Born in London in 1908, Albert Lancaster (Bert) Lloyd was orphaned at an early age and spent his early years working on sheep stations in Australia and subsequently on Antartic whaling ships. Both these occupations were probably the catalyst for his interest in folk-song. Though Lloyd had no formal training as an ethnomusicologist, he built up a formidable personal knowledge of the world of folk-song in the British Isles and in eastern Europe. He combined a working career in journalism and broadcast with life as a folk performer, and also taught at Goldsmiths' College from 1971. Lloyd published The singing Englishman (Workers' Music Association) in 1944, and this work became the best introduction to folk-song before the later Folk song in England, written in 1967. The latter established him as the leading authority on his subject. Another strand of his work, that of work songs, is reflected in the collection of miners songs Come all ye bold miners published in 1952 and enlarged in 1978. Lloyd was also a founder member of Topic Records, and besides writing many sleeve notes also performed on many of the recordings. Bert Lloyd died in 1982.
The Women's Art Library began in 1976 when a small group of women artists began to collect slides from other women artists to establish a record of their work. The Library first opened its collection to the public in 1982 as the Women Artists Slide Library during the 'Women Festivities' held in London. The Library was then housed in Battersea Arts Centre, Battersea, London. In 1987 the Library moved to Fulham Palace at the invitation of the Women's Unit of Hammersmith and Fulham Council. In 2000 the Library relocated to the Central Saint Martin's School of Art and Design, Charing Cross Road, London. In 1993 the Library was relaunched as the Women's Art Library to reflect the broader range of materials, for example published and unpublished written documentation and photographs which the Library acquired in addition to the slides. The name of the Library was changed in May 2001 to MAKE, the organisation for women in the arts. The aim of the organisation was to enhance public knowledge of the practice, impact and achievement of women in visual culture. A serial publication was produced from 1983-2002, firstly as a newsletter 'The Women's Artists Slide Library Newsletter', becoming a bimonthly 'The Women Artists Slide Library Journal', then quarterley magazine 'The Women's Art Magazine', and finally 'MAKE, the magazine of women's art'. In addition the organisation produced numerous other publications in different formats, catalogues linked with exhibitions organised by WASI, (Women in Humour, Second Viewing), a Women's Art Diary, a calendar DATRES, a Women's Art Library Slidepack (1994) which includes teacher's notes, and two anthologies of critical writings based on group exhibitions of women's art. 'Contemporary Arab Women Artists: Dialogues of the Present', 2000 and 'Private Views: spaces in Britain and Estonia', 2001.
The National Campaign for the Arts (NCA) is the only independent lobbying organisation that represents all the arts. The campaign is funded entirely by its members to ensure its independence. It gives a voice for the arts world in all its diversity. The membership of the campaign includes nearly five hundred organisations of every size and variety. These include major theatre, opera and dance companies, national visual arts and museums organisations, writers' groups, local authorities, dance and drama schools, film and TV companies, friends' groups, unions, arts centres, local galleries and small scale companies. The National Campaign for the Arts meets, lobbies and influences decision makers, and discusses policy and proposals in detail with major arts funders. The NCA was established in 1985 when two lobbying organisations - the National Lobby for the Arts (NLA) and British Arts Voice (BRAVO) - joined forces. It was formed as a company limited by guarantee, owing to the political nature of its work, but established the charity National Campaign for the Arts Research and Education Ltd (NCARE) in 2000 to develop the organisation's education work.
The National Network for the Arts in Health NNAH (2000-2007) was a registered charity registered under Chairty Number 1084023. The organisation was an advocate for the Arts in Health field, bringing together the arts and health communities and supporting the use of the arts to improve patients’ experience. It was chaired to 2007 by Catherine McLoughlin CBE, Company Secretary was Guy Eades. The organisation was funded by the Kings Fund and the Arts Council from 2000 until 2007, when it closed. The NNAH succeeded, and shared the aims of, the organisation 'Hospital Arts', founded by J Hugh Baron (b 1931), c 1980.
The National Network for the Arts in Health NNAH (2000-2007) was a registered charity registered under Chairty Number 1084023. The organisation was an advocate for the Arts in Health field, bringing together the arts and health communities and supporting the use of the arts to improve patients' experience. It was chaired to 2007 by Catherine McLoughlin CBE, Company Secretary was Guy Eades. The organisation was funded by the Kings Fund and the Arts Council from 2000 until 2007, when it closed. The NNAH succeeded, and shared the aims of, the organisation 'Hospital Arts', founded by J. Hugh Baron (b 1931), c 1980.
During his fifty years involvement with biomedical science has also been an innovator for incorporating the arts in hospitals. In the late 1970s he arranged for a beautification committee to be set up at one hospital in which he worked, St. Charles. He recognised the need for a central initiative, to advise on the National Health Service buildings. In August 1979, he approached the DHSS and the King Edward's Hospital Fund for a scheme with the Greater London Arts Association, to commission young artists to paint murals in hospitals in London. The scheme was outstandingly successful and dozens of projects were commissioned in the hospitals of Greater London with King's Fund support. In his other hospitals he arranged for arts comittees to be set up, at St. Mary's Hospial, St. Mary's Medical School, the Royal Postgraduate Medical School/MRC/Hammersmith/Acton/Queen Charlotte's and Chelsea Hospitals. The Hammersmith Hospitals Trust's Arts Committee also covers Charing Cross Hospital and the Charing Cross and Westminster Medical School. He conceived the national British Health Care Arts Centre, which opened in 1989 at the Duncan of Jordanstone College of art in Dundee. He has advocated these ideas in Britain and abroad and has served on, and Chaired many committees in this field. He has lectured and written extensively on this theme.
Deac Rossell is Lecturer in European Studies in the Department of English and Comparative Literature at Goldsmiths, University of London. He is the former Head of Programme Planning at the National Film Theatre, London, and was National Special Projects Officer for the Directors Guild of America in Hollywood, California. He has worked at the UCLA Film and Television Achive, the Museum of Fine Arts, Boston, and at the Boston Phoenix and Boston Globe. He has taught at Tufts University, the School of the Museum of Fine Arts, and the European Film School in Ebeltoft, Denmark. The author of books on the invention of moving pictures, the chronophotographer Ottomar Anschütz, and the magic lantern, he is an active contributor to journals, encyclopaedias and conferences on photography, early cinema and pre-cinematic topics, with work published in Great Britain, France, Germany, Italy, Spain, and the United States.
Alfred Schnittke was a Russian composer. The music of Alfred Schnittke has an established place in concert repertoires around the world. It is regularly performed by major opera companies, orchestras and leading soloists at every important music festival and is studied by performance students at music schools and conservatories in many countries. His music has been recorded on hundreds of compact discs for leading labels worldwide.
The Anthroposophical Society was founded at the Goetheanum, Dornach, Switzerland in 1913. It had its origins in the spiritual philosophy of Rudolf Steiner (1861-1925). He called his philosophy anthroposophy', meaningwisdom of the human being'. Born in 1861, in what is now Croatia, Steiner studied science and philosophy in Vienna, and published his first philosophical treatise The Philosophy of freedom in 1894.
He based his work on direct knowledge and perception of spiritual dimensions. From his spiritual investigations Steiner provided suggestions for the renewal for many activities including education, agriculture, medicine, economics, architecture, science, philosophy, religion and the arts. In 1924, he founded the General Anthroposophical Society to which national Societies are linked. In Britain, H Heywood-Smith came across Steiner's work at the Theosophical Society rooms in London in 1908. He set about finding English translations of Steiner's other writings, and obtained permission to form a Group of the Theosophical Society to study Steiner's work - the Rosicrucian Group, in August 1911. That same year Heywood-Smith visited Berlin to hear Steiner lecture.
When the group outgrew the home of Heywood-Smith, they moved their meetings to the studio of Harry Collison, portrait painter. By May 1912, the group had 64 members. In 1913 Steiner visited England and lectured to the Anthroposophical groups.
In the 1920, Vera Compton-Burnett, her sister Juliet, and Dorothy Osmond (former head librarian at the Theosophical Society headquarters), visited the Goetheanum at Dornach, Switzerland, and met Rudolf Steiner. They began to take steps to form an Anthroposophical Association in Britain from the three existing study groups. Collison, meanwhile, had collected a small library, and a rented a studio in South Kensington was established as a headquarters with a central library of both English and German works. This Association increased in size when Daniel Dunlop and a number of others resigned from the Theosophical Society and joined the Anthroposophical Society. In the early 1920s, the studio was no longer adequate in size to hold their meetings, and they relocated to premises at 46 Gloucester Place.
In 1922, Steiner visited Britain again, and gave lectures at Stratford-on-Avon, Oxford, Ilkley, Torquay, and London. The following year, he visited several countries to be present at founding of their national Anthroposophical Societies, which were to be linked together in the General Anthroposophical Society (GAS). The Anthroposophical Society in Great Britain was re-founded at this time. Rudolf Steiner House, at 35 Park Rd, London was opened in 1926, with additional rooms added in 1932.
In 1930, a group of over a hundred members led by Collison seceded from the AS in Great Britain and formed the English Section of the General Anthroposophical Society. This group eventually reunited with the main organisation.
Lloyds Register began in 1760, as a Register Society taking its name from it initial sphere of operation - Lloyd's Coffee House, Tower Street, London and the New Lloyd's Coffee House, at No 5 Pope's Head Alley, to which it moved in 1769. The Society was mainly controlled by underwriters, and had a Committee of eleven members chaired by John Julius Angerstein, to manage the affairs of the Society. (In 1771, the leading underwriters and brokers joined forces to establish Lloyd's of London - not to be confused with Lloyd's Register).
The first Register of Ships (the Green Book) was printed by the Society in 1764, in order to give underwriters and merchants an idea of the condition of vessels they insured and chartered. The Register contained details of the vessel's owner, master, tonnage, date of build, where built, and number of guns. It also gave a classification for condition of hull and equipment. The Society employed nautical men to undertake inspections of vessels. These inspectors were not necessarily experts in the field, and there were no clearly defined standards or rules for them to use. Over time practices developed whereby vessels could only hold the highest class for a limited period of time regardless of the quality of maintenance. This gradually led to the establishment of a rival register by the ship owners, in 1799 - The New Register Book of Shipping (also known as the Shipowners' Register or Red Book).
In the early 19th century, with both parties were on the verge of bankruptcy, and eventually agreed to joined forces. The Society was reconstituted in 1834 as the Lloyd's Register of British and Foreign Shipping. A General Committee was formed to take responsibility for running the Society and for the standardisation of rules regarding ship construction and maintenance. Their aim was to survey and classify both British ships and any foreign vessels calling at British ports.
The Register has recorded numerous developments in the history of shipping, including the first classification of a steamer, 1818, and of an iron vessel, 1837. The Rules for Iron Ships were first published in the 1855 Register.
Lloyd's Register gradually established a number of offices throughout Britain and the world. In 1851, Captain Thomas Menzies, a ship builder from Leith, posted as their surveyor to Quebec, and the St Lawrence River, 1851. In 1856, Samuel Pretious was sent to the Netherlands and Belgium as a surveyor, but later recalled due to lack of business, and it was not until 1868, that an office was again opened there. The next year the first surveyor, Joseph Tucker, was sent to Shanghai. Other surveyors established Lloyd's offices in Austria, Italy, France, Germany, Denmark, Norway and Australia.
In 1890 a Technical Committee was formed under the guidance of Benjamin Martell, chief ship surveyor, 1872-1900. This Committee was responsible for recommending amendments to existing rules, and the adoption of new rules.
As the Register expanded, new premises were needed and the head office was moved to a new building in Fenchurch St in 1901, designed by Thomas Collcutt.
Lloyd's Register expanded into other fields during World War 1 when the French Government asked them to inspect steel that was to be used for armaments. This was followed by requests during the 1920s and 1930s, investigated cases of welding fractures in oil storage tanks in the Middle East. This was the beginning of what is today a large Energy and Transportation business stream. Following World War 1, the Register was approached by the Society of British Aircraft Constructors to undertake aircraft inspection. In 1930, the General Committee appointed an Aviation Committee and aviation surveyors. This work was eventually transferred to the Civil Aviation Authority.
During World War 2, the headquarters moved from London to Wokingham, with only a skeleton staff remaining in Fenchurch St. Their surveyors, which were classed as a reserved occupation, were involved in all sorts of projects, including secondment to the Admiralty, advising on construction of floating docks, and advising the army on refrigeration units for tanks to be used in the North Africa campaign. Following the end of the War, they were involved in many rebuilding projects, including the management and clearance of wrecks form harbours.
In 1986, moved into management system certification, and Lloyd's Register Quality Assurance (LRQA) was the first of its numerous quality and environmental systems certification programmes to gain accreditation.
In April 1963 the National Economic Development Council (NEDC) recommended the establishment of a high level business school or institute run on the lines of the Harvard Business School or the School of Industrial Management at the Massachusetts Institute of Technology. In the same year, the Robbins Committee on Higher Education recommended the establishment of two post-graduate schools of business education in the UK.
Following the NEDC Report, Lord Franks was asked to study the problem of establishing a business school or schools. The Franks Report recommended the establishment of two high quality schools, as part of existing universities (London and Manchester) but enjoying considerable autonomy. The schools would offer courses for about 200 post-graduates and 70-100 post-experience students.
A committee was established under Lord Normanbrook to consider the costs and practicalities of establishing two business schools. The committee recommended that the expenditure should be shared between the Government, through the University Grants Commission (UGC), and business. As a result, the government agreed to bear half the capital and running costs of the two schools. The Foundation for Management Education, the Federation of British Industries, and the British Institute of Management sponsored an appeal for £3 million from the business world.
An Academic Planning Board was established for the new London school under the chairmanship of Lord Plowden, with representatives from the London School of Economics (LSE), Imperial College and the business world. The school was to be formally known as the London Graduate School of Business Studies, and informally as the London Business School. The Academic Planning Board first met in June 1964, and the full 21 member Governing Body in November 1964. The two sponsoring institutions, LSE and Imperial College both nominated four members and then approved the full list.
Temporary premises were acquired in Northumberland Avenue, and Dr Arthur Earle, Deputy Chairman of Hoover Ltd was appointed Principal. The first academic appointments, two professors, a senior lecturer and a lecturer were appointed from October 1965.
The School established two post-experience courses, the Executive Development Programme designed for middle managers, which would last 12 weeks and cover the application of analysis and measurement, human behaviour and the environment of business. The Senior Executive Programme would last six weeks, and cover the broad strategy of business. The postgraduate programme was to last two academic years, and lead to the degree of MSc from the University of London. The range of studies was divided into three broad categories, data for decisions, analysis for decisions, and the environment of decisions. Students would also study applied decision-making in the functional fields of marketing, finance, production, personnel and business policy. The first post-experience courses started in February and May 1966, and the first MSc course began with 39 students in October 1966
The School moved to its present home in Sussex Place, Regent's Park in August 1970. New programmes were developed; the doctoral programme began in September 1970, the International Management Programme for MBA students in 1972, the New Enterprise Programme for individuals wishing to start their own businesses in 1979, and the Extended Enterprise Programme or 'Firmstart', aimed at owner-managers of young companies in 1986. The first research institute, the Institute of Finance and Accounting was set up in 1973, the Centre for Management Development followed in 1975, and the Institute of Small Business Management in 1976.
The School is administered by a Governing Body, which discusses major questions affecting the development and work of the School, including financial planning and the appointment of the Dean. The Governors also approve the accounts and perform such other formal corporate business as may be required. The Management Board advises the Dean and Governing Body on the development and implementation of major policies affecting programmes and research activities, staffing, premises and finances. The Management Committee is responsible for taking and implementing administrative and academic decisions necessary for the management of the School. It refers all fundamental academic or constitutional decisions to the Management Board. The School has a network of seven Regional Advisory Boards, covering Africa, Asia and the Pacific, Europe, Latin America, the Middle East, North America and the UK. Each Regional Advisory Board has a Chair, a Faculty Advisor, and a Student Liaison Officer. The School also has an Alumni Board, which represents the views of alumni and makes recommendations on a range of issues to the Governing Body.
Mary Rogers, was born on 11 Jan 1854, near Wokingham, Berkshire, the daughter of John Rogers and his wife Elizabeth Alnut. In 1876, she married Willie Gray, a stonemason. She joined the Social Democratic Federation (SDF) in 1890, and is credited with founding the first Socialist Sunday School at Battersea. Her daughter Florence Gray, was born 1879.
The Socialist Party of Great Britain (SPGB) was formed on in 1904 by a number of disaffected members who spilt from the Social Democratic Federation (SDF) (founded 1881). The inaugural meeting was attended by about 140 people. The object of the Party was `the establishment of a system of society based upon the common ownership and democratic control of the means and instruments for producing and distributing wealth by and in the interest of the whole community'. An Executive Committee was established to manage the day-to-day affairs of the party, all binding policy decisions were to be determined at the Party's Annual Conference, and party meetings were to be open to the public. A declaration of principles was adopted which stated the working class position in a capitalist society and a guide to working class action for as long as capitalism lasted.
As an 'impossibilist' organisation it opposed social transformation by means of reform of the existing capitalist system and stressed the importance of socialist education and knowledge of Marx's economic and political writings.
Its immediate task were to arrange meetings and arranged the sale of literature to advertise their cause. The Party approved the use of a number of brochures including 'Socialism and the Worker' by F A Sorge, 'Wage labour and Capital', K Marx, 'Socialism and Radicalism', Edward Aveling, No compromise', W Liebknecht;The Socialist revolution', K Kautsky, and 'How I became a Socialist, William Morris. It also began a journal - The Socialist Standard, in 1904. The SPGB opposed the outbreak of World War 1, and was hostile to what it perceived as a capitalist quarrel for which governments were sending workers to their deaths in battle. It opposed conscription, but made allowances for men with families who could not accept the consequences of resisting conscription (and its economic compulsion). Its members who did appear before conscription tribunals generally had their applications dismissed.
They were also opposed to World War 2, when they again opposed conscription. This time however they were more successful at tribunal hearings, often winning their case on humanitarian grounds, though some members did receive prison sentences. An SPGB parliamentary candidate ran for the first time in the 1945 General Election. Clifford Groves stood for the seat of Paddington North. He was unsuccessful, but did receive 472 votes, and despite the cost of the campaign - £900 - the party was not discouraged. It has continued to field candidates in successive General Elections. Its membership peaked in 1949 with 1100 members, then declined to about 600 by 1955.
The Party met initially at private homes, with the first meetings of the Executive being held at the Communist Club, Charlotte St. It had no permanent home until 1909 when it rented premises at 10 Sandland St, Bedford Row. In 1912, it moved to 193 Grays Inn Rd, then to 28 Union St in 1918, it occupied various premises until 1951 when it made its final move from Rugby Chambers to Clapham High St, where it remains today.
Throughout its history, the party has been characterised by various controversies and debates about socialist theory. In 1991, two branches were expelled - they are also known as The Socialist Party of Great Britain.
The Party maintains links with overseas organisations of the World Socialist Movement, located in Canada, New Zealand and the USA.
Great Ormond Street Hospital for children was founded in 1852 by Charles West on its current site in Bloomsbury. It was the first children's hospital in Great Britain. The press cuttings were collected by the hospital management from 1857.
From the inception of the British Paediatric association in 1928 up until 1958, Annual scientific meetings were held at the Old England Hotel in Windermere. These meetings were a focal point of activity for the association, and it was both an opportunity for paediatricians to present scientific papers as well as a social occasion with an annual dinner, an annual golf tournament and a showing of a film. As membership numbers increased, the annual general meeting moved to the Royal Hotel Scarborough in 1959. Meetings were held in Cambridge in 1961 and in Dublin in 1968, but remained at Scarborough until 1971. Meetings were subsequently held in Glasgow, Lancaster and Harrogate until York University was set as a location in 1975, where meetings continued until 2009. The location of the annual conference has since varied from York to include the University of Warwick, and remains a mix of social activities and scientific presentations. Other activities include the issue of numerous awards and prizes, and the occasion of the College’s Annual General Meeting. When the College originally received it's charter in 1996, the name of the Annual Meeting was changed to that of the Spring meeting, with the view that meetings would take place each season. As of 2010, the name of the meeting was changed to that of the Annual Conference. In accordance with the College By Laws, the standing order of the annual general meeting is as follows: Chairing, Minutes, Composition of Agenda, Motions, Rules of debate, Voting, Points of order, Suspension of standing orders, Chairs decision, Quorum.
Over the years, the British Paediatric Association and Royal College of Paediatrics and Child Health have developed links with various individuals who have provided funds to enable them to Award fellowships, medals and other prizes.
Central Saint Martins College of Art & Design was formed in 1989 by the merger of the Central School of Art and Design and St Martin's School of Art. Both were constituent colleges of the London Institute which had been formed in 1986 by the Inner London Education Authority associating its art schools and specialist colleges of printing, fashion and distributive trades into a collegiate structure. In 1999 the Drama Centre London, founded in 1962, merged with Central Saint Martins, adding performing arts to the range of courses offered by the College.
Central Saint Martins comprises three Schools; Art, Fashion and Textiles and Graphic and Industrial Design, with approximately 450 to 700 students within each school. The College operates on two major sites, on Charing Cross Road, Soho and Southampton Row, Holborn.
The Central School of Arts and Crafts was established in 1896 by London County Council to provide specialist art teaching for workers in craft industries. The school was intended to be a centre at which art scholars and students from local schools could be brought under the influence of established artists in close relation with employers, and was a direct outcome of the Arts and Crafts movement sponsored by William Morris and John Ruskin. The architect, educationalist and conservationist William Richard Lethaby was a key figure in the foundation and joint principal of the school with George Frampton from 1896 to 1911. It was decided that teaching should be limited to definite crafts and so cover different ground to existing schools rather than compete with them. London County Council rented Morley Hall from the governors of the Regent Street Polytechnic and in 1896 part-time classes in architecture, drawing and design, modelling, stained glass, cabinet design, silversmithing, lead work, enamelling, structural mechanics and masonry for people engaged in trade began. The curriculum was soon extended and additional accommodation in the adjacent house and in Union Street taken. Under Lethaby the Central School was innovatory in both its educational objectives and teaching methods. The majority of teachers were part time and successful practitioners of their crafts, and provided the school with a variety of practical skills and valuable contacts with the professional world of the designer and craftsman.
In 1903 it was decided to purchase a site for the school in Southampton Row, Holborn, and at the same time classes were organised into schools in preparation for the move to the new building. The schools comprised architecture and building crafts, silversmiths' work and allied crafts, book production, cabinet work and furniture, drawing design and modelling, needlework and stained glass. The work of the Drawing, Designing and Modelling school, which included life drawing and modelling, was regarded as ancillary to the work of the other sections. Emphasis was always firmly on the craft basis of subjects taught, with mural painting or sculptural decoration preferred to painting or sculpture. It was not until 1941 that a School of Painting and Sculpture was formed. In 1908 the school moved to the new building in Southampton Row, which was designed and built to be shared with the London Day Training College. Most classes were held in the evening, with students working by day in their professions. Workshops were open during the day to those who could use them. Day art and crafts classes were held and day technical schools established for silversmiths' and jewellers' work and book production. The Royal Female School of Art (established 1842) was transferred to the London County Council and incorporated into the Central School in 1908. In 1912 the London Day Training College moved from the premises, and day classes were reorganised on lines suitable for building a scheme of advanced and specialised work.
Teachers at the Central School included the architect Halsey Ricardo and Eric Gill, a former student at the Central School who taught stone carving. Douglas Cockerell, J H Mason, Edward Johnston and Noel Rooke, innovators of the private press movement, were employed for book production training, which encompassed bookbinding, typography, calligraphy, letterform and illustration. Embroidery and Needlework were taught and, also in this area of study, costume design. In 1919 ceramic design became part of the syllabus under Dora Billington. By 1920 students ranged from trade apprentices to professional artists and advanced students of design, with nearly 1800 students in eight departments comprising silversmiths' work and allied crafts, textiles (including tapestry, stained glass and mosaic), painted, sculptural and architectural decoration, book production, furniture, dress design, engraving and ancillary study in drawing, and painting, design, modelling and architecture. In 1926-7 the Central School encompassed the School of Arts and Crafts with 1791 'ordinary' students and 31 University of London students, a Junior Day Technical School of Silversmithing and Book Production with 128 students, and Art classes at Upper Hornsey Road with 96 students. In 1930 the School of Textiles and Costume, which had grown out of the Embroidery and Needlework section, was divided. The design of theatrical settings became as important as costume, whilst printed and woven fabric were developed in the Textile section. Subjects previously taught in the school of Architecture and Building Crafts were absorbed by other sections. A course of Design for Light Industry, the forerunner to the Department of Industrial Design, was established in 1938. A post-war reorganisation of the Central School took place under the innovative principal William Johnston, who introduced the concept of basic design taught by Fine Artists to all students and developed the design elements in subjects such as ceramics, textiles, theatre and industrial design.
The school continued to develop and expand during the 1960s, with a programme of reorganisation begun in 1960 prior to the school receiving recognition as a centre for the new Diploma in Art and Design by the National Council for Diplomas in Art and Design (NCDAD). The reorganisation led to the transfer of some purely craft courses to other colleges in order to make way for a greater concentration on approaches more in line with modern industrial methods. On May 1 1966 the school was renamed the Central School of Art and Design. In 1967 the National Council for Diplomas in Art and Design designated a joint centre for postgraduate studies composed of Chelsea School of Art, for Fine Art, and the Central School, for design subjects. The school continued to expand, with the move of the Textile and Ceramic Design Departments into new premises in Red Lion Square in 1962 and the opening of the Jeanetta Cochrane theatre, named after the founder of the Theatre Design course. In 1973 the library and Department of Liberal Studies were re-housed in a bridge in the school's main complex which was built to link the Southampton Row and Red Lion Square buildings. In 1974 the Weaving and Knitting sections of the Textile Department moved into an annexe in Proctor Street. Responsibility for the validation of diplomas was passed to the Council for National Academic Awards (CNAA) in 1974. In January 1986 the school became a constituent college of the London Institute, formed by the Inner London Education Authority associating its art schools and specialist colleges of printing, fashion and distributive trades into a collegiate structure. St Martin's School of Art, another constituent college of the London Institute, merged with the Central School of Art and Design in 1989 to form Central Saint Martins College of Art & Design.
St Martin's School of Art was established in 1854 and was founded by the parochial authorities of St Martin-in-the-Fields. The vicar, Reverend M McKenzie, and others were concerned that industrial education should be developed and allied to the religious and general education already provided by Church schools. Art education was intended to form part of this industrial instruction for apprentices. The new school was situated on the top floor of St Martin's Northern School in Castle Street (now Shelton Street), north of Long Acre. It is likely that boys from the ages of thirteen onwards were taken, and most classes involved the teaching of design skills. The school became independent of the parish in 1859. By 1884 the number of male and female students was about 100, with courses including drawing, painting and sculpture.
The school was recognised by the Technical Education Board of London County Council in 1894, received a grant of £100 a year and became part of the development of technical education taking place in London and Britain. With the grants St Martin's increased in size from 68 students and 6 teachers in 1891 to 154 students and 21 teachers in 1901. By 1901 the curriculum had been extended by the introduction of technical subjects, and the proportion of artisan to art students was equal. Fine art students had probably been part of the school for some time. In 1902-1903 most students were part-time, and a course in carriage building and decoration was introduced. By 1913 the number of students had risen to over 300 a year. Evening classes were largely attended by apprentices of trades allied to art, whilst during the day 'many leisured young ladies' attended classes. New premises were needed as student numbers rose, and in 1913-14 buildings on the site of St Mary's Church and schools, Charing Cross Road, were leased from London County Council for St Martin's. St Martin's shared its premises with the Technical Institute for the Distributive Trades which also needed new buildings. St Martin's at first occupied buildings to the right of the site, but by the end of the 1920s it became necessary to extend the school further, and the former Domestic Economy school was taken over. Numbers of students continued to increase, until by the 1937-38 session over 700 students were enrolled for courses which ranged from advanced fine art courses to specialised Junior technical courses for boys and girls from 13-16. A new building was built on the site and opened in 1939 and the church and associated buildings demolished.
Younger students were evacuated during the Second World War. The school became firmly established as one of the major fine art and commercial art schools, producing many well-known artists. By 1961 there were over 500 full-time students, studying for either a National Diploma or a Diploma in Art and Design. As student numbers rose, other premises were leased for the school at Archer Street, Greek Street and 145 Charing Cross Road. Council for National Academic Awards (CNAA) courses were introduced in the 1975-1976 session. Lack of space continued to be a problem for St Martins, and in 1979 a building at Long Acre was leased and converted by the school and housed the Graphics Department, Film and Video Unit and some of the Painting Department. The building was closed in 1998 when a site at Red Lion Square, Holborn was acquired.
In January 1986 the school became a constituent college of the London Institute, formed by the Inner London Education Authority associating its art schools and specialist colleges of printing, fashion and distributive trades into a collegiate structure. The Central School of Art and Design, another constituent college of the London Institute, merged with St Martin's School of Art in 1989 to form Central Saint Martins College of Art & Design.
The Surrey Association for the General Welfare of the Blind was founded in 1857 to teach blind people to read their bibles at their own homes, supply them with books, teach trades free of cost and to give them remunerative employment.
In 1885, twenty-nine men and seven women were employed at the institution based at a workshop in Peckham Rd, London, with eight more women employed at home. They worked at making and repairing baskets, making and redressing mattresses, re-caning chairs, domestic woodwork, producing fish and poultry baskets, totalling over 6,800 items, as well as chopping 126,000 bundles of firewood.
In 1890 a Building Trust Fund and a Ladies Relief Committee were established by the Association. Around this time, the aims of the society were broadened to include general education and circulation of available literature and promotion of industry for blind peoples, as well as providing of social and physical support to ill and elderly blind people.
By 1912 the factory had also established a knitting department, which was expanded during World War 1 as a result of large orders from the Army and Navy. In 1915, new workshops were established in Westbourne Terrace, Toynbee Hall, and Rochester Row. By 1917, workers wages averaged £1 per week, and pensions were paid on retirement. However following the war, trade slumped, cost of raw materials increased dramatically and the Association struggled to pay high enough wages. However another new workshop was opened in Churton St, Westminster, and following the end of the war a number of blind soldiers were given apprenticeships.
The Association also operated a number of hostels and residences, frequently located on the same premises at their workshops. The first hostel for women was opened in 1919 in Bessborough St, Victoria.
In the early 1920s, the Association made clear that it was concerned not only for blind people who were 'productive' - able to produce wares at a rate that enabled them to live - but also those with mental and physical disabilities who would never be able to be self supporting. By this time, there were 104 workers, from all parts of England, and a number of deaf/blind people as well.
The factory operation continued to develop and in 1924 power machinery was installed at the factory for the manufacture of knitting needles. As the need for extra space increased, Cooper Lodge, Blickly was acquired in 1925 as accommodation as well as a workshop for women workers. Button making was introduced in the 1930s, and in the early 1940s, moulded plastic production was developed, producing items such as army cap badges and combs, as well as knitting needles.
The knitting factory itself was destroyed by a bomb in 1941, and the workshop was moved to the premises of the Barclay workshop which had recently amalgamated with the Association. The knitting and weaving workshops had large orders from the Army and the RAF. The machine knitting deparment merged with the Royal London Society for the Blind, under the name of Crawford-Salusbury Partnership in the mid 1950s, but eventually closed about 1968. The weaving department closed in 1957.
The Institution operated shops in different places, one in Kensington, between 1928 and 1944; one in Bognor Regis opened briefly during World War 2. The provision of holiday accommodation was also one of the Association's concerns, and in 1945, Canford Cliffs, Dorset, was purchased. Further guesthouses were developed over time, including The Lauriston, Weston -super-Mare, opened in 1964, and The Russell, Bognor Regis, 1968.
The Peckham factory was gradually expanded and in 1936 was rebuilt. In 1952 and new office was completed - Pelican House Peckham.
By the 1960s the Peckham factory employed blind men in the production of handmade baskets, the manufacture of casein and metal knitting needles, and injection moulded plastics. And the Association has residential homes for women at Crawford Street, London, as well as Cooper Lodge, Horley, and Croham Hurst Place, Sanderstead, both in Surrey; accommodation for men working in the factory at Adams House, Camberwell, and a hostel Dulwich; an estate of 57 self-contained flats - Swail House, Epsom, Surrey. There was also holiday accommodation for blind people at Weston-Super-Mare and Bognor Regis. The Association's welfare programme was responsible for the use of the Benevolent and Pensions Funds to assist blind and partially sighted people throughout the UK.
In 1972, the Greenwich Workshops for the Blind, (founded 1929) joined the Association's basket department. The factory moved from Peckham to Verney Rd in 1974, its main work then being production now consists of Injection mouldings, PVC welding and basket making. The offices also moved to Verney Rd, and Pelican House, Peckham was sold in 1976.
Factory production continued to change with the basket making department closing in 1978, and the injection moulding operation in 1985. Leaving only the plastic industry in operation.
In the 1990s the renamed Association for Blind People opened an Information and advice centre, and new training facilities in London and in Liverpool. The Association, while trading under the new name was still formally registered as London Association for the Blind until 1999.
The Barclay Home and School for Blind and Partially Girls was founded in Brighton in 1893, by Gertrude Campion, to provide industrial training for blind women. By 1905, there were nearly 40 residents.
The Barclay Workshops for Blind Women, a weaving industry began in 1905, in premises in Praed St London, in order to give employment to women trained in the Barclay Home, Brighton, who wished to live in London. The Workshops occupied a number of premises before moving to 19-21 Crawford St in 1919. In 1921, a Technical Training Department was established. Eyes to the Blind merged with the workshops in 1922. By 1930, the workshop had a staff of 62 women.
A joint committee was formed of members of the Barclay Home (Brighton) Committee, and the Barclay Workshops (London) Committee for dealing with matters of general policy. Mr. Godfrey F Mowatt, elected Chairman of this Committee.
The Barclay Workshop was taken over by the London Association for the Blind in 1941.
The Carpenters' Company is one of the ancient guilds of the City of London. A Master Carpenter is mentioned in the City records in 1271, suggesting that the Company has been in existence since at least this time. The first recorded date of the Company's existence is its 'Boke of Ordinances' of 1333 (held at the National Archives), which show the principal objects of the Brotherhood and Sisterhood to be charitable and religious. Members were required to pay 12 pence a year to help those who became ill or were injured at work, and were to employ fellow members who had no work, in preference to other carpenters. They were also to attend masses twice a year and the funerals of brothers and sisters.
During the medieval period the Company had considerable powers to control building in the City. The Company ordinances of 1455 contained regulations giving power to the Master and Wardens to search carpenters' workshops to ensure that all timbers were to the standards set down by the City. They also confirmed that the Company was to be governed by a Master and three Wardens elected annually. They were to be helped in regulating the carpentry trade by a Court of Assistants of 'six or eight of such men as have already held office or are of the same weight in their craft'.
By 1429 the Company built its first hall, on land rented for twenty shillings a year from the Hospital of St Mary without Bishopsgate. Five cottages were demolished and a 'Great Hall', together with three houses in the east side and one house on the west, was built. Thomas Smart later purchased the land and left it to the Company in his will dated 1519. A Hall has stood on this site ever since.
The Company received its Grant of Arms in 1466, and its first charter in 1477 from King Edward IV. By this charter, and confirmed by subsequent charters, the Carpenters' Company is 'a body Corporate and Politic by the name of the Master Wardens and Commonalty of the Mistery of Freemen of the Carpentry of the City of London', with power to receive bequests and gifts of property, to plead in any courts, and to have a Common Seal. In 1607, a further charter of James I extended the jurisdiction of the Company from the City to two miles beyond the City Walls, and a new charter of 1640 extended the Companies' powers to four miles.
. The Company's income fluctuated enormously during this period. Legal disputes over property and demarcation disputes with other companies were a drain on Company resources, along with contributions to loans and subsidies demanded by the monarchy, including £300 towards a scheme for the plantation of Ulster in 1610. The Company was on occasion forced to pawn or sell its plate to settle debts. However, the rise in property values during the seventeenth century increased the Company's income sufficiently to afford almost continuous repairs and work on the Hall, including the building of a new wing in 1664. Additional properties were purchased when possible and the Company was bequeathed various properties in the wills of its more affluent members.
The Great Fire of 1666 destroyed most of the timber buildings in the City, although Carpenters' Hall survived the fire, thanks to its gardens and those of the neighbouring Drapers' Hall acting as a firebreak. The Company gave hospitality to other Livery Companies who had not been so fortunate, including the Drapers' Company and to four successive Lord Mayors. The 1667 Act for Rebuilding the City of London required that brick and stone were to be used to rebuild the City. As a result, the work, income and prestige of carpenters declined and the control exercised by the Company over the building trade in the City of London was reduced.
During the eighteenth century the Company continued to look to property leasing and investments to maintain income. A notable purchase was a farm of 63 acres in the parish of West Ham, near Stratford. The Hall continued to be rented out, and in 1717 the Company decided to enlarge the Hall by building an extra storey at the top of a new wing erected in 1664. In 1736 Carpenters Buildings were erected near the Hall, and were leased out to tenants for the sum £110 per year, more than the rent for the Hall. Careful management of both property and investments continued into the nineteenth century, and the Company's prosperity grew considerably as property values and rents in the City increased. It was a time of general economic growth, and the sale of land to the Great Eastern Railway and other railway companies from the 1830s to the 1870s brought considerable capital for the Company.
The Company's increased wealth funded the redevelopment of the Hall site in the 1870s. William Wilmer Pocock, Master of the Company, prepared the plans, which comprised the construction of Throgmorton Avenue and a new Carpenters' Hall. Work began in 1876 on the demolition of the old Hall and Carpenters' Buildings, both of which were in a poor state of repair. The second Hall was opened in 1880.
The increased income of the Company also allowed the undertaking of more charitable and educational work. An evening institute was opened in 1886 on the Company's estate at Stratford, offering classes in carpentry, joinery, plumbing, geometry, mechanical drawing and cooking. In 1891 the institute became a day school for boys, and was closed in 1905 when the local Borough Council opened its own school. The Company also founded its own craft training school in 1893, the Building Crafts College in Great Titchfield Street in the West End of London. The College provided instruction in a range of building related disciplines, and relocated to purpose-built accommodation in Stratford, East London in 2001. In 1890 the Company helped create a body for woodwork instructors and other craftsmen, the Incorporated British Institute of Certified (now the Institute of Carpenters).
An air raid on 10th May 1941 set a gas main on fire in London Wall and burnt out Carpenters' Hall, although many of the Company's treasures survived. Committee meetings and Court functions were held at Drapers' Hall until the opening of the present Hall in 1960. A permit was granted in 1956 to rebuild the Hall, which was designed by Austen Hall and built by Dove Brothers within the surviving Victorian Walls. The widening of London Wall was overcome by putting the pavement in an arcade and building the banqueting hall on a bridge across Throgmorton Avenue. The new Hall was opened in 1960 by Sir Edmund Stockdale, Lord Mayor of London and Junior Warden of the Company.
For further information see A History of the Carpenters' Company Jasper Ridley (Carpenters' Company & Unicorn Press Ltd, 1995); A History of the Carpenters' Company B W E Alford and T C Barker (Allen & Unwin, 1968); An historical account of the Worshipful Company of Carpenters of the City of London. Compiled chiefly from Records in their possession Edward Basil Jupp and W W Pocock Second edition (Pickering & Chatto, 1887).
The Carpenters' Company is one of the ancient guilds of the City of London. The first recorded date of the Company's existence is its 'Boke of Ordinances' of 1333 (held at the National Archives), which show the principal objects of the Brotherhood and Sisterhood to be charitable and religious.
During the medieval period the Company had considerable powers to control building in the City. The Company ordinances of 1455 contained regulations giving power to the Master and Wardens to search carpenters' workshops to ensure that all timbers were to the standards set down by the City. They also confirmed that the Company was to be governed by a Master and three Wardens elected annually. They were to be helped in regulating the carpentry trade by a Court of Assistants of 'six or eight of such men as have already held office or are of the same weight in their craft'.
The Company received its Grant of Arms in 1466, and its first charter in 1477 from King Edward IV. By this charter, and confirmed by subsequent charters, the Carpenters' Company is 'a body Corporate and Politic by the name of the Master, Wardens and Commonalty of the Mistery of Freemen of the Carpentry of the City of London', with power to receive bequests and gifts of property, to plead in any courts, and to have a Common Seal. In 1607, a further charter of James I extended the jurisdiction of the Company from the City to two miles beyond the City Walls, and a new charter of 1640 extended the Company's powers to four miles.
The governing body of the Carpenters' Company is the Court of Assistants, with the Master, who holds office for one year, being the head of the Company. The Company's earliest ordinances of 1333 stated that the Brotherhood was to be governed by four wardens elected annually. The ordinances of 1455 were more specific: the Company was to be governed by a Master and three Wardens who were to be elected annually on the Feast of St Lawrence (10 August) and hold office for one year. In order to help them manage the Company's business, which had increased, particularly in attempting to control the carpentry trade, the Master and Wardens were permitted to appoint eight Assistants who formed the Court of Assistants. They were to be former Master or Wardens of the Company, or 'most honest persons', and the Court was to meet once a week on Fridays. The ordinances of 1455 and the election of Master and Wardens were confirmed by the Company's charter of 1477. The work of the Court covered two areas, as a committee of management dealing with ordinary Company business, managing property and organising regulations for its conduct, and as a judicial court dealing with breaches of regulations, overseeing differences between freemen of the Company, and settling trade disputes between freemen and their employers outside the Company. As the Company's control over the trade declined, the Court's role as a judicial court was also diminished, and the Court's principal role became that of the governing body of the Company. The Court now meets once a month. A number of Standing Committees comprising members of the Court and Liverymen report to the Court on a regular basis.
The membership or freedom of the Company could be obtained in one of three ways: by apprenticeship (also called service or servitude) on completion of a term of apprenticeship to a freeman of the company, by patrimony, by being the legitimate child of a male freeman born after his admission to the freedom, or by redemption, which entailed the payment of a fee. The consent of the Masters and Wardens of the Company was required to become an apprentice carpenter, and the 1455 Ordinances stated the cost of becoming bound was to be 1 shilling. In 1508 this was increased to 3 shillings. If a carpenter had been apprenticed to a master carpenter of the City of London he could join the Carpenters' Company by servitude. Some apprentices did join the Company, but many did not. Once a member of the Company, freemen could be promoted to the livery, the next level of Company membership, which in turn could lead to membership of the Court of Assistants and the offices of wardens and Master. During the sixteenth century, the freemen of the Company not promoted to the livery were termed 'yeomen', being the less prosperous journeymen who worked for wealthier craftsmen (or members of the livery) for wages, but the term had fallen into disuse by the eighteenth century. Members of the livery were required to pay quarterly membership dues, known as 'quarterage', to the Company. Membership of the Company through patrimony no longer exists, having been removed as a method of admission in 2003.
The 1333 ordinances of the Carpenters' Company throw some light on the early financial matters of the Fraternity. The four wardens who governed the Fraternity looked after the 'common' box, money from which was used to assist members in time of need, and they would have overseen the payments of quarterage (quarterly subscriptions) by members, and any fines imposed, such as the pound of wax payable on absence from certain masses. The Company's earliest accounts date from 1438 and form an almost unbroken series to the present day. Regularly appearing in the accounts were quarterage paid by the members, sums paid on admittance to the freedom of the Company, rents from Company properties, fines imposed on members for misbehaviour and breaking the Company ordinances, payments for entertainments and the washing of linen.
The establishment of a Court of Assistants by the Company's ordinances of 1455 transferred the responsibility for important financial decisions to the Court, with the Master and Wardens acting as agents. On leaving office, the Master and Wardens presented their accounts to the Court who acted as auditors. The Company's income came from five main sources: quarterages, rents, fees for presenting apprentices to be bound to masters, fines and other fees payable under the ordinances, and other variable sources, such as bequests, donations and any special subscriptions raised, such as for the payment of Company charters. Expenses comprised ordinary payments made on a regular basis, such as pensions to alms-folk living at the Hall, the Beadle's, and later the Clerk's wages, housekeeping expenses for the Hall, hospitality and festivals and maintenance of properties. Occasional extraordinary payments were also a feature of the Company accounts, such as charges by the Crown for equipping soldiers or ships, the Lord Mayor's assessments for the relief of hardship in the City, and for legal expenses the Company incurred in disputes with other livery companies over craft control in the 17th century.
The ordinances and charters of the Carpenters' Company gave the Court of Assistants power to regulate the carpentry trade by inspecting workshops and punishing carpenters who infringed Company regulations. The earliest references to the Company's regulation of the trade appear in the Court minute books (dating from 1533), and cases range from Company members employing "forrens" (carpenters from outside London), to the Court appointing "daysmen" and umpires to adjudicate where serious breaches of workmanship were claimed. The relationship between the Company and organisations representing related trades was also at times difficult, as craftsmen from other trades occasionally took on work reserved for carpenters. The seventeenth century in particular saw rivalries flourishing, and a lengthy and expensive legal dispute between the Carpenters' and Joiners' Companies concerning delimitation of their respective trades continued for over fifty years, until settled in 1672. In 1670 the Carpenters', Joiners' and Shipwrights' Companies all objected to the incorporation of the Sawyers, and the Guild did not establish itself beyond the preliminary stages.
From the 19th century the Company has worked to promote the carpentry trade, through the support of educational ventures and competitions. The Company's Building Crafts Training School was founded in 1893, and technical examinations, lectures and exhibitions on woodworking and joinery were regularly held at Carpenters' Hall. The Company also helped fund a joint School for Woodcarving with King's College, London under the auspices of Professor Banister Fletcher (Master of the Company in 1893). After the Second World War, interest in the technical examinations declined, and in 1955 the Company launched an annual Carpenters Craft competition "to encourage excellence in practical craftsmanship". A challenging set piece was offered and efforts made to attract high-quality applications from craftsmen in Great Britain and Australia. In 1972, the award was amalgamated with the competitions run by the Incorporated British Institute of Certified Carpenters, later the Institute of Carpenters, and continues today. The Carpenters' Award was first presented in 1971, as 'an annual award for the very best work in joinery or other woodworking'. Run by Liveryman Terence Mallinson, the Company gave its support to raise the profile of the award and provided a venue for the award ceremony. In 2001 the awards were renamed the 'Timber Industry Awards', reflecting the increasing number of industry related sponsors, and in 2003 were re-launched and renamed the 'Wood Awards'. A Master Certificate Scheme was also launched in 2003 by the Company in conjunction with City & Guilds of London Institute, the Joiners & Ceilers' Company and the Institute of Carpenters. The Scheme awards the titles of Master Carpenter, Master Shopfitter and Master Joiner as part of a continued effort to raise and acknowledge the level of skill of craftsmen in the construction industry.
The first mention of a Clerk to the Company appears in the records in 1483, and the appointment of a Clerk first appears in 1487, at an annual fee of 33s 4d in order to deal with the increasing administration of the Company. Aided by the Beadle, the Clerk supervised the day-to-day running of the Company, as is still the case today.
In 1751 the duties of the Clerk were clearly set out in the Court minutes. He was responsible for taking Court and committee minutes, attend the Master and Wardens when they collected rents, keep the Wardens' accounts, to go on the annual visit to Godalming, make out bonds and rentals for the Renter Warden and pay an assistant on Court days to fill up indentures. He was also required to write up annually the names of the Master and Wardens on vellum to be put up in the Hall. For this he received a salary of £40 a year, lodgings at the Hall and a Christmas gift of £10.
Almshouses
The Company's almshouses at Godalming, Surrey, were founded by Richard Wyatt, Master of the Company in 1604, 1605 and 1616. Wyatt died in 1619, and in his will left £500 for the construction of ten almshouses, and instructions to choose 10 residents, who were to be deserving poor of respectable character. Rents from his properties, including in Bramshott, Hampshire, and Henley-upon-Thames, were to be used to provide a small pension for each almsman and pay expenses for an annual visit by the governors of the Company. Ten almshouses and a small chapel were completed in 1622, each comprising a kitchen-parlour and bedroom, and were kept in their original style until a major refurbishment in 1958 when eight flats were created. Despite the endowments left by Wyatt and other benefactors, the cost of administering the Charity rose more rapidly than its income, and the charity was frequently in debt to the Company. During the nineteenth century, the Company sold the estate and reinvested the money for the benefit of the Charity. The almshouses were supervised by the Upper, or Senior, Warden, as is still the case today. Annual visits by the Company have taken place every year since 1623, except during war - in 1643, during the Civil War, and 1941 to 1945. In 1840 the Company purchased 8 acres of land in Twickenham, and following designs by William Fuller Pocock (Middle Warden of the Company), built a second set of almshouses to provide accommodation for ten people from the poor of the Company, to be Liverymen, Freemen or their widows. The almshouses were placed under the supervision of the Middle Warden, who visited once a month, whilst the Court made an annual visit in the last week of June. In 1947 the Company was obliged to sell the site to Twickenham Borough Council, who undertook to re-house all the almspeople.
Irish Estate
In 1607 James I embarked on the colonisation of Ulster in an attempt to quell rebellion and establish Protestantism. He "invited" the City of London to undertake the corporate plantation (settlement) of Derry and Tyrone, and in 1610 The Honourable The Irish Society was established to manage the Irish Plantation for the city livery companies. The Plantation was divided into 12 "proportions", each purchased by a group of companies headed by one of the Great Twelve. The Carpenters' Company entered into an arrangement led by the Ironmongers, and along with the Brewers, Scriveners, Coopers, Pewterers and Barbers (Associate Companies), became part-owners of the Manor of Lizard, Londonderry. A series of agents was appointed to let the land, collect rents and keep accounts. In 1840 a Board was formed to manage the property, comprising six representatives from the Ironmongers and one representative from each of the six associate companies. The rise of Irish nationalism and various Land Acts (from 1881 onwards), saw the City's undertaking in Ireland draw to a close. Between 1882-1884 the Ironmongers and Associate Companies divided the Manor of Lizard among themselves, with the Carpenters' receiving 632 acres in all, comprising Collins (280 acres), Knockaduff (304 acres) and part of Claggan (48 acres). However, following investigations by two Select Committees and a suit by the Attorney-General for Ireland against the Irish Society and others in 1893, the entire estate, including the Carpenters' Company acreage, was sold in the 1890s, mostly for token sums and to sitting tenants.The Building Crafts College
Founded as the Trades' Training Schools by the Carpenters' Company in 1893, instruction was given in a wide variety of building-related disciplines with the participation of several other "Associated" Livery Companies. The school building was one of the few Company owned properties to suffer damage in the First World War: in May 1918 German aircraft bombed the nearby Bolsover Hotel, causing damage to the school. At the outbreak of the Second World War, the Carpenters' Company offered the facilities of the College to the Government and over 3,000 servicemen were trained as carpenters, blacksmiths and sheet-metal workers. During and after the war, the College offered resettlement courses for servicemen returning to civilian life. By 1947, the school reverted to training apprentices for the construction industry and was known as the Building Crafts Training School. For some years from 1949 the school also ran courses in building foremanship in alliance with the London Master Builders' Association. During the war the building suffered serious damage, which severely weakened the fabric of the building, requiring frequent repairs. Consequently, the Company decided to rebuild the school in the 1960s, and at the same time to specialise in more advanced studies. The school was renamed the Building Crafts College in 1993, and in 2001 relocated to larger, purpose built premises on Company land in Stratford, East London. Training to NVQ level 3 is offered to apprentices in shopfitting, carpentry and joinery. Courses in fine woodwork and advanced stonemasonry are recognised by a joint Carpenters' Company/City and Guilds Diploma.
London Property
Property in Lime Street was formally bequeathed to the Company by Thomas Warham in 1481, although it seems that the Company may have had some claim on the property as early as 1454. The estate was first developed in the 1870s, in a joint venture with the Fishmongers' Company, Bridewell and Bethlehem Hospitals, and new buildings were put up in 1935. In 1927 the Company purchased property in Aldersgate Street consisting primarily of office and retail space, although one of the buildings had been a public house, The Albion Tavern (from 1873 or earlier to 1908). The majority of the Company's tenants were involved in the textile trade. The buildings were severely damaged in the Second World War, and in 1945 the cost of repair was estimated at £30,000. In 1948 the premises were let on a long lease in their damaged state. The expense of rebuilding of Carpenters' Hall however, meant that the Company needed to sell some of its freehold properties, and in 1958 the property was sold to the Corporation of London. The Company purchased property in Norton Folgate in 1627, originally known as Hog Lane, Worship Street. The property was sold off between 1862 and 1872 to make way for Liverpool Street Station.
Rustington Convalescent Home
Rustington Convalescent Home was founded and endowed by Sir Henry Harben (1823-1911), Chairman of the Prudential Assurance Society and Master of the Carpenters' Company in 1893. Harben spent £50,000 in buying 17 acres of land and building the Home, acquiring a further 8 acres of farmland in 1898. The Home opened in March 1897 with the Company and Harben as joint trustees, as a place where working men could convalesce, at a moderate charge, in order to resume an active life after illness. After Sir Henry's death, the administration of the Home was entrusted to the Carpenters' Company. The Governors (who are the Master, Wardens and Court of Assistants of the Company) appointed a Committee of Management to conduct the business of the Home from 1912 onwards. Harben's original endowment was augmented by additional gifts of shares and money from his daughter, Mrs Mary Woodgate Wharrie. The Home was requisitioned by the War Office from 1940-48, and re-opened for patients on 2 July 1948. In 1969 seven acres of land were sold for residential development, which enabled the complete refurbishment and modernisation of the Home. In 1980 the Governors decided to admit women as patients and allow them stay at the Home during their husbands' convalescence.Stratford Estate
In 1767 the Company purchased "a freehold farm consisting of 63 acres of marsh land tithe free lying in the parish of West Ham" for 3,000 guineas (£3,150). Stratford was a tiny village in Essex, and sold vegetables and milk in London's markets, providing a healthy income for the Company. The construction of a railway line through the area saw revenues from agricultural lands fall, prompting the Company to lease the land for industrial and residential use. In 1861 the first leases were taken, and trades such as matchmaking, linen manufacture, chemical processing and distilling developed on the estate. Some of the factories and warehouses were built by the Carpenters' Company, as were many of the cottages constructed on the Eastern side of estate. The Stratford estate remained a centre of industry, with individual plots and units being let and sub-let with great fluidity. A small number of units, and approximately one third of the estate's cottages were destroyed by enemy action during the Second World War. After the war some of these sites were levelled to create room for new residential and commercial properties, and all residential accommodation was compulsorily purchased by the local authority in the 1960s. In addition to commerce and housing, parts of the estate have been host to a wider variety of uses: the Carpenters' Technical Institute gave hundreds of boys education in carpentry, plumbing, and related subjects between 1886 and 1905, and both the Carpenters' Institute and the Carpenters' and Docklands Youth Centre have provided social and recreational facilities for local residents since the Second World War.
Carpenters' Hall and Throgmorton Avenue
By 1429 the Company built its first hall, on land rented for twenty shillings a year from the Hospital of St Mary without Bishopsgate. A 'Great Hall', together with three houses in the east side and one house on the west, was built. A Hall has stood on this site ever since. The land was later purchased and left to the Company by the will of Thomas Smart, dated 1519. A new wing was added to the Hall in 1664, which survived the Great Fire of London in 1666, thanks to its gardens and those of the Drapers' Hall acting as a firebreak. The Company gave hospitality to other Livery Companies who had not been so fortunate, including the Drapers' Company and to four successive Lord Mayors. The Hall continued to be rented out, and in 1717 was enlarged by building an extra storey at the top of the new wing. In 1736 Carpenters Buildings were erected near the Hall, and were leased out to tenants for the sum £110 per year, more than the rent for the Hall. Work began on a new Hall in 1876, and the old Hall gardens and surrounding buildings were redeveloped to provide office accommodation and create Throgmorton Avenue. The new Hall was opened in 1880, but survived only until the Second World War when it was destroyed by fire in May 1941, with only the outside walls remaining. The present Hall was designed by Austen Hall and built by Dove Brothers inside the surviving walls and opened in 1960.
The Carpenters' Company opened an Evening Institute in Stratford, East London, in 1888, offering classes to local people in plumbing, geometry, cookery and mechanical drawing. In 1891 the Institute became a day Technical School for local boys. As council provision for education improved the Company decided to close the school in 1905, much to the surprise of parents and in spite of the school's success. After the closure, the School's Campers' Club, Old Carpentarians' Football Club, Cricket Club and Debating Society all continued with their activities, meeting at the house of the former Headmaster, William Ping. By November 1909, a working committee had been formed to establish an old boys association and a circular letter calling for a general meeting was despatched. A preliminary expenses fund was also set up in order to defray printing, postage and other costs.
The first meeting took the form of a reunion dinner at the Alexandra Hotel, Stratford on 22 January 1910. About 150 former students attended and the Old Carpentarians was officially launched. William Ping presided over a committee charged with setting up the framework and managing the new association. By 11 March 1910, a constitution and rules had been drawn up and approved by the general membership. The association was to be open only to former Day Students of the School, paying an annual subscription of 2 shillings. The committee duties included organising an annual dinner, an annual business meeting and a summer outing. The various clubs (having initiated the idea of an association) were to run their own affairs but should comprise only of association members. In 1911, in order to maximise participation, the committee decided to divide the membership into 20 districts with committee members being responsible for a particular district. The Association flourished in its early years but, by 1916, the duration of the First World War meant that meetings were less frequent and, inevitably attendance decreased. The death of William Ping in December 1918 meant the loss of the key person in the association. The re-formed committee met in March 1920 with the first post-war dinner being held at Carpenters' Hall in January 1921. Liveryman H. Westbury Preston (Master of the Carpenters Company in 1926) was appointed as the second President. A change to the membership was agreed in February 1926 when the committee decided to extend membership to the sons of Old Carpentarians.
The outbreak of the Second World War meant the curtailing of activities, although reunions were held in 1940 and 1944. At the 1944 reunion, it was decided to lay a wreath each year on Mr Ping's grave. The association also decided to institute two prizes, Ping and Porter Memorial Prizes, to the Carpenters' Road School (the school on the Company's estate closest to the old Jupp Road building). This prizegiving turned into an annual event with additional prizes - Preston, Butcher, Marshall - also being awarded. Links with the Company remained strong as, in 1950, the third President was appointed, Liveryman Alan Westbury Preston (Master 1958). In 1955, the Old Carpentarians celebrated the Jubilee of the School's closure. Preparations had been in hand for a while: from 1947-55, memorabilia had been collected together in a scrapbook; a desk was presented to the Company, and a commemorative plaque was placed on the site of the school, then the Telephone Exchange.
By the 1970s, the original students were at least 75 years old or more, and an address list dated 1977 records 15 "active" names including that of the actor Stanley Holloway. From this period onwards, the Company entertained all surviving Old Boys to a general luncheon in Carpenters' Hall. In 1982 the Old Carpentarians Association transferred all its funds to the Carpenters' Company and the Company undertook to meet the cost of the prizes awarded annually at Carpenters Road School.
Please contact the Archive for further information.
Please contact the Archive for further information.
Please contact the Archive for further information.
Please contact the Archive for further information.
Please contact the Archive for further information.
Not available at present.
Contact the Archive for more information.
Please contact the Archive for more information.
Contact the Archive for further information.
Contact the Archive for further information.
Please contact the Archive for further information.
No history available
In 1881, Canon Samuel Augustus Barnett, vicar of St Jude's Whitechapel, and his wife Henrietta, instigated what was to become and annual art exhibition of the best contemporary British works, along with some Old Masters. This fine art loan exhibition was held at St Jude's School House, Commercial Rd. The Barnetts believed that pictures 'would educate people so that they might realise the extent and meaning of the past, the beauty of nature, and the substance of hope'. The free annual exhibitions proved very popular, attracting 10 000 visitors in 1881, rising to over 55 000 by 1886. This popularity persuaded the Barnetts of the need for a permanent exhibition space in the East End. Land was purchased next door to the John Passmore Edwards Library, with a large donation from Passmore Edwards himself, and Edgar Speyer, A F Yarrow and Lord Iveagh.
In March 1901, the Whitechapel Art Galley, a purpose built arts and crafts building designed by Charles Harrison Townsend, was opened on the Whitechapel High St for the first Spring Picture exhibition. More than 200 000 visitors passed through in six weeks. The Gallery continues to provide space for a diverse range of temporary exhibitions. It holds no permanent collection of its own.
The WG is governed by a trust scheme, registered with the Charity Commissioners founded in 1901, with Canon Barnett as the first chair until his death in 1913. Of the sixteen trustees on the board, eleven are nominated by the Statutory authorities and the other foundations and institutions with which the Gallery has long standing ties, and five are co-opted members, traditionally with expertise of experience complimenting the nominated members.
The WG has always featured a wide range of exhibitions, including those by local artists and children, modern pictures and exhibitions form the national museums of objects illustrative of trades of periods. In 1901, this was born out by the exhibition of contemporary artists such as Ford Maddox Brown and Edward Burne-Jones, followed by an exhibition of Chinese Life and Art. In 1914, and early retrospective exhibition - Twentieth Century Art: a Review of Modern Movements, was followed by Jewish Art, which included works by Jacob Epstein. Annual exhibits have been held at different time for the Women's International Art Club, and the Artists International Association, amongst others. Exhibitions of design have also been a regular part of the calendar, and have included trades unions as well as the Contemporary Arts Society. In 1939, the gallery was used by the Aid Spain movement for a fundraising exhibition in which Picasso's Guernica took centre stage. During the 1950s and 1960s, exhibitions included works by Modernist masters such as Braque, Kandinsky, Barbara Hepworth, Jackson Pollock and Robert Rauschenberg.
In 1982 WG Board felt the need for a separate Trust to be created to channel non-government funding in the form of exhibition sponsorship and donations to the gallery, and a planning group for a Development Trust was established. This led to the formation of the Whitechapel Art Gallery Foundation on 1 Feb 1984. At the same time an Advisory Board was set up to provide expert advice to the gallery on areas such as advertising, marketing and sponsorship. In 1988, an annual joint meeting of the Gallery and Foundation trustees was instituted.
Recent exhibitions have included artist such as Liam Gillick, Gilbert & George, Eva Hesse, Bruce Nauman, Gerhard Richter and Rosemarie Trockel, and survey exhibitions Inside the Visible, Seven Stories About Modern Art in Africa, and Live in Your Head.
The Whitechapel Art Gallery Society was formed in February 1948, in order to support the gallery financially through private and business subscription and to serve as an opinion forming body on Gallery policy. It was intended that Society subscriptions be used to fund visible improvements to the gallery, however they tended to be absorbed into the day to day running costs. The Society declined in the 1960s, but was relaunched in 1970 when a salaried secretary was appointed. The Secretary resigned the same year 1970, however the financial records continue until 1978.
The American Friends of the Whitechapel Art Gallery Foundation Inc was incorporated in New York in 1987 to raise funds for the gallery in the USA.
The Royal Festival Hall opened on 3 May 1951, providing London a replacement major concert hall to the Queens Hall destroyed in 1941. It was built by the London County Council as a contribution to the Festival of Britain, May-September 1951, and was the only structure planned to remain permanently on the site.
Responsibility for the design was given to a team at the London County Council architectural department. Robert H Matthew, Architect to the Council and J L Martin, Deputy Architect, were primarily responsible for the planning and design of the building. Edwin Williams, Senior Architect, was in charge of general organisation and progress and Peter Moro, was Associated Architect. In April 1988 Royal Festival Hall became the first post-war public building awarded Grade I listing.
The Hall initially included a large rectangular concert auditorium, which seats 2900 patrons, and a smaller recital hall. The building has been subject to ongoing development. In 1954, the organ was completed in main auditorium, and between 1962 and 1968 further building was undertaken on the site. Royal Festival Hall reopened in 1965, after eight months closure, with exterior walls slightly extended and refaced. In March 1967 two additional concert spaces were opened: the Queen Elizabeth Hall, seating over 900, and the Purcell Room seating more than 370. The adjacent Hayward Gallery opened in July 1968.
In 1983 the Greater London Council, successor administrative body to the London County Council, extended opening of the foyers of Royal Festival Hall to the public all day, seven days a week with free events and exhibitions being offered. In April 1986, the South Bank Board, a constituent part of the Arts Council of Great Britain, took over administration of the Southbank Centre concert halls following abolition of the Greater London Council.
In 1988 the Arts Council's Poetry Library, a collection of modern British poetry established in 1953, took up residency on level five of Royal Festival Hall.
From its beginning Southbank Centre concert halls have included a varied programme of musical and artistic events including orchestral, jazz and contemporary music, ballet, opera, lectures, recitals, readings and visual exhibitions.
The Office of the Armoury and the Ordnance Office both evolved in the early 15th century from the activities of the Privy Wardrobe, one of the departments of the Royal Household, with offices at the Tower of London. The Tower was the most important arsenal in the kingdom, with its own workforce of armourers, bowyers, fletchers, etc., to maintain the arms and armour stored there.
The first Master of the Ordnance was appointed in 1414, and the Ordnance Office became responsible for the supply of munitions and equipment to the army and navy. Prior to the establishment of a standing army or navy, the Ordnance Office was the only permanent military department in England. As a result the importance and status of the Master rose steadily, and from 1483 all holders of the office were knights or peers.
The first mention of an official solely responsible for armour appears in 1423, and the first use of the title Master of the King's Armoury occurs in 1462. The Office of the Armoury was responsible for the provision and maintenance of body armour, and was much smaller than that of the Ordnance. It rose in importance briefly when Henry VIII established the royal workshops at Greenwich in 1515, but with the decrease in the use of armour during the 17th century, the Office of the Armoury was abolished in 1671, and its duties were taken over by the Board of Ordnance.
The role of the Board of Ordnance continued to grow and develop during the 17th and 18th centuries. It was responsible for the issue of all guns and warlike stores to the ships of the navy and the permanent fortifications (the Sea Service), and the issue of small arms, the provision of artillery and engineer trains to the army (the Land Service). It was also responsible for the development of weapons, and in addition to its headquarters at the Tower of London, it had numerous other establishments, such as the Royal Arsenal, Royal Academy and Royal Laboratory at Woolwich, and the powder mills at Faversham and Waltham Abbey. The Board was finally abolished in 1855 and its duties merged with those of the War Office.
The Royal Armouries museum has its basis in the arsenal maintained at the Tower of London, and the royal armours of the Tudor and Stuart kings. The first displays were opened to the public in the second half of the 17th century: the Line of Kings, a display of armours dedicated to the kings of England; the Spanish Armoury, celebrating the victory over the Armada; and the Grand Storehouse, displaying captured trophies, small arms and artillery.
In the early 19th century the Board of Ordnance, which was responsible for the maintenance of the collection, began the process of re-organising the displays on a more academic basis. It also purchased important historic pieces to augment the collections. When the Board was abolished in 1855, the Armouries came under the control of the War Office. The first part-time curator, Viscount Dillon, was appointed in 1897.
In 1904 responsibility for the Armouries was transferred from the War Office to the Office of Works, which was already responsible for the buildings of the Tower of London. The first full time curator, Charles ffoulkes, was appointed in 1910, and the ancient office of Master of the Armouries revived in 1935, as the Armouries achieved the status of a national museum.
The National Heritage Act 1983 transferred control of the Armouries from the Department of the Environment (the successor to the Office of Works) to the Board of Trustees, and the Museum was granted the prefix `Royal' in 1984. Fort Nelson, the national museum of artillery, was opened in 1995, the Royal Armouries Museum in Leeds in 1996, and the redisplay of the White Tower completed in 1998.
Born 26 June 1868, son of Rev. Edmund Salusbury ffoulkes, BD. He was educated at Radley School, Shrewsbury School, and St John's College, Oxford.
He left Oxford without a degree and went on to study art. His interest turned to the metalwork and the study of metallic artefacts and thence to arms and armour. He was invited to give lectures for the Oxford History Board on Armour and military subjects, gaining a Bachelor of Letters, 1911. In 1913, he was appointed Curator of the Tower Armouries, 1913-1935, and Master of the Armouries, 1935-1938. In 1917, ffoulkes obtained government approval of a plan to collect historical material relating to the current war, and was appointed First Curator and Secretary Imperial War Museum (IWM), 1917-1933, and following his retirement from the IWM he became one of its Trustees, 1934-1946. He remained in his part time post at the Tower until the age of 70, in 1938 and continued to publish his writings.
ffoulkes was also Lieutenant RNVR, 1914-1918; Major Royal Marines, unattached, 1918-1920; Member, War Office Committee on Military Museum; Hon. Freeman, Armourers' Company; Volunteer Warden, ARP, 1939; Sergeant of Pioneers, Home Guard, 20th Bn Middlesex Regt, 1940-1945; Officer of the Order of St John of Jerusalem, 1929; and was awarded Hon. DLitt. Oxon, 1936; CB 1934; OBE 1925.
In 1942, he married, Dorothy Agnes Garratt, MBE. He died 22 April 1947.
Publications:
Armour and Weapons, 1909; new edition, Gaya's Traité des Armes, 1911; Arms and Armour in the University of Oxford; The Armourer and his Craft, 1912; Ironwork, 1913; Survey and Inventory of the Tower of London, 1917; Catalogue of the Armourers' and Brasiers' Company; Notes on the Pierpont Morgan XIIIth Century Old Testament, 1927; The Gun-founders of England, 1936; Sword, Lance, and Bayonet, 1938; Arms and the Tower, 1939; Arms and Armament, 1945; many papers in Archæologia, Journal of Army Historical Research, etc.
Cornelius Humphreys, was the son of David Humphreys, of Llanelli, Camarthen. He matriculated at Jesus College Oxford, 1743, aged 32. In 1752, he was appointed Rector of St Mary, Somerset, London. It is thought that he was Chaplain at on of the Chapels of the Tower of London. A transcript of his burial monument states that he was a minister of this (unidentified) chapel for thirty years, [1740-1770]. He married Agnes, who died 1789 aged 69.
The Tower of London was originally constructed in the 11th century as a fortress and has remained in periodic use particularly during times of civil disorder, as well as being a royal residence.
The Tower served several important administrative functions, housing the Privy Wardrobe, one of the departments of the Royal Household, until the mid 15th century; the Royal Mint until 1812; and the Public Record Office until the 1850s. It had an important military function, not only was it the most important arsenal in the kingdom, but also the home of the Board of Ordnance, the government department responsible for the supply of munitions and equipment to the army and navy, until its abolition in 1855.
The Tower was also used as a state prison up until the mid 17th century, and then again during the First and Second World Wars. It is particularly well known as the place of execution of two Queens of England, Anne Boleyn (1535) and Catherine Howard (1542). It was also the original home of the Royal Observatory (before it moved to Greenwich), and the King's Menagerie (the last of the animals were relocated to London Zoo in 1834). It is currently the repository of the Crown Jewels.
At its height the Tower was a thriving community under the control of the Constable and his Lieutenant. It had a large temporary population made up of the officers and workers of the Board of Ordnance and the Royal Mint, but also a significant permanent population, including the military garrison and the yeomen warders, and their families. The Tower also had its own doctor, hospital, and chapel.
The Tower was first opened to the public in 1660, but its development as a visitor attraction dates to the mid 19th century. It was then that the first official guidebooks appeared, the Jewel House was opened to visitors, and the displays of the Tower Armouries (now the Royal Armouries), where placed on a more academic basis.
The Runnymede Trust is one of the most influential and respected think tanks on race-relations in Britain. It was formerly established on 1 August 1968, by Deed of Trust, as an educational charity. It had developed partly as a response to the growth of racist politics, especially those of Enoch Powell, which looked at the time to be turning into a mass movement, and also as an attempt to create an equivalent to the American Anti-Defamation League in Britain. The founding members of the organisation were Jim Rose, Anthony Lester, Philip Mason, Sir Joseph Simpson, Mark Bonham-Carter, Dipak Nandy, Nicholas Deakin and Jock Campbell. The funding for its establishment came from the New World Foundation in New York, the Joseph Rowntree Charitable Trust, the Joseph Rowntree Social Service Trust and the Hilden Trust. Dipak Nandy became the Trust's first Director. Since its inception, the Trust has worked to challenge racial discrimination and promote a successful multi-ethnic Britain by providing the facts of racial discrimination and the techniques for overcoming it, stimulating debate and suggesting strategies in public policy. Its principal function in the early years was to provide briefs, background papers and research data for MPs, civil servants, local government and others concerned with policy. It provided a means of responding swiftly and authoritatively on key issues as media attention to the subject of race relations increased. The Trust's Bulletin was initiated in 1969 and has been published regularly ever since. In later years, Runnymede published reports designed to interpret government policy to a wider audience at the same time as briefing government on public opinion. Through the 1990s, Runnymede's role shifted from that of providing position or interpretative papers to working more closely with government in an advisory capacity. Over the years, Runnymede has produced key reports such as Colour and Citizenship (1969) an authoritative rebuttal to Enoch Powell's anti-immigration populist stance; A Very Light Sleeper: The Persistence and Dangers of Anti-Semitism (1994), This is where I live - stories and pressures in Brixton (1996), and School Exclusions and the Race Factor (1999). The Commission on the Future of Multi-Ethnic Britain was established as an independent Runnymede inquiry in 1997 culminating in the publication of The Future of Multi-Ethnic Britain: the Parekh Report in October 2000. Runnymede has produced regular bulletins called Race and Immigration: The Runnymede Trust Bulletin, which became The Runnymede Bulletin in 1992. The Runnymede Trust was one of the organisations responsible for the establishment of the UK Race and Europe Network (UKREN) in 1996. A Board of Trustees decides the policies of the organisation and the Director is responsible for developing strategies.
The collection was collated by Julian Robinson, Head of the Fashion School, in the 1970s.