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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.
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.
Restaging the Past is the first edited collection devoted to the study of historical pageants in Britain, ranging from their Edwardian origins to the present day. Across Britain in the twentieth century, people succumbed to ‘pageant fever’. Thousands dressed up in historical costumes and performed scenes from the history of the places where they lived, and hundreds of thousands more watched them. These pageants were one of the most significant aspects of popular engagement with the past between the 1900s and the 1970s: they took place in large cities, small towns and tiny villages, and engaged a whole range of different organised groups, including Women’s Institutes, political parties, schools, churches and youth organisations. Pageants were community events, bringing large numbers of people together in a shared celebration and performance of the past; they also involved many prominent novelists, professional historians and other writers, as well as featuring repeatedly in popular and highbrow literature. Although the pageant tradition has largely died out, it deserves to be acknowledged as a key aspect of community history during a period of great social and political change. Indeed, as this book shows, some traces of ‘pageant fever’ remain in evidence today.
The East India Company at Home, 1757–1857 explores how empire in Asia shaped British country houses, their interiors and the lives of their residents. It includes chapters from researchers based in a wide range of settings such as archives and libraries, museums, heritage organisations, the community of family historians and universities. It moves beyond conventional academic narratives and makes an important contribution to ongoing debates around how empire impacted Britain. The volume focuses on the propertied families of the East India Company at the height of Company rule. From the Battle of Plassey in 1757 to the outbreak of the Indian Uprising in 1857, objects, people and wealth flowed to Britain from Asia. As men in Company service increasingly shifted their activities from trade to military expansion and political administration, a new population of civil servants, army officers, surveyors and surgeons journeyed to India to make their fortunes. These Company men and their families acquired wealth, tastes and identities in India, which travelled home with them to Britain. Their stories, the biographies of their Indian possessions and the narratives of the stately homes in Britain that came to house them, frame our explorations of imperial culture and its British legacies.
A fascinating and authoritative history of this famous Wiltshire country house. Written with flair and drawing on original sources, Jennie Elias offers a vivid portrait of this quintessential English country house.
The first closely historicized study of the relationship between Gothic architecture and Gothic and Romantic literature.
Thud Pilot is the personal account of a combat fighter pilot who flew the Air Force's premier fighter-bomber in the most dangerous skies over North Vietnam. In the first five years of the Vietnam War, the F-105 Thunderchief conducted 75 percent of the Air Force bombing missions over North Vietnam. Thud Pilot tells the story of the courageous men who flew the F-105 from its earliest combat deployment in 1964, and on through 1966, the year of its heaviest losses. The author's more significant missions, including his ejection and rescue over North Vietnam are described in detail and are accompanied by map drawings depicting the mission routes from take-off to refueling orbits, the target, and return. The book is full of several 'firsts' in the expanding air war over North Vietnam, including 'Operation Spring High, ' the first counter Surface-to-Air-Missile (SAM) strike in the history of aerial warfare. The personal perspective from years of combat experience reveals just how the political mismanagement and inane Rules of Engagement made them as much the hunted as they were the hunters. Thud Pilot goes beyond the battle air space and shares the emotional impact on the families left behind.
From the myth of Arcadia through to the twenty-first century, ideas about sustainability – how we imagine better urban environments – remain persistently relevant, and raise recurring questions. How do cities evolve as complex spaces nurturing both urban creativity and the fortuitous art of discovery, and by which mechanisms do they foster imagination and innovation? While past utopias were conceived in terms of an ideal geometry, contemporary exemplary models of urban design seek technological solutions of optimal organisation. The Venice Variations explores Venice as a prototypical city that may hold unique answers to the ancient narrative of utopia. Venice was not the result of a preconceived ideal but the pragmatic outcome of social and economic networks of communication. Its urban creativity, though, came to represent the quintessential combination of place and institutions of its time. Through a discussion of Venice and two other works owing their inspiration to this city – Italo Calvino’s Invisible Cities and Le Corbusier’s Venice Hospital – Sophia Psarra describes Venice as a system that starts to resemble a highly probabilistic ‘algorithm’, that is, a structure with a small number of rules capable of producing a large number of variations. The rapidly escalating processes of urban development around our big cities share many of the motivations for survival, shelter and trade that brought Venice into existence. Rather than seeing these places as problems to be solved, we need to understand how urban complexity can evolve, as happened from its unprepossessing origins in the marshes of the Venetian lagoon to the ‘model city’ that endured a thousand years. This book frees Venice from stereotypical representations, revealing its generative capacity to inform potential other ‘Venices’ for the future.
Like a fifty-year-old time capsule unearthed and opened for public display, this book unlocks a treasure trove of over 250 recently recovered Vietnam War photographs from veterans. These helicopter nose art photos capture that typical and distinctive American war custom of embellishing one's assigned aircraft with personalized markings.
When Simon Cadell announced to the world that he may have only days to live, it signalled the end of a twenty-year stage career that had just seen its finest hour-winning an Olivier Award for `Travels With My Aunt'. The British public had fallen in love with the charms of Cadell as Jeffrey Fairbrother, part of the hugely successful sitcom `Hi-de-hi!', constantly dodging the amorous advances of Ruth Madoc's Gladys Pugh. But behind the lop-sided smile lay a man full of nerves and insecurity about the looks that ultimately defined his television career. As the hapless civil servant Mr Dundridge, in `Blott on the Landscape' he displayed perfect incompetence played to perfection, brought to triumph by his naked escape from the clutches of Lady Maud as played by Geraldine James. Equally adept at Shakespeare and Chekhov as he was with Whitehall-style farces, Cadell's was a highly respected stage career achieved via a relentless workload. His many appearances as Noel Coward earned him a reputation as the definitive Coward interpreter, something he had first turned his hand to at the Bristol Old Vic Theatre School. With access to family photographs and documentation, and sourced by numerous interviews, `Simon Cadell: The Authorised Biography' tells for the first time the story of a fourth generation actor who oozed charm and had a zest for a life that was cut tragically short at the peak of his powers.