Victorians and Edwardians at Work (Shire Library, Volume by John Hannavy

By John Hannavy

An image can say 1000 phrases and the photographs stuck on digicam through the Victorian and Edwardian classes supply a desirable perception into the lives of Britons in this time. Take a step again among 1840 and 1910 and discover the realm of labor and dealing stipulations skilled through the Victorians and Edwardians throughout the wealthy number of pictures and classic postcards during this appealing album. an international we often see in monochrome or sepia, is gifted right here in brilliant colour, bringing the Victorian and Edwardian humans a bit in the direction of us. 128 pages are filled with photos of shipyards, factories, bakeries, and existence within the forces. We see the lads and ladies who made cutlery in Sheffield, the ladies who gutted and packed the herring within the east coast fishing ports, and the ladies who labored the coal displays in Lancashire's many collieries, in addition to a few 'tongue in cheek' Victorian photos of family lifestyles, vacationing the dentist, and plenty of different topics and matters, all of which inform the tale of operating lifestyles a hundred to one hundred sixty years in the past. pass on, have a look!

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Extra resources for Victorians and Edwardians at Work (Shire Library, Volume 649)

Sample text

22 Such diagrams make a number of claims about the nature of things. First, that since both macrocosm and microcosm were made by God therefore there are important analogies between them. Next, that the human figure, being made in God's image, can to some extent understand the nature and laws of the universe, and even put them to the use and benefit of human life (the implication sometimes being the restoration, as far as is possible on Earth, of the prelapsarian state of perfect knowledge and control).

Peake's portrait of Elizabeth Pope is full-sized, but he has, I think, deliberately evoked many of the formal and associative qualities of the miniature: not only the very different physical relation between viewer and image but also the miniature's courtly origins, its representational function and its expression of 'private' emotion. The miniature originated with the court of Henry VII and remained a distinctly aristocratic fashion. 28 Assuming a familiarity with courtly symbols and references, it involved a distinctly privileged viewing not unlike that demanded of audiences for impresa and emblems.

The Essex rebellion of 1601 was a devastating blow to Elizabeth's confidence. And though it was increasingly apparent that James VI of Scotland was the only possible heir to the English throne, Elizabeth resolutely refused to quell anxiety on this score by naming her successor. 40 The sphere of the state was by no means as unshakeable as Court propaganda implied. The Case diagram awards Elizabeth the familiar title of Queen of England, France and Ireland. The Queen had no authority in France: the last English territory, Calais, fell to the French in 15 58, before she came to the throne.

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