This work is a full-length study of John Talman, the first director of the Society of Antiquaries and one of the most influential collectors of drawings in early 18th century Britain.
Spanning the architectural history of the country house from the disarming Elizabethan charm of South Wraxall, the classical rigour of Kinross in Scotland, the majesty and ingenuity of Hawksmoor's Easton Neston, the Palladian sweep of Wentworth Woodhouse, with over 300 rooms and frontage of 600 feet, the imperial exuberance of Clandeboye, through to the ebullient vitality of Lutyens' Marshcourt, the stories of these houses tell the story of our nation. All are the are buildings of the greatest architectural interest, each with a fascinating human story to tell, and all remain private homes that are closed to the public. But their owners have opened their doors and allowed Dan Cruickshank to roam the corridors and rummage in the cellars as he teases out the story of each house - who built them, the generations who lived in them, and the families who lost them. Along the way he has uncovered tales of excess and profligacy, tragedy, comedy, power and ambition. And as these intriguing narratives take shape, Dan shows how the story of each house is inseparable from the social and economic history of Britain. Each one is built as a wave of economic development crests, or crumbles. Each one's architecture and design is thus expressive of the aims, strengths and frailties of those who built them. Together they plot the psychological, economic and social route map of our country's ruling class in a rich new telling of our island story.
Architects, Builders, and Intellectual Culture in Restoration England charts the moment when well-educated, well-resourced, English intellectuals first became interested in classical architecture in substantial numbers. This occurred after the Restoration of the Monarchy in 1660 and involved people such as John Evelyn, Robert Hooke, Sir Christopher Wren, and Roger North. Matthew Walker explores how these figures treated architecture as a subject of intellectual enquiry, either as writers, as designers of buildings, or as both. In four substantial chapters it looks at how the architect was defined as a major intellectual figure, how architects acquired material that allowed them to define themselves as intellectually competent architects, how intellectual writers in the period handled knowledge of ancient architecture in their writing, and how the design process in architecture was conceived of in theoretical writing at the time. In all, Walker shows that the key to understanding English architectural culture at the time is to understand how architecture was handled as knowledge, and how architects were conceived of as collectors and producers of such knowledge. He also makes the claim that architecture was treated as an extremely serious and important area of intellectual enquiry, the result of which was that by the turn of the eighteenth century, architects and architectural writers could count themselves amongst England's intellectual and cultural elite.
When Charles Clarke settled in Elora, Ontario, in 1848 he joined the ranks of the province's radical reformers, becoming a vigorous critic of everything in Canada that smacked of the old regime - rank, privilege, and monopoly - and an enthusiastic supporter of everything promised by the new - equity, democracy, and individual opportunity. He played a prominent role in drafting the 'Clear Grit' platform of 1851, supporting such ideas as a householder's suffrage, the secret ballot, and representation by population. He later espoused the two great causes of nineteenth-century Anglo-Canadian liberalism - provincial rights in Canada and Irish Home Rule in Britain. Equally involved in local affairs - from the Sons of Temperance to the Natural History Society - Clarke tirelessly promoted the natural beauties of Elora and tried to protect the environment of the Grand River gorge from the ravages of industry and human carelessness. Using Clarke's journalistic writings, his private diary, and a memoir he wrote later in life, Kenneth Dewar paints a vivid picture of Clarke's evolving sense of himself and his world in an age of profound transformation.
This monograph examines the most prestigious political paintings created in Britain during the High Baroque age. It investigates a period characterized by numerous social, political, and religious crises, in the years between the restoration of the Stuart monarchy (1660) and the death of the first British monarch from the House of Hanover (1727). On the basis of hitherto unpublished documents, the book elucidates the creation and reception of nine major commissions that involved the court, private aristocratic patrons, and/or civic institutions. The ground-breaking new interpretations of these works focus on strategies of conflict resolution, the creation of shared cultural memories, processes of cultural translation, the performative context of the murals and the interaction of painted images and architectural spaces.
This book collects and republishes 14 key academic works by Dai Morgan Evans FSA (1944–2017). Spanning early medieval studies, the management and conservation of ancient monuments, histories of antiquarianism, and the Welsh church of Llangar, the chapters have been freshly edited and published together for the first time with new illustrations.
This second volume on Norfolk provides a comprehensive survey from prehistoric times to the present day. The 17th- and 18th-century treasures of King's Lynn are explored, as well as the market towns of Swaffham and Wymondham. Castle remains and medieval churches are also explored.