William Kent Research Articles

Eosinophilic Myocarditis Complicated by Massive Right Ventricular Thrombus.

HomeCirculation: Cardiovascular ImagingVol. 15, No. 8Eosinophilic Myocarditis Complicated by Massive Right Ventricular Thrombus No AccessCase ReportRequest AccessFull TextAboutView Full TextView PDFView EPUBSections ToolsAdd to favoritesDownload citationsTrack citationsPermissionsDownload Articles + Supplements ShareShare onFacebookTwitterLinked InMendeleyReddit Jump toSupplemental MaterialNo AccessCase ReportRequest AccessFull TextEosinophilic Myocarditis Complicated by Massive Right Ventricular Thrombus Waseem Hijazi, MD, Lucy Jefferson, MD, Yinong Wang, MD, Andrew Howarth, MD, PhD, Ronak Kanani, MD, Jeff Shaw, MD, William Kent, MD and Robert J.H. Miller, MD Waseem HijaziWaseem Hijazi Correspondence to: Waseem Hijazi, MD, 530-1106 12th Avenue SW, Calgary, AB, Canada, T2R 0B1. Email E-mail Address: [email protected] https://orcid.org/0000-0003-1511-9605 Department of Cardiac Sciences, Cumming School of Medicine, Libin Cardiovascular Institute (W.H., L.J., A.H., R.K., J.S., W.K., R.J.H.M.), University of Calgary, Alberta, Canada. Search for more papers by this author , Lucy JeffersonLucy Jefferson Department of Cardiac Sciences, Cumming School of Medicine, Libin Cardiovascular Institute (W.H., L.J., A.H., R.K., J.S., W.K., R.J.H.M.), University of Calgary, Alberta, Canada. Search for more papers by this author , Yinong WangYinong Wang Alberta Precision Laboratories and Department of Pathology and Laboratory Medicine (Y.W.), University of Calgary, Alberta, Canada. Search for more papers by this author , Andrew HowarthAndrew Howarth Department of Cardiac Sciences, Cumming School of Medicine, Libin Cardiovascular Institute (W.H., L.J., A.H., R.K., J.S., W.K., R.J.H.M.), University of Calgary, Alberta, Canada. Search for more papers by this author , Ronak KananiRonak Kanani Department of Cardiac Sciences, Cumming School of Medicine, Libin Cardiovascular Institute (W.H., L.J., A.H., R.K., J.S., W.K., R.J.H.M.), University of Calgary, Alberta, Canada. Search for more papers by this author , Jeff ShawJeff Shaw Department of Cardiac Sciences, Cumming School of Medicine, Libin Cardiovascular Institute (W.H., L.J., A.H., R.K., J.S., W.K., R.J.H.M.), University of Calgary, Alberta, Canada. Search for more papers by this author , William KentWilliam Kent https://orcid.org/0000-0002-3808-0777 Department of Cardiac Sciences, Cumming School of Medicine, Libin Cardiovascular Institute (W.H., L.J., A.H., R.K., J.S., W.K., R.J.H.M.), University of Calgary, Alberta, Canada. Search for more papers by this author and Robert J.H. MillerRobert J.H. Miller Department of Cardiac Sciences, Cumming School of Medicine, Libin Cardiovascular Institute (W.H., L.J., A.H., R.K., J.S., W.K., R.J.H.M.), University of Calgary, Alberta, Canada. Search for more papers by this author Originally published30 Jun 2022https://doi.org/10.1161/CIRCIMAGING.121.013873Circulation: Cardiovascular Imaging. 2022;15FootnotesSupplemental Material is available at https://www.ahajournals.org/doi/suppl/10.1161/CIRCIMAGING.121.013873.For Sources of Funding and Disclosures, see page 623.Correspondence to: Waseem Hijazi, MD, 530-1106 12th Avenue SW, Calgary, AB, Canada, T2R 0B1. Email waseem.[email protected]ca

The gardens at Raynham and their destruction, c. 1700-1735

: This article examines the development of the landscape of Raynham Hall, Norfolk, England in the late seventeenth and early eighteenth centuries, and presents two hitherto unrecognised sketches by William Kent. It argues that Raynham was one of the first places in England where geometric gardens were removed in order to provide a largely open, parkland setting for the mansion. It attributes this innovation to William Kent and suggests that it was associated with Raynham’s status as an early essay in Palladian architecture. Finally, it argues that more scholarly attention should be given to the connections between architectural styles, and modes of lndscape and garden design, in eighteenth-century England.

Bellamy, Liz. The Language of Fruit: Literature and Horticulture in the Long Eighteenth Century.

Bellamy, Liz. <i>The Language of Fruit: Literature and Horticulture in the Long Eighteenth Century</i>.

Hazel Wilkinson. Edmund Spenser and the Eighteenth-Century Book.

Hazel Wilkinson. <i>Edmund Spenser and the Eighteenth-Century Book</i>.

Hogarth and Bad Taste: The Sculptures at St. Bartholomew’s as Satirical Inspiration

The engraving Masquerades and Operas (1724), also known as The Bad Taste of the Town, was William Hogarth’s first self-published work. Despite this milestone, it has become a footnote to more studied works such as The Rake’s Progress. I have discovered that Hogarth used sculptures from the Henry VIII Gate at St. Bartholomew’s Hospital in London on his depiction of the Great Gate of Burlington House (home to the Royal Academy of Arts); I believe this is an overlooked element of the print that signals his distaste for foreign art. Hogarth strongly opposed Italianate painting and architecture, even painting frescoes at St. Bartholomew’s gratis, after learning the commission had gone to an Italian. Through visual, political, and contextual analysis, I argue that allusions to Raphael and Michelangelo in Masquerades and Operas associate Italian art with “lameness” and “disease” and are meant to show the decadence of Italian art and its impact on the arts in England. Their position on the Henry VIII Gate further alludes to the malignancy of the aristocracy, whom Hogarth saw as adversely affecting British culture by adopting foreign influences.&#x0D; The Brexit vote and global political turmoil are at the forefront of today’s political situation. In this regard, it is valuable to look back at times of significant cultural change and examine why artists like Hogarth, and contrastingly, Hogarth’s nemesis William Kent (a proponent of classical architecture inspired by Italian examples), strove for and against intercultural exchange.

The interpretation of the English landscape garden between 1815 and 1840 through Xavier Kurten’s work in Piedmont (north-west Italy)

Xavier Kurten (?–1840) was a Prussian landscape gardener who worked for the Savoy family in the Piedmont region of Italy in the first half of the nineteenth century. He designed or redesigned all royal parks, creating a specific style based on the English naturalistic garden approach. This research was performed with the aim of investigating the development of the English landscape garden in Italy. Historical documents relating to Kurten’s biography and his work in Piedmont, including plans, were collected and analysed. We analyse and discuss the features that characterised his work: the relationship between the landscape—garden—house, the path system, the use of water, the vegetation, and the garden as a productive landscape. Kurten’s style is compared with the projects of William Kent and Lancelot ‘Capability’ Brown.

Трактат Горация Уолпола «История современного вкуса в садоводстве» (1770) и рождение концепции национального садового стиля

The paper deals with the first English (and European) treatise on the progress and specific features of the landscape style, the book entitled The History of the Modern Taste in Gardening (1770) by Horatio Walpole, which was translated into Russian by the author of this article. This text is linked with the writer’s own landscape project — the garden at Strawberry Hill, as well as with the evolving theory of the landscape style represented by the poetry of Alexander Pope and William Shenstone, and Observations on Modern Gardening by Thomas Whately. Walpole in his historical survey ties the origins of the landscape style to the primeval way of life close to nature, and opposes this style to the artificiality of the gardens of the Italian and Northern Baroque, as well as French Classicism. Walpole links the major novelties of the landscape system with the inventions by William Kent and urges his compatriots to keep the middle line, avoiding uniformity (represented by Lancelot Brown), as well as fantastic exaggerations offered by the Chinese scenes by William Chambers. In the version of 1827, James Dellaway, the editor, makes his notions on the tendencies spotted by Walpole and certifies the truth of the writer’s warnings. The paper summarizes the peculiarities of the Walpole’s method and the main points of his book, still instrumental for actual garden history.

The Ethical Function of Landscape Architecture

This essay presents a theory of aesthetics for landscape gardening based on Karsten Harries’s theory of the ethical function of architecture. It begins with an attempt to understand Horace Walpole’s praise of William Kent’s contribution to the development of “the modern taste in gardening,” according to which Kent was largely responsible for achieving the progressive revolution in landscape architecture that produced the picturesque style of English landscape gardening. After examining Harries’s theory, the essay discusses whether landscape architecture can produce works of art and examines several historically-important garden styles to argue that it can. Finally, it discusses problems inherent in Modern and Postmodern landscape architecture.

Nature Transformed: English Landscape Gardens and Theatrum Mundi

Nature Transformed: English Landscape Gardens and <i>Theatrum Mundi</i>

Laurel O. Peterson. Review of "William Kent: Designing Georgian Britain" by Susan Weber.

Laurel O. Peterson. Review of "William Kent: Designing Georgian Britain" by Susan Weber.

Review: William Kent: Designing Georgian Britain and William Kent: Designing Georgian Britain

William Kent: Designing Georgian Britain Bard Graduate Center, New York 20 September 2013–9 February 2014 Victoria and Albert Museum, London 22 March–13 July 2014 It is always a matter for celebration when the Victoria and Albert Museum brings architecture out of its small, dedicated display area on the upper floors and places it center stage in the main exhibition halls. The tercentenary of the Hanoverian accession has stimulated public and media engagement with all things Georgian, and this interest, in combination with American funding, meant that hopes were high that this exhibition might do for eighteenth-century architecture what the Pugin and Morris shows of the early 1990s did for nineteenth-century visual culture, or what the more recent high-profile “isms” exhibitions on art nouveau, modernism, and the like have done for the public profile and understanding of twentieth-century design. The choice of William Kent as a subject in this anniversary year seemed a promising one. Kent remains a relatively shadowy figure, certainly compared to his patron Lord Burlington, and even to some of his architect contemporaries such as James Gibbs in the early to mid-eighteenth century who participated in the turn away from high baroque toward the more reproducible Palladianism. Add to this his role as the first interior designer, pioneer of the Gothic as well as the English landscape garden, …

Holkham Hall: An Architectural ‘Whodunnit’

Horace Walpole had to put his oar in. ‘How the designs of that house [Holkham], which I have seen an hundred times in Kent’s original drawings, came to be published under another name, and without the slightest mention of the real architect, is beyond my comprehension’. Indeed, The Plans, Elevations, and Sections, of Holkham in Norfolk, The Seat of the Late Earl of Leicester had been published by Matthew Brettingham senior (1699–1769) ten years earlier (1761) without any mention of William Kent (c. 1685–1748). But Walpole’s well-publicised remark completely turned the scales, establishing Kent as the creator and architect of this intriguing work (built 1734-64), which is seen by many as the beau idéal of Anglo-Palladian architecture (Fig. 1).An alternative view of Holkham’s genesis has seen the patron, Thomas Coke, later Earl of Leicester, as the driving force in the creation of the house and its setting — a view confirmed by a great number of drawings and letters discovered since the 1980s. But a ‘reassessment’, recently published in this journal, has now cast doubt on such a conclusion and has attempted to re-establish Kent as Holkham’s architect.

VÝVOJ ZAHRADNÍHO UMĚNÍ 18. STOLETÍ V SANKT PETĚRBURGU A SROVNÁNÍ S HLAVNÍMI EVROPSKÝMI VZORY

The 18th century was the period when the Russian empire started to open to the western culture. The economic and cultural development of this country started after the reforms of the emperor Petr I. Large number of the imperial palaces where built after the foundation of Santk Petersburg in 1703. Peter I was a big admirer of the western culture, his knowledge about it increased during two visits through Europe. Therefore, the formal gardens and baroque palaces built during the reign of Peter the Great are called Peter’s baroque.Until 1715 were all Russian gardens influenced by the Holland pattern like the palaces built by William of Orange in Holland – Het Loo and in England part of the Hampton Court. The first garden laid out in formal style in Sankt Petersburg was the Summer Garden – located in the architectural heart of the city. Gardens of this period were characteristic by small closed ground plan surrounded by water canals, an absence of using terrace as a symbol of majesty and highest point of view and finally by modest architecture. After the second visit of Peter I to Europe, he started to use all principles of the French formal gardens based on Andre Le Notre work. Palaces like Petrodvorets, Strelna and residence of first minister Alexander Menshikov in Oranienbaum were laid out on a natural terrace overlooking the Gulf of Finland. During the reign Elizabeth Petrovna started a huge expansion of palaces Petrodvorets, Hermitage and Tsarskoe Selo by the Italian architect Francisco Bartolomeo Rastrelli, whose combinations of rich ornaments, soft unusual colours and white columns are symbol of Russian baroque of the middle of 18th century. Moreover, F. B. Rastrelli also rebuilt some garden pavilions giving a new dimension of composition between buildings and garden. His sense of buildings soft colours in contras to the dark colours of north nature was very important and helped to improve Russian garden design of this time.After the start of reign Catherine II in 1761 begun new period of architectural style – Classicism and English Landscape School. At first was rebuilt a part of the formal gardens in Tsarskoe Selo for which was used the composition of the famous Stowe Park as a pattern. Others built landscape parks were Pavlovsk, Gatchina and Alexandrowski Park. In the process of creating those imperial residences were used principles of the work of William Kent, with antique temples, also Lancelot Brown’s famous nature scenery. Moreover, the compositions of landscape parks are good examples of oriental and neo-gothic pavilions. Russian formal gardens and landscape parks are inseparable part of European art in 17th and 18th century. They composition content basic characteristic of French baroque and English landscape school together with different elements originated as a adaptation to the specific climatic conditions of this region.

William Kent: designing Georgian Britain

William Kent: designing Georgian Britain

Houghton Revisited: The Walpole Masterpieces from Catherine the Great’s Hermitage

Sir Robert Walpole (1676–1745) doubtless owes his fame to his career as an influential politician. After entering parliament in 1701 at the age of twenty-five, he reached the climax of his political career in 1721 when he became Britain’s first serving Prime Minister. His official term of office still partially overshadows his more private activity as an assiduous art collector. The first acquisition in the show Houghton Revisited (held at Houghton Hall in Norfolk, 17 May – 24 November 2013), Jan Griffier’s Landscape with Ruins of c. 1690, was made in 1718. The collection grew quickly and by 1736 it included notable paintings by Van Dyck, Rembrandt, Rubens, Velázquez, Jordaens, Poussin, Murillo and Maratta. Walpole’s dozen London residences – 10 Downing Street included – eventually could not offer enough display space so, from the early 1720s, Walpole commissioned a country house, Houghton Hall in north-west Norfolk, built by architects James Gibbs and Colen Campbell with the inter ior designer William Kent. Here, from about 1730, he amassed and displayed first a selection and, after his retirement in 1742, his entire collection.

Charles Darwin, Bartholomew Sulivan, and the geology of the Falkland Islands: unfinished business from an asymmetric partnership

When in 1846 Charles Darwin published the first account of the geology of the Falkland Islands he drew on his experiences in 1833 and 1834 during the voyage of Beagle, and on collections made at that time by the ship's Assistant Surgeon, William Kent. Aboard HMS Beagle Darwin struck up a particular friendship with Lieutenant Bartholomew Sulivan who subsequently revisited the Falklands between 1838 and 1845 in command of HMS Arrow and HMS Philomel. The surviving letters that Sulivan wrote to Darwin during those voyages contain a wealth of additional geological observations. Sulivan also dispatched additional geological specimens to Darwin, one of which can be identified in the extant Beagle collection. Darwin utilised some of Sulivan's structural geology sketches in his 1846 paper, but otherwise the detailed and accurate observations were only partly and ambiguously recorded there in a footnote. Sulivan described fold and cleavage relationships, made the first record of intrusive dolerite dykes in the Falkland Islands, and recorded landforms and lithologies that could have led to the early recognition of both Quaternary and Late Palaeozoic glaciation in the Falklands. Glacial phenomena were not generally understood at the time and Darwin at first misinterpreted some of Sulivan's prescient observations. The acknowledgements in Darwin's 1846 paper do scant justice to Sulivan's contributions which, as a result, have remained generally unappreciated. This paper seeks to rectify this situation whilst reconciling Darwin's account with the modern geological interpretation and reviewing his specimen collections in current terms.

Between the Grand Tour and the sublime sea: Thomas Coke and William Kent at Holkham

Holkham is one of the best-known eighteenth-century English estates. Acknowledging Coke's and Kent's travels on the Grand Tour, previous studies have underestimated the significance of the estate's...

Inventing the garden

The authors trace the evolution of the Western garden from the first plots cultivated for pleasure in the Middle East to today s diverse green spaces that challenge traditional ideas about what constitutes a garden. They examine the changing attitude toward nature as something to be dominated or embraced, ordered or allowed to range freely, exploited or conserved. Examples of the highly prescribed hortus conclusus or enclosed spaces of the Middle Ages are found in the Italian Renaissance gardens and the symmetries of Versailles and Les Tuileries. After the rise of Romanticism in the late eighteenth century, English gardeners such as William Kent and Capability Brown embraced the concept that nature should prevail over man s manipulation of it and created gardens that broke through traditional enclosures. A century later, while the American West witnessed both the conquering spirit of the homesteaders and the first stirrings of the conservation movement, urban parks and gardens were created as oases to which all people had access. The book concludes with a look at contemporary gardens, where efforts to reclaim landscapes and repurpose crumbling infrastructure are taking place within an atmosphere of ecological sensitivity appreciating the idea that the whole planet is a garden and all who live in it are gardeners.

Handel and Homosexuality: Burlington House and Cannons Revisited

It has been claimed that Burlington House and Cannons, the homes of the Earl of Burlington and the Duke of Chandos, were homosexual or homoerotic settings and that Handel's presence in these environments suggests that he was ‘gay’ or influenced the secular works he composed there. Examining in detail biographical information about John Gay, Alexander Pope and William Kent, eighteenth-century biographical accounts of Handel and insights from the history of sexuality, this article argues that there is no basis for these claims about the homosexual milieux at Burlington House and Cannons or for Handel's sexuality.

To Protect and Serve

To Protect and Serve