DOCSLIB.ORG

From Palladianism to the Gothic Revival Two Centuries Ofbritish Architectural Books

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
From Palladianism to the Gothic Revival Two Centuries Ofbritish Architectural Books From Palladianism to the Gothic Revival Two Centuries ofBritish Architectural Books frontispiece to Augustus Pugin. txampleso{Oothic archlteclUre. Y.2. 16:56. Designed byA. W. N. Pugin. Robert McDougall Art Gallery Christchurch, New Zealand 1987 20. 41 DC British Architectural Books Acknowledgements in Nineteenth-Century New zealand As the remaining examples of the On 9 septembet 1844 Bishop Selwyn's Ecclesiological Society for advice on Victorian buildings which gave visual chaplain. the Rev. W. C. Cotton. wrote to church building matters and in 1650 the character to colonial New Zealand his sisters in England from St John's Society ~made a grant ofits publications dwindle to a few. an exhibition showing College. Waimate, describing how to the Library of St Johns College. New the origins of the style-I> we as"'MICiate Selwyn was hard at wor1l drawing up Zealand, as a present to the Bishop of with European architecture of the plans for the college buildings. The that diocese-. Many of these wor\l.s can nineteenth century is timely. The New Bishop ~worked at the plans steadily as still be found at St John's. Zealand Institute of Architects' 1987 tho' he had been an architect and Similarly the Oxford Architectural Conference in Christchurch presented an nothing else - and before he gave over Society made presentations of its opportunity for an architecture related had not only the ground plan of the publications to the Bishop through its exhibition and Dr Ian Lochhead agreed whole establishment drawn up, but also publisher; J. H. Parker; one ofthe leading to curate MFrom Palladianism to the a beautiful general sketch of his Idea of publishers of architectural books in Gothic Revival~. We thank Dr Lochhead the whole - Mrs S[e1wyn] looked in and mid-Victorian England. In addition the for his willing contribution and those admired - and turning to the library received reports and publications private collectors and institutions which frontispiece of one of Pugin's books, viz. issued by the many provincial made volumes available for the an ecclesiastic in his study designing a architectural societies dedicated to the exhibition. building. said ·thereyou are my dea~ study of Gothic architecture in England. This delightful anecdote provides a as well as other architectural books. John Coley revealing glimpse of a colonial bishop Bishop selwyn was not of course. a directly confronting the problems of professional architect and it was men building in a new land, while Mrs such as fredrick Thatcher and Reader I am particularly grateful to John Coley selwyn's comment gives us a rare insight Wood who actually gave physical form and the Robert McDougall Art Gallery for into the way in which a Victorian to the Bishop's ideas. They too, no the opportunity to curate this churchman like selwyn approached his doubt, made good use of the books In exhibition, a task which has combined role as architect. The presence ofone of the College library. The influence of the excitement of new discoveries with rugin's books in the very room in which these works, many of which arrived in the pleasures of re-exploring familiar he was working also tells us much about New Zealand within a short time of their works. The exhibition was inspired by the the important rote which architectural publication, was of major importance in similar exhibition organised by Georgia books played in shaping the formative establishing the character of Anglican Prince at the Auckland Public Library In years of New zealand's architectural church architecture throughout New 198.3. and by the presence in the history. Zealand for the remainder of the University of Canterbury Library of Although we cannot be absolutely nineteenth centu~ samuel Hurst seager's collection of certain which book by Pugin was referred The library at St John's College is architectural books. I also wish to to by Mrs selwyn, Itwas probably his1hre remarkable because it is relatively well acknowledge the assistance received prinCiples or pointed or ChristIan documented. In the case of individual from Eleanor Hamlyn at the Auckland architecture (l84l), a copy of which, architects Information about their Public ubra~ Kathryn Bolland and Ms along with several other wol1l.s by Pugln, libraries is often much more difficult to K. A. Coleridge at the Victoria University was presented to selwyn in 1643 by Dr E. trace. Benjamin Mountfort's library is a Library and especially the staff of the S. Hawtry, the headmaster of Eton good example of this problem. University of canterbury Library without College. These books, alongwith the rest Mountfort arrived In Canterbury in 1850 whose help the exhibition could not have of Selwyn'S extensive architectural and gradually established himselfas this taken place. Each of the libraries library, can still be found in the Ubrary country's leading Gothic Revival mentioned has willingly agreed to lend of St John's College, Auckland, The architect. He Is known to have had an works to the exhibition. as have College frontispiece of 7'rue principles Is, extensive library but this was dispersed House and Collins Architects of however, a variant of the frontispiece to after his death and only isolated Christchurch. Thanks are also due to the second volume of Augustus Pugins volumes. some of which are Included in Judy Boyle who typed the catalogue. Examptes or Gothic architecture, this exhibition, have been traced. The finally we should recognise the designed by the younger Pugin in 1834. task of reconstructing Mountfort's contribution of those architects who While it is possible that this was the library can only be achieved by formed the: collections from which the image of the architect Mrs selwyn conjecture. and through the evidence of books in this exhibition have largely referred to, there Is no record of this the influences visible in his executed been drawn. war1\. ever being owned by selwyn nor of wori<s. its presence in the St John5 College In the case of Mountfort's contemporary, Ian J. Lochhead Library. W. B. Armson, we are much more School of nne,vU selwyn's architectural library was the fortunate, for his library has remained University of Canterbury first collection of its kind in New substantially intact in the office of zealand, and it was assembled with the Collins Architects, Christchurch, the specific purpose ofensuring that church firm he founded in 1870. What has also building in the Anglican Diocese of New survived is the record of an order for zealand would be carried out according books made by Armson in 1874 to the to the best principles and the very latest london bookseller; B. T. Batsford, which ideas. Bishop selwyn was a patron of the includes many items which can still be cambridge camden Societ): later the identified in the firm's library today. Ecdesiological Soc:iel): the body which. Armson's library is of particular interest from its foundation in 1839. vigorously as it has continued to grow, being promoted the reform of church augmented by subsequent members of architecture according to the model of the firm in the last decades of the the medieval church and the revival of nineteenth and the early years of this ancient ritualistic practices. Selwyn century. repeatedly referred to the selwyn's and Mountfort's libraries were made up almost exclusively of works on "". I ~ I,. .Q;:O:;:;:;:::;;.::;z;;J:" I ,I Gothic architecture. Armson's library, although containing a large number of works on Gothic. also included a significant number of publications on classical design. its composition renecting the character of his practice in which classical and Gothic designs were of equal importance. yet another well documented architectural library, that of the Wellington architect Thomas Turnbull. included important works on classicism. as well as many of the popular Gothic source books. Turnbull was particularly proud of his library and publicised it in the article on his practice in the Cyclopedia of New Zealand in 1897. ~His london agent. Mr Batsford, for very many years has had a standing order to send out all the best works published about architecture and kindred subjects. His extensive library therefore contains a valuable collection of architectural works, supposed to be the finest private collection in the Southern Hemisphere:'Turnbull not only collected recent publications but eighteenth-century works as well, including for example. Leoni's edition of Palladio's Four books on architecture and Wood's Ruins of Palmyra. Fortunately. his library formed part of the bequest made by John Urie Turnbull to the Victoria University Library in 1938. A collection of works on architecture which rivals Turnbull'S in both size and importance is that formed by the Christchurch architect. Samuel Hurst Seager. seager's collection was both large in size and impressive in scope. ranging from a seventeenth-century French translation of the four books on architecture of Palladio to recent studies of English vernacular houses which directly inspired Seager's own domestic works. As with Turnbull's library, it has remained intact, being presented to canterbury College in 1928, at which time a catalogue of the collection was pUblished. Seager's library, like those of Armson and Turnbull, contains books which are individually of considerable interest Collectively, however, they are of even more interest. for they tell us a great deal about the architects who owned The doric order; from Ahrilham Swan. The fjrl/lsh afCh/~ct London. 1758. them. The existence of these collections is century and which culminated in the to imagine that our knowledge of the indicative of the importance nineteenth century. During this period whole history ofart will be without its nineteenth-century New Zealand the tradition of classical architecture influence upon that which we architects placed on an accurate which had been revived during the ourselves generate .
Load more

Recommended publications
  • 2018 Journal
    1 BAKEWELL & DISTRICT HISTORICAL SOCIETY JOURNAL 2018 NO 45 CONTENTS page The Mediaeval & Victorian Misericords of All Saints’ Church, Bakewell Susan Hillam 3 Chatsworth from the East A painting by Jan Siberechts (1621-1703) Trevor Brighton 18 Stained Glass Windows in All Saints’ Church, Bakewell Michael Hillam 23 Bakewell’s Packhorse Saltway Jan Stetka and From Cheshire to Chesterfield David G Wilbur 39 The Inhabited Medieval Village Of Smerrill Lyn Burnet 68 Opposition in Bakewell to Poor Law George Challenger 75 Some notes on the Baewell VAD Hospital at Newholme, 1914-19 Pat Marjoram 85 A Royal Bastard’s Arms in Bakewell Trevor Brighton 89 Cunningham Place (now call the Old House) On the 1851 map; another room? George Challenger 94 A Bakewell Scout group identified 98 2 The Mediaeval and Victorian Misericords of All Saints' Church, Bakewell Susan Hillam Misericords are the ledges found underneath the seats of choir stalls in British and European cathedrals and churches. In mediaeval times, the clergy, monks and canons sang the eight daily offices standing in their stalls. By the tenth century the stalls were partly enclosed with wooden sides and backs to protect the occupants from the cold and draughts of an unheated building. The word "stall" means a place to stand. We still use the term in "cattle stalls". Although fold-up seats were introduced in the eleventh century, these could be used only for the Epistle and Gradual at Mass and the Responses at Vespers. By the twelfth century, small ledges on the undersides of seats were referred to as indulgences, or in Latin misericordia, meaning acts of mercy.
    [Show full text]
  • The Architecture of Sir Ernest George and His Partners, C. 1860-1922
    The Architecture of Sir Ernest George and His Partners, C. 1860-1922 Volume II Hilary Joyce Grainger Submitted in fulfilment of the requirements for the degree of Ph. D. The University of Leeds Department of Fine Art January 1985 TABLE OF CONTENTS Notes to Chapters 1- 10 432 Bibliography 487 Catalogue of Executed Works 513 432 Notes to the Text Preface 1 Joseph William Gleeson-White, 'Revival of English Domestic Architecture III: The Work of Mr Ernest George', The Studio, 1896 pp. 147-58; 'The Revival of English Domestic Architecture IV: The Work of Mr Ernest George', The Studio, 1896 pp. 27-33 and 'The Revival of English Domestic Architecture V: The Work of Messrs George and Peto', The Studio, 1896 pp. 204-15. 2 Immediately after the dissolution of partnership with Harold Peto on 31 October 1892, George entered partnership with Alfred Yeates, and so at the time of Gleeson-White's articles, the partnership was only four years old. 3 Gleeson-White, 'The Revival of English Architecture III', op. cit., p. 147. 4 Ibid. 5 Sir ReginaldýBlomfield, Richard Norman Shaw, RA, Architect, 1831-1912: A Study (London, 1940). 6 Andrew Saint, Richard Norman Shaw (London, 1976). 7 Harold Faulkner, 'The Creator of 'Modern Queen Anne': The Architecture of Norman Shaw', Country Life, 15 March 1941 pp. 232-35, p. 232. 8 Saint, op. cit., p. 274. 9 Hermann Muthesius, Das Englische Haus (Berlin 1904-05), 3 vols. 10 Hermann Muthesius, Die Englische Bankunst Der Gerenwart (Leipzig. 1900). 11 Hermann Muthesius, The English House, edited by Dennis Sharp, translated by Janet Seligman London, 1979) p.
    [Show full text]
  • Berkhamsted Heritage Network and Hub – Main Report Appendices
    Berkhamsted Heritage Hub and Network Berkhamsted Heritage Network and Hub – Main Report Appendices 1 Destination Audit 78 2 Heritage Groups 87 3 Collections 91 4 Arts Groups in Berkhamsted 94 5 Museums & Heritage Centres 96 6 History Festivals 99 7 “Berkhamsted - Ten Centuries Through Ten Stories” - Worked Example of Events and Performances Proposal 105 8 Increasing Enjoyment of Heritage by Young People and Working with Schools 113 9 The Historic Environment (M Copeman Report) 10 BLHMS Collections Analysis (E. Toettcher report) 11 HKD Digitisation and Digital / Virtual Interpretation 12 Workshop Notes 13 Socio-Demographic Profile – Berkhamsted 14 Socio-Demographic Profile – 30 Minute Drive Time 77 Berkhamsted Heritage Hub and Network 1 Destination Audit 1.1 Access The A4251 runs through the centre of Berkhamsted. It connects to the A41, which runs adjacent to the town. The A41 connects in the east to the M1 and M25. Figure 48: Distance & Drive Time to large towns & cities Name Distance (mi.) Drive Time (mins) Tring 6.7 13 Hemel Hempstead 7.4 15 Watford 12.6 25 Aylesbury 13.8 22 Leighton Buzzard 14.3 31 High Wycombe 15.2 35 Luton 18.2 32 Source: RAC Route Planner There are currently 1,030 parking places around the town. Most are charged. Almost half are at the station, most of which are likely to be used by commuters on weekdays but available for events at weekends. A new multi-storey will open in 2019 to alleviate parking pressures. This is central to the town, next to Waitrose, easy to find, and so it will a good place to locate heritage information.
    [Show full text]
  • The English Claim to Gothic: Contemporary Approaches to an Age-Old Debate (Under the Direction of DR STEFAAN VAN LIEFFERINGE)
    ABSTRACT MARY ELIZABETH BLUME The English Claim to Gothic: Contemporary Approaches to an Age-Old Debate (Under the Direction of DR STEFAAN VAN LIEFFERINGE) The Gothic Revival of the nineteenth century in Europe aroused a debate concerning the origin of a style already six centuries old. Besides the underlying quandary of how to define or identify “Gothic” structures, the Victorian revivalists fought vehemently over the national birthright of the style. Although Gothic has been traditionally acknowledged as having French origins, English revivalists insisted on the autonomy of English Gothic as a distinct and independent style of architecture in origin and development. Surprisingly, nearly two centuries later, the debate over Gothic’s nationality persists, though the nationalistic tug-of-war has given way to the more scholarly contest to uncover the style’s authentic origins. Traditionally, scholarship took structural or formal approaches, which struggled to classify structures into rigidly defined periods of formal development. As the Gothic style did not develop in such a cleanly linear fashion, this practice of retrospective labeling took a second place to cultural approaches that consider the Gothic style as a material manifestation of an overarching conscious Gothic cultural movement. Nevertheless, scholars still frequently look to the Isle-de-France when discussing Gothic’s formal and cultural beginnings. Gothic historians have entered a period of reflection upon the field’s historiography, questioning methodological paradigms. This
    [Show full text]
  • The Gothic Revival Character of Ecclesiastical Stained Glass in Britain
    Folia Historiae Artium Seria Nowa, t. 17: 2019 / PL ISSN 0071-6723 MARTIN CRAMPIN University of Wales THE GOTHIC REVIVAL CHARACTER OF ECCLESIASTICAL STAINED GLASS IN BRITAIN At the outset of the nineteenth century, commissions for (1637), which has caused some confusion over the subject new pictorial windows for cathedrals, churches and sec- of the window [Fig. 1].3 ular settings in Britain were few and were usually char- The scene at Shrewsbury is painted on rectangular acterised by the practice of painting on glass in enamels. sheets of glass, although the large window is arched and Skilful use of the technique made it possible to achieve an its framework is subdivided into lancets. The shape of the effect that was similar to oil painting, and had dispensed window demonstrates the influence of the Gothic Revival with the need for leading coloured glass together in the for the design of the new Church of St Alkmund, which medieval manner. In the eighteenth century, exponents was a Georgian building of 1793–1795 built to replace the of the technique included William Price, William Peckitt, medieval church that had been pulled down. The Gothic Thomas Jervais and Francis Eginton, and although the ex- Revival was well underway in Britain by the second half quisite painterly qualities of the best of their windows are of the eighteenth century, particularly among aristocratic sometimes exceptional, their reputation was tarnished for patrons who built and re-fashioned their country homes many years following the rejection of the style in Britain with Gothic features, complete with furniture and stained during the mid-nineteenth century.1 glass inspired by the Middle Ages.
    [Show full text]
  • Cardiff 19Th Century Gameboard Instructions
    Cardiff 19th Century Timeline Game education resource This resource aims to: • engage pupils in local history • stimulate class discussion • focus an investigation into changes to people’s daily lives in Cardiff and south east Wales during the nineteenth century. Introduction Playing the Cardiff C19th timeline game will raise pupil awareness of historical figures, buildings, transport and events in the locality. After playing the game, pupils can discuss which of the ‘facts’ they found interesting, and which they would like to explore and research further. This resource contains a series of factsheets with further information to accompany each game board ‘fact’, which also provide information about sources of more detailed information related to the topic. For every ‘fact’ in the game, pupils could explore: People – Historic figures and ordinary population Buildings – Public and private buildings in the Cardiff locality Transport – Roads, canals, railways, docks Links to Castell Coch – every piece of information in the game is linked to Castell Coch in some way – pupils could investigate those links and what they tell us about changes to people’s daily lives in the nineteenth century. Curriculum Links KS2 Literacy Framework – oracy across the curriculum – developing and presenting information and ideas – collaboration and discussion KS2 History – skills – chronological awareness – Pupils should be given opportunities to use timelines to sequence events. KS2 History – skills – historical knowledge and understanding – Pupils should be given
    [Show full text]
  • CHURCH of ST SAVIOUR New Church Street, Tetbury, Gloucestershire
    CHURCH OF ST SAVIOUR New Church Street, Tetbury, Gloucestershire 1 West Smithfield London EC1A 9EE Tel: 020 7213 0660 Fax: 020 7213 0678 Email: [email protected] £1.50 www.visitchurches.org.uk Registered Charity No. 258612 Spring 2007 New Church Street, Tetbury, Gloucestershire CHURCH OF ST SAVIOUR by Valerie Roseblade (local resident and long-serving keyholder for St Saviour) INTRODUCTION Tetbury is a small Cotswold market town situated between Cirencester and Malmesbury, close to the Roman Fosse Way. It can claim 1300 years recorded history since 681, when King Ethelred of Mercia gave a parcel of land ‘near Tetta’s monastery’ to Abbot Adhelm of Malmesbury. Tetta was abbess of Wimborne and founded the abbey at Tetbury. The place name means ‘Tetta’s fortified site or manor’. Towards the end of the 12th century the former village, then owned by William de Broase, had become established as a market town. With the growing importance of Cotswold wool in the 17th century, Tetbury became an important trading centre. The impressive Market House still dominates the centre of the town, and many of the handsome houses built by wealthy wool merchants remain. Little affected by the 19th-century Industrial Revolution, Tetbury today has a Front cover: Interior from the chancel, looking west population of about 5000. (© Crown copyright. NMR.) Left: Interior looking east (Christopher Dalton) 2 Below: Exterior from the north (Kay Adkins) Right: Exterior looking south-east (Kay Adkins) HISTORY The church of St Saviour, Tetbury, must have been In Tetbury, in 1842, 1,800 of the 3,000 one of the most splendid examples ever of ‘a little parishioners were defined as ‘poor’ – living in church for the poor’.
    [Show full text]
  • 'James and Decimus Burton's Regency New Town, 1827–37'
    Elizabeth Nathaniels, ‘James and Decimus Burton’s Regency New Town, 1827–37’, The Georgian Group Journal, Vol. XX, 2012, pp. 151–170 TEXT © THE AUTHORS 2012 JAMES AND DECIMUS BURTON’S REGENCY NEW TOWN, ‒ ELIZABETH NATHANIELS During the th anniversary year of the birth of The land, which was part of the -acre Gensing James Burton ( – ) we can re-assess his work, Farm, was put up for sale by the trustees of the late not only as the leading master builder of late Georgian Charles Eversfield following the passing of a private and Regency London but also as the creator of an Act of Parliament which allowed them to grant entire new resort town on the Sussex coast, west of building leases. It included a favourite tourist site – Hastings. The focus of this article will be on Burton’s a valley with stream cutting through the cliff called role as planner of the remarkable townscape and Old Woman’s Tap. (Fig. ) At the bottom stood a landscape of St Leonards-on-Sea. How and why did large flat stone, locally named The Conqueror’s he build it and what role did his son, the acclaimed Table, said to have been where King William I had architect Decimus Burton, play in its creation? dined on the way to the Battle of Hastings. This valley was soon to become the central feature of the ames Burton, the great builder and developer of new town. The Conqueror’s table, however, was to Jlate Georgian London, is best known for his work be unceremoniously removed and replaced by James in the Bedford and Foundling estates, and for the Burton’s grand central St Leonards Hotel.
    [Show full text]
  • Parish Movie Night
    Notes from Fr. Nick The Gothic Revival I wrote my doctoral dissertation on the Gothic Revival of the 18th and 19th centuries. This architectural movement sought to bring back the beauty of medieval churches and other buildings into contemporary life. What many people do not realize about the Gothic Revival movement is that its promoters saw them- selves primarily as social reformers, and only secondly as architects. The revival began in England during the height of the Industrial Revolution. The need for unskilled work- ers had uprooted massive numbers of formerly rural peasants and tossed them into squalid and dehuman- izing city tenements. This was the world Charles Dickens wrote about. People with a social conscience de- sired a return to a simpler life in which human beings were valued. Many Catholics and Anglo-Catholics saw the Middle Ages as the high point in civilization. They believed that if the institutions and architecture from that time were restored, the forces of the modern world could be counteracted. Thus, a vast project of building churches, hospitals and asylums was undertaken. Among the most prominent architects and design- ers of the Gothic Revival were Augustus Pugin, William Morris, George Gilbert Scott and John Ruskin. U.S. Churches built in the Gothic Revival style are St. Patrick’s Cathedral in New York City and Grace (Episcopal) Cathedral in San Francisco. The results of these social reformers were mixed. The Industrial Revolution continued unabated, but the reformers did raise consciousness about the plight of common people. Guilds were estab- lished for crafts people (which still protect them today) and living conditions improved.
    [Show full text]
  • Decorative Art of William Morris and His Work
    anxaf 86-B 19107 ' 1 / Digitized by the Internet Archive in 2014 https://archive.org/details/decorativeartofwOOdayl THE ART OF WILLIAM MORRIS Helcochromg. FLORA."—Sketch design for Tapestry executed by Morris & Co. Figure by Sir Edward Burne=Jones, Ornament by William Morris. 1886. " LONDON: /.S.VIRTUE AND CoUMlTED :; WILLIAM MORRIS AND HIS ART. NO one in the least interested in Decorative Art—and care for art. His old friend Mr. F. S. Ellis tells (in who is there does not profess that much ? —wants to a paper read before the Society of Arts, May loth, 1898) be told at this time of day who William Morris was. how he went to the Exhibition of 1851—he was then seven- His name is prominent among the few true poets of the teen years old—and how he sat himself down on a seat, age ; it heads the list of those who in our days have and steadily refused to go over the building, declining wrought and fought for the lesser arts—for art, that is to to see anything more wonderful in this wonder of the say, in the larger sense of the word. He it was snatched world than that it was " wonderfully ugly." He never from the hand of Ruskin the torch which Pugin earlier got over that prejudice against the Great Fair, which he in the century had kindled, and fired the love of beaiity accused of giving the death-stroke to traditional design in us. He was the staunchest defender of our ancient in this country. Nevertheless, he owed something, if not to that event, to the awakened interest in artistic production of which it was the outward and vis- * ' Hammersmith Carpet Weav- ible sign.
    [Show full text]
  • Certain Early Ancestors
    CERTAIN EARLY ANCESTORS GENEALOGIES OF THE BUTTERFIELDS OF CHELMSFORD, MASS., OF THE PARKERS OF WOBURN AND CHELMSFORD, MASS., OF THE HOHNS OF ONTARIO, CANADA, OF THE JOHNSONS OF ROXBURY, MASS., AND OF THE HEATHS OF HAVERHILL, MASS. Compiled from records of the First Church of Christ in Frances­ town, N. H., '1791.(deposited at the State Library, Concord, N. H.), and from framed old family registers, and Bibles, and from the history · of Old Families of Amesbury and Salisbury, Mass., and from town histories of Roxbury, Mass., Ryegate, Vt., Lyndeboro and Francestown, N. H., and from histories of Buf, falo and Erie Co., N. Y., Macomb Co., and Ionia and Montcalm Cos., Mich., and Houston Co., Minn., and from published gene, alogies, gravestone records and censuses, and from personal recoJ, lections of Nellie B. Buffum, Emma C. Perry, Lilly Ellis and Jessie Culver, extended and substantiated by inspection of offi, cial documents of births, marriages, deaths, deeds, probate rec, ords, pension papers and war records in Massachusetts, New Hampshire, Connecticut, Vermont, New York, Michigan and Ontario. Compiled by Cora Elizabeth Hahn Smith I 9 4 3 Copyright 1944 Cora Elizabeth Hahn Smith Lithoprinted in U.S.A. EDWARDS BROTHERS, INC. ANN .-4,RROR, MIC~ICAN 1944 FOREWORD This book of early New England and Ontario fam­ ilies records, in the case of the Butterfields of Chelms­ ford, Mass., primarily, the descendants of William Butterfield (family #4),beginning with the record of his birth and including his marriage to Rebecca Parker as given in New England Historical and Genealogical Register of January 1890, page 37, and continuing with the historical account of the man as given in History of Francestown, New Hampshire,by Cochrane, published 1895, and including data obtained through corresponding with various de3~endants of his children who had records of their family descent.
    [Show full text]
  • William Morris and the Society for the Protection of Ancient Buildings: Nineteenth and Twentieth Century Historic Preservation in Europe
    Western Michigan University ScholarWorks at WMU Dissertations Graduate College 6-2005 William Morris and the Society for the Protection of Ancient Buildings: Nineteenth and Twentieth Century Historic Preservation in Europe Andrea Yount Western Michigan University Follow this and additional works at: https://scholarworks.wmich.edu/dissertations Part of the European History Commons, and the History of Art, Architecture, and Archaeology Commons Recommended Citation Yount, Andrea, "William Morris and the Society for the Protection of Ancient Buildings: Nineteenth and Twentieth Century Historic Preservation in Europe" (2005). Dissertations. 1079. https://scholarworks.wmich.edu/dissertations/1079 This Dissertation-Open Access is brought to you for free and open access by the Graduate College at ScholarWorks at WMU. It has been accepted for inclusion in Dissertations by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. WILLIAM MORRIS AND THE SOCIETY FOR THE PROTECTION OF ANCIENT BUILDINGS: NINETEENTH AND TWENTIETH CENTURY IDSTORIC PRESERVATION IN EUROPE by Andrea Yount A Dissertation Submitted to the Faculty of The Graduate College in partial fulfillment of the requirements for the Degree of Doctor of Philosophy Department of History Dale P6rter, Adviser Western Michigan University Kalamazoo, Michigan June 2005 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. NOTE TO USERS This reproduction is the best copy available. ® UMI Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: 3183594 Copyright 2005 by Yount, Andrea Elizabeth All rights reserved. INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted.
    [Show full text]