DOCSLIB.ORG

WRAP THESIS Martin 2013.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
WRAP THESIS Martin 2013.Pdf University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/63776 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. Queen Victoria, Prince Albert and the Patronage of Contemporary Sculpture in Victorian Britain 1837-1901 Two Volumes: Volume 1 Eoin Martin A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy University of Warwick, Department of History of Art December 2013 Table of Contents Abstract 3 Abbreviations 4 Acknowledgements 5 Declaration 6 List of Illustrations 7 Introduction 27 1. Victoria, Albert and Sculpture in the New Houses of Parliament 59 2. Sculpture in the Royal Residences, 1840-1861 121 3. Victoria and the Memorialisation of Albert, 1861-1874 185 4. Victoria’s Patronage of Sculpture, 1870-1901 246 Conclusion: Victorian Sculpture at the Edwardian Garden Party 303 Bibliography 1. Unpublished Primary Sources 310 2. Published Primary Sources 311 3. Published Secondary Sources 323 4. Unpublished Secondary Sources 355 2 Abstract Queen Victoria (1819-1901) and Prince Albert (1819-1861) have long loomed large in Victorian sculpture studies. Numerous scholars have examined the public statues of Victoria and Albert that were erected throughout the United Kingdom and across the British Empire between the 1840s and the 1920s. Yet, to date, the couple’s own patronage of sculpture has been largely overlooked. In light of this lacuna in the scholarship, this thesis examines the formation, display and dissemination of Victoria’s and Albert’s sculpture collection; explores the public sculpture projects with which they were involved; and analyses contemporary responses to their patronage. In so doing, it reveals what sculpture meant to Victoria and Albert personally; what their patronage meant to the contemporary sculpture profession; and what impact they had on the wider history and historiography of Victorian sculpture. The thesis is organised chronologically and broadly divided into three periods, representing three distinct but interrelated trends in the formation, arrangement, dissemination and reception of Victoria’s and Albert’s collection and the changing status of royal patronage. The first is the period between Victoria’s and Albert’s marriage in 1840 and Albert’s death in 1861. In this period, the couple’s patronage was prolific, varied and widely disseminated. They commissioned and acquired an extensive amount of sculpture for the royal residences and closely involved themselves with numerous public sculpture projects such as the sculpture programme in the New Houses of Parliament. This thesis demonstrates the complex imbrication of the couple’s public and private patronage of sculpture by revealing the extent to which their involvement with public projects informed their private patronage and the degree to which this fed into their public image as patrons. The second part looks at the decade after Albert’s death, a period in which Victoria concentrated her patronage almost exclusively on memorial busts and statues of him. Her various memorial commissions have often been treated interchangeably as simple indexes of her legendary grief. This thesis restores specificity to this body of memorial sculpture and uncovers the extent and sophistication of Victoria’s patronage in this period. However, it also shows the damage done to her reputation as a patron through her seemingly relentless desire to commission posthumous portraits of Albert. The third part concentrates on the last three decades of Victoria’s life. It reveals the extent to which she remained active as a patron and the degree to which her taste for sculpture evolved in the 1880s and 1890s. Yet, Victoria’s patronage was indelibly associated with mid- century sculptors whom Edmund Gosse, chief evangelist of ‘The New Sculpture’ dismissed as representative of ‘the dark age’ in the history of British sculpture. At a time when public statues of Victoria by some of the leading sculptors of the age were being erected across the globe, her position as a leading patron of contemporary sculpture was steadily undermined by the perception that she was stuck in the past. 3 Abbreviations HMI Henry Moore Institute LGC Lord Great Chamberlain NAL National Art Library RA Royal Archives RAA Royal Academy Archive 4 Acknowledgements I would like to thank the Arts and Humanities Research Council for supporting my doctoral research. This thesis is part of the Displaying Victorian Sculpture project and I would particularly like to thank my fellow project members for their help, support and friendship: Desiree de Chaire, Charlotte Drew, Claire Jones and Gabriel Williams. Displaying Victorian Sculpture was conceived and co-directed by my supervisors, Michael Hatt and Jason Edwards. I would like to thank them for their unflinching support and ever thoughtful guidance. I would like to thank Philip McEvansoneya, Kathryn Milligan, Eimear O’Connor and Yvonne Scott, Trinity College Dublin, for their help with my studentship application. Over the course of my research, I have been assisted and supported by numerous academics, administrators, archivists, curators and librarians. Particular thanks to Jill Kelsey, Deputy Registrar of the Royal Archives. All quotations from the Royal Archives are by gracious permission of H.M. Queen Elizabeth II. I would also like to thank: Louise Bourdua, Julia Brown, Rosie Dias and Lorenzo Pericolo at the University of Warwick; Helen Jacobs and Sarah Turner at the University of York; Charles Henty at the Central Criminal Court, the Old Bailey; Lisa Le Feuvre, Claire Mayoh, Ann Sproat and Jon Wood at the Henry Moore Institute; Melanie Unwin at the Houses of Parliament; Michael Hunter at Osborne House; Mark Pomeroy at the Royal Academy; Caroline de Guitaut, Lisa Heighway and Agata Rutkowska at the Royal Collection; Enid Davies at St George’s Chapel, Windsor; Pamela Bromley at Warwick Castle; and Amy Boyington at Woburn Abbey. Thanks must also go to the curatorial staff at the Kelvingrove Art Gallery and Museum, Glasgow; the National Museum, Cardiff; the Thorvaldsens Museum, Copenhagen; the National Museums, Liverpool; and the Victoria and Albert Museum, London. Finally, I would like to thank my friends for their love and support. Special thanks go to: Carolyn Conroy, Kirstin Donaldson, Alice Eden, Stephanie Lambert, Barbara Martin, Christine Murray, Sarah O’Farrell, Giulia Ni Dhulchaointigh, and Aoife Valentine. It is impossible to convey how much my family have helped me over the past three years so I will simply thank my parents, Anne and Lenny, my sister Sinead, and my nephew Joe, for their constant encouragement, kindness, love and support. This thesis is dedicated to my Nana, Annie Dennis, who was never given the opportunities I have been given but has never flinched in the love and devotion she has shown to her children, grandchildren and great-grandchildren. 5 Declaration I declare that this thesis is my own work and that it has not been submitted for a degree at another university. 6 List of Illustrations 1.1. ‘Cartoon No. 1: Substance and Shadow’, woodcut engraving, Punch, or the London Charivari (29 July 1843), p. 22. 1.2. ‘Punch’s Fine Art Exhibition of Designs for National Statues, Part One,’ Punch, or the London Charivari (20 July 1844), p. 26. 1.3. ‘Punch’s Fine Art Exhibition of Designs for National Statues, Part Two,’ Punch, or the London Charivari (20 July 1844), p. 26. 1.4. ‘Workmen Sculpting the Bosses on the Groined Roof of the Central Hall,’ Illustrated London News (18 March 1848), p. 190 1.5. ‘The New Palace at Westminster: Plan of Principal Floor,’ in Henry T. Ryde, Illustrations of the New Palace of Westminster (London: Warrington & Son, 1849), Pl. 2. 1.6. ‘Arms under Windows of Royal Gallery,’ in Henry T. Ryde, Illustrations of the New Palace of Westminster (London: Warrington & Son, 1849), Pl. 3. 1.7. John Thomas, statues on the facade of the Victoria Tower, Palace of Westminster, c. 1841-1849, Anstone limestone (Photograph: Eoin Martin). 1.8. ‘Progress of the New Houses of Parliament. Hoisting-Scaffold of the Victoria Tower,’ Illustrated London News (2 February 1850), p. 68. 1.9. Sovereign’s Entrance, Palace of Westminster (Parliamentary copyright image reproduced with the permission of Parliament). 1.10. Sovereign’s Entrance, Palace of Westminster (Parliamentary copyright image reproduced with the permission of Parliament). 7 1.11. John Thomas, Queen Victoria Flanked by Justice and Wisdom, c. 1841-1849, marble, dimensions unknown (Photograph: Melanie Unwin) (Parliamentary copyright image reproduced with the permission of Parliament). 1.12. ‘Opening of Parliament: Her Majesty’s Arrival at the Victoria Tower,’ Illustrated London News (7 February 1850), p. 120. 1.13. Sir Edwin Landseer, Queen Victoria and Prince Albert at the Bal Cotumé of 12 May 1842, 1846, oil on canvas, 143 x 111.6 cm (Royal Collection Trust/© Her Majesty Queen Elizabeth II 2013). 1.14. John Gibson, Queen Victoria Flanked by Justice and Clemency, 1849-1856, Prince’s Chamber, House of Lords, marble, h. 244 cm (central figure) (Photograph: Melanie Unwin) (Parliamentary copyright image reproduced with the permission of Parliament). 1.15. South side of the Prince’s Chamber, House of Lords (Photograph: Melanie Unwin) (Parliamentary copyright image reproduced with the permission of Parliament). 1.16. Cooke and Sons, (manufacturer), The Kenilwoth Buffet, c.1851, carved and polished oak, c. 300cm in diameter, Warwick Castle (Photograph: Pamela Bromley). 1.17. William Theed, The Murder of Rizzio, c. 1856, Prince’s Chamber, House of Lords, electroplated bronze, 76.32 x 81.41 cm (Maurice Bond (ed.), Works of Art in the House of Lords (H.M.S.O., 1980), Pl.
Load more

Recommended publications
  • M.A. TAYLOR 1 and R.D. CLARK 2 Methodology and Repositories
    Ichthyosaurs from the Lower Lias (Lower Jurassic) of Banwell, Somerset ICHTHYOSAURS FROM THE LOWER LIAS (LOWER JURASSIC) OF BANWELL, SOMERSET M.A. TAYLOR 1 AND R.D. CLARK 2 Taylor, M.A. and Clark, R.D. 2016. Ichthyosaurs from the Lower Lias (Lower Jurassic) of Banwell, Somerset. Geoscience in South-West England, 14, 59–71. Two Lower Jurassic ichthyosaurs, lost in a 1940s air raid, are identified from archival records and surviving 19th century plaster casts distributed by their owner, the Bristol Institution for the Advancement of Science, Literature and the Arts. One was the type specimen of Ichthyosaurus latimanus Owen, 1840. The other, initially labelled Ichthyosaurus intermedius Conybeare, 1822, was the first ichthyosaur in which remains of the soft tissue of the tail fin were identified, confirming Richard Owen’s earlier prediction. Unfortunately Owen’s published account conflated the two specimens, apparently by the erroneous transposition of a passage of text. Owen possibly regarded the second specimen as the type of I. intermedius. In 1889 Richard Lydekker referred it to Ichthyosaurus conybeari Lydekker, 1888. For unknown reasons, he caused further confusion by suppressing the fact that both ichthyosaur specimens came from Banwell. Banwell is shown to have been a minor but significant source of Lower Lias fossil vertebrates, and also the type locality of the fish Tetragonolepis monilifer Agassiz, 1837, apparently from quarries in the lowermost Jurassic beds at Knightcott. The Bristol Institution assisted Edward Wilson (1808–1888) to obtain at least some of the West Country marine reptiles which his brother Dr Thomas Bellerby Wilson (1807–1865) donated to the Academy of Natural Sciences of Philadelphia, U.S.A.
    [Show full text]
  • Art Gallery of Ballarat Annual Report 10-11 Annual Report
    Art Gallery of Ballarat Annual Report 10-11 Annual Report 2010-11 ISSN 0726-5530 Chair’s Report .................................................................................................4 Art Gallery of Ballarat ACN: 145 246 224 Director’s Report .........................................................................................6 ABN: 28 145 246 224 Association Report .....................................................................................8 40 Lydiard Street North Ballarat Victoria 3350 Women’s Association Report ............................................................10 T 03 5320 5858 F 03 5320 5791 Gallery Guides Report ...........................................................................11 [email protected] Acquisitions ...................................................................................................13 www.artgalleryofballarat.com.au Outward Loan ..............................................................................................27 Exhibitions ......................................................................................................31 Public Programs ........................................................................................35 Education Visits and Programs ..........................................................37 Adopt an Artwork ......................................................................................40 Donations, Gifts and Bequests .........................................................41 Gallery Staff and Volunteers
    [Show full text]
  • Appendices 2011–12
    Art GAllery of New South wAleS appendices 2011–12 Sponsorship 73 Philanthropy and bequests received 73 Art prizes, grants and scholarships 75 Gallery publications for sale 75 Visitor numbers 76 Exhibitions listing 77 Aged and disability access programs and services 78 Aboriginal and Torres Strait Islander programs and services 79 Multicultural policies and services plan 80 Electronic service delivery 81 Overseas travel 82 Collection – purchases 83 Collection – gifts 85 Collection – loans 88 Staff, volunteers and interns 94 Staff publications, presentations and related activities 96 Customer service delivery 101 Compliance reporting 101 Image details and credits 102 masterpieces from the Musée Grants received SPONSORSHIP National Picasso, Paris During 2011–12 the following funding was received: UBS Contemporary galleries program partner entity Project $ amount VisAsia Council of the Art Sponsors Gallery of New South Wales Nelson Meers foundation Barry Pearce curator emeritus project 75,000 as at 30 June 2012 Asian exhibition program partner CAf America Conservation work The flood in 44,292 the Darling 1890 by wC Piguenit ANZ Principal sponsor: Archibald, Japan foundation Contemporary Asia 2,273 wynne and Sulman Prizes 2012 President’s Council TOTAL 121,565 Avant Card Support sponsor: general Members of the President’s Council as at 30 June 2012 Bank of America Merill Lynch Conservation support for The flood Steven lowy AM, Westfield PHILANTHROPY AC; Kenneth r reed; Charles in the Darling 1890 by wC Piguenit Holdings, President & Denyse
    [Show full text]
  • February, 1955
    Library of The Harvard Musical Association Bulletin No. 23 February, 1955 Library Committee CHARLES R. NUTTER JOHN N. BURK RICHARD G. APPEL CYRUS DURGIN RUDOLPH ELIE Director of the Library and Library and Custodian of the Marsh Room Marsh Room Marsh Room CHARLES R. NUTTER MURIEL FRENCH FLORENCE C. ALLEN To the Members of the Association: Your attention is called to an article in this issue by Albert C. Koch. * * * * REPORT ON THE LIBRARY AND ON THE MARSH ROOM FOR THE YEAR 1954 To the President and the Directors of The Harvard Musical Association: Today, when television and the radio, both A.M. and F.M., are providing much of the intellectual sustenance for the common man and woman, the individual who turns for an intellectual repast to the writers of past centuries and also tries to phrase his thoughts both vocal and written with some regard to the rules of grammar and the principles of rhetoric is regarded as high‐brow and is thrown out of society. I am aware that I lay myself open to the charge of being a high‐brow, a charge that creates no reactionary emotion at all, especially as it comes usually from the low‐brow, and that I may be thrown out of society into a lower stratum, when I state that for the text of this report I have turned to a gentleman whose mortal life spanned the years between 1672 and 1719. Even the low‐brow has probably heard or read the name Joseph Addison, though it may convey nothing to him except the fact that it has an English and not a foreign sound.
    [Show full text]
  • Annual Report 2018/2019
    Annual Report 2018/2019 Section name 1 Section name 2 Section name 1 Annual Report 2018/2019 Royal Academy of Arts Burlington House, Piccadilly, London, W1J 0BD Telephone 020 7300 8000 royalacademy.org.uk The Royal Academy of Arts is a registered charity under Registered Charity Number 1125383 Registered as a company limited by a guarantee in England and Wales under Company Number 6298947 Registered Office: Burlington House, Piccadilly, London, W1J 0BD © Royal Academy of Arts, 2020 Covering the period Coordinated by Olivia Harrison Designed by Constanza Gaggero 1 September 2018 – Printed by Geoff Neal Group 31 August 2019 Contents 6 President’s Foreword 8 Secretary and Chief Executive’s Introduction 10 The year in figures 12 Public 28 Academic 42 Spaces 48 People 56 Finance and sustainability 66 Appendices 4 Section name President’s On 10 December 2019 I will step down as President of the Foreword Royal Academy after eight years. By the time you read this foreword there will be a new President elected by secret ballot in the General Assembly room of Burlington House. So, it seems appropriate now to reflect more widely beyond the normal hori- zon of the Annual Report. Our founders in 1768 comprised some of the greatest figures of the British Enlightenment, King George III, Reynolds, West and Chambers, supported and advised by a wider circle of thinkers and intellectuals such as Edmund Burke and Samuel Johnson. It is no exaggeration to suggest that their original inten- tions for what the Academy should be are closer to realisation than ever before. They proposed a school, an exhibition and a membership.
    [Show full text]
  • The Ionian Islands in British Official Discourses; 1815-1864
    1 Constructing Ionian Identities: The Ionian Islands in British Official Discourses; 1815-1864 Maria Paschalidi Department of History University College London A thesis submitted for the degree of Doctor of Philosophy to University College London 2009 2 I, Maria Paschalidi, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 3 Abstract Utilising material such as colonial correspondence, private papers, parliamentary debates and the press, this thesis examines how the Ionian Islands were defined by British politicians and how this influenced various forms of rule in the Islands between 1815 and 1864. It explores the articulation of particular forms of colonial subjectivities for the Ionian people by colonial governors and officials. This is set in the context of political reforms that occurred in Britain and the Empire during the first half of the nineteenth-century, especially in the white settler colonies, such as Canada and Australia. It reveals how British understandings of Ionian peoples led to complex negotiations of otherness, informing the development of varieties of colonial rule. Britain suggested a variety of forms of government for the Ionians ranging from authoritarian (during the governorships of T. Maitland, H. Douglas, H. Ward, J. Young, H. Storks) to representative (under Lord Nugent, and Lord Seaton), to responsible government (under W. Gladstone’s tenure in office). All these attempted solutions (over fifty years) failed to make the Ionian Islands governable for Britain. The Ionian Protectorate was a failed colonial experiment in Europe, highlighting the difficulties of governing white, Christian Europeans within a colonial framework.
    [Show full text]
  • A Scent of Eternity the Flower Painter JL Jensen
    A scent of eternity The flower painter J.L. Jensen January 21 – August 12, 2018 J.L. Jensen, Opstilling med blomster og frugt, 1836 Landesmuseum für Kunst und Kulturgeschichte Oldenburg Blossom-Jensen comes to Nivaa The Nivaagaard Collection opened its doors to a grand exhibition featuring the works of J.L. Jensen (1800-1856), often referred to as ‘Blossom-Jensen’. Jensen was the leading flower painter of the Danish Golden Age. He devoted his entire life and career to depicting lavish bouquets in glowing colours as well as vivid displays of fruits, even though flower painting was traditionally a genre that was looked down on and generally something that female amateur painters occupied themselves with. The exhibition was the first in recent times to feature Blossom-Jensen and the biggest one ever dedicated to the artist. Jensen worked within the international still life (nature morte in French; stilleben in German) tradition, which focuses on paintings of static subjects such as an arrangement of inanimate materials, typically flowers, fruits, food and dead animals. The Danish artist painted all of these, but he is most renowned for his beautiful paintings of flowers in Greek vases, baskets and wreaths lying on a sill or growing on the forest floor. In addition to these are his works of pieces of fruit and his rare kitchen and hunting works, as well as the hitherto unknown porcelain that he – as the head painter at the Royal Porcelain Factory – decorated for King Frederick VI of Denmark’s two daughters. What particularly characterises Jensen’s works is his painstakingly detailed depiction of each flower, piece of fruit or animal and his well-balanced and harmonic compositions, where light flows into the bouquets so that each flower, leaf, bud or stalk is clearly and logically rendered.
    [Show full text]
  • In the Lands of the Romanovs: an Annotated Bibliography of First-Hand English-Language Accounts of the Russian Empire
    ANTHONY CROSS In the Lands of the Romanovs An Annotated Bibliography of First-hand English-language Accounts of The Russian Empire (1613-1917) OpenBook Publishers To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/268 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. In the Lands of the Romanovs An Annotated Bibliography of First-hand English-language Accounts of the Russian Empire (1613-1917) Anthony Cross http://www.openbookpublishers.com © 2014 Anthony Cross The text of this book is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the text; to adapt it and to make commercial use of it providing that attribution is made to the author (but not in any way that suggests that he endorses you or your use of the work). Attribution should include the following information: Cross, Anthony, In the Land of the Romanovs: An Annotated Bibliography of First-hand English-language Accounts of the Russian Empire (1613-1917), Cambridge, UK: Open Book Publishers, 2014. http://dx.doi.org/10.11647/ OBP.0042 Please see the list of illustrations for attribution relating to individual images. Every effort has been made to identify and contact copyright holders and any omissions or errors will be corrected if notification is made to the publisher. As for the rights of the images from Wikimedia Commons, please refer to the Wikimedia website (for each image, the link to the relevant page can be found in the list of illustrations).
    [Show full text]
  • 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.
    [Show full text]
  • Huguenot Merchants Settled in England 1644 Who Purchased Lincolnshire Estates in the 18Th Century, and Acquired Ayscough Estates by Marriage
    List of Parliamentary Families 51 Boucherett Origins: Huguenot merchants settled in England 1644 who purchased Lincolnshire estates in the 18th century, and acquired Ayscough estates by marriage. 1. Ayscough Boucherett – Great Grimsby 1796-1803 Seats: Stallingborough Hall, Lincolnshire (acq. by mar. c. 1700, sales from 1789, demolished first half 19th c.); Willingham Hall (House), Lincolnshire (acq. 18th c., built 1790, demolished c. 1962) Estates: Bateman 5834 (E) 7823; wealth in 1905 £38,500. Notes: Family extinct 1905 upon the death of Jessie Boucherett (in ODNB). BABINGTON Origins: Landowners at Bavington, Northumberland by 1274. William Babington had a spectacular legal career, Chief Justice of Common Pleas 1423-36. (Payling, Political Society in Lancastrian England, 36-39) Five MPs between 1399 and 1536, several kts of the shire. 1. Matthew Babington – Leicestershire 1660 2. Thomas Babington – Leicester 1685-87 1689-90 3. Philip Babington – Berwick-on-Tweed 1689-90 4. Thomas Babington – Leicester 1800-18 Seat: Rothley Temple (Temple Hall), Leicestershire (medieval, purch. c. 1550 and add. 1565, sold 1845, remod. later 19th c., hotel) Estates: Worth £2,000 pa in 1776. Notes: Four members of the family in ODNB. BACON [Frank] Bacon Origins: The first Bacon of note was son of a sheepreeve, although ancestors were recorded as early as 1286. He was a lawyer, MP 1542, Lord Keeper of the Great Seal 1558. Estates were purchased at the Dissolution. His brother was a London merchant. Eldest son created the first baronet 1611. Younger son Lord Chancellor 1618, created a viscount 1621. Eight further MPs in the 16th and 17th centuries, including kts of the shire for Norfolk and Suffolk.
    [Show full text]
  • Richard Hawes of Dorchester,Massachusetts and Some of His Descendants
    RICHARD HAWES OF DORCHESTER,MASSACHUSETTS AND SOME OF HIS DESCENDANTS COMPILED BY FRANK MORTIMER HA WES MEMBER OF THE NEW ENGLAND HISTORIC GENEALOGICAL SOCIETY THE CASE, LOCKWOOD & BRAINARD COMPANY HARTFORD, CONNECTICUT PARISH CHURCH, GREAT MISSENDEN, BuCKS See p. 17 THIS WORK IS INSCRIBED TO THE MEMORY OF JOHN6 HAWES AND HIS WIFE EUNICE (WITHINGTON) HAWES OF CANTON AND STOUGHTON, :MASSACHUSETTS CONTENTS ENGLISH CHAPTER I-17 FrnsT GENERATION IN AMERICA • 18 SECOND GENERATION 23 THIRD GENERATION 35 FouRTH GENERATION 41 FIFTH GENERATION 52 SIXTH GENERATION 76 SEVENTH GENERATION 122 EIGHTH GENERATION NINTH GENERATION INDEX TO ENGLISH CHAPTER INDEX TO HAWES NAMES INDEX TO OTHER NAMES CHRONOLOGICAL Signature of 7 :12mo :1641 FOREWORD O one is more aware of the shortcomings of this family history N than its author. There are many omissions, and doubtless as many mistakes and wrong guesses. A work of this kind, depending upon family, and even printed, records, can never hope for com­ pleteness; always there will be something more to be said. It repre­ sents the labor of years, and from start to finish is the work almost of one hand. I am deeply appreciative of the help accorded me by the various members of the clan who have contributed their family records. Many have not responded. I need only add that long perusal of the subject convinces me that the three New England branches of the Hawes name,-that of Edmund of Cape Cod, of Edward of Dedham, and of our Richard, represent three distinct groups, with no near relationship even in the mother country.
    [Show full text]
  • Westminster World Heritage Site Management Plan Steering Group
    WESTMINSTER WORLD HERITAGE SITE MANAGEMENT PLAN Illustration credits and copyright references for photographs, maps and other illustrations are under negotiation with the following organisations: Dean and Chapter of Westminster Westminster School Parliamentary Estates Directorate Westminster City Council English Heritage Greater London Authority Simmons Aerofilms / Atkins Atkins / PLB / Barry Stow 2 WESTMINSTER WORLD HERITAGE SITE MANAGEMENT PLAN The Palace of Westminster and Westminster Abbey including St. Margaret’s Church World Heritage Site Management Plan Prepared on behalf of the Westminster World Heritage Site Management Plan Steering Group, by a consortium led by Atkins, with Barry Stow, conservation architect, and tourism specialists PLB Consulting Ltd. The full steering group chaired by English Heritage comprises representatives of: ICOMOS UK DCMS The Government Office for London The Dean and Chapter of Westminster The Parliamentary Estates Directorate Transport for London The Greater London Authority Westminster School Westminster City Council The London Borough of Lambeth The Royal Parks Agency The Church Commissioners Visit London 3 4 WESTMINSTER WORLD HERITAGE S I T E M ANAGEMENT PLAN FOREWORD by David Lammy MP, Minister for Culture I am delighted to present this Management Plan for the Palace of Westminster, Westminster Abbey and St Margaret’s Church World Heritage Site. For over a thousand years, Westminster has held a unique architectural, historic and symbolic significance where the history of church, monarchy, state and law are inexorably intertwined. As a group, the iconic buildings that form part of the World Heritage Site represent masterpieces of monumental architecture from medieval times on and which draw on the best of historic construction techniques and traditional craftsmanship.
    [Show full text]