ALEXANDER POPE: Selected Poetry and Prose Ed
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Cambridge University Press 978-0-521-84013-2 - The Cambridge Companion to Alexander Pope Edited by Pat Rogers Index More information INDEX Main references are in bold type. AP = Alexander Pope. Achilles, 65–7, 69, 70, 73, 74, 78, 214, 217 Bacon, Francis, first Baron Verulam Addison, Joseph (1672–1719), author, 3, 7, (1561–1626), author, 17, 20 28, 29–30, 89, 105, 135, 146, 158, 202 Bank of England, 176 Cato, 28, 29 Barber, John (1675–1741), printer, 194 Aeschylus (525–456 bc), Greek dramatist, 80 Bathurst, Allen, first Earl (1684–1775), Agamemnon, 65, 66, 69, 70, 78 friend of AP, 162, 168–71, 194, 214 Ajax, 65, 73, 74 Bentley, Richard (1662–1742), classical Akenside, Mark (1721–70), poet, 216 scholar, 5, 72–4, 202 Allen, Ralph (1693–1764), businessman and Berkshire, 9, 105, 106, 111, 113, 161, 210 philanthropist, 162 Betterton, Thomas (1635–1710), actor, 1, “Amica”, 199 188 Ancients and Moderns, 72, 74, 79 Bevis Mount, Hampshire, 162 Anglicanism, 10, 121, 122, 126, 127, 128, Binfield, Berkshire, 4, 25, 29, 106, 107, 113, 130 161, 198 animal spirits, 218 Bion, Greek poet, 108 Anne, Queen (1665–1714), 4, 31, 90, 111, Blackmore, Sir Richard (1654–1729), 112, 119, 135, 233 physician and poet, 38, 69, 207, 215, Arbuthnot, John (1667–1735), physician and 216, 218 writer, 27, 31, 33, 35, 93, 143, 155, Blackwell, Thomas (1701–57), classical 158–9, 212, 219 scholar, 81 Arcadia, 9, 108, 111, 112, 116 Blenheim Palace, Oxfordshire, 165, 171 Ariosto, Ludovico (1474–1533), Italian Blount, Martha (1690–1763), friend of poet, 93 AP, 16, 26, 27, 35, 112, 113, 128, 169, Aristotle (384–322 bc), Greek 177, 180, 199, 205, 206 philosopher, 64 Blount, Teresa (1688–1759), Arnold, Matthew (1828–88), author, 50 gentlewoman, 26, 112, 113, 200, 206 Atterbury, Francis (1662–1732), Blunt, Sir John (1677–1733), South Sea churchman, 5, 31, 123, 134, 136–7, projector, 156 140, 157, Boileau, Nicolas Despreaux´ (1636–1711), 199 French poet, 78 Atterbury plot (1722–23), 5, 10, 134, Bolingbroke, Henry St John, first Viscount 136–7, 141, 144, 147 (1678–1751), politician, 4, 10, 22, Augustus (C. -
Ebook Download Blenheim and the Churchill Family
BLENHEIM AND THE CHURCHILL FAMILY : A PERSONAL PORTRAIT PDF, EPUB, EBOOK Henrietta Spencer-Churchill | 224 pages | 13 Jun 2013 | Ryland, Peters & Small Ltd | 9781782490593 | English | London, United Kingdom Blenheim and the Churchill Family : A Personal Portrait PDF Book Your Email Address. After his divorce the Duke married again a former friend of Consuelo, Gladys Deacon, another American. Finally, in the early days of the building the Duke was frequently away on his military campaigns, and it was left to the Duchess to negotiate with Vanbrugh. Condition: Mint. About this Item: Cico Books, The palace is linked to the park by a miniature railway, the Blenheim Park Railway. Views Read View source View history. Condition: Very Good. The birthplace of such notables as Winston Churchill, Blenheim Palace also was occupied by Lady Henrietta's colorful and illustrious great-grandmother, Consuelo Vanderbilt, a close friend of Winterthur founder Henry Francis du Pont and his wife Ruth. The Peace Treaty of Utrecht was about to be signed, so all the elements in the painting represent the coming of peace. Blenheim was once again a place of wonder and prestige. About this Item: Hardback. Next Article. When the 9th Duke inherited in , the Spencer-Churchills were almost bankrupt. Theirs was a very complicated relationship. Randolph already had a strained relationship with his parents from his precipitate marriage to an American, Jennie Jerome. The park is open daily from 9 a. The latter was re-paved by Duchene in the early 20th century. This stunning, lavishly illustrated book gives a personal insight into Blenheim Palace written by one of the Spencer-Churchill family who grew up surrounded by its treasures and soaking up its stories and legends. -
The Gentleman's Magazine; Or Speakers’ Corner 105
Siegener Periodicum zur Internationalen Empirischen______ Literaturwissenschaft Herausgegeben von Reinhold Viehoff (Halle/Saale) Gebhard Rusch (Siegen) Rien T. Segers (Groningen) Jg. 19 (2000), Heft 1 Peter Lang Europäischer Verlag der Wissenschaften SPIEL Siegener Periodicum zur Internationalen Empirischen Literaturwissenschaft SPIEL: Siegener Periodicum zur Internationalen Empirischen Literaturwissenschaft Jg. 19 (2000), Heft 1 Peter Lang Frankfurt am Main • Berlin • Bern • Bruxelles • New York • Oxford • Wien Die Deutsche Bibliothek - CIP-Einheitsaufnahme Siegener Periodicum zur internationalen empirischen Literatur wissenschaft (SPIEL) Frankfurt am Main ; Berlin ; Bern ; New York ; Paris ; Wien : Lang ISSN 2199-80780722-7833 Erscheint jährl. zweimal JG. 1, H. 1 (1982) - [Erscheint: Oktober 1982] NE: SPIEL ISSNISSN 2199-80780722-7833 © Peter Lang GmbH Europäischer Verlag der Wissenschaften Frankfurt am Main 2001 Alle Rechte Vorbehalten. Das Werk einschließlich aller seiner Teile ist urheberrechtlich geschützt. Jede Verwertung außerhalb der engen Grenzen des Urheberrechtsgesetzes ist ohne Zustimmung des Verlages unzulässig und strafbar. Das gilt insbesondere für Vervielfältigungen, Übersetzungen, Mikroverfilmungen und die Einspeicherung und Verarbeitung in elektronischen Systemen. Siegener Periodicum zur Internationalen Empirischen Literaturwissenschaft SPECIAL ISSUE / SONDERHEFT SPIEL 19 (2000), H. 1 Historical Readers and Historical Reading Historische Leser und historisches Lesen ed. by / hrsg. von Margaret Beetham (Manchester) & -
Pandora at Petworth House: New Light on the Work and Patronage of Louis Laguerrea) Lydia Hamlett1, B) Department of History of Art, University of Cambridge, U.K
louis laguerre at petworth house Pandora at Petworth House: new light on the work and patronage of Louis Laguerrea) Lydia Hamlett1, b) Department of History of Art, University of Cambridge, U.K. (Dated: December 2016) An oil sketch by Louis Laguerre in the Victoria and scheme made possible by the identification of the Victoria Albert Museum, London (Fig.15), has long been assumed and Albert Museum’s sketch, which, as argued here, re- to depict The marriage of Cupid and Psyche for the decora- volves around themes of female virtue, this article proposes tion of the staircase ceiling commissioned by Thomas Os- that it was probably the Duchess who was more active in borne, 1st Duke of Leeds, for Kiveton House, Yorkshire, the development of its commission, rather than her husband which was destroyed in 1812.1 Nonetheless it can now be as traditionally assumed. clearly associated with the extant staircase ceiling mural A comparison of the sketch and the ceiling as executed at Petworth House, West Sussex, executed by Laguerre in by Laguerre reveals relatively few changes in content and 1719, the subject of which is Pandora receiving gifts from the composition, although these are vital to the interpretation 2 gods (Fig.16). Moreover, the identification of the subject of the meaning of the murals. Both sketch and ceiling show of this sketch prompts us to look again at the iconogra- Pandora (the first woman, according to ancient sources) in phy of the staircase at Petworth, a house that includes other the centre of the heavens, surrounded by gods who oer murals by Laguerre, and on the circumstances surrounding her their attributes as gifts. -
HANDEL: the Six CHANDOS ANTHEMS
BMC 37 - 38 - HANDEL: The Six CHANDOS ANTHEMS The rise and fall of JAMES BRYDGES, first Duke of Chandos, provides as worthy a subject as any for a film or television drama. Within the space of ten years, from say 1710 to 1720, he rose to fame and riches, only to descend into relative obscurity following the loss of his wealth which was equally as dramatic as the gaining of it. Along the way he created one of Baroque London’s most palatial mansions, and was responsible for bequeathing to posterity the inestimable gift of Handel’s Chandos Anthems. Born in 1673 the son of a Herefordshire squire, in 1696 he married his cousin, Mary Lake (c.1666-1712), who brought to the marriage the Manor known as Cannons at Little Stanmore, Edgware, outside the nearby city of London, as part of her dowry. Two years after his marriage to Mary Lake, Brydges became Member of Parliament for Hereford. He rose by force of personality, administrative ability and the favor of the Duke of Marlborough to become Paymaster of the Forces Abroad during the War of the Spanish Succession. The Paymaster was able to speculate with the monies he received, and by the time he left the post in 1713 Brydges had accumulated a fortune estimated at £600,000, a sum having in the year 1713 the same purchasing power as £58 million, or $95 million today. His first wife, Mary died in 1712, and in 1713 Brydges married his 43 year-old First Cousin, Cassandra Willoughby (1670-1735). Kneller's family portrait, which is signed and dated 1713, shows Brydges with his second wife, Cassandra. -
The Library of Robert Carter of Nomini Hall
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 1970 The Library of Robert Carter of Nomini Hall Katherine Tippett Read College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the United States History Commons Recommended Citation Read, Katherine Tippett, "The Library of Robert Carter of Nomini Hall" (1970). Dissertations, Theses, and Masters Projects. Paper 1539624697. https://dx.doi.org/doi:10.21220/s2-syjc-ae62 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]. THE LIBRARY OF ROBERT CARTER OF NOMINI HALL 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 By Katherine Tippett Read 1970 APPROVAL SHEET This thesis is submitted in partial fulfillment of the requirements for the degree of Master of Arts Author Approved, May 1970 Jane Cdrson, Ph. D Robert Maccubbin, Ph. D. John JEJ Selby, Pm. D. ACKNOWLEDGMENTS The writer wishes to express her appreciation to Miss Jane Carson, under whose direction this investigation was conducted, for her patient guidance and criticism throughout the investigation. The author is also indebted to Mr. Robert Maccubbin and Mr. John E. Selby for their careful reading and criticism of the manuscript. -
Grosvenor Prints Catalogue
Grosvenor Prints Tel: 020 7836 1979 19 Shelton Street [email protected] Covent Garden www.grosvenorprints.com London WC2H 9JN Catalogue 110 Item 50. ` Cover: Detail of item 179 Back: Detail of Item 288 Registered in England No. 305630 Registered Office: 2, Castle Business Village, Station Road, Hampton, Middlesex. TW12 2BX. Rainbrook Ltd. Directors: N.C. Talbot. T.D.M. Rainment. C.E. Ellis. E&OE VAT No. 217 6907 49 1. [A country lane] A full length female figure, etched by Eugene Gaujean P.S. Munn. 1810. (1850-1900) after a design for a tapestry by Sir Edward Lithograph. Sheet 235 x 365mm (9¼ x Coley Burne-Jones (1833-98) for William Morris. PSA 14¼")watermarked 'J Whatman 1808'. Ink smear. £90 275 signed proof. Early lithograph, depicting a lane winding through Stock: 56456 fields and trees. Paul Sandby Munn (1773-1845), named after his godfather, Paul Sandby, who gave him his first instructions in watercolour painting. He first exhibited at the Royal Academy in 1798 and was a frequent contributor of topographical drawings to that and other exhibtions. Stock: 56472 2. [A water mill] P.S. Munn. [n.d., c.1810.] Lithograph. Sheet 235 x 365mm (9¼ x 14¼"), watermarked 'J Whatman 1808'. Creases £140 Early pen lithograph, depicting a delapidated cottage with a mill wheel. Paul Sandby Munn (1773-1845), named after his godfather, Paul Sandby, who gave him his first instructions in watercolour painting. He first exhibited at the Royal Academy in 1798 and was a frequent contributor of topographical drawings to that and other exhibtions. -
Tennyson's Poems
Tennyson’s Poems New Textual Parallels R. H. WINNICK To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/944 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. TENNYSON’S POEMS: NEW TEXTUAL PARALLELS Tennyson’s Poems: New Textual Parallels R. H. Winnick https://www.openbookpublishers.com Copyright © 2019 by R. H. Winnick This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the work; to adapt the work and to make commercial use of the work provided that attribution is made to the author (but not in any way which suggests that the author endorses you or your use of the work). Attribution should include the following information: R. H. Winnick, Tennyson’s Poems: New Textual Parallels. Cambridge, UK: Open Book Publishers, 2019. https://doi.org/10.11647/OBP.0161 In order to access detailed and updated information on the license, please visit https://www.openbookpublishers.com/product/944#copyright Further details about CC BY licenses are available at http://creativecommons.org/licenses/by/4.0/ Digital material and resources associated with this volume are available at https://www.openbookpublishers.com/product/944#resources Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher. -
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. -
Pandora at Petworth House: New Light on the Work and Patronage of Louis Laguerrea) Lydia Hamlett1, B) Department of History of Art, University of Cambridge, U.K
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Apollo louis laguerre at petworth house Pandora at Petworth House: new light on the work and patronage of Louis Laguerrea) Lydia Hamlett1, b) Department of History of Art, University of Cambridge, U.K. (Dated: December 2016) An oil sketch by Louis Laguerre in the Victoria and scheme made possible by the identification of the Victoria Albert Museum, London (Fig.15), has long been assumed and Albert Museum’s sketch, which, as argued here, re- to depict The marriage of Cupid and Psyche for the decora- volves around themes of female virtue, this article proposes tion of the staircase ceiling commissioned by Thomas Os- that it was probably the Duchess who was more active in borne, 1st Duke of Leeds, for Kiveton House, Yorkshire, the development of its commission, rather than her husband which was destroyed in 1812.1 Nonetheless it can now be as traditionally assumed. clearly associated with the extant staircase ceiling mural A comparison of the sketch and the ceiling as executed at Petworth House, West Sussex, executed by Laguerre in by Laguerre reveals relatively few changes in content and 1719, the subject of which is Pandora receiving gifts from the composition, although these are vital to the interpretation 2 gods (Fig.16). Moreover, the identification of the subject of the meaning of the murals. Both sketch and ceiling show of this sketch prompts us to look again at the iconogra- Pandora (the first woman, according to ancient sources) in phy of the staircase at Petworth, a house that includes other the centre of the heavens, surrounded by gods who oer murals by Laguerre, and on the circumstances surrounding her their attributes as gifts. -
Welcome to Chatsworth House — Home of the 12Th Duke and Duchess of Devonshire, and Their Ancestors, the Cavendish Family, for Over 500 Years
Welcome to Chatsworth House — Home of the 12th Duke and Duchess of Devonshire, and their ancestors, the Cavendish family, for over 500 years. Each generation has altered Chatsworth in some way, collecting items and developing the estate. Their lives and belongings give us an insight into how Chatsworth influenced, and was affected by, a rapidly changing world. You will find modern art and sculpture alongside historical paintings in this much loved home, which is still the bustling hub of the Chatsworth estate. Social distancing prevents us from sharing as many stories as usual in the house. You will find links to more in-depth interpretation on the last page of this booklet. Please share the space considerately and help us to avoid queues. Chapel — This is the least changed room at Chatsworth. The staff and family of the 1st Duke attended daily prayers here, and he employed the best artists to realise his designs. Antonio Verrio created the oil painting at the centre of the altarpiece. Louis Laguerre, who also painted in Windsor Castle, painted the ceiling. Derbyshire born Samuel Watson, carved the altarpiece. Damien Hirst’s gold sculpture St Bartholomew, Exquisite Pain and two contemporary benches, Counterpart by Tom Price, contrast with the historic features. The Duke and Duchess and their family still use the chapel for special occasions such as Christenings. This year’s exhibition, Life Stories, starts here with King Henry VIII’s rosary. Chapel The rosary is used during prayer in the Catholic faith. We can imagine Henry passing each intricately carved bead through his hands. -
Letter to John Murray Esquire [Work in Progress]
1 Letter to John Murray Esquire [work in progress] Byron both admired Pope, as an outstanding poet, and identified with him, as a cripple and scourge of dunces. When Pope’s morals were impugned (and on the slenderest of evidence), he was as quick in Pope’s defence as he was when his own far more vulnerable morals were attacked. When someone assailed Pope on grounds which seemed at once literary and moral, and deeply dubious to boot, he was trebly incensed. William Lisle Bowles (1762-1850), was a poet, editor, and a prolix and inexhaustible literary polemicist. He was vicar of Bremhill, Wiltshire, and his most famous poems were his Sonnets (1789, many reprints), which Coleridge, especially, admired. He was chaplain to the Prince Regent, and last but not least a friend of Southey and Coleridge. He had brought out a complete edition of Pope in ten volumes in 1806, which Byron possessed, but sold in 1816, with the rest of his library. Bowles’s introduction concludes thus: If these and other parts of his character appear less amiable, let the reader constantly keep in mind the physical and moral causes which operated on a mind like his: let him remember his life, “one long disease,” the natural passions, which he must have felt in common with all the world, disappointed: his tenderness thrown back on his heart, only to gather there with more force, and more ineffectual wishes: his confined education, intrusted chiefly to those who were themselves narrow-minded: his being used from the cradle to listen only the voice of partial indulgence; of tenderness, almost maternal, in all who contemplated his weakness and his incipient talents.