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Medieval Heritage and Pilgrimage Walks
Medieval Heritage and Pilgrimage Walks Cleveland Way Trail: walk the 3 miles from Rievaulx Abbey, Yorkshire to Helmsley Castle and tread in the footsteps of medieval Pilgrims along what’s now part of the Cleveland Way Trail. Camino de Santiago/Way of St James, Spain: along with trips to the Holy Land and Rome, this is the most famous medieval pilgrimage trail of all, and the most well-travelled in medieval times, at least until the advent of Black Death. Its destination point is the spot St James is said to have been buried, in the Cathedral of Santiago de Compostela. Today Santiago is one of UNESCO’s World Heritage sites. Read more . the Cathedral of Santiago de Compostela holds a Pilgrims’ Mass every day at noon. Walk as much or as little of it as you like. Follow the famous scallop shell symbols. A popular starting point, both today and in the Middle Ages, is either Le Puy in the Massif Central, France OR the famous medieval Abbey at Cluny, near Paris. The Spanish start is from the Pyrenees, on to Roncevalles or Jaca. These routes also take in the Via Regia and/or the Camino Frances. The Portuguese way is also popular: from the Cathedrals in either Lisbon or Porto and then crossing into Falicia/Valenca. At the end of the walk you receive a stamped certifi cate, the Compostela. To achieve this you must have walked at least 100km or cycled for 200. To walk the entire route may take months. Read more . The route has inspired many TV and fi lm productions, such as Simon Reeve’s BBC2 ‘Pilgrimage’ series (2013) and The Way (2010), written and directed by Emilio Estevez, about a father completing the pilgrimage in memory of his son who died along the Way of St James. -
Gothic Riffs Anon., the Secret Tribunal
Gothic Riffs Anon., The Secret Tribunal. courtesy of the sadleir-Black collection, University of Virginia Library Gothic Riffs Secularizing the Uncanny in the European Imaginary, 1780–1820 ) Diane Long hoeveler The OhiO STaTe UniverSiT y Press Columbus Copyright © 2010 by The Ohio State University. all rights reserved. Library of Congress Cataloging-in-Publication Data hoeveler, Diane Long. Gothic riffs : secularizing the uncanny in the european imaginary, 1780–1820 / Diane Long hoeveler. p. cm. includes bibliographical references and index. iSBn-13: 978-0-8142-1131-1 (cloth : alk. paper) iSBn-10: 0-8142-1131-3 (cloth : alk. paper) iSBn-13: 978-0-8142-9230-3 (cd-rom) 1. Gothic revival (Literature)—influence. 2. Gothic revival (Literature)—history and criticism. 3. Gothic fiction (Literary genre)—history and criticism. i. Title. Pn3435.h59 2010 809'.9164—dc22 2009050593 This book is available in the following editions: Cloth (iSBn 978-0-8142-1131-1) CD-rOM (iSBn 978-0-8142-9230-3) Cover design by Jennifer Shoffey Forsythe. Type set in adobe Minion Pro. 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 This book is for David: January 29, 2010 Riff: A simple musical phrase repeated over and over, often with a strong or syncopated rhythm, and frequently used as background to a solo improvisa- tion. —OED - c o n t e n t s - List of figures xi Preface and Acknowledgments xiii introduction Gothic Riffs: songs in the Key of secularization 1 chapter 1 Gothic Mediations: shakespeare, the sentimental, and the secularization of Virtue 35 chapter 2 Rescue operas” and Providential Deism 74 chapter 3 Ghostly Visitants: the Gothic Drama and the coexistence of immanence and transcendence 103 chapter 4 Entr’acte. -
The English Claim to Gothic: Contemporary Approaches to an Age-Old Debate (Under the Direction of DR STEFAAN VAN LIEFFERINGE)
ABSTRACT MARY ELIZABETH BLUME The English Claim to Gothic: Contemporary Approaches to an Age-Old Debate (Under the Direction of DR STEFAAN VAN LIEFFERINGE) The Gothic Revival of the nineteenth century in Europe aroused a debate concerning the origin of a style already six centuries old. Besides the underlying quandary of how to define or identify “Gothic” structures, the Victorian revivalists fought vehemently over the national birthright of the style. Although Gothic has been traditionally acknowledged as having French origins, English revivalists insisted on the autonomy of English Gothic as a distinct and independent style of architecture in origin and development. Surprisingly, nearly two centuries later, the debate over Gothic’s nationality persists, though the nationalistic tug-of-war has given way to the more scholarly contest to uncover the style’s authentic origins. Traditionally, scholarship took structural or formal approaches, which struggled to classify structures into rigidly defined periods of formal development. As the Gothic style did not develop in such a cleanly linear fashion, this practice of retrospective labeling took a second place to cultural approaches that consider the Gothic style as a material manifestation of an overarching conscious Gothic cultural movement. Nevertheless, scholars still frequently look to the Isle-de-France when discussing Gothic’s formal and cultural beginnings. Gothic historians have entered a period of reflection upon the field’s historiography, questioning methodological paradigms. This -
'James and Decimus Burton's Regency New Town, 1827–37'
Elizabeth Nathaniels, ‘James and Decimus Burton’s Regency New Town, 1827–37’, The Georgian Group Journal, Vol. XX, 2012, pp. 151–170 TEXT © THE AUTHORS 2012 JAMES AND DECIMUS BURTON’S REGENCY NEW TOWN, ‒ ELIZABETH NATHANIELS During the th anniversary year of the birth of The land, which was part of the -acre Gensing James Burton ( – ) we can re-assess his work, Farm, was put up for sale by the trustees of the late not only as the leading master builder of late Georgian Charles Eversfield following the passing of a private and Regency London but also as the creator of an Act of Parliament which allowed them to grant entire new resort town on the Sussex coast, west of building leases. It included a favourite tourist site – Hastings. The focus of this article will be on Burton’s a valley with stream cutting through the cliff called role as planner of the remarkable townscape and Old Woman’s Tap. (Fig. ) At the bottom stood a landscape of St Leonards-on-Sea. How and why did large flat stone, locally named The Conqueror’s he build it and what role did his son, the acclaimed Table, said to have been where King William I had architect Decimus Burton, play in its creation? dined on the way to the Battle of Hastings. This valley was soon to become the central feature of the ames Burton, the great builder and developer of new town. The Conqueror’s table, however, was to Jlate Georgian London, is best known for his work be unceremoniously removed and replaced by James in the Bedford and Foundling estates, and for the Burton’s grand central St Leonards Hotel. -
702231 MODERN ARCHITECTURE a Nash and the Regency
702231 MODERN ARCHITECTURE A Nash and the Regency the Regency 1811-1830 insanity of George III rule of the Prince Regent 1811-20 rule of George IV (former Prince Regent) 1820-1830 the Regency style lack of theoretical structure cavalier attitude to classical authority abstraction of masses and volumes shallow decoration and elegant colours exterior stucco and light ironwork decoration eclectic use of Greek Revival and Gothick elements Georgian house in Harley Street, London: interior view. MUAS10,521 PROTO-REGENCY CHARACTERISTICS abstract shapes shallow plaster decoration light colouration Osterley Park, Middlesex (1577) remodelled by 20 Portman Square, London, the Adam Brothers, 1761-80: the Etruscan Room. by Robert Adam, 1775-7: the music room MUAS 2,550 MUAS 2,238 ‘Etruscan’ decoration by the Adam brothers Syon House, Middlesex, remodelled by Robert Portland Place, London, Adam from 1762: door of the drawing room by the Adam brothers from 1773: detail MUAS 10,579 MUAS 24,511 shallow pilasters the Empire Style in France Bed for Mme M, and Armchair with Swan vases, both from Percier & Fontaine, Receuil de Décorations (1801) Regency drawing room, from Thomas Hope, Household Furniture and Decoration (1807) Regency vernacular with pilastration Sandford Park Hotel, Bath Road, Cheltenham Miles Lewis Regency vernacular with blind arches and Greek fret pilasters Oriel Place, Bath Road, Cheltenham photos Miles Lewis Regency vernacular with balconies No 24, The Front, Brighton; two views in Bayswater Road, London MUAS 8,397, 8,220, 8,222 'Verandah' [balcony], from J B Papworth, Rural Residences, Consisting of a Series of Designs for Cottages, Decorated Cottages, Small Villas, and other Ornamental Buildings .. -
Castle Studies Group Journal Location Index of 1 45
Castle Studies Group Journal Location Index Castle Studies Group Journal Index: Site Locations. Locations are castles unless otherwise stated. Site are listed alphabetically by alphabetised country. In practice it may be easier to use your browser/reader find facility (normally command F). Please be flexible with spelling (particularly try spelling without accents). Volume numbers are underlined and hyperlinked to a volume contents page. S# refers to Summer/September Bulletins. This revision dated March 2016. Name County/District Country Volume; first page reference, other article first page reference: Volume; first page reference etc. Bala Hissar, Kabul Afganistan 23; 240 Araberg Austria 21; 232 Aalst West Flanders Belgium 20; 222 Binche Hainaut Belgium 15; 9 Bouillon Luxembourg Belgium 15; 7 Buzenol-Montaubon Luxembourg Belgium 15; 7 Corroy-le-Chateau Namur Belgium 15; 10 Erpe East Flanders Belgium 15; 9 Falnuée Namur Belgium 15; 11 Gravensteen East Flanders Belgium 15; 8 Lavaux Namur Belgium 20; 126 Montaigle Namur Belgium 15; 11: 20; 125 Namur Namur Belgium 15; 12 Poilvache Namur Belgium 15; 11 Sugny Namur Belgium 15; 7 Tchesté de la Rotche Namur Belgium 20; 125 Villeret Namur Belgium 15; 11 Kaleto (Belogradchik Fortress) Vidin Bulgaria S21; 6 Diocletian's Palace, Spalato (Split) Croatia 25; 144 Vrboska Croatia 23; 206 Buffavento Cyprus 16; 22: 28; 288 Famagusta Cyprus S18; 14 Kantara Cyprus 16; 22: 28; 285: 29; 308 Kyrenia Cyprus 16; 22: 28; 296, 297: 29; 308 St Hilarion Cyprus 16; 22: 28; 288, 290 Sigouri Cyprus 28; 292 Toprak Cyprus -
A New Apology for the Builder
1 Introduction: a new apology for the builder It is not knowing what people did but understanding what they thought that is the proper definition of the historian’s task. R.G. Collingwood 1 Built in response to a broad range of social and economic imperatives, and subject to both abstract theorizing and the market economy, the brick terraced (or row) house of the eighteenth and early nineteenth cen- turies remains one of the most potent symbols of architectural modernity throughout the British Atlantic world (Figures I.1 and I.2 ). Produced in large numbers by artisan communities of bricklayers, carpenters, plasterers and related tradesmen, these houses collectively formed the streets and squares that comprise the links and pivots of ‘enlightened’ urban city plans. From London, Bristol, Dublin and Limerick to Boston, Baltimore and Philadelphia, this historic building stock continues to play a significant role in the national and cultural identities of these modern cities. Indeed, while civic and ecclesiastical buildings constitute the most conspicuous monuments of the period – under the various rubrics of ‘Georgian’, ‘Colonial’ or ‘Federal’ architectures – the urban house remains central to interpretations of historic space, time and place in both academic circles and in the popular imagination. Despite its ubi- quity, however, the brick town house arguably remains one of the most misunderstood and misrepresented building types in the wider discourse on the historic built environment. Disparaged in eighteenth- century architectural discourse as both a jerry- built commodity and an inferior manifestation of the classical hegemony, its form, design and aesthetic character have arguably been marginalized in a burgeoning modern lit- erature focused on the relational effects of urbanism, industrialized cap- italism and contracted labour. -
An Introduction to Regency Chitectu
’ Desi ns f THE N M N L M L W O RKER S D IR EC TO RY Cottin ham 1 824 g rom O R A E TA ETA by L . N . g , AN INTR O D U CTIO N TO R E GE N CY C H I TE C TU PA U L R EI LLY P E L L E G R I N I C U D A H Y N EW Y O R K Pr inted in Great Br itain by S H E N VA L PR E SS LTD and p ublis hed in the U S A . by I N I A Y I N C PE LL E G R C U D H , PREFACE THIS SHORT ES SAY does not pretend to be more than an elementary survey of Regency architecture . Its purpose is to draw attention , by of l way generalization rather than close examination , to the high ights of a brief but beautiful period of English building . I hope that the lay reader will learn enough from the text and the plates to value this fast-vanishin g beauty and to protest energetically when he sees an example of Regency architecture threatened with destruction . of c t I must , course , a knowledge my deb to Mr John Summerson for his Geor ian London his of John Nash g (Pleiades Books) and life , Ar chitec t to Kin Geor e I V U g g (George Allen and nwin Ltd) , both of i re- wh ch I read before starting this present essay . -
Sir John Summerson
SOCIETY OF ARCHITECTURAL HISTORIANS OF GREAT BRITAIN The Alice Davis Hitchcock Medallion is presented annually to authors of outstanding contributions to the literature of architectural history. Recipients of the award have been 1959: H. M. Colvin 1960: Sir John Summerson 1961: Dr Kerry Downes 1962: John Fleming 1963: Miss Dorothy Stroud 1964: Dr F. H. W. Sheppard 1965: Dr H. M. & Mrs Joan Taylor 1966: Sir Nikolaus Pevsner 1967: Dr Mark Girouard 1968: Christopher Hussey 1969: Professor Peter Collins 1970: Dr A. H. Gomme & D. M. Walker 1971: John Harris Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 25 Sep 2021 at 21:39:01, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://doi.org/10.1017/S0066622X00005748 VOLUME i: 1958 R. A. Cordingley, Problems in Greek architectural history H. M. Colvin, The architects of Stafford House J. Brandon-Jones, Notes on the building of Smeaton Manor M. H. Port, Francis Goodwin, 1784-1853 Records of buildings: Oriel Chamber and 16 Cork Street, Liverpool VOLUME 2: 1959 Bruce Allsopp, A note on the arcading and sculpture in the south aisle of Beverley Minster H. M. Colvin, Four fourteenth-century building contracts John Harris, Inigo Jones and the Prince's Lodging, Newmarket Sir John Summerson, Catalogue of drawings of Newgate Gaol in Sir John Soane's Museum Henry Paris, British transport historical records List of unpublished theses Records of buildings: Royal Arcade, Newcastle upon Tyne VOLUME 3: i960 The engravings of the Grands Prix of the French Academy of Architecture, edited and introduced by Helen Rosenau VOLUME A: 1961 John Harris, Thoresby House, Nottinghamshire Carroll Meeks, Temple fronts in neoclassical Italy H. -
College History.Pdf
Exeter College OXFORD Exeter College, Oxford xeter College takes its name not from a man but from a diocese. Its founder, Walter de E Stapeldon, bishop of Exeter, was born about 1266, probably at the hamlet which still bears his name, near Holsworthy, in the remote country of north-west Devon. His family, moderately well-to-do farmers, too grand for peasants and too humble for gentry, had long been prominent in the social life of their locality, but they carried no weight in the county and had probably never been beyond its boundaries. From these unprivileged origins Walter de Stapeldon rose to become not only a bishop but also the treasurer of England, the confidant of King Edward II and eventually the victim of Edward’s enemies. The obscurity of Exeter College his family circumstances makes it impossible to trace the early stages in this adventurous career. We know seen from Turl only that he was an Oxford graduate, rector of Aveton Giffard in South Devon during the 1290s, canon of Street Exeter Cathedral by 1301 and precentor of the Cathedral by 1305. After his election as bishop in 1308 he made rapid progress in the king’s service as a diplomat, archivist and financial expert; and it was his position near the centre of power in a particularly oppressive government which cost him his life in 1326, when Edward II lost his throne and Stapeldon his head. When in 1314 he established Stapeldon Hall, as the College was first known, the bishop’s motives were doubtless mixed: piety, the safety of his soul, and the education of the prospective clergy of his diocese were probably his chief concerns. -
Information to Users
The apocryphal infancy of Christ as depicted on the fourteenth-century Tring Tiles Item Type text; Thesis-Reproduction (electronic) Authors Casey, Mary Frances, 1937- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 29/09/2021 06:02:04 Link to Item http://hdl.handle.net/10150/278524 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. -
Living in an Early Tudor Castle: Households, Display, and Space, 1485-1547 Audrey Maria Thorstad
Living in an Early Tudor Castle: Households, Display, and Space, 1485-1547 Audrey Maria Thorstad Submitted in accordance with the requirements for the degree of Doctor of Philosophy University of Leeds School of History November 2015 2 The candidate confirms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. The right of Audrey Maria Thorstad to be identified as author of this work has been asserted by her in accordance with the Copyright, Designs and Patents Act 1988. © 2015 The University of Leeds and Audrey Maria Thorstad 3 Acknowledgements The last four years of this research would not have been possible without the immense support form a great number of people. I must firstly thank my supervisors – past and present – all who have supported, challenged, and encouraged me along the way. To my current supervisors, Professor Emilia Jamzoriak and Axel Müller, a huge thank you is due. They have been endlessly helpful, critical, and whose insight helped to bring this project to fruition. Further thanks to Dr Paul Cavill who told me to ‘jump in with both feet’, which I have done and have not looked back since. I must also thank Professor Stephen Alford, whose knowledge on the Tudor period is infinite and whose support is much appreciated. Last, but certainly not least, my appreciation goes out to Kate Giles who helped make the viva experience a little less scary and a lot more fun.