DOCSLIB.ORG

Eastlake and Napoleon Wednesday 31 October 2012 Victoria Smith

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Eastlake and Napoleon Wednesday 31 October 2012 Victoria Smith Eastlake and Napoleon Wednesday 31 October 2012 Victoria Smith Hello and good afternoon. My name is Victoria Smith and I am a recent graduate from Plymouth University where I have just completed my degree in Art History. Through the Young Explainers programme I have been working on my own, or within a small group, to research Charles Lock Eastlake’s era and the events that took place during his time in Plymouth, that we can use to shed light on a man who was born and grew up in this very city. I myself have been born and bred in Plymouth, but until undertaking this project I hadn’t known about the relationship the city had with Charles Eastlake and the National Gallery, or the Emperor of France, Napoleon Bonaparte. This Art Bite will focus on Eastlake’s encounter with Napoleon Bonaparte, why Napoleon was in Plymouth and what the repercussions were of his being here in the city. Due to my lifelong connection with the city I know that Plymouth has played host to many dignitaries and famous individuals throughout its history. These range from Oliver Cromwell, Winston Churchill, the Beatles, Laurel and Hardy, Princess Diana, Charles Darwin and Horatio Nelson - just to name a few. For this talk we will focus on the year 1815; as in this year Plymouth Sound held captive a fugitive – a ‘fascinating monster’! The HMS Bellerophon, which had been converted from a 74 gun ship to a prison boat, dropped its anchor in Plymouth Sound on Wednesday July 26 th 1815, commanded by Captain Frederick Lewis Maitland. On board was none other than the Emperor Napoleon Bonaparte who had been defeated and taken prisoner during the final stages of the Napoleonic Wars. The Napoleonic Wars were a series of conflicts that spanned the years 1799 – 1815; these were events that were sparked off by the French Revolution of 1789 and the French leader Napoleon Bonaparte. The French Revolution endeavoured to liberate France from its political and socio-economic struggles. Money was tight, taxation was out of control and to add to that they had faced a bad harvest. These factors all contributed to the Revolution. Napoleon was a young general during the uprising, and after travelling with the army in a failed campaign to seize Egypt and Syria, he arrived back to lead the coup d'etat against the high directory in 1799. This was the event which let him step out of the crowd to effectively become the leader of France, the ‘First Consul’. With Napoleon now in command, the Revolution had come to an end, and France found itself under military rule for the next 15 years. The 15 year rule ended in 1815 when, as mentioned in the pop hit ‘Waterloo’ by ABBA, the Emperor Napoleon surrendered at the battle of Waterloo. This celebrated battle happened on Sunday 18 th of June 1815 and, with the French general’s defeat, it ended the twenty five years known as the Napoleonic wars. The battle of Waterloo took place in Brussels, Belgium between the combined force of the British, Germans, Belgians, Dutch and Prussians fighting against the French Grande Armée. The Duke of Wellington, Marshal Blucher and the Prince of Orange led their armies against the Emperor Napoleon. The victory made at Waterloo in 1815 left Britain as the most dominant power in Europe, with the Royal Navy ruling the waves as the strongest fleet in the world. The city of Plymouth has always had a thriving naval community. If we turn to look at the painting on my left, a painting by JWM Turner ‘Plymouth Dock from Mount Edgcumbe’; we can see sailors coming over a hill at Mount Edgcumbe, it could be inferred that they are rejoicing at being back on land or victory at sea. We can see behind them the prominent view of Devonport Dockyard in the distance. Returning again to Plymouth Sound in 1815, the Sherborne Mercury newspaper reported Napoleon’s reception. Although now stripped of his title of ‘Emperor’, the Mercury stated that: “Multitudes visited the Citadel and Hoe, endeavouring to obtain a glimpse of Napoleon. In his behaviour, it appears, he still affects the Emperor, considering himself, apparently, of as much importance as when, in Russia, he ordered a chateau, a village, or a town, to be set on fire, that he might warm his fingers” The ship settled in The Sound for two weeks whilst a decision was being made on Napoleon’s future. During this time the waters were littered with boats as the local people rowed out just to see a glimpse of the prisoner. He was now becoming quite a tourist attraction. The disorder, and the quantity of people who had paid to be taken out to see him, lead to the unfortunate loss of life of at least one, a man named John Boynes. In the graveyard of St Andrew and St Luke at Stoke Damerel is the memorial stone of Mr John Boynes which reads: 'To the Memory of John Boynes late Stone Mason of His Majesty's Dock Yard who was unfortunately drowned between the Island and Point returning from seeing Bonaparte in the Sound, [date indecipherable] July 1815, Aged 35 Years.' The desire to interact with the Emperor was strong, with one such story claiming that 'during [Napoleon’s] stay his linen was sent into Plymouth to be washed, and the fact that some of it was marked with an "N" and an imperial crown, and the rest with an "L" and the royal crown, led to the inference that the latter had been 'stolen from Louis'. This moral reflection did not disturb the residents of the town; they tried on the shirts in order that they might boast they had worn them!' The Scottish writer Sir Walter Scott who still ever present on modern day Scottish bank notes, vividly describes the public’s response to the news that Napoleon was a prisoner aboard the Bellerophon. He states – “That frenzy of popular curiosity, which predominating in all free states, seems to be carried to the utmost by the English nation, caused such numbers of boats to surround the Bellerophon, that notwithstanding the peremptory orders of the admiralty and in spite of the efforts of the man-of-war boats which maintained constant guard around the vessel, it was almost impossible to keep them at the prescribed distance of a cable length from the ship. They incurred the risk of being run down - of being as they might apprehend…” He carries on to say: “…shots from muskets were discharged for the purpose of intimidation.” However the public carried on with their attempt to view the captive not worried by the attempts to calm the crowd. He continues: “When he [Napoleon] appeared there was greeted with Huzzas (or as we would say today – ‘hoorays’ or ‘cheers’) which he returned with bows but could not help expressing his wonder at the eagerness of popular curiosity, which he was not accustomed to see in such a pitch of excitation.” The Plymothian, and Mayor of Plymouth 1813/14, Henry Woollcombe referred to Napoleon in his diary on numerous occasions. For instance, Woollcombe Diary: 28 July 1815: “I went off in a boat to the Bellerophon at 3 o’clock finding my brother and Mrs Woollcombe were going … certainly saw the man though imperfectly. At dinner others complained that the officers were showing Napoleon too much respect”. Napoleon usually appeared at about 6 pm at the gangway for the benefit of his nautical audience. Artists such as Charles Eastlake took advantage of this occasion. It allowed him to make rapid en plein air sketches of the general, helping develop his artistic skills. Eastlake was interested in this historic moment to indulge his artistic endeavours. Contemporary accounts indicate that Napoleon enjoyed posing for the curious sightseers as he held court on Plymouth Sound. One Naval Officer observed that he was close enough to him that Napoleon: “stood for about a quarter of an hour or more, and seemed to be amused by examining the extent of the crowd below him with an opera glass.” After seeing a sketch that Eastlake had produced of him, Napoleon came out to stand on deck while Eastlake painted from a nearby boat. Eastlake is documented to have painted three portraits of Napoleon, one of them full length, with numerous additional figures surrounding him. The small reproduction of this painting, 'Napoleon Bonaparte on Board the Bellerophon in Plymouth Sound' (1815), is what I stand beside. Although the painting can’t be seen within this exhibition in its full capacity, it is housed at the National Maritime Museum, Greenwich, London. These paintings have been labelled as Eastlake’s first success after he had trained as a painter for some years. Interestingly, he had begun his artistic training first at Plymouth itself, under Dr Bidlake at Plymouth Grammar School and with Samuel Prout, and then in London with another Plymouth painter, Benjamin Robert Haydon, in 1809, before being admitted as a probationer at the Royal Academy Schools in London. In Eastlake's painting, 'Napoleon Bonaparte on Board the Bellerophon in Plymouth Sound' (1815), a reflective Napoleon dominates the canvas as he looks beyond the viewer to long-term captivity. His right elbow leans below a Union flag underscoring British victory and his defeat, something I suspect Napoleon wouldn’t have been too keen on Eastlake depiction. Five Plymouth gentlemen paid the phenomenal sum of 1,000 guineas for the painting, which they then toured around the country. This sale gave Eastlake the money to set off for 14 years travelling around Europe learning about the Old Master painters.
Load more

Recommended publications
  • Unlocking Eastlake Unlocking Eastlake
    ng E nlocki astlak U e CREATED BY THE YOUNG EXPLAINERS OF PLYMOUTH CITY MUSEUM AND ART GALLERY No. 1. ] SEPTEMBER 22 - DECEMBER 15, 2012. [ One Penny. A STROKE OF GENIUS. UNLOCKING EASTLAKE UNLOCKING EASTLAKE It may be because of his reserved nature that Staff at the City Museum and Art Gallery are organising a range of events connected to the Eastlake is not remembered as much as he exhibition, including lunchtime talks and family-friendly holiday workshops. INTRODUCING deserves to be. Apart from securing more Visit www.plymouth.gov.uk/museumeastlake to stay up to date with what’s on offer! than 150 paintings for the nation, Eastlake was a key figure in helping the public gain like to i uld ntro a better understanding of the history of wo d uc WALKING TRAILS e e EASTLAKE western art. Through detailed catalogues, W THE simpler ways of picture display, and the Thursday 20th September 2012: : BRITISH ART’S PUBLIC SERVANT introduction of labels enabling free access to Grand Art History Freshers Tour information, Eastlake gave the us public art. YOUNG EXPLAINERS A chance for Art History Freshers to make friends as well as see what lmost 150 years after his Article: Laura Hughes the Museum and the Young Explainers death, the name of Sir Charles Children’s Actities / Map: Joanne Lees have to offer. The tour will focus on UNLOCKING EASTLAKE’S PLYMOUTH Eastlake has failed to live up to Editor: Charlotte Slater Eastlake, Napoleon and Plymouth. the celebrity of his legacy. Designer: Sarah Stagg A Illustrator (front): Alex Hancock Saturday 3rd November 2012: Even in his hometown of Plymouth, blank faces During Eastlake’s lifetime his home city Illustrator (inside): Abi Hodgson Lorente Eastlake’s Plymouth: usually meet the question: “Who is Sir Charles of Plymouth dramatically altered as it A Family Adventure Through Time Eastlake?” Yet this cultural heavyweight was transformed itself from an ancient dockland Alice Knight Starting at the Museum with interactive acknowledged to be one of the ablest men of to a modern 19th century metropolis.
    [Show full text]
  • Sails of Glory Battle for the Seas a Sails of Glory Campaign
    Sails Of Glory Battle for the Seas A Sails of Glory Campaign Time Sometime during the Napoleonic Wars 1803-1805. Info about the Campaign After Napoleon had won many great victories on land in Europe, and crushed every country in battle. France was the dominating power in Europe on land and the English were masters of the sea. Behind their wooden wall of ships, they were relatively safe from any invasion force. Napoleon wanted to change this and invade England. In March 1802 a peace treaty was signed between France and England in Amiens, France. But both countries were irritated and angry with each other’s actions in the aftermath of the peace treaty, and it was an uneasy peace. And after some diplomatic quarrels England declared war on France again in May 1803. After war broke out again, Napoleon started preparation for invasion of England – but to have success, he needed to take out the English fleet that protected the English Channel. From 1803 to 1805 a new army of 150 000-200,000 men, known as the Armée des côtes de l'Océan (Army of the Ocean Coasts) or the Armée d'Angleterre (Army of England), was gathered and trained at camps at Boulogne, Bruges and Montreuil. A large "National Flotilla" of invasion barges was built in Channel ports along the coasts of France and the Netherlands. A fleet of nearly 2000 craft. At the same time he made plans with the Spanish to assemble a large fleet, which was strong enough to challenge the English Navy, and make it possible for Napoleon to invade England.
    [Show full text]
  • Eastlake's Scholarly and Artistic Achievements Wednesday 10
    Eastlake's Scholarly and Artistic Achievements Wednesday 10 October 2012 Lizzie Hill & Laura Hughes Overview I will begin this Art Bite with a quotation from A Century of British Painters by Samuel and Richard Redgrave, who refer to Eastlake as one of "a few exceptional painters who have served the art they love better by their lives than their brush" . This observation is in keeping with the norm of contemporary views in which Eastlake is first and foremost seen as an art historian and collector. However, as a man who began his career as a painter, it seems it would be interesting to explore both of these aspects of his life. Therefore, this Art Bite will be examining the validity of this critique by evaluating Eastlake's artistic outputs and scholarly achievements, and putting these two aspects of his life in direct relation to each other. By doing this, the aim behind this Art Bite is to uncover the fundamental reason behind Eastlake's contemporary and historical reputation, and ultimately to answer; - What proved to be Eastlake's best weapon in entering the Art Historical canon: his brain or his brush? Introduction So, who was Sir Charles Lock Eastlake? To properly be able to compare his reputation as an art historian versus being a painter himself, we need to know the basic facts about the man. A very brief overview is that Eastlake was born in Plymouth in 1793 and from an early age was determined to be a painter. He was the first student of the notable artist Benjamin Haydon in January 1809 and received tuition from the Royal Academy schools from late 1809.
    [Show full text]
  • Setting Sail
    104.5mm 104.75mm 104.75mm 106mm Nelson Gallery Sailing Navy Gallery Sailing Navy Gallery Go to the display case immediately on your right Now turn to face the portraits on the back wall. Continue round the corner to the other side of this case. 11 15 as you enter. 18 Look at the picture in the middle. Creamware Frog mug Ship models made by French Captain Sir Harry Burrard Neale Staffordshire potteries discovered creamware whilst trying Prisoners of War Painted by Sir William to find a substitute for Chinese porcelain. It is made from Beechey. He studied During the Napoleonic Wars French prisoners were kept white Cornish Clay with a translucent glaze, creating the at the Royal Academy Setting in Portsmouth Dockyard. They carved to occupy their cream colour. Frog mugs originated in Sunderland, and in 1772. Some of his time and make money for extra food. As the daily food later Staffordshire and Worcestershire. smaller portraits gained ration included half a pound of meat on the bone, it was him considerable readily available as a raw material. Interestingly, for the reputation and he rigging, they often used their own hair. A sombre mug with a joke inside. began to be employed Very curious! We wondered why such by the nobility until in Sail a solemn scene on the outside was 1793 he was made We like the craftsmanship, combined with a frog on the inside. portrait-painter to there is such attention to Did Nelson have a frog in his throat! Queen Charlotte. detail! It is like recycling as they used the bones left over from their Now walk right to the back of the gallery.
    [Show full text]
  • Captain John Denison, D.S.O., R.N. Oct
    No. Service: Rank: Names & Service Information: Supporting Information: 27. 1st 6th Captain John Denison, D.S.O., R.N. Oct. Oct. B. 25 May 1853, Rusholine, Toronto, 7th child; 5th Son of George Taylor Denison (B. 1904 1906. Ontario, Canada. – D. 9 Mar 1939, 17 Jul 1816, Toronto, Ontario, Canada -D. 30 Mason Toronto, York, Ontario, Canada. B. May 1873, Toronto, Ontario, Canada) [Lawyer, 1 Oct 1904 North York, York County, Ontario, Colonel, General, later minister of Church) and Canada. (aged 85 years). Mary Anne Dewson (B. 24 May 1817, Enniscorthy, Ireland -D. 1900, Toronto, 1861 Census for Saint Patrick's Ontario, Canada). Married 11 Dec 1838 at St Ward, Canada West, Toronto, shows James Church. Toronto, Canada John Denison living with Denison family aged 9. Canada Issue: West>Toronto. In all they had 11 children; 8 males (sons) and 3 It is surmised that John Denison females (daughters). actually joined the Royal Navy in 18 Jul 1878 – John Denison married Florence Canada. Ledgard, B. 12 May 1857, Chapel town, 14 May 1867-18 Dec 1868 John Yorkshire, -D. 1936, Hampshire, England. Denison, aged 14 years, attached to daughter of William Ledgard (1813-1876) H.M.S. “Britannia” as a Naval Cadet. [merchant] and Catherina Brooke (1816-1886) “Britannia” was a wooden screw st at Roundhay, St John, Yorkshire, England. Three decker 1 rate ship, converted to screw whilst still on her stocks. Issue: (5 children, 3 males and 2 females). Constructed and launched from 1. John Everard Denison (B. 20 Apr 1879, Portsmouth Dockyard on 25 Jan Toronto, Ontario, Canada - D.
    [Show full text]
  • Národní Galerie V Čr a Uk
    Masarykova univerzita Ekonomicko-správní fakulta Studijní obor: Veřejná ekonomika INSTITUCIONÁLNÍ KOMPARACE KONTINENTÁLNÍHO A ANGLOAMERICKÉHO MODELU: NÁRODNÍ GALERIE V ČR A UK Institutional comparison of a continental and an Anglo- american models: National Gallery in UK and CZ Diplomová práce Vedoucí diplomové práce: Autor: Ing. František Svoboda, Ph.D. Bc. Veronika Králíková Kyjov, 2009 Jméno a příjmení autora: Veronika Králíková Název diplomové práce: Institucionální komparace kontinentálního a angloamerického modelu: Národní Galerie ČR a UK Název v angličtině: Institutional comparison of a continental and an Anglo- american models: National Gallery in UK and CZ Katedra: Veřejná ekonomika Vedoucí diplomové práce: Ing. František Svoboda, Ph.D. Rok obhajoby: 2009 Anotace Předmětem diplomové práce „Institucionální komparace kontinentálního a angloamerického modelu: Národní Galerie ČR a UK“ je analýza historického vývoje těchto institucí a jejich vzájemná komparace. První část popisuje historický vývoj a tedy i východiska, na kterých byly obě galerie vybudovány. Druhá část je věnována dnešní podobě galerií. Závěrečná kapitola je zaměřena na jejich vzájemnou komparaci. Annotation The objective of the thesis „Institutional comparison of a continental and an Anglo-american models: National Gallery in UK and CZ“ is historical development analysis and their mutual comparison. The first part describes the historical making and thus also origins of the establishment of both galleries. The second part presents their contemporary form. The closing
    [Show full text]
  • The Turner Collector: Elhanan Bicknell
    The Turner Collector: Elhanan Bicknell PETER BICKNELL Cambridge with HELEN GUITERMAN London `There took place last Saturday an event in London such as, we serge business; this had been moved to London from Taunton earlier venture to think, could scarcely in the same time and under the same in the century. William was musical, a mathematician, something of a conditions have happened in any other city in the world. It was not a writer and a great reader. He found the wool trade uncongenial and the great national event - a Royal reception, or a popular demonstration. It year after Elhanan's birth sold the business to buy the freehold of an was not anything attaching to or symbolising institutions or sentiments 'Academy' attended by some i 00 scholars, in the old palace of the peculiarly British. It had nothing to do with our glorious constitution, Bishop of Lincoln at Ponder's End, Enfield. The school prospered, our lords, our commons, our free press, our meteor-flag, our climate, and in December 1804 he moved it and his residence to Surrey our racehorses, or our bitter beer . It was merely a sale of Hall, Lower Tooting. Elhanan's curious name' came through the pictures. The collection of paintings thus sold had been gathered Bicknell connection with the Free Churches, John Wesley having been together by a private Englishman, a man of comparatively obscure a friend of the family at Taunton and in London; William's closest position, a man engaged at one time in mere trade - a man not even friend was the American preacher, the Reverend Elhanan pretending to resemble a Genoese or Florentine merchant prince, but Winchester, author of Universal Restoration, a book which gave simply and absolutely a Londoner of the middle class actively William great comfort and satisfaction.
    [Show full text]
  • Historical Scenarios Historical Scenarios
    HISTORICAL SCENARIOS HISTORICAL SCENARIOS ere are several historical scenarios that can KICKSTARTER EXCLUSIVE be played using the ships from Series 1. KS01 La Concorde 1777 / Junon 1778 HSuggestions are also given for replacing any ships not currently available. KS02 Fougueux 1785 / Redoutable 1791 If a player does not have some of the listed ships, he KS03 HMS Juno 1780 / HMS Castor 1785 can replace them with ships from the same class. KS04 HMS Bellerophon 1786 / HMS Defi ance 1783 OPTIONAL RULES 2 SERIES 1 FIELD OF FIRE 101A HMS Concorde 1783 / HMS Unite 1796 A British innovation by Captain Sir Charles Douglas helped guns fi re at as much as a 45° angle. Before 101B Hermione 1779 / L’Inconstante 1786 this, the fi eld of fi re was more restricted. If this optional rule is in use and the scenario is set before 102A HMS Impetueux 1796 / HMS Spartiate 1798 the Battle of Saintes (9–12 April 1782), when fi ring a forward or a rear broadside, the main mast of the 102B Commerce de Bordeaux 1785 / Duguay–Trouin 1788 target must be within the fi ring arc. Although other parts of the ship may be within the fi eld of fi re, if the 103A Embuscade 1798 / Le Succès 1801 main mast is not, the ship cannot be targeted. 103B HMS Cleopatra 1779 / HMS Iphigenia 1780 104A Le Berwick 1795 / Le Swiftsure 1801 104B HMS Bellona 1760 / HMS Goliath 1781 COMBAT, FINALLY! FRENCH SIDE HMS Bellona, after months of uneventful Winning Conditions: Score 1 point for each enemy French Setup Zone patrolling, meets a small French fleet and engages frigate eliminated, 2 points for every French ship after a long chase.
    [Show full text]
  • Art History Scholarship Between the 1820S and 1870S: Contextualising the Eastlake Library at the National Gallery, London
    Art history scholarship between the 1820s and 1870s: contextualising the Eastlake library at the National Gallery, London Katie Lissamore and Jonathan Franklin Figure 1 Carte de visite photograph of Charles Lock Eastlake, undated. National Gallery Archive NG67/5/1. Photo: The National Gallery, London. The Eastlake Library began life as the personal library of Sir Charles Lock Eastlake (pictured in figure 1).1 He had been a practising painter for a number of years before moving into official roles as Secretary to the Fine Arts Commission that was tasked with overseeing the decoration of the new Houses of Parliament (as of 1841); as Keeper (1843-1847) and then first Director (1855-1865) of the National Gallery; and simultaneously as President of the Royal Academy (1850-1865). At the same time, Eastlake was a researcher and scholar, publishing his pioneering classic of technical art history, Materials for a History of Oil Painting,2 in 1847.3 The Library, numbering 1 The authors would like to thank Dr Susanna Avery-Quash for her kind assistance with this article, which has been adapted and expanded from a presentation with the same title that was delivered in the session ‘Historic Libraries and the Historiography of Art (II)’ at the College Art Association conference in Chicago on Friday, February 14, 2020. The subject of the article arises from a doctoral project which is being co-supervised by Robert Gordon University in Aberdeen, Scotland, and the National Gallery in London, England. Of the two co-authors, Katie Lissamore is the PhD candidate and Jonathan Franklin is one of her three co-supervisors.
    [Show full text]
  • Drawing After the Antique at the British Museum
    Drawing after the Antique at the British Museum Supplementary Materials: Biographies of Students Admitted to Draw in the Townley Gallery, British Museum, with Facsimiles of the Gallery Register Pages (1809 – 1817) Essay by Martin Myrone Contents Facsimile, Transcription and Biographies • Page 1 • Page 2 • Page 3 • Page 4 • Page 5 • Page 6 • Page 7 Sources and Abbreviations • Manuscript Sources • Abbreviations for Online Resources • Further Online Resources • Abbreviations for Printed Sources • Further Printed Sources 1 of 120 Jan. 14 Mr Ralph Irvine, no.8 Gt. Howland St. [recommended by] Mr Planta/ 6 months This is probably intended for the Scottish landscape painter Hugh Irvine (1782– 1829), who exhibited from 8 Howland Street in 1809. “This young gentleman, at an early period of life, manifested a strong inclination for the study of art, and for several years his application has been unremitting. For some time he was a pupil of Mr Reinagle of London, whose merit as an artist is well known; and he has long been a close student in landscape afer Nature” (Thom, History of Aberdeen, 1: 198). He was the third son of Alexander Irvine, 18th laird of Drum, Aberdeenshire (1754–1844), and his wife Jean (Forbes; d.1786). His uncle was the artist and art dealer James Irvine (1757–1831). Alexander Irvine had four sons and a daughter; Alexander (b.1777), Charles (b.1780), Hugh, Francis, and daughter Christian. There is no record of a Ralph Irvine among the Irvines of Drum (Wimberley, Short Account), nor was there a Royal Academy student or exhibiting or listed artist of this name, so this was surely a clerical error or misunderstanding.
    [Show full text]
  • Kingsbridge, Salcombe and the South Hams During the French
    Kingsbridge, Salcombe and the South Hams during the French Revolutionary and Napoleonic Wars 1793-1815 Roger Barrett Kingsbridge Estuary U3A History Group, April 2021 Revolutionary France’s declaration of war against Britain in 1793 ushered in a generation of global conflict that finally ended with the Emperor Napoleon Bonaparte’s exile to St Helena in 1815. The South Hams played a small but not insignificant part in these long wars. The area provided grain to feed a hungry nation, men to defend its shores and was the scene of both first and the last naval events in home waters: the Battle of Prawle Point in 1793 and, in 1815, the transfer of Napoleon to the ship that would take him into exile. Kingsbridge, Salcombe and Dartmouth in the late 1790s At the close of the eighteenth century, Kingsbridge was a thriving market town at the centre of a rich grain-growing district. According to Richard Polwhele in 1793, Kingsbridge was one of the chief corn markets of the county and more corn was shipped from there than ‘from any other port in Devon Shire’.1 In 1801, the town (with its neighbour Dodbrooke) had a population of 1700 and was noted for its production of woollen cloth used in the manufacture of army uniforms, as well as rope for naval use. The Quaker’s, Walter Prideaux & John Roope, began the manufacture of serge cloth in 1798 when they converted Town Mill, formerly the corn mill, in Mill Street. Cloth was also weaved in Lavers’ mill in Duncombe Street.2 Rope for ships was made in Bonker’s ropewalk in Western backway and, in 1804, Kingsbridge made a further contribution to the war effort when an army barracks for over 600 men was built on the Warren to the south of the town.
    [Show full text]
  • Formování Veřejného Zájmu: Studie Vzniku a Rozvoje Londýnské National Gallery
    Masarykova univerzita Ekonomicko-správní fakulta Studijní obor: Evropská hospodářská, správní a kulturní studia FORMOVÁNÍ VEŘEJNÉHO ZÁJMU: STUDIE VZNIKU A ROZVOJE LONDÝNSKÉ NATIONAL GALLERY Formulating of public interest: essay about the founding and evolving of the National Gallery Bakalářská práce Vedoucí bakalářské práce: Autor: Ing. František SVOBODA, Ph.D. Aleš HORÁČEK Brno, květen 2010 Jméno a příjmení autora: Aleš Horáček Název bakalářské práce: Formování veřejného zájmu: studie vzniku a rozvoje londýnské National Gallery Název v angličtině: Formulating of public interest: essay about the founding and evolving of the National Gallery Katedra : Veřejná ekonomie Vedoucí bakalářské práce: Ing. František Svoboda, Ph.D. Rok obhajoby: 2010 Anotace v češtině: Předmětem bakalářské práce na téma „Formování veřejného zájmu: studie vzniku a rozvoje londýnské National Gallery" je analýza prvků veřejného zájmu v péči o kulturní dědictví společnosti, tedy takových faktorů , které stály i u zrodu jedné z největších světových galerií světa - londýnské National Gallery. Této problematice je věnována první část. Díky těmto a dalším vlivům se galerie v čase postupně vyvíjela a rostla, aţ dospěla do současného stavu. Tento proces a jeho výsledky jsou pak náplní druhé části mé práce. Anotace v angličtině: The objective of my bachelor work " Formulating of public interest: essay about the founding and evolving of the National Gallery", is the analysis of the components of public interest in the cultural heritage of our society, i.e. such factors, that led to the creation of one of the greatest galleries in the world - the National Gallery. The first part is dedicated to this topic. Due the influence of this factors, the gallery has been evolving ang getting bigger and ultimately reached the present state.
    [Show full text]