The Hidden History of Hampton Court
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HA16 Rivers and Streams London's Rivers and Streams Resource
HA16 Rivers and Streams Definition All free-flowing watercourses above the tidal limit London’s rivers and streams resource The total length of watercourses (not including those with a tidal influence) are provided in table 1a and 1b. These figures are based on catchment areas and do not include all watercourses or small watercourses such as drainage ditches. Table 1a: Catchment area and length of fresh water rivers and streams in SE London Watercourse name Length (km) Catchment area (km2) Hogsmill 9.9 73 Surbiton stream 6.0 Bonesgate stream 5.0 Horton stream 5.3 Greens lane stream 1.8 Ewel court stream 2.7 Hogsmill stream 0.5 Beverley Brook 14.3 64 Kingsmere stream 3.1 Penponds overflow 1.3 Queensmere stream 2.4 Keswick avenue ditch 1.2 Cannizaro park stream 1.7 Coombe Brook 1 Pyl Brook 5.3 East Pyl Brook 3.9 old pyl ditch 0.7 Merton ditch culvert 4.3 Grand drive ditch 0.5 Wandle 26.7 202 Wimbledon park stream 1.6 Railway ditch 1.1 Summerstown ditch 2.2 Graveney/ Norbury brook 9.5 Figgs marsh ditch 3.6 Bunces ditch 1.2 Pickle ditch 0.9 Morden Hall loop 2.5 Beddington corner branch 0.7 Beddington effluent ditch 1.6 Oily ditch 3.9 Cemetery ditch 2.8 Therapia ditch 0.9 Micham road new culvert 2.1 Station farm ditch 0.7 Ravenbourne 17.4 180 Quaggy (kyd Brook) 5.6 Quaggy hither green 1 Grove park ditch 0.5 Milk street ditch 0.3 Ravensbourne honor oak 1.9 Pool river 5.1 Chaffinch Brook 4.4 Spring Brook 1.6 The Beck 7.8 St James stream 2.8 Nursery stream 3.3 Konstamm ditch 0.4 River Cray 12.6 45 River Shuttle 6.4 Wincham Stream 5.6 Marsh Dykes -
Please Enter Name Here
Audit and Risk Annual Sustainability Report for the Year Ended 31st March 2018. Distribution The Audit & Risk Committee The Executive Board The NAO The Board of Trustees Issued: May 2018 Andrew Favell (Health, Safety and Environment Adviser) Sustainability Report 2017/18 1. Basis of Opinion The overall rating remains as Good, as the various reports that have been collected on all of our key sustainability themes have improved year on year. 2. Sustainability Strategy A sustainability strategy has been developed and agreed in 2017/18 with key stakeholders across HRP Directorates to further focus on six key areas of sustainability, with a sponsor on the Executive Board. Regular sustainability group meetings are being held to embed the strategy into the organisation and an agenda item for sustainability will remain on the quarterly local Fire, Health and Safety Committee meetings. 3. Conserve Water This year saw a 3% decrease in water consumption at HRP. All sites continue the progress that has been made over the years, and which is now supported by regular environmental audit and impact assessments for all HRP sites. Initiatives have included: The installation of automated meter readings across the main palaces; which has enabled close monitoring of water leaks and allowed prompt repair. Grey water used at some sites where possible to irrigate and flush some of the public toilets. Some visitor toilets have been fitted with sensor taps The water pressure was reduced at the taps, thereby reducing overall consumption at some sites. Rain water and river water is used for irrigation where possible. Visitor urinals have been fitted with an electrical flow rate controller at some sites. -
Congregational History Society Magazine Cover 2 November 2013 22:22 Page 1
Cover Autumn 2013 v1_Congregational History Society Magazine Cover 2 November 2013 22:22 Page 1 ISSN 0965–6235 Congregational History Society Magazine Volume 7 Number 2 Autumn 2013 CHC Autumn 2013 v4_CHC Autumn 2013 31 October 2013 15:13 Page 65 ISSN 0965–6235 THE CONGREGATIONAL HISTORY SOCIETY MAGAZINE Volume 7 No 2 Autumn 2013 Contents Editorial 66 News and Views 66 Correspondence 68 Notes from the Secretary 70 Obituaries 72 Elsie Chamberlain as I Knew Her 75 John Travell The Historical and Contemporary Significance of Covenant in English Congregationalism, with Particular Reference to The Congregational Federation 78 Graham Akers Review article: The Transformation of Congregationalism 1900–2000 91 Robert Pope Reviews 101 Congregational History Society Magazine, Vol. 7, No 2, 2013 65 CHC Autumn 2013 v4_CHC Autumn 2013 31 October 2013 15:13 Page 66 EDITORIAL We welcome to our pages Dr John Travell who offers us here some of his reflections upon and memories of that pioneering and influential woman minister, Elsie Chamberlain. His paper is, as he makes clear in his title, a personal insight to her character. We are also pleased to include the thoughts of Revd Graham Akers on the concept of the covenant in Congregational churches. Given his role as chair of the Congregational Federation’s pastoral care board, he is clearly interested in the application of Congregational principles in the churches. In addition we include a review article from Robert Pope who has written on The Transformation of Congregationalism 1900–2000, a new publication from the Congregational Federation. NEWS AND VIEWS The Bay Psalm Book A rare and precious but tiny hymnal, dating from 1640 and believed to be the first book actually printed in what is now the United States of America, is to be sold at auction. -
British Pa Inters Their Story and Their
H rTP S BRIT ISH PA INT ERS T H EIR ST O RY A ND T H EIR A RT J E . DGC UMBE ST A LEY A UT H OR OF WA TT EA U A ND H I S SCH OOL ET C . WIT H TWENTY -FO UR EXAMPLES IN C OLOUR O F T H EIR WO RK P RE FA C E “ BRI TI SH P A I NT E RS : Their Story and their Art l o f o f is a presentation, in popu ar form , the Story — - British Painting a well worn but never wearying t o Story , which for ever offers fresh charms young o ld and , and stirs in British hearts feelings of patriotism and delight . In a work o f the size of this volume it is im possible to d o more than lightly sketch the more sa lient features o f the glorious panorama o f seven hundred years . My purpose , in this compilation , —t o is threefold . First bring into stronger light the painting glories o f the earlier artists o f Britain many people are unfamiliar with the lives and s o f work of the precur ors Hogarth . Secondly to t reat especially o f the persons and art of painte rs Whose works are exhibited in o u r Public Galleries pictures in private holding are often inaccessible t o o f and the generality people, besides, they — co nstantly changing locality this is true of T — the Royal Collections . hirdl y t o vindicate the a of t o cl im Britain be regarded as an ancient , vii BRIT I S H P A I NT E RS consistent , and renowned Home of the Fine Arts and to correct the strange insular habit o f self depreciation, by showing that the British are supreme as a tasteful and artistic people . -
Copyright Statement
COPYRIGHT STATEMENT This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with its author and no quotation from the thesis and no information derived from it may be published without the author’s prior consent. i ii REX WHISTLER (1905 – 1944): PATRONAGE AND ARTISTIC IDENTITY by NIKKI FRATER A thesis submitted to the University of Plymouth in partial fulfilment for the degree of DOCTOR OF PHILOSOPHY School of Humanities & Performing Arts Faculty of Arts and Humanities September 2014 iii Nikki Frater REX WHISTLER (1905-1944): PATRONAGE AND ARTISTIC IDENTITY Abstract This thesis explores the life and work of Rex Whistler, from his first commissions whilst at the Slade up until the time he enlisted for active service in World War Two. His death in that conflict meant that this was a career that lasted barely twenty years; however it comprised a large range of creative endeavours. Although all these facets of Whistler’s career are touched upon, the main focus is on his work in murals and the fields of advertising and commercial design. The thesis goes beyond the remit of a purely biographical stance and places Whistler’s career in context by looking at the contemporary art world in which he worked, and the private, commercial and public commissions he secured. In doing so, it aims to provide a more comprehensive account of Whistler’s achievement than has been afforded in any of the existing literature or biographies. This deeper examination of the artist’s practice has been made possible by considerable amounts of new factual information derived from the Whistler Archive and other archival sources. -
Marble Hill Revived
MARBLE HILL REVIVED Business Plan February 2017 7 Straiton View Straiton Business Park Loanhead, Midlothian EH20 9QZ T. 0131 440 6750 F. 0131 440 6751 E. [email protected] www.jura-consultants.co.uk CONTENTS Section Page Executive Summary 1.0 About the Organisation 1. 2.0 Development of the Project 7. 3.0 Strategic Context 17. 4.0 Project Details 25. 5.0 Market Analysis 37. 6.0 Forecast Visitor Numbers 53. 7.0 Financial Appraisal 60. 8.0 Management and Staffing 84. 9.0 Risk Analysis 88. 10.0 Monitoring and Evaluation 94. 11.0 Organisational Impact 98. Appendix A Project Structure A.1 Appendix B Comparator Analysis A.3 Appendix C Competitor Analysis A.13 Marble Hill Revived Business Plan E.0 EXECUTIVE SUMMARY E1.1 Introduction The Marble Hill Revised Project is an ambitious attempt to re-energise an under-funded local park which is well used by a significant proportion of very local residents, but which currently does very little to capitalise on its extremely rich heritage, and the untapped potential that this provides. The project is ambitious for a number of reasons – but in terms of this Business Plan, most importantly because it will provide a complete step change in the level of commercial activity onsite. Turnover will increase onsite fourfold to around £1m p.a. as a direct result of the project , and expenditure will increase by around a third. This Business Plan provides a detailed assessment of the forecast operational performance of Marble Hill House and Park under the project. -
The Earlier Parks Charles I's New Park
The Creation of Richmond Park by The Monarchy and early years © he Richmond Park of today is the fifth royal park associated with belonging to the Crown (including of course had rights in Petersham Lodge (at “New Park” at the presence of the royal family in Richmond (or Shene as it used the old New Park of Shene), but also the Commons. In 1632 he the foot of what is now Petersham in 1708, to be called). buying an extra 33 acres from the local had a surveyor, Nicholas Star and Garter Hill), the engraved by J. Kip for Britannia Illustrata T inhabitants, he created Park no 4 – Lane, prepare a map of former Petersham manor from a drawing by The Earlier Parks today the “Old Deer Park” and much the lands he was thinking house. Carlile’s wife Joan Lawrence Knyff. “Henry VIII’s Mound” At the time of the Domesday survey (1085) Shene was part of the former of the southern part of Kew Gardens. to enclose, showing their was a talented painter, can be seen on the left Anglo-Saxon royal township of Kingston. King Henry I in the early The park was completed by 1606, with ownership. The map who produced a view of a and Hatch Court, the forerunner of Sudbrook twelfth century separated Shene and Kew to form a separate “manor of a hunting lodge shows that the King hunting party in the new James I of England and Park, at the top right Shene”, which he granted to a Norman supporter. The manor house was built in the centre of VI of Scotland, David had no claim to at least Richmond Park. -
Microscopy and Archival Research: Interpreting Results Within the Context of Historical Records and Traditional Practice
Microscopy and archival research: interpreting results within the context of historical records and traditional practice Jane Davies 32 ISSUE 3 SEPT 2006 The analysis of paint samples is an invaluable tool in the armoury of historic paint research. However, powerful as the techniques of pigment, cross-sectional and instrumental analysis may be, they cannot always provide complete answers to the questions posed. Historical records relating to specific buildings and projects, as well as painters’ manuals recording traditional painting techniques can offer clues which are vital to solving analysis puzzles. Historical text records which are particular to buildings and/or paintings can provide definitive dates for paint schemes which could otherwise only be dated approximately if key ‘marker’ pigments with known dates of introduction or obsolescence are present. Reference sources may be useful in suggesting or guiding proposed research and conversely, sample analysis can lead to a reassessment of archive records and a refinement of their interpretation. The application of cross-sectional analysis to the or redecoration decisions. To fulfil this role, I look investigation of architectural paint was pioneered in to a broad range of clues, drawing from diverse the 1970s by Ian Bristow and Josephine Darrah. sources, such as standing structure archaeology and During my research degree I was fortunate enough archival research — using all pieces of evidence to study microscopy with Jo Darrah at the Victoria available. Paper based archives such as accounts, and Albert Museum.This training, together with my correspondence and diaries, and artists images, tend painting conservator’s understanding of artist’s to be site specific. -
Wren and the English Baroque
What is English Baroque? • An architectural style promoted by Christopher Wren (1632-1723) that developed between the Great Fire (1666) and the Treaty of Utrecht (1713). It is associated with the new freedom of the Restoration following the Cromwell’s puritan restrictions and the Great Fire of London provided a blank canvas for architects. In France the repeal of the Edict of Nantes in 1685 revived religious conflict and caused many French Huguenot craftsmen to move to England. • In total Wren built 52 churches in London of which his most famous is St Paul’s Cathedral (1675-1711). Wren met Gian Lorenzo Bernini (1598-1680) in Paris in August 1665 and Wren’s later designs tempered the exuberant articulation of Bernini’s and Francesco Borromini’s (1599-1667) architecture in Italy with the sober, strict classical architecture of Inigo Jones. • The first truly Baroque English country house was Chatsworth, started in 1687 and designed by William Talman. • The culmination of English Baroque came with Sir John Vanbrugh (1664-1726) and Nicholas Hawksmoor (1661-1736), Castle Howard (1699, flamboyant assemble of restless masses), Blenheim Palace (1705, vast belvederes of massed stone with curious finials), and Appuldurcombe House, Isle of Wight (now in ruins). Vanburgh’s final work was Seaton Delaval Hall (1718, unique in its structural audacity). Vanburgh was a Restoration playwright and the English Baroque is a theatrical creation. In the early 18th century the English Baroque went out of fashion. It was associated with Toryism, the Continent and Popery by the dominant Protestant Whig aristocracy. The Whig Thomas Watson-Wentworth, 1st Marquess of Rockingham, built a Baroque house in the 1720s but criticism resulted in the huge new Palladian building, Wentworth Woodhouse, we see today. -
Jewel Tower – Final Interpretation Plan
Jewel Tower FINAL Interpretation Plan Curatorial Department 2012/13 Contents 1. Introduction 1.1 Site summary and context of the plan 1.2 Project team 2. History of the site 2.1 Summary 2.2 History of the building and important associations 2.3 Description and features 2.4 Points of significance 3. Conservation management 3.1 Designations 3.2 Condition survey 3.3 Conservation issues 3.4 Parameters for new interpretation 4. Collections 4.1 Summary of collections 4.2 Collections conservation 5. Audiences 5.1 Visitor numbers 5.2 Analysis 5.3 Education visits 5.4 Neighbouring attractions 5.5 Target audiences 6. Existing interpretation and visitor experience 6.1 Audit of current interpretation 6.2 Guidebook 6.3 Events 6.4 Website 7. Interpretation proposals 7.1 Themes 7.2 Interpretation approach 7.3 The scheme 7.4 Maintenance 8. Appendices i) Future work ii) Copy of visitor questionnaire and results iii) Collections in store iv) Activity sheet v) Education visits at the Houses of Parliament vi) Site plan 2 1. INTRODUCTION 1.1 Site summary and context of the plan The Jewel Tower is a three storey building lying opposite the Houses of Parliament in the heart of London. It was built around 1365 to house Edward III’s personal treasure as part of the palace at Westminster, and is one of the few buildings from this complex to survive today. In the 17th century, the Jewel Tower became the record office for the Houses of Lords and from 1869, it was the home of the Weights and Measures office, which set standards used across the British Empire. -
Eltham Palace Wedding Brochure 2018
Eltham Palace and Gardens was the dazzling home of a millionaire couple, whose lifestyle encapsulated the glamour of high society living on the eve of the Second World War. Virginia Courtauld was vivacious and chic. Her husband, Stephen, was her opposite, cautious and reserved. But they shared a vision of a life in luxury and, in 1933, Eltham was the place they chose to create it. The medieval Great Hall, boyhood home of King Henry VIII, was their starting point. They built a striking Art Deco house attached to the hall, packed with all the latest mod cons. Friends would visit and enjoy croquet and a drop of brandy in their afternoon tea, or twilight cocktails on the terrace. When the war broke out, life inevitably changed. But even as the couple retreated to their luxurious bomb shelter, the door always stood open for visitors. Your wedding day will lead you and your guests over Eltham’s ancient bridge into this remarkable world. Emulate 1930s sophistication with a ceremony in the curved Entrance Hall. Whether you enter through the double doors, or down the curved staircase, you can stand together under the glass domed roof to make your vows. From here, lead your guests out for drinks on the terrace, where spring time wisteria tumbles over the pergola. Or step into the drawing room to gather around the marble fireplace and grand piano. As the evening draws in, head into the medieval Great Hall where you can dine in splendour as royalty once did, then dance into the night as a backdrop of stars appears through the double height bay windows. -
CHRIST CHURCH LIBRARY NEWSLETTER Volume 5, Issue 1 Michaelmas 2008
CHRIST CHURCH LIBRARY NEWSLETTER Volume 5, Issue 1 Michaelmas 2008 ISSN 1756-6797 (Print), ISSN 1756-6800 (Online) Book Collections, Private Homes and The Art of Science - Thomas Roberts’ Seventeenth Century England Navigation Instruments in the Upper Library Since private collections grew substantially in size In 1760 Christ Church Upper Library, the building of during the seventeenth century, and since the which began in 1717 to the designs of Dean Henry ownership of books were increasingly felt to Aldrich developed by the Oxford architect-academic represent the fulfilment of a gentleman’s social, Dr George Clarke, was completed with the applied cultural and moral responsibilities, collections began decoration of its ceiling and walls. Light, airy and with to move into the more public areas of the house. its book-cases lining the walls rather than jutting into the rooms at right angles, the Upper Library The growing literacy in the idioms of renaissance resembled the audience chamber of a cultured classicism also encouraged a greater formality in Central European ruler rather than the dark, house-planning and internal arrangement which monastic rooms of Oxford’s earlier libraries such as fostered the development of the library as a grand Merton and Duke Humfrey’s, and of course, the apartment. original medieval library of the College, and the However, the movement towards the eighteenth- decoration enhanced the effect of refined classicism. century formal library as a family room was never straight-forward; in part because the function of the The applied decoration was the work of a local closet/library space remained so fluid and nebulous.