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The Garden Designs of William Stukeley (1687–1765)
2-4 GS Reeve + RS CORR NEW_baj gs 4/9/13 10:02 PM Page 9 The BRITISH ART Journal Volume XIII, No. 3 Of Druids, the Gothic, and the origins of architecture The garden designs of William Stukeley (1687–1765) Matthew M Reeve illiam Stukeley’s central place in the historiogra- phy of eighteenth-century England is hardly Winsecure.1 His published interpretations of the megalithic monuments at Avebury (1743) and Stonehenge (1740) earned him a prominent position in the history of archaeology, and his Vetusta Monumenta ensured his rep- utation as a draughtsman and antiquarian. Recent research has shown that Stukeley was a polymath, whose related interests in astrology, Newtonian natural history and theol- ogy formed part of a broader Enlightenment world view.2 Yet, in the lengthy scholarship on Stukeley, insufficient attention has been paid to his interest in another intellectu- al and aesthetic pursuit of eighteenth-century cognoscenti: garden design.3 Stukeley’s voluminous manuscripts attest to his role as an avid designer of gardens, landscapes and garden build- ings. His own homes were the subjects of his most interesting achievements, including his hermitages at Kentish Town (1760), Stamford (Barnhill, 1744 and Austin Street 1737), and Grantham (1727).4 In this, Stukeley can be located among a number of ‘gentleman gardeners’ in the first half of the eighteenth century from the middling classes and the aristocracy.5 He toured gardens regularly, and recorded many of them in his books, journals and cor- respondence. His 1724 Itinerarium Curiosum recounts his impressions of gardens, including the recent work at Blenheim Palace and the ‘ha-ha’ in particular, and his unpublished notebooks contain a number of sketches such as the gardens at Grimsthorpe, Lincs., where he was a reg- ular visitor.6 Stukeley also designed a handful of garden buildings, apparently as gifts for friends and acquaintances. -
Blackstone As Architect: Constructing the Commentaries
Blackstone as Architect: Constructing the Commentaries Wilfrid Prest* On January 28, 1746, as Cumberland's forces pursued the retreating Jacobite army into Scotland, a twenty-three year old newly-minted Bachelor of Civil Law and junior fellow of All Souls College sat down to write a characteristically cheerful letter to his lawyer uncle Seymour Richmond, shortly after reaching "my new Habitation (which is at Mr Stoke's a Limner in Arundel St)."' In the light of what is becoming clear about William Blackstone's own accomplishments and interests in draftsmanship and the visual arts, his choice of London lodgings was perhaps not entirely accidental. Be that as it may, this report on what was seemingly Blackstone's first serious encounter with the common law (even though he had by now accumulated a full five years' standing at the Middle Temple), exudes a jaunty self-confidence, couched in topically martial language: "I have stormed one Book of Littleton, & opened my Trenches before ye 2d; and I can with Pleasure say I have met with no Difficulty of Consequence...." Having established that even the * Australian Research Council Australian Professorial Fellow, University of Adelaide. This paper is part of William Blackstone. Life and Works, an Australian Research Council Discovery Project (DP0210901) at the University of Adelaide which aims to produce a full- length biography, together with annotated editions of Blackstone's correspondence and architectural writings. Preliminary versions were presented from 1998 onwards to audiences at the University of South Australia, the National Humanities Center, the Australian and New Zealand Law and History Conference, the Australian Modem British History Conference (La Trobe University), the British Legal History Conference (University of Wales, Aberystwyth), the Law and Public Affairs Seminar, Princeton University, the Yale Legal History Forum, and a conference on "Enlightenment Law and Lawyers" at Glasgow University. -
Fretam Inventory 030#17270D
ALKEN, Henry. Ideas, Accidental and Incidental To Hunting and Other Sports. London: Thomas M'Lean, n.d.[1826-1830]. First edition, early issue, with plates watermarked 1831-32. Upright folio. Engraved title and forty-two hand colored soft- ground etchings with interleaves. Full forest green crushed morocco for Hatchards of London (stamp-signed) by either Riviere or Sangorski and Sutcliffe (ca. 1940). Occasional mild spots to margins not affecting imagery. A neat professional repair to closed margin tear. Otherwise, a beautiful copy of the most desirable edition. DB 02149. $16,500 DJB-2 ALKEN, Henry. Scraps From the Sketch-Book of Henry Alken. Engraved by Himself. London: Thomas M'Lean, 1825. Third edition (plates still dated 1820), preceded by those of 1821 and 1823, and equally scarce. Tall octavo. Title leaf and forty- two hand-colored engraved plates, twelve with multiple images. Contemporary half crimson morocco over paper boards. Red leather title label lettered in gilt to upper board. Small bookplate to front free-endpaper. DB 01902. $2,750 DJB-2 ALKEN, Henry. Specimens of Riding Near London. Drawn from Life. London: Published by Thomas M'Lean,. Repository of Wit and Humour, No. 26, Haymarket, 1823. Second edition. Oblong folio (8 3/4 x 12 3/4 in; 222 x 323 mm). Printed title and eighteen hand-colored engraved plates. Late nineteenth century half red roan over red cloth boards, ruled in gilt. Rectangular red roan gilt lettering label, bordered in gilt on front board. Spine with two raised bands, paneled and lettered in gilt. Clean tear in the inside margin of the seventeenth plate (just touching image) expertly and almost invisibly repaired. -
A Chesapeake Falling Garden: Landon Carter's Sabine Hall Mollie Ridout, Director of Horticulture, Historic Annapolis, Inc
Magnolia grandiflora The Laurel Tree of Carolina Publication of the Southern Garden Catesby’s NaturalM History, 1743 agnoliaHistory Society Vol. XXIV No. 4 Fall 2011 A Chesapeake Falling Garden: Landon Carter's Sabine Hall Mollie Ridout, Director of Horticulture, Historic Annapolis, Inc. Terraced gardens are a tradition of landscape design extending backward in time wherever gardens have been created on hilly terrain. The Chesapeake falling garden can find its distant ancestors in classic gardens of Europe. Yet the Tidewater region brings much of its own character to M. Ridout by Photo Sabine Hall, central path on the parterre terrace. the garden, beginning with the name. The term falling garden, referring to the slopes designed layouts advocated by earlier writers. between the terraces or flats, is fairly localized. Its use The desire for a high order of control in the landscape seems to be confined to the tidewater region of the may well be attributed to the ongoing struggle of Chesapeake, from the mid-eighteenth century into the American landowners to overcome the chaos of nature. early nineteenth century. We find Colonel William Byrd II No need for them to follow the style of their English using the term fall or falling garden as he describes notable counterparts by creating vast, and vastly expensive, Virginia gardens he has visited in the mid-eighteenth landscapes of wildness when original wildness was century. By the 1770s the term is familiar enough to apparent from their very doorsteps. When wild animals, be used in a Fredericksburg newspaper advertisement and in the early days, unfriendly native Indians as well describing a lot “already well improved with a good falling as unruly slaves and servants lurked about, a little show garden” (Sarudy, 29). -
New Editions 2012
January – February 2013 Volume 2, Number 5 New Editions 2012: Reviews and Listings of Important Prints and Editions from Around the World • New Section: <100 Faye Hirsch on Nicole Eisenman • Wade Guyton OS at the Whitney • Zarina: Paper Like Skin • Superstorm Sandy • News History. Analysis. Criticism. Reviews. News. Art in Print. In print and online. www.artinprint.org Subscribe to Art in Print. January – February 2013 In This Issue Volume 2, Number 5 Editor-in-Chief Susan Tallman 2 Susan Tallman On Visibility Associate Publisher New Editions 2012 Index 3 Julie Bernatz Managing Editor Faye Hirsch 4 Annkathrin Murray Nicole Eisenman’s Year of Printing Prodigiously Associate Editor Amelia Ishmael New Editions 2012 Reviews A–Z 10 Design Director <100 42 Skip Langer Design Associate Exhibition Reviews Raymond Hayen Charles Schultz 44 Wade Guyton OS M. Brian Tichenor & Raun Thorp 46 Zarina: Paper Like Skin New Editions Listings 48 News of the Print World 58 Superstorm Sandy 62 Contributors 68 Membership Subscription Form 70 Cover Image: Rirkrit Tiravanija, I Am Busy (2012), 100% cotton towel. Published by WOW (Works on Whatever), New York, NY. Photo: James Ewing, courtesy Art Production Fund. This page: Barbara Takenaga, detail of Day for Night, State I (2012), aquatint, sugar lift, spit bite and white ground with hand coloring by the artist. Printed and published by Wingate Studio, Hinsdale, NH. Art in Print 3500 N. Lake Shore Drive Suite 10A Chicago, IL 60657-1927 www.artinprint.org [email protected] No part of this periodical may be published without the written consent of the publisher. -
The Architecture of Joseph Michael Gandy (1771-1843) and Sir John Soane (1753-1837): an Exploration Into the Masonic and Occult Imagination of the Late Enlightenment
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2003 The Architecture of Joseph Michael Gandy (1771-1843) and Sir John Soane (1753-1837): An Exploration Into the Masonic and Occult Imagination of the Late Enlightenment Terrance Gerard Galvin University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Architecture Commons, European History Commons, Social and Behavioral Sciences Commons, and the Theory and Criticism Commons Recommended Citation Galvin, Terrance Gerard, "The Architecture of Joseph Michael Gandy (1771-1843) and Sir John Soane (1753-1837): An Exploration Into the Masonic and Occult Imagination of the Late Enlightenment" (2003). Publicly Accessible Penn Dissertations. 996. https://repository.upenn.edu/edissertations/996 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/996 For more information, please contact [email protected]. The Architecture of Joseph Michael Gandy (1771-1843) and Sir John Soane (1753-1837): An Exploration Into the Masonic and Occult Imagination of the Late Enlightenment Abstract In examining select works of English architects Joseph Michael Gandy and Sir John Soane, this dissertation is intended to bring to light several important parallels between architectural theory and freemasonry during the late Enlightenment. Both architects developed architectural theories regarding the universal origins of architecture in an attempt to establish order as well as transcend the emerging historicism of the early nineteenth century. There are strong parallels between Soane's use of architectural narrative and his discussion of architectural 'model' in relation to Gandy's understanding of 'trans-historical' architecture. The primary textual sources discussed in this thesis include Soane's Lectures on Architecture, delivered at the Royal Academy from 1809 to 1836, and Gandy's unpublished treatise entitled the Art, Philosophy, and Science of Architecture, circa 1826. -
Lightspeed Magazine, Issue 122 (July 2020)
TABLE OF CONTENTS Issue 122, July 2020 FROM THE EDITOR Editorial: July 2020 SCIENCE FICTION Zen and the Art of an Android Beatdown, or Cecile Meets a Boxer: A Love Story Tochi Onyebuchi The End of the World Measured in Values of N Adam-Troy Castro The Blue Fairy’s Manifesto Annalee Newitz The Swallows of the Storm Ray Nayler FANTASY Baba Yaga and the Seven Hills Kristina Ten A Siege of Cranes Benjamin Rosenbaum Great Gerta and the Mermaid Mari Ness Rosamojo Kiini Ibura Salaam EXCERPTS The Sin in the Steel Ryan Van Loan NONFICTION Book Reviews: July 2020 Chris Kluwe Media Review: July 2020 LaShawn M. Wanak Interview: Alaya Dawn Johnson Christian A. Coleman AUTHOR SPOTLIGHTS Kristina Ten Adam-Troy Castro Mari Ness Ray Nayler MISCELLANY Coming Attractions Stay Connected Subscriptions and Ebooks Support Us on Patreon, or How to Become a Dragonrider or Space Wizard About the Lightspeed Team Also Edited by John Joseph Adams © 2020 Lightspeed Magazine Cover by Galen Dara www.lightspeedmagazine.com Editorial: July 2020 John Joseph Adams | 247 words Welcome to Lightspeed’s 122nd issue! Our cover art this month is from Galen Dara, illustrating our first original fantasy short of the month: “Baba Yaga and the Seven Hills,” by Kristina Ten. Is there a place for a centuries- old Russian witch in San Francisco? You’d be surprised! Mari Ness takes us to Neverland in her piratical tale of “Great Gerta and the Mermaid.” Plus, we have fantasy reprints by Benjamin Rosenbaum (“A Siege of Cranes”) and Kiini Ibura Salaam (“Rosamojo”). During lockdown, it was hard not to think in terms of apocalypses. -
Disordered Appetites: Female Flesh in the Works of Thomas Middleton
DISORDERED APPETITES: FEMALE FLESH IN THE WORKS OF THOMAS MIDDLETON A dissertation submitted by Gregory M. Schnitzspahn in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English TUFTS UNIVERSITY May 2015 Copyright © 2015 by Gregory M. Schnitzspahn Advisor: Judith Haber ii Abstract This dissertation contends that Thomas Middleton’s plays and poetry exploit an early modern psychocultural anxiety focused on the insubstantiality of symbolic or linguistic constructs. More specifically, Middleton’s works consistently examine the manipulability and immateriality of patriarchally prescribed female social identities––such as maid, wife, and widow––that are based entirely upon a woman’s sexual or marital relations with men. Employing principles drawn from psychoanalysis and ecofeminism, I argue that this Middletonian preoccupation bespeaks a more widespread uncertainty in the period about symbolic structures intended to control or contain female bodies and the natural world. My analysis of Thomas Middleton’s work therefore points to conceptual technologies that were emergent in the early modern period and which continue to exert influence in the present day. In the introduction, I describe my guiding principles and theoretical apparatus by reading the typically Middletonian complications of marital and sexual identity in two plays, The Witch and The Phoenix. Chapter One moves to a discussion of female virginity in The Changeling, Middleton’s famous collaboration with William Rowley, and argues that the play taps into cultural anxieties about the potential unreliability of symbolic technologies for controlling female bodies and appetites. Chapter Two examines Middleton’s early work, The Ghost of Lucrece, and contends that this poem’s plaintive ghost uses images of iii female corporeality as a rhetorical weapon, unleashing great floods of blood, milk, and tears that strain the written language of the poem itself. -
Oxford Book Fair 5 Th- 5 Th April 515
oxford book fair 5 th- 5 th april 515 BERNARD QUARITCH Stand No 86 40 South Audley Street London W1K 2PR 020 7297 4888 [email protected] 1. DICKENS, Charles. The Nonesuch Dickens. The Complete Works of Charles Dickens. London, The Nonesuch Press, 1937-38. 8vo (255 x 158mm), 23 volumes and etched steel plate in box; uncut, volumes and box bound in original coloured full buckram by the Leighton-Straker Bookbinding Co., Ltd., gilt morocco lettering-pieces on spines, top edges gilt; a little light wear and occasional soiling, spines of a few volumes lightly sunned, Martin Chuzzlewit (supplied) sunned on spine and upper board with light wear to spine label; a very good set. £9,500 Limited edition of 877 sets, of which 66 were destroyed when a bomb hit the bindery in September 1940, so at most 811 complete sets survive (cf. Dreyfus, Nonesuch Press, 108). The steel plate included with this set is number 605, ‘Solemn reference is made to Mr. Bunsby’ from Dombey and Son (Chapter 23, facing p. 458), engraved by H. K. Browne (‘Phiz’), with the typed letter of authenticity on Chapman & Hall headed paper, signed by Arthur Waugh. Intended as a definitive edition of Dickens’ works the Nonesuch Press edition was printed using the original steel plates and woodblocks created by Chapman & Hall for the illustrations in the first editions of the books. Each set of the works was accompanied by one of the original engraved plates or woodblocks, of which there were 877. The original steel-engraved plate in this set is by ‘Phiz’ (Hablot Knight Browne), who was Dickens’ friend and the most highly regarded illustrator of his works. -
Download PDF Datastream
Racializing the Ancient World: Ancestry and Identity in the Early United States by Lyra D. Monteiro B.A., Anthropology and Classical Civilization, New York University, 2004 M.A., Classical Art and Archaeology, University of Michigan, 2006 M.A., Classical Studies-Latin, University of Michigan, 2006 M.A., Public Humanities, Brown University, 2009 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Doctor of Philosophy Joukowsky Institute for Archaeology and the Ancient World Brown University May 2012 Text copyright © 2012 by Lyra D. Monteiro All images are copyright their respective creators This dissertation by Lyra D. Monteiro is accepted in its present form by the Joukowsky Institute for Archaeology and the Ancient World as satisfying the dissertation requirement for the degree of Doctor of Philosophy. Date_____________ _________________________________ Susan E. Alcock, Advisor Date_____________ _________________________________ Seth Rockman, Advisor Recommended to the Graduate Council Date_____________ _________________________________ Corey D. B. Walker, Reader Date_____________ _________________________________ Ömür Harmanşah, Reader Approved by the Graduate Council Date_____________ _________________________________ Peter M. Weber, Dean of the Graduate School iii VITA Lyra Diana Monteiro was born in Port Townsend, Washington, on December 29, 1981. She studied Anthropology and Classical Civilizations at New York University, was elected to Phi Beta Kappa in 2003, and graduated summa cum laude in 2004. Between 2004-2006, she studied at the University of Michigan, Ann Arbor, and earned Masters degrees in Classical Art and Archaeology, and in Classical Studies-Latin. At Brown University, she earned a Masters degree in Public Humanities in 2009. Her doctoral studies were supported by the Mellon Fellowship for Humanistic Studies, the Rackham Merit Fellowship from the University of Michigan, the Joukowsky Presidential Fellowship from Brown University, a Graduate Teaching Fellowship from Brown University, the J.M. -
Notes on Contributors / Remembering Roy Porter
Notes on Contributors / Remembering Roy Porter Not only was Roy Porter a brilliant scholar and a dedicated colleague, he was also a remarkable, generous and idiosyncratic individual – in fact, he was exactly the kind of person about whom Roy himself loved to write. We were all lucky that our lives were enriched by his presence. In this section, conventionally reserved for descriptions of ourselves, many of us have also added favourite memories of Roy, or moments when his influence shaped our ideas and careers. Roberta Bivins is Wellcome Lecturer in the History of Medicine at Cardiff University. The topic of her most recent book,Alternative Medicine? A Global Approach (2007), was suggested to her by Roy Porter many years ago. She is now studying the reciprocal impact of immigration and medical research/healthcare delivery in the US and UK since the Second World War. ‘As a nervous PhD student, I came to Roy via the most tenuous of connections: my American supervisor happened to know Roy’s wife. It is typical of his generosity that Roy invited me to London sight unseen, simply as a favour to his wife’s acquaintance. Dutifully, he scheduled regular lunches with me to check on my progress. Alongside the sandwiches and the inspiration, Roy offered me, in his inimitable way, a much- needed sense of belonging. One lunchtime, he dropped into his chair, grinned, and reported: “My mother has a question for you: did the royals use acupuncture?” I was surprised – but the idea that Roy’s mum knew all about my dissertation suddenly made me feel right at home in London. -
University Microfilms 300 North Zaeb Road Ann Arbor
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