If I should die, think only this of me:
That there’s some corner of a foreign field
That is forever England. There shall be
In that rich earth a richer dust concealed;
A dust whom England bore, shaped, made aware,
Gave, once, her flowers to love, her ways to roam,
A body of England’s, breathing English air,
Washed by the rivers, blest by the suns of home.
And think, this heart, all evil shed away,
A pulse in the eternal mind, no less
Gives somewhere back the thoughts by England given;
Her sights and sounds; dreams happy as her day;
And laughter, learnt of friends; and gentleness,
In hearts at peace, under an English heaven.
Rupert Brooke (1887 – 1915)
The Soldier was published in May 1915 as part of the collection 1914 & Other Poems.
Thomas Telford was responsible for the early 19th century improvements to the main line canal at Birmingham. Having surveyed the original Brindley contour canal across the Birmingham Plateau he declared it “little better than a crooked ditch” and set about carving a straight line across the route. The result was the largest earthwork in the world at the time – a little over 70 feet deep and a mile long – now known as the Galton Valley. It was crossed by the magnificent Galton Bridge, at the time the longest single span bridge in the world. Among his other improvements to the canal system were the Engine Arm feeder canal that crosses the new line and carries water supplies to the old main line across the dramatic, cast-iron Engine Arm aqueduct, a scheduled ancient monument.
Telford is also known for his audacious improvements to the old Roman road of Watling Street (the A5) that led from London to Wales. His engineering feats include the masterpiece of the Menai Bridge, a suspension bridge that carries the road across the Menai Strait and onto Anglesey to open up the western port of Holyhead. The Menai Bridge was built between 1818 and 1826 at a height of 153 feet, a length of 1388 feet and a main span of 580 feet.
Another of his A5 works is the magnificent Waterloo Bridge over the River Conwy at Betwys-y-Coed inscribed: “This arch was constructed in the same year the Battle of Waterloo was fought. 1815”
Darwin’s theories scandalised the Victorian world when he first suggested his ideas of evolution. The theories challenged the religious view, at the heart of church belief, that the world was created by god in six days. They also had little to do with the scientific views that held sway at the time and thus the “Origin of Species” alienated him from large sectors of society.
He formed his first ideas about how species develop while he was voyaging on the HMS Beagle on which he was employed as – unpaid – naturalist. His studies of the flora and fauna of the Galapagos Islands made him realise how each species develops to exploit particular resources and therefore become most “fit” for its habitat. The idea of Survival of the Fittest is often misunderstood to mean the strongest, rather than the best adapted.
Without earlier work by people like Lyell, who had already realised the vast expanses of time necessary to undergo the geological processes that had formed the earth, Darwin might have faced a tougher struggle to have his ideas accepted. But the tides of thought were already changing. Others were starting to consider the possibility that natural forces might drive species development and Darwin himself always credited biologist Alfred Russel Wallace with having discovered very similar ideas independently.
His ideas were not without opponents, however, and the overriding opinion among scholars of the day was that Darwin’s theories were mostly conjecture and that there was very little evidence in his publication. There was a special meeting of the British Association for the Advancement of Science a year after “On the Origin of Species by Natural Selection” was published in 1859. It was at this meeting that Darwin’s great opponent Bishop Samuel Wilberforce challenged “Darwin’s Bulldog” T H Huxley by asking whether it was through his grandfather or grandmother that he claimed decent from monkeys. Huxley’s reported reply was that he would rather be decended from two apes than be “a man afraid to face the truth”.
Darwin’s home in later life, and where he wrote “Origin of Species”, was Down House in Kent. The beautiful property stands overlooking the Kent countryside and is surrounded by woods and farmland. Around the house was Darwin’s “thinking path” where he often walked to gather his thoughts before retiring to his study to put them on paper. His experiments were all over the study and often spilled out into the kitchen, drawing room and even on to the billiard table if he needed more room.
There are three main types of iron that should be considered: wrought, cast and steel.
Wrought Iron has a melting point of 1535 degrees C so it comes out of the furnace solid and is worked solid. It is hammered into shape and forms a tough finished product. It is good for tools and swords. It has less than 0.3 per cent carbon content.
Cast Iron comes out of the furnace molten and is poured into moulds to make its shape. It is brittle so it does not produce good tools or edged weapons. Often it is used for decorative objects. It has more than 2 per cent carbon. These two forms are dependent on the type of ore available, high-carbon ores will not make good wrought iron. Chinese ores, for example, are useful only for cast iron, which is why there is so much decorative Chinese ironwork.
Steel is a combination of iron and the right amount of carbon – between 0.3 and 2 percent – which makes it particularly tough and flexible. It is capable of holding an edge and is therefore very useful for tools and weapons. It is, however, very difficult to manufacture and involves “cooking” the iron and carbon together for many hours at more than 1100 degrees C.
The “Three Age” history of the introduction of iron in Europe is unique and not reflected anywhere else in the world. In southern Africa, for example, there never was a Bronze Age and the first metal to be used was iron. In North America native copper was hammered into shapes but was never smelted. In Europe the Iron Age followed the Bronze Age but there was no distinct line between the two. Iron was merely an additional metal. It is difficult to form into complex shapes, unlike bronze, and it corrodes easily so it was not a suitable material for all uses. By the 2nd millennium BCE a few iron items were in circulation, such as pins and awls but around 1100 BCE the metal took off in a big way. It appeared throughout the near east, Europe and Britain almost simultaneously.
There are two sources of iron – meteoric iron is extremely rare and can be identified by its high nickel content, iron ores are naturally occurring in the earth’s crust. Ores appear as oxides and sulphides; both are commonly available. Iron ore is rarely pure so there are almost always other constituents in any iron item. Unfortunately it is impossible to assign chemical “signatures” to European ores because they vary so much, so the inclusions are not useful for sourcing raw materials used in archaeological artefacts.
Thanks to Prof Elizabeth Slater (RIP), head of department at the University of Liverpool school of archaeology for clear lectures on artefacts and materials. J M Cronyn’s Elements of Archaeological Conservation has also been consulted.
Coventry’s first clockmaker was William Watson who had a workshop in the city in the 17th century but it was not until a hundred years later that the trade blossomed. In 1747 the company of Vale and Rotherham was established in Spon Street. The premises was set up in the way that early factories throughout the Midlands began, as a collection of small workshops under one roof (like Matthew Boulton’s Soho Manufactory where Birmingham “toys” were made)
Craftsmen rented space from the owners and sold their finished goods wholesale to their landlords to be sold on to individual customers. It was not until 1889 that the factory was converted into the type of building that is understood by the word today.
By the 1840s watchmaking in the city had grown so much that the original craft quarter around Spon Street was unable to contain it. Workshops sprang up in Chapelfields and Earlsdon, two adjoining areas of town. Streets of old watchmakers’ houses still exist in both.
One of the leading watchmaking families in the city was Player. By the 1870s there were members of the family living at five houses in Craven Street, Chapelfields and workshops on the top floor of the buildings opposite.
The industry flourished until it faced imports of cheap watches from Switzerland and the USA. Coventry’s product remained a hand-made, labour-intensive business but continental producers took advantage of cheaper automated processes. In a bid to counteract the impact of foreign imports the Coventry Movement Company formed in 1889 to produce cheaper workings that could be placed in hand-made cases but the plan failed. By the start of World War I the industry was almost gone.
When Coventry Council wanted to give Princess Elizabeth (later Queen Elizabeth II) a wedding gift in 1948 it was no longer possible to find all the necessary parts for one watch being made in the town.
Liminal places are those on the edge – neither one place nor another – the junction between two known factors, where one fades to another but there are no clear boundaries. They are places of mystery and as such they have been regarded with awe and respect since the dawn of time. There are rituals that must be observed, tales that have been told and warnings issued about gates, bridges, fords and doorways since humankind first began to speak. Life too has its liminal times, birth, maturity, marriage, death, and each of those events is wrapped in protective habits. Indeed liminality is often behind the very behaviour that defines a culture.
Stiles are boundaries between two places. They are a break in the safe fence or wall that separates two defined areas. Although there are few rituals associated with crossing a stile it should be remembered that one form of such a gateway is the kissing gate – where a lover can claim a kiss in payment for walking through.
In the 1780s architect Henry Holland converted an old farmhouse near the sea front in Brighton to be a pleasure villa. That building was altered, on the instructions of George (Prince Regent, later George IV) to become a glorious folly in which he could entertain guests. Work began in 1815 under the instructions of John Nash, but it was not until 1823 that the final flourishes were added to the building.
The site already had a domed structure in the form of the Stables, created in the early 1800s in the then fashionable “Hindoo” style. The design bore little or no resemblance to true Indian architecture and was rather more a dream of what England thought India was like – or should be like. In 1809 the fiirst Indian restaurant opened in London but it was never a huge success and closed three years later. All things Indian and “Hindoo” were therefore already falling from fashion when George gave the style his support.
While the exterior of the building is based on Indian influences, even if loosely, the interior is decidedly Chinese. Once again, however, the artists and craftsmen involved in its production knew very little about the country and the overall result is a dream of how they believed it was, rather than reality. Lots of dragons and bamboo but very little restraint. Overall the result is the architectural equivalent of a wedding cake – over dressed on the outside and extremely cloying on the inside. However, it is typical of Brighton, the home of Aubrey Beardsley.
In his BBC2 series Abroad Again in Britain historian Jonathan Meades pointed out that the building was never at the height of fashion and was certainly nothing like the commonly-accepted Regency style. He also called it an “ode to excess” and said: “It’s so rich it’s almost emetic”. That is probably true. It is, however, typical of George – Prince of Wales, Regent and dandy – overblown and extravagant.
The Arts and Crafts Movement was a reaction to the mechanisation that had grown out of the Industrial Revolution and got its name from its promotion of art and handicraft in place of machine production. All kinds of arts and manufacture were influenced by the movement, which reached its height between 1880 and 1910. Among the key names involved in the movement were William Morris, Charles Rennie Mackintosh, the Pre-Raphaelites and even garden designer Gertrude Jekyll.
As a group of reformists the Arts and Craft Movement were also concerned with the division of labour and the way that an assembly-line process had developed from industrialisation. Workshops, post Industrial Revolution, tended to have staff who carried out only one task required for the production process and the movement members were concerned that it would spell the end of the master craftsman, capable of creating a piece from scratch.
The gardens at Hidcote Manor nearChipping Campden in Gloucestershire are recognised as a fine example of how the design principles of the Arts and Crafts Movement could be applied to non-manufactured items.
Stainsby Mill stands on the Hardwick Hall estate in Derbyshire and is fully restored and in working order. It has a kiln, drying floor, three pairs of millstones and is driven by a cast iron waterwheel. The 17 feet diameter wheel is high breast shot, meaning that the water is delivered to it slightly above half way up so that the weight of water in the buckets drives it through gravity. The wheel in turn drives a wheel attached to the main shaft. Unusually the gearing is on the inner circumference of the wheel.
The mill leat is supplied by water from Stainsby dam as well as from Millers Pond in Hardwick Park and Stainsby Pond, which was built in 1762 specifically to boost supply to the mill.
The leat is supplied from a head on the opposite side of the road, controlled by means of the valve shown on the left. Flow through the leat – and hence the wheel speed – is controlled by means of a curtain valve across the wheel itself and worked from a handle inside the mill.
There has been a flour mill on or close to the site since the 13th century and from 1593 it was owned by Bess of Hardwick, the celebrated lady of the manor. It fell into disuse in the 1840s but was restored to working condition in 1849/50 when the present wheel, made by Kirkland of Mansfield, was fitted.
There were three pairs of stones, one of which is shown on the right. The bell on the front of the hopper was fixed to a strap thatwas released as most of the grain was milled. So the bell rang to tell the miller when the grain needed topping up. He was on the floor above and could fill the hopper through the cloth sleeve visible above the hopper.
The mill is currently owned by the National Trust.