Fonthill, in Wiltshire, is traditionally associated with the writer and collector William Beckford who built his Gothic fantasy house called Fonthill Abbey at the end of the eighteenth century. The collapse of the Abbey’s tower in 1825 transformed the name Fonthill into a symbol for overarching ambition and folly, a sublime ruin. Fonthill is, however, much more than the story of one man’s excesses. Beckford’s Abbey is only one of several important houses to be built on the estate since the early sixteenth century, all of them eventually consumed by fire or deliberately demolished, and all of them oddly forgotten by historians. Little now remains: a tower, a stable block, a kitchen range, some dressed stone, an indentation in a field. Fonthill Recovered draws on histories of art and architecture, politics and economics to explore the rich cultural history of this famous Wiltshire estate. The first half of the book traces the occupation of Fonthill from the Bronze Age to the twenty-first century. Some of the owners surpassed Beckford in terms of their wealth, their collections, their political power and even, in one case, their sexual misdemeanours. They include Charles I’s Chancellor of the Exchequer, and the richest commoner in the nineteenth century. The second half of the book consists of essays on specific topics, filling out such crucial areas as the complex history of the designed landscape, the sources of the Beckfords’ wealth and their collections, and one essay that features the most recent appearance of the Abbey in a video game.
This book is essentially a study of British aristocratic and artistic patronage of the arts in the under-explored period after 1850, approached through an intensive look at a single house - Clouds, known as the house of the age. It was built by the glamorous and unconventionally gifted Percy and Madeline Wyndham, and designed by Philip Webb, one of Britain's greatest architects. It became one of the centres of artistic and political life in late-Victorian and Edwardian Britain, and set the style for a whole generation of country house living. Dakers recreates the atmosphere and the lives lived in the house, the personalities of its three generations of Wyndham owners, and the succession of distinguished guests drawn to it - Henry James, Rossetti, Burne-Jones, Kipling, Whistler and Lord Alfred Douglas, amongst many others. She tracks the decline in the tradition of aristocratic patronage through a decline in the fortunes of Clouds itself - by the 1930s, the palace of art was a vast white elephant, and the house was sold to an institution, its treasures dispersed and its structure dynamited into a more usable space.
This is the spectacular rags-to-riches story of James Morrison (1789–1857), who began life humbly but through hard work and entrepreneurial brilliance acquired a fortune unequalled in nineteenth-century England. Using the extensive Morrison archive, Caroline Dakers presents the first substantial biography of the richest commoner in England, recounting the details of Morrison's personal life while also placing him in the Victorian age of enterprise that made his success possible. An affectionate husband and father of ten, Morrison made his first fortune in textiles, then a second in international finance. He invested in North American railways, was involved in global trade from Canton to Valparaiso, created hundreds of jobs, and relished the challenges of "the science of business". His success enabled him to acquire land, houses, and works of art on a scale to rival the grandest of aristocrats.
**Pre-order your copy of the brand new novel from highly acclaimed, BBC Radio 2 Book Club Pick author Caroline Scott, The Visitors, a tale of a young war window and one life-changing, sun-drenched visit to Cornwall in the summer of 1923, now!' ‘A page-turning literary gem’ THE TIMES, BEST BOOKS OF 2020 From the highly acclaimed author of The Photographer of the Lost, a BBC Radio 2 Book Club Pick, comes a beautiful and compelling story based on true events, perfect for fans of Maggie O'Farrell and Helen Dunmore. One Great War soldier with no memory. Three women who claim him as their own. 1918. A soldier is arrested in Durham Cathedral in the last week of the First World War, but he has no memory of who he is or how he came to be there. He is given the name Adam and transferred to a rehabilitation institution in the Lake District where Doctor James Haworth is determined to uncover his identity. But, unwilling to relive the trauma of war, Adam has locked his memory away, seemingly for good. Then a newspaper publishes a feature about Adam, and three women come forward, each claiming that he is someone she lost in the war. But without memory, how do you know who to believe? Based on true events, When I Come Home Again is a beautiful and compelling story about love, loss and longing in the aftermath of war, perfect for fans of Maggie O'Farrell and Helen Dunmore. Praise for When I Come Home Again: ‘A superb and quietly devastating novel’ The Times, Book of the Month 'Scott unravels her haunting tale in unpretentious but persuasive prose' Sunday Times ‘A heartbreaking read… I highly recommend it’ Anita Frank 'Breathtaking exploration of loss, love and precious memories’ My Weekly, Pick of the Month ‘Achingly moving and most beautifully written’ Rachel Hore ‘This beautiful book packs a huge emotional punch’ Fabulous ‘Drew me in from the first line and held me enthralled until the very end' Fiona Valpy ‘Quietly devastating' Daily Mail 'A compulsive, heart-wrenching read' Liz Trenow ‘Powerful’ Woman & Home 'Page turning, mysterious, engrossing and compelling' Lorna Cook ‘A carefully nuanced, complex story’ Woman’s Weekly ‘Caroline Scott evokes the damage and desolation of the Great War with aching authenticity' Iona Grey ‘Poignant’ Best ‘Wonderful and evocative’ Suzanne Goldring ‘Based on true events, this is a powerful story’ Bella ‘Immersive, poignant, intricately woven’ Judith Kinghorn ‘An evocative read’ heat ‘The story left me breathless. Powerful, heartrending, and oh so tender’ Kate Furnivall ‘Tense and compelling’ Lancashire Post ‘Scott litters her tale with clues and red herrings in the best mystery-writer way so we are kept guessing as to where the truth really lies’ The BookBag
This is the spectacular rags-to-riches story of James Morrison (1789–1857), who began life humbly but through hard work and entrepreneurial brilliance acquired a fortune unequalled in nineteenth-century England. Using the extensive Morrison archive, Caroline Dakers presents the first substantial biography of the richest commoner in England, recounting the details of Morrison's personal life while also placing him in the Victorian age of enterprise that made his success possible. An affectionate husband and father of ten, Morrison made his first fortune in textiles, then a second in international finance. He invested in North American railways, was involved in global trade from Canton to Valparaiso, created hundreds of jobs, and relished the challenges of "the science of business". His success enabled him to acquire land, houses, and works of art on a scale to rival the grandest of aristocrats.
This standard text has been fully revised and updated for its fourth edition to reflect continuing technological changes, as well as issues such as social inclusion, lifelong learning and European employment legislation. Chapter 1 on the working environment has been completely rewritten. The present environment brings problems of staff motivation, de-professionalization and the loss of control: Chapter 2 reminds readers of basic motivation theories, now presented in a more logical sequence, and how to deal with such problems. Chapter 3 on workforce planning has been retitled Human Resource Planning and revised to take into account the modes of staffing appropriate for today's turbulent environment. Effective human resource planning requires excellent selection and recruitment procedures: best practice and developments in this area are explored in Chapters 4, Job Descriptions and Person Specifications, and 5, Recruitment and Selection of Staff. In Chapter 6 on staff appraisal more attention has been given to multi-rating approaches, such as 360° whereby different aspects of work can be assessed by different groups of people, and to appraisal of junior by senior staff. The last decade has seen increased emphasis on training and development to deliver high quality services in a climate of constant change. Chapter 7 has therefore been reordered and expanded in order to reflect new approaches and changes in this area. In Chapter 8, Staff Supervision and Interpersonal Skills, recent emphasis on leadership and counselling skills are reflected, as is the growing need to do more with less through enhanced time management and stress management techniques. With this new edition, this core guide brings professionals involved in managing library and information staff up to date with how to cope with the most pressing problems and challenges in today's fast-changing environment.
An “insightful and extensive” history of the women who took over agricultural duties in England during World War I (Sussex Living Magazine). One could be forgiven for supposing that the story of the Women’s Land Army starts in 1939 during World War II. But it’s a much older and more complicated history . . . British agricultural policy during the First World War was held up as a success story; domestic food production was higher at the end of the war than at the start, the average calorific value of the British diet barely changed, and bread never had to be rationed. As the press reported starvation and food riots overseas, the 1918 harvest was held up as “one of the great achievements of the War.” In 1917, at the darkest hour, when Britain’s food security looked most precarious, it was said that, “if it were not for the women agriculture would be absolutely at a standstill on many farms.” Using previously unpublished accounts and photographs, this book is an attempt to understand how the return of women to the fields and farmyards impacted agriculture—and, in turn, an examination of how that experience affected them. “Caroline’s wonderful book sets the record straight with beautiful illustrations and witting testimony from people who were there and saw how hard these wonderful women worked to keep Britain going during their darkest hours. Superb.” —Books Monthly “This is a well-researched history of the British Women’s Land Army in WW1 and how it paved the way for the success of the WLA in the Second World War.” —World War One Illustrated
In the 1930s, British colonial officials introduced drama performances, broadcasting services, and publication bureaus into Africa under the rubric of colonial development. They used theater, radio, and mass-produced books to spread British values and the English language across the continent. This project proved remarkably resilient: well after the end of Britain’s imperial rule, many of its cultural institutions remained in place. Through the 1960s and 1970s, African audiences continued to attend Shakespeare performances and listen to the BBC, while African governments adopted English-language textbooks produced by metropolitan publishing houses. Imperial Encore traces British drama, broadcasting, and publishing in Africa between the 1930s and the 1980s—the half century spanning the end of British colonial rule and the outset of African national rule. Caroline Ritter shows how three major cultural institutions—the British Council, the BBC, and Oxford University Press—integrated their work with British imperial aims, and continued this project well after the end of formal British rule. Tracing these institutions and the media they produced through the tumultuous period of decolonization and its aftermath, Ritter offers the first account of the global footprint of British cultural imperialism.
Caroline Evans analyses the work of experimental designers, the images of fashion photographers, and the spectacular fashion shows that developed in the final decade of the twentieth century to arrive at a new understanding of fashion's dark side and what it signifies? Drawing on a variety of literary and theoretical perspectives - from Marx to Benjamin - Evans argues that fashion plays a leading role in constructing images and meanings during periods of rapid change. She shows persuasively that fashion stands at the very centre of the contemporary, where it voices some of Western culture's deepest concerns.
This book - the first major study of the Holland Park Circle of artists, architects, and their patrons - is both an engrossing narrative of their lives, works and influence and a perceptive analysis of the subtle relationships between high Victorian taste and mercantile values."--BOOK JACKET.
This book - the first major study of the Holland Park Circle of artists, architects, and their patrons - is both an engrossing narrative of their lives, works and influence and a perceptive analysis of the subtle relationships between high Victorian taste and mercantile values."--BOOK JACKET.
When war broke out in 1914 conscription seemed unnecessary; there was no shortage of volunteers ready to lay down their lives for their country. In this fascinating book, illustrated with contemporary drawings and photographs, Caroline Dakers explores exactly what their 'country' meant to the men and women who fought, died, survived. She suggests that, with a little subliminal help from literature, art and propaganda, the British volunteer, whether factory worker, farm hand or public school boy, felt that he was fighting for old England - village, church, meadow and carthorse, rather than city, factory, commerce and motor car. Drawing on a wide range of unpublished papers and family archives, Dr Dakers recreates the world of the countryside at war. There are chapters on agriculture (literally 'the home front'), and life and death in the manor house, vicarage, school and farm. And while all this was being fought for, The French countryside was smashed into a quagmire. This is the most complete picture yet of the impact of the First World War on rural England; a war which, if only in the ubiquitous village war memorials, still reverberates across the decades.
This book is essentially a study of British aristocratic and artistic patronage of the arts in the under-explored period after 1850, approached through an intensive look at a single house - Clouds, known as the house of the age. It was built by the glamorous and unconventionally gifted Percy and Madeline Wyndham, and designed by Philip Webb, one of Britain's greatest architects. It became one of the centres of artistic and political life in late-Victorian and Edwardian Britain, and set the style for a whole generation of country house living. Dakers recreates the atmosphere and the lives lived in the house, the personalities of its three generations of Wyndham owners, and the succession of distinguished guests drawn to it - Henry James, Rossetti, Burne-Jones, Kipling, Whistler and Lord Alfred Douglas, amongst many others. She tracks the decline in the tradition of aristocratic patronage through a decline in the fortunes of Clouds itself - by the 1930s, the palace of art was a vast white elephant, and the house was sold to an institution, its treasures dispersed and its structure dynamited into a more usable space.
Exhibition focusses on the Holland Park area of London which became home to the artists George Frederick Watts and Frederic Leighton, as well as to lesser-known artists such as Marcus Stone, Luke Fildes, Colin Hunter, William Burges, Albert Moore, Valentine Prinsep and Hamo Thornycroft.
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