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Relevant bibliographies by topics / Petworth House

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Academic literature on the topic 'Petworth House'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2025

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Journal articles on the topic "Petworth House"

1

Harris, Stuart. "The fortifications and siege of Leith: a further study of the map of the siege in 1560." Proceedings of the Society of Antiquaries of Scotland 121 (November 30, 1992): 359–68. http://dx.doi.org/10.9750/psas.121.359.368.

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WEBSTER, SARAH. "Estate Improvement and the Professionalisation of Land Agents on the Egremont Estates in Sussex and Yorkshire, 1770–1835." Rural History 18, no. 1 (2007): 47–69. http://dx.doi.org/10.1017/s0956793306002019.

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The role of land agents in the management and improvement of English landed estates between 1770 and 1850 is examined in this paper. The focus is on the responsibilities of land agents, their contribution to agricultural improvement, and in particular the validity of a thesis of the professionalisation of agents during this period. The Petworth House archives are used to compare the work of two legal agents at Petworth in Sussex with that of a professional land agency firm in Yorkshire, both employed by the third Earl of Egremont (1751–1837). This study suggests that the role of land agents in

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3

Bela, Riccardo. "The Vogue for a New Interior: A Study of the Presentation and Interpretation of Servants’ Quarters in Country House Visits." Journal of Curatorial Studies 12, no. 1 (2023): 22–47. http://dx.doi.org/10.1386/jcs_00079_1.

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The article is a study of the presentation and interpretation of servants’ quarters in country houses in England and Wales (Erddig, Lanhydrock, Audley End, Petworth and Ickworth), directed at theorizing the latest popular fascination about the ‘downstairs’. Hinging on Gaston Bachelard’s twofold reading of the interior as a contained physical space and an elusive imaginal one, the notion of home as the site of domesticity is compared with that of the country house, whose ‘domestication’ is surveyed in a series of visual and spatial analyses of its rooms and, specifically, its servants’ quarters

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4

Staniforth, Sarah. "DAYLIGHT CONTROL FOR THE NEW LANTERNS IN THE NORTH GALLERY OF PETWORTH HOUSE, WEST SUSSEX." Studies in Conservation 39, sup1 (1994): 31. http://dx.doi.org/10.1179/sic.1994.031.

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5

McInerney, Luke. "Six Deeds from Early Seventeenth Century Thomond." Eolas: Journal of the American Society for Irish Medieval Studies 10, no. 1 (2017): 33–76. https://doi.org/10.1353/eol.2017.a959603.

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Abstract: Presented here are six deeds that cast light on landholding and legal matters in the earldom of Thomond during the first three decades of the seventeenth century. The documents were transcribed in a form as faithful to the original texts as possible. The deeds are archived in the Inchiquin Collection at the National Library of Ireland and in the Thomond papers at Petworth House in West Sussex. At one point, they all formed part of the collection of legal documents in the hands of the O’Briens of Thomond. People and places mentioned are located within the modern boundaries of Co. Clar

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6

VáZquez, Nila. "Scribal Intrusion in the Texts of Gamelyn." Studia Anglica Posnaniensia 46, no. 2 (2010): 3–20. http://dx.doi.org/10.2478/v10121-009-0033-2.

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Scribal Intrusion in the Texts of Gamelyn One of most important steps in the process of editing a manuscript is the identification and correction of the mistakes made by the scribe or scribes involved in its copying process in order to obtain the best text. In some cases, the changes introduced by the scribe, or by the editor who was supervising his work, can easily be noticed because we find out "physical" elements throughout the folio, such as dots under a word as a sign of expunction or carets indicating that a missing word is being added. However, there are many instances of scribal intrus

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7

Easter, Clive. "Grinling Gibbons as a Sculptor of Church Monuments–New Insights into His Work and Achievements." European Journal of Fine and Visual Arts 2, no. 4 (2024): 1–18. https://doi.org/10.24018/ejart.2024.2.4.28.

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Grinling Gibbons is rightly recognised as one of the most important woodcarvers in the history of the decorative arts. The style and sophistication of his work is unmatched not only in England but within Europe and even today few craftsmen can emulate his work. His contributions began at a time of renewed interest in ornate decoration and the vitality of his work at Windsor, Hampton Court and country houses like Petworth established his reputation. It was widely thought at the time that if a man could carve in wood, he could carve in marble and stone, and many contemporary craftsmen could do j

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8

Ripley, Wayne C. "William Blake and His Circle: A Checklist of Scholarship in 2018." Blake/An Illustrated Quarterly 53, no. 1 (2019). http://dx.doi.org/10.47761/biq.241.

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2018 saw a new edition of Blake’s selected works, the William Blake in Sussex: Visions of Albion exhibition at Petworth House and its catalogue, four monographs, four collections of essays, and six dissertations that are either exclusively about Blake or feature him prominently, and scores of insightful articles, to say nothing of the ongoing work of the William Blake Archive and Jason Whittaker’s Zoamorphosis. In the mass media, there was also much coverage of the new tombstone at Blake’s rediscovered gravesite at Bunhill Fields that was dedicated by the Blake Society on 12 August 2018.

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9

Porter, Catherine. "“The parambulatyon of thys lordshype is not travele”: 450 years on, a digital re-evaluation of Robert Lythe’s survey of Ireland." Irish Geography 54, no. 2 (2022). http://dx.doi.org/10.55650/igj.2021.1460.

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Surveyors tasked with measuring and recording the landscape of sixteenth century Great Britain and Ireland had no definitive guide on surveying practice and no comprehensive standardisation or regulation was in place. They rarely recorded the techniques used in their fieldwork and so their field practices are largely a mystery. For today’s historians of cartography who seek to understand why and how maps were made, this leaves a void in our knowledge of early surveying practice. This paper addresses this lacuna in knowledge by testing and applying methods for early map and survey analysis. Mar

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10

Calè, Luisa. "William Blake in Sussex: Visions of Albion, Petworth House (National Trust), January–March 2018; Andrew Loukes, ed., <i>William Blake in Sussex: Visions of Albion</i>." Blake/An Illustrated Quarterly 52, no. 2 (2018). http://dx.doi.org/10.47761/biq.223.

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Landscape near Felpham (Tate, cat. no. 3, Butlin no. 368), a watercolor seascape with a boat in the bottom foreground and a ray of light illuminating William Blake’s cottage in the mid-distance, reflects Blake’s first impressions upon arrival in Felpham, Sussex, where he spent three years from 1800 to 1803: “Heaven opens here on all sides her golden Gates her windows are not obstructed by vapours.” In an earlier letter, he presented his imminent move “As the time … when Men shall again converse in Heaven & walk with Angels.” This promise of visionary conversation is borne out in a tail-vig

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Books on the topic "Petworth House"

1

Rowell, Christopher. Petworth House, West Sussex. National Trust, 1997.

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2

Britain), National Trust (Great, ed. Petworth House, West Sussex. National Trust, 1988.

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3

Rowell, Christopher. Petworth House, West Sussex. National Trust, 2002.

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4

Raeder, Joachim. Die antiken Skulpturen in Petworth House (West Sussex). Philipp von Zabern, 2000.

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5

Mollie, Luther, Warrell Ian, and Tate Gallery, eds. Turner at Petworth: Painter & patron. Tate Gallery, 1989.

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6

Mellor, David. Tracing light. PhotoWorks, 2001.

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7

Weald and Downland Open Air Museum., Knights Park Gallery (Kingston University), and Petworth House, eds. Echoes in the landscape: An exhibition of work by Ted Vincent and Jane Meredith, the Weald and Downland Open Air Museum, Singleton, Chichester, West Sussex, 1-17 April 1995, Knights Park Gallery, Kingston University, 21 April-8 May 1995, the National Trust Petworth House, Petworth, West Sussex. [s.n.], 1995.

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8

Petworth House. National Trust, 1990.

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9

Brears, Peter. Petworth Book of Country House Cookery. Prospect Books, 2016.

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10

Turner at Petworth. Tate, 2004.

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Book chapters on the topic "Petworth House"

1

Cobbe, Alec. "Picturing Petworth." In Art & the Country House. Paul Mellon Centre for Studies in British Art, 2020. http://dx.doi.org/10.17658/ach/pte555.

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2

Postle, Martin. "Petworth Introduction." In Art & the Country House. Paul Mellon Centre for Studies in British Art, 2020. http://dx.doi.org/10.17658/ach/pte575.

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Postle, Martin. "The Petworth Beauties." In Art & the Country House. Paul Mellon Centre for Studies in British Art, 2020. http://dx.doi.org/10.17658/ach/pte530.

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4

Egremont, Max. "Early Days at Petworth." In Art & the Country House. Paul Mellon Centre for Studies in British Art, 2020. http://dx.doi.org/10.17658/ach/pte556.

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5

Apesos, Anthony. "Blake’s Petworth House “Last Judgment” and Female Anatomy." In Death, Disease, and Mystical Experience in Early Modern Art. Amsterdam University Press, 2025. https://doi.org/10.5117/9789463729185_ch15.

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William Blake’s watercolor Last Judgment at Petworth House is one of four surviving versions which Blake created on the subject, and others are known to have existed but are lost. Blake’s clear belief in universal salvation and his condemnation of believers in eternal damnation as “devil worshippers” raise the question of why Blake would return to a subject that seems so repellent to his beliefs. I consider the soterial and sexual content of the Petworth version to illuminate Blake’s long engagement with a subject so incompatible with his own ideas on human salvation.

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6

Sullivan, M. G. "Light and 'Enlightened Patronage': The Sculpture Galleries at Petworth." In Art & the Country House. Paul Mellon Centre for Studies in British Art, 2020. http://dx.doi.org/10.17658/ach/pte534.

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7

Coutu, Joan. "Collecting and the Country House, 1750–1840." In The Edinburgh Companion to Romanticism and the Arts. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474484176.003.0007.

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This chapter considers the relationship between a canon of ideal beauty, exemplified by the Apollo Belvedere and the Venus de’ Medici, and the acquisition of original antique statuary, circa 1750 to 1840. The focus is on the social implications of collections in country houses, for the owners as well as for the nation. The perception of temporal distance with the antique past, characterised by the increasing museumisation of the collections within the houses, and the contemporaneous emergence of aesthetic discourse are central to the discussion. Key collections include Wentworth Woodhouse, New

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8

Burns, Emily. "Decoding the Country House Archive: Pictures and Papers at Petworth House." In Art & the Country House. Paul Mellon Centre for Studies in British Art, 2020. http://dx.doi.org/10.17658/ach/pte533.

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9

Chadwick, Esther. "Patterned with Paper Pictures: The Print Room at Petworth House." In Art & the Country House. Paul Mellon Centre for Studies in British Art, 2020. http://dx.doi.org/10.17658/ach/pte531.

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10

Dickens, Charles. "To the Chaplain, Petworth House of Correction,[25 August 1852]." In The British Academy/The Pilgrim Edition of the Letters of Charles Dickens, Vol. 6: 1850–1852, edited by Kathleen Mary Tillotson, Graham Storey, and Nina Burgis. Oxford University Press, 1988. http://dx.doi.org/10.1093/oseo/instance.00113675.

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