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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. -
+44 (0)1844 277188 +44 (0) 20 7394 2100 +44 (0)20 7394 8061 [email protected] [email protected] [email protected]
ROPEWALK THREE PIGEONS BRUNSWICK HOUSE Arch 52, London Road, 30 Wandsworth Road, Maltby Street, Milton Common, Vauxhall, Bermondsey, Oxfordshire OX9 2JN London SW8 2LG London SE1 3PA www.lassco.co.uk +44 (0)1844 277188 +44 (0) 20 7394 2100 +44 (0)20 7394 8061 [email protected] [email protected] [email protected] SIR WILLIAM CHAMBERS' DOORCASE An important carved Portland Stone doorcase c.1769, by Chambers (1723-1796) for his own house in Berners Street Westminster the triangular pediment with dentil mouldings above the rusticated cushion moulded frieze centred by a keystone in Coade Stone modelled in relief with a female mask, the jambs constructed with alternating rusticated quoins, DIMENSIONS: 432cm (170") High, 244cm (96") Wide, 198 (78.5) wide at jambs, Aperture = 315 x 152cm (124 x 59.75 STOCK CODE: 43528 HISTORY Sir William Chambers (1723-96) is one of the most revered of Georgian neo-classical architects. In his early career he was appointed architectural tutor to the Prince of Wales, later George III. In 1766, he became Architect to the King, (this being an unofficial title, rather than an actual salaried post with the Office of Works). He worked for Augusta, Dowager Princess of Wales building exotic garden buildings at Kew (the pagoda is his), and in 1757 he published a book of Chinese designs which had a significant influence on contemporary taste. He developed his Chinese interests further with his Dissertation on Oriental Gardening (1772), a fanciful elaboration of contemporary English ideas about the naturalistic style of gardening in China. -
Inside the Bank of England Opens in a New Window
Inside the Bank of England Inside the Bank of England 1 The Bank’s mission The Bank of England is the central bank of the United Kingdom. Sometimes known as ‘the Old Lady of Threadneedle Street’, the Bank was founded in 1694 during a period of economic turbulence, in order to ‘promote the publick good and benefitt of our people’ by acting as the Government’s banker and debt manager. The Bank Charter Although the Bank’s role and responsibilities The Bank Charter was sealed on 27 July 1694, have evolved and expanded since its foundation, and the Bank opened for business shortly after. its mission today remains true to its original purpose: to promote the good of the people of the William III By Henry Cheere United Kingdom by maintaining monetary and William III was the monarch at the time of the financial stability. Bank’s founding in 1694. This statue was In 2013, a new legal framework governing the commissioned by the Bank and unveiled in its new Bank of England conferred greater statutory premises in Threadneedle Street on 1 January 1735. duties on the Bank than at any time in its history. Originally established as a privately owned The Bank needs to be understood, credible and institution, the Bank was nationalised on trusted so that its policies are effective. The Bank 1 March 1946, but retained its broad – but is therefore committed to being transparent, largely informal – public service mission. independent and accountable to stakeholders. 2 Bank of England The Bank today The Bank’s mission to maintain monetary and financial stability is overseen, in the first instance, by the Bank’s Governors. -
The Invisible “Sculpteuse”: Sculptures by Women in the Nineteenth-Century Urban Public Space—London, Paris, Brussels
Marjan Sterckx The Invisible “Sculpteuse”: Sculptures by Women in the Nineteenth-century Urban Public Space—London, Paris, Brussels Nineteenth-Century Art Worldwide 7, no. 2 (Autumn 2008) Citation: Marjan Sterckx, “The Invisible ‘Sculpteuse’: Sculptures by Women in the Nineteenth- century Urban Public Space—London, Paris, Brussels,” Nineteenth-Century Art Worldwide 7, no. 2 (Autumn 2008), http://www.19thc-artworldwide.org/autumn08/90-the-invisible- sculpteuse-sculptures-by-women-in-the-nineteenth-century-urban-public-spacelondon-paris- brussels. Published by: Association of Historians of Nineteenth-Century Art Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. ©2008 Nineteenth-Century Art Worldwide Sterckx: Sculptures by Women in the Nineteenth-Century Urban Public Space–London, Paris, Brussels Nineteenth-Century Art Worldwide 7, no. 2 (Autumn 2008) The Invisible “Sculpteuse”: Sculptures by Women in the Nineteenth-century Urban Public Space—London, Paris, Brussels[1] by Marjan Sterckx Introduction The Dictionary of Employment Open to Women, published by the London Women’s Institute in 1898, identified the kinds of commissions that women artists opting for a career as sculptor might expect. They included light fittings, forks and spoons, racing cups, presentation plates, medals and jewelry, as well as “monumental work” and the stone decoration of domestic facades, which was said to be “nice work, but poorly paid,” and “difficult to obtain without -
Eighteenth-Century Sculpture and Its Interpretation
Eighteenth-century Sculpture and its Interpretation Malcolm Baker University of Edinburgh PhD (by Research Publications) 2003 Eighteenth-century sculpture and its interpretation Publications by Malcolm Baker submitted for Degree of Ph.D by Research Publications The following publications are submitted for the above degree: 1. Figured in Marble. The Making and Viewing of Eighteenth-century Sculpture, London and Los Angeles, 2000. (65,431 words) 2. Roubiliac and The Eighteenth-century Monument. Sculpture as Theatre, New Haven and London, 1995, 207-273, 382-387. (23,337 words) (The text submitted by the candidate forms part of a collaborative work by David Bindman and Malcolm Baker; the volume is made up of several distinct authorial contributions and the responsibility of each author for different parts is clearly stated in the publication.) 3. They are accompanied by a Critical Review (10, 956 words) (Total word length: 99, 724 words.) Appendix I: Catalogue of Roubiliac's Funerary Monuments, forming Part III of Roubiliac and the Eighteenth-century Monument, 275-359 Appendix II: A list of ten related articles. 1 and 2, along with the Critical Review, were written solely by me. The text included under Appendix I was written almost entirely by me but incorporates some material provided by David Bindman and Tessa Murdoch. The articles listed in Appendix II were written solely by me, except for one article of which I was the principal author, the co-authors being Alastair Laing and Colin Harrison. I also declare that none of the above mentioned writings have been submitted for any other degree or professional qualification. -
Eliza Cooke (1778-1837) —A Biographical Footnote
BRETHREN HISTORICAL REVIEW 7: 81-83 ELIZA COOKE (1778-1837) —A BIOGRAPHICAL FOOTNOTE Timothy C.F. Stunt Some ten years ago when my book From Awakening to Secession was published, I had to concede defeat over the identities of some shadowy figures, who appeared in its pages and who, I had to admit, were little more than names. In 2010, much more information (especially genealogical) has found its way onto the web and my search skills are greatly improved. One of these unknown characters was a loyal English friend of the Bourg-de-Four Assembly (later known as La Pélisserie) in Geneva. In his account of the early Genevan réveil, one of the earliest members of that assembly, Émile Guers, briefly referred to Eliza Cooke as one who in the early days of persecution (c.1820) ‘stayed with us for a long period of time and whose memory will always remain precious to those who knew her’. He also recorded that, shortly before her death, she had contributed £500 towards the building of the Pélisserie assembly in 1837. Her home at Hilton Park, outside Wolverthampton, is also mentioned in the Mémoires of Ami Bost, who visited England in 1835 and was nursed through a serious illness there by Eliza Cooke and her niece. In the same year, when another member of the Genevan assembly, Rodolphe de Rodt, responded to the missionary call made by Anthony Norris Groves and followed him to England and thence to India, he too, visited Eliza Cooke at Hilton Park,1 with another Swiss missionary recruit, Ferdinand Gros.2 But who was this lady and from what sort of family did she come? 1.T.C.F Stunt, From Awakening to Secession: Radical Evangelicals in Switzerland and Britain 1815-1835 (Edinburgh, 2000), pp.105, 301. -
Issue 07 April 2016 Click Here
JARDINIQUE Garden Antiques ______________________________________________________________________________________________ What’s New at Jardinique this Spring? Come and See for Yourselves – A Warm Welcome Awaits! Our Coade Stone Collection Over the past 21 years we have come across many delightful pieces of garden antiques, but have been particularly pleased to find a number of Coade Stone pieces on our travels. As a result we now have two fine examples of a lion and figure of Venus on display for sale, the details of which are shown here and on our website. Coade Stone stems from the mid 18th century, and is a manufactured stone or stoneware resembling limestone. It comprises a mixture of ground glass, flint, sand, clay and petrified clay, a combination that often turned out to be more durable than the stone it was imitating. Poured into moulds, dried, fired at high temperatures in kilns and finished by hand, the process produced some wonderful, and at times quite complex, sculptures. Eleanor Coade’s artificial stone manufactory was established in 1769 at Lambeth - now the site of the Royal Festival Hall, manufacturing Coade Stone decorative sculpture and ornaments. Eleanor (1708-1796) and her daughter, also Eleanor (1733-1821), were both part of a handful of independent and enterprising 18th century women who established their own businesses. The Coade business flourished, and grew under its lead designer the neoclassical sculptor John Bacon who held the role until his death in 1799. In 1796 following the death of her mother, the younger Eleanor Coade went into partnership with John Sealy and subsequently her cousin William Croggan until her death in 1821. -
Alison Kelly, 'Eleanor Coade at Stowe', the Georgian Group Jounal
Alison Kelly, ‘Eleanor Coade at Stowe’, The Georgian Group Jounal, Vol. II, 1992, pp. 97–100 TEXT © THE AUTHORS 1992 ELEANOR CO ADE AT STOWE Alison Kelly towe is famous as the creation of many of the most eminent English architects, sculptors and garden designers, but one name rarely mentioned is that of Mrs SEleanor Coade.1 And yet Stowe had a range of Coade objects apparendy unrivalled at any other country house, stretching across nearly half a century from the 17 70s to at least 1814. Many of the Coade stone objects left Stowe at the sale of 1921, others have been overlooked thanks to Coade stone’s similarity to natural, fine-grained limestone, while the poor cataloguing of the 250,000 Stowe documents in the Huntington Library, San Marino, means that individual bills cannot be identified.2 Nevertheless, it is possible to give some impression of the range of Coade-stone objects at Stowe. In 1776 George Nugent-Temple-Grenville, later 1st Marquess of Buckingham, wrote to his uncle 2nd Earl Temple: “I have however seen a lion in artificial stone which I think will answer our purpose, and as the mold need not in this instance be destroyed I think we may have the pair for £100, perhaps this may be the cheapest way.”3 In fact the lions only came to £40 but the bill, dated 1778, does not specify the type of lion sent.4 The lions on the north portico, now in front of the school sports pavilion, were definitely Coade stone (Fig. I). -
Winchester Stone by Dr John Parker (PDF)
Winchester Stone by John Parker ©2016 Dr John Parker studied geology at Birmingham and Cambridge universities. He is a Fellow of the Geological Society of London. For over 30 years he worked as an exploration geologist for Shell around the world. He has lived in Winchester since 1987. On retirement he trained to be a Cathedral guide. The Building of Winchester Cathedral – model in the Musée de la Tapisserie, Bayeux 1 Contents Introduction page 3 Geological background 5 Summary of the stratigraphic succession 8 Building in Winchester Romano-British and Anglo-Saxon periods 11 Early medieval period (1066-1350) 12 Later medieval period (1350-1525) 18 16th to 18th century 23 19th to 21st century 24 Principal stone types 28 Chalk, clunch and flint 29 Oolite 30 Quarr 31 Caen 33 Purbeck 34 Beer 35 Upper Greensand 36 Portland 38 Other stones 40 Weldon 40 Chilmark 41 Doulting 41 French limestones 42 Coade Stone 42 Decorative stones, paving and monuments 43 Tournai Marble 43 Ledger stones and paving 44 Alabaster 45 Jerusalem stone 45 Choice of stone 46 Quarries 47 A personal postscript 48 Bibliography and References 50 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Photographs and diagrams are by the author, unless otherwise indicated 2 Introduction Winchester lies in an area virtually devoid of building stone. The city is on the southern edge of the South Downs, a pronounced upland area extending from Salisbury Plain in the west to Beachy Head in the east (Figs. 1 & 2). The bedrock of the Downs is the Upper Cretaceous Chalk (Fig. 3), a soft friable limestone unsuited for major building work, despite forming impressive cliffs along the Sussex coast to the east of Brighton. -
Katharine Esdaile Papers: Finding Aid
http://oac.cdlib.org/findaid/ark:/13030/c8x63sn4 No online items Katharine Esdaile Papers: Finding Aid Finding aid prepared by John Houlton, Marilyn Olsen, Catherine Wehrey, and Diann Benti. The Huntington Library, Art Collections, and Botanical Gardens Manuscripts Department 1151 Oxford Road San Marino, California 91108 Phone: (626) 405-2191 Email: [email protected] URL: http://www.huntington.org © November 2016 The Huntington Library. All rights reserved. Katharine Esdaile Papers: Finding mssEsdaile 1 Aid Overview of the Collection Title: Katharine Esdaile Papers Dates (inclusive): 1845-1961 Bulk dates: 1900-1950 Collection Number: mssEsdaile Collector: Esdaile, Katharine Ada, 1881-1950 Extent: 101 boxes Repository: The Huntington Library, Art Collections, and Botanical Gardens. Manuscripts Department 1151 Oxford Road San Marino, California 91108 Phone: (626) 405-2203 Email: [email protected] URL: http://www.huntington.org Abstract: This collection contains the papers of English art historian Katharine Ada Esdaile (1881-1950). Much of the collection relates to her research of British monumental sculpture. Notably the collection includes more than 600 chiefly pre-World War II visitor booklets and pamphlets produced locally by British churches and approximately 3500 photographs taken or collected by Esdaile of sculpture, often funerary monuments in English churches. Language: English. Access Open to qualified researchers by prior application through the Reader Services Department. For more information, contact Reader Services. Publication Rights The Huntington Library does not require that researchers request permission to quote from or publish images of this material, nor does it charge fees for such activities. The responsibility for identifying the copyright holder, if there is one, and obtaining necessary permissions rests with the researcher. -
Revisiting the Origins of Coade Stone’, the Georgian Group Journal, Vol
Caroline Stanford, ‘Revisiting the origins of Coade Stone’, The Georgian Group Journal, Vol. XXIV, 2016, pp. 95–116 TEXT © THE AUTHORS 2016 REVISITING THE ORIGINS OF CoaDE StoNE CAROLINE STANFORD Eleanor Coade’s fired artificial stone was widely (1990), remains the most authoritative treatment used in the embellishment of architecture, and also of the subject, a near comprehensive gazetteer of achieved unique reputation in the reproduction, and surviving and lost examples. Buried within it are indeed creation, of sculpture in the late Georgian references to most extant Coade examples and period. Coade stone’s fame persists, but so too do documentary sources. However, Kelly’s material certain myths about its composition and origins. This does not lightly yield its nuggets to the reader and paper provides a distillation of current knowledge on provides little on Coade’s contemporary context. Coade’s predecessors in the manufacture of artificial Even if dispelled by Kelly, misapprehensions about stone from 1720; on the Coade stone formula, and on Coade stone continue to circulate widely – that the Coade manufactory in Lambeth. It also sets Mrs it was a single secret recipe that died with Coade Coade within her contemporary context and identifies herself; that she invented it; that it was a cast, rather the key reasons for her enduring success than ceramic stone. Kelly initiated scientific analysis of Coade stone’s composition as early as 1985, but he existence and ubiquitous use of Eleanor1 the publication of these results was obscure to the TCoade’s eponymous artificial stone is general researcher. widely known. Coade stone is a fired ceramic, a The published eighteenth-century sources about combination of raw ball clay and finely ground artificial stone and the practitioners that preceded pre-fired terracotta, silicates and glass. -
Cracking the Mysteries of Coade
However broadly true this is, there is still the f you have a piece of Coade occasional find in a humbler listed dwelling, stone inside or outside of particularly if the house dates from the your house – treasure it. In Georgian period. I always speculate that there Cracking the 50 years of enthusiastic study must be a large number of as yet undiscovered of traditional English house styles, Coade stone pieces in garden settings. I have yet to meet a person with I I continue to be amazed not only by many any Coade stone item in his or her house. Perhaps this is because aspects of this extraordinary material, but mysteries of Coade of my lack of connections; you also that relatively few listed property will generally only find a piece of owners seem to be aware of how fascinating it is. Coade stone is a remarkably hard and Coade stone in grander houses weatherproof artificial stone made from 1769 and public buildings. until 1836 in the factory of Mrs Eleanor Coade by Clive Fewins (1733-1821) and her successors at Lambeth. Using designs by neo-classical architects and sculptors, the factory turned out cast pieces of exceptional durability. They were designed for doorways and porches, gate piers, pediments, keystones, reliefs to set in walls, chimneypieces, church memorials, churchyard table tombs and even fonts. The factory also produced countless statues of nymphs and river gods, garden urns and vases. Continued >> The Gosford Swan: Philip Thomason made three in Coade Stone (see later pages) to replace missing ones at a mansion near Edinburgh