Relevant bibliographies by topics / Crystal Palace (London, England)

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  2. Dissertations / Theses
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Academic literature on the topic 'Crystal Palace (London, England)'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Crystal Palace (London, England)"

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Macdonald, R. "Crystal Palace National Sports Centre--London, UK." British Journal of Sports Medicine 24, no. 1 (1990): 10–12. http://dx.doi.org/10.1136/bjsm.24.1.10.

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Schoenefeldt, Henrik. "The Crystal Palace, environmentally considered." Architectural Research Quarterly 12, no. 3-4 (2008): 283–94. http://dx.doi.org/10.1017/s1359135508001218.

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In the nineteenth century, horticulturists such as John Claudius Loudon and Joseph Paxton, aware of the new environmental possibilities of glasshouses that had been demonstrated in the context of horticulture, contemplated the use of fully-glazed structures as a means to creating new types of environments for human beings. While Loudon suggested the use of large glass structures to immerse entire Russian villages in an artificial climate, Henry Cole and Paxton envisioned large-scale winter parks, to function as new types of public spaces. These indoor public spaces were intended to grant the u
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Wolska, Dorota. "Garden Palace rozebrany do kości. Sztuka jako anamneza." Prace Kulturoznawcze 21, no. 4 (2018): 69–78. http://dx.doi.org/10.19195/0860-6668.21.4.4.

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Garden Palace stripped to the bone. Art as anamnesisLondon’s Crystal Palace, the site of the first international exhibition in 1851 and the architectural symbol of modernity, was widely imitated not only in Europe. Sydney also had its crystal palace. The Australian Garden Palace, similarly to the ones in London, New York and Munich, burnt to the ground in 1882. In 2016 aboriginal artist Jonathan Jones tried to restore it in Australia’s collective memory. However, Jones’ project, barrangal dyara skin and bones, introduces a postcolonial perspective and recoveres the narratives that were repress
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Addis, Bill. "The Crystal Palace and its Place in Structural History." International Journal of Space Structures 21, no. 1 (2006): 3–19. http://dx.doi.org/10.1260/026635106777641199.

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Completed in 1851 to house the Exhibition of All Nations in London, the Crystal Palace was the first large public building that departed completely from traditional construction materials and methods. It was the first major building to be conceived by its design engineers, William Barlow and Charles Fox, as a rigid-jointed iron frame and one of the earliest to use horizontal and vertical cross-bracing to carry wind loads. Working closely with the contractor John Henderson, the designers also applied their knowledge of modern production engineering methods to ensure the building was constructed
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Eatock, Colin. "The Crystal Palace Concerts: Canon Formation and the English Musical Renaissance." 19th-Century Music 34, no. 1 (2010): 87–105. http://dx.doi.org/10.1525/ncm.2010.34.1.087.

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Abstract This article examines the role of London's Crystal Palace in the popularization of ““classical music”” in Victorian Britain, and in the creation of the orchestral canon in the nineteenth century. The Crystal Palace was originally built in Hyde Park for the Great Exhibition of 1851 and was reconstructed in the London suburb of Sydenham in 1854. This popular attraction assumed a musical prominence in British culture when the ambitious conductor Augustus Manns established an orchestra there in 1855, and presented a series of Saturday Concerts until 1900. Central to this discussion of the
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Bishop, Andrew. "Deep-Time Tourism: "The Encantadas" and Crystal Palace Park." Arizona Quarterly: A Journal of American Literature, Culture, and Theory 80, no. 1 (2024): 83–115. http://dx.doi.org/10.1353/arq.2024.a921518.

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Abstract: This essay explores how Herman Melville's "The Encantadas" (1854) participates in the rise of deep-time tourism, or the desire and market for encounters with long-vanished prehuman beings and places. The same year Putnam's Magazine published "The Encantadas" the Crystal Palace Park in London put on display the world's first full-sized, three-dimensional dinosaurs. After using this event to conceptualize deep-time tourism and the contradictions that define it, the essay makes a two-part argument about "The Encantadas." First, it shows how the tortoises in "The Encantadas" are Melville
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Jordan, Elizabeth T. "Inigo Jones and the Architecture of Poetry*." Renaissance Quarterly 44, no. 2 (1991): 280–319. http://dx.doi.org/10.2307/2862711.

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Architecture in England Remained a fledgling science until Inigo Jones's Italianate classicism burst forth in London in the first decades of the seventeenth century. His 1622 Banqueting House at Whitehall with its masterful double-cube interior astounded Londoners accustomed to the rabbit warren of Elizabethan apartments making up the surrounding Whitehall Palace; its rhythmic, subtly articulated marble façade clashed with the eclectic exteriors of neighboring buildings.
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Doyle, Peter. "A vision of ‘deep time’: the ‘Geological Illustrations’ of Crystal Palace Park, London." Geological Society, London, Special Publications 300, no. 1 (2008): 197–205. http://dx.doi.org/10.1144/sp300.15.

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Richmond, Colin. "Jan van Eyck at London in 1428." Common Knowledge 27, no. 2 (2021): 171–75. http://dx.doi.org/10.1215/0961754x-8906117.

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Abstract On the basis of reports that Jan van Eyck visited England (he was well traveled in the service of Philip the Good, duke of Burgundy), this essay speculates freely on what the diplomat and painter actually did in and around London for three weeks in 1428. The essay claims, for example, that van Eyck went to the village of Foots Cray to buy watercresses to use as models when painting greenery on the Ghent Altarpiece of the Mystic Lamb (which he completed in 1432). The recently erected gateway to the palace at Greenwich is said likewise to be the model for a towered gateway depicted on t
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Rhodes, J. T. "Syon Abbey and its Religious Publications in the Sixteenth Century." Journal of Ecclesiastical History 44, no. 1 (1993): 11–25. http://dx.doi.org/10.1017/s0022046900010174.

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Syon Abbey was a royal foundation established by Henry v in 1415. It was situated at Isleworth on the Thames, just across the river from the royal palace of Richmond and the Charterhouse of Sheen, and some three hours rowing time upstream from London Bridge. It was the only Bridgettine foundation in England. It was a double house consisting of sixty nuns and twenty-five men, of whom thirteen were to be priests; the abbess ruled over the whole establishment, but the confessor general, one of the priests, had spiritual jurisdiction. From the time of its foundation until its dissolution in 1539,
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Dissertations / Theses on the topic "Crystal Palace (London, England)"

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Gillin, Edward John. "The science of Parliament : building the Palace of Westminster, 1834-1860." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:65863190-6063-4320-813e-e60dd1a11fb2.

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This thesis examines science's role in the construction of Britain's new Houses of Parliament between 1834 and 1860. Architecturally the Gothic Palace embodies Victorian notions of the medieval and romanticized perceptions of English history. Yet in the mid-nineteenth century, the building not only reflected, but was involved in, the very latest scientific knowledge. This included chemistry, optics, geology, horology, and architecture as a science itself. Science was chosen, performed, trusted, displayed, contested, and debated through the physical space of government. Parliament was a place w
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Books on the topic "Crystal Palace (London, England)"

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Brino, Giovanni. Crystal Palace: Cronaca di un'avventura progettuale. Sagep, 1995.

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Reeves, Graham. Palace of the people. Bromley Library Service, 1986.

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McKean, John. Crystal palace: Joseph Paxton and Charles Fox. Phaidon, 1994.

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Edwards, Alison. The Crystal Palace is on fire!: Memories of the 30th November, 1936. 2nd ed. The Crystal Palace Foundation, 1992.

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James, Buzard, Childers Joseph W, and Gillooly Eileen, eds. Victorian prism: Refractions of the Crystal Palace. University of Virginia Press, 2007.

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Ely, Ronald S. Crystal palaces: Visions of splendour : an anthology. Ronald S. Ely, 2004.

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Campli, Antonio Di. La ricostruzione del Crystal Palace: Per un ripensamento del progetto urbano. Quodlibet, 2010.

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John, McKean. Crystal Palace: Joseph Paxton and Charles Fox. Phaidon, 1994.

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Mersmann, Arndt. "A true test and a living picture": Repräsentationen der Londoner Weltausstellung von 1851. WVT-Wissenschaftlicher Verlag Trier, 2001.

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Baricco, Alessandro. Castelli di rabbia. Rizzoli, 1997.

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Book chapters on the topic "Crystal Palace (London, England)"

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Akın, Ömer. "Crystal Palace, London, UK." In Design Added Value. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-28860-0_15.

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Kennedy, Michael. "The Land Without Music?" In The Works of Ralph Vaughan Williams. Oxford University PressOxford, 1992. http://dx.doi.org/10.1093/oso/9780198163305.003.0001.

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Abstract When Ralph Vaughan Williams was born at Down Ampney on 12 October 1872, English music was still drifting down the years of the Victorian era, leaderless and bereft of a sense of purpose. Music in England, on the other hand, was thriving. August Manns, at his Crystal Palace concerts, and Charles Halle, at his Manchester concerts, were introducing new works and had changed the nature of symphony concerts from a miscellaneous selection of music of varying types into a more selective and substantial evening’s listening. Christine Nilsson, Emma Albani, Trebelli, Santley, Reeves, and Tietjens-these were among the singers at festivals and the opera. London was still a vital port of call for all the great celebrities of the day. Joachim, von Bulow, and Rubinstein were among the frequent visitors from the ranks of the virtuoso instrumentalists. Anton Bruckner played at the inauguration of the Royal Albert Hall organ. If the Germans’ jibe that England was the land without music ever had any truth it can only have accurately referred to the state of our native creative production. To understand the background of Vaughan Williams’s youth, it is necessary to look closely at the generation of composers which preceded him.
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"Anon. (1851) Have You Been to the Crystal Palace?" In London. Harvard University Press, 2015. http://dx.doi.org/10.4159/9780674273702-139.

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Nichols, Kate, and Sarah Victoria Turner. "‘What is to become of the Crystal Palace?’ The Crystal Palace after 1851." In After 1851. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9780719096495.003.0001.

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This introductory chapter explores and establishes the Sydenham Crystal Palace in relation to existing scholarship on the Great Exhibition of 1851. The Sydenham Palace combined education, entertainment and commerce, and spans both nineteenth and twentieth centuries. We resituate it as an important location within the London art world and establish the broader connections it had with rival ventures such as the South Kensington Museum and the numerous international exhibitions in the period. We set out the new possibilities for the analysis of both nineteenth- and twentieth-century visual and material cultures opened up by this unique venue, problematising the periodisation of art works and attitudes into discretely ‘Victorian’ and ‘Edwardian’ categories.
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Boaden, James. "Peculiar pleasure in the ruined Crystal Palace." In After 1851. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9780719096495.003.0007.

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In 1951 the filmmaker and poet James Broughton moved to London from San Francisco. At that time he was beginning to garner a reputation for his short, whimsical, films, which often made use of outmoded costumes and decaying public spaces. One important reason he gave for moving was the idea that Britain had a more open-minded society for queer artists like himself to work within, in contrast to the McCarthy-era USA. With the help of a number of figures from the British film establishment he managed to make a half-hour-long film The Pleasure Garden in London. The film is for the most part set among the ruins of the Crystal Palace at Sydenham and the surrounding park. Broughton’s film is an allegory of Britain as he found it in the summer of 1951, asserting its own vision of a post-war national identity in the Festival of Britain. This chapter examines the way in which the Festival of Britain revived certain ideas of national identity from the past, yet neglected others – and the way in which these ideas were doubled and questioned in Broughton’s film.
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Hales, Shelley, and Nic Earle. "Dinosaurs Don’t Die: the Crystal Palace monsters in children’s literature, 1854–2001." In After 1851, edited by Kate Nichols and Sarah Victoria Turner. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9780719096495.003.0008.

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Dinosaurs Don’t Die, claimed the title of Ann Coates’ 1970 children’s book. Coates’ prose, and the charming illustrations by John Vernon Lord which accompanied it, wondered what would happen if the antediluvian monsters from the Crystal Palace came back to life. In fact, the prehistoric creatures had already refused to die: first resurrected by Benjamin Waterhouse Hawkins and Richard Owen in the early 1850s they had survived the 1936 fire to become Sydenham’s only remaining display. The monsters have lived on, both on a set of South East London islands, but also in many children’s books from the mid-nineteenth to the early twenty-first centuries. In this article I track how the Crystal Palace monsters fit into the evolution of more general representations of extinct creatures in children’s books and exhibitions over the nineteenth and twentieth centuries.
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Jeffery, Sally. "From England to Scotland in 1701: the Duchess of Buccleuch Returns to Dalkeith Palace." In The Architecture of Scotland, 1660-1750. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474455268.003.0012.

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This chapter reveals new detail about the Duchess of Buccleuch’s return to Scotland after her long residence in England, including the preparations for her journey, her progress from London to Dalkeith in 1701, and the fitting out of Dalkeith Palace, which had been designed by the architect James Smith. Rich furnishings from her homes in London and Moor Park (Hertfordshire), were packed up and moved; new items in the latest fashion were made in England and transported to Dalkeith; and goods were commissioned in Scotland and elsewhere.
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Lynch, Kathleen. "‘Letting a Room in London-House’." In Church Life. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198753193.003.0004.

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This chapter considers Reasons Humbly Offered in Justification [ … ] of Letting a Room in London-House unto Certain Peaceable Christians, Called Anabaptists (?1647). Written by a Presbyterian elder, possibly Richard Coysh, this anonymous tract defends the decision to rent a room in the Bishop of London’s palace to Baptists led by Henry Jessey and William Kiffin. It signals a key moment in the formation of religious identities and allegiances during the English Revolution, when the disestablishment of the Church of England made available ‘waste’ rooms for Dissenters to occupy, even within the grounds of St. Paul’s Cathedral. This chapter brings into focus some unexpected causes and consequences for religious toleration in seventeenth-century London, and considers afresh the jurisdictions and protective authorities as well as the architectural forms and features of an urban landscape that affected Dissenting ‘church life’ and its accommodation in a time of ecclesiastical renewal, contest, experimentation, and opportunism.
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Nichols, Kate. "Remaking Ancient Athens in 1850s London: Owen Jones, Gottfried Semper, and the Crystal Palace at Sydenham." In Architectural History and Globalized Knowledge. gta Verlag, 2021. http://dx.doi.org/10.54872/gta/4241-08.

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"Afterlives." In The Great Exhibition, 1851, edited by Jonathon Shears. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9780719099120.003.0006.

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The Exhibition was an immediate commercial success, but it also had a legacy that went way beyond the event itself. The final chapter of this book shows both the short and long-term manifestations of the Exhibition’s impact. It includes material taken from the debates about the appropriate use of the Exhibition’s surplus funds and the future of the Crystal Palace along with an account of the closing ceremony. It provides reports about the rebuilding of the Palace at Sydenham and its destruction by fire in 1936. The long-term material benefits of the Exhibition are represented through the work of the Royal Commission and its scholarships and its lasting impact on the architecture of South Kensington in London. The chapter evaluates the role that the Exhibition has played, and continues to play, in debates about nationalism, imperialism, and the significance of British culture.
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