Newspaper Articles 2018

Total Page:16

File Type:pdf, Size:1020Kb

Newspaper Articles 2018 Linton and District History Society Where History Comes To Life Newspaper Articles 2018 page 1 Linton and District History Society Where History Comes To Life 2018 Newspaper Articles The Glorious First of June - page 1 The First Victory of the Synchronised Machine Gun - page 2 The Hanoveran Succession - page 4 September Anniversaries - page 6 Mrs. Beeton Remembered - page 9 The Glorious Revolution - page 11 The First Lady Elected To Parliment - page 13 The Graf Zeppelin - page 14 The Kennel Club - page 15 Heat Wave - page 16 Great Fire of 1666 - page 17 Common practices of Women and Men artists - page 18 Buffalo Bill - page 21 The Goucestershire Warwickshire Steam Railway Company - page 23 Napoleon Bonaparte’s first abdication - page 26 1st August Anniversaries - page 28 11th July, 1882 - page 30 Newport Transporter Bridge - page 33 Many dead in London - page 35 Blackpool Illuminations - page 37 The Cinema in the Woods - page 39 Then there was light! - page 40 Warsaw remembered - page 42 After the Armistice - page 43 The Christmas Tree - page 50 The Gunpowder Plot of crime, murder and terrorism - page 55 The Geneva Convention - page 56 A Pennyworth of Art - page 61 Linton Visits Burton Court - page 65 Linton and District History Society Where History Comes To Life The Glorious First of June By 1794 the French Revolution was already five years old and had resulted in the murder not only of their King and Queen, but thousands of French men, women and children, whilst those still alive starved, her ragged armies fought almost all their neighbours. To alleviate the starvation a grain convoy with fleet protection was gathered in Chesapeake Bay, Maryland. In an attempt to frustrate delivery to the port of Brest our Channel Fleet of 25 mainly Ships of the Line, the battleships of the day, under the command of Admiral Richard Howe, 1st Earl Howe engaged the French Atlantic Fleet some 400 nautical miles off the French coast. The French Fleet of 26 mainly Ships of the Line, commanded by Vice Admiral Louis-Thomas Villaret de Joyeuse, were sailing in line ahead as was our fleet, but with the wind astern Admiral Howe was able to close with the enemy and for the first time ordered the fleet to sail straight towards the French ships in order that each ship would sail through separate enemy ships thus causing immense damage with gun fire through their stern windows. Unfortunately the order was understood by only six Captains, but nevertheless very considerable damage resulted. Our casualties amounted to 1,200 whilst the French suffered 4,000 casualties, 3,000 captured, 6 Ships of the Line captured and 1 sunk. However the grain was not lost and the Merchant Men reached their French destination. Both sides at the time claimed victory, but our subsequent blockade of the enemy’s ports proved a success. Article by Dorian Osborne. Reprinted from The Chimes OnLine - https://www.thechimes.org.uk/historical-blog page 1 Linton and District History Society Where History Comes To Life The First Victory of the Synchronised Machine Gun I will refer to the first successful use in flight of a synchronised aerial machine gun on the 1st July, 1915 on the Western Front. This was, and still is, a profoundly significant moment in the history of military aviation as previously almost all military and naval aircraft required a pilot and a gunner, the pilot could not carry out both functions. Prior to the synchronised machine gun the gunner was armed with a rifle, revolver and a machine gun mounted where it could be operated by the gunner. The illustration depicting two aircraft shows a Royal Flying Corps “pusher” aircraft and a German “tractor” propeller configuration. The propeller of the “pusher” is installed behind the pilot and its engine can be seen. The tractor version was faster and more manoeuvrable in flight, but had the disadvantage that there was a very real danger of the gunner or pilot, in his enthusiasm, shooting the blades off the propeller with inevitable fatal consequences, which happened all too often, especially as parachutes were not provided. As early as 1910 August Euler designed a synchroniser gear to enable a machine gun to be fired through the arc of a spinning propeller without the bullets striking the blades. Both France and Germany conducted research into synchronisation gear during 1913 and 1914, but there were inevitable problems, both with timing of gun and propeller. Also any slight variation in the manufacture, which at ground level used by infantry did not matter, could cause a slight delay in firing, enough for the bullet to strike the propeller blade. On the first July, 1915 Leutnant Kurt Wintgens successfully engaged a French Morane Saulnier near Luneville at 1800 hours flying a Fokker Eindecker fitted with a synchronised machine gun, and this is the first time that such an aircraft with this type of gun scored a victory. Leutnant Wintgens was awarded an Iron Cross and the Pour le Merite or “Blue Max”. Both Leutnant Wintgens and the Fokker Eindecker he piloted are illustrated. By the 1930’s increasingly the function of fighter aircraft was to engage all metal bombers for which the light machine gun was quite unsuitable, that heaver guns mounted in the wings became the standard, the arrangement for the Super marine Spitfire, Hurricane and Messerschmitt. page 2 Linton and District History Society Where History Comes To Life Leutnant Kurt Wintgens Fokker Eindecker Article by Dorian Osborne. Reprinted from The Chimes OnLine - https://www.thechimes.org.uk/historical-blog page 3 Linton and District History Society Where History Comes To Life The Hanoveran Succession On the 1st August, 1714 the anticipated death of Queen Anne occurred, the last monarch of the Royal House of Stuart, who died without a successor, her only child, Prince William, having died on the 30th July, 1700. This left a constitutional dilemma which had not been resolved during her lifetime. Normally, all things being equal, the succession would have been straightforward, Prince James Francis Edward Stuart, Prince of Wales, known as the Old Pretender, as the legitimate eldest son of King James II would have been proclaimed King, after all Anne was the younger daughter of King James II and Anne Hyde, and Mary the elder daughter, married to King William III had died without leaving a successor. Thus Prince James Stuart, the son of King James II and his second wife Mary of Modena is the obvious successor. But there was a problem, the Roman Catholic James II fled to Ireland, driven out by a combination of anti-Catholics and the forces of the protestant William of Orange. After defeat at the Battle of the Boyne, despite French assistance the now ex James II retired to the Court of His Most Christian Majesty King Louis XIV, the Sun King. Unsuccessful French intrigues to re-instate James and later his son Prince James Francis merely fuelled colonial rivalry between us and the French. Almost constant warfare between the Catholic League and Protestants had raged somewhere in Europe since the early 1500s to the Peace of Westphalia in 1649 except the Netherlands had to wait for the Treaty of Rijswijk of 1697. There was no stomach for more Catholics v. Protestants wars, and the Country had already had enough of the dictatorship of the Puritans. There was only one other candidate, the Elector of Hanover. Why Hanover? You may ask. Elizabeth, sister of the martyred King Charles I married Frederick V of the Palatinate of the Rhine by whom she had thirteen children. Sophie, the 12th married Ernest Augustus of Hanover, who was created Elector in 1692. It was Sophie who commissioned the house and gardens at Herren Hausen, which is where she died on the 7th June, 1714, less than two months before her son, now the Elector, George Louis of Brunswick-Luneburg was proclaimed King of Great Britain on the 1st August, 1714. Although the Coronation on the 20th October, 1714 of a minor German prince was not to everyone’s liking, especially those favouring the Stuart cause, there is no doubt that the incorporation of Hanover extended British power and prestige. Not only were we now a significant player on the Continental stage, but the Hanoverian army greatly increased our military might. With the Sun King’s active support the Old Pretender launched a bid for the Crown by landing at Peterhead on 22nd December, 1714, but although proclaimed King James III by his supporters, a combination of ill health and the approach of Government troops led to his departure from Montrose on 5th February, 1715. King George I never mastered the English language and was accused of spending too much time in Hanover. His residence, Herren Hausen is today part of the European Garden Heritage Network, visited by thousands every year, where its magnificent gardens are preserved much as they were during the time of their creator Sophie Kurfurstin von Hanover, niece of King Charles I, and mother of King George I. page 4 Linton and District History Society Where History Comes To Life Sophie when a young lady The marble statue of Sophie Kurfurstin von Hanover placed on the spot in the gardens of Herren Hausen where she died on 7th June, 1714 A view of part of the gardens at Herren Hausen photographed in 2014 Article by Dorian Osborne. Reprinted from The Chimes OnLine - https://www.thechimes.org.uk/historical-blog page 5 Linton and District History Society Where History Comes To Life September Anniversaries For the month of September, 2018 your scribe has much to choose from, being the anniversaries of happenings on the 1st September.
Recommended publications
  • An Analysis of Angelica Kauffman's Cornelia and Penelope Paintings As They Relate to Female Enlightenment Ideals Brandi L
    Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2014 An Analysis of Angelica Kauffman's Cornelia and Penelope Paintings as they Relate to Female Enlightenment Ideals Brandi L. Batts Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Arts and Humanities Commons Recommended Citation Batts, rB andi L., "An Analysis of Angelica Kauffman's Cornelia and Penelope Paintings as they Relate to Female Enlightenment Ideals" (2014). LSU Master's Theses. 3858. https://digitalcommons.lsu.edu/gradschool_theses/3858 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. AN ANALYSIS OF ANGELICA KAUFFMAN’S CORNELIA AND PENELOPE PAINTINGS AS THEY RELATE TO FEMALE ENLIGHTENTMENT IDEALS A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in The School of Art by Brandi Batts Roth B.A., Southeastern Louisiana University, 2010 August 2014 To my family, Mom, Nick, Tuna, and Muffin. Most especially to my Fava Bean, even though you missed the end, I know you are always here. ii ACKNOWLEDGEMENTS I would first like to thank Dr. Darius Spieth for his unending help, knowledge, and patience with me during this long process. In addition, I would like to thank Dr.
    [Show full text]
  • © 2020 Alisha Gratehouse, Masterpiecesociety.Com
    © 2020 Alisha Gratehouse, masterpiecesociety.com Masterpiece Society Art Appreciation: Women Artists Masterpiece Society Art Appreciation: Women Artists Written by Olivia Gratehouse and Alisha Gratehouse © 2021 Alisha Gratehouse. All Rights Reserved. Copyright Notice: This curriculum may not be reproduced, displayed, modified, stored or transmitted in whole or in part, in any form or by any means, electronic, mechanical or other- wise, without prior written consent of the author. One copy of this curriculum may be printed for your own personal use. Most images in this lesson are from Wikimedia Commons and are public domain. Fair Use Notice: This curriculum may also contain copyrighted images, the use of which is not always specifically authorized by the copyright owner. However, for the purpose of art appreciation and enrichment, we are making such material available. We believe this constitutes “fair use” of any such copyrighted material for research and educational purposes as provided for in sections 17 U.S.C. § 106 and 17 U.S.C. §107. No copyright infringement is intended. Disclosure: The Masterpiece Society is a participant in the Amazon Services LLC Associates Program. Affiliate links are included in this curriculum at no extra cost to you. 2 © 2021 Alisha Gratehouse, masterpiecesociety.com FIGURE 1 - MUSÉE DU LOUVRE, PARIS, FRANCE “We cannot measure the influence that one or another artist has upon the child’s sense of beauty, upon his power of seeing, as in a picture, the common sights of life; he is enriched more than we know in having really looked at a single picture.” – Charlotte Mason “Being an ‘agent of civilization’ is one of the many roles ascribed to teachers.
    [Show full text]
  • Angelica Kauffman Study Day (London, 16 Sep 20)
    Angelica Kauffman Study Day (London, 16 Sep 20) Royal Academy of Arts, London, Sep 16, 2020 Deadline: Apr 15, 2020 Marie Tavinor On the occasion of the retrospective dedicated to Angelica Kauffman taking place in Düsseldorf and London in 2020, the Royal Academy of Arts is organising a study day on the artist on Wednes- day 16 September 2020. A child prodigy and a respected painter famous all over Europe in her own lifetime, Angelica Kauff- man (1741-1807) transcended many boundaries and conventions linked to eighteenth century social norms. She embraced many facets of the Enlightenment beliefs, pursued a career to become a history painter following the neoclassical ideals and worked for some of the most prominent patrons of the time. She was also one of the two female founding members of the Roy- al Academy of Arts in London in 1768. At her death, her sculpted bust was placed next to Raphael’s in the Pantheon in Rome thereby underlining her place in the artistic canon. We welcome papers exploring the rich and versatile career of Angelica Kauffman with a fresh con- textualisation in the broader artistic, cultural, social and economic fabric of the eighteenth centu- ry. Topics should draw on Kauffman’s production and career and may include, but are not neces- sarily limited to: - Fashion and costume - The business of art (showroom, records, book-keeping and clientele) - Cosmopolitan networks - International career - Women patrons - Royal patrons - Women artists and their careers - Artistic/Intellectual friendships and their impact on creativity - Multiples (prints, designs for decorative arts) - Female self-portrait and self-representation - Display in C18th European Art Please send an abstract of 300 words and a short biography of 200 words to: Marie.Tavinor@roy- alacademy.org.uk and [email protected] Deadline to submit a proposal: 15 April 2020 We are sorry that we cannot offer any travel bursaries on this occasion.
    [Show full text]
  • Charles E. and Pauline Hayworth Fine Arts Center Art Collection
    Charles E. and Pauline Hayworth Fine Arts Center Art Collection Contents Landina Herring, Lands End, Cornwall by Richard Henry Carter ............................. 2 Old Man in Oriental Costume by Christian Wilhelm Ernest Dietrich ....................... 3 Saint Francis of Assisi Having the Vision of the Flaming Torch by El Greco ............. 4 Bunyon and Blind Daughter at Bedford Gaol by Sir George Harvey .......................... 6 Belshazzer’s Feast by Antonio Zucchi and Angelica Kauffman ................................... 7 Portrait of Belinda by Sir Joshua Reynolds ................................................................... 9 Bust of Dr. Epperson and Bust of Dave Decker by Dr. Andrea Wheless ................. 11 Tapestries ....................................................................................................................... 12 1 Landina Herring, Lands End, Cornwall by Richard Henry Carter Title: Landina Herring, Lands End, Cornwall Artist: Richard Henry Carter (1839-1911) Richard Henry Carter was born in Truro in 1839 and became one of the buyers in Cornwall of copper for the smelting firm, Vivian & Sons, Swansea. After quite a few years, Carter gave up this career and devoted himself entirely to his painting. Carter’s early works were mostly of sea and coastal subjects in watercolors, but later he began to paint figures and use oil paints. Carter’s influences included Charles Napier Hemy, whose style and subjects he greatly admired. Many of Carter’s best works were painted in Scotland and the Shetland Isles. Carter exhibited in the Royal Academy for eleven years and for eighteen years at the New Watercolour Society, now known as the Royal Institute of Painters in Watercolours. Carter’s watercolours were often extremely large, over six feet long. Landina Herring, Lands End, Cornwall is a watercolor that was painted on paperboard and heightened with white.
    [Show full text]
  • Halligan's Love Affair with Food
    Coolabah, No.5, 2011, ISSN 1988-5946, Observatori: Centre d’Estudis Australians, Australian Studies Centre, Universitat de Barcelona Halligan’s Love Affair with Food Anne Holden Rønning Copyright©2011 Anne Holden Rønning. This text may be archived and redistributed both in electronic form and in hard copy, provided that the author and journal are properly cited and no fee is charged. Abstract: Marion Halligan’s non-fiction Eat My Words, (1990), Cockles of the Heart (1996) and The Taste of Memory (2004) all have food as their main topic. Travelling round Europe on culinary journeys and staying in hotels and flats she provides us, as readers, with a wealth of recipes and reflections on the role food plays in people’s lives, socially and culturally. This article will discuss some few of the points Halligan raises as she comments on the pleasure of food; on bricolage, both in the finished product and in cookery books; and the language we use to describe food and its processes. Adopting a bicultural approach Halligan compares Australian foods of today with those of her childhood, thus turning these food books into a kind of autobiography. Keywords: food; pleasure; bricolage and cookery books; naming. In Eat My Words Marion Halligan cites Alexis Soyer in his 1853 book The Pantropheon as being “fond of saying that people only eat to live when they don’t know how to live to eat,” thus underscoring the importance of food culturally and historically. To these words Halligan adds: “Chefs, whose livelihood is other’s eating, know that the best food begins in the mind” (209).
    [Show full text]
  • Poulton Hall Has Been in the Family for Many Upper Field, Past a Monument Erected by Scirard De Generations
    Issue No. 28 October 2010 Newsletter Patron: The Viscount Ashbrook Company Limited by Guarantee, no. 05673816 www.cheshire-gardens-trust.org.uk Charity Number 1119592 Inside: Some future events: Trentham Gardens Mrs Delany and her Circle – Sat. 17h November Gardening the British way in Iraq 19th century Villa Gardens – Sat. 22nd January Harvington Hall Gresgarth Hall – February (date t.b.c.) Gardens on the Isle of Wight Roswitha Arnold on German gardens: Spring What to do with your apple harvest Lecture at end of March (date t.b.c.) PPoouullttoonn HHaallll Without doubt this is the quirkiest garden that we Launcelyn built his castle on a defensive mound above have visited. the river Dibbin. Full of humour and literary associations, it is a A later house was probably destroyed by fire; the memorial to Roger Lancelyn-Green, the biographer second house, built in the seventeenth century, was and writer of children‟s fiction, and has been designed brick built with stone coigns and is just recognizable. by his wife, June Lancelyn-Green, to reflect his It was later stuccoed but when this deteriorated it was interests and his books. pebble-dashed. From the car park the Hall is approached through the Poulton Hall has been in the family for many Upper Field, past a monument erected by Scirard de generations. In the eleventh century Scirard de Launcelyn, and over a Ha-ha. 2 The lawns at the front of the house have always been It is, in fact, a series of gardens, each with a literary a major feature and were much admired by Nathanial theme.
    [Show full text]
  • Boom Times Expected in the Mining Industry
    BULEVARDI 2/4, www.ahjoclub.fi ISSUE 6 • 13 – 19 JUNE 2007 • € 3 (SIS. ALV) FINLAND NEWS BUSINESS LIFESTYLE Selänne finally Few Finns are Travel Smoking ban victorious prepared for organisers ignites mixed SPORT page 12 retirement believe in response Film festival Finland’s appeal in Sodankylä page 5 page 10 page 13 CULTURE page 14 LEHTIKUVA / MARKKU ULANDER Boom times expected in the mining industry SAMI SALLINEN - HELSINKI TIMES possibility of uranium mining in Fin- STT land. According to Pekka Suomela, the Chief Inspector of Mines at the Ministry of Trade and Industry, about THE RISING market prices for gold, fi ve applications for uranium claims nickel and other metals have in Pohjois-Karjala are currently revitalised the mining industry in being processed, and the two already Finland. Finnish and international granted licences are being exam- companies are now racing ahead to ined by the Supreme Administra- exploit the country’s mineral wealth. tive Court. The prospect of domestic Several major mining projects are uranium mining to feed Finland’s expected to start production in the increasing number of nuclear power next fi ve years. plants has attracted strong criticism In a telling sign of confi dence from environmental groups and the in the industry, Talvivaara Min- communities potentially affected by ing Company Ltd had no problem pollution from the mines. raising €310m for constructing a Speaking at the FinnMateria nickel mine in Sotkamo, by list- exhibition in Jyväskylä recent- ing its shares on the London Stock ly, Suomela rued the fact that the Exchange in May. The company is public storm around uranium The hot weather drew more than 60,000 people to enjoy the free Kaivopuisto summer concert in Helsinki last Sunday.
    [Show full text]
  • The Woman Painter in Victorian Literature
    The Woman Painter in Victorian Literature The Woman Painter in Victorian Literature A NTONI A L OS A NO The Ohio State University Press Columbus Cover: Dante Gabriel Rossetti, A Parable of Love (Love’s Mirror). Reproduced by permis- sion of the Birmingham Museums & Art Gallery. Copyright © 2008 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Losano, Antonia Jacqueline. The woman painter in Victorian literature / Antonia Losano. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-8142-1081-9 (cloth : alk. paper) ISBN-10: 0-8142-1081-3 (cloth : alk. paper) 1. English fiction—19th century—History and criticism. 2. English fiction—Women authors—History and criticism. 3. Art and literature—Great Britain—History—19th century. 4. Women artists in literature. 5. Aesthetics in literature. 6. Feminism in litera- ture. 7. Art in literature. I. Title. PR878.W6L67 2008 823.009'9287—dc22 2007028410 This book is available in the following editions: Cloth (ISBN 978-0-8142-1081-9) CD-ROM (ISBN 978-0-8142-9160-3) Cover design by Melissa Ryan Type set in Adobe Garamond Pro Type design by Juliet Williams Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI Z39.48-1992. 9 8 7 6 5 4 3 2 1 In Memoriam Sarah Louise DeRolph Wampler 1908–2000 - C ONTENTS , List of Illustrations ix Acknowledgments xiii Introduction Chapter One Prevailing
    [Show full text]
  • Through Most of Art History Women Artists Have Been Largely Ignored
    SESSION 18 Women artists 1400 - 2000 (Monday 3rd February & Tuesday 7th January) 1. Sofonisba Anguissola 1.1. The Chess Game 1555 Oil on canvas, National Museum Warsaw (72 X 97 cm) 2. Barbara Longhi, 2.1. Madonna and Child 1580-85 Oil on canvas, Indianopolis Museum of Art (48 X29 cm) 3. Lavinia Fontana, 3.1. Minerva Dressing 1613 Borghese Gallery, Rome 4. Artemisia Gentileschi, 4.1. Self Portrait as the Allegory of Painting 1638 Oil on canvas, Royal Collection, London (96 X 74 cm) 5. Rachel Ruysch, 5.1. Roses, Convolvulus, Poppies, and Other Flowers in an Urn on a Stone Ledge 1688 Oil on canvas, National Museum of Women in the Arts, Washington 6. Judith Leyster, 6.1. The Proposition 1631 Oil on panel, Mauritshuis, The Hague (31 X 24 cm) 7. Angelica Kauffman 7.1. The Sorrow of Telemachus 1783 Oil on canvas, MMA New York (33 X 114 cm) [ and see The Conjurer 1775 by Nathaniel Hone] 8. Elizabeth Vigee-Lebrun 8.1. Self-Portrait with Her Daughter Julie 1789 Oil on canvas , Louvre, Paris (130 X 94cm) 9. Marie-Denise Villers, 9.1. Portrait of Charlotte du Val d'Ognes, 1801, oil on canvas MMA, New York 10. Emily Mary Osborn 10.1. Nameless and Friendless 1857 Tate Britain Oil on canvas (82 X 103 cm) 11. Rebecca Solomon 11.1. The Governess 1851 Oil on canvas, (66 X 86 cm) 12. Elizabeth Thompson (Lady Butler) 12.1. Scotland Forever 1881 Oil on canvas, Leeds Art Gallery 13. Rosa Bonheur 13.1. Ploughing in the Nivernais 1849 Oil on canvas, Musee D’Orsay (133 X 260 cm) 14.
    [Show full text]
  • From the Library of Christopher Hogwood
    from the library of christopher hogwood books & manuscripts on food & drink BERNARD QUARITCH LTD 40 SOUTH AUDLEY STREET, LONDON W1K 2PR +44 (0)20 7297 4888 [email protected] www.quaritch.com For enquiries about this catalogue, please contact: Mark James ([email protected]) or Anke Timmermann ([email protected]) important notice: Items marked with an * are subject to VAT within the EU Bankers: Barclays Bank PLC, 1 Churchill Place, London E14 5HP Sort code: 20-65-82 Swift code: BARCGB22 Sterling account IBAN: GB98 BARC 206582 10511722 Euro account IBAN: GB30 BARC 206582 45447011 US Dollar account IBAN: GB46 BARC 206582 63992444 VAT number: GB 840 1358 54 Mastercard, Visa and American Express accepted. Cheques should be made payable to: Bernard Quaritch Limited © Bernard Quaritch Ltd 2016 from the library of christopher hogwood books & manuscripts on food & drink introduction & biography the seventeenth century ………………………………….. items 8- the eighteenth century ………………………………...…. items 80- 74 the nineteenth century …………………………………… items 7 - modern cooking ……………………………………..……. items 7- 6 index & bibliography BERNARD QUARITCH LIMITED ∙ antiquarian booksellers since 847 ∙ list 2086/85 christopher hogwood cbe (8 78- 2087 Throughout his 50-year career, conductor, musicologist and keyboard player Christopher Hogwood applied his synthesis of scholarship and performance with enormous artistic and popular success. Spearheading the movement that became known as ‘historically-informed performance’, he promoted it to the mainstream through his work on 17th- and 18th-century repertoire with the Academy of Ancient Music, and went on to apply its principles to music of all periods with the world’s leading symphony orchestras and opera houses.
    [Show full text]
  • Primary Teacher Resource for Teaching Key Stages 1–2 Stories from the RA Collection Copy of the Last Supper (Detail), C
    Primary Teacher Resource For teaching key stages 1–2 Stories from the RA Collection Copy of The Last Supper (detail), c. 1515–1520, Attributed to Giampietrino (fl. 1508–1549) and to Giovanni Antonio Boltraffio (1467–1516) Contents Introduction Illustrated key works with information, quotes, key words, questions, useful links and art activities for the classroom Glossary Further reading To book your visit Email studentgroups@ royalacademy.org.uk or call 020 7300 5995 roy.ac/teachers The Council of the Royal Academy selecting Pictures for the Exhibition, 1875, Russel Cope RA (1876). Photo: John Hammond Introduction What is the Royal Academy of Arts? The Royal Academy (RA) was Every newly-elected Royal set up in 1768, and 2018 was Academician donates a work of art, its 250th anniversary. A group of known as a ‘Diploma Work’, to the artists and architects called Royal RA Collection and in return receives Academicians (or RAs) have been in a Diploma signed by the Queen. The charge ever since. artist is now an Academician, an important new voice for the future of There are a maximum of 80 RAs at the Academy. any one time, and spaces for new Members only come up when an In 1769, the RA Schools was existing RA reaches the age of 75, founded as a school of fine art. It still and becomes a Senior Academician, exists today and offers around 17 or on the death of an RA. artists each year the opportunity to participate in an intense three-year postgraduate programme. Learn more about the RA www.royalacademy.org.uk/about- the-ra#video What is in the RA Collection? Artists putting finishing touches to a painting on Varnishing Day, before the 1934 Summer Exhibition.
    [Show full text]
  • By Barbara Jatta
    MVSEI VATICANI Leonardo The St Jerome in the Vatican Museums Its commissioning and history in collections by Barbara Jatta Even today the commissioning of Leonardo’s St Jerome remains uncertain and divi- des those critics who have devoted considerable attention to the painting. We have no do- cumentary evidence on which to base an opinion, there are no papers directly concerning it, and the work is not mentioned in any early biography of the artist. It has often been asserted that, in style, technique and composition it resembles the Adoration of the Magi, now in the Uffizi, which we know to have been commissioned in 1481 and left incomplete because of Leonardo’s departure for Milan the following year. Other scholars date the work to the artist’s first sojourn in Milan (1482-1484), seeing the St Jerome as a step in that 1 important journey of studying and drawing the nude through annotations, sketches, and comments recorded by Leonardo in the early fourteen-nineties and then reorganized by his pupil Francesco Melzi in his Treatise on Painting, based on the master’s notes. There are those who have wanted to see the painting as a product of the artist’s private devotion, those who see it as having been commissioned in Florentine circles whe- re the artist was much in demand, and those who regard it as a request by a confraternity of St Jerome or by the Benedictine monks of the Badia Fiorentina, which housed Leonar- do’s family tomb and commissioned Filippino Lippi to paint a similar subject (perhaps because Leonardo’s painting, left incomplete, had not been delivered?).
    [Show full text]