Category Archives: Hampstead Heath

St Ives School : Wilhelmina Barnes-Graham.


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Island Sheds, St Ives No. 1 1940 Wilhelmina Barns-Graham 1912-2004 Presented by the artist 1999 http://www.tate.org.uk/art/work/T07546

Island Sheds, St Ives No. 1 1940 Wilhelmina Barns-Graham 1912-2004 Presented by the artist 1999 http://www.tate.org.uk/art/work/T07546

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Wilhelmina Barns-Graham CBE (8 June 1912 – 26 January 2004) was one of the foremost British abstract artists, a member of the influential Penwith Society of Arts, and The St Ives School.

Life

Wilhelmina Barns-Graham, known as Willie, was born in St Andrews, Fife, on 8 June 1912. As a child she showed very early signs of creative ability. Determining while at school that she wanted to be an artist, she set her sights on Edinburgh College of Art where, after some dispute with her father, she enrolled in 1931, and after periods of illness, from which she graduated with her diploma in 1937.

At the suggestion of the College’s Principal Hubert Wellington, she moved to St Ives, Cornwall, in 1940, near to where a group of Hampstead-based modernists had settled, at Carbis Bay, to escape the war.This was a pivotal moment in her life. Early on she met Borlase Smart, Alfred Wallis and Bernard Leach, as well as the painter Ben Nicholson and the sculptors Barbara Hepworth and Naum Gabo. Barns-Graham became a member of the Newlyn Society of Artists and the St Ives Society of Artists but was to leave the latter when, in 1949, the St Ives art community suffered an acrimonious split, and she became a founder member of a breakaway group of abstract artists, the Penwith Society of Arts. She was also one of the initial exhibitors of the significant Crypt Group. In the same year she married the young author and aspiring poet (later noted architect) David Lewis (the marriage was annulled in 1960).

She travelled regularly over the next 20 years to Switzerland, Italy, Paris, and Spain. With the exception of a short teaching term at Leeds School of Art (1956–1957) and three years in London (1960–1963), she lived and worked in St Ives. From 1960, on inheriting a house outside St Andrews from her aunt Mary Niesh (who had been a support to her throughout her art college years), she split her time between summers in Cornwall and winters in Scotland.

Post-war, when St Ives had ceased to be a pivotal centre of modernism, her work and importance as an artist was sidelined, in part by an art-historical consensus that she had been only as a minor member of the St Ives school. In old age, however, she received belated recognition, receiving honorary doctorates from the University of St Andrews in 1992 and later from the universities of Plymouth, Exeter and Falmouth . In 1999 she was elected an honorary member of the Royal Scottish Academy and the Royal Scottish Watercolourists. She was awarded a CBE in 2001, the same year that saw the publication of the first major monograph on her life and work, written by Lynne Green — W.Barns-Graham : A Studio Life (Lund Humphries). This publication was followed in 2007 by The Prints of Wilhelmina Barns-Graham : a complete catalogue by Ann Gunn (also a Lund Humphries publication). Her work is found in all major public collections within the UK.

Wilhelmina Barns-Graham died in St Andrews on 26 January 2004. She bequeathed her entire estate to The Barns-Graham Charitable Trust, which she had established in 1987. The aims of the trust are to foster and protect her reputation, to advance the knowledge of her life and work, to create an archive of key works of art and papers, and, in a cause close to her heart, to support and inspire art and art history students through offering grants and bursaries to those in selected art college and universities. Information about the trust and its activities is to be found at http://www.barns-grahamtrust.org.uk

Art

Through the course of her life Wilhelmina Barns-Graham’s work generally lay on the divide between abstract and representational, typically drawing on inspirations from landscape. From 1940, when she arrived in Cornwall, her pictures are exploratory and even tentative as she began to develop her own method and visual language. The influence of St Ives then starts to arise, to take hold as local shapes and colours appear in the images – the Cornish rocks, landscape and buildings. Perhaps the most significant innovation at this time derived from the ideas of Naum Gabo, who was interested in the principle of stereometry – defining forms in terms of space rather than mass. Barns-Graham’s series of glacier pictures that started in 1949, inspired by her walks on the Grindelwald Glacier in Switzerland, reflect the idea of looking at things in a total view, not only from the outside but from all points, including inside. In 1952 her studies of local forms became more planar and two dimensional, but from the mid-1950s she had developed a more expressionist and free form attitude following journeys to Spain.

In the early 1960s, reflecting the turmoil in her personal life, Barns-Graham adopted a severe geometrical form of abstraction as a way of taking a fresh approach to her painting. Combined with a very intuitive sense of colour and design, the work often has more vitality than is immediately apparent. Squares tumble and circles flow across voids. Colour and movement come together and it is at this point in her work that St Ives perhaps exerts the least influence; rather, this approach more likely reflects an interest in the work of Josef Albers who was exciting UK artists at this time, in embracing new possibilities offered by the optical effects of a more formulaic abstraction.

Nonetheless there is evidence to suggest that many images did stem from observations of the world around her. This is seen in a series of ice paintings in the late 1970s and then in a body of work that explores the hidden energies of sea and wind, composed of multiple wave-like lines drawn in the manner of Paul Klee. The Expanding Form paintings of 1980 are the culmination of many ideas from the previous fifteen years – the poetic movement in these works revealing a more relaxed view.

From the late 1980s and right up until her death, Barns-Graham’s paintings became more and more free; an expression of life and free flowing brushwork not seen since the late 1950s. Working mainly on paper (there are relatively few canvases from this period) the images evolved to become, initially, highly complex, rich in colour and energy, and then, simultaneously, bolder and simpler, reflecting her enjoyment of life and living. “in my paintings I want to express the joy and importance of colour, texture, energy and vibrancy, with an awareness of space and construction. A celebration of life — taking risks so creating the unexpected.” (Barns-Graham, October 2001) This outlook is perfectly expressed in the extraordinary collection of screen prints that she made with Graal Press, Edinburgh, between 1999 and 2003.

People : Bloomsbury , Lytton Strachey


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Giles Lytton Strachey (1 March 1880 – 21 January 1932) was a British writer and critic.

A founding member of the Bloomsbury Group and author of Eminent Victorians, he is best known for establishing a new form of biography in which psychological insight and sympathy are combined with irreverence and wit. His biography Queen Victoria (1921) was awarded the James Tait Black Memorial Prize.

Early Life and Education

Youth

Strachey was born on 1 March 1880 at Stowey House, Clapham Common, London, the fifth son and the eleventh child of Lieutenant General Sir Richard Strachey, an officer in the British colonial armed forces, and his second wife, the former Jane Grant, who became a leading supporter of the women’s suffrage movement. He was named “Giles Lytton” after an early sixteenth-century Gyles Strachey and the first Earl of Lytton, who had been a friend of Richard Strachey’s when he was Viceroy of India in the late 1870s. The Earl of Lytton was also Lytton Strachey’s godfather. The Stracheys had thirteen children in total, ten of whom survived to adulthood, including Lytton’s sister Dorothy Strachey.

When Lytton was four years old the family moved from Stowey House to 69 Lancaster Gate, North of Kensington Gardens. This was their home until Sir Richard Strachey retired twenty years later. Lady Strachey was an enthusiast for languages and literature, making her children perform their own plays and write verse from early ages. She thought that Lytton had the potential to become a great artist so she decided that he would receive the best education possible in order to be “enlightened”. By 1887 he had begun the study of French, and he was to admire French culture throughout his life.

Strachey was educated at a series of schools, beginning at Parkstone, Dorset. This was a small school with a wide range of after-class activities, where Strachey’s acting skills exceeded those of other pupils: he was particularly convincing when portraying female parts. He even told his mother how much he liked dressing as a woman in real life to confuse and entertain others.

Lady Strachey decided in 1893 that her son should start his more serious education and sent him to Abbotsholme School in Rocester, Derbyshire, where pupils were required to do manual work every day. Strachey, who always had a fragile physique, objected to this requirement and after few months he was transferred to Leamington College, where he became a victim of savage bullying. Sir Richard, however, told his son to “grin and bear the petty bullying”. Strachey did eventually adapt to the school and became one of its best pupils. His health also seems to have improved during the three years he spent at Leamington, although various illnesses continued to plague him.

When Strachey turned seventeen, in 1897, Lady Strachey decided that he was ready to leave school and go to university, but because she thought he was too young for Oxford she decided that he should first attend a smaller institution, the University of Liverpool. There Strachey befriended the Professor of Modern Literature, Walter Raleigh, who, besides being his favourite teacher, also became the most influential figure in his life before he went up to Cambridge. In 1899 Strachey took the Christ Church scholarship examination, wanting to get into Balliol College, Oxford, but the examiners determined that Strachey’s academic achievements were not remarkable and were struck by his “shyness and nervousness”.They recommended Lincoln College as a more suitable institution, advice that Lady Strachey took as an insult, deciding then that he would attend Trinity College, Cambridge, instead.

Cambridge

Strachey was admitted as a Pensioner at Trinity College, Cambridge, on 30 September 1899. He became an Exhibitioner in 1900 and a Scholar in 1902. He won the Chancellor’s Medal for English Verse in 1902 and was given a B.A. degree after he had won a second class in the History Tripos in June 1903. He did not, however, take leave of Trinity, but remained until October 1905, to work on a thesis that he hoped would gain him a Fellowship. Strachey was often ill and had to leave Cambridge repeatedly to recover from the palpitations that affected him.

Strachey’s years at Cambridge were happy and productive. Among the freshmen at Trinity there were three with whom Strachey soon became closely associated: Clive Bell, Leonard Woolf and Saxon Sydney-Turner. With another undergraduate, A. J. Robertson, these students formed a group called the Midnight Society, which, in the opinion of Clive Bell, was the source of the Bloomsbury Group. Other close friends at Cambridge were Thoby Stephen and his sisters Vanessa and Virginia Stephen (later Bell and Woolf respectively).

Strachey also belonged to the Conversazione Society, the Cambridge Apostles to which Tennyson, Hallam, Maurice, and Sterling had once belonged. In these years Strachey was highly prolific in writing verse, much of which has been preserved and some of which was published at the time. Strachey also became acquainted with other men who greatly influenced him, including G. Lowes Dickinson, John Maynard Keynes, Walter Lamb (brother of the painter Henry Lamb), George Mallory, Bertrand Russell and G. E. Moore. Moore’s philosophy, with its assumption that the summum bonum lies in achieving a high quality of humanity, in experiencing delectable states of mind and in intensifying experience by contemplating great works of art, was a particularly important influence.

In the summer of 1903 Strachey applied for a position in the Education Department of the Civil Service. Even though the letters of recommendation written for him by those under whom he had studied showed that he was held in high esteem at Cambridge, he failed to get the appointment and decided to try for a fellowship at Trinity College. He spent the years from 1903 to 1905 writing a 400-page thesis on Warren Hastings, which was not well received by scholars of his time.

Career

Beginnings

After Strachey left Cambridge in 1905 his mother assigned him a bed-sitting room at 69 Lancaster Gate. After the family moved to 67 Belsize Gardens in Hampstead, and later to another house in the same street, he was assigned other bed-sitters. But, as he was about to turn 30, family life started irritating him, and he took to travelling into the country more often, supporting himself by writing reviews and critical articles for The Spectator and other periodicals. About 1910–11 he spent some time at Saltsjöbaden, near Stockholm in Sweden. In this period he also lived for a while in a cottage on Dartmoor and about 1911–12 spent a whole winter at East Ilsley on the Berkshire Downs. During this time he decided to grow a beard, which became his most characteristic feature. On 9 May 1911 he wrote to his mother:

“The chief news is that I have grown a beard! Its colour is very much admired, and it is generally considered extremely effective, though some ill-bred persons have been observed to laugh. It is a red-brown of the most approved tint, and makes me look like a French decadent poet—or something equally distinguished.”

In 1911 H. A. L. Fisher, a former President of the British Academy and of the Board of Education, was in search of someone to write a short one-volume survey of French literature. Fisher had read one of Strachey’s reviews (“Two Frenchmen”, Independent Review (1903)) and asked him to write an outline in 50,000 words, giving him J. W. Mackail’s Latin Literature (1909) as a model. Landmarks in French Literature, dedicated to “J[ane] M[aria] S[trachey],” his mother, was published on 12 January 1912. Despite almost a full column of praise in The Times Literary Supplement of 1 February and sales that by April 1914 had reached nearly 12,000 copies in the British Empire and America, the book brought Strachey neither the fame he craved nor the money he badly needed.

Eminent Victorians and later career

Soon after the publication of Landmarks, Strachey’s mother and his friend Harry Norton supported him financially. Each provided him with £100, which, together with his earnings from the Edinburgh Review and other periodicals, made it possible for him to rent a small thatched cottage, The Lacket, outside the village of Lockeridge, near Marlborough, Wiltshire. He lived there until 1916 and it was there that he wrote the first three parts of Eminent Victorians.

Strachey’s theory of biography was now fully developed and mature. He was greatly influenced by Dostoyevsky, whose novels he had been reading and reviewing as they appeared in Constance Garnett’s translations. The influence of Freud was important on Strachey’s later works, most notably on Elizabeth and Essex, but not at this earlier stage.

In 1916 Lytton Strachey was back in London living with his mother at 6 Belsize Park Gardens, Hampstead, where she had now moved. In the late autumn of 1917, however, his brother Oliver and his friends Harry Norton, John Maynard Keynes and Saxon Sydney-Turner agreed to pay the rent on the Mill House at Tidmarsh, near Pangbourne, Berkshire.

From 1904 to 1914 Strachey contributed book and theatre reviews to The Spectator.

During the First World War Strachey applied for recognition as a conscientious objector, but in the event he was granted exemption from military service on health grounds. He spent much of the war with like-minded people such as Lady Ottoline Morrell and the Bloomsberries.

His first great success, and his most famous achievement, was Eminent Victorians (1918), a collection of four short biographies of Victorian heroes. This work was followed by another in the same style, Queen Victoria (1921).

From then on Strachey needed no further financial aid. He continued to live at Tidmarsh until 1924, when he moved to Ham Spray House near Marlborough, Wiltshire. This was his home for the rest of his life.

Death

Strachey died of (undiagnosed) stomach cancer on January 21,1932, at the age of 51. It is reported that his final words, before his death were: “If this is dying, then I don’t think much of it.”

Personal Life and Sexuality

Though Strachey spoke openly about his homosexuality with his Bloomsbury friends, and had a relationship with John Maynard Keynes, who was also a member of the Bloomsbury group, it was not widely publicised until the late 1960s, in a biography by Michael Holroyd.

Strachey had an unusual relationship with the painter Dora Carrington. She loved him and they lived together from 1917 until his death. In 1921 Carrington agreed to marry Ralph Partridge, not for love but to secure the three-way relationship. She committed suicide two months after Strachey’s death. Strachey himself had been much more interested sexually in Partridge, as well as in various other young men, including a secret sadomasochistic relationship with Roger Senhouse (later the head of the publishing house Secker & Warburg). Strachey’s letters, edited by Paul Levy, were published in 2005.

In popular culture

Virginia Woolf’s husband Leonard Woolf said that in her experimental novel The Waves “there is something of Lytton in Neville”. Lytton is also said to have been the inspiration behind the character of St John Hirst in her novel The Voyage Out. Michael Holroyd describes Strachey as the inspiration behind Cedric Furber in Wyndham Lewis’s The Self-Condemned. In Lewis’s novel The Apes of God he is seen in the character of Matthew Plunkett, whom Holroyd describes as “a maliciously distorted and hilarious caricature of Lytton”. In the Terminus Note in E. M. Forster’s Maurice Forster remarks that the Cambridge undergraduate Risley in the novel is based on Strachey.

Strachey was portrayed by Jonathan Pryce in the film Carrington (1995), which won the Jury Prize at the Cannes Film Festival that year; Pryce won Best Actor for his performance. In the film Al sur de Granada (2003) Strachey was portrayed by James Fleet.

Works

Academic works and biographies

  • Landmarks in French Literature (1912)
  • Eminent Victorians: Cardinal Manning, Florence Nightingale, Dr Arnold, General Gordon (1918)
  • Queen Victoria (1921)
  • Books and Characters (1922)
  • Elizabeth and Essex: A Tragic History (1928)
  • Portraits in Miniature and Other Essays (1931)

Posthumous publications

  • Characters and Commentaries, ed. James Strachey (1933)
  • Spectatorial Essays, ed. James Strachey (1964)
  • Ermyntrude and Esmeralda, (1969)
  • Lytton Strachey by Himself: A Self-Portrait, ed. Michael Holroyd (1971) (ISBN 978-0-349-11812-3)
  • The Really Interesting Question, and Other Papers, ed. Paul Levy (1972)
  • The Shorter Strachey, ed. Michael Holroyd and Paul Levy (1980)
  • The Letters of Lytton Strachey, ed. Paul Levy (2005) (ISBN 0-670-89112-6)
  • Unpublished Works of Lytton Strachey: Early Papers, ed. Todd Avery (2011)

People : Octavia Hill , Social Reformer, Friend Of Ruskin And Co Founder Of The National Trust …… What A Woman !


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Octavia Hill (3 December 1838 – 13 August 1912) was an English social reformer, whose main concern was the welfare of the inhabitants of cities, especially London, in the second half of the nineteenth century. Born into a family with a strong commitment to alleviating poverty, she herself grew up in straitened circumstances owing to the financial failure of her father. With no formal schooling, she worked from the age of 14 for the welfare of working people.

Hill was a moving force behind the development of social housing, and her early friendship with John Ruskin enabled her to put her theories into practice with the aid of his initial investment. She believed in self-reliance, and made it a key part of her housing system that she and her assistants knew their tenants personally and encouraged them to better themselves. She was opposed to municipal provision of housing, believing it to be bureaucratic and impersonal.

Another of Hill’s concerns was the availability of open spaces for poor people. She campaigned against development on existing suburban woodlands, and helped to save London’s Hampstead Heath and Parliament Hill Fields from being built on. She was one of the three founders of the National Trust, set up to preserve places of historic interest or natural beauty for the enjoyment of the British public. She was a founder member of the Charity Organisation Society (now the charity Family Action) which organised charitable grants and pioneered a home-visiting service that formed the basis for modern social work. She was a member of the Royal Commission on the Poor Laws in 1905.

Hill’s legacy includes the large holdings of the modern National Trust, several housing projects still run on her lines, a tradition of training for housing managers, and the museum established by the Octavia Hill Society at her birthplace.

Biography

Early years

Octavia Hill was the daughter of James Hill, corn merchant and banker, and his third wife, Caroline Southwood Smith. He had been widowed twice, and had six children (five daughters and a son) from his previous marriages. He had been impressed by the writings on education of Caroline Southwood Smith, the daughter of Dr Thomas Southwood Smith, a pioneer of sanitary reform. He had engaged Caroline as a governess for his children in 1832, and they were married in 1835, three years before Octavia was born in Wisbech, Cambridgeshire, her father’s eighth daughter and ninth child. The family’s comfortably prosperous life was disrupted by James Hill’s financial problems and his mental collapse. In 1840 he was declared bankrupt. Caroline Hill’s father gave the family financial support, and took on some of Hill’s paternal role. Southwood Smith was a health and welfare reformer concerned with a range of social issues including child labour in mines and the housing of the urban poor. Caroline Hill held similar views on social reform, and her interest in progressive education, influenced by Johann Heinrich Pestalozzi, and Southwood Smith’s daily experience in his work at the London Hospital in the East End inspired Octavia Hill’s concern for the poorest in early Victorian London. She received no formal schooling: her mother educated the family at home.

The family settled in a small cottage in Finchley, now a north London suburb, but then a village. Octavia Hill was impressed and moved by Henry Mayhew’s London Labour and the London Poor, a book that portrayed the daily lives of slum dwellers. She was also strongly influenced by the theologian, Anglican priest and social reformer F. D. Maurice, who was a family friend. She began her work on behalf of London’s poor by helping to make toys for Ragged school children, and serving as secretary of the women’s classes at the Working Men’s College in Bloomsbury in central London.

A co-operative guild providing employment for “distressed gentlewomen” accepted Hill for training in glass-painting when she was 13. When the work of the guild was expanded to provide work in toy-making for Ragged school children, she was invited, at the age of 14, to take charge of the workroom. The following year she began working in her spare time from the guild as a copyist for John Ruskin in Dulwich Art Gallery and the National Gallery. She was deeply aware of the dreadful living conditions of the children in her charge at the guild. Her views on encouraging self-reliance led to her association with the Charity Organisation Society (COS), described by Hill’s biographer Gillian Darley as “a contentious body which deplored dependence fostered by kindly but unrigorous philanthropy … support to the poor had to be carefully targeted and efficiently supervised. Later in life, however, she began to think the COS line … was over-harsh.”

Hill was short, like all her family, and indifferent to fashion. Her friend Henrietta Barnett wrote: “She was small in stature with long body and short legs. She did not dress, she only wore clothes, which were often unnecessarily unbecoming; she had soft and abundant hair and regular features, but the beauty of her face lay in brown and very luminous eyes, which quite unconsciously she lifted upwards as she spoke on any matter for which she cared. Her mouth was large and mobile, but not improved by laughter. Indeed, Miss Octavia was nicest when she was made passionate by her earnestness.” Barnett also spoke of Hill’s streak of ruthlessness. Gertrude Bell called Hill despotic. Later in Hill’s life, the Bishop of London, Frederick Temple, encountered her at a meeting of the Ecclesiastical Commissioners, and wrote, “She spoke for half an hour … I never had such a beating in all my life.”

Housing for the poor

Parliament and many concerned reformers had been attempting to improve the housing of the working classes since the early 1830s. When Hill began her work, the model dwelling movement had been in existence for twenty years, royal and select committees had sat to examine the problems of urban well-being, and the first of many tranches of legislation aimed at improving working class housing had been passed. From Hill’s point of view these had all failed the poorest members of the working class, the unskilled labourers. She found that their landlords routinely ignored their obligations towards their tenants, and that the tenants were too ignorant and oppressed to better themselves. She tried to find new homes for her charges, but there was a severe shortage of available property, and Hill decided that her only solution was to become a landlord herself. John Ruskin, who was interested in the co-operative guild, knew Hill from her work as his copyist and was impressed by her. As an aesthete and a humanitarian he was affronted by the brutal ugliness of the slums. In 1865, having inherited a substantial sum of money from his father, he acquired for £750 the leases of three cottages of six rooms each in Paradise Place, Marylebone.

Ruskin placed these houses, which were “in a dreadful state of dirt and neglect”, under Hill’s management. He told her that investors might be attracted to such schemes if a five per cent annual return could be secured. In 1866 Ruskin acquired the freehold of five more houses for Hill to manage in Freshwater Place, Marylebone. The Times recorded, “The houses faced a bit of desolate ground occupied by dilapidated cowsheds and manure heaps. The needful repairs and cleaning were carried out, the waste land was turned into a playground where Mr. Ruskin had some trees planted.”

After being improved the properties were let to those on intermittent and low incomes. A return of five per cent on capital was obtained as promised to Ruskin; any excess over the five per cent was reinvested within the properties for the benefit of the tenants. Rent arrears were not tolerated, and bad debts were minimal. As Hill said, “Extreme punctuality, and diligence in collecting rents, and a strict determination that they shall be paid regularly, have accomplished this.” In consequence of her prudent management, Hill was able to attract new backers, and by 1874 she had 15 housing schemes with around 3,000 tenants.

Hill’s system was based on closely managing not only the buildings but the tenants; she insisted, “you cannot deal with the people and their houses separately.” She maintained close personal contact with all her tenants, and was strongly opposed to impersonal bureaucratic organisations and to governmental intervention in housing. In her view, “municipal socialism and subsidized housing” led to indiscriminate demolition, re-housing schemes, and the destruction of communities.

Housing management

At the heart of the Octavia Hill system was the weekly visit to collect rent. From the outset, Hill conceived this as a job for women only. She and her assistants, including Emma Cons combined the weekly rent collection with checking every detail of the premises and getting to know the tenants personally, acting as early social workers. At first Hill believed, “Voluntary workers are a necessity. They are better than paid workers, and can be had in sufficient numbers.” Later, she found it expedient to maintain a paid workforce. Her system required a large staff. Rent was collected on Monday, Tuesday and Wednesday mornings. Rent accounts were balanced in the afternoons and arrangements were made with contractors for repairs. On Thursdays and Fridays arrears were pursued, contractors’ invoices paid, new tenancy lettings and tenants’ moves organised.

If any of Hill’s assistants had spare time, whether during normal working hours or in frequent voluntary after-hours working, it was used to promote tenants’ associations and after-work and children’s after-school clubs and societies. In 1859, Hill created the Southwark detachment of the Army Cadet Force, its first independent unit, which gave training along military lines for local boys. Hill considered that such an organisation would be more like the “real thing” than such existing outfits as the Church Lads’ Brigade and therefore more attractive to young men “who had passed the age of make-believe”. She invited a serving officer of the Derbyshire Regiment to set up the company, and such was its popularity that its numbers had to be capped at 160 cadets.

Hill’s principles were summed up in an article of 1869: “Where a man persistently refuses to exert himself, external help is worse than useless.” She was an outspoken critic of the principles of “outdoor relief” or the Speenhamland system of poor relief as operated by various Poor Law Boards. Because these systems did not encourage recipients to work, she regarded them as “a profligate use of public funds.” Under her methods, personal responsibility was encouraged. She insisted on dealing with arrears promptly; she appointed reliable caretakers; she took up of references on prospective tenants, and visited them in their homes; she paid careful attention to allocations and the placing of tenants, with regard to size of families and the size and location of the accommodation to be offered; and she made no rules that could not be properly enforced.

An American admirer described her as “ruling over a little kingdom of three thousand loving subjects with an iron scepter twined with roses.” Although Hill drove her associates hard, she drove herself harder. In 1877, she collapsed and had to take a break of several months from her work. Darley ascribes a number of contributory causes: “chronic overwork, a lack of delegation, the death of her close friend Jane Senior, the failure of a brief engagement” as well as an attack on her by John Ruskin. The Hill family found a companion for her, Harriot Yorke (1843–1930). Yorke took on a great amount of the everyday work that had caused Hill’s collapse. She remained her companion until Hill’s death. A further palliative was the building of a cottage, at Crockham Hill near Sevenoaks in Kent, where they could take breaks from their work in London.

Open spaces

Among Hill’s concerns was that her tenants, and all urban workers, should have access to open spaces. She believed in “the life-enhancing virtues of pure earth, clean air and blue sky.” In 1883, she wrote:

There is perhaps no need of the poor of London which more prominently forces itself on the notice of anyone working among them than that of space. … How can it best be given? And what is it precisely which should be given? I think we want four things. Places to sit in, places to play in, places to stroll in, and places to spend a day in. The preservation of Wimbledon and Epping shows that the need is increasingly recognised. But a visit to Wimbledon, Epping, or Windsor means for the workman not only the cost of the journey but the loss of a whole day’s wages; we want, besides, places where the long summer evenings or the Saturday afternoon may be enjoyed without effort or expense.

She campaigned hard against building on existing suburban woodlands, and helped to save Hampstead Heath and Parliament Hill Fields from development. She was the first to use the term “Green Belt” for the protected rural areas surrounding London. Three hills in Kent (Mariners Hill, Toys Hill and Ide Hill) which she helped to protect from development form part of the belt.

In 1876 Hill became the treasurer of the Kyrle Society, founded in that year by her eldest sister, Miranda, as a “Society for the Diffusion of Beauty”. Under the slogan “Bring Beauty Home to the Poor” it aimed to bring art, books, music and open spaces into the lives of the urban poor. For a short period it flourished and expanded, and although it declined after a few years, it was a template for the National Trust, 20 years later.

Before that, however, Hill was engaged in a campaign in 1883 to stop the construction of railways from the quarries in the fells overlooking Buttermere, in the English Lake District, with damaging effect on the unspoilt scenery. The campaign was led by Canon Hardwicke Rawnsley, who secured the support of Ruskin, Hill, and Sir Robert Hunter, solicitor to the Commons Preservation Society. From 1875 onwards, Hunter had been Hill’s legal adviser on the protection of open spaces in London. Both he and Rawnsley, building on an idea put forward by Ruskin, conceived of a trust that could buy and preserve places of natural beauty and historic interest for the nation.

On 16 November 1893, Hill, Hunter and Rawnsley met in the offices of the Commons Preservation Society and agreed to launch such a trust. Hill suggested that it should be called “The Commons and Gardens Trust”, but the three agreed to adopt Hunter’s suggested title, the “National Trust”. Under its full formal title, the National Trust for Places of Historic Interest or Natural Beauty was inaugurated the following year. The trust was concerned primarily with protecting open spaces and endangered buildings of historic interest; its first property was Alfriston Clergy House and its first nature reserve was Wicken Fen.

Later years

The number of homes managed by Hill continued to grow. Although Ruskin had turned against her in a bout of mental instability, she found a new supporter, the Ecclesiastical Commissioners, who handed over to her the management of their housing estates in several poor areas of south London. By the end of the nineteenth century, Hill’s women workers were no longer unpaid volunteers but trained professionals. Hill’s influence spread beyond the properties under her own control. Her ideas were taken up and copied, with her enthusiastic support, in continental Europe and the United States of America. Beatrice Webb said that she “first became aware of the meaning of the poverty of the poor,” while staying with her sister, who was a rent collector for Octavia Hill in the East End. Queen Victoria’s daughter, Princess Alice of Hesse-Darmstadt, was taken incognito on a tour of some of Hill’s properties, and she translated Hill’s Homes of the London Poor into German. Among those whom Hill trained was her assistant and secretary, Maud Jeffery, who was later engaged by the Commissioners of Crown Lands to run new housing estates in London on Octavia Hill’s lines. Even some local authorities, despite Hill’s distrust, followed her model: some of the earliest examples of municipal council housing, at Kensington and Camberwell, were run on her lines, with the acquisition of working class houses, and their gradual improvement, without evictions or demolitions.

Despite her opposition to interference by national or local government in the provision of housing, Hill had to cope with the newly created London County Council and the involvement of the council and other local authorities in providing housing for the poor. In 1884 a royal commission on the housing of the working classes was set up, but the prime minister, W.E. Gladstone, and his ministerial colleagues vetoed a proposal to include Hill among the members of the commission. The municipal authorities quickly surpassed her in the number of properties under their management. A.S. Wohl notes that in the 1880s Hill had about £70,000 worth of property under her management, and at the end of her career she was managing the dwellings of “perhaps three or four thousand people at the most.” The London County Council, by contrast, had a budget of £1,500,000 for its programme of rehousing London’s poor in 1901–02.

Hill was opposed to other reforms that came about in the early part of the twentieth century. She was against female suffrage on the grounds that “men and women help one another because they are different, have different gifts and different spheres”. She also believed that provision of social services and old-age pensions by the government did more harm than good, sapping people’s self-reliance.

Hill died from cancer on 13 August 1912 at her home in Marylebone, at the age of 73.

Legacy and memorials

When John Singer Sargent’s portrait of her was presented by her fellow-workers in 1898, Hill made a speech in which she said, “When I am gone, I hope my friends will not try to carry out any special system, or to follow blindly in the track which I have trodden. New circumstances require various efforts, and it is the spirit, not the dead form, that should be perpetuated. … We shall leave them a few houses, purified and improved, a few new and better ones built, a certain amount of thoughtful and loving management, a few open spaces…” But, she said, more important would be “the quick eye to see, the true soul to measure, the large hope to grasp the mighty issues of the new and better days to come – greater ideals, greater hope, and patience to realize both.”

The Horace Street Trust, founded by Hill, became a model for many subsequent housing associations and developed into the present trust that bears her name, Octavia Housing. Today it owns several of the homes, including Gable Cottages, designed by Elijah Hoole, who worked with Hill for many years. Hill’s determination to provide community space can still be seen in the shape of the Red Cross site in Southwark (1888), among others. The Octavia Hill Society website states that with a community hall, and soundly maintained attractive houses, Hill here anticipated the fundamental ingredients of town planning by some 15 years.

The Settlement Movement (creating integrated mixed communities of rich and poor) grew directly out of Hill’s work. Her colleagues Samuel and Henrietta Barnett, founded Toynbee Hall, the first university-sponsored settlement, which together with the Women’s University Settlement (later called the Blackfriars Settlement) continues to serve local communities. Overseas, Hill’s name is perpetuated in the Octavia Hill Association in Philadelphia, a small property company, founded to provide affordable housing to low and middle-income city residents.

Women who had trained under Hill formed the Association of Women Housing Workers in 1916. This later changed its name to the Society of Housing Managers in 1948. After merging with the Institute of Housing Managers in 1965, the society became the present day Chartered Institute of Housing in 1994. The CIH is a professional body for those working in the housing profession in the UK and overseas. The training that Hill gave to Charity Organisation Society volunteers contributed to the development of modern social work, and COS continued to be instrumental in developing social work as a profession during the twentieth century. COS is still in operation today as the charity Family Action.

In 1907, Parliament passed the first National Trust Act, enshrining the trust’s permanent purpose and giving it powers to protect property for the benefit of the nation. The trust now looks after a wide range of coast, countryside and historic buildings. According to the trust’s website, “Staff, volunteers and tenants are engaged daily in providing access to open spaces for people’s enjoyment, providing habitats for wildlife and in improving our environment – ‘for ever, for everyone’.”

Commemorations of Hill herself include a monument to her at a Surrey beauty spot, on the summit of a hill called Hydon Ball (now owned by the National Trust). Shortly after her death, the family erected a stone seat there, from which walkers can enjoy views over the Surrey countryside. The Octavia Hill Society was set up in 1992 “to promote awareness of the ideas and ideals of Octavia Hill, her family, fellow workers and their relevance in today’s society nationally and internationally”. Under the society’s auspices her birthplace at Wisbech has been turned into the Octavia Hill Birthplace Museum. In 1995, to mark the centenary of the National Trust, a new variety of rose, “Octavia Hill”, was named in her honour.

People : Thomas Mawson, Garden Designer, Town Planner and Exceptional Landscape Architect.


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Thomas Hayton Mawson (5 May 1861 – 14 November 1933), known as T. H. Mawson, was a British garden designer, landscape architect, and town planner.

Personal life

Mawson was born in Nether Wyresdale, Lancashire and left school at age 12. His father, who died in 1877, was a warper in a cotton mill and later started a building business. He married Anna Prentice in 1884 and the Mawsons made their family home in Windermere, Westmorland in 1885. They had four sons and five daughters. His eldest son, Edward Prentice Mawson was a successful landscape architect and took over the running of his father’s firm when his father developed Parkinson’s disease in 1923. Another son, John Mawson, moved to New Zealand in 1928 as Director of Town Planning for that country. He died at Applegarth, Hest Bank, near Lancaster, Lancashire, aged 72 and is buried in Bowness Cemetery within a few miles of some of his best gardens and overlooking Windermere.

Working life

To make a living, he worked first in the building trade in Lancaster, then at a London nursery where he gained experience in landscape gardening. In the 1880s he moved back north, where he and two brothers started the Lakeland Nursery in Windermere. The firm became sufficiently successful for him to be able to turn his attention to garden design.

Mawson’s first commission was a local property, Graythwaite Hall, and his work there showed his hallmark blend of architecture and planting. He went on to design other gardens in Cumbria such as Langdale Chase, Holehird, Brockhole, and Holker Hall around the turn of the century.

In 1891 Mawson was commissioned to design and construct Belle Vue Park in Newport, Monmouthshire, Mawson’s first win in an open competition. His design was, in fact, designed for the neighbouring field, the site of the then Newport and Monmouthshire Hospital after Mawson misunderstood directions on his first visit. The mistake was not realised until the first site visit, after the contract had been awarded. Between 1894 and 1909 Mawson was commissioned to design and construct Dyffryn Gardens near Cardiff. The Rushton Hall estate in Northamptonshire has early 20th century formal terraced gardens designed by Mawson between 1905–1909 and implemented by his brother Robert.

Later Mawson designed gardens in various parts of Britain, and others in Europe and Canada. In London he designed gardens at The Hill, in Hampstead for Lord Leverhulme. The impressive 800 ft long pergola is now open to the public as part of the West Heath. He designed Rivington Gardens and Lever Park in Lancashire also for Lord Leverhulme. Padiham Memorial Park (1921) was another commission in Lancashire. Mawson also designed the gardens at Wood Hall near Cockermouth, Cumbria, which were completed in 1920. Much of this garden still survives today.

From 1910 to 1924 he lectured frequently at the school of civic design, Liverpool University. He also contributed articles on garden design to The Studio magazine and its annual The Studio Year Book of Decorative Art. In the 1920s he designed gardens for Dunira, a country house in Perthshire.

In 1923 he became president of the Town Planning Institute, and in 1929 the first president of the Institute of Landscape Architects.

International work

In 1908 he won a competition to lay out the Peace Palace gardens at The Hague. He also advised on the development of the Great Smoky Mountains National Park in the United States. In 1912 Mawson toured several Canadian cities, beginning in Halifax and ending up in Victoria, British Columbia. As well as giving talks, he proposed several (unaccepted) designs including for Wascana Centre in Regina, Brockton Point lighthouse, Coal Harbour and Lost Lagoon in Vancouver, and urban design plans for Banff and downtown Calgary. Mawson’s vision for Calgary, had it been implemented, would have changed what was then a dusty prairie town, into a city of the City Beautiful movement.

Legacy

With the passage of time some of the original features have deteriorated. A number of Mawson’s parks were restored in the early twenty-first century. For example, the two municipal parks at Stoke-on-Trent (Hanley Park and Burslem Park) and a rose garden at Bushey were restored as part of the “Parks for People” programme for historic parks and cemeteries in the UK.

Archive

More than 14,000 plans and drawings together with 6,500 glass plate negatives and photographs comprise the archive of Mawson documents. They are stored at Kendal Record Office having been offered to the Cumbria Archive Service following the closure of Thomas H. Mawson & Son of Lancaster and Windermere in 1978. As at 2010, the material has not been fully catalogued and conservation is proving difficult.

Selected writings

  • 1900: The Art and Craft of Garden Making, 1st edn 1900, 5th edn (recommended), 1926.
  • 1908: “The Designing of Gardens”, article in The Studio Year Book of Decorative Art 1908
  • 1911: Civic Art Covers the principles of town planning
  • 1927: The Life and Work of an English Landscape Architect

 

People : Beverley Nichols, Gardener, Garden Designer, Journalist, Playwright, Author ……… etc.


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John Beverley Nichols (9 September 1898, Bower Ashton, Bristol, England – 15 September 1983, Kingston, London, England), was an author, playwright, gardener, garden designer, journalist, composer, and public speaker.

Career

Between his first book, the novel Prelude, published in 1920, and his last, a book of poetry, Twilight, published in 1982, Nichols wrote more than 60 books and plays. Besides novels, mysteries, short stories, essays and children’s books, he wrote a number of non-fiction books on travel, politics, religion, cats, parapsychology, and autobiography. He wrote for a number of magazines and newspapers throughout his life, the longest being weekly columns for the London Sunday Chronicle newspaper (1932–1943) and Woman’s Own magazine (1946–1967).

Nichols is now best remembered for his gardening books, the first of which, Down the Garden Path, was illustrated – as were its two sequels – by Rex Whistler. This best-seller – which has had 32 editions and has been in print almost continuously since first published in 1932 – was the first of his trilogy about Allways, his Tudor thatched cottage in Glatton, Cambridgeshire. The books are written in a poetic manner, with a rich, creative language, evoking emotional and sensual responses, but also with a lot of humour and even a hint of irony. They were parodied by W. C. Sellar and R. J. Yeatman in Garden Rubbish (1936), where the Nichols figure was called “Knatchbull Twee”.

A book about Nichols’ city garden near Hampstead Heath in London, Green Grows the City, published in 1939, was also very successful. That book introduced Arthur R. Gaskin, who was Nichols’s manservant from 1924 until Gaskin’s death in 1966. Gaskin was a popular character, who also appeared in the succeeding gardening books.

A later trilogy written between 1951 and 1956 documents Nichols’s travails renovating Merry Hall (Meadowstream), a Georgian manor house in Agates Lane, Ashtead, Surrey, where Nichols lived from 1946 to 1956. These books often feature his gifted but laconic gardener “Oldfield”. Nichols’s final trilogy is referred to as “The Sudbrook Trilogy” (1963–1968) and concerns his late 18th-century attached cottage at Ham, (near Richmond), Surrey.

Nichols wrote on a wide range of topics, always looking for “the next big thing.” As examples, he ghostwrote Dame Nellie Melba’s 1925 “autobiography” Memories and Melodies (he was at the time her personal secretary – his 1933 book Evensong was believed based on aspects of her life). In 1966 he wrote A Case of Human Bondage about the marriage and divorce of writer William Somerset Maugham and his interior-decorator wife, Syrie, which was highly critical of Maugham. Father Figure, which appeared in 1972 and in which he described how he had tried to murder his alcoholic and abusive father, caused a great uproar and several people asked for his prosecution. His book about spiritualism was not well received, which disappointed him.

His main interest apart from the writing of his books was gardening, especially garden design and winter flowers. Among his huge acquaintance in all walks of life were many famous gardeners including Constance Spry and Lord Aberconway, who was President of the Royal Horticultural Society and owner of the Bodnant Garden in North Wales.

Nichols made one appearance on film – in 1931 he appeared in Glamour, directed by Seymour Hicks and Harry Hughes, playing the small part of the Hon. Richard Wells. The film is now lost.

In 1934, Nichols wrote a best-selling book advocating pacifism, Cry Havoc! By 1938, he had abandoned his pacifism; he later supported the British campaign in World War Two.

Personal life

He went to school at Marlborough College, and went to Balliol College, Oxford, and was President of the Oxford Union and editor of Isis. Nichols was homosexual, having had affairs with Harold Nicolson, Cecil Beaton and Noel Coward.

Nichols died in 1983. He is buried in Glatton, England.

People : Edward Hudson , The Simon Cowell of the day making stars out of Edwin Lutyens and Gertrude Jekyll.


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Edward Burgess Hudson (1854–1936) was the founder of Country Life magazine in 1897.

Country Life was an early lifestyle magazine. Edward Hudson was the owner of Lindisfarne Castle (1901-21) and two other Lutyens-designed houses, Deanery Gardens in Sonning (c1899-1907), designed and built 1899–1901, and Plumpton Place, Sussex (1928-36 but not occupied), both featured in the magazine in 1903 and 1933 respectively. Hudson and Lutyens were great friends.

Gertrude Jekyll used to write an article periodically for Hudson’s Country Life and also.

Hidden London : Waterlow Park , Who remembers Mott The Hoople ………..?


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Waterlow Park is a 26-acre (11 ha) park in the south east of Highgate Village, in North London. It was given to the public by Sir Sydney Waterlow, as “a garden for the gardenless” in 1889.

Lauderdale House is at the edge of the park, used as a tea room and for functions and arts events; none of the interior remains in its original state. It is a much modified very old timber framed house, dating back to the sixteenth century. It is surrounded by formal gardens.

Set on a hillside, the park is set amongst ponds and offers views across the City of London.

It is managed by the London Borough of Camden. After extensive vandalism and neglect it was restored in 2005.

It was referenced by Ian Hunter of Mott the Hoople in their song “Waterlow”, from the 1971 album “Wildlife”.

Hidden London : Nunhead Cemetery, and Nature Reserve, home to the living as well as the dead. 52 Acres and still has Views of St Pauls Cathederal.


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Nunhead Cemetery is one of the Magnificent Seven cemeteries in London, England. It is perhaps the least famous and celebrated of them. The cemetery is located in the Nunhead area of southern London and was originally known as All Saints’ Cemetery. Nunhead Cemetery was consecrated in 1840 and opened by the London Necropolis Company. It is a Local Nature Reserve.

Location
The Main Gate (North Gate) is located on Linden Grove (near the junction with Daniel’s Road) and the South Gate is located on Limesford Road. The cemetery is in the London Borough of Southwark, SE15.

History and description
Consecrated in 1840, with an Anglican chapel designed by Thomas Little, it is one of the Magnificent Seven Victorian cemeteries established in a ring around what were then the outskirts of London. The first burial was of Charles Abbott, a 101 year old Ipswich grocer; the last burial was of a volunteer soldier who became a canon of Lahore Cathedral.The first grave in Nunhead was dug in October 1840. The average annual number of burials there over the last ten years, has been 1685: 1350 in the consecrated, and 335 in the unconsecrated ground.

The cemetery contains examples of the imposing monuments to the most eminent citizens of the day, which contrast sharply with the small, simple headstones marking common or public burials. By the middle of the 20th century the cemetery was nearly full, and so was abandoned by the United Cemetery Company. With the ensuing neglect, the cemetery gradually changed from lawn to meadow and eventually to woodland. It is now a Local Nature Reserve and Site of Metropolitan Importance for wildlife, populated with songbirds, woodpeckers and tawny owls. A lack of care and cash surrendered the graves to the ravages of nature and vandalism, but in the early 1980s the Friends of Nunhead Cemetery were formed to renovate and protect the cemetery.

The cemetery was reopened in May 2001 after an extensive restoration project funded by Southwark Council and the Heritage Lottery Fund. Fifty memorials were restored along with the Anglican Chapel.

Notable burials
Charles Abbott, the 101 year old Ipswich grocer and Charterhouse brother
Sir Frederick Abel, Cordite co-inventor
George John Bennett, 1800–1879, English Shakespearian actor
William Brough, 1826–1870, writer and playwright
Edward John Eliot, 1782–1863, Peninsula War soldier
Jenny Hill, Music hall performer
Thomas Tilling, bus tycoon
Alfred Vance, English Music hall performer

Layout and other structures
At 52 acres, it is the second largest of the Magnificent Seven cemeteries. Views across London include St Paul’s Cathedral.

The Victorian part of the cemetery is currently in a poor state of repair, being best described as an elegant wilderness; locals like to call it a nature reserve. Many areas of the cemetery are fairly overgrown with vines, as visible in newer tourist photos. Numerous tombstones lean to the side. Although the Friends of Nunhead Cemetery are doing their best to restore some parts of the cemetery it is badly in need of care and funding. It is about 52 acres (210,000 m2) and is a popular place to walk.

The lodges and monumental entrance were designed by James Bunstone Bunning. There is an obelisk, the “Scottish Political Martyrs Memorial”, the second monument (the other is in Edinburgh) dedicated to the leaders of the Friends of the People Society, popularly called the Scottish Martyrs, including Thomas Muir, Maurice Margarot, and Thomas Fyshe Palmer, who were transported to Australia in 1794. It was erected by Radical MP Joseph Hume in 1837. It is immediately on the right on Dissenters Road, when entering through the North Gate.

Percy Baden Powell Huxford (named after but not related to Lord Baden Powell), aged 12, was one of nine Sea Scouts who died in the Leysdown Tragedy off the Isle of Sheppey in 1912. A special memorial was built for these Sea Scouts in this cemetery in 1914, designed by Sir Giles Gilbert Scott. Most of this was removed after vandalism, and only the base remains. A new memorial was erected in 1992 (made possible by the Friends of Nunhead Cemetery).

There are a large number of First and Second World War graves in the cemetery, the greater proportion (580 graves) being Commonwealth service burials from the former war. Most of those are concentrated between three war graves plots: the United Kingdom plot (Square 89), holding 266 graves, the Australian plot which holds 23 graves, and the Canadian plot (Square 52) which holds 36 graves including burials of South African and New Zealand servicemen. Those buried in the UK plot and in individual graves outside the three plots are, because of not being marked by headstones, listed by name on a Screen Wall memorial inside the cemetery’s main entrance. A second Screen Wall lists 110 Commonwealth service personnel of the Second World War who are buried in another war graves plot (Square 5), and elsewhere whose graves could not be marked by headstones. There is also a Belgian war grave of the First World War.

A conducted tour of the cemetery is run by the Friends of Nunhead Cemetery, open to all, on the last Sunday of each month, starting from the Linden Grove gates at 2:15 p.m. At the centre of the cemetery is a derelict chapel, its roof gone but its stone walls intact.

In media
The cemetery is the setting for the Victorian poet Charlotte Mew’s exploration of death, insanity and social alienation In Nunhead Cemetery and is the setting for Maurice Riordan’s final poem, The January Birds in The Holy a d, his 2007 collection. The Woman Between the Worlds, a 1994 science fiction novel by F. Gwynplaine MacIntyre set in Victorian England, depicts the burial at Nunhead Cemetery in 1898 (in a closed coffin) of a female extraterrestrial. The novel avoids citing a precise location for this grave, in case some reader believes that alien remains can be retrieved from the site.

The cemetery also featured in Episode 2 of the 2008 BBC series Spooks, although it was credited as Highgate Cemetery.

The cemetery features in a number of scenes in the 1971 movie Melody.

Hidden London : Foots Cray Meadow, A Former Palladian Mansion Estate, Wild Flower Meadows, Kingfishers and Otters all in the City.


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Foots Cray Meadows is an area of parkland and woodland (97 hectares or nearly 250 acres in all) in the London Borough of Bexley, England. It borders the suburbs of Albany Park, Sidcup, Foots Cray, and North Cray. The River Cray runs through it in a north-easterly direction. The London Loop, a public recreational walking path around London, also known as the “M25 for walkers”, runs through the meadows parallel to the river from Sidcup Place, just south of the meadows.

A notable feature of the area is the Five Arches bridge, which crosses the River Cray, as does the smaller Penny Farthing Bridge.

The Meadows are a Local Nature Reserve and a Site of Metropolitan Importance for Nature Conservation. They have also have received a Green Flag Award. There is access from Rectory Lane, among other places.

Adjacent to the meadows is an area known locally as the “wasteland” and the ruins of a destroyed boules alley.

History

The area was originally a part of the Footscray Place estate, and during the 18th century the Five Arches bridge was built. At the same time, an almshouse was built adjacent to the woods, which, as of 2008, was being excavated by archaeologists belonging to Bexley Archaeological Group.

After the house’s destruction, in the late 1940s, the area was turned into a public recreation park. In the early 2000s, Five Arches bridge was renovated with new stone.

Foots Cray Place was one of the four country houses built in England in the 18th century to a design inspired by Palladio’s Villa Capra near Vicenza. Built in 1754 near Sidcup, Kent, Foots Cray Place was demolished in 1950 after a fire in 1949. Of the three other houses in England, Nuthall Temple in Nottinghamshire was built 1757 and demolished in 1929; the other two survive: Mereworth Castle (completed 1725, also in Kent) and Chiswick House (completed 1729, in London), both now Grade 1 listed buildings. A modern fifth example, Henbury Hall, was built near Macclesfield in the 1980s. Another example of a similar structure in England is the Temple of the Four Winds at Castle Howard, which is a garden building not a house.

Earlier houses

The Kentish manor of Foots Cray is mentioned in the Domesday Book. Later, it was acquired by the Walsingham family and held for six generations until it was sold around 1676. An Elizabethan E-shaped house – also known as Pike Place – was still on the site in the 1680s. The estate passed through several hands before it was purchased by Bourchier Cleeve in 1752 for £5,450. Cleeve had the old house pulled down and a new one constructed slightly further north in about 1754.

Palladian mansion

The design of the new Palladian mansion has been attributed to the architect Isaac Ware in Vitruvius Britannicus iv (1777, pls. 8-10), but it has also been suggested that Matthew Brettingham the Younger or Daniel Garrett could have been the designer.

Following the model of the Villa Capra, it had a large square central block surmounted by a wide dome, with a portico on each face, all constructed in stone. Three of the porticos at Foots Cray Place were filled in to create additional internal space. The central hall was octagonal, with a gallery leading to the upper rooms, lit from above. The service buildings were built in brick a short dictance from the main house. Cleeve accumulated a large collection of paintings, including examples by Rembrandt, Reubens, Van Dyke, Canaletto and Holbein, which he displayed at Foots Cray Place.

The estate was inherited by Cleeve’s daughter on his death in 1760; she married Sir George Yonge in 1767, and the house was sold to Benjamin Harenc in 1772 for £14,500. He had it remodelled in 1792 by the minor London architect Henry Hakewill. Harenc’s son sold the house in 1821 to Nicholas Vansittart, then Chancellor of the Exchequer and soon to become ennobled as Baron Bexley. Hakewill further remodelled the house in 1823, and more works were carried out for Lord Bexley by another London architect of equally modest reputation, John William Hiort, who also built Bexley’s London house in Great George Street, Westminster. The Vansittart family retained the house and estate until it was sold to Samuel Waring (later Baron Waring) in the late 19th century.

In 1939, at the beginning of World War II, the house was requisitioned in for use by the Royal Navy as Thames Nautical Training College, the stone frigate HMS Worcester. Lord Waring died in 1940, and after the College vacated the property, dilapidated after its wartime use, in 1946, Waring’s widow sold the house and grounds to Kent County Council for use as a museum. A fire in October 1949 caused extensive damage, and the house was demolished in 1950.

Foots Cray Meadows

The stable block remains standing, but the grounds, known as Foots Cray Meadows, provide a valuable public green space in this south-eastern suburb of London. This 89 hectare park was formed in the early 19th century from two mid-18th-century landscaped parks and is listed by English Heritage as a Grade II historic park, and it is a Local Nature Reserve. The London Outer Orbital Path passes through Foots Cray Meadows on its way from Old Bexley to Sidcup Place and Petts Wood.

Hidden London : Greenwich Park, Gardens and Observatory : Home to time itself !!!


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Greenwich Park is a former hunting park in Greenwich and one of the largest single green spaces in south-east London. One of the Royal Parks of London, and the first to be enclosed (in 1433), it covers 74 hectares (180 acres), and is part of the Greenwich World Heritage Site. It commands fine views over the River Thames, the Isle of Dogs and the City of London. The park is open from 06:00 for pedestrians (and 07:00 for traffic) all year round and closes at dusk.

History

The estate of some 200 acres (81 ha) was originally owned by the Abbey of St. Peter at Ghent, but reverted to the Crown in 1427 and was given by Henry VI to his uncle Humphrey, Duke of Gloucester (Barker 1999). He built a house by the river, Bella Court, and a small castle, called Greenwich Castle as well as Duke Humphrey’s Tower, on the hill. The former evolved first into the Tudor Palace of Placentia and then into the Queen’s House and Greenwich Hospital. Greenwich Castle, by now in disrepair, was chosen for the site of the Royal Observatory by Charles II in 1675.

In the 15th century the park was mostly heathland and probably used for hawking. In the next century, deer were introduced by Henry VIII for hunting, and a small collection of deer is maintained today in an area to the south east. James I enclosed the park with a brick wall, twelve feet high and two miles (3 km) long at a cost of £2000, much of which remains and defines the modern boundary.

In the 17th century, the park was landscaped, possibly by André Le Nôtre who is known at least to have designed plans for it. The public were first allowed into the park during the 18th century. Samuel Johnson visited the park in 1763 and commented “Is it not fine?”. The famous hill upon which the observatory stands was used on public holidays for mass ‘tumbling’.

In the 1830s a railway was nearly driven through the middle of the lower park on a viaduct but the scheme was defeated by intense local opposition. However, the London and Greenwich Railway was later extended beneath the ground via a cut-and-cover tunnel link between Greenwich and Maze Hill which opened in 1878 (the tunnel alignment is on the north side of the northern side of the park’s boundary wall, running beneath the gardens of the National Maritime Museum and Queen’s House).

In 1888 the park got a station of its own when Greenwich Park railway station was opened. The station was not successful, with most passengers preferring the older Greenwich station, and in 1917 Greenwich Park station and the associated line closed.

Greenwich Park was used for outdoor London scenes including representing the street, Constitution Hill in the 2009 film The Young Victoria starring Emily Blunt and Rupert Friend.

Geography

The park is roughly rectangular in plan with sides 1000 metres by 750 metres and oriented with the long sides lying NNW to SSE. In what follows this direction is taken to be N to S for ease of exposition. It is located at grid reference TQ390772.

The park stretches along a hillside and is on two levels. The lower level (closest to the Museum, Queen’s House and, beyond them, the Thames) lies to the north; after a steep walk uphill, there is a flat expanse that is, essentially, an enclosed extension of the plateau of Blackheath.

Roughly in the centre, on the top of the hill, is the Royal Observatory, Greenwich. To the north is the National Maritime Museum and Queen’s House, and beyond those Greenwich Hospital. To the east is Vanbrugh Castle. To the south is Blackheath and in the south western corner is the Ranger’s House, looking out over heath. To the west lie the architecturally fine streets of Chesterfield Walk and Croom’s Hill (Pevsner 1983).

Royal Observatory

The Observatory is on the top of the hill. Outside is a statue of General James Wolfe in a small plaza from which there are majestic views across to the former Greenwich Hospital (the Old Royal Naval College and now the University of Greenwich) and then towards the river, the skyscrapers of Canary Wharf, the City of London to the northwest and the Millennium Dome to the north.

Amenities

On the lower level of the park there is a popular children’s playground (north-east corner, close to Maze Hill railway station) and an adjacent boating lake. There is also a herb garden (close by entrance to Greenwich town centre).

On the upper level, there is an extensive flower garden complete with large duck pond, a rose garden, a cricket pitch, many 17th century chestnut trees with gnarled, swirling trunks, tennis courts, a bandstand, Roman remains, an ancient oak tree (the ‘Queens Oak’, associated with Queen Elizabeth I) and an enclosure (‘The Wilderness’) housing some wild deer.

Nestling just behind the Observatory is the garden of the former Astronomer Royal, a peaceful secluded space which is good for picnics and also sometimes used by theatre groups (Midsummer Night’s Dream, etc.). On the opposite side (i.e., just south of the Wolfe statue) is the Park Café. There is another, smaller café by the north west gate.

It is possible to park (pay and display) in areas along the main roads entering from Blackheath. Cycle routes criss-cross the park (as do runners, roller-bladers, dog-walkers, etc.), but other road traffic (cars and motor-cycles only) can only use the park road linking Blackheath and Greenwich at peak periods on weekdays.

Sport

During the London 2012 Summer Olympics, Greenwich Park was the venue for the Olympic equestrian events and for the riding and running parts of the modern pentathlon events. It was also the venue for the Paralympic equestrian events.

The use of Greenwich Park for Olympic equestrian events caused some tension between the London Organising Committee for the Olympic and Paralympic Games 2012 (LOCOG) and some local area residents. A community action group, NOGOE (No to Greenwich Olympic Equestrian Events), believed Greenwich Park was not a suitable venue for the events and started an (ultimately unsuccessful) petition to get the equestrian events relocated; by February 2009 this had gathered over 12,000 signatures.

The park also staged the start of the final stage of the 2006 Tour of Britain cycle race (3 September).

One of three start points for London Marathon, the ‘red start’, is located in southern Greenwich Park, close to Charlton Way.

British Military Fitness runs classes in the park when daylight permits.