COSTUME DESIGN Patricia Norris MAKEUP DEPARTMENT hairdressers: Paula Gillespie and Stephanie Kaye; makeup artists: Beryl Lerman and Michael Morris; makeup application: 'Elephant Man' / makeup supervisor: Wally Schneiderman; makeup creator: 'Elephant Man' / makeup designer: 'Elephant Man': Christopher Tucker The film received eight nominations at the 1981Academy Awards: Best Picture: Jonathan Sanger; Best Actor in a Leading Role: John Hurt; Best Director: David Lynch; Best Writing, Screenplay Based on Material from Another Medium: Christopher De Vore, Eric Bergren, David Lynch; Best Art Direction-Set Decoration: Stuart Craig, Robert Cartwright, Hugh Scaife; Best Costume Design: Patricia Norris; Best Film Editing: Anne V. Coates; Best Music, Original Score: John Morris. CAST Anthony Hopkins...Frederick Treves John Hurt...John Merrick Alfie Curtis...Milkman Anne Bancroft...Mrs. Kendal Bernadette Milnes...1st Fighting Woman John Gielgud...Carr Gomm Brenda Kempner...2nd Fighting Woman Wendy Hiller...Mothershead Carol Harrison ...Tart (as Carole Harrison) Freddie Jones ...Bytes Hugh Manning...Broadneck Michael Elphick...Night Porter Dennis Burgess...1st Committee Man Hannah Gordon...Mrs.
    [Show full text]
  • Charley's Aunt
    The Shakespeare Theatre of New Jersey CHARLEY’S AUNT: Know-the-Show Guide Charley’s Aunt By Brandon Thomas Directed by Joseph Discher Know-the-Show Audience Guide Researched and written by the Education Department of The Shakespeare Theatre of New Jersey Cover art by Scott McKowen. The Shakespeare Theatre of New Jersey CHARLEY’S AUNT: Know-the-Show Guide In This Guide – Charley’s Aunt: Director’s Notes ........................................................................... 2 – The Life of Brandon Thomas ................................................................................. 4 – Charley’s Aunt: A Synopsis ................................................................................... 6 – Who’s Who in Charley’s Aunt ............................................................................... 8 – Famous Faces: Charley’s Aunt(s) ........................................................................... 9 – In This Production .............................................................................................. 10 – Victorian Theatre and Audiences ........................................................................ 11 – Explore Online: Links ........................................................................................ 12 1 The Shakespeare Theatre of New Jersey CHARLEY’S AUNT: Know-the-Show Guide a musical version called Where’s Charley? starring Ray Bolger as Charley, with lyrics by Frank Loesser, a televised version by Playhouse 90 with Art Carney as Babbs, and an American Playhouse version in
    [Show full text]