Originally posted on Mike Pitts – Digging Deeper:
There’s a lot of treasure in this edition: two unusual Roman graves (in one, scenes on a jug handle are reminiscent of the Georgics, a text by the Roman poet Virgil), and an Anglo-Saxon grave with a gold pendant compared to the best jewellery at Sutton Hoo.
There is luxury, too, as we seek out the real Wolfhall, the country palace in Wiltshire that gave its name to the acclaimed historical novel and BBC TV series. We set out key facts for two controversial but important archaeological sites: Blick Mead, Amesbury – dubbed the UK’s oldest continuous settlement by the Guinness Book of Records – and Bouldnor, Isle of Wight, where an extraordinary claim for mesolithic wheat challenges accepted views about the spread of farming across Europe.
In the run-up to the UK general election, we ask what the government has done for heritage, and suggest how Parliament can save…
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The Sanro-den kake-zukuri Prayer Hall before restoration
At the end of 2013 we reported on the World Monuments Fund’s project to save and restore the Sanro-den kake-zukuri Prayer Hall in Ōzu, Ehime Prefecture, Shikoku Japan (see our feature Appeal for the restoration of the Sanro-den launched). The restoration project is now almost complete and, as today marks World Heritage Day and ICOMOS’ 50th anniversary, we’re happy to highlight that, with help from the World Monuments Fund, a celebration recently took place to mark the near-completion of the Sanro-den restoration project. The Sanro-den was included on the 2014 World Monuments Watch because of its deteriorated condition and its potential for community involvement. Structural work on the Sanro-den is now finished. “The remaining work includes public paths and a final codification of plans for site management and usage. Completion is scheduled for June 2015.”
The Sanro-den after restoration
Self-portrait by Francis Nicholson (1753-1844) Courtesy Martyn Gregory Gallery
Francis Nicholson is invariably regarded as ‘The Father of Watercolour Painting’. His ‘Stourhead’ series of paintings (1812 – c.1816) is renowned, and currently in the hands of the British Museum. The series seems to have been commissioned by Sir Richard Colt Hoare of ‘Stonehenge‘ fame. But until recently, it has been anything but clear how Sir Richard and Nicholson came to be acquainted.
The connexion seems to begin with Henrietta Anne Hoare, daughter of Sir Richard Hoare via his second marriage to Frances Anne Acland. Henrietta was born in 1765, the half-sister of Sir Richard Colt Hoare who, with William Cunningham, first excavated Stonehenge in 1798. There is a portrait of Henrietta here. She married her cousin Sir Thomas Dyke Acland of Killerton, Devon, in 1785. When Acland died in 1794, she remained at Killerton House, and a year later married Capt. Matthew Fortescue, R.N. of Filleigh, Devon.
Henrietta was no mean artist, and had the funds to take lessons from the fashionable Nicholson in London. We do not know exactly when Francis and Henrietta first met. The first hard evidence that they knew each other is from 1808, when Nicholson exhibited ‘View between Christiana and Konigsburg, in Norway, from a sketch by Sir T. Ackland’, Henrietta’s son. Nicholson exhibited two further Norwegian views from sketches by Acland in 1809, and in 1810 one of Italy “from a Sketch by Sir R. Hoare, Bart”. Between then and 1813, Nicholson exhibited several more Italian scenes from drawings by Sir Richard Hoare and Sir Richard Colt Hoare. It is possible that all of these were first shown to Nicholson by Henrietta – we cannot be sure. But in 1813, we find evidence that Nicholson had been in the south-west himself, and was almost certainly in personal touch with the main branch of the Hoare family; in 1813 he exhibited ‘Stonehenge’, which may still be seen at Stourhead today – see here. In 1813, he also exhibited ‘View at Stourhead, the seat of Sir R. C. Hoare’. Baronet, Alfred’s Tower in the Distance. Here is the beginning of Nicholson’s ‘Stourhead’ series, and it suggests that Sir Richard Colt Hoare and Nicholson had met, and had agreed a commission for the series, c.1812.
By 1820, it is clear that Nicholson and the Hoares were very good friends. That year, Nicholson published his ground-breaking book of instruction, The Practice of Drawing and Painting Landscape from Nature in Water Colours. It is dedicated to Henrietta and mentions the whole Hoare family. The dedication reads:
TO THE HONOURABLE MRS. FORTESCUE. ________
In dedicating this Work to you, I consult alike my inclination and duty: The first, in consequence of the great proficiency you have attained in the Art of which it treats, as your Performances sufficiently evince; and the latter, in the most grateful recollection of the numerous Favours and acts of kindness which I have on every occasion received from you, and from every branch of your family.
I am, with the greatest respect, MADAM, Your most obliged servant, FRANCIS NICHOLSON.
Henrietta and Francis remained good friends until her death at Killerton in 1841. Nicholson himself died three years later, in London, aged 90.
And that was the end of the story… until now. Today, Killerton House and estate is in the hands of The National Trust. This year, Henrietta’s 250th, Killerton House is to hold its first ever historical art exhibition, entitled Framing the View. Francis Nicholson, The Killerton Drawing Master. The Guest Curator is Professor Gordon Bell, a veteran curator of three previous Nicholson exhibitions. The exhibition will feature work by both Nicholson and Henrietta Anne Fortescue and will, I think, be most interesting to see. It runs from 16th May until 15th September 2015.
You can learn more about Francis Nicholson here.
A Trip Back In Time: The re-exposure of the buried ring stones at Louden Stone Circle. Part II. Text and images © Roy Goutté.