Sir Emery Walker

Ik vind dit een bijzondere foto van Charlotte Bronte

ik kan erg weinig informatie over deze foto vinden

 behalve dat hij tijdens haar huwelijksreis is gemaakt

This photograph - held to be a photograph of Charlotte Brontë (died 1855) taken during her honeymoon in 1854 - is by Sir Emery Walker, died July 22d, 1933.

Ik probeer via Google

wat meer te weten te komen over

Sir Emery Walker

het eerste wat eruit springt

is deze foto

van George Bernard Shaw

mooie foto

1851—1933, English master printer, typographic designer, and engraver. He was, along with William Morris and others, one of the moving spirits behind the revival of fine printing at the end of the 19th cent. in England. He helped to found the Kelmscott Press and later was the partner of Cobden-Sanderson in the Doves Press. Walker was responsible for much of the successful work of the Doves Press, though he and Cobden-Sanderson quarreled, and most of the public credit went to Cobden-Sanderson. Walker exerted great force as a teacher. He was also interested in the improvement of ordinary books and had tremendous influence in changing book design. He was knighted in 1930.

Law, Literature, and the Transmission of Culture

Law, Literature, and the Transmission of Culture in England, 1837–1925
by Cathrine O. Frank

* Imprint: Ashgate
* Published: June 2010
* Binding: Hardback
* ISBN: 978-1-4094-0014-1
Focusing on the last will and testament as a legal, literary, and cultural document, Cathrine O. Frank examines fiction of the Victorian and Edwardian eras alongside actual wills, legal manuals relating to their creation, case law regarding their administration, and contemporary accounts of “curious wills” in periodicals. Her study begins with the Wills Act of 1837 and poses two basic questions: What picture of Victorian culture and personal subjectivity emerges from competing legal and literary narratives about the will, and how does the shift from realist to modernist representations of the will accentuate a growing divergence between law and literature? Frank’s examination of works by Emily Brontë, George Eliot, Charles Dickens, Wilkie Collins, Anthony Trollope, Samuel Butler, Arnold Bennett, John Galsworthy, and E.M. Forster reveals the shared rhetorical and cultural significance of the will in law and literature while also highlighting the competition between these discourses to structure a social order that emphasized self-determinism yet viewed individuals in relationship to the broader community. Her study contributes to our knowledge of the cultural significance of Victorian wills and creates intellectual bridges between the Victorian and Edwardian periods that will interest scholars from a variety of disciplines who are concerned with the laws, literature, and history of the nineteenth and early twentieth centuries.

Technologies of Power

By John C. Murray
Cambria Press
ISBN-13: 9781604976687
ISBN: 1604976683

This study examines the ways in which technological changes initiated during the Victorian period have led to the diminution of speech as a mode of critique. Much in the same ways that speech had been used to affirm intersubjectivity, print culture conditioned readers to accept uni-directional exchange of values and interests. It enabled the creation of a community of readers who would be responsive to the expansion of a industry and the emergence of a technical language and culture, a culture that precedes and predicts post-modern society.

The purpose of this study is to employ Charlotte Brontë’s Shirley (1849), Charles Dickens’s Hard Times (1854), and George Eliot’s Felix Holt (1866) to evidence how the growth of capitalist production and the development of new technologies of industry within the early- to mid-Victorian periods inspired the prioritization of the printed word over oratory and speech as a means for fulfilling the linguistic power exchanges found common in spoken discourse. Inventions such as Friedrich Gottlob Koenig and Andreas Friedrich Bauer’s high-speed printing press enabled mass production and low-cost readership among the working class, who experienced literacy on multiple levels: to educate themselves, to experience leisure and diversion, to confirm their religious beliefs, and to improve their labor skills. Much in the same ways that speech had been used to affirm intersubjectivity, print culture conditioned readers to accept uni-directional exchange of values and interests that would create a community of readers who would be responsive to the expansion of a new technical society and would eventually perform the routines of mechanized labor. Rather than merely romanticizing pre-technological cultures, the author suggests that the emergence of technologies of production and print culture within the early- to mid-Victorian periods precipitated the diminution of linguistic exchanges as techné or modes of revealing and critiquing transferences of power, and also for rivaling print culture’s representational claims of how linguistic exchanges had been conceptualized and experienced.

This book employs Victorian novelists such as Charlotte Brontë, Charles Dickens, and George Eliot to address representations of speech in fictional discourse. Critics like Nancy Armstrong and Garrett Stewart have considered these representations without addressing the ways in which print culture engendered and valued new forms of speech, forms which might re-engage critique of the human condition. More recent publications like The Crowd: British Literature and Public Politics, by John Plotz, do not respond to the ways in which individuals use the collective voice of crowd formations to redefine and resituate their subjective identities. This book serves to fill this gap in Victorian studies.

Victorian novels are not, of course, pure representations of Victorian reality. However, many working-class Victorians engaged texts as authentic representations of society. How working-class readers then reconstructed their personal narratives in actuality suggests the affects of social assimilation upon subjective identity and advances the claim that Victorian novels did not provide solutions to the social and economic maladies they reported. Rather, they contextualized social and cultural problems without recognizing the dangers of how the decontextualized imagination of the reader locates placement within the same ontological and epistemological assumptions.

Technologies of Power in the Victorian Period is an informative study that will appeal to members of academic groups such as the British Women’s Writer’s Association and the North American Victorian Association. Although the book bears relevance to scholars and students of Victorian studies, it will also serve as a point of reference for curious readers engaged in studies of the effects of industrial technologies on language acquisition and dissemination during the nineteenth century.

Old Snap farm

I was recently contacted by John Mullholland, who lives in Utah USA, and is researching his Bancroft line that descends from Abraham Bancroft who lived on an isolated farm called ‘Old Snap’ in the Keighley Parish.

Not much is known about Abraham, apart from where he lived, but he is probably the same Abraham who died in 1774 and was buried at Haworth Church.

Old Snap farm is still there today, and although it is in the Keighley Parish, it is geographically nearer Haworth, which is while people living in the area tended to use Haworth rather than Keighley for birth, marriages & deaths.

Zo begint een artikel op het weblog  Bancrofts from Yorkshire Read more
Ik heb geprobeerd een foto te vinden van Old Snap, maar dat is niet gelukt.

Thank you Jar for your email.

THE BRONTES OF HAWORTH

Ebor Mills Fire - Haworth

Ebor Mill

Original

We hear today via The Telegraph & Argus of the sad fire (14 August) and demolition (17 August) of one of Haworth's last mills, Ebor Mill, which now housed not a worsted company as it did when it was first built in/around 1819 but a spring factory, Airedale Springs. In 1849, the mill was bought by the well-known Haworth family, the Merralls, who were prominent in the village and had many connections with the Brontës at differente points in their lives. Most famously, Branwell Brontë was friends with Hartley and/or Michael Merrall (sources differ; he probably knew both of them anyway). Branwell was dead by the time Michael Merrall took responsibility of Ebor in 1849 and the mill was in the Merrall family's hands until 1965 when it passed onto the current hands.

Ebor Mill is only the latest mill to have been devoured by the flames in recent years, which is a shame, apart from the loss to its current owner and workers, because it was part of the landscape the Brontës knew well and part of Haworth's history. The Haworth the Brontës lived in would have been dominated by the mills, both in the landscape and the lives of its inhabitants.

Picture: Ebor Mill, Haworth (Tim Green)

Ebor Mills in Ebor Lane, Haworth

The boss of a mill destroyed in a massive blaze today reassured his workforce over the firm’s future as demolition began on the factory. Timothy Parkinson, chairman of Airedale Springs, which owns Ebor Mills in Ebor Lane, Haworth, said the company would continue.
Many of the 44 people employed by the spring manufacturer had feared for their livelihoods.
But Mr Parkinson said today: “We had a meeting with the staff this morning. I told them that it was sad that it occurred, but reassured them that the insurance people are on with the job and in the long-term the company will continue.”

Structural engineers from Bradford Council made the decision to start the Victorian mill’s demolition after the blaze burned itself out.
The company has found a temporary home at The Masonic Lodge in Mill Hey.
At the height of the fire, flames could be seen leaping from the top three floors of the six-storey building and smoke billowed across the valley.

More than 70 firefighters were involved in bringing the fire under control following reports of the blaze at 8.20pm on Saturday.

West Yorkshire’s assistant chief fire officer Martyn Redfearne previously told the Telegraph & Argus the building could have been saved had its sprinkler system been working.

A West Yorkshire Fire Service spokesman said fire investigation officers were working with insurance investigators to establish the cause of the blaze.

e-mail: marc.meneaud@telegraphandargus.co.uk


Click here

Anne Bronte 'The Bluebell' poem

Breaking the Idol of the Marriage Plot in Yeast and Villette


Timothy L. Carens

Victorian Literature and Culture (2010), 38:337-353



Nineteenth-century Protestant culture generally held marriage in high esteem, and the notion that marriage was “made in heaven” often explicitly undergirds the conventional resolution of domestic fiction. Despite many indications of a harmonious relationship between human love and religious faith, a countervailing cultural trend reveals a deep conflict between the two. Victorian Protestants worried that passionate love for another mortal creature might lead to heretical extremes, that human love might slip into idolatry, the worship of false and material gods. Jane Eyre memorably confesses that she has “made an idol” of Rochester, although she, of course, looks back upon this transgression from the vantage of marital happiness (274). In this essay, I focus on works in which misgivings about idolatrous love arise with more disruptive force. The marriage plots of Charles Kingsley's Yeast: A Problem (1851) and Charlotte Brontë's Villette (1853) both abruptly collapse, bringing into sharp focus a Protestant religious anxiety that subverts the conventional device with which Victorian domestic novels achieve closure.

Charlotte Bronte and the sea

In the summer of 1839, Charlotte Bronte, then working as a governess in Skipton, Yorkshire, wrote to her friend Ellen Nussey about her holiday plans. At the age of 23, she said, she'd never been to the coast, never seen a beach, never clapped eyes on rolling waves. The prospect of doing so, on a proposed trip to Bridlington, was intensely exciting: "The idea of seeing the sea – of being near it – watching its changes by sunrise, sunset, moonlight and noonday – in calm, perhaps in storm – fills and satisfies my mind. I shall be discontented at nothing." Did she feel a big anticlimax on finally clapping eyes on the briny? Not at all. According to Ms Nussey, she "was quite overpowered, she could not speak until she had shed some tears ... her eyes were red and swollen, she was still trembling ... for the remainder of the day she was very quiet, subdued and exhausted."

fine lace work

This item was described as Lot 89 "Lace - work by the Bronte sisters", in the Sotheby & Wilkinson auction on 2nd of July 1898. It is now offered once again for sale 110 years later. This item comprises of two pieces of fine lace work in an oak frame. The frame measures 13" x 13". On the reverse there is a note written in pencil by the original 1898 purchaser " Lace worked by the Bronte sisters bought at a sale of Martha Brown's effects at Sotheby & Wilkinson London July 2, 1898 - 3 pounds, 3 shillings". There is a paper label on the top right hand corner with the number 89 written in pen. This is a Bronte relic with an impeccable provenance.

Birthplace of Charlotte, (Patrick) Branwell, Emily Jane and Anne Bronte in Thornton.

This week I received an e-mail from Jar Bancroft, he is the maker of bancrofts from yorkshire.blog

Earlier I found his weblog and loved it very much. Interesting articles about the history of Yorkshire and the Bancroft family. In my weblog I posted allready an article I took over from Jar. Benjamin Babbage Report
He wrote to me that his great grandparents were living in the house in Thornton were Branwell, Charlotte, Emily and Anne Bronte were born.

Today I received an article from him, that tells  more about the Bronte birthday house.

Thank you very much, Jar, for your kindness to mail to me. And I appreciate it  so much that you, who are living so near to the place where this weblog is telling about, make the effort to write to me.  If there are other people who can tell me stories about the Brontes, please, don' t hesitate.
 

It's very difficult to miss the plaque pointing out that this really is the birthplace of Charlotte, (Patrick) Branwell, Emily Jane and Anne Bronte. For a number of years the house has been owned by novelist Barbara Whitehead who has not only restored many of the house's original features but has been more than happy to open it to the public by arrangement. Now Barbara is retiring and has to sell the house. The Grade II listed building will be auctioned at Elland Road football stadium, the home of Leeds United, on Monday June 25th, 2007.

The property has four bedrooms and three staircases! A stone above the front door suggests the house was built in 1802. When Patrick Bronte moved here as Curate to St James' Church, Thornton, in 1815, he was accompanied by his wife Maria and their two little girls. While Maria and Elizabeth were not to survive into adulthood the Bronte children born here grew up to take the literary world by storm.

Barbara Whitehead says on her website: "People sometimes wonder why the birthplaces of famous people are so important. Charlotte, Emily and Anne were small children here; it was not the place where they wrote their books. But the first years of life are very formative and this was a family home with their mother and their two elder sisters still living, the house where little Charlotte stood watching her mother playing with baby Branwell on the rug."

Angela takes us into what would have been the Parlour: "This is where they took tea with the Firth family from Kipping House and of course they went down to Kipping House quite a lot. In fact they had a lovely friendship with the Firth family." In the 1830s Patrick Bronte wrote a letter to one of the Firths. Angela says: "He came back in 1835 and he looked around Thornton and he looked at all the places that he loved and the old friends that he knew and in this letter he said, 'I've never quite been well since I left Thornton. My happiest days were spent there'. I think that says a lot."
 

The heart of the house would have been the dining room and it's also where the Bronte children were born. Continuing on through the back kitchen we reach an old stone staircase which goes up to the maids' room: "Sarah and Nancy Garrs came from the School of Industry in Bradford and Nancy was 13 when she had the job and she was their housemaid and I suppose you'd call it a children's nanny these days. They slept in here and this leads directly into what was the nursery."

Angela points out a bathroom which in the Bronte's day was a dressing room: "When Aunt Branwell came to stay she stayed in there because the house was quite full." Just along the passageway is what would have been the Reverend and Mrs Bronte's bedroom. "There was nothing opposite except a sweep of green fields going down and then climbing up to Clayton Heights so they'd get a lovely view of those lush green fields around Thornton which you still see through little walkways and ginnels."

If you want to read the complete article click here

Magherally Presbyterian Church and Drumballyroney

The sisters were born in West Yorkshire, England where you can still visit Brontë Country. However, their family originated in beautiful county Down in Northern Ireland, the Bronte Homeland. Their father Patrick Brontë had been a preacher and a teacher at the tiny village of Drumballyroney.

 

The old church on the summit of 450 ft hill, was built in 1770 (see above left ) and was described in 1836 as a plain building capable of holding about 300 people. It is 30 feet to the north of where the even 'older' church stood. The Glebe House is a little to the north east of the church near the new church. It stood proudly on the little hill and one of its earliest marriages was that of Hugh Bronte and Alice McClory, grandparents of the famous Bronte sisters, who eloped here from Emdale in 1776. It was abandoned & left roofless in 1886.

 

The school where Patrick taught still stands and has been restored and functions as a little museum.