Extra-illustrations to Charles Robert Cockerell’s Ionian Antiquities and James Cavanah Murphy’s Arabian Antiquities of Spain in the collections of the Gennadius Library and the Yale Center for British Art

2021 ◽  
Vol 8 (1) ◽  
pp. 19-49 ◽  
Author(s):  
Lynda S. Mulvin
Keyword(s):  
Nineteenth Century ◽  
New Haven ◽  
Early Nineteenth Century ◽  
Grand Tour ◽  
Printing Process ◽  
Architectural Practice ◽  
British Art ◽  
Shed Light

This article focuses on unpublished extra-illustrations relating to two architectural monographs, currently in the collections of the Gennadius Library (Athens, Greece) and the Yale Center for British Art (New Haven, CT, USA). The first section examines two unique copies of Ionian Antiquities (1769) by Richard Chandler, Nicholas Revett and William Pars, both grangerized by Charles Robert Cockerell (1788–1863); the second section considers a special copy of The Arabian Antiquities of Spain (1815) by James Cavanah Murphy (1760–1814). These enhanced volumes embody early nineteenth-century concepts of authorship and shed light on the working methodologies of their creators. In his personal copies, Cockerell noted differences in admeasurements of the monuments as recorded by Chandler and Revett for use in Neoclassical architectural practice, and brought to light new discoveries made during his Ionian Grand Tour. In Murphy’s own volume of The Arabian Antiquities of Spain, the supplementary sketches, drawings and additional illustrations enliven the plates, place them in context and inform the printing process.

Collected Letters of Sir George and Lady Beaumont to the Wordsworth Family, 1803-1829

2021 ◽  
Keyword(s):  
Nineteenth Century ◽  
William Wordsworth ◽  
Critical Study ◽  
National Gallery ◽  
Artistic Development ◽  
Early Nineteenth Century ◽  
British Art ◽  
Personal Significance ◽  
Familial Relationship ◽  
History Of

This edition presents and contextualizes an archive of letters -- belonging to the Wordsworth Trust -- that reveal the creative and personal significance of the friendship between William Wordsworth and Sir George Beaumont. Beaumont is a key figure in the history of British Art. As well as being a respected amateur landscape painter, he was a prominent patron, collector, and co-founder of the National Gallery. Wordsworth described Beaumont’s friendship as one of the chief blessings of his life, and the letters reveal that the two men became collaborators as well as companions. In addition to documenting unique perspectives on social, political, and cultural events of the early nineteenth century (providing new contexts for reading Wordsworth’s mature poetry) the letters chart the progress of an increasingly intimate inter-familial relationship that included Lady Beaumont and Dorothy and Mary Wordsworth. The picture that emerges is of a coterie that—in influence, creativity, and affection—rivals Wordsworth’s more famous exchange with Coleridge in the 1790s. The edition includes an extended critical study of how Wordsworth and Beaumont helped shape one another’s work, tracing processes of mutual artistic development that involved not only a meeting of aristocratic refinement and rural simplicity, of a socialite and a lover of retirement, of a painter and a poet, but also an aesthetic rapprochement between neoclassical and romantic values, between the impulse to idealize and the desire to particularize.

The Crimea between East and West according to Late Eighteenth and Early Nineteenth Century British Travelogues

2020 ◽  
pp. 81-97
Author(s):  
Nikita I. Khrapunov ◽  
Keyword(s):  
Nineteenth Century ◽  
Well Being ◽  
The West ◽  
Early Nineteenth Century ◽  
Negative Stereotypes ◽  
Grand Tour ◽  
Archaeological Heritage ◽  
Distinctive Features ◽  
Late Eighteenth ◽  
The Crimea

Following its annexation by Russia in 1783, the Crimea became a stage on the Western grand tour. Foreign travelogues informed their readers about the country, previously almost unknown in Europe. This paper addresses the British travelogues that played an important role in shaping notions of the Crimea and Russia's role in its history, many of which still exist today. The travellers created works of different kinds: unedited letters and journals, encyclopaedic descriptions, imagined journeys, and pseudo-correspondences. Their authors had varied levels of intelligence, motivations, and passions, intricately entwining empirical observations with stereotypes. Geographically located in Europe, the Crimea was understood as a country featuring distinctive features of the East. Its image possessed traits of paradisiacal nature, inhabited by naïve and lazy persons resembling Rousseau's utopia, with an extraordinarily rich archaeological heritage, the romantic culture of Islam, and various ethnic and religious types. The British offered plans for the establishment of Western colonists in the Crimea, as well as the development of communications, trade, agriculture, and industry. William Eton and Matthew Guthrie considered the Russian occupation of the Crimea historically progres-sive, which would bring prosperity and well-being to the country and its residents. However, Edward Clarke interpreted the Russians as the avatar of barbarism and developed a plan to return the peninsula to the Ottomans. Some negative stereotypes originating from his book continue nowadays and are restated in periods of aggravated relations between Russia and the West.

Architecture and Identity on the Edge of Empire: The Early Domestic Architecture of Scottish Settlers in Nova Scotia, Canada, 1800–1850

2007 ◽  
Vol 50 ◽  
pp. 95-123 ◽  
Author(s):  
Daniel Maudlin
Keyword(s):  
Nineteenth Century ◽  
Nova Scotia ◽  
Social Practice ◽  
Domestic Architecture ◽  
Early Nineteenth Century ◽  
Architectural Practice ◽  
Scottish Highlands ◽  
Vernacular Building

In the early nineteenth century thousands of Scots emigrated to Nova Scotia, Canada, settling there principally in Pictou and Antigonish Counties. This article considers the transformation of the domestic architecture of emigrants from the Scottish Highlands, from earth and random-rubble-walled ‘black houses’ to Classically ornamented and proportioned timber-framed houses. It demonstrates that, in contrast to the transferable traditions of Lowland Scottish settlers, virtually no element of the Scottish Highland vernacular building tradition was established in Nova Scotia, and that Scottish Highland emigrants adopted a new architecture with near total uniformity. These changes in architectural practice are described here in some detail, and then interpreted as indicators of changed social practice within the immigrant Highland community.

Robert Morrison and the Phonology of Mid-Qīng Mandarin

2003 ◽  
Vol 13 (3) ◽  
pp. 339-355 ◽  
Author(s):  
W. South Coblin
Keyword(s):  
Nineteenth Century ◽  
Early Nineteenth Century ◽  
Missionary Work ◽  
Standard Chinese ◽  
Shed Light

AbstractRobert Morrison (1782–1834; Chinese name: Maˇ Liˇxùn) was the London Missionary Society's first representative in China and is generally viewed as the father of Protestant missionary work there. Modern scholarly interest in him has in the main focused on his role as a Bible translator (see, for example, Zetzsche 1999, especially Chapter 2). As part of his missionary activities, Morrison studied both written and spoken Chinese; and these researches yielded grammars of both Mandarin (i.e. Guānhuà “the language of the mandarins or officials”; Morrison, 1815) and Cantonese (1815: appendix, pp. 259–280), plus a major dictionary of written Chinese (1815–1823) and a smaller lexicon of Cantonese (1828). In order to transcribe spoken Chinese, Morrison developed romanisations for both Mandarin and Cantonese. These orthographic systems shed light on the pronunciation of the underlying languages as they were spoken two hundred years ago. The purpose of the present paper is to examine Morrison's romanisation of Mandarin for clues about the pronunciation of early nineteenth-century standard Chinese.

scholarly journals "A More Accurate and Extensive Education than is Customary": Educational Opportunities for Women in Early-Nineteenth-Century New Jersey

2009 ◽  
Vol 124 (1) ◽  
pp. 1-28 ◽  
Author(s):  
Lucia McMahon
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
New Jersey ◽  
New Brunswick ◽  
Educational Opportunities ◽  
Access To Education ◽  
Early Nineteenth Century ◽  
Late Eighteenth Century ◽  
Shed Light ◽  
Female Seminary

This article examines the variety of educational opportunities available to New Jersey women in the first half of the nineteenth century. While largely ignored in the national historiography on women‟s education, numerous groundbreaking schools for women were established throughout New Jersey in the early nineteenth century. The Newark Academy offered instruction to women since the late eighteenth century; its successor, the Newark Institute for Young Ladies, referred to its curriculum as “collegiate” decades before women were admitted to colleges. In the 1830s, the Bloomfield Female Seminary maintained a reputation for scholarly excellence; throughout the 1840s, the Mount Holly Female Seminary offered a course of study for women seeking to become teachers. By the 1840s, schools could be found in various cities and towns, including Bloomfield, Bordentown, Burlington, Freehold, Lawrenceville, Newark, New Brunswick, Rahway, and Raritan. The New Jersey schools examined in this essay shed light on both local and national practices of women‟s education. As women‟s access to education expanded, so did debates about the appropriate uses of education. While many men supported women‟s education, women understood that they could be subject to criticism from those who feared the consequences of their intellectual pursuits. Analysis of the forms, purposes, and uses of women‟s education, as evident in these New Jersey case studies, illustrates both the opportunities and challenges that teachers, students, and supporters faced as they sought to expand women‟s institutional access to education

A History of the Jewish Community of Tállya and of Their Synagogue

2020 ◽  
Vol 61 (1) ◽  
pp. 149-179
Author(s):  
Júlia Csejdy
Keyword(s):  
Nineteenth Century ◽  
Jewish Community ◽  
Religious Orientation ◽  
Early Nineteenth Century ◽  
East European ◽  
The Holocaust ◽  
North Eastern ◽  
History Of ◽  
Composition I ◽  
Shed Light

AbstractIn the study I tried to reconstruct the history of the Jewish community of Tállya and their synagogue, for up to now neither the community, nor the art historically important Torah ark has received due attention. After the Holocaust very few survivors came back to Tállya – a settlement in Tokaj-Hegyalja, a region of north-eastern Hungary – and not a single member of the former Orthodox congregation lives there today. The community built their third place of worship in the mid-nineteenth century, pulled down in 1964. The reasons why I found it important to map the socio-cultural and religious environment in more detail are commemorative and research methodological. The Israelite community enjoyed autonomy in choosing their rabbi and arranging all other domestic matters, and consequently, their taste, religious orientation, acculturation influenced the shaping of their synagogue building, the style of its furnishing and ritual objects. For lack of congregational documents, many kinds of sources (e.g. newspaper articles, recollections, biographies of rabbis, municipal documents) had to be interpreted within the context offered by the historical elaborations of the age. It was indispensable to shed light on the system of relations between Hasidism of growing influence from the early nineteenth century and traditional Orthodoxy, particularly because the tendencies of secession also appeared in the Tállya community, and the iconography of the Torah ark of their synagogue is most closely related to the carved Torah arks of East European Hasidic communities (in Poland, Galicia, Moldavia, etc.). According to archival sources the community leaders of Tállya could assert their wish to have the woodcarver create symbolic motifs on the ark despite the rabbi’s disapproval. As the direct antecedent to the composition I identified the masonry Torah ark of Mád, but the inventive, singular style of the carvings bears no kinship with the mentioned prototypes or the altars in churches in the vicinity. At the end of the paper I sum up the events that led to the demolition of the synagogue and the perishing of its interior furniture, relying on documents in the Hungarian Jewish Museum and the Monument Documentation Centre.

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