architecture and art in british culture

7/30/2019 Architecture and Art in British Culture

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Architecture and Art in British Culture

Palace of Westminster

The Palace of Westminster, also known as the Houses of Parliament or

Westminster Palace, in London, is where the two Houses of the Parliament of the United

Kingdom (the House of Lords and the House of Commons) meet. The palace lies on the north

bank of the River Thames in the London borough of the City of Westminster, close to the

government buildings ofWhitehall.

The palace contains around 1,100 rooms, 100 staircases and 3 miles (5 km) of

corridors. Although the building mainly dates from the 19th century, remaining elements of

the original historic buildings include Westminster Hall, used today for major public

ceremonial events such as lyings in state, and the Jewel Tower.

Control of the Palace of Westminster and its precincts was for centuries exercised by

the Queen's representative, the Lord Great Chamberlain. By agreement with the Crown,control passed to the two Houses in 1965. Certain ceremonial rooms continue to be controlled

by the Lord Great Chamberlain.

After a fire in 1834, the present Houses of Parliament were built over the next 30

years. In 1836, after studying 97 rival proposals, the Royal Commission chose Charles

Barry's plan for a Gothic-style palace. The foundation stone was laid in 1840; the Lords

Chamber was completed in 1847, and the Commons Chamber in 1852 (at which point Barry

received a knighthood). Although most of the work had been carried out by 1860,

construction was not finished until a decade afterwards. Barry (whose own architectural style

was more classical than Gothic) relied heavily on Augustus Pugin for the sumptuous and

distinctive Gothic interiors, including wallpapers, carvings, stained glass and furnishings, likethe royal thrones and canopies.
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Exterior

Notice regarding a strike of stonemasons during the reconstruction of the Palace.

(Click on the image to enlarge and read.)

Sir Charles Barry's collaborative design for the Palace of Westminster uses the

Perpendicular Gothicstyle, which was popular during the 15th century and returned during

the Gothic revival of the 19th century. Barry was a classical architect, but he was aided by the

Gothic architect Augustus Pugin. Westminster Hall, which was built in the 11th century andsurvived the fire of 1834, was incorporated in Barry's design. Pugin was displeased with the

result of the work, especially with the symmetrical layout designed by Barry; he famously

remarked, "All Grecian, sir; Tudor details on a classic body".

Stonework

The stoneworkof the building was originally Anston, a sand-coloured magnesian

limestone quarried in the village ofAnston in South Yorkshire. The stone, however, soon

began to decay due topollution and the poor quality of some of the stone used. Although

such defects were clear as early as 1849, nothing was done for the remainder of the 19th

century. During the 1910s, however, it became clear that some of the stonework had to bereplaced.

In 1928 it was deemed necessary to use Clipsham Stone, a honey-coloured limestone

from Rutland, to replace the decayed Anston. The project began in the 1930s but was halted

due to the Second World War, and completed only during the 1950s. By the 1960s pollution

had once again begun to take its toll. A stone conservation and restoration programme to the

external elevations and towers began in 1981, and ended in 1994. The House Authorities

have since been undertaking the external restoration of the many inner courtyards, a task due

to continue until approximately 2010.

Towers

Sir Charles Barry's Palace of Westminster includes several towers. The tallest is the

98.5-metre (323 ft) Victoria Tower, a square tower at the south-western end of the Palace. It

was named after the reigning monarch at the time of the reconstruction of the Palace, Queen

Victoria; today, it is home to theParliamentary Archives. Atop the Victoria Tower is an iron

flagstaff, from which either theRoyal Standard (if the Sovereign is present in the Palace) or

the Union Flag is flown. At the base of the tower is the Sovereign's Entrance to the Palace,

used by the monarch whenever entering the Palace of Westminster for the State Opening of

Parliament or for any other official ceremony.
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Palace of Westminster as seen from the London Eye; Victoria Tower is on the left and

Clock Tower on the right side

Over the middle of the Palace, immediately above the Central Lobby, stands the

octagonal Central Tower. It is 91.4 metres (300 ft) tall, making it the shortest of the three

principal towers of the Palace. Unlike the other towers, the Central Tower possesses a spire,and was designed as a high-level air intake.

At the north-eastern end of the Palace is the most famous of the towers, the Clock

Tower, commonly known as Big Ben after its main bell. The Clock Tower is 96.3 metres

(316 ft) tall. Pugin's drawings for the tower were the last work he did for Barry. The Clock

Tower houses a large, four-faced clockthe Great Clock of Westminsteralso designed by

Pugin. The tower also houses five bells, which strike the Westminster Chimesevery quarter

hour. The largest and most famous of the bells is Big Ben (officially The Great Bell of

Westminster), which strikes the hour. This is the third-heaviest bell in England, weighing

13.8 tonnes (13.6 long tons). AlthoughBig Ben properly refers only to the bell, it is

colloquially applied to the whole tower.

A small tower, St Stephen's Tower, is positioned at the front of the Palace, between

Westminster Hall and Old Palace Yard, and contains the main entrance to the House of

Commons at its base, known as St Stephen's Entrance. Other towers include Speaker's and

Chancellor's Towers, at the north and south ends of the building's river front respectively. [13]

They are named after the presiding officers of the two Houses of Parliament at the time of the

Palace's reconstruction, theSpeaker of the House of Commons and the Lord High

Chancellor.

Grounds

There are a number of small gardens surrounding the Palace of Westminster. Victoria

Tower Gardensis open as a public park along the side of the river south of the palace. Black

Rod's Garden (named after the office ofGentleman Usher of the Black Rod) is closed to the

public and is used as a private entrance.Old Palace Yard, in front of the Palace, is paved over

and covered in concrete security blocks Cromwell Green (also on the frontage, and in 2006

enclosed by hoardings for the construction of a new visitor centre),New Palace Yard (on the

north side) and Speaker's Green (directly north of the Palace) are all private and closed to the

public. College Green, opposite the House of Lords, is a small triangular green commonly

used for television interviews with politicians.

The Great Exhibition

The Great Exhibition of the Works of Industry of all Nations orGreat

Exhibition, sometimes referred to as the Crystal Palace Exhibition in reference to the

temporary structure in which it was held, was an international exhibition that took place in

Hyde Park, London, England, from 1 May to 15 October 1851. It was the first in a series of

World's Fairexhibitions ofculture and industry that were to become a popular 19th centuryfeature. The Great Exhibition was organised by Henry Cole and Prince Albert of Saxe-
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Coburg and Gotha, the spouse of the reigning monarch, Victoria. It was attended by

numerous notable figures of the time, including Charles Darwin, members of the former

French Royal Family and the writers Charlotte Bront and George Eliot.

Background

The Great Exhibition of the Works of Industry of all Nations was organized by Prince

Albert, Henry Cole,Francis Henry, Charles Dilke and other members of the Royal Society

for the Encouragement of Arts, Manufactures and Commerce as a celebration of modern

industrial technology and design. It can be argued that the Great Exhibition was mounted in

response to the highly successful French Industrial Exposition of 1844. Prince Albert, Queen

Victoria's consort, was an enthusiastic promoter of a self-financing exhibition; the

government was persuaded to form the Royal Commission for the Exhibition of 1851 to

establish the viability of hosting such an exhibition. Queen Victoria and her family visited 3

times.

A special building, nicknamed The Crystal Palace, was designed by Joseph Paxton

(with support from structural engineerCharles Fox) to house the show; an architecturally

adventurous building based on Paxton's experience designing greenhouses for the sixth Dukeof Devonshire, constructed from cast iron-frame components and glass made almost

exclusively in Birmingham and Smethwick, which was an enormous success. The committee

overseeing its construction included Isambard Kingdom Brunel. The massive glass house was

1848 feet (about 563 metres) long by 454 feet (about 138 metres) wide, and went from its

initial plans of organisation to its grand opening in just nine months. The building was later

moved and re-erected in an enlarged form at Sydenham in south London, an area that was

renamed Crystal Palace; it was eventually destroyed by fire on November 30th 1936.

Six million people equivalent to a third of the entire population of Britain at the time

visited the Exhibition. The Great Exhibition made a surplus of 186,000 which was used to

found the Victoria and Albert Museum, the Science Museum and theNatural HistoryMuseum which were all built in the area to the south of the exhibition, nicknamed

"Albertopolis", alongside the Imperial Institute. The remaining surplus was used to set up an

educational trust to provide grants and scholarships for industrial research, and continues to

do so today.
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The exhibition caused controversy at the time. Some conservatives feared that the

mass of visitors might become a revolutionary mob, whilst radicals such as Karl Marx saw

the exhibition as an emblem of the capitalist fetishism of commodities. In modern times the

Great Exhibition has become a symbol of the Victorian Age, and its thick catalogue

illustrated with steel engravings is a primary source for High Victorian design.

Admission fees

Admission prices to the Crystal Palace varied according to the date of visitation, with

ticket prices decreasing as the parliamentary season drew to an end and London traditionally

emptied of wealthy individuals. Prices varied from 3 guineas per day, 1 per day, five

shillings per day, down to one shilling per day. The one shilling ticket proved most successful

amongst the industrial classes, with four and a half million shillings being taken from

attendees in this manner.

Sir John Everett Millais

Sir John Everett Millais, 1st Baronet, PRA (8 June 1829 13 August 1896) was an English

painterand illustratorand one of the founders of the Pre-Raphaelite Brotherhood.

Early life

Millais (pronounced Mih-lay) was born in Southampton,England in 1829, of a

prominent Jersey-based family. His prodigious artistic talent won him a place at the Royal

Academy schools at the still unprecedented age of eleven. While there, he met WilliamHolman Hunt and Dante Gabriel Rossetti with whom he formed the Pre-Raphaelite

Brotherhood (known as the "PRB") in September 1848 in his family home on Gower Street,

off Bedford Square.

[edit] Pre-Raphaelite works

Millais' Christ In The House Of His Parents (1850) was highly controversial because

of its realistic portrayal of a working class Holy Family labouring in a messy carpentry

workshop. Later works were also controversial, though less so. Millais achieved popular

success withA Huguenot(1852), which depicts a young couple about to be separated becauseof religious conflicts. He repeated this theme in many later works.

All these early works were painted with great attention to detail, often concentrating

on the beauty and complexity of the natural world. In paintings such as Ophelia (1852)

Millais created dense and elaborate pictorial surfaces based on the integration of naturalistic

elements. This approach has been described as a kind of "pictorial eco-system".

This style was promoted by the critic John Ruskin, who had defended the Pre-

Raphaelites against their critics. Millais' friendship with Ruskin introduced him to Ruskin's

wife Effie. Soon after they met she modelled for his painting The Order of Release. As

Millais painted Effie they fell in love. Despite having been married to Ruskin for severalyears, Effie was still a virgin. Her parents realized something was wrong and she filed for an
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annulment. In 1856, after her marriage to Ruskin was annulled, Effie and John Millais

married. He and Effie eventually had eight children including John Guille Millais, a notable

naturalist and wildlife artist.

Clothing in the victorian times

Methods of clothing production and distribution varied greatly over the course of

Victoria's long reign.

In 1837, cloth was manufactured in the mill towns of northern England, Scotland, and

Ireland) but clothing was generally custom-made by seamstresses, milliners, tailors, hatters,glovers, corsetiers, and many other specialized tradespeople, who served a local clientele in

small shops. Families who could not afford to patronize specialists, made their own clothing,

or bought and modified used clothing.

By 1907, clothing was increasingly factory-made and sold in large, fixed price

department stores. Custom sewing and home sewing were still significant, but on the decline.

New machinery and materials changed clothing in many ways.

The introduction of the lock-stitch sewing machine in mid-century simplified both

home and boutique dressmaking, and enabled a fashion for lavish application oftrim thatwould have been prohibitively time-consuming if done by hand. Lace machinery made lace at

a fraction of the cost of the old, laborious methods.

New materials from far-flung British colonies gave rise to new types of clothing (such

as rubbermaking gumboots and mackintoshes possible). Chemists developed new, cheap,

bright dyes that displaced the old animal or vegetable dyes.
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Overview of women's

fashions, 1794-1887

architecture and art in british culture

Documents