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Never in the Field of Urban Geology Have So Many Granites Been Looked At
Urban Geology in London No. 22 Never in the field of urban geology have so many granites been looked at by so few! A stroll along the Victoria Embankment from Charing Cross to Westminster & Blackfriars Bridge Ruth Siddall & Di Clements This walk starts outside Charing Cross station and then turns down Villier’s Street to the Thames Embankment. The walker then must take a choice (or retrace their steps). One may either follow the Embankment east along the River Thames to Blackfriars Bridge, taking in Victoria Embankment Gardens and Cleopatra’s Needle on the way. Alternative, one may turn westwards towards Westminster and take in the RAF Memorial and the new Battle of Britain Memorial. A variety of London transport options can be picked up at the mainline and underground stations at either ends of the walk. The inspiration for this walk is a field trip that Di Clements led, on behalf of the Geologists’ Association, for the Department of Energy & Climate Change (DECC) on 18th September 2014 (Clements pers. comm.). Although the main focus of this walk is the embankment, we will also encounter a number of buildings and monument en route. As ever, information on architects and architecture is gleaned from Pevsner (Bradley & Pevsner, 1999; 2003) unless otherwise cited. By far and away, the main rock we will encounter on this walk is granite. Granite comes in many varieties, but always has the same basic composition, being composed of the major rock forming minerals, quartz, orthoclase and plagioclase feldspar and mica, either the variety muscovite or biotite or both. -
Draft HAFS Cumulative Index 1991
HUNGERFORD AND ASSOCIATED FAMILIES SOCIETY INC JOURNALS AND NEWSLETTERS INDEX to HAFS JOURNALS Vols 1 (May 1991) to 15, No 4 (Nov 2020) and HAFS NEWSLETTERS Nos 1 to 60 (1991 to August 2020) Compiled by Lesley Jane Abrahams (nee Hungerford) [H.4a.1b.1c.1d/E.6.5a.1b.1c.1d] and Hungerford and Associated Families Society Inc © Hungerford & Associated Families Society Inc 2021 Do not download or reproduce in any format without the express permission of the HAFS Committee. Legend: The references in this Cumulative Index have been organised alphabetically. Some entries might appear under several topics. References are indicated in this way: For the Journal (to end of 2010): J 5/1 = HAFS Journal, Volume 5 Number 1, followed by date and page numbers, eg J 5/1 May 1999 pp.19-22 From 2011 to 2019, References are indicated in this way: J 11-1 = HAFS Journal, Vol. 11, Number 1, followed by month, year and page numbers. This is consistent with the footers on each page of the journals for this time period. For Newsletter: N = Newsletter, followed by number, month year, and page numbers, eg N 17 Feb 1999 pp. 8-9; N 41 Feb 2011 pp. 8-9 Hungerfords Down Under code is given in parentheses, from 2nd ed, 2013. Where possible, codes from HDU, 1st ed 2001, and from Hungerfords of the Hunter, have been updated to match HDU, 2nd ed 2013. Stray Hungerfords have been realigned in HDU, 2nd ed 2013, consequently some codes in this index may not match the codes used in the articles as published in early issues. -
James III and VIII
Gale Primary Sources Start at the source. James III and VIII Professor Edward Corp Université de Toulouse Bonnie Prince Charlie Entering the Ballroom at Holyroodhouse before 30 Apr 1892. Royal Collection Trust/ ©Her Majesty Queen Elizabeth II 2018 EMPOWER™ RESEARCH The life story of James III and VIII is mainly contained Germain-en-Laye in France, James had good reason to within the Stuart Papers in the Royal Archives at be confident that he would one day be restored to the Windsor Castle. They contain thousands of documents thrones of his father. In the second (1719-66), when he in hundreds of volumes giving details of his political mainly lived at Rome, he increasingly doubted and and personal correspondence, of his finances, and of eventually knew that he would never be restored. The the management of his court. Yet it is important to turning point came during the five years from the recognise that the Stuart Papers provide a summer of 1714 to the summer of 1719, when James comprehensive account of the king's life only from the experienced a series of major disappointments and beginning of 1716, when he was 27 years old. They tell reverses which had a profound effect on his us very little about the period from his birth at personality. Whitehall Palace in June 1688 until he reached the age He had a happy childhood at Saint-Germain, where he of 25 in 1713, and not much about the next two years was recognised as the Prince of Wales and then, after from 1713 to the end of 1715. -
View 2019 Edition Online
Emmanuel Emmanuel College College MAGAZINE 2018–2019 Front Court, engraved by R B Harraden, 1824 VOL CI MAGAZINE 2018–2019 VOLUME CI Emmanuel College St Andrew’s Street Cambridge CB2 3AP Telephone +44 (0)1223 334200 The Master, Dame Fiona Reynolds, in the new portrait by Alastair Adams May Ball poster 1980 THE YEAR IN REVIEW I Emmanuel College MAGAZINE 2018–2019 VOLUME CI II EMMANUEL COLLEGE MAGAZINE 2018–2019 The Magazine is published annually, each issue recording college activities during the preceding academical year. It is circulated to all members of the college, past and present. Copy for the next issue should be sent to the Editors before 30 June 2020. News about members of Emmanuel or changes of address should be emailed to [email protected], or via the ‘Keeping in Touch’ form: https://www.emma.cam.ac.uk/members/keepintouch. College enquiries should be sent to [email protected] or addressed to the Development Office, Emmanuel College, Cambridge CB2 3AP. General correspondence concerning the Magazine should be addressed to the General Editor, College Magazine, Dr Lawrence Klein, Emmanuel College, Cambridge CB2 3AP. Correspondence relating to obituaries should be addressed to the Obituaries Editor (The Dean, The Revd Jeremy Caddick), Emmanuel College, Cambridge CB2 3AP. The college telephone number is 01223 334200, and the email address is [email protected]. If possible, photographs to accompany obituaries and other contributions should be high-resolution scans or original photos in jpeg format. The Editors would like to express their thanks to the many people who have contributed to this issue, with a special nod to the unstinting assistance of the College Archivist. -
Note: Page Numbers in Italic Refer to Figures
Cambridge University Press 978-1-107-03402-0 — Women of Fortune Linda Levy Peck Index More Information Index Note: Page numbers in italic refer to Figures Abbott, Edward , Frances Bennet , – Abbott, George Grace Bennet , Abbott, Sir Maurice and marriage of daughter Abbott, Robert, scrivener and banker , and marriages of Simon Bennet’s daughters Abbott family , abduction (of heiresses), fear of , Arlington, Isabella, Countess of Abington, Great and Little, Cambridgeshire Arran, Earl of (younger son of Duke of , – Ormond) , foreclosure by Western family , Arthur, Sir Daniel Abington House , Arundel, Alatheia Talbot, Countess of Admiralty Court, and Concord claim – aspirations “Against the Taking Away of Women” and architecture ( statute) George Jocelyn’s , –, Ailesbury, Diana Bruce, Countess of , John Bennet’s , Ailesbury, Robert Bruce, st Earl of , of parish gentry Ailesbury, Thomas Bruce, nd Earl of Astell, Mary and Frances, Countess of Salisbury , , Aylesbury, Buckinghamshire, Barnes’strial , at on Grace Bennet , , Albemarle, nd Duke of Bacon, Francis Alfreton, Derbyshire , , Bagott, Sir Walter, Bt Andrewes, Lancelot, Bishop Bahia de Todos os Santos, Brazil Andrewes, Thomas, merchant Baines, Dr. Thomas Andrewes, Thomas, page Baker, Fr. Anglo-Dutch War (–) , Bancroft, John, Archbishop of Canterbury Anne, Queen , Bank of England Appleby School shares in apprenticeship banking Bennets in Mercers’ Company early forms Charles Gresley private , gentlemen apprentices –, , – see also moneylending -
The Journal of William Morris Studies
The Journal of William Morris Studies volume xx, number 3, winter 2013 Editorial – Fears and Hopes Patrick O’Sullivan 3 William Morris and Robert Browning Peter Faulkner 13 Two Williams of one medieval mind: reading the Socialist William Morris through the lens of the Radical William Cobbett David A. Kopp 31 Making daily life ‘as useful and beautiful as possible’: Georgiana Burne-Jones and Rottingdean, 1880–1904 Stephen Williams 47 William Morris: An Annotated Bibliography 2010–2011 David and Sheila Latham 66 Reviews. Edited by Peter Faulkner Michael Rosen, ed, William Morris, Poems of Protest (David Goodway) 99 Ingrid Hanson, William Morris and the Uses of Violence, 1856–1890 (Tony Pinkney) 103 The Journal of Stained Glass, vol. XXXV, 2011, Burne-Jones Special Issue. (Peter Faulkner) 106 the journal of william morris studies . winter 2013 Rosie Miles, Victorian Poetry in Context (Peter Faulkner) 110 Talia SchaVer, Novel Craft (Phillippa Bennett) 112 Glen Adamson, The Invention of Craft (Jim Cheshire) 115 Alec Hamilton, Charles Spooner (1862–1938) Arts and Crafts Architect (John Purkis) 119 Clive Aslet, The Arts and Crafts Country House: from the archives of Country Life (John Purkis) 121 Amy Woodhouse-Boulton, Transformative Beauty. Art Museums in Industrial Britain; Katherine Haskins, The Art Journal and Fine Art Publishing in Vic- torian England, 1850–1880 (Peter Faulkner) 124 Jonathan Meades, Museum without walls (Martin Stott) 129 Erratum 133 Notes on Contributors 134 Guidelines for Contributors 136 issn: 1756–1353 Editor: Patrick O’Sullivan ([email protected]) Reviews Editor: Peter Faulkner ([email protected]) Designed by David Gorman ([email protected]) Printed by the Short Run Press, Exeter, UK (http://www.shortrunpress.co.uk/) All material printed (except where otherwise stated) copyright the William Morris Society. -
Modular Infotech Pvt. Ltd
fA GUIDE TO EMPLOYMENT ~FOR BOYS ANI .IN GREATER Compiled, /;y tIlt LONDON REGIONAL ADVISORY COUNClL FOR JUVENILE EMPLOYMENT ~N~l...f~ CfYmIn Copyright h,,",,'; LONDON PRINTED AND PUBLISHED BY HIS MAJESTY'S STATIONERY OFFICE To be purcha.ed diRCtly from H.M. STATIONERY OFFICE at the following addreaaa: Adutral Houae, Kingtway. London, w.e.:!; no George Street. Edinburgh 2.; 2.6 York Street, Manchester 1:; t St. Andrew', Crescent, Cardiff; 80 Cbicheater Street, Belf•• t; or througb any bookeeller 1938 Price 2 t. oi. net CONTENTS Foreword Preface CoJrOlERCE. Clerical and Commercial Occupations Retail and Wholesale Distribution ... hl'DUSTRY. Bread and Confectionery-Biscuit Manufacture Building and Allied Trades ... Clotbing Trades Engineering and Allied Trades Factory Occupations (General) Film Industry-Photograpby... Furniture and Furnishing Trades Games and Sports Requisites Manufacture-Toy Makin Glass Manufacture JeweUery and Precious Metal Trades Laundry Trade-Cleaning and Dyeing Leather Manufacture-Made up Leather Goods-Boot Making Miscellaneous Trades (Brusb and Broom Making-Cigar Dental Mechanics-Horticulture-Neon Tube Signs Pipe Making-Umbrella Making) •.. ~aper Manufacture-Paper Bag. Paper Box and S Making . Piano and Musical Instrument Making Printing and Allied Trades Woodworkjdg Trades ... ~l«~ ~VICES. Domestic Work Hairdressing Hotel and Catering PuBuc SER.VICES. Boy Messengers (excluding Post Office Messengers) Civil and Municipal Services •.• Gas, Water and Electricity Supply ... Navy-Army-Air Force-Mercantile Marine Transport Services-Thames Lightermen and Watermen Zoological Gardens (Helpers and Keepers) ... APPEND[X A. List of Juveuile Advisory Committees working in co-operation the Ministry of Labour APPENDIX B. List of Classes in connection with certain Trades and Occurp'ation APPENDIX C. -
The London Gazette, Maech 22, 1901
THE LONDON GAZETTE, MAECH 22, 1901. 2041 Purchase, acquisition, laying out, planting and (e) Removal of certain gates, bars, or other improvement of parks, gardens, and open spaces. obstructions in streets. Fencing, drainage, buildings, entrance gates, (f) Expenditure in connection with historical bandstands, shelters, gymnasiums, boats, appli- buildings. ances, and conveniences of various kinds in Purchases of property, compensation, and parks and open spaces, formation and improve- works, rehousing of persons displaced, and other ment of lakes and ponds, and providing accommo- incidental expenditure under the London County dation for bathing, river-walls and embankments Council (Improvements) Act, 18P9. viz.:— and water supply. (a) Holborn to Strand, new street. Contributions towards purchase, acquisition, (b) Southampton-row widening. laying out and improvement of opeu spaces, (c) Wandsworth-road, Lambeth, widening. gardens and recreation grounds. (d) High-street, Kensington, widening. Purchase of propertj-, compensation, and (e) Cat and Mutton Bridge, Shoreditch, works in connection with the tunnel authorised reconstruction. by the Thames Tunnel (Blackwall) Acts, 1887 (f) OH Gravel-lane Bridge, St. George's-in- and 1888, including formation of approaches the-East, j econstruction. and provisions for rehousing persons displaced. Construction of railway sidings at Hortou Purchase of property, compensation, and con- including the exchange and purchase of lands, struction of subways, authorized by the Thames plant, and stock. Tunnel (Greenwich to Millwall) Act, 1897, and Purchase of land (the " Brickfield"), Lime- the Thames Tunnel (Rotherhithe and Ratcliff) house, for open space. Act, 1900. Purchases of property, compensation, and Schemes and contributions to schemes, acquisi- works, and other incidental expenditure under tion of lands, erection of dwellings, and other the London County Council (Improvements) Act, expenditure under the Housing of the Working 1900, viz. -
Architectural Digest May Earn a Portion of Sales from Products That Are Purchased Through Our Site As Part of Our Affiliate Partnerships with Retailers
The Grecian Valley at Stowe, Buckinghamshire (showing the Temple of Victory and Concorde), this year's beneficiary of the Royal Oak Foundation's gala dinner. Photo: Andrew Butler, courtesy of the National Trust THE REPORT The Royal Oak Foundation Looks to Stowe's 1730s Temple of Modern Virtue as its Latest Beneficiary The William Kent structure will benefit from the proceeds of the organization's annual Timeless Design Dinner By Mitchell Owens October 16, 2018 Stowe, the English country estate that shares its land with an elite boarding school, is a name that galvanizes attention in the architecture world. The sprawling Buckinghamshire destination, administered by the National Trust, astounds with the richness and variety of a property that was augmented, enriched, and, indeed, reshaped by an all-star 18th- century cast hired by the aristocratic Temple family: Charles Bridgeman, Sir John Vanbrugh, James Gibbs, William Kent, John Michael Rysbrack, and Lancelot “Capability” Brown, who was then just starting out on a career that would result in England’s transformation from stiff formal gardens to rolling landscapes that look utterly natural—but actually aren’t. “There’s so much going on at Stowe,” says David Nathans, the president of the Royal Oak Foundation, the energetic American fundraising arm of the National Trust. By that he means not only plants, trees, lakes, and the earthly like but scores of monuments, follies, temples, bridges, and other architectural delights that the public can see 365 days a year. Among them is what’s left of the 1730s Temple of Modern Virtue, a William Kent limestone frivolity that was built as a fool-the-eye ruin—it was intended as sarcastic commentary on Sir Robert Walpole, the avaricious British prime minister, who is depicted as a headless torso—but which has become, literally, tumble-down. -
The Gibbs Range of Classical Porches • the Gibbs Range of Classical Porches •
THE GIBBS RANGE OF CLASSICAL PORCHES • THE GIBBS RANGE OF CLASSICAL PORCHES • Andrew Smith – Senior Buyer C G Fry & Son Ltd. HADDONSTONE is a well-known reputable company and C G Fry & Son, award- winning house builder, has used their cast stone architectural detailing at a number of our South West developments over the last ten years. We erected the GIBBS Classical Porch at Tregunnel Hill in Newquay and use HADDONSTONE because of the consistency, product, price and service. Calder Loth, Senior Architectural Historian, Virginia Department of Historic Resources, USA As an advocate of architectural literacy, it is gratifying to have Haddonstone’s informative brochure defining the basic components of literate classical porches. Hugh Petter’s cogent illustrations and analysis of the porches’ proportional systems make a complex subject easily grasped. A porch celebrates an entrance; it should be well mannered. James Gibbs’s versions of the classical orders are the appropriate choice. They are subtlety beautiful, quintessentially English, and fitting for America. Jeremy Musson, English author, editor and presenter Haddonstone’s new Gibbs range is the result of an imaginative collaboration with architect Hugh Petter and draws on the elegant models provided by James Gibbs, one of the most enterprising design heroes of the Georgian age. The result is a series of Doric and Ionic porches with a subtle variety of treatments which can be carefully adapted to bring elegance and dignity to houses old and new. www.haddonstone.com www.adamarchitecture.com 2 • THE GIBBS RANGE OF CLASSICAL PORCHES • Introduction The GIBBS Range of Classical Porches is designed The GIBBS Range is conceived around the two by Hugh Petter, Director of ADAM Architecture oldest and most widely used Orders - the Doric and and inspired by the Georgian architect James Ionic. -
Introduction-Translation-As-Art-History.Pdf
SUGATA RAY INTRODUCTION Translation as Art History In September 2016, more than two thousand scholars from forty- three countries gathered at the Comité International d’Histoire de l’Art’s Thirty- fourth World Congress of Art History in Beijing to collectively consider the terms that shape art history’s disciplinary contours in dispersed parts of the globe.1 The concern could not have been more pressing. As the call to decolonize the museum and the university gains momentum, the need to revisit the lan- guage of art history—terminologies, schemas, vocabularies, and so on— also accrues urgency, for lexica and terminologies frame the boundaries of what can and what cannot be called art history. Terms, as Raymond Williams reminds us, institutionalize knowledge through the manipulation of signification within language.2 Indeed, by now, we are all too cognizant of the threads that link the disciplinary structures of modern art history with both the project of the European Enlightenment and the epistemic violence of colonialism. The eighteenth- and nineteenth- century roots of the discipline, scholars have noted, lay in the “colonization of the world’s cultures” through a “totalizing notion of art.”3 More recently, in the wake of the Occupy movement, activists and community groups also have engaged with the colonial legacy of art history’s disciplinary paradigms. Consider, for instance, the demand to set up a Decolonization Commission at the Brooklyn Museum. That this call to decolonize the museum evokes a scene from the 2018 film Black Panther -
Victoria Embankment Foreshore Hoarding Commission
Victoria Embankment Foreshore Hoarding Commission 1 Introduction ‘The Thames Wunderkammer: Tales from Victoria Embankment in Two Parts’, 2017, by Simon Roberts, commissioned by Tideway This is a temporary commission located on the Thames Tideway Tunnel construction site hoardings at Victoria Embankment, 2017-19. Responding to the rich heritage of the Victoria Embankment, Simon Roberts has created a metaphorical ‘cabinet of curiosities’ along two 25- metre foreshore hoardings. Roberts describes his approach as an ‘aesthetic excavation of the area’, creating an artwork that reflects the literal and metaphorical layering of the landscape, in which objects from the past and present are juxtaposed to evoke new meanings. Monumental statues are placed alongside items that are more ordinary; diverse elements, both man-made and natural, co-exist in new ways. All these components symbolise the landscape’s complex history, culture, geology, and development. Credits Artist: Simon Roberts Images: details from ‘The Thames Wunderkammer: Tales from Victoria Embankment in Two Parts’ © Simon Roberts, 2017. Archival images: © Copyright Museum of London; Courtesy the Trustees of the British Museum; Wellcome Library, London; © Imperial War Museums (COM 548); Courtesy the Parliamentary Archives, London. Special thanks due to Luke Brown, Demian Gozzelino (Simon Roberts Studio); staff at the Museum of London, British Museum, Houses of Parliament, Parliamentary Archives, Parliamentary Art Collection, Wellcome Trust, and Thames21; and Flowers Gallery London. 1 About the Artist Simon Roberts (b.1974) is a British photographic artist whose work deals with our relationship to landscape and notions of identity and belonging. He predominantly takes large format photographs with great technical precision, frequently from elevated positions.